Matthieu Blazy - Designer, Creative Director of Chanel

[FashionPower]

At least we know Mat is gonna discontinue that hideous Chanel 22 bag from Virginie (aka the 5k garbage bag) and come up with a new it bag. Also the reissue of the Gabrielle bag and a new push on the Boy would be a nice surprise.

 

[Lola701]

Chanel is a challenge itself.
Chanel is still a brand that, after all, still sells a lot of clothes and so innovation is at the service of commercialism.

There are the main collections, with their retail adaptations, the runway pre-collections, the pre-collections, the capsules Coco Neige/Coco Beach.

Except for Celine, Balenciaga under NG and RAF’s Calvin, his 2 main positions where he was in charge weren’t really apparel focused.
That being said, he is talented.
I think I’m more afraid of his collaborators (stylist and photographer) than I am of his capacities as a designer. I like his clothes at BV. I didn’t care that much for the trompe l’œil because Jean Claude Jitrois has been doing this for years. He even did the machine washable leather jeans so…
I know he will eliminate some of the tacky elements I hate about Chanel.

And I hope he will channel his inner Daniel Lee and deliver some great knitwear. Because Chanel in stores is essentially about tweed and knitwear.

At least we know Mat is gonna discontinue that hideous Chanel 22 bag from Virginie (aka the 5k garbage bag) and come up with a new it bag. Also the reissue of the Gabrielle bag and a new push on the Boy would be a nice surprise.

You know what, at first I hated the 22. But he reminds me of an old bag I have, the Coco Cabas from FW 2006. I think if they redesigned it in that way (a matelassé bottom part, no logo engraved in the leather) it would work. It’s a cute mini bag.

I hope they will bring back a new version of the GST and maybe push the 2.55 again.

I have always found interesting that in that push for quiet luxury, Chanel didn’t put a 2.55 on the runway. They have reduced the production so much now that they are all made in France now lol.

 

[plentyofhorns]

At least we know Mat is gonna discontinue that hideous Chanel 22 bag from Virginie (aka the 5k garbage bag) and come up with a new it bag. Also the reissue of the Gabrielle bag and a new push on the Boy would be a nice surprise.

I doubt they discontinue the 22. I actually see it a lot in NYC

 

[PDFSD]

I doubt they discontinue the 22. I actually see it a lot in NYC

no need to doubt what sells will stay period!!!
Mathboy can't do anything but create so much new hit bags to out sell old styles........ that's the only way the 22 will go away because sales dont make sense anymore to keep pushing/producing.

Big brands especially want continuity and long production of items, the goal is always to have new classics of the future and lasting interest in these items.

best thing he can do and will do is embrace old chanel items and put his modern craft spin on it when it fits his collection narrative ....if he will have one :-) this time around !!!?

 

[proseccotabis]

I doubt they discontinue the 22. I actually see it a lot in NYC

I think it’ll turn into a carryover item - it sells super well. The same way BV didn’t discontinue the cassette after DLs departure because they had no guarantee what would sell during Blazys first tenure I guess

 

[Lola701]

About the 22, it is also the fact that it’s one of the few Chanel bags, with the 19, that is sold at a fairly acceptable price in it full size.
You can have a big 22 bag in leather at the same price as a small Boy, small classique.

There are a lot of « fun » seasonal bags each season that have acceptable price point but in terms of bags they are pushing there’s almost a 5K gap between a medium 22 and a medium Classique.

If Blazy designs a Hobo bag that is more successful than the 22, it may replace it in the catalogue but the 22 fills the gap left by the Gabrielle.
Chanel has never really managed to have a long lasting iconic hobo bag.

 

[Starry]

I hope they will bring back a new version of the GST and maybe push the 2.55 again.

I have always found interesting that in that push for quiet luxury, Chanel didn’t put a 2.55 on the runway. They have reduced the production so much now that they are all made in France now lol.

Yes, my wish is also they start to push 2.55 bag again. I noticed that they seldom did seasonal treatment for 2.55 bag during Viard's tenure. And I think it's a bad decision to raise the price so high for 2.55: I understand they want to keep the status symbol for this bag at the same level as the classic flap (at least it's from the original Gabrielle design), but most people go for the obvious "CC" logo on classic flap so the high price wouldn't help sell the 2.55 bag. I know the mini version is still quite popular but again it's the relatively more accessible price point.

