At the Paris – 31 rue Cambon 2019/20 Métiers d’art show, a veritable celebration of the codes so dear to the founder of the House, most of the silhouettes were accessorised with two-tone pumps in gold leather with a black toe cap and a little bow, made by the House of Massaro.
Going from old to new and from unprecedented to patrimonial. Anachronism becomes an attitude. Testing one’s agility with respect to a wardrobe. This collection is like a sartorial tune-up in which personality takes precedence: everyone can pen their own history.
“A very simple, very pure momentum. Romanticism but without any flourishes. Emotions but without any frills,” explains Virginie Viard. “Movement, air… For the runway show, no frame. I don’t like framing.”
This collection stems from the desire to focus on the humanity of individuals to depict and exalt their feelings and emotions, despite age, gender, race and disposition. The codes of classicism and uniform dressing are the instruments Pierpaolo Piccioli chose to promote equality.
We are still in the ’70s, at least according to Hedi Slimane, who designed another collection (Fall Winter 2020 2021) for Celine where all the most characteristic items from the amazing ’70s are again in the spotlight.
At 31 rue Cambon, the legendary mirrored staircase leads to the Haute Couture salons on the first floor and to the Creation studio on the third floor. Between the two is an extraordinary place, untouched by time: Gabrielle Chanel’s apartment…