VERSACE mod 4058 ss04 sunglassespreservation

VERSACE model 4058 is infamous because of the notorious VERSACE spring-summer 2004 ad campaign photographed by Mario Testino, featuring Madonna as an all round business woman, in her immaculate white VERSACE office room.

These sunglasses are the only ones featured in the entire shoot Testino took back in 2004 and are therefor a symbol of their time.

Other then being chosen for the VERSACE spring summer 2004 campaign and worn by Madonna, these shades are not particularly special in their shape.  What makes them appealing to us is the color and simplicity they are made of as well as the power of publicity.

The frames are made of orange transparent acetate by LUXOTTICA in Italy. The size is quite small, as if made to fit Madonna specifically. The lenses are gradient purple to light orange/grey and are very light overall. The temples feature one medusa head in silver metal on each side, tightened to the temples by a tiny screw.

This particular model is also featured on page 298 in TASCHEN’S book about glasses and sunglasses: “Eyewear, a visual history” by Moss Lipow – 2011.

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BERNHARD WILLHELM sunglasses mod BW003 C1-11 ss08

BERNHARD WILLHELM collaboration with England’s sunglassmaker company: Linda Farrow. These sunglasses were released as part of BERNHARD WILLHELM’s spring summer 2008 collection for men and for women with model name: BW003. Eleven different colorways were available: black, black/transparent, pink/transparent, red, blue, gold, yellow, silver, transparent, white and tortoise brown. The models in the sunglassespreservation archives are: transparent, black, yellow, white, tortoise and pink/transparent. They come in a white pouch which then fits into a white paper box with BERNHARD WILLHEM’s logo pronted on it.

These shades have as integral part of the build a nose protrusion which can fit very well to some wearers and pretty bad to others. In fact, there is only one size made in each color with the transparent version being the one produced in smallest quantities but being the version that is most interesting when used to frame facial makeup. People with longer or thicker noses will find these shades very difficult to wear.

The sunglasses were made in China and the quality shows it. The screws used to connect the temples to the frames are a bit fragile and much caution must be used when handling them. The BW0003 colored in black, blue, red, yellow, gold and silver need extra care because they have been laquered and the color tends to chip off easily, especially in the area where temples are screwed to the frames.

The finish of these shades is not the best either as mold injected plastic requires a good final finish by hand and this model has some finishing issues as the edges are a bit rough in some spots. But the reason why these shades are still worth it is another one: first of all they were pretty inexpensive when they first came out, retailing at about 120 Euro and because of the apparent innovation of implementing a nose cover into the design. We are using the word “apparent” consciously and will explain why.

As we have noticed with most BERNHARD WILLHELM collaborations with Linda Farrow, he never hit a true new design. Most of his designs are almost identical to models from other companies made in some cases way back in the sixties. This particular model is, for example, a copy of the 80′s french company “Bolle”, model: LUNASPORT and Oliver Goldsmith’s prior 70′s model: “Noseguard”. The only difference being that the LUNASPORT / OG shades were made molded out of one single piece of plastic (frames) and one piece of plastic per temple. The temples were then attached to the frames per hinges which had four screws each. BERNHARD WILLHELM’s model has frame and hinges attached per modular system and connected with one long screw per temple, which is best visible on the totally transparent model in our collection and it has two lenses inserted into the plastic frames.

Bernhard Willhelm collaborated with Linda Farrow on one last pair of sunglasses after the BW003. After that he left Linda Farrow to team up with Berlin based and German made eyewear company MYKITA. Since then the build quality of his sunglasses has improved.

Bernhard WIllhelm implemented these shades into his male collection in summer 2008 in which he depicted bodybuilder / porn actor Francois Sagat in lycra tight super-hero clothes, mocking the United States by making him wear american flag (stars and stripes) prints mixed with “enjoy cocaine” slogans printed on tight shirts painted in coca-cola red and white.

In some pictures from the photo shoot for Bernhard WIllhelm’s spring-summer 2008 collection the model wears super-hero tights with his genitals hanging out. All professionally done as the model is or was after all a porn actor. These shades are Bernhard WIllhelm’s interpretation of what an anti-hero mask may look like today… something he or she could have found on a flea market and repimped for a new type of decadence.

