Everyone has an opinion on Alessandro Michele’s creative direction at Valentino. And that’s been precisely the strength of his tenure so far.
Either one rejoiced seeing his maximalist ways and ‘70s references coming back in full force or hurried to criticize, pointing at a Gucci-fication of the Roman house; there’s no denying that few can spark interest and stir a fashion conversation like Michele. And isn’t that what the industry needs right now?
Michele’s pre-fall 2025 collection for Valentino continued to fuel that query. After the surprising reveal of 170-something looks of the “Avant Les Débuts” collection and the much-anticipated runway debut in Paris with the “Pavillon des Folies” show, this lineup was presented in the relative quiet of Valentino’s expansive showroom in Milan, which displayed many of the codes Michele is embracing in his new role.
These included echoes of the ‘70s and ‘80s alternated with bourgeois classicism, as pussy-bow shirts, long ruffled skirts, blouses with pleated plastrons, eyelet frocks, hippie-chic embroidered vests and fringed suede jackets mingled with bon-ton skirt suits, bouclé sets, baby-doll dresses, matelassé silk boxy jackets and cute little cardigans with floral motifs or bejeweled details.
New insignias ranging from the Chez Valentino logo to the Panther 60, nodding to the brand’s animal of preference and year of foundation, were also abundantly splashed across T-shirts and sweaters. Ditto for the grumpy cat that stood out as a clutch in the last show and that here popped up on mohair knits, as a brooch pinned onto blazer jackets and plenty of jewelry. Michele flanked this mascot with a new pug motif appearing on knit vests, silk separates and leather mules, too.
While they were eye-catching, these elements were second to the plethora of ruffles, bows, polka dots, cherries and heart shapes that were used profusely throughout the collection and spoke of both Michele’s language and the brand’s romantic side.
But beyond the very-Michele styling depicted in the look book images and heavy in headpieces, jewelry, lace gloves and colorful tights, and without the razzmatazz of the shows, one could focus on the single items and explore the craftsmanship the designer is leveraging at the brand.
This was evident in the beautiful embroideries on shirts, velvet jackets and vests trimmed with tassels or elevating the A-line shape of ladylike dresses and accessories spanning from pumps to fringed suede satchels and tote bags.
Eveningwear was on a completely different level. From the simplicity of a new take on tuxedos, coming with a cropped jacket punctuated by bejeweled buttons, to tiered dresses in charming colorblocking and delicate tulle gowns and matching capes richly embellished, embroidered and sequined, one was left wondering what Michele is up to for his debut in couture next month.
But another inquiry also seeped in. If it’s true that there’s no point in hiring someone as recognizable and bold as Michele only to then ask him to do something different from his nature, does his unique, opulent aesthetic — which had such a disruptive force in his previous post — capture the zeitgeist and make sense within the current context?
