Jeanne Damas interview: the Rouje founder talks ‘French girl style’

Jeanne Damas is the Parisian internet sensation-turned-fashion entrepreneur whose label Rouje boasts just less than one million Instagram followers and is worn by a coterie of international “cool girls”, among them Elle Fanning, Selena Gomez, Margot Robbie and Léa Seydoux.

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The former model, who also has 1.5m Insta followers under her own name, originally gained exposure from her original Tumblr account, which stood as a personal scrapbook of quintessential Parisian style helped along by her own stylish je ne sais quoi, a rarefied blend of sultriness, self-possession and feminine mystique. Long before Julia Fox claimed to be her own muse, Damas had established herself as an influencer in the true sense of the word, using her discerning eye to inspire others through her chic yet slightly undone Parisian style.

Perhaps she engineered the hype, or perhaps she was simply immersed in the creative moment – whatever her intention, Damas became an “It Girl” at the age of 17 and was snapped up by IMG Models. But Damas had ambitions to shine further than the lit up square of social media. In 2016, she founded Rouje, launching a small collection of floral dresses and timeless classics with a retro twist. In a nutshell, these were the things she wanted to wear in her various “roles”, as a party girl, a fashion setter and a girl about town. Among her first creations, was her now signature Gabin wrap dress (this is the one worn by Margot Robbie at a press junket for Mary Queen Of Scots in 2018) which became an instant hit and is still available in various patterns.

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Capitalising on the popularity of this perfect silhouette, cut to flatter all figures, she focused on well-crafted wardrobe staples that have become synonymous with a certain Parisian uniform – these include the Columbo trench, the slightly flared Belleville jeans, the Mylene striped knit and the Gio scooped neck top. You could argue that these are not breakthrough designs, but Damas has always understood the power of presentation and especially those little styling details that make all the difference when it comes to standing out, from the turn of a cuff to an upright collar, always mixed with an ineffable sense of louche modernity.

Things got a lot bigger and bolder from there. Last year, she showcased a fully upcycled collection, launched her label in Hong Kong and Singapore with concept store Rue Madame, and debuted her first skincare range. In addition to this, the entrepreneur has just announced plans to open physical stores in New York and London – the latter will open temporarily in Mayfair this April followed by a larger permanent store in the city.

My ideas about fashion were formed at an early age. Along with my father, my mother managed a restaurant in Paris and was considered a bit of a tastemaker. She was always invited to exclusive fashion events and press sample sales, so her wardrobe was full of bargain finds from Jean Paul Gaultier, Manolo Blahnik, Issey Miyake and the like. You could say she was a very modern sort of power dresser, in touch with her feminine side, strong and determined, working in a business that required grit and good business acumen. Sometimes her outfits were sexy, sometimes they were coquettish and playful, other times still, they were sharper and stricter – she just did as she pleased which I think made me understand the synergy between dressing and self-confidence.

Another big influence was – and still is – the fashion designer Nathalie Dumeix who had her studio next to my parents’ restaurant. I was always kicking about there when I was a teenager. You know, when you grow up in a restaurant, you’re a social animal by nature. You get to know the businesses and people around you, so Paris, at least for me as a kid, was all about community, it had a village-like feel. So there I stuck in my spare time, watching Nathalie pattern cut and drape her creations, making her sur-mesure collections the artisanal way, which helped me to appreciate an artfulness around the ritual of dressing.

I don’t find the term offensive or derogatory per se, but historically speaking, it’s a rigid definition that has presented quite a narrow view – often used to describe a certain aesthetic or physical look that doesn’t embrace diversity. The modern Parisian woman is not one thing and she shouldn’t be pigeonholed. I think what I try to champion is a joy and spirit around dressing that is natural, comfortable and uncomplicated, and that is perhaps where the definition should go, assigned to a Parisian attitude rather than a set of beauty ideals. We also have a huge mix of styles here in the Rouje studio and that makes for a great melting pot of ideas. For example, [head designer] Lou Menais has a real eye for 90s fashion, which adds its own freshness to collections. I sign off every season, but each one is a mix of influences.

French fashion is so exciting right now! I think that building a strong brand identity is as much about looking and appreciating what’s out there, as it is focusing on your own DNA. Being inspired – rather than being directly influenced by my peers – sparks creativity. For example, Vaillant Studio [founded by former ballerina Alice Vaillant in 2020] is a breath of fresh air with its draped, deconstructed pieces. My friend, Emma Reynaud, is doing great things with her sustainable brand Marcia, known for its sexy body-hugging silhouettes which feels fresh for Paris, typically more conservative when it comes to party-wear than say London and New York. There’s also the designer Nix Lecourt Mansion, famous for her corsetry looks... all are very different to the Rouje proposition, but together, as female designers and entrepreneurs, we’re building on a certain momentum that feels free and exciting. I feel that from a male design perspective, often there’s too much focus on the “fantasy woman”. These designers are coming at it from a personal place and that’s empowering.

It’s a messy process, but it works. I recently saw a Pina Bausch piece [at the Paris Opera Ballet] and I loved all the dancers’ dresses, cut from high gloss satin, which I’ve incorporated into next winter’s collection. Sometimes my influences are more abstract, drawn from a piece of music or kindled by a certain mood. Last September, I was in New York for Fashion Week and the experience was really impactful. I noticed more girls in sheer clothing and I loved it. It’s something you don’t see very often in Paris, so why not bring it here? So our Summer 23 collection will be gauzier… not crazy transparent, but “French” transparent, so a little more subtle.

Alexandra Zagalsky is a London-based journalist specialising in luxury, art and travel. She began her career working on a cultural guide for English-speaking expats in Paris, where her first major break was an interview with Lionel Poilâne, the late baker of Saint-Germain-des-Prés famed for his signature sourdough loaves. Returning to London in her early 20s, she went on to write for not only The Week but also The Art Newspaper’s Art of Luxury supplement, The Telegraph and The Times, as well as art and design platforms including 1stDibs’ Introspective Magazine and the magazines of the V&A, Sotheby’s and Christie’s. She studied fine art and art history at Goldsmiths, University of London and continues to explore travel journalism through the lens of art, craftsmanship and culture.

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‘The modern Parisian woman shouldn’t be pigeonholed’