Photo Credits: Armando Grillo, Salvatore Dragone/ Gorunway.com
Witnessing Alessandro Michele’s haute couture debut for Valentino felt more like being engulfed in a cinematic psychodrama than attending a traditional fashion show. “I’m still trembling,” a fashion editor commented, visibly shaken as the 48 models charged across the darkened stage. In a dramatic display of strobe lights, their crinolines, capes, and billowing hair appeared frozen in slow motion, each moment amplifying the power of the spectacle. Alessandro Michele’s debut for Valentino wasn’t just a fashion show, it was an immersive experience, a fevered journey into one man’s boundless imagination.
Earlier, in the calm of the Valentino couture salon in Place Vendôme, Michele described his creative process as having been “in the middle of a tornado.” “I went through many obsessions, an unbelievablelist of things. First, I tried to go back to my personal obsessions as a Roman person. Looking at the Valentino archives, and my passion for historical costume — the dream, the metaphysical idea of fashion.”For Michele, delving into the past was the key to unlocking something monumental, but his approach was more complex than simply merging historical references.
Photo Credits: Alessandro Lucioni/ Gorunway.com
The collection, entitled “Vertigineux” (meaning “Vertiginous”), is a tribute to that very sense of dizzying immersion in history and creativity. It was as if we had been transported into a turbulent river of inspiration, where Michele’s sources—from literature and art history to old Hollywood and Venetian carnivals—flowed together in a magnificent whirlpool of imagination. The digital red type projected onto the back of the set listed the influences behind each handmade look: medieval nuns, Marie Antoinette, Georgian panniers, Victorian crinolines, silent movie stars, and Catholic cardinals. A rich tapestry of references that blurred the line between the real and the dreamlike.
At the heart of Michele’s creative process lay the Valentino archive—a reservoir of opulence andelegance. What Michele extracted from Valentino Garavani’s legacy was not merely aesthetic—it was thespirit of the house: “beauty, elegance, and opulence. It is not a brand; it’s a house.” The artistry and craftsmanship at the Valentino ateliers in Rome provided Michele with the freedom to explore, and this sense of “Vertigineux” emerged—a dizzying mixture of creative freedom and overwhelming beauty. “It’shard to see your way through because you have the freedom to do anything. To them, everything mustbe not just perfect, but mesmerizing. I learned a lot.”Michele’s collection was a stunning blend of Valentino’s signature techniques, such as the delicate pleatson trumpet sleeves or the intricate floral ruffles. But, true to his nature, Michele exploded those familiar silhouettes. By adding giant crinolines or 17th-century panniers, he transformed these garments into something entirely new. “If I take a dress from 1950 and put the pannier, it’s like a robe manteau from Versailles,” Michele mused, bridging historical fashion with contemporary flair.
Photo Credits: Armando Grillo, Salvatore Dragone/ Gorunway.com
The references to other couturiers were unmistakable. Adrian’s movie stars, Paul Poiret, and Charles Frederick Worth had all left their mark on Michele’s creations. But Michele’s deep connection to the culture of Rome also played a crucial role. Valentino red appeared throughout the collection—not only in a vibrant crinoline and bolero jacket but also in a Pope’s scarlet moiré robe. “When I was a kid, it was the most beautiful dress I saw walking in the street—really beyond—on a man. You see priests in a restaurant, at the market.
Photo Credits: Alessandro Lucioni/ Gorunway.com Via Vogue Runway
They eat, laugh, even smoke. I think Rome really is a surreal culture. It’s what Fellini saw,” Michele reflected, invoking the surreal spirit of Rome that both Valentino and he himself have captured in their designs. It is this fusion of Valentino’s Rome and Michele’s own Roman roots that defines his approach to couture. As the son of a costume designer in the Roman film industry, Michele’s immersion in cinematic and narrative visuals is part of his DNA. The inclusion of “My Mother” as dress number 12 in the collection is a testament to this—honoring both his heritage and his deep connection to the world of costume design. For Michele, haute couture isn’t just about creating garments; it’s about telling stories and evoking time – traveling, cinematic experiences. “I’m not a couturier. I don’t think of myself as a couturier,” he smiled. “I mean, I think of myself as a guy with a lot of imagination. That’s me.”With “Vertigineux,” Michele has not only made history within Valentino but has also redefined the possibilities of haute couture. His collection goes beyond traditional fashion—it is a surreal, cinematic exploration of time, culture, and creativity. By embracing the past, he hasn’t simply respected Valentino’s legacy; he’s expanded it, making it more grandiose, more fantastical, and more immersive than ever before. “Vertigineux” is a visual journey—a story of time, beauty, and the unimaginable. And with it, Michele has demonstrated that fashion, at its finest, is not merely about garments; it’s about creating entire worlds, where history and imagination intertwine in the most unexpected and thrilling ways.
Photos Credits: Armando Grillo, Salvatore Dragone/ Alessandro Lucioni
