Cocteau And Coco. Chanel Resort 2022

Virginie Viard‘s Chanel is like a sinusoid – one time it’s bizarrely unedited and clumsy, and then it’s fantastically light and super chic. Her resort 2022 has both, although the latter fortunately prevails. The fashion show was a digital, cultural trip, where the clothes worked really well. Viard sought inspiration in Provence, the most beautiful region in the south of France lapped by the marshy Camargue and crowned by the hills of Les Baux-de-Provence, considered one of the area’s loveliest villages. Specifically, she set the collection in the Carrières de Lumières (Quarries of Light) in Les Baux, a series of chalky, cave-like rooms – the spaces left behind after centuries of excavations. In 1960, however, Jean Cocteau – the artist, poet, and filmmaker who cast a long shadow across the worlds of culture and style in 20th century France – used these quarries as a setting for his hauntingly beautiful movie The Testament of Orpheus. It’s “so modern, so fresh, and so strong,” says Viard, who watched the movie, which features Cocteau himself, with cameos from his lover Jean Marais, Pablo Picasso, and Yul Brynner, among others, as she began working on the season. “The movie really inspired the collection,” Viard added. “When I came to see the quarry again – I’d been years ago, before it was used for the son et lumiere – I saw that the clothes had to be strong, and black and white. Otherwise we could be in Petra or Egypt. I love ruffles for the couture,” she continued, “but I thought it would not look modern here. Coco Chanel counted Jean Cocteau amongst her intimates; he produced some evocative portraits of her and illustrations of her clothes, and in turn she costumed productions of his plays AntigoneOrpheus, and Oedipus Rex. The friends would often hang out in Chanel’s daytime apartment on the Rue Cambon, and Viard was excited to read the letters that Cocteau sent to Chanel. The apartment has recently emerged from an extensive restoration, and Viard sought inspiration in the very personal bestiary that Chanel assembled there: The lions for that famous Leo, camels, doves of peace, fauns, and the female sphinxes that all appear in objects and sculptures in the apartment have been reimagined as graphic prints on denim with a hand-painted look, and as lucky charms used as embroidery in the new collection.

In this cocktail of references, Viard as well worked with both Mod and Punk references: striking black and white miniskirts, suits and coat dresses trellised with window pane blocks of small concrete beads, and styling flourishes like fishnet stockings had a Mod sensibility. Accessories including zippered leather holster belts worn at the waist or thigh, handbag chain suspenders, and dog collars read as Punk, as did details like the rock and roll leather fringing on a shimmy dress, and the raw finishing used to hem the skirts and cuffs of caviar tweed suits and crochet minidresses (a Jean Cocteau sketch of a 1920s fringed Chanel dress was the starting point for these designs). The late Stella Tennant’s patrician Punk attitude inspired the lip piercing jewelry, as did Ines and Vinoodh’s photographs of the model Lola in Chanel’s apartment; Viard was thinking of a memorable Mario Testino image of Tennant dressed as a punk with her ball-gowned grandmother, the Duchess of Devonshire, at Chatsworth, her family’s storied stately home. Meanwhile the graphic suits—with a new jacket silhouette featuring a bloused body and fitted peplum—were drawn with the definite lines of Cocteau’s ink brush and pen drawings. There was more softness in the collection in ivory lace dresses scattered with embroidered good luck charms, and wide-legged, high-waisted white linen pants and cotton sweatshirting dresses embroidered with the wild flowers of Provence – lavender, thyme, Cosmos daisies, ranunculus, blue felicia, and scabious, among others. The only colors in the collection appear in 100% sustainable tweeds created by the embroiderer Lesage in what Viard described as a “Cézanne” palette, and used for skimpy, rough-fringed minisuits. For the finale, the short black velvet dresses, each worn with crochet and macramé capes, provided a theatrical flourish of which Cocteau would surely approve. And there’s a pragmatic reason for all those white ankle boots: “It’s better not to have a long black dress or black shoes if you are walking in a quarry all day!” confided Viard with a laugh.

“Live” collage by Edward Kanarecki.

The Look – Jacquemus SS20

Jacquemus‘ spring-summer 2020 collection was a dream. Remember that vibrant pink runway going through field of purple lavender, under the gorgeously bright blue Provençal sky? Of course you do. “I wanted something sophisticated but at the same time as light as a cocktail in summer,Simon Porte Jacquemus said back then. The above look – a pistacchio-green blazer, candy-pink ribbed top, white linen culottes and straw hat – says it all: spring is here. Yes, it’s a pity we can’t fully enjoy it under current circumstances. Still, open the window wide open, see the flowers bloom, hear the birds singing! Trying to stay positive.

Collage by Edward Kanarecki.

Dream. Jacquemus SS20

Although I’ve been sick for a couple of days, and a collection that happened a week ago in today’s fashion industry’s pace seems like a year ago (especially during the endless fashion week of menswear, resort, ready-to-wear and couture), I’m still sure of one thing: Jacquemus spring-summer 2020 collection was a DREAM. By now you surely have seen hundreds of images of a vibrant pink runway going through field of purple lavender, under the gorgeously bright blue Provençal sky. Simon Porte Jacquemus took the fashion crowd to his hometown region and celebrated his brand’s 10th anniversary. The brand is completely independent, super desirable and Jacquemus, the person himself, is the same French guy with a joyful spirit. While anniversary collections tend to be a remix of a brand’s biggest hits, Jacquemus presented lots of hot newness that keeps on developing the brand’s language. “I wanted something sophisticated but at the same time as light as a cocktail in summer,” he said backstage. The moment when Mica Arganaraz opened the show in a white, over-sized blazer, it was clear that tailoring is on the designer’s mind. He nailed it for both, women and men. Parachute dresses in olive-green and bold fuchsia were my personal highlights, just like the shirts with Cezanne-esque landscapes and culottes in utilitarian styles. Jacquemus is a major accessories business, and this season he didn’t dissapoint. From XXL bazaar bags and signature art-heel shoes to old-school net grocery bags and basket handbags (they seem to stay with us), you want it all. Happy Birthday to Jacquemus, the brand. Big, big congrats to Jacquemus, the person!

Collage by Edward Kanarecki.

La Santons de Provence. Jacquemus SS17


Simon Porte Jacquemus, like Christelle Kocher or Glenn Martens, is a represantative of Paris’ new generation of most daring and exciting fashion designers. Jacquemus frequently mentions his typically French child-hood as a continous inspiration for his collections, and spring-summer 2017 is not an exception. But his newest “story”,  as he tends to call it, is much more refined. The designer searched deep in Provençal folk culture, and he conveyed the mood of a sun-drenched, care-free French village girl in a brilliant way.

Jacquemus loves the term naive. There’s always something childish about his collections, and this season it’s definitely the setting of his venue: a fake, orange sun glowed at the end of the runway, radiating with summer nostalgia. First element of the show that caught my eye was a range of lovely, straw hats, or chapeau de paille if you prefer French. The dresses with voluminous sleeves and over-sized pinstripe suits are on everybody’s lips for spring, but Simon managed to make them look eternally chic. In fact, the collection isn’t about a new idea or silhouette. Borrowed-from-a-guy shirt, block-heeled shoes, geometrical culottes and sexy cuts are very Jacquemus. I guess that’s the appeal of this collection: it’s focused on weekend-perfect ready-to-wear with an arty twist. And it’s quite easy to wear, if you take it off the runway!