At nightfall, on October 5, 2026, the Grand Palais was filled with a strange rustling noise: that of the Chanel spring-summer 2027 ready-to-wear show. Under the glass roof, nearly a hundred luminous birds seemed to take flight while the silhouettes imagined by Matthieu Blazy glided across a mirrored floor. New era for the house, new chapter for Gabrielle Chanel, under the eyes of a front row of stars.
Because this third ready-to-wear show from the Franco-Belgian artistic director traces the thread of Coco’s multiple lives: a corseted young woman, a seamstress who steals from the men’s wardrobe, an icon in a flowing suit. The bird becomes the common thread, symbol of freedom, nestled everywhere, from the decor to the jewelry. Between the archive 2.55 bag and reinvented tweed, the message is clear: Chanel is looking far ahead without denying anything.
Chanel spring-summer 2027 fashion show: a nocturnal flight at the Grand Palais
Installed at the center of Paris Fashion Week, the show took place on Monday October 5 at 8 p.m., in a Grand Palais transformed into a dreamlike landscape. The floor covered in mirror resin reflected a flock of around 95 seagulls, cranes and geese in tracing paper, lit from within, as if ready to migrate. The decor, by Arnaud Selve, bathed the nave in twilight light.
In this artificial sky, Matthieu Blazy tells the story of a Gabrielle Chanel in permanent movement. The first silhouettes evoke the corseted young woman of the Edwardian era, soon replaced by a designer who frees herself, walks quickly, travels. The bird is found in embroidery, in buttons, on small cage bags where only a trace remains: as if the Chanel woman had just flown away.
Key silhouettes: from ghost corset to smocked tweed
The show opened with jersey underwear with exposed boning, worn with a fishnet-style negligee and dancer’s petticoats in sugared blue or ivory. Very quickly, the corset almost becomes a ghost: we only see its lines, suggested by moving basques, ruched collars, curved bodices. Then arrives the post-war suit, worn next to the skin, like a perfume.
Blazy then reactivates Gabrielle’s taste for men’s wardrobe: tailcoats, strict evening suits, tweed jackets sometimes slit with transparent panels, pencil skirt suits, low waists fastened with wide leather belts. In the evening, the silhouettes become liquid, in 1930s dresses cut on the bias, embroidered with sequins or knitted and beaded. Full stop, smocked tweed, stretchy and light, transforms the suit into a second skin.
Stars in the front row and new era Matthieu Blazy
In the front row, the house brought together a red carpet cast. Dua Lipa in a spectacular red and orange ensemble, Marion Cotillard in wide pale blue pants, Charlotte Casiraghi in a midnight blue suit, Angèle in black and white tweed each replay a facet of the Chanel woman.
Alongside them, Nicole Kidman and her daughter Faith Margaret, Pedro Pascal, Olivia Wilde and John Malkovich reinforce the international aura of the show. The real insider’s nod comes from Sylvie Vartan, 82, returning to Chanel for the first time since 1989.
