‘Changing up your colour way is a great way to keep the look fresh throughout the seasons,’ says Bobbi Brown’s Senior Pro Artist, Warren Dowdall.Ī post shared by CHANEL BEAUTY summer, bronze, cinnamon and gold tones will look amazing paired with a slightly softer blended liner. Play around with smudging out the liner if you prefer a grungey, undone look, or for times that require a little more sophistication, keep things graphic with clean lines. When it comes to wearing the most current interpretation of the reverse cat eye, the choice is all yours. ‘There’s been such a massive trend for cat eyeliner that the time came for something different, the reverse,’ says Coombes. ‘You can also layer a little blue shadow over brown liner for added intensity.’ ‘I love layering a little deep blue shadow to the liner, it accentuates the whites of the eyes, making them pop,’ says Dior’s Pro Make-Up Artist, Jamie Coombes. The overriding message? If you’re looking to pencil this trend into your own routine, swap out your trusty black liner for a midnight or Prussian blue for a cool-toned update. Much like the spirit of the rest of the show.Chanel also dabbled in underliner at their AW21 Haute Couture show, doubling up with a two-tone navy and black liner above and below the eye. It was a light-touch moment, simple and rather charming. She was wearing a little white dress entirely covered with embroidered doves and a white bow tie. Her collections aren’t fantasy, even if she well knows how to conjure up the magic of the couture ateliers to make pieces that look like snowy, frothy whipped cream.Īnd then, at the finale, out popped the bride from a hidden door in the elephant. Instead, Viard is a “modern wardrobe for real women” kind of a designer. Sometimes, truth be told, they can really get in the way of designers just designing clothes for modern life. Of course, there’s no rule that designers should have to stick to high concepts. “That silhouette might make you think it, but no.”īack to her reticence about committing to themes, again. Within this sequence, there was a chic, neat, parma-violet short sleeved tweed coat, worn with white leather opera gloves, and long, body-skimming dresses in tiny polka dots, and black or white lace.Īsked afterward if she’d been thinking 1930s with these languid dresses, Viard looked as if vintage Chanel collections hadn’t crossed her mind. So it was, when the collection switched from short and sweet daywear to long and slim evening. Proceeding “not too obviously” might actually be Viard’s motto. It was a bit ’60s Mod maybe, but not too obviously. That was followed by varieties of abbreviated, gilded Chanel tweeds: a short trapeze coat, de-frumpified box-pleated skirts cut as minis, and then a tiny sugar-pink coat-dress with a stand-away collar. By this time, they were walking around Veilhan’s menagerie of mobile animal sculptures-a horse, lion, deer, buffalo, bird, fish, dog, and elephant-which had been trundled out to join the camel. They flipped along in their short, flared suits with the odd top hat and bow tie, shod in little white cross-laced boots with Chanel’s signature black-tipped toes. Hey presto! A playful idea that got Viard into the swing of a theme-a parade of something between cute Chanel drum majorettes, or perhaps, circus ringmasters. Virginie Viard held a tete-a-tete with the artist Xavier Veilhan to come up with a set idea for the spring couture show in said apartment and-you can picture it-they must’ve looked around and said to each other “let’s do the animals!” What swiftly comes up are photos of Chanel at home in the Rue Cambon, with a model of a camel on a side-table, large bronzes of deer clustered around her fireplace, and lion effigies here, there, and everywhere. What could a conceptual camel be doing at Chanel couture? This puzzle-the first sight to greet the audience as they walked in-can easily be solved by googling Coco Chanel’s apartment.
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