Ensemble, Chanel by Karl Lagerfeld


  • Chanel by Karl Lagerfeld 

  • Label on the dress in woven satin, inside neckline, back right side, black on white: " CHANEL / SAMPLE". Passing bolduc on the dress in printed canvas and handwriting, inside neckline, back right side, black on white : " ETE 19 N°53 CECILE ".
  • Donation of CHANEL – Vogue Paris Foundation 2019
  • Haute couture, spring-summer 2019
  • Smoked grey ostrich feathers stuck on grey tulle. Embroideries of white resin petals hand-painted in fuchsia, pale pink, white and smoke grey tones or in the shape of flowers and pebbles painted matt white. Hammered powder pink plastic glitter, metallic, black, grey shades. Black and silver leaf-shaped sequins. Gold and silver tube beads. Powdered pink silk satin. Pale gold metal, studded pale blue rococo pearl, studded pearls, crystal strass set in a bowl, white feathers and midnight blue feathers. Silvery metal set with sapphire brilliants, light blue and white. Crystal rhinestones. Ultramarine blue feathers. Black silk satin. Pale gold metal. Black leather. Beige velvet calf partly painted black.
  • GAL2020.7.1.1-9
  • Palais Galliera, musée de la Mode de la Ville de Paris

Karl Lagerfeld, artistic director of Chanel since 1983, passed away on 19 February 2019. A few weeks earlier, the label presented the spring-summer 2019 haute couture fashion show.

Accustomed to titanic fashion shows under the glass roof of the Grand Palais, this season's Chanel show reproduced the garden of an Italian villa. All the models are inspired by the 18th century, notably thanks to the influence on the couturier of the "La Fabrique du luxe" exhibition presented at the Cognac-Jay Museum (29th September to 27th January 2019).

Passage n°53 of this last fashion show faithfully represents this inspiration. The evening gown, made in 260 hours, is entirely embroidered with powdered pink sequins and resin flowers imitating perpetual porcelain flowers, created in Vincennes in the middle of the 18th century and used by the Merchants Merciers, the common thread of the Cognac-Jay Museum exhibition. The influence of the 18th century can also be seen in the shapes of the wrist binders and baskets, both treated with more than 6500 pinches of ostrich feathers in three shades of grey, the embroidery of which took 315 hours.

Notice's author : Alexandre Samson