The Australian premiere of Coco Chanel: the Life of a Fashion Icon was a sold-out smash even before the opening of Queensland Ballet’s two-week season in the Playhouse at QPAC.
Given the commonalities – and history – between the two elegant and refined art forms, QB’s international co-production has been as hotly anticipated as the pioneering French designer’s new ranges were.
The appeal seems so obvious that it puts the work’s initial rejection by a ballet director – because it wouldn’t sell – in the rank of record execs who knocked back The Beatles and Tina Turner.
Belgian-Colombian choreographer Annabelle Lopez Ochoa had the last laugh sharing that anecdote in person following the polished first night performance of Coco Chanel: the Life of a Fashion Icon.
Fortunately, QB’s collaborators, Hong Kong Ballet and Atlanta Ballet, readily realised the subject’s potential for both stunning visuals and shedding light on Chanel the woman’s bold yet rather enigmatic silhouette.
A cigarette is an inseparable feature of the latter, etched in the memory of those familiar with images of her in print and on screen.
But Coco Chanel’s character and life were far more complex and colourful than the simple lines and shapes contrasting black and white with which the designer revolutionised female clothing from the 1910s to her death in 1971 aged 89.
Lopez Ochoa researched Chanel’s quintessential rags-to-riches tale for two years, distilling it into 13 key chapters charting the couturier’s career rise from penniless seamstress alongside her private life involving several wealthy and influential lovers. The choreographer asserts her subject’s overarching ambition and quest for independence through a separate character, Shadow Chanel.
Act One’s nine chapters quickly build momentum to a heady professional and emotional peak in 1919. It traces iconic clothing designs and the creation of two enduring symbols – the signature perfume, Chanel No5, and the fashion house’s famous logo of interlocking Cs – plus a love triangle that ends in tragedy.
Act Two delves into the longer and more challenging remainder of Chanel’s life and legacy.
Ballets Russes’ 1920 production of composer Igor Stravinsky’s seminal work The Rite of Spring, which Chanel anonymously bankrolled, might not have happened if not for her rumoured affair with the married father.
But her collaboration with the Nazis during World War II led to an eight-year exile and a shadow over her legacy, despite a comeback spearheaded by a redeeming act and the collarless Tweed suit that remains a classic.
Jerome Kaplan’s superlative costume and set design is as beautiful as it is inventive. In addition to strikingly presenting fashion centrepieces, it features revolving curved staircases, dressmaking tables and mannequins, illuminated chairs and shimmering fringed curtains.
The benefit of Lopez Ochoa directly casting and working with featured characters is evident in the poised and expressive performances, led by principal Neneka Yoshida as Coco and company artist Kaho Kato, who seizes the opportunity to shine as Shadow Coco.
Each of Chanel’s love interests is clearly delineated by their physicality – a lyrical romanticism and tenderness with love of her life “Boy” Capel (principal Patricio Revé) and a chilling menace involving Nazi officer von Dincklage (soloist Vito Bernasconi).
The role of Jewish French businessman Pierre Wertheimer allows soloist Luke DiMattina to flaunt his crisp lines and dynamism.
Get InReview in your inbox – free each Saturday. Local arts and culture – covered.
Thanks for signing up to the InReview newsletter.
Ranging from unsettling goose-stepping to light-hearted parodies, the male group work is spot-on, while the atelier scenes merging mannequins, models, machines and seamstresses are cleverly creative.
All the movement is seamlessly attuned to Peter Salem’s unpredictable and articulate score performed live by Camerata.
Running two hours including interval, the ballet gives a fascinating overview of Chanel’s life. Its aesthetics, however, are the standout delivering the “wow” factor – fittingly, one could argue.
Coco Chanel: the Life of a Fashion Icon continues at the QPAC Playhouse until October 19.
queenslandballet.com.au
Support local arts journalism
Your support will help us continue the important work of InReview in publishing free professional journalism that celebrates, interrogates and amplifies arts and culture in South Australia.
Donate Here
