A Roll in the Hay With Lagerfeld’s Chanel; Not Your Usual Burlap Sack

Chanel boutique, spring/summer 2010; jacket in neutral patchwork, wooden clogs, linen bag; Chanel photo

In an interview after the presentation of the Chanel Spring/Summer 2010 Boutique Collection, Karl Lagerfeld said that country life is different than in former times because today, technology keeps us connected to whatever we wish. The bucolic life is quiet and isolated only if one wants it that way. Lagerfeld has always been quick to embrace technology and it is well known that he has multiple iPods and he quickly embraces innovation and change. Lagerfeld is one of the most culturally aware and au courante designers of our time. He is adept at synthesizing trends, historic styles, and cultural influences. He processes them into clothes and accessories that are modern and fresh. His mind is quick, and just as he switches effortlessly from French to German to English, he can also conjure up a virtuoso collection without appearing stressed. Unlike many designers who take inspiration from other epochs and style, his style references never look costume-y.

The traditional, iconic Chanel style continues to enthrall fashionistas decades after it returned to prominence in the 1950s, however Karl Lagerfeld has done admirable work in keeping it new but recognizably Chanel. When I first viewed the spring/ summer 2010 RTW collection, inspired by Marie Antoinette’s country escapades in which she retreated to a small dairy village on the grounds of Versailles, I didn’t see much of a connection. It was French, it was country, but stylistically, I couldn’t see anything of the 18th century queen in these fashions of 2010. This summer, I've had the opportunity to view several pieces from the collection close up, and am having new thoughts about it.

Clearly, the Chanel spring/ summer 2010 collection is not intended to be a literal take on late 18th century French fashion. Rather, it is a philosophical or aesthetic inspiration of her idealized and deceptively simple escape to the rural. At her little dairy, Rambouillet, a 10 minute walk from the palace, the style was countrified, but of the highest level of refinement. The details of garments in this Chanel collection also appear simple and rustic, but in fact they are carefully conceived and have discreetly elegant details. At Marie Antoinette’s dairy, and in this Chanel collection, the highest levels of French craftsmanship, dating back to pre-Renaissance times, are evident. For her Hameau de la Reine, accoutrements were made by the best French designers and artisans. The milk pails, embellished with finely modeled heads of rams, were of exquisite Sèvres porcelain from the Royal Porcelain manufactory, hand painted with enamels in faux bois, rather than rough real wooden buckets. The creation of something that appears simple but is actually of fine material and highly skilled workmanship as these Sèvres milk pails were, is comparable to these Chanels. At first glance these clothes may appear as straw and coarse burlap, but they are quality silks and linens, used in carefully designed garments. In the 1920s, Chanel's little black dresses were described as "pauvre deluxe;" the idea of silk/linen "burlap" is Lagerfeld's 21st century example of luxurious poverty.

La Laiterie de Rambouillet, bas-relief, 1780-1787; Photo, Manufacture Nationale de Sèvres

Continental porcelain, likely Dresden, cooler or bucket from the London Home of Mrs. Charles Wrightsman, after the Sèvres model made for the dairy of Marie-Antoinette at the Hameau de la Reine, auctioned April 28th, 2010 ; Sotheby's photo

The workmanship, design, and quality seen in this collection are superb and of a refinement only possible in France or Italy. The most constant chromatic theme is the use of burlap, wheat, and straw-like and colours. Linking this to the preferences of Coco Chanel, straw beige was one of her favorite colours.

There was a very small collection within the collection that was red, white and blue, a summery look inspired by daisies, red poppies and blue cornflowers of the farm fields of France, and the July 14th Bastille Day decorations seen everywhere in France during the early summer. One "Bastille" look was of an ecru cardigan, matching skirt, burlap and wood clogs, and faux wicker or burlap purses, all with the applied red, white and blue patriotic flowers. This ensemble was one of the most popular, and was featured by many top fashion magazines. It is very charming, and it could be easily approximated by someone who loves it but can't afford it or find it. A style savvy woman could find a simple Orlon or cotton vintage cardigan at the thrift store and appliqué felt, silk, or crocheted flowers on it, and it would look delightful. But this would be like comparing a poster of a fine painting with the actual artifact in a museum. The skill and workmanship on these floral pieces was both sophisticated and detailed . Each flower was hand crocheted in a very fine gauge fiber. They were of just the right body and sturdiness to be dimensional and raised, but avoid being crushed or damaged worn. With tax, this piece would cost over $8,000.00 Canadian; it is certainly something that will have a limited clientele.

Chanel pullover from the Bastille Collection within the Spring/Summer Boutique collection, with applied crocheted poppies and cornflowers; pale gold buttons at the hip; photo courtesy of "darmardan" who recently had this top currently listed on eBay

a beautifully exectuted, hand-crochetted poppy; Chanel Spring/Summer 2010, image courtesy "darmardan"

For these summer 2010 Chanels, quality and taste are used in a discreet and modern way. On the surface, the silhouettes and cuts are not innovative or daring, but the pieces are very beautiful, flattering, and wearable. As production is limited, afficionados consider them collectable works of decorative, wearable art and craft. While much of the collection was monochromatic beige and cream, it avoided Grace Kelly propriety, with edgy, urban details such as delicate faux tattoos (a special edition Chanel Beauty product) the models had on their legs, and dark, almost black, lips and nails. The signature Chanel frayed hem and cuff looked especially appropriate when used for these country inspired, casual pieces. Jewellery and accessory collections were carefully thought out and related to the clothes of the collections. Stacked wooden and cork clogs of burlap, embellished with provençal flowers, contributed to a level of co-ordination usually seen in 1950s couture.

