Behind the scenes for Chanel's FW 2025/26 pre-collection with Jennie
For Jennie, the 1990s are a special time. 'I've been influenced by everything from the 1990s,' she says. She means 'everything' literally—not only its fashions, but also its films, music, and art. In short, the decade as a whole. The collection embraces the same influences too. The Chanel Creation Studio has given an interesting twist to the masculine yet feminine styles that were worn by the stars of 1990s romantic comedies, like Julia Roberts in Notting Hill . The contrasting and opposing elements are evident in the broad-shouldered black jackets with belts, flared trousers with menswear tailoring, corsets reminiscent of men's waistcoats and a navy jacket paired with shorts that has a certain military vibe. Courtesy of Chanel
Another theme is lace. One of the symbols of Chanel, lace lends a delicate and poetic touch to the entire collection. From silhouetted dresses to jumpsuits adorned with camellia motifs, detailed skirts and sporty white hoodies paired with floral tights, lace elegantly subverts stereotypes of femininity in unexpected ways. It also appears on tweed and knitted fabrics, reflecting Chanel's soft and poetic sensibility. For the house of Chanel, lace is more than just a detail; it's symbolic of both women's inner and outer worlds at once.
In the end, the pre-collection is about more than just clothes, it is also redefining femininity. Ribbons and lace, tweed and denim, corsets and flared trousers, these disparate elements come together to create a new vision of femininity—sometimes elegant and sometimes more rough-edged, sometimes soft and at other times hard. This pre-collection is for all those 'other women' who don't easily fit into simple categories, and Jennie is an icon who represents that complex femininity. Jennie, the inspiration for Chanel's fall-winter 2025/26 pre-collection, shot the campaign with Craig McDean in Paris. Vogue was there to capture the shoot as it took place. Peter Ash Lee
In a behind-the-scenes film with Vogue, Jennie shared that, 'every Chanel collection has an iconic woman as its muse, and it was such an honour to be part of the creative process, sharing my favourite things and my own style. Some of the looks are modern interpretations of Chanel pieces I've worn in the past and others are pieces that hold special memories for me. I wanted the collection to capture the appeal of contrasts. I love that Chanel has always celebrated the strong and assertive side of women, and I want every woman to be inspired to follow her dreams and express herself in her own way.' As the face and voice of this pre-collection from Chanel, Jennie shared her taste, style and perspective on women today exclusively with Vogue.
Ultimately, the Chanel fall-winter 2025/26 pre-collection is a story about women. How do you and Chanel see women?
We have a lot in common. We support all women and want women all over the world to be free to follow their dreams and do what they really want to do. The collection was inspired by 1990s romantic comedy protagonists, Paris and Jennie's own style. Peter Ash Lee
The campaign was shot with Craig McDean. What was the atmosphere like on set?
It was my first time working with him, and I was really impressed. I studied his work before the shoot, looking at everything I could find. He has his own way of making models stand out, and I especially fell in love with the way he uses colour. I thought a lot about how I could collaborate with him more organically and effectively. Once the shoot started, everything flowed so smoothly. It was as natural as if we had worked together many times. A behind-the-scenes film was also shot for Vogue. Peter Ash Lee
The collection has a lovely 1990s vibe to it, like a romantic comedy.
I've always been inspired by the fashion, art, music and films of the 1990s, and Notting Hill is my favourite film of all time. The first time I saw it, I fell in love with the atmosphere, the colours, the music and Julia Roberts' style. I still watch it every now and then when I have time. Her style is feminine yet boyish, romantic yet preppy, and I often think of her as a style muse.
Was there a look or detail from the collection that you particularly loved?
I really liked the denim looks and the ones that appear effortless. I love fashion and I love to dress up, but comfort is always the most important thing to me. Denim is casual and cool, so it's always a staple in my wardrobe. I often mix and match it with different pieces. I also loved the ribbon details throughout the collection, which made it even more special because it's so iconic of Chanel. For her first collaboration with Craig McDean, Jennie says that she looked at his photographs and offered some of her own suggestions. The star kept the mood positive with her infectiously upbeat energy. Peter Ash Lee
The key to the Chanel fall-winter 2025/26 pre-collection is the juxtaposition of contrasts: femininity and masculinity, classic Parisian looks and your own style. It's what you and Chanel do best.
