Venice

Photo: Getty
It’s the most talked-about film at the Venice Film Festival, and the leading man’s premiere look could well inspire as much online commentary as the dynamics on set. Harry Styles, who stars in Don’t Worry Darling as Jack opposite Florence Pugh’s Alice, wore an impossibly sharp blue Gucci suit over a turquoise shirt with an exaggerated collar. He topped off the retro look with a pair of nostalgic square-frame sunglasses. The film’s director – and Styles’s partner – Olivia Wilde, who is almost as big a fan of Alessandro Michele’s work as her boyfriend, wore a custom yellow chiffon Gucci gown with a ruffled hem and dramatic crystal fringing.
Harry Styles at the premiere of Don’t Worry Darling in Venice. Photo: Getty
The film may be set in the 1950s, but Styles’s promo wardrobe takes its cues from the ’70s – the decade that serves as a constant source of inspiration for Michele, who also attended the premiere on 5 September. It was the pop star’s second retro Gucci look in the space of a day: hours before the premiere, he cruised up to the Lido for a photo call wearing tailored navy flares and a striped blazer over a vest, adding a jaunty neck scarf for good measure. The nautical effect was fitting for his chosen mode of transportation: Riva boat. When in Venice…
Olivia Wilde on the red carpet in Venice. Photo: Daniele Venturelli
Harry’s co-star Pugh also brought her style A-game for the premiere, floating onto the red carpet in a ballgown-meets-hotpants hybrid from Valentino’s autumn/winter 2022 couture collection. It was a dramatic shift from the beachy separates she arrived at the festival in: a vibrant purple shorts and shirt set, also Valentino, styled over a matching crop top.
Florence Pugh’s Valentino Couture look was a ballgown-meets-hotpants hybrid. Photo: Getty
This year’s festival has certainly delivered on the fashion front – from Jodie Turner-Smith’s wildly glamorous airport look to Timothée Chalamet’s Haider Ackermann halter-neck. But between Florence’s Valentino, Gemma Chan’s shimmering custom Louis Vuitton column dress and Tessa Thompson’s cloud-like Marc Jacobs, the Don’t Worry Darling premiere might just take the award for the most fabulous red carpet in Venice.
Gemma Chan at the premiere of Don’t Worry Darling. Photo: Getty
Originally published in Vogue.co.uk
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Courtesy of Roberto Coin
Like painting on a canvas, Roberto Coin slabs brushstrokes of different colors, and aesthetics influenced by various cultures, nature, and people into his fine jewelry designs. Roberto Coin’s beginnings took place in the Italian city of Vicenza during 1996, when for the first time ever, a jewelry house was signed off by a small ruby that corners the inside of each piece in its Appassionata collection. Lovingly put together by Italian craftsmen, each of Coin’s jewelry creations narrates a unique story, and every story is a portal to a different world that comes to life through mastery and creativity. Defined by experimental designs and bold compositions, the jewelry house did not take long to embellish the bodies of celebrities with its creations and champion pages in renowned fashion magazines.
Photo: Courtesy Roberto Coin
Paying homage to three spots, Roberto Coin’s special collections—Love in Verona, Venetian Princess, and Roman Barocco—are all part of a thread that highlight the beauty of Italy’s most iconic cities and takes us on a tour while also solidifying their essence in the form of a timeless piece of jewelry. Take a closer look below.

Love in Verona
Love in Verona Collection. Photo: Courtesy of Roberto Coin
Love in Verona Collection. Photo: Courtesy of Roberto Coin
Love in Verona Collection. Photo: Courtesy of Roberto Coin
Verona is the Italian city of love, it is home to  the Juliet Club that has resided there since 1930, and the city that still stages the Shakespearean legacy, Romeo and Juliette. Made with three shades of gold that are worked on to create a highly glossy effect, the Love in Verona collection reintroduces the signature four-petal diamond flower that pays tribute to the architectural structure of the Arena of Verona. With each diamond individually added by hand, the collection is distinguished by its polished and satin finish, which complements its clean lines and silhouette. The collection is rich in symbols, and brightly glossed through a minimalist contemporary finish. 
Venetian Princess
Venetian Princess Collection. Photo: Courtesy of Roberto Coin
Venetian Princess Collection. Photo: Courtesy of Roberto Coin
Venetian Princess Collection. Photo: Courtesy of Roberto Coin
Recreating romance in a visual featuring motifs found in every corner of Venice, the Venetian Princess line by Roberto Coin is a mythical-inspired collection that belongs to Coin’s romantic family of Princess pieces. Polished in an intricate structure of twisted threads found in all the Princess jewels, and the Barocco collection, this woven look is produced in 3D to ensure solidity, and remains hidden only for the wearer to enjoy it. A special lining of black and white diamonds are carefully manipulated in size for this collection, and are placed by hand using a microscope, evoking the flickering lights of the street lamps in Venice as they beautifully reflect on the city’s waters.
