Alessandro Michele Debuts as Creative Director of Valentino

The highly anticipated moment of the September edition of Paris Fashion Week finally arrived on Sunday, September 29. It marked the seventh day of official runway shows in the Parisian calendar, a day that would see the Roman designer Alessandro Michele debut as the new creative director of the esteemed fashion house Valentino. This appointment signifies a pivotal moment, not only in the storied history of Valentino but also in Michele’s own career within the fashion realm.

Michele, a pivotal figure in the recent history of Gucci, catapulted the brand to unprecedented heights, enhancing its revenue and influence in the luxury ecosystem during his nearly eight-year tenure as creative director. His departure from Gucci in November 2022 sent shockwaves throughout the industry, shaking the very foundations of a sector that had come to rely heavily on his creative vision. The decision by the French group Kering, Gucci’s parent company, to part ways with Michele stemmed from a strategic shift in the brand’s objectives. Under Michele’s leadership, Gucci had reached a plateau, albeit at a high level, which prompted Kering to realign the brand’s direction from its former “special occasions” image to a more accessible, everyday aesthetic.

After giving Michele time to pivot Gucci toward this new identity—a task he ultimately failed to accomplish—Kering announced his exit and appointed Sabato De Sarno as Gucci’s new creative director in January 2023. This appointment has since been met with skepticism, particularly in light of Michele’s subsequent announcement in March 2024 as Valentino’s new creative director. The transitions between these two prestigious brands evoke a sense of “gatopardismo,” the Italian philosophy suggesting that everything must change for nothing to change.

Reflecting on this crossover of creative talent, the landscape of luxury fashion appears relatively unchanged despite the tumultuous shifts of the past few years. Gucci’s current aesthetic seems to echo the Valentino designs of Pierpaolo Piccioli, from whose team De Sarno hails, albeit in a more utilitarian form. Meanwhile, Michele’s debut at Valentino confirmed his distinctive style, heavily influenced by historical aesthetics and a penchant for ruffles, lace, and brocade. His first collection, the Cruise 2025 “Avant les Débuts,” debuted in June and resonated with the same elements that characterized his time at Gucci.

Michele’s approach aims to express an intimate and personal narrative, reflecting his own quest for beauty and refuge following his departure from Gucci. “We are fragile creatures, constantly exposed to the limits of existence,” he articulates, expressing the vulnerabilities that underpin his vision for this collection. Through poignant reflections, he explores the significance of our temporal existence and questions the meaning of life, emphasizing the urgency to find beauty amid chaos.

In this vein, Michele presents “Pavillon des Folies,” a collection rich in color yet steeped in a somber melancholy. The palette transitions from deep blacks to muted lilacs, aged blues, opulent reds, and dusted pinks, all punctuated by broken whites that lend a touch of light to the nostalgic, mournful aesthetic. These colorations evoke a sense of longing, and the silhouettes recall the elegance of the 1960s, infused with hints of early 20th-century fashion.

The collection also pays homage to the art deco style, drawing inspiration from the opulence and artisanal craftsmanship of the 1920s. Michele’s interpretation of this era introduces a fresh, yet nostalgic narrative that invites viewers to immerse themselves in the exquisite details of each piece. Signature items include voluminous dresses, brocade ensembles, and an elegant polka-dotted tuxedo reminiscent of the iconic garments worn by divas such as Marlene Dietrich and Katharine Hepburn. These choices enhance the “genderless” aesthetic that permeates the entire collection.

Michele’s exploration of beauty culminates in a philosophical inquiry into its purpose. “What is beauty?” he muses, referencing Théophile Gautier’s notion that true beauty serves no practical function and is not bound by necessity. He contrasts this with the vibrant colors of flowers and their role in the delicate process of pollination, suggesting that beauty can be a remedy for the anxieties arising from the ephemeral nature of existence.

His collection, thus, serves as both an artistic statement and a personal exploration, capturing the essence of beauty amidst the chaos of life. “In this tumultuous world,” Michele asserts, “we innately feel the urgency to find meaning, to navigate the mysteries of existence and to discover what can provide value and consistency.” Through his debut at Valentino, Michele not only reaffirms his stylistic identity but also invites the fashion community to reflect on the deeper significance of beauty in their lives.

In this debut, Michele successfully intertwines influences from the ’60s and ’20s with art deco motifs, creating a vivid tapestry that resonates with both nostalgia and contemporary elegance. The collection stands as a testament to Michele’s creative vision—a celebration of beauty that challenges the viewer to consider their own understanding of existence in a world often overshadowed by uncertainty.

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