“Black Swan” by Chanel

The Parisian fashion house of Chanel is in mourning following the quiet, unexpected passing of its creative director. Virginie Viard is Chanel’s symbolic “black swan” Just three weeks after her shock resignation, the brand presented its latest haute couture collection in a show shrouded in melancholy and controversy. The venue itself—the majestic Opéra Garnier—seemed to reflect the somber mood of the event. The absence of Viard, a woman who had shaped Chanel’s vision for nearly three decades, was a painful reminder of her absence not only from the collection but from the brand as a whole.

The spring-summer 2024/25 collection, titled “Black Swan”, seemed to be a symbolic farewell for Viard. Black dominated – the colour of mourning and melancholy. Heavy satin dresses, like mourning coats, slithered down the catwalk like ghosts of Chanel’s former glory. Even the first and last look of the collection – a black satin dress with a cut that was perfect for the funeral of the Doge in Venice – emphasised the drama of the situation. The show, although perfected in every detail, left observers feeling empty and unsatisfied. It also lacked the spark, shine and joy that characterised Chanel’s collections during Karl Lagerfeld’s time.

The shadow of a giant and the pressure of success

Virginie Viard has been shaping herself in Karl Lagerfeld’s shadow for years, becoming his right hand and confidante of secrets. In 2019, after the death of the master, she faced a real challenge – taking over the reins of Chanel, one of the most recognizable fashion houses in the world. At first, she did great. Under her watchful eye, the brand flourished, achieving record sales of almost $20 billion in 2023. However, with time, the first voices of criticism appeared. There were whispers about the repetitiveness of the designs, the lack of spark and freshness that characterized Lagerfeld’s collections.

The climax came in May when the “cruise” show in Marseille disappointed fans. The cold aura of the Côte d’Azur was not conducive to summer outfits, and Internet users openly expressed their dissatisfaction, questioning Viard’s vision and accusing her of lacking talent. A month later, in the middle of the night, Viard’s departure from Chanel was announced in a terse press release.

It is also customary in the fashion world for departing designers to bid farewell to their brands with a grand show, as if it were a final bow to fans and the industry. Viard, however, did not seize this opportunity. She was reportedly so shocked by the decision to fire her that she hurriedly left her office at Chanel’s headquarters on rue Cambon, leaving a storm of emotions behind her. Ultimately, the spring-summer 2024/25 collection was completed by Chanel’s in-house design team. Although the collection was far from “vintage,” it was met with moderate acclaim.

“Black Swan” Chanel

Chanel’s “Black Swan” show opened with the melancholic song “Sympathy” by 1960s band Rare Bird. The song’s lyrics, speaking of “cold and dark,” perfectly captured the atmosphere of the collection, which was permeated with a hint of melancholy and coldness. Models, like bored mannequins, walked down the catwalk in simple suits. Jackets devoid of the classic four pockets, buttoned under the neck and decorated with haberdashery, were paired with pleated skirts reaching below the knee. Minimalist cuts and muted colors – black, white and beige – also emphasized the raw and cool character of the collection.

Another element of the show were classic Chanel jackets with short necklines and flap pockets. This time, the fashion house chose shades of the Queen of England’s aubergine and peach, adding some warmth and femininity to the collection. However, the real gems of the show appeared at the end. Metallic cocktail dresses with mutton sleeves delighted with their shine and originality. The absolute star of the show was a fabulous ecru latex dress, finished with white coq feathers and a sequined bra. This creation, like a symbol of hope, illuminated the dark atmosphere of the collection and gave hope for a better tomorrow.

Viard is leaving Chanel, shrouded in a shadow of ambiguity and speculation. Parisian designer Lutz Huelle defended the designer, emphasizing the enormous challenge she had to face in replacing an icon like Lagerfeld. “Regardless of how one evaluates her legacy, no one can deny that she faced an impossible situation,” Huelle commented. The question remains, however, whether the pressure of Lagerfeld’s legacy proved too heavy a burden, and she herself did not live up to the expectations of the fashion giant? Time will tell what the future holds for Chanel without her creative genius.