Women's Lifestyle March 10, 2026 0 Comments

How Matthieu Blazy’s Chanel is Shaking Up Luxury Fashion—And What It Means for the Future of Style

Ever wonder what really goes down after a knockout debut show? Especially one that sends Chanel boutiques in Paris into a frenzy? I mean, after all the initial buzz faded and the Metiers d’Art and couture events rolled by, Matthieu Blazy didn’t just stop—he dove headfirst into Chanel’s rich history. Backstage, he clung to a timeless Coco Chanel quote from 1955, musing, “Fashion is both caterpillar and butterfly… Be a caterpillar by day and a butterfly by night.” Now, doesn’t that hit close to home? As someone who’s constantly on the grind, I get the struggle of transforming daily—how do you shed your cocoon each morning and somehow outshine the day before? Blazy’s latest collection wrestles with this very metamorphosis, blending practicality with flair, daywear with something that flutters into the night. Curious how the house of Chanel is redefining this dance? Dive in and check it out yourself. LEARN MORE.

3 min read

What happens after a knockout debut show? One that has ignited a frenzy here at Chanel boutiques in Paris. After all the press hushed post his premiere, and the Metiers d’Art and couture shows that followed, Matthieu Blazy dug even further into the house’s history. He honed on a quote Gabrielle “Coco” Chanel gave to Le Figaro in 1955. “Fashion is both caterpillar and butterfly,” he read backstage, “Be a caterpillar by day and a butterfly by night.” This sort of metamorphosis is the dilemma busy women all over the world will attest to. How can you emerge from your cocoon each morning and face the day that little bit more glorious than the one before?

fashion runway showcasing two models in highend designer outfits

LAUNCHMETRICS SPOTLIGHT

The Le Figaro quote continued, “We need dresses that crawl, dresses that fly, because the butterfly doesn’t go to the market, and the caterpillar doesn’t go to the ball.” The idea of New York’s uptown/downtown mentality doesn’t exist in Paris’ arrondissements, but it seems Blazy was ruminating on the same idea. How do we get dressed to handle the rigamarole of the day? From work to play, boardroom to the ballet.

models showcasing fashion designs on a runway

LAUNCHMETRICS SPOTLIGHT

Seems like Blazy has all the answers. The show opened with a trio of simple sporty takes on the suit, in merino wool and silk. There was an oversized shirt, a matching knee-length skirt, and a backless heeled mule in everyday fabrics like denim and black wool. Anok Yai, ongoing Blazy muse (first at Bottega Veneta and now Chanel), modeled the first of a series of drop-waisted gowns, the ‘crawlers,’ paired with a new take on Chanel pearls — huge, front-facing stones cut open and pearls polished by artisans in Japan.

fashion runway featuring two models in distinctive outfits

LAUNCHMETRICS SPOTLIGHT

As we went on, everything had a light, playful quality. Gone are the days of rigidity and strictness of the Chanel tweed suit – these are clothes that live for now. Blazy’s versions were shown in multiple ways, but perhaps most believably layered with a cardigan and an open shirt, untucked and unbuttoned, collar popped. Similarly, waistbands had been shifted down to a drop waist, belted below the hip on dresses and skirt suits. (Coco herself was a lover of this particular silhouette in the 1920s).

fashion runway featuring two models showcasing unique outfits

LAUNCHMETRICS SPOTLIGHT

A standout section introduced the idea of tweed printed onto chainmail that Blazy explained was inspired by an Edwardian chainmail bag that Coco herself preferred. From it came one of the highlights of many incredible fabric innovations we saw throughout the show; its iridescence shimmered as it floated through the Palais. The hair, masterminded by stylist Duffy, complemented the look. French twists and chignons were pulled with glittery streaks throughout, while some models had flowing, soft grey locks, peppered with soft lavender and steel grey-blue.

fashion show featuring two models wearing distinctive outfits

LAUNCHMETRICS SPOTLIGHT

There was a streak of 20s flapper dresses, made modern with bright pink and orange plumage, courtesy of Lemarié, the Chanel-owned experts in featherwork. Blazy also collaborated with embroidery houses Montex and Lesage to innovate and expand on his fabrication techniques. Black and yellow paillettes were inlaid into dresses, rubber and silk on cotton gauze, the idea of “action painting” on the suits, putting Jackson Pollock to shame. It was a smorgasbord of color and ideas.

If last season was about laying a foundation, Blazy has now begun to build upon it – a notion further underscored by the construction cranes illuminated in neon colors that dotted the Petit Palais. It was a sign that the house of Chanel is under renovation, a house at work. And the results are pretty remarkable.