Nature rhymes with Couture at Chanel for its FW26 An ear of wheat, some tweed and a dream

Yesterday, the fashion world already took a step back into the history of couture with Schiaparelli, whose FW26 couture collection paid tribute to its founder and her legacy. Today, once again nestled under the roof of the Grand Palais – this time in its Hall of Honour – it was Chanel’s turn to honour the woman who founded the Maison on Rue Cambon and elevated it to the status of fashion institution, a role it still proudly occupies today. An odd coincidence, given the not-so-friendly history between these two legendary French couturières and the iconic rivalry that once defined them. Although the idea of reverence was shared by both Maisons, their execution couldn’t have been more different: Schiaparelli offered a retro-futurist vision, while Chanel presented an ode to nature. No metallic fabrics or avant-garde jewellery this time – Gabrielle Chanel was celebrated through a natural aesthetic and a palette ranging from sandy beige to green, ecru, ivory, brown, and raven black.

In a setting reminiscent of the Haute Couture salons once held at 31 Rue Cambon by Coco herself, a breeze evocative of the English countryside and Scottish moors swept through the audience as the first of 46 looks walked the runway slowly but purposefully. Conceived and executed by the Studio for the last time before Matthieu Blazy’s upcoming arrival this fall – a moment that feels both near and far – the collection revisited winter classics the way Coco might have done in our time. Though inherently feminine, the shapes, silhouettes, and proportions drew from masculine tailoring, giving the wearer a sense of freedom of movement. A quiet revolution in women’s fashion brought about by Coco Chanel herself, who famously liberated women’s bodies by introducing pieces like trousers – once reserved for men – and looser, unstructured jackets free of corsets. These trousers reappeared in the collection, although it was mostly dominated by skirts: long, straight, and strict, barely revealing the outline of a knee. There were also subtle equestrian references dear to the designer, with tall leather boots and jackets reminiscent of the riding coats of her era.

Naturally, tweed was omnipresent, reimagined in long coats with fur-lined hems or soft-toned suits. Occasionally adorned with feathers, the pieces gave their wearer the look of a hunter returning from a fruitful morning outdoors, or evoked the illusion of faux fur. Symbolically, the wheat sheaf – a motif of abundance cherished by Gabrielle Chanel – appeared everywhere: embroidered, held in hand, or transformed into golden jewel buttons glowing on garments like rays of sun rising over a wheat field. That golden touch echoed in metallic lace and a ruffled gown in shimmering orange tones. A hint of multicoloured floral embroidery completed the collection’s pastoral theme, seen on an embroidered peacoat and a satin apron dress, right before the bride took her final steps down the runway. A serious, solemn bride, much like the tone of the entire collection. Once again, Chanel delivers a collection that feels overly polished and restrained, especially for couture. Expectations for Blazy and his creative spirit have never been higher. One can only hope that the Maison’s ready-to-wear show this October will bring not a chilly gust from the English countryside, but rather a much-needed breath of fresh air at Chanel.