Cruise, resort and pre-fall collections, interspersed between seasons, have been tarred and feathered with judgement and spat upon by the morally immense who deem it an unnecessary exploitation of wealth at a time of prominent financial, economic and social depravity. Do we really need elitist exclusivity that rubs a spectacle of affluence in the face of the impoverished? Do we really need to feel inferior at the manicured hands of worthless celebrities who writhe around in a fairy-tale of abundance? Is this REALLY necessary anymore?
Well yes, why not? It doesn't hurt. Speaking on behalf of the inadequate majority, i believe that this gratuitous "cash-flashing" is, ironically, vital for our personal ease in a wider social setting. Now more than ever, escapism is a fundamental imperative, allowing us to momentarily break the chains of disheartened world events and truly feel the euphoria of a life we could have.
As well as outlining a portrait of cultural change; Art, in all its forms, rekindles passion and enlivens positive forces within us that burn brightly enough to manipulate reality. Of course, it may seem easier to criticise and complain of inequality, insufficiency and inferiority but, ultimately, this will only breed a cycle of negative consequence. It is, therefore, essential for us to not only accept the good; the escapism, but also share and move with it, to correct a mentality, crushed under the feet of political, social and even natural disaster.
"Fashion is one of the great pleasures in life." writes Alexandra Schulman in the June edition of Vogue, "You need only think of the elaborate jewellery and costumes among impoverished tribal peoples to see that fashion and style are not about money but a demonstration of self. It is this that will continue to drive fashion in the same way; wonderful art and literature thrive in adversity"
To force this notion beneath the skin, Chanel's resort collection was an absolute hot-bed of dream-like extravagance. Although lacking a distinct thematic focus, by way of recurring motif, silhouette or pallette, Lagerfeld satisfied with a plethora of majestics, discharging us into a catatonic state of fantasy.
The designer unfolded a collection onto "the other side of paradise" along the French Riviera but, most specifically, in the illustrious Hotel du Cap. Draining the veins of the hotel's most distinguished guests, the elongated collection absorbed the intrinsic grandeur of Miss Rita Hayworth and imitated her easy-peasy hold on glamour. Soaked in gigantic diamonds and colossal pearls, in this moment, there was no such thing as overkill. Kristen McMenemy, Stella Tennant and other celebrated "muses" left a trail of unapologetic opulence falling from the hems of tight fitting suit jackets and kick-flare skirts, launched in succession of pastel and monochrome which was rudely interrupted by, what can only be described as, a big fat fugly flip-flop-boot-hybrid that needs to be forgotten about. So, moving swiftly on.....
In classic Chanel shapes, loosely inspired by pre-fall's Byzantine kingdom, a parade of light summer dresses, peppered in soft shaded prints were sensualised by sheer midriffs and thigh-high slits. Maturing with zest, this gamine girlishness moved effortlessly into beach-wear and landed upon a finale of decadent evening designs that hit the body with flattering silk panels, sometimes emblazoned with quaint star motifs or vintage, drop-waist ruffles.
The result was defiant finesse, intricately crafted but coloured by satire, to integrate with Lagerfeld's accompanying short film, "the tale of a fairy" to be unveiled tomorrow and portraying, rather fittingly, "the ill-advised use of money which begins with violence and ends with feeling."
(I can not wait to see this inevitably cheesy excuse for product placement, so you can check back tomorrow for my excitable synopsis!)
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