What could Karl Lagerfeld possibly do next to top the Chanel airport, the casino, the supermarket, the art fair, the Zen garden, the Roman movie set or that mind-boggling time he had a chunk of iceberg
trucked to the Grand Palais? Put in some white carpet and put out the
little gold chairs, it transpired. Perhaps Lagerfeld is tired of
everyone psychoanalyzing his sets, or maybe it’s yet another of his
comments on the state of play in the world. So here we were, everyone in
her own front row seat, watching models file by in the Fall 2016 Chanel
NON-set set.
This, of course, is the way collections were shown to clients in couture houses way before catwalks were invented so in a sense, this was both a down-to-earth presentation fit for the “real” mood that’s sweeping through Paris fashion right now as well as a reminder of Chanel’s heritage. You couldn’t call it no-frills, though because there were frills, chiefly falling in a froth of tiers on a short white lace trapeze dress with a camellia and a black ribbon tied in a bow at the neck. In other words, classic Chanel at its most delightful, and yet also speaking to a trend of the moment.
It came somewhere toward the end of the collection, which Lagerfeld refused to explain over-intellectualization of fashion is his bête noire. What appeared to be a vaguely equestrian theme gave form to leather-brimmed boaters with a dangling strap at one side, riding boots, and, later, khaki mackintoshes. The tweed suits passed by intercut with denim at one point (maybe a nod to an ’80s collection?), and soon after they were prettily doused in shades of pink. Along the way, there were diamanté Chanel emoji charms thrown in. Still, the main lesson learned? The return of the power of the Chanel pearl necklace, worn in piles. The more the merrier quite literally.
This, of course, is the way collections were shown to clients in couture houses way before catwalks were invented so in a sense, this was both a down-to-earth presentation fit for the “real” mood that’s sweeping through Paris fashion right now as well as a reminder of Chanel’s heritage. You couldn’t call it no-frills, though because there were frills, chiefly falling in a froth of tiers on a short white lace trapeze dress with a camellia and a black ribbon tied in a bow at the neck. In other words, classic Chanel at its most delightful, and yet also speaking to a trend of the moment.
It came somewhere toward the end of the collection, which Lagerfeld refused to explain over-intellectualization of fashion is his bête noire. What appeared to be a vaguely equestrian theme gave form to leather-brimmed boaters with a dangling strap at one side, riding boots, and, later, khaki mackintoshes. The tweed suits passed by intercut with denim at one point (maybe a nod to an ’80s collection?), and soon after they were prettily doused in shades of pink. Along the way, there were diamanté Chanel emoji charms thrown in. Still, the main lesson learned? The return of the power of the Chanel pearl necklace, worn in piles. The more the merrier quite literally.
Enjoy the CHANEL Fall/Winter 2016/17 runway show at the end of this post, and for all CHANEL-lovers my special collection on Google+ with more than 350 editorials with the latest news of the brand, and 65.000 followers.
LoL, Andrea
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: The House of CHANEL
Photos by Yannis Vlamos / Indigitalimages.com
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A ray of sunlight pierces the Parisian skies on a cloudy January 26th, and illuminates the dome of the Grand Palais. Like a reminder of spring in the middle of winter, it signals the start of Karl Lagerfeld’s Haute Couture Spring/Summer 2016 collection show. In an exaltingly bucolic set, a wooden house with closed shutters blends in with the vegetation. The door opens to reveal the first silhouettes. One by one, seeming to slow their pace to better take advantage of the moment, the models wander through this Eden.
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