Nicole Kidman and her daughters attend Chanel show in Paris fresh after her divorce from Keith Urban
Just days after filing for divorce from Keith Urban, Nicole Kidman has stepped out with daughters Sunday Rose, 17, and Faith Margaret, 14.
Just days after filing for divorce from Keith Urban, Nicole Kidman has stepped out with daughters Sunday Rose, 17, and Faith Margaret, 14, at the Chanel spring fashion show during Paris Fashion Week.
The Australian actor sported a new hair style and wore an oversized white button-up shirt and pants. Sunday Rose and Faith Margaret dressed in coordinating denim looks. Kidman’s niece, journalist Lucia Hawley, 27, also joined her aunt and cousins. Kidman starred in a 2004 ad for Chanel No 5 perfume directed by Baz Luhrmann.
Matthieu Blazy made his much-anticipated debut for Chanel, presenting his first collection under a galaxy of planets and stars at the Grand Palais in Paris.
Attended by Chanel’s newly appointed house ambassador, Kidman, and her daughters – along with a slew of bold-faced names including Pedro Pascal, Tilda Swinton, Margot Robbie, Kendall Jenner, Baz Luhrmann and The Bear’s Ayo Edebiri, another freshly minted face of the brand – the collection marked a new era.
Blazy was given a standing ovation.
Two Australian First Nations models, Tatyana Perry and Latahlia Hickling, also walked the runway. Both models, alongside Em Stenberg, graced the cover of Vogue Australia’s August issue.
The collection nodded to Chanel founder Gabrielle “Coco” Chanel in many ways. Mostly in her feeling that clothes should give women freedom. It’s one shared by Blazy, and conversely the inherent constraints of the brand – its “codes” of tweed, little black jackets, two-tone shoes instead gave Blazy much liberty. Chanel after-all loved to be contrary, from her use of simple materials to her love of costume jewellery.
Here, too, Blazy played with the paradoxical – traditions of menswear such as shirting (worn by Kidman to the show) were made with new proportions and sometimes they balanced skirts that were a froth of texture and volume. Jackets were cropped and trousers low slung.
Chanel’s “borrowed from the boys” slouchiness was writ large in other ways such as fluid polo shirts and the tweeds were lighter and fresher and easier to wear. Coco Chanel’s eternal modernity – giving women what they want before they knew they wanted it – is an affinity shared by Blazy. In a large collection – 78 looks – there was much to desire.
He also proved – with pieces that included pieces with embroidered camellia flowers and hand painted prints, 2.55 bags meant to look like they’d be dragged out to a party, knotted and draped silk dresses and lean and sharp silhouettes – that Chanel can stretch to many tastes. There was insouciance and spirit. It was truly chic.
Chanel president of fashion Bruno Pavlovsky told The Australian in an interview earlier this year that the right designer would also interpret the codes of Chanel in a way that was right for now.
“The good news with the codes is that you don’t choose them. You cannot decide to stop them … they’re part of the brand and you cannot decide ‘I will give up’, or if you decide that it could be a very big mistake. You see what I mean? You have to be clever enough to take these codes as a way to communicate the modernity of the brand,” he said.
Chanel, which took six months to appoint Blazy and one year for him to ready his collection – was not in a rush to find the right person.
Blazy’s first collection proves he was worth the wait.
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