I have often noticed how, in times of crisis, fashion designers favoured extremely colourful or playful garments. One of the first examples of this trend can be dated back to 1938 and precisely to 27th October 1938, the day Elsa Schiaparelli launched her Spring/Summer 1939 collection, inspired by masks and, more specifically, by the Commedia dell’Arte. This form of improvisational theatre – popular since the 16th century in Italy – was inspired by Latin classics such as Plautus and Terence’s plays. The main plots focused on themes such as adultery, jealousy, old age and love and the characters were identified by costumes, accessories and masks. 
Among the main masks there were prankster servant Arlecchino (Harlequin), presumptuous Balanzone, clever servant Brighella, malicious Colombina (Columbine), greedy Venetian merchant Pantalone (Pantaloon), romantic Pedrolino (later known as Pierrot) and Neapolitan melancholic servant Pulcinella (Punch). All of them were characterised by different costumes: Harlequin’s costume traditionally consisted of a jacket and trousers, made of irregularly-shaped coloured material;
Pantaloon usually wore a red jacket, black trousers and a black cloak over his shoulders lined with red on the inside; 
Columbine’s costume was at times inspired by the garments worn by servant girls, but more often it looked like a feminine version of Harlequin's costume, with numerous multicoloured patches. Pierrot’s costume was instead oversized and characterised by a layered ruffle collar and pompoms, while Punch’s consisted of a white loose blouse constrained by a belt.
Inspired by these characters, Schiaparelli organised a catwalk show that brought her audience back to 18th century Venice. At the end of the ‘30s Europe was living in very pessimistic times: war rumours were turning into tangible threats as days passed and the Commedia dell’Arte theme used by Schiap became a metaphor indicating the psychological state of mind people were living in.
Like the life of the main characters out of the Commedia dell’Arte, 
people’s life seemed to be regulated by a conventional plot that had been decided somewhere else and from which they couldn’t escape. Schiaparelli’s creations were all completed by eccentric hats such as tricorns or peaked clown hats or lace masks, they were decorated by buttons in the shape of masks and they had names taken from the Commedia dell’Arte characters (models were called "Arlecchino", "Colombina", "Pulcinella" and so on). 
One of the most famous pieces from this collection is a multi-coloured coat with diamond shaped patches of wool felt. Schiaparelli’s designs almost seemed to exorcise the fear and panic generated by the rumours about the war. Though characterised by a professional and extraordinary cut, Schiaparelli’s outfits and garments were indeed extravagantly playful.
There is a desperate need of happiness in our times of general crisis: with financial and political crises all over the world, with a society constantly facing many difficult issues and problems, the Commedia dell'Arte theme is naturally back in fashion.
I have already explored in a previous post the popularity of the Harlequin print and, though I don’t want to repeat myself, I’d also like to mention that the harlequin motif keeps on reappearing here and there as days and weeks pass. A few examples: Girls from Omsk recently launched their Autumn/Winter 2008-09 collection 
that also features electric blue or grey tops with a print of an harlequin mask; young and talented designer Henrik Vibskov has instead launched a very colourful collection dedicated to babies and to their parents in collaboration with pram and pushchair brand Quinny; Cesare Paciotti’s extreme platform harlequin shoes have already appeared on the feet of many celebrities who don’t seem to fear extreme heights.
It’s almost impossible for me not to think about Balanzone every time I see Alexis Mabille’s black dresses with piqué shirt bibs or his black chic and long evening gowns with ruffle collars. 
Columbine’s costume has found a new life thanks to Christian Lacroix. The haute couture creations by the French designer for this Autumn feature indeed short sexy dresses in pink or longer versions of the same dress in different shades of pink, paired with ethereal lace masks à la Schiaparelli. Lacroix created costumes for theatre shows since 1986, and in way his creations are often characterised by an element of theatricality which I absolutely adore.
There are instead echoes of Pantaloon’s costume in Jean Paul Gaultier red tops and black trousers. 
There are enough Commedia dell’Arte inspired garments even in the Autumn 2008 ready-to-wear collections: think about the voluminous sleeves of Antonio Berardi’s knits or the ballooning pants designed by Marc Jacobs for Louis Vuitton and, if you have enough knowledge of the Commedia dell'Arte characters, you’ll instantly think about the black attire of roguish Scaramuccia. 
Have a look at the stripy jumpers paired with colourful skirts and cropped trousers by Eley Kishimoto and your mind will conjure up images of Meneghino’s stripy socks.
Two final mentions go to Maaike Mekking for her Pierrot-inspired dresses and blouses 
and to Andrea Crews's crazy Autumn 08 collection that, entitled "Carnival Bauhaus", features vibrantly coloured clothes and bicorn hats (but you can read more about it in a previous post I did on Andrea Crews).
Wealthy fashionistas who have a passion for interior design and have developed a kitsch obsession for the Commedia dell’Arte, can instead opt for for the strictly limited “Couture Edition” of the Commedia dell’Arte figurines developed by German porcelain manufacturer Nymphenburg to celebrate its 260th anniversary in conjunction with 16 internationally acclaimed fashion designers.
The famous Commedia dell’Arte figurines produced by sculptor Franz Anton Bustelli have gone through a major revamp courtesy of Vivienne Westwood, Viktor & Rolf, Gareth Pugh, Christian Lacroix and Maurizio Galante just to mention a few designers who took part in this project. The collection was released in June, while the collector’s book that accompanies it came out a few weeks ago.
The volume is edited and designed by artist Florian Böhm and features an essay by the art critic Ronald Jones that analyses the aesthetics of the Commedia dell’Arte and of the 2008 Nymphenburg "Couture Edition".
The Commedia dell’Arte implies a high degree of escapism, and, yes, letting ourselves be inspired by it in our lives might not sort things out and get us out of the crisis, but it will definitely provide us with a bit of fun, a little but very welcome remedy to the gloomy times we’re living in nowadays.
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