![]() ![]() I loved it styled with a simple tee underneath and fishnet tights and could also imagine pairing it with some chunky biker boots for that cool-girl rock chick vibe. One of my absolute favourite looks was the mesh dress emblazoned with the ‘CC’ logo. I think it’s really interesting as Cocteau was good friends with Coco Chanel and these symbols are a reference to her apartment where they would often meet! It’s so clever how these have been woven into the pieces, not only featuring on the clothing but also printed onto the denim and used within the embroidery detail on the jackets. The collection was also full of meaningful symbols such as the embroidered doves on the knitwear. There was a strong emphasis on monochrome, yet it was remained intriguing as there were so many fabric experimentations varying from fringed and studded leather to sequined classic tweed, creating a wonderful juxtaposition. A look that recalls as much the modernity of the sixties as that of punk… “ Lots of fringes, in leather, beads and sequins, t-shirts bearing the face of the model Lola Nicon like a rock star, worn with tweed suits trimmed with wide braids, and pointed silver Mary-Janes. “Echoing the extreme modernity of Cocteau’s film, I wanted something quite rock. With such a statement backdrop, it’s clear that the approach this season was going to be both modern and strong while continuing the underlying theme of powerful femininity that Chanel is so well known for. ![]() This location was also a nod to Jean Cocteau and his film ‘ The Testament of Orpheus‘ which inspired Viard’s most recent collection by way of the velvet and leather textiles, the contrast in tones, and the mesmerising light projections scattered throughout the space. This season, Virginie Viard sought inspiration from Provence and, of course, the production was breathtaking, with the collection being shown at the ‘Carrières de Lumières’ (Quarries of Light), a dramatic-looking excavated quarry. The show itself was beautiful as always, featuring amazing graphics and an exciting edgy vibe. If you haven’t already checked out the details of the look I styled for the show, you can check it out in my previous blog post – it’s one of my all-time favourite outfits (so far!). She has a good sense for how young women want to wear Chanel for everyday, unpretentiously and with a lot of ease.I was so thrilled to be invited to my second Chanel show, Cruise 21/22. But that collection’s brooding romance was replaced here with a vibe brighter and more upbeat, as is Viard’s inclination. A memorable Metiers d’Art destination show took him and his team to Linlithgow Palace. Viard’s former boss Karl Lagerfeld made more than passing reference to Scotland in his own work. I’m fascinated by this ever-contemporary gesture,” she said in her press statement. “There’s nothing sexier than wearing the clothes of the person you love. Viard conjured that weekend getaway spirit with colorful thick-ribbed tights and rubber Wellies or thigh-high waders stamped with the famous interlocking double Cs. In photos taken at his lodge in Lochmore and on the terrace at his Eaton Hall country house she wears his borrowed clothes and rubber boots. Because we were in the countryside, she used it on multi-pocket hunting jackets and coats that incorporated downy-looking fleece and for slightly oversized men’s jackets of the sort Chanel lifted from her lover the Duke of Westminster. ![]() Virginie Viard picked up that thread for fall and tweed was at the heart of her new collection. The region was ground well-trod by Gabrielle Chanel company lore has it that on her walks in the local countryside she gathered flowers and greenery as references for the colors she wanted from the fabric makers there. The Grand Palais Éphémère was completely done up in tweed for today’s Chanel show: an earthy light brown for the seats, black with shots of pop colors on the walls, and a pale green for the runway, which was designed to represent Scotland’s River Tweed. ![]()
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