A review of Matthieu Blazy’s debut couture collection for Chanel

Bird on a mushroom 

I saw the beauty at once 

Then gone, flown away

What happens in that fleeting moment before the birds fly away? Matthieu Blazy’s inspiration for his debut couture collection for Chanel comes from this simple haiku by an unnamed writer. On a powder pink set in the Grand Palais with cascading leaves and giant mushrooms, the show plays out like a dream sequence, in which beauty–like the bird on the mushroom–is just within reach in this one suspended moment in time. The plumage of Blazy’s aviary of domestic and exotic birds, from the simple grey pigeon and black raven to flamboyant cockatoos and spoonbills, finds its way onto the couture creations.

As with his Métiers d’art and Spring/Summer 2026 ready-to-wear collections, he works closely with the masters of fabric making, embroidery, tailoring, and pleating at le19M. Notably, the iridescent closing bridal ensemble, worn by budding supermodel Bhavitha Mandava, sees genuine mother-of-pearl sequins hand-embroidered on white organza. 

Blazy’s vision of beauty as ephemeral also manifests in garments remade in ethereal silk muslin, from the Chanel suit to the classic white tank top with jeans. The iconic Chanel 2.55 bag is sensually sheer, out of which slips a delicately embroidered love letter. 

“Haute couture is the very soul of Chanel–it is the foundation and the full expression of [the maison],” he writes. In this collection, he continues to revisit everything we know and love about Chanel’s signature codes in his own quiet reverence, which paradoxically borders on defiance as he moves away from heavier tweed and bouclé fabrics. It is part of the French-Belgian creative director’s ongoing mission to make tangible the essence of the maison, honouring its existing clientele while catering to a new generation of modern women. 

For more on Chanel’s Spring 2026 couture show, head to our round-up of all the celebrities spotted in the front row.