Fronted by Margot Robbie and directed by Michel Gondry, the campaign is built on repetition. Set
against a stylised Parisian street recreated on a soundstage, Robbie moves through the same
sequence again and again. With each loop, she multiplies—versions of herself appearing,
overlapping, occupying the same space in slightly altered rhythms.
It is a direct reference to Gondry’s Come Into My World video for Kylie Minogue, but here the
mechanics are stripped back, controlled, and redirected toward a singular focus: the bag.
The Chanel 25 remains constant throughout. While Robbie’s movement repeats and her presence
duplicates, the bag anchors the frame. It appears in different iterations—variations in texture, scale,
and finish—but its role does not change. It is not styled to transform the look. It exists as the one
fixed element within an otherwise shifting environment.

This is where the campaign departs from traditional luxury storytelling. There is no progression, no
climax, no clear beginning or end. Instead, Chanel builds its narrative through accumulation. The
more the image repeats, the more it embeds itself. The viewer is not guided through a story, but
through a rhythm.

Watch Here

The styling reflects this restraint. Robbie is dressed in a mix of casual and coded Chanel—denim,
knits, understated tailoring—grounding the surreal structure of the film in something recognisable.
There is no attempt to overwhelm the frame. The clothes remain secondary, supporting the
movement rather than interrupting it.
Even the setting resists excess. Though constructed, the street feels deliberately contained—almost
too perfect, too controlled. It reinforces the sense that everything within the frame is operating according to a precise system, one that the viewer gradually becomes aware of as the loops
continue.

The campaign’s most self-aware moment arrives quietly, with a cameo from Kylie Minogue herself.
It is brief, almost incidental, but it completes the reference. The original and its reinterpretation
exist side by side, collapsing time into a single visual gesture.
What Chanel achieves here is not reinvention, but recalibration. Rather than introducing a new
narrative, the house leans into something more structural: the power of repetition as a tool of desire.
In a landscape where campaigns often rely on spectacle or conceptual excess, this approach feels
almost counterintuitive. Nothing dramatic happens. Nothing needs to.
The image repeats. The bag remains. And slowly, almost imperceptibly, it becomes the only thing
that matters

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CHANEL 25 bag

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CHANEL 25 bag

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£ 5,100

CHANEL 25 Small Handbag

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The result was a collection that felt less about spectacle and more about construction — a careful
rebuilding of Chanel’s visual language.

The Architecture of Tweed
The show opened with what might be described as the “foundation layer” of the Chanel universe:
tweed. But these were not the nostalgic, prim suits that often define the house’s commercial identity.
Blazy treated tweed almost like a sculptural material.
Jackets were cut with sharper shoulders and longer lines, paired with skirts that dropped slightly
below the knee. The proportions created a subtle shift in silhouette — elongating the body rather
than emphasising the waist.

There was something almost Bauhaus in the discipline of these early looks. The garments felt
reduced to their essential structure: line, texture, proportion. It echoed the Bauhaus principle that
design should reveal the integrity of materials rather than disguise them.
At Chanel, tweed has always been the ultimate material truth.

A Dialogue With the 1920s
As the show progressed, the silhouettes loosened. Drop-waist dresses appeared, and the tailoring
softened into garments that moved more freely around the body.
The effect was unmistakably reminiscent of 1920s Parisian modernism — the moment when artists
like Tamara de Lempicka and Fernand Léger began translating the speed and geometry of modern
life into visual form.
In particular, the way the dresses skimmed the hips before falling into longer lines evoked
Lempicka’s portraits of modern women: sleek, elongated, slightly mechanical yet unmistakably
glamorous.

Blazy seemed less interested in recreating the decade than in referencing its spirit — a period when
fashion, art and architecture were redefining femininity simultaneously.
Surface and Texture
If the silhouettes spoke to modernism, the textiles spoke to experimentation. Alongside traditional
tweeds were fabrics that appeared almost synthetic in their finish: metallic mesh, silicone-woven

textures and glossy knits. These materials created a contrast between the heritage of the house and
something far more futuristic.
The effect recalled the material explorations of Anni Albers, the Bauhaus textile artist whose work
treated fabric not merely as decoration but as a structural element. In several looks, the fabrics
seemed engineered rather than woven — as though Chanel were testing the limits of what a couture
material can be.
This tension between craft and technology gave the collection its intellectual core.
Bags: The Language of Objects

The accessories continued this conversation. The classic Chanel flap bag appeared repeatedly, but
its proportions had been subtly adjusted. Straps were lengthened, bodies softened, and the quilting
occasionally appeared slightly flattened, as if the bag had been worn for decades.
It felt like an object that had aged — intentionally. There were also oversized quilted totes that
introduced a more pragmatic note to the collection. Their scale contrasted with the delicacy of the
garments, suggesting the reality of modern life intruding gently into the Chanel universe.
And then there was the Chanel 25 bag, a new silhouette that merges the casual shape of a tote with
the house’s classic diamond quilting. It is less rigid than the traditional flap and reads as a
contemporary evolution rather than a replacement. Evening bags, meanwhile, were treated almost
as sculpture: small top-handle shapes in metallic finishes and jewel tones that resembled decorative
objects more than functional accessories.

