Chanel
& Dança

OPENING GALA

Temporada 2019/20

Pelo segundo ano consecutivo, CHANEL apóia a Gala de abertura da Ópera de Paris no início da temporada de balé. Em 20 de setembro, no Palais Garnier, foi apresentado um balé coreografado em 1953 por Serge Lifar, 'Variations', com a música de Franz Schubert. Os figurinos foram desenhados pela Casa, sob a direção de Virginie Viard, diretora artística de coleções de moda. A Maison Lemarié, parurier floral e parte dos Métiers d'art de CHANEL, criou as flores utilizadas em cada traje.
FIGURINOS POR 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.
Uma Noite de Ópera
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
Nesta última série do 3.55, o podcast CHANEL, Virginie Mouzat recebe figuras emblemáticas do mundo da música e dança contemporânea na Ópera Garnier para uma troca de informações sobre o processo criativo.
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Hiroshi Sugimoto
Cenógrafo

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

Apaixonado por todas as artes, Karl Lagerfeld colaborou em inúmeras ocasiões com coreógrafos. Em 1986 e 1987, ele imaginou os figurinos para dois balés do coreógrafo alemão Uwe Scholz. Em 2009, para CHANEL, ele criou a roupa de Elena Glurjidze para ‘The Dying Swan’. Foram necessários mais de 100 horas de trabalho nos ateliês do Métier d'art Lemarié da CHANEL para criar o tutu feito com mais de 2500 penas. E em 2016, a pedido de Benjamin Millepied, ele criou os cenários e os figurinos para o balé do Brahms-Schönberg Quartet com uma coreografia de Balanchine.
Apaixonado por todas as artes, Karl Lagerfeld colaborou em inúmeras ocasiões com coreógrafos. Em 1986 e 1987, ele imaginou os figurinos para dois balés do coreógrafo alemão Uwe Scholz. Em 2009, para CHANEL, ele criou a roupa de Elena Glurjidze para ‘The Dying Swan’. Foram necessários mais de 100 horas de trabalho nos ateliês do Métier d'art Lemarié da CHANEL para criar o tutu feito com mais de 2500 penas. E em 2016, a pedido de Benjamin Millepied, ele criou os cenários e os figurinos para o balé do Brahms-Schönberg Quartet com uma coreografia de Balanchine.
Photo Sasha ©Hulton Archive / Getty Images
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Jean Cocteau surrounded by the dancers of the ballet 'Le Train bleu': Lydia Sokolova, Anton Dolin, Léon Wojcikowski and Bronislava Nijinska.
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