01 / Behind Luxury Brands

The fundamentals of craft,
refined to perfection.

Luxury can begin with a fundamental craft. At Bottega Veneta, the simple act of interlacing strips is continually refined through material, proportion and finish.

An opening example / Bottega Veneta

Weaving, perfected in the product.

Material, form and finish come together through the weave.

Pink woven bag and smaller product images in the supplied reference
Bottega Veneta / Woven product

Material. Form. Finish.

Material / Suppleness and texture.

Form / Volume, proportion and silhouette.

Finish / Edges, joins and transitions.

Beyond the product

Making deepens understanding.

Working with the weave makes its demands tangible: patience, precision and judgement. Participation offers a closer understanding of the craft—and the value of the finished object.

Hands working yarn and mixed materials on a small loom
Bottega Veneta / Co-creation workshop
02 / Tradition in Transformation

CHANEL: heritage
as a starting point.

From a familiar cloth to a distinctive wardrobe, the story unfolds through changing materials, construction and ways of wearing.

Swipe to explore the three contexts →

01 / Rooted in place

A sense of place.

Wool, island weaving and a recognised origin give Harris Tweed its character. A textile carries the knowledge of its makers and the identity of its home.

Preparing threads at the loomHarris Tweed textile and mark of origin
Harris Tweed / Making, texture and origin
02 / A tradition still worn

Heritage, still worn.

Tradition lives through use. Familiar clothes carry cultural identity into everyday life; their continued presence gives new design a point of reference.

Royal dress / Continuity in wearing
Royal dress / Continuity in wearing
03 / Reconstructed for freedom

Freedom through design.

Inspired by British menswear, Gabrielle Chanel brought softer tweeds and supple tailoring into women’s dress. The freedom to move became a principle of construction.

Gabrielle Chanel / British menswear as a reference
Gabrielle CHANEL / British menswear as a reference
04 / A language continually renewed

New possibilities, made by hand.

Construction, weaving and embellishment open new possibilities for texture and form.

Swipe to follow the images →

01 / Structure · The suit brings tailoring and ease together.
01 / Structure · The suit brings tailoring and ease together.
02 / Weaving · Threads and strips build texture. Lesage · © CHANEL
02 / Weaving · Threads and strips build texture. Lesage · © CHANEL
03 / Embellishment · Layered elements are secured with thread. Lesage · © CHANEL
03 / Embellishment · Layered elements are secured with thread. Lesage · © CHANEL
04 / Silhouette · A belted form changes the proportions.
04 / Silhouette · A belted form changes the proportions.
05 / Reinterpretation · An open grid gives the familiar language a lighter expression.
05 / Reinterpretation · An open grid gives the familiar language a lighter expression.
References & image notes

Harris Tweed is a specific regional tradition, not a name for all tweed. The royal comparison is supplied visual context, not verification of a Harris Tweed garment or a forty-year timeline. Images illustrate separate objects, not the construction sequence of one garment.

Harris Tweed Authority · V&A / Chanel in Britain · V&A / CHANEL construction

Watch the video
Returning to Hainan

What knowledge and skill
are woven into Li textiles?

03 / Li Textiles & Dior Jacquard

Different motifs.
A shared visual logic.

The Li textiles and the fabric of these Dior bags share a similar visual character and woven texture: dense repeating motifs, contrasting threads and a clearly visible weave.

Li Textiles

Li textiles: repeated light motifs against a dark woven ground
The textile / Motif, rhythm and texture
Look at the cloth

Similarities in pattern and texture.

Light motifs stand out against a dark ground. Repeated units and visible threads give the surface its rhythm and texture.

Dior Jacquard

Dior fabric with repeated lettering and contrasting woven threads
The textile / Repetition, contrast and texture

From textile to product

Dior crossbody bag
Crossbody bag / Pattern across the body
Dior saddle bag
Saddle bag / Pattern and curved form

Different motifs and contexts; a comparable visual richness in the woven surface.

About this comparison

The photographs support a visual comparison, not equivalence in fibre, weave structure, production method or quality. No shared origin or collaboration is implied.

04
Our Practice

From understanding
to making.

Our practice brings research into development: working with motifs, testing materials and exploring how textiles can be worn and used today.

FW25 · Paris Fashion Week · March 2025

Véronique Leroy × Lijin

Motif → Sample → Garment → Wearing

Swipe to follow the development →

01 / Traditional reference
01 / Traditional reference
02 / Our development
02 / Our development
03 / On the runway
03 / On the runway
04 / In life
04 / In life

From Li motifs to mohair jacquard.

Our mohair jacquard development explores how a motif changes with yarn, scale and texture. The sample, runway look and subsequent wearing bring those choices into view.

Designer’s account / Read the interview reference

A visual comparison, not a claim that this museum textile was the original source for the runway look. Collection details remain to be confirmed.

French interview page titled Conversation avec Véronique Leroy
Interview by Vicky Chahine · supplied page; publication and date to be confirmed

Working with craft.
Reworking scale and proportion.

In the supplied interview, Leroy describes collaboration with the Li community in Hainan: working on looms, and reinterpreting geometric motifs and vivid colours through changes of scale and proportion in jacquard garments made by Italian suppliers.

Paraphrased from the supplied French interview.

Collection information and images: LIJIN ELEMENTS.

Explore Li Textiles: Runway & Celebrity Style
Our Practice / Objects in use

From a traditional object
to contemporary use.

Waistband → Reinterpretation → Shawl → Gifting

Traditional waistband with geometric motifs and fringed ends
The starting point / Traditional waistband
SpringSummerAutumnWinter
Four Seasons / The starting point of our design
Read the object

Four seasons, reworked
for everyday wear.

We reworked the waistband’s four-season motifs through composition, colour and material, developing a wool-and-silk shawl for wearing and gifting.

The use and material change; the seasonal associations remain part of the design story.

The seasons in our design notes

Spring / New growth

Life returns; plants send out new shoots.

Summer / Growing

Sunlight fills the days, bringing the promise of a harvest.

Autumn / Harvest

Fruit ripens; the harvest is gathered.

Winter / Renewal

Nature rests, nurturing life to come.

01 / The object

Begin with the waistband and its pattern organisation.

02 / Reinterpretation

Rework the four-season motifs, composition and colour.

03 / The shawl

70% wool, 30% mulberry silk. A new material for everyday wear.

04 / In use

A cultural gift at the Hainan Island International Film Festival.

Li-pattern shawls / Gifts at the 6th Hainan Island International Film Festival
From wearing to giving

A welcome from Hainan.

Presented as film festival gifts in Sanya, the shawls bring the design into a public occasion: an object to wear, give and carry away.

45 × 190 cmLight apricot commemorative edition

Specifications follow the supplied shawl design notes.

Continue the conversation in person.

Enquire about a Bespoke Salon

Sources & image credits / CHANEL craft photographs: CHANEL 2024/25 Métiers d’art, Lesage, © CHANEL. Runway and workshop images are separate references, not a documented sequence for one garment. Independent commentary; no brand affiliation or endorsement is implied.