For Chanel’s spring 2019 couture release, the late Karl Lagerfeld transported us to an Italian villa shaded by palm trees while “Parole Parole” resonated in the background. While Lagerfeld never came to bow, the show’s bride shone in a shiny swimsuit. Now, it seems far too long ago, when larger-than-life catwalks pretty much underlined the sublime but disarming power of high fashion. Cut to the present, when couture is presented in the post-pandemic world, when we come closer to our families after spending most of 2020 in our country homes. Hence this calm and intimate festive spirit was at the heart of Virginie Viard’s outing where she reinvented a bohemian wedding in the south of France in the presence of close members of the bride and groom’s family.
Over the decades, Chanel shows have always celebrated Coco’s basic badges – from the Art Deco mirrors of her apartment, to her Venetian lions to the austere but charming Aubazine Abbey – the orphanage where Coco grew up. This time, interior designer Jacques Grange recreated the iconic mirrored staircase, inculcating the Coromandel screens and golden wheat leaf tables by Goossens.
Coming to clothes that sparkled in the Parisian light as models including an elegant entourage of bridesmaids and guests walked past the show’s stars (who were seated according to Covid social distancing protocols) – ambassadors of the house – actors Penelope Cruz and Marion Cottilard, singer Vanessa Paradis with her mini me Lily Rose Depp.
If, on the one hand, the brand’s ornate lunches, lace jumpsuits, tweed dress-coats and fitted cardigans set the tone for sartorial exuberance, synonymous with the sacred French house, on the other hand, the model’s real flowers in the hair. brought a touch of rustic charm. It was a chic country wedding after all.
The addition of crisp boyfriend shirts, high waisted pants and chiffon tank tops created an appeal for day wear. Thus, the couture client has the freedom to be the mixologist – either pair a satin shirt with a sublime ballet skirt or wear it with pants.
The last bridal satin wedding dress (with a high neck and cuffs) in ivory had tonal cascade butterfly embroidery done by Lesage – a nod to the roaring vibe of the still 20s to this day.
Plus, the fact that the bride rode a beautiful white horse saddle before she got down could have been a connection to Coco’s steeped in polo match past – when she lived at the Chateau de Royallieu owned by her then-lover. , Étienne Balsan – himself passionate about horse riding. . During this period, she not only borrowed elements from the male wardrobe, but also nurtured a taste for the simple pleasures of life and the idea of luxury.
It won’t be overstated to deduce that Virginie Viard’s deep connection to Coco’s heritage and a practical approach to second-hand clothing clearly puts her ahead of the couture pack.