Alessandro Michele’s Debut Show for Valentino: A Twist on a “Romantic Geek”

After being appointed creative director of Valentino this past spring, Alessandro Michele had only two months to prepare for the Resort 2025 collection. The show took place on a mirrored, broken-glass floor in a candlelit room adorned with statues and draped chairs, evoking the atmosphere of a grand yet long-abandoned home. Michele’s collection offers a fresh take on his signature romantic geek aesthetic from Gucci, preserving his maximalist style while infusing it with a vintage luxury vibe.

Alessandro Michele’s Debut for Valentino

Drawing inspiration from the 1920s, ’30s, ’60s, ’80s, and beyond, Michele creatively explored the Valentino archives in a way that only he could. The collection featured delicate, intricately detailed pieces in vibrant, flamboyant colors, adorned with cascading ruffles, lace accents, silver embroidery, and tiny polka dots. Among the standout pieces were a navy blazer with a plunging neckline, worn without a shirt and tied with a large, delicate red bow, and an emerald-green gown embellished with beads and trimmed with fur. Ethereal chiffon dresses added to the time-traveling effect, while striking purple balloon pants were complemented by a black-and-white drop-waist top embellished with bows.

Alessandro Michele’s Debut for Valentino

As guests settled into their seats and the runway lights illuminated, the show kicked off with a chic black pencil dress featuring a ruffled hem and tuxedo-style bow detailing at the chest. This look was paired with red lace tights and black lace gloves, setting the tone for a series of prim and proper skirt suits accented with bracelet cuffs and faux-fur trims. The overall aesthetic echoed the swinging ’60s, highlighted by playful pillbox hats, embroidered bed jackets with feather trims, and whimsical Pierrot-inspired ruffled collars.

Alessandro Michele’s Debut for Valentino

Transitioning into the 1970s, Michele presented flowing chiffon gowns adorned with Swarovski crystals and oversized faux-fur coats. The collection also featured bohemian-inspired pieces, such as swirling floral-printed dresses layered with embellished waistcoats, Paisley-print harem trousers reminiscent of an Ibizan street market, and fringed capes. Additionally, Michele paid homage to the Regency era with gowns that Lux Lisbon and her sisters would have adored, featuring empire-line busts trimmed with crochet panels and vibrant ribbons.

Alessandro Michele’s Debut for Valentino

The collection culminated in a series of outfits inspired by early ’80s Valentino, including a ra-ra dress in the house’s signature scarlet, paired with a similarly hued silk blouse and black skirt combo that could easily envision Winona Ryder wearing during her early career. Polka dots were a recurring motif throughout the collection, appearing in bold gold on A-line dresses as well as subtle tiny versions on silky blouses and fishtail skirts. Valentino Garavani himself was known for his love of polka dots, and Michele shared in a post-show conference that he had recently developed a fascination for them as well. “I never loved polka dots,” he admitted while seated on one of the draped chairs, microphone in hand. “But they hold a powerful quality, and they’re almost impossible to modify. Here, they show a new generation that it’s possible to be weirdly chic, whether in a disciplined or unruly way.”

Alessandro Michele’s Debut for Valentino

Accessories were another highlight of the collection, featuring V-embossed bags in retro shades of brown, along with clutch bags shaped like cat clock figurines. Snug satin turbans, opera shoes adorned with bows, snakeskin-patterned go-go boots, and jewel-toned brocade accents added a sense of preciousness and modernity to the looks.

Alessandro Michele’s Debut for Valentino

The collection was bold and carried an urgent message. Fashion requires the electrifying energy that only Michele and a few others can deliver—a resolute conviction in one’s ideas and self. As Michele articulated, “We are going through a difficult moment. People are scared of living, but I want to live. I don’t have a chance to be different from who I am. And I’m okay with that.”