On this most recent trip to Paris, I drove past the Palais Garnier many times and was, each time, astounded by its sophisticated elegance. A stately building dating back to 1875, it felt a fitting location for the CHANEL Fall-Winter 2024/25 Haute Couture runway show.

Presented by the Fashion Creation Studio, this collection explored the kind of elegance that befits a night at the ballet. Voluminous proportions met with pared back austerity, while the theme of dance wove its way amongst tutu silhouettes and layers of diaphanous tulle. 

There was a nod not only to the cultural history of CHANEL and its longstanding connection to the arts, but also to the enduring codes of the House. Oversized bows adorned models’ hair, while glittering tweeds welcomed the night. 

The set designed by French director Christophe Honoré was complete with red opera boxes and the elegance of the scene was balanced by sumptuous materials featured throughout the collection—including duchesse satin and silky velvet. 

Puffed sleeves and flouncy pleats recalled a romantic elegance of eras past, while the balletic silhouettes paid homage to 1920s productions such as Le Train Bleu and Apollon Musagète, for which Gabrielle Chanel created the revolutionary costumes. 

Marking the first presentation since last month’s departure of former artistic director Virginie Viard, this collection showcased the technical expertise and impeccable craftsmanship of the CHANEL Haute Couture ateliers—which employs some 150 people across six ateliers at 31 rue Cambon.

A veritable feast for the senses, CHANEL’s Fall-Winter 2024/25 Haute Couture show was closed by Australian model Angelina Kendall, fashioned as a stage-worthy princess bride in billowing sleeves and a fitted camellia bodice. An impressive final act, worthy of applause.