As The Chloé Girl Goes

A prevailing theme of Chemena Kamali’s creative direction at Chloé is the fire burning inside the girl. She burns brightly for a life seemingly absent these past few years at the house. And so that girl overcompensates with an unwieldy girlishness. It becomes quite feral in the way she lives the life she loves. This Chloé girl, let’s call her ‘Rianne,’ uses insouciance and a folkloric, 1970s feeling as stabilising attitudes. For fall, the Chloé girl returned as wildly intuitive and now, for Summer 25 she decamps to the Mediterranean. No one who knows this Chloé girl called ‘Rianne,’ is raising an eyebrow.

And so off our Chloé heroine goes. She runs into a derelict, ethereal Savin Couëlle house. Merging the inside with the outside, as Couëlle dwellings tend to do, her own senses of instinct and optimism flicker within the summer and shade of David Sims’ exploratory film. Lace blooming in summertime. Papaya fruit with pastel bloomers. It all builds into a coherent universe of sacred summer fantasies where love isn’t necessarily a given, but the tender love and care taken inward is the introspective feeling a roomy Mediterranean villa provides the Chloé girl who ruminates inside to illuminate her outside. Without a doubt.