In front of a crowd of thousands, Catalonians of all ages team up to construct complex human towers or castells, a powerful display of regional identity, unity and fun. We report on this feat of collaboration to discover its lessons about sharing the load.

Sanae Takaichi won Japan’s ruling Liberal Democratic Party’s (LDP) leadership election on Saturday 4 October, defeating rival Shinjirō Koizumi in a run-off vote. The 64-year-old conservative politician will take over from Shigeru Ishiba, who resigned after the ruling coalition lost its parliamentary majority for the first time in 70 years. Takaichi is expected to be formally appointed prime minister on 15 October but she faces significant challenges governing without a majority in either house of parliament.

This week on The Globalist, Monocle and Tomohiko Taniguchi, former special adviser to the cabinet of Shinzo Abe, explored what the country might look like under the so-called Iron Lady of the East.

The following interview has been edited for length and clarity. Listen to the full conversation on ‘The Globalist’.

What kind of politician is Sanae Takaichi and how is her victory being received in Japan?
Takaichi is admittedly a protégé of late prime minister Shinzo Abe, inheriting his economic policy and conservative approach to monarchism and social institutions. She is a self-made person; she financed her high school and university tuition by moonlighting in multiple jobs. She’s a motorcyclist and was a drummer for a punk-rock band as a teenager.

Over the past few decades, she has become known as someone with an encyclopedic knowledge of policy issues. The challenge for her now is to develop a broader vision.

How will that affect her ability to govern – and can she automatically become prime minister?
No, she cannot become prime minister automatically. If you have a broad, strong coalition across the opposition parties, some of those opposition members could be elected. But today there is deep division among the opposing parties on numerous issues. As a result, Takaichi will likely be elected as she is now the head of the LDP, which is a big party.

What are some of the notable policies that she’s advocating for?
In terms of economic policy, Takaichi has repeatedly mentioned that growth is what counts. She believes that while fiscal prudence is important, it is secondary when compared to generating growth. Some of the other candidates are more for fiscal prudence.

When it comes to foreign and national security, particularly regarding the US-Japan alliance or what should be done in relation to China, there is little discrepancy among the candidates.

Will Takaichi’s election significantly change Japan’s relationships with China and South Korea?
Naturally, Beijing has been extremely cautious. As prime minister, she knows that she must balance Japan’s national security concerns and economic imperatives. That is to say, Japanese businesses have huge stakes in China. 

Japan and South Korea have been undergoing a softening period, so it would be wise for her to continue fostering a smooth relationship with them rather than not.

Do you think that she can reunite and reinvigorate the LDP? And what does her victory mean for Japan’s political landscape today?
There is no easy answer to those questions. There will be parliamentary sessions every month until June 2026. There will be opportunities for Takaichi to demonstrate her ability to lead the LDP and to form a coalition, which will be like shooting a flying object. It will be a difficult task, be it Takaichi or anyone else. We’ll have to wait and see.

While cities such as Barcelona grapple with a mounting number of visitors, rural regions across the country have been facing depopulation for many decades. But the tide might be turning, as many Spaniards yearn to return to their roots and creatives seek quaint abodes that offer fewer distractions and deeper connections.

If you want to take a real-time sample of the global economy in action at any one moment, then the Cathay Cargo Hub at Hong Kong International Airport (HKG) is a particularly fascinating node. 
 
HKG is the world’s busiest air-cargo hub and no airline moves more freight through it – more than 1.7 million tonnes annually – than Cathay Pacific. Founded in 1946 as a cargo operator between Australia and China, Cathay now manages a sprawling 246,000 sq m hub and the constant hum of palletised and shrink-wrapped goods. In just one section of the warehouse, the inventory ranges from huge cases of Château d’Arche wine to Golden Lily mangoes from the Philippines, alongside priceless artworks packed in Cadogan Tate crates – all destined for the holds of windowless cargo freighters.
 
Air cargo accounts for less than one per cent of all goods shipped by tonnage globally but it makes up some 35 per cent of the total value. It carries all the things the world needs or wants in a hurry, from the latest iPhone and cold-chain pharma to Italian supercars and oil-drilling machinery. This urgency is just one of the reasons why air cargo is worth paying attention to: when people stop buying the things they need, it’s often a reliable signal that a recession might be on the horizon.