Chanel has always played with the contrast between femininity and masculinity, and I find that really interesting. It's a brand that makes women feel confident when they wear their clothes, and they reinterpret that contrast in each collection, so it never becomes boring. This collection has the essence of Paris, which I love, but it also incorporates my personal fashion style from over the years. There were looks in the collection that I looked at and thought, 'This is just like something I've worn in the past!' I felt that Chanel really understood my style.
This story was originally published on Vogue Korea.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Straits Times
12 hours ago
- Straits Times
Extra, extra: Read all about the last newspaper hawker in Paris
PARIS – Among the literary cafes and chic boutiques of the Saint-Germain-des-Pres quarter of Paris, an impish man with a wad of newspapers makes the rounds, his trademark cry of 'Ca y est!' or 'That's it!' echoing down narrow cobblestone streets. Mr Ali Akbar of Rawalpindi, Pakistan, is a man with a ready smile who has been hawking newspapers for a half-century. Sometimes, he spices his offerings with made-up stories. 'Ca y est! The war is over; Putin asks forgiveness,' was one recent pitch that caused grim hilarity. From Cafe de Flore to Brasserie Lipp – two famed establishments where food and culture are intertwined – Mr Akbar plies a dying trade in a dwindling commodity. He is considered to be the last newspaper hawker in France. The profession may have reached its zenith in Paris in 1960, when American actress Jean Seberg was immortalised on film with several newspapers under her arm crying 'New York Herald Tribune!', as she strolled on the Champs-Elysees, pursued by French actor Jean-Paul Belmondo. Nobody in French-Swiss director Jean-Luc Godard's classic movie Breathless (1960) is buying The Trib except Belmondo's character, who is unhappy that the paper has no horoscope, but unhappier still to discover that his charm makes little impression on the beauty and faux American innocence of Seberg's character, yet another foreigner smitten by Paris and angling to make a buck. Mr Akbar is one of them, too. 'Sah-yay!' is roughly how his cry to buy sounds. Through persistence and good humour, he has become 'part of the cultural fabric of Paris', said Mr David-Herve Boutin, an entrepreneur active in the arts. Such is Mr Akbar's renown that French President Emmanuel Macron recently awarded him a Legion d'Honneur, the Republic's highest order of merit. It will be conferred at a ceremony at the Elysee Palace in autumn. Top stories Swipe. Select. Stay informed. Singapore Almost half of planned 30,000 flats in Tengah to be completed by end-2025: Chee Hong Tat Asia Death toll climbs as Thai-Cambodia clashes continue despite calls for ceasefire Multimedia Lights dimmed at South-east Asia's scam hub but 'pig butchering' continues Singapore Black belt in taekwondo, Grade 8 in piano: S'pore teen excels despite condition that limits movements Asia Where's Jho Low? Looking for 1MDB fugitive in Shanghai's luxury estate Asia Thousands rally in downtown Kuala Lumpur calling for the resignation of PM Anwar Life SG60 F&B icons: Honouring 14 heritage brands that have never lost their charm Business Can STI continue its defiant climb in second half of 2025? 'Perhaps it will help me get my French passport,' said Mr Akbar, who sometimes has a withering take on life, having seen much of its underside. He has a residence permit, but his application for French nationality is mired in Gallic bureaucracy. A stack of newspapers under the arm of Mr Akbar. PHOTO: DMITRY KOSTYUKOV/NYTIMES Mr Akbar moves at startling speed. A sinewy bundle of energy at 72, he clocks several kilometres a day, selling Le Monde, Les Echos and other daily newspapers from around noon until midnight. Dismissive of the digital, he has become a human networker of a district once dear to writers Jean-Paul Sartre and Ernest Hemingway, now overrun by brand-hungry tourists. 'How are you, dear Ali?' asks Ms Veronique Voss, a psychotherapist, as he enters Cafe Fleurus near the Jardin du Luxembourg. 'I worried about you yesterday because it was so hot.' Heat does not deter Mr Akbar, who has known worse. He thanks Ms Voss with a big smile and takes off his dark blue Le Monde cap. 'When you have nothing, you take whatever you can get,' he says. 'I had nothing.' At his next stop, an Italian cafe, Mr Jean-Philippe Bouyer, a stylist who has worked for French luxury brand Dior, greets Mr Akbar warmly. 'Ali is indispensable,' Mr Bouyer says. 