What can't Karl Lagerfeld do? The style creator — who takes a shot at three brands, including his own — by and by played film executive with his most recent short film, Once and Forever, in which Kristen Stewart is a snide on-screen character playing a youthful Coco Chanel (her co-star, Geraldine Chaplin, plays a performer playing a more seasoned Coco; Chaplin really played Coco in Lagerfeld's 2013 film, The Return. Meta, much?).
"She played it super mean," Lagerfeld told Vogue in August, in the wake of wrapping the shoot at French executive Luc Besson's studio.
The film was uncovered at the Paris-Rome Metiers d'Art show in Rome, Chanel's yearly festival of its artisans mind boggling work that falls some place in the middle of pret and couture. (Metiers d'Art allegedly utilizes 2,000 specialists globally.)
Organized at the Cinecitta studios in Rome (the storied film area for Cleopatra, Ben-Hur and La Dolce Vita), the show wandered from the typical idea of commending the host country (past versions have included Salzburg and Scotland) by observing Paris is a flawless false up set in the studio. The timing could just have been circumstantial, coming as it did just three weeks after the Paris assaults (it took the Chanel group six weeks to develop the set) Karl, yet the full-estimate bistros, Metro stations and streetlamps were particularly impactful.
The garments were divine — provocative, with a quality of "stroll of disgrace" as the Daily Telegraph put it, with mussed apiaries and smudgy eye make-up loaning a morning-after-the prior night feel — and absolutely cutting edge, even while drawing upon Bardot and mid 1960s Italian silver screen (Fun certainty: Coco intended for French on-screen characters Romy Schnieder and Anouk Aimee in Italian movies of the period).
Models including Lara Stone and Bella Hadid (making her Chanel presentation) strolled the runway, while 800 VIP visitors, clients and editors swarmed the studio for the event.
"She played it super mean," Lagerfeld told Vogue in August, in the wake of wrapping the shoot at French executive Luc Besson's studio.
The film was uncovered at the Paris-Rome Metiers d'Art show in Rome, Chanel's yearly festival of its artisans mind boggling work that falls some place in the middle of pret and couture. (Metiers d'Art allegedly utilizes 2,000 specialists globally.)
Organized at the Cinecitta studios in Rome (the storied film area for Cleopatra, Ben-Hur and La Dolce Vita), the show wandered from the typical idea of commending the host country (past versions have included Salzburg and Scotland) by observing Paris is a flawless false up set in the studio. The timing could just have been circumstantial, coming as it did just three weeks after the Paris assaults (it took the Chanel group six weeks to develop the set) Karl, yet the full-estimate bistros, Metro stations and streetlamps were particularly impactful.
The garments were divine — provocative, with a quality of "stroll of disgrace" as the Daily Telegraph put it, with mussed apiaries and smudgy eye make-up loaning a morning-after-the prior night feel — and absolutely cutting edge, even while drawing upon Bardot and mid 1960s Italian silver screen (Fun certainty: Coco intended for French on-screen characters Romy Schnieder and Anouk Aimee in Italian movies of the period).
Models including Lara Stone and Bella Hadid (making her Chanel presentation) strolled the runway, while 800 VIP visitors, clients and editors swarmed the studio for the event.
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