![]() ![]() The simpler silhouette of this jacket allows for more versatility and styling. If you preferred that cinched in waist look you could easily belt the jacket. My client opted for a more sleek jacket that did not take her in it at the waist as much as the runway look did and a more classic trouser. You can see on the runway shots how beautifully they sit on an actual arm. The elaborate sleeves that you see coming out from under the jacket are actually separate pieces altogether. I am so glad this was a runway piece because it was almost impossible to photo correctly on the dress form. This is an incredible example of Karl Lagerfeld's Haute Couture work. ![]() Thoroughly checked over before shipping, it will be ready to wear upon arrival. This garment has been professionally cleaned, pressed and is odor free. Reference photo: screen-grabbed from video of F/W 1996 Chanel Collection. Hips: 22" flat across from side seam to side seam Waist: 20" flat across from side seam to side seam The buttons on the cuffs are fully functional.īust: 22" flat across from side seam to side seam Tagged a 42 but please go by actual listed measurements. Excellent conditionįully lined with a pale blue silk and closes with the buttons as shown. Having all those jeweled buttons almost makes it like wearing a fine piece of Chanel jewelry. Those buttons instantly identify this as a Chanel piece and they also adorn each sleeve and button down the front. Four pockets adorn the front and the three on the hip are highlighted with a cabochon encrusted, gold tone metal button. It is cut very boxy, the shape is almost a play on a man's overcoat, but the combination of pastel pink and powder blue keep it very feminine. It is constructed from a classic Chanel boucle and is lined in a high grade baby blue silk that has those famous double Cs woven into the silk. ![]() This was shown on the 1996-1997 fall runway and we have included the footage in the video below along with a screen shot. Lagerfeld, taking a page from Gustave Flaubert, might have said, “Mademoiselle, c’est moi.The lines and cut of this classic Chanel piece will never go out of style. In the piece, Kramer notes that 1983 (the year Lagerfeld joined Chanel) was “the year modernism in art and architecture and design and even literature began to give way to ‘citation’ and ‘quotation,’ and images of the past became, so to speak, the accessories of the present.” Over time at Chanel, those images referred both way back to the house founder and to the innovations made by Lagerfeld, who reinvented the brand for the 21st century. In 2019 this finale would read as nostalgic, but in “The Chanel Obsession,” a 1991 article for Vogue, journalist Jane Kramer linked Lagerfeld’s tenure at Chanel with the rise of Postmodernism. The image distills café society chic in its pure-and still modern-looking-essence. Spectator-style platform sandals and a smile complete her look. Her hair is wrapped in a band, and she’s wearing white pants with a dark top that she’s accessorized with layered strands of pearls. Though undated, it was likely taken in the 1920s or ’30s and shows Mademoiselle sitting on the compact but steely shoulders of her friend dancer Serge Lifar. There were belts with frames holding pictures of her face, but these were nothing compared to the finale for which Lagerfeld brought to life a famous photo of Coco. Corselet-like inserts on suits and as waistbands on skirts further played on the lingerie theme.Ĭoco Chanel, it should be remembered, was a self-invented and self-made woman, and this collection, as all of Lagerfeld’s work for the house, was tied back to her. ![]() Cheekier still were the bedazzled bras and thongs worn as bikinis or under fine black knits that hardly inhibited their sparkle. Abbreviated-midriff baring jackets weren’t all that shocking, but skirts with slits and zips designed to reveal matching tweed panties were piquant. Models, teetering on Frederick’s of Hollywood–style platform sandals with spike heels, wore deconstructions of the classics. No one seemed to enjoy pushing good taste to the edge of bad more, and he had a field day with this push and pull at his fall 1995 show. Do share.īy 1995 good taste, which had always been associated with the house of Chanel, was no longer an immutable quality. These shows might be pre-internet, but they contain many Instagrammable moments. They honor the memory of Karl Lagerfeld, the giant and prolific talent who designed them, and speak to the 2010s obsession with all things 1990s. Editor’s note: Vogue Runway is closing out the decade by adding six archival Chanel shows to our collections archive. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |