. Chanel’s sophistication and sensuality emanate just as strongly from the liberated silhouettes of a 95-year-old pleated ivory silk dress and the parade of intricate black silk gowns from the 1930s, which would impress on any red carpet today.Gabrielle Chanel. Fashion Manifesto
A printed 1939 evening dress with pink ostrich feathers, on loan from Sydney’s Museum of Applied Arts and Sciences.Miren Arzalluz, the director of the Palais Galliera, wanted to keep the spotlight fixed on Chanel’s design skills and lasting influence on how women dress, shifting attention away from her notorious biography.
There was also Chanel’s controversial behaviour as the lover of Nazi officer Hans Günther von Dincklage during World War II, which may be why it took so long for Paris to honour her with a retrospective following her death in 1971. In the glossy black spaces of the NGV, trimmed with bright white lighting that gives the impression of being transported inside a Chanel commercial, we can imagine the designer rather than ourselves. She’s there again, in each of the tweed suits stretching the length of a room dedicated to their cultural impact and in a collection of jewellery that one can imagine layered up to her elbows or pinned in original places on silk gowns.
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