Some members of the press were delighted to notice that it wasn’t opaque. Seemingly a paradigm of simple elegance, the dress had a voluminous oyster-colored ball skirt that was topped with a greige off-the shoulder chiffon top. As memorable as that sitting was, it wasn’t Zellweger who made this collection one for the history books the credit for that goes to Jennifer Lopez who daringly wore the look modeled by Carmen Kass to the 2001 Academy Awards. That wedding look, with its tucked and beribboned skirt that could have been painted by the 19th-century French artist James Tissot, was worn by Devon Aoki in the show, and later photographed in the Chanel Haute Couture atelier on Bridget Jones star Renée Zellweger, who modeled the collections for Vogue. Garments that were once shown directly to clients and shared selectively through media outlets, for instance, are. “True to Lagerfeld’s delight in contrast,” Bowles noted, “these confections will be juxtaposed with mannish details: A pleated blouse will form the body of a tweed suit the wedding dress will get a shirt and tie.” Couture, which remains a pay-to-play game, has become a spectator sport over time. “The line is ‘safe,’ but it’s got edginess in the details.” Details including fabrics sequined in Ottoman patterns, and skirts embroidered with a constellation of glittering sequins. “Karl is all about paradox,” Amanda Harlech had told him days prior to the show. “A Chanel jacket is cut like a glove, so slender it tucks inside a skirt,” reported Bowles. The innovation over which editors spilled most ink, though, was the designer’s rethink of the house’s signature cardigan suit-the piece that became the anchor of the second chapter of Coco’s career. The chain also lent a sort of nautical aspect to the goings-on, which was quite fitting Mademoiselle, a sun-lover credited with popularizing the tan, was famously photographed in a striped Breton top at her summer escape, circa 1929 To Hamish Bowles, the chain, a sort of super-sized version of the kind sewn into Chanel jackets to keep them in place, was “emblematic of the strong links between this collection and the legacy of Coco Chanel.” As this week has already shown, and with some influential names still to present, haute couture can mean very different things to different designers. Shown in the days before Chanel was doing film-worthy mega-sets, the arrangements were unfussy-walls painted in degrade tones of blue, reminiscent of a Riviera sky, with a huge gilded chain running along the base of wall-and the clothes were more powerful shown in such simplicity. Proof that there really can be a timelessness to classic design.
It’s one in which he achieved a perfect balance between past and present the models looked at once fresh and modern and like drawings that had come to life from the pages of 1930s Vogue. Language select: Deutsch: Flugzeugkokarde oder -abzeichen bezeichnen Hoheitszeichen auf militärischen Luftfahrzeugen, die i.
#ROUNDEL RUNWAY COUTURE FREE#
Sublime is the word that comes to mind when looking at images from Karl Lagerfeld’s Spring 2001 couture collection for Chanel. From Wikimedia Commons, the free media repository.
0 kommentar(er)
