There are fashion shows, and then there are moments when fashion feels like it’s orbiting a new world. Chanel’s return to the Grand Palais was exactly that: a cosmic awakening, a reminder that when the Maison dreams, the entire galaxy listens.
This time, the Grand Palais wasn’t just a venue; it was a universe. Massive planets floated in a dimly lit cosmos, as if the brand had built its very own solar system, one that revolved entirely around the codes of Chanel. And at its center, a new gravitational force: Matthieu Blazy.
For the first time in a long time, I didn’t find myself reaching for nostalgia, whispering “Karl would’ve loved this.” No. This was something different, something freer. A clean slate shimmering under the Grand Palais’ glass dome. I found myself watching, curious, open, almost weightless.
Matthieu Blazy’s Chanel feels like an invitation, an orbit around both history and imagination. Within this vast Chanel universe, he created a dialogue that transcended time: a conversation between himself and Mademoiselle Chanel. You could almost feel her presence in the textures, the tailoring, the rhythm of the silhouettes. And yet, it was distinctly Blazy, modern, cerebral, grounded in craftsmanship but lifted by a sense of wonder.
THIS WASN’T ABOUT CHASING THE GHOSTS OF FASHION PAST. IT WAS ABOUT CREATING CONSTELLASTIONS FOR THE FUTURE.
As each look emerged, it felt like a different planet, structured tweeds, liquid silks, subtle metallics reflecting the light like distant stars. There was movement, purpose, and poetry. Chanel had gone galactic, and we were all floating happily along.
It’s safe to say: Matthieu Blazy has officially launched his Chanel into orbit. And if this is the new universe we’re invited to live in, count me in, no spacesuit required.
THE STORY BEHIND THE SHIRT: WE WILL NEVER SEE A WHITE SHIRT THE SAME WAY AGAIN:
It started quietly, as all great revolutions do, with a shirt.
Not just any shirt, but a man’s shirt. Once worn by Boy Capel, the great love of Gabrielle Chanel’s life, and borrowed by her in that effortlessly defiant way that would change the course of fashion forever. It was simple, sharp, practical, and yet, in her hands, it became something else entirely.
Back then, the shirt was made by Charvet, the historic French shirtmaker. Today, it’s reimagined by Chanel itself, this time, weighted with a signature chain, stitched with memory, and cut with intention. Matthieu Blazy, in his first collection for the house, turned this humble piece of menswear into something sacred.
When I saw it glide down the runway, crisp yet fluid, tailored yet tender, I knew we’d never look at a white shirt the same way again.
This wasn’t just about tailoring; it was about storytelling. The masculine and the feminine, work and love, structure and softness, all dancing together in perfect rhythm. Jackets were sharp yet unfinished, tweeds were pressed but alive, silks draped and knotted like whispered secrets. It felt like a conversation between Gabrielle and Matthieu, across time, across planets even.
And those looks? They’re not just runway moments. They’re red-carpet declarations waiting to happen, a new kind of elegance that’s equal parts intellect and seduction.
CHANEL’S BAGS AND SHOES JUST ENTERED A NEW UNIVERSE.
And then, there were the shoes, those iconic two-tone pumps, reimagined for a new era. Matthieu Blazy took what is perhaps Chanel’s most recognizable silhouette and sent it spinning into orbit. The classic beige and black combination was reborn with sculptural precision, subtle curves, and a new kind of movement that felt both powerful and poetic. Each step paid tribute to Gabrielle Chanel’s belief in freedom, in clothes that move with women, not against them.
And just when I thought the nostalgia couldn’t get any more irresistible, the Chanel 2.55 appeared, crushed, softened, lived-in. It felt like the bag had a story to tell, one that’s already been on a few adventures. I have no doubt both pieces will become instant cult favorites: the pumps for their effortless modernity, and the 2.55 for its unapologetic attitude. Together, they mark a shift, a subtle rebellion wrapped in the codes of timeless elegance.
MATTHIEU BLAZY ISN’T JUST REVISITING CHANEL CODES, HE’S EXPANDING THEM.
The language of Chanel isn’t just French, it’s universal, traveling across continents, eras, and even galaxies. What starts as sharp masculine lines at the opening of the collection slowly softens, rounds, and borrows from the ease of a blouson, making you wonder why structure has ever felt so rigid. Tweeds, weaves, and textures multiply like constellations, each one meticulously crafted, each lining a small universe of its own, silks printed with stories, patterns that whisper of both past and future.
Chanel fundamentals are reimagined: grids of tweed transform into hand-knotted knits, transparencies peek through, and the architecture of the suit is revealed in all its elegant honesty. Jewellery, forever intrinsic to the Maison, dazzles in abundance, baroque pearls, glass planets, and enamelled chains, ephemeral yet unforgettable. Even the shoes speak: classic contrasting toe-caps paired with heels designed not just to walk, but to propel you forward, firmly, confidently, and very much into tomorrow.
Watching this, I couldn’t help but feel it: Matthieu Blazy isn’t just revisiting Chanel codes, he’s expanding them. And yes, I’m ready to follow him anywhere, even to the stars.
MY FAVORITE LOOKS: THE MORE YOU LOOK, THE MORE YOU LOVE.
To be honest, when the show first began, I was waiting for more, more drama, more “wow” moments, maybe another take on the iconic little black dress. But the thing about Matthieu Blazy’s Chanel is that it doesn’t hit all at once; it grows on you, quietly, thoughtfully, and beautifully.
The deeper I dove into each look, the more I appreciated the genius in the details: how the tweed is reinterpreted, how textures are layered and styled, how masculine and feminine codes coexist effortlessly. There’s a rhythm to it, a dialogue between pieces that only becomes apparent when you take the time to really see.
And then came the finale. Awar Odheang closed the show with her infectious laughter and radiant smile, leaving us on a positive, joyous note. Her look was effortlessly stunning and perfectly encapsulated the collection’s spirit—timeless, playful, and confident. Honestly? That was my favorite moment of the show.
These are my favorite looks.
ALSO READ: NICOLE KIDMAN (ONCE AGAIN) JOINS CHANEL’S CONSTELLATION OF STARS.
