Due to the design, the world of design takes more closely on large and small moments.
In the 1920s, the Côte d’Azur, that 430-mile piece rough cliffs and blue waters on the southeastern edge of France, was a popular destination for what Gertrude Stein de Lost Generation would call, a loose community of expatrisate writers and artists. Ernest Hemingway, Dorothy Parker, Cole Porter and Virginia Woolf have all published summers there; In 1924, F. Scott Fitzgerald finished a concept of his third novel, ‘The Great Gatsby’, in a rental home in Saint-Raphaël. By the time that Gabrielle Chanel arrived in 1928-the Parisian Couturier, then 45 and known as Coco, bought a pink bungalow on a five-hectare olive orchard with fields of Lavendel van Lavendel in Roquebrune-Cap-Martin, just to the east of people. “
Chanel had het gebouw uit 1911 afgebroken, maar hield zijn naam, La Pausa, dat volgens een New York Times -stuk uit 1914 over zijn oorspronkelijke eigenaren, de schrijvers Charles Norris en Alice Muriel Williamson, knikten naar de legende dat de maagdelijke Maria werd vermomd als een peasant, ooit naar de aarde te testen om de regio te testen in de regio’s die de enige plaats vonden waar ze werd entered. The Irish furniture designer and architect Eileen Gray built her own villa, a modernist masterpiece, just on the road, and other neighbors had embraced the different styles of that time: Renaissance Revival, Moorish, Belle Époque. But Chanel commissioned Robert Streitz, a relatively non-tested architect born in Belgium, to think of an almost minimalist house that has evoked the sober beauty of Aubazine Abbey, the Cistercian monastery in the Corrèze region of France where she is said to have passed a large of her time as a teenager, along with her. “What genius to have spent all that money and not to show!” said the jeweler Fulco di Verdura.
During a visit to the newly restored house in March, Yana Peel, 50, Chanel’s President of Arts, Culture and Heritage, La Pausa’s “Spirit of Wild Luxury”-The monochromatic palette, bare walls and rare baroque bloom in the form of 18th-century candelabras. “It is more Palladian than Paleis -like,” she said over the villa of 15,000 square meters, which was built around a dressed courtyard with a grass of grass and square plates of stone that evoke the brand of the brand of the brand. From a large hall with a row of five windows on each side (a request from Chanel, which would return to the song when mentioning her characteristic scent), leads an impressive staircase to Chanel’s bedroom and the bedroom of the Duke of Westminster, its long -lasting companion, in the west wing and to three guest rooms and the former Staff. Although Streitz was planned to record two symmetrical stairs, Chanel insisted that there had only one: an interpretation of white plaster of what she had seen at Aubazine, who also helps the brand to redecorate. “It is interesting,” said the architect Peter Marino, 75, who has been designing Chanel-Boutiek for more than 30 years, who has started the La Pausa project for more than 30 years. “You can finally build a house for the first time in your life because you have real money – and you go back to what you grew up on.”
While her colleagues threw lush balls, Chanel, whose sweater fabrics and women’s trousers challenged the restrictive clothing of that time, went her own way. The architecture of La Pausa was unusual for the area, but that also applied that the events she held there: ignore the rules of good food, Chanel prefers to serve casual meals in buffet style, about which the Vogue correspondent Bettina Wilson once wrote: “You dress for dinner or not if you choose for the Diner.” Dancing was just as informal and spontaneous. By organizing artists for a long time – Salvador Dalí lived and worked there with his wife, Gala, for four months – she also established her own version of a residence of an artists before something so widespread. In the book “La Pausa: The iDeal Mediterranean Villa by Gabrielle Chanel”, in September there is a photo of a sheet of paper covered with drawings and signatures by people like Dalí, the French poet Pierre Rewy and the Italian filmmaker Luchino Viskconti, who was in April 1938. (The designer had previously made the costumes for the staging of Jean Cocteau from “Antigone” and two years later, for “Le Train Bleu”, performed by Serge Diaghilev’s Ballets Russes.) But then the Second World War broke out and Brak Chanel, who would later be identified as a Nazi -Sympathy. In 1953, after having returned to Paris, the couturier sold after having spent almost a decade in Switzerland, La Pausa and all his content to the Hungarian publisher and literary agent Emery Reves and his American wife, Wendy Reves, say: “It’s part of my past now and I don’t want to go back.”
Ten years ago, the House of Chanel La Pausa of the Dallas Museum of Art, which had inherited the building from Wendy, a socialite and philanthropist, in 2007. On Marino’s first journey there, he noted that although the generations had held the largest part of Chanel’s furniture and felt no important structural family. ” (De beoordeling van Peel was minder subtiel: “De badkamer was in roze vloerbedekking,” zei ze.) Behalve enkele moderne interventies-namelijk airconditioning en nieuw sanitair en bedrading-koos Marino ervoor om La Pausa terug te brengen naar de glorie van 1935. (“Wanneer je iets herstelt, kun je de bibliotheek niet doen in 1936 en vervolgens de woonkamer in 1942,” zei hij. Tegen hem was 1935 het meest logisch: The interiors “changed more radically during the war, and we didn’t want to reflect that.”) His company has most of the oak sheet, which creates the library library and in the main bathroom, reinstalled from floor to ceiling mirrors, who often waxed the house. Most of the Archiefteam of Marino and Chanel to guess “how gold was her headboard.” Bedroom furniture in the basement, in the basement, in the basement, in the basement, in the basement, and Marino had reproduced the rest.
Nowadays the silence of La Pausa Chanel’s definition of elegance evokes. “Fashion does not only exist in clothing,” she said. “Fashion hangs in the air, it is worn on the wind, you can feel it, you can breathe, it’s in the air and on the highway, it’s everywhere.” And now, again, it’s here too. Peel, who said she “tries to create the future with fragments from the past,” hopes to revive the house as a place where art is fed and ideas shared. In November there was a week of retreat for writers focused on the theme of the home -made woman. Until then, Peel still decides how he can introduce La Pausa into the world again. While she described her dream party by the artist-led celebration such as that Chanel once threw, she was awarded a newly installed Steinway piano. One day she hopes to re -roll up the rugs and let people dance.
