31 May 2025
She was Karl’s right (and left) hand woman. She worked at CHANEL for over 30 years. She breathed the house codes. And yet, she did not get to take her final bow. A list of Virginie Viard’s most memorable collections are shared here to commemorate her contributions to the House of CHANEL as Creative Director.
Virginie’s first Couture collection as Creative Director. While it was considered simple compared to Karl’s designs, it was beautifully elegant. The set was a multi level, circular library containing rows upon rows of books, inspired by Gabrielle’s personal collection. A love of literature was a sentiment shared by both Coco and Karl and so it seemed only appropriate that Virginie would honour that. Of the looks, Virginie Viard said, “I dreamt about a woman with nonchalant elegance and a fluid and free silhouette; everything I like about the CHANEL allure.” Thin framed glasses, a bright coral suit, voluminous skirts and floor length tweed coats were the standout pieces amongst this collection.
If you’re not sure what the “CHANEL Codes” are, watch this show and pay attention to the details. The show itself was titled “Paris – 31 Rue Cambon’’ , the iconic address that will forever be known as the House of Chanel, with its mirrored staircase that was recreated as the staging for this collection. Of course there were black tweed suits and camellias but there were also more intricate details such as sheaves of wheat, coromandel screens and gilded birdcages throughout, either embroidered or as stand alone pieces. I also loved the range of the collection. There was black and white, but also hot pinks and bright purples. There was a two piece delicate lace set, but also a sumptuous sweatshirt embellished with CHANEL 31 RUE CAMBON in little black camellias. Virginie Viard once said, “I have completely absorbed the CHANEL codes. I saw Karl twist them so much. I have grown up here (at 31 Rue Cambon). I am a child of Karl and Gabrielle.” This collection was a confirmation of that statement.
Lights! Camera! Action! “This collection is a tribute to the muses of the House. Some of them are far away, it’s been a long time since we saw them. Gabrielle Chanel and Karl Lagerfeld dressed so many actresses in films and in real life. I was thinking about them who make us dream so much. But without wanting to replicate. Without falling into a vintage citation. I wanted it to be very joyful, colourful, and very vibrant too,” said Virgine Viard. And joyful and vibrant it was! Glamorous looks strutted across the stark white runway in front of giant lit up letters spelling out C H A N E L , (instead of HOLLYWOOD). The collection felt very fresh and modern, yet retro all at the same time. Everything was accessorized to the max, in true CHANEL form, including large sunglasses and fishnet veils to keep the paparazzi at bay. To offset your classic tweed suits, there were hot pink denim pants, neon logo printed dresses and t-shirts, and breezy maxi dresses perfect for those “actress off-duty” days.
Château de Chenonceau. Château des Femmes. The setting for the CHANEL Métiers d’Art 2021 virtual show and the inspiration for the collection. A collection that provided escapism and dreaminess at a time when it was very much needed. The 16th century chateau, known as “the women’s castle” because of its connection with notable women throughout history (such as Catherine de Medici), features black and white checkered floors, an arched bridge, spires and beautiful gardens which all made their mark on various looks throughout. Virginie Viard said of the collection: “I like everything to be mixed up, all the different eras, between the Renaissance and romanticism, between rock and something very girly, it is all very CHANEL”. A leather jacket with a tulle skirt. A black velvet floor length cape over a tweed romper. A veiled cone shaped headdress paired with diamond cutout leggings. Mission accomplished.
After watching this show, all I wanted to do was listen to “Freedom” by George Michael. And then re-watch the show again. The assignment was clear: let’s re-do the 90’s. The models were encouraged to show some personality on the runway, just like the great supermodels of the past – Linda, Cindy, Naomi – as photographers lined up along the runway, squeezing in to catch the perfect shot. While the CHANEL codes were ever present, this show seemed more like a tribute to Karl than it did to Gabrielle. Karl’s CHANEL in the early 90’s was very fresh and freeing, with a youthful take on the classics. This collection was that as well. Bikinis, mesh skirts, and two-piece cropped knitwear sets were among the favourites. Also bringing back the 90’s was the reincarnation of the “CHANEL heart bag”. While I personally prefer the style of the original heart bag, there is no doubt this version was highly sought after! Also introduced in this collection was the CHANEL 22 bag. While not nearly as popular at first, this bag has definitely become a staple in the CHANEL world.
