The subway has always been New York’s truest catwalk, a live-wire stream of characters, contrasts, and accidental style icons. So it felt thrilling that Matthieu Blazy chose an abandoned Bowery Station as the stage for his Chanel Métiers d’Art collection in the city. It was a love letter to the metropolis’ eclectic street grammar, filtered through Blazy’s razor-sharp eye for subversion and luxury.
The show opened with a nod to his now-mythic “simple” silhouettes at Bottega Veneta, which played around with a white tee and jeans. Here, a washed-denim pair of trousers, a generous half-zip knit, a brown suede flap bag, and crisp black-and-white heels became a manifesto on how to do New York understated, Blazy-style.
Humour flickered throughout the station. A pink bouclé skirt suit peeled back to expose a sequined “I LOVE NY” tee — part souvenir stand, part diva. A Clark Kent–coded ensemble revealed a Superman-tinted knit beneath a blue shirt and checked blazer, an undone tie and a black briefcase completing the transformation fantasy. Wall Street glam hit its height on Alex Consani, who strolled down the platform in pinstripes and a brown fedora. For those seeking pure spectacle, a shimmering dog-patterned set gleamed like a disco-ball daydream.
Still, beneath the cheeky grin, Chanel’s signature polish was unmistakable. Billowing printed skirts edged with feathers swayed with each movement, while chunky, sculptural necklaces crowned fitted turtlenecks with unapologetic opulence. An off-the-shoulder black dress glittered with twin brooches on each arm. A ruby cocktail dress almost disappeared beneath a gargantuan black feather coat, delivering cinematic drama.
Blazy didn’t just reference New York style; he choreographed an entire journey through its contradictions — its humour, its grit, its glamour. And like the best rides, you never want it to end.
Words by Martin Onufrowicz
