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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.
The Guardian
29-04-2025
- Entertainment
- The Guardian
Chanel takes a cruise around Lake Como with glamour fit for a grand hotel
Chanel has a fresh-faced, avant garde new designer but it still stands for classic glamour. This was the loud and clear messaging at the first Chanel show since Matthieu Blazy took up his role. The show was held at Villa d'Este, the Lake Como palace hotel where Elizabeth Taylor, Greta Garbo and Marlene Dietrich holidayed and which Alfred Hitchcock, who filmed The Pleasure Garden there, pronounced the most beautiful place on earth. The location, booked a year in advance, provided the theme: life in a grand hotel. Think White Lotus on Lake Como, art directed by Slim Aarons. First on to the pebbled catwalk weaving through the hotel's terrace was a white bathrobe-style coat. Then there were capri pants in the butter yellow of the hotel parasols, and a lilac tweed suit to match the wisteria trailing overhead. Models swung tote bags big enough for pool towels, while gold lame cover-ups glinted as dazzling as sun on the lake. 'To me, Como is about the light,' said Bruno Pavlovsky, Chanel's president of fashion. 'Life is cinematic here.' Famous faces including actors Keira Knightley and Sarah Catherine Hook were dotted among a 900-strong audience mostly made up of Chanel's biggest spending clients. The Cruise season of catwalk shows, named for a time when Caribbean cruises requiring trunks of glitzy loungewear were in vogue among the rich, have evolved to stand for holiday glamour in general. Spending on holiday wardrobes has increased exponentially across all price brackets: consumers spend less on dressing smartly for work, and more on looking good on holiday for Instagram. Brands drop serious money on Cruise shows, because a slice of this lucrative holiday market is worth a lot in sunglasses. (There was a pair of shades to go with most looks in this show.) Pavlovsky describes Chanel as being in a moment of 'generational handover'. Blazy, who took up his role at the beginning of April, did not work on this collection or attend the show, which was credited to the design studio. Holding the fort as figurehead for the event in his absence was Chanel ambassador Sofia Coppola, who made a short film on location at Villa d'Este to accompany the event, which she described as 'about that version of yourself when you get away, when you may be different from how you are in real life'. Chanel has doubled revenue and headcount in the past decade to become the world's second-largest luxury brand behind Louis Vuitton, with 36,500 employees at the end of 2023. It is more than 10 times the size of Bottega Veneta, from where Blazy arrives from. His October debut is hotly awaited but Pavlovsky is 'not so interested in what happens in October'. Rather, he is 'interested in a future which begins in October. We work on Chanel time. We don't rush.' Pavlovsky has said he will wait two years before judging whether Blazy is the right fit. Pavlovsky dismissed any suggestion of moving production to the US as a strategy to avoid tariffs. He said Chanel intends to maintain its current policy of price harmonisation, in which prices are consistent in every country in the world, adding that they would 'find a way to cover the cost' of keeping prices low in US boutiques if tariffs are levied. Sign up to Fashion Statement Style, with substance: what's really trending this week, a roundup of the best fashion journalism and your wardrobe dilemmas solved after newsletter promotion Pavlovsky told Womenswear Daily that it was 'the great admiration and respect for the heritage and the work done by Mademoiselle Chanel, by Karl and by Virginie,' which he sensed in Blazy, which clinched the recruitment. 'That was important to me, because it wasn't about a kind of competition over image and size. It was about the depth of what the brand stands for, and how we could build on that to continue telling our story,' he noted. Blazy has begun to make changes, including the hiring of seasoned British haute couture specialist Andrew Heather, who has worked under designers including Alexander McQueen and John Galliano. Silk scarves made in Como featured as ankle straps for heeled sandals, on the catwalk. Chanel has recently taken a 35% stake in Como-based manufacturer Mantero, which has been producing silk for Chanel blouses and printed scarves for more than 50 years. Under the terms of the deal, Mantero will continue to produce clothes for rival luxury clients including Dior, Saint Laurent and Versace, but Chanel believes that protecting key players in its supply chain is a sound investment, at a time when global economic pressures are putting many specialist producers out of business.
