2025/02 Chanel – SS25 Pre-Collection
Details:
Chanel
Spring-Summer 2025 Pre-Collection
21 Rue du Faubourg Saint-Honoré, Paris, France
Review:
by Peter Hamer
february 14, 2025
“Hey, I feel like I might say the wrong thing.” That Gracie Abrams lyric floats in my mind as I write this because, let’s face it, I’m a bit biased. How objective can I really be when I’m clearly emotionally invested? Still, here goes: Chanel’s SS25 pre-collection window displays are refreshingly straightforward, continuing the “wardrobe” trend—which makes complete sense.
Why does it make sense? Well, in a moment when retail sales aren’t what they used to be, showcasing a single product in the window doesn’t cut it. Enter the wardrobe concept, which is so clever it’s borderline genius. We’re seeing a ton of product in one display—light-years away from the old days when you could get away with flaunting just an evening gown in the window. I love this new approach.
Now, onto what’s really special about this display: it features picture frames with the campaign imagery, and the Chanel girl in the frame is no other than Gracie Abrams. Yes, I’m a super-fan, and yes, this is where my heart takes over, but I’ll try to keep it together. This campaign taps Abrams for talent, enlists Sofia Coppola as artistic director, brings in Max Pearmain for styling, and is shot by Craig McDean. Talk about a really nice team. The photos are as quintessentially Chanel as they come: tweed, camellias, pearls, playful yet polished—and so perfectly contemporary. They’ve even included backstage Polaroids (I need one of those! Anyone???). It’s like a glimpse into a young woman’s dream wardrobe. Or maybe it’s the mother’s timeless closet that the daughter raids? I’m sitting here imagining all these scenarios, and that’s exactly what a great window display should do: create dialogue. I guess I’m having that dialogue with myself, but I’m okay with it.
Sigh. After Lagerfeld, Chanel hasn’t really gone for flashy displays. The product has been front and center, which can sometimes make it tricky to pinpoint the season. Frankly, kudos. Because the more I think about it, the more “outdated” the idea of rigid seasons feels. Society tells us “out with the old and in with the new,” which is problematic for a million reasons—over-consumption and sustainability topping the list. But this display feels like an invitation to buy a piece you’ll actually keep for a long time. Maybe we’ve never given Virginie Viard enough credit for that: as a woman who designed for women (or for anyone, really), she created pieces that don’t need to be switched out every season. A radical concept indeed, especially when only 15% of creative directors in the industry are women, despite 75% of fashion students being female. It’s not exactly contemporary, if you ask me. If you want the bigger picture, you can read my article on Viard’s exit here.
Anyway, a display that’s both relatable and unattainable—and attainable and relatable—all at once doesn’t come around often. Who knows what’s next? And honestly, who cares? I’m here for this direction. Sure, people are still talking about price increases, profit margins, and the usual corporate concerns, but I’m no longer letting that noise rain on my parade. I found a place that sparks joy and imagination—and it’s all in my head. Isn’t that the best story to tell, the one that’s yours alone?
