Villa d’Este becomes the set of a story between fashion, cinema and crafts of excellence.
The elegance that is made of telling. This is exactly what happened at Villa d’Este, the hotel overlooking the quiet waters of Lake Como, where Chanel revealed its Cruise 2026 collection, transforming the flower garden into an inspired, cultured and perfectly orchestrated scenography.
A stage full of references, from the history of European cinema to genius loci Lombardo, with an implicit and powerful tribute to Luchino Visconti, whose villa Erba stands a few steps, and Romy Schneider, Chanelian Muse in the film Boccaccio ’70.
A dream set, between fashion and memory
The choice of Villa d’Este, an ancient sixteenth century residence transformed into the hotel in 1873, was not accidental or simple, as Bruno Pavlovsky, president of Chanel Sas, pointed out. More than a location, it was a narrative pretext, capable of connecting Chanel to the world of cinema, art and absolute beauty. The sun, the lake and the gardens in bloom did the rest. Sofia Coppola also paid tribute to the place with a short film shot for the occasion, projecting the collection in a rarefied and contemplative imagination, where time flows differently.
The collection: between nostalgia and modernity
In this setting, Chanel proposed a collection that appeared as a refined exercise of style between loyalty and updating. The tweed – iconic matter of the maison – found contemporary declinations, from the lilac miniskirt combined with the flowers of the terrace to the complete in damask lurex, thinly inspired by the couture disc. There were light chiffon dresses, in the evening’s American top, Palazzo Marinière trousers, striped shirts, embroidered shirts with bibs and white robe-belted robers in sequins. All designed for a woman who stays yes in an exclusive resort, but who interprets fashion as a form of scenic presence, never banal, never neutral.
A perfect example? Keira Knightley, present at the show, wrapped in a long white silk dress decorated with macro-fisci. The actress naturally embodied the ideal of discreet and cinematographic femininity evoked by the collection.
Precious details, craftsmanship in the foreground
Despite the moment of transition – Matthieu Blazy will present his first collection in October – the creative team has been able to keep the stylistic coherence high, focusing on what makes Chanel unmistakable: the camellias, the pearls, the embroidery, the couture details. The artisan works inspired by the flora of the park-Magnolie, Oleandri, Rododendri-translated into lace and applications of sequins, are standing out, in a silent tribute to the savoir-faire of the workshops.
A choice not only aesthetic but also strategic. Chanel’s recent entry into the capital of the historic Mantero texture, based in Como, marks a further step in strengthening the Italian chain. An investment that guarantees quality control, stylistic continuity and support for a manufacturing district of excellence.
The present and the future of the Maison
Pavlovsky spoke frankly of the current phase. Chanel is a vast, complex brand, with an economy that is not free from the oscillations of the global market. The difficulties in Asia, the uncertainty linked to US duties and the evolution of retail influence strategies, but attention to the creation and solidity of the distribution network remains a priority. And while the Maison is preparing for the arrival of the new creative director, we proceed with caution and rigor: a few targeted openings, focus on quality, and structural investments in its production partners, as also demonstrates the alliance with Cariaggi in Italian cashmere.
