These Lips Might Sink Ships...: Chanel

Last week, while catching up with a friend, fashion came up—it's an inescapable topic for us—and I began to rave about the latest Chanel show. "Did you see that pink cloud of feathers on Carmen Kass? Amazing." She hadn't seen the show yet, but asserted that she felt uneasy about the iconic fashion house's current state. The shift away from the classically Coco vision—not a recent development—seemed to trouble her. I on the other hand gushed, "I love what Karl does." While I can appreciate the classic, I would much rather be seeing innovation and new vision. I don't think Chanel would survive in the current fashion industry if Karl Lagerfeld didn't take the house for a ride. While head-to-toe faux fur bodysuits do not exactly recall Coco, Karl always honors the heritage of the house. At least, that's my perspective on it.

A significant point of inspiration for Karl this season was the film Last Year at Marienbad, and it's star Delphine Seyrig, who was dressed by Coco Chanel herself. I'm not familiar with the film, however I've discovered that it was highly experimental in nature and explored the idea of déjà vu. Perhaps that explains the fantastic, dreamy nature of the clothes, with feathers being used liberally. Moth hole-like details and enormous hat-shaped umbrellas also attributed a sense of Surrealism to several of the looks. The Chanel DNA was present with tweed suiting and the sinificant presense of black, but was made modern with the aforementioned details and updated cuts. There were even suits featuring hot pants, paired with boots. Denim also made quite the case for modernity. I don't believe I've personally ever come across Chanel jeans. With its orchestra, grand set, and walks by veteran models including the fabulous Ines de la Fressange, the show was as epic as ever. Karl is a terrific showman, but his theatrics never seem to overshadow the collection. I can't imagine Chanel today without him.

Stella Tennant