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Margot Robbie is the newest face of Chanel’s J12 watch campaign

Filed by Lucire staff/April 27, 2021/23.38


Chanel Watches

Australian actress Margot Robbie is the new face of Chanel’s J12 watch campaign.
   Robbie, who has been associated with Chanel since March 2018, appeared earlier this week at the Oscars in a custom mermaid dress inspired by look 47 in Chanel’s autumn–winter 2019–20 haute couture collection. The dress took 205 hours of work. She also donned Chanel fine jewellery.
   Since 2018, she has helmed numerous Chanel campaigns and was photographed by Karl Lagerfeld for Coco Neige in July 2018. She also modelled for the Gabrielle Chanel Essence fragrance.
   As the new face of the J12 watch, Robbie joins, inter alia, Naomi Campbell, Claudia Schiffer, Ali McGraw, Vanessa Paradis, Lily-Rose Depp, and Keira Knightley. The new campaign features a total of nine ‘iconic women’, according to Chanel.
   Robbie said in a release, ‘It’s a dream to represent such a timeless and iconic brand. The history of the Chanel woman is so exciting and the brand has remained such a power feminine standard of style. I’m thrilled to be part of the Chanel family and continue their celebration of women and fashion.’
   After a career in television in Australia, including the soap Neighbours, Robbie came to worldwide attention in Martin Scorsese’s 2013 film, The Wolf of Wall Street, opposite Leonardo di Caprio. She also starred in, and produced, I, Tonya, playing Tonya Harding, for which she was nominated for an Academy Award. She also received a nomination for best supporting actress in another real-life-based drama, Bombshell. Her most recent appearance at the Oscars was for producing the Carey Mulligan starrer Promising Young Woman, which was nominated for five Academy Awards. It took home the best original screenplay gong, for first-time winner Emerald Fennell.

 


Alber Elbaz, former Lanvin artistic director, dead at 59

Filed by Lucire staff/April 25, 2021/10.51

Alber Elbaz
Above: Alber Elbaz as photographed by Lucire Paris editor Lola Saab.

Moroccan-born French designer Alber Elbaz has died at age 59, according to Richemont, which partnered with him on his latest venture, AZ Factory. It is believed Elbaz died from COVID-19, which he had had for three weeks, and had been in an induced coma.
   Elbaz was behind the rejuvenation of Lanvin and helmed the label’s artistic direction from 2001 to 2015.
   Richemont founder and chairman Johann Rupert said in a statement, ‘It was with shock and enormous sadness that I heard of Alber’s sudden passing. Alber had a richly deserved reputation as one of the industry’s brightest and most beloved figures. I was always taken by his intelligence, sensitivity, generosity and unbridled creativity. He was a man of exceptional warmth and talent, and his singular vision, sense of beauty and empathy leave an indelible impression.
   ‘It was a great privilege watching Alber in his last endeavour as he worked to realize his dream of “smart fashion that cares”. His inclusive vision of fashion made women feel beautiful and comfortable by blending traditional craftsmanship with technology—highly innovative projects which sought to redefine the industry.’
   Speaking with him in 2011, Elbaz displayed a sense of humour and a wonderful insight into his work at Lanvin.
   ‘For each woman there are ten different women … even in men there consists ten different men … and that is what this collection is about. It is not only about one person with one type of haircut with one look, but these are different occasions and different personalities. [The different designs represent] individuals and very personal [looks],’ he told Lucire’s Paris editor Lola Cristall.
   On the menswear side, Elbaz explained the approach he took: ‘When we began at first, the image was of a man who was very specifically created being emotional and poetic, and then we advanced [creating] man as more linear, a little more edgy and a little cooler … Then we wanted to go back to our roots: the essentials of where we started. Finally, we realized that it is not one outfit for one man but it is clothing for different men … here we wanted to show the different façades of a man.’
   Elbaz was born in Casablanca, and moved to Israel when he was 10. He studied fashion in Israel after his military service, and went to New York in 1985. There he worked for Geoffrey Beene, before moving to Paris and heading the design at Guy Laroche. Elbaz took over for Yves Saint Laurent at the appointment of Pierre Bergé at the end of the 1990s, until Gucci took over the label. He briefly worked for Krizia before joining Lanvin in 2001.
   Despite bringing the brand back from irrelevance, he fell out with Lanvin’s owner Wang Shaw-Lan and CEO Michele Hubain in 2015 and was ousted from the label, which caused him great distress. After some smaller projects, Elbaz launched AZ Factory with Richemont last January.

