"Backstage after his debut, Blazy quoted what Coco Chanel once said when asked why she wore the same tweed jacket day after day. She said, if I translate into English: I don't give a fuck. I like them worn.' This is Blazy's take on the house Coco founded: Chanel, with no fucks given. Under a helium solar system, a giant sun blazing and Saturn spinning within its rings, Blazy was thinking big and thinking new."
"In the front row, Ayo Edebiri and Nicole Kidman both wore Chanel jeans. The 2.55 quilted bags came scrunched and open, lived and cherished, as if it was your great-grandmother's bag, and you took it to a party on the Lower East Side or in Paris at Pigalle. There were suits in clownfish Nemo stripes, exquisite oversize Charvet cotton shirts for evening, and a standing ovation finale as the model Awar Odhiang danced on the runway in a silk T-shirt and rainbow-feathered skirt."
"On the first day in his new job, Blazy took off the jacket he was wearing, scissored it to the hipbone length of a Chanel jacket, snipped off the collar, changed the button, and threaded a gold chain through the hem an old Chanel trick, to make a jacket swing right. That was the template for the first two Chanel suits on to his runway, cropped bellhop jackets worn not with pert skirts but with trousers, cut the way Coco liked them,"
Matthieu Blazy debuted as Chanel creative director with a show staged under a helium solar system featuring a giant sun and Saturn spinning within its rings. The collection reimagined classic Chanel codes into relaxed, lived-in garments: cropped bellhop jackets paired with roomy trousers, clownfish-striped suits, oversized Charvet cotton evening shirts, and scrunched 2.55 quilted bags presented as cherished, worn objects. Celebrities wore Chanel jeans in the front row. Blazy modified a jacket on his first day—shortening it, removing the collar, changing the button, and threading a gold chain through the hem—to create swing and updated proportions. The collection balanced masculine ease and feminine seduction, emphasizing timelessness beyond price.
Read at www.theguardian.com
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