*CREDIT COVER PHOTO VIV LYNCH
CHANEL: Emancipation, everything starts from the austerity of a necessary comfort, which is ostentatious, and then, has arrived Chanel.
She added that such a concept, born in ’80 of 800 , the Garçonne, term appeared for the first time in the writings of Huysmans, who describes her as “woman who lives her life independently and unconventional”.
Definable in its rigorous style of a strong female figure, short cut smooth burr-free, as published in ’22 of ‘900 by Victor Margueritte in “The Garçonne”, icons of this style became at the beginning of the last century Marlene Dietrich, Greta Garbo , Joan Crawford, Clara Bow and Louise Brooks especially because of his haircut.
Similarly, but far from the rigor of Garçonne, we would find the Flapper, revolutionary with the short skirt and short hair in the postwar period.
Costume revolution first, sociocultural then, let’s start with women who have revolutionized the sexuality of a century in austere surface, up to a completely opposite century to today. Chanel, the brand this time, continues to impress with the choice of its women, perfectly into the trend of the moment and in the mentality of the founder, I think.
The choice of the faces from the French fashion house has always been very peculiar, they always oscillated between androgyny and extreme beauty of strong and independent women, the last in order of time, expressed in their everyday lives, with their aesthetic and their way of looking at the lens of the camera, the new way of understanding the woman’s life, that of a new woman, who is liberated from time and lives herself, her sexuality and her freedom in a completely different way.
Two generations, those cooler, we find them as the face of a brand that is a symbol of femininity, we pass by the overwhelming beauty of Cara Delevingne, actress, artist, influencers and super model, to the disinterested gaze, but absurdly expressive of Kristen Stewart, until exponent of the generation Z par excellence, whose aesthetic fluidity is absurdly sublime, Willow Smith.
The choice of the faces, to me it seems more a choice of the person and what represents at the social lovel, are a perfect insight into the woman of the moment, free and conscious of a fluidity, crowned by the media overexposure.
The feeling that the woman of today is what Coco had in mind from the start, finally free, sensual and comfortable in the shape that pleases: herself.
Old consciousness, a legacy of a past that already could see further, it seems to me that the choice of new faces as some of the past, falls perfectly into the vision of Her, now it is certainly easier the self-expression, thanks to the battles of the past, to the globalization of information, with a consequent internationalization of the figure of the individual, the opportunity to express themselves through very private public vector like the socialnetwork, led exactly to the emancipation of a figure more more independent. I know that with everything we hear during the day, still talk about women empowerment seems absurd and almost outmoded, impossible to have to think even the fact that equality there is, unfortunately, this fight is still fresh, maybe not economically mature countries even if I do not put my hand on fire.
We get up every morning with the mistaken awareness that some speeches are closed, but it is not so, we are still far from archiving of the case. These women, the faces in question are the mirror and the consciousness that the new generations, and where freedom can lead if well cultivated.
Woman dressed as man, today as a century ago, at that time it was a scandal, now is an icon, the new beauty as that of Willow Smith, move the bar to a future that will give new visions of sobriety and rigor, a today icons of the future that we look forward.
The woman with the tuxedo for him, is no longer a scandal far, one of the strongest steps in the media to this effect have been moved by Dolce & Gabbana who paraded the top models in tuxedos with models on a leash, and invariably Jean Paul Gaultier, the revolutionary, made her pull with fake mustaches and beards, not to mention Armani, who can do the mens suit, even for her.
The faces powerful aesthetically, mediatically to beauty and for break, Chanel chose them making themselves participate, once again, a silent and widespread r-evolution, within a generation who educate themselves and that influence the not infulenceble: all others.
The aesthetic is vaguely alien, with a flavor of what it was.