In this superficial surrounding of what we call our world, very often we judge text by headline, thing by appearance, person by look, book by cover. So our little minds sometimes are seriously surprised how things can change in the opposite way. But when the cover is Chanel one, we are never concerned about content, because Chanel prose never fails to impress us. Karl Lagerfeld somehow knows what he is doing to enrich its contents, no matter if it is ready to wear or haute couture. If nothing, at least he has an exceptional power to make regular person even if cannot afford awfully pricey clothes made to measure, happy. So just looking sometimes at bonny images can make a girl delighted about upcoming season and more rays of sunshine. That light in summer and spring days would reflect on Chanel clothes divinely. In those times, some lady will be truly lucky cause with few spare pennies she might become Sirona, the star goddess. To others remains inspiration and peek into this shimmering world filled with fluid fabrics. And the color of that world can be without hesitation named a pastel dream. Less like Popsicle, more like pensive reflection of vintage illustrated advert from some old vogue from beginning of the last century that lays somewhere hidden. If the color reminds you on that, that truly is not just the pure coincidence: he tried really to evoke that. Furthermore his intention was to bring, or better to say make some kind of fusion between Marie Laurencin’s expression of Paris in early years of twentieth century and today’s modern silhouette. Karl points out that shape and attitude is strictly for today. So faded colors of Marie paintings as pastel pink, mauve blue, grey and black, found a perfect ally in delightful fabrics and cuts. Karl enlivened the years of Lurencin work when she was a close friend of Nicole Groult, sister of fashion visionary Poiret, in a magical way. Some people just know how to be masters in connecting contemporary and tradition, without disgracing the original moment.
Mood of dreamy colors that was closed by Kristen McMenamy as the bride was opened with bit rigid silhouette, coat that has trapeze cut and short-sleeved dress that is boxy. Like a sculptor he transparently and slowly changes shape. That’s what I like from Karl and people who are working on Chanel shows. There are no breaks. Breaks as I called them are to hate. Continuums are to love. Continuum as the part of changing and development when the skirt becomes casual but the bodice is still bit rigid or when the edges on heavy silk become soft and romantic. And when everything becomes floating you get an impression of falling stardust. "Nonchalance in couture is very important. Couture without nonchalance is just drag queen attitude of women of an era past that I hope will never come back", says Karl.
I must admit styling of few outfits with pants and jeans doesn’t actually fit in my idea of tunic and tulle solely over the leg, but Karl says that modern Chanel girl wears trimmed jacket with jeans. And on the flats as an eternal flat lover have to agree with him. Karl believes he is tired of seeing all those girls walking in high heels so simple and elegant pointed flats were almost invisible and didn’t distract attention from the clothes. How else we could notice all the details and embroidery provided with high level of workmanship that demands neat hands, lot of patience and knowledge. One of those skilled people with lot of patience is Mdm Pouzieux that waves braided trim on Chanel couture garments. She works alone and is not keen on revealing the secrets of her craft. At the end, do we really need to know everything? Some things are just sacred. So is couture.