I usually don’t do red carpet coverages, but Tilda Swinton (with a pinch of Timothée Chalamet) at this year’s Cannes Festival is an exception. It was a Swinton fashion week, if you ask me. This woman doesn’t only elevate each film she stars in, but she also serves looks like no one else. Whether it’s a custom, colorful ensemble by Haider Ackermann – one of her most frequent collaborators and, privately, best friends – or a Schiaparelli haute-shirt-dress, Tilda owned Cannes. Here’s a recap of her looks!
The Haider Ackermann look from Wes Anderson’s “The French Dispatch” premiere is everything. It included a cropped, pink satin bolero blazer and top, paired with an orange floor-length skirt. Never one to skimp on theatrical flair, Swinton wore sequin green sleeves underneath the blazer. Timothée in Tom Ford was a great addition.
Another Haider Ackermann look – this time, it’s all about impeccable, electric blue tailoring. Amazing.
Tilda fell in love with Daniel Roseberry‘s Schiaparelli, and this means we can expect seeing her in the Parisian maison‘s couture soon. For Cannes, she chose Roseberry’s haute classics. This crisp, white shirt(dress) is so chic.
Swinton in Virginie Viard‘s Chanel – I love. This white gown is so functional – perfect for the Cannes red carpet, yes, but I can also see it worn to the French Riviera beaches. It’s both elegant and easy, refined, yet approachable.
“Casual” done the Tilda way is going for over-sized Loewe by Jonathan Anderson.
Another Schiaparelli, another shirt, but a totally different vibe. Here, Swinton went boy-ish, and announced global peace with that beautiful, Picasso-esque dove illustration.
Maybe I’m not entirely a fan of this Chanel look, but then, here’s the ultimate, sophisticated pirate à la Parisienne mood.
This was a Chanel haute couture collection that left me with a rather mild impression. It was proper, properly pretty. When she began thinking about the autumn-winter 2021 line-up, Virginie Viard was struck by a series of photographs of the arch modernist Gabrielle “Coco” Chanel dressed in throwback 19th-century bustles and crinolines for some of the society costume balls that were all the rage in the 1930s. In that menacing era, these parties might have been a form of escapism, but as we now look to a post-pandemic future, and as Paris couture week unfurls in a flurry of dinners and in-person gatherings, Viard’s gentle romanticism suggests level-headed optimism instead. Viard also spoke of two women artists, the acclaimed Impressionist Berthe Morisot, sister-in-law of Manet, and the Cubist Marie Laurencin, a key figure in the cultural landscape of Jazz Age Paris, whose delicately colored works include a portrait of the young Coco Chanel herself. These painterly inspirations came together in a collection characterized by a lightness of touch. Viard encouraged some truly remarkable work from the great embroidery houses of Paris, including Lesage, Cécile Henri, Atelier Emmanuelle Vernoux, and Atelier Montex, and the feather and flower designers Lemarié. These masters cleverly emulated an Impressionist’s bold, impasto paint strokes à la Van Gogh, or delicate pointillist dabs à la Seurat to create small works of art evoking gardens of rose blooms or fringes of dahlia petals. Lemarié’s incredible gardenia-strewn cardigan jacket, crafted from feather strands, took 2,000 hours of expert handwork as Viard pointed out during a studio preview. That airy spirit continues in the quirky way Viard marries bouffant skirts or even suits with delicate bustiers of pale pink broderie anglaise or chalky lace, and lingerie-light chiffon and lace camisoles and bloomers that she aptly calls her “little deshabilles.” As the girls lined up backstage in the galleries of the Palais Galliera museum, currently hosting the exhibition Gabrielle Chanel: Fashion Manifesto, Viard’s clothes suddenly found themselves in dialog with Coco Chanel originals from the 1920s and ’30s, a garden of handcrafted beauty.
Collage by Edward Kanarecki.