Sandra‘s Closet

Today, I received the breaking news that Raf Simons will join Prada starting April 2, 2020. Rumors had been out since quite some time and now it is official. The Belgium designer will join the Italian fashion house as co-creative director alongside Miuccia Prada with equal responsibilities for creative input and decision-making. Their first runway presentation together will be for S/S 2021 in September 2020. «It’s a new wind,» said Miuccia Prada and I have to admit that I agree with Tim Blanks who wrote: «I cannot think of anything like this in the history of fashion.»

In 1978, Miuccia Prada inherited the label that was known for luggage making and transformed it into a global fashion brand with her creative designs. Prada has been a true trendsetter for decades, sometimes too fast thinking for the fashion world, she is often a few steps ahead of the game. Her iconic black nylon backpack launched in 1985 caused a real fashion frenzy and has been popular since then. In 1989 she added ready-to-wear to the offerings. Simons, who will continue to design his namesake menswear label, is the first designer from outside the Prada family to join the house since its inception.

Trendsetting: Prada S/S 2012 ad campaign photographed by Steven Meisel

Today at the Prada press conference, Simons announced: “Prada is a brand that I have been interested in my whole life. I cannot wait to express to all of you the dialogue I will have with Mrs Prada and her team. To be really honest, Mr Bertelli approached me right after my exit from Calvin Klein. Miuccia and I had a conversation about creativity in today’s fashion system. And it brought me to open dialogue with many designers, not just Mrs Prada. We have to re-look at how creativity can evolve in today’s fashion system.»

Power couple: Patrizio Bertelli and Miuccia Prada

Simons, who had worked with Prada and her husband Patrizio Bertelli before, when he was hired as creative director of Jil Sander in 2005. Prada had bought the German label and was looking for someone to fill the shoes of the namesake designer at that time. Simons’ seven-year tenure at the brand was an absolute success, and the Prada Group sold it to a London private equity firm in 2006.
Simons later worked at Dior and his latest venture was at Calvin Klein, where he was chief creative officer, and abruptly excited in December 2018.

Presented in Milan last Thursday: Miuccia Prada’s last single show for F/W 2020

Miuccia Prada has still a very strong view on fashion. Yet, it seems hard for her at the moment to translate this into sales. Rumors had been that the family is planning to sell to one of the big conglomerates. With the appointment of Simons, it seems that the Prada family will keep it a family business that also owns Miu Miu and Church’s.

Good luck, Raf!

They will have all my support – I have been collecting Prada pieces since a very young age and have always been very fond of the brand. Good luck to Raf, I am really excited to see what the two creative masterminds will come up with…

LoL, Sandra

Photos: Courtesy of Prada and © Sandra Bauknecht

I am sorry but there is one more post dedicated to Miu Miu today and actually I am not so sorry because the Miu Miu Denim Icons are just gorgeous – a capsule collection of six different denim trouser shapes, each inspired by and named after the decade during which they were first created and the spirited, stylish and ultra-confident woman best known for wearing them.

Few garments are more evocative of an era than a great pair of jeans, after all. By now a universal symbol of democracy in wardrobe, each person – and indeed generation – wears them in their own, entirely individual way.

Cut in heavy, dark blue denim, 40’s Lauren has the traditional raw work wear feel that characterised the then still largely functional garment way back when. By the Fifties jeans had become more of a fashion statement: 50’s Brigitte features a high waist, is cut in dark denim again and cropped at the ankle, referencing the feminine silhouette of Capri pants. 60’s Françoise is a straight legged, high-waisted white denim design: by then jeans were ubiquitous, signifying youth and emancipation; as their popularity grew so the colour palette, weight and washes of denim proliferated.

70’s Jane sits low on the hip, is in pale washed denim and flared: flower power was at its height, as were bellbottom trousers, and jeans were feeling groovy. The 80’s Brooke is a unisex design, in the dark denim widely favoured throughout that decade but now whiskered to ensure a contemporary feel. Finally 90’s Kate is a mid-blue, eased, borrowed from your boyfriend pair of jeans, as effortlessly stylish and minimal as denim throughout that decade decreed.

