Most designers try to create models in their cruise and pre-collections for the fall season that not only look beautiful but are also suitable for real life.
However, Karl Lagerfeld once again proved that he was not like most.
The designer, whose interests have long stepped outside of the fashion industry and covered such occupations as winemaking and interior design, preferred to create collections inspired by exotic countries and unusual places. His Chanel pre-collections in previous years were Paris-Byzantium (2011), Paris-Shanghai (2010), and Paris-Moscow (2009).
Another country where the artist drew inspiration was India. The collection, which will be shown next year in Paris, was called Paris-Bombay.
Generally, like most things in the fashion industry, the Indian theme was embodied not only in the Chanel collections but also in the collections of other fashion houses. For example, a few months later Hermès released a line of saris.
The new David Lynch electronic album played on the Chanel Pre-fall 2012 catwalk instead of the Indian sitar. There was an abundance of Indian palaces of the past: candles, fruit on the tables, snow-white tablecloths, and gold. A bit of Kipling’s poetry and the bygone days of the British empire. Unlike the Paris-Shanghai collection, this is not just a dream of Mademoiselle Chanel: Karl Lagerfeld had his reasons to turn to India. While most major brands and brands use the handiwork of Indian workers to embroider and finish expensive fabrics, all the dazzling jewelry in the Chanel collection was made in a Parisian atelier. This feast during the plague is as good as the Maharaja’s palace, but Karl Lagerfeld can still afford it.
For whom
For those who love exoticism, grunge, and all things sparkly. Who doesn’t care about caste rules or classical elegance, and of course, for those who, like Lagerfeld, have never been to India?
Inspiration
Abundance, traditional Indian jewelry, and fabrics, the work of the old masters of the Chanel fashion house, including the late François Lesage.
Textures and silhouettes
Lagerfeld’s collection, even with all its exotic entourage, is 100 percent Parisian chic. It is rather a suit of a young raja for a spoiled European lady than a traditional Indian sari. White, silk and gold. Closed men’s jackets (including as the basis for Chanel’s tweed suit transformation). Wide pants, high white boots, and white leggings completely hide the legs.
Details
Massive necklaces, pearls, imitation third eye jewelry, metallic mesh over the naked body, black eye contour, and (could you imagine this on the Chanel runway?) high dreadlock hairstyles.
Conclusion
Lagerfeld’s success was inevitable. Of course, Karl, being such an unconventional character and possessing a remarkable talent, could not go unnoticed. Perhaps Lagerfeld’s legacy is not so much in the things he created, but in the direction he set in fashion. And of course, in his endless enthusiasm with which he took on any job. He will be missed.
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