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sunglassespreservation now on facebook!

We are very happy to announce that we are now available on facebook as well! On our facebook page you can see our archived collection and many more models of sunglasses that are not in our archives but are nevertheless extremely interesting to post about and discuss. Snapshots of friends wearing sunglasses as well as archive images of people in shades from all epoches as well as links to sunglasses shops we like! Please like our page on facebook and share the love for shades! Thank you!

Your sunglassespreservation team!

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Bijan Azami and Ap Verheggen mod Uummannaq 2003 to 2011 sunglassespreservation

Sunglassespreservation is happy to include the Uummannaq shades into our archive. This model has been a collaborative effort of Bijan Azami and Ap Verheggen and is inspired by and dedicated to the inuits. After showcasing the development of all the COURRÈGES inuit shades, the Uummannaq model finalizes our excursion into the eskimo inspired world where sunglass design very seldomly veers to.

First and foremost, we were told that the Uummannaq sunglasses were made to resemble a special person’s eyes and the profits of the sales would benefit the Children’s Home in Uummannaq.

We were very happy to have Ap Verheggen answer a couple of our questions. Here the transcript of Mr. Verheggen’s letter, where he personally explains more details about the development and story behind the Uummannaq model:

—–

“The Shades…..from http://www.nrgsociety.com/”

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CHANEL ski goggles pink 00s sunglassespreservation

These CHANEL ski goggles were made in several colors and were part of CHANEL’s first ever skiwear collection, introduced in winter of the year 2000, designated by a double “C” framed within a square. This model does not have any code or product number printed on it as it was the first in a line of CHANEL ski eyewear that was yet to come.

It is made of sturdy thick rosee pink rubber. It has two layers of visor lenses parallely placed at a distance of aprox. 1cm apart. The upper and lower parts of the frame have holes in them to allow air to filter through while skiing in order to prevent fogging. The holes are covered up with thin foamy plastic.

The strap headband carries the CHANEL brand name as well as the CHANEL double “C” logo on it. We believe this model to have been made in Italy but as there are other CHANEL ski goggles of newer production with the “made in France” logo printed on them, we cannot be sure.

These goggles are very small and only fit relatively thin faces. They are very comfortable to wear and do not leave noticeable marks on the wearer’s face after prolongued wear. The back of the frame has a thick layer of foam glued to the rubbery pink plastic.

These ski sun goggles were a CHANEL boutique exclusive and were not on sale in any eyewear retail stores.

This CHANEL model came in the typical sport pouch the brand used for all sorts of sports accessories.

From a pure aesthetical point of view these shades look very good as an object rather than a facial accessory.

Included in the sunglassespreservation archives is also the original CHANEL ad, introducing CHANEL’s first skiwear line in the year 2000.

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CHANEL mod 40792 S0164 fw09 cruise ph. © sunglassespreservation

CHANEL model A40792 is a CHANEL boutique exclusive design tribute to Peggy Guggenheim’s loved and infamous butterfly shaped shades. Originally designed by Edward Melcarth as bat shades for Vampira in the late fourties, Edward then redesigned them as butterflies for Peggy Guggenheim. Karl Lagerfeld presented the CHANEL fall/winter 2009 cruise collection at the Lido in Venice, Italy. The collection was inspired by Venitian baroque and, being himself an avid art lover, Lagerfeld had to add the Guggenheim tribute by creating a revisited model of Peggy’s butterfly sunglasses.

You can see model Lara Stone wearing the original Melcarth bat shades in a wig used for the CHANEL catwalk show at the bottom of this post.

The model we see here is a “CHANEL-lized” version of Melcarth’s Guggenheim butterfly shades. The modern sunglasses have been toned down and flatened. The central body of the butterfly has been taken away and the wings have been stylized to reminiscently resemble those of insects. The biggest difference, however, remains the change in the design of the butterfly wings. The original Melcarth butterfly shades had three spikes per wing while the CHANEL versions maintain four spikes for both “bat” and “butterfly”. In fact, both models (A40792 and A40793) resemble more a bat than a butterfly. The four spikes might have been done on purpose to avoid Luxottica any copyright legal complications due to the fact that Safilo holds the rights to reproduce the Peggy Guggenheim three spiked Butterfly sunglasses which can be purchased in all Guggenheim shops.

