The world’s stage belonged to Alessandro Michele as the curtain rose on Pavillon des Folies. Lights refracted across stretches of shattered mirrors as guests watched with bated breath in anticipation for the designer’s Valentino debut. Details had been fairly hush-hush prior to the show last Sunday, but if you (like me) scoured the pages of Michele’s Business of Fashion Interview, one knew to expect a retro-poetic love letter to the brand itself and its founders, Valentino Garavani and Giancarlo Giammetti, penned from the newly-appointed Creative Director’s unique perspective. In a turn of events that I’ve deemed nothing less than delightful, Michele delivered everything promised and more.
As the first of 85 looks traipsed down the runway–sharp cracks accompanying each step–Michele’s designs posed questions of vulnerability, beauty, and existence. While philosophical revelations aren’t regular occurrences at fashion shows, the message was clear. This collection was full of thoughtful intention, honorary homages, and purposeful perspective.
Unfortunately, it has been incredibly difficult for me to pick favorites from this line; I’d deliver a thesis on every look if I could, but for your sake, I’ll hit the highlights. Look 23 combined a number of trendy elements. Lace tights, slip dresses, head accessories, and flowy outer layers styled into an Old Hollywood Pinterest-perfect ensemble. Look 35’s polka dot suit set, complimented by a rosette bow, felt inherently authentic to Valentino’s DNA. Creatively saturated color combinations (a sage, seafoam, and maroon gown being one of my favorites) were plentifully spread throughout the show, and intriguing, tactile prints dotted nearly every garment.
Unfortunately, a debut collection always bears the burden of itself, and Michele’s appointment at Valentino has been polarizing from the start. But contrary to critics, who have been chomping at the bit to call destruction and downfall, Pavillon des Folies has cemented Michele’s legacy in yet another iconic Italian fashion house. Yes, his personal aesthetic of maximalist, curio, and vintage glamour was immediately recognizable in Valentino’s latest collection; however, so were many references to past Valentino collections, ranging from the 1970s-1990s. Near-replica hats, beading, and bowties were utilized throughout Pavillon des Folies, creating a show that was both very Valentino and massively Michele.
In his show notes, Michele wrote that “beauty can represent a remedy for the anguish that arises from the ephemeral and undetermined nature of our destiny.” If artists are creating beautiful things, why do we expect them to own up to our expectations? If they are respectful and talented, why must they excel beyond the parameters we set? Michele is a revelatory force, and Pavillon des Folies is breathtakingly human at its core–something most of us take for granted. So, explore the collection for yourself. Enjoy, feel, rest, and live.
Words by Miia Popovics
Graphic by Aubrey Lauer