MEET ME AT THE RITZ
Socialites flocked like fireflies to Paris’ most celebrated hotel for Chanel’s Paris Cosmopolite 2016/17 Métiers d’art collection. And the mille-feuille of embellishment, embroidery, feathers, velvet, tulle and tweed did not disappoint
BEHIND THE SEAMS
The term “Métiers d’art” translates to “artistic careers”, an apt title for a collection designed to showcase the refinement and savoir faire of the artisans working in the French studios owned by Paraffection, a subsidiary of Chanel. Since 2002, creative director Karl Lagerfeld has been developing a readyto-wear collection (outside the official show schedule), shown in December every year with a view to preserving the specialist ateliers’ unique know-how and craftsmanship, including the ornamentation and button maker Desrues, the feather atelier Lemarié, the milliner Maison Michel, the embroiderer Lesage, the shoemaker Massaro, the pleater Lognon, the gold and silversmith Goossens, the fabric flower maker Guillet, the embroiderer Montex and the glove maker Causse. Here’s how they create the magic...
TAKING FLIGHT
Intricate work with feathers on hemlines and headpieces reflected the skilled hands of feather worker Lemarié. Chanel purchased the establishment, one of the last of its kind, in 1996. Founded in 1880 when a hat without a feather was unheard of, it continues to bring flights of fancy to Lagerfeld’s collections today.
ALL THAT’S GOLD
Chanel and other greats of French couture turn to Desrues, where approximately 200 highly qualified employees work machines that mould, sculpt, dye, gild, emboss, enamel or polish the most sought-after buttons and jewellery in copper, pewter, silver, mother-of-pearl, jet, wood, resin and galalith. It’s not hard to see why Lagerfeld chooses to include a high level of costume ornamentation and metal work in his Métiers d’art collection. He also works with Goossens, a favourite of Mademoiselle Chanel – the studio was established in 1950 by Robert Goossens and is now directed by his son Patrick. Think of any piece of French costume jewellery that is inspired by antiquity, Byzantium and Egypt and, if it’s an original, chances are it will be Goossens.
MEET THE PRESS
The Lognon fabricpleating atelier was put to good use this season with a series of sunray pleats wafting down the carpeted walkways. Founded in 1945, it’s one of the only pleaters in France and specialises in the creation of pleats using sometimes incredibly complex cardboard moulds and steam. Gérard Lognon, a fourthgeneration plisseur, has worked with the Chanel studio for the haute couture collections and ready-to-wear, as well as creating pieces for opera and theatre. The effect of his handiwork under Lagerfeld’s direction, whether trimming a mini-dress or done in lurex and skimming the ankle, is pure “another-martiniplease” sophistication.
A DELICATE AFFAIR
From a sweater with richly decorated epaulettes to a classic jacket trimmed with embroidery, embellishment featured heavily. The embroidery maison Lesage has some 70,000 samples from its earliest days to reference, while the more architectural embroidery techniques are owing to the progressive atelier Montex. And as if it wasn’t enough just to wear your beading on your sleeve, Lagerfeld has also made sure the hobo version of the new Gabrielle bag comes embroidered, in metallic gold leather or tweed, and the iconic 2.55 is embellished in a style that echoes the upholstery of the Ritz Paris itself.
BEST FOOT FORWARD
To offset the oldschool femininity of the show, feet were shod in lace-up derbies with patent leather heels – perfectly pitched at a thoroughly modern woman. They were crafted by Massaro, the house responsible for the iconic beige sandal with black satin toe, which Monsieur Massaro created with Mademoiselle Chanel in 1957. The custom process hasn’t changed since 1894, taking an average of 40 hours to create a bespoke shoe – we’ve bought and broken heels before in less time than that.
RETURN TO PARIS
It’s no secret Lagerfeld is inspired by far-flung destinations, but while he dispatches his team around the world (Tokyo, Dubai, Cuba, Rome) to stage Chanel shows in ever-more grand productions, for this collection, it was his home of Paris he wanted to celebrate. The reopening of the Ritz Paris provided an opportunity to honour house founder Gabrielle Chanel (while her official apartment was on Rue Cambon, Coco considered the Ritz her home) and look to the future – a new chapter in the storied City of Light.
Considered by Lagerfeld to be “the cosmopolitan spot par
excellence”, the fivestar Ritz was founded in 1898 and became the nucleus of Parisian cafe society with guests including royalty, film stars and writers. In its newest iteration, the hotel oozes Parisian chic and once again offers a form of escapism and a window into a rarefied world. And as the collection was inspired by the elegant dresses women used to wear to dine at the Ritz, there couldn’t have been a more fitting place for models to glide around beautifully set tables with roses in their hair and a joie de
vivre in their step.