So it was, when the collection switched from short and sweet daywear to long and slim evening. Proceeding “not too obviously” might actually be Viard’s motto. It was a bit ’60s Mod maybe, but not too obviously. That was followed by varieties of abbreviated, gilded Chanel tweeds: a short trapeze coat, de-frumpified box-pleated skirts cut as minis, and then a tiny sugar-pink coat-dress with a stand-away collar. By this time, they were walking around Veilhan’s menagerie of mobile animal sculptures-a horse, lion, deer, buffalo, bird, fish, dog, and elephant-which had been trundled out to join the camel. They flipped along in their short, flared suits with the odd top hat and bow tie, shod in little white cross-laced boots with Chanel’s signature black-tipped toes. Hey presto! A playful idea that got Viard into the swing of a theme-a parade of something between cute Chanel drum majorettes, or perhaps, circus ringmasters. Virginie Viard held a tete-a-tete with the artist Xavier Veilhan to come up with a set idea for the spring couture show in said apartment and-you can picture it-they must’ve looked around and said to each other “let’s do the animals!” What swiftly comes up are photos of Chanel at home in the Rue Cambon, with a model of a camel on a side-table, large bronzes of deer clustered around her fireplace, and lion effigies here, there, and everywhere. What could a conceptual camel be doing at Chanel couture? This puzzle-the first sight to greet the audience as they walked in-can easily be solved by googling Coco Chanel’s apartment.
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