On the shores of Lake Como, the Villa d'Este perpetuates a certain idea of European luxury, amidst sculpted gardens and silver cypress trees. Converted into a hotel in 1873, this former princely residence embodies a refined art of living where every detail—from the frescoes to the silver service—creates an Italian-style showroom.
But before becoming a haven for stars and creatives, the Villa d'Este was the setting for a long aristocratic saga. Built at the end of the 16th century under the name Villa del Garovo, it was commissioned in 1568 by Cardinal Tolomeo Gallio, Secretary of State to Pope Pius IV, who entrusted its design to the architect Pellegrino Tibaldi. Conceived as a country retreat, it is organized around terraced Italian gardens, punctuated by fountains, nymphaea, and mythological sculptures. After the cardinal's death, the villa changed hands several times until it was renamed "Villa d'Este" in the 19th century in honor of the marriage of a princess from the House of Este. It was primarily Princess Caroline of Brunswick, wife of the future King George IV of England, who gave it its romantic character. Exiled from the British kingdom, she settled there in 1815 and transformed the estate into a hub of culture and social life, hosting concerts, costume balls, and botanical experiments.
Long frequented by royalty and artists seeking inspiration, the Villa has seen the likes of Wagner, Churchill, and Garbo pass through its doors. Today, it attracts a new global elite, comprised of film stars, political figures, and designers. At the Veranda restaurant, George and Amal Clooney escape the bustle of Laglio; Barack Obama, passing through, takes a break away from prying eyes. The décor remains unchanged: suites with painted ceilings, symmetrical gardens, and discreet service. But the perception of these places has evolved. This setting has become the backdrop for a contemporary image, a mirror of desire, comparable to that which animates the grand Parisian showrooms, where one comes to observe, select, and find inspiration.
This convergence of heritage and fashion crystallized in May 2025 when Chanel transformed the Villa's floating pool into a showcase for its Cruise collection. A catwalk on the water, where spotlights sculpted the Renaissance volumes as models glided between statues of Neptune. Tilda Swinton, a mesmerizing muse, danced like a Baroque figure emerging from a dream; Dua Lipa watched the show from the balustrade, capturing the moment in an almost cinematic light. At that instant, the Villa became something else entirely: a global stage, a salon of modernity etched in the marble of history.
The surrounding hotel ecosystem fuels this aesthetic dynamic. Passalacqua, voted Europe's best hotel in 2024, combines local craftsmanship with contemporary haute décor. Il Sereno, designed by Patricia Urquiola, cuts its mineral lines against the horizon. The Grand Hotel Tremezzo, with its orange parasols and open-air spaces, cultivates an art of contrast between the Dolce Vita and bold design. All these establishments understand that beyond comfort, what attracts guests today is a brand experience. Just like in Paris, where showrooms are no longer simply exhibition spaces but vehicles for storytelling.
