Following Chanel’s resort 2023 show back in May, actress Camila Morrone sat down to scroll through photos of the collection—a sort of private tradition she’d established during the pandemic. She hadn’t attended the presentation, which took place in Monaco, but as she examined the looks, one dress stood out. “I screenshot the black dress and thought, ‘If I ever have another Chanel event to go to, I want to wear this,’” she told W over the phone. She didn’t have to wait too long. Fast-forward five months to Virginie Viard’s spring 2023 show, and this time, Morrone would be sitting front row wearing look 50 from Chanel’s previous collection—the exact piece she’d had her eye on.
A strapless gown with an asymmetric hem and rosette detail on the waist, it was the unexpected nature of the dress that drew Morrone in. “It’s made of this almost liquid metal texture, which I’ve never seen before at Chanel,” she said. The actress added some “edgy rock and roll” to the piece with black tights and a dainty choker, but opted to keep her glam simple. “When I did my makeup at 7:30 AM, it was a bit early for a smokey eye,” she said. “So I went with a more laid-back and effortless look, which I think is very much the style in France.”
Below, Morrone shares her thoughts on her first in-person Chanel show, why she doesn’t take fashion too seriously, and what it was like to work with “the coolest woman” she’s ever met, Patricia Arquette.
What did you think of the show? Was there anything that really stuck out to you?
There were so many sparkles and feathers, which I had never seen in a Chanel show. Granted, I hadn’t been to any of the other shows in person, but I always watched them live. I really loved the layering of all the necklaces and also there were these incredible ear cuffs that went up the ear and then draped down the earlobe. There was such a youthful touch to a brand that is so iconic and classic. Even though a lot of the materials were similar to the iconic tweed and sequins, there was such a fresh take on it.
What does Chanel mean to you?
I’ve worked with them in America and done some really incredible trips with them, but it’s just a different experience being in France, the home of Chanel. I got to go to the atelier today and see the jewelry and how it’s made—the embroidery, and that machine that makes the tweed. I got to see all these people who are so incredibly passionate about their job and have been doing this for decades; they’re so invested in the details.
It was just announced that the 2023 Met Gala will be an ode to Karl Lagerfeld. What do you think about the theme?
That’s an incredible theme. There are going to be some archival dresses that people will have to pull out. I never got to meet Karl, but I’m happy they’re honoring him and I can’t wait to see everyone’s looks.
You recently got bangs, what made you decide to do a big chop?
I did it for my last movie, Gonzo Girl. Right before I came to Paris, they were a half grown out and I was pretty over them—but they weren’t long enough to commit to a side bang, so I recut them and committed to the fringe. I think it works in France.
You have so much range when it comes to your style—from three-piece suits to feminine dresses. How do you decide what to wear to an event?
I like to mix it up. I don’t consider myself someone who tries very hard with fashion because in my day-to-day life, I’m very relaxed. So, it’s really only when I’m going to work events and appearances. I like the juxtaposition of doing something dainty, feminine, and sexy and also being able to wear a men’s suit and have a different version of yourself that’s a bit more masculine—and play with that character.
I especially liked that velvet Burberry suit you wore to the Clooney Foundation for Justice Inaugural Albie Awards earlier this week.
Oh, that was very different for me. I was excited to wear that. That’s a good example, because the week before that, I wore a corset that was custom fit to my body, so the total opposite of the suit. I just don’t take any of it too seriously.
You have some very exciting projects coming up, including the TV adaption of Daisy Jones & The Six. What was it like to work on that?
Every time someone mentions Daisy Jones, my heart is touched—because we all waited so long for that show to come to fruition. We were supposed to shoot before the pandemic, and then we got shut down multiple times. Luckily, we were all able to stay on and commit. We finally got around to making it, a year and a half after the original start date. We shot it in L.A., and the story spans from 1969 to 1978. It’s a memorable and fun era for fashion and music; some of the best music was created during that time in the Sunset Boulevard scene. It was such an incredible and positive experience and I’m excited for people to see what we’ve been waiting years to make.
Were you a fan of the book before you joined the series?
No, I didn’t know about the book before I got the audition, but I read it in under 48 hours. Not because I was cramming to read it, but because I liked it so much. And then I went on to read more of Taylor Jenkins Reid’s books. I love her style of writing, but I have a particular soft spot for Daisy Jones.
You also just worked with Patricia Arquette on her directorial debut, Gonzo Girl. What was that like?
Patricia Arquette is the coolest woman I’ve ever met. She’s got such a range as an actress. And I love working with directors who know how to work with actors. I just felt so incredibly safe with her and she taught me so many life lessons and guided me in tackling a role that was challenging and scary.