Miu Miu Denim Icons capsule collection is available in selected Miu Miu stores worldwide from the beginning of February.
TO SHOP MIU MIU ONLINE, CLICK HERE PLEASE.

LoL, Sandra

Photos: © Miu Miu
DISCLOSURE: This post may contain affiliate links, meaning when you click the links and make a purchase, we receive a commission.

Great news for the fashion world: luxury conglomerate Richemont is teaming up with former Lanvin designer Alber Elbaz for a new venture at a time when luxury goods groups are vying to make star hires.

«I am very happy to partner with Richemont and to establish my ‘dream factory,’ which will focus on developing solutions for women of our times,» Elbaz said in a statement.

Me with Alber Elbaz in 2015

Elbaz was born in Casablanca, Morocco, in 1961 to a Moroccan Jewish family. He immigrated to Israel with his family at the age of ten and grew up in Holon. After his studies at Shenkar College of Engineering and Design, he had jobs at Geoffrey Beene, Guy Laroche, Yves Saint Laurent where he designed the Rive Gauche collection under Saint Laurent himself, and Krizia.

Lanvin F/W 2012 campaign

He then began designing for Lanvin, France’s oldest fashion house, in 2001 and transformed the Maison from a small label with only 15 wholesale accounts to a global fashion house known for feminine, comfortable and clever ready-to-wear that earned the approval of celebrities, critics and customers alike. Elbaz’s simple, feminine clothing, which has been compared to Lanvin’s 1920s outfits, has been lauded by the fashion press. Suzy Menkes wrote: «Elbaz is every woman’s darling. And that includes Nicole, Kate, Chloë Sevigny, Sofia Coppola and a slew of rising movie names.» In 2010, Elbaz launched for Lanvin a mass-market collection with H&M, and proved to be one of the retailer’s most popular annual runway collaboration series. In 2013, he created a much anticipated make-up collection for Lancôme.

Therefore the shock was huge when the announcement came that Elbaz had been let go from the fashion house due to major disagreements on strategy and targeted investment in 2015 with major shareholder Taiwanese businesswoman Shaw-Lan Wang. The house has since changed hands and failed to find its footing.

Shaw-Lan Wang and Alber Elbaz in happier times. Photo: BFA / The Cut

After Elbaz was abruptly fired from Lanvin, the industry has wondered when and how he might return to design full-time. Between then and now, he has turned his hand to designing accessories for LeSportsac, collaborated on a fragrance with luxury perfumer Frédéric Malle, and mentored at prestigious design schools. Recently, the star designer had his comeback For Elbaz, after having skipped several years of shows, watching the fashion industry shift from the sidelines. He designed a capsule collection of bags and shoes for luxury Italian brand Tod’s, called «Happy Moments.» Known for his charming and emotional personality, it couldn’t be a better match.

Alber Elbaz lives it up at Tod’s Happy Moments launch. Photo: Tod’s / Getty

«I like fashion, I like fashion people. But after Lanvin, I did not like fashion,» he told Elle Magazine in September 2019, «I needed to fall in love with fashion again.» To fall back in love with fashion took a lot of time. «Because you have to take a few years distance,» Elbaz continues earnestly.

A shoe from Tod’s Happy Moments collection created by Elbaz.

Now Elbaz has a partner for his next chapter. Today, Richemont  announced an agreement to form a joint venture with the designer, calling it AZfashion, which the Swiss luxury conglomerate described as «an innovative and dynamic start-up, meant to turn dreams into reality.»

As much as the fashion industry has anticipated Elbaz’s return, he and Richemont have their work cut out for them. The announcement about the new brand indicates a completely different approach in this new brand, which the designer told the New York Times will be project-based.

Feminine and dreamy designs: Lanvin F/W 2011 by Alber Elbaz

«Upon hearing Alber Elbaz describe his vision for fashion and the projects it inspires in him, I was again struck by his creativity and insight,» Richemont Chairman Johann Rupert said in a statement. «His talent and inventiveness, with his sensitivity towards women and their wellbeing, will be of great value to our group and its maisons.»

