Last night, Hangzhou in China played host to the latest Chanel 2024/25 Métiers d’art show. The annual event, which celebrates the many craftspeople who contribute to the house’s luxury creations, was hosted closer to home in Manchester, UK last year.
This year’s location was teased with a film released last week, featuring Tilda Swinton, Leah Dou and Xin Zhileiand (all ambassadors for the house) and directed by Wim Wenders. Swinton travels from the iconic Rue Cambon apartment in Paris to Hangzhou’s West Lake, snapping photos on an analog camera along the way.
The real star of the film, however, was the intricately painted wooden screen that Swinton photographs at the beginning and reappears throughout. Gabrielle Chanel collected antique Coromandel screens — one of which she found so beautiful, she displayed it on the study walls of her apartment. It depicts a scene of Hangzou’s West Lake, “the very place where Chanel has chosen to unveil its 2024/25 Métiers d’art collection, dedicated to allure, travel and dreams.”
With over a thousand guests in attendance, the show kicked off at nightfall with traditional Chinese drummers. A long, winding boardwalk served as a catwalk, which models delicately sauntered across, illuminated by soft lakeside lighting.
And what about the clothes? Long, shouldered coats in precious tweeds, satin and velvet, embroidered with flowers, swished elegantly on the water. Frogging, pagoda sleeves and mandarin collars all paid homage to the city and rich culture of China, as well as being crafted by local artisans.
The travelling theme was also reflected in the bags, with large holdalls and dainty vanity cases. Coromandel screen motifs featured on knitted jumpsuits that were worn underneath two-piece suits, so flashes of traditional patterns were visible on exposed limbs.
It wouldn’t be a Chanel show without camellias — a flower beloved by Mademoiselle but are actually native to China. The motif appeared on lapels, jewellery, hats, bags and buttons throughout the collection. Faded blue jeans were included to “recall the ripples on the surface of the lake water” while the black, brown and darker tones reference “the wood of the panels and velvety steps into the night”.
Thigh high boots and pointed slippers were the footwear of choice, in black patent leather or soft nubuck suede. Hats and scarves completed the ladylike silhouettes, as did the heavy winged eye make-up worn by every model.
Despite the position of creative director at Chanel being left empty since June when Virginie Vard stepped down, and many rumours swirling of her replacement (such as Matthew Blazy of Bottega Veneta), the house has continued to stick to its historic design codes and original inspirations for a truly beautiful collection. We want all of it — now.
