Blazy blazes forth
Stephanie Cavalli opened for the Chanel SS 2026 Haute Couture show
I just watched the SS2026 Chanel show…..WOW! I’m a longtime fan of the maison, and I loved the Virginie Viard era, but I will say that it was refreshing to see new life being breathed into the brand.
The entire collection was based on a Haiku: Bird on a mushroom / I saw the beauty at once / Then gone, flown away. I wouldn’t have known that if it weren’t for the “Business of Fashion” podcast dated January 30th, “The Couture Season That Cut Through,” featuring Tim Blanks and Imran Amed. As I watched the show, I thought about their commentary on the setting, which was very “Alice in Wonderland” in its vision, with giant mushrooms everywhere, which of course establishes a double entendre in that mushrooms are an homage to the Haiku and an ode to nature, but also a potential reference to psychedelics. Dwarfing the models, according to Blanks and Amed, this had the potential to detract from the delicacy of the clothes. A fair point, given that many of the looks were light, gauzy, flowy, with delicate embroidery that can only truly be appreciated up close. That being said there were bolder looks on the catwalk as well, with one look featuring an oversized floral-like headpiece and many of the looks featuring huge, billowing skirts with large feather trim. I could definitely detect some elements of Blazy’s former tenure at Bottega Veneta, specifically the oversized “fringe” featured on some of the dresses and skirts.
According to interviews with Blazy (pronounced BLAH-ZEE, as I learned recently), his goal was to deconstruct the codes of the house while retaining its core essance. In my opinion, Blazy succeeded. The simplicity of silhouette itself is a nod to Chanel’s early days, when she broke down the mores that required stiff, corseted dressing for women and allowed freedom of movement. There were outfits that looked like a impressionist version of tweed, giving us the essance of the material in broad strokes rather than the tight-knit style previously championed by the house. The bags introduced in this collection also offered a unique take on house codes….still structured, but with embellishment that matched the flowing nature of the clothing. Every model wore mid-rise pumps, which I may not have noticed without the help of Blanks and Amed.
Speaking of models, I was impressed by the diversity, not just racial, but age. Many mature models were featured, which - as a woman of a certain age myself - I found refreshing. Models included 52-year-old Laura Ponte, 47-year-old Charlotte Eta Mumm, and 46-year-old Noémie Lenoir. 49 year old Stephanie Cavalli opened the show, and while not exactly a novice - Cavalli has been modeling on and off since in her 20’s, most recently for Miu Miu and Proenza Schouler - this was definitely a breakthrough moment for her.
I did not observe much diversity in terms of body type, though - every model featured the sylph-like, flat-chested, wispy silhouette that fashion has become famous for since the 1990’s when Giselle Bundchen was considered “full figured.” Makeup was minimal to the point of seeming non-existant, and hair was allowed to fall in its natural pattern, with Cavalli sporting her natural gray proudly.
This show was inspiring enough to draw me out from semi “retirement” to write this piece for my blog. If you’ve followed me before, you may be aware that I haven’t written - or even posted - for some time. While I’ve enjoyed my break away from socials, I’m happy to be back, and thank you in advance for a warm welcome. Cheers!
