Matthieu Blazy Just Turned Fairy Tales Into Chanel Haute Couture

Matthieu Blazy‘s second Haute Couture outing for Chanel was a walking fairytale. Think Jack and the Beanstalk, Goldilocks, and a sprinkling of Gabrielle Chanel’s own mythology, all stitched into a collection that opened with a guipure suit referencing magic beans and closed on toxic flowers and poisoned vines.

The opening look set the tone: a Chanel tailleur in guipure lace, layered with sheer silk mousseline, worn by a model clutching an actual book from Gabrielle Chanel’s personal library — Les Fées, Contes des Contes. Blazy found the book while researching in her apartment and used it as the jumping-off point for the whole show: what if Haute Couture could tell stories the way a book does?

The storytelling wasn’t just conceptual — it was embroidered directly into the clothes. A vine crept up the heel of a shoe. A minaudière was reimagined as a sleeping bear. Buttons transformed down a placket from duckling to swan. And the real magic was hidden: painted silk linings tucked inside jackets, visible to no one but the wearer. It’s Haute Couture’s oldest trick — the secret between garment and body — pushed to its most literal.

Then there was the accumulation. Memo notes, charms, and trinkets appeared stitched into pockets and hung from Chanel’s signature weighting chain, building outward from private detail to full silhouette. Blazy elevated make-do-and-mend into couture-level craft, treating found objects with the same reverence as gold thread.