On a recent weekday morning, the warehouse was particularly active, catching up from the two-day stoppage enforced by Super Typhoon Ragasa, a level-10 storm that sideswiped Hong Kong. But the air-cargo world faces headwinds beyond the weather, including the unpredictable currents of geopolitics. 

Not long ago, air cargo prices were being driven upwards as a result of “fast fashion” purchases and other inexpensive goods from Chinese companies such as Shein and Temu. But after the Trump administration eliminated de minimis exemptions on goods worth less than $800 (€688) – precisely what Shein and Temu had exploited – US-bound air cargo from China – a key, typically one-way route – fell by at least 25 per cent.

“Supply chains don’t change overnight,” says Tom Owen, cargo director at Cathay Cargo. “But there has been a recalibration.” One benefit for air-cargo companies such as Cathay is that they don’t own factories – they own planes. This agility can work in their favour, as Cathay Group CEO Ronald Lam noted at the Routes World conference in Hong Kong, the day after the typhoon blew through. The uncertainty of tariffs, he said, created a “rush” to place orders. Air cargo, with its far shorter lead times compared with ocean shipping, “is really well positioned to capture that rush.” Hong Kong’s position as a global hub means that Cathay Group can adjust its routes swiftly. “We are getting more cargo from India and Southeast Asia, routed via Hong Kong to the US, to replenish the slowdown on US-bound cargo from China.”

During a week when the Trump administration threatened yet again to escalate the trade war that it began, air-cargo companies such as Cathay find themselves in the eye of the storm. But this is an industry in which agility and flexibility are key. During the coronavirus pandemic, cargo kept many airlines afloat as they quickly converted their passenger fleet into impromptu freighters, loading cargo where passengers normally sat. The latest disruptions present a new challenge but also a lesson. While long-term planning is crucial to success in business, the best strategies leave room to adapt. Take it from Cathay, which has dealt with its fair share of turbulence: be ready to change course quickly, even while mid-air.

Tom Vanderbilt is a regular Monocle contributor. For more opinion, analysis and insight, subscribe to Monocle today.

Paris-based designer Thibo Denis knows his way around a well-constructed shoe. From shaping the footwear vision for both haute couture and ready-to-wear collections at Christian Dior (under former menswear creative director Kim Jones) to his current role designing shoes and accessories for Louis Vuitton menswear, Denis is an instrumental figure in the world of fashion. He is now stepping into the spotlight to debut a collection under his own name as part of a partnership with Birkenstock. 

The German footwear giant has tapped Denis as the inaugural guest designer for Ensemble 1774, a new initiative inviting fashion talent to collaborate with the brand’s creative studio. The release includes three models, each available in bold colourways and finished with Birkenstock’s signature bone-pattern outsole. Here, Denis tells Monocle about his design inspirations, how he interpreted Birkenstock’s heritage and, crucially, what trousers he would pair with each of the shoe styles.

Could you walk us through your design process for this project, from concept to final silhouette?
I’m a longtime fan of Birkenstock, so this project carries a lot of personal significance. The starting point was the brand’s core elements: the cork midsole, the iconic bone pattern and of course, the black outsole. I wanted to amplify these signature details and bring them to the forefront. As a designer, I always think about the silhouette: not just of the shoe itself but also the story and visual language that led to it. For this collection, I drew inspiration from a group of rock climbers known for their bold ascents in Yosemite during the 1970s. That spirit of freedom reminds me of Birkenstock’s DNA. I really like the idea of ‘climbing’ the city.

What was the challenge in balancing trainer-style silhouettes with Birkenstock’s orthopaedic heritage?
Everything comes down to the first impression that a shoe makes. I wanted people to recognise that they are Birkenstocks but with lines that feel more dynamic. When you think of a classic Boston, the profile is quite square. So I worked with the team to soften and round out the lines to create the feeling of movement, as if the shoe is made for walking faster.

How do you see these shoes fitting into someone’s everyday wardrobe?
They are versatile pieces. This is especially true for the mule, which I imagine carrying someone through the day. It’s all about the socks that they’re paired with – think thick wool for daytime and a finer gauge for the evening. I even like the idea of wearing it with a smoking jacket. Each silhouette was designed with a particular style of trousers in mind. The mule works well with chinos, the one-strap trainer can be styled nicely with vintage jeans and the chunky double-strap model looks great with shorts.