'Something very positive and rare in our times emanates from him. He kept the soul of a child.' Born in 1953 into a family of 10 children, two of whom died young, Mr Akbar grew up in Rawalpindi amid rampant poverty and open sewers, eating leftovers, sleeping five to a room, leaving school when he was 12, working odd jobs and eventually teaching himself to read. Born in Rawalpindi, Pakistan, Mr Akbar left home in his late teens in search of a better life. PHOTO: DMITRY KOSTYUKOV/NYTIMES 'I did not want to wear clothes that reeked of misery,' he said. 'I always dreamed of giving my mother a house with a garden.' To advance, he had to leave. He procured a passport at 18. All he knew of Europe was the Eiffel Tower and Dutch tulips. A winding road took him by bus to Kabul, Afghanistan, where Western hippies, most of them high, abounded in 1970 – but that was not Mr Akbar's thing. He went on by road to Iran where, he said, 'the shah was an omnipresent God'. Eventually, he reached Athens, Greece, and wandered the streets looking for work. A businessperson took pity and, noting his eagerness, offered him a job on a ship. Mr Akbar cleaned the kitchen floor. He washed dishes. He was faced by aggressive mockery from bawdy shipmates for his refusal, as a Muslim, to drink. In Shanghai, he abandoned ship rather than face further taunting. The world is round, and around he went, back to Rawalpindi, and then on the westward road again to Europe. His mother deserved better – that conviction drove him through every humiliation. Visa issues in Greece and eventual expulsion landed him back in Pakistan a second time. His family thought he was mad, but, undaunted, he tried again. This time, he washed up in Rouen, France. It had taken only two years. After working there in a restaurant, he moved on to Paris in 1973. 'By the time I got to Paris, I had an overwhelming desire to anchor myself,' Mr Akbar said. 'Since I began circling the planet, I hadn't met many people who didn't disappoint me. 'But if you have no hope, you're dead.' He slept under bridges and in cellars. He encountered racism. He spent a couple of months in Burgundy harvesting cucumbers. Mr Akbar began hawking newspapers in Parisian streets in the early 1970s. PHOTO: DMITRY KOSTYUKOV/NYTIMES At last, in 1974, Mr Akbar found his calling when he ran into an Argentine student hawking newspapers. He inquired how he could do likewise and was soon in the streets of Paris with copies of satirical magazines Charlie Hebdo and Hara-Kiri, now defunct. He liked to walk, enjoyed contact with people and, even if margins were small, could eke out a living. Fast forward 51 years, and Mr Akbar is still at it. Because Saint-Germain is the home of intellectuals, actors and politicians, he has rubbed shoulders with the influential. From former presidents Francois Mitterrand and Bill Clinton to actress-singer Jane Birkin and author Bernard-Henri Levy, he has met them all. None of this has gone to his head. He remains a modest guy with a winning manner. His main newspaper is now Le Monde, which he acquires at a kiosk for about US$2 (S$2.50) a copy and sells for almost double that. He makes around US$70 on an average day and rarely takes a day off. Newspaper reading remains ingrained in France. Friends may buy two or three copies and slip him €10 (S$15) or invite him to lunch. He has no pension, but he gets by – and his mother got a Rawalpindi garden. Mr Akbar will receive a Legion d'Honneur, France's highest order of merit, at a ceremony at the Elysee Palace in autumn. PHOTO: DMITRY KOSTYUKOV/NYTIMES From an arranged marriage with a Pakistani woman in 1980, Akbar has five sons, one of them with autism and another with various physical ailments. A sixth child died at birth. Life has not been easy, one reason 'I have made it my business to make people laugh', he says. He is deeply grateful to France, which he calls a land of asylum, not least for the education it gave his children. But he believes that as a brown-skinned foreigner, he 'will never be completely accepted'. Some 50 years lat er, Mr Akbar remains on the move. Lose sight of him for a second and he is gone. But then comes the cry, 'Ca y est! Marine is marrying Jordan!', a reference to far-right leader Marine Le Pen and her young protege Jordan Bardella. His jokes are a sales pitch, but they also reflect a yearning for a happier, simpler world . NYTIMES
Vogue Singapore
a day ago
- Vogue Singapore
Youths in Balaclava reinvents Levi's for Fariz Jabba
