But Lagerfeld only shrugged and suggested, in effect, that he'd been just about everywhere else. The question remained: Why Singapore? The label has six stores here, and many were quick to sniff out a play for the Asian market. She is a tough cookie." So says the toughest. I can tell you, she tortures the manufacturers. "I have a girl who works with me," he said, "the genius behind all the Chanel materials…. Even Lagerfeld seemed struck by some of the feats. But a summary doesn't give Chanel's craftsmanship its due: the oceans of beaded embroidery, the slick flash of latex-gilded lace, the pitch-black lacquer on Cara Delevingne's plumed cape and skirt. After the dark glamour of Fall, with its seductive, witchy toughness, this was a lark. That half step toward laddishness-the pearl-trimmed sort championed by the young Coco Chanel, with her menswear fabrics and her suiting, her boys' tailoring inspired by Boy's tailoring-gave the collection its sprightly freshness. There was a fifties-inflected soundtrack, with snatches of Elvis and Yma Sumac courtesy of Michel Gaubert, and a bouncy ease to the key new silhouette of high-waisted, wide-leg trousers worn with what were essentially oversize T-shirts-though rendered, in appropriately luxe fashion, from white leather and tulle. This one, though, in the spirit of Cruise, had a holidaying pluck. On the contrary, he showed a collection-collection, he clarified, not pre-collection-as vast and various as any of his other ready-to-wear bounties. It's boiling here, 100 degrees in the shade, but that's not to suggest Lagerfeld has slowed down a bit. So Karl Lagerfeld led his legions to Singapore. It's part of the definition of its Cruise line, right there in the name. According to Reuters, “deafening rock and roll rhythms by Madonna accompanied models as they tore off black vinyl trench coats to expose sheer mesh catsuits.” Was this lineup, with its tulle skirts, Boy-Toy-style plaques, and layered jewelry, Lagerfeld’s “Like a Virgin” turn? Whatever the case, it’s indisputable that Lagerfeld was able to turn just about anyone into a “material girl”-regardless of zip code.Chanel is on vacation. Mon dieu!įall 1991 has often been referred to as Lagerfeld’s “hip-hop” collection, but perhaps it’s time for a reappraisal. Quilted biker jackets and boots were paired with tulle ball skirts. (Lagerfeld told a wire service at the time that the models were adorned “just like a Christmas tree.”) More provocative still were the seamed fishnet stockings, BDSM-lite dog collars, and camelia pasties attached to a mesh body stocking. Vogue photographed Karen Mulder looking like a million bucks in the designer’s artfully frayed denim mini, curve-hugging pink tweed jacket, and white T-shirt worn with a number of the layered chains and belts that appeared with headline-making profusion on the runway. In this environment Lagerefeld’s twists on tradition had a certain level of shock value. (A model in this show carried a spoon with which to stir her teacup hat.) It must be remembered that this was not an anything-goes moment in fashion rules existed and breaking them offered a certain frisson. To bring youth and interest to the brand-as well as to underline the many recognizable and covetable brand icons, like the camelia, gold chains, quilting, tweed, etc.-he channeled them through of-the-moment filters in unexpected, and sometimes camp, ways. Do share.īack in 1991 Karl Lagerfeld was still in the process of rebranding Chanel into a modern luxury house rather than one known as a go-to destination for well-to-do matrons. These shows might be pre-internet, but they contain many Instagrammable moments. They honor the memory of Karl Lagerfeld, a giant and prolific talent, who designed them, and speak, too, to the 2010s’ obsession with all things 1990s. Editor’s Note: Vogue Runway is closing out the decade by adding six archival Chanel shows to our collections archive.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |