Chanel Archives

Using the notes app, because I can think and type faster than I can ever write. My new digital scanner is probably one of my favourite purchases recently, and I’m constantly searching on eBay to add to my print media collection (lookbooks, catalogues, press kits, calendars) and sometimes magazines — especially Vogue Italia from the Steven Meisel era. I definitely get way too many eBay search notifications!

I’ve always remembered it, even just from pop culture, from seeing the beauty counters everywhere and the perfume ads, and I’ve always loved the symbolism of the interlocking CC and just the name Chanel itself. But it wasn’t until I was a teenager when I really discovered and paid attention to the runway collections, in the peak of the Tumblr and style.com era. Then years later I wanted a place to upload all my scans and research, of the catalogues I had started collecting, which began my archive page.

I look at things more technically than just aesthetically. Finding the show notes through press kits, hearing what inspired the collections from TV news reports and article clippings. But with Chanel especially, I’m always looking for that twist on the codes each season. And then with my garment video series, I film different clothing, bags and accessories from either my collection or from auctions, and talk about the fabric specifications and how it’s actually constructed, basically the parts most people never see from a runway photo. But there’s always something more to learn which is actually quite stimulating.

With technology, social media and smartphones evolving so much in recent years, especially the introduction of algorithms to push content out to everyone instead of just your followers, it’s easier than ever to reach new people, but harder to keep their attention.

I’m always adding notes for research on posts I’m working on and tweaking things until the last minute. Some posts are inspired by something I’ve come across, but something that’s helped me to learn about the collections even more deeply over the years is getting insight from designers who worked with Karl [Lagerfeld] at Chanel, like Laetitia Crahay who designed accessories, and Frank Charriaut who worked on footwear and designed the surfboards and other sport items. Being able to ask where a certain reference came from, what inspired Karl at the time, has answered questions I don’t think I’d have necessarily found in a press kit, etc.

I first collaborated with Karen Elson to interview her on the Fall/Winter 1997 campaign she was in, and then Orlando Pita to look at the old Hollywood hairstyling he did for the Spring/Summer 1995 campaign, then I liked the idea of doing a conversation series. The questions definitely flow more when I can ask about more niche subjects. But so far everyone I’ve spoken with has been really enthusiastic about answering my questions, reminiscing and sharing their personal stories of working with Karl, or now with Matthieu [Blazy].

Amanda Harlech, Carlyne Cerf de Dudzeele, who both helped shape Karl’s vision. For models, I’d love to hear from Claudia Schiffer about all the 90s campaigns, Brandi Quinones too. Michel Gaubert, who is behind the Chanel show soundtracks and has worked with Karl since, I believe, 1990. From a different perspective, there would be Mouna Ayoub, a longtime couture collector who had the incredible couture auction, I’d love to hear what it’s like to actually buy, customise and wear haute couture.

There aren’t many ways to put it other than surreal, after spending so many years watching the Grand Palais shows online, to then walking in there for the first time was excitingly overwhelming. There’s a lot to take in before the show even starts. The details of the set and who’s around. But each show I’ve attended still feels as exciting as the first, butterflies always, but I just know what to expect a bit more now.

Now that we’ve seen every season: both seasons of ready to wear and couture, métiers and cruise… I think we have a clearer vision of where he’s taking Chanel. When I first saw the crumbled ‘Reissue 2.55’ on the opening look from his debut show, I knew he was going to push the boundaries of how we see Chanel, but with his own twist. So far it feels like a multifaceted look at how Coco [Chanel] started the house, her interests and little quirks, whilst taking full advantage of the many maisons under Chanel’s belt.

I’ve always thought Marc Jacobs would be an interesting choice, with his sense of imagination and storytelling, so I’d pick Marc from his namesake label. I’ve also loved seeing him wearing Matthieu’s Chanel recently, specifically the jackets and bags.

Tilda Swinton is someone I’ve always thought has been an amazing ambassador for the house, both in attitude and style. I also think Anne V, the original Chanel Chance girl, who starred in the 2003 perfume ad campaign and film directed by Jean-Paul Goude, and who has since appeared in Matthieu’s runway shows, would make a great ambassador too.

Fall/Winter 2002 is an amazing campaign, with Karolína Kurková. I have the catalogue and she’s shot as a kind of rock-band-chick in the fictional band Coco Girls with razor-sharp hair. She actually reminds me a lot of Uma Thurman in Kill Bill. And to go along with that rock band theme, at the show Vive la Fête the Belgian electro-rock group actually performed at the show.

It feels impossible to choose just one so I’ll narrow it to two for different reasons, Cruise 2004 Candyland as the most ridiculously fun with the ice cream cone sundae and slices of cake motifs. Fabrics, beading and accents resembling different kinds of candy. With a colour palette of powdered blue, sorbet yellow and Mattel pink.
And then Fall/Winter 2004 Haute Couture was featured in the 2005 documentary series Signé Chanel directed by Loïc Prigent, which follows the lead-up to the show. The collection has a kind of matryoshka doll concept, called the duo where Karl introduced looks that had a 2-in-1 effect where parts of the look would be taken off to reveal a different way of wearing the look.

I’ve thought about and envisioned this so many times before, but I think a flea market could be really dynamic, or even an antique store for a smaller, more intimate show. In the spirit of Matthieu’s leopard and cheetah print bags… Chanel safari? I also love the final scene in The Wizard of Oz with the hot air balloon, maybe something built and referenced around that, but at nighttime instead of the predictable blue sky, and I’ve always thought a sky full of hot air balloons is beautiful too. The colour combinations and prints you could play around with, such as balloon stripes as tweed, raffia from the basket, along with the nature element.