Alessandro Michele’s Valentino debut was extravagant and sublime
Hero
30 Sept 2024
Following the announcement of Alessandro Michele‘s appointment as Valentino’s creative director back in March, the anticipation for the Gucci alumnus’ debut show has been one of the most hotly discussed topics of the season. Having held his tenure at Gucci for close to a decade, Michele’s design language redefined the House through his singular lens of opulent, whimsical maximalism, mixing epochs, cultures, trends and movements in one intoxicating cocktail. How would he now apply these design codes to Valentino? That was the question.
Upon arrival, guests were guided through a winding barely-lit corridor before entering a vast show space reminiscent of a gothic mansion. A labyrinth of cloth-covered antique furniture lit in a dusky hue sat atop a cracked mirror floor designed by Italian artist Alfredo Pirri. Was this symbolic of Michele entering a new house? Of the designer wiping the cobwebs off himself after two years away from the runway? Or of an unveiling so grand it shatters? Whichever it was, it was epic. And on said cloth-covered furniture sat arguably the most star-studded front row of Paris fashion week so far, with the likes of Sir Elton John, Harry Styles, Florence Welch, Hari Nef, Andrew Garfield, Colman Domingo and Jared Leto, to name just a few in attendance.
According to the show notes, Michele turned to the work of esteemed poets and philosophers such as Théophile Gautier, Michel de Montaigne and Martin Heidegger to help him answer life’s simple yet greatest question: “What is beauty?” In Michele’s world, it became apparent that beauty means delicacy, precision and luxury. As an orchestral soundtrack breathed life into the room, the first model hit the runway in a black pencil dress crafted with tuxedo-esque finishings and paired with red lace tights and black gloves, setting the scene for a series of looks orbiting a similarly preppy universe. Lavish silhouettes were built from voluminous-sleeved blouses, ruffled high necklines, layered petticoats and sweeping floor-length frocks.
Imbued with the spirit of the 60s and 70s – key decades in Valentino’s archives, and also constant references for Michele – floral pantsuits were finished with floppy bow neckties and enhanced shoulder pads, billowing chiffon gowns were adorned with intricate patterns of Swarovski crystals and paired with oversized faux-fur coats. Models wearing delicate 20s-style silk gowns with faux fur hems and gothic black lace veils strolled around the spooky interior like sexy Miss Havishams. Accessories were major: wide-brimmed fedoras, chain handle bags and face jewellery decorated models’ noses and lips with shimmering diamonds. Beading and embroidery featured heavily throughout, appearing on cropped paisley jackets, tassell-hemmed skirts and subtly sprinkled across dresses, reflecting off the mirrored runway. Across 85 (!) looks, Michele began his story at the House with a blockbuster debut – we wouldn’t expect anything less.
