PRS_010 Rabih Kayrouz 2019-2020 | Karl Lagerfeld 2010-2011
right:
Paris-Byzance, Chanel-Karl Lagerfeld, 2010-2011
Here, Karl Lagerfeld imagines a journey to Byzantium, the ancient capital of the Eastern Roman Empire. Drawing his inspiration from the precious objects produced by this civil- isation, he was taken with the shimmering colours of the pieces, frequently adorned with gemstones, beads or glass set in a bezel or metal rim. The tradition of bezel-set stones was continued in the Carolingian art of the 8th, 9th and later centuries; the sheath of the sword used in the coronations of the kings of France features a wide plate with this type of decoration, dating to the 13th century.
left:
Pull en assemblage de galons, Rabih Kayrouz, 2019-2020
Refusing Orientalist fashion and the opulence and ostentation it conjures, Rabih Kayrouz has long voiced his aversion to mood boards, which gather the inspirations behind a design. Instead, his work encompasses a subtle blend of references incorporated over time. This design fully illustrates Kayrouz's mastery of the interplay between materials and cuts, and the contrasting effects of woollen and transparent fabrics, while evoking a pared-down sensuousness frequently seen in medieval fashions.
Louvre Couture, Objets d'art, objets de mode
Musée du Louvre Paris
PRS_010 Rabih Kayrouz 2019-2020 | Karl Lagerfeld 2010-2011
right:
Paris-Byzance, Chanel-Karl Lagerfeld, 2010-2011
Here, Karl Lagerfeld imagines a journey to Byzantium, the ancient capital of the Eastern Roman Empire. Drawing his inspiration from the precious objects produced by this civil- isation, he was taken with the shimmering colours of the pieces, frequently adorned with gemstones, beads or glass set in a bezel or metal rim. The tradition of bezel-set stones was continued in the Carolingian art of the 8th, 9th and later centuries; the sheath of the sword used in the coronations of the kings of France features a wide plate with this type of decoration, dating to the 13th century.
left:
Pull en assemblage de galons, Rabih Kayrouz, 2019-2020
Refusing Orientalist fashion and the opulence and ostentation it conjures, Rabih Kayrouz has long voiced his aversion to mood boards, which gather the inspirations behind a design. Instead, his work encompasses a subtle blend of references incorporated over time. This design fully illustrates Kayrouz's mastery of the interplay between materials and cuts, and the contrasting effects of woollen and transparent fabrics, while evoking a pared-down sensuousness frequently seen in medieval fashions.
Louvre Couture, Objets d'art, objets de mode
Musée du Louvre Paris