FEMININITY
Chanel S/S 2024
Photography by LAURA JANE COULSON
Delphine Danhier, style
Felice Nova Noordhoff, model
Louis Ghewy at M+A World Group, hair
Adrien Pinault at M+A World Group, make-up
Willy Cuylits and Thomas Jardin, photographer’s assistants
Yakiv Kotlik, stylist’s assistant
Cinq Etoiles, production
Villa E-1027 designed and built by Eileen Gray, Roquebrune-Cap-Martin, 1926-29
photographed by Maxime Ballesteros
all furniture by Eileen Gray, copyright centre des monuments nationaux
INTERVIEW WITH VIRGINIE VIARD ON CHANEL
BY OLIVIER ZAHM
OLIVIER ZAHM — Is the essence of the Chanel brand all about women?
VIRGINIE VIARD — Yes. Chanel — before being a style, recognizable among all — is first and foremost a free woman who changed the relationship with clothing. What I want is to directly touch the hearts of women. I want them to be at their best and to feel free.
OLIVIER ZAHM — Where does your sense of fashion come from?
VIRGINIE VIARD — I have always loved fashion. My family was part of the textile industry in Lyon, along the Saône River. My great-grandfather produced silk. Then my grandfather diversified the business by working for many ready-to-wear brands, like Agnès b. My grandmother dressed in Sonia Rykiel, my aunts in Saint Laurent. They wore all the great designers of that time. And for the technical aspects, I was trained by my grandmother, who taught me how to sew.
OLIVIER ZAHM — It was the ’70s and ’80s, a time when there was a direct connection to clothing through the importance of local boutiques. It relied less on brand image, on the hyper mediatization that surrounds fashion today. Do you protect yourself from this world of fashion images that continue to proliferate?
VIRGINIE VIARD — You’re right, you know, I don’t even have Instagram. I’ve been in the Chanel workshops since the beginning of my career. When I started with Karl Lagerfeld, right here, it was still a small company. Karl did everything — the drawings, the casting, the runway ideas, the images, the advertising. Everything originated here on Rue Cambon.
OLIVIER ZAHM — You had over 30 years of uninterrupted work with Karl. It’s an incredible life experience…
VIRGINIE VIARD — Since 1987! How can one stay by the side of the same creator for 30 years, I don’t know… It went by in a flash.
OLIVIER ZAHM — With Karl, time seemed to fly. There was never a moment of respite with him, except when we waited for him for a long time. It was constantly a new situation, a new idea, a discussion that lasted, photos until the end of the night. You were caught in a whirlwind of work with him. What memories of Karl do you hold dear?
VIRGINIE VIARD — He taught me everything about the profession and Chanel. But it’s true that during those years with him, I was somewhat confined to Karl’s universe. And I have a very different character. I appreciate a certain level of discretion, contrary to what today’s world demands. It’s not about shyness; it’s a choice. Chanel is what matters above all. Today, I am
fortunate to be able to express my sensitivity, my vision of Chanel, thanks to what I built with him. What I love is contact, encounters, sharing with people… Inez and Vinoodh bring me a lot, for example. I also have many conversations with Charlotte Casiraghi and others around me who work with me. I take the time for that.
OLIVIER ZAHM — Chanel has always been an artistic, intellectual, and friendly salon, not just workshops and collections. Gabrielle Chanel always surrounded herself with artists and personalities who were meant to inspire her.
VIRGINIE VIARD — Exactly. I feel the same need.
OLIVIER ZAHM — Chanel truly changed the way women dress, by introducing not only elements of menswear and sportswear into their wardrobes but also freedom of movement. It was a feminine revolution through clothing — but also in the way of speaking, loving, and seeing oneself as a woman in a world that was 99.9% masculine at the time. Mademoiselle Chanel said: “I don’t make fashion. I am fashion.” Do you think of her when you embark on a new collection?
VIRGINIE VIARD — Yes, she embodied her fashion. I certainly know all her photos, but I’m not sure if I think about her specifically. It’s completely integrated within me as I have been thinking about it for so long!
OLIVIER ZAHM — Chanel also said: “Fashion fades. Only style remains.”
VIRGINIE VIARD — I identify with that phrase. For Chanel, at least, it’s what I prefer: style. I don’t chase after trends, the new thing that works, novelty for novelty’s sake.
OLIVIER ZAHM — Chanel: “In order to be irreplaceable, one must be different.”
VIRGINIE VIARD — Absolutely. Not to be dressed like others, but like oneself. That’s true eccentricity for me: personality.
OLIVIER ZAHM — Chanel: “Simplicity is the key to elegance.”