At a time when many respected galleries across the world are downsizing or closing down altogether, others are investing in larger spaces to reach the next generation of collectors. Among them is contemporary Chinese art gallery 3812, marking a bold new chapter with the opening of its London flagship during Frieze Art Week. Does its new home at The Whiteley in Bayswater – a century-old former shopping centre transformed by Foster + Partners into a mixed-use development with apartments, retail and a luxury hotel – signal a shift in where art enthusiasts are looking to base their business?

3812 co-founder Calvin Hui speaks to Monocle about his path from collector to gallerist, giving up a gilded Mayfair postcode for “dynamic” west London and why the UK capital is still a desirable destination.

What made The Whiteley the right home for 3812?
The sales presentation. It was so impressive and we liked the international mix of residents. As a contemporary Chinese art gallery, we are trying to reach out to a new generation of collectors. When we arrived in London in 2018, we wanted to be located in a prominent address to attract English and European customers. Now we’re looking to be more dynamic. 

Is this symbolic of a wider shift away from Mayfair?
No, it’s just us. Moving out of Mayfair means leaving our comfort zone but we are not a typical Western gallery – and now we have twice as much space, if not more. Ceiling height is another impressive element of the new location: our ground-floor gallery is 5.5 metres in height. A bigger space means bigger possibilities for our curatorial vision.

What does your opening programme look like?
A solo show by Ma Desheng. He’s a very established Chinese artist based in Paris. Two or three years ago, he held a major retrospective at Centre Pompidou. Afterwards we will present works by a Hong Kong cultural icon, Stanley Wong, and postwar abstract master Hsiao Chin, who passed away two years ago. We will also have a group exhibition of young Hong Kong and mainland Chinese artists in their twenties and thirties, including Thomas Ngan and Liu Yangwen. As you can see, our shows will range from emerging to established artists, primarily painters. 

How did you first find your way into the art world?
It was very organic. I started collecting art while running my PR and marketing company and then I began writing columns in some Chinese newspapers and magazines about the market. My partner encouraged me to open a gallery because he could see my passion and potential. Every time I had guests at home, they really liked what I had hanging on the walls. 

When did that turn into your first gallery?
I opened my first space in 2011 in Wong Chuk Hang [a former industrial area on the south side of Hong Kong Island]. I called it a contemporary-art project because I didn’t know exactly what I was going to do. And then, bit by bit, I became more serious about building an identity and an artist portfolio, so in 2015 we moved to Sheung Wan and finally called ourselves a gallery. Three years later we moved to Central, where we are now, and also expanded overseas to St James’s in London. 

Do you still collect personally or is all your energy in the gallery now?
I never stopped collecting, even after I started my gallery business. It varies from contemporary art to mid-century furniture, vintage silverware and Whitefriars glassware. I also collect my own artists’ work as recognition of their talents and a gesture of support.

Any British names you’re excited by at the moment?
I have a lot of modern and contemporary British art in my collection. I collect in two directions: early to mid-20th-century British modernism, such as Peter Lanyon and Barbara Hepworth, and contemporary artists. I recently acquired some of Samuel Chatto’s ceramics. Over the past few years, I have also been supporting many artists at the Royal Drawing School. 

Which Chinese artists are you championing right now?
Chloe Ho is a young ink painter. She presents a traditional medium in a very distinctive way, sometimes incorporating coffee or spray paint to add a contemporary touch while maintaining the traditional elements. I really admire Liu Guofu and I have to mention Ma Desheng, whose pieces I have collected for more than 20 years. I began visiting him in Paris and we became good friends. It’s a real honour to now represent him and show his works for the inaugural show of the new gallery.

Earlier this week I met a charming doctor who indulged me in the powers of longevity, better living and happiness. After a gentle glass of sparkling water, the overhead lighting switched to my lifestyle and week ahead. I told him that I was off to Hong Kong over the coming hours and then on to Tokyo. We chatted a bit about the world of travel and circadian rhythms, and I could tell that there was some serious concern. “You don’t travel like this all the time?” he asked. “Or?” For a moment I hesitated. Keep it polite? Or give it to him straight? I opted for the latter.