 


Lancôme and Muséum national d’histoire naturelle to preserve endangered plant species

Filed by Lucire staff/April 22, 2021/12.29


F.-G. Grandin/MNHN; top photo by Agnès Iatzoura/MNHN

Lancôme has partnered with the Muséum national d’histoire naturelle (National Museum of Natural History) with the aim of preserving endangered plant species, in a new conservation project.
   In a statement, its global brand president Françoise Lehmann said, ‘We are proud to participate in the conservation of endangered plant species like the Rose of France (Rosa gallica), as part of a global partnership with the National Museum of Natural History, whose international influence is recognized. The museum is a leading organization when it comes to research and expertise in the field of biodiversity protection and we are proud to take part in this important mission which meets France’s commitments for the Convention on Biological Diversity.
   ‘Protecting biodiversity is major component of Lancôme’s sustainability programme [dubbed Caring Together for a Happier Tomorrow]. The brand is already spearheading this mission in Grasse and Valensole, in the south of France, where we are growing roses and other plant species in an organic and sustainable way across 25 acres of land.’
   The project is being implemented by the museum’s Conservatoire botanique national du Bassin parisien (the CBNBP, or the National Botanical Conservatory of the Paris Basin), which sees the reintroduction of endangered plant species. Seeds had been collected and banked earlier in the CBNBP’s regions and will be planted in experimental gardens.
   Among those species is Rosa gallica, which ties in with Lancôme’s own symbol, as well as Arnica montana, campanula cervicaria, inula hirta, ranunculus hederaceus and viscaria vulgaris.

 


Van Cleef & Arpels releases six new Perlée designs in Middle East ahead of global launch

Filed by Lucire staff/April 3, 2021/10.41


Van Cleef & Arpels has released six Perlée creations, exclusively for the Middle East first, coinciding with the holy season of Ramadan. They are available now in the region, two months ahead of their official global release.
   The new Perlée additions comprise three bracelets and three rings in gold hues. These feature the sweet clover motif, which are Van Cleef & Arpels’ symbol of luck. They also feature a border of gold beads, characteristic of other jewellery in the Perlée range.
   As the jewellery can be mixed and matched, they can suit a wearer’s every mood.
   The Perlée collection débuted in 2008 and draws on the maison’s history. Accented stones and motifs appeared in the 1920s, and it was also during this decade that Van Cleef & Arpels used the round bead setting in the collection. Golden beads became more ample in 1948. From 1963, in the Twist collection, golden beads appeared in more permutations, accentuating ornamental stones such as lapis lazuli and carnelian, and pearls. Bordering golden beads also appeared in Van Cleef & Arpels’ Alhambra collection in 1968. The designs have a direct link to these earlier collections.






 


Chanel promotes 11.12 bag in campaign shot by Inez & Vinoodh

Filed by Lucire staff/March 17, 2021/23.34



Inez & Vinoodh

Chanel has released its The Iconic campaign, starring its 11.12 bag, a reinterpretation of the 2.55 bag created by Gabrielle Chanel in February 1955. The newer bag is the work of Karl Lagerfeld in the 1980s, and features a double-C clasp and a metal chain interlaced with leather. The bag itself is made from lambskin leather as well as grained calfskin, taking materials from Chanel’s ready-to-wear collections. It continues in the Chanel range as a timeless accessory, and is modelled in the campaign by Anna Mouglalis, Rianne van Rompaey, Imaan Hammam, Louise de Chevigny and Zoé Adjani.
   The campaign was photographed by Inez & Vinoodh, who said in a release, ‘The Chanel 11.12 bag is part of your life forever. It is pure perfection in its proportion, simplicity and understated timeless luxury. The five women in this campaign are icons in their own right, they embody the multiple generations that Chanel has touched.’
   ‘The 11.12 bag is simply Chanel. It is one of the iconic pieces that tells the whole story, with all the elegance of the House. It looks like Chanel. I think its iconic status comes from the simplicity of the shape. If you ask someone to draw a bag, this is the one that comes to mind immediately thanks to its ultimate refinement,’ said Anna Mouglalis.
   ‘Everybody, since you’re a little girl, knows what the classic Chanel bag looks like. It has such a history. And especially in fashion, every season everything changes so fast, it’s nice to see these classic bags that have been around for so long. Reinterpreted every time, but with the same DNA,’ said Rianne van Rompaey. ‘It’s the most famous bag in the world. There is something of a fairy tale about it.’
   ‘I think every girl’s biggest dream is to own a Chanel bag. I was able to buy my first Chanel bag when I was 17, and I remember saving so much money for it, it was a mini version of the 11.12, black on black, and I still have it. This bag is just very chic, elegant, very feminine. When I wear it I feel effortless and powerful,’ added Imaan Hammam.
   ‘The 11.12 bag is the iconic bag par excellence. It is a truly timeless bag, which remains as modern and chic as ever. Fashion evolves but there is always this bag. It adds elegance to every silhouette. I like the idea that I will pass it on to my daughter if I am lucky enough to have one. My mother used to have one, and when I was younger I would steal it from her. At first to play with and then when I started going to parties, it was a source of pride,’ said Louise de Chevigny.
   ‘This luxury, this savoir-faire, it has always fascinated and touched me,’ said Zoé Adjani. ‘The 11.12 represents Chanel: the double C, the hidden pocket, the small pockets inside. And it suits me: I love to compartmentalize. With all the history it carries inside, it represents more than a bag: it’s like carrying Paris on your shoulder.’

