FLO­RAL PLEA­SURE

Beauty, free­dom and fash­ion—in a bot­tle.

Elle (Canada) - - Beauty -

clare Waight Keller ex­cels at ex­press­ing mod­ern fem­i­nin­ity. The Bri­tish-born artis­tic di­rec­tor of Chloé cre­ates cloth­ing that em­bod­ies the style of a chic Parisian woman: ef­fort­less and dis­tinctly in­di­vid­ual yet clas­sic at the same time. Her ap­proach to fra­grance takes a sim­i­lar spin. “I think women need some­thing gen­uine that speaks to who they are,” she says at the launch of the brand’s lat­est per­fume, Love Story, at the Park Hy­att Paris-Vendôme. “Decades ago, fem­i­nin­ity was de­fined as be­ing ei­ther ro­man­tic or girlie or clas­sic, but now peo­ple like to use all those el­e­ments and bring it into some­thing that’s very per­sonal to them.” h

Cap­tur­ing this idea for a new fra­grance meant mov­ing away from pre­vi­ous sig­na­ture Chloé scents. “I wanted to go to a dif­fer­ent side this time,” she says. “I didn’t want it to be nos­tal­gic. I wanted some­thing that felt very cur­rent and con­tem­po­rary—how a woman would be in Paris now.”

Like all per­fumes in the Chloé fam­ily, Love Story uses white flow­ers as a start­ing point. Orange blos­som is mixed with stephan­otis, cedar wood and musk to cre­ate a fresh, sen­sual flo­ral juice. The bot­tle’s ribbed glass plays off the brand’s codes, evok­ing fab­ric pleats, and the gold pad­lock is a stylish nod to both the beloved Padding­ton bag and the Pont des Arts in Paris. The di­aphanous flesh-coloured rib­bon is also nec­es­sary, says Waight Keller, be­cause it adds a free-spir­ited, fly­away feel­ing and soft­ens the mas­culin­ity of the bot­tle. “Th­ese lit­tle touches are very sub­tle, but they are codes that are linked to the spirit of the house,” she says.

Waight Keller is one of many strong-spir­ited women to run Chloé, from founder Gaby Aghion to pre­vi­ous de­sign­ers Mar­tine Sit­bon, Stella McCart­ney and Phoebe Philo. Sup­port­ing this his­tory is a core part of Waight Keller’s ethos. “Even though our in­dus­try is full of women, we aren’t as cel­e­brated as men,” she says, adding that women com­prise around 85 per­cent of staff at Chloé. When the time came to bring this fra­grance to life, Waight Keller in­sisted on hav­ing fe­male nose Anne Flipo (who has made per­fumes for YSL, Paco Ra­banne and Alexan­der McQueen), and Mélanie Lau­rent was asked to di­rect the film cam­paign. “She man­ages to cap­ture a sense of emo­tion that is dif­fer­ent to that of male cin­e­matog­ra­phers,” she says. Inez van Lam­sweerde shot the print ad­ver­tise­ments, and Vanessa Par­adis lent her vo­cals to the song “Mi Amor” for the cam­paign’s sound­track.

Clémence Poésy, who fea­tured in the cam­paign for the brand’s sig­na­ture eau de par­fum in 2008 and is best known for her role as Fleur Dela­cour in the Harry Pot­ter films, was cho­sen as the face of Love Story. Poésy has a re­laxed at­ti­tude to­ward beauty and says she val­ues ex­pe­ri­ence over per­fec­tion. “The older I get, the more I am moved by peo­ple’s faces for what they are: what their eyes say and what they have lived rather than a per­fect hair­cut. There’s some­thing in­cred­i­bly mov­ing about the shad­ows un­der some­one’s eyes...and hair that is mis­be­hav­ing.”

This embrace of in­di­vid­u­al­ity is where Waight Keller be­lieves the brand res­onates best. “I think that a lot of women re­spect the woman who has her own per­sonal style; that’s what fash­ion is about,” she says. “That’s what drives me. What I put into Chloé is [the de­sire] to re­ally have the per­son come through—a woman who isn’t try­ing to be some­one else. Free­dom is an im­por­tant part of the spirit of the house.” ■

The Chloé code for f/w 2014: fem­i­nine, mys­te­ri­ous and sen­sual.

French ac­tress Clémence Poésy is the face of Love Story, a sexy, fem­i­nine per­fume with notes of neroli, jas­mine stephan­otis and orange blos­som. Chloé Love Story Eau de Par­fum Spray ($125 for 75 mL). For de­tails, see Shop­ping Guide.

Em­body­ing the Parisian fash­ion iden­tity: Clémence Poésy and Clare Waight Keller. “It’s all about sig­na­ture style here,” says Waight Keller.

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