Paris (AP) – against the strobe, who offered to go more than the spectacle, the collection of Valentino Alessandro Michelle showed restraint where the riot was once. The primitive silhouettes of the 70s – bows, rushes, velvet skirts – create the mood for Parisian Fashion Week controlled nostalgia.
The high point was a draped gold dress with a feathered white collar, causing a myth and Roman past Valentino. Pollet shirts, satin skirts, separated with bright yellow panels, and random color blocking retained an eclectic spirit in the living, although without abundant power, Michelle turned out earlier.
It was the story of the show: a smaller sight, more editing. Where the early collections of Michelle for the Home and its term of stay in Gucci had flourished at clean overload – brushes, turbines, frills, links, folded high – here he cut out cleaner lines and surprised styles. The result seemed more wearing, but also less amazing.
The personality of Valentino is rooted in beauty and varnish. With the founder of Valentino Garavani, the house meant the elegance of the reactive belt and Valentino Red. Under the designer of Pierpaolo Piccioli, he leaned toward the improvement similar to Couture. Michelle entered with another set of tools: maximalist nostalgia, gender style and deep archive. He said that the work is to “manipulate the past to make it now”, balancing modern maximalism with relevance so that the brand does not freeze in time.
His first seasons are clear. Last year, the return was composed with bows, frills, brushes, turbans and generous embroidery; The accessories were “to the leader”, and casting and sets were theatrical. The debut in January Couture went further-Crinolines and Panniers, Roman notes in the style of Fellini and a long list of old Hollywood and church links. This proved the range, but also increased the risk of the costume.
Michelle also tried to ground the house in daily clothes: tweed trousers, knitwear, artificial jackets and van jackets and even joint cooperation in vans next to porcelain lafts and cat dresses. This split – a wardrobe against miracles – is a tension that he continues to try to solve.
On the contrary, the last collection looked almost careful. He captured Michelle instinct for eclecticism, but in a neat, safer way. It was not a shock from the new or ecstasy of its earlier shows. Instead, it was a more quiet chapter, proof that Michelle was capable of restraint.
Thomas Adamson, Associated Press
