Chloé Resort 2025 Collection | Vogue

In Chemena Kamali, Chloé has an ideal connector between the past and present of the house—and a creative director who is putting her considerable technical know-how into product. Her research and development for the spring 2025 collection made eye-opening viewing. “There are all these stories to explore that haven’t really been told yet that are part of our history,” she said. This time her mood-board was covered with images of “the Art Deco years of Karl in the 1970s. He furnished the entire apartment he lived in, in Saint Germain, as this Deco masterpiece—everything was in black and gold, and white, cream and gold, and he used to lend it to Vogue and others for shoots. Guy Bourdin, Helmut Newton, David Bailey, and Deborah Turbeville all shot there.”

In one particular 1975 Italian Vogue photograph, David Bailey captured two girls kicking back on a shell-shaped sofa, bedecked in the glam-bohemian Chloé collection Kamali identified from pictures in the archive. “All these opulent, decadent gold lamés, brocades, fil coupés, and jacquards!” she exclaimed. Hence, the billowing, floating volumes, off-the shoulder dresses, balloon-sleeved blouses, and square-necked smocks in diaphanous coin-dot lamé and swirling, pleated metallic florals. “It’s more of an eveningwear interpretation of the last show.”

Mixed in there were a fake fur coat, jacket, and pants. You can’t make it out in the lookbook image, but the neat, rounded ‘bump’ shoulderline on the jacket tells its own story of the precision of Kamali’s attention to structure and fit. It’s a detail applied across the tailoring—it turns up nicely in peacoats and blazers too. In the same picture are the boxer-ballet shoe hybrid sneakers Chloé is launching this season. “I wanted something that was soft, feminine, comfortable,” Kamali laughed. “And they had to be real. All the women in the office have been test-wearing them.” Collaged from a myriad soft pastel colors in hi-top and low versions, they look like a Chloé hit in the making.

She had another surprise up her sleeve. The second half of her archive research was around L’Amour, an Andy Warhol film, released in 1972, which was also shot at Lagerfeld’s Deco apartment. “And so there was the whole New York Factory crew that came to Paris. They stayed at Karl’s apartment and had these epic legendary nights at Café de Flore.” Studying the pictures, Kamali transferred traces of New York style with a slightly earlier late-’60s “eclectic” vibe: high-waist jeans, body-hugging t-shirts, and a tiny pink sweater, an Edie Sedgwick citrine baby doll dress, and a fringed leather Western jacket. 

Kamali tied all of these themes together with the accessories: tasseled metallic belts, strings of pendants, fringed bags, ‘Musketeer’ boots, camera bags with straps made from jewelry chains. Pick it all apart—as Kamali says she wants to encourage women to do in Chloé’s stores—and there’s something for almost every occasion and fashion personality. “I want it to feel like someone’s wardrobe, their closet to pull from every day,” she says. So thoroughly sorted-out is her version of Chloé that it’s hard to believe that Kamali has only one runway show under her belt. With the next collection just around the corner, she’s off to a flying start.

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