From Lake Como To Singapore: Chanel Cruise 2025/26 Collection

How does a Chanel girl pack for vacation? She brings tweed suits reimagined for warm weather, oversized chiffon brooches pinned just so, and strings of necklaces that clink as she moves. Her idea of lightness isn’t about minimalism, but ease: boxy culottes that move with her, lamé dresses that catch every ray of sunshine. She travels as she dresses, with intent and a touch of nonchalance.

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That is the spirit of Chanel cruise 2025/26, unveiled at the legendary Villa d’Este on Lake Como. The opening look, worn by Danish model Ida Heiner, appeared almost like it was part of her morning ritual, as she stepped through the hotel lobby onto the lakeside terrace in a white bathrobe-like tweed suit tied loosely at the waist. It set the tone for the show—elegant, luxurious and easy.

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The mood was crowned by a short film directed by Sofia Coppola, a long-time friend of the House. Heiner embodied the Coppola heroine to perfection. Through her lens, the collection’s world unfurled slowly: light moving across curtains, reflections glimmering on water, open windows framing sky and lake.

Chanel’s connection to Lake Como stretches back nearly a century. Gabrielle Chanel visited often in the 1930s, drawn by its calm as well as her friendship with filmmaker Luchino Visconti, whose family villa overlooked the lake. Their creative relationship later led to her designing costumes for Visconti’s Boccaccio ’70. In this context, Lake Como is more than a picturesque venue. It’s part of the Maison’s living archive, where film, friendship and fashion continue to intertwine.

Related article: Chanel Is Bringing Its Cruise 2025/2026 Show To Singapore

The collection radiated cinematic ease too. Its palette of ochre, lilac and strawberry reflected the gardens of Villa d’Este, while pastel shades of peach, pink and blue mirrored the lake at sunset. There was movement in the looks: a long cape in striped lamé that caught the breeze; a gold lurex trouser suit that gleamed and a pink halter and wide-legged trouser ensemble traced with rhinestones and pearls. The finale was a long ivory gown worn with opera gloves, a nod to old Hollywood’s golden age.

Materials added to the storytelling. Shiny tweeds, lamé, crochet and raffia textures all hinted at days spent between land and water. The familiar and well-loved Chanel codes remained: pearls, tweed, chains, the new iterations of the Chanel 25 bag—now softened, relaxed and warmed by the sun.

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On 4 November, Chanel will restage the cruise 2026 show in Singapore. It marks the brand’s second major presentation in the city; the first was in 2013, when Karl Lagerfeld transformed the then-quiet army barracks of Loewen Cluster in Dempsey into a setting for his Cruise 2014 collection. Lagerfeld himself stayed at the iconic Raffles Hotel, whose gardens became the set for the show’s accompanying film, a memory still vivid in Singapore’s fashion history.

What began in the stillness of an Italian lake will meet the brightness of the equatorial sun, the same fabrics illuminated in a new light. And with that, the tropical vacation continues.

Editor-in-Chief: Kenneth Goh
Photography: Paul McLean
Styling: Gracia Phang
Model: Xiaorui Li/ Uno Models
Cover look: Chanel
Makeup: Giuly Valent
Hair: Alessia Bonotto/ Blend Management
Production: Squalo Produzioni
Photographer’s assistant: Daniel Millar
Stylist’s assistant: Giulia Lombardi
Location: Residenza

In collaboration with Chanel.