Matthieu Blazy - Designer, Creative Director of Chanel

[Lola701]

the silhouette in commercial collection totally his silhouettes ala balenciaga days as well sure but its so monogram heavy there is like no middle ground its or too edgy or more real but monogred to death your a walking trunk always lol

his clothes needs a bit of less over design and balance of reality giving the eye some rest and the silhouettes space to be human form at times with in a show.

i love odd and new etc but not in a meaningless way in high fashion.

I am curious what you will get from the Chanel RTW collection i really looking forward to seeing the ladies i follow that buy and show fits in Chanel changing rooms react to the clothes and fit and proportions.

Hmm…
He has been at Vuitton for 12 years and I think the only monogram pieces I have are on bags. And when I say bags, it’s really the Dora for his first few seasons and 4 petites malles.
It’s really what you make up of it. I don’t mind a little écusson, or even that coated canvas monogram tab they put on knitwear or some outerwear but that’s it.

I can only speak for me and the women I know who wears Vuitton. I like NG’s clothes so from runway to boutique, I have experienced the whole thing. He still makes the best coats and he can cut a mean pair of pants. The most I can do is when they are doing the foulards inspired silk pieces.

So there’s a middle ground. You just have to want or care for it. Someone who doesn’t care about NG doesn’t have to care about the middle ground and a Vuitton fan wants to let people know they are wearing Vuitton…

Tbh, overtime, I kind of like that his stuff is not so much out there. Balenciaga either wasn’t really for everybody. Yes people bought the motorcycle jackets and bags but you had to be into his clothes to go deeper…

And Balenciaga demanded more from us. The cut at Vuitton is slightly more loose, he has stopped pushing so much for fabrics development.

About Chanel…
Chanel is not really a brand I can make huge wishlist at lol.
I really want one of the opening tweed pantsuits. I love look 67 but while it’s something I will try I don’t think I will buy it. I love the sheer organza skirts too but I won’t pay Chanel prices for them.

However, I’m a victime de la mode so I placed options on the multicolored chevron bag and a Chanel/Charvet shirt. No pre-order but when it hits the stores I’ll have to hurry to get them.

But really I will see what is produced and what I’m willing to pay.
The last time I bought a Chanel RTW piece, it was 5 years ago. It was a Karl piece and it was tough to spend lol. Literally buying Karl’s Fendi and Chanel was a totally different experience. A blouse at Chanel was the price of a dress at Fendi lol

So yes I’m waiting. Hopefully I will get a suit. Either way the bag and the shirt but there are always gems in the commercial collection.

 

[tricotineacetat]

Nobody said it isn't visual. I just find your comparisons preposterous.

You need to understand that even when you transpose a shape or technique to a different context, you need discerniment. Blazy is bringing things he finds fitting for Chanel, like the play with textures, the trompe l'oil illusions where tweed assumes different skins, and different fabrics that are made to look like tweed, the loose shapes, the witty pompons that have the spirit of Karl 's showpieces. Every element is there because he thinks it makes sense for Chanel. You can disagree with that, as I can disagree that Chanel was "overrided" by Blazy elements.

With Chanel, the design process has to be circular. Blazy can go as far away from Gabrielle as he desire, but he always should arrive back at Rue Cambon. That was the deal. And that's how Karl operated , and Karl went to places Gabriele would not step foot.

I lost count how many times Karl Lagerfeld did fabric manipulation or elaborate embroidery mimicing tweed, in particular since Chanel purchased all the storied, Parisian artisan workshops back in the early 2000s - It‘s not new at all and worst of all, Blazy‘s take on that looks unrefined - Something hinting at a lack of experience or at least to push those artisans towards a result that feels refined as you expect from a house that enjoys such an unprecedented standing in the industry as Chanel does.

I know sone of you will passionately disagree but what‘s the use of 'newness' when all these attempts to rejuvenate do not lead to a straight forward conventionally-pretty product Chanel's average customer can understand? I don't need to even mention Hedi Slimane in this equation again, I would even consider Richard Quinn to come up with a Chanel that would look more refined and making better use of the incredible resources at hand when you work for a brand of this calibre.

 

[tricotineacetat]

in SPRING 2014 🤭 😂
i think he is stuck in this moment:
art gallery lady jaring colors and abstract prints layers over skirts, mid waste overall oddness in proportions , chokers funky of shoulders oversized coats the style of shoes he keeps using is form this collection as well same square toes low mid heel, tartan woven , fraying crafty look , leather fringe poms poms its all in this one collection of Phoebe etc etc
all part of the Blazy starter pack :

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I hate this aesthetic with passion - Doesn‘t matter if we assign it to Philo, Blazy or in it's ten times recycled form at Proenza Schouler/New Loewe - Worst of all, it makes no sense at all in the context of Chanel!

I don't know if all of her well-known disciples (Blazy, Lee, Rider) only joined Celine after she had already shown the first few collections but the sharpness and refinement of her debut collection quickly made space for all the "aRt HoUsE fAsHiOn" her designer offspring still obsesses over today…

 

[tricotineacetat]

Perhaps he should start with observing how a naked, mature woman looks and moves, and then compare a woman before giving birth with a woman after giving birth so that he has a better understanding of the female anatomy? Wouldn't hurt?

When I look at my very own fashion 'education' so to speak, I would say spending years and years on the shop floor with clients, listening to their needs and pinning clothes on a variety of bodies has been the most valuable, quiet asset that has shaped my view on fashion and design.

You are suddenly finding yourself humbled to question proportions that are of no service to a real woman's body that might or might not be as tall, stick-thin, more bust-y or wider-hipped than your average runway model, dealt with responding to the care of particularly delicate fabrics or the comfort of cut and fabrication the majority of high fashion customers never pay attention to.

I am totally aware we are discussing the loftiest heights of luxury fashion on this very forum, so the majority of women who can afford a 10.000€ bouclé jacket will not have to bother about these mundane factors - Yet at the same time, when we look at the motivation for Gabriele Chanel to design clothes, it was to allow for women to dress elegantly while at the same time providing the ease, freedom of movement and comfort until then only associated with menswear.

The one thing I will agree with Matthieu Blazy is that the idea of what Chanel should and could be remains totally modern and befitting to the needs of women even in the 21st century - But perhaps a more pragmatic approach to design, a bit of consideration what Gabrielle Chanel's many daughters in spirit (such as Donna Karan, Jil Sander or Norma Kamali) later also brought to design, would not have hurt.