CHANEL NEWS

singapore-a-fashion-show-650-feet-above-the-ground

新加坡的一场时装发布会
距离地面650英尺之上

11月18日,香奈儿于新加坡滨海湾金沙酒店大厦离地650英尺楼顶:金沙空中
花园,举办一场别出心裁的活动。

现场主要以492英尺的无边际泳池与周围环绕全景景观的城市天际线为背景,重现
5月于圣特罗佩的2010 / 11早春度假系列发布会。

夜幕降临时,金沙空中花园摇身成为嘉宾们的派对场地。

此活动是为了欢庆位于该大厦一楼的精品店正式开幕:由Peter Marino所设计的648平方米复式服装精品店。

chanel-recreates-saint-tropez-in-tokyo

香奈儿于东京
重现圣特罗佩

11月17日,香奈儿邀请嘉宾们前往位于东京最时髦的购物中心地带的表参道
精品店,同庆刚抵达的最新2010 / 11早春度假系列。

为此,精品店以5月于圣特罗佩的时装发布会为灵感重新布置。

精品店与4楼的阳台,都化身为派对场地—圣特罗佩的露天咖啡座,让现场的时尚
名媛、媒体、知名博主等嘉宾们,能尽情地享受灵感来自时装发布会演奏曲目的
现场演奏。

装置陈设将展出10天。

chanel-by-jean-leymarie-a-collectors-book-revisited

尚•雷马利所著的《香奈儿》
重温收藏家的藏书

这本书初版发行于1987年,后来在市面上一度绝版。
曾经,必须要以最锲而不舍的决心加上肯出收藏家的高价,才能寻觅得到。

现在,《香奈儿》终于重新面世。有“Éditions de La Martinière”发行的法文版、
“Abrams”发行的美国英文版,以及由“Thames & Hudson”发行的英国版。

书中,艺术史学家尚•雷马利细述可可•香奈儿的一生,并从艺术的角度来审视她的作品。香奈儿女士常常与考克多、莫迪里阿尼、马蒂斯、雷诺阿、艾里布、杜瓦诺、玛丽•罗兰桑等人的创作合影,可为他的文章提供生动的佐证。
最大功臣应数既是缪斯亦是恩人的米西亚•塞特—画家荷西•马利亚•塞特的妻子。米西亚在1910年代末期引荐嘉柏丽尔•香奈儿认识了一群当时最前卫的艺术家。
从毕加索到达利等人与可可•香奈儿之间的互动,尚•雷马利细述艺术家的友谊如何影响她生活与风格的形成。“我总是对毕加索怀抱着坚实的友谊,相信他亦如是。”(可可•香奈儿的语录,书中第70页)

摄影:由尚•雷马利拍摄的《香奈儿》—于可可•香奈儿的寓所

orchestra-by-michel-gaubert

交响乐
来自MICHEL GAUBERT

JARDIN D'EDEN - THOMAS ROUSSEL

It all started with a wisecrack made by Karl Lagerfeld in the Chanel Studio in July this year.

While we were talking about the October fashion show, a French-style garden setting in the Grand Palais and Last Year at Marienbad as inspiration for the collection, Karl was wondering what we should do for music. He was quick to come up with the idea of a philarmonic orchestra.

It was quite an idea since we had to get an orchestra of 80 musicians to play bang in the centre of the Grand Palais, a magical location by all standards whose accoustics are not its best feature.

Thomas Roussel, a young conductor with great ideas, was to be the man for the job; a man of talent who is always a pleasure to work with. During our discussions, we came up with the idea of making a soundtrack that was to be our version of Last Year at Marienbad, as the original score, composed by Francis Seyrig, would have been slightly nerve-racking to present the collection.

We therefore decided to do interpretations of rather well-known pop culture tracks, hinting at the audience without revealing too much from the first keys. We focused on two tracks by Bjork, ‘Isobel’ and ‘Bachelorette’, as they already are like mini-symphonies of their own with elaborate string arrangements that we mixed with a cult theme from John Barry and Thomas' exclusive composition ‘Jardin d'Eden’ before closing with the sweeping violin crescendos of  ‘Bittersweet Symphony’ a track made famous by The Verve when in fact they borrowed it from the Rolling Stones when it was called ‘The Last Time’.

For two months, we swapped sounds back and forth. Thomas wrote his score on his computer, a bit like a pattern maker making his toile, waiting for final approval prior to transcribe the score for each group of instruments.

In total there were to be eight rehearsals to practice the score and adapt it to the fashion show. The first rehearsal was the trickiest because it was held in an outside venue and the musicians from the Lamoureux orchestra discovered for the first time the melodies and arpeggios they will have to fine tune within the next 48 hours. The violins screeched somewhat and the tempo was slightly off. In the beginning it is always like that and Thomas had the situation under control while I was the only one concerned with the sound being offbeat.

The night before the show, the Grand Palais was amazing with the gardens looking like they had always belonged there. Upon Karl's arrival we gave the 'go' to the conductor and the models started walking the gravel alleys in their everyday clothes, their attitude enhanced by the surroundings and the soundtrack that now sounds perfect. It is the most priviledged moment in the process of the making of a show, when all the pieces from the different players come together making Karl's vision a reality. Everything feels fresh and fragile, making the ephemeral desirable forever.

On D-Day, the orchestra walks up to, looking impeccable in their custom made Chanel cardigans, both taken and reserved by the idea of playing more than their part in this unusual production. 5-4-3-2-1 Go!
Time stands still, we hold our breath, we have to do it and do it well, it is a live performance and there is no room for error.
The models dressed in silver tweeds and feathers much loved by Mademoiselle appear from each side of the grand staircase, becoming the protagonists of ‘Next Year at Marienbad’.

Two months of work, nineteen-minutes of show but our emotions will remain engraved in our memories forever.

Thomas Roussel composed ‘Jardin d’Eden’, exclusively for the web broadcast of the fashion show.


 


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