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As fashion pushes towards the twenty-first century, a style has emerged that reflects the globalization of the design industry and offers an optimistic vision of the future. Designers such as Dries Van Noten(b, 1958), Jean-paul Gauliter, and Vivienne Tam were among the most adept at incorporating a host of complementary and even contradictory cultures into their work.

In 1997, Gaultier presented a collection in Paris that he described as a reaction against the antagonistic relationship that France had with its African immigrants. "I have a certain point of view ondifferent problems and I try to express my opinion through my collections,"Gaultier said to the Washington Post. His inspiration comes from a particular vision of an African immigrant in cities such as Paris of New York; this regal woman kept may of the vibrant colors and fabrics of her homeland but also adopted many of the styles of her new country. As a result his collection celebrated the African diaspora in a sensitive and intelligent way, something that had rarely been accomplished in the past.

That same year, designer John Galliano created a collection for Dior that had been inspired by the style of dress of the Masai. Indeed, 1997 was a year in which a host of designers looked to Africa for new ways of combining colors and patterns. But more than simply appropriating the traditional dress of those in Africa,

the fashion industry seemed to finally take a sincere interest in getting things right.

The clothes that came out of this new black chic were far more sophisticated and more subtly ethnic than such attempts at black style had been in the past.

The impact of Asia also was significant, and designers were inspired by such disparate influences as the growing strength of the Asian market, the Westerners search for more exotic inspiration, and the popularity of Arthur S. Goldens book Memoirs of a Geisha (1997).(Even Madonna adopted a geisha style for several television appearances and magazine photo spreads.) The Asian-American designer Tam captured the limelight with her "Buddha" collection and with other collections inspired by trips to Bhutan, a tiny country near Nepal.

The finale to the industrys ethnic panoply has been Bohemian Chic, a hodge-podge of cultural references brought together in a sort of gilded, hippie style. Design houses Fendi and Marni have been the leaders of this style. At Fendi the companys famous baguette shoulder bags have been studded with mirrors and stones to create a mosaic pattern reminiscent of Islamic mosques. Marni has offered skirts and jackets with embroidery inspired by Native Americans. And American designers such as John Bartlett (b. 1964), Michael Kors (b. 1959) and Marc Jacobe have recreated traditional serapes and ponchos in luxurious cashmere or high-tech coated nylon.

The result of designer cultural meandering is that the notion of global fashion has been vividly realized in

collections that merge ethnic sensibilities with a broadly accessible commercial style.

Advances in fabric technology increasingly drive the look of clothes. Designers take their cues from new-fangled fabrics that reflect light, that stretch, that have been adorned with sequins (not by hand, but by computer), and that have threads of metal or plastic woven into their surfaces. Fabric shows such as the acclaimed Premiere Vision in Paris are ground zero for the next big trends in fashion.

Designers have long been enamored of the possibilities that technology affords them. Nicole Miller used Scotchguard-the same material used to create reflective stripes on road crews uniforms-to make her dresses glow in the dark. The designer Miuccia Prada embroidered shirts made of latex and used mirrors, in lieu of sequins and rhinestones, to adorn her dresses. Donna Karan used non-rip paper -best known in the form of Federal Express envelopes- to create cocktail dresses. Yet this experimentation with high-tech fabrics is often little more than a gimmick. After all, who really needs a $1,000 dress that glows in the dark?

As designers became more comfortable with technology, using it as another tool rather than as an enticing toy, they began to use it in ways that both benefited and enticed consumers. Fabric innovations offered greater practicality to fashion with the introduction of washable silks and dry-cleanable mink. Also, protective resins such as Teflon rendered fabrics stain resistant. Yeohlee Teng and David Chu of Nautica applied Teflon coatings to their pristine white cotton garments, making them more resilient to the assaults of urban living. The combination of Spandex with fabrics such as cotton and wool introduced unprecedented levels of comfort to tailored jackets and slim pants in both the mens and the womens markets, while in the sportswear industry new fabrics such as Nikes Dri-Fit could keep athletes warm in the winter and cool in the summer.

Textile technology has even been applied to fur. Designer Karl Lagerfeld, working for the House of Fendi, shaved mink and sable so close to the skin that it could be manipulated like any other fabric, thus expanding the looks that could be achieved with fur. Cynthia Steffe brought glitz and glamour to her clothes-without all of the expensive and time-consuming hand beading- by using computergemerated sequins. The Italian design house Marni, a proponent of the new Hippie Chic look, created felt garments, thus combining a genre of haute bohemia with a made-at-home quality.

The importance of this new textile market has also increased the tendency for fashion to look the same. Designers shopped at the same fabric markets, became entranced with the same innovations, and often were driven to create the same silhouettes. However, this fury for techno-textiles signals the fall of certain limitations, enabling designers to realize their wildest fantasies.

Deconstructionism, in fashion, rejects customary rules and breaks all conventions. It questions aesthetic norms about bodily proportions and the criteria of beauty, emphasizes the adding on, or discovery of, an irrational moment, and reveals the processes of tailoring in clothing. The shape and the construction of the garment is more important than the color.

In fashion the deconstructionism trend was started by the Japanese designers Rei Kawakubo (Comme des Garcons) and Yohji Yamamoto, who were slowly establishing themselves in Paris in the 1980s. In the 1990s the Belgians Ann Demeulemeester and Martin Margiela emerged as its main representatives.

In 1992 Demeulemeester showed her designs for the first time in Paris: her deliberately scruffy, laddered, and askew nylon stockings shocked the audience. Her work intentionally makes the broken and the dilapidated visible and gives it the status of a desirable consumer product: outlaw and establishment, provocation and pleasure are merged. In her creations the unfinished and the accidental, soft and rigid, naked and clothed (regardless of erogenous zones) collide and find a new harmony.

Margiela highlights the fragmentary aspects of Deconstructionism by putting things together that do not necessarily belong together; for example, setting too wide a sleeve into too narrow an armhole. In this way it is not the body as a whole that is emphasized, but rather its discrete parts. Margiela recycles old fashion, tears it apart, reverses it, and puts seams and zippers on the outside. He thereby exhibits the origin and the artificiality of the tailors art as well as the soul, or rather the soullessness, of fashion. His recycling is based not on ecological but rather aesthetic motivation. In 1997 in a Rotterdam exhibition, Margiela smeared his clothes with bacteria which destroyed them within a very short span of time. In so doing he compared the natural cycle of creation and decay to the consumer cycle of buying and discarding.

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