Shoes and Ornament
Footwear remained close to the Chanel canon. The house’s signature two-tone shoes appeared
throughout the show, reinterpreted as slingbacks and pumps with slightly elongated toes.But the
ornamentation offered the real intrigue. Pearls appeared not merely as jewellery but as
embellishment woven directly into garments. Camellia motifs surfaced in appliqués along hems and
lapels, while chains — a long-standing Chanel motif — threaded through jackets and skirts.
These details echoed the surrealist tradition that once fascinated Elsa Schiaparelli, a reminder that
Chanel’s visual vocabulary has always existed within the broader artistic conversations of Paris.
Bhavitha Mandava: A New Face of the House

The show also marked an important cultural moment for the brand with the appointment of
Bhavitha Mandava as a new Chanel ambassador. Mandava, who previously made history as the
first Indian model to open a Chanel runway show, represents a shift in how the house is positioning
itself globally. Her presence at the show underscored the brand’s growing engagement with a wider
cultural landscape — one that extends far beyond Paris.In many ways, her appointment mirrors the
ethos of the collection itself: respectful of history, but aware that the future must expand its frame.

The Chanel Question
Every Chanel collection inevitably raises the same question: how far can the house move without
losing itself? Blazy’s answer appears to be measured evolution. The codes remain — tweed, pearls,
quilting, camellias — but they are stretched, reconsidered, and occasionally placed in unfamiliar
contexts. Rather than rewriting the Chanel language, he seems interested in adjusting its grammar.
And in a season where many brands chase immediacy, that kind of patience feels almost radical.
Chanel has always been about continuity. This show suggested that continuity, when treated with
intelligence, can still produce something new.

Watch the show here

Words by Fabiana Gutierrez

The post Everything You Need To Know About Chanel Fall/Winter 2026 Runway appeared first on Voir Fashion.

“ ( Manchester)ALIVE WITH A VIBRANT POP SPIRIT BORN IN MANCHESTER AND KEPT ALIVE ACROSS THE DECADES, THE CHANEL 2023/34 MÉTIERS D’ART SHOW EMBRACES THE CREATIVE DIALOGUE BETWEEN GREAT BRITAIN AND THE HOUSE, SO DEAR TO GABRIELLE CHANEL AND TODAY TO ARTISTIC DIRECTOR OF THE FASHION COLLECTIONS, VIRGINIE VIARD.”

Chanel’s announcement statement – https://www.chanel.com/gb/fashion/collection/metiers-art-2023-24/

Manchester has been the birthplace of many revolutionary bands and musicians that have completely changed the British music scene. Manchester bands like The Hollies, The 1975, The Smiths and Oasis make it clear how culturally relevant the city is to popular culture and memory when it comes it art. The parts of the collection are undoubtedly inspired by the grunge music scene of the 80s that blossomed in the city while the others were a seamless marriage between Chanel’s signature tweed and the English’s love for it. Chanel manages to finally break through the banality it had made itself victim to. The pops of colour that remained consistent throughout the collection, brought vibrancy to the Northern Quarter of the city. The models walked on a covered catwalk set up along Thomas Street in the Northern Quarter. The show was attended by A-list celebrities like Kristen Stewart, who has been their brand ambassador since 2013, Hugh Grant, Tilda Swinton, Jenna Coleman and Alexa Chung.

“A TESTIMONY TO THE ARTISANAL PRECISION OF THE MÉTIERS D’ART, THE COLLECTION SHIMMERS AND SHINES WITH PLAYFUL NODS TO BRITISH MUSIC CULTURE AND CHANEL’S ART OF TAILORING”

Chanel’s statement from the announcement statement- https://www.chanel.com/gb/fashion/collection/metiers-art-2023-24/

Leading up to the show, Chanel used youths from Manchester to model the clothes from the collection for a photoshoot photographed by Jamie Hawksworth. The city was embraced by the design house in its entirety to bring the collection to life.

The Collection

While Jacquard tweed and Chanel are synonymous with each other, the collection brought colour back to the Chanel palette, far from the neutrals the brand had grown too comfortable with.  The incredible colours set across the backdrop of the historically industrial town created a visual contrast that elevated the staple Chanel suit into more than just the usual rehashed version of the house “uniform”. The accessories were classics of the house but, the play on the iconic Camellia brooch as it donned new colours, moving away from its original, virginal white.

The Tartan checks on tweed were a great way to convey the way Chanel was inspired by British creatives and artistry while designing the collection. There is a hint of Lee McQueen and Vivienne Westwood, more so her, as we head towards a grungier, punk look later in the collection. The Tartan checks are not alien to the British consumer, as a fabric that has been part of the culture memory since time immemorial. 

What Chanel does is adopt the Tartan and make it its own. The integration of the bright colours on the mellowing effect of the tweed fabric tailored to perfection into a mini skirt and coat is Viard’s genius. There is a break in monotony but, not tradition which is highly appreciated and expected of a brand like Chanel.

