Chanel is rooted in love and in the freedom Gabrielle Chanel carved for herself. As Matthieu Blazy reflects, "Chanel is about love... the freedom worn and won by Gabrielle Chanel." This timeless universe becomes a dialogue between Blazy and Chanel, beginning with the masculine pieces she once borrowed from Boy Capel - a Charvet shirt, trousers, and tailored jackets - reimagined today with Chanel proportions. Her paradoxical strength lies in blending the practical with the seductive, the masculine with the feminine, always asserting herself as "never just something, but someone."

Daywear moves fluidly through time. Classics are softened, deconstructed, and lived-in: the 2.55 bag appears crushed and cherished, camellias are crumpled into knitted silk, and tweeds are frayed yet refined. Chanel's own architectural world - its black-and-white lines, its Art Deco clarity - reappears in fluid silks and abstract florals that unfurl like petals.

Chanel's language expands globally and into the future. Masculine shapes return in gentler forms; tweeds and weaves multiply with new textures and experimental linings. Chanel fundamentals are reinterpreted: tweed grids become hand‑knotted transparencies, the suit's structure is revealed, and jewellery - pearls, glass planets, enamelled chains - becomes both treasure and talisman. Familiar toe‑cap shoes carry the wearer forward.

Across everything runs an idea of freedom: a universal, borderless wardrobe shaped not by one Chanel woman, but by generations of them.