Kamali's debut collection — titled Intuition — was a homecoming in both professional and emotional terms. She drew from the Lagerfeld years, from the fluid silhouettes and silk blouses that defined the house's most beloved decade, and from the Philo era's iconic bags — reviving the Paraty, a MacGibbon-era shape whose structural sensibility echoed the collection's own balance between romance and rigidity. Romantic blouses with ruffles and flounces, sheer maxi dresses, baby-doll silhouettes worn with cape coats and over-the-knee boots. The Chloé girl was back — not as a nostalgic exercise but as a genuine conviction that the women who had fallen in love with this house over the decades were still there, still wanting those feelings. "I strongly believe that there are a lot of women out there who have this longing, who remember those days and want to feel it again," Kamali said. "Because Chloé really is an emotional brand."

Kamali's third collection was drawn from New York's artistic orbits of the late 1970s — the opulence and freedom of the Factory parties, the Art Deco geometry of downtown Manhattan, the particular glamour of women who dressed for themselves rather than for anyone else. Slouching silhouettes, long bell sleeves, silk ruffles, cropped houndstooth blazers. A black billowing summer dress with a tiered frame and cinched bishop sleeves, adorned with a gold fil de coupé pattern that moved with the body. The gold scaffolding of Karl Lagerfeld's 1970s Paris apartment echoed in the fringe, the gold accents, the black lace. The collection confirmed what Intuition had proposed: that Kamali's Chloé is not about a single aesthetic but about a spirit — the particular electricity of a woman in full possession of her own style.

For Fall 2025, the blouse arrived with a new authority. Ivory and peach silk, broad don't-mess-with-me shoulders, commanding sleeves with gathers and meaty cuffs — blouses with the oomph of jackets, structured enough to stand alone. Kamali's mood board was dense with Guy Bourdin images from the late 1970s, a shift from the Lagerfeld archive references of earlier collections toward something more photographic, more cinematic. Alongside the power blouses: delicate lace dresses with frothy peplums pivoting at the hip. The collection also marked the return of the Paddington bag — the Philo-era piece with its padlock hardware — resurrection as a statement about continuity and desire. Jerry Hall and Georgia May Jagger sat front row, two generations of Chloé cool side by side, as if the house were demonstrating, in person, that its identity spans time without being trapped in it.

Kamali titled her Fall 2026 collection "Devotion" — a word that named her research method as much as her emotional intention. She found a direct line between a 1978 Chloé collection by Lagerfeld — knitted jackets with detached shoulder yokes — and the kraplap, a traditional Dutch garment of stiffened cotton. She added such yokes to the wool blazers that opened her show, shown at the Maison de l'UNESCO in Paris, where models moved through fog in checkered prairie skirts. Hand-knits, patchwork jackets, embroidered blouses, crochet details — each piece carrying the subtle irregularities of handmade work. Kamali deployed 25 meters of silk chiffon into a single frothy underskirt; she decorated blouses with tiny floral motifs imperceptible on a phone screen. "Every embroidery, knitted thread, and printed motif reveals both the maker's hand and their devotion," she wrote in the show notes. "They were never identical, they had unique irregularities that made them feel human."

Chloé has produced more enduring bag shapes per creative director than almost any other French house. The Paddington — with its heavy padlock hardware and waiting-list mythology from the Philo era. The Marcie hobo — from the MacGibbon years, defined by its saddle-stitched flap and its particular casual elegance. The Paraty — also MacGibbon — with its architectural construction. The Edith from the early Philo period, structured and serious. Under Kamali, the bags have evolved toward a more sculptural vocabulary — oversized totes, bowling shapes, updated takes on the house's existing shapes with refined proportions — while the charms and accessories that hang from them have been a consistent element of her visual language, their scale carefully modulated collection to collection. The bags are the house's most immediately legible commercial statement. Kamali is redefining what the Chloé girl carries without disrupting the fundamental proposition of why she carries it.

Chloé holds B Corp certification — one of the few luxury fashion houses to have done so — committing to the highest verified standards of social and environmental performance, transparency, and accountability. The commitment to sustainability is not incidental to Kamali's creative vision but intrinsic to it: her obsession with the blouse is an obsession with the garment that lasts, that can be worn across decades, that has been worn across decades in her own archive of 1,500 pieces. The Fall 2026 "Devotion" collection made this argument most directly — garments built by hand, with time, with the subtle irregularities of craft. "Fashion is not escape but connection," Kamali wrote. In a luxury market increasingly organized around spectacle and turnover, Chloé under Kamali is making a quieter and more durable argument: that the most radical act is to make something that is worth keeping.