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The 1980s were about excess in any way possible. Huge gains in personal wealth and a booming economy enabled more people to buy more luxurious goods. Materialistic values and flaunting wealth was reflected in 80s fashion. It was in this backdrop that Karl Lagerfeld became artistic director of Chanel. When he took over, the house had been languishing since the death of Coco about a decade earlier (Hays). Knowing he had to stay true to the iconic house’s designs but also bring them forward into a new era, he drew inspiration from his first collection from Coco’s designs of the 1920s and 1930s (Algoo). He dropped the hemline to the mid shin and then continued to play with length as the years passed. He took the iconic suit and the little black dress and updated them for a new era that was craving excess (Hays). He incorporated the interlocking C logo into almost everything, solidifying its meaning with luxury and the Chanel house ever since.

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The little black dress. Originally created by Coco Chanel, this version of the LBD was updated with a mid-shin hemline, huge shoulder pads, and chains attached to the dress. This dress was part of the Fall/Winter 1985-1986 Chanel show. The LBD is still worn today, but with tweaks that put it into modern times. While not original, Lagerfeld’s re-invention of the dress is classic of house Chanel.

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Always looking forward, Lagerfeld wanted to update the Chanel name and bring it into current times. To that end, he introduced athleisure to the line with this look from the Fall/Winter 1984-1985 show (Givhan). While not a traditional look for the House, Lagerfeld grounds it with the emblem on the bag and the gold buttons on the jacket. At the same time, he is looking forward with an almost space age metallic material for the jacket and hat.

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A classic Chanel suit, recognizable anywhere. This design was also originally created by Coco Chanel, but most iconically in a tweed fabric. To put his own spin on the design for the Fall/Winter 1985-1986 show, Lagerfeld made it out of a lightweight wool. To the waistline, he added the leather chain that has become a symbol of the house. Lagerfeld continues to re-invent the old, paying homage to the past while modernizing the house.

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One of the iconic images of Coco Chanel shows her wearing long strands of pearls. To stay true to this look but to bring it into the 1980s, Lagerfeld layers pearl strands in an unconventional way. He then pairs the effect with large logo earrings made out of gold. This was part of the 1986 Spring/Summer show.

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In the Fall/Winter 1985-1986 show, the excess of the 80s was expressed in this look with yards of pearl strands and over the top shoulder padding. The small model is almost completely consumed in this little black dress look and the black is carried up into the makeup around the eyes. The pearls and the LBD connect it to House Chanel but make it trendy for the times. The extreme design choices in this look do not help it translate across the years, but the elements of Chanel remain.

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One of the design philosophies that made Chanel famous was that she made clothes for women to live in. Ever looking forward, Lagerfeld saw the modern woman as edgy and someone who could jump on a motorcycle at a moment’s notice. We see some of this edge in the design of this dress, part of the Fall/Winter 1987-1988 show. The oversized and layered look of the chains around the neck and back bring a fierceness to the dress that is accentuated by daring arm cuffs and bracelets on both arms. Even the hair gives a wind-blown look. Yet the look retains femininity with the stockings and earrings. The woman of the 80s was empowered to do whatever she wanted and to be whoever she wanted. Romantic. Edge. Businesslike. Deliberate.

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Photographed in Coco’s apartment with photographs of her in the background, Chanel muse Ines de la Fressange seems to embody the famous designer’s spirit in this suit designed by Lagerfeld. The gold gilt buttons on the jacket and the gold choker at the neck replace a scarf or pearls and bring the classic suit into the 1980s. The 80s were a decade when men and women were working and often quite hard. This look is something that could take a woman into the workplace while still maintaining her femininity.

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In the latter part of the 80s, the jackets got larger as the should pad trend enlarged and required a larger silhouette. This is a look from the Spring/Summer 1987 show. The jacket remains feminine with gold buttons and a gentle angle at the bottom. Accented by black gloves and collar, the Lagerfeld also gives a nod to the classic two-tone Chanel pump. The look is completed with oversized earrings with the number 5, to acknowledge the brand’s top-selling fragrance. A feminine, yet wearable look that can go from boardroom to cocktail hour.

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An Age of Excess, an Age of Success, the New Era of Chanel

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An Age of Excess, an Age of Success, the New Era of Chanel

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Karl Lagerfeld reinvented Chanel, bringing the name into the modern era and made the brand at the top of the fashion world. Whether it was a pantsuit or dress, hat or no, and eminently wearable shoes, Lagerfeld, like Coco Chanel, designed for every woman to live in the modern world, however she wanted to live in it. He was able to influence the fashion of the house with his vision, while still recognizing its history. He made bold choices and kept looking forward, understanding that staying too mired in the past was sure to lead to obsolescence.

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Algoo, Jennifer. “Karl Lagerfeld's 100 Greatest Chanel Runway Moments.” Harper's BAZAAR, Harper's BAZAAR, 1 July 2019, www.harpersbazaar.com/fashion/designers/g26406292/karl-lagerfeld-best-chanel-designs/.

Bowles, Hannah. “Karl Lagerfeld on his Design Philosophy and His New Collection.” YouTube, uploaded by Vogue, 27 Jan, 2012, https://www.youtube.com/watch?v=RN6Wr4JJ2FM.

Darcella, Aria. “Chanel Muses Throughout History.” CR Fashion Book, CR Fashion Book, 19 Feb. 2019, www.crfashionbook.com/celebrity/g13594599/chanel-celebrity-muses-vintage-ads/?slide=6.

Givhan, Robin. “Perspective | Karl Lagerfeld Didn't Have a Signature Design - but He Invented a New Kind of Designer.” The Washington Post, WP Company, 19 Feb. 2019, www.washingtonpost.com/lifestyle/style/karl-lagerfeld-didnt-have-a-signature-design--but-he-invented-a-new-kind-of-designer/2019/02/19/334b4f9e-344c-11e9-854a-7a14d7fec96a_story.html.

Hays, Kali. “When Karl Came to Chanel.” WWD, WWD, 20 Dec. 2017, wwd.com/fashion-news/designer-luxury/when-karl-lagerfeld-came-to-chanel-1983-couture-collection-11077517/.

Trochu, Eugénie, and Héloïse Salessy. “Eugénie Trochu.” Vogue Paris, www.vogue.fr/fashion/galerie/karl-lagerfelds-iconic-chanel-style-in-the-1980s?image=5c6c0db7488cdc5d79df573c.