The most eagerly awaited debut of the season took place on 6 October at the Grand Palais in Paris.
Everyone eagerly awaited this great moment. And finally, the countdown came to an end with an eternal dialogue between freedom and love. This is how Matthieu Blazy proposed—and conquered with excellence—the new era of Chanel, where there are no clocks or borders. A conversation where time does not exist, proposing an exchange between Gabrielle Chanel and himself.
For the French-Belgian designer, ‘Chanel is synonymous with love’. And in his first collection for the Maison, that love becomes a visual language that translates the past into the present. It is a gesture that does not seek to evoke nostalgia, but rather continuity, while reinterpreting heritage with a certain rebellious touch.
‘There is no time for routine monotony. There is time for work. And time for love,’ wrote Gabrielle, to which Blazy seems to have responded, almost a century later, with a proposal that blurs the distance between them.
Amidst vibrantly coloured planets and an exciting soundtrack, the Spring-Summer 2026 collection presented a paradox: masculinity as the starting point for femininity. A shirt and trousers – the legacy of Boy Capel – are transformed into symbols of power and desire. The shirt, made in collaboration with Charvet, retains its classic stiffness but softens on contact with the female body. The jackets, inspired by British suits, reveal unfinished edges and subtly subverted proportions.
Chanel‘s unmistakable tweed, which never ceases to evolve, now appears polished, agile, with a determination that evokes movement. Blazy plays with the duality between the pragmatic and the seductive, with the aim of conquering the world and also allowing himself to be conquered at the same time.
Another icon, the 2.55 bag, reveals its patina. Camellias wilt elegantly. Tweeds fray but retain their strength. The designer understands that beauty also lies in the traces of use, in that imperfection that makes the sublime real.
Chanel‘s graphic codes—black and white, Art Deco lines, architecture—are reconfigured on flowing silks, delicate embroidery and prints that expand like petals. Lines are softened and rounded, transparencies take centre stage, and jewels orbit like crystal planets, with distorted pearls.
No one wanted to miss this great moment in Chanel‘s history. Neither us, nor Penélope Cruz, Sofia Coppola, Pedro Pascal, Margot Robbie, Kendall Jenner, Pedro Almodóvar, Tilda Swinton, Peggy Gou, Úrsula Corberó, Ayo Edebiri, Jennie, Angèle, Vanessa Paradis, Lily-Rose Depp, Nicole Kidman, or Iman Khelif, among many others.
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