Courtesy of Youths in Balaclava For Youths in Balaclava (YIB), the Levi's collaboration wasn't just another creative brief—it was a personal mission. Commissioned as part of FUTURE ASIAN MUSIC X LEVI'S presentation, ROAD TO FAM, a city music series spotlighting emerging talents across Southeast Asia, the homegrown brand was tasked with designing two bespoke performance looks for Singaporean rapper, Fariz Jabba. The first debuted in May at the Singapore show; the second, unveiled during the finale on 9 July in Bangkok, marking the culmination of this experimental, cross-cultural journey. At the heart of this collaboration lies the idea of reconstruction through destruction—a raw yet refined philosophy that YIB has steadily sharpened since its inception. Known for their subversive, anti-establishment aesthetic, the brand brought their distinct language to Levi's iconic silhouettes, pushing boundaries while honouring heritage. Fariz Jabba in Youths in Balaclava's battle-worn Levi's trench—WWI vibes meet biomechanical details. Courtesy of Youths in Balaclava Armoured for the stage: Edo warrior spirit meets American football grit in Youth in Balaclava's reimagined Levi's. Courtesy of Youths in Balaclava The first look reimagined a Levi's trench coat, denim shirt and jeans through a WWI officer lens, featuring everything from vegetable-tanned leather inlays to 925 silver hardware—visual nods to battle-worn dignity and biomechanical storytelling. The second outfit, made for the humid heat and high energy of a Bangkok stage, draws inspiration from Edo-period Japanese armour and American football gear—two seemingly disparate sources unified by their shared emphasis on resilience and protection. Both looks tell a visual story not only of Fariz's stage persona, but also of the wider Southeast Asian youth identity: bold, unflinching and in constant motion. But beyond the artistry lies a deeper synergy between music and fashion, artist and designer. As founder and creative director of Youths in Balaclava, Taufiq Iskandar shares in an interview with Vogue Singapore, the collaboration was deeply intuitive, rooted in friendship, shared values and mutual respect for craft. Below, Iskandar breaks down the techniques, inspirations and emotional labour behind the collaboration—offering an intimate look into the making of two looks that speak volumes on identity, transformation and the power of Southeast Asian artistry on a global stage. How did the collaboration between Youths in Balaclava and Levi's SEA come about? What drew you to this project?A mutual contact from a marketing agency reached out and said Levi's wanted to collaborate on a custom piece for Fariz Jabba. What drew us to it was immediate and instinctive. Fariz is family to us, and he is representing Singapore on an international stage in Bangkok, there's no question about stepping up. We weren't going to let him walk out there in anything less than what we knew he deserved. The fact that it was Levi's made it even more compelling. We've been fans of the brand for years. This wasn't just another collaboration opportunity; it was the perfect alignment of personal relationship, creative respect, and brand admiration. Hands at work: Youths in Balaclava's denim reconstruction in motion—darning, distressing, and redefining Levi's classics. Courtesy of Youths in Balaclava The first look for the Singapore show reinterprets a Levi's trench coat through a WWI officer silhouette and biomechanical details. Can you walk us through the thought process and techniques behind that reconstruction? When we selected the pieces Levi's offered, some already had this commanding presence. The question became: how do we YIB-fy this without destroying its soul? Working with a coat, the homage to the 30s military officer silhouette was inevitable, it demands respect, authority. Allowing him to be structured as for the biomechanical detailing, we turned to darning. The thread texture, the way it runs through the denim, it amplifies that essence we were chasing. That darning process? The most challenging thing we've ever done. Hours upon hours distressing and blending threads together. We even developed our own paste, active enzymes that break down the protein fibres in denim, creating this aged, battle-worn feel. Science in service of art. That's our attempt at pushing boundaries. You've described the concept as 'reconstruction through destruction.' What does that phrase mean to you personally and creatively, especially within the context of Southeast Asian youth identity? Everything we create reflects our journey, genuine, raw, honest. Where we are right now as a brand, as creators, as people who've rebuilt ourselves from the ground up. Within the SEA context, we see an industry that's deeply rooted in what worked in the past, which has its beauty, but sometimes those roots can grow so deep they anchor us to approaches that no longer serve the present moment. There's a balance between honouring where we came from and creating space for where we're going. The upcoming Bangkok look draws from both Edo-period Japanese armour