The Virginie Viard era at Chanel began in full force where the Karl Lagerfeld era ended: beneath the soaring dome of the Grand Palais.
The Virginie Viard era at Chanel began in full force where the Karl Lagerfeld era ended: beneath the soaring dome of the Grand Palais, this time installed with an elaborately constructed, double-tier circular library, its main floor set with cozy sitting areas, the better to curl up for a good read.
Of the many significant associations with Lagerfeld, his love of books and penchant for acquiring them was legendary , so one could have taken the installation as an homage. Not so, according to the press release that describes Viard as “an eternal book lover.” For fall, she sees her Chanel couture woman as favoring “slippers, loafers or pumps with a bow tie that reinvent the two-tone geometry of the house.
That haute bookish attitude made for a charming ruse and a way into a collection that felt like an essential breather before Viard clearly sets the direction of her Chanel. Any newly installed creative director, whether coming from the outside or elevated from within, needs time to find her or himself within the brand. Viard isn’t any new creative director.
If it sounds like a lot, it was. The lineup telegraphed continuity and a savvy diversity informed by Viard’s deep appreciation of the house codes as invented by Coco and reinvented by Karl. And many of the clothes were beautiful, if less adventurous than the fall ready-to-wear in which Viard played a major role; then, the abundant tweed coat-and-trouser combos that looked very Chanel and very new. Here, Viard presented a partial anthology, beautifully executed.
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