Tim Lim, group fashion director, Meta Media Holdings
It’s not only a new era — it’s a paradigm shift. We have to rethink everything we took for granted at Chanel. Matthieu spoke a lot about love and the universe — so magically recreated inside the Grand Palais for the show — and you can feel that his Chanel women possess interior worlds just as expansive. Even if that means being beautifully messy at times: a jacket chopped off at the waist, a skirt worn askew, a frayed tweed hem, the scarecrow dress, those distressed, distorted quilted bags…so cool, and it’s just the beginning.
Emilie Hammen, director at Palais Galliera, Paris’s fashion museum
Gabrielle Chanel had an original understanding of materials — knitwear for daywear, all-over sequins in lieu of decorative trims on eveningwear. In a way, more than inventing new shapes, she reimagined their materiality, and through it the relation between body and dress. Blazy’s first collection for the century-old maison highlights this particular approach to design: the first hints of his creative vision for the brand connect with this essentially modernist approach.
Stefano Tonchi, editorial director of Harper’s Bazaar Italia
The craftsmanship was exceptional; the lightness of the clothes was evident, and the modernity of the proportions was daring yet wearable. He is a designer, an architect, not necessarily a traditional fashion designer in love with trends, but still experimenting with fabric, embroidery and technique. And not a creative director in the 2000s way of thinking: no tricks, no messages, no casting or set twist, no movies and celebrities. Do I dare to say classic modernity? And no irony, no cynicism, lots of love for the art of fashion.
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