Chanel Spring/Summer 2013 Couture Collection

_ARC0030.450x675_426x639 _ARC0036.450x675_426x639 _ARC0042.450x675_426x639 _ARC0046.450x675_426x639 _ARC0050.450x675_426x639 _ARC0056.450x675_426x639 _ARC0058.450x675_426x639 _ARC0065.450x675_426x639 _ARC0067.450x675_426x639 _ARC0072.450x675_426x639 _ARC0079.450x675_426x639 _ARC0084.450x675_426x639 _ARC0088.450x675_426x639 _ARC0092.450x675_426x639 _ARC0097.450x675_426x639 _ARC0102.450x675_426x639 _ARC0109.450x675_426x639 _ARC0113.450x675_426x639 _ARC0118.450x675_426x639 _ARC0124.450x675_426x639 _ARC0127.450x675_426x639 _ARC0133.450x675_426x639 _ARC0136.450x675_426x639 _ARC0140.450x675_426x639 _ARC0144.450x675_426x639 _ARC0147.450x675_426x639 _ARC0155.450x675_426x639 _ARC0158.450x675_426x639 _ARC0168.450x675_426x639 _ARC0170.450x675_426x639 _ARC0175.450x675_426x639 _ARC0179-1.450x675_426x639 _ARC0179.450x675_426x639 _ARC0184.450x675_426x639 _ARC0189.450x675_426x639 _ARC0196.450x675_426x639 _ARC0201.450x675_426x639 _ARC0206.450x675_426x639 _ARC0211.450x675_426x639 _ARC0216.450x675_426x639 _ARC0219.450x675_426x639 _ARC0225.450x675_426x639 _ARC0231.450x675_426x639 _ARC0235.450x675_426x639 _ARC0240.450x675_426x639 _ARC0244.450x675_426x639 _ARC0248.450x675_426x639 _ARC0252.450x675_426x639 _ARC0257.450x675_426x639 _ARC0263.450x675_426x639 _ARC0268.450x675_426x639 _ARC0271.450x675_426x639 _ARC0274.450x675_426x639 _ARC0280.450x675_426x639 _ARC0285.450x675_426x639 _ARC0290.450x675_426x639 _ARC0294.450x675_426x639 _ARC0298.450x675_426x639 _ARC0301.450x675_426x639 _ARC0307.450x675_426x639 _ARC0311.450x675_426x639 _ARC0316.450x675_426x639 _ARC0326.450x675_426x639 _ARC0331.450x675_426x639 _ARC0335.450x675_426x639 _ARC0344.450x675_426x639 _ARC0347.450x675_426x639A GOTHIC take on A Midsummer Night’s Dreamwas what Karl Lagerfeld had in mind for his spring/summer 2013 couture show for Chanel this morning. And a dream it certainly was. We stepped into an enchanted forest beneath the dome of the Grand Palais and into a world seemingly straight from the pages of Shakespeare, a wooden auditorium surrounding us, and edgy fairies about to come to life before us.

Stella Tennant opened the show in a white tweed cape and jacket hybrid, black feather-painted eye make-up sprawling over her face and more black feathers tumbling from her hair and over an eye to show that these fairy-like creatures weren’t going to be quite as sweet and sugary as we first thought and there was something altogether more sinister about them.

They drifted down the stage in a dreamy way, dancing almost, in ensembles that put emphasis on the shoulders: stole-like affixations that hugged tightly to them; sleeves that stood upright and away from them; off-the-shoulder dresses; or those that descended in trapeze shapes from the shoulders, but left them exposed and bare.

Each look came with courtly peep-toe boots, like something the most glamorous of medieval knights might have worn, tight-like and in silver leather and lace that either climbed the whole length of the leg or came as short ankle boots and matched in decoration the dresses above them.

When it came to the tailoring, it was bell shapes that won out – for skirts that were stiff in structure and for tops that stood away from the body. And when it came to gowns and eveningwear, show-stoppers came by way of toppling white feathers, those black leather booties worn beneath, and a set of Thirties dresses in red and black and white sequins which were particularly special and called to mind something Wallis Simpson might have worn, all perfect flowers splayed out on them and narrow and elegant in shape.

It was all about the idea of the forest – the leaves, the flowers, the feathers and all those mystical and mythical little fairies that might just be hiding in it: Cara Delevingne making for the most popular of them to close the show in a white Miss Havisham-style dress, black eye make-up and black feathers falling from her hair.



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