Bruno Pavlovsky on Chanel’s Italian affair and how the house bridged heritage and innovation at Lake Como
The storied Villa d’Este, located on the shores of Lake Como, Italy, is one of the most sought-after and secluded destinations for celebrities and film legends alike. On April 29, the historic grounds were transformed by Chanel into a spectacular runway to present its 2025/26 cruise collection. The connection of Lake Como and Chanel was first forged when Gabrielle Chanel vacationed with Italian filmmaker Luchino Visconti in the area, the friendship later blossoming into a creative partnership when Visconti invited Chanel to design costumes for actress Romy Schneider in his film Il lavoro, or The Job (1962). The show is a revisit of Chanel’s deep connection with the seventh art and a celebration of timeless Italian cinematic glamour.
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
There is also, of course, the business partnership between Chanel and several Italian ateliers, which takes centre stage in operations today. The maison’s Italian network includes footwear makers Roveda in the province of Milan; Calzaturificio Gensi Group in Teramo; and Ballin in the province of Venice. The French fashion house also owns Renato Corti, a luxury leather goods company based in Milan, and holds both majority and minority stakes in tanneries Gaiera and Samanta, as well as in other companies specialising in textile production and garment manufacturing. Among these valued partnerships is Mantero Seta, located in Lake Como, a prestigious silk atelier founded in 1902, which has been instrumental in creating Chanel’s silk designs, particularly the house’s signature jacket linings—an essential element in its classic tweed jacket.
Bruno Pavlovsky, Chanel’s president of fashion, did not shy away from discussing the house’s Italian production, despite being proud of French savoir-faire. “Today, most of Chanel’s ready-to-wear footwear production is based in Italy,” says Pavlovsky. “While our signature tailoring remains in France, specific categories such as denim and knitwear are crafted in Italy. The distinction is also clear in our handbag production: France specialises in structured handbags, while Italy excels in crafting our soft leather designs. It’s two different approaches to craftsmanship.”
Bruno Pavlovsky, Chanel’s president of fashion
Chanel is one of the rare fashion houses that has invested substantially in vertical expansion. Apart from the renowned Le19M, Chanel’s headquarters for its Métiers d’art, a hub that gathers 11 French historic ateliers under one roof, the house also invests heavily in other parts of the region, including Italy and Scotland. Securing the best manufacturing partners has long been Chanel’s strategy in setting itself apart from its competitors. “It is not about where the product is produced; it is about accessing the best techniques and crafts. For silk, leather goods and shoes, we have no choice but to acknowledge that Italy has some of the best expertise. It is about sourcing the best and producing the best quality.”
These strategic alliances not only ensure Chanel’s access to exceptional craftsmanship but also directly foster the continuation of century-old knowledge and techniques. The Mantero Seta silk atelier, for example, is one of the oldest silk production units in Italy. Through Chanel’s long-term partnership, the atelier has been able to maintain its traditional craft while investing in innovative technologies. This symbiotic relationship ensures both the preservation of heritage techniques and the evolution of craftsmanship to meet contemporary luxury standards. The atelier continues to produce some of Chanel’s most intricate silk prints and twills, maintaining the highest standards of quality that the house demands.
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
“These artisans are not just manufacturers—they are integral to the creative process,” Pavlovsky explains. “While they don’t create the initial designs, they play a crucial role in transforming sketches and ideas into tangible products. From the beginning, we’ve taken the position of being proud to acknowledge their contribution. It’s not about them being part of Chanel; rather, Chanel exists because of their expertise.”
“At Chanel, while we maintain very high expectations and are demanding about product quality and finishing, we recognise that execution lies in the hands of these artisans. That’s something we need to highlight. We’re not trying to control everything—we’re trying to get the best out of these partnerships by letting these manufacturers excel at what they do best. Once you witness their work, you never look at a shoe or a scarf the same way again.”
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
And this has manifested in the collection itself. Driven by the Creation Studio, Chanel’s design centres where ideas take shape, the house’s latest collection takes inspiration from the refined Italian glamour of its surroundings. The presentation transformed Lake Como’s shoreline into a cinematic tableau—an homage to the golden age of Italian cinema. Each look captured the essence of Mediterranean sophistication: diaphanous silk gowns traced with nautical elements floated past centuries-old villas, while precisely tailored jackets paired with fluid trousers channelled the architectural elegance of 1960s Milan. Lightweight tweed suits in soft pastels notably mirrored the sunset palette of the lakeside. Accessories, such as dramatic sun hats, pearl-embellished sandals and vintage luggage-shaped handbags, echo the spirit of a carefree European summer.
“I believe we are one of the few brands now still putting a big focus on fashion,” says Pavlovsky. “We don’t just talk about bags, shoes and accessories separately. They are always part of a bigger picture, an extended language of the collection itself. We talk about accessories through fashion—everything works together to construct a complete silhouette, a definitive style. When we present a collection, we’re telling a complete story.”
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
Chanel 2025/26 cruise collection (photo courtesy of Chanel)
And now, as many anticipated, a new storyteller has taken the helm of the house. Matthieu Blazy, Chanel’s newly appointed creative director, will present his first collection for the maison this October, marking a new chapter in the house’s storied legacy. “It’s an interesting time for me and for everyone,” Pavlovsky reflects. “Chanel is a brand with such profound depth that it requires time to truly understand and immerse oneself in its essence. Of course, expectations are extraordinarily high. But we’re approaching this with patience and perspective. We’re not just focusing on the October collection––we’re looking ahead at all the collections to come in the next few years. A vision needs time to unfold, and impact is built on time.”
It’s a bold stance in an era of constant newness—one that reinforces Chanel’s position as a house that sets its own rhythm.
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