This part of the collection could possibly be seen as one of the most direct homages to the Manchester music scene. The feather-lined, suede jacket radiates rock chic; the quilted, leather coat atop a red and pink blouse resembling a military jacket which was popularised during the British music invasion by the Beatles in their album cover art for ‘Lucy in the Sky with Diamonds’. While the band is famously Liverpudlian, there is no question about the rock and roll influence it holds over the collection. There is a grunge, punk revival but it is ever so slight as to not distract from the eternal Chanel aesthetic. The sequined mini and darker colour palettes are very reminiscent of the silhouettes of 80’s rock chic.

The final part of the collection was the knits. While the design house has perfected the woollen, daywear suit, it was the patterned and monotone dresses that caught everyone’s eye. The silhouettes were simple however, the patterned knits with matching scarves were a huges hit. A break from the menagerie of colours, the pattern adopted earthy, autumnal tones of varying kinds. The pink bandeau dress enveloped the richness of the colour into the fold of the foundationally, elegant Chanel sensibility with much ease.

The collection was overall, a huge breath of fresh air not only for the UK’s second city but also, for the brand. The brand felt revitalised and young after many seasons of churning collections catering purely to an older generation. Viard has managed to capture the post-Covid need for colour and nostalgia with great artistry. The collection is exactly what Chanel needed.

Attendees

Kristen Stewart

Brand Ambassador, Kristen Stewart wore a quintessential, Jacquard tweed Chanel dress with a structured A-line silhouette to the show. Stewart’s stylist, Tara Swennen chose to accessorise her look with layered silver jewellery, a messy bun and a dark smokey eye.

Alexa Chung

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Model Alexa Chung was dressed in a grey and black blended, Chanel tweed trench coat dress. Chung styled the look with a very casual and cool English approach—opting for sheer tights, black leather black, patent leather boots, and a classic double flap Chanel handbag created by Karl Lagerfeld in 1983.

Laura Bailey

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The English model, Laura Bailey embodied the Chanel clientele and ideal with the signature tweed suit in black. The suit was embellished at the pockets and cuffs. Bailey finished the look with a low ponytail, statement earrings and the Chanel mini flap bag.

Lily Rabe

American actress, Lily Rabe opted for a black, sheer Chanel dress with lace detailing across the body of the fabric. The maxi dress was finished with pink metallic Mary-Janes and a black mini bag.

Caroline De Maigret

The French model, Caroline de Maigret opted to go for nonchalant, French chic. The model was in a monochrome black outfit paired with a sued beige coat and black loafers. She completed the look with loose, shaggy, rocker hair and minimal makeup.

_{Words By Indra Gupta}

The post Chanel Comes To Manchester: The Métiers D’Art Collection appeared first on Voir Fashion.

Just because COVID-19 has put the pause button on many events in the fashion world, it didn’t stop Creative Director, Virginie Viard from releasing Chanel’s latest collection in typical quarantine style; a digital presentation of the collection online.

The 2020/2021 collection named “Balade en Méditerranée” (Mediterranean Stroll) was to be shown in Capri, Italy, last month: however, because of the pandemic, the French fashion house released their collection today. It was the first time that Chanel has ever released a collection without a show. Despite the pictures being taken against an evening, pebbled backdrop in Paris, the sun-kissed lighting and breeze do not fail to encapsulate that summer Italian holiday we are all craving right now.

Shot by Karim Sadli, the look book truly gives off that perfect golden hour moment. Viard was inspired by sunny Mediterranean holidays with walks along the beach and exploring seaside towns, all to create ‘a wardrobe that can be carried in a little suitcase on wheels, a shopper and an embroidered handbag.’ Her muse follows the authentic holiday style of 1960’s actresses like Audrey Hepburn to express the polished, sophisticated look of the collection. And with coronavirus throwing a spanner in the works, the entire collection was pulled together in only three weeks, reusing pieces from previous collections and using limited fabrics.

The CHANEL Cruise 2020/21 collection, photographed by Julien Martinez Leclerc, photos taken from Chanel’s Instagram @chanelofficial

It’s a line designed for simplicity and practicality. Sequin bikini tops, chiffon kimonos and halter neck crop tops fill the collection, ideal for days spent by the beach. While soft-cut tailored jackets, panelled flared jeans and soft leather pieces embody the evenings, sat with a glass of pinot. Of course, it wouldn’t be Chanel if their classic tweed didn’t make a huge statement throughout; featured in jackets, co-ordinates and tailored dresses. It’s a collection for versatility and multi-purpose. It offers a little bit of everything to make holidaying as carefree yet fashionable as possible.

So, although flights, for now, have been put on hold, there is nothing stopping you from getting inspired and planning your 2021 style. It’s a collection we are striving to achieve in our own summer wardrobe.

Watch the full video below:

Words by Clare Stephenson

Graphics by Katie Janes

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The post Chanel Cruise Digitally Displays Their New 2020/21 Collection appeared first on Voir Fashion.