From the beaming show lights erected throughout the ninth floor podium of the Hong Kong Design Institute, to the glistening backdrop of Hong Kong’s cityscape, it was hard to imagine a collection in any other context, a sentiment echoed by Chanel Ambassador, model and music producer Caroline de Maigret who spoke about the city’s vibrancy, “Hong Kong is a city that never sleeps”. While Chanel’s Cruise 2024/2025 show was originally shown in Marseille in May this year, it was the energy of Hong Kong at nightfall that lured a new gaze onto the garment’s intricate beadwork, mosaic-like sequining and strings of signature cool girl costume jewellery. 

In May we observed athletic influences (pre—Paris Olympics) –  scuba necklines, layered hoodies, racer back tanks and one piece swimsuits. Six months later, on the cusp of the holiday season and the eve of the collection’s delivery into stores, focus shifted to the glittery sense of occasion that adorned shift dresses and signature skirt suits. That’s not to say that more versatile separates weren’t out in full force – there were ‘off duty’ walk shorts alongside crochet cardigans and knitted sets in crispy apple, aqua and chartreuse. Nods to Virginie Viard’s summers in the south of France were made in the form of little straw hats – half boater half bowler, and a foray of jewellery accented by aquatic life – dangling starfish, anchors and petite fish. The white cotton lace cut work proved that even Chanel can toy with the resurgence of boho and our appetite for the houses’ hallmark bows was met not just on the runway but also by an adorned contingency of Chanel clientele, whose individual take on collection’s past and present is often as inspiring as the season being displayed. 

Like Corbusier’s Cité Radieuse building rooftop in Marseille, the choice of the Hong Kong Design Institute by French Architects, CAAU (with its activated internal core) made sense for its capacity to harness public interaction and creative collaboration. Moreover, the ninth floor podium was a fitting show space for a city whose cultural heartbeat is often felt high above ground level. 

The day before the show guests were invited to “Hong Kong Frames”, a panel discussion in Shaw Studios that considered the uniqueness of the region’s cinema. Lead by Film Directors Audrey Diwan and Norris Wang, Actor Angela Yuen and Production Designer William Chang, their combined insight solidified the history and significance of Hong Kong’s long standing film industry, alongside Chanel’s commitment to cultural programming. 

An intangible part of Chanel’s longevity has been its commitment to the arts, made ever the more meaningful at localised levels. The show marked the inauguration of a three year partnership with the Hong Kong Design Institute and a year since it’s three year tenure as the M+ museum’s major partner. It was serendipitous — if not very well planned — that the museum’s headline show was the life work of Chinese Architect, I.M. Pei, who was invited in 1981 by French President Françoise Mitterrand to redesign the Louvre Museum. Like the controversial glass pyramid, Pei’s contribution to the physical identity of so many places is eclipsed only by his seismic shaping of the cultural and social fabric of those respective spaces.  

Chanel’s long standing links with Hong Kong, and it’s century of global cultural patronage was on full display in the immersive lead up to the show, which also included Radio Chanel, and an on site preview of “Imagine Elsewhere” an exhibition organised by the institute and supported by Chanel, featuring 16 collective works by 35 design institute students, which is on display until 31st December 2024. 

The show concluded with an afterparty back at Shaw Studios, with performances by Angèle, Sébastien Tellier and dancers from Hong Kong and (LA)Horde.