Blazy delivered a quietly powerful couture collection that strips Chanel back to its essence

At the Grand Palais in Paris, <a href="https://www.lofficielsingapore.com/fashion/matthieu-blazy-chanel-new-creative-director-bottega-veneta-details-fashion-news" title="Chanel Finally Reveals Its New Creative Director: Matthieu Blazy" target="_blank" rel="noopener">Matthieu Blazy</a> presented his <a href="https://www.lofficielsingapore.com/fashion/chanel-spring-summer-2026-fashion-show-collection-photos-looks-celebrities-blackpink-jennie" title="Matthieu Blazy Redefines Chanel&rsquo;s Orbit with a Dazzling Spring/Summer 2026 Debut" target="_blank" rel="noopener">Spring/Summer 2026</a> Haute Couture collection for Chanel with a sense of restraint that felt both deliberate and deeply considered. Light, almost intangible, the collection unfolded like a long breath, gentle and unforced. Rather than adding new layers to the house&rsquo;s mythology, Blazy chose to strip it back, returning <a href="https://www.lofficielsingapore.com/jewellery/blackpink-jennie-returns-face-of-chanel-coco-crush-playful-new-campaign-jewellery-celebrity" title="Jennie Returns as the Face of Chanel Coco Crush in a Playful New Campaign" target="_blank" rel="noopener">Chanel</a> to a calm, intimate starting point where the woman comes before the symbol.
For his first couture collection, Blazy resisted spectacle. Instead, he focused on removal, paring back familiar codes to reveal something more essential. After a <a href="https://www.lofficielsingapore.com/fashion/chanel-unveils-metiers-d-art-2026-collection-new-york-subway-fashion-celebrities-g-dragon" title="Chanel Unveils its M&eacute;tiers d&rsquo;Art 2026 Collection in the New York Subway" target="_blank" rel="noopener">strong M&eacute;tiers d&rsquo;Art debut in New York</a> and a widely praised ready-to-wear show in Paris, this couture outing continued his thoughtful conversation with Chanel&rsquo;s history. The Grand Palais, so closely linked to the Karl Lagerfeld era, became a place not of grandeur but of quiet clarity. Couture here was about precision, not drama.

Courtesy of Chanel

Chanel&rsquo;s iconic silhouettes appeared distilled and softened. Jackets, dresses and accessories seemed to hover rather than sit on the body, made from chiffon, crepe de Chine and whisper-light silks. The result was a collection that felt almost weightless. Blazy nodded to a simple truth from Gabrielle Chanel&rsquo;s early days: fashion was never meant to be a performance. It was about real life, clothes designed to move with ease. Some looks were even removed during development for being too expressive. What remained was couture reduced to its purest form, airy yet unmistakably <a href="https://www.lofficielsingapore.com/fashion/chanel-brings-metiers-d-art-2026-collection-to-seoul-fashion-show-news-celebrities" title="Chanel Brings Its M&eacute;tiers d&rsquo;Art Collection to Seoul for a Landmark 2026 Fashion Show" target="_blank" rel="noopener">Chanel</a>.
The collection revealed itself slowly. What appeared simple at first glance often proved far more complex on closer inspection. Jewellery that looked like elegant costume pieces was in fact sculpted entirely from intricate beading, crafted with the same care as fine jewellery. These quiet surprises ran throughout the collection, subtly subverting expectations without ever calling attention to themselves. It was couture that rewarded looking twice.
House icons were gently reimagined. Quilted bags were deconstructed and rebuilt with translucent materials, shifting their expression without losing their identity. The clean lines of the 1920s met futuristic structures, while the colour palette remained soft and powdery. Milky white, mint green and flesh pink were interrupted by occasional bursts of stronger colour, sometimes sharp, sometimes warm.

Nature ran through the collection as a guiding thread. The set suggested an enchanted forest, complete with oversized mushrooms. This imagery echoed a Japanese haiku quoted by Blazy: &ldquo;Bird on a mushroom / I saw the beauty at once / Then gone, flown away&rdquo; Delicate embroidery, feathers and floral details translated this idea into refined couture, extending even to the accessories. Mushroom-shaped shoes added a playful yet polished note.
As the show progressed, a quiet transformation took place. The women became birds. Through the skill of Chanel&rsquo;s ateliers and specialist artisans in pleating, embroidery and textiles, a winged world emerged. Each look hinted at a different species, from the grey pigeon to the roseate spoonbill, from the blackbird to the crested cockatoo. Every silhouette felt poised for flight.

The collection closed with the bridal look, created by Bhavitha Mandava. Dressed in pure white, the bride wore a jacket and midi skirt entirely embroidered with tiny petals and pearly sequins, creating a softly shimmering surface. The tailoring was clean and restrained, balanced by fluid movement. A sculptural headpiece of white feathers added a dreamlike finish, while simple pumps grounded the look in modern elegance.
With this Spring/Summer 2026 Haute Couture collection, Matthieu Blazy set out a clear vision for Chanel. It is a house that no longer needs to assert itself loudly. In restraint, precision and hidden detail, Blazy found a modernity that feels confident, thoughtful and quietly powerful.

Matthieu Blazy’s Haute Couture Spring/Summer 2026 Show Explores Chanel's Essence

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