This season CHANEL invites its guests on an imaginary journey. The Nave of the Grand Palais has been transformed into a Parisian train station in the Beaux-Arts style, complete with its platforms and its own elegant café-restaurant Le Riviera. Instigator of this beautiful escapade, Virginie Viard writes a travel story untouched by time, as the whistle blows to signal the departure for joyful, sunnier climes. The CHANEL allure and vocabulary take on the theme of a silhouette in motion, both strong and bursting with subtle delicateness.
Alongside the iconic black, ecru and white, a brilliant palette of pink, green, blue, fuchsia, mauve and sky clashes with deep bistre and mocha browns, navy and cobalt blues. Pastel hues blend with one another, as foliage printed on a blue or fuchsia background is seemingly caught in mid-air, like a landscape blurred by the speed of a train. Pink and blue sequins fall into line, accumulating like the holes punched into tickets. Embroideries of flowers, sequined or cut from silk, tulle and rhodoid, compose a garden at the heart of which the camellia majestically blossoms.
Comfort and functionality, a rightful simplicity and obvious elegance to come and go in, to travel in, to live in and to be oneself without hindrance. CHANEL’s style rule guides each design in the new Cruise collection. Jackets and wide trousers with double buttons in gabardine or in waxed cotton draw inspiration from workmen’s uniforms. Their variations as hooded trench coats or amply cut coats gathered at the waist are sometimes feminised with a chain belt and a cotton blouse with a large flounced jabot. A modernity accentuated by pointed pumps, two-tone booties with small conic heels and ballerinas in tweed.
Emblematic of a line that liberates gestures as much as the allure, the CHANEL tweed jacket imposes its timeless modernity: with two, four or six pockets, with or without a collar, the shoulders soft and rounded, or, on the contrary, square and responsive, trimmed with braid, short or long, single or double breasted with draped panels, belted with a chain interlaced with leather, it focuses on the waist or offers a straighter line. The incarnation of the House’s savoir-faire, down to the smallest detail, here the jacket hides a silk interior that prolongs the pattern of woven tweed in a perfect continuity, rendering its lining edge to edge flush, it comes veiled in chiffon at the collar and cuffs, or appliqued with buttons that grow as the pockets broaden. Occasionally an embroidered handkerchief escapes. The emblematic chain is found at the bottom of the lining as the ultimate touch of CHANEL’s eternal refinement… Beneath the jackets, chiffon vests are embroidered with flowers, bandeau tops in poplin are fastened with a bow over the chest, bustiers shimmer with sequins and sparkling flowers. Alternating with jersey leggings, the mini-skirts, trapeze skirts and lengthened knickerbockers are made in tweed, for a new vision of the iconic suit. Coupled with trousers in leather or hessian, tweed also features on tops embellished with sequins or enhanced with a wide ruffled organdie collar.
The dresses are drawn out in the sophisticated simplicity of a brushstroke. Their pure lines liberate the body without becoming detached from it, evoking imperceptible volumes. An exquisite femininity highlighted by bias cuts, an asymmetric shoulder, wraparound panels, ethereal flounces or plunging necklines. Braids and bows in satin, white camellias worn as brooches, ladder lace like train tracks, ornate finishes reminiscent of bygone linens and removable Bertha collars in organdie all reinforce the charm.
There’s a joyful frivolity with the ruffled skirts in check printed chiffon, the strappy dresses in fuchsia or blue chiffons with plant motifs. Gathered and ironed by hand, their diaphanous panels seem ready to lift on a breeze when descending from the train. An innocent grace radiates from the asymmetric dresses in linen and organdie, veiled with a removable Bertha collar also in organdie. The same softness diffuses over the long dresses in black broderie anglaise.
For evening, white and black aprons become sheath dresses with removable shirt collars, hemmed with the CHANEL chain or embroidered with flowers. Open over a bandeau with a big bow, the rigour of a man’s shirt with a pleated plastron is eased by the fabric choice of transparent organdie. Worn with a wide-cut hessian trousers, a masculine shirt in poplin is transformed into a backless top, ruffled with a smocked high waist. The expected bow tie is replaced with a knotted satin ribbon finished with a camellia. A sheath dress in black linen is embroidered with sequins that capture the colours of the night and the Moon reflected in the windows of a train, while another is swathed in bouquets of pink sequinned flowers. Continuing this journey, Virginie Viard imagines a long dress in white lace embellished with gold thread, and a second in midnight blue lace with a low neckline revealing a big black satin bow. The Artistic Director tenderly deconstructs the mechanisms of station clocks: their dials are multiplied to infinity in the navy blue guipure lace of a long dress while their deconstructed hands and indices are embroidered onto the neckline of another dress in white lace.