Some of the classic Chanel quilted handbags appeared to be of burlap but the material was not scratchy like jute, and the stitching was done with interesting, raised fibers, giving the whole piece a fuzzy, slightly spiky depth and texture. The jewellery was also thematically linked. The jewellery finish was a dull, pale, soft gold that was almost a metallic beige. One theme in the jewellery, the stalk of wheat, is a classic from the Chanel vocabulaire. In Chanel’s Rue Cambon apartment, the wheat motif is visible in several places; notably there is a tiny oil painting of a single stalk of wheat, by Salvador Dali. This season, delicate stalks of wheat embellished belt buckles, brooches and necklaces. The classic interlocking double C logo was done in faux bois to look like twigs from a country woodland. In all aspects of the collection great attention was given to detail. I spoke to the manager of one Chanel boutique who mentioned that customers were very interested in this beautiful collection, as are they for the global warming theme, faux fur Fall/Winter 2010 collection that will beginning hitting stores any time now.

a brooch from the Spring/Summer 2010 Chanel Jewellery collection in faded gold finish incorporating the wheat motif as a wreath with a central double C logo rendered in faux bois, private collection

The "Marie Antoinette in the Country" inspired collection is an ideal look for a 21st century summer. It speaks to our longing for the country when most of us live complex lives in congested cities. It is simple and comfortable, and at first glance doesn’t draw unwanted attention or evoke envy during these times of economic difficulties. It has a distinctly casual look that doesn’t look too formal or too ladies-who-lunch, at a time when social barriers are much less evident, and denim jeans are the default choice of many. It does however satisfy the desire for quality, excellent design, discreet prestige, and superb quality for those who have the means, and an understanding of the creativity and great care that have gone into this subtle but very fine collection.

The iconic Chanel camellia, spring/summer 2010 version, of linen "burlap;" a fine, barely noticeable gold thread in the fabric adds textural interest and a subtle touch of elegance

A simple flower made with plain burlap and a vintage Chanel button; design, photo, and styling by SwF

It isn’t enough to be able to afford it, because even for those who can, these limited pieces have moved out of Chanel boutiques very quickly and were sold out. And for those of us who cannot afford a $3,000 Chanel basket purse, a $25.00 willow basket, as the Europeans take to the morning market for shopping, will look every bit as charming. In fashion and design, taste and creativity are just as important as cash.

This week marks the birthday of Coco Chanel, born August 19, 1883.
for a few dollars, a simple wicker basket and flowers from the craft store makes a summer carrier as pretty as those by Chanel; photo and styling, SwF
Chanel 2010, straw basket style handbag; image, thatsafabuloushandbag.com

resin heel in Louis XVI style with neo classical floral swags recalls those on furniture of the period; photo SwF

a layered, tiered hem of frayed faux burlap, racy black lace, and gold thread wheat motif embroidery, viewed with a delicate Chanel Beauty faux tattoo; an unfinished burlap garment could easily lapse into Li'l Abner potato sack territory, but Lagerfeld avoids this with a more complex hem; we see a border of embroidered wheat and a flounce of delicate black lace, traditionally associated with luxury and refinement; photo SwF

note the top tier of the hem. It is a band of unfinished burlap like material, used on the bias, with the artfully frayed edges stabilised with 2 rows of machine stitching; photo SwF

the elegant beige and white scheme so lovely for summer; edging and waist band of crocheted braid; photo SwF

Chanel's country casual cork clog, embellished with a summery white poppy, photo Swf

Chanel Jewelry for a Song

Vintage signed Chanel costume jewellery circa 1985-2000.

Assorted vintage pieces of jewelry in the Rue Cambon style.

Chanel jewelry is highly collectable. Since the Chanel Boutique line was launched in 1983, Chanel jewelry has been fashionable and held resale value better than most other designer jewelry. While the most coveted pieces of Chanel jewelry are those from the 1950s and 1960s when Chanel herself still the designer, pieces from the 1980s to the present have a look and presence that most other brands lack. Second hand Chanel jewellery can be purchased at better re-sale shops consignment stores for less than half of what the original cost would have been.

When Chanel jewelry is good, it is very good, however a limited number of pieces exhibit manufacturing flaws and inferior quality. I’ve noted pieces with the “nacre” off the plastic pearls, and others where the gold plate bubbled and flaked off or wore off after minimal use. This is rather unfortunate considering that many pieces are in the $1500-$2000. range. In spite of this, most pieces are of fine quality, and the design and proportion make pieces from other designers and manufacturers look ill conceived, clumsy, and lacking style.