A total of four different colors of model A40792 have been produced:

S0164 (which you can see here) – black acetate with silver line-frame

S2278 – black acetate with gold line-frame

S6079 – transparent crystal acetate with gold line-frame

S8791 – transparent gray acetate

Lagerfeld went further for the same CHANEL 2009 cruise collection and designed another pair of Edward Melcarth inspired shades. The second model, a tribute to the “bat” shades, is also included in sunglassespreservation archives: model A40793. It is a narrower, more dangerous and sharp looking version.

Model A40792 is made of black acetate. Very thick and sturdy. The frame, as well as both temples, bare carvings on their edges. Depending on which colorway code, the carvings have been handfilled with either gold or silver paint. This is a very difficult and long process which leads to minor imperfections in the paint application. The temples both bare double “C” logos on their outer ends. The double “C” logos are also carved inside the acetate and have also been hand painted in either gold or silver. The lenses are lightly silver mirroired/polirized and graduated.

The CHANEL models A40792 and A40793 were both boutique exclusives and were not available for purchase outside the CHANEL boutiques worldwide.

A third CHANEL boutique exclusive pair of sunglasses was also produced for the CHANEL fw09 cruise collection. The third model (A40803) is a CHANEL take on Venitian masquerade ball masks.

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CHANEL mod 40793 S2278 fw09 cruise © sunglassespreservation

CHANEL model A40793 is a CHANEL boutique exclusive design tribute to Edward Melcarth’s infamous bat shaped shades. Originally designed by Melcarth for Vampira in the late fourties, these sunglasses were redesigned by Edward as butterfly shades for Peggy Guggenheim. Karl Lagerfeld presented the CHANEL fall/winter 2009 cruise collection at the Lido in Venice, Italy. The collection was inspired by Venitian baroque and, being himself an avid art lover, Lagerfeld had to add the Guggenheim tribute by creating a revisited model of both Peggy’s butterfly and bat sunglasses.

You can see model Lara Stone wearing the original Melcarth bat shades in a wig used for the CHANEL catwalk show at the bottom of this post.

The model we see here is a “CHANEL-lized” version of Melcarth’s bat shades. The modern sunglasses have been toned down and flatened. The central body of the bat has been taken away and the wings have been stylized to reminiscently resemble those of bats. The four spiked wings of Melcarth’s bat shades have been maintaned in CHANEL’s model A40793. What is very interesting to see is that the Melcarth bat shades were hand carved out of wod and covered with gold-leaf. Lagerfeld left a remiscent touch of hand craftsmanship when designing the CHANEL version of the bat shades by adding frame and temple slits in the A40793 model and telling the LUXOTTICA eyewear makers to apply thick golden paint into the slits by hand. Very classy!

The original Melcarth butterfly shades had three spikes per wing while the CHANEL versions maintain four spikes for both “bat” and “butterfly”. In fact, both models (A40792 and A40793) resemble more a bat than a butterfly. The four spikes might have been done on purpose to avoid Luxottica any copyright legal complications due to the fact that Safilo holds the rights to reproduce the Peggy Guggenheim three spiked Butterfly sunglasses which can be purchased in all Guggenheim shops.

Lagerfeld also designed a wider pair of Peggy Guggenheim ispired butterfly shades for the same CHANEL 2009 cruise collection. The “butterfly” model, also included in sunglassespreservation archives, is model A40792. It is bigger than the “bat” model (A40793) and came in four different colors.

Model A40793 is made of black acetate. Very thick and sturdy. The frame, as well as both temples, bare carvings on their edges. The carvings have been handfilled with gold paint. This is a very difficult and long process which leads to minor imperfections in the paint application. The temples both bare double “C” logos on their outer ends. The double “C” logos are also carved inside the acetate and have also been hand painted in gold. The lenses are graduated from dark grey to light blue.

