The Paris fashion shows culminated in a breathtaking spectacle, a true “Big Bang” for the industry.
Inside the Grand Palais, transformed into a cosmic realm with giant solar system models – suns, earths, and stars hanging overhead – designer Matthieu Blazy presented his inaugural collection for Chanel. It was immediately clear he wasn’t just redefining Coco’s world; he was reimagining the entire fashion universe.
Blazy deconstructed Chanel to its very core, meticulously reassembling familiar brand elements. The result wasn’t merely beautiful; it was far more intriguing – a vibrant resurgence that brought Chanel roaring back to life.
Gone are the days of predictable bouclé suits, those pieces that had long teetered on the edge of cliché. The iconic double Cs? Reimagined.
Tweed made an appearance, but with a robust, menswear-inspired edge, seen in sharply tailored, waist-cropped jackets and relaxed, slouchy trousers. There was also knitted tweed, dramatically oversized tweed that hinted at complex circuitry, and an ethereal, open-weave tweed so delicate it was barely recognizable as the fabric.
Skirts, strategically falling below the knee (a nod to Chanel’s famous disdain for visible knees), featured a unique wrap-around design at the hips, fastened by two buttons to reveal a flash of leg with every stride. The classic 1920s dropped waist was cleverly executed as a trompe l’oeil, suspended from a ribbed white cotton yoke, playfully hinting at visible undergarments.
A sleek, slinky black knit dress appeared, alongside black and white ensembles that subtly echoed the brand’s signature perfume bottles. Yet, these were overshadowed by unexpectedly cool men’s shirts. Collaborating with Charvet (a favorite of Coco Chanel herself, Blazy revealed), these shirts were subtly “Chanel-ified” with a delicate chain at the hem – mirroring Coco’s trick for ensuring jackets hung perfectly. Worn untucked over voluminous, tiered ball skirts crafted from crisp cotton, the look exuded an effortless sophistication.
In fact, apart from a single slithery white Art Deco gown and a pair of bias-cut slips, most evening wear centered around this “shirts ‘n’ skirts” philosophy. It was a refreshing call to relax and embrace ease.
Camellias, or at least camellia-inspired blossoms, were reinvented as spiky, oversized corsages or even avant-garde hats. One beaded knit ensemble appeared to be crafted from crushed pearls. The traditional spectator pump was transformed into a soft, slipper-like heel, seemingly dipped in paint at the toe. Even the iconic 2.55 bag saw a playful update, with wire added to allow it to be twisted and reshaped, embracing the charm of a well-loved heirloom.
While some proportions, especially in the exaggerated tweed jackets, occasionally seemed a bit off, appearing large and lumpy despite their actual lightness, these were undeniably wearable clothes. They moved beyond mere smartphone spectacle, designed with the wearer in mind, offering freedom of movement, and, yes, pockets! And the sheer variety on display was remarkable.
Much like other contemporary designers, Blazy fearlessly embraces the immense legacy he’s inherited, rather than shrinking from its weight. His approach, reminiscent of the “throw everything out there and see what sticks” school of thought, echoes a generation of creatives who matured in the age of digital media. They understand that part of what makes fashion compelling and relatable are the creative “outtakes” – the raw, evolving ideas.
This philosophy transformed the Chanel show into a dynamic experience, a stark contrast to the rigid, stately processions of the past. Witnessing the new Chanel felt like observing a live, evolving work in progress, a designer’s mind laid bare: “Wait! Look at this! Wait, I have another idea!”
It’s a bit chaotic, but infinitely more enjoyable.
This spirit of daring experimentation links Blazy directly to Karl Lagerfeld, the visionary who catapulted Chanel into the modern era in 1983 by boldly disrupting its aristocratic image. Lagerfeld introduced Chanel miniskirts, moto jackets, even basketballs and jeans. He famously staged extravagant shows that cemented the brand’s place in pop culture – a sensibility Blazy, with his galactic set, clearly understands and appreciates.
A key challenge for Blazy’s predecessor, Virginie Viard, who took the helm after Lagerfeld’s passing in 2019, was perhaps an over-reliance on continuity. Both Lagerfeld and now Blazy grasp a fundamental truth: impeccable taste, without a dash of irreverence, risks becoming staid and bourgeois. Lagerfeld infused kitsch; Blazy brings experimentation.
This ethos harkens back to Coco Chanel herself, who founded her business over a century ago by courageously breaking the rules. She famously repurposed a sweater into a jacket; adopted a man’s suit as her daily wear after a costume party (as Blazy recalled); elevated the simple black dress from utility to haute couture; and consistently challenged the status quo. This inherent rule-breaking is the true essence, the “DNA” of the brand, more so than pearls or camellias. It’s what ensures Chanel’s enduring relevance.
As the show concluded, model Awar Odhiang circled the runway, clapping before lifting her arms towards the celestial bodies above. Adorned in a voluminous ball skirt, a vibrant explosion of color encrusted with blossoms, and a simple white silk blouse split at the back, she radiated pure joy and liberation.