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.

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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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£ £5,220

CHANEL 25 bag

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£ 5,100

CHANEL 25 Small Handbag

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The post Chanel’s Latest Campaign Turns Repetition Into Desire appeared first on Voir Fashion.

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.

Chanel celebrated a monumental milestone in haute couture with its Spring/Summer 2025 collection, marking 110 years of timeless elegance. Held in the newly renovated Grand Palais in Paris, the show was a tribute to Gabrielle Chanel’s enduring legacy, infused with modernity, craftsmanship, and a nod to the infinite renewal of the brand’s iconic design ethos. 

The collection embraced Chanel’s duality, steeped in heritage yet forever forward looking. Drawing inspiration from Gabrielle Chanel’s lesser-known love for vibrant hues and Karl Lagerfeld’s opulent archival palettes, the collection explored an 18^th century colour spectrum of sugared almon shades, combined with bold pastels and rich tones. 

“We’re celebrating the 110^th anniversary of the couture at Chanel. We had to mark the occasion,” said Bruno Pavlovsky, president of fashion at Chanel. “The collection embodies infinite renewal, a theme central to the house’s legacy for over a century.” 

Crafted with precision, the collection balanced practicality with artistry, presenting youthful silhouettes that transitioned seamlessly from day to night. Daywear featured cropped tweed jackets, short skirts, and colourful satin linings, while eveningwear captivated with flowing gowns and intricate embellishment. Each piece reflected the timelessness of Chanel’s philosophy, where wearability meets haute couture sophistication. 

The colour palette mirrored the journey of a day-from soft pastels like mint green and mauve to the deep, dramatic hues of midnight blue and black. Signature Chanel tweeds were reimagined with vibrant linings in emerald green, royal blue, and purple, injecting modern energy into classic designs. Fabrics and details stole the spotlight, with sheer tulle, floral embroidery, and feather accents adding depth and texture. Prints featuring translucent floral petals evoked a dreamlike quality, while standout pieces included a yellow satin shirtdress with rhinestone buttons and a black lace gown adorned with feather detailing.

The collection also highlighted the meticulous artistry of Chanel’s petites mains. The delicate embroidery on gowns and the intricate hand painted floral prints showcased the unparalleled craftmanship of the atelier, a hallmark of Chanel’s haute couture legacy. 

The Grand Palais served as the perfect backdrop for Chanel’s ode to infinite renewal. Designed by acclaimed creative director Willo Perron, the runway’s Mobius band structure symbolised continuity, echoing the house’s iconic double-C logo. The serene, sweeping set reinforced a sense of calm optimism, an apt reflection of Chanel’s enduring influence. This architectural choice further reflected the brand’s forward momentum as it prepares for the arrival of new creative director Matthieu Blazy later this year. 

The star-studded front row featured a dazzling array of celebrity guests, including Kylie Jenner, Dua Lipa, Jennie Kim, Lily-Rose Depp, and Pamela Anderson. Each embodied Chanel’s modern muse, blending timeless glamour with a youthful spirit. Each embodied Chanel’s modern muse, blending timeless glamour with a youthful spirit that mirrored the collection’s essence. 

Chanel’s Spring/Summer 2025 Haute Couture show was more than a collection, it was a celebration of 110 years of artistry, innovation, and timeless allure. From pastel sunrises to dramatic evening hues, the collection embodied the spirit of renewal while looking ahead to a bright future under new creative leadership.

In the words of Pavlovsky, “Chanel is not just black and white; it’s about continuous evolution. The collection is a testament to that enduring philosophy.” Chanel proved, once again, that its legacy is not just rooted in the past but continuously evolving, celebrating the art of couture with a youthful, modern twist.

Words By Claire Gaura 

The post Chanel Celebrates 110 Years of Haute Couture with a Vibrant Spring/Summer 2025 Collection appeared first on Voir Fashion.