“I’ve been off the long haul over summer but now I’m limbering up for a busy autumn,” I explained. He was having none of it. “It does take its toll, you know,” he said rather grimly. I kept it bubbly and fresh. “I sleep well,” I said. “I don’t eat when I fly. I’m a cab napper. I get on with it…” We parted politely but I felt condemned. Oh well. 

I’m now in Tokyo and, after three wonderful days in revitalised Hong Kong, I’m in a smoky basement bar in Tokyo and I’m feeling at the top of my game. In part because I’m with dear friends and colleagues, in part because we just had a super Italo-Nippo dinner at Grin but mostly because I spent an hour in the chair at Cut Salon Ban, just down the street from the Monocle bureau. It’s a fountain of youth, happy vibes and non-stop Tatsuro Yamashita belting out of the speakers in a compact corner of Tomigaya.

You might have your tonics and routines, dear reader, but the trim, shave, ear clean, moisturise and massage at Ban is the best of the bunch. This is no chic affair and that’s the magic. In chair four, there’s a grandpa who the staff need to assist in the toilet; there’s a possible NHK TV talent by the door; and a 14 year old has some photo references for how he wants his mop to look. The Turks and Italians have much to claim in the shaving space but the Ban boys (or Ban-chans, as I call them) have a full routine that could be a touring performance piece. There’s much in the way of potions and pony that supposedly helps the ageing process but I think that the mix of lyrics, laughter and appearance improvement, however superficial, is as much a longevity enhancer as any transfusion or cryo-chamber. It’s now back to the mic and a bit of practice on a Christmas classic.

Enjoying life in ‘The Faster Lane’? Click here to browse all of Tyler’s past columns. 

Something is rotten in the state of dining. By the time your reservation at the algorithm-approved restaurant rolls around, you’ve already seen its viral bone-broth affogato on social media a dozen times. The experience, which had you drooling on first viewing, quickly becomes an arid affair that is less about eating and more about re-enacting. Depressingly, 58 per cent of young Brits choose restaurants based on such content, and in Dubai that number jumps to 70 per cent. Down under, one in five Aussies admits to dining at a restaurant purely for the post. Good taste, it seems, is being reduced to the tired confirmation of whatever’s trending. But a counter-movement is starting to simmer, from Paris to Sydney, as restaurateurs push back against performative dining and reclaim what hospitality is meant to be: creative, sensory and human. 

While many restaurants slide like butter off a hot knife into the gaping mouth of monocultural mediocrity, some are distancing themselves from social media sameness. One way they’re spicing things up is by introducing a bit of mystery, such as a “hidden menu”, whereby minimal details are shared online to encourage diners to trust the chef. Others are banning smartphones altogether or at least encouraging guests to stow away their screens: New York’s Hearth has provided decorative lockboxes at its tables since 2018; Alsatian bistro Petits Plats de Mamama said “non” to phones in 2023, a decision that has resulted in fuller tables for longer; and Veronese restaurant Al Condominio is even bribing customers with a free bottle of wine if they’re willing to detach from their devices during dinner. 

In this vein, London institution St John is a pioneer – it has been against mobile phones at the table since they were the size of car batteries and answering one looked like you were calling in an airstrike on the aubergines. Trevor Gulliver, co-founder of St John, tells Monocle that “lunch and dinner should be sacrosanct, a haven and a respite against the vicissitudes of life outside the front door.” According to Gulliver, the sign in the restaurant that prohibits devices at the table is often met with a sigh of relief. 

Hospitality friends, with benefits: the rise of restaurant collaborations
St John is also at the forefront of another trend that’s taking shape in the industry: collaboration. The nose-to-tail institution is teaming up with London Review Bookshop in Bloomsbury to serve baked goods such as its classic doughnuts and spiced Eccles cakes, sandwiches, coffee and a small wine selection. “Have a madeleine,” said Gulliver in the bookshop’s basement, “they’re warm.” This writer didn’t need to be asked twice and the ensuing Proustian moment brought back memories of a time when breaking the spine of a new book in a buzzing café was more pleasure than performance. But if the relaxed atmosphere in this collaborative space is anything to go by, the good times could well be coming back. 

