This week Fashion Speaks introduces a new weekly posting, The Fashion Cap.  The Fashion Cap consists of a recap of the top 10 fashion happenings of the week. 

Hope you will enjoy and look forward to reading your comments.

 

1.) New York designer, Rachel Roy, unveils new diffusion line for Jones New York.  Here's hoping Roy's flair for style will rescue Jones recently reported 98% profit plunge.

2.) Matthew Williamson causes a commotion with the launch of his new line at H&M, although reports are saying, Grace Jones may have stole the show.

3.) Luxury brands continue to take a hit due to the "recession."   Both, Prada and Gucci , posts negative earnings for 2008.

4.) Abercrombie and Fitch beware!  Teen spending reported down by 14%.

5.) Taking matters into their own hands, Forever 21 looks abroad with planned store openings in Japan.

6.) Michael Kors opens his first UK store without all of the hoopla of an H&M launch or Top Shop debut, but we are sure with the same amount of style and panache.

7.) The press delights us with more news of yet another celebrity deciding they can do anything better than we can.  This week's design star is David Beckham who has been quoted saying he is not going to model his own clothes...YET!

Consumers are feeling more confident in April, so maybe, Mom will get that new Escada bag she was eyeing over at ideeli.com for Mother's Day!

9.) Lilo finally gets something right!  Retailers, Nordstrom and Henri Bendel, report her leggings line, 6126, is flying off the shelves.

10.) In celebration of Marks and Spencers' 125th anniversary and hopefully to spark more consumer excitement, M&S announces their new womenswear line, a collaboration with designer, Zandra Rhodes, will hit store floors on May 9th.  Happy Birthday, M&S!

That's the cap! 

If there is any other news you think should have made this week's cap, please feel free to share.  Thoughts and opinions are always welcomed.

Till next week....

The news reports are stating that the Spring 09 selling season has yielded dismal results for retailers, caused largely by the economic recessions and the lower than expected sales planned for Easter holiday. 

This may be true, but it could also be that oftentimes when it comes to design inspiration and innovations, mass and moderate retailers tend to place less emphasis, i.e. less dollars, on ready-to-wear during the spring/summer season.

Traditionally the big selling months for spring have largely relied on holidays and events such as Easter, Mother’s Day, Father’s Day, proms and weddings.  In turn, the assortment emphasis tends toward either special occasion, formal wear, or giftable accessory items.

Sale dollars are not heavily forecasted toward ready-to-wear apparel and hence, designers and merchandisers are not encouraged to spend too much time or company money planning and designing innovative spring lines, but rather to follow last year’s selling patterns, update the colors, add a new pattern here and there, but don’t spend too much time creating a line for spring. 

So after a while, spring season pretty much starts to look like the previous spring seasons leaving little room or reasons for an already cash-strapped consumer to decide to shop the stores and spend their dollars.

Maybe Spring 09 is dead, maybe it’s too early to say, although honestly…I, like many of you, have decided to move on and look ahead towards Spring 10. 

As you begin the 2010 spring season design process, then yes, of course, please look back to the previous seasons and look at what resonated for your customers in terms of colors, silhouettes, design details, fabrications, etc…I encourage this in my post, Pantone Spring 2009 Revisited|What Is Black?.

But also remember that a lot has happened in the past 18 months which has caused us to question the disposability of our incomes and your customer has changed.  The wonderful thing about fashion…and humans is our potential for change and renewal.

I awoke this morning and breathed a sigh of relief that spring weather had held for a second day in New York and the discovery caused me to stop and consider what really inspires me about each spring season—and so, I mused on this thought for a while and realized that for me the spring season is RENEWAL. 

I understand that renewal is not a new concept in fashion, but I wanted to try to approach the idea a little differently….

An onsen is a term for hot springs in the Japanese language.

Onsens are naturally-occuring small bodies of water heated from the Earth’s interior….a part of nature and the wonders that exist on our planet.

In Japan, onsens were traditionally used as public baths where men and women bathed together.

Onsen water is believed to have healing powers derived from its mineral content.

A particular onsen may feature several different baths, each with water with a different mineral composition.

The outdoor bath tubs are most often made from  Japanese cypress, marble, or granite with emphasis placed on maintaining the integrity of the spring’s natural environment.

