Fendi Cruise 2027 “Beyond the Mirror or Dark Tinker Bell Strikes Again” by Maria Grazia Chiuri. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: Fendi.
Dark Tinker Bell Packs Fur for July
When one thinks of a “Cruise” collection, the mind naturally drifts to Mediterranean sun, linen separates, and a general sense of effortless warmth. Maria Grazia Chiuri, however, apparently envisions the ideal summer getaway taking place in a frozen, dystopian wasteland. For her debut Cruise collection at Fendi, titled “Beyond the Mirror,” Chiuri has successfully transported us out of the sunlight and directly into a terrifyingly dark, smoke-filled rationalist mansion in Rome.
Welcome to the second chapter of the Dark Tinker Bell saga—the gloomy aesthetic Chiuri first introduced during her Dior Fall 2021-2022 season has formally migrated to Fendi, bringing a heavy suitcase of existential dread along with it.
The Palette of a Seance
In a move that completely strips Fendi of its historic, vibrant color theory, Chiuri has restricted the palette to an uncompromising trio: absolute black, blood red, and a few ghostly slashes of off-white “parchment.”
The short film accompanying the collection introduces us to a new incarnation of “Suzie”—inspired by the protagonist of Jacques de Bascher’s Histoire d’Eau. Suzie wanders through an austere, uninhabited building, engulfed in plumes of smoke and looking remarkably like she is trying to remember where she parked. The press release eagerly describes this as a “feverish landscape” where geometry and silence exist in constant dialogue. In reality, the dialogue feels more like a monologue on the virtues of architectural depression and unresolved psychological issues.
FENDI CRUISE 2027 PALETTE ARCHETYPE
[ ◼ Black: 80% ] [ 🟥 Red: 15% ] [ ◻ Parchment: 5% ]
His, Hers, and the Narcissistic Mirror… Again
A core pillar of Chiuri’s structural renovation for Fendi is the “shared wardrobe.” Presented as a series of duets, male and female models share the same lookbook frames, dressed in complementary opposition.
According to the house, the concept stems from the everyday realism of raiding a spouse’s closet. However, given the way these models broodily stare past one another into the grudgingly lit gloom, the vibe is less “domestic harmony” and far more “high-fashion narcissism.” They are wearing matching Vitruvian silhouettes—that high-centered X that Chiuri favors—manifested in weathered denim Western shirts, fringe-sliced leather skirts, and politely punkish checked trousers. It is functional, straight-lined, and utterly devoid of joy.
The Silhouette Paradox: While the straight, modernist lines attempt to showcase functional utility, the overwhelming styling leaves one wondering if the garments are meant for a stroll on a yacht or a high-stakes game of chess against the Grim Reaper.
Where the Craft Outshines the Gloom
If there is a saving grace buried in the Roman shadows, it is the texture. Chiuri’s exploration of sensuality relies heavily on Fendi’s ultimate mastery of materials. We see fur-patched bags, fur-trimmed shoes, and woven fur jackets paired with mesh, lace, and leather.
It is here that the designer’s true talent shines. As she has proven time and again, Chiuri possesses an undeniable, brilliant mastery over accessories. The structured leather outerwear with orbits of plush fur and the meticulously crafted skins remind us of what Fendi is capable of when it isn’t playing gothic dress-up.
Ultimately, “Beyond the Mirror” leaves the viewer suspended in a dream state that feels entirely disconnected from reality. When Suzie finally exits the building, stripped of her plumage, she dissolves into the closing credits. One can only hope that on her next cruise, someone remembers to pack her a swimsuit—and a flashlight.
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