Gabrielle Chanel and Serge Diaghilev’s Ballets Russes

As a young seamstress, Gabrielle Chanel had great admiration for legendary dancers such as Caryathis and Isadora Duncan. When Serge Diaghilev’s Ballets Russes arrived in Paris at the Théâtre des Champs-Elysées, she fell under her spell. In Venice, her pianist friend and Polish patron Misia Sert introduces her to the mentor of the Ballets Russes: Serge Diaghilev, who introduces her to dance, music, painting, poetry and fashion. Gabrielle Chanel becomes her friend, her dressmaker and her patron. The latter secretly helps finance the Sacre du Printemps, one of the most famous pieces and revival of the Ballets Russes. In 1924, Gabrielle Chanel created the costumes for the Ballet Le Train Bleu directed by Jean Cocteau and choreographed by Bronislava Nijinska, the sister of the famous dancer Vaslav Nijinski.

After freeing the women from the corsets, Coco Chanel frees the dancers of the Russian ballet from the costumes that hinder them. For the first time in the history of dance, the dancers are dressed in tennis, golf and swimsuits. Gabrielle Chanel maintains a strong link between dance and fashion by creating other ballet costumes in 1929 Apollon Musagète and in 1939 Bacchanale in partnership with Salvador Dali.

I gave back to the women’s body its freedom; this body was sweating in parade clothes, under the laces, the corsets, the underwear, the padding. Gabrielle Chanel

La Maison Chanel will be the first Maison de Couture to make costumes for ballets. Karl Lagarfeld also contributes to the dance and fashion tradition at Chanel by creating the costumes for two ballets by the German choreographer Uwe Scholtz in 1986 and 1987. In 2009, he created the outfit for dancer Elena Glurdjidze for the Swan Lake Ballet at the English National Ballet in London. He also created the costumes for the dancers of the Brahms-Schönberg Quartet at the Paris Opera with the dance director Benjamin Millepied.

Chanel to the Opera

In 2018, La Maison Chanel is associated with the Opening Gala of the Paris Opera’s dance season. The following year, Chanel signed the costumes for the annual gala of the Paris Opera Ballet “Variations” by Serge Lifar. Gabrielle Chanel was a close friend of prima ballerina Serge Lifar who considered her as his artistic godmother. The House of Chanel therefore paid tribute to their friendship by designing the costumes for this ballet under the direction of Virginie Viard and with the contribution of the Lemarié workshop which is part of Chanel’s Métiers d’art. Each of the six prima ballerinas embodied a flower: Rose, Lily, Tulip, Wisteria, Cornflower and Violet.

The House of Chanel also dressed the stars invited for the occasion such as Alma Jodorowsky, Anna Mouglais, Caroline De Maigret and Céline Cassel. Podcasts were also made at the Paris Opera with the prima ballerina Léonore Baulac and the principal dancer Germain Louvet.

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Throwback 2018 – Chanel at the Paris Opera

Danse Ads Chance Chanel – Take a new chance

The latest ad campaign for Chanel’s perfume Chance was designed by Jean-Paul Goude, a French graphic designer and photographer. It features a giant dance casting with multicolored tutus where four young dancers will be chosen by the jury. In this advertisement, we find the universe of dance placed under the sign of humour, movement and the CHANCE of course!

Behind the scenes of Chanel’s Chance

A Coco Chanel Ballet at the Bolshoi Theatre

Coco Chanel always inspires artists – Last year at the Bolshoi Theatre in Moscow, a dance show dedicated to Gabrielle Chanel was born. The great prima ballerina, Svetlana Zakharova has been performing the role of Gabrielle Chanel at the Bolshoi for more than 16 years.

The choreography is by Youri Possokhov, the music by Ilya Demoutski and the direction by Aleksey Frandetti. It is a show that retraces the highlights of Mademoiselle Chanel’s life. The House of Chanel has even entrusted sketches for the occasion in order to make the costumes in the Bolshoi’s workshops. This artistic masterpiece will be danced at the Théâtre des Champs-Elysées in Paris on October 24th and 25th, 2020!

The Dior men’s Autumn-Winter 2020/2021 collection: Past, Present, Couture

47 looks paraded in Place de la Concorde on Friday, January 18, 2020 inside a huge white cube erected for the occasion. The catwalk was divided in two by a large transparent box with smoke and blue, orange and red spots. The whole evoked the clubbing atmosphere of the 90s.

