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Chanel Celebrates Five Years Of The BAAND Together Dance Festival At Lincoln Center
Chanel Celebrates Five Years Of The BAAND Together Dance Festival At Lincoln Center

Forbes

time29-07-2025

  • Entertainment
  • Forbes

Chanel Celebrates Five Years Of The BAAND Together Dance Festival At Lincoln Center

The New York City Ballet for BAAND Together Dance Festival Courtesy of CHANEL The Rite of Spring is one of Igor Stravinsky's greatest legacies, yet that nearly almost wasn't the case. Composed for Sergei Diaghilev's Ballets Russes and choreographed by Vaslav Nijinsky, when the show debuted in 1913, it was instantly met with controversy. But when Coco Chanel met Diaghilev, she became his friend and costumer designer, and eventually his patron when he was unable to fund the revival of The Rite of Spring , allowing the show to be revived at the end of 1920. Coco Chanel immersed herself in the world of dance beyond providing financial support, taking dance lessons with Isadora Duncan. Her passion for dance lives on through her maison. Today marks the opening night of the BAAND Together Dance Festival, in which five iconic dance companies come together for the fifth year, a famously auspicious number for Chanel. BAAND Together Dance Festival began in 2021 when the New York City arts scene was starting to return to the stage after being ravaged by the pandemic. The festival marked a new form of collaboration to help spark the return of live performances. The American Ballet Theatre for BAAND Together Dance Festival Courtesy of CHANEL 'Five is a very important number for Chanel, but also it represents five years of coming out of this extraordinary time for this city, out of a pandemic, and what was not just a silver lining, but this development of a real relationship that happened in a very dark time for the city,' says Shanta Thake, Ehrenkranz Chief Artistic Officer of Lincoln Center. 'These five incredible, illustrious companies coming together and making something bigger than the sum of its parts is one of the most inspirational events.' The festival is an ongoing reminder of how powerful it can be when people join forces for good. 'These five dance companies in the middle of the pandemic were leaning on each other in new ways, as many of us were, and thinking about how as running companies of dancers when we're not allowed to be together and near each other, sharing ideas practices and how to move through this time, and they formed this camaraderie,' Thake says. 'Jon Nakagawa, who was on the Lincoln Center team, found out about this and reached out and asked, 'could you imagine actually performing together beyond this conversation?' They took that and ran with it. This idea of coming together in this way was important for all of the leaders of these companies to show what was possible when they came together, and to be able to celebrate together.' Running through August 2, each dance company will perform a program curated collaboratively by the artistic directors as part of Lincoln Center's Summer for the City. The Dance Theatre of Harlem will perform 'Nyman String Quartet No. 2' by Robert Garland, New York City Ballet will perform 'After the Rain (Pas de Deux)' by Christopher Wheeldon, Alvin Ailey American Dance Theater will perform 'Many Angels' by Lar Lubovitch, American Ballet Theatre will perform 'Midnight Pas de Deux' by Susan Jaffe and Ballet Hispánico will perform 'House of Mad'moiselle' by Annabelle Lopez Ochoa. BAAND Together Dance Festival has grown and evolved since its inaugural performance, which was held outdoors to accommodate restrictions during the pandemic. 'We're very fortunate to be in the space of our friends at New York City Ballet, at the David H. Koch Theater,' Thake says. 'We moved it indoors because we want to make sure we never have any weather cancelations when we have these companies together. The other thing is the deepening of the relationship with Chanel, who's been supporting this from the very beginning, moving with us—no pun intended—towards all of these choices of how and where we meet the audience. It's become such a fan favorite, staff favorite and dancer favorite, to see all of these companies together because of the depth of these relationships over five years.' Alvin Ailey American Dance Theater for BAAND Together Dance Festival Courtesy of CHANEL For the first time, this season the audience can get the behind-the-scenes scoop on the on-stage collaboration between all five dance companies during a free panel discussion on July 29 at 5PM in the David Rubenstein Atrium featuring the artistic leaders of all five companies, moderated by Thake. 