Virginie Viard, portrait of a faithful heiress who brought lightness. But now more is needed

Despite a record-breaking 2023 in terms of sales, and a factor of 2.5 growth in ready-to-wear sales compared to 2018 levels, Virginie Viard is leaving the creative helm of the maison Chanel, one of the most solid fashion institutions, an imperishable bourgeois refuge, a solution to all uncertainties among those who approach the upper class or at least aspire to represent themselves as belonging to it.

The news, confirmed by the fashion house, arrived in the middle of the night: yet another thunderbolt in a very turbulent scenario, a reflection of a moment that is not particularly easy, with markets slowing down, growth grinding to a halt and the uncertainties that come with it. Not for Chanel, whose ascent, positioned at the absolute pinnacle of the luxury market, does not stop, which is why the abandonment comes as a surprise. Not so much, actually.

Indeed, box-office successes have not shielded Viard - who joined Chanel in 1987 to assist Karl Lagerfeld, and remained at his side until the latter's death, becoming his legitimate heir in 2019 - from criticism. Constant and ungrateful the comparison with Lagerfeld, too bland her stylistic signature to compete with the sacred monster, too changeable but not directional enough the proposal. Quiet and shy, Viard renounced from the outset the idea of symbolically killing her father, and this placed her in a muffled limbo or perhaps a quagmire. Needless to hide the fact that many of her shoots, while appreciable in intention, left one baffled by the confusing variety of the proposal. Yet, all of this was kissed with success, even if the staggering increase in prices is only a partial explanation for the growing turnovers.

Admittedly, Chanel is a name whose appeal is so powerful that it overcomes and in some ways nullifies those who direct it - with the exception of Lagerfeld himself - but some credit must still be given to Viard. It was she who brought a certain lightness, who deviated from Teutonic expressionisms and heaviness to explore a younger, more possible dimension. That was all. Certainly not enough for a maison of such magnitude: no surprises, no thundering message.

But why strive to be what one is not? At 62, Viard can now devote himself to something else. To be appreciated, in any case, is the courage to leave and retire, now that everyone is insisting on saying something - generally, always the same thing - beyond the maximum time limit, fearful of general oblivion, in need of constant attention. Only Rei Kawakubo declares that she wants to be forgotten. Viard soon will be, no doubt, but hers is a choice acted upon, not suffered. Who will succeed her? The totomoda is open. Marc Jacobs comes to mind, but that's just a wild idea.