Chanel is in search of a creative revival

Is Mathieu Blazy the right person for the job?

By Delphine Dion

For several months, Chanel, one of the most iconic luxury houses, has found itself at a crossroads. Following the death of Karl Lagerfeld in 2019, Virginie Viard, his long-time right hand, stepped into the role of creative director. However, she announced her departure, signalling a pivotal moment for Chanel as the search began for a new artistic leader. The next creative director faces high expectations: to usher in a new chapter for Chanel, redefining its aesthetic while honouring its storied heritage.

The challenge is monumental. Lagerfeld, who led Chanel’s artistic vision for over three decades, left an indelible mark on the fashion world. Known for his signature ponytail and witty remarks, Lagerfeld masterfully balanced the house’s legacy – shaped by founder Coco Chanel – with his own visionary creativity. His impact was so profound that imagining Chanel without him seemed almost impossible.

Understanding the stakes of a successful leadership transition requires viewing a fashion house as akin to a dynasty. Much like monarchies where successive rulers embody power in their unique ways, artistic directors at fashion houses reinterpret a brand’s legacy while making it their own. Since Christian Dior’s death in 1957, for example, six creative directors – from Yves Saint Laurent, Marc Bohan, Gianfranco Ferre to John Galliano, Raf Simons, and Maria Grazia Chiuri – have each left their imprint on Dior’s identity.

When a new artistic director joins a house, they delve into its heritage: the founder’s vision, iconic designs, symbols and associated locations. They decide which elements to emphasise and reinterpret, sometimes reviving lesser-known aspects to refresh the brand’s image. Lagerfeld excelled at this for Chanel, building its legacy around materials such as tweed and quilted leather, black and white colours, and symbols such as the camellia and double C logo. Over 25 years, he continuously reimagined these codes while introducing new ones, such as the lion, an homage to Coco Chanel’s zodiac sign, which became a jewellery icon.

Leadership transitions are notoriously tricky for fashion houses. The departure of a creative director can be devastating. Lanvin, for instance, never recovered after Alber Elbaz – once dubbed the darling of fashion – left the brand. A revolving door of successors failed to reignite the magic he brought. Similarly, Gucci’s sales plummeted after Alessandro Michele’s departure.

On the other hand, a new director can breathe fresh life into a brand. Hedi Slimane’s tenures at Saint Laurent and later Celine brought both creative reinvention and soaring revenue. His work revitalised the brands, satisfying customers, the press, and shareholders alike. This underscores the critical nature of selecting the right successor – a decision fraught with strategic implications.

Some directors lean heavily on a brand’s legacy to reinforce its identity. Virginie Viard, for example, drew extensively from Chanel’s heritage, incorporating iconic elements like tweed, two-tone ballet flats, and floral chiffon.

However, this approach can risk “mummifying” the brand, where collections become repetitive and lack innovation, leading to audience fatigue. Chanel’s recent years have shown signs of this stagnation. Viard’s exit marks the end of a cycle and a pressing need to redefine Chanel’s creative vision.

The danger of clinging too tightly to the past lies in missing market trends. Fashion has evolved with the rise of athleisure – a blend of sportswear and everyday clothing – sustainable fashion, understated luxury and the influence of new designers.

Some creative directors tend to distance themselves from a brand’s heritage. While this approach can bring fresh energy, it risks destabilising the brand’s legacy if taken too far – a potential flashpoint for backlash. For instance, when Slimane joined Yves Saint Laurent, he rebranded the house by dropping ‘Yves’ from the name, sparking a wave of criticism from loyal fans on social media.

Slimane further broke from the brand’s heritage by introducing a highly personal aesthetic that diverged sharply from its history. He employed a similar strategy at Céline, revitalising sales for both labels with his distinct vision. However, this approach often complicates the task for his successors, who struggle to establish aesthetic continuity. Successive shifts in style can confuse the market and erode the brand’s identity and legacy.

The success of a new artistic director also depends on how cultural intermediaries – journalists, influencers and celebrities – perceive their work. Fashion houses strive to secure endorsement from these tastemakers by showcasing the director’s creativity and decoding their vision for the public.

Chanel now faces a defining moment: the need to reinvent itself with caution and creativity. While respecting its heritage remains paramount, bold decisions may be necessary to ensure Chanel retains its place among the great fashion houses. This delicate transition offers an opportunity for the brand to write a new chapter, one that remains faithful to its past while embracing the challenges of the future.

Last week Mathieu Blazy was announced as the new creative director of Chanel, and the former creative director at Bottega Veneta, will not only shape the house’s trajectory but also influence the broader fashion industry, which is watching this transition with keen interest.

Delphine Dion is Full Professor, Consmption and Market dynamics, ESSEC. This article is republished from The Conversation under a Creative Commons licence