Totally Chanel! We’re in Paris, Rue Cambon, 3 windows
on the 3rd floor of CHANEL are open, it’s the fitting of the Cruise
collection 2019-2020. But at CHANEL, they do not call
these fittings but Accessorisation, because, except for the minor
alterations, everything is ready. CHANEL is a well oiled machine and it is in
these moments that they add the accessories; which bags,
jewelry will go with which look. It’s an important stepping stone in the life
of the Maison for it is the first runway show imagined solely by Virginie Viard
as the artistic director, without her mentor Karl Lagerfeld
who passed away in February 2019. Thus, it is a privileged moment of contemplation,
renewal, tension, apprehension and excitement. The rectangle-shaped desk of Karl Lagerfeld has been
moved and replaced by a round table, a nice symbol. A few friends and the inner circle of the
maison are here such as Caroline de Maigret, the photographer Karim Sadli
who shot the Collection’s press kit but also Carine Roitfeld
who came to support Virginie Viard. We also noticed Sebastien Jondeau, the
ever loyal lieutenant of Karl Lagerfeld, Marie Louise de Clermont Tonnerre,
historical PR of the house who has already lived through
the mourning of Coco CHANEL in 1971. Eric Pfrunder, the fashion image director and Bruno Pavlovsky,
the president of Fashion at CHANEL. What is the theme of this show? At CHANEL you have to look at jewelry, to
understand what is the creative direction. There are bracelets,
earrings, metallic camellias. Today we have a locomotive pin
whose smoke is made of three CHANEL pearls, the clock blocked at 5 o’clock! And the CHANEL luggage tag.
It’s a collection on the journey by train. Amanda Harlech, Karl Lagerfeld’s muse,
briefs the models about the set, and then they come to this table to note
precisely all the elements of their outfit. A simple tweed jacket?
Not at all, hold on – everything is coded. And yes, there is
the white smoke of locomotive’s steam, the black lines of the rails, the green of the
countryside and sequin as the wheels of the train. Same thing for these fabrics
with red striped effects. – Is it a moving train? A very fast one. References to travel are ubiquitous but
discreet, winks, visual puns for insiders. Trains and train stations, wrought-iron lace architecture
of the late 19th century railway stations in Paris, Saint Lazare and Orsay train stations – their
iconic clocks are everywhere on this dress. Neoprene leggings for trekking,
with rail patterns. This print evokes the stacks of suitcases. And these little multicolored pearls
embroidered on the tweed also make sense. It represents passengers
waiting on the platform. We also have locks in bijoux! On this iconic CHANEL suit, the reference
of the trip is simple – it’s this pocket. A gag in the surreal CHANEL tradition, this bag is inspired by the portable
traffic light used by station managers. The model Marjan Jonkman has the honor
of holding it tomorrow during the show. Virginie Viard picks the bags displayed on the windows
and add them to the silhouettes in the fitting room. This train trip brings us to the Aubazine
abbey that Coco Chanel went to as a child, but the model isn’t from Aubazine. Many black outfits are subtly
reminiscent of mourning. Very discreet, there are these camellias,
the favorite flower of Chanel, made in openwork white
fabrics, handkerchiefs – yes, camellias are made of handkerchief,
handkerchiefs to cry, handkerchiefs to say goodbye. Sentimental detail – this white bag,
it represents the cushion that Karl Lagerfeld always held on his
belly when he traveled by train or plane. His nurse had embroidered
a locomotive when he was ten years old. The cushion fell into a rag
and he put it in a cover. He put it on his stomach.
It calmed him. He suffered nausea if he had not have it.
The cushion became a bag. The next day, heading to the banks of the Seine
at the Grand Palais for the Chanel Cruise show. It starts so early! Rehearsals on a platform of fictional station,
with false rails and ballast carefully adjusted. Future station managers
are pinning their Chanel Express badges. By climbing up the stairs of the Grand
Palais, you can see the extent of this show, two platforms with names of cities where
CHANEL Cruise collections took place – Venice, Edinburgh, and at the top, a restaurant Le Riviera
that is freely inspired by the restaurant from the Gare de Lyon, Le Train Bleu. Say hi to Frickey, team mascot! This is the last decoration
wanted by Karl Lagerfeld. He did not give any indication
of the collection but expressed his desire to recreate the Train Bleu and the station. The Train Bleu is the most chic train station buffet in
the world, created in 1901 and now a historical monument. In Le Riviera, the carpet is blue. We are
in the grand salon of the Grand Palais, a squad of waiters dressed like in Parisian brasseries
