The world of high fashion paused to listen — not to applause, but to silence.
This November, Valentino, one of Italy’s most revered couture houses, unveiled its Cruise 2026 collection titled “Nocturne”, and it’s not just a campaign; it’s a cinematic meditation on stillness, time, and touch.

Directed by acclaimed Renell Medrano under the creative helm of Alessandro Michele, “Nocturne” is a hauntingly beautiful exploration of fashion through mood — set inside a quiet hotel, where shadows and light dance to the rhythm of Frédéric Chopin’s Nocturne in E Flat.

A Vision Beyond Runways

In a world that often rushes to outdo itself with spectacle, Michele’s “Nocturne” feels like a deep breath. It invites the viewer into an intimate universe — one that prefers emotion over extravagance, connection over consumption.

The film opens in monochrome — blurred corridors, drifting figures, and faint reflections. The stars: Dakota Johnson, Dev Hynes, Anne Imhof, Tate McRae, and Devon Teuscher move as if caught between waking and dreaming.

Their performances are less about posing and more about existing — still, unhurried, yet deeply alive. The tone recalls the poetic nostalgia of early Italian neorealism — stripped-down, real, and emotionally raw.

The Heartbeat of “Nocturne”

At the center of the campaign is the new Valentino Garavani Panthea Bag, an exquisite piece crafted from alternating strips of shiny and matte nappa leather. Seen resting beside Dakota Johnson in her frame, it exudes quiet luxury — subtle yet commanding.

In another scene, Tate McRae carries an embroidered DeVain clutch, her reflection melting into the room’s shadowed walls. The camera doesn’t showcase the bag; it caresses it, letting the texture, folds, and light tell the story.

Meanwhile, Dev Hynes channels the understated confidence of Valentino’s men’s line, donning a double-breasted wool jacket over a “Le Chat De La Maison Icon Muse Anti Hero” tee. The look is a mix of art-school rebellion and Parisian polish — precisely the duality Michele loves.

Accessories like statement jewelry, VLogo-adorned eyewear, and supple leather goods make brief appearances, as if teasing their presence rather than flaunting it.

When Fashion Meets Philosophy

“Nocturne” isn’t just about clothes — it’s about the feeling they carry.
Michele, known for his intellectual romanticism during his time at Gucci, brings that same poetic sensibility to Valentino. The campaign meditates on solitude and the passage of time, evoking the fragile beauty of being human.

He calls the film’s setting a “liminal space par excellence” — a threshold between reality and reverie. It’s a world where the night feels infinite, yet full of meaning.

Visually, Renell Medrano’s lens transforms fashion into emotional architecture. The play of grayscale and soft light captures vulnerability instead of perfection — a refreshing rebellion against fast-fashion trends.

The Power of Collaboration

For “Nocturne,” Valentino assembled a dream team. The campaign’s art direction is by Christopher Simmonds, known for crafting visual worlds that feel both mysterious and magnetic. Styling is handled by Jonathan Kaye, whose modern minimalism enhances Michele’s ethereal vision.

But it’s the cast — each from a distinct artistic world — that truly gives “Nocturne” its emotional pulse. Anne Imhof, the German visual artist celebrated for her raw performance installations, appears alongside Devon Teuscher, the principal dancer of the American Ballet Theatre. Together, they embody movement as emotion, a poetic duet that blurs the line between art and fashion.

A New Valentino Era

Since joining Valentino in March 2025, Alessandro Michele has been redefining the maison’s voice — steering it toward authenticity, reflection, and timelessness. His approach marks a pivot from Valentino’s recent maximalist past under Pierpaolo Piccioli, opting instead for intimacy over intensity.

With “Nocturne,” Michele establishes what may become the signature tone of Valentino’s new era — deeply cinematic, emotionally intelligent, and quietly revolutionary.

It’s not about shouting luxury anymore. It’s about whispering elegance.

A Poetic Rebirth for Modern Fashion

In an industry obsessed with immediacy, Valentino’s Cruise 2026 campaign reminds us that slowness can be its own kind of rebellion. “Nocturne” moves like a dream — calm yet charged, filled with emotions too tender to name.

The music, the gaze, the unhurried editing — every detail feels designed to make the audience feel something real. The message is clear: beauty isn’t in perfection, but in pause.

As Michele himself hinted in past interviews, his goal is to “humanize fashion again.” And with “Nocturne”, he’s done just that — transforming couture into conversation.

For those who’ve followed Valentino’s evolution, this marks a turning point — the moment when craftsmanship met contemplation.

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The Italian fashion giant Gucci has long stood as a symbol of timeless elegance, but recent years have seen the house struggling with what many critics called “flatlining creativity.” After the departure of Sabato de Sarno, whose quiet and understated vision failed to ignite excitement, the brand has made a radical pivot by appointing Demna — a designer best known for his headline-grabbing stunts at Balenciaga.

And Demna wasted no time making a statement. Instead of a conventional runway, Gucci’s Milan fashion week debut took the form of a short film directed by Spike Jonze and Halina Reijn. The film starred Demi Moore as Barbara Gucci, a fictional “President of Gucci and of the State of California,” blending satire, cinema, and fashion in a way that captured both spectacle and self-awareness. It was less about a typical catwalk and more about storytelling, a narrative that echoed Gucci’s own history as a family brand full of drama, dysfunction, and dazzling style.

