For CHANEL, Biarritz is not simply a resort town.
In 1915, it was here—on France’s Atlantic coast—that Gabrielle Chanel established one of her earliest couture houses. Moving away from the rigid conventions of Parisian salons, she found a new way of dressing shaped by movement, air, and light.
It was a shift from interior to exterior—one that redefined the relationship between clothing and the body.
©CHANEL
In Biarritz, artists, workers, aristocrats, sailors, and nature itself coexisted on the same stage.
At a time when European society was sharply stratified, this environment offered a rare overlap of roles and identities. Chanel observed this coexistence and translated it into clothing—where function and imagination could exist in perfect balance.
©CHANEL
CHANEL’s Cruise 2026/27 marks the first Cruise collection by artistic director Matthieu Blazy.
Rather than reconstructing the past, Blazy approaches Biarritz as a form of folklore—something to be reinterpreted rather than preserved. Functional black dresses meet imagined figures of mermaids. Reality and fiction overlap, forming a new vocabulary for the house.
©CHANEL
One of the defining aspects of the collection is the dissolution of hierarchy. French workwear meets leisurewear. Sailor uniforms intersect with evening dresses. Practicality and ornament, rigor and ease, coexist within the same silhouettes.
The salon extends toward the beach, where comfort and elegance are no longer opposites but complementary forces. Throughout the collection, Basque stripes emerge as a unifying motif, connecting these disparate elements into a continuous rhythm.
©CHANEL
The collection is structured around the act of dressing and undressing—clothing understood through the body.
Flowing silk, textured raffia, lightweight tweed, washed cotton suits, and the constant presence of swimwear create garments that move with the wearer. Clothing here is not a fixed form, but a state—something that shifts through movement and context.
©CHANEL
Introduced in 1926, the black dress marked a radical shift for CHANEL. Once associated with labor and austerity, black was redefined as a symbol of modern elegance.
In this collection, the black dress returns as a prototype—bridging archive and present, structure and fluidity. Classic is not static. It is something continuously reinterpreted.
©CHANEL
“Without freedom of the body, there is no beauty.”
This principle, rooted in Gabrielle Chanel’s thinking, runs through the entire collection. Freedom here is not simply liberation. It is a structure—formed through the intersection of body, material, society, and time.
©CHANEL
This Cruise collection does not propose a new style. Instead, it redefines what “freedom” means for CHANEL today.
From salon to sea.
The movement continues.
In 1915, it was here—on France’s Atlantic coast—that Gabrielle Chanel established one of her earliest couture houses. Moving away from the rigid conventions of Parisian salons, she found a new way of dressing shaped by movement, air, and light.
It was a shift from interior to exterior—one that redefined the relationship between clothing and the body.
©CHANELBiarritz as Origin
In Biarritz, artists, workers, aristocrats, sailors, and nature itself coexisted on the same stage.
At a time when European society was sharply stratified, this environment offered a rare overlap of roles and identities. Chanel observed this coexistence and translated it into clothing—where function and imagination could exist in perfect balance.
©CHANELMatthieu Blazy’s First Cruise Collection
CHANEL’s Cruise 2026/27 marks the first Cruise collection by artistic director Matthieu Blazy.
Rather than reconstructing the past, Blazy approaches Biarritz as a form of folklore—something to be reinterpreted rather than preserved. Functional black dresses meet imagined figures of mermaids. Reality and fiction overlap, forming a new vocabulary for the house.
©CHANELClothing Beyond Hierarchy
One of the defining aspects of the collection is the dissolution of hierarchy. French workwear meets leisurewear. Sailor uniforms intersect with evening dresses. Practicality and ornament, rigor and ease, coexist within the same silhouettes.
The salon extends toward the beach, where comfort and elegance are no longer opposites but complementary forces. Throughout the collection, Basque stripes emerge as a unifying motif, connecting these disparate elements into a continuous rhythm.
©CHANELReconnecting Body and Material
The collection is structured around the act of dressing and undressing—clothing understood through the body.
Flowing silk, textured raffia, lightweight tweed, washed cotton suits, and the constant presence of swimwear create garments that move with the wearer. Clothing here is not a fixed form, but a state—something that shifts through movement and context.
©CHANELThe Black Dress as Prototype
Introduced in 1926, the black dress marked a radical shift for CHANEL. Once associated with labor and austerity, black was redefined as a symbol of modern elegance.
In this collection, the black dress returns as a prototype—bridging archive and present, structure and fluidity. Classic is not static. It is something continuously reinterpreted.
©CHANELFreedom as Structure
“Without freedom of the body, there is no beauty.”
This principle, rooted in Gabrielle Chanel’s thinking, runs through the entire collection. Freedom here is not simply liberation. It is a structure—formed through the intersection of body, material, society, and time.
©CHANELThis Cruise collection does not propose a new style. Instead, it redefines what “freedom” means for CHANEL today.
From salon to sea.
The movement continues.
![Our Fashion Story [vol.29_ GIVENCHY x The World of Black and Red]](https://wrqc9vvfhu8e.global.ssl.fastly.net/api/image/crop/533x712/images/upload/2026/02/54655e7db4d4e2b2b09a7eca261254d9.jpg)
