not twee TWEEDY

Menswear inspired Coco Chanel to adopt tweed as her medium of choice.  During the 1920's the Duke of Westminster sported tweeds, and after borrowing his clothing, Chanel became convinced tweed embodied a sophisticated quality that was quite modern, spontaneous slubs of bright colours against darker tones adapted easily to her, now iconic, designs. Initially, Chanel worked with a Scottish factory to produce her tweed textiles. Since 1924, tweeds have been a permanent fixure at the house of Chanel, and Karl Lagerfeld's brilliance has devolved around transforming, expanding and deconstructing Chanel's vision including perennial inclusion of tweeds. Chanel Ready to Wear A/W 2016 exemplifies his ability to transform and update Coco Chanel's modernity, including designs which are constructed in terms of scale and detail to photograph well, no surprise since he is a photographer. see:

Although Chanel tweed was originally manufactured in the Hebrides, tweed production was later moved to small ateliers in the Nord-Pas-de-Calais region, France. Chanel’s lightweight tweed has been created in the French atelier of Maison Lesage. 

Amanda Harlech, who has curated Lagerfeld's work describes him: ‘‘Karl’s eye is like a magnifying lens: he reads people like an X-ray or a shaman[...] His alchemical eye has sublimated tweed at Chanel. He has reinvented tweed. It can be woven with ribbons of cellophane, re-embroidered with silken threads, shredded and dusted with fragments of light, hand-painted, overlaid over prints, unwoven and rewoven into magnified holes, or remixed into an apparition of tweed.’’ see:
photograph: Chanel A/W 2016 ready to wear

Initially produced in the Outer Hebrides in the 18th century, crofters often recycled worn out knits by introducing coloured mungo (similar to shoddy both of which were recycled, mungo being from cleaner clothing sources including knitwear that is shredded) slabs into the yarn as it was spun. Tweed, essentially a rough twill, insinuated itself into aristocratic country, those, including Prince Albert, purchasing Scottish estates in the early & mid-19th century. After Prince Albert designed a Balmoral tweed, estate tweeds became a necessary accoutrement for aristocrats. Since both employer and employees wore their estate's tweed, it transcends class, despite contemporary perception. Early estate tweeds originated from the black and white Shepard check (sheep herders) according to the historian of tweed, Edward P. Harrison. Marled yarns with slabs of various colours appearing later did indeed provide hunters with some camouflage. 
photograph: Chanel A/W 2016 ready to wear

photographHarris Tweed weaver at his Hattersley loom, Wikicommons