Chanel 2021/22 Cruise渡假系列大秀預告搶先曝光，將於5/5凌晨12點正式登場

Chanel 2021/22 Cruise渡假系列大秀預告搶先曝光，將於5/5凌晨12點正式登場

夏日前夕，最讓人期待的香奈兒2021/22 Cruise渡假系列時裝大秀即將登場。

by Wa Chang - 03 MAY 2021 更新

Photo/Chanel

萬眾矚目的香奈兒2021/22 Cruise渡假系列大秀，將會在巴黎時間5月4日晚上6點，也就是台灣時間5月5日凌晨12點正式登場，香奈兒將此次大秀選於法國南部普羅旺斯地區雷伯城(Les Baux-de-Provence)的光影採石場(Carrières de Lumières)進行發表。

香奈兒品牌藝術總監Virginie Viard，擷取著名詩人尚˙考克曾寫給嘉柏麗˙香奈兒女士的信件手稿當作此次大秀的靈感，也藉此證明兩人真摯的友誼，在大秀影片曝光前，Chanel搶先釋出一支以意象圖片拼貼手法製成的大秀預告影片。

透過影片，可以從中體會到詩人尚˙考克與嘉柏麗˙香奈兒女士，兩個自由的靈魂及各自的異想世界，透過對動物寓言的痴迷而結合，從電影《奧菲的遺言》中出現的黑色馬頭人，到嘉柏麗·香奈兒女士收藏於巴黎康朋街31號寓所內的動物雕像…讓我們從中找尋香奈兒2021/22 Cruise渡假系列大秀的蛛絲馬跡。

延伸閱讀：

Chanel Resort 2022 Collection

For her graphic Chanel cruise collection Virginie Viard sought inspiration in Provence, that beautiful region in the south of France lapped by the marshy Camargue and crowned by the hills of Les Baux-de-Provence, considered one of the area’s loveliest villages. Specifically, she set the collection in the Carrières de Lumières (Quarries of Light) in Les Baux, a series of chalky, cave-like rooms—the spaces left behind after centuries of excavations.

These vast chambers have recently been used to present resonant sound and light shows evoking the world of various artists including Vincent van Gogh, who found inspiration in the local landscape. (Charlotte Casiraghi, hosting a literary salon during the presentation, has spent much of her life in nearby Saint Remy).

In 1960, however, Jean Cocteau—the sui generis artist, poet, and filmmaker who cast a long shadow across the worlds of culture and style in 20th century France—used these quarries as a setting for his hauntingly beautiful movie The Testament of Orpheus. It’s “so modern, so fresh, and so strong,” says Viard, who watched the movie, which features Cocteau himself, with cameos from his lover Jean Marais, Pablo Picasso, and Yul Brynner, among others, as she began working on the season. “The movie really inspired the collection,” Viard added. “When I came to see the quarry again—I’d been years ago, before it was used for the son et lumiere—I saw that the clothes had to be strong, and black and white. Otherwise we could be in Petra or Egypt. I love ruffles for the couture,” she continued, “but I thought it would not look modern here.”

Gabrielle “Coco” Chanel counted Jean Cocteau amongst her intimates; he produced some evocative portraits of her and illustrations of her clothes, and in turn she costumed productions of his plays Antigone, Orpheus, and Oedipus Rex. The friends would often hang out in Chanel’s daytime apartment on the Rue Cambon, and Viard was excited to read the letters that Cocteau sent to Chanel. The apartment has recently emerged from an extensive restoration, and Viard sought inspiration in the very personal bestiary that Chanel assembled there: The lions for that famous Leo, camels, doves of peace, fauns, and the female sphinxes that all appear in objects and sculptures in the apartment have been reimagined as graphic prints on denim with a hand-painted look, and as lucky charms used as embroidery in the new collection.

Chanel Cruise Sends Its Love with ‘Something Quite Rock’

When it comes to fashion, famed film director Jean Cocteau did not mince words. “Art produces ugly things which frequently become more beautiful with time,” he once said. “Fashion, on the other hand, produces beautiful things which always become ugly with time.” Within the cyclical nature of fashion, Chanel has always managed to curtail the ugliness and uphold timelessness. Whether it’s because of house codes locked in classic silhouettes or a penchant for not only creating but redefining the LBD over decades, Chanel does not, in fact, become ugly with time. Its cruise 2021 collection, presented today, upholds this truth.

“Echoing the extreme modernity of Cocteau’s film, I wanted something quite rock,” creative director Virginie Viard stated in the show notes. “A look that recalls as much the modernity of the sixties as that of punk.”

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Images accompanying the collection were shot at Gabrielle Chanel’s recently restored apartment at 31 rue Cambon, by Inez & Vinoodh. In this same space, Chanel hosted friends in high art places, Cocteau included. Even the location of the video is thoughtful, shot at the Carrières de Lumières in Les Baux-de-Provence, where Cocteau filmed Testament of Orpheus. “Because the simplicity, the precision and the poetry of Cocteau’s film made me want to create a very clean collection, with a very distinct two-tone, made up of bright white and deep black.”

Courtesy of Chanel / Inez & Vinoodh

Courtesy of Chanel / Inez & Vinoodh

The show’s references are conspicuous, yet seamless. The decades Viard alludes to intertwine together, an obtuse sprinkling of hot topics. Pink tweed is paired with fishnets, reminiscent of both the roaring ’20s and the rockabilly ’80s, macramé capes are edged in bohemian fringe, and the pristine white boots that stomped down the makeshift runway look as if they belong to Madonna. Or Twiggy.

Amongst the standout accessories, a lambskin garter bag is belted to a model’s thigh, in what will surely be a street style staple (once street style exists again, that is). On the beauty front, and to the chagrin of Gen Z, hair was swept into deep side parts and heavy liner rimmed their eyes, the latter of which Joan Jett would be proud of.

A handwritten note (and a kiss) from Margot Robbie. Courtesy of Chanel

Speaking of friends, the atelier has many. In lieu of a celebrity front row, brand ambassadors watched from afar and sent in personal love notes. Margot Robbie wrote, “Dreaming of the days when I can jump on a plane to be with my Chanel family.”

Justine Carreon Justine Carreon is the market editor at ELLE.com covering fashion, Dutch ovens, and fashion again.

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