A Review of Chanel’s Spring/Summer 2015 Show – Chanel Boulevard, Grand Palais, Paris

So Karl Largerfeld isn’t a stranger to conveying real life society in his fascinating Chanel catwalks and the recent s/s 15 show was no exception. Take a look at the major feminist protests on the news, now convert the women into models and place a complacent black and white figure in the lead under the name of Karl Otto Largerfeld. Only he could be the designer to take on such a contradictory topic. Fortunately, there was no police involved just the enthusiastic appraise of a style filled crowd including Alexa Chung (yes I always mention her) and Poppy Delevigne.

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Despite the usual chaotic atmosphere of a protest, Chanel consisted of a much greater elegance. Models consisting of Cara Delevigne, Kendall Jenner, Gisele Bundchen, Edie Campbell and Georgia May Jagger partly sauntered along the Chanel Boulevard in the Grand Palais, backs as far back as possible and faces as expressionless as possible, then for the finale, followed Karl along the catwalk carrying cardboard signs reading ‘Make fashion not war’, ‘Sans femmes plus d’hommes’ (Without women more men), ‘Tweed is better than Tweet’, ‘Be your own stylist’, ‘Free freedom’ and ‘Ladies First’ meanwhile Karl had Cara Delevigne and Gisele Bundchen shouting “What do we want? When do we want it” through the most trendy megaphones around (they were quilted underneath the Chanel logo). But let us not forget the advantage of receiving Alexa’s views on feminism after Grazia Magazine raised the question, her response being ‘a no-brainier that every women is a feminist and men should be them too’, she says this whilst two women appear behind looking star struck as hell to see her in reality (forever jealous). Moreover, Karl was also filmed capturing a selfie however the mouth stayed shut and the glasses remained covering the eyes. Not even a French tourist repeating “tout le fait” could give him the slightest bit of remark. 

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Focusing on the important features, the collection started off with vibrant colours including the themes of art deco and floral however the garments turned to the classic Chanel look; monochrome and gold through lace, metallic leather and delicate silk. Each look fit the specific model perfectly as some convincingly strode on in pairs or threes chatting to each other on a street that if real, would be an exceedingly opulent location in the world. Besides the fabrics mentioned, tweed made a continual presence throughout attire from the rim of maxi-coats to the sleeves of crop tops, as well as this, two looks deemed to be very hipster based depicting the finale of protest. One was made up of a khaki shoulder bag with the double Cs placed right in the middle of it, as if the Chanel logo is the new peace sign (I am so for this). Whereas the alternative hipster reference combined a distressed shirt dress with a bag bursting with rouge and rose embroidery yet what was most unique was the handle being leather and resembling that of the random school craft box material segment you use to stick on your collage back in primary school (elementary school). 

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What appealed the most were the accessories. I would die for every single one of them; chunky gold belts, petite bags reading ‘females first’ and those 70’s square glasses only nerds would wear… but in white. And let’s not forget the fact that Chanel can now be associated with maths after presenting a bag reading ‘5 x 5 = *Chanel Logo*. This leads me on to my next point, In the midst of the show there was quite a school vibe (i must say that if Chanel was a school it would get an ‘outstanding’ report from Ofsted as well as be private without a doubt). I believe this because of the white blouses and frilly collars likewise to the school girls in an anime film. Moreover, there was an exceeding amount of stripes both vertically and horizontally also demonstrating a sailor vibe, nonetheless the unimaginably expensive diamond Chanel logos, glossy brogues and childish buttons turned it into a kind of Gabrielle Chanel style mass. 


Overall, my favourite look was Marie Antoinette pale white dress complimented by a chin cross-body bag, thick gold belt, what looks to be shiny brogues combined with sandals, some gold jewellery but most of all, glittery tights. Now I’m not usually taken by coloured tights, blacks as far as I’ll get but these look beautiful. Similarly futuristic due to their astronomical aesthetic, plus the skin colour of the leg is not completely coloured, there is neither too much nor too little of that sparkle of Chanel. What’s more, you would usually expect gold tights to appear as rather tacky and reasonably cheap though this form doesn’t relate to not either of the two mentioned points, it just has Chanel written all over it.

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Next, a tweed red and blue twin set over a thin polyester pink shirt. What instantly comes to mind is an utterly negative clash, still the wonders of Chanel managed to pull it off as one would expect. An exceptional example of the idea that each model wore the outfit that fit them was through this Scottish attire and tie-dye blouse (complete opposites) considering this already existing clash added to the bleached long hair of a model, this was beyond clashing. Beyond Clashing so much that it worked. This set fits your school P.E teacher (sports teacher) perfectly having a mature, non-movement outfit withal a quirky little silver whistle to justify their occupation. And when you thought that Chanel actually exhibited an outfit without some high-class bling, there was the essential Chanel Logo upon the key-ring of the set’s clutch (but no chain?). 


 Everything in the show screamed glamour and delicacy which was extraordinarily emphasised by the idealistic street setting. It was corresponding to that of a street style location covered in Chanel. Karl risked some new looks for instance: grunge, school girl preppy and tie-dye (not generally seen on the designer catwalks) while he also stuck with the same standard Chanel sense of sophistication and a major amount of feminist intensity in the manner Gabrielle Chanel did back after World War I when she revolutionised women’s fashion from the influence of men.


 Thanks for reading,

Poppy x

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