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Straits Times
13-05-2025
- Entertainment
- Straits Times
Chanel to stage reprise of its Cruise 2025/26 show in Singapore in November
Chanel will stage a replica show of its Chanel Cruise 2025/26 Collection, first unveiled in Lake Como in April, in Singapore in November. PHOTO: CHANEL Chanel to stage reprise of its Cruise 2025/26 show in Singapore in November SINGAPORE – French fashion house Chanel has chosen Singapore to restage its 2025/26 Cruise show, which was first unveiled in Lake Como, Italy on April 29. The replica show will take place at an undisclosed location on Nov 4, in a signal of the luxury brand's continued investment in the city-state. Mr Bruno Pavlovsky, Chanel's president of fashion, says Singapore was chosen for its visibility in South-east Asia and is an 'important hub in our development'. Speaking exclusively to The Straits Times over video call, he adds: 'At Chanel, we love Singapore. Singapore is one of the cities of Chanel – we have a strong, loyal base of customers that has been increasing in the past 30 years.' The show will be a closed-door event for VIP customers and members of the media. Outside the official fashion show calendar, Cruise collections began as a way to offer European clients a wardrobe suitable for winter travel, or to meet the needs of customers in warmer climates. Chanel Cruise 2025/26 Collection, unveiled in Lake Como in April. PHOTO: CHANEL Namesake founder Gabrielle Chanel is widely credited as the designer who invented the concept of the Cruise show. In the late autumn of 1919, she presented a small collection of light dresses and knits to suit her lifestyle and that of her clients who frequented seaside resorts, notably Deauville and Biarritz in France, and Monte Carlo in Monaco . Noting its historical significance, Cruise – along with Metiers d'Art, an annual collection celebrating the art of craftsmanship – is one of two off-season 'unique moments only for Chanel, where we can highlight the creativity of the brand in a very special location', says Mr Pavlovsky. Featuring lighter fabrics and colours, Chanel's Cruise collections are loved around the world, especially in Asia, he adds. Presented in the historic Villa d'Este, an iconic hotel in Italy and former 16th-century royal residence, the 2025/26 collection was partly inspired by the scenery of Lake Como. Chanel's president of fashion, Mr Bruno Pavlovsky. PHOTO: CHANEL In 2000, Chanel became the first house to introduce a show for its Cruise collection, staged in exotic locales around the world. The show takes place around May each year and the collection arrives in boutiques in November. Repeat or replica shows, usually timed around November, drum up excitement leading up to the arrival and are the 'best way to launch the collection in the boutique', says Mr Pavlovsky. 'For me, 'replica' is not a good term,' he adds, suppressing a groan. 'It's the same collection, but a specific orchestration. It's part of the surprise – another way to come back to the collection and give a different angle. It's an opportunity to offer a unique experience to our local clients. We're putting a lot of resources into making it super special.' Chanel Cruise 2025/26 Collection, unveiled in Lake Como in April. PHOTOS: CHANEL It is not the first time Chanel has set its sights on Singapore as a global stage for its fashion. In May 2013, the brand presented its 2013/14 Cruise Collection in the Loewen Cluster in Dempsey Hill. Big names in attendance included Hollywood actress Dakota Fanning and K-pop star Choi Si-won. The late legendary French fashion designer Karl Lagerfeld – Chanel's creative director from 1983 till his death in 2019, who was synonymous with the brand – also graced the event. It was the only time he came to Singapore for Chanel, and remains for many fashion insiders a milestone moment for the country. Recalling the occasion, Mr Pavlovsky says: 'It was a super good, unique moment. I was there with Karl – I remember we had a lot of fun. It was something big for the brand.' The last replica Cruise show was set in Hong Kong in November 2024, in a retelling of the original show in Marseille, France earlier that year. When asked how Chanel views Singapore in relation to Hong Kong as a luxury hub – both cities continue to vie for the title of premiere hub in the Asia-Pacific region – Mr Pavlovsky bats away the comparison. Chanel Cruise 2025/26 Collection, unveiled in Lake Como in April. PHOTO: CHANEL 'It's not the same history. I don't like to compare. I like to work with what is specific in every single city. We're trying to build what's most meaningful in each city. We don't want to copy-paste the approach, we want it to be meaningful for Singapore. ' I like Singapore. It's interesting to see the evolution and development of the city. It's always getting better,' he adds. In the 12 years since the last Chanel show here, the brand has made significant investment in Singapore by upgrading its two fashion boutiques in Ngee Ann City and The Shoppes @ Marina Bay Sands, he notes. 'We have a lot of expectations and want to upgrade the experience for our clients in Singapore. This show in November will be the first step.' Is the house worried about demand for Cruise during an economic downturn where disposable income is shrinking globally? Mr Pavlovsky says: 'Chanel is not protected. When there's a crisis, it's a crisis for everyone, even though we are lucky that our clients are more resistant. 'But I think that economic doubt and changes are always good for Chanel – to ask the right questions and adapt, and listen to our clients. Only those who are able to adapt will be the winners of tomorrow.' Demand for the collection, he adds, is not the main priority. Chanel Cruise 2025/26 Collection, unveiled in Lake Como in April. PHOTO: CHANEL 'Cruise is more of an inspiration. We're expensive because our product is sophisticated. We're at the top of the luxury market. Chanel is not cheap because of the quality, design and know-how. Luxury is about a dream for all, even if sometimes the access is more limited. 'Sales is not an objective by itself. Sales is the result. We don't need to sell more, we need to sell better,' he says. All will be revealed come November. While there is no formal link between the cities and venues chosen for the original and replica shows, one can expect some thread of continuity. Asked if he could let on about the upcoming venue, Mr Pavlovsky says to use one's imagination: 'We're in one of the best sceneries here in Lake Como. I'll leave you to guess what that could be in Singapore.' Join ST's Telegram channel and get the latest breaking news delivered to you.
