THE HISTORY OF CRUISE SHOWS
As every year, between the end of spring and the onset of summer heat, a very special moment unfolds in fashion. Around the dates of the Cannes Film Festival, and certainly no less spectacular, the fashion calendar opens windows to the world through its famous Cruise shows.
Far from the official weeks of Paris or Milan, Cruise shows, also known as Resort, mark a singular event that, although today it lacks the same context, tells us about recent human history. They exist outside the rigid spring/summer and fall/winter dichotomy, in a space of escapism. Of longing. Of optimism.
But where did they come from? And what makes them so coveted?
A wardrobe for the jet set
Cruise collections were born out of a clear need. In the early 20th century, with the establishment of the concept of leisure among high society, the wealthiest clients in Europe and America would escape winter by travelling to the Mediterranean or the Caribbean. Meanwhile, boutiques filled with wool and heavy coats, leaving these travellers without suitable clothing for their warm destinations.
Gabrielle Chanel was the first to see the opportunity. In 1919, she designed a small collection of light dresses and knitwear for women summering in Biarritz. It was elegant, functional and (as usual) ahead of its time: a solution for a season that officially didn’t exist, but in practice, did.
The rise of the “interseason”
By the mid-century, designer Cruise collections had become synonymous with leisure and sophistication. With the rise of cruises and beach resorts, the aesthetic of these collections began to take shape. And by the 1990s, with international travel more accessible to a wider audience, Resort collections took on a new commercial value that became key for fashion houses. Brands like Chanel, Dior, Gucci, and Louis Vuitton transformed these functional capsules into true creative showcases.
Image from the Prada Cruise 2019 Show, in Times Square (NYC)
From being vacation clothing for an exclusive minority, Cruise collections became aspirational. And, above all, highly profitable. While they maintain their holiday spirit, they also serve as a bridge between seasons, as a lab for ideas, and as a strategic tool to remain relevant throughout the year.
From the Riviera to Rio: a global tour
A key difference between Cruise shows and the rest is the geographic flexibility with which they take place. Untethered from calendars or official fashion capitals, brands are free to dream. And they do, on a grand scale.
Show Venue for the Prada Cruise 2019 Show, in Time Square (NYC)
Among the most famous in recent history, Louis Vuitton has taken its guests to Isola Bella on Lake Maggiore or the Niterói museum in Brazil. Dior has chosen sites rich in symbolism: the Plaza de España in Seville, the Colegio de San Ildefonso in Mexico City, or the Gateway of India in Mumbai. Gucci has unveiled its Resort shows in Seoul, Westminster Abbey, and the Capitoline Museums in Rome. Chanel, always theatrical, built a life-size cruise ship inside the Grand Palais in Paris, and travelled to Dubai and Seoul.
Each Cruise show becomes a destination in itself. A spectacle where fashion, architecture, and local narrative blend into an immersive experience. Brands weave complex creative links between their houses and the local identities they visit. Both out of historical rigor and a desire to expand creativity and diversify. In many cases, local craftsmanship is highlighted, hiring local ateliers to create the collections and showcase the value of global artisanry.
The Resort spirit
Cruise collections are defined more by a global mood than by trend per se. The usual is lightness: airy silks, linen suits, dresses with open backs, and swimsuits bordering on haute couture. Pieces that evoke sun, salt, movement, and spontaneity; but also combine this softness with more structured cuts, sportswear codes fused with the brand, and high doses of opulence.
As seen in Gucci’s show this week in Florence for Gucci Cruise 2026, fashion houses invite us to look to the past, to imagine the former lives of the corners where they stage their shows. Neither exclusively commercial nor overly conceptual, Resort collections have become a space of creative freedom for brands. Less constrained by the season and far more open to each house’s personal vision.
Cruise shows today
Despite their functional origin, Cruise has become a paradox: wearable, yet imaginative. Some pieces are made for airports or seaside dinners. Others are pure theatre, like period set pieces, perfect for editorials and major covers.
However, contemporary challenges like sustainability and overproduction have altered the course of these collections. Some brands have chosen to reduce, digitise, or even cancel their Resort shows. But the charm of golden eras endures. These shows remind us that fashion, at its best, is a form of travel. Like reading.
Whether to volcanic islands, film sets, or palace staircases, Cruise shows invite us to escape. They anticipate the summer that lies ahead.
