When Alessandro Michele made his debut for the house of Valentino last year, his biggest stans were overjoyed to see his romantic, maximalist aesthetic making a comeback, while his biggest haters were calling him out for putting out the same designs as he did at Gucci. But, that’s just old chat. Whether you like Alessandro Michele or you don’t, you have to admit – man knows how to create good fashion. And he looks good in Valentino.
As the Italian designer is getting comfortable and settling in his new(ish) role at Maison Valentino, his designs are settling, too. And his inaugural couture collection for the Italian house, named “Vertigineux”, was a 10/10 – deeply rooted in the Valentino archive, but the Michele way.
Showing at Palais Brongniart, aka the Paris Stock Exchange, the collection was inspired by this one quote from “The Infinity of Lists” by philosopher Umberto Eco: “The list is at the origin of culture. It is part of the history of art and literature. And what does culture want? To make the infinite comprehensible [...] The list does not destroy culture, it creates it.” As the models walked in extravagant couture on a dark runway, the digital stock exchange panel in the background ran through lists of references and details for each look. Thank you, Alessandro, for making it easy for us journalists to figure out your references. You’re a real one.
The opening look – a diamond-checked gown with a check-draped torso and a skirt made by organza parts pieced together, inspired by a ’70s silhouette from Valentino Garavani – took 1,300 hours of handwork. Words like graphism, harlequin grid squares, Mandarin fish, Vitruvius bustier and Middle Ages were flowing on the digital panel.
The collection had an array of Elizabethan-style ballgowns and Tudor silhouettes, with rich, heavy fabrics, but also more romantic silhouettes with typical Michele touches of lace, bows, and lavish embroideries and Rococo, Marie Antoinette vibes. Polka dots, florals and ruffles also showed face – the Alessandro signatures.
The headpieces were insane. Following Michele’s SS25 collection, which gave an opulent range of head and face jewellery, the couture collection was very heavy on the heads. The headgear brought the drama. Intricately embroidered and bejewelled masquerade masks had draped and dangling beads and crystals.
Also, sidenote: love to see older models walking, we need to keep this kind of diversity on the runway.
The final walkout followed the sound of Romeo & Juliet’s Dance of the Knights by Prokofiev with flashing club lights taking over the Palais Brongniart, a relevant piece of music to tie up the drama, the excess and the avant-garde of this complex collection filled with infinite references. We could stay here unpacking every single look for hours, but unforch we’ve got more things to cover. Michele outdid himself fr.
Featured images Victor Virgille and WWD, Getty Images©
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