Donatello89
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the catwalk (if we can say it's a catwlak) is really great ! i love it ! but the collection is not really wonderful. it's a good one, but the materials are specials
Chanel Pre-Fall 2010 Paris-Shanghai
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Street_a_Licious
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No, you didn't mean anything. You had no idea what you were talking about. This show was actually done along the Bund, except that it was not done exactly on the promenade as it was dug up right now.
Plus comments like "it's China. China loves kitsch. they'll eat this up!" are very crass and offensive, and I happen to be a Chinese myself. I don't know where you are from, but in the US, what you said is considered to be borderline racism.
oh god, don't get your panties in a bunch. i'm chinese myself.
i didn't know the Bund is all dug up. they could still have found better locations.
and i stand by my comments. an opium den would have made a more exotic location than what we got here.
balmain1914
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I can't really see the Chinese elements from the collection,except some big red(I heard that red is a kind of good meaning,lucky color in Chinese culture?)
As a pre collection,I can hardly see any connection with SS2010 collection...
As a pre collection,I can hardly see any connection with SS2010 collection...
I just blew up some of the (few) HQs we have...There is a lot more to this collection that meets the eye...
there usually is
I'll have to give it a closer look, because I'm pretty indifferent so far. I like some coats and classic Chanel pieces.
Here's a bunch of decent pictures- strange, but some are huge and others not so big at all...but you can see some detail (until the real Chanel studio pictures are posted...) Funny how dark everything is, it's not like Karl to disregard the very dark setting... 
http://www.coutorture.com/6514458
http://www.coutorture.com/6514458
Who knows? You may very well be a Ahinese or Bhinese instead of a Chinese. But that's not even the point, the real problem is, anyone who can't find beauty and attraction in non-western, non-white things unless interpreting them as exotic oddities, his/her mindset still stays in the 19th century. Self-colonized aesthetics is truly vulgar and anachronistic.
Karl Lagerfeld and the house of Chanel are smart enough not to use opium as their reference for a collection that's supposed to be a tribute to the country of China. That would be genuinely a commercial and cultural fiasco considering the number and impact of the loud and nationalistic Chinese youths these days.
lollicandy
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I just watched the video...this is like a rehash of every Westerner's tackiest fantasies about China. It's not funny it's just crap. And the rice paddy hats? Really? Boring collection.
The video is just terrible too. Hit you over the head marketing ("Anyone can wear Chanel" and the scene at the imperial court haha, which is in Beijing so much for Shanghai); Karl why don't you just get on camera and say "Buy Chanel China! Buy buy buy!"
The video is just terrible too. Hit you over the head marketing ("Anyone can wear Chanel" and the scene at the imperial court haha, which is in Beijing so much for Shanghai); Karl why don't you just get on camera and say "Buy Chanel China! Buy buy buy!"
lollicandy
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Heheh, maybe Karl was inspired by the polluted waterways, they used to run black with pollution and they stunk like the collection
Anyway, why so drab with the colors? The Chinese love bright colors! Seems like a huge mistake to me and they have an amazing history of textiles and embroidery. I just don't get it.
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Following his spectacles on the Great Wall and along the canals of Venice, Karl Lagerfeld on Thursday night used the Huangpu River and the neon-lit skyline of Shanghai as the dramatic setting for Chanel’s latest pre-fall collection extravaganza.
True to form, Lagerfeld let the surroundings tell a story before any model strutted forth, draping a 280-foot-long barge in matte ebony and projecting his own imagined voyage of Coco Chanel’s trip to China, titled “Paris Shanghai, A Fantasy,” above. The images offered insight into the clothes: with some looks, Lagerfeld hewed toward straightforward Chanel — sharp tweeds in white and evergreen, edged in black; pushing the office girl into the night, he tossed slim little jackets over leather leggings. This was hardly a traditionalist affair, however, as the influence of Asian embellishments and hues became clear in jewel-encrusted panels on dresses and coats and ripe, bright reds rendered on a gorgeous wasp-waisted gown and the piping of a boxy black coat. The multiple inspirations: the “Terracotta Army,” Chinese cinema, and the over-the-top opulence of the Imperial Court.
More than 800 people attended the show, each climbing aboard Lagerfeld’s floating fantasy via a bridge adorned with white, yellow and orange pansies. (As with all great fashion these days, it was a fantasy grounded in reality: A spokesman noted eight people were in “constant surveillance” of the barge’s anchors to ensure the whole place didn’t float out to sea with the tide.) Indeed, the glittery landscape was worked seamlessly into the runway tableau, as with an elegant gray-green tunic, inspired by the traditional Mandarin Qipao gown, its arms laced with gold jewels, and a simple black dress with a high-neck and cap sleeves covered in crimson and silver beads.
