Chanel Haute Couture S/S 2013 Paris - Page 5 - the Fashion Spot
 
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22-01-2013
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Quote:
Originally Posted by Label Basher View Post
That lot probably should have stayed missing.

Right now I've got mixed feelings. I'll probably love it in a few months. Do I care about the two brides. Not really when he ruins it (yes on marriage) with a negative (no on adoption).
I think that was kind of screwed up for him to say. It's a total oxymoron. "I approve of gay marriage, but gay adoption is wrong." And it's not about whether it's common in France or not, it's about equal rights. But I still like that he showed his support of gay marriage.

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22-01-2013
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Style.com
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January 22, 2013 PARIS
By Tim Blanks
Karl Lagerfeld can't move mountains just yet. Today, he had to settle for a mere forest, shipped into the Grand Palais tree by tree. His guests wandered through the woods till they happened upon a classical amphitheater. "Neo-classical," Karl clarified. He was dreaming of Weimar, sylvan hub of German Romanticism in the late eighteenth century, home to Goethe and Schiller. Connoisseurs of synchronicity might appreciate the fact that one of Schiller's best-known plays was Mary Stuart. She was the inspiration for the pre-fall spectacle Lagerfeld staged for Chanel in Edinburgh last month.

Only last month? What is this man made of to be able to turn round and produce another, quite distinct collection of equal richness and complexity? The concept of spreading oneself too thin is clearly as alien to Lagerfeld as the notion of gaining one single, solitary kilo. "I always feel I can do better," he said after the show. "The minute you think you did it, you should stop."

And better he did this time—maybe even the best, in a while at least. The romance of Weimar infused a couture collection whose substance was glitter and shine. The daytime tweeds sparkled, the evening looks were a hymn to the sequin. The silhouette was determined by a feature Lagerfeld called "frame shoulders." Sometimes they looked articulated, almost like armor. Other times they were fichu-like. They were intended, the designer explained, to highlight the neck, rising swanlike from the shoulders, like "the cleavage thing from the Second Empire." When he inserted a top in luminous white or silver into his frame shoulders, Lagerfeld got himself a couture reflector. "Shine is beautiful for the summer," he said. "It lights the face."

Weimar was also the birthplace of the Bauhaus, and there was something of that design movement's rigor in long, lean evening columns. Anything that looked like a print was actually embroidery—the man-hours involved in such technical feats clearly involved rigors of another kind.

Beautiful as the collection was—and ending as it did with two brides, the designer's poke at the gay-marriage controversy currently roiling France—its most striking feature was its melancholic mood. This wasn't so much one for the Karlettes, Lagerfeld's coterie of young female fans. "Art de vivre, not joie de vivre, " Lagerfeld agreed. Hair and makeup featured feathery effects, as though the models were birds in the woods, but a Miss Havisham quality crept in toward the end, as the feathers settled over shoulders and trailed behind dresses. "There's nothing more elegant than a certain kind of melancholia," Lagerfeld mused. And surely there is nothing that induces melancholia like the transience of beauty.

Not that Karl would ever allow himself a moment to reflect on such things—or even to savor his triumph. Nope, he was off to the atelier, where he would spend the afternoon fitting his next ready-to-wear collection.


Last edited by lepetitcouturier; 22-01-2013 at 02:45 PM.
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22-01-2013
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Suzy Menkes- nytimes.com

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PARIS — The surreal walk through the woods — flat flowers glowing like fireflies and models’ shoulders framed as if in a portrait — was Chanel’s take on a springtime couture.

The show Tuesday was one of Karl Lagerfeld’s most beautiful collections: subtly realized, superbly inventive in the work of ateliers that can make flat, plastic petals bloom, and, above all, mindful of the reality of dressing Chanel’s many clients.

It seemed significant that the broad, masculine shoulders, which have been the leitmotif of feminism ever since Coco Chanel first raided a man’s wardrobe, were cut out of the picture.

But what a pretty portrait it was! Mr. Lagerfeld described “framed shoulders,” with the famous and familiar tweed jacket snipped away. Necks emerged like the stalks of flowers, one side of the faces and also the hair were a tangle of briars, made up of feathers and tulle. The designer again had a name for it: “a very sophisticated idea of falling leaves.”

“I was born in a forest,” said Mr. Lagerfeld, referring to his German childhood and also to the 15 hectares, or 35 acres, of greenery at a later home in Brittany. How Chanel managed to replicate those woods, planting living trees around a sandy dell in the Grand Palais, was as magical as how Mr. Lagerfeld interpreted that wild wood, with the models’ faunlike legs in lace hose.

The concept of a young woman lost in a forest has, from fairy tales onward, always had an imprint of sexuality. Chanel’s sweet young models seemed knowing as they came out in pairs, not least for the finale of an all-woman wedding with Mr. Lagerfield’s godson, Hudson Kroenig, as a page boy.