'To actually hear artistic directors in conversation with one another, you see this camaraderie come out in a different kind of way,' Thake says. 'What I love about these artistic directors is that they're also New Yorkers. You also get to see them as people who are so invested in this city, and because dance happens at such a young age, and so many of them grew up here, learning here at these various schools and forums, this idea of what it means to be in New York and dance is going to come through in this panel.' To reach audiences and dance lovers in new ways, free dance workshops will be offered for all ages and abilities. 'Every day of the festival, a different company brings their expertise in education and programming to the David Geffen Hall lobby, where anyone can participate in these dance workshops,' Thake says. 'Another through line of these companies that they all have beautiful, big education programs. It's a large part of what they do. It's not an aside. To be able to make sure that we have room to showcase both of them, and for audience members to be able to come and watch the performance at night, but also be able to dance yourself and join us on the dance floor after the performance, [illustrates] this idea that dance really does belong to all of us. Freedom of movement and the power of being able to use your body in space is one that that we feel is necessary to activate differently in this time.' The performers of the BAAND Together Dance Festival Courtesy of CHANEL A cornerstone of the BAAND Together Dance Festival is making dance more accessible to all, so to honor that effort tickets are available on a choose-what-you-pay basis (the suggested ticket price is $35). 'It's amazing to have audiences walk into that theater and have this experience in one of the best theaters in the world, and choose what you pay ticketing and free tickets, and see these great companies together,' Thake says. 'A lot of people don't think culture belongs to them. It's part of our role as a civic cultural institution to make sure that everyone in the city and beyond knows that art is a public good. We have this opportunity in the summers to open up all of these different culturally rich bridges to anyone that comes through, and to be able to see this height of human expression. We want to make sure everyone has that ability. We also do that through the addition of ASL to performances and performances where we have audio description, making sure that the Lincoln Center is a place for everyone.' Ballet Hispánico for BAAND Together Dance Festival Courtesy of CHANEL As the official partner of the festival, Chanel makes all of this possible. 'Chanel is such an incredibly generous partner for this festival over five years,' Thake says. 'They continue to deepen their relationship to dance and the performing arts, and you see it also in the history of this house, and Gabrielle Chanel's commitment to dance and freedom of movement, and this storytelling around it. When you think of Chanel, you think of this femininity, but also strength. There's a strength associated with the house and you cannot look at the athleticism of the dancers and not think the same thing with these beautiful movements, but also the unbelievable strength of these athletes onstage. Lincoln Center is a long-standing idea and ballet and Chanel is as well, so when you come together around the shared idea of something that's as old as time itself, of people coming together, expressing themselves through movement, it's always a beautiful process.' The Dance Theatre of Harlem for BAAND Together Dance Festival Courtesy of CHANEL Thanks to the BAAND Together Dance Festival, both Chanel and Lincoln Center achieve their shared goal of making dance accessible to all. 'The most rewarding for me is watching this audience come in and maybe they have seen Alvin Ailey before, but they didn't even know that Ballet Hispanico existed, or they are part of the school of Ballet Hispanico, but have never seen ballet with the American Ballet Theater,' Thake says. 'Watching people understand what's available to them in this city, in this world, that there are all of these different forms of expression that are here in this incredible city, I just love that. I love watching somebody come in with a tutu and then stopping by the Alvin Ailey desk on the way out to find out more. The hope is exactly that, that the more people learn about these different forums and companies, the more they continue to expand their own curiosity about humanity at large.'

