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Within the walls of the Grand Palais, Karl Lagerfeld pays tribute to Le Corbusier with concrete embroideries and lace imprisoned inside silicone for ceremonial overcoats and dresses... Within the walls of the Grand Palais Karl Lagerfeld pays tribute to Le Corbusier who, at the beginning of the thirties, designed a flat with a terrace that overlooked the Champs Elysées where modernity was contrasted with some 18th Century elements. The designer’s idea was to rebuild this flat with big concrete walls inlaid with plain air chimneys and Baroque mirrors. 





This aesthetic is rediscovered in the new Chanel couture silhouette for next winter with concrete embroideries and lace imprisoned inside silicone for kind of ceremonial overcoats and dresses. The suits with lightly flared skirts allow small Bermuda shorts to escape. The look is modern, the outline slender, aided by the flat gladiator sandals. 





In the evening, the embroidery takes over the white dresses, whose technical prowess lies in the construction of these couture sheath dresses, which lack couture as the designer explains backstage. The bride in her dress and her long train, embroidered with golden thread and Arabesque motifs, provides a surprising end to the show with her lovely pregnant stomach. 





Interview 


Karl Lagerfeld :


You know there’s concrete in the embroideries; they are hard-surfaced… The whole thing is actually a journey from Le Corbusier to Versailles, because in the thirties he built a flat in the Champs Elysées at the corner of Lord Byron street, which doesn’t exist anymore, where he made things very austere, and on the terrace there was a chimney inlaid with an 18th Century Baroque mirror. So I took some Baroque elements from that, along with the total starkness. That’s why I made the dresses like moulds, I don’t know if you’ve seen them but the couture dresses aren’t couture, they are only a tiny bit. We made the bottoms, molded the dresses and then took the moulds off and then removed the bottom afterwards. 





Hubert Barrère:


Finally Karl said : its lace and plastic in 3D. At the beginning we had sheets of transparent plastic, which we embossed with gold thanks to lace application processes, then cut them up with a laser, and then placed them again on top of the fabrics, like organza, ready to be embroidered, and then finally beaded, sequined… 





Karl Lagerfeld: 


We call it the French-style cyclist. You know with big and short skirts, if there is any movement everything is in the air, whereas here it’s very chic and decent. The conservatives can make them longer, with longer skirts. This cyclist looks creates an easy attitude supported by flat heels which let them move around. 





There is a trick within the pregnant woman, an attitude that you can’t copy, but she was beautiful like that, like a Middle Ages engraving, like a Van Eyck painting. I loved that, additionally with the train that was very Louis XIV, and the whole thing was made in neoprene. 



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