I’m coming for you Tavi Gevinson!

‘Vogue’ and  ‘Vanity Fair’ spreads show the irrepressible magic and impact of CHANEL’s heritage, worn here by Cara Delevigne and Lily-Rose Depp.

SilverChanel

We have to ask how do they do it?  How does Chanel continue to create links with the mistress of allure and couture?  How does it capture the dissolute deceptions of the little singing milliner who was their founder? It’s partly Coco’s ability to constantly reinvent herself so that the archive is rich and multi faceted. But it’s also because Chanel knew how to pose, to be en vogue, to socialise through the media, and to become society’s first working woman celebrity.

ChanelStudio

Still lives and long lost footage

The shoestring straps on the miniscule black dress and the high-heeled above-the-ankles boots in ‘Vanity Fair’s’ current Chanel ad make think of Deauville, ‘Boy’ Capel, Audrey Tatou, Ballet Russes and Stravinsky. How do they do it?

What would Roland Barthes say?

So vulnerable - so not Chanel. So vulnerable – so not Chanel.

In Woody Allen’s ‘Stardust Memories’ there’s a scene with a besotted fan saying, to a successful movie director, that his after-shave gives her a Proustian-rush.  When she asks what it’s called he replies, Proustian Rush!

Maybe you had to be there, but it makes the point that a perfume has the power to stir significant memories and evoke emotions.

Once a scent is established and carries a label’s essence it’s important that the associations from the Fashion house are continued in promoting its myths and legends. The Wertheimers who still run the House of Chanel are usually brilliant at this*

However Coco Chanel’s life and works left a legacy, which continues as the most successful Fashion label in the world. Images from her original inspirations are traced in every new collection by Karl Lagerfeld and his super talented team.

Marilyn Monroe’s short…

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Vain hopes, vague waves – August is a wicked month

We love the glossies. They exist to distract us with their glamour.  It’s as if  Benetton’s, revolutionary 80s, advertising never happened for August 2012’s, UK editions, Vanity Fair and Vogue.

Subtle, conventional, uncontroversial, Louis Vuitton promotions feature liveried guard, luxury coach interior,  stern faced models in sculptural hats, vertiginous platforms, fine denier hosiery, polished leather gloves, and bejewelled, cupcake buttons, in Vogue.  The luggage company’s aspirational offering, for Vanity Fair, shows Muhammad Ali with boxing gloved, be-jeaned, glorious tiny grandson and unzipped LV holdall in luxuriant,  pooled garden.

Editorial in VF involves itself in matters of the moment.  Annie Leibovitz’s photos of Nobel Peace Prize winners create startling juxtapositions of Mikhail Gorbachev with the 14th Dalai Lama, Professors Jody Williams and Mohammad Yunus, Dr. Shirin Ebadi,  Lech Walesa, F.W. de Klerk with Jimmy Carter, 39th president of the United States.

Described as a ‘wayward teenager,’ the Yale alumna and the much missed, Marie Colvin, famously quoted as saying, ‘I never drink when I’m covering a war,’ is celebrated in  over 14 gripping pages, by Marie Brenner, as the world of Rachel Weisz’s scary fiction is contrasted with this real life drama of love and war.

In the revelatory economics of ‘Microsoft’s lost decade’ we discover that Google has ‘almost the same amount of cash on its books as Microsoft’ and that Steve Jobs blames Bill Gates for not putting enough emphasis on brilliant products, tending to ignore the humanities and liberal arts.  Well duh!

Latest trends in marketing are emerging through the rich West’s involvement with fabulous food provenance, sensed through the actual taste bit from the aesthetic list.  Stunning Art makes my mouth water and never more so than when devouring Fashion ads.   Gucci’s deep, dark oils across Vogue‘s double pages with spotlit glitter, glamour, glitz on belts, bags, rings and statement jewels are beguiling as Belgian chocolates.

Wondrous evocations of the Chanel legend drift across pages, one of pure white space. In a shade, dreamed from the sky at midnight, textured fine wool, with deeper contrast trim and sleeves appear on a porcelain and spun-ebony model. More genius styling from teams behind Bottega Veneta, Dolce & Gabbana, DKNY, Prada, Armani, Burberry Prosum make up selling-copy as divine post-modern theatre.

Although it hardly matters, with all this other scrumptiousness, editorial remains a delightful, image-rich feast, too.  In this August Vogue there’s nothing more serious than the sobering thought, from editrice, Alexandra Shulman, ‘everyone loves a good diktat!’  So let’s just say, ‘Keep taking the tablets.’

http://www.hud.ac.uk/staff/fashionintheageoftheimage.php