We will all be watching how Elbaz’ vision will transform… I am sure he will let us dream again… something that is desperately needed in today’s fashion world. Fashion should be fun and Elbaz will teach us!

LoL, Sandra

Me in a Lanvin by Alber Elbaz dress, click here for the post.

 Photo: © David Biedert Photography
Photos: Courtesy of the Brands, or otherwise mentioned

Last weekend, I was invited to a birthday party in Fribourg with the dress code «Choose a Quentin Tarantino Movie Character». The possibilities are versatile but one that I truly liked and that looks great in daily life is the style of Mia Wallace (Uma Thurman) in Pulp Fiction. The 1994 movie is known for its many twists, but most poignant of all is her dance with Vincent Vega (John Travolta). It’s in that scene that Mia sports the outfit that has inspired one of the most popular Halloween costumes of the last two decades, with a white button down shirt as the quintessential piece combined with black cropped pants.

My look: Bandage flared pants by Hervé Léger, cotton-poplin shirt, sequined gun shoulder bag, and Janis suede platform pumps, all by Saint Laurent, Petit Jardin embroidered stretch-tulle underwired bra by La Perla, and diamond ring by Vainard Fine Jewellery.

You’ll never watch that scene the same way again when I tell you what else made it so iconic for a fashion lover. It was the nail polish on Mia’s fingers. First debuted at the F/W 1994 CHANEL show, Le Vernis Rouge Noir made its screen debut in Pulp Fiction 25 years ago. Until today, the hue is still one of the most coveted—and questionably duped—color in both fashion and beauty history.

I really like this hair style (the wig is from atop.ch). What do you think? Time to get a new hair cut?

LoL, Sandra

Photos: © Sandra Bauknecht 

Revised for the Resort 2020 collection, the Prada Bowling Bag is a 21st century classic.
An archive style originally presented as part of S/S 2000 «Sincere Chic» Collection, in turn, it is an echo of the mid-twentieth century Accessories: A memory of memories.

Prada S/S 2000 runway (isn’t the quality of the photos hilarious)

I remember buying it during my first year as an editor at Marie Claire magazine (I cannot believe this was almost 20 years ago) and of course it is still in my closet soon to be worn again.

Reminiscent of the aesthetics of modern design in its straightforward contours, automobile chassis in their reliefs contrast similar materials in vibrant colors to evoke the visual vocabulary of fashion and a broader design vocabulary. Miuccia Prada always combines architecture, art and fashion in perfection.

Prada Resort 2020

It was represented on the occasion of the 20th anniversary of the debut of this then iconic and today archetypal model in New York on May 2, 2019 as part of the Prada Resort Runway Show.

The reinterpreted bowling bag is a symbolic Prada silhouette made of fine, soft calf leather offered in four hyperclassic color combinations: white with black, cinnamon with white, white with red and black with white (what a pity the pink and white one is not produced). The Prada Bowling Bag is available from on November in Germany, Austria and Switzerland. Thank God, I still have it in my closet, like this I am ahead of the game… therefore you should always keep your pieces until their time has come again.

LoL, Sandra

My Prada bowling bag and lip print skirt, both from the S/S 2000 runway collection.
I love the perforated leather detail….

Photos: © Prada, © Sandra Bauknecht

Yesterday, another big name in the world of fashion left us. Esteemed fashion photographer Peter Lindbergh died at the age of 74, as announced in a post on his official Instagram account Wednesday with the above picture.

«It is with great sadness that we announce the passing of Peter Lindbergh on September 3rd 2019, at the age of 74,» the post on his Instagram read. «He is survived by his wife Petra, his first wife Astrid, his four sons Benjamin, Jérémy, Simon, Joseph and seven grandchildren. He leaves a big void.»

Born in Poland in 1944, Lindbergh grew up in Duisburg, Germany, where he made his first steps as a photographer before moving to Paris in 1978 to pursue his career. I was lucky to work with Peter Lindbergh at an early stage in my career. Being a young editor at German MARIE CLAIRE magazine, he shot a lot for us under the creative helmet of our fashion director Florentine Pabst. Thanks to her, I was able to meet and observe the work of such amazing talented people, like him or Karl Lagerfeld.

