Above: A selection of looks from Chloe's Spring/Summer 2011 collection.
The Chloé philosophy lies in creating effortlessly chic garments for the modern woman. This statement is supported by fashion editor Daniel Dykes who writes ‘Chloé chic is...a daytime aesthetic that confines itself to the space between casual and dressy, always appealing to the girl who wants effortlessness as her overriding quality...That spirit of easy, Parisian-infused dressing.’ (Dykes 2012) This philosophy is communicated through the way in which, according to fashion editor Helene Schoumann, the designers at Chloé stay ‘true to the Parisian sense of chic, women prefer Chloé’s unique, simple, ephemeral style with pure lines. Modern clothes which speak their language.’ (Schoumann 2002, pp. 10) To a degree, these statements also sum up the aesthetic of the Chloé label, however, Simon Chilvers, assistant fashion editor for The Guardian, quite simply labels the Chloé aesthetic as ‘feminine minimalism.’ (Chilvers 2011)
The style of Chloé is innate. As a result there are certain garments and styles of garments which are iconic for the label. One of these garments is undoubtedly what Fashion editor Nicole Phelps labels ‘the breezy, uncomplicated frock that is Chloé’s claim to fame’ (Phelps 2012). This dedication to the creation of dresses is one particular reason I view Chloé as a muse. I am hoping to create a final collection which incorporates a number of dresses as that is where my own design sensibility lies.
I find Chloé to be an inspirational label for my own work because I really appreciate the effortless femininity which the label embodies. The garments are always timeless without ever losing a certain freshness, youthfulness and vibrancy. These are all characteristics I hope my work will possess. Another aspect of the label which I find inspirational is its ability to continually reinvent the subtle colour palette so that it never becomes boring. Schoumann writes that ‘throughout the years, Chloé remained faithful to the subtle shades of the desert: sand, pink, powdered hues in clothing.’ (Schoumann 2002, pp.9)As a designer, I find that my own design sensibility leans towards the soft and the subtle, in terms of both fabrications and colour palette, hence, I am constantly inspired by the way in which different textures, weights and tones can really transform gentle, understated colours and fabrics into outfits which make an elegant statement.
In terms of what I can learn about my own design work through a study of Chloé, I have discovered that the designers of the label really stay true to the muse which has existed within the label since ‘the French brand...originated in Paris in 1952’ (Elle 2012). Helene Schoumann describes this muse well in her book Chloe. She writes
How can one describe the Chloe woman of today? She’s sexy, elegant, indestructibly feminine. She is serene, generous, enthusiastic. The brand presents its own version of fashion, walking forward hand in hand with history. Chloe has tied the knot between the values of the woman of yesteryear and the woman of tomorrow with the grace of eternity and timelessness. (Schoumann 2002, pp.15)
Henceforth, I believe that my study of Chloé has educated me about the importance of the muse. Developing a muse will help me to develop a unique look which is consistent with the aesthetic I want to present in my final collection.
Therefore, Chloé is one particular label which I consider a mentor that I look to for inspiration for my own design work. It is a fashion house which embodies the essence of soft, delicate, feminine elegance which I hope to incorporate in all aspects of my own design work throughout my fourth year final collection and beyond.
Reference List
2011, Chloe, Hearst Communications, viewed 21/03/2012, <http://www.elle.com/Fashion/Designer-Files/Chloe>
2012, Chloe Fall Winter 2012-2013, Chloe, viewed 21/03/2012, <http://www.chloe.com/#/collections/ready-to-wear/winter-runway-2012-2013/press-release/en>
Chilvers, S., 2011, Chloe names Clare Waight Keller as new creative director, The Guardian, London, viewed 19/03/2012, < http://www.guardian.co.uk/lifeandstyle/2011/may/09/chloe-clare-waight-keller-director>
Davis, B., 2006, Chloe: Always Infusing New Blood, Fashion Windows, viewed 21/03/2012, <http://www.fashionwindows.com/runway_shows/chloe/default.asp>
Dykes, D. P., 2012, Chloe’s daywear aesthetic holds strong, Rogue Menage, Melbourne, viewed 21/03/2012, <http://www.fashionising.com/runway/b--chloe-aw-12-21539.html>
Entwistle, J., 2009, Tacit Aesthetic Knowledge: The Fashion Sense and Sensibility of Fashion Buyers, The Berg Fashion Library, viewed 23/03/2012, <http://www.bergfashionlibrary.com/view/AESECOFASH/AESECOFASH0008.xml>
Major, J. S., 2005, Lagerfeld, Karl, The Berg Fashion Library, viewed 23/03/2012, <http://www.bergfashionlibrary.com.ezproxy.lib.uts.edu.au/view/bazf/bazf00353.xml?q=chloe&isfuzzy=no#highlightAnchor>
Schoumann, H., 2002, Chloe, Assouline Publishing, New York.
Watson, L., 2008, Vogue Fashion, Carlton Books, London.
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