The onsen or hot spring, is not only inspirational in the color palette each spring uniquely yields due to their specific mineral composition, but also it begins a thematic process that reflects fabrics and design details that advocates turning away from the hectic activity we create in our everyday lives. 

This inspiration has the potential to produce silhouettes that beckon one to slow down and enjoy the natural benefits and simple pleasures of life. 

The onsen can also be considered as another way to envision luxury…to create clothing which celebrates the communion of body and spirit, breaks down barriers of gender and beauty, as well as invites transparency and openness.

So, this week’s musing is directed to you.  As you begin the Spring 2010 design process, what inspires you?

What if you were stopped on the street and someone offered to buy everything you owned?  What would they find?  Would the items on your person truly represent who you are…your beliefs, political stance, goals, religious affiliation, or values or would they find random inconsequential items that somehow found their way inside your pocket or purse.

Liu Chang’s exhibit, Buy Everything on You(2006-2008), currently on display at The New Museum of Contemporary Art, offers such a snapshot into modern Chinese culture.  The artist approached people on the streets and offered to buy everything on their person.

The exhibit consists of all of the items that Liu Chang purchased from individuals on the street placed on a white table.  What was most striking was the prevalence of western culture that had been appropriated by the Gen-Y individuals Chang choose for this project.  

There was a the usual proliferation of western cultural hallmarks such as denim jeans, cotton t-shirts, sneakers, and cell-phones, as well as certain items, like seaweed, personal tissues, and Chinese currency or id cards that serve as place markers and reminders that these individuals were not your average American suburban teens, but rather represented a new Chinese identity forged from a communist country whose current wealth is the result of capitalist enterprise.

A new China that is intent on capitalizing on consumers’ needs and desires for new things  and supplying the West’s ever-growing demand for quick, cheap, and disposable fashions.  Most interesting, is that Chang chose a canvas which showcases both contemporary consumer proclivities as well as outlines the social and personal forces that help us to define ourselves—our clothing.

learn more click link for China Youthology Blog

These new millennial individuals have much more freedom of personal expression than their ancestors living under the dictate and rules of Mao Tse-tung.  In this era of communist China, citizens were expected to dress in uniformity wearing clothing which showed no difference in rank or gender, consisting of a military-style tunic-like jacket, short trousers, and cloth-peaked caps.  Dress was used to express a national rather than individual identity.

Today, a rapidly growing upper and middle class seeks to enhance its identity and quality of life with luxury products.  Much of Chinese spending is driven by people’s desire to enhance their own social status and visibility by an association with famous brand names.  In recent years, it has not been uncommon to see owners of a new suit conspicuously “forget” to remove the brand name and price tag that revealed the maker and high price of their new apparel.

Also fueling this demand for luxury products is that China now has an entire population of young, affluent males, called Little Emperors, who have grown up during the one-child only policy and thus, have been afforded many more  liberties from their parents as only children.

Recognizing both China’s demand and ability to purchase these designer items, luxury brands, such as Prada, LVMH, and Armani, have and continue to scout new locations to open boutiques in China.  

Analysts predict that, as China’s average per capita income grows, it will become the world's second-largest purchaser of luxury goods by 2015 and accounting for the sale of 29 percent of all luxury good sales worldwide(http://www.wikinvest.com/concept/Luxury_Consumption_in_China ).

Many more designer brands are looking toward the Far East as the demand for luxury products face sharp declines in Western Europe and the United States.  In sharp contrast, the West is reworking the paradigm for luxury, which involves less the acquisition of high end products and instead centers on the luxury of intangibles(time, freedom, and personal satisfaction). 

The recession has now forced us all to stop, pull out the things on our person, and truly question if we really are only the sum of our possessions.

Our economic downturn has not only brought with it disillusionment and insecurities but also in its wake has created a new type of nationalism.

Fashionalism which is a growing trend of blending fashion with patriotism has become the next buzzword. The trend first began to grab hold during the presidential election with Obama supporters sporting graphic tees depicting soon-to-be President Barack Obama’s face. The “Yes We Can” fervor is now the country’s drum roll for change and nationalistic pride.

The main idea behind fashionalism is to make nationalism “hip” and to give citizens a sense of ownership in their country’s economic and social landscape by purchasing American designers and brands.

American consumers are being encouraged to seek affordable, fashionable options with brands such as J. Crew and Liz Claiborne. American designers, such as Thakoon and Jason Wu, who represent the multicultural blend of American culture, have become, overnight, household names thanks to First Lady Michelle Obama.

