Jen­nifer Cham­baret, in the world of fash­ion, has always been pas­sion­ate about design and the art of cre­ation. From her ear­ly days pur­su­ing applied arts at school to her advanced stud­ies in cos­tume design and fash­ion design, Jen­nifer­’s jour­ney has been marked by a relent­less pur­suit of excel­lence and inno­va­tion. Inspired by icon­ic design­ers like Alexan­der McQueen and Iris van Her­pen, she has carved out a niche for her­self with her unique blend of ele­gance, com­fort, and sus­tain­abil­i­ty. Today, Jen­nifer Cham­baret’s brand stands as a tes­ta­ment to her ded­i­ca­tion to cre­at­ing time­less, sculp­tur­al pieces that res­onate with mod­ern sen­si­bil­i­ties.
Jen­nifer con­fides in us about her jour­ney, her brand and her way of cre­at­ing.

Could you describe your professional background and explain what motivated you to create your own fashion brand?

JC: I have always enjoyed draw­ing, imag­in­ing objects, and observ­ing. So I pur­sued a high school diplo­ma in Applied Arts. I encoun­tered the pro­fes­sion by join­ing a Diplo­ma of Art Trades pro­gram — spe­cial­iz­ing in cos­tume design, after high school. I was drawn to the idea of cre­at­ing objects and work­ing with mov­ing bod­ies, and cos­tume design seemed like a good path.
At that time, cloth­ing became a real encounter for me. I became aware that cloth­ing, as an object around the body, is a very com­plex, beau­ti­ful object, and that it can become a work of art in itself. This led me to fash­ion. I dis­cov­ered the work of Alexan­der McQueen, Iris van Her­pen… And a lit­tle lat­er, Madeleine Vion­net, Azze­dine Alaïa, Yohji Yamamo­to.

I con­tin­ued my train­ing by join­ing the Ensad, in the Fash­ion Design sec­tor. Project after project, my work became more refined. I would even say that fit­ting after fit­ting, I enjoyed see­ing peo­ple feel good wear­ing my pieces. This grad­u­al­ly guid­ed me towards the desire I have today to accom­pa­ny peo­ple by dress­ing them in their dai­ly lives. From sculp­tur­al pieces, I grad­u­al­ly moved towards zero waste designs, then sin­gle-piece cuts, adjustable sizes, uni­sex… I have exper­i­ment­ed a lot and con­tin­ue to do so. The search for vol­ume is inex­haustible! And that’s what I like most in life. My pro­fes­sion­al expe­ri­ences in Iris van Her­pen’s stu­dio and Yiqing Yin’s stu­dio were inspir­ing and for­ma­tive. They gave me the desire to under­take and cre­ate my own brand.

How would you define your creative style?

JC: The DNA of Cham­baret is above all the asso­ci­a­tion of ele­gance and com­fort.
An ample and flu­id sil­hou­ette, time­less pieces, dis­creet sen­su­al­i­ty. Nat­ur­al mate­ri­als of very high qual­i­ty.
And if only one thing were to be remem­bered: great com­plex­i­ty in cut and detail. That’s my dri­ving force in cre­ation.

Could you tell us about the manufacturing process of your pieces?

JC: Every­thing is done in my work­shop in Mon­treuil. From design to pro­duc­tion. I have a fair­ly com­pre­hen­sive pro­file: I am a trained design­er and have been teach­ing pat­tern mak­ing in a fash­ion school for six years now. This dual role allows me to man­age all stages of col­lec­tion devel­op­ment, from the idea to pro­to­typ­ing and pro­duc­tion. By meet­ing oth­er project lead­ers, I real­ized how lucky I am to have this job in my hands. So, I’m bank­ing on that.
Fur­ther­more, I am very inspired by the act of mak­ing. Being in con­tact with crafts­man­ship con­stant­ly allows me to improve my designs, to push the bound­aries even fur­ther in devel­op­ment.

What are the commitments and values that guide your brand?

JC: I main­ly source dead­stock (end-of-roll fab­rics from over­pro­duc­tion). This allows me to work with excep­tion­al­ly high-qual­i­ty mate­ri­als while remain­ing acces­si­ble. I spend a lot of time look­ing at fab­rics and find­ing gems. This is a very stim­u­lat­ing phase of inspi­ra­tion for me. Just as a ceramist works with dif­fer­ent clays, I am very in touch with my work­ing mate­ri­als: fab­rics. They are what stim­u­late my vol­umes.
I place par­tic­u­lar impor­tance on trans­mis­sion. Also, I am a teacher in a fash­ion school and reg­u­lar­ly wel­come interns to my work­shop. I enjoy shar­ing with them what I dis­cov­er about the entre­pre­neur­ial adven­ture, and our dis­cus­sions are always stim­u­lat­ing for me. It’s a chance to be able to share your pas­sion like this.

In Conclusion

Jen­nifer Cham­baret’s jour­ney in fash­ion is a remark­able blend of pas­sion, cre­ativ­i­ty, and a com­mit­ment to sus­tain­abil­i­ty. Her designs, char­ac­ter­ized by their flu­id sil­hou­ettes and metic­u­lous crafts­man­ship, reflect a pro­found under­stand­ing of both form and func­tion. By sourc­ing high-qual­i­ty dead­stock fab­rics and main­tain­ing a hands-on approach in her Mon­treuil ate­lier, Jen­nifer not only cre­ates beau­ti­ful cloth­ing but also cham­pi­ons eco-friend­ly prac­tices. Her work con­tin­ues to inspire and inno­vate, mak­ing her a sig­nif­i­cant force in the con­tem­po­rary fash­ion land­scape.
Dis­cov­er oth­er brands and fash­ion design­ers in our ded­i­cat­ed page.