Roman Barocco
Roman Barocco collection. Photo: Courtesy of Roberto Coin
Roman Barocco collection. Photo: Courtesy of Roberto Coin
Roman Barocco collection. Photo: Courtesy of Roberto Coin
The Roman Barocco collection is a member of the Coin’s Barocco family, which celebrates Rome as the Italian city that emperor Adrian declared as an incubator for all western culture. Distinguished by their woven gold wire technique, the pieces of this line were birthed out of the DNA of the Roman architecture. The creations come in two shapes, the first of which is inspired by theatre and Roman cupolas, and the second, which stages a light show inspired by the Baroque era, using diamonds. The collection champions an optical effect that is accentuated by sharp silhouettes and the artful play of shadows.
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Photography: Nima Benati
Picture this: Jennifer Hudson is singing live ‘Nessun Dorma’ and a rainbow crowns the glorious Piazzetta San Marco in Venice, where La Serenissima used to invite ambassadors and rulers visiting the city to disembark. It seems like a dream, right? Leave it to Dolce & Gabbana to make dreams come true. The Italian brand presented its Alta Moda show, the Italian equivalent of haute couture, in a scene worthy of a Tintoretto painting.
One of the biggest editions ever in terms of number of guests, the Venice showcase was, naturally, as grand as its host city: from the arrival of 100 models on 100 gondolas, to the guest list that included Jennifer Lopez, Ciara, Kris Jenner, Normani, and Dame Helen Mirren. There was also Sean Combs, Monica Bellucci, and Heidi Klum, who were especially excited to see their daughters walk the runway.
Cristina Trincanato. Photography: Nima BenatiA venetian art lawyer and mother who recently made her passion for art her career, trincanato loves to travel and immerse herself in new cultures. She recharges with long walks to discover new places and hidden gems in the city. Trincanato likes to host dinners and gatherings at her house, meeting new friends who share the same passions. She considers venice the city of art and magic, and an attraction for international audiences, since every week she welcomes a new friend coming from abro
As per tradition for Alta Moda, all the clothes are handmade, with the richest fabrics sourced and the most exquisite artisanal technics employed from all over Italy. “In our country, we have the best craftsmanship in the world. And it’s the best in the world because we do it with passion,” explain the designers, also pointing out, “but don’t dare to ask an artisan how many hours something took to make, that’s not the point.” From the endless detail of the dresses seen on the runway, we can guess that countless hours were invested in the precious parade of designs sourcing silks, brocades, velvets, glass and crystals, embroideries, and precious fabrics. “When you see something metallic looking like gold… it’s real gold,” reminds Domenico Dolce.
Perine Renard, Giulia Bevilacqua, Cristina Trincinato and Silvia Paulon. Photography: Nima Benati
Photography: Nima Benati
Like out of a Casanova novel, there were beaded dresses that reminded of colorful Murano chandeliers, magnificent looks recreating iconic Venetian mosaics, jackets with XL shoulders and harlequin masks, and spectacular capes embellished with postcard images of the city. In a move to make the collection feel more suitable for a younger audience, there were also fewer of the usual ball gowns, with silhouettes becoming more playful and youthful, especially when paired with flats and rebellious colored hair, from pink to green. This year, maybe because the world is still recovering from Covid-19 and some are still shy of full-on glamour, not all the looks were so opulent, with a selection of dresses that impressed with their simplicity, avoiding any embroidery, and just relying on beautifully cut fabrics and rich colors.
Photography: Nima Benati

With his latest couture collection, Pierpaolo Piccioli brings further glory and modernity to the house of Valentino. Take a closer look to witness these gowns tell the shared story of today.
Photographed by Bruno & Nico van Mossevelde
Entering the Paris headquarters of Valentino in Place Vendôme makes you feel like a child again; awakening memories of visiting a more formal relative’s home, with your mother reminding you to wear a clean shirt and be on your best behavior. The space feels palatial and serene, and the high ceiling salon walls are adorned with intricate gold molding. Light is abundant, shining through big windows that frame the bronze Vendôme column, right in the beating heart of Parisian luxury.
Pierpaolo Piccioli. Photo: Inez & Vinoodh
As I’m escorted into one of the rooms, I’m asked to not take any pictures, as some of the looks I’m about to see have not been revealed to the public and are only on display for an exclusive preview granted to Vogue Arabia ahead of Valentino’s couture show in Venice, which would take place two weeks later. Looking around me, I spot a magnificent gown made from a patchwork of pink and purple fabrics, a white maxi cape and dress with a splash of red, and a skirt and jacket suit that, at first glance, remind me of a Miró. There are also paintings and drawings next to each look, motioning that there is some sort of artistic collaboration behind each design. In the best Valentino style, all feels grand and regal, and from that moment on, I knew I was in for a treat. Let’s not forget that Pierpaolo Piccioli, the brand’s creative director and naturally the author of the looks, is known for big statements. So big, that they brought Céline Dion to tears at one of his previous shows.