We, in the United States, are not only experiencing a surge in nationalistic pride in our fashion choices, but this phenomenon has also taken fast hold in fashion capitals across the globe.

British designers have also been inspired by national pride where at a Vivienne Westwood show, one buyer listed new trends spotted in London including designer accessories featuring the Union Jack.

As well as purchasing fashion items with the British flag emblazoned on them, British buyers, same as American buyers, are concentrating on stocking stores with brands and designers that are specific to its respective country. In Great Britain, this includes items from designers, Vivienne Westwood and Paul Smith.

It is interesting to note that the wave in fashionalism has crested during a time when the G20 summit is taking place. The media has spent a significant amount time scrutinizing the attire of First Ladies, Michelle Obama and Sarah Brown. Both women have made a clear fashion nationalistic fashion statement by choosing to wear “homegrown” fashions.

The purpose of the current London G20 Summit is to bring the world’s biggest economies together so they can work to find a solution to help restore global economic growth through better international coordination. While at the same time, many of the G20 nation members have already implemented measures designed to restrict trade and protect local industries.

Aside from the concern to protect national industries, there are many other reasons that may be connected to the rise in fashionalism. One reason may stem from a need to exert patriotic pride and evoke consumer confidence despite the toll the recession has taken on jobs and businesses. Another reason could be that our need for security has turned us back to those brands that are familiar and have a trusted reputation

While an interest in nationalist shopping continues to grow, many proponents of free trade and globalism are concerned that ultimately buying locally may hurt international trade and stunt economic growth in the long term.

So with concerns of economic growth and stability in mind, one question remains to be addressed. With such a strong insurgence and interest in nationalistic pride and shopping, will transplants such as TopShop, H&M, and Zara strive in this environment or find themselves pushed out in the interest of fashionalism?

No matter how one chooses to redefine luxury, there is no denying that fashion is a luxury or an indulgence. The nature of fashion has been birthed and incubated amongst the trappings of wealth and power. Its history defined by “the haves and have nots.” Fashion is illuminated by its inaccessibility and we are lured by the unspoken, yet promised pleasures on display at every catwalk. We want to bathe in its glories and emerge reborn, more beautiful, more dazzling, and more powerful. Fashion’s ability to create and define distinctions amongst individuals is what draws each of us back to it season after season.

Luxury has been defined as either a: something that adds pleasure or comfort, but is not absolutely necessary or b: an indulgence (unrestrained) in something that provides pleasure, satisfaction, or ease.

Both terms, luxury and indulgence, were introduced during the Middle Ages, circa 14th century…and have long been connoted with negative implications. Historically, luxury has an archaic association of with lechery, lasciviousness, or lust, while indulgence relates back to the Roman Catholic Church when members would ask for atonement for their sins.

The concept of modern day fashion was birthed in the tawdry trappings of luxury and indulgence, as initially only the wealthy could afford to have more than one suit of clothing in the Middle Ages. The upper classes wore exquisite fabrics, velvets, furs, satins, and damasks, as well as bright colors, which were difficult to acquire due to arduous dyeing processes during this time period. Fabrics, either in terms of length or type, as well as colors, began to map out fashion through the development of sumptuary laws. Red was the favored of nobles, while purple fabric was reserved for the extremely wealthy, such as Kings or Popes.

So where does all of these lead us today? Quite honestly, nowhere, as the path has long ago been set and the journey outlined. Fashion is unmistakably the playground of the wealthy, and we, the mass consumers, have only been invited along for the ride. In our quest to blend in, to not appear too conspicuous amongst the wealthy, we have lost sight of fashion’s true meaning and its transformative ability. We must remind ourselves that “bling” does not directly translate to luxury, but is only a mode a fashion.

It is true that we are thousands of miles from the restrictive laws of the Dark Ages and we now have the means through mass commodification and technology to emulate the incomparable creative inventions seen on the fashion runways. We must remember that these are only copies, reinterpretations at best, of the design houses' craftsmanship and innovation.

People often quotes that fashion is a whim or a folly…this simply is not true. Fashion is a luxury to be indulged and enjoyed for its ability to bring light and pleasure to a sometimes dark and gloomy world. What better time than right now to get lost in fashion, to indulge in its beauty, to take pleasure in its artistry, to be inspired by its ingenuity. You may or may not be able to afford to purchase any one piece from the runways, but looking is free and can take you to new levels in the appreciation of the sublime that surrounds us in the every day…and this is a luxury in its own right.

