CHANEL X SAATCHI

Regardless of how much you care about fashion, there’s a 99% chance you’re familiar with Coco Chanel. You’re also probably familiar with Chanel as the behemoth brand that dominates Bond Street with its tweed two-pieces and interlocking C’s. A French fashion house steeped in history and largely credited for establishing the chic Parisian uniform that we have all come to know and love, Chanel is beginning to leave its roots and look firmly toward the future. At least this is the impression you get as you enter the Saatchi Gallery, guided by legions of guards present to limit the crowds. As you enter the gallery you are treated to a recreation of Coco’s own garden divided into three sections, all of which are beautifully decorated with vast swathes of flora including, Chanel’s own favourite, the camellia. This stunning yet quaint entrance soon makes way for modernity as visitors are reminded that the exhibition comes fully-furnished with free Wifi and an accompanying app, which promises to act as a faithful companion there to uncover new nuggets of information as you peruse the installations. 

Mademoiselle Privé exhibition poster

ALAIA

France is renowned for its fashion history. Some of the world’s greatest couturiers were born and raised here, couturiers such as Yves Saint Laurent, Coco Chanel and finally, the focus of this article, Azzedine Alaia. Whilst his two contemporaries were busy breaking social boundaries with their androgynous visions, Alaia instead created clothing that was designed to hug and emphasise a woman’s body. I was recently engaged by Alaia for the first time whilst reading Grace Coddington’s memoirs – her enthusiasm for some of his early collections led her to make the decision to dress exclusively in Alaia, a huge accolade. So upon hearing news that the first exhibition to be held at the recently-renovated Paris Galliera would be a retrospective of the man himself, I wasted no time in heading to the museum to see what the fuss was about. Needless to say, I wasn’t disappointed.

Fall/Winter 2003, ph by Paolo Roversi