55 years after her passing.. How did Coco Chanel attend the house’s show in Paris?

A year after his first presentation, which received wide praise as the new artistic director of the French house "Chanel", Matthew Blazy proved that the great success that accompanied his debut, and the accompanying critical reviews and wide demand from shoppers, did not distance him from the roots of the house and its beginnings. In the house’s presentation during Paris Fashion Week for spring and summer 2027, the designer restored the legacy of the house’s founder, Gabrielle, known as “Coco Chanel,” through a collection that celebrated the different stages of women, and at the same time presented fashion that accompanies her in every chapter of her life.

Model Deianira Horbucher opened the show with a transparent look, based on a bra that evokes the supportive structure that characterized Edwardian corsets, but with a more flexible and free form. This is a reference that is in keeping with the legacy of Gabrielle Chanel herself, who was known for rejecting the strict fashion rules that prevailed in her time.

Horbucher carried one of Coco Chanel's personal 2.55 bags, exhumed from the house's heritage archives. The bag was not just a detail, but rather formed a thread connecting the beginning of the show to its end, as it reappeared in the closing look of the collection, in a clear tribute to one of the most influential figures in the history of fashion.

But Blasi was not seeking to turn the platform into a lesson in the history of the brand, as he explained in the show notes, but rather to present a wardrobe that changes with women and meets their needs at different stages of their lives. In this sense, Blazy did not just invoke Gabrielle Chanel as a name from the past, but rather he set out from it to talk about the woman whose identity and requirements change with the passage of time, and about fashion as a reflection of these transformations, without losing its connection to the legacy that Chanel established.

Farewell to “quiet luxury.” Blasi built the collection based on a reality that indicates the change in women’s identity over time. The beginning was light and playful, with underwear, tulle skirts, patterns that collide with their colors, and collars inspired by clown costumes that can be separated from the piece. These youthful and energetic elements opened the door to a more liberal personality, before the collection moved to the wardrobe of the working woman, who needs fashion that keeps pace with the rhythm of her day and her responsibilities, without giving up its presence.

Here, striped pants appeared along the length, softly tailored silhouettes, and comfortable materials, along with flower brooches decorated with feathers that became recurring features in the collection. Blazy also reintroduced the men's waistcoat in different versions, defining the waist and reworking the piece to take its place in a woman's wardrobe.

As the collection progresses, the rhythm changes again, reaching clothes that accompany women in moments of celebration and occasions, such as silk dresses that recall the elegance of the 1930s, touches of sequins, and luxurious, spacious black dresses that impose their presence without the need for much decoration. Thus, Blasi moves away from the idea that true elegance must be subdued or reserved.

The woman he imagines does not need to hide behind “quiet luxury”; Her closet changes with her, giving each version of her the space she deserves. As expected, the house's famous women's suits and tweeds were present in various looks of the collection, but Blasi gave these classic elements a new dimension through a technical innovation that he called "rubbed tweed", which is a more flexible and streamlined treatment of tweed that has long been associated with Chanel, and he even likened it to the lightness and liveliness of sportswear.

Some iconic suits also appeared without any piece underneath, abandoning their traditional image as a symbol of conservative, bourgeois elegance, and turning into fashion worn lightly and spontaneously. As for birds, they were strongly present as a recurring element in the collection, from swifts and swallows to cranes and geese.

Her images appeared on invitation cards, crept into the details of some costumes, and even hovered over the heads of attendees during the show. Blazzi was inspired to decorate while on vacation in southern Italy, specifically from a scene from an area of ​​Calabria that is a natural bird sanctuary.

This spirit was reflected in the atmosphere of the show inside and outside the Grand Ballet. The audience seemed light and free, and guests including American pop star Dua Lipa, American-Australian actress Nicole Kidman, and Chilean-American actor Pedro Pascal were seen dancing in their seats to the tune of one of Britney Spears' songs. Blazy, 42 years old, seemed to be enjoying the success of his first year at Chanel, adding to the show's music enthusiastic songs that recalled the atmosphere of the millennial generation.

In conclusion, he went out to greet the audience with lightness and enthusiasm, before returning to his team with his arms open, in a scene that reflected his enthusiasm for what was coming.