Chanel's autumn/winter haute couture collection is a moment of introspection between creative directors

The National

09-07-2025

The setting for Chanel 's autumn/winter 2025-2026 haute couture show at the Salon d'Honneur in Paris's Grand Palais made its intention clear: this was a moment of understatement and reflection, as the maison prepares to enter a new era.
The space was designed by Willo Perron, the French-Canadian multidisciplinary creative director who won a Grammy for his work on musician St Vincent's album art and was nominated for an Emmy for his work on the Savage x Fenty show. Here, his approach to the space was pared-back and an echo of Gabrielle 'Coco' Chanel's original couture salon – and her private apartment – at 31 Rue Cambon.
From the signature mirrors to the beige, sofa-like seating and quilted pillows, nods to her influence were everywhere.
The collection itself came between the departure of creative director Virginie Viard – Karl Lagerfeld's longtime successor – and the arrival of Matthieu Blazy.
In the interim, the Chanel Creation Studio took over the reins. Usually working behind the scenes, the studio delivered a quiet, considered collection, rooted in the founder's ethos of elegant practicality and lasting legacy.
Yet, this was no placeholder. Chanel led with intention – every look was sent out with sturdy, thigh-high boots, grounding the collection in a sense of purpose.
The opening look was a below-the-knee shift dress that appeared deceptively simple. But, being Chanel, it was anything but. The round collar was notched at the throat, the shoulders subtly padded to give a masculine line – an homage to Gabrielle Chanel's signature borrowing from menswear.
It was crafted in cream boucle tweed, trimmed with metallic sequins and fringed threads.
A shorter, sleeveless version followed, paired with a buttoned overskirt at the hips. Then came a third variation beneath a cape strewn with feathers – proof of the house's signature versatility.
That duality appeared throughout: a pocket miniskirt layered over a pencil skirt; pannier-like pockets over a black-and-white floor-length gown; a sheer overskirt floating above a textured white minidress.
Refined and pastoral, the collection drew on the English countryside and Scottish moors, reflected in the natural palette of ecru, ivory, brown, green and black.
The studio's craftsmanship shone in pieces like a sheer cape and skirt seemingly woven from chiffon ribbons, a densely sequinned high-neck top, and a delicate chiffon and lace blouse paired with a shredded sequins skirt. One jacket appeared dusted with wisps of white, like settling snow.
The wintry mood culminated in the bride's final look: a gown covered in white sequins that shimmered like ice, cascading down the skirts.
Completing the tableau were ears of wheat – a symbol of abundance beloved by Gabrielle Chanel and present throughout her apartment, including in a painting by Salvador Dali that sits above her sofa and that inspired the seating at the haute couture show.
Gold wheat ears were placed on each guest's seat, and the motif reappeared in feathers woven into the flounces of a black-and-white chiffon dress and embroidered along the wedding gown's neckline. It also featured on numerous jewel buttons throughout the collection.
Choosing the intimacy of the Salon d'Honneur over the vast nave beneath the Grand Palais's glass dome, where Chanel has previously held many of their shows, was no coincidence. This show was designed to invite quiet reflection – both for the audience and for the maison itself.