Under the magic touch of Chanel and costume designer Jürgen Doering, Maïwenn transforms into the mesmerising Jeanne du Barry in a series of revised pieces from the House’s past Haute Couture collections. “I wanted Jeanne’s dresses to not be too frilly and embellished, with cotton voiles,” explains the actress. “Quite clear but very simple things, and in very beautiful materials.”

The film is a dream come true for any Chanel couture lover. Highlight pieces include an ecru tweed dress based on one initially modelled by Claudia Schiffer in the Fall/Winter 1992/93 Haute Couture show; a feather-adorned cream gown and a raspberry silk velvet dress inspired by Spring/Summer 2000 Haute Couture; as well as a dress with diaphanous flounces in sky-blue organza that took reference from a 1995 collection. 

In the shoes of du Barry, Maïwenn also dazzles in the re-edition of Chanel’s “Bijoux de Diamants” collection for the scene where she is presented to King Louis XV. As the first high jewellery collection in history, “Bijoux de Diamants” caused quite the commotion upon its creation in 1932 — making it highly fitting for the titular female icon. These glittering pieces were lent by great jeweller Goossens, while Maison Michel, also part of Chanel’s Métiers d’art, crafted the hats for the film.

“We tried to find a just and contemporary way of doing things by working with the energy that animates us in 2023. I don’t like it when things get too stuck on references, paintings or history books. I want to escape these closed worlds and try to transcribe the era with a breath of fresh air,” expresses Doering, who kickstarted his career working for none other than Karl Lagerfeld. “The collaboration with Chanel made it possible to add great accuracy to the character’s costumes, with a very nuanced and subtle approach, and without playing with discrepancy for discrepancy’s sake.”