Matthieu Blazy - Designer, Creative Director of Chanel

[marines]

 

[PDFSD]

american horror story the paris coven season premiere

 

[lhhbl]

I loved the show but I'm hating the outfits in real life, so far ughhhhh
same for Dior, don't know which one is worse

 

[PDFSD]

warning note : home work for Blazy ......not for all the chanel online experts this is for Blazy to catch up

 

[yslforever]

american horror story the paris coven season premiere
View attachment 1431979

I had a 2 second brainfart, wondering which one is Chanel ...

 

[Lola701]

warning note : home work for Blazy ......not for all the chanel online experts this is for Blazy to catch up

Haven’t watched yet but hopefully, he will try not to emulate Karl.
Because first of all: which Karl?
The provocateur of the 80’s/early 90’s? The conservative of the late 90’s? The modernist of the 00’s or the Post-modernist of the 2010’s.

The only thing for me Blazy should get from Karl, beyond doing références to his work, is being constantly changing and not be stuck on his ways.

That’s the gift of Karl as a designer. He knew his game but was never stuck on his ways.

Hopefully, MGC will also remember Karl at Fendi. His body of work there is even more exceptional.

 

[PDFSD]

Haven’t watched yet but hopefully, he will try not to emulate Karl.
Because first of all: which Karl?
The provocateur of the 80’s/early 90’s? The conservative of the late 90’s? The modernist of the 00’s or the Post-modernist of the 2010’s.

The only thing for me Blazy should get from Karl, beyond doing références to his work, is being constantly changing and not be stuck on his ways.

That’s the gift of Karl as a designer. He knew his game but was never stuck on his ways.

Hopefully, MGC will also remember Karl at Fendi. His body of work there is even more exceptional.

Thats why its important for him to watch it, its goes through all the versions of KL and how he changed/kept reinventing when sales went down or not recieving good press etc.

The key is to see public/press criticism as way to grow and do better or prove people wrong, not to stay stubborn and do same things over and over again.

Have not seen Blazy apply himself to do what is hard for him make a cohesive story or well tailored clothes to start with some basics.

 

[Grets]

The unfortunate thing about Blazy and today is the media and fashion journalists *in lock step* praised this collection. It was the number one show of the season. I don't think there were any major fashion journalists that were critical of this collection. There were Chanel customers that went on social media and criticized it.

 

[Monsieur Cristobal]

The state of present journalism is so rotted because of the many interests involved that it's become more interesting to read rumours here.
Even when they are not confirmed, at least they point to something that might be real.

The bad thing about Chanel was not the show, which was fine. It was waking up and seeing Keira Knightley dressed in the pre-col (amongst other things).

 

[FashionPower]

The unfortunate thing about Blazy and today is the media and fashion journalists *in lock step* praised this collection. It was the number one show of the season. I don't think there were any major fashion journalists that were critical of this collection. There were Chanel customers that went on social media and criticized it.

It's a matter of different aspects to me:
- Huge conflict of interest between media and companies who are willing to pay media to advertise on the media
- Most (if not all) of the fashion pack are obsessed with MB intellectual artsy crafty aesthetic. Let's be honest, since Prada turned into a soulless commercial brand under Raf's tenure, MB Bottega was the new Prada and we all know how a fashion journalist or a stylist would do for Prada...
- Media / fashion pack being scared of getting banned / blacklisted from anything CHANEL related
- The excitement about the first CHANEL show under a new distinctive creative vision in like half a century. The set and the vibes of the show helped a lot make it look more approachable and relatable (e.g., Awar closing...which I found cringe and very unprofessional, but that's just me)

What really annoyed me the most is that NO ONE even dared to say that the collection, whether it was good or not (and I thought it was terrible), simply comprised of MB distinctive elements at Bottega (the leather scraps, the fluid printed dresses, the cocoon jackets) paired with CC logo accessories. It was not original, it was his old MB aesthetic and vision simply translated to CHANEL.

 

[PDFSD]

It's a matter of different aspects to me:
- Huge conflict of interest between media and companies who are willing to pay media to advertise on the media
- Most (if not all) of the fashion pack are obsessed with MB intellectual artsy crafty aesthetic. Let's be honest, since Prada turned into a soulless commercial brand under Raf's tenure, MB Bottega was the new Prada and we all know how a fashion journalist or a stylist would do for Prada...
- Media / fashion pack being scared of getting banned / blacklisted from anything CHANEL related
- The excitement about the first CHANEL show under a new distinctive creative vision in like half a century. The set and the vibes of the show helped a lot make it look more approachable and relatable (e.g., Awar closing...which I found cringe and very unprofessional, but that's just me)

What really annoyed me the most is that NO ONE even dared to say that the collection, whether it was good or not (and I thought it was terrible), simply comprised of MB distinctive elements at Bottega (the leather scraps, the fluid printed dresses, the cocoon jackets) paired with CC logo accessories. It was not original, it was his old MB aesthetic and vision simply translated to CHANEL.

True to your name this is power of fashion speaking ...something that the new chanel no matter how much they engineer its forced success these months you can feel and notice there is no genuine (big) excitement for it.

