To resurrect the spirit of Paris in the 1960s in the new collection of Chanel Métiers d'Art, the unpredictable Karl Lagerfeld went to? them.

Two thousand skilled workers who prepared the collection, sixWeeks of decorators who erected Paris in the 60s in? I have 800 guests on display, 62 models on the podium, a couple of fainting hairdressers behind the scenes - these are the dry figures of Chanel Métiers d'Art Paris in Rome. And behind them is the epic scope and beauty of the show, which we are already accustomed to receiving from Karl Lagerfeld. He clearly likes the place in the director's chair - as in the present (the premiere of a new episode of his series about Coco Chanel with Kristen Stewart in the main role was held in the show), and in the metaphorical. To the cinematographic conditionality of the viewers, there are usually no complaints, and therefore few of the guests seriously thought about why it was necessary to go to the legendary Roman film studio Cinecitt? (The one that Elizabeth Taylor's passionate quarrels and иchard Barton remembered on the set of Cleopatra and Federico Fellini's improvisation while working on Amarcord) and build Parisian scenery there.

Although the question »Why, Carl?»Lagerfeld had an answer: according to the designer, he was thinking about the most important years for the formation of the Great Mademoiselle, which she spent in? Ime, and about the French actresses Jeanne Moreau, Anouk Eme and? Omni Schneider, who glittered in the Italian films of the 60's in the costumes of Chanel. But all this association is not the first order, and the Italian motives in the collection were considered by few. But absolutely everyone noticed hundreds of shades of the noblest gray, which do not have the slightest relation to the vanilla pornoromanu, but perfectly reproduce the palette of Parisian streets. At least in his most romantic version, to which Lagerfeld explicitly appeals. But only the gray tweed designer, of course, is not limited. He lovingly plays with patent leather, then bringing it to the fore in capes and pencil skirts, then hiding it in thousands of satin and petal-like petals, like butterflies clothed with cashmere dresses. He wears his »babette» in gold pleated viscose and black translucent muslin. Drowns them in waves of silk scarfs of the color of a withered tea rose and lures them with lace.

In general, »bogus» and at Lagerfeld gamesabound: traditional tweed suits on closer inspection turn out dresses, shirts tightly fused with jackets and vintage movie camera in hand model suddenly turns into an evening bag. With all slozhnosochinennogo collection and a lot of pure French sensual ardor. And when it comes easier, for a long time we have not seen for a Woman Chanel so overtly sexual. In this incarnation it has triumphantly young Brigitte Bardot (absolute Sex symbol 60s) was in her way, with the volume of borrowed hairstyle from behind and careless curls and makeup with broad black arrows. Adjusted for how to interpret them young and modern Parisian, of course.

In itself, the concept involves the Métiers d'Artsome theatricality and redundancy - parts, accessories, layers. After all, these collections were conceived as a hymn embroiderers, lace makers, tanners, jewelers and other workers of the invisible front, who tirelessly work in eleven studio House of Chanel. But Karl Lagerfeld has once again succeeded in You think, how to execute it with the explicit participation of street choir. And it gives hope that the rumors about the imminent demise of the high art of tailoring somewhat exaggerated.