A fashion shoot for the May 2009 issue of American ELLE featuring French actress and singer Nora Arnezeder
The fourth annual dinner hosted by CHANEL at New York restaurant Odeon in support of the artist program
Fall-Winter 2009/10 Pre-Collection
One of the great institutions of Parisian Couture
Ever since his company became part of the Chanel family in 2002, François Lesage has retained his position as the key supplier to all the great names in fashion, and, for Karl Lagerfeld, an irreplaceable partner. Every season, Karl Lagerfeld, admired by François Lesage for “his intelligence, culture and creativity”, hands over the sketches and ideas on which he bases his work.
The story began in 1858, when Charles Frederick Worth opened his haute couture fashion house, and started making use of the prodigious talent of the embroiderer Albert Michonet, whose studio was purchased by Albert and Marie-Louise Lesage in 1924. This was the beginning of a period of fruitful and close collaboration with the best-known names of the time.
In 1949, on the death of his father, François Lesage took over management of the company at the tender age of 20. For 50 years, he has cleverly combined the skills of a traditional craft with meeting the pioneering requirements of the new generation of fashion designers.
For each haute couture collection, François Lesage, and his team of designers and embroiders, develop a hundred new embroidered pieces, which are added to some forty thousand samples created since 1858 and which have today become the inspiration for many designers.
A close-up and details of the embroidery created for the latest Spring-Summer Haute Couture collection from Chanel.
After the success of the film Slumdog Millionaire, the young Indian actress met with Karl Lagerfeld, went to the Chanel Ready-to-Wear fashion show and an event in the Haute Couture salon...
A book of photographs by Douglas Kirkland on Coco Chanel during the Summer of 1962 with an introduction by Karl Lagerfeld and edited by Steidl.
Visually Douglas Kirkland investigates a past unknown to us, beyond our reach without him. Things gone forever return in the most authentic way possible through his recollection of these "moments privilegiés". We vaguely know the history of Chanel, but suddenly it's all alive, we feel connected with something that seemed entirely remote before. We witness the vanished power of an unusual reign in the world of fashion. Reality has melted and diluted, but those images have not faded.
We can see them as a halo and a suggestion of short moments of happiness (or we want to believe they had been happyones) during that summer, late but not too late towards the end of her life. There is a deep and intimate charm in Douglas Kirkland's photos of "Mademoiselle". He removed from her image all its evils and the bitchy side popular imagination has attached to her persona. It's a reduction of all clichés concerning Coco Chanel to immediate appreciation, sympathy and nearly cheerfulness.
Seen by Douglas Kirkland, she is no longer an older woman. Famous people are not judged on how they are but on what they are.
Time was running out, but as T.S. Eliot says in the poem "If Time and Space as Sages say":
"To live a century?
The butterfly that lives a day
Has lived eternity."
She still had nearly 9 years to go.
Looking at the camera of this young and handsome American she seems to say: Whatever you gave me, and if it was only a smile, you cannot take back. I can keep it like a treasure forever.
Summer 62 was, in a way, her last summer as the queen of fashion. Jeans and miniskirts were on their way to invade the world. Hating them and letting people know publicly how much she loathed the fashions to come she put herself instantly in the position of the has-been oracle of style and fashion.
The years to come were clouded for her by gloom and bitterness. They were also the years of respect, hommage (a word the French love) and all those evident signs which tell you your time is over. The word "vintage" was not yet invented. Suddenly nobody was interested in the past. Childish futurism (seen what the world became finally) was the next step in fashion.
The name of Chanel could only come back without her in a new corporate world of fashion the way we know it today. Her name as a brand was the first to be reborn. Many others followed.
Here suddenly, during the short weeks of July 1962, a young all-American boy brought back her once so irresistible black-sun smile. She never made a big effort for women but this young man was a perfect target to test for the last time her once famous powers of seduction. There are hardly any photos of her - even when young - with such a winning smile, with such a lightness in her expression.