– a restaurant built by CHANEL just for this morning, with mini reproduction of wagons. Le Riviera will only serve two meals before being
dismantled – a breakfast and then a lunch. CHANEL says that all elements
of its decorations will be recycled. Virginie Viard salutes teams backstage. They have to prepare 80 models. Makeup
artists and hairdressers arrived early. – What time was your call-time? 5:45… No, 4:45. That early. Sam McKnight is busy with hair. Lucia Pica is the artistic
director of makeup. She aims at and makes up
the entire crowd of models by herself. The lineup is the longest! 80 models! Grand Palais is huge and it takes
a lot of people to fill this immensity. – Are you ready? Really ready. – You’re wearing the special collar today. Yes, it’s “the” collar. – And you have his haircut also. I think that was the initial idea. Bruno Pavlovsky checks the seating.
Fashion journalist Suzy Menkes is there. Actually it’s not sad.
People understand that Karl Lagerfeld has come to the end of his life.
We have to turn the page. Virginie is not an unknown person to the house but
someone who has been working at CHANEL for 30 years. It changes a lot. Carine Roitfeld is here. – You have a clover of
4 leaves for good luck! Of course! I carry a bag that Karl offered me. Very important for good luck. Also actress Keyra Knightley. The young French actresses in vogue as from left to
right, Diane Rouxel, Alma Jodorowsky, Lily Taieb. Hi Vogue, welcome to the CHANEL show! Lily Rose Depp and Vanessa Paradis,
both ambassadors of the house. Claudia Schiffer made the trip, as well
as Gaspard Ulliel and Guillaume Gouix. Behind the scenes,
it’s hectic, they’re ready. The very long line starts moving. And here we are at the CHANEL Cruise
2019/20 by Virginie Viard, IN EXTENSO. The first model of the cruise collection, the first of a new
era, opened by the Italian supermodel Vittoria Ceretti. She wears a jacket and pants in cotton veil, a
pleated top by the Lognon house, the famous plier. The blouse is laced with a
discreet braid ivory rafia. It is followed by a squad of five
other models coated in cotton canvas, trenches for traveling
and not caring about bad weather. It’s a cruise collection, let’s escape. A cashmere jacket, a cashmere cardigan, a cashmere dress. Adesuwa, our idol,
in cashmere jumper with CC logo in pink, the first fluorescent
color of the collection. It’s cashmere everything. Amanda Sanchez,
the fitting model of the house. This is like a first show! It’s peaceful and ultra-feminine!
The tailoring is feminine. She wears a jacket made with
Japanese laces but knitted in France, which takes the colors
of the railway uniforms of the 1930s. In the 1980s, CHANEL launched the idea
of tweed suit jacket worn with jeans – here is the tweed suit
jacket worn with leggings. Neoprene leggings, but we’re at
CHANEL so it’s glittery jersey. Here it is superimposed
on a one-piece swimsuit. Yes, you can wear a tailor jacket
CHANEL over your swimsuit. They all wear swimsuits under their tweed. We are into the Cruise vibes, these pieces will be
in store during the sunny holidays of rich clients. Look 20 is the tweed coat embroidered with mini pearls
that abstractly evokes the crowd on the platforms. 21 and 22 and 23, the CHANEL tweed tradition.
Note the small belt for hanging CHANEL mini bags. Look 24 There is traditionally less embroidery in the CHANEL cruise
collections than in Haute Couture or Métiers d’Arts collections. But still, here is a silver and
pink bustier that evokes flowers on water. For a woman who takes the train to Giverny, to
see the garden of the painter Claude Monet. Thus these passages 24, 25 and 26 are bustiers
fully embroidered by the house Lesage. But look 26 wears her embroidered bustier
under a closed jacket, no ostentation. A pink camellia in the middle
of a pink bow, so couture. Hybridized coat between
the CHANEL tweed and the oilcloth trench. Worn with a quilted bag
with an aged & faded effect. Another bustier embroidered
at Lesage with shiny leather pants and it is not a bathrobe
but an XXL cardigan. Look 31, the tweed that you have to look closely.
The horizontal black stripes are the rails. The sequins are the wheels of the train.
The white strands are the volutes of smoke. And look 32 – the high speed train jacket! And again a jacket that evokes the rail grids in the navy
blue of the former uniforms of the ticket inspectors. Look 34, on this cashmere sweater, it’s
obvious, there are rails in a sensual way. It’s madness! CC OD! This is the signal-bag held
by station managers, but acetate and strass! These figurative bags are a tradition of the
house and are collected by fierce clients. Look 36, This is Luna,
one of the fetish models of the house. Karl Lagerfeld called her Choupette. The bright colors of the hostesses
of the golden age of sleeping cars. The CC leather belts will sold out. A poignant moment in the collection, the cushion
without which Karl Lagerfeld could not travel. It became a bag,
