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As well as introducing groundbreaking garments for women, Gabrielle ‘Coco’ Chanel embodied her brand in a way no other designer had done before, a new exhibition highlights. Gabrielle Chanel. Fashion Manifesto – at London’s V&A Museum – traces the life and work of the famed French designer, who was born in the Loire Valley in 1883 and taught to sew by nuns in the orphanage to which she was sent aged 11, when her mother died. “Before her, designers weren’t really known,” says Oriole Cullen, curator of modern textiles and fashion and the V&A. “Their names were known, but they weren’t visible figures within society.” Starting out as a seamstress and cabaret singer, before establishing herself as milliner, Chanel later turned her focus to couture fashion and began designing casual clothing for women, inspired by the menswear of the era. “The Chanel brand as it stands [today] is really based on these ideas that she ushered in 100 years ago,” Cullen says, which is where the exhibition title comes from. “The meaning of that is really about a template that Gabrielle Chanel set out at the very beginning of her design career and came back to, reimagined and reinvented throughout her long career of sixty years.” Bringing together nearly 200 outfits, the show features items from the opening of her first millinery boutique in Paris in 1910, to the showing of her final collection, two weeks after she died in 1971. Signature designs on display include little black dresses, tweed suits and quilted leather handbags – the most iconic of which is the 2.55 bag. “The 2.55 has never really gone out of fashion since she designed it in 1955,” Cullen says. “That is fascinating in terms of high fashion, that an object can stay the course for such a long time and still be relevant.” Part of the upper echelons of French society, Chanel initially relied on wealthy lovers, such as French ex-cavalry officer Etienne Balsan and English polo player Arthur Edward ‘Boy’ Capel to fund her boutiques. Later becoming a celebrity in her own right, she amassed a personal fortune, thanks to the success of her fashion, accessories and cosmetics lines. “The perfume Chanel No5 was introduced in 1921, but then introducing make-up in 1924 and skincare in 1927, she was really ahead of her time,” Cullen says. “It’s something she was doing because she was designing for herself.” Chanel is credited with helping to liberate women from the constricting corsets and long skirts that were de rigeur at the turn of the century, and for popularising softer textiles, such as jersey. “She cuts her garments with high armholes, so you can lift your arms over your head,” Cullen continues. “She thinks about fabrics that are practical, and skirt lengths you can move in.” The exhibition – which was originally staged at Paris’s Palais Galliera in 2020 – highlights the brand’s UK and Ireland connections via British Chanel Limited. “This was an umbrella company set up in 1932 to work with an array of British textile manufacturers,” Cullen explains. “From lace in Nottingham, cotton velvets from Manchester, wools from Huddersfield, and also voiles and silks from Carlisle. “One of the other companies she worked with was the Old Bleach Linen Company, which is based in Randalstown in Northern Ireland.” Split into 10 sections, the exhibition concludes with a recreation of the mirrored staircase from Chanel’s Paris atelier. “Gabrielle Chanel used to sit at the top of the stairs when she was having presentations,” Cullen explains. “The models would descend and this faceted mirror would reflect back the audience’s faces to her, so she could read the mood in the room.” Gabrielle Chanel. Fashion Manifesto opens at London’s V&A Museum on September 16. Tickets available at vam.ac.uk/chanel. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live 6 times Kate has worn London Fashion Week designers Pro-gamer Jukeyz ‘died for two minutes’ after cardiac arrest which left him ‘scared to sleep’ Young people not snowflakes or wasters, says curator of rebellious fashion exhibition

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The mastermind behind the “largest ever multi-location UK drone show” said pulling off the Coronation Concert spectacle was a “nerve-wracking but exciting” experience. Patrick O’Mahony, founder and director of Skymagic, said 1,000 drones took part in the light shows over Windsor Castle, Cardiff Bay and the Eden Project in Cornwall on Sunday. The lights of the drones formed shapes celebrating the King’s love of the natural world, including a blue whale which appeared in the sky above Windsor during the concert. Artists including Lionel Richie, Katy Perry and Take That performed as part of a star-studded line-up. The Department for Culture, Media and Sport hailed the “spectacular scenes”, saying it was the “largest ever multi-location UK drone show”. When US singer Perry, 38, walked out singing the opening lyrics to her hit Roar, a drone projection of a lion’s head appeared in the sky above her. And when British-Moroccan singer Zak Abel sang the Simple Minds hit Don’t You Forget About Me, a drone scene of a Prince Charles clematis flower appeared in the sky over Windsor, followed by a giant multi-coloured butterfly. Speaking on Monday, Mr O’Mahony told BBC Radio 4’s Today programme: “It was the biggest single performance across multi sites we’ve ever done, so to try and co-ordinate it all from one central location in Windsor and trigger three shows all at the same time, all with obviously not rehearsing, giving the game away in advance, it was a quite nerve-wracking but exciting evening really.” He said they had rehearsed at a “secret location up in Yorkshire” so as not to spoil the surprise. On how many drones were involved, he said: “It was 1,000 across all three sites, so the biggest show we’ve done like that.” He said three operators were needed to run the entire fleet, one per site. Mr O’Mahony added: “Each individual drone has its own little mission loaded onto it and we have then one operator and a back-up operator who triggers that show sequence and sends the drones up. “And then in effect we, at the right, very precise time, press the ‘go’ button and each little drone then flies its own individual mission. “No one drone knows where the other drones are in the fleet so they’re not talking, they’re all individual in terms of that movement, they fly the entire routine and luckily come back home at the end of it. “When we have the final file, our pilot then uploads that to all the drones but each individual drone has its own separate file attached to it.” On whether anything went wrong, he added: “No, we had a perfect run. “The weather was great, which was always a big relief for us, and then each individual site all their fleets went up, came down and we were bang on time across locations which was really wonderful to see. “We can fly in light rain, if it was very, very heavy rain then that would stop us, the same with very high winds. But normally we can fly in most conditions.” The concert was watched by an average audience of 10.1 million, according to overnight figures from the BBC. The event was hosted by actor Hugh Bonneville and featured a cameo from The Muppet characters Kermit the Frog and Miss Piggy, as well as a recorded video message to Charles from Top Gun star Tom Cruise.