Matthieu Blazy has presented his second haute couture collection for Chanel in Paris, utilizing narrative motifs and the biography of Gabrielle Chanel to redefine the house's aesthetic direction.

Matthieu Blazy 在巴黎發表了他的第二次 Chanel 高級訂製服系列，利用敘事主題與 Gabrielle Chanel 的傳記，重新定義品牌的美學方向。

The conceptual framework of the collection was derived from a historical volume of fairytales discovered in the former residence of Gabrielle Chanel. This literary influence manifested in the scenic design—characterized by oversized botanical installations—and specific garment details, such as embroidery depicting beanstalks and accessories shaped as sleeping bears. Blazy utilized these motifs as allegories for the founder's socio-economic ascent, characterizing her trajectory from an orphanage to industry prominence as a factual parallel to the 'rags-to-riches' narrative.

此系列的概念框架源自於在 Gabrielle Chanel 前住所發現的一本歷史童話集。這種文學影響體現於場景設計——以巨大的植物裝置為特色——以及特定的服裝細節，例如描繪豆莖的刺繡和形狀如熟睡小熊的配件。Blazy 將這些主題視為創辦人社會經濟地位提升的隱喻，將其從孤兒院到業界頂峰的軌跡，描述為現實版的「從貧到富」敘事。

Beyond the thematic whimsy, the collection emphasized a transition toward 'the adventure of the everyday.' This philosophy was evidenced by the inclusion of mundane elements, such as hand-embroidered shopping lists on jacket linings, and the deliberate use of frayed edges to simulate the founder's fitting process. The casting strategy further reinforced this commitment to realism, incorporating women of diverse age groups to demonstrate the versatility of the garments. Notably, the traditional finale position of the bridal gown was vacated in favor of a minimalist black dress, a decision Blazy attributed to the founder's lifelong celibacy.

除了主題上的奇幻感，該系列更強調向「日常的冒險」轉型。這種哲學體現於平凡元素的加入，例如在夾克內裡手工刺繡的購物清單，以及刻意使用磨損邊緣以模擬創辦人的試裝過程。選角策略進一步強化了對現實主義的承諾，邀請不同年齡層的女性以展示服裝的多功能性。值得注意的是，傳統壓軸的婚紗位置被一件極簡主義的黑色禮服取代，Blazy 將此決定歸因於創辦人終身未婚的事實。

From a commercial and strategic perspective, the house is experiencing a period of renewed demand, particularly for the redesigned '25' bag. Despite the acquisition of the shirtmaker Charvet, Bruno Pavlovsky, President of Fashion, has explicitly stated that the institution will not diversify into menswear or hospitality. The current operational priority remains the expansion and training of the atelier workforce to sustain the production of women's fashion, thereby avoiding the diversification pressures typical of publicly listed competitors.

從商業和策略角度來看，品牌正經歷需求回升期，尤其是重新設計的「25」系列手袋。儘管收購了襯衫品牌 Charvet，時裝總裁 Bruno Pavlovsky 明確表示，該機構將不會將業務多元化至男裝或餐旅業。目前的營運重點仍在於擴展與培訓工作室的勞動力，以維持女裝生產，從而避免上市競爭對手常見的多元化壓力。

The collection marks a shift toward a more fluid, realistic silhouette and a narrative-driven approach, while the institution remains committed exclusively to women's apparel.

此次系列標誌著向更流暢、更現實的輪廓與敘事導向方法轉型，而該機構將繼續專注於女裝。