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Vogue Singapore
18-07-2025
- Entertainment
- Vogue Singapore
Behind the scenes for Chanel's FW 2025/26 pre-collection with Jennie
In the gardens of the Palais Royal in Paris, South Korean singer and actor Jennie is dressed in a large navy coat, white T-shirt and jeans for the Chanel fall-winter 2025/26 pre-collection campaign. Earlier, in a Paris apartment, she blew kisses to the Vogue cameras in a light blue tweed jacket and skirt and then posed defiantly in front of the palace's fountain, wearing a beret and a tweed jacket slung over one shoulder. A series of other very Parisian, and very Jennie, looks followed, each of them emblematic in their own way of the Chanel pre-collection, which, in a nutshell, 'was created by Chanel using Jennie, the house's ambassador, and the protagonists of American romantic comedies of the 1990s as muses.' 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.
Harpers Bazaar Arabia
16-06-2025
- Entertainment
- Harpers Bazaar Arabia
Chanel's Cruise 25/26 Collection Will Whisk You To The Riviera Courtesy of Sofia Coppola
A Chanel muse herself, Sofia Coppola lenses a short film capturing the spirit of the house's Cruise 2025/26 show For Sofia Coppola, 'You can be a fantasy version of yourself, or live a life you don't usually have time for.' And that's why she's chosen to craft a cinematic reverie that doubles up as meditation on artful escapism – on the allure of crafting a new glamorous identity for oneself while on holiday. Through her directorial eye, this imagined persona echoes the image of the Chanel woman – clad in the Maison's Cruise 2025/26 collection – as it exists in the collective imagination: poised, a bit mysterious, and just out of reach. But although this film has fashion at its heart, it isn't just about fashion. Unveiled at the Villa d'Este on Lake Como – once owned by Renaissance elites who considered themselves as worldly aesthetes, it now serves as a stage for Chanel's modern-day muses. The director pays homage to its historic location with her short film – titled Quintessentially Sofia – following model Ida Heiner as she glides through the storied corridors of the villa with a kind of effortless elegance. She wears pieces from the new capsule, designed by the Chanel Creation Studio ahead of Mathieu Blazy's much-anticipated debut this October, with house codes being reinterpreted with a vacation-ready twist: featherweight tweeds, diaphanous knits, and wicker flap bags. The concept of a holiday wardrobe is intrinsically linked to Gabrielle 'Coco' Chanel herself. She was one of the first to create a Cruise collection, presenting her first one in 1919 outside the traditional fashion calendar. And here, you see the very essence of what it represents: a seamless blend of elegance and ease. From Hong Kong to Dubai and Monaco, Chanel has long presented its Cruise shows as cultural dialogues. Beyond its cinematic allure, Lake Como holds particular significance for the Maison as a result of its enduring collaborations with the artisans that hail from the region. It also nods to Coco Chanel's own travels – she visited the lake in the '30s with her close friend and legendary filmmaker Luchino Visconti. Sofia herself was clearly inspired by the effortlessly chic style of Luchino's on-screen characters – particularly in his 1962 film Il Lavoro. 'I love the whole attitude,' Sofia shares. 'How he shows something really refined in a casual way.' That dichotomy – of polish and casualness – informs Sofia's vision of who the Chanel woman is. She's someone who moves through her world with tasteful nonchalance. Distinct in Sofia's direction is her signature female gaze – vicarious rather than voyeuristic. 'I put myself in the point of view of the woman discovering the place,' she explains. 'I try to make the Chanel woman someone you can relate to (even if she's a fantasy version) so you can be her, not just look at her.' Ultimately, the film brings home the message that for Chanel, luxury is a state of mind – an invitation into a dreamscape of your own making.