In tune with St John’s long-standing distaste for technological intrusions on sensory experience, the café does not offer free wifi. For Gulliver, that’s not what a bookshop is for. On the other hand, a glass of wine in the rear courtyard with a book “is quite a natural thing to do.” Who knows? With enough well-priced plonk, Rupi Kaur’s latest collection of lowercase platitudes might actually pass for poetry. 

But this collaborative spirit is also part of a larger restaurant-to-retail boom. Octavia Pendrill-Adams, head of brand and marketing for Delli, an online platform for independent food and drink producers, says that the trend stems from a broader cultural shift whereby the lines between hospitality, retail and lifestyle are blurring. “Restaurants aren’t just places to eat anymore, they are brands that people want to live with,” she says. “A hot sauce, a bookshop collaboration or a deli counter – these are all ways of embedding that label into everyday life.” 

Like savvy media brands, restaurants are learning to diversify their income streams with slower, more tactile experiences. As Pendrill-Adams points out: “an olive oil can sell thousands of units a week regardless of covers.” 

“Collaboration” and cocktails were on everyone’s lips at Claridge’s during a recent autumn-menu tasting provided by Dante NYC. The storied Manhattan restaurant and bar recently extended its summer residency at the Mayfair hotel until the end of the year (the pair’s other venture is a rooftop restaurant in Beverley Hills). Dante co-founder Linden Pride tells Monocle that if you work with the right partner, “the result is an environment that transcends what either of you could have done alone. The two groups bring loyal patrons from each side and those patrons ‘trust’ the introduction.” According to Pride, Dante-Claridge’s juxtaposition of swilling toffee-apple manhattans and spooning fresh spaghetti alla vongole to a backing track of American music in a formal art deco setting creates a “premium and elevated experience that is also approachable and brings people back, sometimes multiple times a week.” There might be no place like New York in the autumn but the dining room at Claridge’s is not a bad compromise – and there’s not a pumpkin-spiced latte in sight. 

At Paired, an event series from the teams behind Carousel and Ava Festival that matches chefs with DJs, dinner ends on the dance floor. At their Tate Modern event, Laurent Garnier and chef Alexis Bijaoui trade the petit-fours for a party by banishing the tables to the outskirts and turning up the funky floor-fillers at the end of the meal. Banning phones has been done and brand collaborations are good PR but bringing the afterparty to the dining space is changing the way people go out, evolving the experience beyond a viral chocolate bombe.

Time is money: the reclaiming of dining hours to survive and thrive
Social media’s dulling of the restaurant experience combined with the cost-of-living crisis, is driving hospitality venues to try all manner of ways to get crowds in the door and amortise the rent. In Sydney, a new morning economy has emerged as cafés enjoy a roaring trade in the ungodly hours thanks to Aussies who enjoy treating themselves to a proper breakfast after a dawn surf and a casual pre-work half-marathon (or as Sydneysiders call it, a lazy Tuesday). When late-night television debuted in the 1950s it was likened to discovering an attic above traditional programming – Australian cafés, it seems, have uncovered a basement. And perhaps sensing that they’re onto something, many such establishments are now beginning to reopen in the evenings for dinner service, coffee and community events. 

But just as early-morning service is seeing a bump, so too is the return of late-night bookings, which had thus far failed to recover from the impact of the coronavirus pandemic. “The conviviality of London is being conspired against,” says Jeremy King of The Wolseley and Arlington fame. That’s why he’s offering a 25 per cent discount on any meals booked post 21.15 at The Park. In part, it improves overall quality of service by encouraging the spread of covers beyond the first seating, but also helps late-night diners, who typically spend less time in restaurants than early birds, to get their money’s worth. Booking site First Table has even introduced a “Last Table” function for peckish night owls – a great coup for individuals who prefer to spend their hard-earned money on meals without the company of children and people wearing Crocs. 

