Know About The Style of Audrey Tautou

The first thing Audrey Tautou does is leap out of her seat and declare: "I love your glasses! I want some. Where did you get them?" At five feet three inches she is petite rather than small, slight as opposed to thin. Excruciatingly gamine, she would make the perfect Peter Pan. Her jet-black hair is cut characteristically short, brushed forward like Audrey Hepburn's in Funny Face, her lips are femme-fatale scarlet, and a white lace blouse perfectly complements old-school Levi's that hang impeccably over a pair of black 1940s-style high heels. Tautou looks immaculately stylish, which must've come in handy for her latest role as the legendary French fashion icon, Coco Chanel, in the hugely successful Gallic period piece, Coco Before Chanel, directed by Anne Fontaine.

"Once Audrey agreed to play Coco I knew I could do the film as I envisioned," said the director just a few minutes before I met Tautou. "I was struck by her will, her audacity, and the density of her gaze that goes straight through you. She has the same impertinent look, the same androgynous appeal, the same toughness and innate sense of style. She is the only person to play Coco."

Undoubtedly, Tautou pulls of the role with uncommon aplomb, delivering a subtle yet multi-layered performance that, with just the arch of a manicured eyebrow, quietly provokes all manner of questions about the icon that some might rather avoid. Did she hate men? Did she use men? Did she sleep her way to success? Did she step on any and all to rise to the top? Or was she purely a product of her environment who had to use all at her disposal to succeed?

And yet the film avoids the most controversial aspects of the pioneering designer's life. Absent is her notorious affair during the war with Hans Gunther von Dincklage, a German officer and Nazi spy, as is her subsequent arrest for war crimes and her acquittal, before trial, via the intervention of the British royal family.

Instead, the film plumps for what is arguably a better story, and deals with Chanel's origins. It begins, like a 19th-century romantic novel, as, Gabrielle "Coco" Bonheur Chanel, born in a poor house on August 19th 1883, is abandoned in the orphanage of the Roman Catholic monastery of Aubazine.

The narrative moves swiftly on to her short career as a bar singer (she took her name from a song she sang in cabaret) and covers her life as kooky concubine to the immensely rich playboy, Etienne Balsan (Benoît Poelvoorde). The film concludes in 1920 after Coco's romance with her financial backer, British millionaire Arthur "Boy" Capel (Alessandro Nivola), ends when he dies in a car crash, leaving her financially free to revolutionise the way women dressed, thought and behaved.

"Premises of projects about Coco Chanel had been submitted to me for several years," explains the bubbly Tautou, now perched on the arm of her chair. "But I did not want to do a biopic, you know – participating in some sort of saga recounting her life from birth to death. Chanel lived for 87 years! We would have fallen into the clichés that have punctuated her path. No, no, no. I was secretly hoping to get an offer to play Coco but with a particular point of view. Because it's her modernity that fascinates me, her spirit, her ambition and the position she gave women."

"Chanel had to fight against conventions then that were so very paralysing for women." continues Tautou, now standing. "So, when Anne Fontaine explained how she intended to treat the subject, I immediately agreed. She wanted to avoid the obvious truisms and some sort of mimetic interpretation of Chanel, and was determined to concern herself solely with her beginning – the period when Coco was building herself and asserting her personality – which for me is the most interesting period in her life."

Source: The Independent

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High Fashion Eyebrows

When it comes to eyebrows, high fashion has decided there is only one way to go – and go they must. Emma Watson and Cheryl Cole may adhere to the power of the brow to frame a face, but more and more models are bleaching them to the point of invisibility. The eyebrow, it seems, has become "excess" hair. Agyness Deyn, Lily Donaldson and Linda Evangelista have all gone eyebrowless recently. In Givenchy's latest advertising campaign, eight male and female models recline in a French chateau looking curiously androgenous. Each is eyebrowless.

