When Chanel chose to bring the global fashion community deep underground into the heart of New York City, it was far more than a symbolic gesture. It raised a compelling question: Why would a fashion house long associated with rarefied glamour intentionally return to confront the grit of “real life”? Report by Kai Manit

The answer revealed itself the moment a subway train glided into Bowery Station, the abandoned platform transformed by Chanel into a contemporary theatrical set for the debut Métiers d’Art collection by Matthieu Blazy, an artistic director whose meteoric acclaim is reshaping the brand’s trajectory in the post–Karl Lagerfeld and post–Virginie Viard era.

Between Grit and Glamour: The Underground Becomes One of the Year’s Most Luxurious Stages

Using a deserted subway station was not simply an attempt to stage a novel setting; it fundamentally reframed how Chanel can be perceived. Neon lights bounced off freshly painted concrete, train sounds reverberated through the cavern, and guests, dressed in pastel tweeds and oversized pearl handbags, hesitated at the turnstiles with a mix of delight and confusion. Every detail created a beautifully absurd tableau, highlighting the poignant gap between “real life” and “high fashion.”

Kristen Stewart, a Chanel ambassador since 2013, summed up the experience after the show: “It feels cinematic… incredibly encouraging and embodied.” Through her eyes, another truth emerged: Chanel is stepping out of its untouchable sphere and moving toward a place where women can genuinely see themselves reflected in the brand’s designs.

The Blazy Effect: When Haute Couture Returns to Where Women Actually Live Their Lives

Matthieu Blazy channels the creative energy he absorbed during his years in New York, particularly from his time at Calvin Klein under Raf Simons, into the elevated world of luxury fashion. The dialogue between him and this city was evident in every look that appeared on the runway.

Blazy crafted a Chanel that does not conceal the complexities of daily life but embraces them through:

• Tweed jackets layered over T-shirts
• Featherlight skirts that move beautifully without excess
• Playful hats reminiscent of New York street style
• A flap bag adorned with sculptural giraffe head and legs

Taken together, Blazy presents a Chanel that is sharp, refined, and subtly humorous, never a meme, but unmistakably human.

Couture in Motion: Reviving the Radiance of the 1920s

The standout element of the show was the extraordinary lightness and fluidity of the materials. Delicate, light-catching flapper-inspired pieces and feathered skirts that shimmered as if moving in rhythm with the approaching train reinterpreted Art Deco elegance in a distinctly modern way.

This aligns seamlessly with the mission of Métiers d’Art, which honors the rare craftsmanship of ateliers such as Lesage, Maison Michel, Lemarié, Massaro, and others under Paraffection. Blazy elevated every stitch and embellishment into contemporary artistry, reinforcing the unique identity of this cherished annual collection.

A Study of New York Realism: When Movement Tells the Story Beyond the Clothes

The show’s power extended beyond the garments into the choreography of the models, who navigated the space like true city dweller, striding past one another at speeds far quicker than runway etiquette typically allows; pausing with the weary posture of commuters; or casually draping jackets over their arms as though rushing to catch the next train. The result was a form of fashion anthropology: a study of how Chanel might exist in everyday urban life if one removed the pedestal upon which high fashion often stands.

The New Chanel Woman: Carrying Responsibilities, Carrying Dreams, and Carrying Beauty for Herself

Most striking in this collection is the emergence of a new Chanel woman, someone who carries heavy bags throughout the day, juggles multiple roles, shoulders responsibility for herself and others, yet still seeks small, personal moments of self-care. Perhaps it’s a jacket that boosts her confidence, or a beloved handbag that sparks joy during a long workday.

This sentiment was echoed throughout the audience: “Look good, feel good.”
A simple phrase, yet the core of Blazy’s vision, that fashion should enhance the quality of life, not merely aestheticize it.

Returning to New York: A New Chapter Linking Chanel’s Past, Present, and Future

This return to New York carries significant historical weight. Chanel last presented a Métiers d’Art collection in the city in 2018 with the “Paris–New York” show, Karl Lagerfeld’s final Métiers d’Art before his passing. Bruno Pavlovsky stated, “Matthieu Blazy knows this city well… Following him to New York will be full of surprises for everyone.” This show is therefore not a mere homecoming, but the beginning of a new chapter for Chanel, one rooted in a city that reflects creativity, ambition, and the realities of modern life more vividly than anywhere else.

Conclusion: In Blazy’s Hands, Chanel Finds New Inspiration in Real Life

The Métiers d’Art collection at Bowery Station demonstrates a Chanel that not only celebrates craftsmanship, but celebrates the modern woman: resilient, multifaceted, and radiant in her daily journey. This is Chanel made tangible, meaningful, and more human than ever before. A woman may still have to wait for the train, carry heavy bags, or run to keep up with the relentless pace of life but in Matthieu Blazy’s world, she can look good, feel good,
and believe that anything is possible.