Grand Magasin


PARIS, MARCH 4, 2014

If Chanel's Spring show skewered the art world for the oligarchs' supermarket it has turned into, Karl Lagerfeld went one better for Fall and imagined the whole world as a megastore—un grand magasin—under the sign of the double C. The shelves of his extraordinarily detailed set were stacked with more than a hundred thousand items, brazenly advertised at 20 or 50 percent more. No bargains in these aisles. The labels of at least five hundred everyday products had been re-coded in Chanelspeak.  It was entrancing to see the fashion world's great and good transformed into kids in a candy store by Lagerfeld's spectacle. An epic celebration of consumerism was also an epic satire of it. An instant analogy was Andreas Gursky's gigantic 99 Cent diptych. (Lagerfeld was kicking himself that he hadn't thought to invite Gursky to the show.) As a piece of conceptual art, as a critique of pop culture, as a fashion show, it offered the juicy meat of an academic thesis. Oh, yes, the fashion. The very notion was antithetical to the guts of a collection that was just about the most democratic Lagerfeld has ever offered for Chanel. So the Chanel catwalk accommodated an unusual variety of silhouettes and a massive range of options. With today's overwhelming, irresistible extravaganza, he was saying that fashion's a supermarket. So you might as well shop.


 © 2019 by Matteo Menotto. All images presented in this website are for pure information only and cannot be reproduced without writtien permission of the author

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