Perhaps the trend has been a long time coming. Three years ago, the model Lara Stone bleached her brows on the advice of Carine Roitfeld, the esteemed editor of French Vogue. This year she starred at the autumn/ winter and couture shows, appearing on catwalks for Chanel, Jean Paul Gaultier and Prada among others. And this month the popular 90s model Kristen McMenamy, now 42, appears on the cover of Italian Vogue without brows, 17 years after she and Karen Elson popularised the look during the grunge years.

Makeup artist Pat McGrath worked on the Balenciaga and Prada shows, both of which featured bleached-out brows. "The current economic troubles open people up to be more daring and willing to don cutting-edge looks," she says.

At a time when advertising is suffering, is eyebrowlessness just a more extreme way for a brand to sell its products? Or perhaps the prevalence of Botox (no frowning or eyebrow raising) means we simply have no need for them?

Aidan Jean-Marie, creative director of Premier Model Management, says he has "had a couple of girls who had their brows bleached for beauty stories in the last few weeks. I think clients like the look because it's clean, like a blank canvas, and 90s-inspired, which is a big trend. It's alien-like and quite creepy."

But before you reach for the Jolene, consider a more subtle take on the look. Lisa Oxenham, beauty and style editor at Marie Claire, advises "gently tweaking eyebrows with bleach". She says it gives the same effect as freckles on blondes. But she warns against eyebrow removal. "Brows give a face expression – when they are not there the look hardens." And "it is not advised if your face is round, long or if you're hungover".

Source: Guardian.co.uk

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French Movie "Totally Spies" feat. Karl Lagerfeld

PARIS - Fashion icon Karl Lagerfeld is to lend his voice to an animated feature film for the first time in the French movie "Totally Spies."

Lagerfeld, head designer at French fashion brand Chanel, will feature as bad guy Fabu in the animated action film based on the long-running hit TV series about three high school girls who become secret agents, producer Marathon Media said on Wednesday.

The movie will open in France in July..

As a fashion line, Chanel has been ubiquitous on the big screen recently in the movies "Coco Chanel & Igor Stravinsky" and "Coco Before Chanel" starring Audrey Tautou.

Source: Reuters

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Chanel 2010 Cruise Delayed By Two Hours

Karl Lagerfeld delayed the start of the Chanel 2010 Cruise show by two hours.

One of the most prominent fashion designers for Chanel decided to delay the show because he wanted to wait for the sunset, to make the experience better.

Any way you look at it, it seems that Karl has gotten used to being late for events. He was two hours late to a dinner made in his honour only a night earlier, only to be awarded by ovations for his efforts.

Obviously, fashion lovers are able to forgive everything. According to some claims, some editors remained standing, despite high heels, only to be present at the show.

So the show was perfect in the end. All of the creations were worn by Marchesa Casat. It was a spectacular show.

Source: Javno

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Chanel No 5 Anniversary

Last tuesday (May 5), commemorate the anniversary of the debut of its legendary No 5 perfume on May 5, 1921.

Along with new ads, the main item in the current effort is a short Internet film starring French actress Audrey Tautou, which is directed by Jean-Pierre Jeunet. The movie “Train de Nuit,” depicts a brief encounter between a man and a woman traveling to Istanbul on an Orient Express train.

Tautou follows in the footsteps of cinematic muses like Nicole Kidman, Ali McGraw, Carole Bouquet, Lauren Hutton and Catherine Deneuve who have served as spokeswomen for the brand.

“For me, a woman who wears perfume represents the ultimate in femininity,” Tautou said in a statement. “When a woman has a pleasant or mysterious scent, it adds a little something to her.”

Clips from the film will be used in Chanel print and TV advertising, featuring Tautou. Chanel handles its ads in-house.

In 1921, fashion designer Coco Chanel commissioned perfumer Ernest Beaux to create a new fragrance. Reportedly, five was Chanel’s lucky number, and after five tries, and on the fifth day of May, the fifth month of the year, she was presented with the scent. Or so Chanel’s history says.

