valentino aw26 | interferenze

Glen Luchford for Valentino.

 

There are not many places in Rome where a goddess, a diesel engine and a Valentino garment can comfortably share the same frame, but we should know Alessandro Michele can make his vision manifest anywhere. For Autumn/Winter 2026, Valentino heads to Centrale Montemartini for ‘Interferenze’, a campaign photographed by Glen Luchford that places the collection among marble statues, giant machines and the remnants of the Eternal City’s industrial past. 

Built in the early 20th century as Rome’s first public electricity plant, Centrale Montemartini was converted into a satellite venue of the Capitoline Museums in 1997. Today, classical Roman statuary sits alongside turbines, alternators, flywheels and overhead cranes, creating an unexpected collision that fits neatly into Michele’s creative vocabulary. 

Glen Luchford for Valentino.

Glen Luchford for Valentino.

‘Interferenze’ takes that unlikely combination and pushes it further, transforming the museum into a peculiar meeting ground between antiquity and machinery. “[…] The age of gods and that of machines, myth and progress, memory and invention no longer belong to separate temporalities,” Michele writes.

The classical figures of Fortuna, Polyhymnia and Queen Cleopatra appear among the enormous industrial structures, while models Apolline, George Anderson, Qiuyue Li, Joe Bottomer and Dario Tonin mirror the poses of the sculptures around them. Marble bodies and living ones begin to resemble each other, with the clothing caught somewhere between the two.

Glen Luchford for Valentino.

The ready-to-wear pieces present a rich study in fluid forms and historical references, accentuating Michele’s layered aesthetic. The lightness of a pink draped dress confronts the gravity of the stone, while the new Valentino Garavani Panthea Bag and architectural Fatale Pumps introduce contemporary coordinates to the layout. Oversized acetate sunglasses from the new eyewear line mask the model’ gaze, adding a modern layer of anonymity that echoes the blank stare of the surrounding statues.

Michele defines the friction behind the visuals as “a transmutation that does not affect the individual elements, but rather the force field generated between them.” The campaign also plays with the way photographs are read, as your eye jumps from a sleeve to a carved face, from a pair of shoes to an enormous, statuesque bust. Michele also connects the idea to Aby Warburg’s ‘Mnemosyne Atlas’ and Sergei Eisenstein’s theory of montage, where meaning comes from the collision between images rather than from any single image alone. 

The Valentino Autumn/Winter 2026 collection is available now in boutiques globally and online. Discover more here.

photography. courtesy of Glen Luchford for Valentino
words. Gennaro Costanzo