CastaliaLux Archive
Object Dossier
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
An object read through material, silhouette and the enduring codes of the House.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
A jacket with excellent manners and a taste for attention. Its pleasures reveal themselves gradually: first the overall impression, then the details that invite a second look
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
For his Versailles presentation, Karl Lagerfeld imagined a court that had discovered contemporary fashion—and rather enjoyed it. Eighteenth-century references met denim, abbreviated proportions and thick-soled creepers; pastel hairpieces and double-C beauty spots supplied the finishing wink.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
His description, “Coco rock, not rococo,” captured the collection’s cheerful irreverence. History provided the vocabulary, while modern dressing changed the accent. Even the aristocratic references had room for mischief: Derek Blasberg’s Harper’s Bazaar report recounts Lagerfeld’s interest in Madame du Barry and masculine clothing.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
This jacket belongs to the collection’s more composed register. Its relationship to Versailles lies in the balance of formality and decorative pleasure—the sense of dressing beautifully without becoming solemn about it.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
AS SEEN ON — CHIARA FERRAGNI
A design worn by Chiara Ferragni, bringing Chanel’s courtly imagination into a contemporary wardrobe.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Precious Lesage ribbon tweed. Carefully interwoven ribbons give the black fabric its depth and richly worked surface. Their precise arrangement makes the textile itself the principal decoration, rewarding close attention to its construction.
CHANEL lettering throughout the ribbons. The name follows their paths through the weave, turning the house signature into part of the fabric’s architecture. A calling card, woven rather thoroughly into the conversation.
Fringed borders. The ribbon texture continues into softly finished edges, giving the dense textile a tactile outline.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Handmade jewel buttons. The Gripoix buttons introduce the intimate scale of jewellery: small objects whose elaborate detailing encourages a closer look.
Baroque decoration with central CC motifs. Decorative flourishes surround the interlocking Cs, giving the house emblem a suitably dressed-up frame. Their bright surfaces stand clearly against the dark textile.
A coordinated arrangement. Six principal buttons form two columns down the front, with matching examples on the pockets. The repetition gives the ornament order and purpose.
Each piece is examined for structural integrity, surface condition, hardware and interior. We guarantee a fully clean lining and the complete integrity of all jewel hardware.
Every piece is accompanied by a digital certificate of authenticity and a corresponding NFT certificate, both issued upon completion of the acquisition.
Worldwide delivery via DHL Express, with estimated arrival within 2–3 business days.