Chloé

Chloé launched Chloé Arts on 25 June 2024 under Chemena Kamali’s creative direction, beginning with eight works by Mie Olise Kjærgaard. A second edition at Paris Photo in 2025 supports treatment as a continuing programme rather than a one-off campaign.

Chemena Kamali presented her first Chloé collection, resetting the house around a softer, bohemian-feminine reading of its heritage.

Chloé received B Corp recertification in October 2024 with a higher score than in 2021. The renewal verified the continuation of the house’s social and environmental assessment framework after changes in both executive and creative leadership.

Richemont announced Laurent Malecaze as Chloé president and CEO on 13 December 2023, succeeding Riccardo Bellini and joining later that month. The change overlapped with the preparation of Chemena Kamali’s first collection and shifted executive leadership during the opening of her creative period.

Richemont announced that Chemena Kamali joined Chloé as creative director on 9 October 2023. Her current programme draws across the founder era, both Lagerfeld periods, late-1990s tailoring and early-2000s accessories without reducing the house to a single revival.

Chloé appointed Chemena Kamali as creative director. Joined from Saint Laurent. Replaced Gabriela Hearst.

Gabriela Hearst presented her final Chloé collection with the Spring 2024 show in Paris.

Chloé confirmed on 6 July 2023 that Gabriela Hearst would leave after presenting Spring/Summer 2024. The final show took place on 28 September, closing her creative-director tenure while the house retained the institutional systems developed during it.

Chloé’s shareholders adopted Société à Mission status on 24 March 2023, integrating gender equality, responsible practice and environmental impact into the company’s statutory objectives. The structure also created a mission committee to monitor and report on those commitments.

Chloé Vertical launched with Spring/Summer 2023 using EON digital IDs to provide product and material information, repair access and resale through Vestiaire Collective. The announced ambition to extend the system to all products by 2025 has not been verified as achieved.

Chloé announced B Corp certification on 18 October 2021 after an 18-month assessment. The milestone accompanied a sustainability board, measurable targets, lower-impact materials, artisan partnerships and employee programmes developed under CEO Riccardo Bellini and creative director Gabriela Hearst.

Hearst's debut made sustainability an overt part of Chloé's new authorship and public direction.

Chloé appointed Gabriela Hearst creative director effective 7 December 2020 while she continued to lead her namesake label. Her tenure joined collection design to artisan partnerships, B Corp certification and product traceability, ending with Spring/Summer 2024 on 28 September 2023.

Natacha Ramsay-Levi's Spring/Summer 2021 show became the runway endpoint of her Chloé tenure.

Riccardo Bellini became Chloé chief executive on 1 December 2019. He led the appointments of Gabriela Hearst and Chemena Kamali, the B Corp certification and Société à Mission transition, the Chloé Vertical programme and the decision to phase out See by Chloé, leaving in December 2023.

Maison Chloé opened at 28 Rue de La Baume on 2 July 2017 as a five-storey structure for working archives, showrooms, fittings, exhibitions and events. Its permanent anthology and temporary programme made the house archive an operating cultural resource rather than a closed storage collection.

Chloé appointed Natacha Ramsay-Levi creative director on 3 April 2017 with responsibility for ready-to-wear, leather goods and accessories. She combined archive research, sharper tailoring and artist collaborations before stepping down on 3 December 2020.

Aude Vergne joined Chloé in 2016 in fragrance, eyewear and business development, moved into sustainability leadership in 2020 and became chief sustainability officer in October 2021. Her remit covered the house’s first B Corp certification and 2024 recertification before her departure in 2025.

Chloé launched its e-boutique in July 2016, adding direct digital retail to the house’s boutique and wholesale network. The milestone belongs to the operating chronology rather than to a seasonal collection or campaign.

Kamali returned to Chloé in a senior design capacity under Clare Waight Keller around 2012 or 2013 and remained for a little over three years. Sources describe design-director responsibility around ready-to-wear and pre-collections, but the exact title sequence and dates remain disputed.

Clare Waight Keller began as Chloé creative director on 1 June 2011, leading ready-to-wear and accessories through a light, practical form of romanticism. Her tenure introduced an extensive bag system and ended on 31 March 2017 after the Autumn/Winter 2017 finale.

