Born a Leo on the 19th of August, 1883, Gabrielle Chanel surrounded herself with models of lions in wood, silver, bronze or alabaster for her apartment at 31 rue Cambon. The lion became a timeless biographical seal on numerous of her creations. “August 19th is my birthday. I was born under the sign of Leo. I am a Leo and, like a lion, I use my claws to prevent people from doing me harm, but, believe me, I suffer more from scratching than from being scratched.” The lion is also the symbol of the city of Venice, most notably the lion at Saint Mark's Square, the protective emblem of Doge's Palace. Coco Chanel fell in love with the city when she went for the first time, a voyage made in attempt to ease the pain of the sudden death of her lover, Boy Capel, in December 1919. Karl Lagerfeld has decided to go back to Venice to present the Cruise 2009/10 collection.
A delicate surge of light pink and green jade in a collection of Art Deco accessories
Una edición de moda con la actirz y cantante francesa Nora Arnezeder para la el american Dîner anual de "ELLE" organizado por Chanel en el restaurante Odeon en Nueva York en honor al "Artist Program"
The fourth annual dinner hosted by CHANEL at New York restaurant Odeon in support of the artist program
Fall-Winter 2009/10 Pre-Collection
Todo comienza en 1858 cuando Charles Frederick worth abre su salón de alta costura y para ello cuenta con el talento del bordador Albert Michonet. En 1924, Albert y Marie-Louise Lesage comparon su atelier. Comienza entonces una estrecha colaboración con los grandes nombres de la época
En 1949, con la muerte de su padre, François Lesage retoma la dirección de la empresa. Tiene 20 años. Durante 50 años, conseguirá unir a la perfección la excelencia del savoir-faire tradicional con las exigencias innovadoras de la nueva generación de costureros.
Para cada colección de alta costura, François Lesage y su equipo, diseñadores y bordadores, preparan un centenar de nuevos bordados que se suman a los más de cuarenta mil muestras creadas desde 1858 y que sirven hoy en día de inspiración a infinidad de creadores
Leyenda photo: Primer plano y detalles del trabajo de bordado realizado en la última colección de Alta Costura Primavera-Verano de 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.