With the return of the fashion shows in attendance, Chanel’s Haute couture couldn’t be more Chanel than this. “Muse at the Museum”, a beginning synonymous with beauty, classicism, art and a pinch of unattainability that makes all so Haute Couture. The creative director Virginie Viard presented the new collection, in fact, at the Musée Galliera in Paris while the exhibition on Gabrielle Chanel is underway 50 years after her death.
A subtle and very invisible line between past, present and future between the archival dresses present in the museum, and the clothes from the collection that parade, with all the references to the most classic pieces of the brand. Like the timeless classic tweed suits, here enriched with beads, micro sequins, applications and embroidery.
Here too, as in Dior, the painstaking attention to the details of the embroidered fabrics cannot fail to be noticed, which reminds us how much the work behind the scenes is indispensable and of an excellent level. The end of the 19th century is clearly a constant interpretation of the collection. The clothes are inspired by Impressionist paintings and their unforgettable shades of color. But also from the lingerie of that time, in a modern version in the last part of the show.
Incredibly romantic, therefore, this return of Chanel to “live” fashion. Virgine’s slightly rock spirit is visible almost only by some silver boas, carried with ease to make the magnificent ecru suits more sparkling. Romanticism is finally crowned by not one, but two wedding dresses, the last of which was worn by Chanel’s muse par excellence for some time, Margaret Qualley. The actress is also the protagonist of the preview film of the collection, by Sofia Coppola.