Chanel S/S Couture 2015

Let me just start off by saying that when I woke up on Monday, my social media was bursting with posts from the Dior show. I haven't been in this industry long and I foolishly thought that this was just a special feat that happened every once in a while. The next day, I woke up and my social media was exploding with the Chanel show. A seasoned pro now, I know that my social media will apparently blow up many times this week over Spring Couture, and then many times after that about the latest, groundbreaking news that will forever change the fashion world. And be replaced by another of its kind the next day. 

There were so many unnecessary luxuries during the show that it was quite hard for me to focus on the clothes. (The matisse-cut-out-esque floral backdrop being a major one. Karl Lagerfeld should switch to sculpture or abstract interior design, it might satisfy his creative callings better.) I feel like the clothes went back in time more than forward, with the cute Chanel tweeds that I picture little old ladies going to church in. And then some desperately trying so very hard to be not-so-old-lady-like, with shredded tweeds, tulle, glitter, and midriff-bearing separates. Granny may have gone wild, but Granny is still Granny. (You can't take the heritage and history out of the Chanel tweeds and try to modernize and put new life into it. And quite frankly, I don't think that you should.)

Not to mention the bejeweled beanies that topped nearly every model's head. And if a beanie wasn't on top of her head, a dark tulle covered wide-brimmed hat was, visually depicting "an aura of mystery" around the models' heads. The outfits and mood of the show, as a whole, flew between light, fun florals to dark, dramatic grunge at the speed of light, with some looks remaining  uncommitted, neither leaning to one side nor the other. Drop-waisted and shift dresses gave vague reminisces to 60s fashion. The colors were almost as varied as glancing around a floristry, which would make sense for this collection. As for textures, there was a flowering abundance of soft but structured tulle, thick florals, some shiny fabrics, and then some more matte ones. The show ended with a soft white bride dressed in a flowery skirt, simple shirt, with a cloud atop her head and two handsome gardeners trailing behind her. I interpreted this as the first 71 looks being the guests to a colorful garden wedding for look number 72. But the groom seems to be nowhere in sight, possibly hidden in the flowery foliage. 

I think this photo, captured by Mr. Hamish Bowles in the front row, shows the essence and glory of the Chanel bride (and her equally good looking entourage.)

Schiaparelli Spring 2015 Couture

Each look was so different and yet they all worked together, maybe precisely for that very reason. Usually there are visual motifs and similarities within collections, but I think the uniformity for this collection was the feeling that it gave you. I couldn't define Schiaparelli in one word after seeing this show, but I don't think that I should have to. There are so many different ways to describe Schiaparelli Spring 2015; something around the lines of, but not limited to, exotic, quirky, insurgent, and just... fun. I feel like this would be very, if not too, modern in a past time period, but the feeling of sartorial rebellion remains. The show kind of transported you to a past time where there was still sartorial rebellion. Today I feel that, sure, we have people that are a bit more adventurous than others when it comes to clothes, but nothing is truly defiant. And it's great the we're so accepting these days, but it's nice to look back to a more spirited time with this collection.

The clothes were beautifully diverse: leather shirt dresses, double-breasted blazers, wide-cut trousers, cape-like coats, coat-like dresses, a tux, mini-jackets, and dress-suits, but I personally enjoyed the headwear the best. I knew this would be a good collection from the moment that royal-blue fez opened the show. And then the fiery orange (or red?) head-wrap, wire shaped creations, and tulle masterpieces, but the true show stoppers were the triangle afro's. At that point I don't know, or care, if the attention was on the clothes or the hair, as they both rightfully deserved all the eyes in the world.

It looks like the wardrobe of a character that's always thinking wild and innovative thoughts and challenging the norm on one of the old movies my mom and I watch.

Armani Privé Spring 2015 Couture

Between the bamboo scenery and motifs, Armani Privé Spring 2015 should've been peaceful, but wasn't. They were powerful, strong, and sophisticated. Sharply tropical (not two words you usually see together) in a refreshing way, neither overwhelmingly precise nor tranquil. But blending the line somewhere between. This show gave off a naturally strong feeling; the power of Mother Nature. Bamboo is a very natural material, yet it is also very strong, that's why it represents and defines this show so well. The feeling of natural strength and beauty is present throughout the whole show, even though the colors change from earthy greens, to shimmery blues, to light tans, to deep blacks and electric blues. The silhouettes also go with that same feeling of tranquil strength: it was a well-balanced mixture of free flowing and structure. Many of the looks have a tied belt around the waist, and this immediately gives me thoughts of karate, another form of strength.The color scheme at the end of the show turns quite dark, with black and vibrant, electrifying blues, showing, I think, that natural power becoming more powerful; a tranquil, but to the point, 'don't mess with me' of sorts. 

One look, near the end, was a powder-blue, fluffy, floor-length dress. It wasn't made out of a fluffy fabric, but rather feathers (it looks like) that give the illusion of coral. Complete with a tied black belt around the waist to define its shape as well as tie it to the rest of the collection. Both the bamboo motifs and frequent mandarin collars added to a tropical Asian feel.