Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

Matthieu Blazy's Chanel Blast Off

Fashion month’s string of designer debuts came to an end with Matthieu Blazy’s Chanel collection. And they may have saved the best for last.

On a galactic set inside the Grand Palais in Paris, Blazy presented a vision of the Chanel universe that balanced the relevant, real-world clothing dominating Spring 2026 headlines with a decidedly adult chic — something missing from many of the season’s more Gen Z–skewing collections, and indeed from Chanel itself in recent years.

Blazy turned Bottega Veneta into a mega fashion brand through extreme craft, and he continued that impulse at Chanel, introducing raw elegance as a counterpoint to the house's refined lines and classic silhouettes.

His Chanel marked a clear departure from the brand’s era of kitsch — rocket ship–shaped handbags, logo roller skates and Barbie pink — toward a more grown-up wardrobe of pieces that don’t scream “Chanel,” even as they drew inspiration from the life and loves of founder Gabrielle “Coco” Chanel in the 1920s and '30s.

Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

Blazy channeled Coco’s tomboy tendencies into a great-looking next-gen Chanel suit, featuring low-slung belted trousers or a side-slit, calf-length skirt paired with a sharp cropped jacket. He matched glorious, exploding flower and feather ball skirts with men’s button-downs from Charvet, the famed Paris purveyor of shirts that Coco reportedly borrowed from her lover, Arthur “Boy” Capel. And that’s a look we can all emulate now.

Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

His technical wizardry came through in the collection’s incredible textured knits, bouclés and tweeds — flower-adorned, seed bead–embroidered, frayed and even rendered quill-like — in hues of gold, brown and rust. Those appeared alongside more classic black-and-white open-weave suits, drop-waist dresses and silk gowns twisted into camellia flowers.

Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

He delivered on accessories as well, reinventing the spectator pump with a more sleek silhouette, bringing costume jewelry back in a big way with fire coral necklaces, feathery brooches and ropes of natural pearls and turning the iconic 2.55 quilted bag into a moldable objet d'art by threading it with wire.

Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

Nicole Kidman, back as a house ambassador, was already wearing one of the Chanel Charvet shirts. Also in the front row were newly minted ambassador Ayo Edebiri; familiar Chanel faces Margot Robbie, Tilda Swinton, Sofia Coppola and Marion Cotillard; as well as Jeff and Lauren Sánchez Bezos, Kendall Jenner and Pedro Pascal, whose presence suggested a men’s Chanel collection could be in the stars.

Chanel Spring/Summer 2026 collection by Matthieu Blazy. Source: Getty

Stacked Chanel front row aside, after a fashion month when celebrity marketing hit a fever pitch, — between the teasing of new collections on red carpets and Gucci’s star-stuffed Spring 2026 collection film and premiere — I found it interesting to read what Blazy said to Business of Fashion: “Everything cannot be done just by communication, image, putting something on a celebrity. Of course, yes, but focus on the product and the story that is told. I think we are at a stage where fashion needs to re-imagine its own narrative. Luxury is not enough anymore. It’s expensive and it’s rare, so it’s good? That’s not enough.”

Could we be reaching peak celebrity fashion? When screens are so inundated with celebrity ambassadors, red carpets, campaigns and collabs that consumers start to tune out? It's something to think about. Imagine it: product as star. It would be a lot less expensive, that's for sure.

German actress Sandra Hüller presents a creation by Miu Miu for the Spring/Summer 2026 collection. Source: Getty

Celeb Cameos for Better or Worse

Alas, celebrities were out in full force at Paris Fashion Week, of course, and some even walked the runway. Miu Miu is famous for its surprise casting, and for Spring 2026 it was German actress Sandra Hüller who opened the show wearing ... an apron.

Miu Miu has had a successful run of fetishizing particular garments in recent collections — logo underwear briefs, boxers, bloomers, schoolgirl skirts, and, just last season, bullet bras.

For Spring 2026, it was the apron at the center of a collection — and conversation — about “the work of women — their challenges, adversity, experience. Its invisibility is confronted and addressed, recognized and valorized,” according to the show notes.

Down the runway came a cast resembling waitresses, cleaners and line workers in ruffled, floral, crocheted and leather aprons, but make it luxury fashion. 

Miu Miu Spring/Summer 2026 collection. Source: Getty

“We in fashion always talk about glamour or rich people, but we have to recognize also that life is very difficult ... And to me the apron contains the real difficult life of women in history, from factories to the home," Miuccia Prada told Vogue.