This cover shoot for British VOGUE in January 1990 was one the reasons why I wanted to become a fashion editor. I was 14 at that time and was dreaming to pursue this career that thankfully became true. Thank you, Peter!

Renowned for his cinematic, elegant style, his iconic January 1990 cover shoot for British Vogue, featuring Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington and Cindy Crawford, Lindbergh is considered to have launched the phenomenon of the supermodel. The creative photographer was also known for his firm stance against re-touching, something that is hard to imagine in today’s world of filters and photoshop.

Peter Lindbergh, IWC Schaffhausen campaign, 2011

Other high-profile works of his include the three Pirelli calendars, in 1996, 2002 and 2017, the advertising campaigns for IWC Schaffhausen and the portraits of actresses such as Lupita Nyong’o, Helen Mirren and Uma Thurman.

British Vogue’s September 2019 issue shares «Forces for Change» covers by Peter Lindbergh.

Before working on Meghan, Duchess of Sussex’s guest-edited edition of British Vogue, he photographed her for the cover of Vanity Fair in 2017. Earlier this year, he shot musician Rosalía for the cover of Vogue España, as well as model Gigi Hadid for Vogue Arabia.

In the introduction to his 2018 photography book «Shadows on the Wall,» he wrote, «It should be a duty for every photographer working today to use his creativity and influence to free women and everyone from the terror of youth and perfection.» Amen to that!

Rest in peace, Peter! You will be missed…

LoL, Sandra

Peter Lindbergh, Vogue 1991

Peter Lindbergh, Vogue, August 1988

Iconic: Anna Winter’s first VOGUE cover photographed by Peter Lindbergh, November, 1988

One of my favorite photos: Nadja Auermann photographed by Peter Lindbergh for German MARIE CLAIRE, June 1996

Devon Aoki photographed by Peter Lindbergh for German MARIE CLAIRE, April 2001

Meghan Markte photographed by Peter Lindbergh for Vanity Fair, October 2017

Photos: Peter Lindbergh / Courtesy of Peter Lindbergh, Paris / Gagosian Gallery
Via VOGUE, © Sandra Bauknecht

Already in April this year, I had the the pleasure to visit one of the most beautiful exhibitions ever, a must for every fashion lover: Christian Dior: Designer of Dreams at the Victoria and Albert Museum in London. This retrospective celebrates the founding couturier’s avant-garde spirit and the international destiny of his House, shepherded, after his passing in 1957, by the talent of the Creative Directors who succeeded him.

You still have one week left to indulge in the universe of the French Maison as the exhibition has been extended to September 1st after it sold out within 19 days of its opening.

ABOUT CHRISTIAN DIOR

Christian Dior was born into a wealthy Normandie family in the French seaside town of Granville on January 21, 1905. As a child he shared his mother’s love of gardens. is early passions included architecture and designing fancy dress costumes for his friends. Sent by his parents to study political science in Paris, Dior gravitated towards a bohemian group of friends, including composer Henri Sauguet and artist Christian Bérard.

In 1928, he opened and art gallery, but the business foundered when the Dior family fortune collapsed following the 1929 financial crisis. Forced to find a new way to make a living, Dior took up fashion drawing, eventually working with top couturiers Robert Piguet and Lucien Lelong.

In 1946, Dior founded his own couture house with the backing of textile manufacturer Marcel Boussac. On 12 February 1947, the House of Dior launched its first collection. Dubbed the «New Look» by the press, the collection had an instant and unparalleled influence on fashion around the world. The House of Dior grew rapidly. By 1955 it accounted for over 50% of overseas exports of French haute couture.

In the prime of his career, Christian Dior died suddenly on 24 October 1957. His legacy has continued under the creative directors who have succeeded him at the head of the House of Dior: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano, Raf Simons and Maria Grazia Chiuri.

THE EXHIBITION

Based on the highly successful Musée des Arts Décoratifs exhibition Christian Dior: Couturier du Rêve (on view from 5 July 2017 to 7 January 2018), the show charts seven decades of the continuing importance, influence and creativity of the House of Dior in the fashion world, with an additional section showcasing the story of Dior in Britain.

