Alessandro Michele’s Valentino Debut: A Bold Triumph

S et against a backdrop of dimly lit lamps, birdcages, and antique decorations draped in cascading white fabric, Michele's first official runway show for Valentino brimmed with potential. The front row was graced by his loyal supporters, including Elton John, David Furnish, Harry Styles, Hari Nef, and Florence Welch. As the haunting notes of “Passacaglia della Vita,” adapted for the event by composer Gustave Rudman, filled the air, Michele delivered a poignant message about life’s fleeting nature: “We must rejoice, joy we must find.” His collection, unveiled in Paris, marked a significant new chapter for both the designer and the house.

Alessandro Michele's Debut Collection for Valentino

While his previous work at Gucci drew from Baroque and Renaissance influences, Michele’s debut collection for Valentino was deeply inspired by three pivotal eras: the mid-’60s, the 1970s, and the early ’80s. He dedicated considerable time to exploring the archives of Valentino Garavani, the brand’s founder, acknowledging, “It would take ten lives to produce what he did.” His respect for Garavani's legacy was evident in the collection.

The first look beautifully blended Garavani's aesthetic with Michele's unique vision—a fitted tuxedo tea dress paired with delicate lace gloves and vibrant red pantyhose, a nod to Valentino's signature color. Michele’s exploration of the 1970s golden era was particularly striking, as he reinterpreted the heavily embroidered gowns from that time with exquisite sequin embellishments, resulting in an explosion of creativity: eighty-five looks in total.

The collection featured playful ruffles emerging from hips on tiered knee-length skirts, while lace bodysuits and tights formed the foundation of many outfits in black and white. On top, babydoll dresses and mid-thigh minis adorned with feather trims and polka dots—Michele’s tribute to his late friend and collaborator Davide Renne—added a whimsical touch. Michele remarked, “Polka dots and ruffles leverage something powerful—they can be made chic in an unruly way. Frivolousness is not useless.”

This sense of unruliness extended to the hair and makeup: eyebrows were tousled, skin was matte, and hair featured intentionally unfinished braids and loose strands. Bold septum piercings and lip rings redefined traditional beauty norms.

Accessories stood out, too, with V-embossed bags carried two at a time in retro brown hues, alongside cat-clock figurine clutches. Satin turbans, opera shoes adorned with bows, snakeskin-patterned go-go boots, and jewel-toned brocade pieces lent a modern yet precious feel to the collection.

Michele's collection was both audacious and urgent. Fashion needs the electric jolt that only a few like Michele can deliver—a steadfast belief in one’s ideas and identity. As he stated, “We are going through a difficult moment. People are scared of living, but I want to live. I don’t have a chance to be different than what I am. And I’m okay with that.”