MADEMOISELLE PRIVÉ

There is so much more to exhibitions than what is on show. A good exhibition plays with all the senses. Visually, the setting and arrangement of each room has to be unexpected. Each room should offer a new experience regarding the theme of the work.

Designed by Karl Lagerfeld himself, Mademoiselle Privé indulged us in previously hushed dimensions of Gabrielle's life. Her 'codes' for example: the colour red, black and white, totems, pearls. Each with their own significance. The exhibition felt as if it had been deliberately concocted to highlight Karl's relationship with the late mind of Chanel. As if his intentions were to prove his depth of knowledge within the thought process of Mademoiselle Privé herself. He wished to prove, through revealing secrets oblivious to fans before now, that he has a supernatural link with Coco and his embodiment of her work is unquestionable.

Yet, typical of the Chanel attitude, this theory was quickly contrasted with the screening of a short Lagerfeld production. The film portrayed Geraldine Chaplin as Gabrielle Chanel, returned from the grave to witness how her legacy has been continued. And, in fact, disgusted with the modern label. This confused me, if Karl was so keen to express his sincere knowledge of Chanel's wishes, why then show a film implying that he got it all wrong?

Aside from this, the most part of the exhibition consisted of Karl taking us back to the roots of Gabrielle. How she began, and most significantly, her inspirations - one of which was an 18th century garden, interlocking hedges apparently becoming the story behind the two Cs Chanel logo.

The history and inspiration took over so much of the exhibition that only one room was left to display the clothes. A long, rectangular space on the third floor of the Saatchi gallery, presenting at one end the 19th century wonders by Gabrielle Chanel, and the other, the outfits of the Chanel gamblers - as presented at Paris haute couture A/W 15. Here stood the dresses of Julianne Moore, Vanessa Paradis, Lily-Rose Depp, and Kristen Stewart (Rita Ora also although out of place as ever).

On leaving the exhibition we were directed to the final room, a bubbling bright space resembling a scene from Charlie and the Chocolate Factory. Large brass cauldrons of multi-coloured Chanel No5 opened their lids to engulf the room of the scent. Here we were reminded of the significance of the fragrance, and that Chanel was the first designer to develop an eu de parfum containing her own name.

Sharing a glimmer of who Gabrielle was left us wanting more. However perhaps a glimmer was just enough to remind us that Chanel was – and is – much more than the clothes. Chanel is an attitude and an image, founded to fulfil the needs of and empower women. It is utterly timeless and does not create trends, Chanel creates history.