L IGHTS , C AMER A , BEL­LIS­SIMA! French film noir meets Ital­ian la dolce vita for Chanel’s lat­est Pre-Fall fash­ion col­lec­tion. Natasha Kraal at­tends the pre­miere night in Rome.

Harper’s Bazaar (Malaysia) - - The News Bazaar -

It was the era of dra­mat­i­cally chang­ing times, par­tic­u­larly so­cial and cul­tural mores, which di­rec­tor Luchino Vis­conti cap­tured in the 1962 satir­i­cal an­thol­ogy Boc­cac­cio ’ 70, star­ring Romy Schneider. In an episode, “Il La­voro”, an aris­to­cratic cou­ple at­tempt to re­vive their mar­riage af­ter the hus­band made head­lines for vis­it­ing pros­ti­tutes; Schneider plays the wife seek­ing her in­de­pen­dence by find­ing work. The Chanel suits, sling­backs, and stacks of pearls she wears are sym­bolic; as much as the fi­nal scene, where at her dress­ing ta­ble she turns to him in her neg­ligee, and ut­ters “Chanel” as a bot­tle of N˚5 stands as the back­drop. With that, the woman found her worth. Reel to real life, the sto­ries con­nect. “There are three peo­ple who trans­formed my life,” once said the Aus­trian-born French ac­tress. “Alain [Delon, her first hus­band], Vis­conti, and Coco Chanel.” Schneider was once casted as muse to Coco Chanel, who helped her evolve into an el­e­gant Parisi­enne, echo­ing her de­sires when she first step foot in Paris as an in­génue in the ’50s: “I want to be com­pletely French in the way I live, love, sleep, and dress.”

Of­ten tak­ing his cre­ative cues from Coco Chanel, whose mai­son he ad­vanced in the last 32 years al­most bi­o­graph­i­cally from her pri­vate life and fem­i­nist fash­ion, Karl Lager­feld ex­tracts these vi­gnettes as frame­work for ev­ery Chanel col­lec­tion he cre­ates. Chanel’s ‘Paris in Rome’ 2015/16 Métiers d’Art col­lec­tion is in­spired by French ac­tresses of the ’50s and ’60s who starred in Ital­ian films, and dressed by Coco Chanel: Jeanne Moreau, Romy Schneider, Anouk Aimée, and Del­phine Seyrig. They were muses—style in­flu­encers, in now-speak—to Coco Chanel, who flour­ished on her in­volve­ment with dance, the­atre, and film, forg­ing friend­ships with Ital­ian di­rec­tors Franco Zef­firelli and Luchino Vis­conti—ru­moured to be a lover. The world of arts el­e­vated Chanel’s sta­tus, and Ital­ian cin­ema was where her fash­ion could cap­ture a wider au­di­ence while im­bu­ing it with her French chic.

French chic and Ital­ian glam­our at Chanel’s ‘Paris in Rome’ 2015/16 Métiers d’Art show

Tiers of pas­tel lace and ap­pliqué flo­rals by Mai­son Le­marié Coco Chanel fits Romy Schneider at the Rue Cam­bon stu­dio in the ’60s

Teatro N 5 turned into a film noir set of Paris at dawn

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