 


Pierre Cardin, visionary designer, dies aged 98

Filed by Lucire staff/December 29, 2020/13.43


Claude Iverné/Creative Commons 3·0

Top: Pierre Cardin’s official portrait in 1992. Above: The cover of the book accompanying Pierre Cardin’s 60th anniversary retrospectives in 2010.

Legendary fashion designer Pierre Cardin died December 29 aged 98, according to the Académie des Beaux-Arts, of which he had been a member since 1992.
   Born Pietro Costante Cardin in Treviso, Italy to a working-class family, he would find himself in France in his youth. His parents, along with their 11 children, headed to St Etienne, France, and he became a tailor’s apprentice as a teenager.
   Although fascinated by architecture, he stuck with the clothing trade, joining Paquin, the couturier, in Paris in 1944. At Paquin, he helped cut and sew the costumes and designed masks for Jean Cocteau’s film La Belle et la Bête along with Christian Berard. He also apprenticed with Elsa Schiaparelli.
   Cocteau introduced him to Christian Dior, where he was appointed the head cutter for coats and suits for the designer’s New Look collection, which appeared in February 1947. Branching out on his own, with the new company located at 10 rue Richepanse, Cardin began designing masks and costumes for the theatre, and attracted a clientèle that included Rita Hayworth and Eva Perón. The commissions allowed him to take over the rest of the premises.
   In 1951, André Oliver joined the firm and became Cardin’s friend and right hand, and who created the haute couture with him.
   By 1953, Cardin, now at premises on the rue du Faubourg St-Honoré, showed his first proper collection, and in 1954, he eschewed the feminine form and tradition by showing the “bubble” dress.
   He became a member of the Chambre Syndicale but left soon after, finding its rules cumbersome, and in 1959 he showed his first prêt-à-porter show at Printemps. This expanded his brand’s reach, but at the time it was unprecedented: couturiers did not take themselves downmarket. The same year, Cardin travelled to Japan and recognized the potential of Asia.
   The following year, he showed his first men’s collection, Cylindre, and established a men’s prêt-à-porter and accessories’ department. Eventually, supporters included Gregory Peck and the Beatles, who wore Cardin’s collarless suits.
   Cardin understood the relationship between haute couture and prêt-à-porter all too well, arguably before many others: the former would grab the headlines and could act as a loss leader, while the latter was where money could be made thanks to economies of scale. By 1963 he had launched a women’s prêt-à-porter department. The same year he met actress Jeanne Moreau when he was commissioned to design the costumes for her film La baie des anges. The two had a relationship for some five years, which additionally helped Cardin’s profile. However, Cardin identified as gay and Oliver was, with the exception of this period, his partner in life as well as in his work, until Oliver’s death in 1993.
   In the ’60s, Cardin, along with André Courrèges and Paco Rabanne, created what were regarded as futuristic, space-age designs, inspired by the decade’s forays into the space by the Soviet Union and the US. He even developed a synthetic fabric, Cardine, which Lauren Bacall wore. Another celebrity connection was the menswear for Patrick Macnee’s John Steed in the British TV series The Avengers.
   In 1970, Cardin took over the Théâtre des Ambassadeurs, turning it into the Espace Pierre Cardin, which celebrated the arts. Cardin was impressed by Jean Paul Gaultier’s sketches and gave the 17-year-old his break into the industry. During this decade, his business expanded massively to some 100,000 outlets.
   From a business perspective, he was known for licensing his brand name to a wide variety of products, many outside fashion (inter alia, cigarettes, frying pans and soaps), and claimed to have been involved in their creation. With a mistrust of bankers and lawyers, Cardin did the licensing deals himself. In 1972, Cardin launched his first men’s fragrance, Pour Monsieur.
   While still firm in the grips of communism, Cardin showed in mainland China in the late 1970s, believing the country would eventually open up and become a major economic force. In 1981 he opened a boutique in Russia, then still part of the Soviet Union. Cardin was one of the designers who showed power suits in the 1980s.
   Cardin spent his wealth on properties as well as purchasing Maxim’s restaurant in 1981, which he also grew, with additional branches, and here, too, he licensed the name beyond its original scope. Also in 1981, he launched a women’s fragrance, Choc. In 1983, he was made a Knight of the Legion of Honour and decorated as Chevalier des Arts et des Lettres.
   In 1991, Cardin held a fashion show in Moskva’s Red Square to an live audience of 200,000, the first time such an event took place in Russia. He was promoted to Officer of the Legion of Honour and became an honorary UNESCO ambassador; in 1997 he was promoted again to Commander of the Legion of Honour. By 2001, no longer doing regular collections, he bought the Marquis de Sade’s castle, Lacoste, in Provence.
   He remained active well into his 90s, with even Lady Gaga donning Pierre Cardin at one stage. He continued to mentor younger designers and visit his Paris office.

 


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