The setting imagined by Virginie Viard for the spring-summer collection Haute Couture is a wedding party, this time stripped of the grandeur typical of Haute Couture, and replaced by a more bohemian style, comfortable and colorful; among the guests “the mother, the aunt, and even the 15-year-old who dresses up for the first time,” Viard told Vogue.
There are also the classic à la garçonne dresses, the unmistakably “boyish” Chanel look that since the beginnings with Coco aims at fading the defined contours of gendered fashion with a hint of audacity and irony.
The silver embroideries combined with lace details and tweed jackets in spring tones are all over. Tulle evening dresses are combined with men’s shirts or chiffon tops.
In addition to the classic cardigans, satin shirts, the magnificent hand-made works by Cécile Henri, Montex, Emmanuelle Vernoux, Lesage and Hurel. The latter, has dusted off the historical archives of Kitmir, the fashion house of Duchess Maria, sister of the Grand Duke of Russia Dmitri who was the lover of Coco in the early ’20s. Chanel herself had used some of the house’s embroidery in the collections of those years.
Images courtesy of Chanel by © Anton Corbijn