My main concern is that I expect a sense of polish and refinement at a house like but in particular with Chanel, as it is a rather classicist house, whose signature product has a very tailored expression, albeit beibg called a cardigan jacket.
Matthieu Blazy isn't a rigorous tailor, the proportions are off and instead of 'the perfect sleeve' (both Jil Sander and Cristobal Balenciaga would often come back to those tiny parameters that ultimately differentiate mastery over averageness), you get sloppy proportions and rolled-up sleeves.
I would have loved to see a masterclass in purism at Chanel, a display of the very best tailoring and dressmaking, something exquisite and timeless - With shoes and accessories that echo the same message.
Well, it was clear that Chanel did not want that when they chose Blazy…
I actually agree with a lot of what you’re saying. For me, it was already clear that Chanel wasn’t aiming to be the pinnacle of tailoring, dressmaking, or craftsmanship in the traditional sense. With Virginie’s appointment, the significant price hikes, and some reported quality issues over the past few years, it became apparent that the house is -more than ever- primarily focused on maximizing revenue. It’s a shame because, as a large privately-owned company, Chanel has a rare opportunity to make choices that are very different from LVMH or Kering—and to truly actually be a purveyor of the highest refinement and quality.
With Virginie, it felt like the house went into autopilot, relying on revenue growth to justify a lack of innovation. The post-Covid market shift forced them to inject more excitement and a fresher point of view, and that’s where Blazy’s came in. His primary task seems more about creating a halo effect across Chanel’s broader brand universe—the area where most of the revenue is actually generated.
That’s not to say it’s entirely fair to overlook the runway output, which I also found far from perfect. The sheer number of looks was overwhelming; if a third had been edited out, the collection would have felt far more alluring. This is something I also noticed during his time at Bottega—Matthieu often seems compelled to show too much in a single collection.
I have come to accept that Chanel—and to some extent Hermès—are primarily masters of marketing and the careful curation of a brand image, arguably even more so than Dior or Louis Vuitton. Many of their decisions seem aimed at maintaining that image, and while it’s clear Chanel could achieve so much more in terms of craftsmanship or innovation, I remain very interested in evaluating them through this lens. It’s fascinating to observe how these elements work together to create an aura around the brand, how they navigate new challenges in today’s landscape, and how they integrate new elements—such as a new creative director—into the image they must consistently exude.
From his interviews and post-show footage, Matthieu Blazy is already described as down-to-earth, studious, serious, and humane. Of course, this aspect of his personality could be genuine—he’s not acting—but it also fits into a broader narrative: Chanel the brand remains the focus, carefully curated so as not to be overshadowed by it's creative director.
This all of course, that’s not to say that someone else couldn’t have done a better job...
