Inside Matthieu Blazy’s Chanel AW Collection: Heritage, Demand and Quiet Transformation

After presenting an exceptional haute couture lineup, the anticipation surrounding Blazy’s ready to wear offering reached a new level. Creating even a single collection of that calibre requires immense technical ability, imagination, and attention to detail, yet it is not unusual to see designers follow a dramatic, almost dreamlike showcase with something far less compelling. Fortunately, Matthieu Blazy has a clear sense of his creative direction and the skill to execute it, thus steadily shaping a version of Chanel that feels distinctly his own. 

In a week when Timothée Chalamet made dismissive remarks about ballet and opera, another French creative stepped forward in quiet appreciation of those art forms. Blazy unveiled his Autumn Winter during Paris Fashion Week, opening the show to a mix of Gaga’s “Just Dance” layered with excerpts from Billy Elliot. 

Subtle references to ballet ran quietly through the collection. Hair was pulled tightly back into precise, performance-ready buns by hairstylist Duffy, echoing the discipline of the studio. Meanwhile, tweed garments were reshaped to resemble off-duty athletic wear, blurring the line between rehearsal and everyday life. Still, the collection stopped short of leaning into full ballet tropes, avoiding anything overtly literal like tutus or ballet pumps. 

Even those less drawn to Blazy’s aesthetic can recognise the care involved in his process. His work reflects a deep engagement with the house’s past and a clear intention to respect its legacy, even if not every outcome aligns with the majority’s personal taste. 

At Paris Fashion Week, where symbolism often drives the narrative, Blazy has leaned into the idea of reinvention. Since stepping into his role at Chanel, he has approached the house with curiosity rather than caution. The invitation itself, a miniature metal tape measure worn as a pendant, hinted at a process of rebuilding. His deep dive into the archives is more than surface level.  

Speaking on Matthieu Blazy, the Chanel President, Bruno Pavlovsky remarked, “What has surprised me the most is the depth of his research. With Karl [Lagerfeld], you didn’t know if the storytelling was true or not. That is not at all a criticism - after 30 years here, he had that freedom - but Matthieu is starting again at the roots.” 

Emerging, is a dialogue between past and present, as Blazy reshapes Gabrielle Chanel’s vision into something distinctly his own, balancing heritage with reinterpretation.  

“Fashion is both caterpillar and butterfly. Be a caterpillar by day and a butterfly by night. There is nothing more comfortable than a caterpillar and nothing more made for love than a butterfly. We need dresses that crawl and dresses that fly. The butterfly doesn’t go to the market, and the caterpillar doesn’t go to the ball.”  

- Gabrielle Chanel  

“Chanel is a paradox. Chanel is function, Chanel is fiction. Chanel is sensible, Chanel is seductive. Chanel is day, Chanel is night. It represents the freedom to choose between the caterpillar and the butterfly whenever you want. I wish to create a canvas for women to be unapologetically who they are and who they want to be.”  

- Matthieu Blazy 

That sense of rediscovery has translated into real demand, with boutiques across the city drawing consistent crowds throughout the week. A simple embroidered cotton shirt is selling at €3,900, while new handbags are restricted to one per customer, reportedly to discourage resale at inflated prices. Whether that strategy achieves its aim remains open to debate.

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Limiting availability can just as easily heighten desirability and push values higher. Blazy’s broader aim seems to be restoring a certain aura associated with earlier eras of the house, reconnecting with its origins and reestablishing a sense of rarity. Compared to the tenures of Karl Lagerfeld and Virginie Viard, his direction feels more exploratory, with an energy that recalls a younger brand still defining itself.

The collection returns once again to the signature Chanel jacket, this time treating it as a starting point rather than a fixed icon. Blazy reshapes it through a range of materials, from knits to tweeds, alongside fabrics threaded with synthetic fibres and subtle shimmer. The result expands its versatility without losing its identity. There is also a growing presence of looks that feel less tied to traditional ideas of gender, reflecting a more fluid approach that aligns with how Gabrielle Chanel originally borrowed from practical, working wardrobes to redefine women’s clothing. 

As the show unfolded, the mood became noticeably more relaxed and playful. The rigid, structured Chanel suit gave way to styling that felt lived-in and current. Pieces were layered with an ease that suggested real wearability, with shirts left open and slightly undone over soft knits.

A hint of 1920s influence appeared in a series of flapper-inspired dresses. Meanwhile suits carried an expressive, almost spontaneous energy, resulting in a collection that felt vibrant and full of movement. 

If last season established a foundation, this collection feels like the next phase taking shape. Even the setting reinforced that idea, with construction cranes surrounding the Petit Palais, suggesting that the house of Chanel is in the midst of transformation - actively being rebuilt for a new era. 

Written by Philipia Hatziandreou

Edited by Mimi Piqua