Chanel haute couture fall-winter 21 and 22 fashion inspiration from timeless paintings

On July 6, 2021, Chanel introduced to the world the Chanel Haute Couture collection for Fall-Winter 2021/2022. The show was held at the Palais Galliera Fashion History Museum, located in the 16th arrondissement of Paris, with the participation of mysterious masked guests. The fashion film about the Fall-Winter 2021/2022 collection, filmed and edited by Sofia and Roman Coppola, is also broadcast live globally on the official website of the French fashion house.

Chanel haute couture fall-winter 21 and 22 fashion inspiration from timeless paintings

For fashionistas, it’s not surprising that Virginie chose Palais to introduce the latest flawless high-end tailoring designs. Because, Palais Galliera is the first permanent exhibition venue dedicated to the history of fashion and fashion in the light city of Paris. The museum’s archives are extremely large and rare with coats that once belonged to queen Marie Antoinette and costumes dating back to the 18th century.

The facade and interior of the museum. has also been carefully restored by Chanel in recent times to bring the place back to its past glories. In addition, a retrospective exhibition on the past contributions of Gabrielle ‘Coco’ Chanelto French fashion: Gabrielle Chanel: Fashion Manifesto is also on display here until July 18, 2021.

The Artistic Director of the French fashion house shared that the inspiration for her Haute Couture Autumn-Winter 2021/2022 collection comes from paintings by Berthe Morisot, Marie Laurencin, Édouard Manet and portraits of Lady Coco in white or black dresses of the 1880s. These works of art evoke in Virginie Viard the fashion scene of this year’s fall Chanel haute couture collection.

Virginie and Chanel have taken full advantage of the inspiration from the founder of the fashion house and timeless paintings. There are dresses that are creatively inspired by the Impressionist School. There are also dresses that are soft and flowing like a painting. And there is also the design of a white satin long dress with black bows adorned with Morisot’s painting.

Not only that, the Artistic Director of Chanel also successfully reinterpreted his inspiration with colorful tweed pieces and unique decorative details. “I always love to see the vibrant colors hidden in the grayness of winter days”, said Virginie, “For that reason, I really wanted to have a particularly colorful collection with details. carefully embroidered, something very warm.”

The show started with a long feather dress with an “oversized” tweed blazer and ended with Margaret Qualley in a wedding dress throwing a bouquet of flowers at the audience. Chanel’s Fall-Winter Haute Couture show this year brought surprises and delights to viewers. Viard’s designs in the collection evoke the optimism and gentle romanticism of the future of the post-pandemic world.

In the world of haute couture, “perfect beauty is always in the smallest details”. For that reason, Virginie did not hesitate to praise and support the exquisite works of the great Parisian embroiderers, including Lesage, Cécile Henri, Atelier Emmenuelle Vernoux, Atelier Montex and even the feathered designer. and Lemarié flowers.

These master craftsmen have skillfully emulated the bold Impressionist brushstrokes, Van Gogh’s impasto or Seurat’s delicate point art to create a blooming rose garden and delicate dahlia petals.

Lemairé also made the fans fall in love with a beautiful frilly cardigan made from feathers. This design took 2,000 hours of completely manual work by expert artisans. But the splendor of these fashion creations lies in the fact that they are “light as a feather” and the delicate embroidery on the flowing tulle and chiffon.

Not stopping there, Viard’s somewhat “odd” bohemian fashion spirit continues to be expressed in flowing dresses, tweed suits “woven” from tulle fabrics and full of ribbons. color, with a light pink velvet or pastel lace bra . And it is impossible not to mention the thin and light chiffon underwear, seductive lace tops and bloomers that Virginie cleverly and playfully called with the fine word “small mediocrity”.

Finally, the image of the bride Margaret Qualley in a gorgeous gown of soft pink satin brings back Chanel’s pre-World War II images. Refined and flawless Margaret, wearing a small black box hat with a veil with colorful sequins dotted elegantly across the catwalk. This hat design is a reimagining of the original worn by Lady Coco in a 1930s chalk portrait sketch that is hanging in the fashion house’s studio.

When models were standing in line backstage of the show, Virginie’s designs suddenly seemed to have a strong connection with Coco Chanel’s originals from the 1920s and 1930s, creating a “garden”. of exquisite handcrafted beauty.