No official designer took a bow after Chanel’s haute couture show on Tuesday in Paris, which was something of a pity, as the in-house design team surely merited a rousing ovation.

 
This spring/summer 2025 collection was the third by what the house terms its creation studio and its best to date; a breezy, youthful and dreamy take on Chanel, aided by neat doses of experimentation.
 
Once again, the house of Chanel dreamed up a great set inside the world’s most famous exhibition space – the Grand Palais, where the brand is a major exhibition sponsor.

The cast marching on two huge curving ramps developed by scenographer-designer, Willo Perron. Both big enough for a motorway entrance, but pristine and with a white floral carpet. Interlocking Cs like the brand’s logo, though not too tightly, and so suggesting the idea of infinity. Presented on a dank morning in two shows, the first graced by Kylie Jenner in a flurry of photography.
 
They say that couture is the laboratory of fashion, and there were lots of tryouts in the Chanel suit. Cut first with vented miniskirts, two pocket jackets and leg-of-mutton sleeves. Then made with a tunic, all its buttons displaced to one side. Or cut with a central gilet, shoulders topped in feathers.  Best of all, a trio in bouclé wool, where the jackets were extended below their minis.  
 
Leg-of-mutton sleeves also in some sleek redingotes, like the suits finished with sheen. Champagne-hued lace dresses finished with huge fabric roses were beautiful as were the semi-sheer evening looks that one could have imagined Coco creating herself. In a collection whose palette was violet, dawn, mimosa and lilac.

Many outfits finished with rhinestone, precious buttons, rock crystals and shiny metals – giving the look more punch.
 
At times the experimentation with tulle and sheer got a little too much. The collection did lack focus and was a little all over the place. But there was so much wearable Parisian chic, that one could only admire the designers for taking a few risks.

See catwalk

 
This creation studio will design a further two collections for Chanel – ready-to-wear in the next Paris Fashion Week; and cruise to be unveiled at Lago di Como three weeks later.
 
After that, Chanel’s new creative director Matthieu Blazy will be in charge, succeeding Virginie Viard, 10 months after her departure.
 
But there has been no slowing down at the house in the absence of a creative director. Especially in this show – from set to sound; from hair to makeup.
 
After some pre-show Japanese chimes and clangs, one enjoyed a beautiful original score made in collaboration with Michel Gaubert and the composer, Gustave Rudman. With typical efficiency – when one Shazamed the music, it was already registered. Makeup by Lisa Butler was ideally immaculate, lightly rouged lipstick and pale blush, while the hair was loose, curly and natural. 
 
A fashion display that comes in the 110th anniversary of Chanel couture, and an impressive exploration of the codes of the house. A flamboyant and exuberant vision, leading the program note to read: “And as Gabrielle Chanel herself once said, ‘Comfort has forms. Love has colors’.”