Latest on Chanel, April the 1st.

Chanel’s commitment against Covid-19 related economic and health crisis

Almost all of Europe is in quarantine – social distancing and the obligation not to leave your home except for reasons of necessity. Several companies have had to temporarily close their doors or will do so in the near future. People adapt, shop online, work remotely, invent a new type of sociality. Companies are reconverted and adopt strategies to protect their employees.

Following the decision taken by Chanel in France not to resort to layoffs, Chanel srl, the Italian branch of Chanel, as well as the industrial companies and the Italian distribution and coordination centers of Chanel have adopted the same decision in the face of the economic and health crisis that hit the country.

Over the decades, Chanel has created a close relationship with Italy, collaborating with leather goods manufacturers, tanners and craftsmen. Chanel’s decision aims not to burden public finances, so that the Italian state can prioritize aid for the most vulnerable companies and concentrate its resources on the health system, nursing staff and relief organizations.

These companies are committed to keeping their 1,100 employees’ salaries 100% until the end of April. In the spirit of a mutual effort, to prepare for the end of the crisis and to maintain wages, collaborators were asked to participate in the solidarity initiative using a few days of vacation.

The Chanel Italian branch will also make several donations, for an amount € 1.3 million overall – to the Italian Civil Protection at the forefront of the whole territory, to the Sacco Hospital in Milan, specialized in research and study of infectious diseases, to the Papa Giovanni XXIII Hospital in Bergamo, where doctors and hospital staff assist numerous patients every day.

The Roveda Company and the Vittuone Distribution Center will make a donation to hospitals and emergency rooms located nearby, to improve the working conditions of the health personnel who have been on the front line since the beginning of the epidemic. Vittuone also provided IT equipment to patients hospitalized in local facilities and in isolation, to allow them to stay in touch with their families.


Latest on Chanel, March the 3rd.

Chanel Fall-Winter 2020/21 Ready-to-Wear collection. Almost no dresses, just casaques

previous arrow
next arrow
Slider

For this Chanel Fall-Winter 2020/21 Ready-to-Wear collection, almost no dresses, just casaques (jockey silks). Jodhpurs that open over seven-league boots. For the first time there are press studs on the suits for a more lively gesture, says Virginie Viard. Lots of black and white. Just a few touches of pale green and the emblematic pink of the House.

previous arrow
next arrow
Slider

Latest on Chanel, January the 21th.

Chanel Haute Couture SS 2020 means a return back to the brand beginnings

previous arrow
next arrow
Slider

A proustian madeleine devoid of nostalgia, searching for an imagination of Chanel before Chanel. Virginie Viard took inspiration from the childhood and adolescence of Mademoiselle, spent in the orphanage of the Aubazine cistercian Abbey, in Corréze. There, starting from 1895, the twelve years old Gabrielle, was educated for six years by the nuns of the Congrégation du Saint-Coeur de Marie.

Mademoiselle Chanel will be imprinted by this experience, in the formation of her character, in her minimalistic idea of fashion. The show stage, in the space of the Grand Palais nave invaded by the morning light, this time was intimate. It was about a cloister ‘potager’, surrounded by white sheets hung out to dry. The shapes of the clothes were simplified: fitted tunic and tailleurs, curt chemises, mini skirt dress with symmetrical pockets and longuette ‘cloche’ skirts – transforming Chanel classical vocabulary in essential graphics.

Jansenist attitude mixed with an austere early nineteenth century convent-schoolgirl. Romantic embroided tulle in length variation, white square neckbands reminiscent of Philippe de Champaigne geometric paintings. Harpsichord silver chords, mystic brightness and a touch of underlying mysterious sensuality. Black and withe, the Coco’s signature binomial, embodies the chromatic Leitmotiv, signing also the the most sophisticated of the tweeds. Guipure lace waves sometimes makes the edges and the shoulder line richer and more dynamic.

Few other colors, in a translucent delicate palette. An embroidery network on a tailleur, simulates the leaded windows of Romanesque and Gothic cathedral. The shoes were just ultra-feminine two-tone ankle boots, at the same time vintage and contemporary.

previous arrow
next arrow
Slider

Latest on Chanel, December the 4th.

The 2019/20 Métiers d’Art Collection, recreating Mademoiselle Chanel’s apartment

previous arrow
next arrow
Slider

Chanel recreates Gabrielle Chanel’s apartment inside the Grand Palais to present the 2019/20 Métiers d’Art collection. Upstairs, a baroque space filled with books and objects – symbols synonymous with Coco herself, from lions to wheat. Downstairs, a salon consecrated to shows – just like the one on Rue Cambon. To coincide with the collection, Chanel unveiled the behind the scenes of the making of a coat and a dress, embroidered with beads and sequins by the ateliers of  Lesage. It is a chance to discover the creative dialogue between Virginie Viard, Artistic Director of the Chanel Fashion collections and Hubert Barrère, Artistic Director of Lesage.


Latest on Chanel, October the 3rd.

Paris Fashion Week — Lessons in material history and future techniques

previous arrow
next arrow
Slider
Paris Fashion Week commenced on the 23rd of September. The theme at large: material reinvention. At Dior, Maria Grazia Chiuri translated Christian Dior’s love for botany and gardening into new dyeing techniques inspired by nature, such as batik. They were presented in a degradé that gestured to the Maison’s skilled hands. At Dries Van Noten, an unexpected collaboration with Christian Lacroix. Couture techniques were updated with technology where real jacquards were scanned and printed on Tyvek and viscose. Jacquard was approached by Nicolas Ghesquière at Louis Vuitton as well, but alternated and paired with lace.
In contrast, history influenced craft and design and Alexander McQueen. Garments were made using an ancient Irish technique called beetling — it involves submerging materials in starch and beating them with wooden hammers. For Hedi Slimane at Celine, history was delivered through attitude in a collection which embodied the 1970s through cut and silhouette. Note: the culottes paired with knee-high boots. Jonathan Anderson further evolved his commitment to craft  at Loewe through macramé lace and curled collars. Leather was draped and ruched on dresses as if they were made out of silk. The concept of treating materials with a light hand was approached by Virginie Viard at Chanel as well. Her debut ready-to-wear collection was inspired by dancers — chiffon and organza dresses  featuring short hemlines were fluttering on the Parisian rooftop set. Instead, at Balenciaga, crinolines offered full-sleeved evening dresses a bouncy silhouette and almost cartoon-like movement.

Topic: Chanel e l’ultima sfilata, tra silenzio e neve


Chanel