The CHANEL models A40792 and A40793 were both boutique exclusives and were not available for purchase outside the CHANEL boutiques worldwide.

A third CHANEL boutique exclusive pair of sunglasses was also produced for the CHANEL fw09 cruise collection. The third model (A40803) is a CHANEL take on Venitian masquerade ball masks.

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VERSACE mod 4076 H col 536 8G 00s © sunglassespreservation

VERSACE often relates their design creations to the wonders of the seas and oceans. We see the underwater realms appear on silk pillows, high end porcelain cups and plates as well as clothes and of course, on accessories! Our favorite type of accessories are sunglasses and VERSACE doesn’t disappoint us with this amazing coral reef, pearl and star fish studded pair of high end summer shades!

These sunglasses were available in the mid zeros and were made in various colors. The material is not acetate. It appears to be nylon as the temples and frame material shoes typical flexibility and surface structure of nylon made shades. The coral reef effect is made of a thin metal and plastic combination screwed into appositly cut relief slits within the temples.

The lens is a one piece plastic shape, screwed on to a hidden nylon frame, which, on it’s bridge, beholds an engraved VERSACE Medusa logo.

The coral reef is masterfully executed with great attention to detail, where the colors with golden and silver metal shining between the coral, pearls and star fish vibrantly shimmer. The coral reef effect has been screwed via tiny screws to the temples. The corals extend and protrude off the temples to cover up the outer sides of the frame as if growing and taking over the entire shades. A very drammatic and typical VERSACE touch. This effect, however, does not in any way affect the wearer’s eye sight.

The temples are screwed together to the frame and bare a VERSACE printed logo, one on each outer front side of the temples. The inner end part of each temple bares the “made in Italy” inscription, as well as the model and color code numbers: “VERSACE mod 4076 H col 536 8G”, on the right and left sides, respectfully.

Due to the details on these sunglasses, we believe it would have been near to impossible to make them out of acetate but a cost effective solution could have also been the reason for manufacturing this specific model in any other material then acetate.

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CHANEL mod 5135 c.1034/13 fw08 © sunglassespreservation

CHANEL model 5135 was produced in Italy by Luxottica, for regular authorized CHANEL eyewear retailers worldwide. This model was available in four principal colors: black (c.50187), blue (c.50311), red (c.1034/13) and tortoise (c.50213).

Red has become one of CHANEL’s rarer colors as the use of red in CHANEL eyewear decreased from intense saturated red acetates in the nineties to a sobered down, darker version of red, in the late 00′s.

In fact, the red color we have added to the sunglassespreservation archives is a bit darker and less saturated than the usual pure reds we are used to see from vintage CHANEL shades. Nevertheless, it is a beautiful example of craftsmanship as the entire frame as well as most part of the temples are covered with metal tiny silver colored circular metal studs of two different sizes.

This model was also available as a boutique exclusive the same year, with the only and major difference being the material used to replace the metal studs. The boutique exclusive was, indeed, covered in strass crystals, following more or less the same patterns used to apply the metal studs to frame and temples, as seen on the model in our archives.

The cut of these shades is very simple and elegant as the bridge blends in with the length of the entire frames in one straight line. No curves were used to bend or add additional ornaments to the overall design of the model. This straight line over the bridge makes these aviator cut shades a very unisex model, where only the colors of the acetate make a difference as to how much these shades end up catching people’s eyes.

The red color is the most representative of the experimentalism CHANEL designers use to create new models for CHANEL boutiques as well as authorized dealers.

The temples bare each a double “C” silver metal logo on them, as well as a large quantity of silver metal studs. The inner end of each temple bares an additional golden metal double “C” logo within the acetate, visible through a light transparency. This detail has been photographed for you to see in our archive image library at the bottom of this model’s presentation.

The fact that model 5135 was not a CHANEL boutique exclusive does not take away any of it’s quality. In fact, the identity authenticity number too is lasered onto the left lens. The lenses are graduated from a darker brown to a lighter brow/red tone and have the CHANEL logos printed on both left and ight sides.

The metal studs poking out of the acetate, when seen from certain angles, remind us of anfibious skin or luxurious postules protruding from a very elegantly deformed acetate skin. Sometimes the aesthetic of deformation can be very attractive as is the case with these simple, yet sophisticated sunglasses.

