The concept of the organization row is understood even by those with just a whisper of an captivate in fashion. While music venues have their moshpits and statesmanship has its front bench, fashion has the Frow. A catwalk front row is a microcosm of all the narcissistic peacocking that exists in any exertion. But here on the Frow, fashion’s top table, everything is laid lay bare for all to see. It appears that Karl Lagerfield is a designer who finds this never-ending fussing closed seats an absolute delight. Why else would he do away with the row aspect at the Chanel show and make every single seat – all 3,500 of them – a organization row? Certainly not for democratic reasons (that seems unlikely for a man at the control of a billion-euro label selling bags with four-figure worth tags) – it’s more likely for the insider fun of it.
Podium a show which was titled Front Row Only with the essence itself being catwalk show is both meta and prevalent for the German-born designer, who likes to fool around with frame and its tropes. This season, his Chanel extravaganza was more in the concept than the assassination. Gone were the fancy sets (see the supermarkets and brasseries of catwalks dead and buried) and instead he constructed a fancy fashion salon with cream walls, carpets and Goliath mirrors. It was a salon presentation on steroids. A mashup between the stamp’s Coco Chanel heritage with Lagerfield’s pop-art devise on it.
If the set represented a meeting of fashion minds, so did the clothes. The models put oned flattened boater hats – much loved by Coco herself – with be in the drivers seats of pearls in cartoonish dimensions. The flat boots with tweed lawsuits were the sort in which a Duchess might feed the chickens of her surroundings estate, while the tweed iPad covers were assorted akin to an international airport lounge. Emoji-printed shoppers – perfect with peace V signs, cat faces and flowers – were a conventional move from the designer to get cash tills ringing. The fingerless, quilted leather gloves spoke Lagerfeld, while the giant trapeze trench coats bring to light Coco in her Scottish estate.
The usher was at its best when at its most modern. Top was a black leather hooded anorak with quilted sleeves, implying at the Parisian rush towards a more street approach. Less mother country chic, more street scally is what the Frow is turn someone on excited about.