PARIS — Chanel is shining a fresh spotlight on its constellation of craft maisons, in more ways than one.

On Tuesday, the house was scheduled to present the annual Métiers d’Art collection, named for the handicrafts it features — and the show was to be held at 19M, the new home of 11 of Chanel’s specialists, on the northern edge of Paris.

“For years, we’d had to deal with having specialized houses all over Paris,” said Bruno Pavlovsky, Chanel’s president of fashion. “We wanted to create the right conditions for them to come together in order to recruit, train and transmit their savoir-faire, so that these métiers could live on.

“Very quickly, we realized that there was no miracle solution,” he continued. “Or rather, the miracle solution was to invest and make sure that it happened, not only for ourselves but for all the other houses that work with companies located at 19M.”

The seven-level structure, which opened to its first occupants in March, stands on grounds once used by a circus that are wedged between the périphérique, the eight-lane highway that rings the French capital, and the suburb of Aubervilliers. The number 19 in its name stands for the 19th Arrondissement, which it abuts, and — as everything Chanel always has a connection with its founder — the Aug. 19, 1883, birthday of Gabrielle Chanel. As for the “M,” Chanel said it stands for métiers, mode (fashion), mains (hands), manufactures and maisons — all words related to craft.

Designed by the French architect Rudy Ricciotti, perhaps best known for projects like the Mucem museum in Marseille and the Musée Jean Cocteau on the Riviera, the sprawling complex is made of glass, iron and concrete and totals 25,000 square meters, or almost 270,000 square feet. It surrounds a 2,600-square-meter courtyard garden dotted with beehives and nesting boxes and planted with pines, linden trees, Japanese cherry trees, camellias and other greenery.

Mr. Ricciotti said he tried to take into account “everything that fashion is looking at today, morally and environmentally,” while designing the building.

“I do contextual architecture; it’s always experimental and made-to-measure,” he said.

Viewed from the street, the triangular building looks as if it has been wrapped with giant threads. But what the architect called “eco-structures” actually are 23-meter, or 75-foot, concrete supports that frame the outdoor walkways on each floor, creating handy shortcuts among the various ateliers.

The embroiderer Lesage and its school, the feather specialist Lemarié, the pleating specialist Les Ateliers Lognon and the goldsmith Goossens all moved to the complex from a smaller facility in a neighboring suburb, Pantin. They have been joined by Atelier Montex and Studio MTX, both embroidery houses; Maison Michel, millinery; Massaro, shoes; Paloma, which specializes in flou, or delicate fabrics; and Lesage Intérieurs.

Eres, the lingerie and swimwear brand that is owned by Chanel but not part of the Métiers d’Art group, also has headquarters there.

A pioneer in preserving the industry’s endangered suppliers, Chanel began acquiring craft companies and manufacturers under the direction of Karl Lagerfeld, its former creative director. Its first acquisition, in 1985, was the button and jewelry maker Desrues.

How did Chanel decide which of its 40 specialists would move to 19M? Mr. Pavlovsky said geography was the determining factor: All 11 were based in Paris, Pantin or Aubervilliers. And some had been operating in picturesque but poorly lit, overstuffed and sometimes almost ramshackle ateliers inherited from another era.

The trick, Mr. Pavlovsky said, was integrating them — and their total of about 600 employees — under one roof while also preserving their relative independence.

(In addition to working for Chanel, the businesses execute commissions for rival couture houses including Dior, Valentino and Balenciaga; ready-to-wear houses like Louis Vuitton, Fendi and Lacoste; and independent fashion designers like Alexandre Vauthier, Stéphane Ashpool of Pigalle and Christopher Kane.)

Mr. Ricciotti, the architect, echoed Mr. Pavlovsky, saying he, too, saw the businesses as “embodying the glory of French savoir-faire.”

“For me, they are the “makers” of fashion. I have the utmost admiration for them, and I wanted to express that through the construction,” he said.

Mr. Ricciotti said he developed a modular, open-plan layout to leave as much room as possible for shared space, and studied each side of the structure to optimize natural daylight, but also to ensure workers would be protected from sun exposure and the resulting heat. The “eco-structures” were placed more closely together, to create shade, in areas expected to have greater sun exposure, he said.

Yet in addition to offering more space and light, 19M was designed as a creative hub that would “give a certain modernity to métiers of the past that have a legitimate place in the creation of tomorrow,” Mr. Pavlovsky said. Connecting with younger audiences, through master classes, workshops, exhibitions and collaborations with local schools, is a priority, he added. A series of talks and other events open to the public are scheduled to begin next month.

Mr. Pavlovsky declined to divulge details about 19M’s first events until after the fashion show, or to disclose the cost of the building itself. “At Chanel, we have the luxury of not telling,” he said, allowing nonetheless that the investment was “not small.”

“It was commensurate with our ambitions for the métiers d’art and everything those houses bring to creation in Paris,” he said. “And there is a genuine economic reality behind them.”

