yes he said he felt to have to ways to do it ......clearly he chose the easy self indulging one his Lazyism´s
because as he said himself he is not able to edit and why choose bla bla in interviews
The Vogue interview piece i just put myself to read today on his Chanel work approach:
He will often say he has made a collection before a single garment is designed. What he means is that he and his research chief, Marie-Valentine Girbal, have—arduously, carefully—collected dozens of mood board images and swatches in binders, labelled as specific looks. From there, the binders go on to his design deputies who, with free rein, mock up pieces inspired by what they see; then Blazy and the deputies spend weeks working over these propositions, nixing some, refining details on others
*And this is why the out come is so messy !!!!
The hard work would have been to dissect and reconstruct Chanel in steps that carefully re establishes the codes in a fresh modern way now you have show and the act 1 look just like random stuff that next season mean nothing.
Also stuff like this from the vogue interview that don't add up to the results :
The first time Blazy was asked what his vision of Chanel was, the answer came to him swiftly:
“I said, ‘Chanel is modern.’”
(He traveled to Normandy to visit Alain Wertheimer, the company chair. “We almost didn’t speak about Chanel,” Blazy says. “He told me, ‘If you’re in front of me, it means you’re supposed to be a good designer, so let’s not talk about work.’” They conferred instead about childhood, about family, about their shared interests in art. During the last five minutes of the interview, Wertheimer circled back to fashion, and that was when Blazy made his remark about modernity.)
“He asked me, ‘Do you think Chanel is modern now?’ I said, ‘I think the pillars are still modern, but we can push it.’” On which Wertheimer smiled.
Bruno Pavlovsky, the president of fashion at Chanel, tells me that he and his colleagues had a very clear idea of the designer they were looking for: a genius who could inhabit the brand. “With some designers, it’s about their vision, even as they go from one brand to another,” he says. “What we have learned to like at Chanel is a chameleon”: someone who would use their imaginative brilliance to revivify the house on its own terms. “Matthieu has a vision—we love him as Matthieu—but he puts everything behind the brand.”
Blazy says he is pleased with the summer’s work; his studio has begun to come up with good ideas. “Everyone tells me, ‘I’m so excited about your show.’ But I’m so excited too—I don’t know quite what it is exactly yet.
*Clear to me he started the project as always randomly go with the flow.
Start with a coat. A men’s sport coat—British, say—in tweed: the everyday archetype of refined masculinity. Put it on a woman. Take a pair of shears to the bottom; cut it at the hip. Close the lapels. Add a button or two. “Suddenly you have the archetype of a Chanel jacket—from a man’s,”
It was an exercise in stripping away a century of thickly layered development at the house, returning to the original shock of the new.
.....he would return to the creative path of Gabrielle “Coco” Chanel and take a different turn. The men’s-jacket exercise announced that change
*LOL
“When you go back to the early years of Gabrielle Chanel, a lot of things happened that haven’t been told yet, even though they resulted in codes.”
*what are those in the first show ? shapeless sack dresses ? what are his codes for chanel ?
Charvet
“They knew things I didn’t know—that, for example, Coco would buy gifts for her boyfriend in that store,” he says.
Her masculine borrowing has been remarked upon, but Blazy understood it as a reach for freedom of a specific kind.
In the early 1910s, Coco attended a fancy-dress party in men’s clothes. Unlike most of the other guests, she put on the same outfit the next morning, bringing it into the realm of the everyday.
“She didn’t want to look like a woman that men bought everything for. She liked to ride horses. She was always on the go,” he says. And her clothes were conceived by pragmatic circumstance. (Where is that in Blazy version ?)
“What you quickly find out is that Chanel could not exist, in the aesthetic we all know, if she was not in love with that man,” Blazy says. ( Also rewriting history is part of his job description we just don't know if this would been the case )
And understanding Coco as someone who designed by circumstance opened new realms for development.
*chaos what Blazy likes its clear.
During the interregnum last year, one heard it posited that only a designer rooted in French life could catch the mood of so quintessentially Parisian a house. Blazy, a Parisian born and bred, recoiled from the claim. (“I disagree! I’m half Belgian!” he exclaims.)
*That's why i said he is like Pieter and Raf they have all 3 very belgium taste approach to design overthinking and child naicty to disguise lack of emotional intelligence in the work. what a Alaia or Hedi do have even when teh both ahve a love for sharpnes and tailoring .
Chanel lightness that I really want to explore,” he says. “Couture doesn’t need to be heavy. It doesn’t need to be big. It’s something about the making, how it falls on the body.” In the Belgian style, he likes to work in the round, with scissors in hand.
*he needs glasses because the bulk i his clothes are not lightness and RTW skirts did not need to be so big not just couture.
“It’s going to go quite in a lot of directions. I need to test ideas. I want to make mistakes. It doesn’t have to be perfect—it’s a first show. It’s a proposal.”
*Its clear but i doubt it will get clearer looking back at 3 year of BV i see no refment of vision just endless experiments and complications in design for no reason than consumed ego trip
