August 3, 2016 |
“If I could turn back time. If I could find a way…” sang Cher in 1989. Unfortunately since then we have not found a way to turn back time, yet. But, we can visit the ghost of fashions past as we look back at some of our favourite shows over the years photographed by our favourite backstage wizard Jason Lloyd-Evans. Next up, Chanel Spring 2012.
I’m going to apologise in advance, because this might get a little political. Well, sort of. Or maybe not. As political as a fashion person completely removed from anything vaguely political can get, so bear with me. As a year 2016 has been very difficult to live in. We are about halfway through the year and so much has happened already – Brexit, terrorist attacks, which now seem to happen on a daily basis, the mindless slaughter of black people in America, Donald Trump. To name but a few. And whilst I don’t want to skip straight past issues that are so pressing and should be given the appropriate attention, I want to talk about fashion.
In such hard times it is always argued that fashion is the last thing we need. It is too frivolous, expensive, and a waste of everybody’s time and hard earned money, but I would of course have to disagree. Naturally I am completely bias in this opinion, but fashion always has been (and probably always will be) a way for people to escape the mundane and more often than not, terrible, events of day to day life.
Whilst this may not be immediately obvious to people looking in from the outside, as of late fashion has been a lot more pared down and maybe even less extravagant than ever before. With the rise in popularity of (dare I say it) ‘normcore’ style and the deconstructed luxury at brands like Vetements, now considered to be the futureof fashion, it seems as if there has been a snap back from the days of showmanship championed by designers like Alexander McQueen and John Galliano. Even the latter, a prodigal son of sorts, who returned to design at the helm of Maison Margiela in 2015, seems to have a different approach when it comes to his shows – quieter perhaps. A lot less about spectacle. And whilst this may be in honour of the house and its codes, it is necessary to note that his bow after his debut show for Margiela was a solemn head nod with arms folded in front, wildly different when you compare to his parade as star of the show whilst he was at Dior Watching a YouTube video compiling as of his “crazy exits” I spot one season where he emerges like a boxer complete with green hoodie hanging from his head open to reveal oiled up abs, and another where he is dressed like an astronaut.
There are lots of counter arguments to be “pro-show”, as it were, but perhaps the best example is Chanel. As a house, Chanel has long held an indomitable influence on the industry, which has been the case since the debut ready-to-wear show in 1978. Under the reigns of Karl Lagerfeld we have seen the Grand Palais turned into: an airport, supermarket, theatre, and a wind farm complete with full sized wind turbines to match. Or the recent Cruise show extravaganza. Whilst other big brands, like Louis Vuitton and Christian Dior, are only just buying into the idea of destination Cruise shows – Chanel has been paving the way as far back as 2003, and are the only house to show in Cuba – ever.
I want to pull focus to Chanel’s offerings for Spring 2012 – unofficially referred to as ‘Under the Sea’. In that way that often seems to close to be a coincidence there were more than a few references to the mysteries of the sea throughout other Spring 2012 collections. Gold, studded seashells and starfish adorned skin tight dresses at Versace, the almost wetsuit-like sequinned jumpsuits at Givenchy were reminiscent of mermaids. But Chanel’s was the mostly wholly realised. To start with, there was the set. Those who attended the show were transported to an underwater haven – at the time the show’s make-up artist, Peter Phillips, referred to it as “an unpolluted aquarium”. It was white, and dotted with giant, white sculptures of sea creatures and foliage. However, as impressive as the sculptures which dominated the space were, it was the small details that made even more of an impression. The tentacle of an octopus reimagined in silver, wrapped around a model’s wrist. The puff of a skirt like a sea anemone. Even the bottom of the heeled boots, and sandals which the models wore were clam shells.
Lagerfeld’s aim for this collection was nothing “too Chanel” which seemed odd, because the end product seemed to be the most Chanel. Albeit more stripped down. Chanel-lite. Tweeds were chosen in white and light shades of pastels with belts of pearls slung around the waist, as well as vertically down the spine and dotted throughout the wet and messy chignons the models had. Like beached mermaids. For an idea of scale there were over 800 pearl hairpins strung through the model’s hair. Each with a little gold, CC emblazoned on it. See – huge. And without going off on too much of a tangent the rest of the details were just as meticulously thought out. Each time I view the collection I spot more and more ideas.
From the obvious resin conch shell clutches dotted with pearls, to the limpet-like rings and earrings sucking on to the model’s fingers and ears. Nude sections on dresses made to look like fisherman’s nets that had trawled the bottom of the ocean for treasure, dotted with pearls and other precious jewels. Even the iridescent brown material used in some of the exits had the exact same shimmer of washed up seaweed sparking in the sun on the beach. And it wasn’t just the look, but also the movement. Tendrils of material made to look like seaweed floating behind as if the model were gliding at the depths of the ocean. I could go on for hours.
And if that were not enough for you to accuse Chanel of showboating, halfway through the show Florence Welch erupted from a large white seashell, a reincarnation of Venus, to sing ‘What the Water Gave Me’. At the end of the show she joined Lagerfeld for his bow, as the 83 models marched our for the finale around them. When re-watching the show it seems blatantly obvious why outsiders would look at the fashion industry with such distaste. It seems ludicrous to think of clapping in awe in a room full of giant seahorses whilst there are people suffering in so many different ways around the world, but if not then, when?
Photographs by Jason Lloyd-Evans
