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10/06/2009
MAKING OF THE READY-TO-WEAR SPRING-SUMMER 2010 PRESS KIT
STUDIO 7L , SEPTEMBER 29, 2009
[ More ] -
09/04/2009
WINTERTALE
MAKING OF THE 2009/10 FALL-WINTER READY-TO-WEAR CAMPAIGN
[ More ] -
23/07/2009
SHOOT BY KARL LAGERFELD IN PARIS
FOR THE SPRING-SUMMER 2010 PRE COLLECTION WITH BAPTISTE GIABICONI AND LARA STONE
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05/29/2009
PARIS-MOSCOU IN MOSCOU
BACKSTAGE PHOTOGRAPHED BY EMANUELE SCORCELLETTI
[ More ] -
2009 SPRING-SUMMER
MAKING OF THE ACCESSORIES PHOTO SHOOT
[ More ] -
2009 SPRING-SUMMMER
MAKING OF THE READY-TO-WEAR CAMPAIGN
A HOUSE IN VERMONT
As soon as Karl Lagerfeld saw the house in Vermont he knew he had found the setting for the next Chanel ad campaign.
It is a typical New England wooden house, set on the banks of Lake Champlain, with a severe and puritan look that makes
it seem like the house has been frozen in the mid 19th century. As the designer put it: "I love this house, it is so Emily Dickinson," referring to the tormented romanticism of the American poet from Massachusetts whose work went unrecognized during her lifetime. [ More ] -
12/22/2008
THE FIRST MOVIE BY KARL LAGERFELD
COCO 1913 - CHANEL 1923
At a time when several movies about Mademoiselle Chanel's life are being made, Karl Lagerfeld adds his personal touch by
directing his first movie for the Paris-Moscou show. The designer was behind every detail: from the script to the set, as well as
the casting and the editing. [ More ] -
2008/9 Fall-Winter
READY-TO-WEAR CAMPAIGN
HARLEM SHUFFLE
For this collection's campaign, Claudia Schiffer gave up her legendary blonde hairstyle: Karl Lagerfeld was not afraid to turn
her into a modern Louise Brooks, short black hair, snow white skin, lace stockings covering long legs, and a delicate 20's
look. The photo shoot took place in an authentic Harlem brownstone, still full of the historical atmosphere of the neighborhood,
formerly dedicated to jazz music. [ More ] -
05/14 - 05/25/2008
CHANEL IN CANNES
BACKSTAGE AT THE FITTING ROOM
Lily Allen with her pink CHANEL sunglasses [ More ] -
MéTIERS D'ART 2008
THE FEATHER PLASTRON
PARIS-LONDRES COLLECTION
Photo by Karl Lagerfeld
For the Paris-Londres collection, the house of Desrues made
this spectacular golden feathers plastron. It is with his unique
Métiers d'Art collection that Karl Lagerfeld is able to preserve
and promote traditional know-how, using these increasingly
rare artisans to enhance his creation. Behind the scenes of a
meticulous project which takes over ten days of labor and
results in a capelet of feathers delicately articulating along
a woman's décolleté. [ More ]
- Karl Lagerfeld followed the codes of silent cinema, a conscious choice which allows the film to correspond to the movies
of Mademoiselle Chanel's time. But it is also most certainly Lagerfeld's personal taste for this contrasted and expressionist
esthetic — quite similar to his photography — that he was able to aptly reproduce without constraints or mannerisms. This is
thanks to the use of precise cinematographic techniques (camera movement, lighting, image processing), but also thanks
to the casting, for which Karl Lagerfeld selected the actors from his creative entourage. The relaxed and slightly humoristic
atmosphere on the set of this movie, which was shot just outside Paris, adds a certain flavor to this graceful film. Between the
two main scenes, Karl Lagerfeld slipped in a sequence of historical facts where phantom-like faces of the Tsar and his family,
Rasputin and Lenin appear along with war images.
The first scene takes place in Mademoiselle Chanel's (played by Edita Vilkeviciute) atelier in 1913. She welcomes her
customers, some delightfully and some insolently, until the arrival of her then lover: Boy Capel (played by Jake Davies), the
wealthy British polo player. The scene continues with an amusing blunder. Gabrielle Chanel says "Sacré Printemps" instead
of "Le Sacre du Printemps" about the cutting-edge ballet by Igor Stravinsky and choreographed by Vaslav Nijinsky which
would go on to be the source of much scandal in 1913. The head seamstresses coyly look away as Coco and Boy Capel kiss
passionately on the couch.
The second scene, ten years later, in 1923, revisits the elegant atmosphere of a Russian cabaret in Paris. Mademoiselle
Chanel makes an impressive appearance with her new lover, Grand Duke Dimitri Pavlovich (played by model Brad
Kroenig), who was involved in Rasputin's murder and escaped from the Bolsheviks. It is with this flamboyant aristocrat, that
Mademoiselle Chanel candidly discusses Russian constructivism, an artistic movement that was clearly associated with the
communist revolution. The constructivism will be the inspiration of her next Russian collection which she says she will combine
with "the opulence of the Tsarist Russia."
The movie ends with the announcement: "Eighty-five years later... Chanel Paris-Moscou 2008-2009." 
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