For the Dior men’s winter 2020-2021 collection, artistic director Kim Jones draws on the Dior archives and iconography to celebrate the house’s timeless elegance. A journey to the heart of Haute Couture and a tribute to Judy Blame, a pivotal figure and a symbol of creativity that always looks to the future.

The silhouettes explore values of excellence and authenticity, evoking fashion not just as a finished product but as a creative process. Clothes, shoes and accessories sport engineered zips that enhance their construction, highlighting details and cut as an ode to Christian Dior’s love of architecture. The Dior oblique canvas is revisited in beaded embroideries, while the Dior logo is pierced with a safety pin-a nod to Judy Blame’s DIY-Inspired style.

The Dior Men’s Ready-to-Wear Fashion Show-Autumn-Winter 2020/2021 Collection

FIV Magazine presents the 3 looks to remember for this winter 2020: The long shirt, the aviator jacket, and the sparkling coat.

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The Latino influencer Juanpa Zurita confided to us at the end of the Dior Show that it was going to be a good year for the House of Dior! We hope that the health crisis will not impact the exceptional work of Kim Jones and her entire team.

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Trends Dior Haute Couture Spring-Summer 2020: The divine Female

“What if Women Ruled the World? ». This committed question, raised by Judy Chicago – the emblematic American artist – is at the heart of the inspirations for the spring-summer 2020 Haute Couture creations.

On the occasion of the spring-summer 2020 Haute Couture collection, Maria Grazia Chiuri continues her committed reflection on the complexity of the relationship between feminism and femininity. Specially designed by the American artist Judy Chicago, the show’s set – the monumental work The Female Divine, depicting the body of a goddess – illuminates the collection’s silhouettes embodying triumphant beauty. Reflecting this creative power, the peplum, with its essential, timeless allure, is enhanced by the virtuoso Dior savoir-faire. A palette of soft colors and more masculine fabrics magnified by gold punctuate these exceptional models imbued with spirituality.

The 3 Looks Dior Haute Couture to remember for this Summer 2020

The Dior Spring-Summer 2020 Haute Couture Collection

The Dior Women’s Autumn-Winter 2020/2021: The divine Female

Inspired by emblematic figures of Italian feminist art from the 1960s and 1970s, with the Autumn-Winter 2020-2021 ready-to-wear collection Maria Grazia Chiuri continues her questioning of the multiple and immutable links between the body, feminism and femininity. Captivated by photos from her teenage years, the Creative Director envisioned an initiatory path to self-assertion, through art and fashion. Shaping the clothing, checks and polka dots, long and pleated skirts, and black and white forge a sense of liberation that bridges identity and sisterhood. Conceived by the collective artist Claire Fontaine, the show scenography highlights the words ‘I Say I’ – translated from the manifesto ‘Io Dico Io’ by Carla Lonzi. The runway is covered with pages from the newspaper Le Monde, an adaptation of the work ‘Newsfloor’, titled ‘Le Monde Pixélisé’, after a Robert Capa photograph of the artist Henri Matisse in 1949, while luminous phrases are suspended like woke subtitles. A singularly creative way to explore the multiple facets of female subjectivity, and the perpetual evolution of the feminine.

For this new collection, Maria Grazia Chiuri has chosen the tile as the guiding thread. Monsieur Dior was very fond of tiles. For him, they brought a youthful side and a touch of fantasy to clothing both elegant and casual. The designer was inspired by the men’s wardrobe (shirts and ties) or the hippie style of the 70s with fringed ponchos and logotype scarves to be tied in the hair.

Dior’s first look inspired by the men’s wardrobe

Dior Ready-to-Wear fashion show-Fall-Winter 2020/2021 Collection

Dior must-have : the 30 Montaigne sunglasses seen at the Paris Fashion Week

With their resolutely Dior style inspired by the “CD” signature adorning the House’s 30 Montaigne bag, these new sunglasses bearing the same iconic name were unveiled at the spring-summer 2020 ready-to-wear show from Maria Grazia Chiuri. Characterized by an oversized square frame, the temples are subtly punctuated with the House’s graphic initials. A fashion statement in their own right, with a couture look, available in black, tortoiseshell, ivory and black or white ultra-matte versions. Discover and try on these objects of desire in AR on Instagram.