This year would mark the 70th anniversary of 2.55 bag, I hope they would do something to celebrate this iconic bag. I still remember back in 2005 when Karl "re-introduced" this bag, and that iconic campaign with Daria Werbowy...

 

[reese06]

I assumed the Chanel 22 was the re-release of the Coco Cabas or some vintage bag tbh. I've always loved both and how it looks like a trashbag. I think it's quite chic, urban and of course the nostalgia that comes along with it.

I don’t feel any kind of way about his debut anymore but I hope he is able to bring some of the beauty and ethereal to Chanel.

 

[Phuel]

Tweed-looking leather is a given with him, people.

Innovation is deserved and needed at Chanel. Just essentials strategically art direction with some flair isn’t good enough: this is precisely why Anthony and his SL doesn’t get a pass: It’s so lazy, so inept, so passionless, despite the solid branding. Just recycling Yves’ archive but with the most minimum of effort in both design and construction for the lowest of common fashion denominators, and dressed up with admittedly solid presentations and campaigns, isn’t fooling anyone that’s faithful to the highest of standards. Anthony protesting logo doesn’t get a pass either, when bringing back the classic YSL logo actually saved the brand— and remains his only worthy contribution LMFAO …Mathieu on the other hand, has potential to produce a fresh, directional aesthetic with his artisanal concepts, and still investment-worthy beautiful garments, if he will just remember to dress a timeless, ladylike Chanel clientele, rather than some phantom modern fashion victim in giant pom poms and messy sloping shoulders. Which direction he chooses will decide whether Chanel will be a short-lived gimmick, or a glorious revival.

A fascinating and utterly impressive characteristic of Karl that often gets overlooked, is that he never bragged and boosted of the supremely unique technical achievements and advancements of his Chanel and Fendi. The brand of extensive technical research that was invested in the material and construction in these brands were always a byproduct of the overall garment— not at the expense. And as much as I’ve never been, and never will be a fan of Karl’s aesthetic, his offerings as separates were highly impressive, and highly versatile for his clientele: Each coat/jacket/dress was a testimony to its brand’s exclusive, premium quality of textile research, skilled construction and classic tailoring that could never be replicated at a lower price point. …The designs however, is a personal preference LOL

If Mathieu can appreciate, understand, and remember what made Karl’s Chanel such a distinct masterclass of a brand (…and being a distinct masterclass brand isn’t synonymous with visionary design…)— with the ability to still remain coveted 20-30 years later, while injecting his sensibilities to further pay tribute to whom came before him— and without allowing any ego to dominate, then Chanel could finally have the chance to be exciting again. Because just being a few step up from Virginie’s depressing hausfrau frumpy sewing class TEMU ripoffs isn’t enough to earn praise.

(Still preferred Hedi installed at Chanel. Eh.)

 

[PDFSD]

i would love to see what people lust after besides the andiamo bag or the sardine bag from his BV ...beauce i find the actual stand alone products underwhelming when i took time to actually see in store product and online

i do think the home goods are a perfect department for him at BV lots of fun design stuff verry raf/belgium design for home but ok all the gay´s are into ceramics and vintage revivals done in new color or intervention again :-)

 

[tourbillions]

It was very hard to decide buying his BV. Compared to lee's where you didnt even have to think twice.

 

[PDFSD]

thinking about it feel Blazy´s BV was the mash up of Tomas Maier & Lee ´s BV, but the wrong parts of both eras.

 

[proseccotabis]

i would love to see what people lust after besides the andiamo bag or the sardine bag from his BV ...beauce i find the actual stand alone products underwhelming when i took time to actually see in store product and online

i do think the home goods are a perfect department for him at BV lots of fun design stuff verry raf/belgium design for home but ok all the gay´s are into ceramics and vintage revivals done in new color or intervention again :-)

Also it takes a lot of talent to create an incredibly uncomfortable shoe for BV. Unheard of. Somehow Blazy managed to do just that.
I often wondered why there’s so much unnecessary bravado around the store design during MB tenure but having tried on one of the jackets and pants there ( again, a miracle my pre-Christmas food coma *** fit in it ), it made sense - his RTW is awkward, uncomfortable, rigid. Im assuming the product development team left with DL..? Of course they need to divert attention to something else that’s not the product. How they have the nerve to increase the prices to astronomical levels i don’t know. I know I sound like a total Blazy hater but please show me a customer with an unlimited budget who with their resources would go to BV and buy the Kalimera bag or one of those frilly leather skirts that even my 10 year old ballet dancing niece wouldn’t fit in. *angry mic drop*

 

[jeanclaude]

Tweed-looking leather is a given with him, people.

