Ariana DeBose Lived Her French Fantasy at Paris Fashion Week

Fashion

Paris may conjure up images of the Eiffel Tower, people-watching at cafés, and no-holds-barred shopping sprees on the Champs-Élysées. For Ariana DeBose, leaning into her French fantasy means waking up early and “wandering around a bit aimlessly while listening to Édith Piaf.” And that’s exactly what she did before her pre-show prep for Chanel’s spring/summer 2024 show at the Grand Palais Éphémère yesterday.

“I love that you can basically walk into any restaurant in Paris and have amazing food,” she adds. “Truly. It feels like there’s this incredible standard that comes with French cuisine and yet the environment can feel so casual and full of joie de vivre.” The same can be said of French style. Case in point: DeBose’s look, a color story of gold, black, and maroon—specifically, a hooded shawl, a going-out top layered under a vest, and pants with metallic detail and an elastic waist (ideal for decadent meals).

“Chanel really came into my consciousness in 2004 with Baz Luhrmann’s No.5 the Film featuring Nicole Kidman. I was 13. I had been fascinated by Moulin Rouge, so that collaboration drew me in and began a love affair with the romanticism that exists across the brand.” Apart from attending the show, largely considered the top billing of Paris Fashion Week, what else is on DeBose’s bucket list in the capital city? “Visiting the salt marshes of Île de Ré, going to Gabrielle Chanel’s apartment on Rue Cambon, and having a martini at Bar Hemingway inside the Ritz. “Ernest was a great writer,” she says.

Below, DeBose takes ELLE.com along as she gets ready for Chanel’s spring/summer 2024 show:

ariana debose chanel ss24 pfw show

Headshot of Claire Stern

Digital Director

Claire Stern is the Digital Director of ELLE.com. Previously, she was Deputy Editor of ELLE.com. Her interests include fashion, food, travel, music, Peloton, and The Hills—not necessarily in that order. She used to have a Harriet the Spy notebook and isn’t ashamed to admit it.

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