CHANEL METIERS D'ART 26

Following a celestial debut at Paris’ Palais de Tokyo, Matthieu Blazy’s Chanel has officially touched down to Earth, this time in the big apple. And what’s more emblematic of New York, than the New York City Subway— the perfect location to continue Chanel’s recent revamp. Models arrived by train, to stalk a runway located in an abandoned Bowery Station in downtown Manhattan. This Métiers d’art show was concentrated, curated, and ultimately made for a strong continuation of Blazy’s ongoing efforts to revitalize the Parisian house. 

Blazy explained that this show was meant as his ode to Coco Chanel’s brief, 1931 pitstop in New York City. In particular, Blazy brought Chanel to the New York subway; that great societal equalizer; that transient place of transit where t-shirts meet tweed suits. It’s an intriguing, if unoriginal way to comment on the city’s stylistic impact. Already, in just the last few months, we’ve seen Calvin Klein’s Veronica Leoni offer her own homage to city dwellers, drawing on likewise themes of campiness and class distinction. It goes without saying that there is also a potent irony to staging a star-studded luxury fashion show in a place many consider to be a grim reminder of the working-class grind. 

It’s worth noting that aside from the ethics of a Parisian fashion house, commenting on American hoi polloi, using clothes that will likely sell for four figures (at the lowest), Chanel’s Métiers d’art show was actually very pretty. Blazy continued to work in fresh, younger motifs, including clear references to ‘20s-era flappers, via tasseled slip dresses, feathered shoes, billowing boas, and a beaded cloche. 

Blazy also eschewed pearls and monograms, relying more on Chanel’s perennial vibe than the house’s stuffier codes. Tweed and beads were in full effect, working their way into every suit, skirt and jacket, in some truly compelling ways. There was a pinstripe suit, fit for a crooner, modeled by Alex Consani, and featuring pinstripes constructed entirely of beads. This was followed by a tweed, tiger print top, sculpted with a permanently windblown collar.

That same tweed, so often styled in Chanel’s textbook monochrome, got an ultra-vibrant upgrade. Most notably, a number of inspired looks appeared to be modeled off of poison dart frogs, pairing spotty splotches with pop-art hues of crimson, orange, and yellow.

Animal print motifs continued throughout the night, culminating in a pair of gorgeous tulip skirts. A mixture of hand-painted leopard print and layered fringes, resulted in a look that bore an uncanny, albeit feline resemblance to Margiela’s recent feather skirt. 

Beyond prints, Blazy also leaned into some truly heavy-handed New York trademarks, attempting at every point to back cliches with innovative craftsmanship. What looked like a classic “I Heart New York” shirt, was, in fact, fully sequined. A matching set that, at first glance, seemed like a light-wash Canadian tuxedo, was actually an all-silk set of “denim lingerie.” Even Blazy’s riff on finding ‘hidden superheroes’ amidst the city subway, was done artfully through a knit Superman sweater, and matching wool necktie. Instead of the Superman S, this sweater featured the night’s first sneaky Chanel logo.

Once more, Matthieu Blazy has delivered precisely what is being asked of him. Chanel feels fresh again. It looks undeniably more playful. All the tried-and-true sensibilities of the house remain; only now, beneath the streets of Manhattan, Blazy’s Chanel is officially leaving the station with its sights already set on the next stop. Stand clear of the closing doors please.