Latest news with #Como-based
South China Morning Post
30-04-2025
- Business
- South China Morning Post
Chanel's cruise 2025-26 collection at Lake Como in northern Italy: the French maison celebrates its Italian connection, with Sofia Coppola directing a short video
Anticipation is mounting for Matthieu Blazy 's first collection as creative director of Chanel, to be unveiled in October, but in the meantime the Parisian powerhouse is not slowing down. After travelling to Hangzhou, China late last year to present its Métiers d'Art collection with a mesmerising show on the shores of West Lake, Chanel sojourned to another body of water to reveal its cruise 2025-26 collection: Lake Como. Held at the majestic Villa d'Este – a former 16th century royal residence and one of Italy's most famous hotels – the show was a celebration of Italian joie de vivre and Chanel's long relationship with Italy. Chanel's cruise 2025-26 show opened with a series of white looks in tweed. Photo: Reuters Advertisement While Chanel is first and foremost a French maison, Italy plays a vital role in the making of its creations – from leather goods to shoes, sunglasses and knitwear. Over the years, Chanel has invested in a series of Italian suppliers, and in 2023 partnered with luxury label Brunello Cucinelli for a joint investment in a cashmere manufacturer. More recently, the house acquired a 35 per cent stake in Como-based silk maker Mantero. 'I always say that Chanel is half French and half Italian,' said Chanel president of fashion Bruno Pavlovsky in an interview before the show. 'We are a French brand but for a very long time, we've set up a lot of activities here in Italy. In the luxury world you have no choice: it's either France or Italy. Today in terms of units, we're manufacturing more units in Italy than in France, and there are more people working for Chanel in Italy than in France, for the fashion division. 'We're not Italian but we feel at home in Italy – especially in this part of Italy. Shoe manufacturing has disappeared in France, so today we make 100 per cent of our shoes in Italy. In ready-to-wear, tailoring is made in France, but denim, knitwear is made in Italy.' The show was held at Villa d'Este, a historic hotel at Lake Como in northern Italy. Photo: Reuters The bond between Italy and Chanel in fact dates back to the time of Gabrielle 'Coco' Chanel herself . The designer first discovered Italy in 1920, when she visited what would become one of her favourite cities, Venice. She was also close to Italian director Luchino Visconti, who is said to have invited her to his villa at Lake Como, at a spot not far from Villa d'Este. Chanel introduced Visconti to French director Jean Renoir, and eventually Visconti asked the designer to dress actress Romy Schneider for a role in an episode of Boccaccio '70 (1962), an anthology of four stories about women. The chapter starring Schneider, in which the actress wears Chanel signatures such as two-toned heels and pearl necklaces, is one of director and long-time Chanel collaborator Sofia Coppola 's favourite films.
Gulf News
24-04-2025
- Entertainment
- Gulf News
Gucci's ‘The Art of Silk' unfurls a tapestry of craft and culture in Florence
In a fifteenth-century palazzo nestled in Florence's Oltrarno district, Gucci is tracing the fine threads of its legacy—one scarf at a time. The Art of Silk, the Italian House's new exhibition and accompanying publication, offers a rare look inside the atelier's storied relationship with silk, positioning the accessory not just as a flourish of fashion, but as a cultural artefact. It all began with Tolda di Nave, a nautical-themed silk scarf created in 1958 through a collaboration with a Como-based silk producer. What followed was a visual and material archive that grew increasingly intricate—most notably with the arrival of illustrator Vittorio Accornero de Testa, whose baroque, botanical imaginings defined the House's scarf designs for decades. Among them, the most enduring remains the Flora scarf, created in 1966 for Princess Grace of Monaco. With its 43 species of flora and fauna rendered in 37 hand-applied colours, the design has become a quiet symbol of Gucci's dedication to detail and Italian artistry. Today, it adorns the slipcase of the exhibition's companion book—an homage to a motif that has spanned from the necks of royals to the runways of Alessandro Michele. The Art of Silk is not just a retrospective—it is also an act of renewal. A highlight of the exhibition is 90×90, a project featuring nine limited-edition scarves reinterpreted by contemporary artists. The works offer a fresh lens on Gucci's design language, blurring the lines between wearable object and visual art. While the fashion world continues to spin toward the digital and ephemeral, Gucci's silk showcase is a reminder of what remains rooted: craftsmanship, history, and the art of making something slowly. In its best moments, The Art of Silk reads like a love letter to the analogue.
