Versace has unveiled Versace Obsessed, the La Vacanza 2026 campaign photographed by Steven Meisel with creative direction and film by Ferdinando Verderi, styling by Karl Templer, makeup by Pat McGrath, and hair by Guido Palau. The campaign features Ella McCutcheon, Sabryna Oliveira, Betsy Gaghan, Alvise Candida, and Jackson Roodman.

Set within a sequence of intimate bedroom tableaux, the campaign places a new generation of models alongside the imagery that has defined the house for decades. The walls are lined with tearsheets from Steven Meisel’s own Versace campaigns, photographed between 1993 and 2004. It stages the brand’s history as a visual memory that continues to shape the way Versace understands glamour.

Versace La Vacanza 2026, photography by Steven Meisel

The dialogue between Meisel and Versace is one of fashion’s most mythologized creative partnerships. Together, they produced images that altered the visual language of luxury fashion: hyper-glamorous and unapologetically excessive. These campaigns constructed fantasies through Meisel’s lens, who transformed the Versace woman into an almost cinematic figure. The house’s saturated prints, metal mesh, and sculptural silhouettes became shorthand for a very specific idea of sensuality and status.

That legacy feeds naturally into La Vacanza, Italian for “vacation,” which has evolved into the house’s annual exercise in distilled fantasy. Built around ideas of escape, sensuality, and indulgence, the line occupies a space between resort wear and evening wear, where ease is never separated from seduction. For 2026, the collection leans heavily into the archive: printed silks, washed denim, black leather accented with gold hardware, and sharply cut tailoring.

Versace La Vacanza 2026, photography by Steven Meisel

The campaign acknowledges that Versace’s visual identity was built through decades of images that became embedded in popular culture. By filling the bedrooms with archival Meisel photographs, Versace Obsessed feels intimate and personal, like the room of someone shaped by fashion imagery and the mythology surrounding the brand.

That idea carries particular weight, since Versace Obsessed arrives as the house enters a new chapter under the Prada Group following its acquisition from Capri Holdings. At a moment that inevitably raises questions about continuity and identity, the campaign leans directly into the visual codes Gianni Versace established in 1978, reaffirming how enduring they remain. It is a reminder that the house’s appeal has always rested on a particular kind of freedom: an understanding of fashion as fantasy, performance, and self-invention all at once.