And just like that – Chanel is back on track, baby. Matthieu Blazy’s sophomore collection for the French maison – and his first Métiers d’Art outing – is a confident step forward compared to the escapist debut we saw back in October. Blazy took New York’s subway by storm yesterday, orchestrating a life-affirming, uplifting, Lagerfeldian mise-en-scène. Yes, this one felt like one of the great Karl shows, pre–Grand Palais galore: simple, swift, witty. Real. READ MY FULL REVIEW HERE.
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Last season, everyone seemed to be asking the same question over and over again: “What do women want?” Whether designers provided the answers they needed remains unclear. This season, however, another crucial question arises for designers: are their clothes life-affirming? Does wearing this dress or that jacket offer the wearer an emotionally – or even spiritually – uplifting experience?
We’re living in a world where you can literally buy anything – and, amusingly, where anyone can call themselves a “designer.” That’s why those showing at Paris Fashion Week should truly consider: is this pairing essential? Am I contributing something meaningful, something with a genuine point of view, to an already overcrowded table? And perhaps most importantly: will this piece of clothing actually spark joy?
This brings us to the most anticipated debut of the season – among more than a dozen others: Chanel by Matthieu Blazy. This is a collection whose perception entirely depends on how you approach it. If you came expecting a pared-back, 1990s-inspired Chanel in the spirit of Karl Lagerfeld, then you were likely overwhelmed by the tactile exuberance of feathers, beading, and embroidery that Blazy – and the house’s métiers d’art – delivered. If you were hoping for a radical departure from Virginie Viard’s Parisian femininity, you might again be disappointed. That woman is still present – but she now looks far more contemporary, less of a cliché. And if you were a fan of Matthieu’s days at Bottega Veneta: bingo. His Chanel debut stayed within a familiar orbit (pun intended, given the space-inspired show setting), yet it was elevated by the unparalleled craftsmanship that only this house can offer a designer. READ MY FULL REVIEW HERE.
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Matthieu Blazy brings something growingly rare in fashion today: clothes that spark not just joy, but happiness. His recent collections for Bottega Veneta ooze with unabashed dolce vita; they make you want to live life colorfully and boldly. This is also the case with resort 2025 line-up, which is beautifully eclectic and full of playful idiosyncrasy. “There was no big concept,” Blazy said of this pre-season collection. “It was more about: How can we put things together and when it comes to the individual ingredients, does it make your heart beat?” That might be the exact answer why Bottega – of all the Kering brands – performs so well. It makes the customers’ hearts beat. When I visited the brand’s newly-refurbished store on Avenue Montaigne in Paris last month, I was more than pleased with the actual emotions the brand’s garments and accessories bring, but also with their non-conformity and exquisite craftsmanship. The resort collection captures that perfectly – and feels like a delightful menu of unpretentious, wholesome meals that please all the taste buds. The food affiliation isn’t a co-incidence. “I rewatched a lot of Anthony Bourdain. There are a lot of parallels between the pleasure of cooking and the pleasure of putting things together on the silhouette. What I really wanted to do this season, it was pure pragmatically epicurean. I just took everything I like. It was like in Italy, when the ingredients are good, you don’t need to do too much with it,” Blazy summed up. How that translates to the clothes? Head-to-toe, saturated colors; experimental intrecciato patterns; extremes of full silhouettes; fish-prints (inspired with the late Gaetano Pesce’s art); massive, artisan knitwear. And plenty of individual taste.
Spice up your wardrobe with a couple of Bottega ingredients…
Bottega Veneta show was livid. It made you love living life! Matthieu Blazy really starts feeling the Italian air and flair of dolce vita. His spring-summer 2025 was a joyous, vibrant finale of Milan Fashion Week – and a reminder to let your inner child out from time to time. “I was interested in the idea of wow, the wonder you have as a kid when you try something – it’s almost like primal fashion, your first experience of fashion when you try your parents’ clothes,” the designer said. He showed too-big jackets and one-leg pants under asymmetrical wrap skirts, and pieces like a black tank dress and khaki and navy shirtdresses with built-in wrinkles like they’d been crushed at the bottom of a trunk waiting for a game of dress-up. The details were pure fun: frogs perching at the neckline of a dress and clinging to the heels of shoes, lapels in the shape of bunnies on leather coats, a scarf top printed with giant fish. Humor was all over the spiky wigs and flower bouquets made out of leather (of course, it’s Bottega!). Blazy’s enthusiasm is perceptible and catching. This is exactly what we need in 2024.
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Bottega Veneta has released a stunningly stimulating, pre-fall 2024 collection. It’s so evident that Matthieu Blazy found his groove at the brand: his last runway shows are delightful to the senses. But it’s the pre-collections that really validate whether a designer has formed their vocabulary for a house, and Blazy definitely knows what his direction is. While other brands try to propose total looks and stay in one aesthetic lane, the Belgian designer rather pursuits the idea of style that’s diverse and truly authentic. Bottega Veneta isn’t a brand that intentionally creates Instagrammable products – even though social media is increasingly raving about Blazy’s take on the brand. People are catching up with his celebration of humanity which is conveyed in the striking artisanship Bottega stands for.
For pre-fall, “the initial talk I had with the team was what would’ve been the ready-to-wear of Bottega when they started to make the bags in the late ’60s and ’70s. Of course, the idea was almost to work on something anachronic – we don’t want to go too literal, it was the idea of a modern time traveler.” The development process involved lots of photo research, including in old Interview magazines – “Andy Warhol loved Bottega,” he explained – to see “how people layered and mixed and matched.” It led to results like the suede skirt layered over suede pants, and the trim crewneck and striped collar shirt tucked belted gray jeans. The spirit he was channeling was “bourgeois, but decontracté,” he suggested, pointing to a checked button-down worn with a leather bomber and a khaki twill pencil skirt, and another checked button-down with a full skirt. There is much more to restlessly drool over in this lookbook: the pastel pant suits, the colorful suede intrecciato separates, the homoerotic-coded bandana bag, and a vibrant horizontally striped knit dress with the nubby pile of a carpet. Each piece is a wearable, meaningful artwork – that might be the ethos of Blazy’s Bottega Veneta.
Design & Culture by Ed 