It doesn’t ever look like a replica.”, Coppola art-directed Viard’s pre-fall 2020 Métiers d’Art collection, named Paris-31 rue Cambon, recreating the Chanel couture salon with its famous staircase and walls of faceted mirrors – installed so that Gabrielle Chanel could spy on the reflected reactions of her audience while remaining unseen – in the Grand Palais. “She gets obsessed, and she wants to make them more beautiful, to feel good, look good – there’s a real generosity there. 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What would be truly refreshing to see would be Viard taking advantage of that aspect, too. The material on this site may not be reproduced, distributed, transmitted, cached, or otherwise used, except with the prior written permission of Nervora Fashion, Inc. and Condé Nast International. Coppola suggested that they hold the dinner and after-party at the legendary 1920s restaurant La Coupole, an evening that provided a riotous glimpse into Viard’s rock-chick world when the young Belgian singer Angèle sang and the legendary French crooner Christophe surprised the crowds by performing an impromptu set of his own. “So old.”. As they soon discovered, however, Viard – whose movie tastes run from French Nouvelle Vague to the 2019 Les Misérables (directed by her friend Ladj Ly, whom she met through Pharrell) – was “drawing her inspiration from today: actors on the red carpet or going to the airport or for a Starbucks,” as Van Lamsweerde says. The flip side of feeling the weight of that responsibility previously mentioned is having the freedom and financial backing to remake the brand in a more modern image, all the way down to casting. Another contrasting look was Viard’s delicate chiffon blouses, or her crêpe de Chine blouses paired with pieces inspired by winter sportswear. “He and Karl were two egos,” Viard recalls. Karl Lagerfeld’s successor at Chanel https://www.businessoffashion.com/articles/luxury/chanel-fendi-karl-lagerfeld “I would receive her samples,” says Viard, “and they would smell of her horses… Luckily, I love horses.” (In recent years, Chanel has acquired 38 of these endangered Maisons d’Art, or craft workshops – including feather- and artificial-flower-makers, custom milliners, glovemakers, pleaters, and textile and footwear designers – and 11 of them will soon be consolidated in 19M, a vast dedicated hub in the north of Paris scheduled to be unveiled next year.). As the death of Karl Lagerfeld is announced, the house of Chanel have shared the news that Virginie Viard, Lagerfeld’s closest collaborator for more than 30 years, will continue his work. “I remember some sketches of Karl, some collections, that I now realize were inspired by one detail or another that I’ve seen here. 'Mean Girls' star Jonathan Bennett makes LGBTQ history on wedding magazine cover: 'Pure pride and joy', European vacation? Similar to the Métiers d'Art collection in December, the runway was unveiled in front of a select few brand ambassadors, like Marion Cotillard, Penélope Cruz, Vanessa Paradis and her daughter, Lily-Rose Depp, all spread out safely across the set of floral arches and wooden chairs. After all, if Chanel wishes its clients to consider themselves a part of the family, it might do well to consider that not all its clientele look like the mostly-white, almost exclusively-thin models and ambassadors seen in its shows. Virginie Viard Hosted a Chanel Family Reunion in Paris for Spring 2021 Haute Couture Alison S. Cohn 1/26/2021 COVID-19 vaccine milestone, Biden in Atlanta, NCAA Tournament: 5 … “Whatever you do, just surround yourself with tons of women,” the pragmatic Lagerfeld advised Wright. In 1992, Karl Lagerfeld returned to Chloé, the house whose romantic and poetically retro style he had defined from 1964 until he left to join Chanel in 1982, and he brought Viard with him. Sign up for Yahoo Life’s daily newsletter, embrace a more forward-thinking way of casting runway shows, Stars show off toned abs on Oscars red carpet, Paulina Porizkova on grieving Ric Ocasek: 'I'm still struggling'. Viard, it seems, rarely sits: She is too busy engaging with and styling the models in the dressing room at the opposite end of the studio, pondering whether to add a veiled 1930s-style hair band or a baby-pink or pearlescent-pink quilted purse to an ensemble. Almost all the pan-generational assistants are women, and the deeply collaborative Viard is keen to have their input. The Lululemon ambassador on finding joy in nature and why "it’s the little steps that add up to the big distances.". Viard and the late Karl Lagerfeld, whom she first joined at Chanel as a studio intern in 1987. “This is what makes her really close to us.” (“Gabrielle wanted to be free – she wanted to be able to jump on a horse, and go dancing like crazy, and then go to work,” says de Maigret. It’s his life.”