Rue Blanche's creative heart

MARIE-CHANTAL REGOUT


It’s a warm April morning when we’re invited into the home of Marie-Chantal Regout, the original founder of Rue Blanche. As sunlight pours through the window blinds, we settle into a large sofa, and conversation drifts between design and the quiet rituals of daily life. She shares how gardening—and seeing it through her grandchildren’s eyes—has deepened her connection to it. She also reflects on the enduring appeal of British heritage, her heroes, and the importance of intuition in her creative process. As we continue talking, Marie-Chantal sets the table for lunch, joined by her daughters, Aude and Astrid. Though she passed the reins of Rue Blanche to them in 2017, she remains closely involved, still designing the brand’s knitwear with the same instinctive touch that has defined Rue Blanche from the start.
 

 

Photography by Cécile Hanquet

Interview by Merel Daemen


 

You founded Rue Blanche in 1987 and are still designing the brand’s knitwear. What do you love most about the design process?

When I started Rue Blanche, I felt something was missing in the fashion landscape. Cotton jersey pieces with a certain beauty and quality simply didn’t exist in the way I envisioned them. I was drawn to the idea of developing them myself. That’s how Rue Blanche began: with refining cotton T-shirts and sweaters.

For the first three years, I focused on jersey, and as the brand found its audience, I expanded into knitwear and woven pieces. I led the company until my daughters took over in 2017, but to this day, I continue designing the knits. Knitwear remains especially satisfying because it allows me to create clothes that look but also feel good.

Can you take us through your design process? Where do you start, and what details matter most to you?

It always starts with a personal feeling. Something I want to wear, something that feels right at that moment. Then comes the fabric, which guides the design. Its texture and weight spark ideas for colour, shape, drape, and volume. Everything falls into place from there. I finish with subtle details: a stripe, a button, ... Small but significant touches that can make a piece memorable.

"It always starts with a personal feeling. Something I want to wear, something that feels right at that moment."

Are there any particular artists who have shaped your vision?

Gabrielle Chanel, without a doubt. She broke conventions in a way that deeply resonated with me when I was younger. I also love the work of Hans Arp and Sophie Taeuber-Arp—my favourite avant-garde artist couple. There’s something beautiful about two people creating together like that. And then there’s Paul Smith—his approach to colour and tailoring is endlessly inspiring.

British heritage has also left a lasting impression on me, particularly its wool traditions, fabrics, tailoring, and Scottish tartans. When you prioritise quality and respect materials, garments endure. I’ve never embraced a throwaway culture, and I admire how English and Scottish craftsmanship values repair and longevity.

You also have quite a selection of gardening books. Do you have a style you favour?

Too many to choose from! I love le Jardin à l'anglaise, which comes down to more wild and abundant planting. It feels more natural to me. Gertrude Jekyll’s painterly approach to borders also inspires me a lot, as does Bas Smets’ way of layering landscapes.

"Both gardening and knitwear require vision. It’s about weaving everything together, like building a spider web, where each thread connects to create the final result."

Have you always been a gardener, or is it something that you learned later in life?

I’ve grown to love gardening since having my own garden. It’s a practice of patience and observation, and there’s a quiet pleasure in seeing everything come together. I love the act of creating—it relaxes me. But something shifted again when my grandchildren came along. Spending time with them in the garden, teaching them how to care for something living, changed my perspective. Seeing it all through their eyes made the experience feel new again, as if I were rediscovering it alongside them.

On the way in, I also noticed a lot of gardening gloves and outdoor hats. Are you a collector?

I suppose I am when it comes to gloves. Different tasks require different qualities, so it’s about having the right tool for the job. I have about eight pairs, each with a specific purpose. But of course, I have my favourites (smiles).

Do you see any parallels between tending to a garden and designing knitwear?

Absolutely. Both require vision and an understanding of how elements interact. It’s about weaving everything together, like building a spider web: each thread connecting to create the final result.

A home is often a reflection of one’s taste. How do you approach decorating, and what makes a space feel like yours?

I approach decorating as I do any creative process: observing first, then placing key pieces. It’s a construction, guided by balance, finishing touches, and a natural ease. I avoid rigidity. A space should feel personal, shaped by instinct rather than expectation.

I hear you enjoy hosting friends and family. What makes a gathering feel special to you?

For me, gathering with friends and family is part of my creative climate. I love laughing, sharing, remembering, and even finding moments of stillness together. I try to keep it effortless, avec une nonchalance. More than anything, I want people to feel at home.