Your table is ready
Whether it’s mystery menus, dinner and a dance party, discounted late-night bookings or brand collaborations, restaurants are learning that there’s more to hospitality than dishing out algorithm-approved eats. As the circle-light carrying lunatics of the world push us further into the widening gyre of culinary homogeneity, the lesson to take home in a doggy bag is that an authentic experience can only come from an establishment that is willing to take the risk of being itself. Across the world, from Lisbon to Los Angeles, the restaurateurs leading this quiet revolution share one belief: hospitality should feed the senses, not influencers’ vicarious followers. As far as we know, the only ring light at The Last Supper was a halo. 

To hear more from St John’s Trevor Gulliver on the restaurant’s collaboration with the London Review Bookshop, tune in to ‘The Stack’ on Monocle Radio.

The art crowd will congregate in Regent’s Park this week for the 23rd edition of Frieze London. While there is plenty to experience under the cover of the tents – and in the surrounding sculpture park – this is also the time of year when museums host some of their best shows. Here are five Monocle recommendations for while you’re in town. 

‘Kerry James Marshall: The Histories’, Royal Academy of Arts
Often claimed to be the US’s greatest living painter, Kerry James Marshall had a lot to live up to with his largest-ever European retrospective. Thankfully, he delivers with large bold works that centre black figures and riff on art history, civil rights and science fiction. Ensure that you have plenty of time to get lost in the work, which is sometimes poignant, often humorous, always complex and beautifully, originally rendered. There is something unexpected in every room, plenty of which will stay with you long after leaving the Royal Academy. 
‘Kerry James Marshall: The Histories’ runs until 18 January 2026 

‘Wayne Thiebaud: American Still Life’, The Courtauld 
Though many people will easily be able to recall a Wayne Thiebaud painting – of gumball machines, or slices of cake or pie – this is surprisingly his first-ever exhibition in the UK. As well as bringing together some of his most recognisable works, the showcase explores Thiebaud’s journey as an artist. Don’t miss “Delights” on the first floor, which includes 17 etchings and some endearing masking-tape-bound tools that offer further insight into Thiebaud’s practice. Don’t be surprised if you come away from The Courtauld on the hunt for your own sweet treat. 
‘Wayne Thiebaud: American Still Life’ runs until 18 January 2026 

‘Nigerian Modernism’, Tate Modern 
There are more than 250 works in this ambitious new show at Tate Modern, which charts 50 years of Nigerian art history. Each room is dedicated to a different artist or movement and the country’s rich cultural heritage quickly comes to the fore as you walk through them. Well-known artists are featured alongside those who haven’t yet had their dues. The multitude of mediums includes sculpture, painting, textiles and beadwork. “There are artists looking at daily life and thinking about their own personal histories, alongside big ideas of nationhood, belonging and community,” Tate assistant curator of international art Bilal Akkouche tells Monocle. “The exhibition does a lot and says a lot.”  
‘Nigerian Modernism’ runs until 10 May 2026 

‘Peter Doig: House of Music’, Serpentine South 
A world away from the pin drop quiet of many art galleries, Peter Doig’s new show at Serpentine South adds a soundtrack to his paintings. Gigantic pump out music of the artist’s choosing throughout the exhibition rooms. This soundtrack creates a unique viewing experience and seems to bring out new elements from the colourful paintings, which feature everything from musicians and instruments to lions and lakesides. If you are trying to find a break from the busyness of Frieze, you would do well to take a seat in one of the recliners here and let the sights and the sounds wash over you.  
‘Peter Doig: House of Music’ runs until 8 February 2026 

‘Zofia Rydet: Sociological Record’, The Photographers’ Gallery 
At the age of 67, the 20th century photographer Zofia Rydet set herself the task of documenting “every” type of Polish household. She roamed towns, cities and the countryside, knocking on doors and photographing the interiors and inhabitants of those houses. This exhibition brings together more than 100 prints from the project and opens a unique window into the lives of ordinary people at a certain moment in time. While you’re at The Photographers’ Gallery, be sure to visit Boris Mikhailov: Ukrainian Diary and stop by the small tribute marking 100 years of the photobooth too.  
‘Zofia Rydet: Sociological Record’ runs until 22 February 2026.

Bruno Pavlovsky, Chanel’s president of fashion, was the first to start a conversation with French-Belgian designer Matthieu Blazy about the future of the heritage label. More than a year later, Blazy has settled into his new position as the house’s artistic director of fashion activities and has just presented his first collection inside the vast halls of the Grand Palais, receiving a standing ovation for his ability to both respect and reimagine Chanel’s house codes.

