Chanel Resort 2012

By now it’s hardly a secret that I’m a Francophile. A caffeine addicted, Jean Shrimpton and Lagerfeld-worshipping Francophile. My heart palpitates at the sight of little sweaters, fitted jackets, ladylike dresses cinched at the waist—essentially all things Audrey Hepburn meets French sex kittens. My wallet cringes in apprehension whenever I see a pencil skirt or cropped, Brigitte Bardot sweater. Poor, poorwallet. Thank goodness for sales and high street stores that tide me over in the mean time.

It comes at no surprise, then, that Chanel was the first of all the resort 2012 collections to have caught my eye. It is Chanel after all. (Le sigh—oh the things I’d do to be a Chanel girl!) And though I’ve already established that I’m a bit of a Karl-ette/Lagerfeld groupie, I’m hardly biased when I say that Karl Lagerfeld never ceases to impress, designing with timelessness in mind. His ability to produce collections that still render each piece covetable and lust-worthy without losing sight of practicality is nothing short of brilliant. Everything is wearable. Easily translatable into every woman’s wardrobe, all the while retaining that luxe element of exclusivity.

I mean. It is Chanel.

Resort 2012 was every bit as extravagant as its nail varnishes’ $25 price tag. Case in point: the collection was presented at one of the most expensive hotels in the world, the Hotel du Cap in Antibes on the French Riviera. I’d expect nothing short of less from Chanel. A top-model cast and A-list front row of attendees were flown in. Each look was showered with fine jewelry; “too much may not have been enough,” said Lagerfeld to Style.com.

But despite the opulence of it all, the clothing itself as understated. Womanly and simplistic; nothing ostentatious. Diamonds or not, the collection was more about the woman than the things she wore. The presentation may have been held at a prestigious venue, and the inspiration may have revolved around the idea of a billion-dollar babe (Rita Hayworth and Aly Khan, specifically, both habitués of the Hotel du Cap). And yet, it was modest. In spirit, and in silhouette, a tribute to a bygone era of Breakfast at Tiffany’s.

Slim silhouettes were less sensual than they were naive. It’s not to be misconstrued as appearing androgynous; the collection is every bit feminine as anything by Versace, but chooses instead to portray a woman’s sexuality in a different way. Fitted jackets and nipped waists showed off the woman’s shape while skirts and dresses ended at the knees. Le sigh.

I adore the sensibility of entire collection (my favorites are picture above), hair and makeup inclusive. Still, the collection was a bit all over the place. Less cohesive, but still coherent. I suppose that would have been a valid criticism for reviewers in the fashion industry, but from the perspective of the consumer (in my head I’ve added those little white ensembles and periwinkle cardigan to my wardrobe)—well done.

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