Viard is also keen to showcase the miraculous work of the great fournisseurs of Paris, but she does it with an understatement that seems perfect for the moment. Ten looks are made using tweeds made from fantasy yarns from Vimar 1991, another luxury fashion supplier that Chanel has recently acquired to add to its stable of such magical names as the embroiderers Lesage, Montex, and Cécile Henri, and the plumassier Lemarié. There is more amazing trompe l’oeil in the allover Lesage embroidery of a lean jacket worn with an ankle-length skirt, or in the Emmanuelle Vernoux–embroidered sleeves of a decorous wool ball gown, or the Montex sequin and wool tufts of an off-the-shoulder minidress. Tweed figures large in the collection for day and night: a knee-length tunic worn over boot-leg pants, for instance, or a minidress with the traditional Chanel braid trim reworked in rhinestones. Viard uses those iconic, Byzantine-inspired jewels as embroidery elements on a jacket of black and white tweed. In fact, the only costume jewelry used in the collection are the cabochon stones from Goossens-the storied Paris house whose founder Robert Goossens collaborated with Chanel in the late 1950s. Because the collection will largely be seen through photography (Mikael Jansson shot the look book, and haute couture clients will also receive a portfolio of more documentary and detail images), Viard was thinking of “things that maybe I would not do in a show-punk hair, fine jewelry.” Those Chanel haute bijoux include yellow diamond lions (Chanel herself was a Leo), and Viard notes that “I adore tiaras!” She gives a light spirit, yet she is deeply spiritual.”Īfter the austerity of the spring couture, inspired by Gabrielle “Coco” Chanel’s schoolgirl uniforms at the Aubazine convent, Viard wanted to swing to quiet opulence for fall in an edited collection of 30 looks. “Life with her around is the ideal for me,” Lagerfeld said of de Beauvau-Craon when he spoke with Vogue (“The Country Girl,” June 1990), “because life must never be flat. In particular, Viard was remembering Karl Lagerfeld heading off to parties with his sometime muse, the madcap Princess Diane de Beauvau-Craon, who as a teenage debutante got herself an American crewcut to give some punk edge to the pretty but detested pink dress her mother had chosen for her coming-out ball. “I was thinking about eccentric girls,” says Virginie Viard of her fall haute couture collection for Chanel.
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