CHANEL X SAATCHI

Regardless of how much you care about fashion, there’s a 99% chance you’re familiar with Coco Chanel. You’re also probably familiar with Chanel as the behemoth brand that dominates Bond Street with its tweed two-pieces and interlocking C’s. A French fashion house steeped in history and largely credited for establishing the chic Parisian uniform that we have all come to know and love, Chanel is beginning to leave its roots and look firmly toward the future. At least this is the impression you get as you enter the Saatchi Gallery, guided by legions of guards present to limit the crowds. As you enter the gallery you are treated to a recreation of Coco’s own garden divided into three sections, all of which are beautifully decorated with vast swathes of flora including, Chanel’s own favourite, the camellia. This stunning yet quaint entrance soon makes way for modernity as visitors are reminded that the exhibition comes fully-furnished with free Wifi and an accompanying app, which promises to act as a faithful companion there to uncover new nuggets of information as you peruse the installations. 

Mademoiselle Privé exhibition poster

EXCHANGE OR APPROPRIATION?

Unless you’ve lived under a rock for the past year (or worse, without wifi), you will no doubt have heard the words ‘cultural appropriation’ thrown around relentlessly. Whether they’re in reference to Kylie Jenner wearing dreads or cornrows or Miley Cyrus’ various marijuana references at the recent Video Music Awards, it seems that debates on intersectional feminism and racism are more ubiquitous than ever. Surprisingly, it seems that the industry’s younger voices are the ones tackling the issue honestly, intellectually and, on the whole, extremely impressively. The first concise explanation of cultural appropriation came courtesy of 16-year-old Hunger Games star Amandla Stenberg, who published a video on YouTube entitled “Don’tCash Crop my Cornrows”. Amongst other topics she talks about the use of cornrows as an “urban fashion trend” and the wave of white rappers (Iggy Azalea, Macklemore etc) that dominated the rap charts by incorporating pop sounds thus making rap more palatable to a mainstream audience.

Amandla Stenberg looking incredible @ prom 

WHY FASHION LOVES WOMEN

If there was one word that gained traction more than any other this year, it was ‘feminism’. Whether we credit Beyonce, Emma Watson or mere social unrest, the discussion of women’s rights has become ubiquitous, sparking debates on everything from breastfeeding and abortion to slut-shaming and dyed pubes. If we follow this train of thought, it seems natural that fashion would come into the equation somewhere, raising the question; where does fashion really stand on feminism?

Without doubt the most publicised example of fashion’s response to this question came courtesy of notorious provocateur Karl Lagerfeld, a man known as much for his designs as he is for clumsily calling Adele fat. His latest Chanel show ended with a protest; a gang of models stormed ‘Boulevard Chanel’ brandishing placards emblazoned with “Women’s rights are more than alright!” and “History is Her Story” - a ‘feminist’ statement which simultaneously excited the fashion crowd (style.com REALLY loved it) and infuriated the media in general. Journalists began trawling through interview archives and gleefully pulling clumsy quotes from Lagerfeld himself which indicate that he is definitely not ‘feminist’ in the traditional sense. He argues that sweatpants are a sign of defeat and that fat women should be, unequivocally, banned from the runway - hardly an activist for female body confidence. Articles argued that Lagerfeld ‘appropriated’ feminism and that his hypocritical stance was indicative of the fashion industry as a whole, all of which is valid criticism. However, if we also consider that Chanel’s previous collection was staged in a makeshift supermarket and ended with editors wrestling for selfies with Chanel-branded sweetcorn (another clumsy commentary - this time on capitalism), it seems fair to argue that we should perhaps accept Karl’s stance on anything as tongue-in-cheek.

PERFORMANCE

It generally goes without saying that, when successful, performance art has several intentions. Whether it be to visually convey a story, argue a point or act as a social commentary, the real defining element of performance art is that it has a purpose. It is true that the same cannot be said of fashion – sometimes, collections are designed purely for commercial reasons, with no underlying intention. However, if the clothes are the paintings then the runways are the gallery; it is here that designers can free their inhibitions and utilise every medium at their disposal to create surroundings which represent their collection. Some designers (thankfully) use their creative minds to build sets and props which visually reference their clothing, resulting in interactive experiences which challenge our perceptions in the same way that art does. This season, there were two designers that combined their set with their surroundings to fantastic effect, reiterating the idea that fashion shows are still one of the most powerful mediums for self-expression.

LE NOUVEAU COUTURE

Watching the recent Couture shows which took place in various locations across Paris this week, it was clear that an epidemic had spread throughout the fashion world. Couture is the art of using only the handiwork of hundreds and thousands of skilled artisans to create garments which are one-of-a-kind and inimitable. The price tags are eye-watering, meaning that only a select troupe of exclusive women are invited to purchase the clothing – the ‘Couture Club’, as they are often called. These women look to couturiers for painstaking detail, exquisite craftsmanship and, more than anything, a tribute to extravagance and luxury at its finest. As for us mere mortals, we see couture as sartorial proof of artistic brilliance. The spectacle that accompanies the shows helps transport us momentarily from our daily lives into a world of pure, ethereal fantasy which is as mesmerising as it is unattainable. However, this season something was different.

Chanel Couture S/S 2014, taken from Dazed Digital

DEVON AOKI

Recently, there has been a surge in the popularity of supermodels - icons from the 90s are beginning to resurface as designers and magazines are looking for experience as opposed to youth. I have been fighting the urge to write about Devon Aoki for a while now, but with such a huge emphasis currently being placed on the women themselves as opposed to the clothing, I felt the time was right to feature a woman that has served as a muse for so many iconic avant-garde designers. 

