By Jesse Scott
The world is at a confusing flashpoint right now, a reality universally referenced if not explicitly mentioned across the fashion landscape this season. No one dealt with this better than the ever-charismatic Alessandro Michele, who titled his Spring/Summer collection “Fireflies,” and, through a voiceover by Pamela Anderson, told assembled guests that “we need to close the eyes and reawaken the gaze. It is the only way to understand how the gloom of our present is woven with light swarms of fireflies: hints of worlds to come.” For Michele, fashion, an intrinsic part of our day-to-day lives whether we choose to acknowledge it or not, can and should be a source of joy within despair and comfort amidst chaos. Describing it as a “precious ally,” Michele said it “illuminates what loves to hide, revealing signs of future. These are fleeting sparks in the dark, constellations of fireflies that unveil gateways of possibilities and nourish the imagination with political force.”
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Michele has one of the biggest platforms in fashion from which to share his message of optimism. The Valentino show was attended by one of the most prestigious guest lists of this Paris fashion season, headlined by Lana Del Rey in a swoon-worthy lilac chiffon gown. The event was particularly significant for del Rey followers as it marked a rare public appearance with her husband Jeremy Dufrene, whom she married last year in Louisiana. Other notable front row faces included Clairo, Ghali, Charlotte Lawrence, Colman Domingo, Marisa Schiaparelli Berenson, and of course, Pamela Anderson. They witnessed a show that exemplified the Michele aesthetic but in a more nuanced and restrained way than we have seen recently; brilliant colors and glamorous retro silhouettes were balanced by casually cool ensembles and striking structured blazers.
There was a certain intellectual bent to the collection, unsurprising given that Michele drew inspiration from Pier Paolo Pasolini, an Italian writer and filmmaker who penned a philosophical dissertation on fireflies in 1975. Metaphors were interwoven throughout the collection, which blended several of Michele’s stylistic codes in clever and complementary contrasts. Bows marked the top and the bottom of an extremely short radiant pink dress that recalled the dramatic silhouettes of the supermodel-dominated late 1990s (Look 22). A form-fitting suit seemed to sparkle with thousands of literal fireflies; its ferocity was balanced by a billowing transparent train draped off one shoulder (Look 26). And sequin-frosted glamor met modern girl boss as a bedazzled top paired with straight-leg black dress pants and logo-embossed “deal sleds” (Look 35).
Valentino 'Fireflies' Spring-Summer 2026: Looks 22, 35, 26 (Images courtesy of Valentino)
Ever since his days at Gucci, bright clean colors and exuberant patterns have been central to Michele’s DNA. That did not change this season as cobalt blue and shimmering lavender starred on the season’s most red-carpet appropriate dresses (Looks 53, 61), while a boldly patterned blazer and magnolia yellow blouse stood out from more business-ready looks (Looks 36, 51). Even Michele’s most formal silhouettes, all masterfully tailored, of course, contained pops of bold personality. A pale pink asymmetric coat masquerading as a double-breasted jacket was worn over one shirt-and-tie combination; elaborately constructed jeweled necklaces paired with others (Looks 4, 65). Finally, Michele dialed up the sex appeal and winked at last season’s show which was set in a nightclub bathroom illuminated in lustful red with a slinky sheer dress patterned with intricate lace.
Valentino Spring/Summer 2026 possessed a certain pragmatism, offering a versatile array of fits to carry clients from the boardroom to brunch and from formal premieres to “no-paparazzi” after-parties. Delightfully, all was tinged with optimism, as Michele seeks to bring joy into our stressful lives one firefly, or outfit, at a time.
Valentino 'Fireflies' Spring/Summer 2026: Looks 6, 36, 51, 53, 61, 65 (Images courtesy of Valentino)
