Chanel presented its Métiers d’Art 2026 show in New York on December 2nd, staging the collection within the city that shaped its concept. The event gathered an extensive group of performers, actors, musicians, athletes, and cultural figures, each contributing to the atmosphere that Matthieu Blazy sought when he built this chapter around the life of the subway.
DISCOVER MÉTIERS D’ART 2026 LOOKS
A$AP Rocky, Jessie Buckley, Ayo Edebiri, Jenny Slate, Teyana Taylor, Christine Baranski, Rose Byrne, Tilda Swinton, Julio Torres, Wang Yibo, Bowen Yang, Julia Louis-Dreyfus, Angel Reese, Bernie Wagenblast, Lux Pascal, Victoria Mboko, Emily Ratajkowski, Adwoa Aboah, Jon Bon Jovi, Rosie Perez, Charlotte Casiraghi, Sakura Ando, Linda Evangelista, Riley Keough, Maggie Kang, Moon Lee, Kristen Stewart, Xin Zhilei, Alek Wek, Honey Dijon, G-Dragon, Constance Tsang, Fala Chen, Aidy Bryant, Michael Stipe, Sarah Pidgeon, Sabrina Elba, Wagner Rouma, Angèle, Whitney Peak, Meg Ryan, Nicole Scherzinger, Lupita Nyong’o, Tessa Thompson, GEMINI, and Dapper Dan all attended the New York presentation.
Matthieu Blazy introduced his first Métiers d’Art collection for Chanel through a concept tied firmly to the New York City subway. He described it as a place shaped by constant encounters, where students, teenagers, workers, and gamechangers move with confidence and express themselves through clothing. This setting guided the mood of the show, turning everyday figures into central characters who reflect the range and energy of the city. Blazy treated the subway as a mirror of New York, using it to frame Chanel’s conversation with craft and personality.
The collection introduced an extensive cast of looks constructed through the maisons of le19M. Blazy built a cinematic structure for this chapter, drawing from the 1920s through the 2020s and setting socialites beside showgirls, mothers beside commuters, and vintage references beside modern comfort. He included Coco Chanel as one of these imagined characters, walking through the city as part of the same crowd that inspired him. This approach supported the idea of a non-linear timeline, one that moved through Art Deco glamour, pop influence, and softened silhouettes linked to a new lounge mood.
Chanel’s craft maisons carried this vision through a series of techniques. Lingerie denim met detailed embroidery to create a fresh direction for western references. An Art Deco dress from the archive appeared transformed by Lesage and Lemarié through feather work and rebalanced proportions. Tweed took cues from lumberjack flannel and reemerged in sumptuous wool boucle with a Chanel chain that shifted its structure. Throughout, Blazy emphasized small touches intended for the wearer, covert ideas that sit close to the body rather than on display.
Accessories brought another layer of play. Minaudières functioned as sculptural objects that carried hidden references: enamelled monkey nuts, an oyster that revealed a pearl, and apple motifs shaped with a mischievous tone. The goldsmiths of Goossens crafted jewellery featuring glass cabochons shaped like ice cubes and Deco hummingbirds. Silk linings held hand-painted New York scenes, including an illustration of Coco Chanel walking her dog near the skyline.
Blazy linked the collection to Gabrielle Chanel’s 1931 stays in New York during her Hollywood involvement with Samuel Goldwyn. Although the film industry sparked her visit, it was downtown New York that renewed her confidence. She observed how people interpreted her clothing in personal ways, which strengthened her sense of Chanel’s reach. The Métiers d’Art 2026 collection reflects that moment, drawing from her experience and from the city that shaped her return to Paris.
