Fresh off the runway

CHANEL: Report

CHANEL

SPRING/SUMMER 2014-15

from the 

READY-TO-WEAR COLLECTION:

by KARL LAGERFELD

The Spring-Summer 2015 Ready-to-Wear show transported us to a typical Parisian boulevard miraculously erected under the glass dome of the Grand Palais, where 80 models casually strolled past the “boulevard Chanel’s” facades while donning the collection’s myriad looks.

The collection is decidedly optimistic and rich with a variety of propositions that Karl Lagerfeld used to set the tone right from the start: these Chanel women are free-spirited and daring; they progress far beyond mere social norms; they are independent, modern and active, in the very image of Gabrielle Chanel. Firmly rooted in their day and age, they walk the streets of major cities with long, confident strides.

With their tweed pantsuits accessorised by vibrant silk neckties, these professional women are a perfect blend of masculine and feminine. Their elegant, comfortable style is inspired by menswear with double-breasted blazers and boxy jackets, cuffed wide-leg trousers and flat boots. The base remained feminine however, through a palette of vibrant colors (orange, pink, purple, blue, green) and flamboyant prints (florals, watercolor prints) interpreted on blouses, neckties and scarves, as well as boots and loafers. The skirt suit was paired with printed fabric boots; soft, flowing blouses were punctuated with a pointed, elongated collar, and a tennis stripe adorned generous cuffed bermuda shorts to give them an urban flair. Open derby shoes closed by an ankle strap appeared in gold and black leather, black and white leather, as well as black satin versions. Chanel’s iconic colors of black, white and navy served as the foundation of this easy-to-wear wardrobe.

From long tweed coats lined with printed silk to military-inspired khaki suede jumpsuits, a sailor stripe knit that is as fresh a look in the city as it is at the beach, gauzy blouses, lace and dresses embroidered with small scale-like tiles interspersed with tiny flowers, summer of 2015 will focus on the winds of freedom that blew during the years 1968-1970. The whole collection is a play on proportions, layering and transparency. Immaculate white blouses with wide collars are cinched with a gold belt to give the bermuda short a feminine touch.

The collection’s accessories added a whimsical, humorous twist to its message of freedom: clutches were stamped with messages like “Féministe mais Féminine” and “Make Fashion not War.” A new bag incorporating all of the codes of the Chanel jacket (tweed, braid, buttons) made its debut with soft leather handles that allow it to be worn over the shoulder or tied around the waist.

– Francoise-Claire Prodhon

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View the full F/W 2014-15 Haute Couture Collection CHANEL.

 

 

 

Interview by Natasha Fraser-Cavassoni

Published on Jul 9, 2014

 

More on http://chanel-news.com

View the full F/W 2014-15 Haute Couture CHANEL Collection Show.

 

SOUNDTRACK

Artist: Koudlam
Title:Landsc Apes
(Pan European recordings / International Billboard Unit / I.B.U.)

CHANEL

AUTUMN/WINTER 2014-15

from the 

HAUTE COUTURE COLLECTION:

SILHOUETTES

by KARL LAGERFELD

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Fresh off the runway

CHANEL: Runway

Gallery
Fresh off the runway

CHANEL: Report

REPORT

AUTUMN/WINTER 2014-15

from the 

HAUTE COUTURE COLLECTION:

SILHOUETTES

by KARL LAGERFELD

WE’RE used to seeing the grandest of sets from Mr Lagerfeld when it comes to a Chanel show (his supermarket sweep for ready-to-wear being one of his most memorable yet), but today this was all pared right back down for a space in the Grand Palais that was simply a white room accompanied by a virtual fireplace and a glass mirror over its mantelpiece.

But it was the ideal setting when it came to showing off Lagerfeld’s skills – this is a designer who is at his best when he does something very glamorous and slightly historical. So he gave us his Artful Dodger best for a collection that presented beautiful urchin girls who brought his 18th Century references (most noted in the regal embroidery of many a frock coat) right up to date with ribbon-tie flip-flop flats in place of last season’s couture trainers.

The girls took to the catwalk with quiffs and caps on the back of their heads and short pantaloons, which even came worn under little short suits and coats – this was a couture riff on a Charles Dickens classic from start to finish.

Everything was intricately embroidered or boasted sequins or crystals – across bodices, or jackets, smatterings of gold climbing up hems or clustering at collars, dancing around necklines and straps. The level of fabrication perfectly showed off the special couture skills that this house has at its disposal and it was a delight to see on display.

For cocktail attire there came a strong focus on trapeze shapes, gentle A-lines for skirts and dresses that spanned a palette of smoky greys (mimicked also in the make-up tones), off-white, pale gold, navy and black. Bags were like satchels and though used sparingly made for another clever modern note.

And while there won’t be a woman out there who wouldn’t not dream of stepping out in one of those serious gowns to end, we can’t help but know the real story here will end up being those flip-flop-style flats. Comfortable couture.

 

The British Vogue

– Jessica Bumpus

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Fresh off the runway

CHRISTIAN DIOR: Report

REPORT

AUTUMN/WINTER 2014-15

from the 

COUTURE COLLECTION:

CHRISTIAN DIOR

ONCE again held at the Rodin Museum, today’s Christian Dior Couture show saw us enter another Raf Simons structure in the gardens – oblong this time – which contained an orchid-walled circular structure. “Confronting what people now think is modern” – as Simons stated in the show notes – the designer created a mash-up of historical fashion references, taking inspiration from the Eighteenth century French court, Edwardian tailoring through to the modern day.

Watched by a front row that included Charlize Theron, Sean Penn, Valerie Trierweiler, Mario Testino, Paolo Roversi, the Arnaults and Bianca Jagger, the collection was shown in sets of not more than eight or 10 looks, which was effective in concentrating the mind to focus on the details. Simons did not deviate from his usual model of choice – pale-skinned, straight-haired – but did send them out to meander in a circle, hands in pockets, no linear sense of a catwalk to speak of.

The show started at the end, in traditional couture terms, beginning with ballgowns and further reiterating the message that all is now one in the same. Pannier-skirted gowns were three-quarter rather than full-length and were worn with narrow, sporty bodice tops in embroidered silk and armfuls of silver bangles.

The second set was more sporty: a grey silk jumpsuit with zipped details and minute motifs cinched with a metal belt bearing lacquered discs; while the third introduced an Edwardian mood: long patterned coats and one long grey mink coat worn simply with black trousers.

Typically, luxurious fabrications – with coats in mink, chinchilla and cashmere – were bought down to ground level by the simple styling and the nonchalant models, all in flat shoes and casually strolling. The following section, featuring Eighteenth century-inspired fop coats in heavily embroidered pastels, and then a number of dark navy pea coats with exaggerated taped shoulder detail, had the same easy mood.

A suggestion of time travel, approached in Simons’ unique way, manifested itself in a collection that brought history up to date.

The British Vogue

– Lauren Milligan

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CHRISTIAN DIOR

AUTUMN/WINTER 2014-15

from the 

COUTURE COLLECTION:

CHRISTIAN DIOR

 

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Fresh off the runway

CHRISTIAN DIOR: Runway

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