Chanel haute couture spring-summer 2022 princess of monaco rides a horse on the catwalk

Chanel haute couture spring-summer 2022 princess of monaco rides a horse on the catwalk

Before CHANEL’s show, a black and white film was recorded by French artist Xavier Veilhan. Blurry, hard to see but full of movement. Princess Grace Kelly’s niece sits on horseback in a black tweed coat with sequins and guides the viewer into a visual universe.

Chanel haute couture spring-summer 2022 princess of monaco rides a horse on the catwalk

Circles are everywhere, from the giant gyroscope, the obstacle ring to the graphics that are added, rotated, and connected together like a giant pulley system to move time and space. Virginie Viard wants to create a “weightless” fashion school.

The end of the clip is also the beginning of the show, Charlotte Casiraghi trotting right down the catwalk, to the amazement of the audience and stepping out of the story of the European elite. Virginie Viard invited Xavier Veilhan to design the setting at the Grand Palais Éphémère because “his ideals of Constructivism reminded me of Karl Lagerfeld ”.

However, Veilhan arranges his work with a sand trail, winding benches and terraces simulating a mini golf course and training schools typical of the era of the pioneer generation, 1920 and 1930, also the time of Coco Chanel .

According to Virginie, this collection is “a conversation through time”. Having worked with Lagerfeld for more than three decades, their legacies are closely intertwined to maintain the spirit of Mademoiselle Chanel. Creativity is sublimated between tradition and instinct, between references from the past and a vision of the future.

Haute Couture designs continue to assert the level of Ateliers but without the mold in the pure DNA code, it contains the desire to be recreated more. It was the architecture created by Veilhan that inspired Virginie: “These rigid, very regular geometries urge me to do something contrasting, I have to make it soft and fresh.” After posing in tweed suits, Virginie Viard choreographed the stage with elegant chiffon dresses floating like they were floating.

CHANEL herself was a talented horseman, when Coco Chanel conquered wealthy women with somewhat “masculine” inspiration from her horseback lovers. The current creative director also certainly doesn’t like a beauty in a glass case. Virginie wants to inject movement into all of her designs: “To unleash femininity, I take inspiration from the 20s, collecting feathers and ripping fabric into fringes . ” There are lots of flowers, macramé, bright lace, metallic tweed, and colorful gem-encrusted buttons.

To liberate the woman’s body, fishtail and cascading shapes in each step were chosen. All are loose, maybe even more liberal with a high slit in the center or on the sides of the pants. Virginie lowers her chest, waist and thins her mid-body with see-through fabric , aiming for a dignified image that is sexy, free and “lazy”.

Coming to the final look, the ceremony ended with a wedding dress, the audience enjoyed the silk and chiffon design with gem-encrusted details on the straps and neckline. This gentle personality stands in stark contrast to the opening suit , like the two turns Viard is charting, one for himself and the other for history, a perfect pair of cards to “walk into the aisle”.

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