Charlene Guignard and Marco Fabbri: “It was our fourth Winter Games, but we knew it would be special. We didn’t know what to expect, and finishing with a medal around our necks was very emotional.”
Italian ice dancers Charlene Guignard and Marco Fabbri reflected on their fourth-place finish at the Milano-Cortina 2026 Olympics, the meaning of their career, and the importance of passion, resilience, and teamwork both on and off the ice.
original source: gNews dd. 7th March 2026 by Alessandro Pendenza
A few weeks after Charlene Guignard and Marco Fabbri finished 4th in the Olympic individual event, gNews interviewed them to discuss their emotions and memories from these Italian Winter Games. But first, let’s take a step back and talk about how their passion for skating began. Here’s a translation of their comments.
Charlene started ice dancing at age 6 and almost immediately knew she wanted to skate with a partner, “because it made me feel secure,” she says. “I wanted to continue as a pair: I like sharing, and over the years, being two in training and competition has been my strength.” Marco began skating at 7 as a singles skater, but he too eventually wanted to share the pressures and difficult moments with someone: “If I could have, I would have done it from the start,” Marco confirms.
They then discussed their Olympic experience and future plans.
Q: Your programs often tell very different stories, and I read that for this choreography you were inspired by the film “Diamanti,” which is also the title of the music you chose. What struck you about this film, and how did you translate it into ice dance?
“Every year we present a theme, and this year we chose to work with the sounds of the 1990s. The free program, however, is entirely our own creation. For the Games, we wanted to perform to music that would touch people’s hearts, and since we were competing in Italy, we wanted to use Italian music, though we worried it might seem cliché. When we heard the “Diamanti” soundtrack, especially Giorgia’s song, we were moved. The film’s message, which we brought to the ice, is that together you can overcome difficulties. Choreographically, we drew inspiration from the film for facial expressions, body movements, and the type of connection to show as a couple.”
Q: Your discipline requires a lot of physical and mental preparation. How important is it for an athlete to take care of their mind as well as their body?
“In our sport, there’s no single way to manage these aspects; everyone handles competitions, pre- and post-competition moments differently. Some isolate themselves, others prefer company, and some seek professional support. Charlene and I try to distract ourselves and release tension, because if we focus too much on the competition, we risk getting anxious. Being a couple helps a lot, as we can talk and relax together. On the ice, concentration is at its peak, but it also depends on the importance of the event. With our team, we tried not to give too much importance to the Olympics, treating it like any other competition.”
Q: The Olympics at home: what did Milano-Cortina 2026 mean to you, beyond the results?
“It was our fourth Winter Games, but we knew it would be special, because competing every four years makes this event different from a World Championship. We didn’t know what to expect, and finishing with a medal around our necks was very emotional. We had the chance to reflect on our journey. There were tears of joy and feelings that are hard to put into words.”
Q: Did you feel more pressure or more energy competing in front of the Italian crowd?
“We felt the tension of performing in front of the Italian audience, with family and friends there to support us. We felt the pressure and responsibility to compete for them as well.”
Q: How did you experience the post-competition moments, sitting in the leader’s seat with your technical team, often on camera?
“Until a year ago, the top three couples in the virtual podium waited in a small room, and if you dropped off the podium, you had to leave. There was more privacy, even though you were still on TV. Since Worlds in March 2025, they introduced the “leader’s chair” next to the “kiss and cry,” where the whole arena can see you, and your direct competitors sit just three meters away. Most athletes, when asked, expressed concerns and wanted more privacy, but the change went ahead anyway.”
Q: Did just missing the podium feel more like a disappointment or pride in your performance?
“As in many sports, behind the scores and rankings are human judgments. You have to accept that.”
Q: If you could leave a message for the many spectators who watched you, both in the arena and on TV (over 3 million in total), what would you want them to remember from your performance?
“We want to thank the many people who reached out to us on social media after the Olympics. We received so many messages of affection, gratitude, and appreciation. Many people told us they were moved by our performances. Some messages were very deep, not just simple compliments. It made us very happy and touched us deeply.”
Q: Were you surprised by how many Italians watched you on TV?
“The numbers surprised us. In hindsight, we regret that ice dance isn’t broadcast more often on TV. There’s a problem with sponsors not investing because they think there’s no public interest. But without investment and live broadcasts, the public can’t become interested. It’s a vicious cycle. Not to mention that skating facilities are much more expensive than those for tennis or soccer. We’d love for figure skating to become a more popular sport in Italy; we’ll see what happens.”
Q: What advice would you give to kids dreaming of becoming an ice dance champion?
“We’d say that above all, you have to have fun—that’s the fundamental first step. Too often, parents are very demanding from the start. Kids need to take their commitment seriously, but they also need to have fun. Young people should be taught not to limit their dreams, to believe they can do anything, and not to be scared by the first difficulties. Never stop dreaming, always believe, and work toward your goals.”
Q: You are a couple both on and off the ice and have been together for 16 years, even though you’re still young. This is a powerful message and example for young couples who give up at the first difficulty (and may not even work together every day). What advice would you give them?
“Our secret has always been to separate our private life from our work life, not to bring relationship problems onto the ice and vice versa. If you mix them, it becomes hard to manage the professional relationship. For example, we’ve always tried not to talk about skating after practice. But overall, being a couple in life has given us a lot of strength, because we share the same experiences and understand each other better.”
Q: What has this sport taught you that you carry with you off the ice?
“It taught us to work hard and always believe, because when we started, we never imagined we’d reach this level. In the early years, the discipline required by this sport was very important.”
Q: What do you plan to do after you retire from competition? How do you see your future?
“We have many ideas and are still considering our options. We’d like to work to make this sport more popular in Italy. We want to propose projects to the Fiamme Azzurre to make ice dance less of a niche sport.”
Q: What is your relationship with the Fiamme Azzurre?
“The organization has always been close and supportive. The head of the Fiamme Azzurre, Irene Marotta, attended all our competitions and was among the first to greet us after events, excited and happy. We’ve always felt their strong presence, and that’s not just flattery. Looking ahead, we also hope to help the organization as instructors for the next generation of “azzurro” skaters.”
Q: Looking at your plans for 2026, what are your goals?
“We’ve decided not to participate in the World Championships at the end of March and to start recovery right away for the next competitive season, which begins in September. What few people know is that during this period without competitions—which may seem long—the whole team works on building the new program, a very long creative process that starts with music selection and lasts about two months. So, considering that two programs are prepared and physical training is done at the same time, the period from April to September is almost nonstop.”
Related topics: Charlene Guignard Marco Fabbri
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