Department store Saks Fifth Avenue in New York will partner with Chanel in promoting the brand. Chanel and Saks have created a new arts program at a city school, P.S. 5 (Ellen Lurie Elementary School), which will receive special funding for after-school art classes, supplies and trips.

Chanel will take over Saks’ flagship Fifth Avenue store through May 10 and a portion of Fifth Avenue will be renamed “Avenue No 5.” Seventeen window dressings inspired by the “Train de Nuit” film will feature selections from the brand’s ready-to-wear collection. Indoors, the main floor will have prominent No 5 displays, as well as other locations throughout the store.

Source: Brand Week

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A Model Biography

In the catalogue for The Model As Muse, an exhibition opening tomorrow in New York , there's a little story that summarizes the way modelling used to be.

It's a slight but chilling tale from 1920 that recalls the Paris couturier Paul Poiret at one of his presentations saying to a journalist, "Do not speak to the girls, they are not there."

That changed in a dazzling manner in 1983 when designer Karl Lagerfeld hired Inès de la Fressange to personify the image of Chanel. Proving to be the spokesperson who roared, de la Fressange possessed more than Audrey Hepburn brows, nut-brown eyes, a boyish figure and legs. Her perfectly gamine loveliness came with a mouth.

In her biography on evene.fr, France's leading cultural website, her iconic status is neatly encapsulated as "the model who talks."

Last week, de la Fressange, 51, brought her gift of the gab to Toronto as an ambassador for the Roger Vivier label, named after the great French shoe designer.

The brand was launched five years ago, and de la Fressange, who has been on board since the beginning, sets the tone of the enterprise. A director whose image-building responsibilities have ranged from store design to publicity, she is fond of saying that she thinks of herself as "court jester."

That was the way she did things at Chanel. On the runway, her performances were a mix of hammy antics and moments of sublimely understated glamour.

In conversation, she bubbled droll opinions and basked in irreverence and candour. Backstage in 1987, de la Fressange, singing the praises of a Chanel makeup foundation, told me, "It's not a liquid, it's not a compact, it's like chewing gum."

That spacey, offhand humour remains intact. "What important things have happened since then?" I ask at our interview one morning last week at Holt Renfrew where, later in the day, she will be guest of honour at a cocktail party. "Nothing," she answers, "And you?"

But the voice is deeper, the kookiness darker, the willowy beauty seasoned by times not always sunny. The collaboration with Chanel's Lagerfeld began well enough – with him introducing her to The New York Times as "a most elegant French girl, amusing, very chic" – but ended in a public squabble.

In 1989, de la Fressange accepted the honour to sit for the image of Marianne, an emblem of the French republic that appears on postage stamps and busts in public buildings.

Lagerfeld let loose his notorious tongue. He said it was all too provincial, that he couldn't dress a monument and told the press, "There will be no more Inès."

De la Fressange quit.

The next year for her wedding in the south of France to Luigi d'Ursi, an Italian businessman, art historian and inductee into the Best-Dressed Hall of Fame, the bride packed Yves Saint Laurent, Lanvin and Lacroix and, a year after that, had her own label of clothes and home furnishings.

Predicated on her taste – which runs to jackets, shirts, oversized sweaters, pants and flat shoes – her Paris fashion shop, stocked with both clothes and home furnishings, was an instant must-visit, melting even the rancour of Lagerfeld who sent her a congratulatory note.

Then in 1999, she was fired from her own company by shareholders who held on to the rights to her name.

"I fought for 10 years, but I got fed up. I forgot it," she explains with calm acceptance nurtured by a favourite book, The Art of Happiness by the Dalai Lama.

So far, the biggest challenge to forgetting and faith that de la Fressange has faced has been the loss of her husband – father to her two daughters – who died suddenly of a heart attack in 2006.

She resolved not to burden her children with any stricken widow routine, and supports their dreams. Nine (pronounced "Neen") is 15 and a promising actor; Violette, 9, is a fashion maniac.

Mother doesn't mind.

"Good," she says, "Frivolity, talent, beauty. You can't live without them."

