Why Matthieu Blazy’s First Chanel Collection Is the Show of the Season
Cosmic chic
It’s been a few weeks since Matthieu Blazy unveiled his debut collection for Chanel, and the industry is still dissecting every detail. This was the debut circled on every calendar, mentioned alongside Louise Trotter’s arrival at Bottega Veneta and Pierpaolo Piccioli’s at Balenciaga. The stakes couldn’t be higher: the French-Belgian designer now carries the weight of a legendary house, and all eyes are on how he will shape its next chapter.
With anticipation at its peak, October 6 arrives, and the reviews have poured in—some glowing, others divided—fuelling even more discussion. Several pieces from the collection barely had time to cool from the runway before being worn by newly appointed ambassador Ayo Edebiri at the 69th BFI London Film Festival and the Academy Museum Gala, showing just how quickly his vision is taking hold. In case you haven’t caught the buzz, here’s why his debut is the season’s most talked-about.
CELESTIAL SET
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The Grand Palais has always been Chanel’s playground of the impossible. Under Karl Lagerfeld, it became airports, supermarkets, snow-dusted chalets, Parisian rooftops, and even an indoor beach. Nothing was off-limits. This season, Blazy reaches for the cosmos. Massive, glowing planets hover above the runway like constellations, transforming the space into a universe of its own. It’s a nod to Gabrielle Chanel, whose gaze often drifted skyward—to the moon and the stars.
“For my first Chanel show, I wanted to do something quite universal, like a dream, something outside of time, and I was fascinated by the universe of stars, a theme so dear to the House. We all observe the same sky, and I think it provokes the same emotions in us,” Blazy shares.
THE NEW CLASSIC
Blazy turns the classics inside out. The tweed suit is no longer a uniform: jackets gain strong, masculine shoulders yet are worn with slouchy trousers or low-slung, wrapped skirts that move with surprising fluidity. Grids of tweed dissolve into hand-knotted knits, delicate open-weave fabrics, and sheer panels, hinting at a future built on the past.
Proportions are deliberately playful. Stripes—horizontal and vertical, in unexpected colours—stretch and sculpt the body, framing the wearer with effortless authority. Black-and-white graphic lines, echoing Art Deco precision, punctuate trench coats and tailored pieces, adding architectural elegance. And in place of the iconic camellia, a fresh floral motif blooms, scattered across lapels, hems, and sleeves.
COVETED GEMS
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The accessories feel like treasures from a chic, inherited wardrobe. The 2.55 arrives crumpled and charming, burgundy lining peeking as if whispering secrets. Minaudières gleam with constellation maps, suede bowling bags sag just right, and white clutches stay impeccably sharp. Footwear walks the line between classic and contemporary: timeless toe-caps meet square-toe heels in surprising shades. Jewellery? Absolutely overloaded, baroque, fantastical—pearls, planets, enamelled chains—a collection you want to touch, wear, and keep forever.
RUNWAY ROYALTY
A runway is nothing without its stars, and Blazy’s cast delivered brilliantly. Mona Tougaard, Loli Bahia, Lina Zhang, Alek Wek, and Anok Yai led the line-up, joined by newcomers Tatyana Perry, Aditsa Berzenia, and Latahlia Hickling, each making their runway debut. Lux Pascal also made her first appearance, cheered on by her brother Pedro Pascal from the front row.
Our favourite moment? Awar Odhiang closed in a stunning finale, making history as only the third Black model ever to do so—after Alek Wek and Adut Akech—and sending the audience to its feet.
Watch the full show here.
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