There’s always so much going on at a Chanel show that it’s ever more difficult to keep your head together enough to
know what to describe first. In the case of the latest Chanel Métiers
d’Art extravaganza on 1st December, which just played out in Rome, perhaps one should
start with Karl Lagerfeld’s
relationship with the city, which dates as far back as 1963 and his
debut season designing for Tiziani.
Maybe we should begin with the little-known fact that Coco Chanel designed for the incredible, classy ’50s actresses Jeanne Moreau, Anouk Aimée, Monica Vitti, and Romy Schneider, all of whom starred in Italian movies by Visconti and Pasolini wearing her clothes. These threads, elusively woven together like the silvery strands glinting in the tweeds and embroideries today, were the connecting idea behind the whole collection. But then the whole thing was built up, as only Chanel can manage, into a mega-faceted Sensurround event about movies and moviemaking and sets and Paris and Rome, all of it constructed for one night in Cinecittà, Italy’s “Hollywood on the Tiber.”
Enjoy 'Behind the Scenes Film of CHANEL 'Paris in Rome' Métiers d'Art 2015/16' during this post!
Maisons d'Art de CHANEL
Chanel acquired the first of its exceptional craft workshops in 2002, now part of its Maisons d'Art label, including Lemarié (feathers and flowers maker, 1880), Causse (glovemaker, 1892), Massaro (shoe maker, 1894), Barrie (knitwear, 1903), Lesage (embroiderer, 1924), Desrues (costume jewellery and button maker, 1929), Maison Michel (hat maker, 1936), Montex (embroiderer, 1939), Lognon (master pleater, 1945) and Goossens (goldsmith, 1950).
But really, despite all these excitements a whole black-and-white reconstruction of Paris! A chance to roam the torch-lit avenues and temples where the TV series Rome was shot! An open-air premiere of a film by Lagerfeld! we should be speaking plainly about the clothes. They were some of the best cool and sexy, with a bit of the pleasingly sleazy in places that Lagerfeld has done in a long time. It is in Lagerfeld’s nature to bat away too much talk of themes: Every time he builds an edifice, he’ll only ever shrug off its importance in interviews. This collection might have been the result of putting Italian Neorealismo and French film noir into the cocktail shaker, but he insisted that what came out “never looked like this in the past! It is just an idea, a dream, of Paris. We need to keep dreaming, because the reality in Paris is bleak. And that is not funny.”
With their long hair teased into messy demi-beehives by Sam McKnight, the girls slouched one by one out of a fake Paris Metro station, some of them wearing long jackets shrugged over long, lace-covered legs, others in black ciré pencil skirts and patent raincoats, one in a quilted leather suit. It’s a Parisian art to suggest eroticism rather than blatantly strut it, but close up, the kink was definitely there in the metal rings planted center-front on belts and on a choker or two. (After all, this was a show taking place on Federico Fellini’s movie stage, Teatro 5.) As the show went along, so the embellishments came in, since the Métiers d’Art collection is the showcase for the intricate handwork of Chanel’s specialist craft suppliers. There were metallic embroideries and pleating on caped shapes, delicate faggoting techniques on slip dresses, and, at one point, an ovoid, coral pink petaled dress that seemed to nod in the direction of the couturiers of Rome Capucci, perhaps. Considering that all the people who put their expert hands to this collection must have finished it in the terrible aftermath of the attacks on Paris, its quality as well as its beauty reads as testament to what the French are so good at.
Maybe we should begin with the little-known fact that Coco Chanel designed for the incredible, classy ’50s actresses Jeanne Moreau, Anouk Aimée, Monica Vitti, and Romy Schneider, all of whom starred in Italian movies by Visconti and Pasolini wearing her clothes. These threads, elusively woven together like the silvery strands glinting in the tweeds and embroideries today, were the connecting idea behind the whole collection. But then the whole thing was built up, as only Chanel can manage, into a mega-faceted Sensurround event about movies and moviemaking and sets and Paris and Rome, all of it constructed for one night in Cinecittà, Italy’s “Hollywood on the Tiber.”
