Matthieu Blazy’s Chanel debut hits its mark — and makes the case for reaching for your button-down shirt immediately. The verdict on Victoria Beckham’s Netflix series, Vogue World: Hollywood details and more.
Matthieu Blazy’s Chanel blast off
Fashion month’s string of designer debuts came to an end with Matthieu Blazy’s Chanel collection. And they may have saved the best for last.
On a galactic set inside the Grand Palais in Paris, Blazy presented a vision of the Chanel universe that balanced the relevant, real-world clothing dominating Spring 2026 headlines with a decidedly adult chic — something missing from many of the season’s more Gen Z–skewing collections, and indeed from Chanel itself in recent years.
Blazy turned Bottega Veneta into a mega fashion brand through extreme craft, and he continued that impulse at Chanel, introducing raw elegance as a counterpoint to the house’s refined lines and classic silhouettes.
His Chanel marked a clear departure from the brand’s era of kitsch — rocket ship–shaped handbags, logo roller skates and Barbie pink — toward a more grown-up wardrobe of pieces that don’t scream “Chanel,” even as they drew inspiration from the life and loves of founder Gabrielle “Coco” Chanel in the 1920s and ’30s.
Blazy channeled Coco’s tomboy tendencies into a great-looking next-gen Chanel suit, featuring low-slung belted trousers or a side-slit, calf-length skirt paired with a sharp cropped jacket. He matched glorious, exploding flower and feather ball skirts with men’s button-downs from Charvet, the famed Paris purveyor of shirts that Coco reportedly borrowed from her lover, Arthur “Boy” Capel. And that’s a look we can all emulate now.
His technical wizardry came through in the collection’s incredible textured knits, bouclés and tweeds — flower-adorned, seed bead–embroidered, frayed and even rendered quill-like — in hues of gold, brown and rust. Those appeared alongside more classic black-and-white open-weave suits, drop-waist dresses and silk gowns twisted into camellia flowers.
He delivered on accessories as well, reinventing the spectator pump with a more sleek silhouette, bringing costume jewelry back in a big way with fire coral necklaces, feathery brooches and ropes of natural pearls and turning the iconic 2.55 quilted bag into a moldable objet d’art by threading it with wire.
Nicole Kidman, back as a house ambassador, was already wearing one of the Chanel Charvet shirts. Also in the front row were newly minted ambassador Ayo Edebiri; familiar Chanel faces Margot Robbie, Tilda Swinton, Sofia Coppola and Marion Cotillard; as well as Jeff and Lauren Sánchez Bezos, Kendall Jenner and Pedro Pascal, whose presence suggested a men’s Chanel collection could be in the stars.
Stacked Chanel front row aside, after a fashion month when celebrity marketing hit a fever pitch, — between the teasing of new collections on red carpets and Gucci’s star-stuffed Spring 2026 collection film and premiere — I found it interesting to read what Blazy said to Business of Fashion: “Everything cannot be done just by communication, image, putting something on a celebrity. Of course, yes, but focus on the product and the story that is told. I think we are at a stage where fashion needs to re-imagine its own narrative. Luxury is not enough anymore. It’s expensive and it’s rare, so it’s good? That’s not enough.”
Could we be reaching peak celebrity fashion? When screens are so inundated with celebrity ambassadors, red carpets, campaigns and collabs that consumers start to tune out? It’s something to think about. Imagine it: product as star. It would be a lot less expensive, that’s for sure.
Celeb cameos for better or worse
Alas, celebrities were out in full force at Paris Fashion Week, of course, and some even walked the runway. Miu Miu is famous for its surprise casting, and for Spring 2026 it was German actress Sandra Hüller who opened the show wearing … an apron.
Miu Miu has had a successful run of fetishizing particular garments in recent collections — logo underwear briefs, boxers, bloomers, schoolgirl skirts, and, just last season, bullet bras.
For Spring 2026, it was the apron at the center of a collection — and conversation — about “the work of women — their challenges, adversity, experience. Its invisibility is confronted and addressed, recognized and valorized,” according to the show notes.
Down the runway came a cast resembling waitresses, cleaners and line workers in ruffled, floral, crocheted and leather aprons, but make it luxury fashion.
“We in fashion always talk about glamour or rich people, but we have to recognize also that life is very difficult … And to me the apron contains the real difficult life of women in history, from factories to the home,” Miuccia Prada told Vogue.
Social commentary or provocation? It’s certainly not the first time a runway collection has suggested that the haves splash out to dress like the have-nots, but in a time of such income and wealth disparity, it was a risk.
And yet, I wouldn’t be shocked if $1000-plus aprons take off since everything Miu Miu does turns to gold.
Another tantalizing celebrity appearance was the Duchess of Sussex Meghan Markle at designer Pierpaolo Piccioli’s debut collection for Balenciaga.
The polarizing Markle wore a quiet luxe version of the compelling sculptural designs Piccioli paraded down the runway, and elicited gasps from the front row when she walked in according to reports.
However you feel about the Montecito princess, I think it was gracious of Piccioli to have her, even if she was paid to come. It signaled a vibe shift for Balenciaga, a brand that could be unwelcoming under its last designer Demna. Remember those bondage teddy bears? Of course, Markle was slammed on social media for showing up … because of those bondage teddy bears. She just can’t win.
Dior’s new darlings
In L.A., the marketing of the new Paris collections has already begun. Jonathan Anderson’s newest Dior ambassadors were flying the flag at dueling film premieres on Monday.