Photographed by Bruno & Nico van Mossevelde
As Piccioli enters the room, wearing jeans, sneakers, and a T-shirt, the ambiance becomes more relaxed. After he lights the first cigarette, the conversation flows. Piccioli starts by explaining that this couture collection is the result of a collaboration with 16 artists, handpicked by him. “More than ever, I’ve been feeling that we need to connect, and I always enjoyed being around other creative people,” he says. “This was my way to start a conversation with a community that shares the same values.” Relying on instinct, Piccioli had a simple approach, selecting artists that he liked and came across organically. The list is eclectic, with names hailing from all over the world, such as Wu Rui, James Nares, Patricia Treib, and Francis Offman. “The only rule was to listen to my feelings, and the goal was not just to do a show packed with artists. It is more like a collective effort, like an orchestra I’m conducting with different instruments, where each one plays in his own way. But when they are together… The result is beautiful music.”
Photographed by Bruno & Nico van Mossevelde
Although the collection is connected with the arts, Piccioli firmly believes that the worlds of art and fashion are apart. “This might sound provocative, but I don’t believe that fashion is art,” he states. This is probably the only point where we disagree, especially after he takes me one floor up, where we sit at the end of a runway where models walk so close to us, we can analyze every single stitch or embroidery in the clothes they are wearing. The dresses feature a virtuoso use of colors – potent plum and berry red next to splashes of forest green and royal blue. Other models appear nonchalant, in sparkling mini culottes, bustiers, and feather headpieces. It all feels deliciously kaleidoscopic. “Aren’t all these colors hard to combine?” I enquire. “Not if you are good,” Piccioli laughs. “If not… That’s a problem!”
Photographed by Bruno & Nico van Mossevelde
One of the novelties on the Valentino couture runway is the inclusion of male models. Piccioli explains that this is nothing but a sign that times are changing, and that the fashion world has the responsibility to lead these changes. “As a designer, you need to have a loud voice, even if your medium is only the images you produce, which can be so powerful,” he shares. “After the pandemic, our world lost boundaries and changed, and there are no more divisions of gender. Just go to the street and see what kids are wearing: from capes to makeup. Couture is all about this uniqueness, and fashion needs to celebrate these shifts. But we cannot be late; we need to lead with our voice.”
Photographed by Bruno & Nico van Mossevelde
Being ahead of the social and cultural movements is something deeply connected with the work of Piccioli for Valentino. One of his disruptive moments happened during the SS19 couture presentation, when discussions around inclusivity and representation were starting to erupt in the fashion world. Making a bold decision, the designer cast 39 Black models to walk his runway, with Naomi Campbell closing the show with regal strides. Piccioli also stopped using fur, one of the previous staples of the maison. “I don’t think we will miss fur,” he says. “Even the humblest fabric can look rich if you treat it the right way.”
Photographed by Bruno & Nico van Mossevelde
As models continue to walk and turn before us, I inquire why the show is taking place in Venice and not Rome, the city where Valentino was founded in 1960 by Valentino Garavani and Giancarlo Giammetti. It is also the birthplace of Piccioli, who worked at Fendi for 10 years before joining Valentino as an accessories designer, in 1999. He took the creative reins of the house in 2008, alongside Maria Grazia Chiuri, becoming sole creative director of the maison in July 2016, when Chiuri exited for the top creative role at Dior.
Photographed by Bruno & Nico van Mossevelde
“We chose Venice not because of its architecture or grandeur, but because we wanted to be part of this moment of authentic Italian culture during the Venice Biennale. Being there means a lot,” he says. This doesn’t imply that Piccioli loves Rome any less, as the capital is a continuous source of inspiration for him. The city he describes as being full of layers, where a simple stroll down the street can inspire new ideas, and where ancient churches coexist with Fellini and Pasolini-like sets, always reminds him of the importance of pushing his vision to its best. “When you work in Rome, you can’t compete with Caravaggio or Bernini,” he concludes. “So, you do what you can…”
Photographed by Bruno & Nico van Mossevelde
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All clothing ValentinoStyle: Claire CarruthersHair: Flavio Santillo at Making Beauty ManagementMakeup: Arianna Campa at Blend ManagementStyle assistant: Valentina Rossi MoriCasting director: Troy WestwoodDigital tech: Elio RosatoLight tech: Pietro FrizziProduction: Federica Marchetti at Atomo Management, Max Brunetti at ForProduction.itModel: Ayak Veronica at Marilyn Agency