The Chanel look is unquestionably chic and desirable. The very high retail prices give it an additional aura of exclusivity. However, those women who have Chanel taste but limited budgets can conjure up the look if they really want to. Here’s the plan:

Haunt vintage stores, flea markets, and antique shows. Know the Chanel vocabulary. The vocabulary consists of: 1) pearls 2) gold chains 3) cabochon jewels 4) a heavier, more generous scale 5) pieces based on medieval or Baroque originals 6) camellias and gardenias 7) lion heads 8) lucky 4-leaf clovers 9)cross or quatrefoil motifs 10) wide cuffs 11) rustic and hammered finishes

Chanel lion left. Miriam Haskell right.

Anonymous clover pin left. Chanel clover pendant, circa 1990, right.

Chanel silk gardenia/camellia left. Vintage circa 1955 celluloid gardenia flower head brooch and ear clips,right.

Some people feel that the Chanel look must incorporate the double CC logo and are not accustomed to looking at Chanel designs without it. It really doesn’t have to have the logo. In fact Chanel herself rarely used it, and the way it is enlarged and plastered on so much today would likely be considered vulgar and undesirable by Chanel. So many of the CC logo bags seen on the street are counterfeits, so the prestige of the logo has become pretty diluted. Chanel wanted quality to speak quietly for itself, and luxury to be recognized by those with taste. She never felt that the Chanel presence had to shout. It was understated and discreet but still unmistakably Chanel. So if you follow the “vocabulaire” and find vintage examples, you will likely pay a minute fraction of the price of a signed designer piece, and the quality and look will be as good, if not surpass them. It is important to remember that design is more important than a brand name when you select a piece of jewellery or clothing.

If you don’t feel inclined to go on the treasure hunt that flea marketing often can be, stick to foolproof pearls. Artificial pearls of the Majorca, Miriam Haskell or Carolee brands are better quality and far less money. And you won’t have to worry if they’re ever lost, damaged, or stolen. In the most memorable photo portraits of Jacqueline Kennedy at the White House, she is wearing very inexpensive fake pearls. Considering that the French considered her the most elegant woman in the world, nobody should have a problem wearing faux. Save the money for tickets to the opera, a good piece of art, or your kid's education.

Hammered finish vintage faux topaz pin, unsigned.

Here are a few examples. Do you think these inexpensive thrift store finds look as good as the Chanel pieces?

Anonymous thrift store jewellery in Rue Cambon style.

Photographs and text copyright of Square with Flair™

The Chanel Interior

In fashion, the classic braid edged Chanel jacket is one of the most recognizable icons. It has been coveted by women for decades, and every major designer from Yves Saint-Laurent to Moschino, has interpreted it.

Equally well known is Coco Chanel’s famous apartment in the Rue Cambon, situated above the couture salons. Left untouched since her death in 1971, it has been immortalized in scores of books, magazines and journals. Remarkably, interior designers have not appropriated Chanel’s décor they way fashion designers have continually copied her tweed, gilt buttoned jackets, and her boldly Byzantine jewels. That is a pity, because it is one of the most elegant, classic, livable, and easy to achieve looks in a room. Chanel décor is wonderfully versatile. While unquestionably elegant, it has relaxed elements that make it eminently suitable for our casual times. It is unisex; any chic woman would feel comfortable in it, and yet it is bold and comfortable enough for a man.

Here a few aspects of the look so you can bring it home.

Firstly, it is neutral, with an overall absence of colour. There are a few touches of soft rose in the chintz of a chair, and there are hints of muted colour on the enamel of crackled lacquer Coromandel screens, but these accents are virtually invisible. The palate consists of beige, black, off white, camel, and tobacco. Interest is introduced through varying textures: reflective crystal, velvety suede and velour carpet, mirror, bronze, lacquer, and wood.

The photo included here is of the author’s “Chanel” corner on a glass and iron wheat sheaf table. This table was one of the most famous pieces in Chanel’s apartment. The wheat table is Florentine gilt ironwork, and this design was widely distributed in North America during the 1960s, 70s, and 80s, and they can be found regularly at auctions and antique shops. Yves Saint-Laurent also had one of these tables in his Paris apartment.



The formula for a Chanel room is a remarkably simple recipe. One caveat: deviation from the plan will result in a lack of coherence and loss of the Coco magic. This is one look, like a correctly accessorized Chanel suit, in which, “The whole is greater than the sum of its parts.” This look was pretty much assembled by the mid 1950s. Six decades later, there is no aspect of it whatsoever that is dated, unattractive, unlivable, or inappropriate for our lifestyle today. It is as timeless as the classic Chanel jacket, or her strings of pearls. And for those of you who would question the idea of reconstituting what is basically a 20th century period room, Lagerfeld himself has been known to recreate rooms and clothes, calling the process,"…an exercice de style." Doing this, he has realised flawless neo-classical and Biedermeier residences in Europe, as well as literal interpretations of classic Chanel suits, especially for promotional and advertising purposes.

Has the look of the Chanel apartment in any way influenced your taste, aesthetics, or selections in interior design? Do you think this look would be appropriate for your lifestyle, and do you think you would be comfortable in such rooms? Would you like to visit Chanel’s apartment?

Square with Flair™