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The National
09-07-2025
- 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.
Vogue
21-05-2025
- Entertainment
- Vogue
Emma Watson Models Transseasonal Dressing in a Summery Dress and Wintery Boots
Emma Watson has yet to hit the red carpet in Cannes, but she's already off to a great start on the fashion front. Yesterday, the actor and activist arrived at the Nice Airport dressed in a leveled-up travel outfit. She wore a black scalloped cardigan and blue floral lace skirt with a pair of black block heeled Aeyde ballerinas. Today, during her first full day in Cannes, Watson continued her transitional dressing streak, mixing summer and winter staples. Emma Watson in Cannes. DPTIG / BACKGRIDUSA Chanel resort 2025 Photo: Isidore Montag / Watson strolled down the Croisette in a summery look: a sleeveless white silk jacquard maxi dress with orange and navy checks. The dress hailed from Virginie Viard's final Chanel collection, resort 2025. She styled the warm weather piece with a pair of brown heeled boots with a black cap toe. Watson finished off the look with a round crossbody bag with a chain strap, a watch, and a pair of wire-rimmed Ray-Ban Wayfarers. While she was otherwise dressed for the beach, Emma Watson's decision to wear fall- or winter-friendly boots makes the outfit work for the in-between weather.
Nahar Net
12-03-2025
- Entertainment
- Nahar Net
Chanel stages grand bow to future as Naomi Campbell speaks about legacy of diversity
by Naharnet Newsdesk 12 March 2025, 15:20 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. Bows, pearls and sheer genius (pun intended) 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. Naomi Campbell on a legacy of diversity 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. Riley Keough on rock-and-roll style 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."
Washington Post
11-03-2025
- Entertainment
- Washington Post
Chanel stages a grand bow to the future, as Naomi Campbell speaks about the legacy of diversity
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.'
Yahoo
28-01-2025
- Entertainment
- Yahoo
Chanel builds double-C logo into catwalk set for haute couture
By Mimosa Spencer PARIS (Reuters) - Chanel assembled a sprawling runway set in the form of its trademark interlocking C logo for its spring summer 2025 catwalk show, held on Tuesday at the Grand Palais in central Paris. Models paraded a pastel-colored line-up of glittering dresses and tailored jackets along the white carpet of the sloping set, many emphasizing the shoulders, which were bulked up. There were trim jackets with round, broadened shoulders, sheer dresses with piles of feathers, loosened sleeves and flouncy skirts. At the end of the show, the clapping audience hesitated a moment, seeming to mark the customary pause reserved for a designer's bow, before standing up and heading out into the blustery weather. Chanel has been without a creative director since the abrupt departure of Virginie Viard halfway through last year, with her task left to in-house design teams. The privately owned fashion house said in December Matthieu Blazy would succeed her in the role. The choice of Blazy, who joins from Kering-owned Bottega Veneta later this year and is credited with helping boost that label's recent success, signals a new approach for Chanel, famous for tweed jackets and No. 5 perfume. The haute couture fashion shows in Paris run through Jan. 30 and feature some of the industry's best-known labels including LVMH-owned Dior, Valentino and Jean Paul Gaultier.