Tatler Asia
09-05-2025
- Business
- Tatler Asia
Chanel's Bruno Pavlovsky on celebrating Italian glamour and craftsmanship at Lake Como
Above Bruno Pavlovsky, Chanel's president of fashion Chanel is one of the rare fashion houses that has invested substantially in vertical expansion. Apart from the renowned Le19M, Chanel's headquarters for its Métiers d'art, a hub that gathers 11 French historic ateliers under one roof, the house also invests heavily in other parts of the region, including Italy and Scotland. Securing the best manufacturing partners has long been Chanel's strategy in setting itself apart from its competitors. 'It is not about where the product is produced; it is about accessing the best techniques and crafts. For silk, leather goods and shoes, we have no choice but to acknowledge that Italy has some of the best expertise. It is about sourcing the best and producing the best quality.' These strategic alliances not only ensure Chanel's access to exceptional craftsmanship but also directly foster the continuation of century-old knowledge and techniques. The Mantero Seta silk atelier, for example, is one of the oldest silk production units in Italy. Through Chanel's long-term partnership, the atelier has been able to maintain its traditional craft while investing in innovative technologies. This symbiotic relationship ensures both the preservation of heritage techniques and the evolution of craftsmanship to meet contemporary luxury standards. The atelier continues to produce some of Chanel's most intricate silk prints and twills, maintaining the highest standards of quality that the house demands. Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) 'These artisans are not just manufacturers—they are integral to the creative process,' Pavlovsky explains. 'While they don't create the initial designs, they play a crucial role in transforming sketches and ideas into tangible products. From the beginning, we've taken the position of being proud to acknowledge their contribution. It's not about them being part of Chanel; rather, Chanel exists because of their expertise.' 'At Chanel, while we maintain very high expectations and are demanding about product quality and finishing, we recognise that execution lies in the hands of these artisans. That's something we need to highlight. We're not trying to control everything—we're trying to get the best out of these partnerships by letting these manufacturers excel at what they do best. Once you witness their work, you never look at a shoe or a scarf the same way again.' Photo 1 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 2 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 3 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 4 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 5 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 6 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 7 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) Photo 8 of 8 Chanel 2025/26 cruise collection (photo courtesy of Chanel) And this has manifested in the collection itself. Driven by the Creation Studio, Chanel's design centres where ideas take shape, the house's latest collection takes inspiration from the refined Italian glamour of its surroundings. The presentation transformed Lake Como's shoreline into a cinematic tableau—an homage to the golden age of Italian cinema. Each look captured the essence of Mediterranean sophistication: diaphanous silk gowns traced with nautical elements floated past centuries-old villas, while precisely tailored jackets paired with fluid trousers channelled the architectural elegance of 1960s Milan. Lightweight tweed suits in soft pastels notably mirrored the sunset palette of the lakeside. Accessories, such as dramatic sun hats, pearl-embellished sandals and vintage luggage-shaped handbags, echo the spirit of a carefree European summer. 'I believe we are one of the few brands now still putting a big focus on fashion,' says Pavlovsky. 'We don't just talk about bags, shoes and accessories separately. They are always part of a bigger picture, an extended language of the collection itself. We talk about accessories through fashion—everything works together to construct a complete silhouette, a definitive style. When we present a collection, we're telling a complete story.' Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) Above Chanel 2025/26 cruise collection (photo courtesy of Chanel) And now, as many anticipated, a new storyteller has taken the helm of the house. Matthieu Blazy, Chanel's newly appointed creative director, will present his first collection for the maison this October, marking a new chapter in the house's storied legacy. 'It's an interesting time for me and for everyone,' Pavlovsky reflects. 'Chanel is a brand with such profound depth that it requires time to truly understand and immerse oneself in its essence. Of course, expectations are extraordinarily high. But we're approaching this with patience and perspective. We're not just focusing on the October collection––we're looking ahead at all the collections to come in the next few years. A vision needs time to unfold, and impact is built on time.' It's a bold stance in an era of constant newness—one that reinforces Chanel's position as a house that sets its own rhythm.
