Chanel Pre-Fall 2015 RTW
December 3, 2014 - fall Denim
It was in Austria where Coco Chanel found a impulse for a four-pocketed braid-trimmed coupler that would turn her bequest (having speckled a chronicle on a lift user during a hotel Schloss Mittersill, afterwards owned by a bon vivant Baron Hubert von Pantz, with whom she had, Karl Lagerfeld explained on Tuesday morning, “a prohibited event in a early 1930s”). And so it was in Austria where Chanel’s Métiers d’Art uncover took place this season—Salzburg being a latest plcae in a array of peripatetic collections that have taken Lagerfeld and his happy rope of supermodels to such farflung locales as Edinburgh, Bombay, and Dallas.
“I’ve been entrance here for years; we initial took cinema here 26 years ago,” pronounced Lagerfeld, holding justice on a far-reaching patio during a Schloss Leopoldskron, a poetic house best famous for a coming in The Sound of Music, whose opulent, companion second-floor apartments were, for a day, a runway.
Returning to Salzburg meant a Tyrol-influenced take on a pride during a core of a Chanel philosophy; a modern, released woman—more lederhosen than dirndl, so to speak—though “the collection has nothing of that kitsch,” pronounced Lagerfeld, citing instead “the sophistication of Millicent Rogers,” a Standard Oil heiress (herself, no foreigner to a puffed sleeve). “The Schloss Leopoldskron is where Max Reinhardt founded a Salzburg festival,” Lagerfeld continued. “This was a chair of egghead and informative artistic genesis.” And judging by a show, it continues to be: Suede and denim short-shorts were festooned like lederhosen and interconnected with thigh-high boots and ribbed cashmere tights; decadent Lemarié plumage took moody in a turquoise-colored feathered garment and a brief tuffet of a dress that looked to be done of moth wings; high-collared white edging blouses were encircled during a neck with velvet badge chokers; and a pearl-bedecked cuffs of tulle-tied tweed jackets dripped with lace.
Long coats and brief capes in ocher, crimson, and loden immature were embellished in bullion sequence and gilded swirls of sequins; a capelet exploded with Lesage elaboration and floral appliqués; nubby, cream-colored Barrie cashmere dresses buttoned adult a behind in gold, while heath-colored cardigans were piped and collared in a flush of normal Trachten jackets. Trousers came cropped and ruched during a knee (the improved to uncover off a glossy, quilted-block-heeled obvious leather boots and loafers) or were wide-cut with resisting tuxedo stripes, and flora and fauna appliqués bloomed and ran demonstration on all from a hard-sided bag to sheer blouses. Maison Michel–helmed felt hats were surfaced with vast feathers, a take on a styles sported during Bavarian boar shoots, while some models wore “hairphones,” headphones styled to demeanour like coiled Heidi braids. Evening came black and full-skirted or slim-cut to a mid-calf, accented in satin ribbons and stimulating brooches, quilted and ruched and uniformly satin with a occasional edelweiss elaboration or appliqué, yet a “bride”—Cara Delevingne, who clasped hands with Lagerfeld and hold a half-eaten pretzel in a other for a designer’s bow—wore layers of stormy lace-inset frills in pristine white, cinched during a waist with a thick black belt encircled with diamanté CC’s and tied during a neck with a thick velvet bow.
Back on a terrace, Geraldine Chaplin, who has played Coco Chanel in dual of Lagerfeld’s films (including a newly premiered “Reincarnation”) had slipped into an edelweiss-embroidered patch-pocketed coupler true off a runway to hail a designer, who summed it all adult neatly: “The Baron von Pantz wrote a discourse with a pretension we love,” pronounced Lagerfeld, “No Risk, No Fun!”