If Jeanne du Barry were alive today, chances are she’d be wearing Chanel.
, having worked with the house on his costumes for “Clouds of Sils Maria” and “Personal Shopper,” both directed by Olivier Assayas and starring brand ambassador Kristen Stewart.
Though Maïwenn’s vision was nourished by films including “Barry Lyndon” and “Marie Antoinette,” she didn’t want to push the anachronistic elements too far. “She wanted to reflect that period’s great sense of refinement. It wasn’t a punk period, it was a period of extreme sophistication,” Doering said.
He noted that new sources of funding are essential as the streaming revolution impacts financing for independent films. In addition to providing clothes, jewelry, accessories and makeup, Chanel contributed to the budget of the film as part of its“Fashion is France’s top industry these days. We don’t produce much apart from dresses and fragrances, so you have to be in tune with the times,” Doering argued.
What stands out in Maïwenn’s wardrobe is the absence of adornment, with the “wow” factor coming mainly from the volume and color of the pieces. “I adapted to today’s taste,” Doering explained, noting that he was mindful of the cost of producing the made-to-measure pieces. “I also wanted to respect Virginie’s style. I mean, it’s 2023.”
Some of Chanel’s Métiers d’Art houses were also involved. Goossens provided jewelry, while Maison Michel created straw hats using a sewing technique handed down from generation to generation.A fashion icon of her age, du Barry by all accounts was a serial seductress and had a scandalous reputation to match — a facet that Maïwenn immediately related to.
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