And just like that, couture week is back in full swing in Paris! Whilst the fashion world is always brimming with anticipation to see what the maisons will bring each couture season, for fall-winter 2024/25, all eyes are on Chanel in light of Virginie Viard’s unexpected departure from the house earlier this month. Fast forward to June 25, Chanel is set to kick off day two of Paris Haute Couture Week with the helm still awaiting a successor.
Read more: Virginie Viard is leaving Chanel: 5 signature styles she developed as creative director
As such, the team of over 150 skilled artisans at Chanel’s Fashion Creation Studio stepped in to orchestrate the house’s latest couture collection, which was unveiled as scheduled along the grand halls of the historic Palais Garnier opera house in Paris.
Under the artistic direction of French director Christophe Honoré, the grand corridors surrounding the auditorium were transformed into opulent red velvet opera boxes for the occasion
The usual landmarks of the Palais Garnier are reimagined, offering a renewed experience of this illustrious space
Just as couturiers create garments that transcend mere clothing, opera composers and directors craft performances that transcend mere entertainment, creating a tapestry of beauty, emotion, and storytelling in the most magnificent fashion. Paying homage to this artistic connection between the two worlds, the show’s opulent venue becomes a fitting backdrop where the worlds of haute couture and opera intertwine seamlessly, setting the tone for what’s to come.
The collection reveals itself in the grand corridors surrounding the auditorium, opening with supermodel Vittoria Ceretti gracing the runway in an embroidered top and panties under a voluminous full-length black cloak with a ruffled high collar, serving as a harbinger of the theatrical, Victorian-esque couture spectacle that would follow.
See also: 9 menswear trends at Paris Men’s Fashion Week, as seen on Louis Vuitton, Hermès and Dior runways
We see a symphony of materials and textures on the runway, including feathers, tassels, embroidered flowers, precious braids, lacquered jersey, supple tweeds, silky velvet, illusion tulle, taffeta, and duchesse satin. The colour palette, ranging from matte, glossy, and lacquered finishes in shades of black, gold, silver, ivory, fuchsia, pale pink, and celadon, are reminiscent of a glamorous ballroom setting illuminated by candlelight.
Fitted jackets paired with knee-length skirts harken back to the polished ensembles of mid-20th century fashion icons, whilst subtle tweaks in cut and proportion bring these looks firmly into the present day. Structured tweeds are juxtaposed with softer, more delicate elements, and silhouettes are at once familiar and fresh. Each ensemble speaks to a careful balance between reverence for fashion history and a keen eye for modern sensibilities, with a romantic allure defined by the house’s signature codes and exceptional craftsmanship.
Model Angelina Kendall closed the show in a bridal look reminiscent of Princess Diana’s wedding dress
The show concluded with the quintessential Chanel bride as Australian model Angelina Kendall walked out in a billowing white gown with puffed sleeves and flower embroidered bodice, transporting us back into the ‘80s.
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As the show comes to a close, it becomes clear that this collection is more than just an ode to the past, but rather, it is a testament the enduring power of classic design, and its ability to evolve and remain relevant in an ever-changing world, manifested by the technical expertise, virtuosity, and distinctive design codes deeply rooted in Chanel’s legacy that will live on regardless of its leadership.
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