Chanel’s Métiers d’Art 2024/25 Show In Hangzhou Was A Stunning Blend Of Tradition And Modernity

Taking its cue from Coco Chanel’s coromandel screens in her 31 Rue Cambon apartment in Paris, Chanel’s 2024/25 Métiers d’Art Show show held at nightfall on the West Lake in Hangzhou was a beautiful blend of French craftsmanship with the romance and delicate iconography of Chinese culture and art.

Hundreds of VIP customers and media sat with anticipation and when the first drum beat went off in the eerily mystic space, a collective gasp of ahhhs went out.

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The mist-shrouded lake, surrounded with a perimeter of trees, sprung to life with a blast of autumnal colours lighting up the forest with hues of olive, orange, ochre and russet reds. Like Chinese maidens floating on water, the models (led by Chinese superstar Liu Wen) walked down purposeful bridges built across the lake to a semicircular black structure on the lake itself.

Starting off with a collection of shimmery black outfits, punctuated with travel bags bundled together with mini bags, the show saw a parade of delicate pleats, luxurious knits and silks with many looks grounded with tough boots, making this collection a stunning blend of modernity, chinoiserie and French savoir faire.

The idea of far-off sojourns was not lost on the crowd, and this versatile wardrobe was designed for travel and movement. Think multiple pockets for functionality, soft leather envelope pochettes (for letter writing), sturdy travel bags, quilted vanity cases and silk pillow-shape bags held by models keen to not miss the next connecting flight. Some had foulards and tweed beanie hats to ensure that no gusts of wind would stop their journey to this magical city. 

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On closer inspection, vivid images evoking the very nature that surrounds this lake appeared on knits and body suits in both figurative and abstract forms. A pair of love birds, sitting on pretty branches while surrounded by flora and fruit, depicted scenes from Chanel’s coromandel screen.

Stylised cloud, forest and mountain motifs were skillfully reinterpreted by the metiers of Lesage and Montex in shimmery knits and glittery sequins, and generously splashed on clothes, the famous flap bags and, together with Massaro, appeared as a repeated motif on ankle boots. Denim was worked with a watercolour wash reminiscent of lake water, while the use of pleating on ruff collars, coat lapels and pleated skirts evoke the fans that appeared on Chanel’s lacquered screens.

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In terms of silhouettes, references taken from the time of reverie with satin pyjamas, negligees trimmed with velvet lace, camisole slips in crushed gold leather, metallic lace, and satin gowns were worn with pointed slippers in black patent leather. The splendour, mysticism, glamour and beauty of Chanel came together so effortlessly with Chinese culture you almost felt that Coco was still alive, directing every bead, every sequin that was sewn on the clothes. This was more than a show; this was an homage to Chanel’s spirit, her home and her exquisite taste of East meets West.