Writer for Bite Magazine, Senior Men's Fashion Editor at The WALK
A collection of interesting images, writings, and other media on fashion and culture.
Put in the easiest context possible, this Chanel couture collection was de trop. This situation is undeniably ironic, as this collection was intended to be light, bright, and absent of heaviness all together. However, the consistency of the lightness, as accented by the excessive beading and embroidery, actually contributed to the overall heaviness of the collection. Not only was the embroidery somewhat grandiose, but the consistent neediness of the clothes seemed uncomfortable; there was always a drop waist or a skinny pant. For some, it is hard to see why the classic Chanel form seemed almost antagonized in this collection as opposed to others.
Although the overall heaviness of the collection was concerning, there is one major question to be answered: Who are these pieces for? It is clear that there was an effort to give something chic to the youth, or rather to create something youthful; the trapeze silhouette throughout conveyed the term jeune fille Parisienne. However, this idea is directly contradicted, creating an equally present sense of older Parisian woman; such is indicated by the consistent presence of button earrings, stately chignon hairstyles, and long hemlines shown on the later pieces. It may seem that “there was something for everyone,” but, as far as these dresses go, that is simply not the case.
In the end, however, there are one or two pieces that may make the cut for some. Anna Wintour could easily be seen in that black cocoon style worn on Anja Rubik, while someone much, much younger is likely to luxuriate in the largely juvenile jackets shown in the beginning of the collection.
But once again, there are still many pieces that remain without place or purpose. For example, that multi-colored chevron dress in silk worn by Stella Tennant. Who is supposed to wear that? Who is supposed to collect that, even?
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