But she could happily live without the idea of superiority of French style, though she is thought to be the very embodiment of it.

Last summer, France admitted de la Fressange's to the Legion of Honour. In the January issue of Interview magazine, she said that it was her mission at Vivier to show that you could be "French without being conventional and grim."

As for "chic," she told Wallpaper magazine, "Nothing comes from chic-ness, no fashion, no art. Chic is when you don't have anything left." ]

Source: TheStar.com

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Beret Sales Double Up!

Sarkozy may have come under fire for his protectionist policies during the current financial gloom, but the citoyens are following his lead and storming French stores in search of everyone's favourite nationalistic headwear, the humble beret.

Sales figures have doubled, claim manufacturers in Orlon Sainte Marie, (the traditional beret-making region in the south-west of France), as yuppies, or bobos, as they're known over there, are becoming increasingly disillusioned with American and English influences, and seek to support the domestic economy by buying berets. Today's bobos, goes the theory, are getting back to their roots, looking nostalgically to the rural French idyll - although it remains to be seen whether they'll be accessorising their new headgear with a string of onions.

Originally worn by the guillotine thugs, the beret evolved from the French revolutionaries' red Phrygian caps, (worn by the sans-culottes as a mark of mutiny in the 18th century), and became the typical headgear of rural, and specifically male, agricultural workers in the south west of the country. It was also the chosen hat of the French resistance movement, giving rise to a legend among the French that the side you slant your beret to is an indication of your political stance: if your beret leans to the right, so you do - and vice versa.

It wasn't until the 1920s that the beret became a unisex item, when it was adopted by singer Marlene Dietrich, the first woman to don the paysan garb, and who scandalised society in doing so.

But as a part of French national dress, the item has all but disappeared from everyday life - some older men still wear them, reports one Parisian, but few young men do - and it has largely been adopted by women as a fashion statement. As well it might.

"Like all good hats, berets can accentuate the best features of a person to make them look more striking," says milliner Phillip Treacy, quoting Greta Garbo as his favourite beret wearer. In the mid-20th century it became a symbol of archetypal French glamour, associated with coffee-drinking philosophers like Jean-Paul Sartre (known for wearing his apolitically straight), and Gauloises-smoking starlets like Catherine Deneuve and Brigitte Bardot. The French uniform of matelot or Breton striped tops, teamed with cropped cigarette pants and ballet pumps may seem cliched, but it's as chic as it was when Jeanne Moreau first tripped across a bridge wearing just that in Truffaut's Jules et Jim. As the mark of a rebel, it spans the gamut of 20th-century icons, from Saddam Hussein and Che Guevara to Monica Lewinsky, so there must be something sturdier than mere style behind its universal appeal.

The fact that sale figures have risen may not be a nationalistic shift, but a further development of a trend in contemporary womenswear.

"It's the T-shirt of hats," says Stephen Jones, haute couture milliner. "Whether you're old or young, rich or poor, a beret suits everyone, and it's a very inexpensive way to transform your existing wardrobe. It's instant glamour, on the cheap." And it is this instant glamour that means everyone wants to bag a beret - Parisians are the first to tell you that American and Japanese tourists buy the garment by the armload.

But what of the French designers? Traditionally, they are keen to cash in on the rest of the world's Francophilia. Paris fashion houses Sonia Rykiel and Chanel regularly incorporate the beret in catwalk shows, and it was ubiquitous in both labels' spring/summer collections. But, while this season's autumn shows saw berets on the Milan catwalks (for the Italian labels Armani and Sportmax), the Paris designers seemed to leave them well alone.

Not only that, but Paris-based John Galliano took inspiration from the only nation still spending money, the Russians, while Rykiel (in a shocking change of national allegiance) showed bowler hats, while at Chanel there were squashed pork- pie hats - which seemed more reminiscent of London bankers than left-bank bohemians.