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CHANEL mod A 27451 S6111 cruise 05 © sunglassespreservation

CHANEL fish sunglasses from the fall/winter 2005 cruise collection. (Best thanks to Sabrina from CHANEL for giving us exact date and collection this beautiful model was presented in). These shades were CHANEL boutique exclusives and were available in two colors. One is the amazing mud grey fish color you can see here, in our archives and the second model, the model we showcase in this post, is made in transluscent pink acetate.

The pink shades are very “Barbie-like”, which does not help the sunglasses look very realistic as a fish. The “mud grey fish”, on the other hand, is an incredible color and very close to the feel of what real fish skin looks like. Not wanting to be too pretty, these sunglasses hit the spot and definitely deserve to be inserted in the sunglassespreservation archives. The pink model, on the other hand, inspires us a flair of old Hollywood glamour and incredible cinematic allure.

The frame is made of two acetate fish that meet right above the wearer’s nose to kiss each other. Their eyes are made of two transparent Swarowski crystals.

The temples have a unique shape. They resemble fish fins, so, in a way, we could say these sunglasses are made of four different fish: two on the frame and one piece of fish on each side, as temple.

Both lenses carry the CHANEL logo engraved in them. The right lens, furthermore, has the authenticity identification number lasered into it. This number is unique to only this pair of model A 27451 sunglasses. To protect it’s identity and to avoid copying, we have blurred the number out. These shades were made in Italy, somewhere between 2004 and 2005, for CHANEL’s 2005 cruise collection, by LUXOTTICA.

Each temple carries a metal double “C” logo on it’s outer far front while the left inner side of the temple carries the model and color number as the right inner temple carries the CHANEL stamp.

The past of eyewear design history has seen animals mark the shape of many sunglasses way before CHANEL did. These CHANEL shades are nothing new really, but they are daring nevertheless, considering their color and above all the mostly conservative look CHANEL gives to almost all of it’s products. This model is provocative if seen through CHANEL standards. Topping your look with these sunglasses does alter quite a bit the overall average CHANEL conservative chic, marking it with a fresh twist.

On their own, without having to wear a CHANEL costume to pair them with, they are provocative because they are CHANEL and not some other brand. The logo does make a difference in this case, as superficial as it may seem, when you pair fish with CHANEL, the clash becomes fabulous!

Lets not forget that what CHANEL is today as a brand is only in part still faithfull to mademoiselle’s vision filled with sense of humor. By this we would like to remind you of CHANEL’s little frog brooches, forrest nuts on colliers and pins, “Picadilly” brooches (to name a few accessories made during mademoiselle’s life).

Today’s luxury brands dare very little when it comes to “out of the box designs”. They want secure sales, which limit their creative verve, as most big spenders have no real taste and would purchase only that what is securely said to be “fashion”. Hence the loss of “style” and a brand like CHANEL ends up seldomly allowing itself to have fun with design and style… but when it does allow itself a fashion/style divertissement they never fail to leave us in awe!

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CHANEL mod 5009 c 531 65 00s © sunglassespreservation

CHANEL model 5009 was made in the early 00s. It represents the transition from the exclusive CHANEL boutique sunglasses to the authorized dealer sale installed by LUXOTTICA.

In fact, from the early 00s, CHANEL had moved on to sell sunglasses to a broader consumer audience by giving out licenses to eyewear dealers acorss the globe. From that moment on, there would be a distinction between CHANEL boutique exclusive sunglasses and regular retail sunglasses.

Model 5009 is a regular retail pair.

The beauty of these shades is in the sedome use of iridescent acetate. Depending on the light, these sunglasses change color from purple to aquamarine to blue. They are very thin but nevertheless very sturdy.

The frame is classic, mixed between round and rectangle cut, with the bridge slightly protruding to the front. The temples are thin, with a typical CHANEL matelassé design covering ninety percent. The ten percent left is flat, with a silver metal double “C” logo integrated within the surface. The inner right temple bares the white CHANEL logo and copyright while the inner left side bares the model and color codes.

