In true Chanel fashion, the master of silhouette manipulation reinterprets a certain Parisian passion with yet another powerful collection.
Karl Lagerfeld’s Chanel celebrates fashion with a flair for manipulating the typical silhouette and social issues that translates into its designs. This season, the foreign born proprietor who was tired of French bashing, couldn’t help but to celebrate something so intrinsically French with a vast brasserie set in the Grand Palais. “I’m not French, so it’s easier,” Lagerfeld said during a preview. “If I were French, to do it would look chauvinistic and stupid, but I’m a stranger.”
Models (including a few men -part of Lagerfeld’s musing about gender studies) walked briskly from two ends of the polished set stopping briefly in front of photographers to capture the looks before continuing their path along the intricate faux mosaic floor dressed in an impressive array of gorgeous day-time pieces. There were the classical Chanel suits; the tweedy iconic plaids, and blouson jackets crafted from puffed squares of paper-thin leather. Glittering parkas complimented patterned sweaters and skirts, with airy frou LBDs placed in among the midst. Every model wore a two-tone shoe of beige with a black toe – Mademoiselle called them pumps. “They are the final touch of elegance” she used to say. With its uniquely squared heel and revisited proportions: “It’s become the most modern of shoes and makes beautiful legs,” Karl Lagerfeld explained.
Elements taken from the classic black and white work uniform of the smiling Parisian waitressing staff that were polishing glasses at the bar centrepiece were reinterpreted in tweed or embroidered aprons (never white) – that seemed like long/short skirts in the front were tied over pants.
As always, Karl Lagerfeld has a knack for presenting shows that plays on the bourgeois smugness that we all love to hate.
Check out the full gallery below.