The famous «Bar Suit» and hat, Haute Couture S/S 1947

Drawn from the extensive Dior Archives, the exhibition presents over 500 objects, with over 200 rare Haute Couture garments shown alongside accessories, fashion photography, film, vintage perfume, original make-up, illustrations, magazines, and Christian Dior’s personal possessions. Unfolding across eleven themes, this unique event invites visitors to immerse themselves inside Christian Dior’s world, tracing the highlights of his life, from his childhood to the creation of his couture house at the end of 1946. A voyage through time that continues with the starring role played by such timeless icons as the eternal «Bar Suit», and legendary looks designed by the visionary tastemaker the couturier was.

Celebrating the Dior art of color, accessories, hats, bags, illustrations, miniature dresses, lipsticks and emblematic fragrances together form a spectrum of colors dear to Christian Dior and, in turn, enrich this exciting encounter with the House. The culmination of this immersive exploration, an exhibit called «Le Salon» showcases the splendor of society soirées, illustrated by spectacular dresses that testify to the virtuosity and savoir-faire of excellence of the Dior haute couture ateliers.

THE NEW LOOK

Christian Dior unveiled his first haute couture collection on 12 February 1947, amid excited anticipation within fashion circles. Offering a radical alternative to the boxy, masculine style of women’s fashion after the Second World War, Dior’s designs caused a sensation. Carmel Snow, editor in chief of Harper’s Bazaar, declared: « It’s quite a revolution, dear Christian, your dresses have such a new look!» The Dior Line showcases ten defining looks made between 1947 and 1957, Christian Dior’s own tenure at the House.

DIOR IN BRITAIN

Exactly to this day, 72 years before, on 26 August 1947, a small group of people stood together in London’s Claridge’s Hotel, hovering around a smartly dressed middle-aged man holding a trilby hat. The celebrated couturier Christian Dior, who just six months earlier had revolutionized fashion with its first «New Look» collection, was in the process of being ambushed by the press. One journalist grilled him as to how he was able to persuade a world short of fabric to embrace his audacious new fashions, to which Dior replied: «I am giving the women the dresses they want. They’re fed up with war restrictions… My full skirts are a release.»

«I adore the English, dressed not only in tweeds which suit them so well, but also in those flowing dresses, in subtle colours, which they have worn inimitably since the days of Gainsborough.» Christian Dior, 1957.

Christian Dior designed this couture dress in 1951 specially for the 2st birthday of Princess Margaret.

In his autobiography, Dior affirmed his love for all things English. He was particularly enamoured with the English aristocracy and he admired the grandeur of the great houses and gardens of Britain, as well as British-designed ocean liners, including the Queen Mary, and Savile Row suits.

HISTORICISM

Christian Dior often cited historic periods in his designs – the sinus lines of Belle Époque dresses from the late 1800s and early 1900s: the tightly waisted mid-nineteenth-century styles worn by the French Empress Eugénie, Napoléon III’s wife. The sumptuous silks and dramatic silhouettes of the eighteenth century held a particular fascination. Dior’s premises at 30 Avenue Montaigne in Paris had a neo-classical façade, medaillon-backed chairs, and white and grey panelling like that of Petit Trianon at Versailles, a colour Dior is said to have revived.

«I thank heaven I lived in Paris in the last years of the Belle Epoque.» Christian Dior, 1957

In front of one of my favorite Dior dresses, Look 24 from the F/W 2004 Haute Couture collection by John Galliano.

TRAVEL

Travels explore how travel and different countries and cultures have consistently inspired the various designers at the House of Dior. This section focuses on five of the countries that provided a source of reference for Christian Dior and his successors at the House of Dior: Mexico, India, Egypt, Japan and China.

THE GARDEN

Flowers are emblematic of the Maison and have inspired silhouettes, embroidery and prints, but also the launch of Miss Dior in 1947, the first fragrance created alongside the very first show.
From horticulture to global travel and historicism, the show reveals the sources of inspiration that defined the House of Dior’s aesthetic.