Slava Zaïtsev – Russia

Vyacheslav Mikhailovich Zaitsev is a Russian fashion stylist of multiple talents. Before being a designer, he is an artist, author, graphic designer, theatre costume designer… Slava Zaïtsev is also laureate of the State Prize of the Russian Federation. He founded his own Couture house in 1982 and for 40 years, this complete artist who is inspire by art, history and by the nature around him, promotes in his work Russian fashion on the international scene and the importance of Russian artists inside national boundaries. Known today as the “Red Dior”, he became the leader of the Russian fashion and takes part of many fashion events in the whole world.

Zardozi by Constella – Kazakhstan

Zadorzi by Constella is a young brand (created in 2017) which has for purpose to disclose and modernize an ancestral embroidery from Central Asia and Persian. This brand combinates these two temporalities through pieces that can be worn in a stylish way and a more casual way. Each of these pieces is handmade craftsmanship and therefore unique. This brand of Kazakhstan already participated at many fashion shows all around Europe (France, Italy) but also in Moscow and Dubai.

Fouad Guerfi – Algeria

Native from the east of Algeria, Fouad Guerfi, since his youngest age is passionate about the world of fashion. After a first learning in his city of birth, Batna, heiress of handmade expertise, the designer studied in Paris at the ESMODE school. Finally, he decided in 1990 to create his own Fashion House. Only three years after, his first runaway was a great success. This success will take him to Paris, Washington… Today Fouad Guerfi carry on creating new projects and to enthrall us from Batna and Alger.

Arnunaz by Nazym Karpykova – Kazakhstan

This brand, that was born in Kazakhstan, is based in Almanty, known today beyond its boundaries, represents the work of Nazym Karpykova. This designer has a unique style which tie elegance and sensuality together and re-etablish techniques, pattern related to her own story. Nazym Karpykova wishes through fashion and through her pioneering creations, which mixed different materials, colors and styles, introduce her vision of Women. Today, apart from the fact that the brand attracts multiple creators from the international scene, its also participates to many fashion events in the whole world and knows increasingly success.

Yasmina – Algeria

This Algerian designer began her fashion’s career inside the French Couture House Jascques Esterel, where she will be promoted as a star as a stylist and a model. By developing the world of the Parisian fashion, she also contributes to enrich the one from Algerian fashion. Thus, she is the first women who had internationalize the authentic Algerian fashion. Through her innovate creations, which parade each year in Europe, Maghreb and in the rest of the world, Yasmina Chellali wants to express women’s freedom. Today she has become an uncontested reference into the Arabic world’s fashion.

Maleone – Azerbaijan

This brand created a year ago (January 2018) represents the work of two young and talented stylists Khadija Jamal et Nuray Jamal who come from Azerbaijan. Maleone, which mean in English Magnolia is the brand image. This flower also known as “the legend flower”, which inspired and inspire several artists and poets, symbolizes the unusual beauty and queerness. This symbol is in keeping with the creativity of these two designers who want through their creations combine the elegance, refinement with nature’s beauty.

Amina Lahbabi Trad Art Tailor – Morocco

This Moroccan family is the work of a mother and her daughter. Amina Lahbabi grew up in Fes and then in Casablanca where she became doctor and mother of three children. Since her earliest age, under the influence of her own mother who was a seamstress, she customized her clothes with embroidery or pearls which add a traditional dimension to them. She still today creates for her family and friends traditional outfits. It’s her husband and daughter, Soukaïna Bouanani, Community manager, who encourage her to create her own brand of Couture of traditional Moroccan clothes modernize and revisited.

Sustainable Fashion Lo Neel Paris – France

Inspired by the famous female adventurer Alexandra David-Néel, the two founders of Lo Neel, Frédérique Muller and Loane Cognard have embarked on the adventure of creating in 2018 a fashion house ecologically responsible and vegan which correspond to their values. This ethical brand is inspired by the ancestral Indian craft while innovating by using recycled and vegetable materials and sometimes unusual such as pineapple leather or eucalyptus or banana fiber. This brand who is in the spirit of the times surprises us through the cut and materials of their pieces and through colored and Indian details.

