Chanel's Fairy-Tale Couture
Matthieu Blazy Reimagines Couture with Fairy-Tale Magic at Chanel's Fall/Winter 2026 Show
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Key Points
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Blazy drew inspiration from a fairy-tale book, Les Fées, Contes des Contes, found in Gabrielle Chanel’s personal library, using it as the foundation to translate fairy tales into couture techniques and details.
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The opening look reimagines a Chanel tweed suit in guipure lace to resemble the magic beans from Jack and the Beanstalk, illustrating how textile treatment anchors the fairy-tale motif in tailoring.
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Inside the garments, Blazy inserted hidden handwritten notes, initials and personal reminders, and incorporated pockets and chains with small magpie charms to emphasize couture as personal, lived experience.
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This is Blazy’s second haute-couture collection for Chanel, signaling the ongoing reinvigoration of the house since his 2024 appointment, with a balance of streamlined silhouettes and meticulous detailing.
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Beyond fairy-tale princess imagery, Blazy centers on relatable characters and everyday adventures—scarecrows, straw-bale women, ladies in suits, brides and ‘revenge dresses’—as the lens through which Chanel’s couture speaks to modern life.
Matthieu Blazy unveiled his second haute couture collection for Chanel on Tuesday, turning the Grand Palais into a lush fairy-tale world of oversized vines, beanstalk motifs, and swan-shaped buttons. Grazia described the show as a "richly imagined offering" that transformed classic stories into exquisitely crafted clothes, drawing on a leather-bound book of fairy tales found in Gabrielle Chanel's personal library.
The collection — Chanel Haute Couture Fall/Winter 2026 — signals the ongoing reinvigoration of the house since Blazy's appointment in 2024. A star-studded front row including Catherine Deneuve, Tilda Swinton, Alexa Demie, and Pedro Pascal underscored just how much attention Blazy is drawing to the storied French house.
A Fairy-Tale Book Unlocks the Whole Collection
Blazy's starting point was a single object: a leather-bound fairy-tale book called Les Fées, Contes des Contes, found inside Gabrielle Chanel's personal library. Business Today reported that the book became the foundation for translating classic stories directly into couture techniques. Each tale became a textile decision.
The opening look made that connection concrete. A classic Chanel tweed suit was reimagined in guipure lace — a delicate open-weave fabric — to resemble the magic beans from Jack and the Beanstalk. Egyptian Gazette noted that vines and beanstalk motifs ran throughout the show, while minaudières — small evening bags — were shaped like sleeping bears, and buttons evolved into swan forms.
Hidden Notes and Magpie Charms Make Couture Personal
Blazy pushed beyond surface decoration. Inside the garments, he hid handwritten notes, initials, and personal reminders. Pockets were built in throughout the collection. Small magpie charms dangled from chains sewn into the clothing. Grazia reported these details were meant to frame couture as a personal, lived experience — something worn and loved, not just admired.
The characters Blazy chose reinforced that idea. He moved past fairy-tale princess imagery entirely. Instead, his muses were scarecrows, straw-bale women, ladies in suits, brides, and what the house called "revenge dresses." Il Sole 24 Ore noted that Blazy blended the fantastical with the bourgeois-pragmatic spirit that has always defined Chanel.
Grand Palais Set Dazzles Without Stealing the Show
The venue was transformed with oversized vines and lush botanical elements to echo the fairy-tale theme. But the set was deliberately restrained. Head Topics reported that the space was designed to resemble Gabrielle Chanel's world without competing with the clothing itself. The greenery framed the looks rather than overwhelming them.
The silhouettes matched that balance. Blazy offered relaxed, streamlined shapes alongside updated tailoring. Critics described the feel as lighter than a traditional couture show — intricate in texture and detail, but accessible in spirit. The meticulous handwork stayed present, yet nothing felt heavy or overworked.
Blazy's Second Couture Show Cements His Chanel Vision
This was only Blazy's second haute couture collection since taking the creative director role in 2024, but it already reads as a clear statement of intent. Il Sole 24 Ore described his approach as "innocent escapism" — using fairy tales not as nostalgia, but as a lens to make couture feel modern and relevant.
The front row confirmed the cultural momentum Blazy is building. Catherine Deneuve, Tilda Swinton, Alexa Demie, and Pedro Pascal all attended. Egyptian Gazette noted the celebrity presence signals just how effectively Blazy is repositioning Chanel — keeping its craftsmanship intact while making it feel alive and of the moment.
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