Chanel joins the ranks of designer-less brands in Paris like Givenchy and Lanvin. I can’t remember a time when the Parisian roster of houses was in such trembles of undecidedness and uncertainty. Although Chanel’s autumn-winter 2024 haute couture collection is the first after Virginie Viard’s departure, it still feels like a Virginie Viard collection, just presented not in Grand Palais, but Palais Garnier. That change of scenery is a plus. The clothes looked really fitting in these a bit more intimate corridors of the Parisian opera. The team took the show’s setting as a design cue. Vittoria Ceretti’s opening look was a sweeping opera cape in black taffeta, its ruff neckline framing her face and her hair pulled back by a grosgrain bow. At the end, Angelina Kendall played the bride in white taffeta cut along the voluminous lines of Princess Diana’s wedding dress. These pieces had whimsy and drama in equal measure. In between, the classic Chanel skirt suit was renewed in salt and pepper tweeds with tassel embroideries or fringing at the cuffs and hems, or else it was cut in vibrant jewel tones and embellished with colorful cabochon stones. A double-breasted duster coat was a fine canvas for showcasing a variegated tufted tweed with a touchable texture. Bows were a recurring motif, turning up on a bronze lace skirt and a black coatdress. It all looked pretty. But Chanel can’t just lurk with pretty clothes without a distinct creative director behind them. Maybe Hedi Slimane isn’t that bad idea after all?
Collage by Edward Kanarecki.
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