In an age accustomed to the clamor of images, where fashion is often measured in visual decibels, Valentino chooses to slow down. Shot by Glen Luchford, the campaign moves like a still film: a fixed camera pointed at life as it happens.

We live in an age of violent noise, of images that scream and words that chase each other without taking root. This resounding tumult ends up saturating our gaze, producing a real crisis of perception.

Hence the need for a politics of attention, an ethics of the gaze and of presence, capable of dwelling on the infinitely small, on apparently insignificant gestures, on those daily routines that put us in contact with the plot of life.

Being able to re-enchant the everyday, trying to inhabit it poetically, is not easy. It is necessary to introduce an anomaly, a hindrance to the rush of doing. It is necessary to slow down until it stops. This is why I imagined a static point of view capable of plumbing the poetic density of what lies in the ordinary. A fixed camera, pointed at life that happens. A door that opens, a street, a bar. And then: ancient gestures and minutes in mornings that only apparently resemble each other.

Mine is an invitation to overcome the anesthetization of the gaze, lingering in the silent folds of the days, kindly welcoming the magic of existence, choosing to stay in touch with what is alive. The everyday is not a backdrop that comes alive only in the presence of extraordinary events. It is rather the secret architecture that supports our presence in the world: a framework of flashes and joyful epiphanies set in the little and nothing of our ordinariness. Alessandro Michele