Chanel's Bruno Pavlovsky Discusses Marseille, La Galerie du 19M, Challenges in the Market, and Virginie Viard's Continuation at the Fashion House

Bruno Pavlovsky, Chanel's President of Fashion and Accessories, has certainly had a busy schedule with the coordination of two rooftop cruise shows in Marseille on Thursday.

Prior to the shows, Pavlovsky teamed up with Marseille’s mayor, Benoît Payan, to inaugurate La Galerie du 19M, an exhibition showcasing a fascinating blend of artistry by fine artists and Chanel's specialist artisans.

The runway performance was the second consecutive Chanel collection by Virginie Viard, the house’s creative director, displayed in a city that lacks an established Chanel outlet. This follows Chanel’s New Wave Regina Métiers d’Art collection that was held in Manchester last year in December.

The latest cruise collection paid tribute to its host location, the iconic Cité Radieuse apartment building, a master creation by renowned architect Le Corbusier. Despite the challenging weather, the show took place amidst reports suggesting that Hedi Slimane, currently at odds with executives at LVMH's Celine, is being considered for the role of artistic director at Chanel. However, such rumors were refuted by Pavlovsky.

Whilst discussing over coffee, he playfully remarked, “Perhaps she knows more than me!” Later he strongly shared, “Virginie is doing excellently. She is in complete form and drew inspiration from Marseille for this collection. It must be clearly understood that Chanel is not seeking a new artistic director.”

The inspiration behind choosing Marseille, according to Pavlovsky, revolves around dialogue and exchange, despite the city’s reputation as not the easiest to work with. He sees a city filled with vitality, embracing culture, life's pleasures, and a unique Mediterranean location.

There may not be any historical connection between Marseille and Chanel, or the city and Coco Chanel, but bonding with the city has been a refreshing experience for Virginie Viard and our brand, he adds.

Viard fell in love with the Cité Radieuse and its roof that offers panoramic views of the entire city and the Mediterranean. Due to the limited space of the rooftop, two shows had to be staged. Unfortunately, heavy rain forced the second show to be moved indoors.

Cruise, due to its extended store tenure, is a crucial aspect for premium brands like Chanel. The collection is introduced in stores in November and remains available until June.

Moreover, the cruise collection radically transforms the boutiques during November, typically a somber and shorter day month. This transformation has a significant impact, affirms Pavlovsky.

Chanel made considerable efforts to engage with local artists, many of whom relocated from Paris or further afar to make Marseille their home in this second Galerie 19M.

Pavlovsky has spearheaded initiatives like Paraffection and 19M. The first is a unique compilation of ateliers and suppliers like embroiderers Lesage and Montex; button specialist Desrues; shoemaker Massaro; and jewelry maker Goossens, who all contribute to the unique finishes in couture and luxury ready-to-wear for Chanel. Whereas, 19M is a massive center in Aubervilliers, housing many of these unique skills.

The Galerie du 19M was hosted at Fort Saint-Jean, a medieval village at the entrance of Marseille’s harbor, and Mucem – the Museum of European and Mediterranean Civilizations.

Pavlovsky mentions, “This latest 19M Galerie since Dakar enables us to connect with Marseille. The participative artists unleash the spirit of Marseille with their innovative ideas.”

An advisory board comprising major creative personalities from Marseille was invited by Chanel to shape the 19M's HQ in Aubervilliers, all of which was designed by Marseille's architect Rudy Ricciotti, and finally leading up to an after-party with a brief yet spectacular performance by local Franco-German rapper Julien Schwarzer, aka SCH.

Pavlovsky proudly announces, “The entire month for La Galerie du 19M Marseille is already fully booked! It reflects the true allure these métiers possess.”

Chanel traditionally releases its annual results at the end of May, which he predicts will show that the house has enjoyed “a third exceptional year in a row since the lifting of the pandemic.”

In 2022, Chanel scored a 17% increase in annual sales to €17.2 billion, and grew operating profit by 6% to €5.8 billion. In a word, when it comes to luxury fashion, Chanel is the most successful brand in the world, ever. Period.

That said, Pavlovsky is cautious about the near future, arguing that the luxury industry has just “ended a cycle and is about to enter a new period where there will be growth but in a far more complicated market.”  

“We see that the economy is trickier. Since 2023 other brands have had problems. Luxury is losing a certain clientele -- the comfortably off middle class -- who come into boutiques occasionally to buy a bag. Now, they are more careful and maybe instead of a bag they take a vacation. Inflation also doesn’t help.  Purchasing power is still not great. Yes, Chanel today is very strong. So, it’s normal that things slow down,” he reasons.

Asked about social commentary on Chanel raising its prices, Pavlovsky is diplomatic. The house upped the price of its largest classic matelassé flap bag by some 6% to nearly €10,000. The latest of multiple price rises in the past half decade.

“It’s normal that people react. But the important point is when people talk about raising prices – it’s our bag. The rise in prices in Chanel fashion and accessories -- and we create eight collections a year -- is not that strong. And one must realize that our bags are some of the most complicated bags to produce in the world. That demands time and investment and highly skilled artisans to manufacture. So, that justifies the increases in price,” he concludes.