Captivating with star power, Miu Miu presents the Lunar New Year campaign with brand ambassador Qiu Tian alongside actress and singer Amber Kuo. Honing in on their attitudes, the characters step into centre stage wearing the urban uniform of today.

Matching sets and crisp shirts come bathed in glorious light. A limited-edition sweatshirt welcomes the Year of the Rabbit, with the monochromatic design featuring the Miu Miu typeface and the lucky animal of the new year. Styled with loafers and pleated skirts, the looks are infused with a relaxed, preppy attitude.

As night draws in, twinkling lights from the distant city set the scene for carefree celebrations. Sparklers illuminate the Miu Wander and Matelasse bags, highlighting the freedom found in minimalist silhouettes for the evening. A moment of incandescence, crackling with charisma and magnetic energy, these are electrifying characters that shine bright for the days ahead.

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A tribute to escape and the magic of the mountains, the DiorAlps capsule collection designed by Maria Grazia Chiuri offers a ground-breaking new wardrobe, reinvented according to the season and inspiration.

Veritable fashion statements, these creations combine functionality, innovation and distinction for unique total looks on the slopes, sublimated by Dior emblems. Ski suits, down jackets, and matching pants – made from a special water-repellent fabric – are adorned with a motif that reinterprets Christian Dior’s lucky star in an entrancing golden hue, or with the House’s iconic houndstooth.

An exclusive line, a guarantee of striking, elegant and sporty winter style.

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“Going beyond the runway show, it’s the event as a whole that I took into account. We’ve been thinking about it for three years. I wanted it to happen gently, over several days of deep, respectful dialoguing,” tells Virginie Viard.

An abundance of plant motifs, lines and geometric shapes, a profusion of warm colours, sequins and sparkling pendants, alongside the subtlety of lace: with its delicate allure, the CHANEL – Dakar 2022/23 Métiers d’art collection takes shape with long, fitted coats, tight, flared trousers, seventies collars, platform shoes, sweatshirts that are oversized, colourful and embroidered with flowers, multicoloured tweeds and dresses shorter at the front than behind.

The beating heart of Virginie Viard’s imagination, a seventies spirit traverses the collection. The pop-soul-funk-disco-punk decade with its fascinating freedom, symbolised by an explosion of energy, is embodied by a jubilant woman. In Virginie Viard’s mind, evoking the 1970s is like asking everything that generates their pulse to bring rhythm into our lives today.

Codes dear to the House are being celebrated, even within the floral motifs. The embroidery work, with its clusters of camellias, intertwined pearls, forests of jewelled buttons and dazzling sequins, harmonises with that of the coated, pleated lace in black or white.

“Real dialogues, nourished over the long term, it is this human and warm dimension that motivates my work and that I try to re-transcribe. I put all my soul into it. These marvellous encounters from which artistic adventures like this one are born, that’s what drives me.”

Designed between the CHANEL Creation studio in Paris and le19M, between Paris and the porte d’Aubervilliers, where eleven of CHANEL’s Maisons d’art are located, the Métiers d’art collection pays tribute to fashion savoir-faire. Since 2002, it has been presented in different locations all over the world.

“The former Palais de Justice in Dakar, where not only the runway show but also a major part of the accompanying artistic programme are taking place, is one of the most beautiful venues we have ever presented a collection in. It was an obvious choice, and has been a source of inspiration as well.”

Virginie Viard wanted to extend the fleeting moment of beauty and dreams generated by the show for the CHANEL – Dakar 2022/23 Métiers d’art collection, in order to celebrate the artistic scene of this leading cultural capital and the disciplines that she is so fond of, starting with dance with the École des Sables and Dimitri Chamblas, the choreographer of the Slow Show that welcomes guests to the runway show. Dance and music were then intertwined. The dancers from the École des Sables, an international training and creation centre for traditional and contemporary African dances founded by Germaine Acogny, who have been involved in the project since its inception, met up with singer Obree Daman and his choir in Dakar’s former Palais de Justice. DBN Gogo provided the musical finale of the show.