There was something of the German fable about this collection — a glimpse at the Lagerfeld Hamburg heritage, which often brings out a heaviness in his work. But not this time. From the traditional Chanel suits, snow white tweed with the sliced shoulders, to the long gowns glowing with flat embroideries, this was a summer collection to relish. But just in case the show was too remote in its wild wood setting, Mr. Lagerfeld, always quick to pick up on a hot performer, planted the British singer Rita Ora with her dirty blonde urban style in Chanel’s front row.

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22-01-2013
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Cathy Horyn- runway.blogs.nytimes.com

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“The idea is to make the shoulders beautiful,” Karl Lagerfeld said on Monday night in the Chanel studio before his spring haute couture show. A model stood before him in a black wool suit, the neckline opened over a face-flattering white beaded yoke. “This is really molded on the shoulders.”

Mr. Lagerfeld stuck to his plan: the entire Chanel collection put the shoulders on elegant display. His frame began on the upper arm with a wide band or a crest of fabric at the top of a sleeve (what he called a “horn of plenty” sleeve, though it was inspired by an archival Chanel dress with lace). Collars or lapels were widened and necklines generally filled in with solid white embroidery — or, in some evening looks, tulle pleated in a kind of Deco pattern with tiny pearls, or a smear of cream and gray feathers. The models’ hair was arranged in bird’s nest fashion, with a clip of feathers floppy over one eye. The messy style was inspired by a portrait of Coco Chanel with short hair, Mr. Lagerfeld said.

Chanel and Dior both hit upon a nature theme — but, wait, Valentino went to the garden as well. The Roman house shows on Wednesday. Three garden-inspired collections make sense for the spring couture season but it almost makes you wish for something less predictably feminine.

At least Mr. Lagerfeld’s show, with its woodland setting (a virtual forest of tall trees and sandy clearings was created inside the Grand Palais), had a gloomy cast. You never really know where his imagination will take him, and whether the mood will have a Paris flavor or a German one, or whether it will turn out to be a bit of both. But the pleasure is in seeing how he alone defines Chanel, and fashion, in 2013.


Last edited by lepetitcouturier; 22-01-2013 at 02:54 PM.
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22-01-2013
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I'm not sure how I feel about that floral printed pantsuit but I do like the gowns. Also, I think Karl might be trying to send a message with those two brides.

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22-01-2013
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I love the idea of framing the shoulders, which so many of the looks have, it's a beautiful concept. There is a certain elegance that a look which emphasizes the shoulders has. That said, I haven't been in love with a Chanel collection in ages because a lot of it feels a bit stale to me. And as for the statement that Chanel and Karl made at the end, I totally approve, it was nice little nod towards supporting same-sex marriage. Though, I do think Karl put a damper on things by saying that he doesn't think that same-sex couples should be allowed to adopt, I hate that so many people think this, it seems like a very outdated way of thinking. It would have better to leave the statement on the runway then to make such comments.

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22-01-2013
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It's much better - He's all but scrapped those awful, awful proportions he's been trying out for the past few years which I'm incredibly grateful for.
The standout looks are the double-breasted jacket with hemline meeting sleeve length matched with the calf-length skirt, which has a wonderful Marni look to it. The finale dresses (and the two brides!) are superb - he always does the most brilliant bouquets of maribou.



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22-01-2013
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Love the shorter day dresses, but the gowns are pretty hideous with a few exceptions.

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22-01-2013
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I'm really struggling to express how I feel about this collection, other than that I LOVE it. Something about this gives the vibe of being untouchable; a fantasy. It's like a dark fairytale.

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22-01-2013
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It's been a while that i don't really fond of this Couture but this one is spectacular and strikingly beautiful. I love the thigh high boots so impeccable look and the feather dresses are beyond amazing.

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23-01-2013
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This is his best couture collection in recent years. I really enjoy it. Love those gowns and the frame shoulders. though I'm not too keen on the feathery hair. But it's a very good collection that goes with the spectacular setting. Plus, I've come to the decision that I should just leave my eyes off the shoes in every Chanel show since many collections ago. lol And those sparkled tweed suit is such dreamy.

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23-01-2013
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Love! All pieces would look great when tamed down!

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24-01-2013
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I love everything! i´m always "WOW" with Chanel, every season!!! the use of feathers is so magical! the set was just stunning as always and those wedding dresses are to die for!!!

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25-01-2013
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The video documenting the making of 3 of the dresses is posted here: http://www.buzzfeed.com/amyodell/see...tirely-by-hand

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25-01-2013
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I have to say, the finale with the two stunning brides in the matching wedding dresses offset with the little boy; with the music, the set, the trailing veils, the sand on the floor.. it was one of those rare genuinely beautiful fashion moments.

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