embroidered with a clock pattern. Virginie Viard makes a reference to her mentor
with whom she worked for over thirty years. At CHLOE first and then at CHANEL. It is also the strong affirmation that in the
codes of CHANEL, there is now Coco and Karl. The clock is embroidered in sequins
and scoubidous threads, by the Montex known for its extravagant embroidery. At the pocket,
a Lesage embroidered handkerchief. Handkerchief to say goodbye. We’re at the
railroad station, it’s time to say goodbye. The color palette of Claude Monet’s
crepuscular train station paintings. Stacked suitcases,
printed on very light muslins. The little CHANEL tweed
jacket, with a silver braid. Faded denim pants with quilted effect. Virginie Viard plays with
CHANEL in all lightness. Jeans printed with plant drawings, like Claude
Monet’s paintings of his garden in Giverny. More printed muslin dresses, the cruise is a collection
that originally was reserved for tropical destinations. Tropical wardrobe for cocktails on yachts. First evening look with a black and white dress invaded
by a spectacular field of flowers embroidered by Lesage. The embroidery invades a classic dress
and creates an asymmetry. And then suddenly, 59, we calm down at once
with this openwork lace dress with clocks, worn with a removable collar,
reminiscent of Aubazine Abbey. But with a necklace tie, a metal
and leather collar, a chain necklace. But still, black dress
embroidered with sequins. With a CHANEL camellia right in the center. The graphic guipure. The clocks
that say it’s 5 o’clock Number 5! Iridescent guipure dress. This iridescent lace dress is
embroidered with clocks by Montex. CHANEL bicolor ballerinas shoes. The belt takes up the idea of the metal
and leather chain of CHANEL bags. The lace, the clocks, the metal lace of
Parisian train stations that becomes guipure. An organza dress with black
satin ribbon and white camellia. The idea of ​​hiking with
this multi-pocket backpack. Long and frilled dresses in cotton and silk reminiscent
of Gabrielle Chanel’s collections of the 1930s. In the hair metal and leather hairclips. My first CHANEL tweed suit! As if Virginie
Viard was winking at her youngest clients. He silk tops are all embroidered by Lemarié with
flowers in cotton, PVC, organza, pearls, raffia. Young girls in bloom, freshness. The last dresses of the collection;
this one is in linen, a Lemarié field of flowers in silk organza,
PVC, metal flower and pearls. Here the pastel flowers
have been hand dyed. Flowers as in the countryside,
flowers as a tribute. And here the tribute is precise.
The black silhouette. The shirt collar. The white hair. We know who Virginie Viard has in mind. This show was wonderful! I loved the way the colors were mixing
together, I found it very beautiful. Totally CHANEL! And after the finale,
it’s the moment of Virginie Viard’s salute. Behind the scenes is euphoria, joy, pride, and
also probably a lot of nostalgia, all mixed. I spotted the cushion and a little
dress in the end. I found it adorable. – What’s cute is that the
house is female again! Exactly, and it’s great! It was cool, feminine! It was already a very feminine brand, but
the female body was more visible this time. I sense the woman drawing the sketches. Bruno Pavlovsky of CHANEL is optimistic. It’s a nice moment for CHANEL, a highlight. Virginie did a very good job, she
brought her touch with the brand’s codes. It’s a perfect exercise. And then we talked to
the fantastic Ali McGraw! The actress, the model!
She was the face of Number 5 in the US! She met Coco Chanel! We also spoke to Jean Paul Goude, one of
the directors of the CHANEL perfumes saga. It’s good! There are some great things. There are some extremely feminine,
lovely clothes. I hope it’s the direction. – What did you think of the decor? It’s funny. As always. Also I lost myself exactly
like at the real train station. I felt a form of sensitivity, generosity. It’s someone with whom I
have obvious affinities. It was touching, seeing Virginie like this. I could feel that she was a little nervous. And then, we spoke to Vanessa Paradis,
who knows the house well. She understands the emotions
of this key morning for CHANEL. – What did you feel when
you saw Virginie in the end? A lot of emotions, I had a stage fright. I was waiting to see her at the
end, impatiently. I was hoping that she did not hide. I understand the billions of
conflicting emotions she must feel. Virginie is of great
discretion, great humility. She is here to bring
fashion to life at CHANEL. Today she did it with brilliance,
it was beautiful. The collection is gorgeous. The most sentimental detail
for me is the last black dress with the high collar. There you go!
An EXCLUSIVE and never-seen-before video! The fittings and the show IN EXTENSO of the
CHANEL Cruise 2019/20 by Virginie Viard. Feel free to click for
more backstage videos! And subscribe – if you like
fashion you may love this channel!

