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Karma's a B*tch

Another season, another resounding victory of Schiaparelli over Chanel. Once again, Schiaparelli has blessed us with what I believe to be their best collection to date, while Chanel is dated. This phenomenon has occurred consistently for the past couple of years, but would you believe me if I said that once, Coco Chanel and Elsa Schiaparelli were bitter enemies? 


Gabrielle Bonheur “Coco” Chanel, was raised in a Parisian orphanage, where she mastered the art of sewing. As a young adult she became a revolutionary of the fashion capital, taking inspiration from menswear and transforming it into the chic and timeless brand Chanel is still recognized as today. By the 1930s, however, Coco’s rebellious style seemed rather docile in comparison to the wave of Surrealism washing over Paris. 


Now is when Elsa Schiaparelli is brought into the picture. Young Elsa was born in the 1890s to Italian aristocrats, but she did not claim the life of rule-following that awaited her. Instead, she ran away from home, even getting kicked out of England before diving head-first into the wave of surrealism. By the 1930s, Elsa Schiaparelli had created quite a name for herself, even if her designs were an acquired taste.



One who did not seem to savor the taste of Schiaparelli, was Coco Chanel herself. Intimidated by her popularity, and perhaps jealous of her upbringing, Chanel sought to minimize her opponent by refusing to acknowledge her by name, instead referring to her as: “the Italian artist who makes clothes.”Schiaparelli, of course, did not hold back when calling her “the hat-maker”, alluding to Chanel’s previous profession.


This verbal feud escalated further during a Parisian ball when Chanel dared Schiaparelli to dance with her. It is during this dance that Chanel pushed her competition, who was dressed as a tree, into a flaming chandelier. 


This forest fire was put out by frantic guests' soda water, but before the battle could turn into a war, the conflict was postponed by actual war erupting across Europe: World War II. 


Both designers were forced to close down shop as a result, but Chanel kept busy enough by becoming a Nazi spy.


After the war, Schiaparelli attempted to reignite the flame of her brand, but it seemed to be extinguished along with her tree dress. Meanwhile, Chanel (you know, the Nazi?), released a collection that had Europe in love with her once more. 


Chanel continued to rule, even after the founder’s death, a fact I can only assume Coco Chanel relished until she took her final breath in 1971. Elsa Schiaparelli passed away only two years later, in 1973. Little did she know, however, that her brand would be brought back to life forty years later, in 2013 by Italian designer Marco Zanini, and with it, reignite the nearly century-old feud. This brings us to today and the iconic fashion house’s corresponding collections.


I like to hear the bad news first, so let’s start with Chanel.


Go girl! Give us NOTHING! I mean, I try to think of a single Chanel collection I’ve enjoyed in recent years, and there’s not a single lonesome thought. I am frankly sick of the scoop neck, the amount of tweed, and the shapelessness of it all! I’m assuming the hair department tried to resuscitate this collection (which seemed to have been exhumed from its grave after its death a decade ago) with statement bows, and even that was a fickle attempt at CPR. There is timeless, and then there’s this, boring and outdated (but what do I know?).


The only aspect of this collection I somewhat enjoyed, and take this with a grain of salt, was the closing bridal look. It made a statement and reminded me infinitesimally of Princess Diana’s wedding gown. That’s where my sympathies end. Sorrows and prayers.


And now, for the amazing news, and it’s that Daniel Roseberry for Schiaparelli has done it again.



Go girl! Give us EVERYTHING! I mean, opening the show with this jaw-dropping fallen angel gown had me on the edge of my seat for what the rest of the show held in store. Immediately following it up with these intricate puffed sleeves and then the wondrous spotted gown adorned with precious stones. Honoring Elsa Schiaparelli’s love for draping with this masterfully draped, sheer black gown, continuing the sheer theme with another provocative silhouette. Add in a zebra with a frankly intimidating necklace, because why not? Take my breath away with these careful navy cut-outs, and awaken the silver renaissance with this hardware dress.

The last few pieces of the collection have quite literally left me speechless, for anything other than this: Daniel Roseberry is Elsa Schiaparelli’s long-awaited revenge. The world was not ready for Elsa Schiaparelli’s artistry in a war-ravaged era, instead seeking solace in the timelessness of a familiar design. But it is Schiaparelli’s turn to blossom, ignite, and be recognized as the marvel it is. Karma really is a b*tch, and Coco Chanel should've probably known better.


Love,

Someone with a clear bias


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