![]() ![]() ![]() In that menacing era, these parties might have been a form of escapism, but as we now look to a post-pandemic future, and as Paris couture week unfurls in a flurry of dinners and in-person gatherings, Viard’s gentle romanticism suggests optimism instead. In a preview in the Chanel studio on the Rue Cambon, Viard also spoke of two women artists, the acclaimed Impressionist Berthe Morisot, sister-in-law of Manet, and the Cubist Marie Laurencin, a key figure in the cultural landscape of Jazz Age Paris, whose delicately colored works include a portrait of the young Coco Chanel herself. That airy spirit continues in the quirky way Viard marries bouffant skirts or even suits-made from “tweed” woven from narrow strands of multi-colored tulle and ribbon-with delicate bustiers of pale pink broderie anglaise or chalky lace, and lingerie-light chiffon and lace camisoles and bloomers that she aptly calls her “little deshabilles.” In the haute couture, God is in the details-even the exquisite buttons mimic artist’s palettes or Monet nympheas, crafted from mosaics of tiny colored rhinestones, while feathered blossoms bloom under the stiff brims of Maison Michel felt hats. ![]()
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