Dear Shaded viewers,
One of the most anticipated shows of the season welcomed Alessandro Michele as Creative Director at Valentino. His return to runway design sent maximalist shockwaves through the fashion industry, reminding us of what luxury is meant to be. Valentino entered a new era of unapologetic extravagance – led by Michele’s mesmerizing narrative to follow, of course.
We began on a broken mirror floor, uncertain of what was hidden beneath the draped white sheets surrounding us. Each step felt precarious; every crack in the glass was a whisper of vulnerability. In its reflection, we were confronted with the fragility of the human condition. In his show notes, Michele reminded us that our fears stem from mortality, but without the finite nature of our existence, life would serve no greater purpose. From this thought came his vision for Valentino; beauty as the remedy for human anguish, a timeless anchor that comforts us in our state of unknowing. He led us, tiptoeing through the darkness, to discover a new universe of meaning.
The 1960s and 1970s – a time when fashion and sensuality were inseparable – called to Michele like a spell. Realized through couture-level intricacy, he revived their romanticism, light femininity, and aversion to sobriety, introducing it to the gender fluidity of today. At times, frilled skirts or fur-cuffed sleeves were grounded by the clean lines and angular silhouettes of tailored jackets. Other times, billowing bishop sleeves and tiered ruffles made chiffon gowns float, evoking a fantasy of antiquity. Hand-sewn sequins, rococo-esque frills, and swaying tassels added to the layers. Details seemed to be collected from far and wide – a “closet of curiosities”, if you will. Whimsical robes and slip dresses were borrowed from lingerie, unexpectedly sheer, with deep necklines and hip-high asymmetrical slits up the leg. Garments flirted with the body, maintaining its virtuosity while freeing its natural allure.
Valentino gave Michele a new relationship with polka dots, and he painted them all over dresses, corset tops paired with jeans, silk or fur and feather scarves, and slim boots. He did not shy away from color. Delicate shades of pearly pink and cream were anchored by touches of black in bows and lace trimmings. Color-blocking techniques highlighted true red, mustard yellow, jewel-toned green, and cool blue hues beside floral and ornate pattern clashes, lush with their own palettes.
Romanticism knew no restraint in the accessories. Lace embraced the body in gloves and stockings, while dramatic straw hats, silk turbans, and woven mini caps added captivating charm. Wide sunglasses, nose and lip rings were modern propositions of jewelry for the face, and where there was no frilly collar, a pearl or chunky necklace sat in its place. Shoes featured dainty bows or slingback heels, and for men, Michele offered ballet flats paired with crochet socks. Shoulder bags were clutched by the chain, sometimes two at a time and kitty clutches were hand painted like porcelain figures, each with a glimmer in its eyes.
By the closing of the show, we were no longer are afraid to bear weight on the shattered mirror floor, and suddenly the light seeping through the draped white cloths felt gentle and warm. Michele reminded us of the restorative power, the essential and unavoidable purpose of beauty. In his hands, Valentino is a beacon to guide us through the unknown.
Later,
Eliya
