CHANEL NEWS

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© Sketch by Karl Lagerfeld for the invitation to the Fall-Winter 2016/17 Haute Couture show.

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© Sketch by Karl Lagerfeld for the invitation to the Fall-Winter 2016/17 Haute Couture show.

IMMERSION IN THE ATELIERS,
RUE CAMBON

When you enter the ateliers, you accept to go beyond the reign of brands and images into a place of humility. At first everything seems silent, but this is quickly punctuated by the delicate sounds of breathing and the occasional sigh, or the sound of a tool being laid down, picked up, handled. And the gentle rustle of fabrics – tulles or satin – nearly a murmur.

Each gesture defies time and patience. And although the seamstresses each appear isolated and concentrating on their work, this is a collective effort, like a stage production, to bring the sketch to life. But Haute Couture is also an adventure into unknown territory, exploring different materials; discovering them intuitively, with the hands and the eyes, to give birth to a silhouette, to shapes. The materials are tamed and led in a dance until they finally fall perfectly.

This is the challenge: to take the lines of a sketch and transform them into a tour de force, with a myriad of invisible details.

Angelo Cirimele

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© Anne Combaz

the-cape

© Anne Combaz

THE CAPE

For the Paris in Rome 2015/16 Métiers d'Art collection, Karl Lagerfeld reinvents the round Berthe collar, worn as a cape over dresses and coats.

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© Anne Combaz

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© Anne Combaz

MÉTIERS D'ART KNOW-HOW
1. TWEED AND EMBROIDERIES

It all starts when Karl Lagerfeld sketches his collection. The drawings are then made up, creating ongoing discussions between the Studio, the ateliers and the Maisons d'Art.

The Lemarié Atelier
Using a sample approved by the Studio, the design is created on tracing paper. Flowers and leaves are cut from leather and little squares from tweed and lace. These are then arranged, sewn in place and embellished with rhinestones.

The Chanel Ateliers
The embroidered lace is sent back to rue Cambon to be assembled. The cape and the dress are tried on a wooden tailor's dummy to check that the proportions and the silhouette are in line with Karl Lagerfeld's original vision.

Karl Lagerfeld's Studio
The cape and the dress are then accessorised. Finally, the look is subject to approval by Karl Lagerfeld during the final fitting a few days before the show.

The Paris in Rome Métiers d'Art collection is available in boutiques.

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© Anne Combaz

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© Anne Combaz

MÉTIERS D'ART KNOW-HOW
2. MARBLE EFFECT FEATHERS

The feathers on the skirt were reworked before being appliqued onto the crepe georgette, while those on the top were painted to resemble marble then re-cut and sewn onto the organza in the Lemarié ateliers.

For the silhouette of this piece from the Paris in Rome 2015/16 Métiers d'Art collection, Karl Lagerfeld played with contrasts, combining the lightness of black feathers with a powerful visual effect of white veined marble.

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© Anne Combaz

metiers-d-art-know-how-3-pearls-lace-and-leather

© Anne Combaz

MÉTIERS D'ART KNOW-HOW
3. PEARLS, LACE AND LEATHER

"About a month and half before the collection I give the first sketches to the ateliers. The people with whom I work know exactly how to interpret my sketches. A design is never discordant with what I have asked for… but sometimes, when it comes to the fittings, I change my mind, I have new ideas, so we make changes and we start again. There is always a creative dynamic between the Studio and the expertise of the artisans and the Chanel ateliers who work on my collections. Gradually the silhouette evolves, the embroideries, the details, the finishes and the flowers take on a new dimension", Karl Lagerfeld.

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