Chanel’s Spring/Summer 2024 show left many scratching their heads, wondering if the innovative spirit of the iconic house had taken an unexpected pause. Virginie Viard, at the helm for the past five years, seems to be grappling with the challenge of proving herself, but her latest collection feels more like a timid ballet than a daring pas de deux.
The peculiar choice of a button as big as a full moon was, undeniably, the elephant in the room. This huge button felt more like something from outer space than a fashion statement, overshadowing the delicate craftsmanship Chanel is known for.
The ballet theme, allegedly the heartbeat of the collection, fell flat. Pearly white tights paired with long-sleeved leotards felt awkward and lacked the grace one expects from Chanel. The monotony of black sandals with each ensemble added to the overall sense of boredom. The decision to forego makeup, hair, and accessories felt like a missed opportunity to elevate the outfits, leaving them looking less like carefully curated ensembles, and more like uninspired dancewear.
However, amidst the sea of wardrobe missteps, there were moments of brilliance. The intricate details of the buttons, when not astronomical in scale, were a testament to Chanel’s dedication to craftsmanship. The collection featured a variety of luxurious fabrics, including a delicate blend of silk chiffon and organza for an empire-waist gown, and soft silk crepe with a hint of stretch for a tailored jumpsuit. A dress with a slightly dropped waist and a voluminous skirt showcased layers of lightweight tulle and silk satin, exemplifying the collection’s focus on elegance and movement.
Yet, the collection suffered from monotony and uninspired choices. Some outfits, burdened with excessive tulle, appeared as though a random piece of fabric was haphazardly fixed to the dresses, taking away the overall harmony. As the show progressed, a questionable shift occurred. With a departure from contemporary towards sheer fabrics that left spectators both intrigued and perplexed.
There were outfits that transcended the blandness of the collection. The ones that succeeded did so by embracing the ballet theme with subtlety and finesse. Delicate pleats, soft drapery, and tone on tone embroidery were the quiet triumphs of the runway, proving that sometimes, less is more.
Chanel did a cautious dance, stumbling into predictability rather than pushing the boundaries as we’ve come to expect. Virginie Viard, despite her efforts, has yet to fully seize the creative reins. The pressing question emerges: Can Chanel twirl back into the spotlight, leaving the oversized buttons behind in the archives of off-beat fashion history?
The peculiar choice of a button as big as a full moon was, undeniably, the elephant in the room. This huge button felt more like something from outer space than a fashion statement, overshadowing the delicate craftsmanship Chanel is known for.
The ballet theme, allegedly the heartbeat of the collection, fell flat. Pearly white tights paired with long-sleeved leotards felt awkward and lacked the grace one expects from Chanel. The monotony of black sandals with each ensemble added to the overall sense of boredom. The decision to forego makeup, hair, and accessories felt like a missed opportunity to elevate the outfits, leaving them looking less like carefully curated ensembles, and more like uninspired dancewear.
However, amidst the sea of wardrobe missteps, there were moments of brilliance. The intricate details of the buttons, when not astronomical in scale, were a testament to Chanel’s dedication to craftsmanship. The collection featured a variety of luxurious fabrics, including a delicate blend of silk chiffon and organza for an empire-waist gown, and soft silk crepe with a hint of stretch for a tailored jumpsuit. A dress with a slightly dropped waist and a voluminous skirt showcased layers of lightweight tulle and silk satin, exemplifying the collection’s focus on elegance and movement.
Yet, the collection suffered from monotony and uninspired choices. Some outfits, burdened with excessive tulle, appeared as though a random piece of fabric was haphazardly fixed to the dresses, taking away the overall harmony. As the show progressed, a questionable shift occurred. With a departure from contemporary towards sheer fabrics that left spectators both intrigued and perplexed.
There were outfits that transcended the blandness of the collection. The ones that succeeded did so by embracing the ballet theme with subtlety and finesse. Delicate pleats, soft drapery, and tone on tone embroidery were the quiet triumphs of the runway, proving that sometimes, less is more.
Chanel did a cautious dance, stumbling into predictability rather than pushing the boundaries as we’ve come to expect. Virginie Viard, despite her efforts, has yet to fully seize the creative reins. The pressing question emerges: Can Chanel twirl back into the spotlight, leaving the oversized buttons behind in the archives of off-beat fashion history?
Hi, society 