Chanel Fall/Winter 2013
I like Karl Lagerfeld.
For being an entertainer, for his ready wit, his eloquence, his ingenuity, his business sense and unprecedented career.
For making history.
I don’t like Karl Lagerfeld for making history. As a designer. In particular for Chanel. The wool costumes that once, back in Gabrielle Chanel's day, embodied a new ideal of woman, have become obsolete, an antiquated retro-look that not only references Coco Chanel but also himself in the eighties when he took over the design house. Today all these references have become a mood board of heritage, a constant repetition of silhouettes, fabrics and ideas. He makes women (and super young models) look like old frumps and his rock and fetish references are a desperate attempt to be contemporary/relevant for the time we live in.
/FABIAN
I wish there was a splash of Makoto Aida's 'Harakiri School Girls' (2006), a hint of brutality. Yet, the constant ejection of seventy-six safe and seen-before bouclé looks unveils Karl's real perversity, his very own sadistic torture. In this sense, the collection as a holistic idea reflects the writings of Marquis de Sade – and is accordingly staged in a majestic venue that evokes scenes of secret underground cellars occupied by chained virgins and naked slaves in leather boots.
/HORST
1. Chanel Fall/Winter 2013
2. Richard Avedon Coco Chanel, 1958
3. Karl Lagerfeld The Muse And The Master, 1983
4. Kasimir Malewitsch Das Schwarze Quadrat, 1915
5. Man Ray The Imaginary Portrait of the Marquis de Sade, 1938
6. Makoto Aida Dog (Snow), 1998
7. Kevin Scott Hees Untitled
8. Chanel Fall/Winter 2013
More about Fabian Hart
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