Credits: Sandra Suy

To celebrate its sixtieth anniversary, la Maison Chloé is releasing an exceptional collection of sixteen emblematic creations that contributed to make the brand a success.

Pertinent, avant-garde, comfortable and feminine, these sixteen creations will satisfy the desires of women who love fashion. Coveted and remarkable, they have launched trends and led to long waiting lists, forging a special bond between Chloé and its customers since 1952.

This selection, carefully chosen from the House’s archives (including seven accessories and two limited editions of just 60 copies (alluding to its honourable age), expresses all the richness and vitality of Chloé’s allure. Not to mention its modernity.

Like turning the pages of a photo album, this anniversary collection allows us to rediscover the multifaceted character of Chloé which, since its creation, has proven its ability to play with the codes of elegance, cleverly using humour, originality, provocation, romanticism, grace and cool without ever losing sight of the Parisian chic that runs in its blood.

Credits: Sandra Suy
blouse en crêpe de soie Automne / Hiver 1960 Gaby Aghion
robe embrun Automne / Hiver 1960 Gaby Aghion

The collar, buttoned placket and silk satin cuffs give a subtle matte versus shiny contrast. This blouse is a continuous thread running throughout the history of Chloé. Here, it is softly beige, as in the 60s, nearly liquid, assertive in its masculine-feminine style.

For the autumn of 1960, Gaby Aghion wanted a classic day dress that was feminine and comfortable. She thought of a boiled wool jersey like a knit, but this was hard to work with. At the time, her assistant was Maxime de La Falaise, Loulou’s mother. “Maxime suggested a supple jersey, like a man’s pullover. We drew the dress: a shirt dress that was easy to wear yet elegant, timeless like an Hermès garment. Then I realised that I couldn’t line the cuffs and the collar with the jersey, it was too thick and I wanted the collar to stand up and the cuffs to be neat. Maxime went to Chez Max on the Champs-Elysées and came back with twill fabric for ties. We lined the collar and cuffs with it. Put a satin tie at the waist. It was adorable, quite ravishing. Embrun was born. It was very avant-garde to design a dress like that, almost like

a t-shirt. Women would fight over it. It had plenty of charm with its twill cravat facing. A masculine detail on a feminine garment... I have always mixed everything together. I do it because I’m carefree. This dress was tremendously successful because it says ‘I am carefree.’”

Credits: Sandra Suy
top ananas printemps / été 2001 Stella McCartney

What could define sex-appeal? Maybe just a simple wide-neck cotton jersey t-shirt that slips off the shoulder, with a pineapple printed on a blue lagoon background... The summer of 2001 was certainly steaming hot at Chloé. The fun and pop top designed by Stella McCartney recaptured Karl Lagerfeld’s realistic motifs of the 80s. We can sense the humour and playful take on the cliché of the sun-kissed Californian girl.

Credits: Sandra Suy
jean printemps / été 2004 Phoebe Philo
sac paddington printemps / été 2005 Phoebe Philo

For the summer of 2004, the Chloé silhouette is clearly under the influence of the 70s. After the “low-rise” fad, these jeans elongate the thigh, shape the small of the back and highlight the waist. With her long legs, the Chloé woman exudes a tonic chic. The golden buttons on the little patch pockets echo those found on the double braided waist. In the ad campaign shot by Terry Richardson, we only see the top of the pants. Because that’s exactly where it’s happening.

For the spring of 2005, Chloé released a bag that was destined to become as famous as the London district, Paddington. Women love its oversized proportions, its XXL jewellery and its “luggage” spirit made for the (city) traveller. Present, distinctive, almost virile, the big padlock is not a cheap “charm”: it is the signature of this bag which is clearly made to age well and the term “vintage”, fits it like a glove even when it is brand new.

Credits: Sandra Suy
sac camera printemps / été 2004 Phoebe Philo

In 2003, Chloé released its Camera Bag in a totally rock & roll spirit, pioneering the ongoing trend for chain bags. It did not go unnoticed, with its wide double chain strap, oversized buckles, multizippers and black or red full-grained calfskin.

On the runway where it first appeared, the girls in leather jackets and printed mousseline minidresses, flounced little skirts or sweater dresses with drawstring hoods, clutched it up against themselves. It is featured in almost every look of this iconic collection by Phoebe Philo.

