Reviewing one of Alessandro Michele’s collections on mannequins at a showroom appointment can feel somewhat underwhelming—the experience lacks not only the prismatic whimsy of his shows, but also his acrobatic talent as a raconteur. There’s a silver lining though: You get the chance to closely examine (and marvel at) the savoir faire behind each of the 62 women’s looks and 28 men’s. Their dense craftsmanship actually makes for a narration in itself.
As always with Michele, each look seemed to have its own voice, unfolding through cascades of appliqués, embroideries, passementeries, bows, ruches, and lace trimmings on meticulously made and millefeuille-styled confections, all of which radiate the palpable delight he takes in the Valentino archives. It’s kind of striking how his work at Gucci subtly hinted at Garavani’s influence, though there he lacked the resources to achieve the level of refinement possible within a couture house. Now he’s clearly reveling in this chance. Even though this was ready-to-wear, the execution was exceptional—apparently every lavish embroidery was handcrafted by artisans using embroidery hoops.
The co-ed collection showcased a few recurring themes. Daywear drew inspiration from the 1960s, evident in the trapeze silhouettes of short shift dresses; neat skirt suits with elongated shirt-jackets in a black-and-white optical print named Opti-cool, a sort of hallucinogenic houndstooth; and prim silk shirtdresses featuring a cherry motif dubbed Cherry-fic. A leopard-printed trench coat channeled a beau monde flair evocative of Valentino’s jet set chic, yet it was offset by Michele’s quintessential quirk, layered over an ensemble printed with tiny pugs, a motif called Petit Charles as a tribute to the house founder’s beloved canine companions.
In the 1970s, Valentino’s take on boho leaned more blasé than insouciant. Michele revisited its sense of romance, infusing it with some of his own tendencies. A standout series of paisley-printed dresses featured the Voyage Imaginaire motif, making the case for a masterclass in juxtaposition: short, loose caftans with bibs were intricately embroidered with crystals, and tiny glass pearls and mirrors were variously layered over long ruched skirts cinched with belts emblazoned with butterflies or bows. On a similar note, chiffon wrap skirts were paired with boxy matelassé jackets trimmed in passamenterie. For evening, tulle gowns were ethereal and exquisite, embroidered with cloud-like lightness and finesse — if Apple Martin, who recently made a sensation in a custom Valentino gown at Le Bal des Débutantes in Paris, had the chance to turn back the clock and debut again, she would have no shortage of enchanting options.
L’homme Valentino was offered an equally sumptuous wardrobe, rooted in sartorial tailoring with imaginative incursions into decorative funk. Tapestry-jacquard capes trimmed with tassels, romantic 19th-century hussar officer jackets with finely embroidered cuffs reminiscent of a Tolstoy novel, and red velvet four-pockets field jackets with ruched collars were styled with denim bermuda shorts or straightforward, classic trousers. For a pretty clear sense of the collection’s wealth of ornamentations, browse through the close-ups in the accessories feed. They highlight how Michele’s time at Valentino is only heightening his love of lush embellishments—he remains true to his own style no matter where he lands. Isn’t that the essence of true authorship after all?
