New Exhibition Devoted to Chanel’s Life and Work Opens in London

Members of staff looks at the different dresses and outfits displayed during the press photocall for the exhibition "Gabrielle Chanel, Fashion Manifesto" at the V&A museum in London, on September 12, 2023. (AFP)
Members of staff looks at the different dresses and outfits displayed during the press photocall for the exhibition "Gabrielle Chanel, Fashion Manifesto" at the V&A museum in London, on September 12, 2023. (AFP)
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New Exhibition Devoted to Chanel’s Life and Work Opens in London

Members of staff looks at the different dresses and outfits displayed during the press photocall for the exhibition "Gabrielle Chanel, Fashion Manifesto" at the V&A museum in London, on September 12, 2023. (AFP)
Members of staff looks at the different dresses and outfits displayed during the press photocall for the exhibition "Gabrielle Chanel, Fashion Manifesto" at the V&A museum in London, on September 12, 2023. (AFP)

The little black dress. The tweed dress suit. The perfume simply known as No. 5.

Those instantly-recognizable fashion classics, and many more lesser-known designs by Gabrielle “Coco” Chanel, are celebrated in a major new exhibition at London's V&A Museum dedicated to the life and work of the famed French designer.

Curators have brought together nearly 200 outfits seen together for the first time, charting Chanel's long career from the opening of her millinery boutique in Paris in 1910 to her final collection in 1971.

"Of course there are many elements that we are all familiar about Gabrielle Chanel and what she contributed to fashion,” said Connie Karol Burks, one of the curators. “But in this exhibition we expand out from that, and we really look in detail at how her approach to design influenced the way we all dress.”

The exhibition begins with one of the earliest surviving Chanel garments — a simple cream blouse from 1916 made from silk jersey, a humble fabric previously used for underwear and stockings.

Chanel was the first to show the fabric's appeal for high fashion, curators said, and the blouse sets the tone for the relaxed elegance and defiance of the more rigid fashions of the day that the designer is known for.

“What's really striking about it is just how modern it looks today,” more than a century later, Burks said.

Visitors at the exhibition are treated to galleries filled with Chanel's creations, including her famous little black dresses — an enduring hit that, in 1926, American Vogue magazine likened to the popular Ford car and predicted that “all the world will wear.”

The show's highlight is a mirrored room filled from floor to ceiling with a stunning display of Chanel's signature suits, from monochrome black and cream to more cheerful shades of rose, lilac and red.

There are also on display outfits created for Hollywood stars Lauren Bacall and Marlene Dietrich, and sections devoted to Chanel's coveted perfumes and handbags. The finale is a showstopping recreation of the mirrored staircase in Chanel's couture salon in Paris, populated with mannequins donning a collection of the designer's opulent evening gowns.

Tristram Hunt, the V&A's director, said the museum hoped that the new display will build on and follow the successes of previous blockbuster fashion exhibitions featuring Christian Dior and Alexander McQueen.

“Gabrielle Chanel. Fashion Manifesto” opens on Saturday, and runs until Feb. 25.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”