And so Karl came to New York City via Cairo, Mesopotamia and all of ancient Egypt and where better to show than The Temple of Dendur! The collection is a gold rush as well as a sort of reminder of the mummification that was a sign of those ancient times… bodies wrapped in linen, that sort of thing.
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The trick here is to extract the clothes from the overly accessorized exits and find what makes Chanel what it is and what makes Karl’s heart race...especially with a challenge like linking New York City to the ancient Egyptians.
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Unquestionably there was an abundance of Karl clunkers BUT Karl spoke Egyptian as well as New YAWK. Overly gilded, silly gold headwear, gold shoes for all, models laden in jewels and far too many underpinnings but the news was beyond that in how Karl translated the history into modern times.
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The kilt-like skirts… tulip or lotus hemlines if you will, the hieroglyphic logo prints, the incredible encrusted bibs make to resemble Fair Isle sweaters and of course the constant layering and reminder that mummies did dance at the Metropolitan at one time hence some skyline.
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Suits and knits took center stage as did gold but certainly the ateliers that Chanel has acquired got to show off that they do best... perhaps a bit too much so but nevertheless when it comes to Chanel and Karl he goes balls to the wall and puts on a memorable show especially in comparison to his so called peers. Silhouettes from his boxy jackets to second skin dresses to reefer coats to fitted suits, he covered the bases and for the Chanel hoarders who can afford this kind of luxury this collection is a bonanza.
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Between Karl, Coco and the Wertheimers, Chanel is this well-oiled money machine with no rivals not just because of design but because “the shit sells!” and like it or not this is a business of selling clothes whether you are H&M or Chanel.
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