"Girls in Paris do wear berets as an affirmation of their Frenchness," says Jonathan Wingfield, the editor of French fashion magazine Numero, although he senses that there is an equivocal attitude toward the garment. "I wonder if some of this is about people 'shopping in their wardrobe', and wearing old accessories they used to wear when they were younger. To be honest, most of the young people that I see here in Paris are wearing British pork-pie hats, in the style of Agyness Deyn and Pete Doherty - that's what they think is really cool."

Source: Herald.ie

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Chanel Mobile Art

High-end fashion brands are joining forces with artists to boost their image.

Luxury fashion houses have excelled for decades at creating beautiful emporiums in the hope of driving consumers through boutique doors to buy into the dream. These fashion stores can also remind consumers how powerful a brand is with no-expense-spared fit-outs. But as the bar rises and competition stiffens within the luxury industry, so too have the projects commissioned beyond the fashion realm. And it is all in the name of selling more bags, watches, pens, shoes and clothing.

Last week in Hong Kong, French fashion house Chanel officially launched its latest global power project, the ambitious Mobile Art. Commissioned by Chanel's Karl Lagerfeld, the futuristic mobile art gallery was designed by the Pritzker Prize-winning architect Zaha Hadid. Created from fibreglass panels, the 700-square-metre multimillion-dollar pavilion took six months to build and will be dismantled seven times to travel the world. For now its home will be Hong Kong's Star Ferry Car Park before it is packed into 65 containers and shipped to six more cities, ending its tour in Paris in 2010.

"The cost is not important. Chanel is about the dream," says Bruno Pavlovsky, director of Chanel's fashion division. "The project is more about building the Chanel image and what you see today is consistent with our vision for the next 10 years." The 20 commissioned artists had free reign to use any creative medium but all works had to be strictly inspired by the 2.55 quilted handbag designed by Coco Chanel in 1955.

Chanel's contemporary artists include Yoko Ono, Sophie Calle, Stephen Shaw, Wim Delvoye and Fabrice Hyber. Mobile Art curator and the editor-in-chief of the magazine Beaux-Arts Fabrice Bousteau says the initial list was "artists that I like - that's what a curator does. And all said yes, so we now have an exhibition with work by artists who have a strong personality and voice in their work."

The most controversial submission is Wim Delvoye's pigskin 2.55 bags (actually made in the Chanel workshop) and two stuffed tattooed pigs, named Jamie and Slobodan.

"We decided not to reject any project," Pavlovsky says. "Chanel herself was controversial, so to have pieces that evoke controversy is OK."

After the French artist Sophie Calle had accepted Chanel's commission, a work conflict led her to advertise in a Japanese magazine seeking an artist to carry out her project. Her vision was to stop passers-by, tell them to empty their bags and offer to buy both contents and the bag they were carrying. Soju Tao won the job with a bag budget of EUR11,000 ($17,794). Tao convinced several Chanel-toting strangers to hand over their bags with one 2.55 in the exhibition containing cash, house keys, a camera, mobile phone, an address book and Shirley MacLaine's book Out On A Limb.

Chanel is not the only luxury brand in recent times to collaborate with artists. Cartier's exhibition space in Paris is at its Foundation Cartier and features the work of contemporary artists and photographers. In 2004, Cartier gave the space to designer Jean-Paul Gaultier, who filled the room with intricate designer dresses made using bread. Hermes has exhibition spaces in its Ginza and Singapore boutiques, and currently has its Hbox mobile video theatre screening work by leading video artists at Paris Pompidou Centre.

In 2006, Louis Vuitton opened its permanent Espace Louis Vuitton gallery on the top floor of the luxury brand's Paris flagship store on the Champs-Elysees. The gallery opened with an exhibition called Alphabet Concept, by New York performance artist and photographer Vanessa Beecroft. Her 13 pictures portrayed nude women wearing clown wigs and with their bodies entwined to shape "LV". Also in 2006, nine artists, designers and architects, including Hadid, were commissioned to create bags for the exhibition space. The seventh and current exhibition, Orients Sans Frontiers, is inspired by the adventures of the automobile from Beirut to Beijing.