“An Arts Hotel”

On a recent morning, despite a typically gray Paris sky, the 19M ateliers were bathed in light as teams readied lavish embroidery samples, camellias made of feathers, eco-friendly tweeds and panels of pleated chiffon for final approval by Virginie Viard, Chanel’s creative director.

For Ms. Viard, showing the new Métiers d’Art collection at 19M — the 2020 one was held at a chateau in the Loire Valley — makes a statement about cultivating the heritage and power of French craftsmanship, and couture in particular. It is also a homecoming of sorts: She began her 34-year career with Chanel working on couture embroideries with François Lesage, the second-generation owner of the embroidery company that bears his family name. Chanel acquired it in 2002.

“It is a rare privilege being able to work as we do,” Ms. Viard wrote in an email.

She said that a “dialogue” would be established with the specialty houses at the start of each Métiers collection. “The samples are a starting point: either they are assigned to certain pieces, or they will inspire others,” she wrote. “There are no rules.”

Demonstrating the contemporary side of feather work — hand weaving, silk screening, laser-cutting and incorporating less conventional materials or new techniques like 3-D printing — is a priority to keep the company moving forward, said Christelle Kocher, the artistic director at Lemarié.

“Fifteen years ago, there was less interest in all these crafts, which can only be done by hand, with precision and passion,” she said. “The fear was that they would be lost with the older generation. Our challenge was to shake things up and, through Virginie’s vision for Chanel, show that they can be modern and encourage a certain openness.”

Samples displayed to a visitor recently included flora in feathers and hand-painted rhodoid plastic; origami and intricate pleating by Lognon. One swatch featured a camellia motif — a Chanel signature — woven, plume by plume, from feathers in 19 colors. Producing a single couture jacket with that weave could take as long as 1,200 hours, Ms. Kocher added.

“What’s exciting is seeing how, season after season, these rare, age-old techniques can produce something new and innovative,” she said. “With all the métiers under one roof, the possibilities for creating a dialogue between past, present and future are pretty infinite.”

In one Lemairé atelier across the hall, a 19th-century machine whirred as a worker fed ribbons of organza into it, turning out spaghetti-like strands on the far side. In another, baskets of duck, turkey, goose and ostrich feathers awaited a second life as flowers and other embellishments that, while not necessarily visible on the runway, bring rich detail and added movement to designs. Ms. Kocher said that all the feathers the company uses are responsibly sourced.

In the Lognon workshop, several métiers — which, confusingly, also is the term for two pieces of cardboard that, with a piece of fabric in the middle, are folded by hand and then tightly bound to create pleats — were arranged on industrial shelving like so many baguettes in a boulangerie. At a vintage worktable, two young women moved in tandem to hand-fold a métier containing a panel of black chiffon into accordion pleats with, at its center, a double-C logo in relief.

While every kind of pleating and material has its own recipe for being folded, wrapped and steamed, the one with the Chanel logo, developed this season, is the most complicated the studio has ever produced, said Sophie Dion, the manager of the atelier.

There is no school for pleating, Ms. Dion added; everything is passed down to new workers in the studio. Perfecting a cardboard métier, for example, can take as long as two weeks. That morning, the team was on its seventh try.

“We’re always pushing beyond our comfort zone and trying something different,” she said, picking up a sample of pleated stone paper, the term for a sheet of strong bio-plastic material. “It’s not unlike gold smithing.”

In the Goossens jewelry atelier, its managing director, Gwenaëlle Créhalet, said the house is creating a showroom within its 19M space to display various decorative objects developed for designers over the years, to better illustrate the kinds of techniques available. For the new Métiers d’Art collection, the studio had reinterpreted some of those objects as jewelry, including a famous portrait of Gabrielle Chanel and a lion designed for her by the house’s founder, Robert Goossens.

In Lesage’s space, more than 70,000 embroidery samples, which the company says make up the largest collection of its kind in the world, are stored in built-in units. The earliest is said to date to 1858. As at Lemarié, each sample produced is cataloged and preserved, whether or not it ever appears on a runway.

It was here that generational renewal was perhaps most apparent, as 20-something embroiderers worked alongside colleagues who have been with the house for 30 years or more. The company said it takes approximately five years for a newcomer’s training to be complete.

In the drawing department, Harsh Parekh, one of the designers, dusted chalk powder over some stencils, creating a pattern of delicate stippling on a piece of ultrafine chiffon. Embroidering the intricate black floral motif, composed of at least 10 elements and about five colors, would take several hundred hours.

“There’s another energy between the maisons here; it’s almost like an arts hotel,” Mr. Parekh said, comparing the new building with Lesage’s previous location in Pantin.

And as it turns out, the hotel is already full. Even so, Mr. Pavlovsky said there was still room to expand a bit.

“Finding new tools and carving out a place for them to exist in the next 20 years is an endless endeavor,” he said. “It’s not looking to the past; it’s a bet on the future.”

When it comes to ultimate luxury, he added, “there is always room in the Chanel universe.”