Innovation is deserved and needed at Chanel. Just essentials strategically art direction with some flair isn’t good enough: this is precisely why Anthony and his SL doesn’t get a pass: It’s so lazy, so inept, so passionless, despite the solid branding. Just recycling Yves’ archive but with the most minimum of effort in both design and construction for the lowest of common fashion denominators, and dressed up with admittedly solid presentations and campaigns, isn’t fooling anyone that’s faithful to the highest of standards. Anthony protesting logo doesn’t get a pass either, when bringing back the classic YSL logo actually saved the brand— and remains his only worthy contribution LMFAO …Mathieu on the other hand, has potential to produce a fresh, directional aesthetic with his artisanal concepts, and still investment-worthy beautiful garments, if he will just remember to dress a timeless, ladylike Chanel clientele, rather than some phantom modern fashion victim in giant pom poms and messy sloping shoulders. Which direction he chooses will decide whether Chanel will be a short-lived gimmick, or a glorious revival.

A fascinating and utterly impressive characteristic of Karl that often gets overlooked, is that he never bragged and boosted of the supremely unique technical achievements and advancements of his Chanel and Fendi. The brand of extensive technical research that was invested in the material and construction in these brands were always a byproduct of the overall garment— not at the expense. And as much as I’ve never been, and never will be a fan of Karl’s aesthetic, his offerings as separates were highly impressive, and highly versatile for his clientele: Each coat/jacket/dress was a testimony to its brand’s exclusive, premium quality of textile research, skilled construction and classic tailoring that could never be replicated at a lower price point. …The designs however, is a personal preference LOL

If Mathieu can appreciate, understand, and remember what made Karl’s Chanel such a distinct masterclass of a brand (…and being a distinct masterclass brand isn’t synonymous with visionary design…)— with the ability to still remain coveted 20-30 years later, while injecting his sensibilities to further pay tribute to whom came before him— and without allowing any ego to dominate, then Chanel could finally have the chance to be exciting again. Because just being a few step up from Virginie’s depressing hausfrau frumpy sewing class TEMU ripoffs isn’t enough to earn praise.

(Still preferred Hedi installed at Chanel. Eh.)

I expect nothing but giant pom-poms, hanging over a tweed-looking leather suit, from Blazy...

 

[PDFSD]

we are living the fashion era version of what the art world went trough not so long ago which was called Zombie Formalism

The artist and critic Walter Robinson coined the phrase in a 2014 piece, “Flipping and the Rise of Zombie Formalism,” addressing the vogue for a certain type of painting among collectors known for their speculative investment in young artists.

Zombie Formalism, in other words, was in this view a new kind of court painting, produced solely to flatter and enrich the titans of the new gilded age.

“kind of pretty and kind of whatever.”
Finally, these pictures all have certain qualities—a chic strangeness, a mysterious drama, a meditative calm—that function well in the realm of high-end, hyper-contemporary interior design. Were modern-day courtiers muscling in on an empty aesthetic,

Another important element of Zombie Formalism is what I like to think of as a simulacrum of originality. Looking back at art history, aesthetic importance is measured by novelty, by the artist doing something that had never been done before.
In our Postmodernist age, “real” originality can be found only in the past, so we have today only its echo. Still, the idea of the unique remains a premiere virtue. Thus, Zombie Formalism gives us a series of artificial milestones, such as the first-ever painting made with the electroplating process (Kassay), and the first-ever painting done using paint applied in a fire extinguisher (Smith).

you can read the full article from 2014:
news.artnet.com/art-world-archives/history-zombie-formalism
https://www.artspace.com/magazine/contributors/see_here/the_rise_of_zombie_formalism