The invitation for Chanel’s haute couture show this season came with a hefty add-on: an advance edition of “Chanel Haute Couture,” a gold-covered coffee table book edited by Sofia Coppola to commemorate the 110th anniversary of the house’s bespoke division.

To emphasize its heritage, the brand transformed an upper gallery of the Grand Palais, which recently completed the second stage of its spectacular renovation, into a replica of its historic haute couture salon on Rue Cambon, complete with beige banquettes and mirrored panels inspired by its famed Art Deco staircase.

Floor-to-ceiling curtains and a deep pile carpet evoked the hushed ambiance of private fittings at Chanel HQ. The collection, by contrast, propelled the audience into the great outdoors, with chunky outerwear, thigh-high boots and a palette of forest hues.

Ahead of creative director Matthieu Blazy’s official debut in October, it was once again designed by a studio team, though you could sense a shift was afoot.

It’s been a while since the brand had this much fun with texture, from the hulking feathered shoulders on a nubby ivory tweed cape, to the ragged fringe edging tweed tunics or a fluffy black big bird coat — a mix of tweed, feathers and chiffon — tossed over a slinky ivory evening gown.

The lineup was inspired by founder Gabrielle “Coco” Chanel’s love of Scotland, where she discovered her signature fabric, tweed. It was worked into suits with long fishtail skirts, split jackets with military-style pockets, and a long buttoned vest and double-layered pants in burnished gold, echoing the gilded wheat sheafs left on each seat.

Looks were rife with trompe-l’oeil effects, from the raindrop sequins on a glossy black greatcoat worn with a tiered skirt in lacquered lace, to the frothy white collar on a black bouclé wool column coat, flecked with wool and silk tufts the color of fresh snow.

Some of the oversize volumes erred on the side of bulky, as in cardigan skirt suits with dense lattice-woven embroideries or passementerie fringe. But a pantsuit in olive camouflage brushed wool hinted at a more untamed side to the Chanel woman — the jacket’s hairy outline contrasting with its sparkling black buttons and trim.

“These are the premises of Matthieu’s influence,” said Bruno Pavlovsky, president of fashion and president of Chanel SAS. “The team has done an amazing job and Matthieu is starting to give his input, and it’s great to have this gradual handover. It’s not a break, it’s something that will allow us to continue feeding the brand.”

The designer, who officially started on April 1, joined the house at a challenging time for the luxury sector. Though Chanel reported that revenues fell 4.3 percent last year at comparable rates, Pavlovsky said he was encouraged by its performance so far this year.

“Chanel is doing very well in the current context. At any rate, we are above our forecasts,” he said. “This slowdown is forcing us to focus on fundamentals, and when those fundamentals are well executed, the response is also positive in stores, so I remain quite optimistic.”

Word is that Blazy quietly slipped into the show to support his new teammates. Come next season, all eyes will be on the man behind the curtain.