Chanel
& Dance

OPENING GALA

Season 2019/20

For the second year running, CHANEL is supporting the Paris Opera’s opening gala at the start of the ballet season. Taking place on September 20th at the Palais Garnier, a ballet choreographed in 1953 by Serge Lifar, ''Variations'', was presented, set to the music of Franz Schubert. The costumes were designed by the House, under the direction of Virginie Viard, Artistic Director of Fashion Collections. Maison Lemarié, floral parurier and a part of CHANEL’s Métiers d’art, crafted the flowers seen on each costume.
COSTUMES BY CHANEL
The Parisian Maison d’art Lemarié, feather maker since 1880 and flower maker since 1946, is one of CHANEL’s Métiers d’art. Once again, the Lemarié artisans have added their meticulous savoir-faire to the making of the costumes for the ballet ''Variations'' under the direction of Virginie Viard: on a gossamer silk organza, beads, green and silver grey lurex threads and silk petals in pastel hues draw a bouquet of flowers in relief, delicately affixed on a black line painted by hand. Rose, lily, tulip, wisteria, cornflower and violet: each of the six dancers embodies a flower. The silk tulle tutus are of a minimal purity, the black punctuating the underside of the skirt with its graphic modernity, highlights the movements of the dancers. The precision of CHANEL's Métiers d’art mirrors the exacting rigour of the corps de ballet.
The Parisian Maison d’art Lemarié, feather maker since 1880 and flower maker since 1946, is one of CHANEL’s Métiers d’art. Once again, the Lemarié artisans have added their meticulous savoir-faire to the making of the costumes for the ballet ''Variations'' under the direction of Virginie Viard: on a gossamer silk organza, beads, green and silver grey lurex threads and silk petals in pastel hues draw a bouquet of flowers in relief, delicately affixed on a black line painted by hand. Rose, lily, tulip, wisteria, cornflower and violet: each of the six dancers embodies a flower. The silk tulle tutus are of a minimal purity, the black punctuating the underside of the skirt with its graphic modernity, highlights the movements of the dancers. The precision of CHANEL's Métiers d’art mirrors the exacting rigour of the corps de ballet.
A Night at the opera
On September 20th, ambassadors and friends of the House joined Virginie Viard, Artistic Director of Fashion Collections, at the Opera Garnier in Paris for the gala opening night of the 2019/20 dance season wearing CHANEL.
Alma Jodorowsky
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chanel à l’opéra
In this latest series of 3.55, the CHANEL podcast, Virginie Mouzat receives emblematic figures from the worlds of music and contemporary dance world at the Opera Garnier to exchange about the process of creation.
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hiroshi-sugimoto
set-designer

The house’s DEDICATION TO DANCE over the years

Gabrielle chanel And The Ballets Russes

Gabrielle Chanel loved being surrounded by the artists of her era and was a friend and patron of Serge Diaghilev, the founder of the Ballets Russes company. A far cry from the outdated conventions of classical dance, the Ballets Russes revolutionised the world of ballet with their dazzling aesthetics where music, dance and the visual arts came together, rendering it a complete art.In 1924, the designer put her daring and her vision to the service of dance with the costumes for 'Le Train bleu', produced by Diaghilev. The libretto was by Jean Cocteau, the music by Darius Milhaud, the grand drape and the program by Pablo Picasso. She met the principal dancer Serge Lifar, with whom she is pictured here, during its production.
Gabrielle Chanel loved being surrounded by the artists of her era and was a friend and patron of Serge Diaghilev, the founder of the Ballets Russes company. A far cry from the outdated conventions of classical dance, the Ballets Russes revolutionised the world of ballet with their dazzling aesthetics where music, dance and the visual arts came together, rendering it a complete art.In 1924, the designer put her daring and her vision to the service of dance with the costumes for 'Le Train bleu', produced by Diaghilev. The libretto was by Jean Cocteau, the music by Darius Milhaud, the grand drape and the program by Pablo Picasso. She met the principal dancer Serge Lifar, with whom she is pictured here, during its production.

karl lagerfeld as a Costume designer

Passionate about all the arts, Karl Lagerfeld collaborated on numerous occasions with choreographers. In 1986 and 1987, he imagined the costumes for two ballets by the German choreographer Uwe Scholz. In 2009, for CHANEL, he created Elena Glurjidze’s outfit for The Dying Swan. It took more than 100 hours of work in the ateliers of CHANEL’s Métier d’art Lemarié to create the tutu made of more than 2500 feathers. And in 2016, at the request of Benjamin Millepied, he created the sets and the costumes for the ''Brahms-Schönberg Quartet'' ballet with a choreography by Balanchine.
Passionate about all the arts, Karl Lagerfeld collaborated on numerous occasions with choreographers. In 1986 and 1987, he imagined the costumes for two ballets by the German choreographer Uwe Scholz. In 2009, for CHANEL, he created Elena Glurjidze’s outfit for The Dying Swan. It took more than 100 hours of work in the ateliers of CHANEL’s Métier d’art Lemarié to create the tutu made of more than 2500 feathers. And in 2016, at the request of Benjamin Millepied, he created the sets and the costumes for the ''Brahms-Schönberg Quartet'' ballet with a choreography by Balanchine.
Photo Sasha ©Hulton Archive / Getty Images
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jean-cocteau-surrounded-by
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