VIRGINIE VIARD — I am very sensitive to the idea of simplicity. Sometimes, I want things more raw, more austere, or essential, even though Chanel is also about colors, life, and accessories. What interests me is the contrast, this oscillation between simplicity and excess, doing too much. I am in between.
OLIVIER ZAHM — Chanel: “Luxe is not the opposite of poverty. It is the opposite of vulgarity.” Is Chanel ultimately a Parisian bastion against the vulgarity of fashion, and against a lowering of taste?
VIRGINIE VIARD — Yes, to some extent, I agree. It’s not that I cling to this idea of taste or luxury. My concern is more about being fair. With each collection, each proposed theme, each runway show, I seek to maintain a certain fairness, meaning, and depth. However, it’s not for me to say if I succeed. In the end, the universal aspect of Chanel must also be respected.
OLIVIER ZAHM — This universality of Chanel is still very surprising. All women can project themselves into Chanel. Perhaps more than other major brands, which limit their vision of women to a very restricted fashion image.
VIRGINIE VIARD — Chanel is, above all, a way of being and expressing one’s personality.
OLIVIER ZAHM — It’s also an elevation. Chanel elevates women to the world of luxury or toward an almost intellectual discipline. There is an intellectual dimension to Chanel.
VIRGINIE VIARD — Yes, I feel it that way, too. And that was the case throughout her life, with all the people she associated with.
OLIVIER ZAHM — And what about the relationships with men? Chanel doesn’t have a men’s collection. Gabrielle Chanel was one of the first feminists, although she distanced herself from feminism in the ’70s. But she didn’t have an easy relationship with men. Chanel said, “You need beauty to be loved by men, and stupidity to love them.” And, “No man will make you feel as secure as a cashmere coat and a pair of black glasses.”
VIRGINIE VIARD — It’s still relevant today. [Laughs]
OLIVIER ZAHM — Is Chanel a protection against men?
VIRGINIE VIARD — It’s not a way to protect oneself from men — or women, for that matter, or others, or even love. It’s just a way to be free. And strong.
END
White and blue cotton top with skirt in sequined fantasy tweed Chanel
Pink and white cape, matching dress, and white leather slingbacks with strass embroidery and grosgrain bow Chanel
Black silk organza blouse with leather lace-up trousers Chanel
Striped cape and dress in fantasy tweed with jeweled buttons Chanel
Le Corbusier, spirales geometriques animees, 1939, painted mural, copyright f.l.c./adagp, Paris, 2024
Jacket in fantasy tweed with sequin-embroidered plastron, matching mini-skirt, and brooches Chanel
White and black jersey swimsuit and cotton lace skirt with embroidered petals Chanel
Cotton guipure lace dress with floral embroidery, black satin gloves, and black strass slingbacks, worn with belt, earrings, and necklace Chanel
Cotton terrycloth jacket with ecru silk plastron, jersey bikini bottom, and white leather slingbacks with strass embroidery and grosgrain bow Chanel. Le Corbusier, spirales geometriques animees, 1939, painted mural, copyright f.l.c./adagp, Paris, 2024
Skirt in sequined fantasy tweed, orange leather mini bag with pearls and metal, and bow hairclip Chanel
Le Corbusier, femme rouge et pelote verte, 1939, painted mural, copyright f.l.c./adagp, Paris, 2024
Ecru and black dress in painted silk satin and grosgrain trim, with black satin gloves and velvet flip-flops Chanel
[Table of contents]
editor’s letter
Read the article
a violent sensation of time
by Roland Barthes
an excess of sensitivity
by Emanuele Coccia
cover #1 scheherazade parreno in louis vuitton
photography by Nathaniel Goldberg
nicolas ghesquière 10 year anniversary at louis vuitton
photography by Nathaniel Goldberg
susan cianciolo
interview by Böbbi Salvor Menuez
cover #2 malgosia bela in balenciaga summer 2024
photography by Mark Borthwick
malgosia bela in balenciaga summer 2024
photography by Mark Borthwick
cathy horyn
interview by Olivier Zahm
chanel s/s 2024
photography by Laura Jane Coulson
francesco risso
interview by Olivier Zahm
saskia de brauw in loewe s/s 2024
photography by Katja Rawles
gray and lennon
photography by Vanina Sorrenti
bibi breslin in gucci s/s 2024 ancora
photography by Olivier Zahm
cover #4 chanel s/s 2024
photography by Laura Jane Coulson
junya watanabe s/s 2024
photography by Chikashi Suzuki
