A colossal button descended from the ceiling in Chanel’s latest show. The magnified object took centre stage in the Maison’s Spring 2024 Couture collection. In anticipation of its debut, Virginie Viard commissioned the appropriately named film The Button from Kendrick Lamar, Dave Free and Mike Carson. Similarly, a century earlier, Gabrielle Chanel collaborated with a team of artists to design costumes for the Ballet Russes production of Le Train Bleu. In Virginie Viard’s Chanel, life consistently imitates art.

For the Maison’s latest haute couture collection, the designer once again drew inspiration from the brand's founder. Ballet references permeated the collection in various forms. Layers of white tulle blurred the lines of classic tweed ensembles and beautifully embroidered dresses mirrored the shapes of camellias. The light colour palette, anchored in ballet white, evoked memories of her predecessor's fondness for pastels. The ever-present white tights not only aligned with current trends but also contributed to the overall ballet sensibility of the collection.

Surprisingly, the most impressive use of buttons wasn’t in the ceiling. From Margaret Qualley’s absent button on the right arm of her jacket to shiny iterations on sheer dresses, colourful coats and shrunken tweed jackets — Viard’s decorative use of the often-utilitarian object infused an undeniable youthfulness into the collection. This sentiment persisted all the way to the final look, where the conventional bridal gown was replaced with an embroidered mini dress accompanied by a sweeping tulle capelet.

Words by Pedro Vasconcelos

CHANEL HAUTE COUTURE SS24

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