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@chanel_archives

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Curated by @ryantowear. Featured on Vogue, Elle, CR Fashion Book, GQ, Love Magazine, W Mag, The Telegraph and The Guardian.

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Spoke to W Mag @wmag about how I began documenting the CHANEL archives over 10 years ago, Karl’s timeless design, and how impactful the resurgence of archival fashion has been in recent years. Full story in bio, huge thank you to @hmalach for including me 🩷 by @chanel_archives

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a year ago

Thank you to @thelovemagazine and @jeffreythomson for including my account! Speaking to @thelovemagazine about how I started digitally archiving and my favourite runway show! Link in bio by @chanel_archives

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7 years ago

Huge thank you to @voguemagazine and @marjon_carlos 🩷 by @chanel_archives

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10 years ago

Someone who I’ve been so excited to speak with and have a part of my interview series “In Conversation With:”, is Stephanie Cavalli. I got to ask about those moments before she opened the Spring 2026 Haute Couture show, opening the next Fall Ready-to-Wear show back to back (!!!)… how her sense of style has developed, working closely with @matthieu_blazy, shooting with @bailey_studio for the Fall show teaser images… etc etc etcBut I can’t thank @stephanie_cavalli enough, for being so open with me and sharing her story so far with me. Not only do I find it so fascinating as a CHANELfanatic, and to find out the BTS and get to pull the curtain back, but sharing these interviews is always an honour to me! by @chanel_archives

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a day ago

The last savoir-faire from CHANEL Fall 2026 Haute Couture… where I’ve been looking at the unseen details and fabric specifications from 5 looks, that we miss from a regular runway photo. Finally is Look 18, a white tweed dress, with black chiffon fringe accents and tweed flower petals that wrap around. This dress actually takes inspiration from the column on Place Vendôme, where the same spiral, wrap-around design happens, but with bricks. Then for the flowers that act as the fringe, done by @maison_lemarie… there are 12 to be exact. And the specific technique used involves using a drawstring inside the flower that actually cinches it from the middle, and then fraying the edges of the petals. Another part of that wrap around design involves the embellishments, this part done by @ateliermontex. Where a bean starts at the hem of the dress, then a bird on the back, and on the back shoulder, a depiction of Jack and the Beanstalk, shown on the 1st slide. by @chanel_archives

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3 days ago

More savoir-faire from the CHANEL Fall 2026 Haute Couture show that was recently shown, where I’ll be looking at the unseen details and fabric specifications from 5 looks, that we miss from a regular runway photo. Next is Look 21, a tweed jacket-skirt suit, with some special techniques used by @lesage to give this bouclé, furry tweed. Made using yellow/ecru/black yarn and you can see on slide 2, each one of the threads has cotton daisies, to make the first part of the tweed fabric…The inspiration actually comes from daisies, a field of daisies to be exact. With jewelled yellow buttons in the spirit of enchanted flowers, shown on slide 6.But the special part about this fabric though, are the hundreds of daisies each woven through to create the fabric, and on slide 8 you can see up close how the cotton daisies are on a single thread. So during the weaving process, each one had to be fed into the fabric, all by hand. This being done over and over. So instead of just sewing the flowers on afterwards, they were made a part of the fabric instead. I don’t remember the exact number of hours, but the amount of time and work this would have taken is quite hard to fathom. by @chanel_archives

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4 days ago

More savoir-faire from the CHANEL Fall 2026 Haute Couture show that was recently shown, where I’ll be looking at the unseen details and fabric specifications from 5 looks, that we miss from a regular runway photo. Next is Look 31, a strapless dress which has been embroidered entirely by @maison_lemarie , to portray a botanical landscape using feathers and 3D fabric flowers. In a multicoloured palette… 23 different colours to be exact. Each piece is hand traced for scale, cut and then dyed by hand, with around 32 different fabrics used (organza, chiffon, cotton, crêpe, tulle, pongee, cigaline…) for all the different botanical motifs used. In line with the enchanted theme, this look is actually inspired by a magical garden. And this dress came after Look 30, the “Ugly Duckling” which was the entirely beaded floral suit, before it turned into the swan a few looks later, that had the same floral depiction. by @chanel_archives

