This red carpet marks the end of a great adventure. Jeanne du Barry became a dream 17 years ago, so it’s great to celebrate the end of this obsession. I discovered Jeanne du Barry’s life in a book. I immediately loved it. She was free, but she wanted to be accepted by the bourgeoisie, by intellectuals. She was paradoxical. The desire to talk about Jeanne and her issues, by which I mean her feeling of being illegitimate and of betraying her origins, are questions that have always tormented me, and I started thinking I should do something around her weaknesses.
I was very demanding on the costumes. I wanted the costumiers to be free, to seek inspiration in the 18th century, but on a different path. On the colors, the lines… Costumes can say so many things. We stayed close to Jeanne’s style, with very refined, simple dresses, in white and ecru. It was a blend of my vision and Virginie Viard’s with Jürgen’s experience. Before officially starting work on the film, I did years of research and moodboards, as if it were a rehearsal of the entire film in every artistic field. Very often, I took photos of clothes
without realizing they were CHANEL. It was a pleasure to come here with the dressmaker and see the dress gradually emerge. It was very