At the “Frankenstein” premiere, Mia Goth’s sheer black lace number was adapted from a Spring 2026 runway look, but translated IRL as underwear and a nightie. I was at the Academy Museum for the screening, and when Goth took the stage with Guillermo del Toro and the rest of the esteemed cast, the dress didn’t quite meet the moment.
Meanwhile, at the “Tron: Ares” premiere in Hollywood, Greta Lee fared better. The custom sheer, silver-embroidered lace gown — also based on a runway look — delivered the glam quotient thanks to the structure of the bow-back detail, not to mention her perfect red-carpet posture.
Both ladies are also Tiffany & Co. ambassadors; Lee was in a Tiffany Knot necklace, diamond studs, and a ring in platinum with a spectacular green tourmaline, while Goth wore earrings in 18k gold with diamonds, and Jean Schlumberger by Tiffany & Co. rings.
A note on “Frankenstein,” it’s incredible. Jacob Elordi and Goth’s performances are tender, Kate Hawley’s costumes are ravishing and the Tiffany archival jewels shine, especially with the face-framing feather fascinator.
From WAG to PFW, Victoria Beckham shows how it’s done on Netflix
From global pop to global fashion superstardom, Victoria Beckham has always been about girl power — and the power of transformation.
Streaming today on Netflix, the three-part docuseries “Victoria Beckham,” directed by Nadia Hallgren (“Becoming”) and from the makers of the Emmy Award–winning “Beckham,” chronicles her rise from insecure but driven musical theater lover to Posh Spice, then WAG, then fashion wannabe, and finally to serious designer.
There are a lot of fun, nostalgic clips; insights from her parents, Tom Ford, Donatella Versace, Anna Wintour, Eva Longoria, her husband of 25 years, David Beckham, and others; and glimpses into her fabulous homes, design ateliers, runway shows and her business’s financial struggles.
The series captures Victoria Beckham’s enduring charm, from blowing the Spice Girls fashion budget at Gucci, to deadpanning, “I haven’t touched chocolate since the ’90s, I’m not going to start now.”
She opens up about her vulnerabilities, including intense media scrutiny of her weight and abilities, often from men, and how she realized she was “a laughingstock” after seeing Juergen Teller’s 2008 Marc Jacobs campaign photos with her legs sprawling out of branded shopping bags. It prompted her to seek out designer Roland Mouret to help her earn the respect of the fashion world.
“Lack of self-esteem was the enemy. To make the dream become a reality, we had to kill the WAG,” Mouret said.
Tune in for the rest.
Vogue World: Hollywood sets fashion and film designer pairings
The fashion spotlight will swing to L.A. on Oct. 26 for Vogue World: Hollywood at the Paramount Pictures studio lot.
The runway charity fundraising extravaganza is being billed as a celebration of the dialogue between fashion and film, with fashion houses teaming up with costume designers to create costumes inspired by classic films.
The pairings will include Colleen Atwood with Alexander McQueen, Milena Canonero with Louis Vuitton, Ruth E. Carter with Balmain, Catherine Martin with Miu Miu, Arianne Phillips with Marc Jacobs, Sandy Powell with Valentino, and Jacqueline West with Alaia.
So far, Dior is not on the list, though Anderson’s love of film and work as a costume designer himself would seem to make it a natural fit.
Gucci designer Demna (who has been living in L.A. part time) is also not included. Perhaps he’s letting his Spring 2026 collection film “The Tiger,” directed by Spike Jonze and Halina Reijn, speak for him on the subject of Hollywood-fashion synergy.
We’ll see; more designers are still forthcoming, according to a rep from Vogue.
L.A.-based brand sponsors include Alo, Revolve and FWRD, and proceeds will go to the Entertainment Community Fund supporting costume community professionals impacted by the L.A. wildfires.
Since 2022, Vogue World events have been held in New York, London and Paris, donating more than $3 million to charitable organizations.
Gap’s next designer collab is a Y2K trip
Following successful collections with L.A.-based fashion brands Doen and Cult Gaia, Gap looked to New York for its latest designer tie-up, tapping designer Sandy Liang, whose coquettish styles have been worn by Blackpink’s Jennie, Olivia Rodrigo, Greta Lee and more.
Liang launched her business in 2014 and soon became a downtown darling, beloved for her romantic point of view and cult-favorite pieces like fluffy fleeces, sweet mini skirts and Mary Janes. For the collaboration, priced from $88 to $228, she’s using Gap’s classic heritage pieces — including denim and sweatshirts — as canvases for her early-aughts nostalgia for the brand.
The collab will be brought to life in a short film titled “Sandy’s Dream Closet,” animated by artist Annie Choi and set on the street below Liang’s father’s Cantonese restaurant on New York City’s Lower East Side, where she reimagines her girlhood self-expression.
Gap × Sandy Liang is a Y2K nostalgia trip, featuring a pleated mini skirt, vegan fur–trimmed cropped denim jacket and jeans with her signature bows embroidered on the back pockets. There’s a logo “Sandy” hoodie and a bow-back trench that could be the sequel to the famed Gap pink raincoat that caused a frenzy in the early 2000s. Grab it if you can starting Friday at 9 a.m. Eastern and 6 a.m. Pacific.
Forwarded this newsletter?
Subscribe here to get WrapStyle directly every week!
Have a news story for our readers? Please email booth.moore@thewrap.com
Interested in partnership opportunities? Please email Alex.vonBargen@thewrap.com
