VALENTINO

The Pre-Fall 2026 campaign takes shape within this constellation of echoes and presences. Cy Twombly’s Palazzo is more than a backdrop here; it operates as an intentional gesture, a reactivation of a specific genealogy of the gaze, created by Alessandro Michele.

A language of contrasts, bold in its expression. The latest eyewear silhouettes are rendered in a range of shades and compositions, featured in our new campaign.

The instant immediately before the fall: a suspended time, without direction. Discover Fireflies Spring Summer 2026, the new campaign envisioned by Alessandro Michele.​

With enamelled feline heads and chevron-worked nappa leather, the Valentino Garavani Panthea transforms a key house code into a stunning, versatile carryall

For Fall 2025, Valentino Garavani adds the DeVain to its line-up as a soft clutch designed by Alessandro Michele. The bag sits within the house’s Vain family, introduced within a broader creative conversation shaped by visual interpretation.

Introducing six unisex styles that seamlessly merge Valentino’s unmistakable design codes with Vans’ legendary Slip-On silhouette.

Palazzo Barberini is not an architecture at peace. It is a space of tension where many devices concur to question form’s claim to stability. The building resists any synthesis between order and movement: it lays bare their forced coexistence, their permanent friction, the interferences produced as they overlap. In Nietzschean terms, the palazzo reveals itself as the site of an unresolved tension between an Apollonian principle, punctuated by measure, clarity and hierarchy, and a Dionysian impulse made of rapture, drift and dissolution of boundaries.

One of the great attractions of the Kaiserpanorama was that you could start the carousel from any image. Since the mechanism before the seats moved in a circle, each view passed before all the positions from which, through a double window, its faded remoteness could be seen […] In 1822 Daguerre opened his Panorama in Paris. Since then, these clear, gleaming boxes, aquariums of remoteness and of the past, have been at home on all fashionable streets and boulevards.

ON FEBRUARY 1, 1941, IN A DARK AGE, WHEN THE FURY OF WAR SWEEPS ACROSS THE LAND AND THE ANTIAIRCRAFT UNITS TEAR THE SILENCE UP THE SKIES, A YOUNG STUDENT OF THE FACULTY OF HUMANITIES IN BOLOGNA SENDS A LETTER TO A CHILDHOOD FRIEND. HE TELLS HIM ABOUT THE EVER-CHANGING GLEAM OF DESIRE - EROTIC, PLAYFUL, INNOCENT - THAT KEEPS ON BURNING DESPITE THE UNSETTLING SHADOWS OBSCURING HIS PRESENT. AMONG OTHER THINGS, HE WRITES: “THE NIGHT I TOLD YOU ABOUT, WE SAW AN IMMENSE AMOUNT OF FIREFLIES, THEY MADE LITTLE WOODS OF FIRE INSIDE LITTLE WOODS OF BUSHES AND WE ENVIED THEM BECAUSE THEY LOVED EACH OTHER, BECAUSE THEY LONGED FOR EACH OTHER THROUGH AMOROUS FLIGHTS AND LIGHTS”.

“Sometimes the word intimacy seems to contain a halo of meaning that brings it closer to a promise of authenticity, a protected space where it’s finally possible to touch the hidden truth of persons, beyond the uni-forms of appearance” (R. Màdera) But can we actually be in contact with our true self, moving away from the surface of things? Is it possible to think of intimacy as an access to a profound core of truth as opposed to the masks that mass society imposes on us?

"The list is at the origin of culture. It is part of the history of art and literature. And what does culture want? To make the infinite comprehensible. It wants to create order — not always, but often. And how, as human beings, do we cope with infinity? How can we grasp the ungraspable? Through lists, catalogs, collections in museums, encyclopedias, and dictionaries. The list does not destroy culture, it creates it.” (Umberto Eco, The infinity of Lists)

We are fragile creatures, constantly exposed to the sense of limit. We tiptoe on mirrors that shatter under our weight. As we walk, no step comes without the risk of stumbling and falling. As we breathe, no breath comes without a shadow of vulnerability. We move, unstable, inside a transient horizon with no escape path. It’s this precise condition, though, that introduces us to the true meaning of our temporal dimension. What sense would our terrestrial transit have if it were not determined by time, but were infinite?