Jennie Covers Both Sides of Dazed Korea's June 2026 Issue in Chanel — Then Owns the Seoul Métiers d'Art Runway

When Dazed Korea unveiled its June 2026 issue, the magazine made an unusual editorial decision: it gave Jennie both covers. Three distinct cover variations — a sharp pinstriped double-breasted Chanel suit with tie, an inverted experimental composition in a textured dress, and an avant-garde black-and-white look finished with a mesh headpiece — appeared simultaneously, each a distinct chapter in the same document. Photographed by Zoey Grossman and styled by Sam Woolf, the Jennie Dazed Korea June 2026 Chanel editorial served as the visual prologue to Matthieu Blazy's first Chanel Métiers d'Art presentation as Artistic Director of Fashion, held at Centre Pompidou Hanwha in Seoul on May 26. Nine years into her relationship with the house, the editorial reads not as a campaign insert but as a genuine portrait of an ambassador who has grown up inside the brand she represents.

Dazed Korea's decision to dedicate both its front and back covers to a single subject — and to produce three distinct variations — is a statement of editorial confidence. Grossman's photography moves across registers: the first cover places Jennie in the kind of tailored authority that Blazy's Chanel has been systematically reclaiming, the pinstriped double-breasted suit made informal by her, the tie worn with the ease of someone whose relationship with the brand predates any current creative direction. The second cover inverts the composition entirely, placing her in a textured dress and restructuring the image's visual logic — more experimental, positioned firmly as editorial rather than promotional. The third, stark black-and-white with a sculptural mesh headpiece, anchors the series in the magazine's more avant-garde visual vocabulary.

The shoot credits are as carefully assembled as the covers themselves: Sam Woolf on styling, Olivier Schawalder on hair, Joy Nara on makeup, Zola on nails. The timing was deliberate — the magazine reached newsstands as Chanel's Métiers d'Art Seoul week approached, framing Jennie's ambassador role in its most elevated context before one of the house's most culturally significant events of the year. The editorial is not a tie-in; it is a foreword.

On May 26, Chanel staged the Métiers d'Art 2026 collection at Centre Pompidou Hanwha in Seoul — bringing a runway event that had premiered in New York in December 2025 to the city most closely associated with the house's global cultural ambitions. It was Matthieu Blazy's first Métiers d'Art collection as Artistic Director of Fashion, and the Seoul staging made the K-pop connection structurally explicit: Jennie, as house ambassador, was not merely a front-row presence but the axis around which the collection's Korean debut would be read. Notable attendees included Tilda Swinton, actress Go Youn Jung, actor Park Seo Joon, and Kim Go Eun — a front row that signalled Chanel's investment in Seoul as a genuine cultural capital rather than a commercial outpost.

Jennie's look for the show generated some of the season's most widely circulated imagery: a plunging, backless navy top with nautical white trim from the Chanel Cruise 2026/27 collection, cinched by a gold metal accent formed as the house's interlocked double-C logo, paired with high-waisted navy pants carrying two rows of braided gold buttons. The matching jacket — completing the look as a tailored suit on the runway — Jennie carried nonchalantly over her arm, giving the ensemble an insouciance that immediately went viral. Online reactions described her as having made the suit look better by not wearing it. Coco Crush fine jewellery completed the picture; the overall effect was of someone dressed by instinct rather than instruction.

Jennie's relationship with Chanel stretches back to 2017, when she became the first K-pop idol named a house ambassador — a distinction that now carries such weight, in both media impact and cultural precedent, that it can be easy to forget it was once genuinely novel. In the nine years since, she has been present at every significant Chanel moment: the final show under Karl Lagerfeld's direction, Virginie Viard's first collection, Matthieu Blazy's arrival and his ongoing recalibration of the house's aesthetic identity. She has attended every major show season, fronted campaign activations across three continents, and become so completely identified with the house that the pairing has grown self-referential — the question 'which Chanel look will Jennie wear?' now lands before collections are even confirmed.

The Dazed Korea June 2026 cover and the Chanel Métiers d'Art Seoul show represent, together, the most concentrated public statement of that nine-year relationship in recent memory. The editorial is a portrait; the show appearance is a performance; and the unreleased solo track she debuted at the show's after-party completed a single extraordinary week that moved across fashion, music, and cultural presence simultaneously. For the house, Jennie is not simply an ambassador. She is the proof of concept — the argument that a K-pop idol and a luxury maison can build something that outlasts any single campaign and produces genuine cultural value for both parties.