All the major models and front-row types made it to Scotland in the snow for Chanel’s pre-Fall spectacle at Linlithgow Castle, birthplace of Lagerfeld’s newest muse, Mary Queen of Scots. If you like 16 th century guardsman pantaloon skirts , hearty, textured cashmere tweeds and tartans, and flat shoes, then you’ll love Chanel’s comfort couture 2013. You don’t have to diet to wear these clothes.
“I love Mary Queen of Scots and I love Scotland,” Karl Lagerfeld said after the show, before admitting he’d never actually been there before. “I’ve been working the whole time but I like what I’ve seen from my hotel window. The city looks very beautiful. But you know I’m not a tourist. I’m not into sightseeing. I like how I think a place is. I don’t have to see what it actually is.”
“He told WWD‘s Miles Socha the collection was inpsired not only by “the idea of Scotland,” but a combo of Coco Chanel and Mary Queen of Scots, whom he called “two queens of fashion,” adding that Chanel “had a better end” than Mary, since she was not decapitated. “-Fashionista.com
The NYTimes loved Lagerfeld’s Highland Fashion Fling
“The exquisite detail of medieval hair melded with African braids, of tweeds elongated into winter coats and of ethereal white dresses, full sleeved blouses and regal ruffs, made this one of the finest shows the designer has created in his tenure at Chanel, which hits 30 years in 2013.
The queen of Scotland and the queen of fashion,” said Mr. Lagerfeld, as if it were so easy to take elements from the court and the clans of Scotland in the 16th century, streamlined modern sportswear and a whiff of Punk and send them out into the frosty night air, where fiery sparks competed with gently drifting snowflakes.
In his new role as titan of tartan, the designer excelled in sophisticated mixes, so far from the cliché kilts and plaid scarves in tourist-shop windows in this city of sooty granite buildings. Even Mr. Lagerfeld’s version of a wool blanket to warm an audience, sitting in the open wooden arcade, was a meld of soft colors, with the flourish of double C’s embroidered over a Scottish thistle.” – NY Times