Fashion historian and artistic director

The career of an intellectual and leading figure in contemporary fashion


A graduate in art history, Olivier Saillard was appointed director of the Musée de la Mode in Marseille; in 2000, he became head of programming at the Musée des Arts Décoratifs in Paris and, in 2010, director of the Palais Galliera. Since 2017, he has been director of the Alaïa Foundation and artistic director of the J.M. Weston fashion house.

He is the author of several seminal works, including *An Ideal History of Contemporary Fashion*, and has curated major exhibitions on Yohji Yamamoto, Christian Lacroix, Jeanne Lanvin, Madame Grès, Balenciaga and others. Alongside his work as a historian, he pursues a poetic exploration expressed through performances, in collaboration with Charlotte Rampling and Tilda Swinton.

In 2018, he launched his first haute couture collection, ‘Moda Povera’, which elevates everyday garments through craftsmanship.
It is through his sensitivity and childhood memories that he has created ‘Chapelle des Bois’ for MOMUS.

Why "Chapelle des Bois" ?

Olivier: Late at night or early in the morning, Sundays would begin with the delivery of the daily newspaper.
My mother, who had taken up the job of taxi driver out of a desire for independence, would carry out this weekly Sunday task. In every village, lost amidst the snow and the cold, I would help her, sometimes reluctantly as I’d often have a night out at a nightclub followed straight by the round… But I was always rewarded by the slow rise of the sun over the white, silent snow. Despite the treacherous roads and ruts, despite the cold – it was regularly thirty degrees below zero – I have fond and warm memories of my mother and me driving along at a measured pace in the silence. From hamlets to villages, where the distributors of the regional newspaper awaited us in the neighbouring farms, we would share a large bowl of black coffee, comforting and hot. Standing around a corner of the table and a worn oilcloth, we would each take a sip of the piping-hot, delicious coffee, burning our lips as we did so. From the coffee pots resting on the cast-iron tops of the wood-burning stoves, the aromas wafted out, mingling with the smell of embers. In Chapelle des Bois, a small, remote village in the Haut Doubs, in what is known as ‘Little Siberia’, we allowed ourselves to savour the complimentary coffee a little longer. Chapelle des Bois marked the end of the tour. The mesmerising white snow, the sky gradually turning a deep blue, and the inky-black coffee all proclaimed in unison that the world was waking up.

Which memories of those shared moments in cafés have fuelled your inspiration?

Olivier: What I remember most of all is the warmth of the people, which stood in stark contrast to the harsh climate. Coffee wasn’t just a drink. It was a gesture of welcome. A moment suspended in time.

In those isolated farms, even before day had fully broken, the locals would gather round a table, a steaming cup, and sometimes just silence. Coffee brought people together. It warmed their bodies just as much as it fuelled their conversations.

These memories have left a deep impression on my imagination.

What does ‘Chapelle-des-Bois’ mean to you today?

Olivier: Chapelle-des-Bois has become much more than just a geographical memory. It’s an emotion. A sensation of light dawning in the winter chill. It’s the smell of coffee mingling with that of burning wood. It’s the slow pace of a snowy morning and the comfort of a shared moment.

Through this coffee, I wanted to recapture that emotion in its purest form: that of a rich, full-bodied black coffee that accompanies the world as it awakens, amidst the silence of the snow-covered landscapes of the Haut-Doubs.