ALEXANDER WANG - REVIEW

This collection cannot go unnoticed. Taking place in a church, Alexander Wang will have prepared himself for controversy. After Alessandro Michele announced that his Gucci, 17, cruise show is to be held in Westminster Abbey in June, the church spoke up in opposition. The concept of mixing fashion and religion was thought inappropriate and out of place to reverend Peter Owen-Jones who spoke to the Independent about his strong concerns - valid since this ultimately is using a place of worship for predominantly commercial purpose. However, this didn't stop Alexander Wang from mixing the two. And for that matter, almost insulting the church in the process. 

Rebellion seemed the theme of this body of work. Stereotypical teenage revolt portrayed through parents' worst nightmares: harsh pointed studs, chain chokers, pole-dancers on jumpers and marijuana printed jackets created what seemed a punk take on Chanel. Yet Wang may have intended an ulterior motive. 

Although a youthful take of rebellion, we sense a more mature political statement - the historic battle against religion. The main source of global conflict, Wang may have been addressing this with his insulting of traditional views. Promoting marijuana printed clothing in the house of God is certainly a controversial move to make. 

This collection may have focused more on the message than the clothing since the apparel was nothing much out of the ordinary. However the outspokenness could be read clearly, and for that, Alexander Wang, we salute you. 

HAUTE COUTURE: A GUILTY PLEASURE

In the opinion of many, the glow of couture week is becoming exceedingly inappropriate. Three days dedicated to the parading of glitz and wealth seems obtrusive amongst today's crippling economies. The juxtaposition of haute couture and the current middle-eastern crisis renders fashion insignificant; an unnecessary opportunity to smear money across the screens of millions. Untouchable riches. 

This being said, the bi-annual event remains a personal guilty pleasure. Although a sinful presence underlies my indulgence, laced between my mixed emotions lingers waves of thrill. We cannot explain the excitement that is tickled by Maria Grazia Chiuri and Pier Paolo Piccioli. Or for that matter, justify our needs for the silks of Saint Laurent. Perhaps our desires are set alight from the knowing that these objects are out of our reach; like a forbidden love - forget Romeo, we'll take Elie Saab. 

As ridiculous as the need for the Chambre Syndicale de la Haute Couture may be in comparison to the shocking societal crises of today, I find the coming days to be the most thrilling of the industry calendar. We may well be dancing with the devil, for the temptation of couture is often too otherworldly for us to ignore. Angelic creative direction, embroidery and detail, cohesively blossoming in each individual piece. This is Haute Couture. An incomparable luxury. Often inappropriate.. never overlooked. 

IVD 

MADEMOISELLE PRIVÉ

There is so much more to exhibitions than what is on show. A good exhibition plays with all the senses. Visually, the setting and arrangement of each room has to be unexpected. Each room should offer a new experience regarding the theme of the work.

Designed by Karl Lagerfeld himself, Mademoiselle Privé indulged us in previously hushed dimensions of Gabrielle's life. Her 'codes' for example: the colour red, black and white, totems, pearls. Each with their own significance. The exhibition felt as if it had been deliberately concocted to highlight Karl's relationship with the late mind of Chanel. As if his intentions were to prove his depth of knowledge within the thought process of Mademoiselle Privé herself. He wished to prove, through revealing secrets oblivious to fans before now, that he has a supernatural link with Coco and his embodiment of her work is unquestionable.

Yet, typical of the Chanel attitude, this theory was quickly contrasted with the screening of a short Lagerfeld production. The film portrayed Geraldine Chaplin as Gabrielle Chanel, returned from the grave to witness how her legacy has been continued. And, in fact, disgusted with the modern label. This confused me, if Karl was so keen to express his sincere knowledge of Chanel's wishes, why then show a film implying that he got it all wrong?

Aside from this, the most part of the exhibition consisted of Karl taking us back to the roots of Gabrielle. How she began, and most significantly, her inspirations - one of which was an 18th century garden, interlocking hedges apparently becoming the story behind the two Cs Chanel logo.

The history and inspiration took over so much of the exhibition that only one room was left to display the clothes. A long, rectangular space on the third floor of the Saatchi gallery, presenting at one end the 19th century wonders by Gabrielle Chanel, and the other, the outfits of the Chanel gamblers - as presented at Paris haute couture A/W 15. Here stood the dresses of Julianne Moore, Vanessa Paradis, Lily-Rose Depp, and Kristen Stewart (Rita Ora also although out of place as ever).

On leaving the exhibition we were directed to the final room, a bubbling bright space resembling a scene from Charlie and the Chocolate Factory. Large brass cauldrons of multi-coloured Chanel No5 opened their lids to engulf the room of the scent. Here we were reminded of the significance of the fragrance, and that Chanel was the first designer to develop an eu de parfum containing her own name.

Sharing a glimmer of who Gabrielle was left us wanting more. However perhaps a glimmer was just enough to remind us that Chanel was – and is – much more than the clothes. Chanel is an attitude and an image, founded to fulfil the needs of and empower women. It is utterly timeless and does not create trends, Chanel creates history.