For Chanel, the Métiers d’Art collection has always been more than just another runway moment—it’s a love letter to the artisans behind the seams. In the 2024/25 edition, that letter spans continents. This season’s collection is a visual and symbolic dialogue between two worlds: the romantic roots of Paris, where the House was born, and the serene beauty of Hangzhou, China, where the most recent Métiers d’Art show took place. The result is a body of work that transcends time zones and traditions, stitched together by the unmatched precision of Chanel’s celebrated ateliers. In a campaign fronted by brand muses Tilda Swinton, Liu Wen, and Lulu Tenney, the collection unfolds like a modern myth—layered, lush, and global in its scope. It is a story told not just through silhouettes, but through fabric, ornamentation, and setting. Shot by Mikael Jansson amid the mist-veiled shores of Lake Xihu, where the collection debuted in December 2023, the visuals evoke a quiet grandeur that feels distinctly Chanel: cinematic, contemplative, and rich with heritage.
An ode to craft, set against a Chinese dreamscape
Chanel’s Métiers d’Art collection was conceived in 2001 under the direction of the late Karl Lagerfeld. It was his tribute to the small artisan houses—embroiderers, feather makers, milliners, and goldsmiths—that Chanel acquired or partnered with over the years. What began as a backstage homage has evolved into one of the brand’s most anticipated annual showcases, spotlighting craftsmanship at its most intricate and elevated.
This year, that legacy takes on a new dimension with the campaign’s Chinese setting. Shot in the same location as the runway—Hangzhou’s West Lake—the campaign pays tribute to the poetic calm of its surroundings. Tall cypress trees, mirrored water, and early-morning fog create a hauntingly beautiful canvas against which each garment feels almost suspended in time. Liu Wen stands at the water’s edge, swathed in a shimmering gold brocade. Swinton, always the embodiment of avant-garde poise, wanders through the woods like a figure from a 1920s novel. Lulu Tenney, youthful and ethereal, becomes a bridge between East and West.
Garments that journey between cultures
While Métiers d’Art collections have always emphasized embellishment, this year’s offering feels particularly opulent—though never overwrought. Glimmering brooches and layered, lariat-style necklaces offset structured jackets and sleek satin separates. Pleats are sharp yet fluid. Tweed—the House’s enduring signature—is refreshed with hints of metallic threads and asymmetrical tailoring.
Perhaps the most compelling visual thread is the idea of travel. Motifs drawn from Coromandel screens—a favorite décor element of Coco Chanel herself—appear in prints and jacquard fabrics, hinting at Eastern inspiration. The connection is subtle rather than surface-level, incorporated thoughtfully into the garments without resorting to cliché or pastiche.
That notion of mobility also takes form in the accessories. Quilted leather travel bags, patent leather vanity cases, and small structured purses suggest a woman on the move—elegant, worldly, prepared. These aren’t just props of luxury; they’re nods to the timeless allure of adventure and discovery.
Two cities, one story
While Paris remains the heart of Chanel’s identity, the choice to host the Métiers d’Art show in Hangzhou reflects the brand’s deepening global conversation. China has long been one of the fashion house’s most significant markets, and the fusion of cultural aesthetics in this collection signals more than strategic alignment—it’s a creative dialogue.
The interplay between France and China is subtle but deliberate. Swinton’s angular blazers and Liu Wen’s fluid gowns exist within the same stylistic universe. They don’t clash—they converge. The collection avoids appropriation by focusing instead on interpretation, taking influence from both worlds while honoring the codes of Chanel’s storied past.
It’s this balance—between the rooted and the reimagined, the local and the universal—that makes the Métiers d’Art 2024/25 so compelling. It isn’t simply a duality. It’s a new synthesis.
The legacy continues under Viard’s vision
Since taking over as artistic director in 2019, Virginie Viard has steered the House with a quiet, confident hand. Her vision of Chanel is less theatrical than her predecessor’s, but no less thoughtful. In the Métiers d’Art 2024/25 collection, her restraint becomes a strength. Embellishment is measured, silhouettes are softened, and the storytelling is driven not by spectacle but by detail.
Under her watch, the artisans—the unsung heroes of haute couture—are given a more prominent spotlight. Whether it’s the plumassiers at Lemarié or the embroiderers at Lesage, each piece in the collection feels like a personal dedication to the centuries-old techniques they uphold. Viard has said before that she designs “to let the craft speak,” and in this collection, it speaks fluently.
A poetic close to a global chapter
Chanel’s Métiers d’Art 2024/25 is more than a showcase of fashion; it’s a celebration of the connections that lie beneath clothing—between culture and craft, origin and evolution, designer and artisan. By anchoring its latest chapter in both Paris and Hangzhou, Chanel creates a narrative that feels both rooted and far-reaching, ancient and ultramodern.
As the fog lifts over Lake Xihu and the models disappear into the trees, we’re left with a lingering sense of movement—a metaphor for the House itself. Always going somewhere new. Always returning to where it began. The collection is now available at Chanel boutiques worldwide.
