Alessandro Michele made his hotly anticipated debut at Paris Fashion Week with his ready-to-wear collection for Valentino, set against a backdrop that insinuated transformation—a living room in transition. Stools, ladders, and lamps draped in white blankets evoked a home renovation, signaling change and the revival of past glories. This was poetically set up and matched by a “maximalist-lite” show that tempered history with Michele’s peculiar flair.
Given the rocky start, Alexander McQueen’s sophomore collection by Sean McGirr had been more fittingly offered at the equally iconic École des Beaux Arts-one that inspires new beginnings. Growth was apparent for a designer like McGirr, who moved from the confines of an industrial warehouse to such an iconic venue, though simple hallmarks were retained.
With haunted music in the air, Michele finally returned as Valentino’s creative director. His collection featured feathers, lingerie layers, and vintage-inspired accessories; however, it had a playful evolution. Classic nipped-waist dresses were given modern twists, while instead of fur, feathers were used as a softer substitute to give a modern touch.
Jared Leto sat in the front row, proof that Michele will continue to have a hold on the most A-list of Hollywood’s inhabitants. His commitment to a fashion vision autonomous from pre-existing codes reverberated throughout every look.
Meanwhile, McGirr sent out tailored suits with rolled lapels, itself a shield against skepticism from that last outing. He referenced McQueen’s early dark romance, melding his identity with the brand’s legacy.
McGirr did even better with eveningwear- all shimmering embroideries and featherlight silks. But the real showstopper was an over-the-top gown encased in glittering silver chains- a real piece summarizing the entire evening.
