We can look back at the Chanel Spring/Summer 2004 collection as many things. Perhaps we see it today as exemplary early 2000s, exemplary Lagerfeld, or exemplary Chanel. But its ability to be all of those things is really what Lagerfeld brought to his successful creative direction at Chanel. His collections were timely and fashionable whilst ever salient and chic. This was no exception. Pair the dresses, skirts, and jackets that scream Chanel with accented chains, chunky jewelry, graphics, and unexpected fabric combinations, and you get a collection quintessential to Lagerfeld’s creative direction at Chanel. You also get something that continues to inspire in the summer of 2020.
While in some ways this runway show was a Spring/Summer classic, Karl Lagerfeld was able to bring a real sense of versatility among the looks and garments. With the bathing suits as chic as the pantsuits, Lagerfeld takes the Chanel woman from the beach to the boardroom in this collection. Among the diversity of garments, the designer included traditional spring motifs like pastel pink and watercolor prints. Heavier tweeds and crochets were complimented by lighter fabrics in a way that was both on brand and in season.
Meanwhile, Lagerfeld seemed to make an attempt, while staying true to the salience and maturity of the brand, to nod to early 2000s grunge and youth culture. The designer delicately implements use of sheer black tulle, for example, as well as music motifs and statement accessories. Often, these looks are paired with or immediately followed by something as traditionally ultra-feminine as white and pink lace. Light layering and heavy jewelry here seems to pull looks together that are at once eclectic and simple.
What Karl Lagerfeld communicates in the Spring/Summer 2004 collection is a truly fun summer of ‘04. It is a summer to go for gallery walks and beach vacations. A summer of not only work and play but also one of laying out by the pool and listening to music with friends. With this Chanel collection, Lagerfeld creates a joyful fantasy for the warmer days of the year, and as we sit in our homes or hiding behind masks, it’s easy to fall for it right about now.
References
- 1
- 2
Azzedine Alaïa
Tatti Collection, Spring/Summer 1991
Braun
Electrical Tooth Brush Head, Enameled Lapel Pin, 1990
New Order
Casette, 1980s
Jean-Michel Basquiat
Now’s the Time, 1985
Vintage Floral Dress
1960s
Paul Rudolf
Chaise Lounge from the Residence of Mrs. Henry Kaiser
Andrew Rebori
Florsheim Mansion, 1938
Art Moderne
Home, Tweed, Ontario
Bill Blass
Dress, 1960s
Brigitte Bardot
Shopping in London, October, 1963
Chanel Haute Couture
Trompe l'oeil Evening Dress, 1983
Cristobal Balenciaga
Baby Doll Dress, 1957
Gilbert Rohde
Armchair, 1935
Lyle Owerko
BOOMBOX 27, 2010
Marc du Plantier
Chair, 1971
Norman Norell
Flower Evening Coat, 1965
Pan Pacific Auditorium
Los Angeles, 1930s
Revox A77
Teal-to-Reel Tape Recorder, 1967-80
Richard Prince
Woodstock Poster
Tom Sachs
Boombox, 2002
References
Azzedine Alaïa
Tatti Collection, Spring/Summer 1991
1 of 20
Braun
Electrical Tooth Brush Head, Enameled Lapel Pin, 1990
2 of 20
New Order
Casette, 1980s
3 of 20
Jean-Michel Basquiat
Now’s the Time, 1985
4 of 20
Vintage Floral Dress
1960s
5 of 20
Paul Rudolf
Chaise Lounge from the Residence of Mrs. Henry Kaiser
6 of 20
Andrew Rebori
Florsheim Mansion, 1938
7 of 20
Art Moderne
Home, Tweed, Ontario
8 of 20
Bill Blass
Dress, 1960s
9 of 20
Brigitte Bardot
Shopping in London, October, 1963
10 of 20
Chanel Haute Couture
Trompe l'oeil Evening Dress, 1983
11 of 20
Cristobal Balenciaga
Baby Doll Dress, 1957
12 of 20
Gilbert Rohde
Armchair, 1935
13 of 20
Lyle Owerko
BOOMBOX 27, 2010
14 of 20
Marc du Plantier
Chair, 1971
15 of 20
Norman Norell
Flower Evening Coat, 1965
16 of 20
Pan Pacific Auditorium
Los Angeles, 1930s
17 of 20
Revox A77
Teal-to-Reel Tape Recorder, 1967-80
18 of 20
Richard Prince
Woodstock Poster
19 of 20