If we asked any professional in the fashion industry what it is the special event which he misses most in this ‘new normal’ that Covid imposed on us, the Chanel Cruise show it would appear – most likely – among the very first places. Last year, that event would have gifted guests a trip to a magnificent villa in that of Capri, the last of all a series of dream destinations, from that not-too-distant past, which also included destinations such as Seoul and Cuba, even if the French fashion house is equally known for having recreated Gabrielle Chanel’s apartment or his much loved ‘buen retiro ‘ on the French Riviera – La Pausa – inside the Grand Palais in Paris.

On Sunday, the creative director reinterpreted the concept filming the Cruise collection in Les-Baux-de-Provence, in the Alpilles, a fascinating rocky region with traces of the Roman Empire on every corner. Jean Cocteau chose his gutted limestone quarries as the setting for The Testament of Orpheus (1959), a fictional biography shot in black and white with the participation, in the form of cameos, of some of his friends, including Pablo Picasso, Roger Vadim and Françoise Sagan.

Also between Gabrielle Chanel and Cocteau there was a strong friendship, and the latter’s affection for the designer continues to live in the letters addressed to chère Coco dating back to the period between the 1920s and 1950s. Although those messages of love inspired Viard to revisit their bond through fashion, they also helped to highlight a whole series of affinities linked to their friendship and shared passion for art, books and music.

“I love anything that allows me to connect the dots and get the overall picture,” Viard told Vogue.

However, that location also reveals the disruptive attitude of the creative director. In another context, those quarries currently occupied by Carrières des Lumières – an exhibition space dedicated to visual and sound installations – would have been impracticable. In this case, however, theirs configuration so remote and unusual transformed them into the ideal setting, where the cavernous corridors are illuminated by Cocteau’s stars, and then open into an open-air theater with a desert atmosphere with the crystalline blue sky acting as a dome.

Punk and mod influences in the new cruise collection

© Photo: Acielle / StyleDuMonde

“She is like Virginie, she is strong, she is full of energy, a little rock, a little unusual,” said Chanel president Bruno Pavlovsky of the show.

© Photo: Acielle / StyleDuMonde

“The location is like Virginie: strong, full of energy, a little rock and a little nonconformist”

This is the comment of the President of Chanel, Bruno Pavlovsky, as the drones for aerial shots buzzed over our heads and the film crew fine-tuned the final details of the set for the arrival of Inez & Vinoodh.

Pavlovsky praised Viard’s two years at the helm of Chanel.

“He has a very modern eye and his influence on the style of the maison meets the favor of our customers. They don’t know it because it’s a lot reserved. He is not a public figure like Karl. But it is showing who it is more and more and customers love her vision of the Chanel woman. The most wonderful thing about this Cruise collection is the freedom of expression it offers: there is a lightness that makes it different and desirable, especially in this moment “.

To which he added that, since last summer, sales in the fashion segment recorded a double-digit increase.

In line with the current anti-Covid guidelines, on the set, at the filming of the show, they only participated a handful of journalists and a few friends of the maison including Marie-Louise de Clermont-Tonnerre, the new Chanel ambassador, Charlotte Casiraghi, with her husband Dmitri Rassam, la Princess Caroline of Monaco, Vanessa Paradis, Caroline de Maigret, Elizabeth von Guttman, author Anne Berest, actress and singer Alma Jodorowsky, musician Juliette Armanet and Angèle Van Laeken, the Belgian singer known simply as Angèle (whose songs – as far as we are told – are often listened to on a loop in the studio, by Chanel).

Just like Cocteau’s work in this collection, the various artistic influences are always woven into the narrative but Viard and his team have plumbed the entire process meticulously to make sure that the famous – and much copied – Chanel tweeds conform to contemporaneity and do it in the most sustainable way possible. Four Lesage tweeds, in black and white checkered or in the fresh pink and blue shades of the Mediteranno, represent what Pavlovsky defined as “Chanel of tomorrow“In terms of sustainability. A quarter of all materials used for the collection are GOTS and GTS certified and over 70% are eco-responsible. Also, starting in the fall, all Chanel staff will be wearing black tweed jackets woven with recycled fibers.

“You can’t embody pure luxury without being uncompromising about its meaning,” Pavlovsky added. “Is critical: this is a transition that will take some time. It’s all in the details but we’ll get there“.

On Monday, on the occasion of Chanel’s Rendez-Vous Littéraires, the guests met again but this time in The Oustau de Baumanière, a large luxury relais transformed, for the occasion, in most chic literary salon in the world. With Casiraghi as godmother and designed to present books by and on women of great depth, this new one Rendez Vous centered on the theme of the young girl, it had as protagonists the literary historian Fanny Arama in conversation with Berest and Jodorowsky.

“We are proud to hold these discussions because emancipation is also part of Chanel’s history and the love for books is perfectly in tune with the house,” said Pavlovsky. “Mademoiselle Chanel could have done it, Karl could have done it with 7L and Virginie does it extremely well. It would never have happened without her. Today defending ideas is more important than ever and we are honored to do so at Chanel ”.

In the evening, the celebrations ended like in the ‘old’ pre-Covid days with a private concert organized by the musician Sébastien Tellier, with a lot of surprise on the part of Casiraghi who took the stage to sing along with Angèle, Paradis and Armanet.

Angèle Van Laeken, Belgian singer whose songs loop in Chanel’s creative studios

© Acielle StyleDuMonde

“After a year indoors, being outdoors, in the light, singing on stage all together is just extraordinary,” commented Paradis after the show. “What draws a lot from Virginie is the fact that, in addition to taking care of the design part, she is very gifted for music and the show evoked a mix of punk, rock and roll and Barbarella. This concert is her idea – a way to celebrate a Chanel moment; the whole set of things we love “.

“I feel very lucky to be here for two big reasons – fashion and music. But I am also moved by what I have seen and heard; it’s all very poetic, ”added Angèle. “Personally, I think it is a reminder to remind us to be positive and live the moment to the full.”

But it could also score the beginning of a new chapter. With hope pinned for the month of July, Chanel plans to be able to return to one couture show in attendance – with a small audience – in the gardens of the Palais Galliera. And when that happens, it could score the end of the fashion experience in format only digital.

A close-up on the monogram jewelry

© Photo: Acielle / StyleDuMonde

Jean Cocteau inspired the collection, as well as the Provencal flora

© Acielle StyleDuMonde

The debut of a new it bag

© Photo: Acielle / StyleDuMonde

The article was originally published on Vogue.com

Source link

By 2yvqk

Leave a Reply

Your email address will not be published. Required fields are marked *