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The oversized animal art absorbs Chanel and Armani Sporty lozenges

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PARIS (AP) Art returned to the glittering world of Chanel fashion on Tuesday with giant animal statues taking over the runway center like a surreal zoo for the Paris Fashion Week show.

PARIS (AP) Art returned to the glittering world of Chanel fashion on Tuesday with giant animal statues taking over the runway center like a surreal zoo for the Paris Fashion Week show.

Designer Virginie Viard collaborated with contemporary artist Xavier Veilhan, who used the Coco Chanel founder’s apartment as a creative springboard for her carnival-themed spring decor.

And yet, as much as the animals—made of wood, paper, and uncoated cardboard—appeared simple, lively, and monochromatic, Chanel’s collection contrasted dramatically and resplendently with color and luster in an extraordinarily vibrant display.

Here are some highlights:

CHANEL Animal Parade

Vilehan said he wanted to “discuss the ever-changing relationship with animals in our communities.”

In the front row, which included Marion Cotillard, Tilda Swinton, G-Dragon and Vanessa Paradis, watch a huge camel, a bull, a fish, a horse, and a cellphone-like lion blast down this bizarre runway, under a ceiling light with grand geometry. tablets.

A bird with a large beak swooped down and countless rickety wooden poles seemed to give birth to a mannequin in a top hat and a white slit jacket with a fringed skirt. There were guests looking for their camera – and someone called it “Trojan chick”.

The rest of the group seemed less directly connected to the animal theme — and that level of subtlety wasn’t a bad thing. There were strong equestrian styles, building on ideas from Villard’s previous seasons. Here, the riding jacket was a central theme, layered in shiny silk tweed over miniskirts and youth skirts.

There were plenty of fun quirks in the long white gloves, black and white laces, and gold or black narrow boots with white laces resembling a boxer—that sometimes felt disconnected from the overall aesthetic.

The details of this exaggerated, sometimes poetic design, shimmering through brocade, metallic foil, sequins and shimmering silk, speak for themselves.

A loose, amorphous dress shimmering like a silver fish with thousands of sequins embroidered and a bodice of black, white and gold silk. Elsewhere, a thick, woven bell-skirt was created using billowing layers of white silk like an underwater shell, or perhaps a cloud of thin layers.

Armani Circus

At the grand stone entrance to the Garde Républicaine, Giorgio Armani’s belated departure forces guests – some scantily clad – to wait in the bitter cold of the evening. Once the green light was given, Michelle Yeoh was among the first to walk the Lantern Romance trail, which makes her “so happy to be here.” Then came Carla Bruni-Sarkozy, praising the “feminist power of haute couture”.

Juliette Binoche dodged questions about Coco Chanel’s role in the upcoming Apple TV series ‘The New Look’, saying: “It’s not tonight, it’s time to support Giorgio – it’s a big support for the artists.”

Once the media circus had subsided, guests were installed on a clown stage lined with emulsions in intricate colours, before joyful décor.

Silk bolero jackets opened the ’80s runway, with diamond motifs popping up everywhere, first as a three-dimensional relief of the jacket and, more dramatically, on a curved hem.

Very delicate embroideries of all colors under the sun fall in shades sometimes in the A and column near the body.

But so many styles and hues have come together in this somewhat all-encompassing ensemble, with oversized, bejeweled floral embellishments, bedazzled sequined sweaters, and geometric-patterned turtlenecks making it hard to pin down the entire show.

Sometimes the clothes were very structured, like the paneled dress that hung awkwardly at the skirt, but there was so much dazzle and splendor that many of the guests did not notice.

Alexis Mabel color

A mix of fashion design mixed with drama.

French designer Alexis Mabille paired ancient Greek tunics with brightly colored sarees for his South Asian outfit. She produced a soft spring collection with longer silhouettes and flowing scarves that used tens of yards of ground silk.

Bejeweled flowers adorn this free-flowing hairstyle, as do drapery drapes.

Green dress with a charming hourglass silhouette. It reshaped the model’s body—open at the sides, wider at the top—and was held in place by a Grecian strap. The porcelain blue dress, flowing unstructured from a round neck to the floor, was distinguished by its sheer simplicity.

However, not everything was a success, such as the blue hoodie dress with slightly asymmetrical lapels and a misplaced belt that confused the eye.

Stéphane Rolland shines

A movie was shown on a giant screen for Stéphane Rolland’s guests before the show, and it included a tribute to the 1959 film “Black Orpheus,” which was shot in Brazil. The film, which won an Oscar for Best Foreign Language Film, is set against the backdrop of a favela during the famous Carnival period.

But Roland seemed more interested in carnivals than in poverty in any favela—and the costume design itself was edgy, slick with a ballroom kick, and, as always, very statuesque.

The black and white dresses were adorned with a giant piece of fabric, one like a floor-scraping train or like a huge choker where the model moved to an open back. The other look, and one of the best of the bunch, was a backless 3D mini dress with a bias-cut skirt. Roll out in a huge, hip wave.

Rolland’s play on dramatic bodywork reveals the purity of often-immaculate lengths of fabric, with V-necklines, slit skirts and cropped shoulders.

Thomas Adamson, Associated Press

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