When I received the save the date for the CHANEL Spring Summer 2024 Haute Couture show the other week, I was instantly excited for the coming presentation. Seeing that the Maison had titled the show “The Button”, I had a feeling the collection would reference this seemingly simple yet ever so important little piece that can be found on many a CHANEL garment. The CHANEL button is a special item. It is a little jewel that adds so much to a CHANEL piece, and embodies the excellence of the Maison. Each Chanel button is a work of art in its own right. Not only are they little jewels, but they are also little sculptures. They reference the inspiration of the collection and frequently feature the symbols and codes that are linked to both the collection they appear in and CHANEL itself. The first collections that Gabrielle Chanel designed were done with the intention of freeing women from both corsets and the restraints of society. She recognized that the button allowed women this freedom of movement both literally and metaphorically. Not surprisingly, Gabrielle Chanel was also drawn to the world of dance. The exploration of freedom of movement found in the ballet world of the 20th century captivated her and began the Maison’s long-term relationship and support to the world of ballet.
“I often think about dance, it’s an important theme at Chanel. The House is close to its institutions, to its choreographers and dancers, and we create costumes for the ballet. I have tried to bring together the power and finesse of bodies and clothes in a very ethereal collection, composed of tulle, ruffles, pleats and lace.” – Virginie Viard
With the world of ballet and the refinement of CHANEL finish providing the inspiration for the Spring Summer 2024 collection, it was a triumph for Virginie Viard. The collection highlighted the mastery of CHANEL’s Haute Couture Ateliers and the artisans who practice the highly specialized techniques that add such refinement and wonder to CHANEL Haute Couture pieces. Pleating, beading, embroidery, and light as air ruffles floated down the runway. The color palette of pink and white aquarelle dominated the collection and owes its touches of vivid colour to the Ballets Russes of Léon Bakst and Sergei Diaghilev (which Gabrielle Chanel was an ardent supporter of). Thus unfolds a landscape of transparent short straight skirts, long dresses, jumpsuits and little capes embellished with embroideries depicting draperies, little bows, illusion tulle pockets, lace belts, sequins, braids and little flowers. Masculine figures and the beauty of the body give rise to a very feminine collection, worn over white ballet leotards and tights.
