Rewrite
Paris Fashion Week has finally closed, but not where you might expect. Earlier this month, Valentino was notably absent from the official schedule – partially in mourning for its late founder – yet, as many predicted, Alessandro Michele had other plans. Since stepping into the role in 2024, the creative director has decamped to the Eternal City to honour Valentino Garavani’s legacy in the most Roman way possible. The homecoming at Palazzo Barberini felt like the warm embrace the fashion world needed after a month-long marathon of shows.
With a front row featuring Gwyneth Paltrow, Colman Domingo and Lily Allen – who later also performed – the atmosphere was one of reverent celebration. While Garavani mastered the power of the grand entrance, Michele is fascinated by what happens when that entrance goes off-script.
The Autumn/Winter 2026 collection, titled “Interferenze,” viewed 1980s couture through a beautifully distorted lens. Silks were ruched into dramatic, sculptural shapes across scarves and jackets, while cummerbunds cinched waists to create focal points for drapery that spilled over the shoulders. Embellishments were used with a philosophy that suggested the more, the better. Three-dimensional floral appliqués bloomed so densely they seemed to grow from the fabric, contrasted by heavy, oversized gold links and enormous pearls.
The venue was vital to the collection’s narrative. Palazzo Barberini exists as a site of permanent friction between Bernini’s orderly staircase and Borromini’s chaotic curves. Michele translated this tension into the silhouettes: a disciplined collar might sit atop a skirt that dissolves into sheer chiffon and trailing threads.
Even the accessories negotiated this space; bohemian Nellcôte bags, dripping in metal studs and swaying fringes, clashed against minimalist V-Logo designs in somber taupes. Michele orchestrated a defiant return for the Rockstud, reimagining the iconic pyramid spikes in antique gold and ruthenium on suede shoulder bags that felt reclaimed from a private chapel. This ecclesiastical weight continued with the Panthea and its sculptural frame, guarded by feline heads (a 1967 archival tribute) rendered in chevron-patterned nappa leather and Swarovski-encrusted patchwork.
The finale was the cherry on top, as Michele closed the show with a singular floor-sweeping cowl-neck gown in the house’s signature ‘Valentino Red,’ balancing 86 years of tradition with a contemporary, restless energy.
This collection felt like Michele finally letting his guard down and embracing the full, complex identity of Valentino. He managed to honour Garavani’s legacy without becoming a carbon copy of it, instead choosing to live in the friction between the eighties power suit and the Baroque dream. Rome has always been the golden heartbeat of the Maison, and now it beats just as fervently for him.
Discover the Autumn/Winter 2026 collection here.
photography. courtesy of Valentino
words. Gennaro Costanzo
The post valentino aw26 | interferenze appeared first on Schön! Magazine.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
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Paris Fashion Week has finally closed, but not where you might expect. Earlier this month, Valentino was notably absent from the official schedule – partially in mourning for its late founder – yet, as many predicted, Alessandro Michele had other plans. Since stepping into the role in 2024, the creative director has decamped to the Eternal City to honour Valentino Garavani’s legacy in the most Roman way possible. The homecoming at Palazzo Barberini felt like the warm embrace the fashion world needed after a month-long marathon of shows.
With a front row featuring Gwyneth Paltrow, Colman Domingo and Lily Allen – who later also performed – the atmosphere was one of reverent celebration. While Garavani mastered the power of the grand entrance, Michele is fascinated by what happens when that entrance goes off-script.
The Autumn/Winter 2026 collection, titled “Interferenze,” viewed 1980s couture through a beautifully distorted lens. Silks were ruched into dramatic, sculptural shapes across scarves and jackets, while cummerbunds cinched waists to create focal points for drapery that spilled over the shoulders. Embellishments were used with a philosophy that suggested the more, the better. Three-dimensional floral appliqués bloomed so densely they seemed to grow from the fabric, contrasted by heavy, oversized gold links and enormous pearls.
The venue was vital to the collection’s narrative. Palazzo Barberini exists as a site of permanent friction between Bernini’s orderly staircase and Borromini’s chaotic curves. Michele translated this tension into the silhouettes: a disciplined collar might sit atop a skirt that dissolves into sheer chiffon and trailing threads.
Even the accessories negotiated this space; bohemian Nellcôte bags, dripping in metal studs and swaying fringes, clashed against minimalist V-Logo designs in somber taupes. Michele orchestrated a defiant return for the Rockstud, reimagining the iconic pyramid spikes in antique gold and ruthenium on suede shoulder bags that felt reclaimed from a private chapel. This ecclesiastical weight continued with the Panthea and its sculptural frame, guarded by feline heads (a 1967 archival tribute) rendered in chevron-patterned nappa leather and Swarovski-encrusted patchwork.
The finale was the cherry on top, as Michele closed the show with a singular floor-sweeping cowl-neck gown in the house’s signature ‘Valentino Red,’ balancing 86 years of tradition with a contemporary, restless energy.
This collection felt like Michele finally letting his guard down and embracing the full, complex identity of Valentino. He managed to honour Garavani’s legacy without becoming a carbon copy of it, instead choosing to live in the friction between the eighties power suit and the Baroque dream. Rome has always been the golden heartbeat of the Maison, and now it beats just as fervently for him.
Discover the Autumn/Winter 2026 collection here.
photography. courtesy of Valentino
words. Gennaro Costanzo
The post valentino aw26 | interferenze appeared first on Schön! Magazine.
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