91热爆

'S e Gabrielle Chanel an t-ainm as motha ann an dealbhadh fasain bhoireannaich. Tha e gu math follaiseach an-diugh, ach cha robh e a-riamh mar seo. Bho deireadh nam ficheadan, bha Elsa Schiaparelli, dealbhaiche eile, a' farpais na h-aghaidh gus an tiotal 'queen of haute couture' a ghleidheil. Bha na stoidhlichean aca gu tur eadar-dhealaichte ach 's ann ri na h-aon luchd-ceannachd a bha iad a' farpais.

Bhon eadar-dhealachadh seo, th脿inig c貌mhstri, a' ch貌mhstri a bu mhotha ann an eachdraidh an fhasain ach 's e seo a thug cruth-atharrachadh air a' ghn矛omhachas. Anns a' phr貌gram seo, tha Marisa Berenson, ogha Schiaparelli agus Claude Delay, c脿raid dha Chanel, ag innse mun bheatha agus mun ch貌mhstri a bh' eadar an d脿 dhealbhadair air leth seo, a' sealltainn na rinn iad airson c貌raichean bhoireannach aig an 脿m.

The biggest name in female fashion design must be Gabrielle Chanel. It seems obvious today, but it wasn't always the case. From the end of the 1920s her supremacy was fiercely contested. Another designer, just as famous and equally admired, disputed the title of the 'queen of haute couture' - Elsa Schiaparelli. Their styles were diametrically opposed. Their clientele were identical. From this paradox was born the most bitter rivalry in the history of high fashion, which gave rise to the most important innovations haute couture has ever seen.

In this programme, Marisa Berenson, Schiaparelli's granddaughter, and Claude Delay, a close friend of Chanel's, evoke the lives and rivalry of two great pioneers in the emancipation of women.