The Chanel couturier Karl Lagerfeld, who currently wrote the epitaph for “bling” and noticeable using, has shown a million of ideas for “recession luxury” in his Paris Haute Couture Fashion week collection.
The show was splendid in more ways than one.
The catwalk models wore white paper head-dresses made in origami-style by the Tokyo milliner, Kamo, and their nails were painted in white color.
The idea was a white page,” Lagerfeld said days before his show.
The outfits, gracefully-cut as if with a knife for butter, were in parchment-cream and virgin white. The white color was one of Coco Chanel’s favorite colours from the start of her career in the 1920s.
An casual blaze of black PVC or smoky-grey rose-print appeared through white colors.
The show was placed in a former bank. It’s columns and ceiling garlanded with elaborative white paper flowers and doilies.
Designer commissioned a floral Eden crafted from 4,000 meters of clear, pure paper.
Paper is my favourite material,” Lagerfeld declared and “wanted everything graphic itself, no bling-bling”
This great idea came to Lagerfeld just after his over-the-top Russian-inspired attendant show in December:
Everything was so pushed — housecleaning was needed.”
Of course, here was no lack of complete delight, a line inventively devised and infallibly executed, from the marvellous paper headpieces crafted by Japanese hair artist Katsuya Kamo to various chic takes on observer sandals.
And the real miracles of the day: the outfits.
Designer Lagerfeld sent out fantastic day clothes line working a celestial focus — tiered construction in different shades of white color.
The main of the looks was a square shoulder, often in a short, straight capelet.
These were high atop small jackets and crisp A-shaped skirts with an accidental flash of crisp black trim.
The classic Chanel cardigan suit was renovated, in tweed, silk and sequins, as a present-day two – or three-piece; its jacket crease to a demountable ‘yoke’. The skirt is an A-line with inverted pleats or over-panels at the sides.
A plain suit featured a rustle of chiffon at the wrists; a dress’ odd lace motif was styled from feathers.
We are entering a phase of reality fashion.” said Lagerfeld. “This is right. This is exactly what Chanel did; she wore the clothes she designed. We talk about the financial crisis, but it is also healthy. People who have been making 20% increase, year after year, and then are not making 20% any more, they are not poor. So don’t cry for them. We have got into bad habits and it is not a bad thing to have a new starting point.”
Tight rows of bugle beads settled shimmery stripes, spangles played as polkadots, and the bride wore an ascetic sequined Sixties Space Age jumpsuit outfit, her eternal vain train decorated with paper fancywork, done by M. Lesage.
Keira Knightly, the British actress and the face of Chanel’s Coco Mademoiselle scent, was among the celebrities seated at small tables to watch the show, along with James Bond girl, Olga Kurylenko; Marianne Faithfull and Anna Mouglalis.
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