PARIS — Chanel’s creative director Matthieu Blazy presented his sophomore ready-to-wear collection at Paris Fashion Week on Monday, transforming the Grand Palais into a construction site with holographic floors and towering cranes. The architectural theme served as a metaphor for Blazy’s ongoing reconstruction of Chanel’s design legacy, six months into his tenure.
The collection drew inspiration from Gabrielle “Coco” Chanel’s philosophy: “We need dresses that crawl and dresses that fly.” Blazy masterfully balanced opposing forces—minimalism versus extravagance, functionality versus fantasy—demonstrating greater discipline than his October debut.
Opening looks established a foundation of austerity with black knit zip-ups, tweed blousons, and boxy overshirts distinguished only by four gold buttons. These minimalist pieces represented what Blazy called “the first brick” in his architectural approach to fashion.
The most provocative design innovation emerged in silhouette experimentation, with waistlines dramatically dropped to mid-thigh level. Retro flapper influences filtered through a contemporary lens manifested in drop-waisted twinsets, patchwork dresses with floral embroidery, and vibrant patterned knits pulsating with 1920s energy.
The collection’s finale addressed commercial considerations with dazzling sequined plaid suits, star-chart embroidered coats, and metallic mesh woven to mimic traditional tweed. Spectacular elements including fabric blossoms, trailing ribbons, layered ruffles, and insect-wing detailing transformed the runway into theatrical spectacle.
Blazy cast models spanning teenagers to women in their fifties, allowing the presentation to breathe during a nearly five-minute runway circuit. The show concluded with seven pared-back black and cream looks, signaling that while innovation continues, Chanel’s essential identity remains intact.