Chanel's Bruno Pavlovsky on the arrival of Matthieu Blazy, Trump tariffs and business being better than ever

Fashion Network

01-05-2025

This Tuesday, the Parisian marque kicked off the European cruise season with a smart show staged on Lake Como at the mythical Villa d'Este hotel. No designer took a bow, but the lakeside show was crammed with jewel-bedecked VICs flown in from over a score of countries - testifying to Chanel 's near intoxicating power with the world's wealthiest one percent. An ode to movie-star chic and Italian glamour, whose muse as the great Austrian actress Romy Schneider, a great friend of Coco Chanel.
Dior, Gucci, Louis Vuitton, and Max Max Mara will also stage gala runway shows in exotic locations over the next five weeks, but Chanel's status as the planet's pre-eminent luxury fashion label seems assured.
That said, despite being a highly convincing commercial display of resort clothes and an ode to Italian cinema and movie star glamor, there was little directional about this collection. One reason, expectations about the appointment of the hyper talented Matthieu Blazy as only the fourth official creative director in the house of Chanel is causing so much anticipation. After four brilliant years helming Bottega Veneta in Milan, the 40-year-old Blazy officially began working at the house's historic home at 31 rue Cambon in Paris in early April.
One figure beaming ebullience at Tuesday's show was Bruno Pavlovsky, fashion president of Chanel, happily ensconced between Sofia Coppola and Lupita Nyong'o.
The show comes after quite a few months of criticism on social and established media of Chanel's prices increases last year, in the midst of difficult global economy and a major downtown in luxury sales.
It's a point of view that Pavlovsky vehemently rejects, pointing to the sheer quality of all Chanel products, and the savoir faire, workmanship and technology involved in making top-level prestige goods. While in Como, Chanel ferried scores of editors to discover key Italian producers with whom the brand works, like Mantero, the brilliant silk producer and printer.
Hence, pre-show FashionNetwork.com sat down with Pavlovsky, to hear the latest from the man charged with overseeing this vital new step in the 120-year-old brand, and shining symbol of French flair and chic.
Fashion Network: Why did Chanel come to show in Como?
Bruno Pavlovsky: It's a mythical location that works extremely well for Chanel. It's a place where so many films have been shot, ideal for the theme of this collection. Last week, they were shooting a feature in the villa! And half of Coco Chanel's heart was in Italy, another reason this location is perfect.
Access to Villa d'Este is actually very hard. We needed two years to organize as we booked the whole villa for four days. But quite frankly, its terrace is inspiring to anyone who is a designer.
FN: Why are cruise collections so important for Chanel?
BP: Coco was the first to do a cruise capsule for Americans leaving for cruises in the Caribbean in the '20s. Karl was the first to stage a cruise show. Cruise is an exceptional moment where a brand is fully able to express itself and be inspired by a certain location. And, the delay of the collection – it enters in boutique in November and lasts to May and is lighter and more colorful and that adds energy to our boutiques. That's another magical moment.
FN: Not every brand continues to stage shows, especially cruise, especially between creative directors. Why was it important for Chanel to keep staging shows in the interim?
BP: It's because Chanel the brand is stronger than any designer. When Karl or Virginie Viard were our designers, we never skipped a collection. Because that's who we are. It's not just about showing to the press, but also our relationship with our clients. I can tell you we have never sold as much ready-to-wear as we do today The client is of course influenced by who is the designer and their ideas and energy, but they buy because of the product.
We do these shows to make people dream. Certain clients, I believe, don't even know who exactly is our designer. But they know Chanel and have certain strong feelings about what Chanel is. And we need to preserve that. That's why we are very content to see Matthieu arrive - with his eye, his talent and his experience together with the experience of our studio.
FN: Explain why Chanel made recent investments in Italian suppliers, like Mantero where you just bought a 35% stake?
BP: One of reasons for coming to Como is that it helps us show off our ecosystem. Like Mantero for silk. It demonstrates the reality of work behind the product – the savior faire, the hands and the machines. Luxury only exists thanks to that today. Without this expertise that exists for decades, Chanel could not incarnate luxury as it does today. Forming a new generation of artisans is essential. Plus, these visits to factories gives editors a chance to understand why our products are so expensive – you see the technology and skill and time required. It's a virtuous circle.
FN: And why specifically did you acquire 35% of Mantero?
BP: We have worked with Mantero every single year for over a half century, together developing exceptional products. Today, the situation is such that neither Lucia nor Franco Mantero have heirs.
So, the question had to be asked what will happen with one of the most beautiful Italian manufactures, if tomorrow morning there is accident? That's why we want to be present and help. This is not about control. To create Mantero's exceptional silk, the investment needed is very high. So, we can help with that to guarantee Mantero makes the best prints, using less electricity and polluting less, while still making money.
We work with 67 different suppliers and plants and each brand and family has a certain rapport. Many work independently of Chanel with other luxury brands and that's good.
FN: There has been a certain amount of negative reaction, especially on social media, to top level luxury brands increasing prices. Do you think that is unfair?
BP: Those complaints last year do take into account this ecosystem of hyper-quality required to make our Chanel products. We also need to guarantee this ecosystem exists in the future which requires substantial investment and explains why prices sometimes have to be raised.
FN: What are your plans for dealing with Trump tariffs in the U.S.?
BP: Tariffs already exist. For ready-to-wear it's already 15%. There is not free exchange in the world. What matters to Chanel is the client and harmonization of prices. It's very hard to predict the final position of tariffs, but the harmonization of prices will continue. And don't forget, right now the dollar has greatly weakened, so prices will go up thanks to the dollar falling.