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Chanel Resort 2020

The First Chanel Collection Without Karl Lagerfeld. Has Virginie Viard Made A Decent Debut As a New Creative Head of The Brand? Read The Full Review.

Given: there is a worldwide famous, grandiose and well-recognized brand; there are a great legacy, key codes and a vision carried through the years and loved by millions. Unfortunately, the most important “x” – a creative director – who brought the brand back to life literally out of ashes and turned it into the most desirable one, ruling at the helm for more than thirty years straight and leaving his own legacy, passed away this February, naming his on and only successor.

Task: how, being a protégés of one of the greatest designers ever, whose collections depicted a pure brand DNA occurrence from season to season, to keep this legacy, develop it without losing your own insouciance and character, not to fall under a barrage of criticism from loyal fans and fashion critics, and earn everyone’s respect? Virginie Viard knows the answer.

It’s tough to stand at the head of the principal French Maison, taking over the reigns of a person who was respected, adorned, and whose opinion was attentively heard and perceived. The colossal responsibility laid down on the Virginie Viard shoulders, meanwhile, exerting pressure from almost all sides could become too strong: everyone is looking at new Chanel creative director and her careful, yet confident steps. Everybody was dying of curiosity on what Chanel is about to become under the Virginie Viard leadership. When the well-established company meets its new head designer, especially after that one who made a revolution and turned into a successful business, the whole fashion community intently follows every new-comer’s step. Expectations are overestimated, a plank is raised to a decent level, the pressure is too strong, hence every little wrong step aside will cause fashion shows gurus and bloggers such as Diet Prada to tear a poor designer to shreds.

But Virginie Viard in her debut Chanel collection – already without Karl Lagerfeld – coped perfectly well. All, starting from the atmosphere of the train station evoking to hit the road (that’s why it’s a cruise collection) and reminding us how direction is more enthralling than the final destination; by ending the collection itself, literally imbued by Lagerfeld’s spirit. As if he is the angel in disguise hypostasis would sour above the runway during the show and direct Viard on the way of collection creation.

Keizer’s lessons learned on a solid A: brand DMA remained the same, meanwhile, strictness and the slightly noticeable edge of silhouettes of the Lagerfeld’s epoch were replaced by light, playful and more feminine manner – an embodiment of Viard’s vision herself. Accessories, rather the manner of representation – “the more – the more” – appeared to become less, while lightness and moderation turned out to be more. Tweed jackets that long ago became a distinctive Chanel feature are coloured in luscious summer shadows of fuchsia, indigo and purple, gradually changing by lovely pastel-blue, ivory and classic white. Airy chiffon dressed of tender pastels hues in combination with blue, pink and mint colours flowed through the body evoking a feeling of delicacy and rustling sea breeze on the skin. Lush flower buds bloomed on the slinky midi-dresses with a high stand-up collar – one more Lagerfeld’s distinctive feature; meanwhile big playful bows which appeared to be a leitmotif of the collection, decorated crop-tops, chiffon blouses and dresses bodices making a whole image charming and adding an attractive femininity without a hint on a vulgar sexuality.

As if Karl Lagerfeld himself got an ability to see his collections, not through a glimpse of a man who knows what woman wants, but Gabriel Chanel herself who would inevitably wear all of this nowadays.