since the departure of Tom Ford from Gucci & Yves St Laurent there is
no one more important in the world of fashion than the gay German man,
Karl Lagerfeld, and he has been for years.
we loved Tom Ford for his sexy, sassy, in-your-face
Texas-brand of coutour because no one had ever seen this type of work before...
the highly structured tailoring & fit of Gucci to the
extreme luxury of YSL.
i don't know about you, but i can hardly get dressed each day
without wondering what Karl would think of my outfit !!!
but, this time he's trying to be a jewelry and a garment designer
and I just hate it...i mean a girl has got to earn a living now, doesn't she?
By Sarah Mower
It didn't exactly come to Karl Lagerfeld in a vision—more of "an electronic flash in my head at five o'clock one morning. Silver and pastel," he said. "It's the first time in my whole career I've done a collection without black or navy. There's not one gold button."
I love love love the "scarf" at the neck, just beautiful
From the heart-shaped cartoonish hair to the rococo-heeled silver booties, the show was a mix of romanticism, space age, and incredible eye-tricking handwork—as hard to fix in one place as the mercury that seemed to be running through the seams. The clothes ranged from shorts suits to shifts, from frothy, cocooning bubbles to liquid togas. In some places, the embroideries looked like smashed glass or molten metal; in others, jewelry itself became part of the structure: A halter dress was suspended from a crystal choker, and a shoulder strap became almost indistinguishable from a diamond necklace.
not one piece in this collection would be considered "day" wear
all extremely dressed-up, even the suitings...so nothing for us Americans
How to define it, though? Someone backstage suggested futurism. "I hate that," Lagerfeld shot back. "I don't believe in avant-garde clothes for a future that will never happen. Fashion is always now."
OK, just go ahead and KNOW we're all going to need silver accessories
of any kind
collection reminds me so much of the 60's, the Twiggy & Jean Shrimpton glory days
To fully describe a single technique—say, the horizontal bands of mille-feuille chiffon frills, minutely frayed at the edges, each layer hand-tinted in a dégradé way so that they almost look like fur from a few paces—requires an essay, not one of the sound bites Lagerfeld's so adept at tossing out. Chanel now produces six shows a year, and since last October, Lagerfeld has run from beige-y rustic ready-to-wear to khaki and red chinoiserie in Shanghai to this latest declaration that gold is out, silver in—and on with the iced fondants.
If it's hard to keep up, it's a method that certainly works in favor of couture customers, who would rather not buy anything that could be confused with clothes found hanging in a boutique. In its multifarious ways, this fleeting fantasia of prettiness—which in practice takes thousands of craftsperson hours to realize—fulfills that brief. While Karl Lagerfeld hurtles onward into the constant now.
and in the front row
Vogue's Anna Wintour & Hamish Bowles