In the early 00s all CHANEL shades had the authenticity identification number lasered in the inner right temple. This would subsequently change. In fact, today’s CHANEL eyewear distinguishes between Ophtalmic glasses (with the authenticity identification number lasered onto to the inner right temple) and sunglasses (with the authenticity identification number lasered directly into the lenses – mostly into the right upper side).

The use of iridescent acetate is very rare as there are very few examples of sunglasses made in this material.

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CHANEL mod 16285 01081 21011 ss01 © sunglassespreservation

CHANEL model 16285, material 01081, color 21011, from their ss01 pret-a-porter collection, represents a great jump into futuristic experimentation in sunglasses design. It is one of the early examples of opaque translucent acetate use within the CHANEL boutique exclusive sunglass range.

The frame is straight on top making the bridge blend in with the rest of the design. The middle front of the bridge bares CHANEL’s brand printed in white. The temples organically continue from the sides of the frame all the way to the edge of the ears. There are two big pale golden metal double “C” logos, one on each end of the temples. The double “C” logos are integrated within the acetate. They are not glued or screwed in.

The lens is made of one piece and it fits tight into the frame, with CHANEL’s brand name engraved within it’s top left and right side. The overall appeal of this particular model is very alien like. It is reminiscent of an organic visionary shades that could have been used in a sci-fi movie.

The inner left temple bares the CHANEL model and color codes as well as the country of production while the inner right temple bares the CHANEL brand name and again the country of production which is again Italy. These shades were produced by LUXOTTICA. It is rare that CHANEL sunglasses carry two “made in Italy” inscriptions but it is not out of the ordinary. These shades were produced in a period of transition when LUXOTTICA began producing CHANEL sunglasses not only for CHANEL boutiques. In fact, soon after 2001 all CHANEL sunglasses and glasses would bare an individual authenticity identification code. All models prior bare no such code.

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jeremy scott mickey 1 fw09 © sunglassespreservation

Jeremy Scott’s infamous acetate Mickey sunglasses were made as part of the fall winter 2009 pret-a-porter “mouse trap” collection. These shades were produced in Japan and have reached such an iconic status that Linda Farrow still manufactures them to date (2014).

The frame is a classic thic round design with the twist being the two additional lids made to cover the lenses and frame perfectly when shut. These two black acetate lids symbolize, when open, Mickey’s ears. The lids are attached to the frame via hinges and screws and do add quite a bit to the overal weight of this model.

The temples are narrow and were meant t not take away from the overal appeal of these shades, which is obviously front centred. Even the bridge is riduced to the minimum, leaving all the attention play to the floppy “Mickey ear lids”.

The right temple bares the Jeremy Scott label and model number as well as color printed in white on it’s inner side, while the right temple bares the Linda Farrow logo, also printed in white.

These shades have reached a very high level of iconic pop status as they have been used in various art and music video clips as well as many editorial photo shoots. Due to their high popularity we believe these shades to be one of the top ten sunglasses that have till now represented the very late 00’s and the first half of the 10’s!

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CHANEL mod 38419 S2187 fw09 © sunglassespreservation

CHANEL model 38419 is part of the CHANEL boutique exclusive line from fall/winter 2009. This particular model was produced in dark blue acetate with Swarovski crystals (seen in this post) and in a variety of other acetate colors with metal studs replacing the Swarovski crystals, as a regular CHANEL release for authorized opticians/dealers.

The boutique exclusive model has the exact same position of the crystals as the metal studs versions do. However, due to the fragile nature of the crystals, these shades may often lose a crystal or two unless extreme care is taken while wearing and storing them.

The shape of the frame is very masculin, straight and oversized. The bridge unites the two halves in a perfect straight line. The curved lenses give these sunglasses an overall pilot frame feel.

The temples bare the double “C” logos in silver metal. The inner left temple bares the model number while the inner right one bares the CHANEL brand.

The lenses have both the CHANEL brand lasered into the upper left and right sides respectively while the right lens bares the authenticity identification number. Model 38419 was made in Italy by LUXOTTICA.

To view one of the regular CHANEL releases of this particular model with metal studs, click here.

