Latest news with #MatthieuBlazy
Kuwait Times
a day ago
- Entertainment
- Kuwait Times
Chanel, Armani offer contrasting elegance at Paris Couture Week
Models present creations for Giorgio Armani Prive during the Women's Haute-Couture Fall/Winter 2025-26 collection show at Palazzo Armani in Paris.--AFP photos Paris Haute Couture Week Fall/Winter 2025–26 opened with two distinct expressions of elegance as Chanel and Giorgio Armani Privé unveiled their latest collections. Chanel presented its final studio-led show at the Grand Palais before Matthieu Blazy assumes creative direction in September. Staged in the Salon d'Honneur, the collection featured soft tweeds in ivory, beige and brown, accented with feathers and shimmer. A standout look—a silvery-blue gown layered under a yellow feather-trimmed bomber—offered a playful twist on the house's refined codes. The intimate, salon-style format paid homage to Chanel's heritage. Giorgio Armani Privé celebrated its 20th anniversary with a show filled with velvet sophistication. Though designer Giorgio Armani was absent due to medical rest, the collection stayed true to his vision: black velvet pantsuits, glittering gowns, sculptural bustiers and oversized bows created an atmosphere of timeless glamour. The show was held at the brand's historic venue on Avenue Montaigne. Together, the two fashion houses underscored the enduring power of haute couture—from Parisian polish to Italian allure—setting a high bar for the season.— Reuters Chanel Chanel Chanel Chanel Chanel Chanel Chanel Chanel Chanel Chanel Chanel Models present creations for Chanel during the Women's Haute-Couture Fall/Winter 2025-26 collection show in Paris.--AFP photos Chanel Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive Giorgio Armani Prive
France 24
2 days ago
- Entertainment
- France 24
Comings and goings at Paris's Haute Couture houses
Culture 11:42 From the show As the Haute Couture collections wrap up in the French capital, we take a look at some of the highlights in a season where arrivals and departures have cast a shadow over many of the major houses' collections. Fashion editor Samantha Tse talks us through a transitional collection for Chanel, as the label awaits the arrival of its new artistic director, Matthieu Blazy. Echoing the Met museum's glitzy annual gala, the Bal d'Eté in Paris brought together celebrities like Keira Knightley, Sofia Coppola, Penelope Cruz and Diane Kruger to raise funds for the Louvre's Decorative Arts Museum. We also discuss Demna Gvasalia's final show for Balenciaga, Glenn Marten's début at Margiela and Iris van Herpen's bio-luminescent creations as the Dutch designer stuns critics with innovative and delicate beauty once again.
Business Recorder
5 days ago
- Entertainment
- Business Recorder
Chanel shows haute couture in private salon setting at Grand Palais
PARIS: Chanel showed its latest collection of haute couture in an all-beige salon set at the Grand Palais in Paris on Tuesday, its last runway presentation by the design studio before the debut of new creative director Matthieu Blazy expected in September. Models emerged from an ornate entrance, parading long- skirted dresses in soft toned tweeds, with touches of sparkles and tufts of feathers. They wore tight buns and tall boots, which left u-shaped heel indentations in the plush carpet. Colors were muted, mostly ivory, beige and brown, but one silky dress came in a pale silvery blue, worn under a short, yellow-toned bomber jacket with a prominent, feathery collar. The show was held in the Salon d'Honneur, a smaller space of the freshly-restored Grand Palais, marking a contrast with the soaring, central exhibition hall usually favored by the label. Facing a prolonged slump, many labels in the high end fashion industry are renewing their design approach, with Kering-owned Gucci and Balenciaga, and LVM Dior among labels that have recently named new designers. After the show, guests lingered, making their way slowly down grand staircases, stopping for photos of the building's elaborate ironwork and gilded wall decorations. The Paris fall-winter haute couture fashion shows run through Thursday, featuring runway outings from labels Schiaparelli, Iris van Herpen and Imane Ayissi, as well as Giorgio Armani Prive, Maison Margiela and Balenciaga.
