Chanel hosted its first runway show in Hong Kong in 18 years on Wednesday as it doubles down on growing its business in China amid a challenging market. The show featured the cruise 2024/25 collection, first presented in Marseille in May. But it was “more than just a replica”, says Bruno Pavlovsky, president of fashion at Chanel, speaking to Vogue Business ahead of the show. “It’s a way to engage what’s happening in Hong Kong with Chanel at the top level.”
The brand presented two back-to-back runway shows at the Hong Kong Design Institute (HKDI). Among the celebrities in attendance were brand ambassadors Penélope Cruz and K-pop star G-Dragon, along with Hong Kong actors Chow Yun-Fat and Carina Lau. Many affluent Asian clients sat front row, clad in head-to-toe Chanel.
Chanel first entered Hong Kong in 1979. During the ’80s and ’90s, Hong Kong’s swift rise in wealth established the city as a key gateway for the brand into the broader Asian market. Simultaneously, this fast wealth accumulation gave rise to the city’s socialite and tycoon culture.
Pavlovsky says that Hong Kong is one of the three markets where the label has found great success with couture, alongside France and the US. The discerning nature of Hong Kong customers means the house does not need to educate them on what Chanel couture means or is worth. Currently, the brand has a similar number of couture clients in Hong Kong as it does in the US, underlining the wealth of the city and the sophistication of its shoppers.
In 2006, Karl Lagerfeld hosted his spring couture collection for Chanel at Shaw Studios (Hong Kong’s largest film production company). Almost two decades later, the narrative of a fashion show has somewhat changed. Chanel invited five college students from Hong Kong to the cruise show in Marseille; they created artworks inspired by the trip, which illustrate the interconnectedness of the two port cities, Marseille and Hong Kong. The works are being exhibited at the HKDI.
“The focus isn’t solely on the show, it’s about the entire experience surrounding it, as well as the timing of when the collection arrives in the boutiques,” says Pavlovsky, as the collection is now available to shop in step with the show. He adds that customers today seek to see and understand the connection between the initial inspiration for a collection, the development process and the final product.
Connecting with the local community is also crucial. For this cruise collection, Chanel created a short film titled Modern Flirt in collaboration with French female director Audrey Diwan. The film presents a perspective of modern love in Hong Kong, starring city native and actress Angela Yuen.
Navigating the slowdown
Recent third-quarter earnings from luxury’s big hitters have shown the continuation in China’s slowdown. Some brands and analysts believe a prevailing luxury fatigue among Chinese consumers is responsible for the current crisis; however, Pavlovsky disputes this.
“What we are facing now for the past year is a ‘normal’ crisis — not something big, not something forever, it’s in between,” he says. “I am not sure about the fatigue. We see a lot of VICs in Shanghai and Hangzhou coming back to our boutiques. It’s more about how to continue to inspire them, to offer a unique experience.” He adds: “During this crisis, what we love to do is to invest more.”
Chanel will present its 2025 Métiers d’Art collection in Hangzhou on 3 December. The company stands out as one of the few luxury brands to increase investment in the Greater China market this year.
“In a worldwide crisis where the luxury sector is not protected, it means we have to put in more effort,” Pavlovsky explains. “2025 will probably continue to be challenging, but I am very optimistic about the future in China. I think that business will come back.”
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