Yahoo
02-04-2025
- Business
- Yahoo
Inside the Factory That Makes $10,000 Chanel Handbags
VERNEUIL-EN-HALATTE, France — Chanel is lifting the lid on the making of its $10,000 classic flap handbag. For the first time, the French luxury house has opened the doors to one of its leather goods factories as part of its ongoing push to promote its pillar style. The move comes on the heels of last year's high-profile advertising campaign for the 11.12 handbag, starring Brad Pitt and Penélope Cruz. More from WWD Chanel Watch and Jewelry President Frédéric Grangié on Becoming a Watchmaking Pure Player Accessories Brand Misela Lands Stateside With Bond Street Boutique U.N. Secretary General Says 'Dressing to Kill Could Kill the Planet' Bruno Pavlovsky, president of fashion and president of Chanel SAS, said that while the ad blitz helped to burnish the aura of the timeless bag, it coincided with a sharp drop in luxury spending, particularly in China, and growing pushback against a series of price increases that have placed Chanel in the same bracket as rival Hermès. 'This context has led us to gradually open up and explain the situation,' he told WWD. 'We offer high value-added products that require exceptional know-how and materials, as well as extensive training with passionate teams,' he added. 'If we don't show why it's expensive, people can't know.' Regardless of market fluctuations, the quilted handbag is intrinsic to the house's mystique, maintaining its draw across generations. 'At Chanel, there is No.5 and there is the iconic bag,' said Pavlovsky. 'These are the two drivers of the brand.' Unlike Hermès, which has established a network of directly owned leather goods workshops across France, Chanel has historically worked with a group of manufacturers in France and Italy that collectively employ several thousand people. Though most of its suppliers also work with other brands, Chanel has partnered with many of them for decades and supported them at critical junctures — during the coronavirus pandemic, for example, or when the original owners retire and hand over the management reins. Often, that support has come in the form of discreet investments. Among its most recent acquisitions are stakes in two Italian companies: costume jewelry and metal accessories maker Leo France and shoe manufacturer Grey Mer. Nowadays, Chanel produces two-thirds of its bags with factories that it controls, and one third with suppliers that remain independent, Pavlovsky specified. 'At Chanel, we have always favored a balance between the teams and factories that we control and those that we don't control. I pay particular attention to those we don't control, because they are the ones that keep our feet on the ground,' he said. 'It's what allows us to stay connected to the market.' Its signature handbag is made exclusively in France. Les Ateliers de Verneuil-en-Halatte, or AVH, is one of its key production sites, due to its location an hour and a half's drive from central Paris. Based in the Oise department since 1990, the factory moved into its current premises in 2021. On a recent visit to the bright and airy leather goods workshop on the edge of the Halatte forest, visitors were walked through the making of the bag, which involves some 180 steps. The 270,000-square-foot factory was built according to exacting environmental standards and produces part of its energy thanks to solar panels, said Célia Barani, managing director of AVH. It's home to 470 people, including 300 artisans who work in north-facing workshops on the second floor to guarantee the best light. In the atrium that houses the communal dining area, a large screen broadcasts footage of the brand's latest runway display at the Grand Palais. On show days, all the artisans gather there to see which of their bags made the cut, Barani said. The workshop specializes in producing the 11.12, a reinterpretation of the 2.55 bag launched by founder Gabrielle 'Coco' Chanel in 1955. It crested in popularity under the house's late creative director Karl Lagerfeld after he took over in the '80s. 'Since then, it hasn't changed. Its proportions remain the same, and the manufacturing techniques are identical,' Barani said. Chanel likes to call it a 'couturière' bag because it's sewn and turned inside out like a jacket, and comes not just in leather — including the kind of ultrasoft lambskin used by glovemakers — but also seasonal materials including tweed, denim, sheepskin and embroidered designs created by the specialist workshops at its craftsmanship hub Le19M. Unlike Hermès bags, which are produced by a single artisan, Chanel's classic bag requires the input of some 30 people, from model makers to preparers, cutters and assemblers, who work in clusters of four. 'To fully train one of our leather goods artisans takes around four to five years,' Barani explained, noting that workers generally begin by specializing in a single step. 