Karl Lagerfeld is a fan of travel. He is inspired by different cultures and global styles, and he makes a habit of immersing his shows in the particular culture of inspiration. Resort is all about traveling and experiencing adventure, so why not show runway collections in far-off places that inspire the Chanel designer? Last time Lagerfeld sent his clothes and his guests to Dallas for a western-style rodeo romp, but for Cruise 2015, the Chanel gang travelled east to the glamorous land of Dubai for a collection that was heavily inspired by both the enchanting past of the Middle East as well as its contemporary culture.

Islamic crescent moon headpieces were a major motif, and there was an exceptionally kitschy gold quilted purse designed to resemble a gasoline can, reflective of the region's oil industry. The models were draped in luxurious chiffons and sand-hued tunics, sometimes decorated in intricate floral and geometric patterns and other times in the classic tweeds that Chanel is famous for. As usual Lagerfeld has created a seamless blend between the traditions of Chanel and his land of inspiration.

For me the beauty looks were the highlight. Heavily-teased hairstyles were the look, with models sporting beehive-like volume or huge curls. The eye makeup was equally dramatic, with heavy kohl eyes accented with gold foil. Lips were kept simple with a pink-tinged gloss to balance out the heavy eye makeup.

Another inventive collection from the man who is constantly outdoing himself in terms of creativity. There were some misses and this was far from being my favorite Chanel collection from the past few years, but you've got to hand it to Lagerfeld that he always goes all-out for his presentations, and the show in Dubai was outrageous as ever.

When you hear the word couture, you probably think, "Gowns, exquisite craftsmanship, wealth, art." Couture isn't meant to be worn, really. At least that's what I've come to understand. The clothes are so outrageous and so fanciful that they transcend everyday life and that is indeed their purpose. The only people who could possibly wear these dresses are celebrities who are given these gowns on loan, or possibly a billionaire's wife. Maybe.

So why on earth did Karl Lagerfeld place his futuristic fairy models in tennis shoes of all things?

No doubt the Creative Director of Chanel was inspired by the style on the streets; sneakers are the new ballet flat, apparently (and probably better for your arches) and bloggers and editors alike have taken to pairing their Nikes with their Nina Riccis.

But Lagerfeld took the high-fashion sneaker trend to the next level by constructing shoes of the same fabrics of the dresses for the collection. A snow white twinkling tweed two-piece was matched ever-so-perfectly by a white tweed tennis shoe. I must admit, the concept is pretty genius. You must applaud Karl for taking a pretty popular street wear trend and pushing it to the sartorial limits in his fantastic couture collection.

The accessibility of the collection extended beyond footwear, however. Spritely models took laid-back strides around the Grand Palais in skirts that moved and flowed with them, with hands in functional pockets and shoulders held back, not stiffly but comfortably. Despite what the price tag will inevitably read, I see these clothes and can actually envision myself wearing them - not just to a gala at the Met or the Oscars, but walking around town with (very fashionable) friends.

That's not to say that the collection lacked on all the hand-sewn extravagances that make couture what it is - on the contrary, the handiwork at Chanel is some of the finest I've ever seen. There was an effervescent quality to the garments that were presented today, as if the cloth was created from droplets of water suspended in mid-air, or from millions of tiny diamonds. The clothes were brilliant even by Chanel standards, and it was the type of collection that made me smile as I flipped through looks.

And it wasn't all stuffy ball gowns and impossible designs. These are real clothes made up in fascinatingly intricate detail, but the mere possibility of wearing these clothes is tantalizing. These ensembles are pure fantasy, but an attainable one.

Quite a few people have trouble making the connection between my major (art history) and my intended career field (fashion) and I don't really understand why. But in Paris this week, the Kaiser himself helped illustrate my point that art and fashion are indeed quite entwined (whatever Miuccia may say about that). 

Karl Lagerfeld transformed the Grand Palais into an art gallery, with 75 original artworks that incorporated many of the motifs of the Chanel brand - Chanel No. 5 perfume bottles, pearls, quilted leather handbags, etc. As a student of art history the presentation of the collection was fascinating, and I could make all sorts of points about the significance of these motifs in our culture and the power of Lagerfeld and the Chanel brand (but I won't for now). 

The clothes themselves were also quite artistic and creative. Each ensemble seemed to be splashed with every hue of a painter's palette, and many looks were thrown together in a very artistically half hazard fashion - sweaters tied around necks, shirts falling off one shoulder, a bag (or two, or three, in some cases) slung this way and that. 

Each model wore "wigs [that] were paintbrushes-cum-Darth Vader helmets of hair," according to style.com's talented Tim Blanks, and they all had rainbow-colored brushstrokes highlighting their eyes. It was truly a stroke of artistic genius.

