What does it mean to begin again at CHANEL? For Matthieu Blazy, it started with a conversation. Not with trend forecasts or market demands, but with Gabrielle Chanel herself.
In his highly anticipated debut as Artistic Director for the storied House, Blazy presented the Spring/Summer 2026 collection not as a reinvention, but as a return. “This is a universe,” he wrote in the show notes. “The Universe of CHANEL.” The result, was a re-examination of the house’s foundations — its silhouettes, its codes, its history — and how they can be worn, reworked, and reimagined for now.
The show opened with Blazy’s take on the classic CHANEL suit — but not as we’ve seen it before. Cut with a masculine shoulder, the jacket arrived raw-edged and collarless, paired with wide-legged trousers slung low on the hips. This look introduced the first of three chapters of the collection: Un Paradoxe — pieces drawn from the garments Gabrielle Chanel famously borrowed from her great love, Boy Capel.
Masculine in origin, but made entirely her own, they spoke to the delicate balance between pracitcal and seductive that has long anchored CHANEL designs. That friction between masculine and feminine, structure and softness rippled through the next looks, from crisp shirting paired with dramatic skirts, to sheer silks peering out beneath practical tweed.
In the show’s second chapter, Le Jour, Blazy shifted his attention to daywear. Familiar CHANEL codes were softened and reworked. Suits were knitted instead of woven, and tweeds were light and lived-in, meant to look as if they had passed down or worn in over time.
Camellias were no longer decorative flourishes pinned to lapels — but were built into the fabric itself, crushed into the weave or tangled along the lining soft knits. Accessories, too, were made to feel worn and loved: the classic 2.55 bag came pre-crushed with the leather lining exposed, its shape imperfect but somehow even more beautiful for it.
The third chapter, L’Universel, broadened Blazy's perspective. Here, he recognised CHANEL not just as a French heritage house, but as a global language for enduring style. The set itself only strengthened this message: a solar system of planets that floated above the runway was made to communicate the idea that we are all planets in the universe coming together.
Colour and texture took centre stage, with tweeds burst into vibrant patterns, linings mismatched and hand-painted, and delicate transparent fabrics draped strategically over models' bodies. To compliment this chapter, jewellery appeared in generous amounts — glass, enamel, baroque pearls, and charms. Classic CHANEL pumps were low-heeled and practical, but with a distinct Blazy-ified touch.
Of course, a spot in the FROW at Blazy's debut was one of the most sought-after invitations this fashion month. Those lucky enough to score a seat included newly-announced House ambassador Nicole Kidman, whose history with the House began in 2004, when she starred in the N°5 fragrance campaign directed by Baz Luhrmann. "Having worked with Nicole in the past and now reuniting with her at CHANEL is a dream come true and couldn’t make me happier," Blazy said of the Australian actress' appointment. And joining Kidman was fellow House ambassador Ayo Edebiri, plus familiar faces like Margot Robbie, and Tilda Swinton.
Despite it's high-impact effect, Blazy avoided spectacle and heavy-handed theatrics throughout the collection. Instead, he expertly expanded CHANEL’s vocabulary without losing its fluency. And as the show notes poignantly articulated, this collection wasn’t just about CHANEL the brand. It was about the women who wear it — and the freedom they find in doing so.