cover #5 bibi breslin in gucci s/s 2024 ancora
photography by Olivier Zahm
dilara findikoglu
interview by Olivier Zahm & Aleph Molinari
marc jacobs
interview by Bill Powers & Olivier Zahm
cover #3 saskia de brauw in loewe s/s 2024
photography by Katja Rawles
chloë sevigny
photography by Gray Sorrenti
cover #9 björk in noir kei ninomiya s/s 2024
photography by Vidar Logi
cover #7 adut akech in valentino s/s 2024 l’école
photography by Phil Engelhardt
adut akech in valentino s/s 2024 l’école
photography by Phil Engelhardt
rineke dijkstra
Read the article
american designers
photography by Angalis Field
cover #8 anja rubik in saint laurent summer 2024 by anthony vaccarello
photography by Juergen Teller
anja rubik in saint laurent summer 2024 by anthony vaccarello
photography by Juergen Teller
mel ottenberg
interview by Olivier Zahm
cédric rivrain
interview by Olivier Zahm
cover #6 chloë sevigny in prada
photography by Gray Sorrenti
bárbara sánchez-kane
interview by Olivier Zahm
björk in noir kei ninomiya s/s 2024
photography by Vidar Logi
bfrnd
interview by Olivier Zahm & Aleph Molinari
thomas lélu
Read the article
emanuele coccia
interview by Olivier Zahm
looking good by venetia scott
photography by Venetia Scott
elena velez
interview by Olivier Zahm
eartheater in guess usa s/s 2024
photography by Richard Kern
anna weyant
Read the article
cover #10 king owusu in fendi
photography by Venetia Scott
abby champion in givenchy s/s 2024
photography by Ola Rindal
mike kelley
Read the article
comme des garçons s/s 2024
photography by Chikashi Suzuki
cover #12 sota nakagawa in comme des garçons s/s 2024
photography by Chikashi Suzuki
cover #13 eartheater in guess usa s/s 2024
photography by Richard Kern
lee friedlander
Read the articlecover #21 torbjørn rodland
Read the article
time machine
essay by Olivier Zahm
paul kooiker
photograhy by Paul Kooiker
walker evans
Read the articleamy fine collins
Read the article
cover #11 abby champion in givenchy s/s 2024
photography by Ola Rindal
cover #15 yura romaniuk in courrèges
photograhy by Paul Kooiker
diesel s/s 2024
photography by Pierre-Ange Carlotti
cover #19 anna weyant
Read the article
tyrone dylan in cartier
photography by Olivier Zahm
cover #20 dsquared2 s/s 2024
photography by Dario Catellani
cover #14 yura romaniuk in bottega veneta
photograhy by Paul Kooiker
anja rubik in saint laurent
photography by Joshua Woods
thomas struth
Read the article
vivienne westwood s/s 2024
photography by Juergen Teller
cover #17 tyrone dylan in cartier
photography by Olivier Zahm
jessica eaton
Read the article
dion lee
interview by Olivier Zahm
cover #16 dolly baby in diesel s/s 2024
photography by Pierre-Ange Carlotti
dsquared2 s/s 2024
photography by Dario Catellani
cover #18 anja rubik in saint laurent
photography by Joshua Woods
torbjørn rodland
Read the articleby Roland Barthes
by Emanuele Coccia
photography by Nathaniel Goldberg
interview by Böbbi Salvor Menuez
photography by Mark Borthwick
interview by Olivier Zahm
photography by Chikashi Suzuki
photography by Katja Rawles
photography by Vanina Sorrenti
interview by Olivier Zahm & Aleph Molinari
photography by Laura Jane Coulson
photography by Olivier Zahm
interview by Bill Powers & Olivier Zahm
photography by Gray Sorrenti
interview by Olivier Zahm
photography by Phil Engelhardt
photography by Angalis Field
photography by Juergen Teller
interview by Olivier Zahm
interview by Olivier Zahm
interview by Olivier Zahm
photography by Vidar Logi
interview by Olivier Zahm & Aleph Molinari
photography by Venetia Scott
photography by Ola Rindal
interview by Olivier Zahm
photography by Chikashi Suzuki
photography by Richard Kern
photograhy by Paul Kooiker
photograhy by Paul Kooiker
photography by Pierre-Ange Carlotti
interview by Olivier Zahm
photography by Olivier Zahm
essay by Olivier Zahm
photography by Joshua Woods
photography by Juergen Teller
interview by Olivier Zahm
photography by Dario Catellani
photography by Nathaniel Goldberg
photography by Mark Borthwick
photography by Katja Rawles
photography by Laura Jane Coulson
photography by Olivier Zahm
photography by Gray Sorrenti
photography by Phil Engelhardt
photography by Juergen Teller
photography by Vidar Logi
photography by Venetia Scott
photography by Chikashi Suzuki
photography by Richard Kern
photograhy by Paul Kooiker
photography by Pierre-Ange Carlotti
photography by Joshua Woods
photography by Ola Rindal
photography by Dario Catellani
photography by Olivier Zahm