Chanel Métiers d’Art 2019


“This is not Elizabeth Taylor, anyway,” Karl Lagerfeld declared. Encamped in a apartment during a Mercer Hotel — that a Chanel environment took over in full in credentials for a house’s Métiers d’Art uncover on Tuesday night — Lagerfeld fast dispelled any bias of a luxe cheese fest of trite makeup and tricked-out headdresses desirous by La Liz’s (albeit delightful) spin as Cleopatra.

Lagerfeld done a disclaimer before presenting his collection in a Temple of Dendur, a grand, honest artifact of ancient Egypt underneath Roman rule, consecrated after Caesar Augustus suspended a genuine Cleopatra, and ensconced given a Sixties in a Metropolitan Museum of Art, a present to a U.S. from Egypt. When it comes to his derelict uncover locations, Lagerfeld typically draws abundantly from their sartorial traditions. Pilfering elements from lederhosen to cowboy boots, he Chanel-ifies them with equal tools honour and audacity. At a time when fear of repartee over informative allowance has siphoned element from many a designer’s impulse well, Lagerfeld remains fearless. If something inspires him, he goes for it, here celebrating a seemly energy of Egyptian iconography in a resources of pleasing clothes.

As he imagines it, anyway. For all Lagerfeld’s runway wanderlust, in law he has one source of inspiration, his possess noggin. “This was not looking during books and doing it,” he offered. “It was a mood, a feeling, what we remember and things like that.

“There’s a timelessness to it,” he pronounced of a allure of ancient Egyptian imagery, observant that a suspicion for a collection crystallized before a plcae was secured. “I always was meddlesome in a aged Egypt, from 3,000 years before Jesus Christ. And afterwards we pronounced it would be good to uncover it in a Met, though we never suspicion it was possible. And afterwards it was possible.”

But then, if “impossible” exists within a universe of Chanel, we’ve nonetheless to see it. Here, a residence requisitioned a Met for a uncover (which necessitated shutting open entrance to a Temple of Dendur for many days prior) and a circuitously area of Central Park for a party. At a museum, Lagerfeld private a practical membership desks and commissioned outrageous urns of flowers, though differently left a Grand Hall and sacred Temple area as is, save for a designation of uncover seating in a latter. Guests enclosed a glitzy luminary register — Julianne Moore, Margot Robbie, Penélope Cruz, Lily-Rose Depp and Sofia Coppola. One luminary wasn’t seated: Pharrell Williams walked a show, a prophesy all in gold, prolonged sweater atop leather pants.

The bullion wasn’t only for Pharrell. Rather, it valid an overarching thesis and a ideal indicate of intersection between Lagerfeld’s dual locations, a Temple and a city in that it now resides. Ancient Egyptians worshiped a changed steel literally; finance-driven NYC does so figuratively. Never mind that Lagerfeld’s uncover happened on an unfortunate day for Wall Street; you’d never know it from a runway or from a fortuitous of dressed-to-the-Chanel-nines clients who incited out. Surely they desired a bullion that radiated from start to finish, many mostly elegantly rendered. Lagerfeld adored a long, gaunt silhouette, building many looks on an inventive underpinning — a floor-length white, gossamer dress. He non-stop with suits — surprise! — in unconstrained options. They came short, long, curvy and fabulously oversized, their tweeds rendered in mixed shades of lead gold, or edged in golden leather.

Lagerfeld drew on a pointing of Egyptian art for garments cut with clean, gangling lines, with nary a snippet of remaining flou, even during night. There were copiousness of demonstrative, rounded wesekh collars, high-intensity hardness — those Barrie knits, amazing! — and embellishment. It came lavish, in elaborate mosaics (down to a heels on a bullion boots); perplexing embroideries, some with a shade of Art Deco, and a memorable scarab motif, and playful, in a feisty trademark imitation that total elements of afterwards and now. “Hiero-graffiti,” quipped Lagerfeld sounding house Amanda Harlech during a preview.

If that diagnosis hinted toward street, so, too, did a few denim looks and a leather biker jacket, a former flashy with tonal denim appliques that looked like non-exclusive ancient black and a latter, hammered to embrace croc, Exhibit A of a brand’s new no-more-exotics policy. All together, a eventuality was refreshing and a clothes, (give or take a occasional too-flashy-sweater-and-ombréd-leather-jeans combo), as stylish as it gets.

Still, ancient loyalty has a limits, and so does fancy. After a show, guest strolled or were bused a small 10 blocks south for a postshow celebration in a park. Well, in a exhilarated tent Chanel pitched in a park, this being November, and a temperature, chilly. Once there, a revelers staid into booths to feast on transport from that many complicated and radical of Gotham conveniences — food trucks.


Please enter your comment!
Please enter your name here