#Chanel runway show 2000 plus
#Chanel runway show 2000 series

We are going to do it because we like it very much.The separates-based mix felt very Parisian girl cool-the sort of clothes that would appeal to hipster actresses Marion Cotillard and Anna Mouglalis, for instance, who were among the guests attending the in-person show, recognizable even behind the mandatory white masks that were distributed at the door. And it’s not a question that we have to continue it-we don’t. Said Viard: “This conversation is not going to end here today. The models changed into their off-duty clothes and joined the party. Those guests included Senegal’s first lady, Madame Marième Sall, and four government ministers (three of them female). Michel Gaubert’s soundtrack of freshly-released Sault tracks provided a dreamy dimension.Īt the end of this show guests lingered and the hubbub of conversation steadily increased. The broader context was 1970s-inflected: casual, unpretentious, and free.

Talking drums and surfboards were other talismanic symbols of place and connection integrated into the language of the pieces.

Almost invisible after long and complex processes of fabric development, some of the beading materials and patterns were rooted in source material from Africa. The tailoring and menswear shapes were informed by Congo’s sartorialist Sapeur subculture, as were the heftily commando-soled shoes. The lion motif that reappeared on jewelry and bags was a dual reference to the emblem of Senegal and the sign of Coco Chanel. Much of that atmosphere was generated by all of the many Senegal-facing activities, but it was also inherent-albeit more discreetly-in the fabric of the collection itself. It means a kind of chemistry.”įrom inside the experience at least, this Métiers d’Art event felt like a well-considered exploration of cultural affinities-an interweaving of the pre-existing to create something entirely new. Textile art and its innumerable paths highlights the multitude of possible agreements between materials and techniques.” Added our guide, Olivia: “this is also a word that can be applied to people. The absorption of the color in the fabric also reflects the intimacy that binds them. According to the Atiss’s caption, roofoo is “the intimate mixture of threads, of fibers, can be considered as a metaphor of weaving, which creates a fluid and welded matter, inseparable from the materials intrinsically linked. The best descriptor I could find for this exercise is “roofoo,” a word in the Wolof language-the lingua franca of Senegal-that was displayed and explained in an exhibition at the Atiss Gallery. As Pharrel Williams put it before the show: “There’s a serendipity in it being a French maison, and coming back to a place that was once colonized by the French, with a sense of equity… it’s a super-beautiful exercise in humanity.”

#Chanel runway show 2000 series

Chanel’s President Bruno Pavlovsky announced a series of upcoming interactions between Chanel’s le19M and Dakar’s IFAN Museum of African Arts that will see exchanges of artisanal expertise between the two.

#Chanel runway show 2000 plus

There was a visit to the studio of sculptor Ousman Sowe, a tour of local artisan markets and an art-filled medina, and a “literary rendezvous” between Marie NDiaye, Charlotte Casiraghi, and Rokhaya Niang (alongside a performance by rapper Nix), plus a stop to see the beautiful furniture design of Ousmane Mbaye. The first stop post-arrival was on Gorée island, just offshore from the city, a place that was once a hub of the African slave trade under colonial rule and which is now a monument. As one of 800 guests you felt the experienced context of this show had been designed as precisely as the collection itself.