What Old Bottega Means for the New Chanel

It is a truth universally acknowledged that a historic fashion house in possession of an atelier must be in want of a creative director.

Over the past 18 months, one topic of discussion dominated fashion cocktail party chatter like no other. No, it wasn't the slow death of quiet luxury or fashion's complicated love affair with those hypnotic Nara Smith videos, but instead, an extraordinary shuffling of talent at the world's most famous fashion houses.

Dubbed the industry's game of musical chairs, an unusual number of historic brands have appointed fresh blood to lead them into the future recently. But as big names job hop from brand to brand like LinkedIn thought leaders, they leave headcounts open and tongues wagging. Questions like "What's going on at Fendi?" and "Where will Galliano land?" have monopolized online discourse while entertaining (and occasionally unhinged) speculation set Fashion Substack ablaze.

However, nothing spurred as much fashion fan fic and front-row gossip as the lead creative role at Chanel, unoccupied since Virginie Viard's ouster in June. After all, Karl Lagerfeld and his 36-year run left behind big shoes to fill. In the months following Viard's exit, names like Marc Jacobs, Hedi Slimane, Simon Porte Jacquemus, and even Sofia Coppola were bandied about as potential candidates. Fights were had in Instagram comment sections, while the remaining creative team at Chanel churned out surprisingly fresh collections without an artistic head. There was even a suspiciously Chanel-coded showing at another French house (widely interpreted as an audition for the open role) that ended up being a red herring.

Overall, it was a fun ride, full of stylish twists and turns. But finally, after nearly six months, the biggest job in fashion was filled. On December 12, Chanel announced Matthieu Blazy as its new artistic director.

For those unfamiliar with the designer, a little background: He spent the past four years as creative director at Bottega Veneta, taking over from Daniel Lee in 2021 (Blazy was promoted from within). During his tenure at the Italian fashion house, Blazy created both best-selling accessories and splashy ready-to-wear beloved by critics. His resume also includes stints at Maison Margiela and Celine. However, despite his recent triumphs, he was a bit of a dark horse in the Chanel race. In fact, it took a weekend spent revisiting his collections for me to understand the vision. Today, I'm all in.

The question remains: What will the next era of Chanel look like? Until his yet-to-be-announced inaugural collection, it's impossible to really predict Blazy's take on Coco's tweed sets and quilted handbags. But if his short but memorable stint at Bottega is any indication, there are plenty of reasons to get excited, as well as a few design signatures that can (and should) make the jump along with him.

Ahead, a look back at the best moments from the creative director's New New Bottega and what that might mean for the future of Chanel.

Old Codes Made New

Unlike some of his peers, Blazy seems to enjoy finding ways to tap into a brand's DNA without straying too far from its roots. He's really, really good at it. His stint at Bottega Veneta saw signatures like the brand's Intrecciato weaving technique find new life in imaginative bag and shoe silhouettes, but he also got experimental, tapping the house's considerable history of leather-making and craftsmanship to create everything from exuberant leather fringe to lovely knitted bouquets.

With deep archives ranging from Jazz Age Paris to the Lagerfeld years, there's no shortage of design codes at Chanel. There are the obvious classics like matching sets and quilted leather to riff on, but deep cuts like the 1930s drop waist (which served as inspiration for the brand's recent resort collection) and the haute couture Chanel Bride also deserve an update.

It Bags on It Bags

Blazy just knows what makes a Bag have It. In three short years, he created not one but two bonafide accessory icons for the brand—an impressive feat for any creative director, let alone a previously unproven one. First came the Sardine Bag, shown at Bottega Veneta's autumn/winter 2022 runway show. Its curved leather design features the brand's signature weave (more on that later) and a whimsical gold sardine-shaped handle to the delight of hot girls who love tin fish everywhere.

A few seasons later, the Andiamo Bag became another instant hit. Making its auspicious debut as part of the brand's spring/summer 2023 collection, the design is as deceptive as it is contradictory. It's somehow both boxy and soft. It's certainly grown-up, with a practically large-ish size and some structure, but also deeply cool. With a smaller, more traditional basket weave than many of the other New Bottega creations, the Andiamo is unfussy and elegant all at once.

This track record bodes well for Chanel. The brand's iconic flap bags remain one of the only accessories to hold value over time, and I'd bet even the most stodgy Chanel fans would welcome a fresh silhouette into their archive—pending the right design, of course. With creative control over ready-to-wear, couture, and accessories, Blazy is primed to breathe new life into historic handbags like the 2.55 and 11.12 designs.

Texture Like You've Never Seen It Before

Watching Blazy put fringe on everything is some of the most fun I've ever had in fashion. His obsession got weirder, wilder, and more strangely compelling with each passing collection, and I'm sad to see it end. What's more fun to look at than this sea anemone gown from the Fall 2024 collection? Besides, perhaps, the fringe puffball-covered day dresses from his Spring 2024 assortment or this freaky, fringey, fuzzy coat from Fall 2023?

I can't think of anywhere better than Chanel's empire of tweed for someone with a feel for feel to do their best work. Say what you will about tweed, but Blazy's bouclé will be anything but boring.

Delightful Nonsense

Blazy's term at Bottega Veneta, though brief, will be remembered for its sense of humor as much as its aesthetic. There was a playfully surreal (and occasionally sharp) wit to everything he touched, and the brand was better for it. Convincing fashion's elite to buy designer bean bag chairs? Hilarious. Elevating Richard Scary's lowly worm to a mighty sartorial force? Adorably weird. Setting your fall campaign as an alien abduction? Pure evil genius.

Blazy proved that unserious ideas can make for seriously good clothes, and Chanel's signature ladylike chic might benefit from a touch of that magic. Overall, expect the unexpected in the new age of Chanel.

All the Cool Kids

Not content with the same old brand ambassadors, Blazy made a concerted effort to dress new talent in his time at Bottega Veneta. It Girls like Ayo Edebiri and Greta Lee walked the red carpet in his creations. Chloë Sevigny carried his bags. Jacob Elordi acted as muse.

It seems like every celebrity with personal style was a Bottega fan during his tenure. At a company like Chanel, where it feels as though brand favorites like Lily-Rose Depp, Lila Moss, and Apple Martin signed contracts in the womb, that sort of flexibility might not be possible. But there's a place for organic partnerships and genuine fans (who just so happened to be famous) at any fashion house. Blazy could make that happen.

An Eye for Trompe-l’œil

Blazy's first collection as the creative lead of Bottega Veneta led with a trick: What appeared to be a simple ribbed white tank top and medium wash jeans was actually a meticulously constructed feat of craftsmanship made entirely of leather.

That first look for Fall 2022 came to define his vision, as he proved time and time again to be a trompe-l’œil prodigy. Last year, Kate Moss surprised attendees, walking down the runway in a seemingly unremarkable flannel shirt—made of Bottega Veneta leather, of course. Similarly, plastic takeout shopping bags, paper lunch sacks, and bouquets of flowers shown this September revealed themselves to be artfully crafted leather goods and crochet objects up close.

Blazy is skilled at making clothes that look like one thing but are entirely another. And his knack for toeing the line between tradition and innovation might be exactly what Chanel needs. Whether its Trompe-l’œil skirt sets or new iterations of the brand's interlocking c's, Blazy's twist on traditional Chanel codes could make for a brilliant new generation of tweed-and-pearls that are anything but.

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