Chanel Spring Summer 2020 jacket: evolution of an icon

A clean cut that defines clean lines, a weft and warp system that results in a textile composition of colors and textures. The one of Gabrielle Chanel it is a skilful combination of geometries, it is the definition of a new semantics of style and aesthetics that condenses in its most emblematic, almost totemic creation: the jacket.

Portrait of Mademoiselle Chanel by Douglas Kirkland Corbis

© Courtesy Chanel

Born from an intrinsic virtuosity in the nature of Mademoiselle Coco – knowing how to adapt men’s tailoring garments to the women’s wardrobe – the Chanel jacket is a mission statement, is the desire to emancipate women in their way of dressing, equating their stylistic codes with men’s clothing. Functionality, comfort, flexibility, nonexistent terms in a corsetry vocabulary of the 50s that forced the woman into lacing and whalebone. Manifesto of a silent feminism that implements its revolution with strokes of buttonholes and wool braids, the jacket is a work of architecture, urban planning of modernity with structures of Norman jersey and Scottish tweed.

Marisa Berenson photographed by Arnaud de Rosnayt

© Courtesy Chanel / Getty Images

The veins made in Rue Cambon they are straight, without folds, ensuring elasticity without sacrificing shape. In the back, a central seam supports the entire structure like a backbone – a brass chain is sewn into the entire lining, the rope of a tightrope walker that guarantees balance, the perfect fit. Galalite, resin and metal bloom in buttons with enameled camellias, roaring lion heads, in a symbol that is narrative, immediately understandable and recognizable: the double C.

Jeanne Moreau

© Courtesy Chanel

The heritage head of the maison amplifies its potential as a pop icon with Karl Lagerfeld, which catapults its original design in the 80s and 90s. A technical passage, with a splendid visual impact, which transforms a black and white program into a technicolor production. The liquid gold of the origins is associated with silver sequin embroidery, the white and the cream show off an arsenal of shades – marzipan, butter, cream, wheat yellow – and the black disintegrates into a psychedelic iris. Neon pink, mint green, Claudia Schiffer on the catwalk, a swimsuit, belt with pendants, and open jacket. Experimentation is also open, material as well as chromatic, with organza, silk, feathers and chiffon that match the grainy texture of tweed, showing off new horizons of tactility. Thanks to Lagerfeld, the Chanel tradition strengthens at the helm of a beauty that is always contemporary.

Chanel Spring Summer 2020

© Courtesy Chanel

Chanel Spring Summer 2020

© Courtesy Chanel

Chanel Spring Summer 2020

© Courtesy Chanel

Today, Virginie Viard opens the curtain to romance, to a nostalgic poeticity that is a bouquet of floral shades – geranium, dandelion, periwinkle – with design feats that carry the collegiate collar of Gabrielle’s uniform, orphaned in Aubazine, in the lace fromhaute couture spring summer 2020. A pure, simple season, with a veiled and never too bold brightness, in which the jacket is the companion of a Parisian walk. Knee-length, with wide lapels, double-breasted closure, the waist edge that is articulated in a corolla of ruffles in apricot, peony and electric blue tweed. A variation on the theme, which allows itself notes of originality, but always faithful to the basic melody. IS even when winter comes, the Chanel jacket is symbiotic with the nuances of the landscape, with the softness of a snowy landscape that translates into wide sleeves, fluffy feathers, in a cold and milky shade.

Chanel Haute Couture Spring Summer 2020

© Gorunway

Chanel Haute Couture Spring Summer 2020

© Gorunway

Chanel Fall Winter 2020 2021

© Gorunway

Chanel Fall Winter 2020 2021

© Gorunway

There Chanel jacket is Romy Schneider in Boccaccio ’70 of Luchino Visconti, it’s Romy Schneider in Gabrielle Chanel’s apartment in Paris, a conversation between friends – it’s just Romy, alone on Coco’s sofa, reading, because with her friend she can no longer speak. The Chanel jacket is the perfect woman – such because she feels such – it is a testament that, from collection to collection, renews our belief.

Romy Schneider in the episode Il Lavoro directed by Luchino Visconti and based on the film Boccaccio ’70

© Courtesy Chanel

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