, a Cistercian abbey in Corrèze in the south west of France. Presented amid an evocation of the overgrown courtyard at the abbey – “what I immediately liked was that the cloister garden was uncultivated,” Viard said at the time – the collection had a disciplined purity, recalling boarding school uniforms and the ecclesiastical garb of the nuns who would have taught the young Chanel.
But time spent in lockdown seemed to have placed Viard on a different track for this collection, the designer noting that the outing had begun with her “thinking about a punk princess coming out of Le Palace at dawn”.
It made for a particularly joyful outing, which mined the 1980s for inspiration – the time when a young Karl Lagerfeld began at Chanel, and would host glamorous dinners and soirées, or spend evenings at Le Palace, alongside rebellious socialites and women like Grace Jones and Paloma Picasso. “This collection is more inspired by Karl Lagerfeld than Gabrielle Chanel,” Viard said, adding that she “really had Karl’s world in mind”.
It spoke of the house’s confidence that the world would indeed return to some sense of normality, and that its devoted clientele would have occasion to wear couture once again. As for Viard, despite the interruption to the usual grand gestures of couture week, the designer remains convinced of its allure: “For me, haute couture is romantic by its very essence,” she said. “There is so much love in each one of these silhouettes.
Rather boring since Karl is gone.
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