Chanel Pre-Fall 2026 Photo by Filippo Fior for Gorunway.com
I adored the Chanel Pre-Fall 2026 Métiers d’Art Collection: the energy, spirit, eclecticism, perfect proportions, exquisite artistry, and the blend of chic French heritage with gritty New York glamour, making it a standout showcase of creativity.
Interestingly, the one outfit that really stood out for me, was the least Chanel-looking in the collection. It consisted of a simple black cashmere sweater, well-cut black trousers, and a red cashmere scarf tied at the hip. I loved it because of its dramatic simplicity, reminiscent of Halston.
Diana Vreeland, image sourced from Pinterest
But there was something else. I had the distinct feeling I had seen that outfit somewhere before. I connected the dots almost immediately. Of course, Diana Vreeland! Who else could make something so seemingly simple look so highly impactful? I found the photo and the similarity was uncanny.
The only difference between the two is that the Chanel model is wearing a turban and she does not have horn bracelets or pearl earrings, but everything else, the attitude and the ease, is almost the same.
Left: Diana Vreeland at home, 550 Park Avenue, 1979, Photo by Jonathan Becker Right: Chanel Pre-Fall 2026 Photo by Masato Onada for WWD.
Similarly, a relatively simple black long-sleeved dress, worn with tall red boots punctuated with white, reminds me of an iconic image of DV wearing a similar style, accessorized with her favorite pair of Roger Vivier red python boots and her ever-present KJL ivory tooth necklace.
Chanel Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com
Diana Vreeland famously loved leopard print, even as an accent, with her most iconic quotes being, “I’ve never met a leopard print I didn’t like,” and her dramatic, “A world without leopards, well, who would want to live in it?”
There is no question that Vreeland has been an inspiration to many designers over the decades. While the term “obsession” might be strong, Blazy’s reference to Vreeland is clearly documented. In fact, Matthieu considers Vreeland, along with Martha Graham and Halston, among “the Deities” who contributed to his fantasy of New York City when he was young.
Matthieu’s first collection for Chanel was noted to have Vreeland’s “spirit echoed in every silhouette, every gesture, every flourish”. Vreeland, known for her love of vibrant colors, once commissioned a special red velvet Chanel suit, as the typical versions were black, which aligns with Blazy’s “wacky” side and love of unconventional colors.
Chanel Fall 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com
For daytime, Vreeland relied on a uniform , heavily based on easy sweater dressing in neutral colors. Some of the more stripped-down, less theatrical pieces in this collection made more of a statement and tapped into DV’s minimal side.
Bottega Veneta Spring 2024 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com.
Let’s not forget that Matthieu named his spring 2024 Bottega Veneta collection “The Eye Has to Travel” as a tribute to Vreeland and to represent the collection’s philosophical concept of travel. The phrase, coined by Vreeland, inspired a collection that is not about specific places but about the transformative, philosophical journey of travel and what one becomes after it.
The clothing itself was an expression of this, taking the audience on a visual journey through its innovative, bold designs, like a “map legend” of textiles and techniques.
Diana Vreeland at home, 550 Park Avenue, 1979, Photo by Jonathan Becker
Vreeland’s style is known for a bold, dramatic, and maximalist approach that balanced opulent, often exotic accessories with simple, elegant clothing featuring her signature red accents. Her looks expressed her personality and vision, a mix of luxury, theatricality, and a sense of fun. Comfort was always key.
Diana Vreeland, 1942, Photo by Louise Dahl-Wolfe
Diana famously said, “The Eye Has To Travel”. One’s eye needn’t travel too far to connect the dots between Blazy and Vreeland.