For Demna, this wasn’t just about clothes. “If Gucci was a person, it would have a decisive and daring character, someone fun but intelligent with a strong point of view,” he explained at the premiere in Milan’s stock exchange, sipping non-alcoholic champagne alongside his mother. His comment revealed a crucial shift: Gucci must now become more than its products — it must embody personality, tension, and cultural edge.

The new collection featured 37 looks, instantly available in select Gucci stores worldwide, including London’s Bond Street. While Demna has brought a fresh attitude, he hasn’t abandoned Gucci’s DNA. Bamboo-handled handbags, silk blouses, and iconic scarves remain, but they are now layered with a playful duality — conservative yet provocative, bourgeois yet rebellious. His headscarves, for example, nod to both Jackie Onassis and Eastern European street fashion. Logos that once appeared restrained now flash with a trashy boldness, a wink to Demna’s Balenciaga past.

Gucci’s paradox has always been its ability to balance its conservative base — the loafer is arguably the most sensible high-fashion item ever made — with moments of cultural disruption. Tom Ford made Gucci famous in the 1990s with his provocative, almost X-rated campaigns. Alessandro Michele redefined its identity through androgyny and gender-fluid styles. Now, with sales dropping by 25% in the last quarter for parent company Kering, the need for reinvention is critical.

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Demna’s debut may not yet prove whether he will save Gucci, but it does signal one thing: the house is ready to embrace risk again. By weaving fashion into narrative cinema and redefining its cultural presence, Gucci has re-entered the conversation. Whether this becomes the renaissance the brand needs or simply a flashy detour will depend on how audiences and consumers respond over the coming months.

One thing is certain — Gucci is no longer content to play it safe.

Milan — Employees of late fashion icon Giorgio Armani described him as “like a father” as they bid farewell to the designer whose vision reshaped the global style industry. Armani, who passed away on Thursday at the age of 91, leaves behind not just a fashion empire but a deeply personal bond with those who worked alongside him for decades.

“For all of us, he was like a father, that I can tell you,” said former employee Ornella Gagliolo, who joined other retired staff in paying respects at Armani’s headquarters in Milan. The wooden casket, adorned with white roses and surrounded by dozens of lanterns, became a solemn stage inside the vast exhibition space where his famous catwalks were once held.

A final farewell in Milan

The outpouring of grief following Armani’s death has been immense. From Hollywood stars to Italian political figures, the tributes underline his place not just in fashion but in cultural history.

Among mourners were Santo Versace, brother of the late Gianni Versace, former AC Milan legend Paolo Maldini, and ex-Italian prime minister Mario Monti. Armani’s niece Silvana Armani, who worked closely with him for years, was also present, symbolizing the family continuity expected to guide the brand forward.

The funeral will be held privately in northern Italy on Monday, keeping in line with the designer’s preference for elegance and simplicity.

A father figure beyond the runway

Armani’s staff describe him not as a distant mogul, but as a mentor and protector. Many said working for him was a “privilege” and an “honor,” highlighting how his leadership style went beyond the demands of haute couture.

His empire spanned everything from haute couture to ready-to-wear fashion, perfumes, and even home furnishings. Yet those closest to him insist his most enduring legacy was how he nurtured the people around him.

“He gave us discipline, he gave us pride in our work,” one former seamstress recalled. “But he also gave us kindness, the kind that stays in your heart.”

The empire he leaves behind

Over more than five decades, Armani transformed his name into a symbol of elegant simplicity. His vision stripped away unnecessary flamboyance, giving rise to timeless minimalism that became the hallmark of modern Italian fashion.

His influence extended far beyond Milan. From Hollywood red carpets to global sporting arenas, Armani’s suits and gowns became synonymous with sophistication. Celebrities such as Richard Gere and Cate Blanchett famously wore his designs, further cementing his reputation as the designer of choice for the world’s elite.

Though he had no children, Armani left his brand in the hands of trusted family members and confidants. Insiders say this tight-knit circle is expected to continue running the empire, safeguarding the values of discipline and refinement he held dear.

Global tributes pour in

From Los Angeles to Paris, social media was flooded with tributes. Fans and celebrities remembered Armani not just as a designer but as a cultural architect who changed the way people thought about clothes.

Luxury houses like Prada, Gucci, and Dolce & Gabbana issued statements of respect, acknowledging Armani’s role in keeping Italy at the heart of fashion innovation.

Former Italian Prime Minister Mario Monti described him as “a great ambassador of Italy, who showed the world that elegance and simplicity can co-exist.”

A legacy beyond fashion

Armani was known for his precision and strict control over his brand, but also for his philanthropy. Over the years, he contributed to humanitarian efforts, cultural preservation, and sports sponsorships, including his long-standing support for AC Milan.

For many Italians, Armani embodied the resilience of post-war Italy—rising from modest beginnings in Piacenza to dominate the international stage.

As his coffin left the Milan headquarters, employees whispered tearful goodbyes. To them, he was not just a boss, but a man who became family.

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