Tailoring vs. Tweed

slouchy tailoring in neutral tones categorized most of Ghesquiere’s FW 2022 RTW collection

My “face off” between Milan and Paris was well-received, so I’m writing a reprise, only this time between two French fashion houses: Chanel and Louis Vuitton.

First, let’s talk about staging. Both houses chose eponymous locations in Paris, Chanel the Grand Palais Ephemere, and LV the Musee d’Orsay. Chane’s runway was clothed in tweed, literally - from the backdrop, to the seats, to the runway itself. The backdrop was primarily black, with the lettering for “Chanel” in bright pops of color, presaging the collection itself. The scene was dimly lit, and the ephemeral jazz music playing provided a not-so-subtle homage to the early days of Chanel’s popularity in the 20’s and 30’s. Erstwhile, at LV, the scene was set in the brightly lit Musee D’Orsay, and models stomped to a pulsating techno beat in between neoclassical sculptures. The vibe couldn’t be more different!

Now, as to the collections themselves….at Chanel, the homage to the past continued, but with the modern twist that we’ve come to take for granted from Virginie Viard. If Tweed played the leading role, it’s supporting cast included leather dresses, ribbed stockings, combat boots (itself an homage to the ever-present 90’s fetishism) and - at the end, primarily - flapper style dresses paired with oversized jewelry, albeit not pearls, again reminded the audience of the history of the brand.

At LV, one was also reminded of the house’s history, in that the bags presented very much like luggage: gym-bag style totes worn by men, wardrobe-hanging pieces worn by women, and slouchy hobo bags or takes on a book-carrying crossbody worn in between. By contrast, at Chanel, the micro bag won the day, worn as necklaces or belts, a compliment to the other pieces within Chanel high jewlery.

Let’s talk color: at Chanel, a bright array of deep, rich (not quite neon) colors appeared as if in a rainbow across the runway. By contrast, at LV, the color palette was almost exclusively neutral, with the exception of a few pops of color on ties (worn primarily by women), and the the tie-dye iterations of Ghesquiere’s inspiration, photographer David Sims. Then there’s the silhouette: the differentiator at LV was, besides the gender-neutral slouchy tailoring, the bulbous scarf-cum-skirt that reminded one of an 18th century hoop dress with the front and back cut out. Similarly, a pair of rompers with extra wide pockets, mirrored the same look. In contrast, at Chanel, the silhouette was exceedingly feminine, albeit not with out the occasional oversized sweater (tweed, of course) or combat boot (hello, 90’s nostalgia!). By and large however, the looks were figure-skimming, reminiscent of an era of pencil skirts and blazers, until the tail end of the show in which we saw flapper-era dresses in another tribute to the House’s beginnings.

All in all you can probably tell which is my fan favorite, but regardless of my personal style preferences, I am in awe of the artistry of each designer, house, and collection.