But Karl isn't the only one making the connection between art and fashion. All week long we've seen the influences art movements and innovators can have on a designer's creations. 


Phoebe Philo's Céline was inspired by graffiti and the photographs of Brassaï. The collection was beaming with bright primary colors and bold brushstrokes. For the queen of minimalist cool, these clothes are quite bold, but nevertheless speak to the impossibly chic aesthetic of the Céline girl.


Elsewhere, Andrew Gn was quite influenced by Pablo Picasso's cubist paintings and featured Picasso-style instruments and faces in a few of his looks.

Fashion and art may have their differences, but they are certainly intertwined, and personally, I love seeing artistic references made in runway collections! 

Balenciaga

Cacharel

Chanel

Lanvin

Louis Vuitton

Alexander McQueen

 Valentino

(images from zimbio.com)

Alexis Mabille

Alexis Mabille is always good for a fantasy-inspired show, full of glimmering gowns and dramatic capes and cuts. The designer used jewels as his inspiration, allowing him to take full advantage of emerald greens, ruby reds, and sapphire blues. Maybe I've just been looking at this Game of Thrones "What Would They Wear?" Blog too much, but I wonder if Mr. Mabille has the HBO masterpiece on his TiVo. Daenerys Targaryen would totally work that shimmering blue dress; Cersei would be sassy as usual in that ruffled cream cape confection; Sansa would look princess-like and innocent in the midnight-blue dress with the bow on the shoulder.

Chanel

For Karl Lagerfeld, fashion can be quite the conundrum. Fashion is all about giving people something new, something fresh, but it is all rooted in the past. For the Chanel Fall 2012 Couture Presentation, the theme was "New Vintage" or a blending of future and past. In true Lagerfeld fashion, the clothes were only part of the presentation: the invite was a pink and grey sketch of Mademoiselle Coco done by Lagerfeld; the space was designed to look like Chanel's original salon de couture (source); the guests sat at white wicker chairs and tables with macarons and other vintage delights. But the clothes were the true stunners. Pink was the color of the night, and girls walked out in sequined skirts and glittering grey tights (and the sure-to-be most-wanted-accesory, sequined knit hats slung back on the models' heads. "New Vintage" indeed. 1930's silhouettes abounded, and yet, as usual, Lagerfeld made everything appear to be almost futuristic! My personal favorite? The dust pink sequin dress with fuzzy pom-poms protruding; I hope the right person wears that dress and kills it!

Elie Saab

Titled In Constantinople's Wake, the Elie Saab show was the usual tour de force that I always look forward to. Sure, perhaps Saab's love of sequins and sparkle can grow to be predictable, but he knows how to create something beautiful each and every time. I enjoy the designer's use of color stories as he transitions from one hue to the next and thus allows the show to evolve with each passing frock: first black gowns in lace, then contrasting ivory and peaches, then soft blues, and finally to golden-tinted neutrals. There are so many red-carpet looks here, as usual, and I cannot wait to see these gowns in action, but perhaps my favorite is the blue with gold brocade, vaguely miltary-esque dress (second from left). There is something so strong about it, and yet the glimmering details soften it, making in a dress of perfect balance.

Ulyana Sergeenko

Ulyana Sergeenko is Russian. If you didn't know that already, you would have figured it out by the time you looked at her debut couture show. Long winter military coats, fur hats and gloves, babushkas: Miss Sergeenko is very interested in her homeland. The street-style star turned designer has proven herself, for her way of dressing certainly carries over to her way of designing. She shows strong silhouettes and makes her style be known, but there is a whimsicality of the collection that makes it lighthearted and, to be honest, fun! Details are exaggerated and proportions are played with (she pairs a fur cap and gloves with a military-inspired bodysuit). Many fear that the theatricality of couture has been lost, now that Galliano is out of the game (for now, at least) but perhaps Sergeenko is the new torch-bearer of fun fashion.

Valentino

If Christian Dior's main inspiration was flowers, then butterflies are that for Giambattista Valli. Valli has been a favorite of mine and I think his is absolutely perfect for couture, and although his couture label is young, it is one of the strongest around. Butterflies were everywhere -hair, belts, even lips- and nature reigned today. Valli is not afraid to be bold, as evidenced by the strong pallet and structure of the clothes presented. The standouts? That forest fairy queen cape and gown (can't you just see Titania of A Midsummer Night's Dream wearing that?) and the sculpted asymmetrical peplums that bring new life to the season's biggest hit. Like his inspirational insect, Giambattista Valli is soaring.

What were your thoughts on all the couture shows?

(images from style.com)

(images from style.com)

 (Images from style.com and other sources)