'The aim is for each artisan to eventually be able to make their bag from A to Z, but it's very gradual. Our priority is to preserve this know-how through a system of apprenticeship, whereby experienced artisans work hand-in-hand with more recent recruits so that, over time, they learn how to master all these skills,' she added. The facility has an on-site training school, which welcomes groups of 10 apprentices at a time and also provides on-the-job training for existing employees, who are 82 percent female and range in age from 18 to 65. They include veterans like Sylvie, who's been making Chanel handbags for 38 years and is in charge of braiding their distinctive leather and metal chain straps. Faced with a chronic shortage of skilled workers across the luxury sector, Chanel welcomes both newcomers to the job market and people seeking to change careers, with new hires including former florists and carpenters, according to Barani. The group has hired 1,200 people under age 30 per year since 2022 as part of the French government's 'One youth, one solution' program. At AVH, it brings on between 40 and 50 artisans a year, mainly to replace those who have reached retirement age, said Barani. As a result, a third of the workforce there is under age 30. Chanel has had to adjust to the expectations of these younger workers, who demand higher salaries and more flexible working hours, Pavlovsky said. 'COVID-19 marked a real turning point in terms of people's expectations,' he said. 'A lot of people decided to change lives and it's been hard for us to train people to replace them.' Among the more recent recruits is Jennifer, who used to be in the army and now stamps the gold Chanel logo inside the bags. The Verneuil-en-Halatte site is home to a materials storage unit with more than 900 leather and fabric references and 1,100 varieties of hardware and thread. 'All our materials come from supply chains that are traceable, sustainable and responsible. We work with tanneries in France, Italy and Spain that belong to our ecosystem,' Barani said. Each bag requires 20 pieces of leather, with offcuts recycled to make salpa, a bonded leather fiber material used for prototypes, or heels for the brand's slingback shoes. There is a test laboratory where samples of materials and finished bags are put through their paces, and a repair workshop where a weathered brown bag awaited rescue, its flap chewed by a dog. But what really sets the facility apart is its development and design workshop, which is in constant dialogue with the creative teams at the design studio on Rue Cambon in Paris and the specialty workshops at Le19M, including embroiderer and tweed-maker Lesage; embroidery workshop Atelier Montex, and Lemarié, in charge of flowers and feathers. In tandem with the ready-to-wear schedule, AVH turns around eight collections a year. A team of 40 people translate the creative brief, which can come in the shape of a sketch, an inspiration image or a bag from Chanel's sprawling archives. 'We are truly a fashion leather goods company,' said Barani. 'Keeping pace with these ready-to-wear collections means you're always working with new models and materials. As a result, you're always learning. You never get bored.' A case in point is the new 25 bag, which is also produced on site. Launched in March, it's backed by a global campaign featuring Dua Lipa and Blackpink's Jennie Kim, nicknamed 'Human Chanel' by her fans. The medium-sized version in black grained calfskin retails for $6,400, broadly in the same range as the brand's previous launch, the 22, which sells for $5,800. Meanwhile, the price of a Chanel Medium Classic bag has gone from $5,800 in 2019 to $10,800 in 2025, an increase of 86 percent, according to New York-based reseller Madison Avenue Couture, which touts it as an investment that outperforms gold and the stock market. For the past few years, Chanel has increased its prices in March and September to reflect inflation in raw materials and harmonize its prices between different regions. Pavlovsky said the price in euros is raised once a year. 'We're deciding how much it will be for 2025 and when the price increase will take effect, and then you have the adjustment linked to the dollar exchange rate,' he said. 'We don't move prices all the time. We monitor currencies and in general, we time it to the launch of collections.' Nonetheless, he reiterated that Chanel has no intention of changing its pricing policy. Rather, it will continue to provide more insight into its fabrication process, something he believes will become increasingly important as the European Union implements a new regulation requiring nearly all products sold in the zone to feature a digital product passport. This initiative, part of the Ecodesign for Sustainable Products Regulation, aims to enhance transparency by providing comprehensive information about each product's origin, materials, environmental impact and disposal recommendations. 'The day the digital passport is implemented, it will include mandatory information to calculate the carbon impact of each product, but it will probably also feature more marketing-oriented information about what makes the product specific,' Pavlovsky explained. 'The idea is not to do this for thousands of products, but perhaps to progressively enrich these digital passports for certain products with information that highlights the know-how that goes into them,' he added. 'What you're seeing today is a glimpse of the future.' Launch Gallery: Inside the Factory That Makes $10,000 Chanel Handbags Best of WWD Bottega Veneta Through the Years Chanel's Ambassadors Over The Years Ranking Fashion's Longest-serving Creative Directors