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4 days ago

Following my last post, I’m looking at the savoir-faire (French for ‘know-how’) for 5 different looks from CHANEL Fall 2026 Haute Couture, to understand exactly how the garment has been constructed from inside out. With a rough step-by-step with the unseen details, and fabric specifications that we miss from a regular runway photo. Next is Look 20, the acid green/silver/black tweed dress, but the important part (I’ll explain why for different reasons) is that the tweed, which has been cut on the bias and to give that diamond motif, which you can see helps contour the body as it goes down vertically, but these parts help the end goal which is to make the dress reversible, with the illustration portrayal of Goldilocks shown on slide 3. So that diamond motif you can see, has been stretched and contoured around the body to keep the tweed from unraveling/fraying how tweed usually can, and it helps even more that darts are not needed, which would basically ruin the outcome with it being reversible.But when it comes to *true* couture, the techniques used on this gown is what really shows the importance of precision to detail needed. Especially on what would look like a simple gown, where mistakes are harder to hide. Then when it comes to lining up all the diamond checks on the tweed, which has been done so there are no visible seams. And finally, around the neckline you can see from slide 7, the different materials used to create the floral beaded collar. by @chanel_archives

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5 days ago

Seeing the final look on the runway is one thing, but looking at the savoir-faire (French for ‘know-how’) is a whole other way of understanding exactly how the garment has been constructed from inside out. So I’m gonna be looking at 5 different looks from the last couture collection, with a rough step-by-step with the unseen details, and fabric specifications that we miss from a regular runway photo (the photo for this runway look is on slide 5). First is Look 53, the black jacket and matching pleated skirt. At first glance it looks just like a check motif but it’s actually all done through beading. Specifically, black circular beads reminiscent of black caviar… the caviar referencing actually remind me of Look 43 from the last Spring couture collection, the yellow chiffon shirt/skirt set that had the same black caviar beading. But this suit is in the same spirit of Look 55, the gold suit which I previously filmed/highlighted, inspired by the magpie and the tale of its attraction to shiny objects, but also “bric-a-brac” which is the term for basically a collection of random trinkets, tchotchkes etc but in this context random jewellery/chains/charms. Then the skirt, pleated with a mousseline lining, also has trim that has been embellished with gold chains and charms to resemble a belt, and is actually inspired by a reinvention of the classic suit, with punk accents with the bric-a-brac accents, there’s even a XL safety pin if you look closely, but this is done to sell the illusion of a belt and the collar ‘necklace’, kind of like a Trompe-l’œil effect. I had to include this first though, it’s one of my favourites when it comes down to the looks that Matthieu added his own spin to the house codes and classic silhouettes, whilst adding something completely fresh. by @chanel_archives

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5 days ago

Something that makes these minaudières even more special (and something we’ve seen a lot under @matthieu_blazy) is the display stand they come with. Back when Spring 2026 was released, you may have spotted the egg minaudière with the gold legged display stand in the boutique window.So with the storybook fairytale element for CHANEL Fall 2026 Haute Couture, many of the minaudières (which were created by @goossens_paris) from the runway had their own display stands too, which I saw at the re-see held at 31 Rue Cambon.I’m just thinking about where I’d like to display these… or what I’d be able to actually fit inside. But the minaudières are the MAIN things I always look forward to each season, and something that feels so precious, as if from another time, like a Fabergé egg. by @chanel_archives

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14 days ago

Next in my “In Conversation With” series is Danielle Zinaich. Who last week made a return to the @chanelofficial runway after 12 years, the last time being Metiers d’Art 2014 Paris-Texas!But from all the way back to 1997… Danielle made a regular appearances on the runway. We spoke about her shooting with Karl for @harpersbazaarus, the success from working with @stevenmeiselofficial and how she approaches modelling now vs way back when. It’s been a pleasure to hear about her return, from working with both Karl Lagerfeld to now Matthieu Blazy and that beautiful skirt suit she wore (Look 11 with the magic bean buttons 🫘) from the Fall 2026 Haute Couture show that happened last week. Endless thanks to @daniellezinaich for being open, honest and sharing her story and those anecdotes from BTS we don’t hear about 🤍 by @chanel_archives

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9 days ago

Back with my interview conversation series, “In Coversation With:” My next guest Trinidad Castaño, who days ago opened just the CHANEL Fall 2026 Haute Couture show. But since @matthieu_blazy’s takeover, Trinidad has been regular, familiar face. She also made her runway debut, back in October 2025 as a WW exclusive for @chanelofficial.I asked Trinidad about those moments leading up to the opening of the show, the unforgettable phone call with her sister on July 3rd (a day she’ll never forget), her upbringing on her grandparents farm in a small town in Argentina, to recently shooting at Coco Chanel’s villa ‘La Pausa’ on the French Riviera for the Spring 2026 campaign. I have to add, how these interviews, genuinely mean SO much to me! To be able to share the stories and different perspectives from models etc, not just from a kind of ~journalistic~ POV, how fashion has always been a kind of escapism for me! A huge appreciation to anyone who enjoys reading, and suggestions always welcome.Lastly, I can’t thank @trinicastanio for being so open with me, and sharing her (just beginning!) story with me.Interview by Ryan McMahon (that’s moi, @ryantowear) by @chanel_archives

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12 days ago