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Milan, Italy – February 21, 2018: Models, bloggers and influencers with fashionable and stylish looking during Milan Fashion Week.
Chanel brought a touch of Italian splendour to its latest Cruise collection, unveiling a vision of leisurely luxury on the sun-drenched terraces of Villa d’Este, the historic grand hotel nestled on the shores of Lake Como.
Set against a backdrop of classical architecture and wisteria-draped gardens, the show celebrated not just the allure of the Italian lakes but a broader ideal of escape, indulgence and timeless glamour — all hallmarks of the brand’s identity.
Though this was the first show since Matthieu Blazy’s appointment as creative director, the designer did not contribute to the collection, which was developed by Chanel’s in-house studio. His presence, however, was subtly felt in the careful orchestration of heritage and modernity. The collection channelled the spirit of Slim Aarons’ jet-set imagery, offering capri trousers in parasol yellow, lilac tweed skirt suits and glimmering gold lamé cover-ups that caught the sunlight like ripples on the lake.
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Models carried oversized totes — more poolside than boardroom — and sported silk scarves as ankle ties for heeled sandals, made from Como silk. These details nodded not only to the locale but to Chanel’s deepening ties with Italian craftsmanship.
The house recently acquired a 35% stake in Mantero, the Como-based textile manufacturer that has produced its printed silks for over 50 years. Chanel sees the move as an investment in preserving key suppliers amid growing global economic pressures.
Bruno Pavlovsky, president of fashion at Chanel, described the setting as “cinematic”, with the show evoking a sense of luxurious suspension — White Lotus meets La Dolce Vita.
Lucrative holiday market
The guest list of 900 included loyal Chanel clients alongside celebrities such as Keira Knightley and Sarah Catherine Hook. Representing the brand in Matthieu Blazy’s absence was Sofia Coppola, who created a short film inspired by the idea of reinventing oneself while away from everyday life.
The Cruise season, once about dressing for Caribbean voyages, now serves a more modern desire: to look effortlessly elegant while on holiday — and especially online. Spending on holiday wardrobes has outpaced that on workwear in recent years, and brands are eager to capture this lucrative market. Nearly every look at Chanel’s show came with sunglasses, a subtle nod to the Instagram age.
Despite Blazy’s low profile so far, he is already shaping the future of Chanel. He recently hired British couture expert Andrew Heather, known for his work with McQueen and Galliano. Pavlovsky, however, insists on patience: “We work on Chanel time. We don’t rush.” He plans to wait two years before evaluating whether Blazy is the right fit.
Chanel’s commitment to European production remains firm, with Pavlovsky rejecting suggestions of shifting manufacturing to the US in response to trade tariffs. The brand will maintain global price harmonisation, covering extra costs as needed.
With this dazzling display on Italian soil, Chanel reaffirmed its identity: steeped in tradition, evolving with care, and always ready for a grand holiday.
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