Credits: Sandra Suy
broderie anglaise printemps / été 2006 Phoebe Philo
sandale compensée printemps / été 2006 Phoebe Philo

Phoebe Philo offered this virginal A-line blouse for the summer of 2006. Its remarkable ornamental openwork on the bib and the collar evokes innocence and transparency. Ample volumes, a sharp cut, ultra clean cotton and linen, delicate rickrack ribbons and covered buttons. In front of Inez Van Lamsweerde & Vinoodh Matadin’s lense, Christy Turlington is the perfect incarnation of “Chloé” romanticism: a gentle presence and timeless beauty.

When they first appeared in the press in early 2006, the “wedges” imagined by Phoebe Philo cranked up the brand’s fashion tension. Every girl wants them. Raw materials applied to luxury – a natural wooden platform, clog-style, with grained leather and metal links, deliberately aged – triggered a shockwave. The wedge sandals lengthen the leg and create an organic chic style that goes perfectly with Philo’s summer wardrobe.

Credits: Sandra Suy
robe galaxie printemps / été 1978 Karl Lagerfeld

Spring-summer of 1978. Karl Lagerfeld attached two fine black braces to a long dress painted with a colourful leaf motif. The impressive amounts of silk georgette cut on the bias makes the Galaxy dress dance on the body. Enveloping the bust in a wraparound effect, it is just fastened under one arm, revealing the upper thigh as the wearer walks. The hanky hem plunges lightly down the back and strokes the heel. At the time, it was designed as an evening dress. In 2012, it can be adapted to all situations, with or without a belt, with heels or flats.

Credits: Sandra Suy
cape automne / hiver 2009 Hannah MacGibbon
short automne / hiver 2009 Hannah MacGibbon

Chloé kicked off the beige trend that took over the 2009-2010 autumn-winter catwalks. Hannah MacGibbon applies this warm camel to a large wraparound cape in wool broadcloth trimmed with leather. In the sketch, the design appears to be constructed with origami- like precision. Well balanced, with full volumes, density and (false) simplicity, her cape left an unforgettable impression, especially when worn with high-waist shorts, raised on the thigh with large pockets to nestle ones hands. There is a hint of the masculine-feminine spirit from Chloé’s beginnings, but also the elegance of the seventies that suits the brand so well and the bourgeois cool she masters so well.

Credits: Sandra Suy
bottes python automne / hiver 2004 Phoebe Philo
sac python silverado automne / hiver 2004 Phoebe Philo
foulard automne / hiver 2004 Phoebe Philo

Chloé’s it-bags also include the Silverado, a hit in the autumn of 2004 with its oversized snap flaps, rectangular base, solid handles and leather lacing of ethnic inspiration. Sure of its success, the brand offered it not only in luxurious leathers, but also in an incredible python, heralding the wave of precious skins in fashion accessories. In the ad campaign by Inez Van Lamsweerde & Vinoodh Matadin a silk paisley print scarf is tied to it, floating in the wind. Girls in striped ponchos run through the Luxembourg Gardens laughing. There is rhythm, style and vivacity. They are wearing knee-high boots in soft, comfortable python, with 10cm wooden heels and a small lace tie at the ankle. Worn with slim jeans tucked inside, these boots, like the Silverado bag, are the incarnation of bohemian luxury.

Credits: Sandra Suy
robe violon printemps / été 1983 Karl Lagerfeld

This dress alone embodies the 80s. From the back it has a trompe l’œil effect: it appears as a black and gold ensemble made up of a bolero jacket with a slit between the shoulder blades and a straight skirt on the hips. The violin motif, embroidered with pearls and gold thread, follows the natural curves of a woman’s body. Karl Lagerfeld enjoys this kind of mimicry, placing rhinestones along the strings and making the final adjustments on the bejewelled stand-up collar. It’s sexy, fun and edgy.

(Limited edition 1/60)

Credits: Sandra Suy
pochette éventail automne / hiver 1979 Karl Lagerfeld

The glamorous chic of this evening clutch in black suede goatskin embroidered with a silver fan comes to life in the 1979 photograph by Albert Watson. Worn like a matador’s headdress by a model with polished nails and lipstick, with all the stunning, serious beauty of flamenco.

(Limited edition 1/60)