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CAMPAIGN LA MANIA
Don’t wear your cynicism like a disguise,
There’s little glory to be found in that.
Don’t tell me love has nothing left to reveal,
It isn’t true, it isn’t, it isn’t.
So leave the bitter words behind
And let the darkness leave your eyes.
To you, life may be a harbour bar
To me, it is an ocean where a love unknown awaits.
Wojciech Młynarski,
Odkryjemy miłość nieznaną (We Will Discover a Love Unknown), 1986
There’s little glory to be found in that.
Don’t tell me love has nothing left to reveal,
It isn’t true, it isn’t, it isn’t.
So leave the bitter words behind
And let the darkness leave your eyes.
To you, life may be a harbour bar
To me, it is an ocean where a love unknown awaits.
Wojciech Młynarski,
Odkryjemy miłość nieznaną (We Will Discover a Love Unknown), 1986
The Into a Love Unknown campaign is born from a longing for wonder. From the need to be moved by beauty, to hold
on to hope and dreams: not as an escape from the reality around us, but as a response to it. This consciously
anti-cynical attitude is close to LA MANIA, a brand that for 16 years has built its world around female sensibility and
pleasure. The Fall Winter 2026 collection is made up of clothes to dream in - and dream about. The same sense of
possibility, and the belief that the best may still lie ahead, can be found in the words of Wojciech Młynarski, one of
Poland’s most celebrated lyricists, to the legendary song Odkryjemy miłość nieznaną (We Will Discover a Love
Unknown), performed by Alicja Majewska, which became the musical motif of the campaign.
The visual language of the campaign takes its starting point from the paintings of Edward Hopper, one of the most
important figures of 20th-century American realism. More specifically, from an image that recurred throughout his
work from the 1920s to the 1960s: a woman at a window. Hopper painted everyday life with an almost cinematic
sensibility. Light, architecture and precisely constructed compositions became the setting for figures lost in
daydreams. The window was a recurring presence in his work: a boundary between the private and the outside world, between what is known and what is yet to be imagined.
This image of a window also appears at Villa La Scala on Lake Garda, chosen as the setting for the campaign. This
exceptional house was built in the 1950s, at the same time Hopper was painting his women at windows. Designed by
Vittoriano Viganò, one of the leading figures of post-war Italian architecture and the architect behind Milan’s Istituto
Marchiondi, considered one of the key works of Italian Brutalism, Villa La Scala was created for his friend André Bloc,
the French architect and sculptor. The villa’s raw, Brutalist structure opens onto the water and horizon through vast
expanses of glass. It is precisely the window, and what exists on either side of it, that connects Viganò’s architecture
with the Hopper-inspired starting point of the campaign.
The Fall Winter 2026 collection is built around the same boundary between two worlds: interior and exterior. At its
core are noble, tactile materials: delicate cashmere, refined wools and timeless leathers with distinctive textures. The
collection includes pieces designed for evenings and grand occasions, among them silhouettes in an intense shade
of turquoise inspired by the waters of Italian lagoons. Coats and jackets, meanwhile, build the silhouette through
pronounced volume. A dramatic oversized faux-fur coat in an animal print contrasts with natural shearling in both
short and elongated proportions, as well as classic coats cut from high-quality wool in timeless shapes and colours.
Tailoring returns in the precisely constructed hourglass silhouettes characteristic of LA MANIA, defining the waist and
celebrating the proportions of the female body. The Fall Winter 2026 collection brings timeless, precisely cut pieces to the female wardrobe, each created in the brand’s Warsaw atelier.
