The Fendi Sisters in Piazza di Spagna, Rome (1979). Image courtesy of Fendi.

She’s seen the world of Fendi from every angle. As a child, Silvia Venturini Fendi was amazed by her family’s atelier on Rome’s Via Borgognona. “I remember the feeling of adrenaline you could breathe in at the creative studio, the emotion of seeing collections come to life,” the designer, 64, told 10 Magazine. “At night, it became a creative workshop for fashion shows, costumes, parties and projects.” When she was just six years old, Karl Lagerfeld asked her to walk in his debut runway show for the house. Years later, she joined the family business and created one of its most enduring accessories: Baguette. Today, she carries on her family’s tradition as fashion designer and creative director of accessories and menswear for the brand. This year, she marks a milestone in her family’s legacy: 100 years of Fendi.

The first Fendi store, Via del Plebiscito (1926). Courtesy of Fendi.

Adele Fendi at Via Piave Boutique Rome (1930s). Courtesy of Fendi.

Fendi Via Piave Boutique Rome (1930s). Courtesy of Fendi.

Founded in 1925 by Venturini Fendi’s grandparents, Edoardo Fendi and Adele Casagrande, the business was originally a furrier and leather goods shop in Rome. When Aldo died in 1954, his wife and their five daughters kept the store open. By 1965, Venturini Fendi’s mother, Anna, and her aunts, Carla, Paolo, Franca, and Alda, appointed Karl Lagerfeld to design Fendi’s womenswear. It was the start of a 54-year tenure, the longest partnership between a designer and house in fashion history. Lagerfeld made an indelible mark on the label, including designing its double-F logo, which stands for “Fun Furs.” Venturini Fendi began officially working alongside Lagerfeld in 1992, after she launched the diffusion line Fendissime in 1987.

Fendi Fun Fur Logo designed by Karl Lagerfeld (1965). Courtesy of Fendi.

The first unisex collection, fall/winter 1967-1968, featuring Silvia Venturini Fendi as a child (1967). Courtesy of Fendi.

The Fendi sisters in the atelier (1970s). Courtesy of Fendi.

Despite having such a rich history to draw from, the designer wanted to resist nostalgia around the 100-year anniversary. “I didn’t want to spend too much time dwelling on the physical archives,” she told 10. “I wanted to express what Fendi-ness is. For me, the centenary is more about my personal memories, real or imagined, of what Fendi was and what it means today.”

To celebrate, boutique windows are being adorned with sculptural, gold ribbon details. A commemorative stamp was also created to acknowledge the brand’s contributions to the Italian economy and the reputation of Italian-made goods around the world. The label’s even taking the festivities on tour, with its World of Fendi 2025 events. These are opportunities for shoppers—in cities like Rome, Miami and Seoul—to see archival pieces, as well as have their own made-to-order experience.

Pequin collection (1983). Courtesy of Fendi.

Silvia Venturini Fendi by Karl Lagerfeld (1984). Courtesy of Fendi.

But Venturini Fendi’s greatest contribution to the anniversary is her co-ed fall/winter 2025 collection, which was shown during Milan Fashion Week. Rather than present a retrospective, the show celebrated Fendi’s current place in fashion. It was a strong statement that didn’t lose sight of the brand’s signatures, craftsmanship, or inherent sense of humour.

Actors like Sarah Jessica Parker, Ashley Park, and Hailee Steinfeld, as well as filmmaker Luca Guadagnino were among the notable guests in the brand’s newly renovated Milan headquarters. The show opened with Venturini Fendi’s seven-year-old grandsons, Dardo and Tazio (whose mother is jewellery designer Delfina Delettrez Fendi), running to open two enormous doors. They stood in for her as a child, entering the atelier and discovering all the artists and ideas inside.

Giano Bifronte by Karl Lagerfeld (1985). Courtesy of Fendi.

The Fendi sisters and Karl Lagerfeld (1986). Courtesy of Fendi.

The collection featured nods to silhouettes from the 1920s and 1970s, but overall these were pieces for a forward-thinking consumer. There were shearling pieces treated to look like mink, structured coats that gave way to swinging hemlines, and leather patchwork used to create volume. Rounded sleeves, curved lines, and hourglass shapes referenced the infinity symbol. Rather than send out a collection of timeless looks, Venturini Fendi’s work suggests that being open to new ideas is what gives a brand staying power. Whether she’s designing for men or women, her work is elegant, never simple, and always worth a second look.

Fendi Casa (1991). Courtesy of Fendi.

Fendi Casa (1991). Courtesy of Fendi.

Tokyo Show at Orchard Hall (1996). Courtesy of Fendi.

At 100, Fendi still embraces playfulness. Under Venturini Fendi’s direction, even the most put-together looks are finished with unexpected details. For fall/winter, these included oversized, slouchy toques, eye-catching bags, trompe l’oeil patchwork, and outfits accessorized with dolls. The fun flourishes are a clever wink to consumers, letting them know that luxury needn’t be quiet.

And Fendi continues to be part of the cultural conversation. During New York Fashion Week, actors, editors, and influencers all came out to celebrate the relaunched Spy bag, while Ariana Grande, Shailene Woodley, and Jenna Ortega have all recently worn Fendi on the red carpet.
Venturini Fendi grew up seeing directors like Federico Fellini stop by her family’s store, and she’s worked to preserve the label’s connection to film and television. Since she’s been at the company, Fendi’s been worn by pivotal characters in Sex and the City, The Royal Tenenbaums, and The Devil Wears Prada. Recent snapshots from The Devil Wears Prada sequel already show Anne Hathaway’s Andy Sachs sporting the label.

Fendi 100th anniversary stamp (2025). Courtesy of Fendi.

As she looks toward her next professional chapter, Venturini Fendi’s keeping what she learned from Lagerfeld in mind. “For him, knowing the past was necessary to write the future. He never wanted to repeat himself or have a retrospective,” she told 10. “Karl taught me to never feel as if I have made it. For years, when we would exit the catwalk after a show, he would turn around and say to me: ‘On to the next one.’”

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