“Classical ballet accepts only perfection,“ explains Karl Lagerfeld. “I have made ballet costumes for the Monte Carlo Opera, for La Scala in Milan, for the Opéra de Paris and others… This is an art that does not tolerate mediocrity.“ Passionate about all forms of art, Karl Lagerfeld keeps exploring the links between CHANEL and dance. The artistic director of the House put his skill set to several works such as Elena Glurdjidze's outfit for The Dying Swan, or the set and costumes for the Brahms-Schonberg-Quartet ballet with a choreography by Balanchine, to name a few. He continues to collaborate with a number of choreographers, thus perpetuating Gabrielle Chanel’s love of dance.
Guests including Keira Knightley, Kate Moran and Anne Berest wore CHANEL at the Opening Gala night of the Opera de Paris new dance season, held yesterday evening with the support of the House.
Reminiscent of the ties that existed between Gabrielle Chanel and the world of dance, the House of CHANEL was the benefactor at last night’s opening gala for the new choreographic season at the Opéra de Paris. The event brought together the entire company onstage before an audience of dance aficionados. After its presentation by the ballet corps, Decadance by Ohad Naharin will enter the repertoire. A piece featuring costumes by Karl Lagerfeld is composed of excerpts from emblematic creations including Bo/éro, performed by Aurélie Dupont, the ballet director of the Opéra de Paris, and Diana Vishneva, the principal dancer at the Mariinsky Ballet in Saint Petersburg.
Finishing touches are applied to Karl Lagerfeld’s costumes ahead of the Opening Gala at the start of Opéra de Paris’ new dance season. For tonight’s performance, he created the costumes for a B/olero section of Ohad Naharin’s Decadance ballet: "Ravel’s ‘Bolero’ has always been one of my most favorite pieces of music in the world. It was the first classical record I bought when I was 16 years old."
The Israeli choreographer, resident of the Tel Aviv-based Batsheva Dance Company, presents Decadance at the Opéra de Paris. A modular play based on sections from his unfinished works, transforms and adapts through a selection of pieces, variations and transitions. In an interview with Anne Berest, he addresses the issue of freedom through the understanding of rules and knowledge. He talks about his vision of movement and his dance techniques, such as the ‘Gaga’ method, which consists of listening to one's body in an unconventional way to better appreciate movement. To be a good dancer, explains the choreographer, passion, imagination and skills are the three essential qualities needed, complemented by the love of learning and research.
The actress, one of the faces of young independent French cinema and filmmaker Yann Gonzalez’s muse talks about her career as a dancer. In conversation with Anne Berest in the salons of the Opera Garnier in Paris, she retraces her first ballet steps and the discovery of post-modern and experimental dance. She explains how dance influenced her acting as much as her daily life, her relationship with the body, to pain and emotions.
In an intimate setting at the Palais Garnier, Anne Berest meets star dancer Diana Vishneva from the Mariinsky Theater in St. Petersburg before her performance in Ohad Naharin’s Decadance opposite Aurélie Dupont. The ballerina speaks about the language of bodies, the power of imagination and addresses the topic of novelty in creation.
Sitting down with Anne Berest, the ballet dancer and ballet director of the Opéra de Paris revisits her early passion for dance and her quest for freedom on stage. She sees this as an opportunity for dancers as artists to express a certain artistic relationship with the body through costumes and the purity of movement.
© Juan Naharro Gimenez