Starting from a button, into the dance fairy tale of CHANEL Gao Ding

“This coat was made when I was young, and I deliberately left this button unsewn, which your grandmother told me to do, so that you might come to me one day, and let me tell you her favorite motto:”

“Beauty exists in the imperfections of time.”

The above dramatic line comes from CHANEL’s warm-up short film “Button” for the spring/summer 2024 senior uniform series. This short film written and directed by Dave Free Kendrick Lamar’s soundtrack tells the story of a girl played by Margaret Qualley who immediately leaves for Paris when she finds a button missing from the cuff of the senior uniform, the story of finding a solution to the lead designer (Anna Mouglalis).

While Anna Mouglalis said this motto at the end of the short film, the girl looked out of the window of the studio. A huge button modeling device was slowly falling. She listened to her grandmother’s teachings and accepted the imperfection. The story in the short film came to an end, but it also became the starting point of CHANEL’s spring/summer 2024 senior uniform conference.

Entering this season’s high-end uniform show, the suspense about buttons left in the short film became suddenly clear. On the dome in the center of the circular show, the device shaped like a circular button opened the prelude of the whole show. Margaret Qualley, who served as the opening model, wore the coat in the film, as if crossing from the video world of the short film, while the Pierrot-style pearl yarn collar, tulle overskirt and pure white tights matched with it revealed the core theme of this season’s new work-dance.

As an actor and brand ambassador, Margaret Qualley is also an accomplished dancer. It is obviously appropriate for her to be the leading role in this short film and the opening model of the big show. In an interview with “Clothing and Beauty VOGUE” at the scene, Qualley also said that this performance was a very special experience for her. “I think the words at the end of the film conveyed a very beautiful emotion. It’s like in life, the more we know how to live ourselves, the more we can enjoy the fun of life.” At the same time, this big show is also full of important significance for her, who is about to turn 30 this year. “This is probably the favorite series I have ever seen. From the perspective of a dancer, the design The use of ballet elements is also very special.”

As Qualley said, “button” is a symbol adopted by Virginie Viard, creative director of the brand boutique department, in the design, bringing the spirit of liberation and freedom of movement into the world of ballet and dance, and composing the poetry of the body together with the elegant environment and emotional sound effects. Just like the beginning and beginning of the ballet performance, Virginie Viard’s display of dance elements in the series is also full of rhythm. The first to appear is a series of pure white classic suit models incorporating yarn and chiffon designs to interpret the romantic feelings in ballet costumes.

Not only that, Viard also poured more passion into color. Candy-like sweet light mint green, cherry powder, lavender lavender purple take turns to appear, like watercolors on the coat, skirt and shawl, highlighting the delicate and soft side of ballet and women. What gives these colors the indescribable wonderful texture is Viard’s familiarity with various precious materials. “I want to create a smart and elegant series with pearl yarn, ruffles, pleats and lace, while showing the strength and fineness of the body and clothing.”

The beauty of ballet rhythm

There is an inseparable relationship between dance and CHANEL, and the origin of all this goes back to the time when the founder Gabrielle Chanel lived. Ms. Chanel loves dancing. She studied with legendary dancers Caryathis and Isadora Duncan. She also watched the Russian Ballet with the Kapper Boys. Later, she met the founder of the dance company, Serge Diaghilev, and became his good friend and patron. Therefore, in the show, we can see Viard combining classical ballet elements with CHANEL black and white classic color matching to highlight the fate between this art form and the style of the brand founder.

Gabrielle Chanel not only admired and loved ballet, but also designed costumes for ballet for the first time exactly 100 years ago, that is, 1924. She introduced the concept of liberating body restraint advocated in fashion design into the costume design of “Blue Train” directed by Jean Cocteau. A large number of designs inspired by swimwear, tennis suit or golf suit replaced the traditional waist and skirt support, let the actors be more flexible on the stage. Echoing this legendary story, Viard’s tweed suit this season also combines the knitted stripe elements used by Gabrielle Chanel in the costume design of that year, and makes it skillfully integrate with the romantic elements in ballet clothing.

From the Zhuluo yarn down jacket to the elegant long skirt with a hood, we can also see Viard’s attempt to extend the artistic feelings of ballet into modern modeling. The styles and materials that seem to serve different occasions are integrated under the joint action of exquisite craftsmanship and modern aesthetics. “For me, dance evokes all the stories and feelings that I treasure in my heart, I’m happy to pass them on,” Virginie Viard concluded.

From Gabrielle Chanel and Karl Lagerfeld to Virginie Viard, who is currently at the helm of creativity, the close connection between the brand and dance is being continued, “I often think of dance, which is an important theme for Chanel. The brand maintains a close relationship with the troupe, choreographers and dancers, and we also create costumes for the ballet.” Viard said. Today, CHANEL continues to cooperate and provide support with the Paris Opera, the English National Ballet, the New York City Ballet, the Australian Ballet, etc., to continue the tradition left by the brand founder, and to pay tribute to generations of great dancers, Praise their extraordinary demeanor and high-spirited aura.

Therefore, for Virginie Viard, the creation around the theme of dance has long been integrated with her design language. Whether it is tights that run through the whole scene, or lantern sleeves and skirts inspired by ballet modeling, it has opened up the beauty between the show and the stage.

Thanks to the excellent skills of the brand’s handicraft workshops, the shiny embroidery on the chest, skirt and cuffs bloomed like real flowers, while the gauze elements around the body, like the dense clouds rising in the stage performance, triggered the audience’s endless reverie about the story.

At the end of the press conference, a series of exquisite dresses full of spring vitality pushed the romantic and poetic atmosphere to a climax.

Of course, as usual at CHANEL’s senior uniform conference, the show ended perfectly with a bridal gown that combines classics and innovation. In the silver-white embroidered short dress skirt, layers of tulle outline the hazy beauty of the immaculate, but so close to the current women’s dress appeal, but also the embodiment of the essence of Virginie Viard’s creative concept, “Chanel evokes the feelings of my heart, I use this as an inspiration to create one series after another. My mission is to find new ways to tell Chanel’s most beautiful stories.” Shows and performances will always come to an end, but the legends of fashion and dance will be passed on and continued forever.