Devon Aoki in Alexander McQueen, by Nick Knight

BOMBAY

There are few fashion houses that can make its own rules, yet every year the iconic Karl Lagerfeld stages his Métiers d'Arts collection, a spectacular display of both exquisite craftsmanship and cultural discovery. Although the shows are always incredible (this year's collection, based on Scotland is also worth a look), without doubt my favourite is the 'Paris/Bombay' collection from 2011, an Indian-inspired extravaganza staged at the Grand Palais.

The purpose of the annual display is to highlight the talent of the many artisans that work in houses owned by Chanel - from embroidery to embellishment, every detail is hand-sewn, meaning that the collection is the true embodiment of couture's splendour. Although the clothes themselves were exquisite - think flowing fuchsia saris and metallic gold tweed, it was the accessories that really completed the look. From jewelled nose rings, ruby bindis and intricate hand chains, the level of decadence was extraordinary as models walked the runway literally dripping in gold. As always, Lagerfeld provided ridiculous extravagance that can only be achieved in the world of couture.

The world of fashion; is it too exclusive?

Okay so I haven't done this in the past, and I would love to receive feedback on whether you would like to see these kind of posts more regularly, but recently I have been thinking about the world of fashion and how it relates to the everyday citizen; more specifically the world of designer fashion. For the majority of the population it isn't difficult to argue that the world of high fashion serves, first and foremost, as a method of escapism. I, like many others am fascinated by Fashion Week; the spectacular runway shows, the breathtaking detail of the clothes and the unattainable beauty of the models all help to create a world that seems to exist parallel to reality. Legendary designers such as Donatella Versace, Nicolas Ghesquière, Marc Jacobs - they all work to create magnificent shows that are works of art in their own right, yet it is easy to forget that all that they are doing is merchandising a product. Even the most breathtaking shows serve only the same purpose as a Primark window display; they are there to make consumers want to buy the product.

The remarkably grandiose set of McQueen's S/S 2007 runway show

Florence & the Machine performing at the Chanel S/S '12 - just another marketing ploy?

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Show; Chanel Metiers d'Art 2012

The Métiers d'Arts is an annual event hosted by Chanel, and one of the biggest events on the fashion calendar. It is not a fashion show in a traditional sense; it is a visual extravaganza, a collection of indescribably luxurious gowns, accessories and footwear designed by the ateliers, milliners and couturiers associated with Chanel. Launched eight years ago, the line was created to showcase French craftmanship and also to serve as an antidote to the disposable mentality of fashion at the time. As the price tags show, these pieces are not made to be worn only once; each item is a work of art in its own right, from the bejewelled bindis to the embellished coats, every item is a piece to be treasured.

Chanel Métiers d'Art 2012

Chanel Métiers' d'Art 2012

The 2012 collection is entitled "Paris-Bombay", and aims to recreate the inimitable luxury of traditional Indian clothing. Asked about why he looked to the East for inspiration, Lagerfeld explained that after previously looking to countries such as Shanghai, he wished to do something unexpected. The use of luxury was also a response of sorts to the recent economic crisis - in the words of Lagerfeld, "the crisis shouldn't be over-emphasised; people have always responded to difficulty by dressing up in jewels." This statement is key to understanding the clothes - for the many who are unable to afford the hefty price tags that come with a slice of Chanel couture, the show was truly an exercise in escapism. Admitting that he had never actually been to India, Lagerfeld acknowledges that the collection is as much a fantasy for him as it is for his lucky spectators. In typical grandiose fashion, a selection of extremely lucky guests were treated to dinner seated at an enormous white table, enjoying dinner and canapés whilst iconic models (Stella Tennant was just one of the models used) were sent down an expansive white runway dripping with jewels.

Chanel Métiers d'Art 2012

Read and see more after the jump, including accessories and other details!

Trend; Under The Sea

It is easy to pinpoint the exact moment that the underwater trend began to pick up momentum. Way back in 2010, when the late Alexander McQueen showcased his phenomenal Atlantis collection, the desire of every fashionista to rub gills with mermaids came one step closer to becoming a reality. The prints took technology to a new level, and the infamous "Armadillo" shoes encased the model's dainty feet in shoes that walked the line between beautiful and grotesque. By looking closer at the prints, we encounter a revelation - they are based on monsters of all kinds,with reptiles and alligator prints being one of the themes that recurred most often. McQueen created the dresses as a kind of premonition - a wordy press statement revealed that he designed the collection as a prediction of an apolocalyptic future, that the melting of the ice caps meant that we would soon be living in an underwater world.

The infamous "Armadillo" shoes - Alexander McQueen Spring/Summer 2010

Alexander McQueen Spring/Summer 2010

After the death of McQueen in 2010, brand new creative director of the brand Sarah Burton used the Spring/Summer 2012 collection as an opportunity to pay homage to one of the designer's most extraordinary collections. Serving as a natural evolution to the "Atlantis" collection and a nod to Mcqueen's history, the "Under The Sea" collection made an enormous splash when it debuted at Paris Fashion Week, reducing many an editor to tears. Burton's vision was much lighter than that of McQueen's, her collection celebrating femininity and fantasy with little hint of darkness. Highlights of the show included floor-length dresses made of tiny shells, delicate ruffles fashioned to resemble coral reef and clusters of shells designed to mask the faces of models. Burton succeeded in creating both a masterpiece in design and a suitable tribute to her predecessor, and while she was not the only designer whose collection was based on the ocean, her vision was arguably the strongest and her garments the most intricate.

Alexander McQueen Spring/Summer 2012

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