100 thoughts on “EXCLUSIVE! CHANEL CRUISE BY VIRGINIE VIARD! by Loic Prigent

  1. A great video going really in detail about the inspiration and creation of Chanel's collection. Amazing 😍

  2. Would you please record voice over in English, please… I want to watch the video not to read the text, and you should have been done this even before releasing the video

  3. Some outfits are a bit tacky, like something you’d find at Forever 21. Other outfits are immaculate… a moment in time.

  4. C'est fabuleux. Merci Loïc de nous partager ces si beaux moments ! J'aimerais tant y participer, plus tard.

  5. Loved it! This is what I have been waiting for to have behind the show videos and such with luxury brands. The pressure from creating the dresses to casting and to the runway show. Merci!

  6. I watched your dior video and decided to watch this. am thankfull fornthr great subtitles. Excellent video. Thank you for the exclusive content

  7. Comme toujours, sont les détails qui font la différence. Merci pour ces explications minimalistes , pourtant..
    détaillées ! Merci Loïc !

  8. Virginie has successfully taken up the baton that Karl had left and ran with it. Karl would have been really proud of her.

  9. What a mess with all those people around and such a small space. But what strikes me the most is how happy everyone is and the body wasn’t even cold yet. C’est la vie , no pun intended 🤷🏾‍♂️

  10. J'adore la façon avec laquelle tu explique , cette vidéo et celle du défilé croisière Jaquemus sont mes préférés ❤

  11. I love this new femininity from Viard. Lagerfeld was very inventive and experimental but his clothes were often not very pretty. Viard brings a new prettiness to Chanel and I love it.

  12. The dresses all looked very feminine which the Chanel house really is. I wish since its her first collection, she should have hired all the past Chanel muses and brides.

  13. Caroline de Maigret est toujours d'une vulgarité incroyable ! C'est vraiment le néant absolu cette personne….

  14. Great and awesome video Loic and I love it. You are making me wanting to learn French immediately! I truly love the idea of the camelia handkerchief to wave goodbye for “departure” at the train station. Insanely thoughtful. 😢

  15. Très beau défilé Chanel. Magnifique ! Une pensée toutefois pour Coco Chanel et Karl Agerferd qui ont dû applaudir de là-haut !

  16. J'ai adorée le défilé…..Vraiment…Mais je trouve qu'il manquait, pour qu'il soit RÉUSSI…….Des mannequins plus expérimentés POINT Et peut-être même un peu plus jolis. CERTAINES L'était d'autres Non,!

  17. "Eh oui on peut Porter une veste Chanel avec son maillot de bain" Hahaha j'adore!!! 😁😁👏👏 on apprend beaucoup avec tous les details la collection inspirée vis à vis du theme vraiment fascinant! er voilà ce qu'on appelle "High end fashion and great craftsmanship", Et toujours fidèle et loyal a Coco Chanel l'histoire de sa vie, son inspiration et puis aussi Karl Lagerfeld qui a inventé ces signes l'horloge, le numéro 5,son coussin quand il était petit haha incroyable… J'ai beaucoup appris, merci pour ces videos Great great Fashion editing cover, so well done! 👏👏😍

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