BOOK REVIEW: Fashion legends Chanel and McQueen under the spotlight
Almost any book on fashion legends will have an instant audience and especially at this time of year, says Robin Dutt.
With international fashion catwalks having very largely returned following various Lock Downs and Slow Downs and the homogenising nature of Zoom shows, we might be able to be a little more confident in the future of fashion. Many publishers are planning several fashion titles to whet the appetite as part of this return to flair and fit. Part of Frances Lincoln’s series about fashion greats, ‘Icons With Attitude’ these two livres de poches (for so they are) are manageable and fit perfectly into this season’s capacious raincoat pockets. The subtitle (with obviously more in the pipeline, one presumes) is ‘What Coco Chanel/Alexander McQueen – ‘Can Teach you about Fashion’. But don’t let that put you off. These are not designed for the student alone and contain page after page of delightful quotes, stories and, of course, images – some seen for the first time for many readers. Ms Chanel, it would seem, has much to say on every subject in the fashion arena and some gems include these – ‘Dress shabbily and they remember the dress; dress impeccably and they remember the woman’, ‘Adornment, what a science! Beauty, what a weapon! Modesty, what elegance.’ and ‘The best colour in the whole world is the one that looks good on you.’ Sound advice and views, indeed.
From McQueen, we have observations such as, ‘Clothes and jewellery should be startling, individual’, ‘I use things that people want to hide in their heads. War, religion, sex:’ and ‘When you see a woman in my clothes you want to know more about them’.
Caroline Young penned the Chanel book and Ana Finel Honigman wrote the McQueen and, in relatively short texts, cover much ground, reminding the reader of the lasting legacy of two very different and two highly respected talents, the world over. The archival shots of Chanel are especially engrossing and perhaps to be expected, the ‘shock value’ catwalk imagery of McQueen, worn by celebrity models such as Stella Tennant, Kristen McMenamy and the much missed fashion icon, Isabella Blow who bought McQueen’s final college runway collection. In the former, we see the couturier at work in her atelier, lounging at home in timeless luxury or modelling her own creations in her early days, by the sea. McQueen’s catwalk shots remind of his dark and dangerous edginess incorporating tailored military suiting, bondage influences or the use of bones and horns, feathers and lace which somehow do not look surreal or out of place at all.
So whilst these are not ‘How To’ books (even though some may still feel they might have an element of this) it must be remembered that both contain material which really does conjure the spirits of these two stellar artists whose take on individuality and glamour whilst being so different is not at odds when it comes to creative vigour and verve.
Coco Chanel and Alexander McQueen published by Frances Lincoln, £12.99 each.
Almost any book on fashion legends will
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Whilst the concept of a bedside leather box or tray is nothing new, the company gently reminds that as a gentleman and perhaps, that (still) gentleman having enjoyed an evening’s revels must take care of his jewels. A signet ring seems wedded to the pinky but what about studs, tie bars, stick pins? There are especially 18th century stories a-plenty concerning those who sought out the cleaning jobs at grand houses and semi palaces, where they could be sure that amidst the detritus left by pleasure and combing through filth and vomit, there just might be lost diamonds and gold accessories which fell from wigs and coats in abundance. Nice work if you can get it, as someone once sang…
So, whilst one won’t quite vote for abstinence when it comes to a night’s jolly, if you have an Ettinger at home, you won’t lose your diamonds in the sheets – or anywhere else, for that matter. Rest easy, as you turn out the lights…
“The scarf is the canvas,” says Rouget. “It is a simple square – allowing creativity by the user…how it folds, how it drapes…It’s about exploring art in a different way – on an intimate, personal level.”
Perhaps the most striking images are those from the iconoclastic genius, Man Ray (1890-1976) who is best remembered for his contribution to the Dada and Surrealist art movements. In particular (although he regarded himself as a painter) it is his photography which has become memorable and some especially timeless and iconic, such as ‘ Le Violon d’Ingres’ (1924) showing a woman’ in a turban whose back indeed, resembles the instrument in the title. Then there is the evocative ‘Glass Tears’ (1932) which shows a partial face with a focus on heavily lashed eyes and perfect ‘moonstone’ cabochon lachrymose domes. In both cases, Man Ray’s expert lighting highlights the differing dramas.
The especially late Georgian period of the 18th century and indeed the Regency that followed threw men’s attire into sharp focus and with one man, Beau Brummell, pictured left, still heralded as the patron saint of modern male clothing – for its comparative plainness. Just a few decades before, men who could, were happy to parade in silk and shine, fields of embroidered flowers on satin or elaborate, powdered wigs and jewels. But the burgeoning birth of a new century gave birth also to a new concept of presentation. An elegant anonymity took over in male suiting and colours became more sober and demure. Patterns which were worn all over the body tended to retire to waistcoats and cravats. This may be said about male decorative choice in accoutrements today. And of course, this was emphasised in the greatest reign of the 19th century, Queen Victoria’s, when black became not so much a funereal colour alone but one of sober respectability from the requirements of an opera venue to, indeed the elegance of, an exclusive club. Although designers today may experiment with ‘outlandish’ colour for male suits in the name of Fashion, season after season, it is black, navy, grey and brown that win hands down as especially the old guard in Savile Row might opine – bar of course the delightful colour blends, say, of traditional and contemporary Tweed.