There are some women who enter a room quietly, and others who change its entire rhythm. Gracie Abrams belongs to both worlds.
The GRAMMY®-nominated singer-songwriter and CHANEL House Ambassador stars in the new Coco Mademoiselle Crush Absolu campaign film, directed by celebrated filmmaker Joe Wright. Continuing her story with the House, Abrams steps into the world of Coco Mademoiselle for a cinematic celebration of freedom, instinct and irresistible presence.
CHANEL has always existed a few steps ahead of expectation. In 1921, Gabrielle Chanel dared to introduce an entirely new fragrance that captured the immense desire for freedom defining the era. It was a bold expression of character, created by a woman who understood that elegance and rebellion need never be mutually exclusive.
More than a century later, Gracie Abrams embodies that same tension. There is a softness to her, but also a sharp creative instinct – a fiery boldness beneath the surface that makes her a natural Coco Mademoiselle.
Under the direction of Joe Wright, the campaign transports us to a cinematic vision of Paris caught somewhere between yesterday and tomorrow. Haussmannian façades rise above glistening cobblestones as deserted streets conceal the promise of something altogether more exhilarating.
At first, Gracie appears dressed and adorned, surrounded by yards of fabric and the expectations of another era. Yet Coco Mademoiselle has never been interested in convention. In a moment, she has escaped, leaving everything behind except her fragrance.
Bare-legged and fresh-faced, with boyish hair and a simple white garment, she races through Paris without keys, directions or a carefully constructed plan. She does not wait for the road to appear; she creates it beneath her feet.
This is the spirit of Coco Mademoiselle Crush Absolu. More than a fragrance, CHANEL presents it as a magnetic force — concentrated, complex and impossible to ignore.
When the guardians of decorum attempt to return her to her place, Gracie slips through a doorway and into a lively Parisian café. The room gradually reveals its striking Art Deco lines, shaped by the simplicity, balance and contrast that feel so unmistakably CHANEL.
Then, with the strike of a heel and the clap of her hands, everything changes.
The temperature rises, bodies begin to move and faces catch the light. Gracie’s energy passes through the room until one hundred dancers become a single, beating, harmonious whole. It is neither a traditional ball nor a perfectly staged performance, but something freer, more sensual and infinitely more exciting.
Soon, she is standing on top of the gilded bar, sending the rhythm through every corner of the café before diving into the crowd below. Through Wright’s cinematic lens, the film becomes a beautifully choreographed expression of the power one woman can possess when she follows instinct rather than expectation.
Gracie Abrams does not simply step into the role of Coco Mademoiselle; she brings something distinctly her own to it. Elegant without being restrained, creative without pretence and rebellious in the most beautifully Parisian way, she represents a new generation of the CHANEL woman.
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