Cinema is also at the heart of the project through the collaboration with the Montfermeil and Dakar Kourtrajmé schools who documented the genesis of the collection in Paris and the lead up to the event in Dakar.

Ever since she took over as Artistic Director in 2019, her modus operandi has remained the same: meeting, dreaming, and building together, with others.

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Unveiled for the first time at the Monte-Carlo Beach Hotel last May the collection made a stopover on the beach of the Faena Hotel, whose theatrical backdrop was designed by director Baz Luhrmann and costume designer Catherine Martin. Between the cabanas and two-tone striped parasols, the red deckchairs responded to the silhouettes of this collection combining the worlds of motor racing and tennis with those of the Monte Carlo ballet, the casino and the Riviera.

CHANEL ambassadors Pharrell Williams, Lily-Rose Depp, Marion Cotillard, Caroline de Maigret and Phoebe Tonkin attended the show along with actresses Ella Balinska and Arden Cho, actor Andrés Velencoso and musician Nile Rodgers.

The show was followed by a relaxed soirée, feet in the sand, in a setting punctuated by generous two-tone striped sofas where guests watched a performance by Nile Rodgers & CHIC. After performing their signature tunes, including Everybody Dance, I Want Your Love, Le Freak and Good Times, the band was joined on stage by Pharrell Williams for the track Get Lucky. The evening continued in the same space to the sounds of DJ Allie Teilz.

The day after the show, in the Faena Forum, some 190 students will attend a masterclass by Bruno Pavlovsky, President of CHANEL’s Fashion activities and President of CHANEL SAS, in the presence of Pharrell Williams and Caroline de Maigret. This discussion will be moderated by Tyler Brûlé, Chairman and Editor-in-Chief of Monocle magazine.

The CHANEL Cruise 2022/23 collection will be available in boutiques from November 8^th, 2022 in the United States and November 16^th worldwide.

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Street style fashion at the Chanel show, in Paris of course. Always the highest point of all the four fashion weeks that each season start from New York, then London and Milan and finally Paris. The Chanel fashion show is the most important, most coveted, most followed event. And the street style at the Chanel show is on the same level.

The vast majority of guests, insiders, journalists and so-called influencers show up dressed either in Chanel from head to toe or at least with an accessory from the famous fashion brand.

And so it was also at the Chanel fashion show for Summer 2023. On the catwalk we saw the looks for next summer (2023), but on the street we saw the autumn/winter 2022 2023 looks. And what better occasion to offer you a roundup of fashion looks for autumn/winter 2022 2023 if not through a selection of the (many) street style photos taken immediately before and immediately after the Chanel fashion show?

The video you find on this page above refers to the street style from Chanel and MiuMiu that showed shortly after always in Paris.

In association with ADVERSUS

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An invitation to a special house party, dress code: feisty. For her follow-up collaboration with Maison Kitsuné, designer Olympia Le-Tan has imagined a collection as suited to lounging around as living it up. Channeling moods of both restlessness and release, the collection comprises clothes that deliver more than wearability; they become expressions of a good time.

Naturally, at this house, the Kitsuné Fox plays host. Look no further than the season’s illustrations by New York  artist Aurel Schmidt, whose meticulous drawings are at  once amusing and twisted in nature. Here, she depicts our  Iconic Fox carousing with various surprise guests including a  cockroach and a rat.

These lively scenes appear on core jersey pieces and as an all-over print on pajama-style separates, sending the message that even household pests like to party. This comes through in the corresponding campaign, photographed by Alice Hawkins, that depicts a crew of friends finding ways to dress up and entertain themselves.

We asked Olympia Le-Tan to tell us something more about this new collection, which will be available online at maisonkitsune.com, at Maison Kitsuné boutiques as well as selected retailers on November 16th 2022.

Olympia Le-Tan Interview

How is the collaboration between you and Maison Kitsuné born? What makes this collaboration between designer Olympia Le-Tan and Maison Kitsuné a winning combination?