Shoulders are definitely strong for Fall 09. As shoulders become more dominant, jutting out or tower over, necks have been relegated behind intricate ruffs, fur collars, patterned scarves, or heavy, oramental necklaces. Maybe designers are telling us they have collectively decided not to stick their necks too far out for the Fall 09 season. Or perhaps instead of burying our heads in the sand, we should be covering our necks in an effort to hide from an ever-widening economic crisis that has not only closed its grips around our banking and retail institutions, but has also reached across European and Asian shores. There is an ancient Japanese saying that states that the man rules the head, but the woman rules the neck. In these times, it certainly feels the weight of the world hangs on our shoulders. Strong shoulders definitely require strong necks. In any case, designers, collectively, have decided we should hunker down for the long cold winter of this recession and cover up.

New York
The recession has taken a heavy toll on businesses and consumers, alike. Although, New York has no choice but to acknowledge the deadening weight of the economic crisis. Designers share the hope and optimism that although bowed, we are not beaten, and even in dark days, there is always something to smile about.

An American classic, Ralph Lauren romanticizes the neck by layering it behind soft, tulle-like ascots and beaded netting in subdued colors, such as mauve, silver grey, ivory, and antique gold.

Kors has decided to tough it out with necks that disappear under heavy knitted turtle-neck sweaters, chunky 80s-inspired gold or silver chains, fur collars, and neon-colored wrap scarves.

London
Overall, London’s interpretation of recession-ready fashion is darker and edgier than seen on New York runways. The cut is more often sharp and angular as if to express the sharp economic downturn experienced in the UK. Most of the collections centered around geometric designs and patterns. There was color, but it seemed to be used sparingly with emphasis placed on the stark contrasts of black and white; as if designers were seeking to find a beacon of light in the midst of dark, gloomy times.

Todd Lynn’s tough, androgynous tailored chic left no neck uncovered. His black and white collection showcased fitted tuxedo jackets, skin-tight leather pants, and high-necked fur collars and capes.

Although Templerly showed her collection at NYC fashion week, Temperly London is a British designer who, this season, recreated the Empress of the Orient. Studded in hard metal and zippers, this woman is no shrinking violet. Temperly’s empress is prepared to do battle, her neck shrouded like the crusaders of the Middle Ages. The collection has an intensity that seems to echo the rage and discontent wrought from uncertain times.

Erdem greeted us with rounded, bouquet silhouettes. Colorful and fanciful florals fought against a backdrop of black, seeming to express cheer despite the sea of black in which petals in bright blues, yellows, reds, purples floated. Tulip-shaped dresses expressed a vulnerability and softness that definitedly would have warranted some type of protection and like Ralph Lauren, Erdem, wrapped his waif’s neck in wispy, floral ruffles.

Milan
Milan is a constant for high-energy sex appeal; the city literally vibrates with rock and roll seduction. These women are too sexy to really be terribly concerned about a little, itty-bitty economic downturn. Besides, a great bag, sexy stilettos, and a devil-may-care attitude will navigate any woman worth her pout through a recession’s maelstrom. The eye of the storm is the best place to find a spotlight. These women do not need the added protection of a neck covering, but one should always be prepared.

For Fall 09, the D&G show, most fittingly, largely referenced the Elizabethan era with boned bodices, fur capulets, and high, ruffled collars. The collection was kept contemporary by pairing these elaborate designs with graphic tees and skinny pants. The shoes were reminiscent of Venetian chopines worn by the Italian upper classes during the late Middle Ages as well as showcased short hoop skirts and flowy tops in quilted velvets, damask fabrics or printed tapestries.Missoni took the concept of protective layers to new levels with models covered head to toe in feather soft knits.

Angela Missoni has proven a girl can cover up, but she can’t hide her sex appeal. The collection, in girly mauves, soft greys, apricots, and powder blues, was young and hip. There seemed to be an open exchange between obscurity with the use of cowl sweater scarves and transparency afforded by web knit layering.

Paris
Paris is a sophisticated city, a luxurious city that will not be bowed by the economic crisis. As spoken by Galliano for Dior, “we are suffering an economic crisis, not a creative one”…and so, in typical stately fashion, Paris has offered us their decree on the recession. It sounded a bit like…”Let them eat cake”–cough.

