Is there anything prettier than a garden in spring? Well, yes there is. Chanel haute couture. Without her, Paris isn’t the same and now, after more than a year, she’s back. This morning, the church bells rang as Chanel held her first fashion show with an appropriate audience since you know when, and such an important occasion has not been lost for Maison Creative Director Virginie Viard. For the AW21, it did not place too much emphasis on a theme or transport decor; instead, she focused on the very essence of what couture means to fashion buffs: romance! Good old style, pretty as a picture, capital letter R Romance! Who can’t do with a little of that right now?
The parade took place in the courtyard of the Palais Galliera, the Fashion Museum of the City of Paris, much more intimate and stripped down than the usual shows at the Grand Palais, as the latter is currently closed for renovations. In addition, the museum is currently exhibiting Gabrielle Chanel: Fashion manifesto, a celebration of the woman who started it all, and whose work has become an eternal foundation for the very survival of haute couture, even in the most difficult times.
The open-air living room turned out to be the perfect setting for Virginie’s latest Chanel collection, which looked and was as light as a petal. An impressionist theme ran throughout, appearing in pastel colors, swirling embellishments, and garden party style. White satin dresses with black velvet bows were reminiscent of Morisot paintings, the sequins that adorned the rounded tweed jackets and silk blouses resembled Van Gogh’s paint strokes, no doubt delicately applied by Lesage craftsmen for thousands of years. ‘hours.
There were dresses made of tiers of tulle, almost like elaborate wedding cakes, and tweeds woven from yarn the color of Manet’s water lilies, others like typical Parisian red gingham canopies. A dress came with stripes of chiffon dahlia feathers, a jacket with thousands of marabou feathers meticulously crafted into shiny hand-dyed gardenias. Most of the oh-so-Coco tweed suits were worn over apricot-colored eyelet bustiers, or chiffon pants, and there were small negligee-style pajama sets; a little beach, a little boudoir. Virginie likes to show a bit of a belly with her looks, which brings a bit of easy lightness to some of the more sculpted figures, and this time around it was jackets with rocky shoulders and elongated, protruding basques.
Yes reader, I know this may sound like it was uttered through Julie Andrews’ vocal cords, but when was the last time you saw a spectacle so pretty that the child in you heaved a sigh of wonder? If this is one thing the last year has taught us, it’s that we take the simple pleasures of life for granted – and it doesn’t get simpler than the sheer joy of seeing clothes you want to wear when. you feel happy, cute and who knows, head over heels in love.
Sofia Coppola, once the poster girl for sardonic indie girls everywhere, smiled as she watched Margaret Quallie waltz down the aisle – I mean, the runway – like the Chanel bride in a simple satin dress and dotted veil. of glitter droplets. Brides in white dresses? Don’t be so quick to dismiss it as archaic. Rather, think of it as a symbol of families coming together for weddings of more than 30 people. Here is a spring dress rite, enough to make cry these skeptics who constantly question the very existence of haute couture and its frivolities. For the finale, she joined the models under a sprinkle of rose petals released from above. It was a reminder of the existence of tailoring, beyond the importance of keeping traditional craftsmanship alive. Romance! At Chanel, it’s still very much alive.