Olympia Le-Tan: It was born with friendship. Gildas, Masaya (founders of Maison Kitsuné) and I have been friends for a very long time. We’ve always mutually admired each other. We have similar interests and taste. My point of view is probably a little more naughty and girly which adds a new point of view and hopefully makes it a winning combination!

“Even household pests like to party” is the concept for the new collection which goes under the name of DAYTIME TAILS. This is a very original concept. Please tell us more about the idea behind this collection. Can you give us some insight in the ‘genesis’ of this new collection?

Olympia Le-Tan: The original theme of the collection was “couch to club”, it was designed at the time when we were all cozying up at home but desperate to go out again, so it then turned into a house party where you make yourself look glamorous in your cozy clothes. The pests got invited when we asked Aurel Schmidt to design a print for the collection. She added a fox to her latest pastel series where she is having fun with rats, roaches and other unusual friends…

How much, but most of all what of Olympia Le-Tan is to be found in DAYTIME TAILS?

Olympia Le-Tan: All of it is a mix of Olympia and Kitsuné! Pink is always my signature color. So, I guess there’s that!

What is the key item, and your personal favorite, in this new collection?

Olympia Le-Tan: I’m obsessed with Aurel’s picnic scene, so any item with that on it, I love. Especially the ashtray!

ADVERSUS

About the collection: Among the key groupings: a reworked Liberty motif in olive green applied to smocked shirtdresses and woven button[1]front tops; workwear coats in versatile Moleskine; and classic cardigans and jumpers – some in fisherman knit, others placed with jacquard graphics – in soft shades of blush, sea foam and powder blue. Often, the pieces are layered nonchalantly to create ensembles that convey cozy cool.

An additional statement print features collaged vintage black and white photos that pay homage to Harajuku youth culture from the 1970s. On a jacket trimmed with faux fur, the effect is bold and original. Accessories are a strong part of this collaboration, as unisex tote bags, trainers, small leather goods and assorted lifestyle trinkets make the ideal backdrop for the season’s prints. A selection of soft wool scarves and beanies can be added to any look, whether staying in or heading out. Never leave the couch; get up and dance; go straight from bed to a social occasion. These hybrid looks from Maison Kitsuné and designer Olympia Le-Tan bring an offbeat dimension to daily style.

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At once interpretations and celebrations of the Baguette in this 25th Anniversary year, the collections of Kim Jones and Silvia Venturini Fendi at Fendi, Marc Jacobs, Tiffany & Co, Sarah Jessica Parker and Porter pay tribute to the bag and the city in which its place in pop culture history was sealed – New York.

Taking inspiration from the object itself, a moment in time, as well as the spirit and geography of place, the Baguette is realised in a multiplicity of ways, both in terms of clothing and accessories, reflecting the maker as much as the iconic item, while never neglecting the enjoyment and sense of celebration for the wearer.

In this rough-cut romance between uptown and downtown, luxury and utility, excess and reality, the Baguette and the clothing and accessories it inspires are at once defined as a moment in history and part of a continuum with today.

For Fendi, the essential utility of the bag becomes a multi-pocketed motif, migrating throughout the collection. The unmistakable Baguette dimensions made mini and micro pockets, appearing on parkas to gaiters, roving all over the body, covering gloves, hats, skirts, sweaters and, of course, the bag itself in one of its new iterations. In contrast and cohesion, a sense of hyper-luxe and glossy glamour pervades the collection – the Baguette is not entirely utilitarian after all.

Those gaiters are made from silk satin, that parka shaved mink or glossy leather; a stratification of sequins and biased cut silks are often layered beneath, adding a shimmer of art deco allure.For Marc Jacobs, grand dimensions from another time are contrasted with the humble origins of today and in so doing banish notions of costume in his collection. A reflection of the glittering and gritty New York cityscape the casual is made formal in parachute train skirts, balloon-backed broken denim jackets, rustling cellophane opera capes and fluro recycled fur stoles and hats. The glitter of rhinestones, silver, and fluro yellow pervades, becoming an almost literal example of ‘local colour’; inspired by the glass frontages and workman’s safety vests to be found on the city’s streets.

