Chanel stages a grand bow to the future, as Naomi Campbell speaks about the legacy of diversity

Washington Post

11-03-2025

PARIS — By all logic, Chanel should be floundering. A global juggernaut without a captain, the house has been in limbo since the abrupt departure of Virginie Viard, drifting toward an uncertain horizon while awaiting the arrival of Matthieu Blazy in the fall.
Yet against all odds, inside the majestic Grand Palais, Chanel did what it has done for a century: endure. And not just endure. Dazzle.
The Paris Fashion Week fall show on Tuesday unfolded beneath a colossal swirling black ribbon, an audacious centerpiece that coiled toward the ceiling, defiant and theatrical. It was a collection that could have been a placeholder lost in transition. Instead, it was sterling — refined, exacting and utterly Chanel.
The front row was a collision of fashion royalty and Hollywood power. Naomi Campbell , Riley Keough, and Charlotte Casiraghi led the pack, joined by actresses Dakota Fanning and Simone Ashley, while music sensations Raye and AP Dhillon underscored Chanel's cross-generational and global appeal.
Many looks were framed by a layer of sheer silk — flowing blouses draped over jackets, tulle overlays that subtly distorted the lines of traditional tweed tailoring, and diaphanous flounced capes that floated above classic Chanel silhouettes.
This interplay of transparency and structure gave the collection an airy, dreamlike quality. Matte satin ribbon trimmed a military-inspired anthracite tweed jacket, while pretty bows secured balloon sleeves on a sheer black organza tunic top. A trio of dresses featured a fluttering ribbon print tracing the brand's signature interlocking Cs.
Allover looks played with superpositions of the same fabric, creating surrealist effects: a cherry red tweed jacket, wrap skirt and flared pants appeared alongside matching accessories like a boater hat, gloves and boots. By blending light, illusionary fabrics with bold statement pieces, Chanel underscored its mastery of craftsmanship and innovative design.
One accessory stole the show: a giant pearl handbag, appearing across multiple looks and drawing instant snapping. Alongside the monochromatic elegance, there were flashes of color — red tweed, bright silk linings and surrealist layering, an echo of Karl Lagerfeld 's high-energy collections.
In an interview with The Associated Press, Campbell, a longtime Chanel icon, reflected on the show's nostalgic '90s influences. 'I love the artisan, the workmanship. They go back and look into the history of the DNA of the brand —that's what they think of first and foremost. And then they create it, but with that twist on it. This show for me had a lot of things that reminded me of the 90s, and I loved the silhouettes, the skirt, the jacket, the skirt and pants together. Everything was very wearable.'
She also reminisced about her friend, the late Lagerfeld , whose vision defined Chanel for decades. 'I really miss his honesty,' she said. 'He had a soft spot, but he never sugarcoated anything. We always worked at night, and sometimes he'd tell me to stay over. It was such an incredible time. His presence is still felt, always.'
Beyond the clothes, Campbell emphasized Chanel's strides in diversity. Last year, Lupita Nyong'o was named a house ambassador , further solidifying Chanel's commitment to representation: 'I have such respect for Chanel for being the first luxury brand to go to sub-Saharan Africa, to Dakar, which I got to witness.'
The house had a landmark Métiers d'Art show in Dakar in 2022, the first time a major luxury brand staged a show in the region. It launched an ongoing cultural exchange program. It wasn't just a one-time event. Chanel has continued its engagement by bringing students to Paris and sending artisans to Senegal, fostering a creative dialogue.
'That, to me, is action,' Campbell said, smiling. 'I'm really proud that I got to witness that in my lifetime in this business.'
She has been vocal about the racism she has faced throughout her modeling career. Despite her prominence, she often received fewer advertising assignments than her white counterparts and was not signed by a cosmetics company until 1999. In 1991, she said, 'I may be considered one of the top models in the world, but in no way do I make the same money as any of them.'
Over the years, she has used her platform to push for greater diversity, co-founding the Diversity Coalition to hold the industry accountable for its lack of representation.
Times, it seems, are changing. Slowly but surely.
Elvis Presley 's granddaughter and 'Daisy Jones & The Six' star Riley Keough, who famously swung in a giant bird cage at a recent Chanel show, jumped up from her front row seat to share her excitement about being a brand ambassador. 'It's amazing. I feel so lucky to be involved with the house,' she said.
When asked about her personal style and whether it was influenced by her grandfather, she acknowledged a love for less traditionally feminine silhouettes: 'I typically go for something a little more androgynous.'
Keough also spoke about her role as the custodian of Graceland, Elvis Presley's estate. After Lisa Marie Presley's passing in 2023 , she embraced this responsibility, balancing the weight of her grandfather's legacy with her own voice and values. 'I really just try and follow what my mother did,' she said. 'I feel lucky to have seen how she wanted Graceland represented. It's about respecting what's come before while still finding my own path.'
With Blazy set to take the reins in October, the anticipation for Chanel's next era is palpable. Keough summed up the sentiment: 'Everyone's really excited. Chanel has such a huge legacy, and it's got to be right — but I don't think it will disappoint.'