and American football gear. How did you land on that fusion, and what challenges came with designing for performance, movement, and climate? We wanted to build armour for Fariz, an armour that reflects our journey as warriors, soldiers fighting through our unique path. We're bringing out that inner child fantasy you see in manga and games, making it real, tangible. Mediaeval Western armour? Overdone. We dove deep into Asian armour, watched documentaries about the process. The Edo-period fascinated us, a time when the focus shifted from violence to maintaining peace. But Fariz has to perform, move, breathe. American football gear gave us the answer—armour that allows function and mobility. It's the perfect amalgamation of protection and performance. Both looks balance historical references with modern functionality. How do you navigate the line between heritage and contemporary in your design ethos? It's very much an intuitive process for us. We don't approach it as a calculated balance but rather as a conversation between past and present. It's about understanding what made something timeless in the first place and finding ways to honour that spirit while making it relevant for today's context. Fariz Jabba ignites the stage in Youths in Balaclava's reconstructed Levi's trench coat—battle-worn denim meets commanding WWI officer style. Courtesy of Youths in Balaclava What was the collaborative process like between designer and artist, and how did his music, personality, and performance style influence your design choices? The process was incredibly organic; it felt more like hanging out with a friend than a formal design consultation. We spent time in his space vice versa, observed how he moves, listened to his music, and just absorbed his energy. Fariz has this natural charisma and fluidity in how he carries himself, which directly influenced our approach to the garments' construction and fit. When working with a legacy brand like Levi's, how did you navigate reinterpreting iconic pieces while staying true to the visual language of Youths in Balaclava? Being longtime fans of Levi's definitely gave us a foundation of respect for what the brand represents. We understood the heritage, the craftsmanship, and the cultural significance that comes with those iconic pieces. But we also knew we were guests in their house, so to speak. Our approach was to identify the key elements that make YIB distinctive and find ways to weave them into the Levi's DNA without overshadowing it. Collaboration often means adapting. Were there any unexpected moments, challenges or breakthroughs during the design or fitting process that stood out to you? Absolutely. One of the biggest learning curves was understanding how different denim types behave when you're manipulating them beyond their intended use. We had to figure out how to maintain the integrity of that classic Levi's construction while incorporating elements that would allow Fariz the freedom he needs on stage. 'If the audience can feel that connection, then we've succeeded in our goal of creating something that's truly collaborative rather than just transactional.' Finally, what does this collaboration represent for the evolution of Youths in Balaclava as a brand and what would you like people to take away from these pieces when they see them on stage? This collaboration marks a significant moment in YIB's evolution, it's our return to fashion after a period of intentional reflection and skill development. This project represents a new chapter where we're more confident in our voice and more refined in our execution. What we hope people take away when they see these pieces on stage is a sense of authenticity, that what they're witnessing is a genuine collaboration between artists who respect each other's craft. We want the clothes to feel like they belong to Fariz, like they were always meant to be part of his artistic expression. If the audience can feel that connection, then we've succeeded in our goal of creating something that's truly collaborative rather than just transactional.
CNA
a day ago
- CNA
46:42 Min
Explore Singapore's colourful 'hood, discover vinyl havens and go behind-the-scenes of its deepest train station. Finally, meet an American fitness coach who's become one of the locals. Singapore Hour About the show: Welcome to Singapore Hour: your all-access pass to the city that never stops surprising. From iconic eats to cutting-edge tech, vibrant culture to hidden local gems – we bring you the best of Singapore through the eyes of those who know it best. Whether you're here to travel, work, or just soak up the vibe, Singapore Hour is your definitive guide to what's hot, what's next and what you absolutely can't miss.