When working she is another person, looking more serious than the job requires. There is the famous fitting of the armhole, but there are also a few sweet moments of complicity with some of the models, but in a charming, condescending way - nothing to do with the spontaneity of her ageless smile when she looks at Kirkland's camera.
She had had time to tell the world that she had invented it all, that she was the modern woman who suddenly hated modernity. All the other designers, some of them as influencial as she in the first 40 years of the 20th century, were suddenly forgotten. They were men and women with none of Coco's charm and beauty.
Images left behind are finally stronger than truth and facts. Through Douglas Kirkland's images we can imagine what the famous Coco had been all about before she became the formidable Chanel, the feminine version of the statue of the Commendatore in Mozart's opera "Don Giovanni", wearing the uniform she invented like an invincible armour...
European court costume 1650-1800 at the Château de Versailles
For the first time, an exhibition has been dedicated to the fashions of the great European monarchies from the 17th century to the beginning of the 19th century. Presented at the Palace of Versailles, for which it was exclusively curated, this exhibition brings together more than 200 works, including royal pomp and ceremonial costumes, jewellery and jewels, as well as paintings depicting court scenes. "The golden age of court costume was under Louis XIV," explains Karl Lagerfeld, "Versailles is therefore the most ideal and magical place to exhibit fashions from a world and a lifestyle that are impossible to imagine today."
This exhibition, created with the patronage of CHANEL, will be held until June 28th, 2009.
Interview with Karl LagerfeldWhy have you chosen Jerry Hall for this 2009 Spring-Summer accessory brochure?
KL: I have known Jerry Hall since she was 15 and have always loved her "sumptuous" and generous side. I love her skin, her complexion, her hair, her overall allure.Is this the first time you have photographed her? Do you have other projects you are working on with her?
KL: I had photographed her a long time ago, at the beginning of my career as a photographer and have always kept in touch with her. Today I also photographed her for the cover of a book about her.Claudia Schiffer, Christie Turlington and now Jerry Hall, how are these supermodels from the 80s and 90s so emblematic of feminity?
KL: These are women with strong personalities. They do not have a problem with age time, life or the evolution of fashion. And that is what I love about them.Why do you like the writer Colette?
KL: For me, Colette epitomizes the French writer and woman writer "par excellence".Why are you inspired by "Chéri"? There were already references to this novel in "Karl Lagerfeld: 7 Fantasmes of a Woman". What does this novel evoke for you? Why take up this theme of a mature woman with a younger man again?
KL: Oscar Wilde said: "I like men who have a future, women who have a past" (The Picture of Dorian Gray). It is this whole idea of seduction that is summarized here that appeals to me. One of a very young man fascinated and attracted by what a woman does: her wardrobe her perfume, her movements, her allure, etc, etc.For what reason(s) did you choose Baptiste Giabiconi for "Chéri"?
KL: In reading the first page of the book and the description of the character, we understand that Baptiste is the portrait of Chéri. He is also the most promising male model at the moment.Where were the photos taken?
KL: In a studio where we reconstructed the bedroom of a woman, a courtesan.What does photography bring to you? For what reasons have you chosen this medium of expression?
KL: I love images in general and making images, be photography, sketching, design, publishing or others.
This novel, written by Colette in 1920, is part of Karl Lagerfeld's literary collection. The book is a great source of inspiration for the pictures in the 2009 Spring-Summer Accessories Catalogue, which portrays a woman (Jerry Hall) and her much younger lover (Baptiste Giabiconi). 'Chéri tells the story of Léa de Lonval, a former courtesan who, approaching fifty, falls in love with a young dandy, Fred Peloux, going by the name 'chéri'. The son of a rich courtesan, this handsome young man of 25 lives surrounded and pampered by eccentric and liberal demi-mondaines, typical of the 1920s. Idle and narcissistic, he lives six years of passion with this glamorous woman, who passes on all her experience to him. He then leaves her to wed Edmée, the very young daughter of a rich friend of his mother’s. The passion and disillusionment of this short story portrays a certain social milieu of the Paris 'Belle Epoque' — a milieu well known to Colette and Mademoiselle Chanel during those carefree years.