Exaggerated, platformed and oversized, the take on the Baguette itself also shares something of these silhouettes’ grand gestures – elongated and gleaming, replete with multiple mini versions of itself attached.

‘Fendi at Tiffany’s’ might be the name for the meeting of these two grand edifices. Here, the storied New York institution takes on the Baguette and reimagines it in its most precious of forms, through its use of sterling silver, enamel, croco, white gold and diamonds. The T and the F complement each other in logo white gold fastenings, encrusted in diamonds while shining crocodile takes on the hue of Tiffany Blue – a colour which also irresistibly permeates the Fendi clothing palette. Perhaps most startling of all is an unprecedented Baguette made entirely of stippled sterling silver. Crafted by hand over a period of four months by the Tiffany artisans, the bag is engraved with lilies and roses – the national flower of Italy and New York State, respectively. It is also the first of Fendi’s ‘Hand in Hand’ partnerships to come from outside Italy and is a measure of Tiffany & Co’s superlative craftsmanship.

“It’s not a bag, it’s a Baguette,” declared Sarah Jessica Parker in Sex and the City and the pop apotheosis of the Baguette was complete. It is a statement that is also inscribed inside each of SJP’s capsule bags, or rather Baguettes. Designed alongside SVF (that’s Silvia Venturini Fendi), embroidered in degradé sequins with a palette of purple, wasabi, baby pink or soft blue, the bags feature four interchangeable buckles to suit the wearer’s mood.

In contrast, the supreme utility of the Japanese luggage brand Porter, gives the Baguette a decidedly masculine bent. Known for their hard-wearing bonded nylon – that nevertheless exudes beauty and luxury – together with precision Japanese craftsmanship, here lightness and functionality are key. The Porter collection is also a proponent of one of the Baguette’s latest incarnations: the Bum Baguette.

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For GCDS, fashion is above all an expression of joy, full of brilliance and sparkle. Fashion is also an expression of fantasy, evoking positive feelings and overflowing with laughter. In an era as dull and oppressive as the present, such unbridled expression is desperately needed. In fact, this expression is needed in any age.

The show took place in a former church whose basement was once used as a leper shelter. There are dark elements in it, but the whole is shrouded in a joyful atmosphere, full of colorful colors, glittering glamour, embellished with rhinestones; hourglass-shaped tights outline the graceful figure, and flowers are blooming everywhere. Hello Kitty prints and vampire frills were more than enough, interspersed with GCDS signature tailored blazers, comma bags and thigh boots, Clarks mules and loafers.

That’s the power of fashion: combining different elements into a complete fantasy feast.

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Fascinated by a Mark Shaw photograph of Christian Dior in his winter garden, Maria Grazia Chiuri created a delicate pattern depicting plants, flowers and birds. She thus plays homage, through the Dior autumn-winter 2022-2023 ready-to-wear collection, to bygone times woven into the materials and forms of today through the historical art of embroidery.

Created with a palette of over twenty different colors, this mesmerizing illustration is meticulously embroidered on the iconic Dior Book Tote, crafted in Italy by virtuoso artisans. They assemble the different parts of the bag by hand, giving life to an exceptional piece, a symbol of the Dior spirit, an ode to the art of detail.

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Just like the interlacing of different eras and spaces, the delicate lace and decorative embroidery favored by aristocrats are intertwined with the denim that represents the working class and has a sense of strength.

While retaining its virtues, blue and black denim transforms gracefully into dress shirts and coats, playful collars inadvertently spill over from coats with technical virtuosity; tiered skirts layered with chiffon and georgette; flowy twill coats and striking coats create dimensional silhouettes. The focus of making a windbreaker is dismantling

More than cut, the leggings are sewn with shredded denim; the padding softly wraps the body, the balloon-shaped skirt expands as if it is inflated, and the entanglement of different knitted fabrics and the sense of fun brought about by layering is also eye-catching.

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