Paris couture: Stéphane Rolland and Ashi Studio
Paris couture: Stéphane Rolland and Ashi Studio

Fashion Network

time09-07-2025

  • Entertainment
  • Fashion Network

Paris couture: Stéphane Rolland and Ashi Studio

There is a certain idea of Paris, of a city devoted to art, excellence and the elegant liberation of women, which was the concept that underpinned the latest epic couture show by Stéphane Rolland this season in the French capital. See catwalk Entitled "Argument", the collection was imagined as an encounter between ballerina Ida Rubinstein, and composer Maurice Ravel. The result was a Hispano/Arabic meeting of cubic shapes, baroque detailing and sensual style. Rolland makes couture with great gusto, never more so than this season, where his show was presented inside the Théâtre des Champs Elysées, which despite its name is located on the capital's most important luxury thoroughfare Avenue Montaigne. The avenue of Dior 's headquarters, Marlene Dietrich's apartment, and the gilded Hôtel Plaza Athenée. And this theater is where Stravinsky first performed "The Rite of Spring", and where Karl Lagerfeld debuted the first Fendi 'haute fourure' show. Rolland made the Art Deco space his own, inviting conductor Zahia Ziouani and the Divertimento Orchestre to come and play Ravel's synchronic Bolero. Though the muse of the collection was Rubinstein. Born into a wealthy family, Ida escaped Russia to become a star dancer in Les Ballet Russes, and an icon of the Belle Epoque. Though in 1938, she had to flee her beloved Paris for London due to anti-Semitism and the looming war. Ida's legendary sensuality and dramatic poses were seen in some majestic clothes. From the cubic blazers paired with pencil skirts or jersey dresses finished with huge regal collars, to Stéphane's signature one-shoulder cocktails with single enormous leg-o'-mutton sleeves to excellent tuxedo jumpsuits with tulip sleeves. Everything trimmed and finished with crystal brooches, buckles, piping and mini skullcaps. See catwalk For evening, Rolland went gang busters with a series of sinful red crepe robes and gowns in sculptural shapes worthy of Brâncuşi. Rolland remains an Indie designer devoid of a deep pocketed investor, and his skill in using limited resources to great powerful images is also part of a rich Paris artistic tradition. Like today, when he projected huge images of musical metronomes on the stage curtains in a Man Ray-worthy opening. Later, as the models began to mass on the famous stage, he projected 1930s black-and-white videos of sewing machines and spindles as the backdrop. The mood rising to a crescendo with Ravel's "Boléro", as statuesque models appeared in long gazar skirts topped by bolero jackets embroidered in gold and crystal. Leading to a huge roar of applause when Rolland took his bow, justly recognized with a standing ovation for respecting the duty of artists in Paris. And in fashion terms, continuing a tradition that has lasted since the Sun King. Ashi Studio: Subtle salon style Couturiers can come from all over the planet, but once they settle in Paris, the mysteries of the city almost inevitably feed into their designs, as happened in a rarefied and refined couture show from Ashi Studio on a steamy Tuesday evening. See catwalk This season, the Saudi-born Ashi's inspiration came from the flea markets of Paris, though the real source was an evocative invocation of Paris couture. At times the show felt a little like a fashion tutorial, where Ashi was determined to show his atelier was capable of matching any of the great Paris houses. A tutorial he passed with honors, from the remarkable silver sequinned gown over which flew small, embroidered birds, to the two playful monkey clambering over a leather corset. There were echoes of other couturiers – Galliano, McQueen and Gaultier - but all very much on Ashi's term. Nothing was copied in this show. Neither the superb white bustier dress with long train, nor the magnificent Restoration moll ecru lace dress with tulip sleeves See catwalk Ashi's beige silk coat sprouting micro feathers was also excellent. And full marks to stunning cut-out corset dress with a train decorated with curling stays. Staged with subtlety inside a triangular shaped Haussmann-era building in the 16th arrondissement in classic salon style, with an ecru carpet and matching ottomans for seats, it felt like a quintessential Paris moment. Which was surprising, as Ashi has built his reputation on evoking the raw desert and gritty topography of his native land. But also great news, since this show marked Ashi out as a couturier determined not to rest on his laurels, but experiment and broaden his creative spectrum.

