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  • After umpteen years of captivating, grand-scale sets for Chanel — art gallery, aircraft, grocery store, underwater kingdom, Hausmann-esque city street, all brought to life under the splendid dome of the Grand Palais — it is uncanny that Karl Lagerfeld chose this particular moment  underbust corset  to install a replica of France’s most famous, most romanticized, most representative structure, the Eiffel Tower, or as least as much of it as one could see before its spire faded into the clouds that hovered in mysterious perfection over the crowd assembling below.

    Lagerfeld conjured and commissioned the work well before the presidential election that brought Emmanuel Macron into power and before learning that, immediately after his   corset skirts sets  couture show today, Anne Hidalgo, the Mayor of Paris, would honor him with the Grand Vermeil, a medal bestowed in recognition of extraordinary achievements in service to Paris.

    During a preview, Lagerfeld tried to explain the kismet of the timing of this particular set, and along the way belied his oft-stated insistence that’s apolitical. “It’s all about France,” he said  christmas costume  of his show. “This is the moment for France, with M. Macron as president. I predicted it.”

    The show played as an homage of one icon to another, Lagerfeld unabashed in his love for the City of Light and its great symbol that beckons all while standing majestic and elegant. The clothes reflected that power and elegance — no kitsch, no trompe l’oeil jokes, no irony. Rather, Lagerfeld focused on an essential tenet  longgown dress  shared by the Eiffel Tower and couture itself: perfection of structure. To make the point, the press kit featured multiple looks, each shot twice, once in black-and-white and again, in silhouette, visible only as a precision outline.