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Alessandro Michele’s first haute couture collection for Valentino felt less like a traditional runway show and more like a grand, poetic puzzle. Held at the grand Salomon de Rothschild Hotel, the collection, aptly named Vertigineux, played with the idea of the ‘list’ — a never-ending inventory of references, emotions, and inspirations, stitched into 48 breathtaking looks.
Michele, always one for the intellectual, took a cue from Italian novelist Umberto Eco’s musings on lists: are they a way to make sense of the world, or a dizzying glimpse into the infinite? In this case, the answer was both. Each gown felt like its own story, a ‘list’ of elements — cinematic nods, Renaissance echoes, a whisper of punk, flashes of opulence. One moment, an explosion of tulle, the next, a razor-sharp silhouette. The tension between excess and restraint made for couture at its most compelling.
The collection was a maximalist’s fever dream: Tudor pyramid dresses bumping shoulders with eighteenth-century pannier skirts, flapper gowns bisected by ornate panniers, and Doric column flounces sporting Maleficent-worthy wings. Surrealist glasses dripped with gems, eerie masks winked from the runway, and the whole affair felt like a fever dream stitched together with the most exquisite thread.
And if that wasn’t enough, the show notes spanned an astonishing 200 pages — vertiginous indeed. In it, Michele wrote, “Each dress is not just an object, it’s rather the knot of a net of significance: a living cartography that keeps traces of visual and symbolic memories.” This sentiment came to life in the show, where embroidery cascaded across dresses; pearls and crystals mapped out constellations, and unexpected textures — ostrich feathers, botanical appliqués, metallic threads — collided in a beautiful kind of chaos.
Yet, despite the heady references, the collection never felt heavy. Michele’s signature romanticism was there, but more refined, more precise. The designer also paid homage to Valentino Garavani with updated classics, creating a collection that celebrated the limitless possibilities of haute couture.
By the time the final look — a sweeping, silver-threaded gown shimmering under the chandeliers — made its way down the runway, the message was clear: Valentino haute couture is stepping into a new era, one that’s as poetic as it is powerful.
Discover the collection here.
photography. Valentino
words. Gennaro Costanzo
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
Alessandro Michele’s first haute couture collection for Valentino felt less like a traditional runway show and more like a grand, poetic puzzle. Held at the grand Salomon de Rothschild Hotel, the collection, aptly named Vertigineux, played with the idea of the ‘list’ — a never-ending inventory of references, emotions, and inspirations, stitched into 48 breathtaking looks.
Michele, always one for the intellectual, took a cue from Italian novelist Umberto Eco’s musings on lists: are they a way to make sense of the world, or a dizzying glimpse into the infinite? In this case, the answer was both. Each gown felt like its own story, a ‘list’ of elements — cinematic nods, Renaissance echoes, a whisper of punk, flashes of opulence. One moment, an explosion of tulle, the next, a razor-sharp silhouette. The tension between excess and restraint made for couture at its most compelling.
The collection was a maximalist’s fever dream: Tudor pyramid dresses bumping shoulders with eighteenth-century pannier skirts, flapper gowns bisected by ornate panniers, and Doric column flounces sporting Maleficent-worthy wings. Surrealist glasses dripped with gems, eerie masks winked from the runway, and the whole affair felt like a fever dream stitched together with the most exquisite thread.
And if that wasn’t enough, the show notes spanned an astonishing 200 pages — vertiginous indeed. In it, Michele wrote, “Each dress is not just an object, it’s rather the knot of a net of significance: a living cartography that keeps traces of visual and symbolic memories.” This sentiment came to life in the show, where embroidery cascaded across dresses; pearls and crystals mapped out constellations, and unexpected textures — ostrich feathers, botanical appliqués, metallic threads — collided in a beautiful kind of chaos.
Yet, despite the heady references, the collection never felt heavy. Michele’s signature romanticism was there, but more refined, more precise. The designer also paid homage to Valentino Garavani with updated classics, creating a collection that celebrated the limitless possibilities of haute couture.
By the time the final look — a sweeping, silver-threaded gown shimmering under the chandeliers — made its way down the runway, the message was clear: Valentino haute couture is stepping into a new era, one that’s as poetic as it is powerful.
Discover the collection here.
photography. Valentino
words. Gennaro Costanzo
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