Over a cup of tea at Le Grand Café, Pavlovsky tells Monocle about the process of bringing Blazy on board, the importance of embracing change and how he plans to ensure Chanel’s continued growth.

What first appealed to you about Matthieu Blazy and his vision? 
His connection to the product: bags, shoes, denim. He is a product guy, which is good news because Chanel is a product-focused brand. We’re a near €20bn business and we want to continue growing.

I was the first one to speak to Matthieu and I’m happy to say that what we talked about 15 months ago is what’s happening now. We communicate every day and this level of openness is important in such a big company. We want Matthieu to have the freedom to create but at the same time, we want to continue to sell. It’s a giant puzzle but each piece is falling into place. 

Did you expect him to introduce so much creative change? 
If I saw something similar to last season’s collection, I would have been upset. But here I am smiling. We’re all about Chanel and the codes of the house but we’re opening ourselves to new horizons; something that is the same but different. We’re receptive to what the brand can become in the future. 

You can’t have change without reaction. Some might be unhappy [with the changes] but I’m sure that the next collection will be even better because the process isn’t straightforward. 

Did you approach the making of this collection differently? 
Matthieu joined six months ago and he began working on the new collection on day one – we wanted to get ahead. At Chanel we can be quite last-minute and that’s neither good nor bad. We want to leave room for inspiration and romance, and it’s also quite interesting to try to anticipate. The collection that you have just seen has already gone through most of our team and partners, so we’re nearly ready to start manufacturing. We need this kind of evolution. 

Will this allow you to deliver the runway collections to boutiques quicker? 
Our boutiques’ success relies on the styles that we offer but it also depends on our ability to deliver on time. It’s a lot to do with the materials. In this instance, we started working on 70 new threads to then be able to develop new fabrics, which takes a lot of time.

We’re focused on the brand and Matthieu’s creative inspiration but if we are able to embrace new ways of working and become more strategic about our deliveries, that will be another positive development. 

How has the team adjusted to working under the direction of Blazy? 
The team has worked under both Karl [Lagerfeld] and Virginie [Viard]. Matthieu has his own way of operating and, at first, we needed to adapt. It’s about accepting that in the past, we were doing things one way and now another. It’s not about what’s better, it’s about finding the right balance between everyone involved. Matthieu has been collaborating a lot with ateliers and working with toiles. We don’t usually do this for ready-to-wear items but some pieces, such as the jackets, have been completely reconstructed. 

How has business been in the lead-up to the big debut? 
The brand is back: the boutiques are packed, ready-to-wear is flying and business has been quite strong for a few months. It’s not just a single boutique: we’ve seen improvement in China and good sales in Japan, South Korea, the US and Europe. On the Saturday [of Paris Fashion Week], Parisian boutiques had record sales, with customers from around the world. This fashion week has been particularly attractive, so we’re in a strong position. 

Having said that, we don’t know what the situation will be tomorrow. A few years ago we were confident about our ability to continue this development. But if you ask me about 2026 today, I would say that I’m cautious. At the same time, we have incredible collections that are now being delivered and more to come in the next year. Customer expectations are positive: they know that they should anticipate something but are not sure exactly what. That will be my job: to plan the launches of Matthieu’s collection in our boutiques, starting in February.

Have you had to adjust your business strategy following Matthieu’s arrival? 
We are continuing with what we have been doing over the past two years: operating in a more local way when the collections are launched. The ecosystem that we developed in China is quite different to the ones we have in Japan or in Europe. We have to be specific to the market because that is what our clients expect from us. For example, we are doing well in China because of our investment in the market over the past 12 months. We did a big show in Hangzhou. Now all our VIP customers are back in the boutiques. 

How do you feel seeing the collection finally make its way down the runway?  
I love what has been done and it feels as though we’re ready. This goes beyond [the spring/summer 2026 show] because we have also started working on future pieces: in less than two months, we will be in New York for the Métiers d’Art show and in January we will present Matthieu’s first haute-couture collection. I can tell you that it’s not easy; it’s a lot of work. But if you want to be one of the top brands, or like I say, the top brand, then you have to be everywhere and you have to talk local.