In a Paris spring show season where that approach has been sadly all but absent, it was a welcome move. Better yet, just to show how much she wants to really engage with the women who wear her clothes, she chose to embrace the diversity of female beauty by showing this collection on a whole variety of body types. Viard didn’t do that, but she certainly delivered an effortless and optimistic vision of Chanel, past and present, blending it into one gorgeous, timeless today. Burn your best yesterdays, she says, so you can start over. Specializzata nei beni di lusso ( alta moda, prêt-à-porter, borse, profumeria e cosmetica, fra gli altri), il marchio Chanel è diventato uno dei più riconoscibili nomi nel campo della moda. Unlike the script for Marienbad, Stewart offers a more direct response when she’s asked about how she stays hopeful for the future. ( /anl/) è una casa di moda parigina fondata allinizio del ventesimo secolo da Coco Chanel. From what she told Vogue in an interview years ago, it was clear fashion matters most to her when it speaks to who she really is and comes stripped of artifice and affectation. It’s easy to understand why Viard is so entranced by Stewart she wears everything with the most laid-back, offhand, unaffected ease. Stewart leaves a movie theater, wanders the streets of Paris, ascends the famous Rue Cambon Chanel staircase, takes the metro, all the while dressed in the spring collection, including one stunner of a long, sequined rose gold dress. Viard had asked Inez and Vinoodh to shoot in Paris a short movie with Kristen Stewart, a kind of homage to Marienbad, as an opener for the show. Resnais’s classic wasn’t the only cinematic moment here. There were the tweeds, sparkly or ribbon embroidered or adorned with ostrich feathers the chicest suits, cardigan jackets, and short coatdresses that looked as though they magically weighed next to nothing boyish knits and teeny tap shorts and exquisite evening dresses without an iota of fuss. ![]() Light, nuanced, and with a palpable sense of the here and now, it was Chanel replete with every element and fragment of the house. What most definitely doesn’t need decoding, however: As Chanel’s Virginie Viard looked at the movie while she was designing spring, it led her to create one exceptionally beautiful collection. Still, female lead Delphine Seyrig looks utterly fabulous as she exists in this semi-somnambulistic state, thanks to some of her costumes having been designed by Coco Chanel. They move through a black and white dreamscape of ornate gardens and grand staircases, where time seems to have no meaning and words don’t seem to matter a whole lot either only the occasional gnomic statement is ever uttered (as far as I remember it’s been a minute since I’ve seen it). The nouvelle vague classic features a couple who may (or may not) know each other, and who may (or may not) have been in some kind of relationship with each other. Many have tried to decode director Alain Resnais’s beguiling/perplexing 1961 movie, L’Année Dernière à Marienbad.
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