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JalisajvmwttcxxaAgpaoa — Wed, 04 Jul 2012 01:03:06 GMT

JalisajvmwttcxxaAgpaoa: Created page with 'Karl Lagerfeld has by no means been to India. "It is significantly much more inspiring not to go to locations than to go," he stated these days following a Chanel presentation th…'

Karl Lagerfeld has by no means been to India. "It is significantly much more inspiring not to go to locations than to go," he stated these days following a Chanel presentation that spectacularly evoked the sights, smells, and sounds of the final days of the Raj. Ok, Michel Gaubert's sitar-totally free soundtrack may have been a stretch (unless of course the Raj was rocking to David Lynch's new album), but the towering tiers of fruits, sweets, and flowers that stuffed the center of the space certainly had a feeling of palatial extra. They were circled by a toy train bearing decanters ofâ¦what was it that maharajas drank? scotch?â¦which rang true as a decadent detail, conveying the notion of a privileged few playing while empires crumbled. Sound familiar?

Lagerfeld resisted such topical insinuations, but he did concede that fashion historically tends to come into its excessively creative own during difficult economic times. A perfect moment for him, in other words. And this collection, an annual salute to the work of the craftspeople who make Chanel happen, including the recently passed FranÃ§ois Lesage (hence the name, MÃ©tiers d'Art), was certainly a feat of creative extra, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes.

It is easy to imagine a canny designer making the decision to aim such shine and glitter at an emergent market feeling its fashion oats (I'm talking about India, BTW), but Lagerfeld's post-show declaration that bling was dated made it clear that he had something else on his mind. The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively costly to make them at house. Lagerfeld's fiendish strategy was to flip the equation, so that every thing that seemed intricately Indian was really made by Chanel's ateliers in Paris. That was some type of tour de power.

All that aside, Paris and Bombay blended superbly in pearl-swagged tweeds, in a raw silk tunic more than leggings (they were really sinuously bootlike, so we ought to most likely contact them beggings or loots), in sheer paisleys, or aspect-draped asymmetry in ivory silk. The magnificence of a lightly peplumed jacket and matching skirt in ivory silk had completely absolutely nothing to do with geography. It was merely French chic. Not every thing worked there was a queen-of-the-fairies moment that felt like a malfunction of Florence's machine but the sheer prodigious extravagance of the aspiration globe that Lagerfeld pours onto his catwalk collection following collection enables for the flaw the merest flaw once in a while.

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