Geoffroy de la Bourdonnaye became Chloé chief executive on 1 September 2010. His tenure included Clare Waight Keller’s appointment, the house’s 60th-anniversary archive programme, Maison Chloé and Natacha Ramsay-Levi’s succession; he stepped down on 30 November 2019.

Hannah MacGibbon returned to Chloé as creative director in March 2008 after earlier work in Phoebe Philo’s studio. Her tenure refined a 1970s wardrobe of wide trousers, suede, scalloped edges and silk blouses and ended when the house announced Clare Waight Keller in May 2011.

Chloé appointed Paulo Melim Andersson creative director on 12 October 2006 after his design directorship at Marni. Across three collections he introduced offbeat colour, asymmetry and a rougher register before the house announced his departure in March 2008.

After Phoebe Philo resigned in January 2006, Chloé’s in-house team carried the mainline until Paulo Melim Andersson’s October appointment. Sara Jowett, Natasha Lee, Valeska Duetsch, Adrian Appiolaza and Yvan Mispelaere were publicly identified with the Fall 2006 studio collection.

Yolanda Zobel served as a senior designer on Chloé’s main womenswear line from 2006 to 2008. Her role crossed the studio period after Phoebe Philo and Paulo Melim Andersson’s creative direction.

Coty acquired the Chloé fragrance licence in 2005 through its purchase of Unilever Cosmetics International. The transfer placed the house’s long-running perfume category within Coty’s prestige portfolio and established the operating structure behind the fragrance relaunch developed later in the decade.

Chemena Kamali joined Chloé as an intern in 2003 during Phoebe Philo’s tenure and remained in junior studio work beyond the placement. Her exact title progression and departure date have not been recovered, so the record does not assign a closed employment range.

Chloé expanded into leather goods and accessories in 2002 under Phoebe Philo, working with accessories designer Giovanni Morelli. The programme established the operational basis for bags including the 2005 Paddington and shifted accessories into a central part of the house business.

Accessories designer Giovanni Morelli worked with Phoebe Philo as Chloé established its leather-goods business in the early 2000s. Museum documentation credits him with helping to create the system and collaborating on the Paddington, while the approximate 2002–2005 range remains subject to fuller employment records.

Chloé announced Phoebe Philo as Stella McCartney’s successor on 10 April 2001. Her tenure developed the mainline, See by Chloé and a new leather-goods system, including the Paddington, before she resigned on 5 January 2006.

Ralph Toledano became Chloé chairman and chief executive in 1999 and led the house through the McCartney–Philo transition, the expansion of leather goods and See by Chloé, and the appointments of Paulo Melim Andersson and Hannah MacGibbon. His departure was announced in August 2010.

Chloé licensed eyewear to Marcolin in 1998, establishing a continuing category operated through specialist partners. Marchon took over manufacturing and distribution from September 2012; Kering Eyewear announced the next exclusive partnership in June 2020, with distribution beginning in January 2021.

Phoebe Philo joined Chloé in 1997 as Stella McCartney’s design assistant and close studio collaborator. Her work extended across design, styling and casting before the house named her McCartney’s successor in April 2001.

Chloé appointed Stella McCartney head designer and creative director in April 1997. Working closely with Phoebe Philo, she brought lingerie, wide tailoring, comic print and younger casting into the house, leaving in 2001 to establish her own label.

Mounir Moufarrige led Chloé as president during the house’s 1997 creative transition. He scouted Stella McCartney in late 1996, recruited her as head designer and creative director the following April, and left the company in April 1999; the exact date on which his Chloé presidency began remains unresolved.

Rothmans separated its tobacco and luxury interests in 1993, forming Vendôme Luxury Group around holdings that included Dunhill and Chloé. The reorganisation clarified the house’s placement within the group structure later consolidated by Richemont.

Karl Lagerfeld returned to Chloé as artistic director in 1992. His second tenure revived fluid slip dresses and art-derived print through a brighter 1990s register before Stella McCartney’s appointment in 1997.

Chloé’s current history dates Martine Sitbon’s appointment as sole artistic director to 1987, while many biographies use 1988. Through 1991 she combined menswear tailoring, chiffon, embroidery and cabaret references, giving the house a darker and more androgynous form of softness.

Carlos Rodriguez designed for Chloé during the rotating studio period before Martine Sitbon’s appointment. A silk-crepe ensemble with sequin embroidery preserved from Spring/Summer 1987 verifies his authorship for at least one collection, but it does not establish a longer tenure or a creative-director title.

