The Fashion Manifesto exhibition at the V&A Museum, showcasing Gabrielle Chanel's legacy, has officially opened, living up to our expectations of being truly captivating. Spanning 10 distinct sections, the exhibit traces the development of Coco Chanel's iconic design aesthetic, commencing with the inauguration of her initial millinery boutique in Paris in 1910 and concluding with the presentation of her ultimate collection in 1971.
Featuring elaborate sets, intriguing revelations, and a breathtaking conclusion, this exhibition is poised to become the most sought-after event in town this autumn.
The V&A Museum has curated a collection of over 400 items from more than 25 global collections, incorporating over 170 newly acquired pieces.
Displayed below are items from Chanel's last collection, unveiled on January 26, 1971, a mere two weeks following her passing. Chanel has been preceding 60 years, reshaping the fashion norms for women.
Staying true to the distinctive Chanel aesthetic, the exhibition adopts a striking black-and-white theme. Commencing with a 1916 ivory silk shirt, the display pays homage to Chanel's roots as a milliner, exemplified by a modest black straw hat from 1917.
Chanel's initial foray into minimalism stood in stark defiance to the opulent and overly embellished fashions prevalent during her time.
Drawing inspiration from menswear and athletic attire, her designs represented a refreshing departure and quickly gained popularity among affluent clientele in Deauville and Biarritz locales where she inaugurated her initial boutiques.
In addition to her fondness for the French countryside, Chanel harbored a deep appreciation for British fabrics, initiating her sourcing of cloth from the UK in the early 1920s.
By 1927, she further solidified her connection by establishing a salon in London and directly engaging with British textile manufacturers to develop her bespoke fabrics.
Numerous jerseys, wools, and silks showcased in the exhibition resulted from collaborations with Broadhead and Graves of Huddersfield, while the renowned Chanel tweed was predominantly procured from Linton Tweeds in Cumbria.
Chanel played a pioneering role in popularising the color black as a symbol of elegance and modernity.
The exhibition is highlighting Chanel's exceptional skill in embroidery, featuring her ethereal flapper dresses crafted from feather-light lace and tulle in the 1920s, as well as daring slip dresses from the 1930s.
Among the intriguing artifacts showcased, a particularly captivating item is a handwritten letter from the Queen, dated 1955, expressing gratitude to a friend for gifting her a bottle of Chanel No. 5 on her birthday.
Additionally, the exhibition features products from Chanel's 1924 makeup collection and 1927 skincare range, demonstrating a timeless aesthetic that wouldn't appear out of context on a contemporary dressing table.
There is an entire room dedicated to Chanel's passion for jewellry, specifically pearls and glamorous costume pieces. She artfully combined these with the finest stones. Prior to Chanel's influence, wearing imitation jewels was unthinkable for socialites.
However, as was typical for Chanel, she swiftly turned it into a fashion essential. The exhibition showcases items inspired by various historical periods, botanical gems, zodiac signs, and, of course, Chanel's iconic pearls.
Additionally, homage is paid to the fashion house's renowned bags and shoes, with the 2.55 quilted bag and two-tone slingback shoes recognized as two of the most enduring accessories in the fashion world.