Paris couture: Stéphane Rolland and Ashi Studio
Paris couture: Stéphane Rolland and Ashi Studio

Fashion Network

time09-07-2025

  • Entertainment
  • Fashion Network

Paris couture: Stéphane Rolland and Ashi Studio

There is a certain idea of Paris, of a city devoted to art, excellence and the elegant liberation of women, which was the concept that underpinned the latest epic couture show by Stéphane Rolland this season in the French capital. See catwalk Entitled "Argument", the collection was imagined as an encounter between ballerina Ida Rubinstein, and composer Maurice Ravel. The result was a Hispano/Arabic meeting of cubic shapes, baroque detailing and sensual style. Rolland makes couture with great gusto, never more so than this season, where his show was presented inside the Théâtre des Champs Elysées, which despite its name is located on the capital's most important luxury thoroughfare Avenue Montaigne. The avenue of Dior 's headquarters, Marlene Dietrich's apartment, and the gilded Hôtel Plaza Athenée. And this theater is where Stravinsky first performed "The Rite of Spring", and where Karl Lagerfeld debuted the first Fendi 'haute fourure' show. Rolland made the Art Deco space his own, inviting conductor Zahia Ziouani and the Divertimento Orchestre to come and play Ravel's synchronic Bolero. Though the muse of the collection was Rubinstein. Born into a wealthy family, Ida escaped Russia to become a star dancer in Les Ballet Russes, and an icon of the Belle Epoque. Though in 1938, she had to flee her beloved Paris for London due to anti-Semitism and the looming war. Ida's legendary sensuality and dramatic poses were seen in some majestic clothes. From the cubic blazers paired with pencil skirts or jersey dresses finished with huge regal collars, to Stéphane's signature one-shoulder cocktails with single enormous leg-o'-mutton sleeves to excellent tuxedo jumpsuits with tulip sleeves. Everything trimmed and finished with crystal brooches, buckles, piping and mini skullcaps. See catwalk For evening, Rolland went gang busters with a series of sinful red crepe robes and gowns in sculptural shapes worthy of Brâncuşi. Rolland remains an Indie designer devoid of a deep pocketed investor, and his skill in using limited resources to great powerful images is also part of a rich Paris artistic tradition. Like today, when he projected huge images of musical metronomes on the stage curtains in a Man Ray-worthy opening. Later, as the models began to mass on the famous stage, he projected 1930s black-and-white videos of sewing machines and spindles as the backdrop. The mood rising to a crescendo with Ravel's "Boléro", as statuesque models appeared in long gazar skirts topped by bolero jackets embroidered in gold and crystal. Leading to a huge roar of applause when Rolland took his bow, justly recognized with a standing ovation for respecting the duty of artists in Paris. And in fashion terms, continuing a tradition that has lasted since the Sun King. Ashi Studio: Subtle salon style Couturiers can come from all over the planet, but once they settle in Paris, the mysteries of the city almost inevitably feed into their designs, as happened in a rarefied and refined couture show from Ashi Studio on a steamy Tuesday evening. See catwalk This season, the Saudi-born Ashi's inspiration came from the flea markets of Paris, though the real source was an evocative invocation of Paris couture. At times the show felt a little like a fashion tutorial, where Ashi was determined to show his atelier was capable of matching any of the great Paris houses. A tutorial he passed with honors, from the remarkable silver sequinned gown over which flew small, embroidered birds, to the two playful monkey clambering over a leather corset. There were echoes of other couturiers – Galliano, McQueen and Gaultier - but all very much on Ashi's term. Nothing was copied in this show. Neither the superb white bustier dress with long train, nor the magnificent Restoration moll ecru lace dress with tulip sleeves See catwalk Ashi's beige silk coat sprouting micro feathers was also excellent. And full marks to stunning cut-out corset dress with a train decorated with curling stays. Staged with subtlety inside a triangular shaped Haussmann-era building in the 16th arrondissement in classic salon style, with an ecru carpet and matching ottomans for seats, it felt like a quintessential Paris moment. Which was surprising, as Ashi has built his reputation on evoking the raw desert and gritty topography of his native land. But also great news, since this show marked Ashi out as a couturier determined not to rest on his laurels, but experiment and broaden his creative spectrum.

