Scene setting: It was an unusually stripped back set up at the Grand Palais, as guests entered a space stacked with gently curving tiered seating in the brand’s signature black and white tones atop an gently curving mirrored runway. Dry ice flooded the space and as the show began to upbeat piano music by French composer Michel Legrand, two models strode insouciantly onto the runway arm in arm, chatting and laughing. The pared-back mood reflected the nonchalance of the collection — a celebration of frothy ruffled shirting, and sporty shapes like poppered leather trousers and boucle boob tubes, relaxing tweed suiting with scalloped hems and concertina collars. ‘A very simple, very pure momentum. Romanticism but without any flourishes. Emotions but without any frills,’ Virginie Viard said of the collection.
Finishing touches: There was an equestrian elan to accessories, from seven-league riding boots to elegant jockey hats. They were a nod to Coco Chanel’s penchant for horse riding and her racehorse named Romantica. Chunky costume jewellery was also a focus, embellished with colourful precious stones and dangling with Maltese crosses (Coco Chanel lived in a pair of Vedura designed Maltese cross-detail cuffs), and it these were used to accessorise everything from transparent crochet cardigans to tweed jackets with Mandarin collars.
Best in show: The contemporary beauty came in the more minimalist focus of the offering. An all white look was made up of a ruffled shirt paired with a quilted A-line skirt. A black velvet mini dress had leg of mutton sleeves and a subtle boucle collar. ‘I love Chanel so much, this collection could only be a new ode,’ Viard added. §