Currently running in Melbourne is High Art, a multi-venue exhibition which is part of L'Oreal Melbourne Fashion Festival. Taking place on shopping strip High Street, Armadale, Australian designers Scanlan & Theodore, Kirrily Johnston, Lisa Ho, Arabella Ramsay, ksubi, Lee Matthews and Herringbone have collaborated with artists to create installations inside their stores.

Next week Montblanc will take over Sydney's Martin Place with its own "art" installation. Famous for its pens, Montblanc commissioned six contemporary artists and photographers, including David LaChapelle, Jean-Marc Bustamante, Sam Taylor-Wood, Sylvie Fleury, Gary Hume, and Anne and Patrick Poirier to create six shopping bag sculptures. Standing three metres high, the bags have been exhibited on the Champs-Elysees and the Rockefeller Centre.

Designer exhibition spaces have been criticised by the art world, which claims there can be no creative independence when artists are commissioned by a commercial patron.

Yves Carcelle, chairman and CEO of Louis Vuitton Malletier, told the BBC at the opening of Espace: "The artists were free in their work. The main difference between art and creativity in fashion is that in fashion you need to sell the product. Art works only if you give it total freedom." When asked if Espace was designed to sell more handbags to tourists, especially the Japanese, who flock to the store to worship the logo-decorated luggage, the answer was: "Sell more handbags? Yes, that's my dream."

Chanel's Pavlovsky is also honest in what Mobile Art hopes to achieve: to sell more bags. "We hope the exhibition will create a strong image for the 2.55. Chanel No. 5 and the fashion already have its own iconic status."

Source: WA Today

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Chanel: Dimension To Music Glam

AN acoustic type of guitar made by a traditional European guitar manufacturer and styled in chic black and white by the French fashion House of Chanel as a striking accessory in its Spring/Summer 2009 fashion collection.

More specifically, it is a “classical guitar” which has six strings, three of which are made of steel and the other three, nylon.

Crafted according to ancestral techniques, this technically sound instrument has a bevelled body for better ergonomics and a mahogany rosette sound hole that is highlighted with a white-silkscreened Chanel signature logo of intertwining Cs.

The borders are hand-painted and varnished to match the white Chanel insignia splashed indiscreetly across the back of this black guitar.

The accompanying strap is a sporty canvas one in elegant stripes of brown, white and black held together with black leather tabs embossed with the double C logo.

To hold and protect this luxury musical instrument, Chanel’s creative head Karl Lagerfeld offers a choice of an elegant white quilted leather case or a two-toned canvas case.

It’s the perfect musical instrument for the ardent music lover, who reveres luxury.

Lagerfeld’s latest fusion of music and fashion luxury does not steer much from the classic aesthetics of the Chanel brand and makes an outstanding showpiece in the study when not in use.

For Lagerfeld, the reason for this stand-out piece was because “Coco Chanel had an affair with Stravinsky, mine was with a guitar”.

Available now by special order only. Price upon request.

Source: The New Straits Times

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Superb Fashion Is Not A Dream

The famous French diss was on the tip of everyone's tongue at the haute couture fashion shows that started in Paris.

While economies around the world crumble, the small band of couture designers snubbed such cold realities and asked their audience to suspend disbelief – to dream.

Christian Lacroix's bride combined full tulle skirts with gleaming embroidered matador jacket. For Chanel, Karl Lagerfeld explored the contradictory elements of floral overstatement and clean modern minimalism all in white. Jean Paul Gaultier's Spanish collection riffed on the sultry flamenco dancer and Picasso's sculptural cubism.

Unlike ready-to-wear collections that are shown in fashion capitals six months ahead of their season, couture shows are mounted just weeks before the time the designs are meant to be worn.

The spring/summer shows, narrowed down to just three days this season, are composed of one-of-a-kind spectacles intended only for the extremely rich. Though the market for such confections may be dwindling, they continue to pitch glamour against the economic odds.

