This is the Chanel, Coco, Lagerfeld, Villard bouillabaisse that was so very Karl so very Chanel.
This was au revoir Grand Palais and bonjour Chenonceau which could have been anywhere since all that was put to use was the grand foyer.
My take is that it is historical, retro, slick, sloppy, thin and thick and lots of polar opposites… but to me this is not a collection that can be assessed or critiqued like normal collections as these are collectors’ pieces and I do mean pieces whether it be a skirt or jacket, a bag, a necklace or even a hat... but the wedged cap toe I thought was fabulous.
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click image to enlarge
Did I love the Chenonceau belt, oh yeah, and I think very Karl…? as for the hair and make up well there is always next time as I think that if the models looked more polished so would have the clothes.
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I seemed to see references to museum paintings yet at times it appeared to be funereal or virginal and at other times ha cha cha cha… cohesive not at all but somehow, I wanted to touch hold and feel so much of what I was seeing. All the crap that filled the press release is just absurd as the métiers show has always been meant to show off the astounding accomplishments of the ateliers so no one with any knowledge of the brand needed to be reminded of that fact.
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Virginie seems to neglect or is not in possession of the fine points of what Karl was so proficient at and that was how to give each and every exit a final tweak to make it perfect. Her collections lack that perfection that final touch as well as the fact that styling (hair and make-up included) is just as important as the clothes.
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click image to enlarge
If you look at this as a collection well then its more of a clunker than a dazzling display of the prowess of the Chanel ateliers but if you dissect it, then you might find beauty that is incomparable. Sadly, Virginie’s cross to bear is that she will always be compared to Karl and right now it’s still looking like she is the assistant and not the designer.
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