Paris couture: Stéphane Rolland and Ashi Studio
Paris couture: Stéphane Rolland and Ashi Studio

Fashion Network

time09-07-2025

  • Entertainment
  • Fashion Network

Paris couture: Stéphane Rolland and Ashi Studio

There is a certain idea of Paris, of a city devoted to art, excellence and the elegant liberation of women, which was the concept that underpinned the latest epic couture show by Stéphane Rolland this season in the French capital. See catwalk Entitled "Argument", the collection was imagined as an encounter between ballerina Ida Rubinstein, and composer Maurice Ravel. The result was a Hispano/Arabic meeting of cubic shapes, baroque detailing and sensual style. Rolland makes couture with great gusto, never more so than this season, where his show was presented inside the Théâtre des Champs Elysées, which despite its name is located on the capital's most important luxury thoroughfare Avenue Montaigne. The avenue of Dior 's headquarters, Marlene Dietrich's apartment, and the gilded Hôtel Plaza Athenée. And this theater is where Stravinsky first performed "The Rite of Spring", and where Karl Lagerfeld debuted the first Fendi 'haute fourure' show. Rolland made the Art Deco space his own, inviting conductor Zahia Ziouani and the Divertimento Orchestre to come and play Ravel's synchronic Bolero. Though the muse of the collection was Rubinstein. Born into a wealthy family, Ida escaped Russia to become a star dancer in Les Ballet Russes, and an icon of the Belle Epoque. Though in 1938, she had to flee her beloved Paris for London due to anti-Semitism and the looming war. Ida's legendary sensuality and dramatic poses were seen in some majestic clothes. From the cubic blazers paired with pencil skirts or jersey dresses finished with huge regal collars, to Stéphane's signature one-shoulder cocktails with single enormous leg-o'-mutton sleeves to excellent tuxedo jumpsuits with tulip sleeves. Everything trimmed and finished with crystal brooches, buckles, piping and mini skullcaps. See catwalk For evening, Rolland went gang busters with a series of sinful red crepe robes and gowns in sculptural shapes worthy of Brâncuşi. Rolland remains an Indie designer devoid of a deep pocketed investor, and his skill in using limited resources to great powerful images is also part of a rich Paris artistic tradition. Like today, when he projected huge images of musical metronomes on the stage curtains in a Man Ray-worthy opening. Later, as the models began to mass on the famous stage, he projected 1930s black-and-white videos of sewing machines and spindles as the backdrop. The mood rising to a crescendo with Ravel's "Boléro", as statuesque models appeared in long gazar skirts topped by bolero jackets embroidered in gold and crystal. Leading to a huge roar of applause when Rolland took his bow, justly recognized with a standing ovation for respecting the duty of artists in Paris. And in fashion terms, continuing a tradition that has lasted since the Sun King. Ashi Studio: Subtle salon style Couturiers can come from all over the planet, but once they settle in Paris, the mysteries of the city almost inevitably feed into their designs, as happened in a rarefied and refined couture show from Ashi Studio on a steamy Tuesday evening. See catwalk This season, the Saudi-born Ashi's inspiration came from the flea markets of Paris, though the real source was an evocative invocation of Paris couture. At times the show felt a little like a fashion tutorial, where Ashi was determined to show his atelier was capable of matching any of the great Paris houses. A tutorial he passed with honors, from the remarkable silver sequinned gown over which flew small, embroidered birds, to the two playful monkey clambering over a leather corset. There were echoes of other couturiers – Galliano, McQueen and Gaultier - but all very much on Ashi's term. Nothing was copied in this show. Neither the superb white bustier dress with long train, nor the magnificent Restoration moll ecru lace dress with tulip sleeves See catwalk Ashi's beige silk coat sprouting micro feathers was also excellent. And full marks to stunning cut-out corset dress with a train decorated with curling stays. Staged with subtlety inside a triangular shaped Haussmann-era building in the 16th arrondissement in classic salon style, with an ecru carpet and matching ottomans for seats, it felt like a quintessential Paris moment. Which was surprising, as Ashi has built his reputation on evoking the raw desert and gritty topography of his native land. But also great news, since this show marked Ashi out as a couturier determined not to rest on his laurels, but experiment and broaden his creative spectrum.

