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The location: The show would have been shown in Capri if not for the pandemic. To evoke the “Balade en Méditerranée [A Mediterranean Jaunt]” she was after, Viard tapped photographer Karim Sadli and model Mica Argañaraz to “create the illusion of a Caprese sunset in Chanel’s Paris photo studio.” The theme: Viard, wrote Hamish Bowles, “was thinking and dreaming, as she told me, about ‘summer in Capri—or the South of France,’ and the kind of destination wardrobe of ‘easy clothes’ that ‘a sophisticated but also cool girl would want to travel with.’ ” The location: Coco Chanel’s apartment and the house’s mirrored staircase were recreated in the Grand Palais for a show titled Paris-31 rue Cambon. The theme: Virginie Viard described the collection as “the things we like, a mix of Karl and Chanel—the codes.” The designer wove elements from that apartment into details of the clothes themselves,” Hamish Bolwes reported. “The ears of wheat from the gilded sheaves that Chanel kept for good luck were embroidered onto filmy black tulle cardigans shrugged over lean black crepe jogging pants, and on a short evening dress lavished with ropes of pearls. Elsewhere, motifs from the ancient lacquered Coromandel screens (that Lagerfeld famously reproduced for a series of Lesage-embroidered coats in his Fall 1996 couture collection) were used as luxe frostings on pocket flaps and cuffs.”Officials Texas Am Aggies Football Champions Sec 2025 Shirt
The location: The Grand Palais was made to look like “a train platform, the audience seated on old-fashioned benches. [The brand also] replicated a dining carriage in a pre-war train, and a Belle Epoque café (‘Le Riviera’).” The theme: “Just as [Virginie Viard’s] respectful opening look had suggested the way the liberated young Chanel herself might have dressed in 2020—easy black jacket with wide-leg pants cut short enough not to impede a woman on a mission, and a soft but unfussy white blouse—so the final look paid homage to Karl Lagerfeld himself in a halter dress suspended from a stiff Edwardian collar in his trademark black and white,” wrote Hamish Bowles. The theme: “Karl Lagerfeld was thinking of a chic mash-up of Ancient Egypt and New York itself,” Hamish Bowles wrote. “Those famous Chanel tweeds were flecked with lustrous gold—Lagerfeld who can never resist a play on words, called it luxe or to sound like the storied city on the Nile. And in another antic play on words, he indulged in some prints and motifs drawn from the Memphis Group, the 1980s artist and designer collective headed by the protean Ettore Sottsass and named for the ancient Egyptian city, whose work Lagerfeld himself commissioned and collected back in the day.” The location: In the Grand Palais Chanel created a near life-size model of a passenger ship named La Pausa, after Chanel’s summer house in the South of France.
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