Chanel’s Karl Lagerfeld danced between the 16th and early 20th centuries; leaping between the reigning rulers(King Henry VIII and King Edward VII) to present a collection juxtaposed between heavy wool picture hats paired with elaborately pleated ruffs. With this same sense of playfulness, Lagerfeld dappled in mixed media with chunky knits, furs, leathers, wools, and of course, Chanels’ ubiquitous tweeds. Ruffled collars were worn either high or cascaded softly around the face(depending on the era). These neck coverings demanded recognition of the wearer’s majesty and removal from the masses’ concern of recession.

Lanvin was severe in his judgement on the recession. His collection of 40s revival suits were highlighted by heavy, sculptural jewelry which rather than merely decorative enclosed the necks of his models in metal collars. The mannish cuts of his suits were dark; the embodiment of an austere, haughty–almost untouchable chicness.

Yes, Dior’s Fall 09 collection depicts women dressed in the Orientalism, hobble skirts reminiscent of Poiret’s reign on Paris fashion during the turn of the 20th century, but the true testimony is the overt act of rebellion shown in a collection that draws its inspiration from the bastion of upper crust women whose primary role was to remind the lower strata of society what they had not.

As Galliano quotes, “This is a credit, not a creative, crisis. Our clients still want fashion, still want to be inspired. My role, now more than ever, is to dress their desires.” And Galliano may have successfully tapped into a well of desires bubbling under the surface of our decade by choosing the Merveilleuses (Marvelous or Marvelous Ones) of the French Directoire period as his muse for his Fall 09 showing. These women wore luxury on every jeweled encrusted finger that wrapped around their luxurious, silk, paisley shawls which were used to cover their, oftentimes, outlandishly sheer tunic dresses.

But who were these women? Always fashionable dressed and the center of high society, these women along with their male counterparts, The Incroyables (Incredibles), were a rebellious youth movement that began during the French Revolution(1789-1799). Their form of dress and manners were adopted to express their disdain to the current regime (Reign of Terror), which pitted the poor and middle class against the wealthy. Their extravagant dress style, which included a red ribbon tied around the neck to signify the lives lost to the guillotine, was at once counter-revolutionary, as well as, testified to their infatuation with luxury. The Merveilleuses’ attire was a political statement, their fashion an expression of ideology and identity…their personal stamp against the stamp of repression many experienced during the Reign of Terror.

Poiret has been touted a fashion revolutionary for his part in freeing women from corsets and giving them freedom of movement with his “harem” pantaloons and “lampshade” tunic creations…although, many argue that he took steps back(no pun intended) with the hobble skirt invention. He made a straight, tubular dress in 1908 that became known as the Directoire.

Poiret designed during the Belle Epoque(Beautiful Era). A time characterized by being the golden age for the wealthy, the establishment of haute couture, as well as rift with political shifts and social changes. This period was marked by an increased interest in socialism, more attention paid to woman suffrage, rapid industrialization which would eventually allow increased social mobility, and a great war beginning to take shape over the European continent as ethnic nationalism and militarism collided with disastrous results.

In a time of rapid class stratification caused as a result of the recession, designers have to make hard choices and Dior has decided to step up, instead of down the ladder. This is understood as Dior is a design house that is historically associated with being extravagent and luxurious in a time of thrift. After all, it was Christian Dior who dared to shrug his shoulder at the war-time restrictions regarding fabric usage; creating a new bell-shaped look for women that was lavish in its use of fabric. Dior infamously used 20 yards of fabric for his New Look creations.
Galliano continues by saying, “It{House of Dior} created a New Look that lifted morale and made women beautiful again. I want to continue the legacy, to continue the dream and create modern beauty, luxury, and new objects of desire. We need beauty, inspiration, creativity—and in downturns, it is my role more than ever to inspire the dreams of women.”

Fashion,oftentimes, results as a chain of events that correspond to the designer reaching back to pull inspiration and recreate a creative expression that represents his or her interpretation of the times. Galliano has created a Merveilleuses that speaks for our time, a muse who will not be bowed by our repressed economy, but rather dares to ignore the repression and instead, has turned her back and chose to walk in beauty and grace.