Enjoy 'Behind the Scenes Film of CHANEL 'Paris in Rome' Métiers d'Art 2015/16' during this post!
LoL, Andrea
"I have made mules which Chanel never did", says Karl about this new Coco shoe - classicc except for the snake winding its way around the heel below the big, fat pearl. Created by Massaro (shoe maker since 1894).
My Instagram of the new Coco mules one day before the
CHANEL 'Paris-Rome' Métiers d'Art 2015/16
CHANEL 'Paris-Rome' Métiers d'Art 2015/16
presentation in Rome - https://www.instagram.com/p/-vrNzQICve/
-
enjoy my entire Instagram-story of CHANEL 'Paris - Rome'!
Maisons d'Art de CHANEL
Chanel acquired the first of its exceptional craft workshops in 2002, now part of its Maisons d'Art label, including Lemarié (feathers and flowers maker, 1880), Causse (glovemaker, 1892), Massaro (shoe maker, 1894), Barrie (knitwear, 1903), Lesage (embroiderer, 1924), Desrues (costume jewellery and button maker, 1929), Maison Michel (hat maker, 1936), Montex (embroiderer, 1939), Lognon (master pleater, 1945) and Goossens (goldsmith, 1950).
But really, despite all these excitements a whole black-and-white reconstruction of Paris! A chance to roam the torch-lit avenues and temples where the TV series Rome was shot! An open-air premiere of a film by Lagerfeld! we should be speaking plainly about the clothes. They were some of the best cool and sexy, with a bit of the pleasingly sleazy in places that Lagerfeld has done in a long time. It is in Lagerfeld’s nature to bat away too much talk of themes: Every time he builds an edifice, he’ll only ever shrug off its importance in interviews. This collection might have been the result of putting Italian Neorealismo and French film noir into the cocktail shaker, but he insisted that what came out “never looked like this in the past! It is just an idea, a dream, of Paris. We need to keep dreaming, because the reality in Paris is bleak. And that is not funny.”
With their long hair teased into messy demi-beehives by Sam McKnight, the girls slouched one by one out of a fake Paris Metro station, some of them wearing long jackets shrugged over long, lace-covered legs, others in black ciré pencil skirts and patent raincoats, one in a quilted leather suit. It’s a Parisian art to suggest eroticism rather than blatantly strut it, but close up, the kink was definitely there in the metal rings planted center-front on belts and on a choker or two. (After all, this was a show taking place on Federico Fellini’s movie stage, Teatro 5.) As the show went along, so the embellishments came in, since the Métiers d’Art collection is the showcase for the intricate handwork of Chanel’s specialist craft suppliers. There were metallic embroideries and pleating on caped shapes, delicate faggoting techniques on slip dresses, and, at one point, an ovoid, coral pink petaled dress that seemed to nod in the direction of the couturiers of Rome Capucci, perhaps. Considering that all the people who put their expert hands to this collection must have finished it in the terrible aftermath of the attacks on Paris, its quality as well as its beauty reads as testament to what the French are so good at.
CHANEL Métiers d'Art finale with Karl Lagerfeld
Selections by ANDREA JANKE Finest Accessories
Photo Credit/Source: The House of CHANEL
Photos by Gianni Pucci / Indigitalimages
More To Love ...
Dressed in Chanel and sporting exquisite platinum and diamond creations from the re-issue of the house’s 1932 “Bijoux de Diamants” collection - the only high jewelry collection ever created by Gabrielle Chanel - they were the epitome of elegance as they embraced the gambling spirit. Ever the perfectionist, Chanel ensured no detail was spared for this ephemeral game space: the slot machines sported references to 31 rue Cambon, Camellias and Mademoiselle Chanel’s fetish numbers (5 in particular); locked-Cs came interspersed with playing card motifs to form a monogram on the geometric gray and beige carpet.
1 comment:
What a look and what a fashion and style. Really you are a fashion icon. I always follow you. Where I will get such winter dress for women?
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