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.
‘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.
The ready-to-wear pieces present a rich study in fluid forms and historical references, accentuating Michele’s layered aesthetic.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
Alpha Industries has taken its flight jackets somewhere a little higher for Autumn/Winter 2026 . Launching its highly anticipated ‘ Ultra Violet’ capsule collection , the military heritage supplier heads straight into high-altitude territory to capture a seasonal narrative governed by space, light and perspective. The collection keeps the brand’s military background intact, but gives its familiar outerwear a more refined treatment through richer materials, darker colours and a few unexpected takes on camouflage.
Originally founded in 1959 in Knoxville, Tennessee, before becoming a subcultural uniform for global street and music systems, Alpha Industries continues to prove that utilitarian clothing works best when it balances history with present-day function.
The CWU-45/P takes the lead this season, expanding the flight-jacket family beyond the MA-1 that has defined the Ultra Violet line in recent seasons. Historically solidified as a culture icon by Tom Cruise in the 1986 film ‘Top Gun’, the CWU format expands its language via high-end, weather-resistant flight nylon and branches out into several highly expressive variations.
For instance, the Camo Embroidery version hides its camouflage pattern within tonal embroidery, meaning the design only really appears as the light catches it; while the CWU-45/P Base Camo debuts a fresh, winter-adapted Snowdrift Woodland pattern.
Leather gets plenty of attention too, particularly with the CWU-36/P Leather, which takes the same compact flight silhouette and renders it in smooth black leather, while the B-15 Leather brings a natural shearling collar to one of Alpha’s earliest aviation-inspired jackets. Both give the collection a heavier, more luxurious character without losing the proportions that made the originals recognisable.
Alpha’s official Ultra Violet line-up also includes a B-15 Reversible II and the N-2B Base, extending the outerwear offering beyond the CWU family.
The N-2B Base Camo is one of the more interesting pieces in the collection, bringing the new Snowdrift Woodland Camo to another classic Alpha shape. The jacket comes in heavy flight nylon with 3M Thinsulate padding, a relaxed fit and a detachable faux-fur collar, making it considerably more winter-ready than your average bomber.
Elsewhere, the CWU-9/P Quilted Jacket offers a lighter option in black, silver blue and vintage green, while the MA-1 Base Flight Jacket returns in its familiar flight nylon. Vests, hoodies, T-shirts, cargo trousers and bags fill out the rest of the wardrobe, keeping the collection firmly in Alpha territory without making every piece compete for attention.
The Alpha Industries Ultra Violet collection is available to discover now across select European boutiques and online. Discover more here .
photography. courtesy of Alpha Industries words. Gennaro Costanzo
There is something cinematic about getting dressed. The right coat can change your mood; a striped knit can make an ordinary Tuesday feel like a coming-of-age montage. For Autumn/Winter 2026, Damson Madder leans fully into that fantasy with Press Play, a campaign that turns the regular everyday into an indie movie.
The cult London label’s latest collection is a love letter to the noughties and 2010s — to the era of scrappy arthouse films, cult television, bedroom soundtracks and main characters who made a virtue of being slightly outside the frame. Rather than simply referencing that world, Damson Madder places its signature “Damson Girl” directly inside it, casting her as the protagonist of an imaginary film.
At its centre is writer, artist and performer Mackenzie Thomas , known for her sold-out New York one-woman show ‘I Said What I Said’, stepping into the role of the season’s leading lady. Throughout the film, familiar indie-cinema tropes and Easter eggs invite a second look, while everyday situations are elevated into moments of melodrama, humour and possibility.
It is a world where nothing is quite as mundane as it seems, just as long as you approach it with enough imagination.
Imagination has always been central to Damson Madder. Founded by Emma Hill in 2020, the brand has built its following around a distinctive collision of femininity and masculinity, pretty details and utility dressing, playful prints and practical silhouettes. For AW26, that visual language expands into a wardrobe designed for every version of the “Damson Girl” — whether she is disappearing into a library, heading outdoors, stepping onto a stage or simply making an entrance.
Naturally, outerwear is at the center: the reversible Jerry cropped trench from last year returns in two elongated iterations — one in caramel check crafted from 100% organic cotton, the other in a grey-and-toffee wool blend. Both can be worn two ways, continuing Damson Madder’s focus on versatility and extending the life of its pieces.
Elsewhere, the brand’s recognisable raincoat offering grows with new colour-blocked styles, including a tonal burgundy update of the Liu cinched-waist raincoat and the Athena.
It is a wardrobe that feels deliberately referential without becoming nostalgic; less about recreating a particular decade than capturing its attitude. The AW26 Damson Girl is playful, curious and slightly theatrical.
She knows the reference, but she is not trapped by it. And that idea comes into sharper focus in New York, where ‘Press Play’ leaves the screen and enters the stage.
On 9 September, during New York Fashion Week, Damson Madder will take over the iconic SoHo Playhouse for ‘Press Play Live!’, a one-night-only presentation combining the AW26 collection with live performances from emerging NYC talent. Lauren Fern, Angela Trimbur and Marie Faustin will contribute bespoke performances, with Mackenzie Thomas hosting the evening.
It is a fitting extension of a campaign built around performance: fashion becomes costume, the street becomes a set, and the wearer becomes the lead. Damson Madder is not asking its audience to wait for the perfect cinematic moment. Instead, ‘Press Play’ offers a simpler proposition: craft your own.
The Autumn/Winter 2026 collection and campaign launch globally on 7 September, with the collection available through Damson Madder and selected retailers.
Sweater weather is coming soon, and AMI Paris is already dressing for it – but not in a boring way. For Autumn/Winter 2026 , Alexandre Mattiussi casts a group of familiar faces from the house’s own orbit, letting them wear the collection in a series of portraits photographed by Karim Sadli that fully express their personalities.
Rebecca Leigh, Saskia de Brauw, George Anderson, Jia Jingwen, Dara Gueye, Mack Karpes, Elliot Belot and Mohamed Benhadda have all walked for Ami Paris before, some more than once, and return here as something closer to friends of the house. Their different characters come through in the portraits, giving the collection eight individual ways of being an Ami person.
Tailoring arrives in generous proportions, including double-breasted camel coats, pleated trousers and herringbone jackets, while softer layers introduce argyle knitwear, striped shirts, roomy denim and substantial scarves. Outerwear plays a major role too, with oversized coats, fleece pieces and textured jackets that winter dressing promptly calls for.
Colour keeps the otherwise earthy wardrobe from becoming too sensible. Camel, grey, brown and cream form the foundation, with deeper natural shades and flashes of Ami red appearing across knitwear, shirts, caps and smaller details.
The red is particularly effective because it links back to the brand’s instantly recognisable heart motif without covering every available surface in logos. Elsewhere, faux-croc textures, leopard-print outerwear and cleaner oversized denim add a little more fun to the wardrobe.
Accessories bring some of the campaign’s most recognisable pieces into focus, with the Carrousel bag arriving in burgundy crocodile-embossed leather, while the Mirage sneaker continues Ami’s move towards a more technical-looking trainer. Baseball caps finish several of the looks, including the anniversary-minded ‘ Thank You for Being a Friend’ version that has become something of a calling card for the house.
The AMI Paris Autumn/Winter 2026 collection is available now across global boutiques and online. Discover more here .
photography. courtesy of Karim Sadli for AMI Paris words. Gennaro Costanzo