The Fendi Cruise 2027 bags mark the first resort collection Maria Grazia Chiuri has designed for the Roman house, and the message comes through clearly from the opening look: the Baguette, the bag that helped define an entire decade of Fendi, sits back at the center of the story. Chiuri is not a newcomer to this silhouette. Long before she became Fendi’s chief creative officer, she worked inside the house’s leather goods ateliers during the 1990s, in the same period the original Baguette was being developed under Silvia Venturini Fendi. That history shapes how this Cruise collection reads — less like a reinvention, more like a homecoming.
Presented through a moody short film referencing Karl Lagerfeld and Jacques de Bascher’s 1977 “Histoire d’Eau,” the collection trades the playful Y2K Baguette revivals of the past few seasons for something darker and more material-driven. Parchment, a leather long associated with the house, is paired against studded black hardware throughout the bag line, while the wider ready-to-wear wardrobe leans into fur-striped trenches, georgette dresses with leather plastrons, and a restrained palette of black, parchment beige, and the occasional flash of red or metallic.
The Baguette Returns to Its Roots, in Parchment and Studded Leather
The clearest through-line of the collection is the Baguette rebuilt around its 1997 silhouette, style code 26424, the one originally inspired by Parisian women carrying loaves of bread under one arm. For Cruise 2027, Chiuri works the bag in two main directions. The first is a smooth black leather flap version, framed top to bottom in dome studs, with the double-F buckle closure rendered in brushed gunmetal rather than the brighter gold of past seasons — a quieter, more architectural take on the original. The second direction brings in parchment-toned leather, paired with black studded borders, a combination the house describes as a dialogue between the brand’s signature material and a harder, more graphic edge.
Where the original 1997 Baguette had a reputation for being difficult to produce because parchment is a rigid, water-treated material, Chiuri’s studio reworked the formula with a softer leather that keeps the visual effect while making the bag more wearable day to day. That detail matters for anyone tracking the Baguette’s resale value: re-editions tied directly to archival construction methods tend to hold collector interest longer than purely cosmetic reissues.
Mamma Baguette Totes Bring New Volume to the Line
Alongside the classic shoulder-bag scale, Cruise 2027 introduces an oversized “Mamma Baguette” tote that keeps the bag’s signature flap and FF clasp but scales the body up into a full-size carryall. Several versions appear across the collection in woven black leather with fringed, tasseled sides, and in a cream parchment leather framed with black leather edges and braided top handles. These totes read as the most directly wearable pieces in the lineup, built for travel and daily structure rather than evening dressing, and they extend the Baguette’s identity into a category the house has historically left to other bag families.
A smaller crossbody version, carried mostly by the men’s looks in the lineup, strips the silhouette down further still: a compact zip pouch on a webbing strap printed with “FENDI ROMA,” worn close to the body under tailored coats. It is the most utilitarian read of the Baguette shape in the entire collection, and a clear signal that Chiuri is positioning the bag as unisex rather than strictly a women’s accessory.
Animal Print, Sequins, and Metallic Leather Add Texture
Beyond the parchment-and-stud pairing, the collection plays heavily with surface treatment. Zebra-printed calf hair appears across several Baguette and tote bodies, sometimes combined with the house’s FF jacquard canvas on the sides, and a leopard-printed pony hair version follows the same construction. Both prints are finished with the same dome-stud framing used on the black leather pieces, which keeps the silhouette consistent even as the materials shift.
For evening, the Baguette reappears in a fine gold-and-bronze sequined mesh, paired with a smooth leather flap and worn by models in sequined slip dresses, and a metallic silver croc-embossed leather turns up in a smaller flap-closure shoulder bag carried by both the men’s and women’s looks. These textured pieces sit furthest from the parchment-and-stud baseline, but they share the same hardware language, the same FF lock, the same proportions, which keeps even the most decorative versions reading unmistakably as Baguette.
Styling Notes: How the Bags Work Within the Collection
Across the lookbook, the bags are styled to match the temperature of the clothes around them. The studded black Baguette appears with fur-collared coats and lace-trimmed dresses, leaning into the darker, more austere mood that defines most of the collection. The parchment totes and zebra-print pieces, by contrast, show up with the trench coats and tailored separates, grounding the daytime looks. The sequined and metallic versions are reserved almost entirely for evening, paired with column dresses and feathered pieces that pick up the same light.
Taken together, the Cruise 2027 bag offering reads as a deliberate consolidation rather than an expansion: one silhouette, the Baguette, worked through enough materials and scales to cover travel, daywear, and evening without diluting what made the bag recognizable in the first place. For a house entering a new creative chapter, that kind of restraint says as much about direction as any single piece on the runway.
