by Guest Contributor Minh-ha, originally published at Threadbared
Several days ago, Karl Lagerfeld, head designer and creative director at Chanel, debuted Paris-Shanghai: A Fantasy, a short film made to accompany the Chanel pre-Fall runway show. The 22-minute short was projected on an outdoor screen amid the Shanghai cityscape. (The film clip is below.)
Cross-overs between fashion and film are nothing new. Indeed, Paris-Shanghai isn’t Lagerfeld’s first foray into filmmaking either. Last year, he made his directorial debut with a 10-minute silent film called Paris-Moscow. Another designer/filmmaker is Tom Ford who just released his first film, A Single Man, a feature-length adaptation of a novel (with the same name) by Christopher Isherwood. And while The Cook, the Thief, His Wife and Her Lover was not produced or directed by a fashion designer, Jean-Paul Gaultier’s contribution to the 1989 acerbic comedy film on the pleasures and perils of (all manner of) consumption undeniably exceeded his role as head costume designer.
Lagerfeld’s latest film has Lithuanian model Edita Vilkeviciute playing a very tightly-wound Coco Chanel who travels to 1960s Shanghai in her dreams. (Vilkeviciute also played Chanel in Paris-Moscow.) There, she meets two “Chinese” youth in Mao-style suits, played by Danish supermodel Freja Beha and Lagerfeld’s French male muse, Baptiste Giabiconi. Both are adorned with Mao-style outfits and heavy kohl-lined eyes. While the Beha character admits that she doesn’t “know much about Western designers,” she admires Chanel’s jacket and is soon invited to try it on. Chanel then offers the Giabiconi character a men’s jacket to try on. As Beha and Giabiconi happily embrace each other in their new jackets and hurry to admire themselves in the mirror (speaking fake Chinese), Chanel beams smugly at the camera, “You see, everyone in the whole world can wear Chanel.”
Read the Post The Truth of Lagerfeld’s Idea of China