To view more incredible CHANEL sunglasses from the sunglassespreservation collection, click here!

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All photos with sunglassespreservation logo on them are copyright of sunglassespreservation.com!
Any copying and further distribution or alteration of any of this post’s texts and or images and or photos which are under sunglassespreservation copyright is strictly prohibited without sunglassespreservation’s prior written permission and consent to do so.

CHANEL mod 28891 S0187 @ sunglassespreservation ss05

CHANEL model A 28891, from the spring/summer pret-a-porter, 2005 collection is a statement to collective decadence of that time. The world post September 11th was still in a confused search for a certain type of stable luxury. The sunglasses industry was suffering a creative downfall from 2001 to about 2005. Many uninspiring models have been produced by all brands in this period. CHANEL was to change all that with its attempt to give back sunglasses a high standard within their couture statements. In fact, model A 28891 debuts in a special fashion show inspired by red carpets, Hollywood glitz and stardom!

Lagerfeld’s 2005 ss fashion show for CHANEL begins with a red carpet event and it ends with it as well. Top models from the glorious days of fashion hit the runway first… from Naomi to Turlington to Tennant… then come the newcomers, then again the top models and then, in the end comes Nicole Kidman. At this point the photographers, who were carefully positioned to be part of the fashion show itself, hit the runway to give the entire show a paparazzi-esque flair.

As the photographers block the runway, surrounding Lagerfeld and Kidman, all chaos brakes loose, we see Naomi rolling her eyes (probably because she was no longer the centre of attention), the models can no longer pass through the runway to the exit, the visitors are blocked in their seats and nobody knows how to unclog the passage on the “red carpet”.

At this point it is important to mention that Nicole Kidman was in the 2004/2005 period the face of CHANEL N°5 perfume and starred in a red carpet video filmed by Baz Luhrmann, which portrayed her wearing the famous CHANEL N°5 diamond necklace dangling from her back decolleté.

The end of the show is a bit in the style of a John Water’s movie ending, where everything escalates into blissful chaos.

If we, on the other hand, concentrate on the catwalk before the final chaos, we notice three important shifts in style: The first shift are the CHANEL belts worn by the models. These belts have enormous buckles and, upon closer inspection, one notices that the buckles are frames to a technological revolution of LCD screens with videos playing on them. CHANEL commercials playing on the model’s belts. That was a daring fun futuristic twist. Then we also notice Karl’s fun statement to travelling as he let some models hit the runway with typical airplane sleeping pillows wrapped around their necks. We guess that was his way of telling us it is fine to fly again.

The third shift in style is the one we are most interested in: CHANEL upped their game when it comes to producing special boutique exclusive sunglasses! The shades that hit the ss 2005 CHANEL runway were expensive, luxurious statements. The black acetate frames were adorned with metal gold plated side plaques, screwed on to the frame, but even more importantly, the temples had tiny holes at the edges to which three strains of pearls were attached. The three strains of pearls have different sizes each and are long enough to be worn dangling from the back of the wearers ears and on to the front decolleté. The necklaces looked like they were lifted up to the sky behind the wearers heads. These necklaces can also be worn dangling off the back as well as half front and half back.

We believe that the pearls used for these sunglasses are typical CHANEL glass pearls. They were produced by LUXOTTICA in Italy. They bare the authenticity identification number lasered on to the right side of the right lense while the inner left temple bares the model number and color codes. The right inner temple bares the CHANEL logo and trademarks.

We have provided an image database in our gallery section below to show you the other CHANEL ss 2005 boutique exclusive sunglasses that hit the runway.

To view more incredible CHANEL sunglasses from the sunglassespreservation collection, click here!

Please visit us and like our facebook sunglassespreservation page!

Follow us on Instagram here!

All sunglassespreservation copyrighted images are also available without watermarks and at high resolution. Feel free to contact us at sunglassespreservation@gmail.com for more information.

All photos with sunglassespreservation logo on them are copyright of sunglassespreservation.com!
Any copying and further distribution or alteration of any of this post’s texts and or images and or photos which are under sunglassespreservation copyright is strictly prohibited without sunglassespreservation’s prior written permission and consent to do so.