A Symphony of Elegance: Chanel Haute Couture 2024-25

Undoubtedly, CHANEL’s choice of the Palais Garnier was a success. Alongside French director Christophe Honoré, the opera house was reinvented for the occasion. Honoré’s idea was to transport the red velvet boxes from the gilded theater to the corridors, allowing attendees to view the runway immersed in the theatricality of an opera performance. It was an extraordinary synergy.

The show, directed by CHANEL’s Fashion Creation Studio, captivated all who had the honor of attending. The opening look, presented by the coveted model Vittoria Ceretti, was an opera cape in black taffeta, with a ruff neckline framing her face and her hair tied back with a grosgrain bow. This perfect combination of the cape’s theatricality and Vittoria’s elegance is a tangible testament that, even in times of change, CHANEL always delivers the best.

As the looks progressed, a blend of two worlds emerged: Haute Couture and opera. Feathers, tassels, cabochons, embroidered flowers, precious braids, lacquered jersey, supple tweeds, silky velvet, illusion tulle, taffeta, and duchess satin harmoniously intertwined, expressing opulence without losing the sobriety and elegance that characterizes the house. The classic CHANEL skirt suit was revamped with tassel or fringe embroideries on cuffs and hems, or crafted in vibrant jewel tones adorned with colorful cabochon stones.

Finally, Angelina Kendall portrayed the bride in white taffeta, wearing a voluminous dress reminiscent of the drama and fantasy of a theatrical production, maintaining continuity with the preceding runway looks.

These two worlds combined seamlessly, presenting looks that uphold the tradition and romance of both opera and the Maison, while showcasing undeniable innovation.

In times of uncertainty, and with no new creative director appointed, CHANEL once again succeeded in making us dream with this magnificent evening at the Opéra Garnier.