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When entering the showspace on Tuesday morning, the first thing to catch your eye was the centrepiece of the show’s decor—a colossal, jewelled button resembling a spaceship in scale, adorned with the iconic double C Chanel logo. Perhaps, the button missing from a jacket cuff worn by Margaret Qualley, (who opened the show in a chiffon Pierrot ruff and cream tweed jacket) as seen in the film unveiled the day before, made in collaboration with Kendrick Lamar and Dave Free. According to the show notes, the button symbolises the exceptional attention to detail that defines CHANEL Haute Couture.
So simple. Yet so functional. Buttons, as the House stated, offer the freedom of movement. In her wisdom, Coco Chanel treated buttons as precious jewels, daring and brilliant—a trait one might argue was also characteristic of Coco herself.
The overall mood exuded a light and youthful charm. Viard intertwined the button motif with the world of ballet and dance, a discipline closely tied to the House’s heritage, as it is patron of the Paris Opera Ballet. The debut unfolded as a spectacle of freshened-up Chanel day suits in white embellished with delicate tulle. Soon, the fabrics revealed subtle threads of colour interwoven in the tweed. The looks gradually, evolved into delicate shades of pinks, peaches, lilacs, and green. As the collection progressed the ballet connection became increasingly apparent.
Jackets were cropped, crisscrossed or cape-sleeved, and paired with matching skirts that grazed above the knee.There were nipped-waists and full-skirted looks, including a striking black coat-dress adorned with gold buttons over a structured white tutu.
There was also subtle nod to the 18th century, evident through embellishments and midriffs that, if not for the presence of leotards and white tights beneath the outfits, would have been on display. These looks were worn with crisscrossed open-toe sandals.
Of course, drawing inspiration from ballet, there was abundance of tulle, ruffles and pleats paid that respectful tribute to the grace and finesse of performers who momentarily defy the laws of nature.
One can truly appreciate Viard’s interpretation of Chanel as a way of life. She refrains from taking the concept too literally or resorting to theatrical gimmicks. Instead, she focuses on capturing the essence of French savoir-faire and savoir-vivre.
Hence, the collection also featured a plethora of luxurious and wearable pieces. Transparent short straight skirts, long dresses, jumpsuits, and petite capes exuded regal elegance. These garments were adorned with intricate embroideries depicting draperies, dainty bows, illusion tulle pockets, lace belts, sequins, braids, and delicate 3D flower embellishments.
These intricate details and techniques truly come to life when observed up close, allowing one to fully appreciate the depth of craftsmanship. Nevertheless, even from a distance, certain pieces managed to stand out within the expansive white expanse: a flower dress topped by black tulle, embroidered bralettes, and more flowers meticulously embroidered in multicoloured sequins on the eveningwear.
In the grand finale, a sheer, white drop-shoulder dress with a finely embroidered bodice caught the eye. It boasted delicate sheer sleeves and a striking tulle cape—a youthful creation that could only emanate from Chanel’s atelier vision.
“Beauty within the imperfection of time” is a sentiment that resonates with us,” confided Dave Free and Kendrick Lamar of pg Lang who created the stage. They responded to Virginie Viard’s creative vision by celebrating intimacy and transmission, two values intrinsically tied to CHANEL Haute Couture. “Every imperfection carries a story, waiting for the next listener to contribute another page to the narrative.
All images courtesy of Chanel.