Vogue Singapore
30-04-2025
- Entertainment
- Vogue Singapore
Vogue's best looks from the Chanel cruise 2026 show
Show review in a sentence: A show that paid homage to Coco Chanel's love of reimagining the mundane Designer: Chanel design studio Location: Villa d'Este, Lake Como The vibe: 'With a backdrop like this, you know the show is bound to look incredible without much effort,' joked Bruno Pavlovsky, president of fashion at Chanel. And incredible it was: set within the architectural masterpiece of Villa d'Este, where terraced gardens, elaborate musical fountains, neo-romantic sculptures, and sweeping views of the lake created one of the most enchanting settings, adding yet another chapter to the maison's tradition of crafting unforgettable experiences for its guests. It was a fitting tribute to the dreamers, lovers, and filmmakers who once roamed these storied grounds in search of inspiration. The vision: Buzzing pre-show predictions echoed across luncheons and elevator rides, with speculation swirling around the design studio being inspired by the works of Italian film and theatre director Luchino Visconti as well as his brief relationship with Gabrielle Chanel. There was also talk about the possibility of Chanel's new creative director, Matthieu Blazy, just one month into the role, bringing his signature trompe-l'œil effect to pieces like the classic tweed jacket. Today's show, however, had little of that, but instead delved into the intriguing idea of a life spent living in a hotel—where the quirks of social rituals meet the intimacy of private spaces—a theme that wove its way throughout the entire presentation. With Busdriver, Radioinactive, and Daedelus's toe-tapping bossa beats filling the entire show space; slouchy tweed bathrobes that hinted at a leisurely poolside escape; delicate lace suits perfect for a courtyard soirée; and a lineup of shimmery ensembles befitting a late-night rendezvous, the show offered something for everyone. What to shop from this collection: The standout piece for me was a sand-colored suede slip, adorned with glistening gemstone baubles tracing its trim—perhaps a subtle nod to Italian ornamentation, evoking the opulence of Byzantine jewellery as a symbol of grandeur and legacy (Look 13). Then came an unforgettable moment: a white bustier paired with ultra-high-waisted tweed shorts (also seen in the teaser), conjuring a silhouette that seemed to be plucked straight from the archives of 1994 (Look 24). And lest we forget, the macramé knit ensemble—ultra-chic yet effortlessly casual—proved its versatility, transitioning seamlessly from day to night with just a change of footwear (Look 40). Today's show, despite the occasional missteps in styling and some questionable material choices, still delivered a range of thoughtfully designed basics—pieces that offer just enough novelty to refresh a wardrobe without overwhelming it. As we look ahead to September, with anticipation, I'm confident that Blazy will infuse the collection with the contemporary vigour the maison currently lacks. And by then, we might just get to see his take on the iconic tweed jacket—perhaps reimagined as a buttery-soft leather shirt, meticulously hand-painted in layered strokes to channel that unmistakable Chanel sensibility. Alessandro Lucioni 1 / 10 Look 1 Alessandro Lucioni 2 / 10 Look 6 Alessandro Lucioni 3 / 10 Look 12 Alessandro Lucioni 4 / 10 Look 13 Alessandro Lucioni 5 / 10 Look 19 Alessandro Lucioni 6 / 10 Look 24 Alessandro Lucioni 7 / 10 Look 27 Alessandro Lucioni 8 / 10 Look 31 Alessandro Lucioni 9 / 10 Look 40 Alessandro Lucioni 10 / 10 Look 54
