There was something of Boy Capel, the dandy and lover of the founder, in the air at the Chanel show on March 9, 2026. For his second show, Matthieu Blazy invited guests to the Grand Palais to play around as much as to focus on the essentials, the cut of the garment, which here and there benefits from an androgynous treatment.
Featured—as it is every season—among the most eagerly awaited shows of Paris Fashion Week, while standing apart on the trend scale, the House of Chanel heralded the fourth act of Matthieu Blazy. This Fall-Winter 2026-27 show gave rise, in 78 silhouettes, to a collection that was at times grounded, functional, fluid, light, and sensual.
Chanel Chrysalis
As a starting point for this fourth show, Matthieu Blazy delved into the House’s archives, particularly an article from Le Figaro dating back to the 1950s (the Glorious Thirty, as they were known) in which founder Gabrielle Chanel used the metaphor of the chrysalis. It was her way of delivering a Vademecum of elegance. The allegory is reminiscent of the transformation of the House of Chanel and, by extension, the evolution of its creative director.
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Read also > [LIFESTYLE] Paris Fashion Week: at Chanel, Matthieu Blazy realigns the fashion planets
Featured photo: © Chanel
