While the majestic Grand Palais underwent its pre-Olympics transformation, the Chanel show was held in an ‘Espace Ephemeral’ on the Left Bank. It returned to the majestic exhibition hall where Chanel is its principal benefactor last October and held its first Haute Couture show since returning in Paris on Tuesday. Considering artistic director and Lagerfeld’s right hand, Virginie Viard was forced out unceremoniously last June, and her replacement, Mathieu Blazy, was announced last month, there were no Artistic Directors involved in either of these efforts. Instead, the two collections have been created by the Chanel design studio. Despite no one in the lead role, the Spring Summer 2025 Haute Couture collection offered uplifting and spirited designs.
It’s also the 110th anniversary of the house founded by Gabrielle Chanel. Thus, with or without a creative director, Chanel is a being and a force of its own. According to a show release since 1915, the mark has stood for “unlimited creative freedom, unique savoir-faire passed down through generations, gestures repeated yet renewed, patience, excellence and a timeless allure continually reinvented, instantly recognizable,” it read furthering the idea that the collection “celebrates this endless renewal, which has been a beating heart of the house.” A video depicting the female couturiers in the atelier workshop creating garments, handcrafting trims, and fitting models in looks was an homage to the craft that lies in Chanel Haute Couture and is also prevalent in its ready-to-wear.)
While the overt-themed runways and props of Lagerfeld’s tenure are long gone, the runway in the Grand Palais was a sleek double-C structure that looped up, then down, and up again and gave guests a view of models in other sections that, in typical runway configurations, would leave them out of view. The unorthodox approach to the runway probably added to the overall freshness of the collection, as there was a naturalness to the girls ascending the runway.
The overall impression and mood were lighter than in previous efforts; there was a fresh, youthful mood in part thanks to a mainly pastel color palette, a point made in the film that Gabrielle Chanel embraced more than just black and white. Skirts were short and flirty, jackets were a bit more fitted or cropped, and chiffon dresses had a sweetness but not a saccharine feel. Several styles were layered in density; thus, while floor-length, they were see-through from above the knees down to the ankle. A few shorts ensembles appealed, though once and for all, the knee-length knickers might be best retired to the Chanel archives once and for all.
While fashion has come to anticipate a new designer’s arrival, the speed and frenzy at which luxury brands change creative directors these days have resulted in a lack of meaning. As in, so what? Can it change heritage and legacy? It seems these constant shifts are a detriment to a brand’s legacy, and business leaders panic when they see a dip even after unprecedented post-pandemic highs. With the creative legacy playing the long game, the suits appear in the game for the short hall. The money-counting brass would be wise to be patient as Blazy takes the helms. He follows Karl’s 35-year tenure and Viard’s, who steadied the ship and infused it with daring female energy, much like its founder.
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