ABOVE a flock of 95 illuminated bird sculptures suspended from the ceiling of the Grand Palais, Matthieu Blazy presented Chanel’s Spring/ Summer 2027 collection. Marking a year since taking on what could be considered an impossible job – inheriting one of fashion’s most recognisable visual languages – the designer returned to the singular figure who started it all: Gabrielle Chanel.
Paying homage to the different versions of the founder’s life, he wanted to root the multifaceted nature of what it means to be a woman in 83 looks, creating a wardrobe for a singular woman across different moments; or, as Blazy aptly titles the collection, “Different Faces of the Same Coin”.
As the collection took flight, so did the very notion of liberation. Taking the most quintessential motif of the house, the tweed suit arrived re-engineered into smocked tweed. Evolving what was once a rigid, structured fabric and reconstructing it to have stretch, flexibility and movement, Blazy has changed the physical experience of wearing it: he is liberating women’s bodies.
While retaining the visual identity of the Chanel tweed suit, the designer continued to explore new ways of manipulating tradition beyond its weight. Arriving with cropped jackets and exposed torsos, deep thigh slits and short pleated skirts, alongside raw edges and extremely low waists, Blazy is inviting a younger crowd to join his clan.
Balancing the integral equilibrium between femininity and masculinity, Blazy ushers in obvious references such as slip dresses, peeking lingerie and fluid silk, against fundamental elements borrowed from men’s wardrobes: gilets, wool trousers and tailored daywear. The question of who a woman is can’t be asked; she is everyone.
Accessories have been the biggest talking point of Blazy’s tenure so far, and SS27 made no exception. Every look showcased a different shoe, pushing for bolder, brighter and more theatrical designs, from the classic two-toned pump to exotic-looking prints; presenting a collection with such depth that you are bound to miss half the details. But naturally, bags will remain a constant talking point.
Bookending the collection, Blazy brought out Gabrielle Chanel’s own 2.55, becoming the clearest reminder of who everything begins and ends with. But the in-between was Blazy’s signature charm – and, may I add, a sense of humour. Cloud-shaped bags referenced the sky, while a birdcage minaudière brought a much-needed injection of surrealism to this grounded collection.
Against the loud booms of Britney Spears’ Gimme More, the show ended on a note that said, with much abrasion: yes, Chanel is a historic house, but it has a place in today’s pop culture, and it should be enjoyed with maximum pleasure. Time to set ourselves free. Dust your wings off, and go on an adventure.
by Imogen Clark