Put creativity at the center. That’s Chanel’s mantra, which its fashion president, Bruno André Jean Pavlovsky, who has practically handed over his professional career to the house, repeats over and over again. His discretion and energy are often praised; He is a hyperactive and affable man whose smiling eyes are capable of turning into an iceberg when some detail goes wrong. He has been with the firm for more than thirty years, loyal to the mysterious Wertheimer family, its owners. Since the death of Karl Lagerfeld in 2018, Pavlovsky has become the spokesperson for the most desired brand in the world.
Trained at the Bordeaux School of Commerce and Industry and with an MBA from Harvard Business School, he began his career in 2007 as an auditor at Deloitte. In 1990 he joined Chanel as administrator and director of the fashion section, and after eight years he took the reins of haute couture. And he put a silver bridge for Lagerfeld: absolute freedom. He got it right. The brand acquired modernity, survived the explosion of luxury holding companies, and, rooted in the mythical character of Coco Chanel, increased its emotional and economic capital.
Pavlovsky piloted the ship in the brand’s transformation as it entered the 21st century. Then he was entrusted with various responsibilities, but his audacity emerged in the purchase of small artisan houses, such as Maison Lesage, Maison Michel or Eres, which today form the 19M network. Karl Lagerfeld made that project his own and became its fiercest defender: crafts must be saved, workshops in decline must be protected and made viable. They moved ahead of the times, because today, the link between luxury and craftsmanship has become the new narrative framework of the sector, at the antipodes of fast fashion.
The washed face of fashion. “True luxury is creativity, it embodies savoir faire, exceptional materials and also an ethical social stance. It forces us to be more careful and precise in everything we do. To accept the past and project it into the future,” says Pavlosky.
The current creative director of Chanel, Virginie Viard, does not have a public profile, she does not make statements nor does she exhibit herself – in the antipodes of Karl Lagerfeld, to whom she was her right-hand man –, which is why Pavlovsky defends her achievements to the media: six collections a year, two ready-to-wear, two haute couture, Métiers d’Art and Cruise. And a business model in which exclusivity prevails. In its stores, from the legendary original one at 29 rue Cambon in Paris to the latest and most spectacular one – designed by Peter Marino – on Rodeo Drive, customers make an appointment to buy. But the central core of their activities focuses entirely on the arts, from literature – with literary gatherings and promotion of authors – to cinema – they restore cult films –, including their sponsorship of the new Palais Galliera. Of course, his social gatherings are not just anything: they are moderated by Charlotte Casiraghi, and in them, he can read texts by Emily Dikinson and actress Keira Knightley.
Do you consider that Chanel exercises cultural curatorship, in addition to patronizing the arts?
Creativity is expressed in many different ways through different disciplines, and fashion is one of them. At the Grand Palais in Paris or in the heart of Hollywood, we work to defend it. We recover the legacy of Agnes Varda, we work intensely with Miren Arzalluz, the director of the Palais Galiera… Chanel’s role is to defend creation in all its forms so that we can benefit from the final result, that is, in our collections.
During her short stay in Hollywood, Coco Chanel complained about the bad taste of American cinema, while Samuel Goldwyn claimed that her outfits did not have the glamor that her stars required. Last summer they turned Paramount Studios into a circular catwalk to present their Cruise collection. Do they turn the story around?
We make people dream, and this requires a point of provocation. The relationship between Chanel and cinema is intense, and today we are the brand that supports it the most. For me it has been a declaration of intentions: leaving aside the opening of the new store on Rodeo Drive, which is already something important and notable in itself, Los Angeles means cinema, music, dance… arts that inspire Virginie Viard . When traveling, whatever the destination, we all try to capture some of the energy of the places we visit. In each show we demonstrate Chanel’s commitment to culture and the arts. Creativity in its purest form, even with its risks, since true creativity always involves them. Coming to the heart of the film industry demanded it.
How much does a parade like the one they held in Hollywood cost?
There are things much more important than money. And when you follow your own direction, it often makes a difference. After this parade, more than after many others, the strength of the images, their power, is clear. It’s about betting on a unique way of doing things.
What does Penélope Cruz bring to Chanel?
She is a great actress, with very strong points of view, too. She had a privileged relationship with Karl, and today she maintains a close relationship with Virginie. They are relationships that have been woven with reciprocal respect, beyond contracts. Our ambassadors, our friends, have a very complementary perspective and give us great advice.
Are you comfortable in your role as spokesperson?
Virginie is very discreet, she protects herself, and I think we make a complementary pairing. Yes, I feel comfortable. This story has been built step by step, and I believe I can express the strength of the brand, which is based on the talent, its ethics, and above all the freedom of our clients, who have a very close relationship with the firm.