November 19, 2014

boulevard chanel.

{Major apologies for not posting for more than a month! I've been bogged down by school and yes, finally now I have a lot more free time on my hands to blog more regularly, here's a post I've been working on for some time now, enjoy!}


Karl Lagerfeld. The iconoclast that has created fashion's most dazzling show sets for Chanel all under the glass dome of the Grand Palais : from a larger-than-life glistening black globe dotted with tiny Chanel flags and a futuristic solar-paneled runway complete with windmills, to a golden carousel overflowing with whimsy pearls and bows, a visit to the glorious Versailles Chateau, and  a giant supermarket that made buying household necessities chic again, he never fails to inject a sense of modern extravagance and inventiveness to every show he puts out. For Spring 2015 however, the attention wasn't on so much the set, but the banging finale that ended the show on such a high note. Capturing fantasies was always what Karl does best, but this time he instead captured the cultural zeitgeist of freedom, and turned it into a powerful finale set in none other than Chanel's very own piece of Parisian cityscape, a gold-stone and glass filled Boulevard Chanel.



Coco Chanel has always believed that clothes should be real, and function should be just as important as form, like how the chain on the 2.55 handbag was to keep hands free, and how it was originally lined with burgundy so it would be easier to find things. So down the runway came wearable pieces in the form of wide trousers, pinstriped blouses, cardigans and tunics, worn by a bevy of Chanel favourites such as Ming Xi, Cara Delevingne, Binx Walton and Soo Joo Park who walked in unconventional twos and threes. Psychedelic splatters of paint shaded everything from accessories to shoes, yet there was also a sense of sober tailoring to it, with clear white seams and trimmings outlining the silhouettes.