Maria Grazia Chiuri has invited the past to guide Fendi’s future. For Cruise 2027, the creative director takes a step towards modernity, capturing a sense of togetherness through hybrid dressing and human connection. The collection is portrayed through an enigmatic short film inspired by Karl Lagerfeld's first fashion film for the House.
‘Less I, more us’ is the principle the creative director asserted as she stepped into her new role at Fendi. Classic shapes are reimagined with an intense focus on craftsmanship, materials and the way garments adhere to the body. Men and women become almost mirrored versions of each other; a fluid conversation between genders signals a pragmatic, functional future for Fendi. Generations, desires, bodies and attitudes become one. Interchangeable pieces break down the traditional dichotomy that separates masculine and feminine tailoring. The repeated Tree of Life motif symbolises a utopian future, calling upon a harmonious coexistence between humanity, nature and community.
Chiuri revisits an archive Spring/Summer 2001 studded edition of the iconic Baguette bag, reinterpreting it in black parchment, a signature Fendi material originally used for its luggage. Elevated fur-trimmed trench coats and matt fabrics fused with shiny leather manipulate contrasting dialogues into a redefined structure for the contemporary wearer. Three-piece suits, soft tailoring and georgette dresses are styled to fit the temporal perception of the self. Neutral tones dominate the majority of the looks, with a few disruptions in metallics and a daringly bold ensemble featuring a red leather and fur trench paired with a red floor-length gown. Staple garments situate themselves in synchronicity with the cadence of our time.
As a reimagining of the first-ever fashion film, Histoire d’Eau, directed by Jacques de Bascher for Fendi’s first ready-to-wear collection designed by Karl Lagerfeld, Chiuri invites viewers into a dream that seemingly blurs the
Remaining unshakeable and curious, the revived Suzie interacts with the living figures in a disciplined mind game of unbreakable eye contact and quiet understanding. The simple, unspoken intimacy of human connection is found in lingering scenes of uninterrupted looks. With reckless abandon, she proceeds to stroll through the desolate hallways, piano
Intentional shots through architectural elements create a frame within a frame, enhancing the protagonist’s enduring resilience as she roams through this fantasy in suspended reasoning. Obscured compositions leave the audience questioning the meaning of the stairs, which orchestrate a cycle of subjects materialising and disappearing again.
Suzie watches as the artist’s garments descend the steps in solemn fashion, where a modern approach to fashion coexists with the weight of history. The world she observes within the walls of the building, suspending rationality, leads her to return to the outside with confident solemnity. Not to the Rome it was before, but to one that concurs with her own temporality.