Look 47 from the F/W 2012 Haute Couture collection by Raf Simons for Dior. It was worn by actress Natalie Portman, the face of Miss Dior perfume.

DESIGNERS FOR DIOR

Designers for Dior spotlights the work of the subsequent six key artistic directors since Christian Dior’s death in 1957.

Since 1957 the House of Dior has been led by:
Yves Saint Laurent 1958-60
Marc Bohan 1960-89
Gianfranco Ferré 1989-96
John Galliano 1996-2011 
Raf Simons 2012-15
Maria Grazia Chiuri 2016 to present
Each creative director has brought a new perspective.

THE ATELIERS

The Ateliers showcases toiles from the Dior Ateliers in a stunning «cabinet of curiosity» style.

«Everything created by human hands expresses something – above all the personality of the creator. The same thing is true with a dress. But since so many people are working on it, the real job is to get all the hands that cut, sew, try on and embroider to express all I have felt.» Christian Dior, 1954

DIORAMA

Diorama examines the breadth of the House of Dior, from accessories including costume jewellery, hats, shoes and bags, to illustrations, miniature dresses and archive lipstick and perfume, bottles, collected in a kaleidoscopic display. This section spotlights the key creative partners of the House from the past 70 years, including Roger Vivier Stephen Jones, René Gruau, Serge Lutens and Swarovski, Christian Dior’s first choice for crystals to embellish his creations.

How cool! My own outfit was part of the exhibition.

THE BALLROOM

Drawing on his love of costume, it was in his evening dresses and ball gowns that Dior could indulge his imagination and showcase the diverse skills of the haute couture ateliers. Until today, a Dior gown, synonymous with allure and opulence, demonstrates the formidable talents and techniques of Parisian haute couture. It is no wonder that such striking creations have graced numerous red carpets as the choice of film stars and prominent personalities over the past seven decades.

I hope that you have enjoyed following me on my tour through this beautiful exhibition.

LoL, Sandra

Photos taken of the exhibition: © Sandra Bauknecht

Yesterday, I spotted the new jewelry collection by DIOR Joaillerie at the Zurich boutique and fell immediately in love. Named ASTRO DIOR, it is a celebration of the superstitious character of Christian Dior and consists of 12 necklaces in gold and mother of pearl, allowing you to now wear your astrological sign.

Christian Dior at a feast of St. Catherine, circa 1950

Christian Dior loved astrology. Therefore he visited Madame Delahaye, his clairvoyant, before opening his eponymous Maison in 1946. After the consultation, she confirmed to him that the launch of his brand was written in the stars.

Over the years, many references to the designer’s beliefs in astrology and mysticism appeared as he created certain pieces with a nickname deriving from those fields: Bonne étoile (lucky star), Horoscope, Tour de cartes (card trick) and Cartomancienne (cartomancer).

Astrological references on the DIOR runways

The House’s creative director Maria Grazia Chiuri continued this legacy by embroidering zodiac signs and celestial motifs on cashmere sweaters, bags and more.

Making of ASTRO DIOR 

Victoire de Castellane also celebrates this fascination with astrology now with the launch of these beautiful 12 necklaces that are available in stores now.

LoL, Sandra

ASTRO DIOR – Aries

ASTRO DIOR – Taurus

ASTRO DIOR – Gemini

ASTRO DIOR – Cancer

ASTRO DIOR – Leo

ASTRO DIOR – Viergo

ASTRO DIOR – Libra

ASTRO DIOR – Scorpio

ASTRO DIOR – Sagittarius

ASTRO DIOR – Capricorn

ASTRO DIOR – Aquarius

ASTRO DIOR – Pisces

 Photos: Courtesy of DIOR and © Sandra Bauknecht

A must for every fashion and ballet lover. This upcoming Saturday and Sunday will see the performance of Svetlana Zakharova’s program MODANSE of two one-act ballets: «Come Un Respiro» (Like Breath) and the premiere of «Gabrielle Chanel» at the Bolshoi Theatre on the famous historic stage in Moscow.

