In a scene reminiscent of a glamorous Hollywood premiere, Chanel’s Paris show on Tuesday drew an illustrious crowd, including Nicole Kidman, Dua Lipa, Penélope Cruz, A$AP Rocky, Gracie Abrams, and Margaret Qualley. However, the true star of the event was Chanel’s new designer, Matthieu Blazy, who made his much-anticipated couture debut with a collection that radiated sheer joy.

Within the grand confines of the Grand Palais, Chanel transformed the venue into a whimsical dreamscape. The set featured a fantastical garden adorned with candy-hued trees and oversized pink and red mushrooms, creating a vibrant escape from the dreariness of a typical January day and the somber global atmosphere outside.

Adding a playful touch to the anticipation, Blazy introduced the show with an animated short film, depicting woodland animals busily crafting in Chanel ateliers, reminiscent of a fairy-tale setting. This charming prelude set the tone for a collection that promised to be anything but somber.

As the models took to the runway, Blazy’s vision became clear: a celebration of lightness and joy. His designs conveyed a refreshing optimism, capturing the essence of couture without the weight of traditional expectations.

Before the first look, Blazy even teased the mood with an animation film of woodland animals at work in the Chanel ateliers, “Cinderella” style: a wink that said this would be couture, but not grim.

Then came the clothes, and the message landed fast: lightness.

Codes made weightless

Blazy took Chanel’s most famous codes — the suit, the pearls, the chain-weighted hems — and made them feel almost weightless.

A classic skirt suit arrived as a sheer, barely-there version of itself, cut so delicately it looked like air had been tailored.

In a house where tweed can be armor, this was tweed as whisper.

Birds hovered over the collection as a guiding idea: freedom, motion, travel.

Featherlike textures and flighty embroideries fluttered across silhouettes that moved like breath instead of structure.

There were flashes of plumage in color and surface — at times bright, at times raven-dark — and plenty of soft, floating chiffon that made the models look as if they were gliding rather than walking.

Not shouting — obsessing

The best trick was how the craft wasn’t obvious.

Up close, the work was meticulous: a level of handwork couture clients pay for, and ateliers live for.

But the overall effect stayed easy, almost casual; as if the clothes were beautiful without demanding applause.

Blazy played with the artistic technique trompe l’oeil, including a tank top-and-jeans idea reimagined in organza, and with textures that were romantic but also a little strange; couture that winked.

Sexy intimacy

In a brand built on total looks and strong house signatures, Blazy offered something personal: choice.

Models were invited to pick symbols and messages to stitch into the clothes — a love note, a sign, a private mark.

It pushed Chanel away from “uniform” and toward intimacy: couture as a wearable secret, not just a public statement.

The show also had a sense of casting as storytelling.

Blazy’s runways have tended to carry an open, joyful energy, and that continued here — a mix of ages, backgrounds and presences that made the clothes feel lived-in.

Model Bhavitha Mandava, fresh off her viral moment at the house’s Métiers d’Art show, returned.

Later she closed as a couture bride, shimmering and feathered, smiling as if she knew she was ending the scene exactly on the right note.

Wonder-couture, with a pop finish

The soundtrack shifted moods like a DJ set, moving from Disney sweetness to millennial nostalgia — including Moby’s “Porcelain,” and a mashup that blended Oasis’ “Wonderwall” with The Verve’s “Bitter Sweet Symphony.”

By the finale, the room was playing along.

Big sets are easy. Blazy’s debut didn’t try to overpower Chanel with noise or force a new era with aggression. Instead, he made it feel alive.