Kengora – France, Mongolia

This contemporary french ethical brand of luxury is the product of a friendship between two talented designers who complete themselves and look alike each other at once. The two women, who come from Morocco and Mongolia, both studied the world of fashion in France and developed a devotion for French culture. Thus, Kengora is the result of a great cultural melting pot that can be seen through the style and cut of their clothing. The two women want to tie together modernity and minimalism with techniques and noble materials of their respective heritage. Finally, these two artists, who both grew up in patriarchal societies, are engaged to defend the place of women in society. Thereby, their collections are exclusively feminine and the two designers wants to enhance women through strong pieces.

Hany El Behairy – Egypt

The one that we called the Pharaoh of the Egyptian’s fashion, Hany el Behairy needs no introduction. For more than twenty years, he knew how to conquer the international fashion world with his creations of refined dresses of high couture which conserve an oriental inspiration. Following its phenomenal success, he shares today his podium during fashion events side by side with the most luxurious and famous Couture houses such as Valentino, Chanel or Escada. He became a Couture Icon of the Arabian world, comparable to Zuhair Murad or Elie Saab, who dressed well-known Egyptian personalities.

Da quando Coco Chanel la prima donna a guidare Chanel

Ora Virginie Viard assume la gestione creativa della casa di moda Chanel. In origine era la direttrice che si occupava di supportare Karl e di prendere importanti decisioni sull’assegnazione degli allestimenti durante le fiere. Qui abbiamo riassunto le pietre miliari della sua carriera per voi:

• nata figlia di un chirurgo a Lione
• Virgine Viard ha ospitato presso la designer francese Jacqueline de Ribes
• Impartista di costume presso il teatro e studia cinema e moda
• Assistente per borse e guanti all’età di 23 anni con Chanel
• In studio era considerata una “arma segreta” e quello che il confidente più vicino di Karl Lagerfeld era
• A 27 anni è responsabile della Haute Couture di Chanel
• 1992 è promossa da Karl Lagerfeld a Directrice con la propria etichetta
• Allo stesso tempo era anche responsabile per il costume design di Krzysztof Kieślowskis Cult film “Drei Farben: Blau” con Juliette Binoche e “Drei Farben: Responsabile “Bianco” responsabile
• 1997 Virginie Viard torna a Chanel
• Dopo il suo ritorno è ancora direttrice di Chanel e si occupa di accessori, prêt-à-porter e haute couture
• Il 18.02.02.2019 ha rilevato la posizione di Karl Lagerfeld come responsabile del reparto creativo di Chanel

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Virgine Viard come campo di stoccaggio a destra

A Viard non è mai piaciuto il titolo “Dirctrice”. In un’intervista ha rivelato: “Questo titolo è comune in Francia, ma non mi piace. Trovo tutti questi titoli terribili”.
Viard è sempre stato usato quando Lagerfeld aveva completato i suoi schizzi. Insieme ne hanno discusso. Voleva la loro opinione, perché era importante per lui. Sono stati discussi anche i tessuti, i materiali e i ricami degli abiti. Viard non ha realizzato gli abiti, ma è stato suo compito dar loro vita spiegando i disegni alle sarte e “stimolando” la loro immaginazione. “A volte mi mostrano il loro primo schizzo, e corrisponde allo schizzo, ma manca ancora lo spirito giusto. Poi spiego che Karl lo intendeva in modo diverso, che potresti doverlo accorciare qui, blousieren là, rinforzare il tessuto in un altro luogo”.

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Il futuro di Chanel con Virgine Viard

Ora molti si chiedono come sarà il futuro del gruppo di moda e se tutto cambierà completamente con il cambiamento di leadership. Tuttavia, riteniamo che ciò sia molto improbabile. Karl Lagerfeld rivoluzionò Chanel ma allo stesso tempo rimase fedele alle sue radici. Possiamo aspettarci lo stesso da Virgine Viard. Il suo stile è piuttosto un misto di abiti in denim e pelle rocciosa, sempre in nero, ma nei suoi 30 anni con Lagerfeld ha imparato molto su Chanel ed è il marchio. Inoltre, nel 2017 la società ha realizzato un fatturato di 9,7 miliardi di dollari. Un look completamente nuovo sarebbe quindi estremamente controproducente.