And despite a downturn in the global economy, chances are slim that these luxurious suits and dresses will ever be discounted.

Still, they attract an audience – burlesque star Dita Von Teese, actress Mischa Barton and rapper Kanye West.

For Dior, British designer John Galliano referenced the early days of Christian Dior as well as paintings by 17th-century Dutch masters. Consider a magical mix of billowy puff sleeves, fitted torsos and magnificently giant loopy skirts.

It might seem insensitive to flaunt such excess. But it ain't called haute for nothin'.

As an institution, haute couture is in palliative care. Yet it won't lie down.

And as sure as each passing season it becomes more of an anachronism, its defenders leap to justify its existence.

They wax on about its magical, fantastical nature – how important it is to experiment with the limits of fabric and cut and drape, how important it is to escape the realities of a sometimes hard-knock world.

"Something to make people dream," said Bernard Arnault, chair and chief executive of LVMH Group and Christian Dior, after Monday's show.

While he predicted things wouldn't get better until the end of 2010, many fashion watchers lament that haute couture has been on a long, steady march toward irrelevancy for decades.

John Galliano told reporters: "There is a credit crunch, not a creative crunch. Of course, everyone is being more careful with their discretionary purchases. I am. But it's our job to make people dream, and to provide the value in quality, cut and imagination."

Source: TheStar.com

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Paris Fashion Week: Celebrity Invasion

Karl Lagerfeld unveiled his autumn 09' Chanel Collection to a star studded audience! Kate Moss looked great as she came out to see the Parisian House unveil its new (and very expensive) threads for fall. The supermodel looked timeless in a form fitting tuxedo jacket. Moss channeled her Katharine Hepburn as she paired the jacket with oversized pants that had great detailing at the bottom. We love that she kept her hair and makeup light and let her outfit speak for itself.

Also in attendance was a wrinkle free Claudia Shiffer who showed up in classic Chanel Tweed. The super model rocked the Chanel skirt with black leggings, great Chanel heels, a white blouse, and a Chanel purse to top things off.

Not to be out done Lily Allen and Milla Jovovich also got into the Chanel act. Allen looked cute in classic white Chanel with black trim while holding onto her white Chanel bag. Jovovich looked adorable sporting the latest headband trend. She paired the hairpiece with a gorgeous off the shoulder Chanel Jacket, white skirt, and pink belt. .

All the ladies looked especially French in their Chanel. And the show may be over, but they will always have Paris.

Source: HollyScoop

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Paris Fashion Show - Fur-Covered Helmets

Paris, France — Karl Lagerfeld gave fur, the staple of stoles and coats, a new raison d'etre Sunday, sending out fully functional mink-covered motorcycle helmets as part of his winter 2010 ready-to-wear collection.

Fur epaulettes also added a quirky touch to military jackets and dressed up long, lean and clean-lined evening gowns.

"Now everyone is on scooters, even chic women, so we had to do the helmet," said Lagerfeld, who has reached ueber-celebrity status as the designer for Chanel and Fendi. The helmets, made by French brand Ruby, are road ready and outfitted with an iPod connection that pumps music directly in, he said.

The mostly black collection also included short dresses with sharp, square shoulders and built-in caplets worn over skinny pants with a vertical red stripe down the back.

Lagerfeld said the powerful shoulder was the starting point for the collection.

"Unlike the shoulder pads of the 1980s, these shoulders don't jet out horizontally, but rather wrap around the shoulder like a bridge," he told reporters backstage. "It gives the attitude for the whole look without looking like an old truck driver from the 1980s."

One look that definitely did not scream truck driver was an ankle-length black turtleneck gown adorned with thick sparkly ropes like tinsel at the throat and the square shoulders.

Accessories, a cash-cow for many luxury labels, included diminutive square-shaped purses on a ropey strap, fingerless mittens like those Lagerfeld himself often sports and heavy silver earrings that covered the entire ear like a metallic earmuff.

Source: The Canadian Press

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