People are just like this must be the new thing and get along with it even at the show celebs interview you can see the grappling for big and generic words even by editors etc. The looks on ambassadors just exist or blend into the background.

Picking one or 3 things that one wants to have does not constitute for a successful redirection or collection.

 

[Creative]

The state of present journalism is so rotted because of the many interests involved that it's become more interesting to read rumours here.
Even when they are not confirmed, at least they point to something that might be real.

The bad thing about Chanel was not the show, which was fine. It was waking up and seeing Keira Knightley dressed in the pre-col (amongst other things).

Rumors are always real my dear. I’ve heard the craziest things and they were coming from top management, movements that finally didn’t happen and so on.

As for Blazy… it’s so boring. That’s the right word for it.

We are wintnessing the 636252792963636283974636272828627366327828373673937363636372899191726366363728383765252892010283774th chapter of the Emperors new clothes.

I’m really baffled that no one is talking about the precollection eyesore. Sandro has better design.

I despise today’s era. TikTok d!ckheads, journalists with two brain cells, paid journalists, fashion people that know nothing about fashion… it is simply sad.

 

[PDFSD]

Heritage brands don’t lose relevance they lose strategic clarity, and right now they don't know wtf they are meant to be like gucci and many more.

 

[Caffeine]

The unfortunate thing about Blazy and today is the media and fashion journalists *in lock step* praised this collection. It was the number one show of the season. I don't think there were any major fashion journalists that were critical of this collection. There were Chanel customers that went on social media and criticized it.

I don't know how long this disease has infected fashion, but journalism itself has been rotten for some years. It started from politics (let's be honest, Benjamin Franklin was a master in this but truth seeking still existed back then and facts and opinions were for the most part, differentiated), then financial (the latest obsession of a subprime credit crisis - CEOs said no, subprime was just fine and it was near-prime that saw cracks, and criticism on private credit - the issues were all with the banks, etc.), and now fashion. The entire media business has now been proven by itself as completely dishonest and unreliable.
IMHO it's upon the consumers to stop consuming such dishonest content. I'll borrow from Shakira 's "hips don't lie" and say that "wallets don't lie". Let's wait for the sales numbers to speak for itself.

 

[Phuel]

Have not seen Blazy apply himself to do what is hard for him make a cohesive story or well tailored clothes to start with some basics.

Don’t hold your breath expecting a show of masterclass tailoring with Matthieu.

Whether he’s unskilled or uninterested, him and his ilk— Pieter/JW/Demna, all are intent on mangling the beauty of a woman’s form rather than championing it. I find him inoffensively tolerable tho. More unfortunate is that the customer has been conditioned to gush for expensive gimmicks over bespoke construction: Sarah’s Givenchy still has her daft tailoring but it’s the clickbait slop that’s pushed in the campaigns and the shows. And public enemy number one Maria Grazia’s tailoring is the stuff that’s worth a hefty pricetag but her unforgivable crime is she’s simply boring. I’ll gladly take Maria Grazia over Matthieu/JW/Pieter anytime, anyday, anywhere.

Half of his Chanel was slightly, interestingly, effortlessly luxe-y, and coolly joyful— and that’s the offering showcasing his version of the tweed suitings. While the rest were appallingly 3rd-year fashion student clumsy in its heavy-handedness. And that the tacky Playdium/planetarium laser tag set cost 10million euros accompanied by that even tackier eurotrash bop that would be playing at Disneyland, or in one of their animated feature films starring The Rock, is just monstrously heinous in branding. I’ll give him this: The tacky set is very Karl.

 

[Nimsay]

My zoomer subordinates are the ones telling me I make too much money to be at Publix, and they are not wrong. They see me as a millennial Carrie Bradshaw figure, pushing a cart with a craie Birkin 35, doing the old ironic high–low thing like it is still Chelsea NYC in 2010. They read me down and gagged me.

It is not high–low anymore. It is high–high, full stop. Im keeping myself updated and relevant like I always do. Karl said irrelevance is death…the fact that younger generation is telling me whats up and keeping me updated is what Karl and Hedi built their whole careers off of. Its a deep compliment to me for a 26 year old to update my processes to keep me relevant. You guys have 20 somethings updating you on whats cool and in ?

Like that whole “i need to be practical with my designer clothes” is an old post modern idea from the 90s. People still espousing that are not understanding how fashion works.

Anyway …

This collection made me realize the Warhol post modern era is over. The whole worldview built on surface, irony, persona and celebrity has collapsed. It also showed me why thinking Marc was right for this shift was wrong. Marc, like Lagerfeld, belongs to the Warhol world where the camera creates identity and performance is the language.

The Kardashian moment and Balenciaga’s irony were the final conclusion of that culture. They pushed the image as product logic to its limit. Celebrity became a commodity, irony became currency and visibility was treated as the message. After this saturation point, the Warhol model now has nothing left to offer.

We live in a different moment now. The camera is constant and therefore meaningless. Privacy feels luxurious. Opacity feels modern. The new aesthetic is lack of presence instead of ironic performance and depth instead of spectacle.

That is why this collection feels new. It marks a real break from the Warhol to Lagerfeld to Marc continuum. Fashion is no longer speaking to the lens. It is finally speaking from within.