Paris couture: Stéphane Rolland and Ashi Studio
Paris couture: Stéphane Rolland and Ashi Studio

Fashion Network

time08-07-2025

  • Entertainment
  • Fashion Network

Paris couture: Stéphane Rolland and Ashi Studio

There is a certain idea of Paris, of a city devoted to art, excellence and the elegant liberation of women, which was the concept that underpinned the latest epic couture show by Stéphane Rolland this season in the French capital. See catwalk Entitled "Argument", the collection was imagined as an encounter between ballerina Ida Rubinstein, and composer Maurice Ravel. The result was a Hispano/Arabic meeting of cubic shapes, baroque detailing and sensual style. Rolland makes couture with great gusto, never more so than this season, where his show was presented inside the Théâtre des Champs Elysées, which despite its name is located on the capital's most important luxury thoroughfare Avenue Montaigne. The avenue of Dior 's headquarters, Marlene Dietrich's apartment, and the gilded Hôtel Plaza Athenée. And this theater is where Stravinsky first performed "The Rite of Spring", and where Karl Lagerfeld debuted the first Fendi 'haute fourure' show. Rolland made the Art Deco space his own, inviting conductor Zahia Ziouani and the Divertimento Orchestre to come and play Ravel's synchronic Bolero. Though the muse of the collection was Rubinstein. Born into a wealthy family, Ida escaped Russia to become a star dancer in Les Ballet Russes, and an icon of the Belle Epoque. Though in 1938, she had to flee her beloved Paris for London due to anti-Semitism and the looming war. Ida's legendary sensuality and dramatic poses were seen in some majestic clothes. From the cubic blazers paired with pencil skirts or jersey dresses finished with huge regal collars, to Stéphane's signature one-shoulder cocktails with single enormous leg-o'-mutton sleeves to excellent tuxedo jumpsuits with tulip sleeves. Everything trimmed and finished with crystal brooches, buckles, piping and mini skullcaps. See catwalk For evening, Rolland went gang busters with a series of sinful red crepe robes and gowns in sculptural shapes worthy of Brâncuşi. Rolland remains an Indie designer devoid of a deep pocketed investor, and his skill in using limited resources to great powerful images is also part of a rich Paris artistic tradition. Like today, when he projected huge images of musical metronomes on the stage curtains in a Man Ray-worthy opening. Later, as the models began to mass on the famous stage, he projected 1930s black-and-white videos of sewing machines and spindles as the backdrop. The mood rising to a crescendo with Ravel's "Boléro", as statuesque models appeared in long gazar skirts topped by bolero jackets embroidered in gold and crystal. Leading to a huge roar of applause when Rolland took his bow, justly recognized with a standing ovation for respecting the duty of artists in Paris. And in fashion terms, continuing a tradition that has lasted since the Sun King. Ashi Studio: Subtle salon style Couturiers can come from all over the planet, but once they settle in Paris, the mysteries of the city almost inevitably feed into their designs, as happened in a rarefied and refined couture show from Ashi Studio on a steamy Tuesday evening. See catwalk This season, the Saudi-born Ashi's inspiration came from the flea markets of Paris, though the real source was an evocative invocation of Paris couture. At times the show felt a little like a fashion tutorial, where Ashi was determined to show his atelier was capable of matching any of the great Paris houses. A tutorial he passed with honors, from the remarkable silver sequinned gown over which flew small, embroidered birds, to the two playful monkey clambering over a leather corset. There were echoes of other couturiers – Galliano, McQueen and Gaultier - but all very much on Ashi's term. Nothing was copied in this show. Neither the superb white bustier dress with long train, nor the magnificent Restoration moll ecru lace dress with tulip sleeves See catwalk Ashi's beige silk coat sprouting micro feathers was also excellent. And full marks to stunning cut-out corset dress with a train decorated with curling stays. Staged with subtlety inside a triangular shaped Haussmann-era building in the 16th arrondissement in classic salon style, with an ecru carpet and matching ottomans for seats, it felt like a quintessential Paris moment. Which was surprising, as Ashi has built his reputation on evoking the raw desert and gritty topography of his native land. But also great news, since this show marked Ashi out as a couturier determined not to rest on his laurels, but experiment and broaden his creative spectrum.

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