Chanel’s haute couture show celebrated school-girl-style we can all take lessons from…
Once again the Grand Palais was transformed. This time, into a beautiful cloister garden reminiscent of the ancient Cistercian abbey of Aubazine, in Corrèze – a key place in Gabrielle Chanel’s childhood. After the death of her mother in the late 19th century, she (at the tender age of 11) and her sisters were sent there to live. This part of Gabrielle’s life proved to be an eternal inspiration with the experience and aesthetic helping shape her imagination and vision for Chanel.
For Haute Couture Spring Summer 2020, Creative Director Virginie Viard revisited Aubazine’s interiors, surrounds and the style of its previous pupils before presenting her visionary ode to the monastery.
“What I immediately liked was that the cloister garden was uncultivated. It was really sunny. The place made me think of the summer, a breeze fragranced with flowers. I wanted floral embroideries like an herbarium, delicate flowers. What interested me in this décor was the paradox between the sophistication of Haute Couture and the simplicity of this place.” Virginie said. I also liked the idea of the boarder, of the schoolgirl, the outfits worn by children long ago.”
Chanel’s Grand Palais cloister garden inspired by the Abbey of Aubazine. Photography by Olivier Saillant]
A paved walkway, a water feature, lavender patches, vine tomatoes and clothes lines pegged with breezy white table cloths set the scene for Chanel’s secret garden, while the models made up the class of Spring Summer 2020 in the chicest school-girl style we’ve seen to date.
All the brand’s signatures played out as models navigated the picturesque garden – monochrome, suiting, the camellia motif, the refinement of tweeds – the core play between masculine and feminine.
While the craftsmanship took centre stage and was recognised through details like a delicately embroidered flounced collar or a coat woven from white plain-weave and gingham organza ribbons, forming a herringbone pattern – wearability was also on the agenda.
Couture is becoming less about showing off the quality of craft with grand ball gowns, and rather being able to refine that level of luxury and give it practical appeal. This collection did that with aplomb.
Structured dresses, preppy skirts and Bertha collars, and white ankle socks folded over, all nodded towards school-girl styling. The lace-up low-heeled monochrome boots were well worth noting. Motifs in pastel sequinned scrolls were reminiscent of the stained glass windows at the Abbey of Aubazine, and braided belts and collars embellished with embroidery echoed the paving stones or stained glass windows. While preppy double-breasted pea coats and tweed skirts gave a nod towards the pupils of Aubazine, flowers reinterpreted in colourful motifs paid tribute to its gardens.
From fresh ginghams, to pretty pastels and Peter Pan collars, the collection was perfectly enchanting, while some of the more delicate floral appliqué and pastel pieces looked set for the Oscars. There’s no doubt that Look 46 and Look 53 will have caught the eye of a celebrity stylist or two.
Frothy white dresses oozed summer bride appeal, and the finale bride proved the epitome of modernity. Wearing a short crêpe georgette dress, with a triple Peter Pan collar in tulle and a veil embroidered with branches of wisteria – Spring Summer 2020’s Chanel woman is “avant-gardist, daring and timeless”.
The brand’s ambassadors were also out to show of support to Virginie Viard – it is only her second couture season – with the likes of Caroline de Maigret, Ellie Bamber, Nana Komatsu and Anna Mouglalis sitting alongside actresses Taylor Russell, Eva Green and Clémence Poésy on the front row.
- Words by Elaine Lloyd-Jones
- Images: Getty Images
