By Giulia Piceni. Cover image courtesy of Vogue Runway
There is a benchmark before and after this Valentino show. Some claim this was exactly what they expected, while others are already missing Pierpaolo Piccioli. There are even those who, eager to criticise, fall back on the tired argument that Michele’s designs are largely “unwearable”, forgetting that each piece has its own unique wearability and that the grandeur of the collection comes to life through masterful, theatrical styling.
The truth is, Alessandro Michele’s Valentino is a show we clearly don’t deserve. Its complexity, its bold ambition to engage in a broader philosophical dialogue through the medium of fashion, which defines our present better than any other, make it a refined attempt to redefine the present while offering a new perspective on a future that is deeply connected to the past. In this article, I will not only analyse Alessandro Michele’s debut show but also delve into what lies ahead for Valentino under the visionary guidance of one of the most radical creatives of our time.
Valentino show is Life or Pavillon des Folies: Michele’s Search for Fragility in Fashion
Alessandro Michele’s debut show for the Roman brand in the French fashion capital draws inspiration from that fleeting, elusive experience we don’t have time to grasp fully: life or, as he likes to define it, the Pavillion des Folies.
Michele emphasised this in the press release, stating, “We are fragile creatures, constantly exposed to the sense of limit”, a sentiment further heightened by the vertigo induced by Alfredo Pirri’s walkable artwork Passi (2003). Models and guests had to confront their own reflections while stepping on this artwork, which was displayed about three years ago at the Chiostro del Bramante in Rome. The installation evokes a sense of human instability through its shattered mirrors, resembling a spider’s web. I like to think that after encountering this thought-provoking piece during a random stroll in his beloved city, Michele held onto the concept of human imbalance, treasuring it until he unveiled it at the pivotal moment of his debut show for Valentino.
Beauty and Chaos: The Philosophical Undertones of Michele’s Valentino show
In the press release, the creative director references various philosophers, from Viktor Frankl, who argues that the transience of life gives it greater meaning, to the idea of beauty as a saving pharmakon, a cure for the madness and chaos around us, as posited by Jacques Derrida. Beauty, in this context, serves as a solace in the midst of chaos. It is a “useless beauty”, as Thèophile Gautier once described, whose apparent lack of utility actually drives our deepest emotions and behaviours. Michele’s notion of beauty is not tied to conventional standards or rigid formulas; instead, it is connected to the feeling of wonder, as defined by Heidegger’s concept of aletheia, the moment of revelation. What better analogy for a show that has torn through the veil of Maya than this, marking Michele’s comeback after nearly eight months of silence?
The theme of life’s driving forces didn’t stop at the press release but continued through the show’s soundtrack. “Oh come t’inganni / se pensi che gli anni / non hanno a sfiorire / bisogna gioire”: these lyrics set the tone for the runway, encapsulating the essence of the show with their wisdom. The memento mori song, originally a 16th-century ballad, was also featured in the dramatic movie Favolacce (2020) by the experimental Roman duo, the D’Innocenzo Brothers, who were also present at the fashion show. While the film used the song’s morbid symbolism to craft its dramatic storyline, Michele altered its meaning, replacing “morire” (to die) with the more positive verb “gioire” (to rejoice), aligning it with his forward-looking vision while still maintaining the haunting undertones that define all of his creations.
Blurring Eras: Michele’s Timeless Revival of Valentino’s Archives
Alessandro Michele once mentioned finding his grandmother’s trunks while designing for Gucci. With Valentino, he has gone even further by opening an entire attic, which is reflected in the setting of his debut collection. Underneath timeworn fabrics, forgotten objects from various eras lie dormant, illuminated by warm light filtering through the warp and weft, as if waiting to come to life. The scene feels like a cocoon ready to stir at the first sound, as sharp notes shatter glass and a melancholic chant from another age drifts in. The dusty attic awakens, transforming into a grand ballroom with broken mirrors on the floor, evoking a postmodern Galerie des Glaces. In this imaginary attic, centuries overlap, and time and space collide.
