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This season, Viard has also worked with photographer Anton Corbijn, whom she met when he shot her for the December 2020 Vogue profile, La Vie de Virginie, and whose music industry credentials-he has shot videos for U2 and Depeche Mode, among many others and directed Control, the magisterial biographical movie about Joy Division’s Ian Curtis-appealed to the rock chick in her.
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Look closely and you will see, for instance, that the full swirling hem of a flower-scattered chiffon dance dress is edged with individually cut-out and re-embroidered blossoms-a flourish with which Chanel herself used to finish some of her designs in the 1920s and ’30s, including some examples on display in the exhibition “Gabrielle Chanel: Fashion Manifesto” at Paris’s Palais Galliera (currently closed due to France’s COVID protocols). Using the tiniest embroidery beads available, worked into the most delicate quilted diamond pattern, the single dress took Hurel’s workrooms several months to make-almost the entire time, in fact, that Viard and her ateliers were working on the collection from conception to presentation. Chanel showcased Kitmir embroideries in her own designs at the time.
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Hurel reinterpreted a sample from the historic archive of Kitmir that they acquired, the embroidery house created by Duchess Marie, the sister of Russia’s Grand Duke Dmitri who was Coco Chanel’s lover in the early 1920s.
This is the haute couture, after all, and the sort of garments we may have become familiar with in our work-from-home lives have actually been encrusted with superb embroideries from the houses of Cécile Henri, Hurel, Montex, Emmanuelle Vernoux, and Lesage, or made from custom, hand-painted lace by Solstiss, or scattered with artificial blossoms by Lemarié. The silhouettes might be simple-sweaters or sleeveless vests worn with high-waisted pants, skinny cardigan jackets and liquid satin shirts with full romantic ballet skirts-but the beauty is in the detail. “There is a masculine/feminine side to the silhouettes,” she adds, and the fairy-tale grandeur of these pale net ballgowns is brought into the real world when those skirts are paired with white boyfriend shirts, or singlets of crocheted chiffon, worked by the embroidery house of Montex. There are “a lot of flounces and petticoats,” says Viard, as though the Gypsy Kings were playing at the celebration and the guests in those big tulle skirts were going to spin around the town square. The mother of the bride, meanwhile, has some chic little suits in silvery embroidery and lace to choose from, or a skinny shrunken cardigan jacket embroidered by Vernoux, while more adventurous guests might opt for a lace jumpsuit or a tiny tweed coat dress with a ruffled overskirt to tie on like an apron. There are also boys at this wedding, or rather girls who, in Viard’s words, are “a little garçonne” and dressed in old fashioned boys’ clothes-tweedy Oxford bags, and waistcoats for instance, a reminder of Gabrielle “Coco” Chanel’s appropriations of menswear in her designs, and her literal borrowing from the wardrobes of her lovers including Boy Capel and the Duke of Westminster. These are not, as Viard says, the conventional fancy nuptials one might expect from a Parisian couture collection, but instead “more bohemian style-more a wedding or a family celebration in a village than at the Ritz!” complete with “the mother and the aunt, the 15-year-old girl dressing up for the first time”-the latter in a tiny little grown-up black dress of spangled black tulle worn with 1980s opaque white tights.
This season, Chanel’s creative director Virginie Viard was hearing wedding bells on the rue Cambon-not her own, she’s been happily partnered to composer Jean-Marc Fyot, the man she describes as “my fiance,” for a quarter of a century-but instead the bells ringing for a marriage party composed of her haute couture cabine, some 32 models in all.
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