During his Parsons studies in Paris, Tom Ford interned in Chloé’s press and public-relations office. The experience gave him direct exposure to a European fashion house before he completed his environmental-design degree and entered New York apparel design.

Alfred Dunhill Holdings acquired Chloé in March 1985, ending Gaby Aghion and Jacques Lenoir’s ownership. The transaction placed the house inside the luxury structure that later became part of Richemont.

Peter O’Brien joined Chloé in 1985 as Guy Paulin’s assistant and was promoted to head of design in 1986. A preserved Spring/Summer 1986 dress confirms his collection work during the rotating studio period before Martine Sitbon’s appointment.

Guy Paulin presented his first Chloé collection in March 1984 after replacing Karl Lagerfeld. Contemporary reporting confirms the succession, while his exact departure date and the complete span of his collections remain unresolved.

Chloé launched its first fragrance in April 1975, establishing a product category that continues alongside the fashion house. The recovered official chronology does not identify the perfumer, producer or original licence structure.

Chloé’s current archive dates Karl Lagerfeld’s exclusive design appointment to January 1975, after more than a decade within Aghion’s multi-designer studio. The change consolidated collection authorship while retaining the flou, named garments and artistic collaborations developed during the earlier period.

Jeannette Alfandari opened Chloé’s first freestanding Paris boutique and developed the house’s commercial strategy with Gaby Aghion and Jacques Lenoir. Sources disagree between a 1971 opening at Rue de Gribeauval and a 1972 opening at 50 Rue du Bac, so the record preserves the disputed date and location rather than choosing one retrospectively.

Karl Lagerfeld was promoted to head designer in 1966 after entering Chloé’s collective studio around 1963 or 1964. The promotion marks the shift from shared authorship towards his dominant creative role, preceding the exclusive contract that made him the house’s sole designer in January 1975.

Karl Lagerfeld joined Chloé’s multi-designer studio around 1963 or 1964 and gradually became its dominant designer. His first tenure moved from flou dresses and named picture garments to the trompe-l’œil collections presented for Spring/Summer 1983 and 1984, ending when he left for Chanel.

Graziella Fontana was one of four designers hired by Gaby Aghion and Jacques Lenoir in 1963. Retrospective testimony places her alongside Karl Lagerfeld for roughly seven years, making her a sustained author within the studio before Lagerfeld’s design authority was consolidated around 1972.

Tan Giudicelli was among the young designers recruited into Chloé’s collaborative studio in the early 1960s and worked alongside figures including Michèle Rosier, Graziella Fontana and Karl Lagerfeld. The relationship is securely documented, but no complete employment range or individual Chloé object attribution has been recovered.

Christiane Bailly belonged to the group of young freelance designers from whom Gaby Aghion selected work in the early 1960s. Institutional histories confirm her place in the collective, while the frequently repeated 1961–1963 range remains approximate because no appointment or departure notice has been recovered.

Michèle Rosier worked within Gaby Aghion’s early multi-designer system. A lace suit with silk ribbons preserved from Spring/Summer 1964 gives the relationship an object-level anchor, although the beginning of her work for the house and her complete collection contribution remain undocumented.

Maxime de La Falaise worked within Gaby Aghion’s early freelance network and co-designed the 1960 Embrun shirt-dress with her. The documented collaboration shows how Chloé’s collections combined outside sketches, Aghion’s fabric choices and a shared final edit.

Gérard Pipart was the first young designer hired into Gaby Aghion’s collaborative Chloé studio, with sources placing his arrival in 1958 or 1959. He contributed to the collections before moving to Nina Ricci in 1963; the exact beginning remains disputed.

Around 1958, Chloé began assigning letters to collections and giving garments names that began with the corresponding letter. The convention operated across much of the Aghion period, recording individual pieces as named objects rather than numbered couture models; it should not be read as a complete surviving seasonal catalogue.

Jacques Lenoir joined Gaby Aghion as Chloé’s business partner in 1953. He managed finance, production, administration and commercial growth while Aghion organised the creative studio, remaining co-owner until the 1985 sale.

Gaby Aghion founded Chloé in Paris in 1952 and developed an original luxury ready-to-wear model based on fine materials, standard sizing and boutique distribution. She directed the house through creative selection and a multi-designer studio until the 1985 sale to Alfred Dunhill.