Yet while Lagerfeld showed his affinity for the Far East in plenty of details, including accessories that dripped from ears and necks, at the end of the evening it remained evident to whom the designer remains committed: at the after party at the Peninsula Hotel, French icons Vanessa Paradis and Anna Mouglalis performed alongside the Shanghai Jazz Orchestra and Chanel String Band.
wwd.com
True to form, Lagerfeld let the surroundings tell a story before any model strutted forth, draping a 280-foot-long barge in matte ebony and projecting his own imagined voyage of Coco Chanel’s trip to China, titled “Paris Shanghai, A Fantasy,” above. The images offered insight into the clothes: with some looks, Lagerfeld hewed toward straightforward Chanel — sharp tweeds in white and evergreen, edged in black; pushing the office girl into the night, he tossed slim little jackets over leather leggings. This was hardly a traditionalist affair, however, as the influence of Asian embellishments and hues became clear in jewel-encrusted panels on dresses and coats and ripe, bright reds rendered on a gorgeous wasp-waisted gown and the piping of a boxy black coat. The multiple inspirations: the “Terracotta Army,” Chinese cinema, and the over-the-top opulence of the Imperial Court.
More than 800 people attended the show, each climbing aboard Lagerfeld’s floating fantasy via a bridge adorned with white, yellow and orange pansies. (As with all great fashion these days, it was a fantasy grounded in reality: A spokesman noted eight people were in “constant surveillance” of the barge’s anchors to ensure the whole place didn’t float out to sea with the tide.) Indeed, the glittery landscape was worked seamlessly into the runway tableau, as with an elegant gray-green tunic, inspired by the traditional Mandarin Qipao gown, its arms laced with gold jewels, and a simple black dress with a high-neck and cap sleeves covered in crimson and silver beads.
Yet while Lagerfeld showed his affinity for the Far East in plenty of details, including accessories that dripped from ears and necks, at the end of the evening it remained evident to whom the designer remains committed: at the after party at the Peninsula Hotel, French icons Vanessa Paradis and Anna Mouglalis performed alongside the Shanghai Jazz Orchestra and Chanel String Band.
wwd.com
candlebougie
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you can watch the complete fashion show on www.chanel-paris-shanghai.com
How do you go from 'Chinese customers like kitch' (which is a fair point BTW, even if it doesn't apply to everyone like all generalizations) to a reflection on 'Self-colonized aesthetics'?
I am the reigning queen of long-winded, derivative rants and I am confused.
Thank you Boomer for the HQs.
There is an obvious excellence in craftsmanship and attention to details like always with Karl (the guy's work may be gimmicky but it's always high quality).
However, I feel about this collection the way I felt about the Paris-Moscow one: it's costumish, both lacking in authenticity and daring, and seems ultimately a pointless exercise.
Pointless because aside from a few cultural cliche here and there, the oriental inspiration is completely amiss. For what it is, this collection could have been presented in Paris without the fanfare.
As it stands, it is just a gratuitous PR exercise, trying to create major hype for a rather bland product that is not even meant to be a big seller.
Waste of time, in short.
Chanelcouture09
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look what i started Paris-Istanbul , Paris-Bath (i laughed so much at that, why not Paris-Birmingham, i could really see that aha ) Paris-Egypt , i don't know how that would turn out it could easily be on the cliff of vulgar if done in a bad way
(i laughed so much at that, why not Paris-Birmingham, i could really see that aha ) Paris-Egypt , i don't know how that would turn out it could easily be on the cliff of vulgar if done in a bad way
Muscle shirts with CCs on them? Toreador pants?? No?? 
FashionPower
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I'm not so crazy about the collection,but the whole runway setting was to die for 
The models posing with the port right behind them...just great!!
Some dresses look kinda cheap and the fabrics are way too embellished,love the final dress on Abbey though
The models posing with the port right behind them...just great!!
Some dresses look kinda cheap and the fabrics are way too embellished,love the final dress on Abbey though
I was not even referring to the Chinese like kitsch comment. I was commenting on the idea of using an opium den rather than the modern skyline in Pudong as a background to present the collection in order to create the "exotic" and "genuine" Shanghai feel. If you are a person who gets confused easily, I suggest you to read what people really say and really write down more carefully. Thank you.
