• 2015年04月25日


  • 2015年04月24日


    In 1923 Charles and Marie-Laure de Noailles commission Robert Mallet-Stevens to build - on the heights overlooking Hyères - "an infinitely practical and simple house," where everything, according to Charles de Noailles, "follows the same principle: functionality”.
    Mondrian, Laurens, Lipchitz, Brancusi and Giacometti introduce works of art, Jourdain the furniture, and Guévrékian the Cubist garden. In addition to the clear, structured forms and defined contrasts, this resolutely modern avant-garde construction also reflects the rationalism movement. Boasting as many as 15 bedrooms as well as a pool and squash court, the continual addition of extensions up until 1933 transform the site into an edifice measuring some 1800m2 (19,375 square feet) dedicated to a new lifestyle approach where the body and nature, in harmony with the spirit, unite as one.

    Here, in this dream resort with its white walls, a pearl protected by a lush mass of vegetation, with views over the Mediterranean and the Golden Isles, the Noailles play host to Dali, Gide, Breton, Artaud, Poulenc, Lifar, Huxley, and most of the major emerging artists of the day. Following the passing of Marie-Laure in 1970, and its acquisition by the town of Hyères, and successive restorations, the villa today, as an art center and artists’ residency, celebrates the 30th anniversary of its International Festival of Fashion & Photography.

    The anniversary offers the perfect opportunity to revisit the places immortalized by Karl Lagerfeld in 1995 in a series of black and white photographs. "Timelessly modern", "vulnerable like the present instant", the Villa Noailles appears empty, altered by the passing of time and yet still imbued with almost a century's worth of encounters and artistic creations. The image freezes the poetry of the decor, ennobling the traces of time and, moving beyond a reality that can sometimes prove limiting, awakening the imagination.

    Sophie Brauner

    Photos by Karl Lagerfeld

  • 2015年04月24日


    “Prodigiously intelligent” is how Francis Poulenc describes Coco Chanel to Marie-Laure de Noailles in the early 1930s, before the two women meet at last, an attribute that also sums up the spirited Marie-Laure, though the traits they had in common did not end there.

    Fact and fiction shaped both of their childhoods. Gabrielle, for her part, masked the unhappiness of her early years and went on to invent a legend. Marie-Laure, who was raised in a highly cultivated, privileged environment that was lacking in affection, had a solitary childhood, as the descendant of a wealthy German banking family and a French aristocratic clan whose ancestry can be traced back to the notorious Marquis de Sade. Her eccentric grandmother, the Comtesse de Chevigné, who partly inspired Marcel Proust’s Madame de Guermantes, was to prove a major influence.

    Just like Gabrielle, Marie-Laure follows her artistic instincts. The Parisian hôtel particulier that she moves into following her marriage to Charles de Noailles already houses a major collection of Old Masters, from Delacroix to Rembrandt, Goya to Rubens. The couple commission decorator Jean-Michel Frank to redesign the site’s interiors — think stripped back spaces with monastic volumes, marrying rare pieces of furniture and unique materials like straw and panels of parchment with pure forms. This stark aesthetic echoes Marie-Laure’s own look, with her wardrobe of Chanel suits (she owned 40 different styles, most of them black, according to Abbé Mugnier).

    In constant pursuit of refinement, Chanel the designer favors the harmony of lines and the simplification of the garment, freeing up movement. Marrying beauty and function, she defines a new modernity.

    A rebel and nonconformist like Coco, Marie-Laure gets a kick out of provocation. In 1932, as one of the first to adopt the diamond jewelry designs audaciously presented by Gabrielle to help “combat the economic crisis”, she appears in Vogue sporting a sparkling feather brooch.

    Chanel revolutionizes fashion; Marie-Laure as muse and patron, and later painter and writer, contributes to the history of art, amassing, together with her husband, a collection of works spanning Braque, Picasso, Balthus, Mondrian, Giacometti and Man Ray. The couple play host to le tout-Paris and cultivate their knack for scouting new talent, notably the Surrealists. They finance cinematic projects, and lend support to composers like Markevitch, Poulenc and Stravinsky …

    More discreet in her support of the arts, it is Gabrielle Chanel who offers shelter to the Russian composer and his family in her villa in Garches. As early as 1924 she designs the costumes for Le Train Bleu, a ballet by Diaghilev featuring a decor painted by Picasso, along with other productions and a film by Renoir. She shares close relationships with the poets of the day and avant-garde artists including Dali, Nijinski and Visconti. Coco also shares a close friendship with Cocteau, for whom Marie-Laure has had an infatuation all her life … Marie-Laure is a hopeless romantic; Coco, who is destined to remain alone, despite her epic love affairs, confesses that, without love, a woman is nothing.

    Sophie Brauner

    Marie-Laure de Noailles © Henri Martinie / Roger-Viollet

  • 2015年04月23日

    第三十屆 HYÈRES國際時尚與攝影藝術節於伊埃雷登場

    2015年的 Hyères藝術節邀請香奈兒為貴賓,由卡爾‧拉格斐擔任藝術節的創意總監,Virginie Viard擔任時尚組的評審主席,Eric Pfrunder 則擔任攝影組評審主席。



  • 2015年04月15日
    THE GIRL CHANEL <BR />山姆,巴黎


    Girl Chanel 皮包,來自2015春夏高級成衣系列。

  • 2015年04月07日



  • 2015年04月07日
    克莉絲汀‧史都華<BR />眼鏡廣告製作花絮


  • 2015年04月01日



    攝影 by Anne Combaz

  • 2015年04月01日
    巴黎-薩爾斯堡 Paris-Salzburg工坊系列於紐約<BR />影片

    巴黎-薩爾斯堡 Paris-Salzburg工坊系列於紐約

  • 2015年04月01日


    巴黎-薩爾斯堡的這一晚,最後以菲瑞‧威廉斯(Pharrell Williams)私人演唱會結束,並由巴黎-薩爾斯堡廣告企劃的代言人Cara Delevingne擔任嘉賓,兩人一起合唱《CC the World》。

    攝影 by Anne Combaz

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