Chanel nods to its rich history in the boutique at 18 Place Vendôme, Paris, which has reopened its doors after a year-long refurbishment by American architect Peter Marino.
Situated opposite the Ritz – where Gabrielle Chanel once lived – the opening of the newly rethought space coincides with the 90th anniversary of ‘Bijoux de Diamants’, Gabrielle Chanel’s first and only high jewellery collection.
The extensive boutique is reserved exclusively for fine and high jewellery and watches, encompassing a vast collection that includes exceptional, one-of-a-kind pieces such as the ‘No.5’ necklace. ‘The Jewellery Creation Studio, directed by Patrice Leguéreau, and the High Jewellery workshop will continue to have their home in this historic building, building on our history and legacy. And so will the Watchmaking Creation Studio, led by Arnaud Chastaingt,’ says Chanel watches and fine jewellery president Frédéric Grangié. ‘It is thus the private townhouse of Chanel that we are opening to the public, a highly symbolic address for us because of its history and its position.’
Peter Marino, who first reimagined the building in 2007, has revisited the space once again, with an aesthetic that nods to the design codes of the house. A palette of Chanel colours – white, gold, black and beige – sit alongside a juxtaposition of textures, from the lacquer that was a personal favourite of Gabrielle Chanel to the distinctive tweed, hammered bronze, wood, and gilded Goossens chandeliers.
‘Working with specialist ateliers and the rare crafts they deploy is a commitment to time,’ says Marino. ‘Chanel is an extraordinary company, with great craftsmanship. I'm always awestruck by the constant creativity of the brand, from its fine jewellery collections to haute couture. It is not a static house.’
The boutique is defined by works of art, including pieces by Idris Khan, sculptors Johan Creten and Joel Morrison and a 1950 oil painting by Nicolas de Staël, Composition. ‘I had originally purchased Composition from Sotheby's in London more than 20 years ago on behalf of a client, who later sold it,’ says Marino. ‘When Chanel mentioned this was the painting they considered buying, I thought it was wild. But the house felt it really represents the same kind of luxurious modernism, forward thinking but at the same time, bearing this sort of ancient eternalism that represented the values of Chanel well. I was thrilled.’
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