Cover Inspired by the dolce vita lifestyle at Villa d’Este, the CHANEL Cruise 2025/26 collection conjures up scenes from classic Italian cinema
Inspired by the dolce vita lifestyle at Villa d’Este, the CHANEL Cruise 2025/26 collection conjures up scenes from classic Italian cinema
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CHANEL’s latest Cruise collection is a poetic homage to the cinematic splendour of the 1960s, while also honouring the Italian artisans who have long stood beside the maison.
Each spring, Lake Como stirs from its winter quiet. Hotels, resorts, restaurants and lakeside villages come alive with the arrival of elite travellers from across the globe, seeking weekend escapes or summer reveries. This April, some of the most recognisable among them were dressed in signature pieces from an iconic French house: CHANEL.
In fashion, it has long been an unspoken tradition for maisons to unveil their Resort or Cruise lines in spring and summer, often in far-flung or opulent locations. Italy, with its innate allure, has remained a perennial favourite. Yet seldom has Lake Como, nestled just 40 minutes by train from Milan, served as the stage for such a showcase.
“It took us two years to secure Villa d’Este for four days,” shared Bruno Pavlovsky, President of CHANEL’s fashion division, on the morning of the Cruise 2025/26 presentation. The event unfolded at the storied 16th-century palazzo, now the region’s most esteemed hotel. “But when I saw the lake’s magical light this morning, it made the wait worthwhile.”
Above CHANEL presents the Cruise 2025/26 Collection at Lake Como (photo: CHANEL)
CHANEL presents the Cruise 2025/26 Collection at Lake Como (photo: CHANEL)
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In the age of social media and mass tourism, destinations once the preserve of old-world glamour—Monte Carlo, Saint-Tropez, Capri, Ibiza—have become increasingly accessible to a broader audience. Yet Lake Como has quietly preserved its discreet charm. There are no flagship boutiques, no raucous nightclubs, not even the sort of trend-led restaurants that dominate online feeds. The hotels are few and understated; limited transport links and a patina of timelessness have made Como a sanctuary for those craving privacy—George Clooney and Madonna among them.
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It is this serenity, this elegant restraint, that drew CHANEL to the lake, logistical hurdles notwithstanding. Beneath the decision lies a deep emotional thread, woven through the brand’s history. CHANEL’s relationship with Como traces back to the days of Gabrielle Chanel, who visited frequently with film director Luchino Visconti. Their companionship later blossomed into creative collaboration, when Visconti enlisted her to design costumes for Romy Schneider in Il Lavoro (1962). This latest show serves not only as a nod to that cinematic connection, but also as a lyrical salute to the enduring beauty of Italian film.
Above The fashion show unfolded on the terrace of Villa d’Este; campaign imagery was lensed by Sofia Coppola (photo: CHANEL)
The fashion show unfolded on the terrace of Villa d’Este; campaign imagery was lensed by Sofia Coppola (photo: CHANEL)
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Beyond its visual language, CHANEL’s ties to Italy are also grounded in craftsmanship. For years, the house has worked alongside Italian shoemakers including Roveda (Milan), Gensi Group (Teramo), and Ballin (Venice). In Como itself, CHANEL partners with Mantero Seta, a venerable silk mill founded in 1902 and a vital contributor to the house’s textiles, notably the iconic tweed linings of its jackets.
CHANEL also owns the esteemed Renato Corti leather goods atelier in Milan, and holds shares in several Italian tanneries and textile specialists, including Gaiera and Samanta. “Most of our prêt-à-porter shoes are made in Italy,” Pavlovsky noted. “Our signature tailoring remains in France, but denim and knitwear are produced in Italy. It’s the same for our handbags—the hard-top styles are finished in France, while the supple leather pieces come from Italy.”
Above The French fashion house introduced the CHANEL 25 handbag in its latest Cruise collection (photo: CHANEL)
The French fashion house introduced the CHANEL 25 handbag in its latest Cruise collection (photo: CHANEL)
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CHANEL remains one of the few fashion houses to invest extensively in its own production network. Beyond the le19M Métiers d’Art hub in France, where the house’s exceptional creations come to life, CHANEL has also continuously channelled investment into manufacturing sites across Europe, including Italy and Scotland. Its long-standing collaborations with elite producers have long been a defining strength, setting it apart in a competitive landscape. “The key is not about where something is made, but how to access the highest level of technique and artistry,” said Pavlovsky. “For silk, leather and footwear, Italy is the benchmark. We choose locations that allow us to create quality with integrity.”
Above CHANEL remains one of the few fashion houses to invest extensively in its own production network (photo: CHANEL)
CHANEL remains one of the few fashion houses to invest extensively in its own production network (photo: CHANEL)
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Such partnerships enable CHANEL to draw from rich artisanal traditions while safeguarding its own legacy. Mantero Seta is a prime example. One of Italy’s most venerable silk producers, the atelier has balanced heritage techniques with innovation, evolving through its long-term relationship with CHANEL. Today, it continues to craft some of the maison’s most intricate silk prints and twills, each meeting the exacting standards set by the house.
“The artisans are not merely a means of production; they are part of the creative spirit,” Pavlovsky noted. “While they might not originate the sketches, they are the ones who bring them to life. They transform a concept into something tangible. We don’t just acknowledge that, we take pride in it. It’s not that they are part of CHANEL. CHANEL exists because of them.”
“At CHANEL, we are demanding, yes, but never oppressive. We allow them to flourish. And once you see them at work, you’ll never look at a scarf or a pair of shoes in the same way again.”
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The Cruise 2025/26 collection marks a vivid conversation between CHANEL and Italy. Drawing from the carefree dolce vita spirit of Villa d’Este, the collection channels scenes from golden-age Italian cinema: breezy taffeta mini-dresses in shades of pink, peach and turquoise; tweed suits in glowing yellows and burnt orange, like sunlight caught on old terracotta roofs. Eveningwear is lyrical and languid, black bustier gowns with sheer chiffon capes drifting like summer wind, floral lace sets, and diaphanous embroidered dresses inspired by the lakeside gardens.
Above Inspired by the allure of Italy, the collection features flowing silk dresses trimmed in navy, pastel tweed suits and timeless accessories, all touched by that unmistakable Mediterranean ease (photo: CHANEL)
Inspired by the allure of Italy, the collection features flowing silk dresses trimmed in navy, pastel tweed suits and timeless accessories, all touched by that unmistakable Mediterranean ease (photo: CHANEL)
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Above The show unfolded on the sunlit terrace of Villa d’Este (photo: CHANEL)
Above When it comes to CHANEL, not everything is visible (photo: CHANEL)
The show unfolded on the sunlit terrace of Villa d’Este (photo: CHANEL)
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Resort staples make a familiar return: crisp white trousers with straight cuts, a rich berry pea coat, a navy suit striped like the sea. Each look is tied together with filmic flourishes—strings of pearls, long gloves, lacquered mules, and foulards knotted loosely in hair or at the ankle.
The show unfolded on the sunlit terrace of Villa d’Este, with only a select number of guests, an intentional gesture, designed not to impress but to connect. “When it comes to CHANEL, not everything is visible,” Pavlovsky said in closing. “There’s a certain magic in what we do, in every piece CHANEL creates. It’s something we invite people to feel. And Como completes that dream. Here, stories aren’t told with words, but with imagination.”
