Karl Lagerfeld · Métiers d’Art 2010/11

Karl Lagerfeld · Métiers d’Art 2010/11

A sculptural standing collar, tonal Lesage embroidery and six jewelled CC buttons distinguish this black tweed coat. Its richness emerges through close attention: the relief of the weave, the embroidered contours and the intricate silver-toned settings.

Karl Lagerfeld · Métiers d’Art 2010/11

A sculptural standing collar, tonal Lesage embroidery and six jewelled CC buttons distinguish this black tweed coat. Its richness emerges through close attention: the relief of the weave, the embroidered contours and the intricate silver-toned settings.

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

Karl Lagerfeld · Métiers d’Art 2010/11

A sculptural standing collar, tonal Lesage embroidery and six jewelled CC buttons distinguish this black tweed coat. Its richness emerges through close attention: the relief of the weave, the embroidered contours and the intricate silver-toned settings.

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

Karl Lagerfeld · Métiers d’Art 2010/11

A sculptural standing collar, tonal Lesage embroidery and six jewelled CC buttons distinguish this black tweed coat. Its richness emerges through close attention: the relief of the weave, the embroidered contours and the intricate silver-toned settings.

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

As Seen On

Princess Caroline of Monaco · Cameron Diaz

Karl Lagerfeld · Métiers d’Art 2010/11

A sculptural standing collar, tonal Lesage embroidery and six jewelled CC buttons distinguish this black tweed coat. Its richness emerges through close attention: the relief of the weave, the embroidered contours and the intricate silver-toned settings.

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

As Seen On

Princess Caroline of Monaco · Cameron Diaz

Styled with pale gloves by Princess Caroline of Monaco and worn open over crisp white separates by Cameron Diaz, the coat moves between ceremonial poise and modern ease

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

As Seen On

Princess Caroline of Monaco · Cameron Diaz

For Paris / Byzance, Karl Lagerfeld brought the ornament of Byzantine mosaics and the figure of Empress Theodora into Chanel’s vocabulary of tweed, tailoring and costume jewellery. Presented in December 2010, the collection also carried a distinctly modern, sometimes 1960s-inflected ease through its abbreviated lengths and uncomplicated shapes.

This coat expresses that combination through concentrated ornament. Six square jewelled buttons occupy the upper chest, while embroidered borders trace the silhouette. The black ground gives their relief and reflection particular prominence: the collection’s fascination with precious-looking surfaces finds expression within a composed, wearable form

As Seen On

Princess Caroline of Monaco · Cameron Diaz

Styled with pale gloves by Princess Caroline of Monaco and worn open over crisp white separates by Cameron Diaz, the coat moves between ceremonial poise and modern ease

The black tweed reveals a small, irregular grid of raised yarns and recessed crossings. Colour remains restrained, allowing the weave itself to provide depth.

The black tweed reveals a small, irregular grid of raised yarns and recessed crossings. Colour remains restrained, allowing the weave itself to provide depth.

• Textured black: the pronounced woven structure creates subtle variations of shadow across the body.

• A predominantly matte surface: light settles softly on the tweed, sharpening the brilliance of the jewelled buttons.

• Tonal reflection: the embroidered edging introduces a quieter gleam at the collar, sleeve ends and hem.

The black tweed reveals a small, irregular grid of raised yarns and recessed crossings. Colour remains restrained, allowing the weave itself to provide depth.

• Textured black: the pronounced woven structure creates subtle variations of shadow across the body.

• A predominantly matte surface: light settles softly on the tweed, sharpening the brilliance of the jewelled buttons.

• Tonal reflection: the embroidered edging introduces a quieter gleam at the collar, sleeve ends and hem.

The material rewards proximity. What reads as a clear black silhouette from a distance becomes a study in texture, relief and carefully placed light.

Atelier Lesage’s embroidery follows the coat’s boundaries, giving definition to the high neckline, abbreviated sleeves and gently curved hem. Its raised, rhythmic surface brings an intimate scale of workmanship to the broader structure of the tweed.

Atelier Lesage’s embroidery follows the coat’s boundaries, giving definition to the high neckline, abbreviated sleeves and gently curved hem. Its raised, rhythmic surface brings an intimate scale of workmanship to the broader structure of the tweed.

Embroidery used to articulate an outline was part of Paris–Byzance’s documented vocabulary. Here, the tonal treatment makes that approach especially subtle: the eye follows the embroidered edge before returning to the jewelled chest.

Atelier Lesage’s embroidery follows the coat’s boundaries, giving definition to the high neckline, abbreviated sleeves and gently curved hem. Its raised, rhythmic surface brings an intimate scale of workmanship to the broader structure of the tweed.

Embroidery used to articulate an outline was part of Paris–Byzance’s documented vocabulary. Here, the tonal treatment makes that approach especially subtle: the eye follows the embroidered edge before returning to the jewelled chest.

• An embroidered frame: the collar trim draws attention to the face, with corresponding finishes at the wrists and hem.

• Six ornamental squares: silver-toned buttons combine finely dotted borders, dense decorative relief and dark faceted accents.

• The house signature within the jewel: an interlocking CC occupies each button’s centre, enclosed by successive layers of ornament.

Atelier Lesage’s embroidery follows the coat’s boundaries, giving definition to the high neckline, abbreviated sleeves and gently curved hem. Its raised, rhythmic surface brings an intimate scale of workmanship to the broader structure of the tweed.

Embroidery used to articulate an outline was part of Paris–Byzance’s documented vocabulary. Here, the tonal treatment makes that approach especially subtle: the eye follows the embroidered edge before returning to the jewelled chest.

• An embroidered frame: the collar trim draws attention to the face, with corresponding finishes at the wrists and hem.

• Six ornamental squares: silver-toned buttons combine finely dotted borders, dense decorative relief and dark faceted accents.

• The house signature within the jewel: an interlocking CC occupies each button’s centre, enclosed by successive layers of ornament.

The repeated squares give the upper front its rhythm. Their precise geometry contrasts with the softer embroidered edging, bringing two distinct kinds of detail into the same composition.

The standing collar establishes the coat’s shape. Broad around the neck and gently lowered at the front, it creates a sculptural opening above softly rounded shoulders.

The standing collar establishes the coat’s shape. Broad around the neck and gently lowered at the front, it creates a sculptural opening above softly rounded shoulders.

• Three-quarter sleeves leave the wrists visible and give the embroidered ends a clear place in the silhouette.

• A gently widening body falls towards the hem without pronounced waist suppression.

• Paired button columns concentrate attention vertically through the chest.

• Long front construction lines extend that direction into the quieter expanse of tweed below.

The standing collar establishes the coat’s shape. Broad around the neck and gently lowered at the front, it creates a sculptural opening above softly rounded shoulders.

• Three-quarter sleeves leave the wrists visible and give the embroidered ends a clear place in the silhouette.

• A gently widening body falls towards the hem without pronounced waist suppression.

• Paired button columns concentrate attention vertically through the chest.

• Long front construction lines extend that direction into the quieter expanse of tweed below.

Closed, the coat presents a continuous architectural line. Worn open, the collar relaxes outward and the front reveals the clothes beneath—a versatility illustrated by its two distinctive wearing references.

• House: CHANEL

• Designer: Karl Lagerfeld

• Collection: Paris–Byzance, Métiers d’Art 2010/11 · Pre-Fall 2011

• Colour: Black with silver-toned hardware

• Textile: Textured tweed

• Embellishment: Atelier Lesage embroidery at the collar rim, sleeve ends and hem

• Buttons: Six square jewelled buttons with central interlocking CC motifs

• Silhouette: High standing collar, three-quarter sleeves and a gently flared body