chanel has entered a new era. with matthieu blazy’s long-awaited debut at paris fashion week, the maison shed its old skin—and with it, the tired tropes of bouclé suits and double c’s. in their place? a reimagined chanel for a new generation.
known for his architectural sensibility and quiet luxury at bottega veneta, blazy brings a rare blend of craft and clarity. before bottega, he sharpened his vision at maisons like céline (under phoebe philo), maison margiela, and raf simons’ dior. now, at the helm of chanel, his first collection proves he’s not here to preserve tradition—he’s here to rewrite it. beneath a celestial installation of sun, earth, and stars suspended like zeppelins inside the grand palais, matthieu blazy unveiled his first collection for chanel — and with it, breathed new life into the house.
skirts grazed below the knee—coco chanel famously disliked knees—wrapping low at the hips and fastening with two side buttons that let each step reveal a flash of leg. camellias, a house symbol, appeared as spiky oversized corsages or whimsical hats. a beaded knit ensemble resembled crushed pearls, modern yet unmistakably opulent. even the classic spectator pump was transformed into a soft, slipper-like heel, toes dipped in glossy paint.
but the show’s drama extended beyond garments. accessories became punctuation marks in blazy’s visual story. big hats loomed above, statement earrings and tiers of pearls cascaded like constellations, and chunky gold chains grounded the looks in gravity. metallic bags gleamed under the runway lights, while sculptural clutches — including an ovoid “egg” shape — added sculptural intrigue. these accessories weren’t just adornment—they acted as signifiers of the maison’s renewed audacity.
meanwhile, the handbags were quietly revolutionary. the 2.55 was “pre-crushed,” its leather softened and structure imperfect, exposing the burgundy lining and echoing the feeling of a beloved heirloom. flap bags were stripped of quilting, logos were minimized, and chain straps gave way to leather. archival silhouettes like the supermodel tote returned, but in quiet modern reinterpretations, and a new ovoid minaudière (egg‑shaped) made a playful cameo. blazy’s handbags felt lived-in, tactile, and quietly daring—proof that even icons can evolve.
blazy's chanel is tactile, intelligent, and emotionally charged. the silhouettes whisper rather than shout, but they speak volumes. gone is the museum-like reverence; in its place, a house that feels alive again.
with this debut, matthieu blazy doesn’t just inherit a legacy—he disrupts it. and fashion, finally, feels excited about chanel once more.
cláudia cavaleiro the editor in chief for CINCO editorial. born in '82 in coimbra, she is graduated in philosophy from the university of coimbra. passionate about books and podcasts in a geek kind of way, she always find something interesting to research. loves to bring awareness to social problems and loves working at CINCO!
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