Chanel’s Métier d’Art show, which occurred today in Salzburg, Austria, served as an optimal proof of concept with its classically black tweed cropped jackets and matching skirts, the similarly endemic overcoats, elaborate and feminine white dresses topped with vaguely masculine black accents (see: Cara Delevingne closing the 86 look show) and — no, that’s not right.
Austria was the setting for a confluent show of four different collections that married a delicate bow to the imminent holiday season with a poignant shade of December red, to the Tyrol of yore in smartly executed, lederhosen-style short-shorts, and an obscurely militarized triad of models in the right shade of fight-for-me green to some form of Vatican swiss guard.
That’s not right either.
The hills! Are alive! With the sound! Of!
You can take the garment off of Rue Cambon but you can’t take the…
Never old, never new but always acutely alluring, there is something unflinchingly, relentlessly, distinctly Chanel about Karl Lagerfeld.
Can that say it all?
Okay, I think I’ve got it.
How could it be that such a piquant example of time-honored Austrian behavior, distilled using fashion, could unmistakably speak to the heart of a house so French, even the blindfolded could see from their American vantage point, that this hugely inspired, Austrian hug is the work of an electively Frenchman called Lagerfeld.
Images via Style.com