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hanel’s latest collection was a fascinating contradiction. Picture those impossibly quiet fitting rooms on Rue Cambon (which is a street in central Paris, France, particularly known for its association with the fashion house Chanel) — where assistants moved like ghosts and every pin placement felt sacred. That’s where it started. But then the clothes seemed to want nothing more than to escape into the wild. The Grand Palais was set up with mirrored walls and cream banquettes scattered with quilted cushions, recreating that exclusive salon atmosphere where couturiers work their magic behind closed doors. But the clothes themselves? They wanted to be outside.
The whole collection was inspired by Coco Chanel’s romantic fixation with English meadows and Scottish moors. For instance, the bouclé tweeds — reimagined with this masculine swagger. You could see what looked like a cosy jumper that was actually a precisely tailored jacket, or coat-dresses that borrowed their proportions straight from menswear.
The mohair suits came in these gorgeous autumnal shades, deep greens and rich plums, while ivory shorts appeared covered in hand-painted details and embroidery that was almost cheeky in how playful it felt.
Everywhere you looked, there were wheat ears — Coco’s symbol for abundance — transformed into feathered trim, delicate veils, and even jewelled buttons. Pea coats and satin overalls bloomed with multicoloured florals, like someone’s secret garden had decided to show off.
And then the shimmer hit you: golden buttons, silver-touched lace, and the incredible lamé dresses that practically glowed like sunrise. The textures were incredible — fringed tweed tunics, enormous feathered capes, even a camouflage-brushed wool suit that whispered of wild adventures.
It wasn’t about scaling back or playing it safe. Instead, it felt like finding this open field where movement, memory, and what was happening right then all danced together — making the whole ritual of couture feel as exhilarating as stepping into the wilderness.
Bruno Pavlovsky, president of fashion at Chanel and president of Chanel SAS, put it perfectly when he talked about how creative director Matthieu Blazy’s vision wove naturally into Chanel’s history.
“These are the premises of Matthieu’s influence,” Pavlovsky said. “The team has done an amazing job and Matthieu is starting to give his input, and it’s great to have this gradual handover. It’s not a break; it’s something that will allow us to continue feeding the brand.”
And it showed. What an inspired collection.
– Images by Dominique Maitre/WWD
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