For this outfit imagined by Virginie Viard, the artistic director of Chanel fashion collections entrusted the making of the bomber jacket and the dress to madame Cécile’s haute couture flou atelier and chose the House of Lemarié to cover the jacket with feathers. 


The haute couture ateliers start by making the pattern of the two constitutive pieces of the outfit. This pattern, made in an ecru cotton canvas, is used to create the “toile” of the silhouette. This is tried on and subjected to the approval of Virginie Viard. 



The pieces of pattern for the dress are positioned on a metallic ennobled lace and their outline is marked using chalk. A thread is passed around each piece so as to bring out the shape before proceeding to cutting. Once cut, the pieces are assembled, without being sewn, but using a basting stitch. During the assembly, the dress is tried on to ensure the proportions are respected; then the necessary finishing touches are made, the pieces are sewn together, and 5 jewelled buttons are added.


Using a sample validated by the Studio, the Lemarié ateliers select, cut, dye and assemble the feathers on a tulle base. The creation of these flowers in feathers and their application on the tulle of the bomber jacket required 313 hours of work in the Lemarié ateliers. The pieces of tulle, now embellished with feather flowers by the Lemarié ateliers, are sent to Madame Cécile’s flou atelier so that the seamstresses can start to assemble the bomber jacket. During assembly, it is tried on; the necessary finishing touches are made, then the pieces are sewn together and a lining in black satin crêpe is added.