NEW YORK — The Metropolitan Museum of Art’s Costume Institute confirmed Thursday that it will stage its major spring exhibition on the history of Chanel, incorporating looks from the late designer and contemporary pieces by Karl Lagerfeld....
NEW YORK — The Metropolitan Museum of Art’s Costume Institute confirmed Thursday that it will stage its major spring exhibition on the history of Chanel, incorporating looks from the late designer and contemporary pieces by Karl Lagerfeld.
The show is planned to open on May 5 in the Met’s special exhibition galleries. The museum had originally planned its Chanel retrospective in 2000, but canceled the show after a dispute with Lagerfeld over the inclusion of contemporary designers. Harold Koda, curator of the Costume Institute, reopened talks with Chanel earlier this year and came to an agreement on the subject matter, as well as ensuring sponsorship from the fashion company.
While the Met did not reveal Chanel’s financial commitment to the show on Thursday, the company had planned to put forward as much as $1 million for it four years ago.
Olivier Saillard, a curator from the Musée de la Mode et du Textile in Paris, will act as a creative consultant on the exhibit. The Costume Institute also lined up its co-chairs for its annual benefit to inaugurate the show on May 2, naming Anna Wintour, editor in chief of Vogue; Lagerfeld, who is artistic director of Chanel, and actress Nicole Kidman, who also hosted in 2003 for the “Goddess” exhibit and who is the new face of Chanel No.5. Caroline of Monaco, the Princess of Hanover, will serve as honorary chair.
“There never has been a show that looks at Chanel in the way we’re thinking of,” said Koda, who had not yet joined the Met at the time of the earlier exhibition planning. “We are going to take a view that fashion people will understand, but maybe not art people.
“When you look at all the Chanel dresses through history, what we’ve been finding was that she was always acknowledging the body — her clothes were uncorseted and her customers were relatively thinner and involved in athletic lifestyles. As a result, the clothes are really contemporary looking, and to understand the importance of what you are looking at, you really need to compare it to Karl and what he does as a contemporary, exaggerated interpretation of Chanel.”Gabrielle “Coco” Chanel, who died in 1971, was one of the most intriguing designers of the 20th century, often credited with heralding the modern woman’s wardrobe by liberating women from corsets. Koda has in mind a more in-depth exploration of both her work and her biography, telling the story in a style that has become a hallmark at the Costume Institute, beginning with the present and working backward.
“What we’re hoping is that the present makes the past legible,” he said.
Condé Nast, which, like WWD, is owned by Advance Publications, is also a sponsor of the exhibit, planned to run through Aug. 7.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast