I always marvel at the cathedral-like hush at the start of every fashion show. Silence descends, necks crane to see the first glimpse of something new and desire is palpable. This is the true essence of spectacle.
On Monday night in Paris, after months of secrecy and speculation, a crowd of more than 2,000 waited in a state of poised suspense for Matthieu Blazy’s Chanel debut. Sofia Coppola sprinted to her seat beneath a galaxy-inspired set at the Grand Palais as the first look emerged from 41-year-old designer Blazy: a simple, square-shouldered grey trouser suit.
The show crescendoed an unprecedented season of new artistic directors (about a dozen in total), who debuted collections – and their visions – for spring 2026. As Blazy’s solar-system set suggested, the fashion planets have realigned as a younger, millennial cohort steps forward to steer the fate of luxury houses, most of which came into being in the mid-20th century.
Blazy’s appointment last year to the helm of a brand with almost €20bn in annual revenue represents a profound leap for Chanel. For the first time since the early 1980s – when Karl Lagerfeld began his 36-year tenure as Chanel’s creative director – the house faces a major creative transition. Though her vision was distinct, Blazy’s predecessor, Virginie Viard, spent nearly three decades at Lagerfeld’s side before assuming the role of artistic director.
Paris-born Blazy is celebrated as a maestro of texture, a designer who understands the value of the artisan’s touch – a passion shaped by his tenure at Bottega Veneta. His debut collection for Chanel was a masterclass in tactile bouclé, finer-than-fine tweeds, artfully frayed hems and supple leather, all reinterpreting the codes of Coco Chanel. Iconic elements such as camellias, pearls and even wheat-sheaf motifs (Chanel kept bundles in her apartment that she considered good luck) emerged with a fresh, modern and sculptural sensibility. Modern, cap-toe heels also featured, alongside reimagined versions of iconic bags, softened and with pared-back branding, tucked under shoulders.
Having spent time in the ateliers of le19M, Chanel’s temple to craftsmanship just outside Paris, I can only imagine Blazy’s excitement at having such skilled artisans at his fingertips. Whether it’s the plumassiers at Lemarié or the embroidery masters at Lesage, Chanel’s strength in the fashion world goes beyond its iconic mystique – it’s rooted in decades of dedicated investment in métiers d’art. Lagerfeld’s visionary project to preserve fading crafts and integrate them into the house has gifted Blazy with an unparalleled network.
The human hand – and thousands of hours of work – were on full display. Wild textures appeared in spiky knitwear in Martian-red hues, embroidered organza and a knitted suit glimmering in bouclé gold. Blazy has been enveloped in the archives, drawing on the life and vision of Mademoiselle Chanel. A photo of her dressed in flamenco garb cued one of the collection’s most dramatic looks – billowing skirts made from multi-coloured feathers with a sports-inspired waistband. Paired with silk tees and shirts made by Coco’s favourite, Charvet, each piece exuded an easy, modern elegance.
Fashion has always had a way of expressing – and even ushering in – new eras. Coco Chanel forged her brand at a moment of societal change and was committed to movement, comfort, humble materials and throwing out the sartorial rules. Monday night was a handing over of the baton. With so many ardent fans of the brand and its sacred codes in the room, it was a poignant and unforgettable moment as Blazy took his bow to a standing ovation and a riot of cheers. Admittedly, it is just the beginning. At times, the collection felt like a trans-seasonal mood board of what’s to come. But the bold energy and dynamic beauty of this first act bodes very well for the next one.
Sophie Grove is the editor in chief of Konfekt. Read more from Sophie in Konfekt magazine, and in the fortnightly newsletter, Konfekt Kompakt.
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