As a known admirer of haute couture, I was often drawn to the garments that represent a more lavish lifestyle. To me, that usually meant maximalism and the obvious nature of the amount of time and detail put into a single dress. Haute couture meant that hundreds of hours were put into a single garment. The level of artistry required was so fascinating that France made it an exclusive title that only certain designers could put on their collections. However, this time was different. Up until the end of 2024, Matthieu Blazy was mainly known as the creative director of the well-known fashion label, Bottega Veneta. That was until Chanel named him the new Artistic Director of Fashion. The Chanel Spring/Summer 2026 haute couture show would mark his first collection at the house.
It was as if I were immediately transported into a fairytale. The mushroom grove featured abnormally large fungi amongst the pink weeping willows. The soft color palette, paired with the entrancing song “I Wonder” by Mary Costa from the original Sleeping Beauty, created a scene that no one other than Chanel is known for. From the classic beach to an autumn scene so attractive that you could almost feel a breeze, Chanel is known for mimicking and romanticizing nature in such a glorious way. Although the nature motif carried over into the new era, Blazy’s Chanel couture was completely different. This collection was “clothes for women to go to work, to go to a play, the cinema, whatever,” he said. This description made it apparent that he wanted to return to the house’s roots, and I was immediately a big fan. After all, that is what Coco Chanel sought during the conception of her fashion label. The collection featured the famous skirt suits, except this time, they were transparent. They were colorful as always, but at that moment, there was a clear departure from the normal tweed that one would see in any other collection. Although the contrast in fabric was extremely apparent, I was enthralled by the pearls that dangled from the bottom of the garments, along with the embroidery that detailed a few of these skirt suits.
Everything was so simple and toned down for an haute couture collection. For other heritage houses like Schiaparelli or Dior, couture meant it was time to go over the top. Of course, it would be in good taste, but they did want to have a bit of extravagant fun. Matthieu Blazy’s fun looked a little bit different, but in the best way. There were tastefully outlandish moments that also featured large feathers or beautifully psychedelic prints. Yet, it was apparent that Blazy enjoyed the look of an elevated, little black dress; a staple that Chanel was frequently known for. It wasn’t minimalism, it was simplicity—and I enjoyed it very much. It was almost as if there was an abundance of time spent on a concentrated theme for each piece that was so subtle that most would miss it if they blinked. The transparent pockets and belts, along with all of the embellishments sprinkled throughout the collection, were a testament to the house’s newfound perspective on craftsmanship and what haute couture should be.
This collection didn’t mark a complete departure from tweed, though. I mean—why would it? It’s Chanel, after all. One of the more eye-catching skirt suits that did feature the house’s most notable fabric also entailed an ombre from top to bottom that not only went from white to yellow, but from material to feathers. The look reminded me of daisies and birds, which is good because that was the main motif. Matthieu Blazy admired the flight and freedom that birds had.
There aren’t that many designers that I can say are unforgettable when it comes to haute couture collections—or any type of collection for that matter. Normally, these designers are either extremely well-known, innovative, or ostentatious and spontaneous. I might be cheating a little bit because I am a little biased toward Chanel, but Matthieu Blazy’s haute couture is truly a luxury that I didn’t know I needed. The simplicity without minimalism and archival themes without repetition were refreshing aspects that came from this collection. I do think this meta has the potential to go viral not only on social media, but amongst other designers as well. For his first haute couture collection, Matthieu Blazy’s lineup was off the charts.
Words by Trey May
Graphic by Eve Friday