Today at the Grand Palais in Paris, Chanel held its New Vintage Couture Fall/Winter 2012/13. In the enormous hall, Chanel lined the runway with over 6,000 Camilla flowers and honored Chanel’s designs from the 1930’s era.
For the show, the Salon d’Honneur, a space that had been closed off for 70 years, that is adjacent to the main floor was opened. The walls of this space were painted, the ceiling and door surrounds customized to an interior design concept that Coco Chanel used in her original salon.
The show evidenced a range of styles, focusing on a number of techniques and fabrics emblematic of the line –tweeds, sequins, horizontal ribbons, and two-toned shoes. The color palette leaned toward grays, pinks, lavenders and purples. Some images of the first set:
I understand that this appears to be tweed, but in fact is embroidery on tulle. Incredible! In addition, Chanel introduced a soft, knit purse called Chanel handbag, which is named after Karl Lagerfeld’s kitten Choupette.
Close ups of the new bag, which comes in colors that coordinate to the ensemble:
From the side:
In another fabric:
A beautiful blend of black, gray, pink and white:
A variation in pink:
This fabric looks like a velvet texture but with an incredible shine:
Beautiful sequins and beading in softly vibrant colors:
Another classic look:
This soft dress has little pompom shapes over a wash of sparkle:
I’ve always loved when Chanel makes dresses that rely on horizontal strips of ribbon. This one is spectacular:
Near the finale, this dramatic wedding dress:
Backstage, genius director of beauty Peter Philips worked his magic. Cafe Makeup loves you, Peter!
Peter Philips worked from a sketch made by Karl Lagerfeld’s inspiration for the show: new vintage. “I took some [basics] and twisted them in subtle way,” Philips says of his approach, which focused on familiar makeup elements—a smoky eye, an eyeliner and blush application, a French manicure—made modern.
These pencils appear to be the familiar Chanel brow pencils that are currently available:
Starting with a clean base, he made a “blue/gray metallic eye” that began with a dusting of Chanel Ombre Essentielle Soft-Touch Eyeshadow in Furtif that Philips swept across the upper lash line through the crease and dragged underneath the lower lash line.
To that, he applied a thick, “bulky” scrawl of black liner, which appears to be the Noir Intense that is released with the Fall 2012 collection. He then used a few swipes of Chanel Inimitable Mascara in Black and an etching of its Kohl Liner in Clair, a pale beige, that he traced along the inner rims to open the eyes a bit.
Blending a swirl of Chanel Joues Constraste Blush in Rose Initial onto the apples of models’ cheeks, albeit “a bit higher than usual,”
The makeup table:
Philips finished the face with a neutral lip that he framed with its Lip Liner in Natural and filled in with its Rouge Allure lipstick in Evanescente.
Philips took the idea of the classic French manicure and gave it a touch of now, thus ushering in Chanel’s first foray into fashion’s continued embrace of the nail art revival. “When we were playing around with the idea of doing a nail polish, we evoked the idea of using two shades on one nail,” Philips explained, employing a discontinued chrome color that launched in 2007 to outline the entire nail bed, rather than just the tip, which had been lacquered with two coats of May, a melon varnish from the Spring 2012 show.
In this image, it appears to me that there are more colors than Furtif, but the information released so far only mentions Furtif.
Again, I’m seeing some darker smoke about the liner that looks quite dimensional. I wonder if they supplemented with another gray or black shade(s).
A beautiful presentation.
Images are from Chanel.com, Style.com and Vogue France