Inseparable from the elegance of CHANEL, jewellery is added to silhouettes for both day and night: hoop and pendant earrings in metal are set with strass, bracelets have coloured cabochons, and cuff bracelets are beaded, set with chains and leather, or come in resin and stones. Travel flasks in metal are mischievously slipped into quilted leather cases with a chain strap. As for the 11.12 bags, they adopt a patent quilted leather and tweed embroidered with flowers or are equipped with a handle. The CHANEL 19 bag comes in quilted jersey and the CHANEL 31 bag is back in faded denim. For travelling, the overnight bags in denim or leather, a maxi duffle bag with pockets and a “3-part” backpack, as well as the hip packs in tricolour leather and the multifunctional clutches all ensure transportation in complete liberty. An extremely refined cushion clutch in white cotton is embroidered with clocks while the railroader’s lamp becomes a minaudière in rhinestoned resin.
With this collection, Virginie Viard continues the story of CHANEL and travel by delivering her own fresh, delicate vision. Following in the tradition of Gabrielle Chanel and Karl Lagerfeld, she shapes a look where sophistication is built on the purity and exactitude of detail.
Marcelo Burlon County of Milan Womenswear Spring Summer 2020
A versatile wardrobe suited for the hyper accelerated needs of contemporary young woman, performing in every condition.
The rule that always applies to County of Milan is the refusal of pre-set rules. Tailo- ring meets cycling, as structured sleevless and buttonless blazers or hooded trench coats are matched with sports bras and seamless pencil skirts. Bomber jackets have been reworked into short skirts layered onto shirt dresses.
Extremes collide and cohabit: wide leg trousers and zippered balloon joggers, se- amless skirts and loose fit denim pants. Volumes get decisive in windbreakers, con- structed like dresses, flowing around the body. Cycling technical garments provide an element of body consciousness. Shirts and t-shirts are wrapped around the waist like these cardigans for ballet.
The choice of fabrics highlights the techno aspect: iridescent coated nylon, paper-like resin tech cotton, vinyl coated cotton, light crunchy nylon, seamless poly.
Painted flowers everywhere.
Sulphur spring yellow, dazzling blue, camelia, black.
Vibrant and modern, a fast clash, for fast times.
CREATIVE DIRECTION MARCELO BURLON
PHOTOGRAPHY BRATISLAV TASIC
PH. ASSISTANT ALESSANDRO VULLO
HAIR GIANLUIGI GARGARO @ COPPOLA
MAKE UP JAVIER CEFERINO @ THE ARTIST TALENTS
Collezione Donna Iceberg P/E 2020
La favola continua: il Direttore Creativo James Long celebra ancora una volta la donna, prendendo spunto dalla poesia Warning di Jenny Joseph.
La collezione Primavera/Estate 2020 è all’insegna della leggerezza, accompagnata da una grinta tutta femminile, quella di una donna che si sente perfettamente a suo agio con sé stessa.
I maxi-abiti “i” in tulle stampato vestono le sirene di , portandole sulla terraferma, mentre l’acqua del mare continua a luccicare sopra le scaglie opalescenti dei pantaloni rivestiti di paillettes.
Gli abiti in stile rash-guard con le maniche bianche si allungano in una morbida pinna plissettata sul davanti, oppure optano per un taglio corto, sportivo e slanciato riprendendo la sovrapposizione tra tulle e paillettes.
Gli accenti gialli fluorescenti si impongono sul bianco dei capi sportivi.
Le paillettes viola piovono su giacche monopetto e slip da bagno abbinati, una felpa di raso in tinta completa l’outfit. L’abito atletico ispirato al nuoto sincronizzato vince la medaglia d’oro.
La collezione va in scena nella meravigliosa cornice dei Bagni Misteriosi, uno storico centro balneare nel cuore di Milano risalente agli anni Trenta e restaurato di recente. I modelli sfilano sulle note del dj set di Siobhan Bell, scortati dalla performance dal vivo dell’artista anglo-nigeriana Tiwa Savage, la regina dell’afrobeat, che presenta il suo nuovo singolo 49-99.
Animata da uno spirito avventuroso, la sirena grunge di ICEBERG si presenta in un pied de poule alternativo a “i”, dove due elementi (un abito monopetto classico con pantaloni a gamba stretta o un paio di bermuda e una muta da surf), un costume da bagno jacquard lavorato a maglia e gli strati di tulle diventano un’ondata di rosso, rosa e giallo, da portare con accessori coordinati. Il classico maglione cartoon di ICEBERG si insinua con nonchalance tra gli strati.
