Inside Amelia Gray's Final Fitting With Carine Roitfeld for Vogue World: Paris

I'm gonna need a couple days

to process what's just happened to me.

Two dreams that I almost never dreamt

because they were too big of dreams to ever come true.

That's how it feels.

Like just pinch me all over my body.

[calm jazz music]

Hello Vogue.

Welcome to the last fitting of the Vogue World.

If you follow me, we bring some behind the scenes,

some little tricks, some memorable looks, and amazing girls.

So follow me.

[upbeat music]

I'm very happy in a fun way to go back to work

after more than 10 years.

And to participate in an event like this one in my city.

Because I'm a real Parisian. I think it's means a lot.

I want it perfect and I want that people can feel

the Parisian vibes in the show.

I hope I will be successful.

Alexandre Samson, our curator, had this genius idea

to share 120 years of fashion

and the anniversary of 400 years

of Olympics and Paralympics in 10 decades.

So from the twenties to the 2010.

So there is a lot of fashion,

maybe a lot of people don't know about

who never seen the vintage pieces.

So we're going to have a lot of dancers,

we're going to have a lot of athletes.

We're going to have singers,

more than 150 models, a lot of looks.

So it's going to be a huge, huge show.

We're here. I'm so sorry.

[Carine] And I love Amelia.

Hi.

[Carine] She was a part of the team.

She's not like a diva on her own.

She's like life.

And she give a lot. She give love.

What am I gonna wear? Hi.

Chanel Vintage One. How are you?

How are you?

Am I? Yes.

Really?

[Alexandre Morgado] Like this one.

Stop it! Yeah, so.

We just need to fit this shape

and then we will add some fringes.

Chanel? Yes.

What? Chanel to you,

from the twenties.

What? Yeah, we were made aware.

For Vogue World? Yes.

[Carine] It's not a long time that Amelia is working

as a fashion model.

It's quite new I think, maybe two years. Not more.

Wow.

[Carine] And you see the energy is so positive,

so she's a generous person. I like her.

[upbeat violin music]

For her, black and the white here,

because it's like a degradee, will be perfect with her.

You know sometimes you imagine a girl in the dress.

And I think will be the perfect one.

Wow.

Chanel.

[ethereal music]

Carine is everything. Vogue is everything.

This is all everything. So I'm just extremely honored.

I like it a bit higher.

It's what we, Yeah yeah yeah.

Yeah,

'cause then I can walk. And for you to walk

[Amelia] it's better. Yeah. Exactly. Yeah yeah.

[Carine] And it's better for the legs

and I think it's better for the dress.

This is insane. From the twenties.

24. 24.

Your mom is going to cry again.

Oh my God. I just got off the phone with her.

She's like, Better give Carine the biggest hug for me.

Yeah, she's gonna cry.

I don't think I'm gonna tell her that I'm wearing Chanel.

[Carine] No, don't tell her.

I'm not gonna tell anyone anything.

This is something that goes above and beyond dreams.

Not just because Vogue World, of course,

is the most insane dream of my life,

but Chanel Vogue World is like two dreams

that I almost never dreamt

because they were too big of dreams to ever come true.

That's how it feels like just pinch me all over my body.

The other day I just watched Midnight in Paris,

which is like all about the different eras in Paris

and one of the biggest eras

that they highlight is the twenties and the flapper dresses.

And I think that's one of my favorite eras.

And if I could go back to an era,

it would be Paris in the twenties in Chanel

as Pablo Picasso's muse.

And I feel like that.

So that's how this dress makes me feel. [laugh]

[Anna Wintour] Hi. Hi.

[Amelia] You look amazing. Good to see you.

This is an easier dress to get on

than the last one I saw you in.

This is definitely an easier one. And what a surprise.

I had no idea. You guys, thank you.

Twenties Chanel. Gorg.

[Amelia] Sorry.

[Carine] When you see the Amelia Gray dresses,

people understand totally the shape

and the work of the twenties.

So it was no waist. It was quite, uh.

And a lot of beads.

As you're going to add some more beads for Amelia.

Everything is, I tell you, is handmade.

It's what we call in French le petit man.

In old couture, they're very, very important.

And I like the people that making this dress

come here to make the fitting too.

Because usually that sort of dresses

we take them with white gloves because they so fragile.

This time people of Chanel were there,

people of couture were there

so they can make alteration in the couture way.

And I learned something quite interesting this morning.

I say, but there is not the logo Chanel inside the dress.

As you know, this is bad luck to put the logo

before the dress is totally finished.

So I'm a very superstitious person,

so it's means a lot for me.

[upbeat music]

And it's fun to work with Anna.

It's the first time I'm working with her

and I'm happy for finally after all these years at work,

we can be doing something together.

She's so tall, you know. She's so tall.

[Carine] Because people always say that we are fighting.

I never fight with Anna. I respect her a lot.

I work for her and I have fun with her.

And I almost like colors now. After meeting Anna.

Dressing in black, but almost loved colors.

[chill music]

I never met Gabrielle Chanel,

but I heard a lot from film and from Karl.

So I know she was a very free spirit with a tough character.

And I think she will love someone like Amelia.

I think it's very the essence of what Coco is herself.

I feel amazing and beautiful and like a real Parisian.

[Carine] After the success of the previous event.

This has to be even better. So we want it spectacular.

We want to be enjoyable.

And cross fingers it's super not windy.

[chill music]