Sharper contrast, tighter control, and a campaign language made to feel immediate from the first frame.
Naming & Identity
Under construction
MERRY
FLEW, BLOOMED, STILL HER. A biography is considered complete if it merely accounts for six or seven selves, whereas a person may well have as many thousand.
ON THE BIRDS
The set is a village in southern Italy. Each year migratory birds rest at its river mouth: they fly far, and come back to the same water. Freedom, as we understand it, is not having nowhere to go. It is having somewhere to return to. The birds are not printed on the cloth; they became behaviour: a shoulder gathered before take-off, a hem that remembers landing, an arc only in the turn.
ON FLOWERS
Flowers are what this version adds. Migration and blooming are one vitality in two directions. So the flowers this season point to no single flower. To name one is to turn blooming into a category. In society, in nature, a woman’s vitality needs no reason to bloom. We do not explain it; we let it open on the clothes.
ON VISION
The literary reference point this season is Woolf’s Orlando. A person can change many times in one life, and no change has to erase the one before. This is another name for “many faces”, and where coexistence begins. The one thing in the book that never changes is an oak tree. She changes sex, century, country; the tree stays. People change many times, the tree does not. That is how a person knows how many times she has changed.
ON THE BODY
Clothes no longer ask the body to accommodate them. No set shoulders, no drawn-in waist, no planned step. A gown needing care leaves no freedom. Woolf put it harder: “It is clothes that wear us and not we them.” Every technique this season exists to reverse that sentence.
Whatever face she presents — elegant, rebellious, at ease, masculine — is embraced by CHANEL, and always free. This season pursues lightness (stretch tweed; T-shirt-easy evening dresses) and, in spirit, returns to Chanel’s first creed: let the body move freely, and let a woman be herself.
Next project
Built to hit harder, move faster, and give the campaign a much stronger visual charge.
Naming & Identity
Under construction
MERRY
FLEW, BLOOMED, STILL HER. A biography is considered complete if it merely accounts for six or seven selves, whereas a person may well have as many thousand.
ON THE BIRDS
The set is a village in southern Italy. Each year migratory birds rest at its river mouth: they fly far, and come back to the same water. Freedom, as we understand it, is not having nowhere to go. It is having somewhere to return to. The birds are not printed on the cloth; they became behaviour: a shoulder gathered before take-off, a hem that remembers landing, an arc only in the turn.
ON FLOWERS
Flowers are what this version adds. Migration and blooming are one vitality in two directions. So the flowers this season point to no single flower. To name one is to turn blooming into a category. In society, in nature, a woman’s vitality needs no reason to bloom. We do not explain it; we let it open on the clothes.
ON VISION
The literary reference point this season is Woolf’s Orlando. A person can change many times in one life, and no change has to erase the one before. This is another name for “many faces”, and where coexistence begins. The one thing in the book that never changes is an oak tree. She changes sex, century, country; the tree stays. People change many times, the tree does not. That is how a person knows how many times she has changed.
ON THE BODY
Clothes no longer ask the body to accommodate them. No set shoulders, no drawn-in waist, no planned step. A gown needing care leaves no freedom. Woolf put it harder: “It is clothes that wear us and not we them.” Every technique this season exists to reverse that sentence.
Whatever face she presents — elegant, rebellious, at ease, masculine — is embraced by CHANEL, and always free. This season pursues lightness (stretch tweed; T-shirt-easy evening dresses) and, in spirit, returns to Chanel’s first creed: let the body move freely, and let a woman be herself.
Next project
Built to hit harder, move faster, and give the campaign a much stronger visual charge.
Sharper contrast, tighter control, and a campaign language made to feel immediate from the first frame.
Naming & Identity
Under construction
MERRY
FLEW, BLOOMED, STILL HER. A biography is considered complete if it merely accounts for six or seven selves, whereas a person may well have as many thousand.
ON THE BIRDS
The set is a village in southern Italy. Each year migratory birds rest at its river mouth: they fly far, and come back to the same water. Freedom, as we understand it, is not having nowhere to go. It is having somewhere to return to. The birds are not printed on the cloth; they became behaviour: a shoulder gathered before take-off, a hem that remembers landing, an arc only in the turn.
ON FLOWERS
Flowers are what this version adds. Migration and blooming are one vitality in two directions. So the flowers this season point to no single flower. To name one is to turn blooming into a category. In society, in nature, a woman’s vitality needs no reason to bloom. We do not explain it; we let it open on the clothes.
ON VISION
The literary reference point this season is Woolf’s Orlando. A person can change many times in one life, and no change has to erase the one before. This is another name for “many faces”, and where coexistence begins. The one thing in the book that never changes is an oak tree. She changes sex, century, country; the tree stays. People change many times, the tree does not. That is how a person knows how many times she has changed.
ON THE BODY
Clothes no longer ask the body to accommodate them. No set shoulders, no drawn-in waist, no planned step. A gown needing care leaves no freedom. Woolf put it harder: “It is clothes that wear us and not we them.” Every technique this season exists to reverse that sentence.
Whatever face she presents — elegant, rebellious, at ease, masculine — is embraced by CHANEL, and always free. This season pursues lightness (stretch tweed; T-shirt-easy evening dresses) and, in spirit, returns to Chanel’s first creed: let the body move freely, and let a woman be herself.
Next project
Built to hit harder, move faster, and give the campaign a much stronger visual charge.