In an interview just before the show, hosted by BoF founder Imran Amed, Michele provided a glimpse of what was to come. When asked why he chose Valentino over other offers, he spoke of the brand’s “dusty chic” allure: its rich heritage and archive waiting to be revived through a blend of past and present, with a hint of quirkiness. This fusion of eras is a hallmark of Michele’s work. His anachronistic approach allows him to create garments that transcend time, capturing the complexity of modernity while remaining true to himself—a rare feat in an industry driven by relentless commercial pressures.
At this point, references to Valentino’s vast archive emerge, with heavy embroideries, oversized collars, fox stoles, and princely gowns, each touching on key decades for the Roman brand, from the fabrics to the cuts, spanning the 1960s to the 1980s. Romantic bows, adopted in the latest shows by Pierpaolo Piccioli and immediately reinterpreted by Michele, are paired with 1920s-inspired headpieces, kimono-style belts, and Turkish trousers in full Paul Poiret fashion. Setting aside mere clothing descriptions – which, in my opinion, tend to diminish the quality of a show like this– many have already declared the collection a farewell to minimalism and the old-money aesthetic.
Alessandro Michele’s Valentino show clearly draws on a fictional universe that resembles our own, much like the reflections in a shattered mirror, to narrate the complexities of the world we navigate daily. His garments, paired with layered styling, affirm that we are the result of what we have studied, the experiences of those who came before us, and the environment that surrounds us: concepts he has previously explored in his recent book, co-written with contemporary philosopher Emanuele Coccia. Michele is ultimately more modern than any other designer today. Being truly contemporary is not about following current aesthetics or trends but about capturing the present moment and projecting it into the future while staying connected to life as it evolves. There is only one true time: the present, which extends into both the past and the future. In this delicate (in)balance, we find the affirmation of life and beauty.
What About the Future? The Answer is Always in the First Look
After reflecting on the multilayered and intricate show, it strikes me that the key to understanding Alessandro Michele’s future direction can be found in the beginning, particularly in the first look. Many have suggested a connection between Michele’s time at Gucci and his new era at Valentino. However, I would like to clarify that for him, new beginnings always start with red. It’s the colour of his debut looks and has come to symbolise the two fashion powerhouses he’s become associated with – one representing Valentino’s iconic red, established by its founder, and the other newly redefined by Sabato De Sarno.
For Gucci’s FW 2015 show, Michele opened with a vermillion georgette blouse. At his recent Valentino debut, the first look featured ‘60s-inspired red tights paired with a tuxedo-like midi dress adorned with sculptural ribbons and a grand retro ruffle at the bottom hem – a tribute to the ‘80s opulence that established Valentino as a symbol of Italian luxury. This ensemble opened so many imaginative doors and sparked endless questions for me. It made me realise that if fashion continues to be this reflective and intellectually stimulating for its audience, then it is still absolutely worth writing about. The outfit evoked the melancholic spirit reminiscent of Commedia dell’Arte, with a black and white colour scheme that hinted at Pulcinella. Its tuxedo silhouette brought to mind the decadent theatricality of the carnival scene in Fellini’s I Vitelloni (1953). Additionally, the translucent fabric added a sophisticated, 1920s dandyish take on 1980s power dressing. Michele’s debut looks are never about easing into a show; they are statements bursting with power.
The first outfit felt like a blend of different periods, stretching the boundaries of the present. It doesn’t hold onto the past but instead highlights its uniqueness, making the ensemble look like a living product of history, which comes to life the moment it is worn and can evolve with its wearer every step of the way. The future of Valentino, beyond the rich archival references that we expect Michele to draw from, is focused on individualism and interpreting the complex era we live in. It embraces the imbalance caused by the dualities that we fall victim to and the passage of time. Despite difficult times, we can find inspiration in the past and return renewed and rejuvenated, ready to make our mark on the timeline we belong to.
“Se questa Babele / a tutti infedele / non è una menzogna / gioire bisogna / gioire bisogna / gioire bisogna.”