A Cinematic Dream: Chanel Cruise 2026 at Villa d’Este

Picture this: a legendary hotel on the shores of Lake Como — Villa d’Este — its gardens in full bloom, the sun casting a golden glow across the water. Add to that the nearby Villa Erba, once home to Italian director Luchino Visconti, and a memory of Romy Schneider in Gabrielle Chanel's designs in his 1962 film Boccaccio ’70. The result? The perfect stage for the Chanel Cruise 2026 show.

For Bruno Pavlovsky, president of fashion and of Chanel SAS, the choice of Villa d’Este was more than symbolic — it was cinematic destiny. “It connects the dots between Chanel and the world of cinema,” he said. Sofia Coppola celebrated the occasion with a short film shot at the hotel. Securing the venue wasn’t easy, Pavlovsky admitted, but its historic charm and creative inspiration made it worth the effort. “It helps our storytelling,” he noted, “and the fantasy is always important.”

Originally built in the 16th century, Villa d’Este has welcomed the likes of Elizabeth Taylor, Robert De Niro, and aristocrats from around the world since becoming a hotel in 1873. Its blend of glamour and grandeur aligned perfectly with Chanel’s aesthetic — particularly during this moment of transition, as new creative director Matthieu Blazy prepares for his first collection this October.

"Strings of beads, black sunglasses and long gloves, sequins and lamé reflect the Hollywood charm of the collection. Peach, pink or blue, pastel tones meet sun-kissed colours in ochre, yellow and orange on tweed suits. This insouciant and sunny spirit is also reflected in revisited cruise codes, with straight-cut white trousers, pea coat and stripes. The lacework, inspired by the flowers in the Villa’s garden, offer a touch of delicacy to the silhouettes. Taffeta ball gowns, backless jumpsuit, and long capes: a carefree elegance and a spirit of celebration run through the collection."

The show itself echoed the setting. Imagine a guest gliding through the hotel in a sequined robe, swapping it later for a chiffon halter gown with elbow-length gloves. A Chanel 25 bag in hand, patent mules on her feet, she epitomizes cinematic elegance. Keira Knightley embodied the mood, smiling in a white silk gown adorned with oversized bows from the Fall 2025 collection.

There were also playful nods to Gen Z: tweed miniskirts in wisteria, flouncy taffeta dresses in peach and pink, and a gold Lurex damask suit with disco flair. The lake sparkled in sync with navy-striped palazzo pants and crisp polo shirts. Still, Chanel stayed rooted in its codes — tweed, camellias, pearls — with exquisite embroidery, beadwork, and lace inspired by the blooming rhododendrons and oleanders in the park.

Behind the scenes, Pavlovsky acknowledged the winds of change. “Matthieu Blazy brings new creative energy, which is super interesting for the team,” he said. Though Blazy didn’t attend the show, he’s already collaborating with the Studio de Création — many of whom worked under Karl Lagerfeld and Virginie Viard.

The company remains cautious but optimistic. While Chanel hasn't released its 2024 financials, Pavlovsky reported steady revenue amid global fluctuations, particularly in China. “We’re back to real life after the post-COVID boom,” he said. “There are ups and downs, but those investing in the right direction will perform.”

As for the political climate, including potential U.S. tariffs, Chanel is monitoring closely. The brand’s global price harmonization strategy, Pavlovsky emphasized, remains crucial. “It’s a strong message to our clients, especially in times of currency shifts or economic pressure.”

On retail, Chanel maintains long-term relationships with U.S. department stores, though most expansion efforts now focus on renovating existing boutiques and selective openings. A new Chanel store just debuted in Fukuoka, Japan, and in Italy, the brand boasts eight boutiques and three footwear stores — including a major location in Milan combining fashion, watches, and fine jewelry.

Holding the cruise show near Como felt serendipitous: Chanel recently acquired a minority stake in Mantero, a 123-year-old silk house based in the region and a Chanel partner for over five decades. “Sometimes partnerships evolve,” Pavlovsky said. “This one felt like the right next step.”

During a pre-show tour of Mantero’s archives — which include 12,000 Chanel pieces and 3,000 sketches — family members Franco and Lucia Mantero called the investment “a message of confidence” for the entire Como silk district.

The partnership echoes another strategic move: Chanel’s joint stake in Italian cashmere producer Cariaggi with Brunello Cucinelli.

“The textile industry has suffered,” Pavlovsky explained. “To continue leading, we must support these exceptional manufacturers.”

In the end, Chanel’s Lake Como moment wasn’t just a show — it was a love letter to heritage, cinema, and craftsmanship. “Chanel,” Pavlovsky concluded, “stands above all — above any individual designer. The clarity of the Chanel silhouette is what endures. That’s Matthieu’s mission now: to carry that spirit forward.”