The Chanel
runway in the vast hall of the Grand Palais appeared to have been made
from solar panels, and along its considerable length sprouted a forest
of towering wind turbines that Karl Lagerfeld
called “beautiful modern architecture.” Karl was clearly looking to the
future and to the idea of harnessing technology to fashion, from the
fabrics printed, woven, or layered to create the illusion of
three-dimensionality, to the playful accessories including the classic
Chanel boater reimagined with an enormous brim of clear Lucite, or the
new Chanel bag in bright molded plastic. “We need energy,” said Karl after the show. “Energy is the most
important thing in life!”
Enjoy a little selection of my CHANEL coverage during 2012 at the end of this post.
Those turbines might also have been a metaphor for the designer’s own astonishing reserves of energy, expended this season on a dizzying deluge of ideas poured into the 80 looks that careened down that epic runway and ran the gamut from baby-doll frocks in linen chambray, denim, or gingham tweed, to sophisticated long evening dresses in monastic black and white.
“It’s all about volume and lightness,” added Karl, “ . . . because usually volume and lightness don’t go together.” That volume meant pneumatic little dresses, often worn with short cropped jackets, whose bouffant lines were achieved through the use of innovative fabrics including waffle-textured organza and fine rayon knits. Karl also played with the idea of a “skirt dress” as though you had hiked up a skirt to transform it into a strapless dress.
There was a beachy spirit to some of the playful accessories a quilted lambskin bag contained within the rings of two full-size hula-hoops, and clumpy platform sandals with stripy soles. And although he stripped away many of the house codes, “no chain, no braid, no plastic Chanel buttons, only pearls, pearls, pearls,” as he said, the Chanel imprimatur was indelible. Those giant pearls might be wrapped as chokers or a single pearl set to float in a metal cuff or to anchor a messy chignon at the nape of the neck. They were dotted over the black wool jackets (and skirt dress) that opened the show, and strung together as a belt on a brace of slithery crepe evening sheaths.
But alongside the innovation, there was a master’s hand to the couture-quality touches. A child’s handheld “windmill’ was reinterpreted in organza as a charming three-dimensional embroidery motif, for instance, and the finale strapless dresses were pale backgrounds to three-dimensional sprigs and branches heavy with blossom.
Enjoy a little selection of my CHANEL coverage during 2012 at the end of this post.
Those turbines might also have been a metaphor for the designer’s own astonishing reserves of energy, expended this season on a dizzying deluge of ideas poured into the 80 looks that careened down that epic runway and ran the gamut from baby-doll frocks in linen chambray, denim, or gingham tweed, to sophisticated long evening dresses in monastic black and white.
“It’s all about volume and lightness,” added Karl, “ . . . because usually volume and lightness don’t go together.” That volume meant pneumatic little dresses, often worn with short cropped jackets, whose bouffant lines were achieved through the use of innovative fabrics including waffle-textured organza and fine rayon knits. Karl also played with the idea of a “skirt dress” as though you had hiked up a skirt to transform it into a strapless dress.
There was a beachy spirit to some of the playful accessories a quilted lambskin bag contained within the rings of two full-size hula-hoops, and clumpy platform sandals with stripy soles. And although he stripped away many of the house codes, “no chain, no braid, no plastic Chanel buttons, only pearls, pearls, pearls,” as he said, the Chanel imprimatur was indelible. Those giant pearls might be wrapped as chokers or a single pearl set to float in a metal cuff or to anchor a messy chignon at the nape of the neck. They were dotted over the black wool jackets (and skirt dress) that opened the show, and strung together as a belt on a brace of slithery crepe evening sheaths.
But alongside the innovation, there was a master’s hand to the couture-quality touches. A child’s handheld “windmill’ was reinterpreted in organza as a charming three-dimensional embroidery motif, for instance, and the finale strapless dresses were pale backgrounds to three-dimensional sprigs and branches heavy with blossom.
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: © VOGUE
Photography by © Yannis Vlamos/GoRunway
SEE ALSO ...
&
A selection of my CHANEL coverage during 2012
Enjoy! LoL, Andrea
Enjoy! LoL, Andrea
'CHANEL Cruise 2012/13 Beauty Spot'
'CHANEL Cruise 2012/13 Ouverture'
Not To Miss!
CHANEL Métiers d'Art 2012/13 Show
'CHANEL Cruise 2012/13 Ouverture'
Not To Miss!
CHANEL Métiers d'Art 2012/13 Show
CHANEL has just released an image of the
invitation for the Chanel Métiers d’Art Paris-Edimbourg Show 2012/13 on
December 4th, featuring an illustration by Karl Lagerfeld of Linlithgow
Palace in his signature style … so, stay-tuned for more! Love, Andrea
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