La responsabilità di una leadership Chanel

Il lavoro di Virgine Viard è tutt’altro che rilassante. E’ incredibilmente complesso. Ogni anno Viard deve creare due collezioni couture, due collezioni prêt-à-porter e due collezioni intermedie, così come i Métiers d’Arts-Defilee, sempre esposti in una metropoli diversa e che celebra l’artigianalità dei laboratori dell’azienda. Inoltre, ci sono innumerevoli appuntamenti di pubbliche relazioni. Per molti designer questo sarebbe troppo stressante, perché ci sono più che sufficienti coloro che sono già crollati sotto minore pressione. Ma c’è fiducia nel fatto che Viard padroneggierà questo compito, perché il suo mentore non era altro che Karl Lagerfeld, il Mozart del mondo della moda, personalmente.

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Depuis que Coco Chanel est la première femme à diriger Chanel

Aujourd’hui, Virginie Viard prend la direction créative de la maison Chanel. À l’origine, elle était la directrice qui était responsable de soutenir Karl et de prendre d’importantes décisions concernant l’attribution des tenues aux expositions. Nous avons résumé ici les grandes étapes de sa carrière pour vous :

• né fille d’un chirurgien à Lyon
• né comme fille d’un chirurgien à Lyon
• Virgine Viard hébergé chez la créatrice française Jacqueline de Ribes
• Apprend le costumier au théâtre et étudie le cinéma et la mode
• Assistant pour les sacs et les gants à l’âge de 23 ans avec Chanel
• En studio, elle était considérée comme une “arme secrète” et le confident le plus proche de Karl Lagerfeld était
• A 27 ans, elle est responsable de la Haute Couture chez Chanel
• 1992 elle est promue par Karl Lagerfeld à Directrice par son propre label
• En même temps, elle était également responsable de la conception des costumes de Krzysztof Kieślowskis Cult films “Drei Farben : Blau” avec Juliette Binoche et “Drei Farben : Blanc” responsable
• 1997 Virginie Viard retourne à Chanel
• Après son retour, elle est toujours Directrice chez Chanel et responsable des accessoires, du prêt-à-porter et de la haute couture
• Le 18.02.2019, elle a repris le poste de Karl Lagerfeld à la tête du département de création de Chanel

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Virgine Viard comme champ de stockage côté droit

Viard n’a jamais aimé le titre “Dirctrice”. Dans une interview, elle a révélé : “Ce titre est courant en France, mais je n’aime pas ça. Je trouve tous ces titres terribles”.
Viard a toujours été utilisé quand Lagerfeld avait terminé ses croquis. Ils en ont discuté ensemble. Il voulait leur avis, parce que c’était important pour lui. Les tissus, les matières et les broderies des tenues ont également été discutés. Viard ne fabriquait pas les vêtements, mais c’était son travail de les faire vivre en expliquant les motifs aux couturières et en “stimulant” leur imagination. “Parfois, ils me montrent leur première esquisse, et elle correspond à l’esquisse, mais il manque encore le bon esprit. Puis j’explique que Karl le pensait différemment, qu’il faudrait peut-être le raccourcir ici, le blousieren là, renforcer le tissu ailleurs.”

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L’avenir de Chanel avec Virgine Viard

Maintenant, beaucoup se demandent à quoi ressemblera l’avenir du groupe de mode et si tout va changer complètement avec le changement de leadership. Cependant, nous pensons que c’est très improbable. Karl Lagerfeld révolutionne Chanel tout en restant fidèle à ses racines. On peut attendre la même chose de Virgine Viard. Son style est plutôt un mélange de vêtements en denim et en cuir rocheux, toujours en noir, mais en 30 ans avec Lagerfeld, elle a beaucoup appris sur Chanel et est l’étiquette. En outre, en 2017, l’entreprise a réalisé un chiffre d’affaires de 9,7 milliards de dollars. Un tout nouveau look serait donc extrêmement contre-productif.

La responsabilité d’un responsable Chanel

Le travail de Virgine Viard est tout sauf relaxant. C’est incroyablement complexe. Chaque année, Viard doit créer deux collections de couture, deux collections de prêt-à-porter et deux collections intermédiaires, ainsi que les Métiers d’Arts-Defilee, toujours exposés dans une métropole différente et qui célèbrent le savoir-faire des ateliers de l’entreprise. De plus, il y a d’innombrables nominations aux RP. Pour de nombreux concepteurs, ce serait trop de stress, car il y en a plus qu’assez qui se sont déjà effondrés sous moins de pression. Mais il est certain que Viard saura maîtriser cette tâche, car son mentor n’était autre que Karl Lagerfeld, le Mozart du monde de la mode, personnellement.

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