Ines de la Fressange: “I was taught my styling skills by the best teacher of all, Karl.”

Your modelling career began at the age of 17, with tremendous success. Right from the start, you worked for some of the most prestigious names in French fashion: how would you describe the creative frenzy of that era? 

The success wasn't quite as meteoric! But I was lucky enough to work with young designers like Kenzo, Mugler, Castelbajac, Gaultier and Chantal Thomas, who all had a strong identity and presented their collections in a very innovative way, breaking all the codes of the traditional fashion show and putting on real performances. At the time, Couture houses seemed somewhat outdated, and ready-to-wear was emerging as a joyful, creative and carefree form of fashion.

In 1983, Karl Lagerfeld cast you as the face of Chanel, making you the first model to sign an exclusive contract with a fashion house. How did this collaboration begin, and what was your first meeting with Karl like? What do you remember about your role in this creative adventure? How did his vision and personality shape your own approach to fashion?

I had been working with Karl for a few years and at Chanel even before he arrived, as much with Philippe Guibourgé – unjustly forgotten – as with Mr Jean and Mrs Yvonne at Couture. Then, at Karl’s request, I signed this total exclusivity contract which, at the time  surprisingly seemed a very far-fetched idea to many people who wanted to dissuade me! Initially, it was just a question of being a model and ambassador, but the reality is that I learnt my trade as a stylist there with the best of teachers of all, Karl, in the most beautiful school: the rue Cambon!

More recently, you wrote the foreword to the couturier Colette Maciet’s autobiographical book. What memories do you have of the workshops, and of your links with the various characters in the studio? 

Colette started working at Chanel at the age of 14, so she knew “Mademoiselle,” as is often the case in the ateliers. She was a passionate, conscientious woman with a unique knowledge. Karl was always very aware of the importance of the talent of the ‘premières d'atelier’ and had great respect for them.

You have modernised the myth of the Parisienne, which is now inseparable from your image and your name. Your book, republished in 2019, offers tips and advice on how to make it your own. What new elements would you add in 2024?

In the past, “la Parisienne” seemed to be a myth, mainly for countries other than France, but today it's more accepted as a real state of mind, a style that, for example, mixes old and new, sophisticated and sporty, which has finally become quite cosmopolitan. What I might add is that even if all the most luxurious and prestigious brands in the world are Parisian, Parisian women seem to keep discovering new small brands and don’t necessarily seek the guarantee of famous logos.

Your own brand, Ines de la Fressange, has quickly become a symbol of French elegance, both in France and internationally. How do you ensure that your brand embodies this timeless elegance? 

“Elegance” sounds a bit old-fashioned, but I love it all the same! I try to make clothes that are suitable for women in all kinds of situations, and it works by word of mouth. Customers are loyal and many discover the brand through department stores like Le Bon Marché or Galeries Lafayette. I have to say that I'm proud of the fact that the company is growing by having so many points of sale. The secret, I think, is to have your feet firmly on the ground – but with nice shoes!

You've signed a number of collaborations over the course of your career including with Roger Vivier. Can you tell us how this collaboration has enriched your vision of luxury and design?

Twenty years ago, people would ask me, ‘Who is Roger Vivier? Today, both the brand and the man are internationally renowned, which I'm delighted about. Working alongside Diego della Valle has taught me a lot, particularly about brand positioning, boutiques and corporate strategy. His panache and ambitions are very special, and many French businessmen should take a leaf out of his book!

In July 2023, you made your return to the catwalk by closing the Charles de Vilmorin show during Haute Couture Week. You have supported many young designers throughout your career. What criteria do you observe when you decide to support a young talent, and how do you see the importance of their role in the evolution of fashion? Do you still keep a close eye on developments in the sector?

When Charles asked me to do so, my ego was especially flattered! (laughs) Afterwards, I did the fashion show very casually, in a warm and cheerful atmosphere. On the other hand, yes, I do like to put the spotlight on unknown names by mentioning them in my weekly newsletter, for example, (www.lalettredines.fr) because sometimes fashion magazines forget this role, when they are forced to quote their advertisers... It’s a shame because these same advertisers will need new talent at one time or another. In any case, it's important to stay informed so as not to become an embittered old lady!

How has your own style evolved over the years, and what are the most significant changes you've seen?

When Saint Laurent used to talk about simplicity a few decades ago, I was shocked, but today I understand better: I'm pruning! Less fussy, less make-up, less hairstyle, more letting go and above all not trying to be like before but moving forward!