Despite being part of the Chanel universe for almost her entire life, it wasn’t until last summer that Sofia Coppola first visited Biarritz—the seaside enclave where Gabrielle “Coco” Chanel established her first couture house in 1915 and introduced a then-radical vision of modern dressing rooted in ease and movement. “I came to Biarritz for the first time last year for the film festival,” Coppola says, referring to the Biarritz Film Festival Nouvelles Vagues, where she was honored for the 25th anniversary of The Virgin Suicides. “I was so happy to come back! I’d like to come back for longer.”

This time, the occasion was Matthieu Blazy’s debut Chanel Cruise show—marking the first time the house has staged a collection in the very city that shaped its origins. Even Coppola, a veteran of Chanel’s far-flung destination shows (from Havana to Lake Como, and beyond), was surprised it had taken this long—111 years, to be exact.

The setting felt especially fitting. Biarritz’s influence on Chanel’s resort wear—defined by jersey, simplicity, and a sense of freedom—aligns seamlessly with Coppola’s own understated aesthetic. During her stay, the Oscar-winning director leaned into the city’s relaxed rhythms, picking up vintage Levi’s at Fadead Vintage and visiting a Franco Mazzucchelli exhibition at the Champ Lacombe gallery.

Here, her personal snapshots from the visit.

“So nice to be welcomed by Chanel in Biarritz. I had these cookies when I was here last year. I've never had them anywhere else before, and was hoping to get some here!”

“I love being on the sea. I love seeing surfers and the town feels laid back.”

The view from the Hôtel du Palais.

“On the way to the Chanel party from my duchess suite! (Like some alternate fantasy life!)”

“The Hôtel du Palais feels like another era.”

Indeed, formerly known as the Villa Eugénie, the Hôtel du Palais was built around 1855 as the summer mansion for Empress Eugénie de Montijo, the wife of Napoleon III. The Duke and Duchess of Windsor suites are dedicated to King Edward VIII and Wallis Simpson who were frequent guests.

“Flowers by the wonderful Thierry Boutemy. I got to work with him on Marie Antoinette. He's from Brussels.”

“The show was so uplifting and I know Biarritz is such a part of Chanel’s history, I was surprised it was the first time they did a show there. The place has such a nice atmosphere.”

Flowers inside the the Casino Municipal, where the show was held.

“I loved seeing the marché and discovering all the stands with delicious specialities! It was fun to have crepes there after the show and walk around the town. I got espadrilles and great vintage Levi’s at Fadead.”

A flower stand at the Halles De Biarritz.

Coppola’s bag from Chanel’s Métiers d’art 2026 collection which debuted in New York in December.

“Loved all the beautiful details at the show. And now I’m dreaming of that black knee-length Chanel suit!”

What began as a tiny space above the founder’s stables became the beating heart of the city’s performing arts. Its leader Jimmy Fay reflects on recent hits and reveals what audiences can expect from the theatre’s anniversary year

‘The Lyric gives voice to everyone in Northern Ireland,” says the theatre’s boss, Jimmy Fay. “It’s a beacon.” Fay views the 2026 programme, celebrating 75 years of the Lyric, as an opportunity to showcase current creative talent, as well as honouring the theatre’s past.

One of the plays from the repertoire that Fay was keen to revive is Christina Reid’s Tea in a China Cup, from 1983. With a cast including Marie Jones, the new production – which runs in May – is directed by Dan Gordon, who performed in the original. Reid’s play traces the daily lives of Protestant working-class women in Belfast across three decades, from the second world war to the Troubles, with humour and poignancy.