Saweetie Makes Head-to-Toe Snake Print Look Well Worth the Investment in LaQuan Smith

Saweetie Makes Head-to-Toe Snake Print Look Well Worth the Investment in LaQuan Smith

Saweetie worked with her stylist Wilford Lenov on a LaQuan Smith street style look worth talking about! The “Best Friend” collaborator and newly confirmed Grown-ish actor pulled sexy separates from Smith’s spring/summer 2020 collection, including the micro miniskirt to end all miniskirts. The piece is just barely held together by two snap buttons, and the singer drew attention to the details with her thigh-high Abodi stiletto boots, which definitely help convey just how bold and skin-baring this hemline is.

Saweetie wore the matching wrap shirt, too, completing the look with a pearl drop necklace, embellished hoop earrings, and funky, round Chanel sunglasses that are available across vintage shopping sites, retailing for well over $4k. It’s safe to say she had fun posing for creative director Brandon Almengo, who added a vintage tint to the images taken on Ventura Boulevard in Los Angeles. “i am the investment,” Saweetie captioned the shots on her feed for all to see.

Ahead, check out Saweetie’s shoot in full and see how her original outfit debuted on the LaQuan Smith runway. Little did we know, it would one day wind up on Saweetie, who just redefined our standards for head to toe animal print. Now that’s a pretty iconic investment.

Haute couture goes for an MTV-style makeover

The ultimate luxury for 2021? A joyful family party. That is what we want more than anything else this season, according to Chanel’s Virginie Viard.

Since luxury fashion is ultimately about what is aspirational – and with blockbuster catwalk shows being off the cards for the foreseeable – Viard put up a marquee, strung fairy lights between rose arbours, scattered petals on the floor and staged her spring haute couture collection as a family reunion.

“I knew we couldn’t organise a big show … so I came up with the idea of a small cortège that would come down the stairs of the Grand Palais and pass between arches of flowers. Like a family celebration, or a wedding,” said Viard before the show.

Chanel’s ‘show’ was staged in the style of a family celebration. Photograph: Chanel

The organza and lace dresses typical of couture were worn with sunglasses and flower crowns, as if for a festival, and the mood was a little more casual than couture’s usual air of haughty perfection. Vanessa Paradis and Penelope Cruz kicked back in vintage Chanel from seasons gone by. Linda Ronstadt’s Be My Baby soundtracked the show with honeyed sentiment.

Chanel’s film and the album of family portraits released with it were shot by Anton Corbijn, the director of the Ian Curtis biopic Control and mastermind of visual identity for bands including Depeche Mode and U2.

The Italian luxury house Valentino collaborated with Massive Attack’s Robert Del Naja, who made a “collagist” film to accompany a collection reveal which was staged in the baroque splendour of Palazzo Colonna in Rome. Taffeta ballgowns were worn with stripes of New Romantic face paint and Ziggy Stardust platform boots.

Palazzo Colonna was the setting for Valentino’s show. Photograph: Valentino

With audiences forbidden and the supermodels and front-row celebrities who drive engagement grounded, fashion brands are on a steep learning curve. The most elevated couture houses need to compete with sea shanties and Bunny the Talking Dog, if they are to get eyeballs on TikTok and Instagram. As a result the rarified world of haute couture is having an MTV makeover.

Replacing catwalk with video is “like making a film instead of doing theatre”, said Bruno Pavlovsky, Chanel’s president of fashion, in a Zoom call. “With a catwalk show, Virginie [Viard] and the models feel the energy of 2,000 people in the room – you can’t get that when the audience is just a few cameras.” He believes Chanel’s next show, in March, is likely to be digital-only but is hopeful that a show planned for Provence in early May could take place in front of an audience. “For now we plan for both scenarios,” he said.

Chanel says couture orders have been badly hit by the pandemic. Photograph: Chanel

Chanel occupies a quasi-official place in French public life. As a bastion of excellence in fashion, they are an informal “department of chic”. Couture orders have been badly hit by the logistical issues of the past year, with most clients unable to travel to Paris for the fittings in the atelier that are integral to the process, but any show-must-go-on instincts must yield to the greater good.

“Values are extremely important to Chanel. This is bigger than fashion. We understand that and we respect all of the rules and constraints,” said Pavlovsky. He added that none of the orders for gowns placed for 2021 had been cancelled to date, despite the absence of events for them to be worn to. “These clients are not easily put off. They will always want iconic Chanel.”

Chanel’s Wedding Of The Century – Spring

The Maison invited us to the wedding of the century for their dreamy Spring/Summer 2021 show.

With a remix of The Ronettes “Be My Baby” rumbling through the sound system, fairy lights lit up and various guests wafted down the sweeping staircases for an intimate summer celebration. Draped in Lana Del Rey flower crowns and a-line pastel flamenco maxi skirts, Chanel provided a romantic collection that honed on the famine charm of original Haute Couture salons.

Spring is usually the time to celebrate new nuptials and raise a glass to newly-wed couples at glamours weddings. But with the ongoing pandemic most people have put their weddings on hold – but not Chanel. Unveiling their new Spring/Summer 2021 Haute Couture collection today, the fashion house invited us to the glass-domed nave of Paris’ Grand Palais and rolled out a petal-strewn aisle for us.

Embracing the freedom of a summer evening, the collection revelled in timeless elegance with organza petticoat dresses, black chiffon gowns and voluminous silk tulle skirts adorned with white daisies. Chanel made sure every guest came in style, with sequinned waistcoats and sparkling boucle jackets with matching wide-leg trousers, the collection gave a nod to Coco Channel’s approval of menswear in her designs. The standout piece from the show was by far the penultimate black dress worn with Anna Wintour-approved sunglasses. Made with boundless amounts of black tulle, the dress was completed with a diamanté midriff chain for a sultry look.

But like most, all fairytale weddings must come to an end, and the show came to a climax with the arrival of the bridge on a white stallion. Wearing a floor-length long-sleeve button front dress, the bride looked as if she had stepped out of a vintage wedding album with an ecru satin train not far behind.

for more information on the show visit chanel.com