January 6th, 2016
The Best Supporting Actress nomination at the New York Film Critics Circle Awards went to the actress and the Maison Chanel ambassador for her performance in the 2014 Olivier Assayas‑helmed movie “Clouds Of Sils Maria”.
For the event, she wore a black leather and lace skirt and top from the Paris in Rome 2015/16 Métiers d’Art collection, accessorized with a “Première” watch.
This awards ceremony, hosted by the New York Film Critics Circle, an American organization of film reviewers, honors the best films and performances of the previous year.
© Grant Lamos IV/Getty Images
January 5th, 2016
With Lineisy Montero Feliz and Mica Arganaraz.
Collection in boutiques and on chanel.com in March.
January 5th, 2016
Shot by Karl Lagerfeld in Brooklyn, NYC.
© Olivier Saillant
December 24th, 2015
Coco Chanel’s Christian name was Gabrielle. Born in Saumur on August 19, 1883, to parents Eugénie Jeanne Dévolles and Henri‑Albert Chasnel, she was the second child in a family of six children: Julia‑Berthe, Alphonse, Antoinette, Lucien and Augustin. She raised Julia‑Berthe's son as if he were her own child and later was equally protective of his daughter, her great-niece and goddaughter, also named Gabrielle. She always carried a photo of her about her person.
December 18th, 2015
Korean writing system is strongly graphic and original.
As a tribute to Korea, Karl Lagerfeld has hidden Korean words in the details of one tweed of the collection, where one can read Mademoiselle, Cambon, Camellia, among others.
Collection in boutiques and on chanel.com
© Ahn Joo Young for Noblesse Korea, November issue
December 11th, 2015
The Courchevel ephemeral boutique will open tomorrow.
Its décor is inspired by Korea that echoes the silhouettes and accessories of the 2015/16 Cruise collection shown in Seoul last May.
The High Jewellery creations will be exhibited in the boutique exclusively between 31st December and 11th January.
From 12th December
December 9th, 2015
The suit in every shape and form joins the Paris in Rome Métiers d’Art collection, with cinematographic designs featuring a "film-roll" trim. The three-piece version, with jacket, long straight skirt and cigarette pants can be worn by women as well as men.
© Sofia Malamute
December 9th, 2015
Off the northern tip of Scotland, the cliffs of Fair Isle (7.68 square kilometers) rise up between the Orkney and Shetland islands. One of the most remote spots in the United Kingdom, it has preserved a tradition of producing unique bespoke knitwears.
The knits made by Mati Ventrillon reflect this heritage which goes back to the times when the islanders sailed the world, between America and Europe, while at home their spouses filled the hours inventing new and ever more original patterns.
Using only traditional designs from the 19th and 20th centuries, each garment is handcrafted in Shetland wool, faithfully reproducing the main themes.
Chanel’s Métiers d’Art collections pay tribute to the skills and heritage of traditional crafts, which they thus help to preserve.
© Patrick Dieudonne / robertharding
December 7th, 2015
Picture an entire Parisian street scene – complete with bar, restaurant, baker, grocer, florist, Metro station and cinema – and recreate it in the heart of the legendary Roman film studios, Cinecittà, and you have the cinematic setting for Chanel’s 2015 Métiers d’Art show – the collection which every December settles in a different city and celebrates the artisans of Chanel’s specialist ateliers.
Held in Teatro number 5 (of course) - the studio where Federico Fellini filmed his 1960s masterpiece "La Dolce Vita" - Karl Lagerfeld reconstructed the set for "Paris à Rome" in spectacular, meticulous detail. Built entirely in black and white, it not only recalled Italy’s moviemaking heyday with the silver patina of old projector film stock but also the era when Coco Chanel dressed its greatest stars, Jeanne Moreau, Monica Vitti, Anouk Aimée and Romy Schneider for their performances in films directed by Italy’s movie maestros Visconti or Antonioni.
Karl Lagerfeld explained that his ulterior motive for the monochromatic set was that it should bring the clothes into sharp relief, since so many of them played on the classic Chanel palette of black, beige, cream, grey and navy blue. So when the show’s live music began (interpreted by Chistophe Chassol, playing the piano in a restored bandstand) and the models emerged from the set’s Metro station, the clothes were indeed more luminous than ever.
This was the moment, aside from the typical Parisian street scene, in which there was no doubt we were looking at a collection that could have only ever come out of France, steeped in all things quintessentially French, all things quintessentially Chanel. "That’s why Paris in Rome, that is important," stressed Karl Lagerfeld, "this house is French, the collection is made in France and by the most experienced, talented and best craftspeople in the world". So from the models’ Bardot-esque beehives down to their pearl-embellished mules – a first for this particular shoe shape at Chanel, said Karl Lagerfeld – and from the long tweed jackets draped around the shoulders of slim, saucy silhouettes that included everything from glinting metallic boucle dresses to black lacquered pencil skirts, little black dresses pleated to perfection and the new three-piece suit (a jacket, straight skirt and cigarette trousers), all worn with kinky lacy tights, the overarching mood was, at first, distinctly Parisian.
But the magic of the show, and collection, was how Karl Lagerfeld directed the development of his multi-faceted Paris in Rome plot. Just as the palette began to appear tinged with Rome’s famous golden light - ochre and orange through cappuccino and pink – so too did the fabrics became richer, embellished with everything from witty surface detail such as a leather pencil skirt that resembled tiny bows of "Farfalle" pasta to feathers that had been hand-painted to resemble marble. Dresses’ necklines grew into short papal capes and the most exquisite cashmere came overlaid with rosary-jewelled necklaces. One dress, a cocoon-like bubble constructed in petals of vibrant coral, seemed to hark back to a time when couture was centred in Rome as well as Paris.
But more than anything the collection showcased Chanel as the paradigm of French chic together with the breathtaking virtuosity of its artisans who know no bounds whichever city or culture the Métiers d’Art collections’ inspiration spring from. At the end of the show, the backdrop sprang to life – the doors of every establishment flung open to serve pasta, pizza and gelato – a fitting metaphor for the bustling existence of Chanel’s specialist ateliers and their transformative powers.
© Olivier Saillant - Teatro N°5 - Cinecittà Studios - Rome
December 7th, 2015
Paris in Rome 2015/16 Métiers d'Art