Valentino Nellcote Suede Fringe Shoulder Bag
Isabel Marant Amiel Oversized Hooded Leather-trimmed Shearling Jacket
Isabel Marant Paulina Embellished Denim Mini Skirt
I found Alessandro Michele‘s runway debut for Valentino a disappointment on many levels. I don’t get the reasoning behind sending down the runway over 80 looks that are so terrifically archaic and deadly retro. Yes, it’s Michele’s prime aesthetic, but it can easily (and quickly) get exhausting. Near the end of his tenure at Gucci, you literally felt an overdose of nostalgia. I really hoped Michele would channel his quirk for the past it in a contemporary-looking way. Let’s remember his Gucci debut was an unexpected gender revolution. But at Valentino, he totally missed the opportunity to show a breakthrough. Also, what’s the actual point of remaking Valentino Garavani’s 1970s and 80s garments in 2024? First, there’s a vintage market for that. Second, it looks absolutely stuffy and dusty without even a drop of irony in the styling.
Collage by Edward Kanarecki.
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It’s a new dawn for Valentino. Gone are the days of Pierpaolo Piccioli’s minimalist sensibility and sharpness of cut. Alessandro Michele’s “surprise” debut collection for resort 2025 is an unabashed return to Valentino Garavani’s 1960s and 1970s opulence and over-the-topness. Is this nostalgia something people really want in 2024? Many wrongfully described the collection as “so Gucci”. The deja vu feeling is valid, but rather it’s “so Alessandro Michele”. But let’s be honest, this line-up could easily pass as any of Michele’s previous collections for the other Italian brand, and you’re really not the only one constantly mistyping Gucci instead of Valentino. More than 170 looks, none really memorable or distinct, is either a result of Michele’s prolificness or his overt maximalism – something I thought he would rethink and refine during his hiatus. When the designer arrived at Gucci, his debut collection – contrived at light speed pace – was a revolution-in-the-making and it shifted the way people dress for seasons ahead. His Valentino debut lacks that radicalness, and feels like a missed opportunity in making a strong point. The dense, thick retromania of this collection makes one feel simply tired.







Collage by Edward Kanarecki.
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Similarly to Rei Kawakubo, Valentino‘s Pierpaolo Piccioli sent down the runway an all-black collection as a response to our troubled world. While the Comme Des Garçons designer offered some light at the end of the tunnel – a white bridal cocoon dress – Piccioli presented a fully veiled, transparent gown. This super elegant line-up, filled with very fine day-to-day wardrobe staples and simply beautiful, at points austere in silhouette eveningwear, offered no happy end. And just a moment ago the designer would go PPPink.





Collage by Edward Kanarecki.
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For spring-summer 2024 haute couture, Valentino‘s Pierpaolo Piccioli opted for the hushed intimacy of its salons on Place Vendôme. The designer’s aim was to emphasize the “sacred process” of couture. But there was nothing quiet about the presented haute garments; this was a full-tempoed crescendo from the first look till the finale. Piccioli’s lineup included the requisite red carpet stunners, but also indulged in a quirky day wardrobe in unusual volumes and colors. Oversize jackets, palazzo pants, scooped vests, fishtail skirts and duster coats came in shades like chartreuse, oxblood, lime, putty, mustard and sage. The designer skipped elaborate embroideries, focusing on silhouettes that require the highest skills of tailoring (and artisan) precision. Small oblong discs were bonded with patent leather to resemble crocodile skin on a glossy green men’s coat, while a barely there chiffon top sprouted tiny white feathers that were actually made from cut organza. “The magic comes from the illusion,” Piccioli said. With 64 sublime looks, the collection offered a dizzying array of options for awards season, including a stunning black velvet cutout dress trailing a long silk chiffon stole.
Piccioli noted that each piece that comes out of his workshop is unique, since no two people execute his sketches the same way – and that’s just how he likes it. “If you don’t project your own experience, your own life, your humanity into what you’re doing, you will never feel the soul,” he said.







Collage by Edward Kanarecki.
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