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Karl Lagerfeld Transcends Chanel Spring/Summer 2019 Show into an Oceanfront Paradise

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Karl Lagerfeld took Chanel for a paddle in the sea Tuesday, creating a huge beach with real waves for his joyously zingy Paris fashion week show.

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The 85-year-old produced a winningly youthful and colorful collection to lift the spirits of jaded fashionistas on the last day of a marathon month of shows in New York, London and Milan.

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Louis Vuitton wrapped up the packed nine-day Paris schedule with an equally vivid show where designer Nicolas Ghesquiere cut his clean and classy ankle boots, short skirt and jacket schtick with vivid electric florals and highly-coloured abstract painted patterns.

 

The brightness of both big shows with their celebrity-packed front rows — Cate Blanchett ruled at Vuitton while the Princess of Thailand Sirivannavari Nariratana graced Chanel — were in stark contrast to the battalions of black that swept much of the Paris spring-summer catwalks.

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Ghesquiere’s show was controversially co-ed, with men walking the runway too even though the label has its own menswear line now led by the American designer Virgil Abloh of Off-White fame.

But it was his mini-bags and a run of short belted dresses, two in glinting metallic mail, that drew the most admiring looks at his Louvre show along with minimalistic three-tone coats and jackets.

With soft drizzle falling outside and the October chill beginning to bite in a grey French capital, more than one fashionista regretted not taking a towel to Chanel’s artificial beach.

Led by the designer’s latest muse, Dutch-born Luna Bijl, models walked barefoot through waves which lapped onto the white sand thanks to a set of hidden pistons.

Catwalk queens including Cara Delevingne and Cindy Crawford’s daughter Kaia Gerber came up from the beach and slipped into low mules to strut the boardwalk runway.

Sometimes Chanel’s spectacular sets are as talked about as the clothes. But this time the clothes had a lot to say for themselves.

The veteran creator hit the sweet spot from his oversized Chanel jackets and 1960s-style egg-shell blue trapeze coat dress to a long line of classy casual looks using the show’s beach umbrella motif.

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With a beady eye on the bottom line, Lagerfeld used the brand’s name in capital letters everywhere he could.

From the clothes themselves and a new line of big crystal necklaces, belts and earrings, the label’s name also turned up on a set of double-billed straw hats with CHA at the front and NEL at the back.

Little silver and black beach-ball bags came on Chanel chains and a black scallop shell-shaped number with patent spines had smartphones clicking.

And with Lagerfeld insisting that the only thing better than a Chanel bag is having two, he sent out Bijl and a few of his other stars carrying two classic Chanel bags slung across the body, one in each hand like a pair of six-shooters.

In the past Lagerfeld has turned the vast Grand Palais into an ocean liner, a rocket launch pad, the world’s chicest supermarket and controversially a mid-winter wood full of trees.

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After environmentalists attacked Chanel in March for felling decades-old oaks for its autumn-winter collection, the label said it would now “attempt to recycle, reuse and or find alternative uses for the materials” it uses in its shows.

Lagerfeld said afterwards that the show, whose alternative reality Vogue compared to “The Truman Show”, was meant to be escapist in these dark times.

“It is a good idea to make something with some hope in it,” he told Vogue.

Having grown a snowy white beard earlier this year, Lagerfeld seems to be embracing change, ditching his trademark shades for the second time in a week after turning up to Hedi Slimane’s debut at Celine in a new pair of black-framed glasses.

And in a nod to the atelier of designers and craftswomen who have long supported him, Lagerfeld took the bow alongside his head of studio Virginie Viard, one of the label’s behind-the-scenes heroines.

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Will Vogue survive without Anna?

Wintour is who she is and refuses to conform, earning respect from everyone who’s anyone.

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For 45 years, Anna Wintour has held the world of fashion publishing in the palms of her well-manicured hands.

Since 1988, she’s served as the Editor-in-Chief of Condé Nast’s progressive, style-bible, Vogue US.

The British-born journalist, 70, notorious for wearing colorful ensembles paired with her ill-lighted, staple blinkers has garnered industry clout rivaled by none.

A nod of style approval from this heavyweight is considered to be the holy grail of fashion PR. If she says you’re in, then you’re in.

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A real-life “ice queen” typically slapped across copies of Page Six for her impenitent approach to governing the flagship. And from her inviolable position ––“You either know fashion or you don’t.”

In 2006, Oscar-winning actress Meryl Streep delivered a noteworthy performance starring as Wintour opposite veteran Anne Hathaway in David Frankel’s, “The Devil Wears Prada.” The film candidly diagrammed the nightmarish recollections detailed by Vogue’s happily-departed former employees.

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The classic comedy-drama was adapted from Wintour’s ex-minion Lauren Weisberger who courageously published the New York Times best-selling novel in 2013, epitomizing her dreadful experience while slaving as the right-hand to the cold-blooded editrix.

