Chanel presents a selection of accessories that tell the bond between Gabrielle and Jean Cocteau
Art is never an end in itself, it does not isolate itself in self-referentiality, but it is a network of correspondences that from fashion to cinema to literature are referred to in endless citations. A versatility that the maison Chanel he knows and makes his own since the first steps in Rue Cambon, in that cultural salon camouflaged by millinery boutiques, between a toast to absinthe with Pierre Reverdry and a sip of whiskey with Igor Stravinsky.
The Les-Baux-de-Provence quarries.
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A scene from the film The Blood of a Poet by Jean Cocteau, 1932.
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Bonds that have left a mark on aesthetics Chanel, the black and white duotone of Jean Cocteau it appears as the mirror pole to Gabrielle’s creations, she remembers saturated but neutral colors, the versatile linearity of the cuts and the undressing from the useless, from the frills: in Chanel fashion, you can breathe the same ability of the writer and director to juggle between the concreteness of reality and the metaphysics of dreams. In turn, Virginie Viard he fits into this dialectic of images by proposing his interpretation of the relationship Coco-Cocteau, and it does so through a Cruise 2021 2022 collection which is pure evocation.
The finale of the Chanel Cruise 2021 2022 show.
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Jean Cocteau plays himself in the film The Testament of Orpheus, 1960.
The limestone grip of the Les-Baux-de-Provence quarries, in the Alpilles, is the mystical setting for Cocteau’s show and summa work. The Testament of Orpheus (1960); Fluorescent five-pointed stars painted on the stone pay homage to the film’s rarefied backgrounds The Blood of a Poet (1932). In detail, the vision becomes perception and the reference to Cocteau’s genius corpus is concretized in the accessories of the collection.
The piercing on the mouth
The lips of the models are the gravitational center around which the attitude of the beauty look and of jewelry, thanks to the presence of a piercing of magnetic force that attracts the gaze without leaving the possibility of turning away. Two C’s, Coco Chanel, Coco Cocteau, in bronzed metal and set with bright crystals, which define the markedly rock allure of the collection.
Unusually aggressive for the most approach good mine of the maison, the bijoux recalls the birth of punk in the 60s – while in Paris existentialists conversed at the Cafè de Flore, in London Vince Taylor and His Playboys played, they wore leather pants and discovered the clinking universe of studs. Accompanied by a black eye-framing makeup, the accessory takes us back to Jean Cocteau and his obsession with the mouth: primary instrument of artistic creation, she is the leading lady of a legendary film scene The Blood of a Poet, where it comes to life by escaping the protagonist’s attempts to erase it from a statue.
Enrique Rivero and Elizabeth Lee Miller in the scene of the living mouth ne The Blood of a Poet by Jean Cocteau, 1932.
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The hibiscus flower as a ring
Majestic at first glance, the hibiscus flower becomes a ring is trait-d’union suggestive and poetic among the botany of Chanel couture and Cocteau’s cinematography. For Coco it was there camellia, concentric and immaculate series of white petals that embody the elegance of balance; for Cocteau it was thehibiscus, blood red and exotic, intensely perfumed and ideal to drink in an infusion, complete and multifaceted like art.
Is in the Testament of Orpheus that its most famous appearance occurs, when Cocteau receives it as a gift from the character of Cégeste (Edouard Dermithe): “Cette fleur est faite de votre sang, elle épouse le syncopes de votre destin” (“this flower is made of your blood, it marries the syncopes of your destiny”). In the last scene of the film, the fallen flower turns into Cocteau’s identity card. Oversized, with a brilliant patina and glazed in soft shades of pink, white and purple, the hibiscus flower invests jewelry in the masterful role of citation.
The scene of the gift of the hibiscus ne The Testament of Orpheus.
The bag with equestrian-inspired fringes
Gabrielle and his taste for freedom found full realization in dressage afternoons on the back of Romantica; Jean Cocteau and his rejection of socio-cultural dogmas in favor of limitless inspiration are condensed into the rebellious symbol of horse. The bestiary shared by illustrious friends sees horses a ideal of power and strength, translated for mademoiselle in riding boots and caps and for Cocteau in the fixed presence of steeds in his works.
In Cruise collection, the reference becomes subtle and shrewd, choosing the fringes of one shoulder bag like synecdoche of a mane. The matelassé leather of a cross-body shopper opens at the bottom in an explosion of black laces that give movement to the whole, with golden chain inserts that act as a precious touch. There is no lack of a certain fussiness of an inveterate cinephile, who immediately returns to the combed and almost styled horsehair of the steeds. The beauty and the Beast of 1946.
Josette Day on the set de The beauty and the Beast.
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The belt with chain braces
Credit goes to the maison for having turned the belt into a jewel, freeing it from the flat task of supporting the trousers in favor of a decorative quality. Virginie Viard condenses the useful and the enjoyable into an architectural accessory where the mechanics of braces and belt become one unicum. The classic leather ribbon with double C buckle is joined by wide chains that encircle the shoulders and cross the bust, an armor synthesized in two golden lines that well express the concept of femme courageuse.
An osmotic process triggered by a single glance: we see her on the catwalk and we want her on, almost reaching out to take her across the screen. A counter-trend solution, which totally deprives the belt of its functionality, leaving only the meaning of décor. Not wanting to miss anything, Cocteau’s stylistic paraphrase also occurs in this case, taking up the complex costumes of The beauty and the Beast where scaffolding of pearls dominated bodices and baroque skirts.
The beauty and the Beast by Jean Cocteau.
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The garter bag
The focus on legs is the prerogative of the Chanel fashion house, which prefers the roaring cut to the knee of the 20 years. Coco is among the first couturiers to propose high-leg silhouettes that reveal ankles and calves, daring from time to time with a preview of the thigh, a cheekiness that Cocteau likes and stimulates his irreverent vague.
It was the 1920s when Coco’s Monegasque and croisière mood dresses the dancers de Le Train Bleu, play by Jean Cocteau with music by Darius Milhaud – are the first shorts to go on stage. Once emancipation is achieved, sensuality is amplified turning lingerie into a day accessory, with a clutch bag garter which is worn on the thigh and which involves the spontaneous as well as provocative gesture of lowering to take its contents. Black leather, golden metal, chains and the maison’s seal in lettering complete this indiscreet jewel, which sees but does not tell female secrets.
The dancers of the Diaghilev Ballets Russes company Lydia Sokolova, Anton Dolin, Bronislava Nijinska and Leon Woizikowsky during a performance do Le Train Bleu by Jeac Cocteau with costumes created by Coco Chanel, 1924.
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