Chanel Spring/Summer 2016

I used to be the biggest fan of Chanel. I think it is fair to say that I much prefer Chanel show spectacles like the Supermarket from the Fall 2014 collection rather than the actual pieces in the shows.

My general feeling about Lagerfeld at Chanel is that he's lost his touch, completely. Don't get me wrong: we still have a reference to Coco - sharp structured tweed suits in now a multitude of newly developed sporty neoprene fabrics and garish marbled colour palettes; somewhat ruining her pioneering, signature looks, however.
 
Saying all this, Karl seems to have a tendency to push everything out of proportion. In a typical prêt-a-porter show, we normally see a strong 40-50 looks that fit perfectly into a set theme or incentive. However at Chanel, we see a frankly lack-lustre 90 or more looks, most of which are the exact copies of the ensembles we have seen prior to that specific collection. 

 

 

 

To buyers and editors, enthralled would be an understatement; they feed off the giant branding sets which today took the shape of a Chanel Airport. A set which we have seen in the past, to be exact Spring/Summer 2012 Couture- Cara Delevingne's runway debut, was the collection which allegedly showed the future for Chanel's Haute Couture. 

However, I digress. This season's Chanel was all about the jet-setting life of the super-rich (hence the presence of Kendall Jenner who closed the show).

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The clothes simply did not radiate quintessential Coco or even the basic essence of Chanel for that matter; they emitted a futuristic angle which was more tacky than anything: giant orange mirrored aviators covered the faces of the models paired with flat-formed plastic drawstring boots and bubble-gum PVC coats.

 

 

 

 

In contrast to my rather pessimistic point of view, there were some undoubtedly beautiful pieces- the sour-toned checked tweed jumpsuit which opened and the layering of kick flares underneath full chiffon or leather skirts, dabbled with the ideas of classicism meets the digital era. The branded wheelie luggage bags and petite airplane brooches will definitely get the global e-commerce soaring.

 

 

 Kick flares which sat loosely under full-skirts

 

There was a definite sense of diversity, albeit eclectic, in relation to the overall execution of the show; diversity was shown through the model casting and the new, fluid silhouettes sent down the runway.
At this point in time, it seems that futurism is the only theme that Lagerfeld can bring to the Chanel check-in desk. For example, those trainers he put in one of his Couture shows, or those crushed Camellia flowers which emblazoned a tweed overcoat. I'm sorry to say this, but I do believe it is time for a change. The brand is in need of a new lease of life, Karl has led an incredible legacy, but he's coming to the end of his time.

 

Please note: I do not own any of these images, courtesy of Vogue.com & edwardlewisstyle.com,

French Chic vs British Clique

In the heart of Paris lies le Jardin des Tuileries: the centre of Parisian street-style. There is nothing more fascinating than immersing yourself in a different city and culture and observing the fashion of your peers.

In Paris, it is clear that there is a general sense of conscious effort. Men’s style is certainly stronger than in the UK. French men are able to assert the typical ‘chic’ with a roll-neck for example, layered with a heritage trench coat, yet topped off with the ruggedness of some battered biker boots. French women, on the other hand, take the most simple of pieces, white shirt and blue jeans, and they add their own personal spin to complete the outfit and perhaps make a statement - simply by adding a fun pair of Sophia Webster ‘Dove’ butterfly heels or a signature quilted Chanel Boy Bag.

British style, I am afraid to say, does not follow in the footsteps of French style. Brits conform to an almost stereotypical way of dressing, by following trends and buying ‘off the mannequin’ in Topshop, let’s say. We show very little imagination for putting clothes together. Some clothing that I personally associate with Brits are bleach-washed denim, crop tops and logo t-shirts emblazoned with the word ‘HYPE’. All of these have become so popular amongst the British public that, somehow, they have crawled into our wardrobe essentials. I am thoroughly against this.

Also, the French colour palette is far more subdued. Monochrome looks are prominently featured with various shades of neutrals, from camel to moss green, perhaps juxtaposed with an audacious colour or a psychedelic print. However, in Britain we stick to the ethos ‘the brighter the better’, we seem to adore the garish neon tones that drench a meagre top or that infamous bleach-washed denim, changing the colour blue, for the worse.

‘Chav’, as we all know, is a British stereotype and a derogatory term associated typically with a young lower-class person who displays brash and loutish behaviour and wears real or imitated designer clothes. The ‘Chav look’, comprising a hoodie and a tracksuit and any type of sport shoe, unfortunately, still takes precedence over Brits’ fashion sensibilities. My point is that it is almost too easy to identify someone from that look. If we go back to glorious France, it is far more difficult to differentiate between who is a ‘chav’ and who isn’t.

Take a typical Sunday morning stroll through the bustling Place Vendome in central Paris. Parisian women are distinctive in appearance. You will see a lady with the most elegant gait, strutting down the street in head to toe Vintage Chanel, diamond earrings and nails matching her post-box red velveteen coat. Without a doubt she will be accompanied by a loyal companion most likely dressed better than a typical British equivalent. These dogs are more accessories than a mere pet, often tucked under designer sleeves, enjoying the view of the Parisian scenery.

On this topic of accessories, I would like to touch upon jewellery. Jewellery is a great way to spruce up or put a classy spin on a basic outfit; take pearls, for example. They are inevitable and timeless pieces, often related with elegant, vintage style and beauty. The French fashion house, Chanel, is known for its exclusive pearl collection, containing the signature ‘CC’ logo. Quoting Coco Chanel, ‘Une femme a besoin des cordes et des cordes de perles.’

For going out, we Brits have designated outfits for a specific occasion. However in France, it just does not happen. Take the YSL smoking jacket, for example: typically a black, satin blazer - the epitome of French chic. French women are able to dress it up or down, according to the time of the day or the occasion. Essentially, they will need only one formal piece to re-master and make their own at any event.

Quality is far more important than quantity in France. This takes me back to my point on French people adding their own individuality to their style; Parisians would rather invest in more unique, designer pieces than conform to the British attitude of splashing out in high street stores such as Primark or Topshop on bargains that you can only wear once.

Statistics show that 72 percent of Brits have admitted to injuring themselves for the sake of fashion. The list varies from wearing excruciatingly high heels to skin-tight fabrics. They go by the mantra of ‘no pain, no gain’. However, a quote from fashion icon, Coco Chanel, says it all, la simplicite est la cle de l'elegance, 'Simplicity is the keynote of all true elegance', the French win again!
 

    Emmanuelle Alt of Vogue Paris, the modern epitome of French chic

 

 

VS

 

Britain's spokeswoman for everything glorious about our country, Katie Price

 

 

 

 

     Please note:  I do not own any of these images