![]() ![]() That airy spirit continues in the quirky way Viard marries bouffant skirts or even suits-made from “tweed” woven from narrow strands of multi-colored tulle and ribbon-with delicate bustiers of pale pink broderie anglaise or chalky lace, and lingerie-light chiffon and lace camisoles and bloomers that she aptly calls her “little deshabilles.” ![]() In the haute couture, God is in the details-even the exquisite buttons mimic artist’s palettes or Monet nympheas, crafted from mosaics of tiny colored rhinestones, while feathered blossoms bloom under the stiff brims of Maison Michel felt hats. In a preview in the Chanel studio on the Rue Cambon, Viard also spoke of two women artists, the acclaimed Impressionist Berthe Morisot, sister-in-law of Manet, and the Cubist Marie Laurencin, a key figure in the cultural landscape of Jazz Age Paris, whose delicately colored works include a portrait of the young Coco Chanel herself. In that menacing era, these parties might have been a form of escapism, but as we now look to a post-pandemic future, and as Paris couture week unfurls in a flurry of dinners and in-person gatherings, Viard’s gentle romanticism suggests optimism instead. ![]() When she began thinking about Chanel’s fall 2021 haute couture, Virginie Viard was struck by a series of photographs of the arch modernist Gabrielle “Coco” Chanel dressed in throwback 19th-century bustles and crinolines for some of the society costume balls that were all the rage in the 1930s. ![]()
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