Campus Lab Uw Stevens Point Pointers Dad Logo Shirt
The location: The roof terrace of La Cité Radieuse building designed by Le Corbusier with interiors by Charlotte Perriand. The theme: With pops of color and sportif elements, the collection anticipated the 2025 Paris Olympics and made reference to its seaside location. It wasn’t just that “Virginie Viard’s hooded white scuba suit, Chanel-ed up with a black bow, flew the flag for the fact that the city (the country’s second most populous after Paris) is a natural arena for water sports,” as Sarah Mower reported, but that “the chalky pastels, concrete grays, and grid-patterns of the architecture insinuated themselves into the tweed checks.” The theme: “The Northern-girl interpretation was styled with a knowing wink to working-class ’60s-to-’80s pop culture, all side-flicked fringes and bare legs (Manchester types being nationally famed for defying the cold). …Then came the New Wave club girls, some clad in black patent leather—treated to some sort of cool rain-spattered effect—others in baby-doll dresses with bodices embellished with double-C safety-pin or vinyl-record jet embroidery,” Sarah Mower wrote. The theme: “The storytelling Chanel did around this resort collection was devoted to its Hollywood connections. Coco Chanel’s first trip to California was almost 100 years ago, circa 1931,” reported Nicole Phelps. “ ‘I thought let’s do Jane Fonda, Cindy Crawford—all our heroines,’ ” Virginie Viard said at the ‘accessoirsation’ of the collection a day before the show. ‘There are jeans, a more aerobic feeling; every show is the occasion to do something we’ve never done before.’ ”Campus Lab Uw Stevens Point Pointers Dad Logo Shirt
The location: The former Palais de Justice in Dakar. Luke Leitch reported that this was Chanel’s first show in Africa—“and simultaneously the first show to be presented by any European or US house anywhere in Sub-Saharan Africa.” The theme: This event, Leitch noted, “felt like a well-considered exploration of cultural affinities—an interweaving of the pre-existing to create something entirely new. Much of that atmosphere was generated by all of the many Senegal-facing activities, but it was also inherent—albeit more discreetly—in the fabric of the collection itself. The lion motif that reappeared on jewelry and bags was a dual reference to the emblem of Senegal and the sign of Coco Chanel. Viard also looked beyond Senegal. The tailoring and menswear shapes were informed by Congo’s sartorialist Sapeur subculture, as were the heftily commando-soled shoes.”
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