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Despite her chilling account, nothing could deter thousands of fashion hopefuls from applying to fill Weisberger’s off-brand pumps, and who could fault them, noting the bulk of Wintour’s previous sidekicks now helm top-notch media companies. Perhaps the chaos has its perks!

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But all era’s come to an end. As fashion reinvents itself, so do those who keep the high-powered machine running. Wintour is allegedly retiring from Vogue soon. Her departure will be a sad pill for the editorial conglomerate to swallow. But if and when she steps down, may her creative direction remain within the One World Trade Center headquarters.

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Can you guess where Kanye West will debut Yeezy Season 8 ?

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While dozens of designers skipped out on Paris Fashion Week this year due to the coronavirus outbreak in France, Kanye West has revealed he will be debuting a Yeezy Season 8 runway presentation on Monday night (March 2 ). 

 The surprise invitation arrived via email to select editors along with a few who were invited during the innovative rapper’s most recent Sunday Service where he reincarnates chart-topping pop and hip-hop hits into gospel tunes.

West, 42, hasn’t hosted a runway show since Yeezy season 5 in 2017, but his most notable shows were hands down his album release/Yeezy Season 3 fashion show at Madison Square Garden, and his star-studded presentation on Roosevelt Island where he released a paparazzi-shot lookbook of the Kardashian/Jenner clan and friends. 

The ‘Jesus is King’ creator has set the bar high in terms of set design, marketing, and overall creative direction in the digital era. He’s made it clear his vision is far beyond this time. 

He will be joining fashion pros Stella McCartney, Giambattista Valli, Y/Project, and Alexander McQueen for PFW’s 2020 lineup.

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In the World of High Fashion, Streetwear will have the last Laugh

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In 2019, Virgil Abloh, proclaimed king of streetwear/ -fashion, claimed that street fashion will die in the 2020s. Through the 2010s, streetwear fashion designer Virgil Abloh convinced luxury fashion that streetwear was stylistically and culturally important. Before falling from grace, streetwear will develop away from global mass production and refocus with regional and local attention. Streetwear won’t die but it will look different.

Streetwear is the fashion of working and middle-class people. Therefore, streetwear’s death would proceed to deconstructing social class. Unless Abloh is hinting at staging a social revolution, streetwear will remain prevalent until the streets die. Streetwear is a cultural phenomenon that laced its way through America’s soul. This fashion developed through the 1990s New York hip-hop and California skate cultures then became nationally and now globally recognized. Streetwear grew from freedom to move and expresses individuality without stretching a budget.

“Just because you don’t see a celebrity wearing it, doesn’t mean it’s not high fashion,” Set by Skye founder Marina Skye said.

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Affordable fashion brings streetwear its commercial acclaim. The sometimes higher quality fabrics and designer names of high fashion brands establish greater prices. Fortunately, fashion is cheap to replicate by mass-producing high street styles from runway to store. Fashion is produced fast for consumer demands and ever-fluctuating trends and It’s equally disposed of quickly once hot trends change. Unfortunately, fast fashion is unsustainable by wasting material and both exploiting and underpaying workers who produce the materials.

Fast fashion fades when people intentionally buy clothes, develop personal styles that transcend brand recognition, and advocate for international workers’ rights. Luckily, streetwear’s inexpensive nature exists outside of fast fashion. Streetwear integrates wardrobes with thrifted and old/ vintage pieces. It’s cheap by necessity and doesn’t rely on brands.

More so by its versatility and attention to comfort than its expense, streetwear is the working person’s fashion. The comfort aspect plays well to its reach. Streetwear rests on the ability to move, be dirty, and make mistakes. Oversized, distressed, and unsymmetrical streetwear styling speaks to its versatility by offering everyone unique a unique sense of style, unlike high fashion which has historically excluded the Black community and the full spectrum of body types.

The streets are immortal, therefore streetwear is eternal. Where trends change, the streets adapt, and adapting is local before its global. The “fall of streetwear” will likely be a fall of fast and high fashion. That will give rise to local fashion influenced by regional climate, lifestyle, and culture.

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“As a community, we have to push young designers as much as possible,” Wish Creative Director Renaldo Nehemiah asserted. “We should showcase designers who deserve to represent fashion.”

It’s clear that Abloh has reservations about his capacity to push fashion culture. This should motivate young and aspiring designers to match his enterprising energy and carry the torch of contemporary design. Street fashion will continue elevating individuality and revolutionary approaches to style through the ’20s and beyond.

Everyone can join the movement of developing fashion by buying black-owned and newly enterprising art, fashion and designs from local producers. No one has more influence on the streets than the streets, so the people on the ground level are next-up as big names and mass production will be next-out.

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