March Comes in Like a (Chanel) Lion

vintage Chanel pins incorporating Chanel's Leo; the modelling is intentionally irregular, evoking the cast metal brooches of antiquity; photo SwF
Karl Lagerfeld at the end of the Fall/Winter 2010/2011 defile; photo courtesy of isaaclikes.com

this giant lion was the centre of the Fall/Winter 2010/2011 Chanel fashion show; it was modelled after one in Chanel's apartment; photo courtesy of isaaclikes.com

this wall relief of the head of a lion in the window of Toronto's Chanel boutique is a perfect specimen; he looks classical, is very symmetrical, and is brave with out being terrifying; I like the way the pupils are drilled and his rather baroque mane, photo SwF
the pin on the left is vintage Chanel, the one on the right is by Miriam Haskell, photo SwF

The month of March is upon us. I noted that the windows of Chanel boutiques have incorporated a large relief of lion's head. Lagerfeld is constantly mining the Chanel vocabulaire, and has used the lion motif before, as did Chanel before him. Chanel's sign was Leo and she was fond of the motif. The stone on her grave in Switzerland features five lion heads, a reference to her zodiac sign and her lucky number.

Many vintage pre-1970 Chanel couture buttons had lion's heads on them rather than a double C logo that is so popular today. Chanel wasn't fond of plastering the logo all over, and when she did, it was inconspicuous enough to be almost invisible. I believe she wanted quality, originality, and beauty to be self-evident. Looking at her superb vintage designs, inevitably it was.

The lion motif is creeping back into recent Chanel collections; a coveted quilted lambskin bag has a bold lion head motif on the closure and there are waiting lists for this $3,000 bag. Current fashion dictates that silver and pewter effects are surpassing Coco Chanel's classic gold, but I think a lion motif can only be in gold, and if a more modern look is desired, a soft or faded gold.

The current Chanel boutique window display appears to be the first time that the lion has been used as a play on themes during the windy month in which spring begins in the northern hemisphere..."In like a lion, out like a lamb."

Here comes Mr. Lion with a great big ROAR!

More cold winter, quick shut that door!

This little lamb thinks it would be nice,

If March was the end of the snow and ice.

Author Unknown (lost in the mists of childhood)

Lucian Matis, the Hit of Toronto Fashion Week

an enthusiastic Lucian Matis answers questions after his very well received collection

The hit of Toronto LG Fashionweek was unquestionably the Lucian Matis show on the afternoon of Thursday, April 1st. Lucian’s clothes and presentation were unique and beautiful.

The new Fashion week venue at the newly restored, historic Art Deco Automotive Building (now rebranded the Allstream Centre) on the grounds of the Canadian National Exhibition is very spacious and is ideal for fashion shows. The central location and a very generous lounge and bar area, spacious areas for hairdressing, makeup, wardrobe, dressing, media, interviews, socializing, and wide corridors make this facility much more suitable than previous locations.

feverish activity in the ranks of creative hair and make-up artists

The show began with the passionate singing of Rona Hartner accompanied by stirring violin that was layered with an urban beat. It set the distinctly east European mood before the models had emerged. The models were carefully selected for an eastern European look; they had Erno Laszlo complexions, high cheekbones, and strong noses. The hair was teased into large sculptural "buns" that were adorned with a black fabric headpiece that was neither bow nor hat, but a most creative and becoming creation somewhere between.

exquisite millinery reminiscent of a large, romantically wilted fleur-de-mal

The palette was disciplined and cohesive. Black featured prominently in the collection and was used mostly as accents in accessories, although a few outfits were entirely black. Black headdresses, eyes heavily accented with kohl, black jewellery, and most striking of all, long tight black gloves and equally tight black leggings gave a new and interesting aspect to dresses, coats, jackets and skirts. Colour schemes were: all black, black with gunmetal grey, black with gold, black with cream, all cream, or all grey. Matte, shiny, and textured materials brought interest to the richly detailed collection.



The inspiration for the collection was the folkloric looks of eastern Europe, specifically the designer's homeland, Romania. In historic collections of the past decades, both Coco Chanel and Yves Saint-Laurent showed east European peasant inspired collections, however Lucian’s look was sophisticated, modern, and avoided costume effects by the measured use of black, and unobtrusive touches of modernism such as shoulder and hip emphasis on some garments. The introductory clothes were those most clearly inspired by ethnic looks; later pieces were linked to the collection by the use of black and similarly styled and accessorized models.

two very different looks, both accessorized with black and a sophisticated demeanor


a signature look from the fashion show invitation; note the very unique "lantern" skirt

European charm meets 21st century urban sophistication

Jewellery added great distinction to the looks, especially the large pieces that were black jet, or with amber coloured stones, a look that is specifically identified with eastern European taste and style since antiquity. In true, classic couture taste, the jewellery pieces by the talented Karen McFarlane were massive and overscale, boldly making a statement in a way that precious jewellery often does not.

The audience viewing this collection was clearly impressed, and reactions were very favourable. As the audience exited the large hall, they seemed rather dazzled and overwhelmed by the beauty, and it seemed that one would experience culture shock by returning to reality. Conversations overheard after the show were nothing but praiseworthy.

classic black used in an original and new manner

How long Lucian will remain in Toronto before being lured to New York or Paris is uncertain, but you can be sure that he as achieved a level of taste, creativity, and technical skill that would permit one to utter his name in the same breath as Galliano or McQueen. Really, you had to be there.

A video of the Lucian Matis collection can be viewed at http://vimeo.com/10660422.

original prints, glamorous silhouettes, innovative cuts, folkloric inspiration, numerous accents of black

text and photos © 2010 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™