PARIS (AP) – At Paris Fashion Week, Alessandro Michele presented a Valentino collection that marked a shift towards restraint, contrasting with his previous exuberant styles. The show was enveloped in strobe lights that suggested a seedy allure and featured 1970s-inspired silhouettes such as bows, ruching, and velvet skirts. This collection encapsulated a mood of controlled nostalgia.
The standout piece was a draped gold gown adorned with a feathered white collar, a design that evoked myth and celebrated Valentino's Roman heritage. Other notable items included a polka-dot shirt and satin skirts with vibrant yellow panels, alongside instances of colorblocking. These elements maintained a sense of eclecticism but remained devoid of the exuberant force that Michele had previously showcased.
This collection told a story of less spectacle and more editing. Historically, Michele's collections for the brand, as well as his time at Gucci, were known for their extravagant overload, featuring elements like tassels, turbans, ruffles, and a multitude of references layered together. In this latest presentation, Michele opted for cleaner lines and a more restrained styling approach. While the result was undoubtedly more wearable, it also lacked the astonishing quality that once characterized his work.
Valentino's identity has long been rooted in beauty and polish. Established by founder Valentino Garavani, the brand is synonymous with jet-set elegance and the iconic "Valentino red." Under designer Pierpaolo Piccioli, Valentino embraced couture-like refinement. Michele brought to the house a different perspective focused on maximalist nostalgia, gender-fluid styling, and extensive archive exploration. He has articulated his role as one that involves "manipulating the past to make it now," blending modern maximalism with contemporary relevance to prevent the brand from stagnating.
In his earlier seasons, Michele's vision was vividly clear. For instance, last year's collection was brimming with bows, ruffles, tassels, turbans, and lavish embroideries, featuring accessories that were "to the hilt," set against theatrical casting and dramatic sets. The couture debut in January pushed this aesthetic further, incorporating crinolines and panniers with a distinctly Fellini-esque Roman flair, alongside references drawn from old Hollywood and ecclesiastical styles. While this demonstrated an impressive breadth of creativity, it also teetered on the edge of costuming.
Michele has also sought to anchor the house in everyday wear, showcasing items like tweed pants, V-neck knits, faux-fur jackets, and even collaborating with Vans. This duality—balancing the elements of functional wardrobe pieces against the backdrop of fashion wonder—remains a tension he continues to navigate.
In stark contrast, the latest Valentino collection conveyed a sense of caution and reflectiveness. While it captured Michele's eclectic instinct, it did so through a neater and safer lens. Rather than delivering the shock of the new or the ecstatic experience of his earlier presentations, this show marked a quieter, more measured chapter in his creative journey, reaffirming Michele's capability for restraint.
