The overall feeling for spring frockery is all about form following function. Easy, breezy, and purposeful, as though following in the footsteps of the omnipresent flight bag shape that had its long moment in the sun. Sleek, sexy uniforms are what work now. Utilitarian, not retro and never frumpy. One notable change is the absence of the daywear slip dress - that hung in every mall rack across America two summers ago - that evolved into vintage nylon slips as streetwear. The tide is finally turning towards a long awaited end of recycled fashion, and the beginning of something new. For one of the first times in many moons, the Spring Collections were not about collecting pieces from the '60s, '70s or '30s, and dropping them at the patternmaker's in time for the show samples to walk out. The loss of replicating eras past left design rooms no where else to go for inspiration but towards each other. The daisy chain of spring design went like this: Calvin copied Prada, Donna copied Jill Sander, and Ralph copied Calvin. Which may mean that Ralph inadvertently copied Prada, whose true source still remains unknown. Mademoiselle Chanel always said, "Only those with no memory, insist on originality".

Aside from some '80s overtones, most springtime influences were more about modernity and boundary free global access, ranging from the Orient and the Wild West to Cyberspace. Not all about silhouettes, fabrications that bring modern function to the table, are ones to build your nouveau looks around. Even hardcore rocker chick, Maya, is beckoning a new, modern muse. Although she admits that it's difficult not to interpret everything that you see around you, her collection kept its sharp edge as it balanced draped chain beading and spiderweb lace, with studded black leather and pinstriped suits.