There is some small comfort to be found, in times likes these, in the Chanel Resort/Cruise and Pre Fall shows. Firstly, the fact that Chanel even stages these shows, usually in glamorous locations with a cast of hundreds, a front-row showing of A-listers and clothes laden down with fanciful embellishment, is a marvel in logistics. Secondly that Chanel has enough money to produce resort and pre fall collections, let alone shows, is incredible considering the economic climate. And finally, the sheer spectacle and theatrics of the show are comforting in the way that a gauche, over the top musical is comforting, and the way watching the lavishly produced, exorbitantly made 'Cleopatra' with Elizabeth Taylor is comforting... We all love to indulge, even if that encompasses watching others do so and not ourselves.
There was no way i could NOT like this Chanel collection, i love every chanel collection this is true, but this one, peppered as it was with touches of 1920s/30s glamour, the whispers of by-gone eras where the lido deck in Venice was like a runway unto itself, when women dressed up every single day and when not wearing gloves outside the house was considered the height of informality. There were long, tailored silhouettes, plenty of structured ballerina length skirts and the usual boucle cropped jackets in stunning colours of titian red (subtle allusions to Venice continued throughout).
There was a definite air of 'so what' about it. Karl is a man (all evidence to the contrary, i know) who constantly remarks that fashion is fashion, and will continue through recessions and long after them. In fact the 1930s silhouettes, think column dresses, wide-legged Hepburn pants, floppy hants and little sailors suits, were appropriate (more appropriate than they have ever been) considering the similarities we are feeling with the 1930s. And i'm not talking about women's liberation, the beginning of cinema, the golden age of couture... No i'm talking about economic recession. I suppose this is Karl's way of showing solidarity. We went through it then with all the glamour and glitz of the bright young things, perhaps we could learn a thing or two from them. Forget austere dressing, you can't maintain high spirits in black and grey.
I, for one, am inclined to agree with him. Who could not raise a smile to their face when watching Marc Jacobs' FW show with all that bright neon and crazy 80s colours. Life is more beautiful in colours i've realised, and more uplifting. And Chanel always does colour in the most interesting way. There is the usual proliferation of black and white (this is Chanel after all), but mixed in there were the most gorgeous shades of crimson titian red, burnished gold, oranges and pinks in chiffon, even some deep purple in there. Colour, yes, but oh so tastefully done.
Karl always manages to involve influences and motifs from the country/location in which he is showing or upon which he has based his collection in the most ingenious way. Though some have maligned the lack of venetian imagery in the collection and its location (i suppose they expected the models to be sailing down gondolas through the canals) i think it was both an informed choice of location and well-done allusions. The choice of the beach outside the hotel excelsior was perfect, it was once the stomping ground of the bright young things, i remember a picture of Idina Sackville-West on the day she announced her engagement to Josslyn Hay on the Lido in the same kind of drop-waist white dress as seen on the models, the spitting image of the picture which cause scandal, outrage, and countless imitations across the jet-set. And the sunglasses with venetian mask handles was a nice touch too, you have to admit. As was the stunning finale of models stomping down with black hats and billowing silk organza capes. Their 1940s esque bra-let swimsuits a nod to trends no doubt, but in that irrepressibly 'chanel we dont care about trends' way.
It was theatrical and over done, but well done. I am constantly amazed how Karl can manage to turn out these resort and pre-fall collections for Chanel that are so gloriously luxurious as well as manage to maintain the rest of the Chanel line, the Fendi house and his own personal design house and diffusion line. The man is a machine. When does he sleep?
Never, it would seem. But if he continues to produce these beautiful, show-stopping collections of chanel staples and stylish extras then i won't complain. I promise.
X
[WWD via The fashion Spot]
also how exciting to see Myf Shepherd, my favourite australian model in the show. She's definitely on the up, can't wait to see her rock couture (again).
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