Chanel opening gala of the Paris Opera

by Alain Chivilò


Dancing means and implies different meanings. Dedication, sacrifice, exercise, practice, predisposition, talent, application, professionalism, improvement, challenge, a sort of freedom, joys and disappointments. A set of characterizing elements that fall under the much loved term of passion.

Chanel and dance is not marketing but, it’s a tradition started from last century from 1913 by Gabrielle Chanel. An endless connection between two different artistic expressions. Today 2013, 110 years later, Chanel reinforced its support to the ballet becoming Major Patron of the Paris Opera: a support to all of the Opera’s artistic projects.

On 21st September 2023, it was scheduled the Opening gala of the Paris Opera’s 2023/24 dance season, featuring Nicolas Paul’s ballet Singularités plurielles. Trained at the Opéra national de Paris Ballet School before joining the Corps de Ballet in 1996, the choreographer conceived this original work based on the Quintet for winds and piano by composer André Caplet.

Chanel created the costumes for the ballet Singularités Plurielles, as also Major Patron of the Paris Opera – dance season’s opening gala – since 2018. 

Going into detail as highlighted, the three principal dancers who performed it, Amandine Albisson, Valentine Colasante and Hannah O’Neill, each wore two stage costumes designed specially by Virginie Viard, Artistic Director of Chanel’s Fashion collections.

Inspired by a silhouette from the Spring Summer 2023 ready to wear collection, three seemingly identical bodysuits, embellished with a large black satin bow and worn under matching georgette shorties are distinguished by minute variations in pink that stand out against the black rectangle of the stage and the red velvet armchairs of the set.

Their vibrant delicacy dialogues with the elegant sobriety of satin-lapelled trouser suits in three different tweeds in subtle shades of black and white, adapted from a look in the Fall Winter 2019/20 Haute Couture collection. Playing on the idea of masculine-feminine so dear to Nicolas Paul and to the House, the costumes are a key part of the choreography. Shod in satin pointe shoes, the dancers change on stage, from bodysuit to trouser suit. The gold jewelled buttons on the suits reflect the light, while the natural suppleness of the tweed reveals the grace of every movement.


©AC, NDSL, AM, Alain Chivilo

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