Inside the famous Bolshoi Theater.

The latter is the creative work of the congenial trio of Yuri Posokhov (choreography), Ilya Demutsky (composition) and Alexey Frandetti (director and writer) who created an homage to the life and work of Coco Chanel, her role as a revolutionist in the industry and her rise to become the queen of fashion. The main role of the late designer was created especially for the prima ballerina of the Bolshoi Theater and the Milan Scala, Svetlana Zakharova by the production company MuzArts and is tailor-made for her. Among the dancers are Denis Savin, Jacopo Tissi, Mikhail Lobukhin, Vyacheslav Lopatin, and Ana Turazashvili.

Hotel Metropol Moscow, seen from the Bolshoi Theater.

If you want to visit the ballet in Moscow, I recommend staying at the Metropol Hotel that is located on the opposite side of Teatralnaya Ploshchad (Theatre Square) from the main building of the Bolshoi Theatre. Following the traditions of the founder of the hotel, the patron of art Savva Mamontov, the Metropol Hotel Moscow supports another world premiere of the MODANSE series and hotel guests have the unique opportunity to buy tickets for the best seats.

Inside the newly renovated Metropol Hotel Moscow.

Reading the last autobiography of Coco Chanel, I got to know that she was a true philanthropist by providing significant financial support to the Diaghilev ballet. Like this, she truly showed her admiration for talent and art.

Coco Chanel with Ballets Russes dancer Serge Lifar.

The new ballet about Coco Chanel will be performed not only at the Bolshoi Theatre, but also in Paris, the city that cherishes the memory of the legendary Frenchwoman.

Two dancers of the Ballets Russes in costumes by Coco Chanel, from 1928. 

While you are reading this, I am on my way to London to see «The Mother», a powerful narrative dance production based on Hans Christian Andersen‘s dark tale, choreographed by Arthur Pita and starring Natalia Osipova, the famous Russian ballerina, who is currently performing as a principal dancer with the Royal Ballet in London. So excited…

LoL, Sandra

Photos: Courtesy of Hotel Metropol, Bolshoi, CHANEL and Sasha/V&A Images

First seen on the runway of the F/W 2019 ready-to-wear collection created by Karl Lagerfeld and Virginie Viard, CHANEL presents a new bag: the CHANEL 19. An important number for the House, an echo of famous creations, but also a birth year.

CHANEL 19 for 2019, a baptismal name that pays tribute to its elder, the 2.55 bag, created in February 1955 by Mademoiselle Chanel.

The CHANEL 19 bag bears the essence of the House and all of its codes. Available in three sizes, this rectangular flap bag is swathed with large diamond quilting on leather or on tweed. A metal chain interlaced with leather comes in a trio of finishes, its links passing successively from silver to aged gold to ruthenium. A signature of the CHANEL bags, it also features another code of recognition: the double C fastener, in an XL format on all the designs.

With an ultra-supple structure, the CHANEL 19 adopts a resolutely modern attitude: the length of its chain means it can be worn in two ways, straight or cross body. There’s also a large curb chain in gold metal to be held in the hand. A belt bag version allows the CHANEL 19 to be worn around the waist. A practicality in the pure spirit of CHANEL: natural, elegant and functional, appropriated according to one’s movements.

For its first season, the CHANEL 19 takes on the dominant colours of the F/W 2019 ready-to-wear: added to the leather in its timeless colours of black, beige and white are turquoise blue, green, deep red and dark pink, while the tweed comes in eight variations to match the silhouettes of the collection.

The CHANEL 19 bag weaves a veritable link between the past, the present and the future. Immediately identifiable but without ostentation, rich in detail with masculine/feminine accents, multiple ways of being worn, it is instantly seductive thanks to an allure that is both sophisticated and relaxed. The obvious way to carry it, combined with its elegant, practical and comfortable line make it a day-to-day companion. An ally to be taken everywhere, one that liberates movement, tout simplement.

Below you can enjoy a preview of the CHANEL 19 bags for Cruise 2020… so many beautiful options!

LoL, Sandra

Photos: © CHANEL – #handbagCHANEL19