But it was the 2009/10 Paris-Shanghai Métiers d’art show that marked Chanel’s spectacular first presentation in China, a symbolic milestone that brought the maison’s interpretation of Chinese aesthetics to life. Orchestrated by the late Karl Lagerfeld, then its creative director, it was nothing short of spectacular. Models walked on a runway built along the historic Huangpu River, with Shanghai landmark the Oriental Pearl Tower as the backdrop. Elements of the qipao, an iconic dress made popular during Shanghai’s Golden Age of the 1920s and Thirties, such as mandarin collars and three-quarter sleeves, were reinterpreted through the lens of Chanel’s signature tweed suits and structured silhouettes. Adorned with Chinese motifs, accessories and traditional hats, the collection presented a version of Chinese aesthetics that was overt and theatrical.

It was also a pivotal period when Chinese consumers emerged as a dominant force in the global luxury market, with their unprecedented purchasing power prompting even the most storied fashion houses to tailor their collections to Chinese sensibilities, eager to participate in the remarkable luxury retail expansion. Today’s market dynamics make a striking contrast, with global economic headwinds and China’s economic moderation tempering the once-robust luxury spending patterns.

When Chanel announced Hangzhou as the destination for its 2024/25 Métiers d’art show, it inevitably drew comparisons to Shanghai’s east-meets-west extravaganza back in 2009. Yet this is not merely a different era—it’s a different city with its own distinct character. Steeped in literary history, Hangzhou embodies the refined, contemplative side of Chinese culture. Through centuries, this city has nurtured countless artists and poets, inspiring enduring paintings and verse.

But it’s also a city of strategic significance. As the capital of Zhejiang province—a consistent top-four economic powerhouse in China for three decades—Hangzhou has emerged as a titan of prosperity. The city crossed a significant milestone in 2023, with its GDP reaching RMB 1.8 trillion, joining an elite circle of Chinese metropolises that includes Shanghai, Beijing and Shenzhen. This economic strength is reflected in its distinctive demographic make-up—the city has become a sanctuary for affluent entrepreneurs, creative professionals and cultural leaders seeking refuge from the intensity of neighbouring megalopolises, drawn to its unique blend of economic dynamism and leisurely pace of life.

Such audiences demand more than mere spectacle—they seek experiences of substance. For a luxury house, this means crafting moments that resonate beyond their initial impact, offering layers of meaning to be discovered and appreciated over time.

Rather than recreating grand theatrics, Chanel chose to take us deeper—revealing a subtlety that doesn’t announce itself but unfolds only upon closer inspection and quiet contemplation. The zigzagging runway, built on water at Impression West Lake—a famous outdoor theatre on the lake—mimicked ancient Chinese garden designs, which offer different views as you walk on a path. The show started just as the sun sank into the lake, the models’ reflections on the water creating an ethereal atmosphere reminiscent of ink painting, where reality and reflection contemplate each other.

Subtlety flows through the designs—foregoing obvious statements for nuanced elements that reveal themselves gradually and inviting viewers into an intimate dialogue with each piece. Silhouettes merge contemporary cuts with traditional touches found in Chinese costume, with Atelier Montex’s phosphorescent braided embroidery and silk linings radiating gentle luminescence. Drawing from Coromandel screens, the palette features jade green, pink and sky blue lacquer tones, while faded blues mirror rippling water and deeper hues echo aged wood and nightfall. Floral motifs, meticulously embroidered by Maison Lesage, appear throughout the pieces, paying homage to Gabrielle Chanel’s Coromandel screens. The collection culminates in eveningwear featuring Lemarié and Lognon’s intricate pleating and flounces, and delicate lacework, with elements like fleece pieces and Goossens’ cloud-like pearl accessories adding dreamy touches.

It’s a far cry from the grandiose productions Chanel has staged in China in the past decade but a sign of sophistication, confidence and understanding of culture that few luxury houses can show after decades in this enormous, important market. Just as the legendary poet Su Dongbo once depicted West Lake with the verse, “The West Lake looks like the fair lady at her best/ Whether she is richly adorned or plainly dressed”, the ultimate elegance, as Gabrielle tirelessly demonstrated her whole life, is not having to fight for attention but commanding it through quiet assurance and authentic grace.

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