There’s a particular kind of magic that happens when Matthieu Blazy reimagines a classic. And nowhere is that magic more evident than in CHANEL’s latest take on two of the maison’s most revered silhouettes: the ballet flat and the slingback.

Gabrielle Chanel introduced the little black dress in 1926 through a simple crepe de chine design published in VOGUE. Her black dress removed excess fabric, heavy corsetry, and rigid structure. Editors described the garment as “Chanel’s Ford,” comparing its accessibility to the Model T automobile. Journalists framed the piece as practical, adaptable, and modern.

Across four distinct shows for 2026, from the RTW runway planetarium in Paris to the theatrics of a New York subway station, from the ethereal mushroom garden of Haute Couture to the glittering construction site for Fall-Winter, one consistent aesthetic philosophy has run through the makeup of every face.

The second ready to wear and fourth overall collection in Matthieu Blazy’s year of debuts at CHANEL and the thrill is still present. Watching this collection in motion instantly has you imaging yourself in each look. Everything flows so effortlessly while being uniquely eye-catching. Layering, vivid prints, and an eclectic mix of textures continue to be on trend along with classic silhouettes in signature black and white. Dropped waistlines and free flowing dresses continued to display Blazy’s dedication to honouring Coco Chanel’s originating principles.

At the heart of CHANEL Haute Couture lies a network of highly specialized ateliers, concentrated primarily at 31 Rue Cambon in Paris. These workrooms are not simply production spaces; they are repositories of institutional memory, technical knowledge, and creative continuity.