"I made this coat when I was young, and I deliberately left this button unsewn, because your grandmother told me to do it so that one day you would come to me and ask me to tell you her favorite motto:"

"Beauty is found in the imperfection of time."

The above dramatic line comes from CHANEL's "Buttons," a short film written and directed by Dave Free and scored by Kendrick Lamar, in preparation for its Spring/Summer 2024 haute couture uniform collection, about a girl played by Margaret Qualley, Discovering that a button is missing from the cuff of the haute couture uniform, he immediately sets off to Paris to find a solution for the chief designer (Anna Mouglalis).

At the end of the short film, Anna Mouglalis says this mantra at the same time, the girl's perspective looks out the window of the studio, a large button modeling device is slowly falling, she listens to the teachings left by her grandmother, calmly accept this imperfection, and the story in the short film comes to an end. But it has also become the starting point for CHANEL's 2024 spring/summer haute couture uniform conference.

Into the senior uniform show of this season, the suspense about buttons left in the short film became suddenly bright, and on the dome in the center of the circular show, the device in the shape of a circular button opened the prelude to the whole show.

As the opening model, Margaret Qualley, wearing the jacket in the film, seems to have stepped out of the video world, while the matching Pierrot-style beaded neckline, tulle skirt and pure white tights reveal the core theme of the new season - dance.

As an actress and brand ambassador, Margaret Qualley is also an accomplished dancer, and it was fitting that she starred in the short film and opened the show as a model. Qualley also said in an interview with Fashion and Beauty VOGUE that the performance was a very special experience for her, "I think the words at the end of the film convey a very beautiful emotion, like in life, the more we know how to live ourselves, the more we can enjoy the fun of life."

At the same time, the big show is also full of important significance for her who will turn 30 this year, "This is probably the most favorite collection I have ever seen, from a dancer's identity, the use of ballet elements in the design is also very special."

As Qualley said, "button" is a symbol adopted by Virginie Viard, creative director of the brand's boutique department, in the design, bringing the spirit of liberation and freedom of action into the world of ballet and dance, and composing physical poetry with the elegant environment and emotional sound effects.

Like the transition of ballet performance, Virginie Viard's presentation of dance elements in the series is also full of rhythm, and the first is a series of pure white classic suits with yarn and chiffon design, interpreting the romantic feelings of ballet costumes.

Not only that, Viard also poured more passion into the color. The candy-sweet shallow green, cherry blossom powder and lavender lavender are sprinkled like watercolors on coats, skirts and shawls, highlighting the delicate and soft side of ballet and women. What gives these colours an indescribably beautiful texture is Viard's knowledge of the combination of precious materials: "I wanted to create a collection with beads, ruffles, pleats and lace that is flexible and ethereal, while showing the power and beauty of the body and clothing."

There is an inseparable relationship between dance and CHANEL, and the origin of all this can be traced back to the time when the founder Gabrielle Chanel lived. She studied with legendary dancers Caryathis and Isadora Duncan, attended Ballet Russes with the Culper Boys, and later met Serge Diaghilev, the company's founder, and became his friend and patron.

Therefore, in the show, we can see Viard's combination of classical ballet elements and CHANEL's black and white classic color scheme to highlight the fate between this art form and the style of the brand's founder.

Gabrielle Chanel not only appreciated and loved ballet, but also designed the first costumes for ballet exactly 100 years ago, in 1924, introducing the concept of liberation of the body that she advocated in fashion design into the costume design of Jean Cocteau's Blue Train. With a large number of swimwear, tennis or golf wear inspired by the design, instead of the traditional waist and skirt, let the actors more flexible on stage.

In line with this legendary story, Viard's tweed suit this season also incorporates the knitted stripe elements that Gabrielle Chanel used in her costume design, and makes it a clever integration with the romantic elements of ballet costumes.

From the bead down jacket to the elegant long dress with a hood, we can also see Viard's attempt to extend the artistic feelings of ballet to modern styling, seemingly serving styles and materials for different occasions, under the joint effect of exquisite craftsmanship and modern aesthetic integration, "For me, dance evokes all the stories and feelings I cherish from the bottom of my heart. I am happy to pass them on, "concludes Virginie Viard.

From Gabrielle Chanel, Karl Lagerfeld, to Virginie Viard, who is currently at the helm of the creativity, the close connection between the brand and dance is constantly being written, "I often think of dance, it is an important theme of Chanel." The brand works closely with companies, choreographers and dancers, and we also create costumes for ballets." Viard said. Today, CHANEL continues to cooperate with and support the Paris Opera, the English National Ballet, the New York City Ballet, and the Australian Ballet, continuing the tradition left by the founders of the brand and paying tribute to generations of great dancers, praising their extraordinary style and high spirit.

Therefore, for Virginie Viard, the creation around the theme of dance has already been integrated into her design language, whether it is the leggings throughout the whole show, or the lantern sleeves and skirts inspired by the ballet shape, opening up the beauty between the show and the stage.

Thanks to the excellent skills of the brand's handicraft workshop, the shiny embroidery on the chest, skirt and cuff bloom like real flowers, and the gauze elements around the body are like the dense wreathed in the stage performance, triggering the audience's endless reverie for the story.

At the end of the conference, a series of exquisite dresses filled with spring vitality will be the romantic and poetic atmosphere to the climax.

Of course, as is the custom of CHANEL haute couture uniform press conference, the whole show with a combination of classic and innovative consciousness of the bride dress painted a perfect ending. On the silver and white embroidered short dress dress, layers of tulle outline the vague beauty, but it is so close to the current women's dress appeal, is also the essence of Virginie Viard creative concept, "Chanel evokes my innermost feelings, I take this as inspiration, to create a series." My mission is to find new ways to tell the most beautiful stories of Chanel." There will always be a moment when the curtain comes down on the show and the performance, but the legendary encounter of fashion and dance will be inherited and continued forever.