Social commentary or provocation? It’s certainly not the first time a runway collection has suggested that the haves splash out to dress like the have-nots, but in a time of such income and wealth disparity, it was a risk.

And yet, I wouldn't be shocked if $1000-plus aprons take off since everything Miu Miu does turns to gold.

Meghan Markle, Duchess of Sussex, wears a custom Balenciaga look on her way to the show in Paris on Oct. 4th. Source: Balenciaga

Another tantalizing celebrity appearance was the Duchess of Sussex Meghan Markle at designer Pierpaolo Piccioli's debut collection for Balenciaga.

The polarizing Markle wore a quiet luxe version of the compelling sculptural designs Piccioli paraded down the runway, and elicited gasps from the front row when she walked in according to reports.

A look from the Balenciaga Ready to Wear Spring/Summer 2026 fashion show by Pierpaolo Piccioli. Source: Getty

However you feel about the Montecito princess, I think it was  gracious of Piccioli to have her, even if she was paid to come. It signaled a vibe shift for Balenciaga, a brand that could be unwelcoming under its last designer Demna. Remember those bondage teddy bears? Of course, Markle was slammed on social media for showing up ... because of those bondage teddy bears. She just can't win.

Greta Lee and Mia Goth wear Dior by Jonathan Anderson and Tiffany & Co. jewelry. Source: Getty

Dior's New Darlings

In L.A., the marketing of the new Paris collections has already begun. Jonathan Anderson's newest Dior ambassadors were flying the flag at dueling film premieres on Monday.

At the Frankenstein premiere, Mia Goth's sheer black lace number was adapted from a Spring 2026 runway look, but translated IRL as underwear and a nightie. I was at the Academy Museum for the screening, and when Goth took the stage with Guillermo del Toro and the rest of the esteemed cast, the dress didn't quite meet the moment.

Meanwhile, at the Tron: Ares premiere in Hollywood, Greta Lee fared better. The custom sheer, silver-embroidered lace gown — also based on a runway look — delivered the glam quotient thanks to the structure of the bow-back detail, not to mention her perfect red-carpet posture.

Both ladies are also Tiffany & Co. ambassadors; Lee was in a Tiffany Knot necklace, diamond studs, and a ring in platinum with a spectacular green tourmaline, while Goth wore earrings in 18k gold with diamonds, and Jean Schlumberger by Tiffany & Co. rings.

A note on Frankenstein, it's incredible. Jacob Elordi and Goth's performances are tender, Kate Hawley's costumes are ravishing and the Tiffany archival jewels shine, especially with the face-framing feather fascinator.

A Tiffany archival necklace in the Netflix film Frankenstein. Source: Tiffany & Co.

Behind-the-scenes photo from theVictoria Beckham docuseries. Source: Getty/Netflix

From WAG to PFW, Victoria Beckham Shows How Its Done on Netflix

From global pop to global fashion superstardom, Victoria Beckham has always been about girl power — and the power of transformation.

Streaming today on Netflix, the three-part docuseries Victoria Beckham, directed by Nadia Hallgren (Becoming) and from the makers of the Emmy Award–winning Beckham, chronicles her rise from insecure but driven musical theater lover to Posh Spice, then WAG, then fashion wannabe, and finally to serious designer.

There are a lot of fun, nostalgic clips; insights from her parents, Tom Ford, Donatella Versace, Anna Wintour, Eva Longoria, her husband of 25 years, David Beckham, and others; and glimpses into her fabulous homes, design ateliers, runway shows and her business’s financial struggles.

The series captures Victoria Beckham's enduring charm, from blowing the Spice Girls fashion budget at Gucci, to deadpanning, "I haven't touched chocolate since the '90s, I'm not going to start now."

She opens up about her vulnerabilities, including intense media scrutiny of her weight and abilities, often from men, and how she realized she was "a laughingstock" after seeing Juergen Teller's 2008 Marc Jacobs campaign photos with her legs sprawling out of branded shopping bags. It prompted her to seek out designer Roland Mouret to help her earn the respect of the fashion world. 

"Lack of self-esteem was the enemy. To make the dream become a reality, we had to kill the WAG," Mouret said.

Tune in for the rest.

Serena Williams walks the runway during Vogue World: Paris at Place Vendôme on June 23, 2024. Source: Getty