Vogue Singapore
5 days ago
- Entertainment
- Vogue Singapore
Vogue's best looks from the Chanel haute couture fall/winter 2026 show
An expanse of white carpet, mirrored walls, and beige banquettes strewn with quilted cushions: The enveloping mise-en-scène at Chanel suggested a simulacrum of what the house's haute couture clients experience behind closed doors at the Rue Cambon. We were in the Grand Palais, sure enough, but this hushed, draped so-called salon had been conjured into existence on an upper floor, the sense of the ritual of privacy and exclusivity underlined by the fact that so few had been invited. The distinction between haute couture and ready-to-wear is sacred at Chanel, and the ambience around this collection was designed to assure the class of women who order at the house that the timeless values prevail. The in-house team—we are still waiting for the debut of Matthieu Blazy in October—had worked up a wintry theme, partly inspired (according to the house notes) by Coco Chanel's love of the Scottish highlands. That information accounted for the chunky treatments of winter-white and beige tweeds, the vague layered allusions to grouse-moor hunting jackets, and the grounding of walking boots throughout. It was less a cohesive storytelling collection, though, than a series of demonstrations of what Chanel's textile and embroidery ateliers can do. Fluffy feather-and-tulle-embroidered capes imitated shearling, a full-length coat evoked a shaggy fur, and a swansdown flurry of snow rested on the shoulders of a narrow black tweed coat. Chanel's clientele come to the house for light evening fantasias. These were glimpsed among the white chiffon blouses, shredded-tulle maxiskirts, and underlayers of white guipure lace. In the haute couture salon, one imagines, customers are free to range across the options, picking, choosing, and reconfiguring these looks according to taste. What it lacked, without the leadership of a sole designer, was a point of view strong enough to make women—and not only couture clients—want to change their whole outlook on the way they would like to dress. Nobody expects an in-house team to do that. But with Blazy waiting in the wings—having been given a good long time by Chanel to muster his ideas—the anticipation of a soon-coming revolution of that order couldn't be higher. Courtesy of Chanel 1 / 12 Look 1 Courtesy of Chanel 2 / 12 Look 6 Courtesy of Chanel 3 / 12 Look 9 Courtesy of Chanel 4 / 12 Look 12 Courtesy of Chanel 5 / 12 Look 21 Courtesy of Chanel 6 / 12 Look 23 Courtesy of Chanel 7 / 12 Look 25 Courtesy of Chanel 8 / 12 Look 31 Courtesy of Chanel 9 / 12 Look 37 Courtesy of Chanel 10 / 12 Look 38 Courtesy of Chanel 11 / 12 Look 44 Courtesy of Chanel 12 / 12 Look 46
The National
5 days ago
- Entertainment
- The National
Chanel's autumn/winter haute couture collection is a moment of introspection between creative directors
The setting for Chanel 's autumn/winter 2025-2026 haute couture show at the Salon d'Honneur in Paris's Grand Palais made its intention clear: this was a moment of understatement and reflection, as the maison prepares to enter a new era. The space was designed by Willo Perron, the French-Canadian multidisciplinary creative director who won a Grammy for his work on musician St Vincent's album art and was nominated for an Emmy for his work on the Savage x Fenty show. Here, his approach to the space was pared-back and an echo of Gabrielle 'Coco' Chanel's original couture salon – and her private apartment – at 31 Rue Cambon. From the signature mirrors to the beige, sofa-like seating and quilted pillows, nods to her influence were everywhere. The collection itself came between the departure of creative director Virginie Viard – Karl Lagerfeld's longtime successor – and the arrival of Matthieu Blazy. In the interim, the Chanel Creation Studio took over the reins. Usually working behind the scenes, the studio delivered a quiet, considered collection, rooted in the founder's ethos of elegant practicality and lasting legacy. Yet, this was no placeholder. Chanel led with intention – every look was sent out with sturdy, thigh-high boots, grounding the collection in a sense of purpose. The opening look was a below-the-knee shift dress that appeared deceptively simple. But, being Chanel, it was anything but. The round collar was notched at the throat, the shoulders subtly padded to give a masculine line – an homage to Gabrielle Chanel's signature borrowing from menswear. It was crafted in cream boucle tweed, trimmed with metallic sequins and fringed threads. A shorter, sleeveless version followed, paired with a buttoned overskirt at the hips. Then came a third variation beneath a cape strewn with feathers – proof of the house's signature versatility. That duality appeared throughout: a pocket miniskirt layered over a pencil skirt; pannier-like pockets over a black-and-white floor-length gown; a sheer overskirt floating above a textured white minidress. Refined and pastoral, the collection drew on the English countryside and Scottish moors, reflected in the natural palette of ecru, ivory, brown, green and black. The studio's craftsmanship shone in pieces like a sheer cape and skirt seemingly woven from chiffon ribbons, a densely sequinned high-neck top, and a delicate chiffon and lace blouse paired with a shredded sequins skirt. One jacket appeared dusted with wisps of white, like settling snow. The wintry mood culminated in the bride's final look: a gown covered in white sequins that shimmered like ice, cascading down the skirts. Completing the tableau were ears of wheat – a symbol of abundance beloved by Gabrielle Chanel and present throughout her apartment, including in a painting by Salvador Dali that sits above her sofa and that inspired the seating at the haute couture show. Gold wheat ears were placed on each guest's seat, and the motif reappeared in feathers woven into the flounces of a black-and-white chiffon dress and embroidered along the wedding gown's neckline. It also featured on numerous jewel buttons throughout the collection. Choosing the intimacy of the Salon d'Honneur over the vast nave beneath the Grand Palais's glass dome, where Chanel has previously held many of their shows, was no coincidence. This show was designed to invite quiet reflection – both for the audience and for the maison itself.