We are more connected. Computer technology and electronic social networking tools give us more access to information and more opportunities to join together. What impact does the lightening transfer of information have on the fashion community? There has been, in recent times, an outcry from designers, worldwide, that the internet is a tool for piracy…idea piracy, hmm….is there such a thing in an industry that feeds on the mood and spirit of its time? An industry that depends on the ideas and concepts of others in all areas of culture for inspiration.
Today is hallmarked by the opportunity for each of us within the fashion community to truly be inventive, to use the information available at our fingertips to either seek means to push the edge of creativity and expression, to challenge the status quo of innovation, but most importantly, to merge our separate, respective experiences into a collaboration that offers a unique, possibly even ground-breaking aesthetic to our consumers. Consumers who, today, hunger and if you listen quietly to the rumblings, are beginning to clamor for change.

We are now able, through our social networks and e-marketing capabilities, to engage our consumers on a new, more direct and personal level. This personalization dares us to be both honest and clear in our presentation…to not waste our consumers’ time or trifle with their intelligence, but rather to pose new ideas about our usefulness and relevance, even in the midst of our economic recession.

We must remove ourselves from the belief that fashion is a luxury that few can afford to partake, as well as begin to reprogram our consumers away from this idea. Fashion is not a luxury, deemed available only to the favored few and pampered select, but rather an experience. Experiences that are enriched from our ability to express and share them with one another. An experiences belong to everyone. In this sense, we begin to understand our communication bridges gaps, information delivers choices, and the inspiration that we now can access at the click of a button gives us freedom to share, own, reimagine, and disseminate. Our experiences become a part of the whole and we begin to open doors to new, reinvented experiences.

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n.

The prevailing style or custom, as in dress or behavior: out of fashion.
Something, such as a garment, that is in the current mode: a swimsuit that is the latest fashion.
The style characteristic of the social elite: a man of fashion.

Manner or mode; way: Set the table in this fashion.
A personal, often idiosyncratic manner: played the violin in his own curious fashion.
Kind or variety; sort: people of all fashions.
Shape or form; configuration.
tr.v., -ioned, -ion·ing, -ions.

To give shape or form to; make: fashioned a table from a redwood burl.
To train or influence into a particular state or character.
To adapt, as to a purpose or an occasion; accommodate.
Obsolete. To contrive.

What is Fashion?
For centuries individuals or societies have used clothes and other body adornment as a form of nonverbal communication to indicate occupation, rank, gender, sexual availability, locality, class, wealth and group affiliation. Fashion is a form of free speech. It not only embraces clothing, but also accessories, jewelry, hairstyles, beauty and body art. What we wear and how and when we wear it, provides others with a shorthand to subtly read the surface of a social situation.

Fashion, therefore, is expression, in the same vein as art. It can be viewed either as public or private expression. As oftentimes, we may choose to wear an article of clothing in order to feel better, which brings us comfort, or we have imbued with special meaning, as I have done with my grandmother’s cameo that I wear for luck. Other times, careful selection is made of our clothing choices as we want to make a public statement. The business suit that is donned for an interview; the wedding ring that is worn to signify a person’s commitment to another, or the fur coat one throws casually over their shoulder to express wealth and status.

Fashion’s expression oftentimes extends beyond the personal scope of expression or public need for display. Fashion can be seen to mark an era, define a period in history, displayed as a sign of the times. The sign of our times….in the midst of war, bank bailouts, a dying auto industry, devastated real estate markets, high unemployment, low consumer confidence, deep recession(as no one wants to admit depression), and daily exposure of the corruption of big businesses…what is being revealed this week by American designers during the New York Fashion Week?

Many have already inked the pages and declared that American fashion reflects a more somber mood, that it is dark and conservative…or that it has stuck its head in the sand and instead of looking forward, has turned back to a happier time, the power 80s when America could celebrate its success and popularity with big hair, neon, bright colors, power suits, and ostentatious status symbols.

I don’t know…but when I review the pictures from the shows all I see is an incandescent beauty, strong lines, and rich jewel-toned colors, such as emerald greens, garnet reds, and bright true purples, innovative use of cut and form, and a fearlessness in the mix of fabric and trim…it feels mature to me,…and fresh.

It reflects an understanding of what our nation has gone through….is going through…and a belief that we, Americans, will eventually emerge from our current troubles. Yes, we will be more somber, but also stronger, wiser, and always optimistic in our belief that we can achieve our goals….and that beauty prevails even in the midst of hard times.