Harper’s Bazaar (Malaysia) - - The Cruise Report -

In 1922, Jean Cocteau delved into the ori­gin of an­cient mythol­ogy with his stag­ing of Antigone, a play where the writer him­self en­trusted cos­tumes to Gabrielle Chanel. Not only did this cross­ing of paths in­spire Karl Lager­feld for his lat­est Cruise col­lec­tion, Made­moi­selle Chanel’s love of an­tiq­ui­ties—as ev­i­dent by her mar­ble Venus tucked away in her Rue Cam­bon apart­ment—did, too. “My scis­sors are not those of Prax­ite­les,” Made­moi­selle Chanel once de­clared. “But nonethe­less, I sculpt my pat­tern more than I draw it.” And so sculpt, Lager­feld did. Spurred on by his ad­mi­ra­tion of Mi­noan civil­i­sa­tion, soft jer­seys (another Chanel hall­mark) were draped into breezy play­suits, or thigh­bar­ing toga dresses, em­bel­lished ever so slightly with gilded camel­lias. The iconic tweed was turned into an em­bel­lished chest plate, worn with pleated kilts and gla­di­a­tor boots (a mod­ern-day Gre­cian war­rior, per­haps?). As al­ways, ev­ery lit­tle de­tail counts when it comes to Chanel’s skilled ar­ti­sans. Look closely and you’ll no­tice an­cient coins dis­guised as but­tons, metal lau­rel leaf pail­lettes crafted into neck­pieces, or in­tri­cate knitwear with pot­tery re­liefs. For­get Antigone—this sea­son, Chanel gave an­tiq­ui­ties a new gold stan­dard.

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