. I’m often asking myself, ‘Karl, what do you think? https://allstarbio.com/arnaud-viard-wife-wiki-bio-height-age-married-career https://www.nytimes.com/2020/12/04/style/chanel-metiers-dart.html Photo: Benoit Peverelli, Courtesy of Chanel. As a child, Viard would sometimes dress up as a nurse or doctor and accompany him to the hospital to cheer up some of his patients, but she never intended to follow her parents into medicine. Not only is Chanel leaving this kind of positive press and attention (and money!) I remember a show when Karl wanted just neoprene. on the table, it risks being left behind as other competitor fashion brands embrace a more forward-thinking way of casting runway shows and ad campaigns. Above her mask, Viard’s eyes twinkle with delight at the thought. At Fendi, where Lagerfeld also once reigned supreme, Silvia Venturini Fendi put Paloma Elsesser, Jill Kortleve (who also makes a repeat appearance at Chanel here) and Ashley Graham in recent shows to much acclaim. Viard’s trajectory has taken her from Lagerfeld’s invaluable Chanel studio director – he famously described her as “my right arm… and my left arm” – to, following his death in February 2019, the creative director for the brand, in a transition of such seamless elegance that it might have been constructed in the house’s fabled haute couture workrooms. “It’s just fun – someone that loves Chanel so much and wanted to share that.” The 1960s suit lining led to a tie-dye section in the collection. Viard is entranced by the miraculous 1920s dresses that evoke Lagerfeld’s Chloé aesthetic, and by such wonders as a 1934 pewter sequined evening jacket, worn over a pleated crepe skirt, and Chanel’s own ivory silk daytime pajamas. “All of the young actors that are part of the French film establishment now trust Virginie enormously.”, By the late 90s, Lagerfeld decided to bring Viard back to Chanel. It would be as easy to imagine one of those celebrity ambassadors in the sexy tailored vests as it would a couture client layering one over a sharp button down for work. Models then flooded the petal-scattered runway, splitting to take individual turns of their own before then taking up chairs in the audience set with — almost as though they themselves were just well-dressed Chanel clients. This collection is a mix of two influences: the ambiance of ski holidays, which I adore, and a certain idea of cool Parisian chic, from the 1970s to now. It’s a very feminine approach.”, For the collection, Viard has tapped into her passion not only for movies but for actors. Soon she moved on to become an assistant to the costume designer Dominique Borg, acclaimed for her work on such movies as Bruno Nuytten’s Camille Claudel and Claude Lelouch’s Les Misérables, and discovered what she felt was her true calling. https://www.cnn.com/style/article/chanel-after-karl-lagerfeld/index.html “I was afraid of the customers! "I love big family reunions, when the generations all come together. They are now ensconced in a comfortable high-back sofa that has been placed against the wall at the end of the studio where Lagerfeld once sat sketching furiously away at his desk. But she’s always been incredibly practical.” Viard’s particular brand of French bohemian style soon quietly influenced Lagerfeld to reshape the Chanel aesthetic. The collection was all hats and gloves and models, including Inès de la Fressange and Marpessa Hennink, vamping for the runway photographers. https://www.vogue.co.uk/fashion/article/virginie-viard-chanel “It’s like a private lesson,” says Viard. While Lagerfeld famously surrounded himself by turns with world-class art deco treasures, then museum-quality 18th-century decorative arts, then state-of-the-art contemporary design, Viard lives in the same artist’s atelier in the unfashionable 14th arrondissement that she bought 20 years ago and sees no reason to upgrade. They’re not concerned in this company with, Are we relevant? Photographed by Anton Corbijn, Although she is now the creative director for a multi-billion-dollar global brand and her workload has changed exponentially, Viard has resisted any effort to adapt her private life. The collection begins cinematically with Christophe’s music, which appropriates some lines from an old movie – Viard thinks it is Max Ophüls’s 1955 Lola Montès – and she is thrilled that the final grouping of Jazz Age black and white ensembles that she sees on the monitor reminds her of the stylized blocking in Marienbad. “It’s a very different season,” said the show’s producer, Etienne Russo, “but we have to adapt.” Fyot is on hand for support, rock-star chic in skinny black leather jeans and a hoodie under his daytime tuxedo, while Viard, dressed to match in a lean black Chanel coat to the ankles, narrow pants, and patent Chelsea boots, is preternaturally calm: She has done this dozens of times before, of course, and the Chanel machine ensures that everything happens like clockwork even while the support teams are all masked and the models have been tested for Covid. Sign up for our daily newsletter. 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