Like starlets right off the silver screen came the models from CHANEL’s S/S 2023 RTW show. A film noir comes to life, as if straight from the film “L’Année Dernière à Marienbad”, which was playing from screens outlining the runway. A film which Gabrielle Chanel had originally created costumes for in 1961. The collection was heavily focused on black and white looks (which I absolutely love), but there were also pops of pastels and pinks too – adorned with polka dots and ruffles for a very feminine feel. And let’s not forget those Mary Jane mesh sock booties, complete with a bow, loved by all. The classic CHANEL jacket was elongated just enough to pass as a dress and also quickly became a favourite of many, including Penélope Cruz and Lana Del Ray. Not to mention the mini 22 bag that made its first appearance here and had everyone debating whether they had too harshly judged the introduction of this bag the year previous. The full size was a hard sell, but EVERYONE wanted the mini. The collection opened with a teaser starring Kristen Stewart, directed by Inez & Vinoodh, where Stewart ends by saying, “I think it’s important to burn down your very best yesterday, every day, so you can start again.” Leave it to CHANEL to clear out our bank accounts and refresh our outlook on life.
Welcome to Hollywood! Rollerskates, flashing lights, short shorts and sparkling glamour! The CHANEL Cruise 2024 collection was a combination of LA’s finest. It was vibrant, it was youthful, it was a party. Those metallic bags in pink, purple and gold will be forever favourites. CHANEL’s connection with Los Angeles dates back to the 1930’s, when Coco Chanel was invited to design clothing for some Hollywood films – this tradition still endures today as CHANEL and cinema have a very strong connection. The House codes were used in a more playful manner than is typical – glittering tweeds in bright colours, star shaped bags and CC logo’d skateboards. The show ended with what looked like a night to remember, full of actresses and socialites, a roller-skating party, and a performance by none other than Cali native Snoop Dogg – clad in a very stylish CHANEL scarf!
Unbeknownst to us at the time, this collection would become Virginie Viard’s last (official) Haute Couture collection for CHANEL as Creative Director. And what a collection it was! Probably my favourite Couture collection by Viard – it was elegant simplicity at its finest and it was pure beauty. Viard’s influence for the collection was centered on the House of CHANEL’s connection to dance and you could see that reflected in the pieces. Dresses that bounced and flowed along the runway – a circular space made to reflect a suspended larger than life button hanging from above. The showing of the collection followed a short film starring Margaret Qualley, Anna Mouglalis and Naomi Campbell, directed by Dave Free and scored by Kendrick Lamar, entitled “The Button” which brought to life the idea of “Beauty within the imperfections of time.” As it always is with CHANEL, a collection is not just “a collection” – it is an experience, a connection between beautifully made garments and the life of the people who wear them and a collaboration between the House and the like-minded creative individuals they surround themselves with.
The year was 1913. Gabrielle Chanel opened a boutique in Deauville. For the Fall-Winter 2024/25 RTW collection, we are transported back there, over 100 years, and somehow the influence lasts. Gabrielle’s goal, after all, was to forever be timeless, always modern, always ahead. Is that Gabrielle and Adrienne walking down the boardwalk runway? No, of course not, it’s Riane and Vivienne. But you can see the similarities: wide-leg trousers, sailor sweaters, long cardigans, wide-brimmed hats and flowing dresses perfect for the seaside. This collection also served as an introduction to a new campaign for the most classic of all classics: The CHANEL Flap Bag. A short film, starring Penélope Cruz and Brad Pitt and directed by Inez & Vinoodh was shown before the collection. The piece was based on the film “A Man and a Woman” directed by Claude Lelouch which takes place in Deauville (of course!). The collection itself featured a total of 73 bags! One to accompany every single look, in various sizes, styles, colours and materials. For what is a CHANEL look, if it is not finished with the most perfect bag?
Let’s refer to this collection as Virginie Viard’s last unofficial collection, and so it’s getting an honourable mention. There’s been dispute over whether or not she designed the collection. CHANEL cited the collection as presented by the “Fashion Creation Studio”, however, Viard’s departure was announced a mere 20 days prior to the collection being shown. It’s hard to believe that Viard had nothing to do with it. It did feel like her designs – very feminine in all the details, classic codes, but also edgy in some cases. I was completely obsessed with all the capes and beautiful floor length coats. Absolutely perfect for the setting in which the show took place – the Palais Garnier. Truly a breathtakingly beautiful space, and still the collection stood out as theatrical and dramatic. We may never know for sure if Virginie designed the collection because regardless of who the creative directors of the past have been, CHANEL has always been so very CHANEL – and I sincerely hope it will forever remain that way.