Completamente sommerso dalla metropoli, il look osa ancora di più contrapponendo pinne rosa pallido a un nero cupo, o un costume rivestito di paillettes nere a un bomber di tulle. Il make-up e l’acconciatura strizzano l’occhio alle grafiche dei progetti di Zaha Hadid.
Quando sarò vecchia mi vestirò di viola,
con un cappello rosso che non si intona e non fa per me.
E sperpererò la pensione in brandy e guanti estivi
e sandali di seta, e dirò che non ci sono soldi per il burro.
Warning di Jenny Joseph
A Company presents Their Season IV
For Season IV of A–Company, the brand questioned the archetypal dress, the sheath, to explore our relationship to femininity through clothing. As defined by Merriam-Webster, a dress is:
“1. Apparel, clothing
2. An outer garment (as for a woman or girl) usually consisting of a one-piece bodice and skirt
3. Clothing, adornment, or appearance appropriate or peculiar to a particular time
4. A particular form of presentation.”
Using the definition as a formula to deconstruct, A–Company rearranged the shapes of the sheath to discover new silhouettes. A dress becomes a skirt, and dress pattern pieces become graphic blocking or textured cut outs on other pieces. Overcoats in a more classically feminine style are tailored on the top and at the bottom reveal bound seams, exposed pocket bags and raw edges, examining the presentation and performance of clothing. While sticking to the foundation of the brand, there continues to be strong tailoring throughout, as well as intelligently draped garments. The fabrics took inspiration from associations with traditionally feminine clothing such as lace, brocade, and satin, while juxtaposing them against harder fabrics like suiting, crisp poplin, coating, check wool, and denim.
In the presentation of the collection, A–Company collaborated with director Eva Evans to create a film: A Failed Attempt at Understanding Time, exploring our experience of time through the repetitive tasks of the everyday finding a metronome of gesture in the movements between objects and body, the concrete and the natural.
The oversized triptych installation video follows one woman, performed by Evans, moving through three scenes at three different times. In the first scene, she makes peanut butter and jelly sandwiches using an entire loaf of bread, later appearing again to cut out square shapes of the sandwiches and carefully pack them in her bag, and finally reenters to clean her space. In between Evans in the scene, the camera follows gestures of the objects left behind: the teetering stack of sandwiches, a slow-moving jelly drip, and the Wonder bread bag delicately unraveling. In the second scene, she works to inflate a ball, again and again, eventually allowing the ball to consume nearly the entire frame. She returns to move the ball around a cornered room with her body. And finally comes back, draping her weight over the ball while it slowly deflates, and then leaves.
In the final scene, she copies Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction” on a yellow legal pad at a desk and reenters to make photocopies of her writing. The viewer watches the printer stack of paper overflow and bend with the weight and hear it fall. As the previous scenes, she returns to the space for a third time, to collect her copies, and leave the space as it was before entering. As the viewer experiences the 30 min short film, Evans’ body becomes a sculpture in space, and the clothing acts as a secondary character performing and moving alongside her. The sound, sculpted by Tal Katz, builds on the naturally recorded sounds to layer each movement and texture to create the score for the piece. In a separate room, with an installation of the collection, a video of an egg set to boil plays on an old monitor, creating a tension with time and a play on the idiom ‘a watched pot never boils’.
The film traverses thinking around time, repetition, cycles, and replication. The brand continuously designs to the edges of these themes to question the everyday, the body in space, and clothing production.
Photography: Danielle Alprin
Model: Sarah Abney
Stylist: Shayna Arnold
Hair: Ledora Francis
Makeup: Andrew Colvin
Set Designer: Elysia Belilove
Set Assistant: Eliza Sanchez
Sound Engineer: Vincet Dee
Video Engineer: Scott Hadley
Photographer: Danielle Alprin
Producer: Anouk Colantoni
Director: Eva Evans
Director of Photography: Kevin Hayden
1st AC: Yuya Kudo
Sound Mixer: Turner Curran
Stylist: Malaika Crawford
Styling Assistant: Frederick Miller
Hair: Ledora Francis
Makeup: Andrew Colvin
Production Designer: Elysia Belilove
Set Dresser: David Eardley
Associate Producer: Arielle Berman
Editor: Alex Amoling
Color: Jenny Montgomery at Company3
Sound Designer: Tal Katz
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