In the realm of haute couture, creative genius often conjures images of boundless chaos—a whirlwind of ideas colliding in unpredictable harmony. However, even the most avant-garde visionaries require structure to transform abstract creativity into tangible artistry. For his debut haute couture collection at Valentino, titled Vertigineux (French for “dizzying”), Alessandro Michele turned to Umberto Eco’s The Infinity of Lists (2009) as both a philosophical and practical guide. This literary exploration of cataloging and enumeration not only provided a framework for Michele to orchestrate 48 distinct couture creations but also mirrored the intricate and seemingly infinite craftsmanship demanded by haute couture.
Valentino Spring 2025 Haute Couture Collection
From the moment guests entered the show space, they were transported into a world that blurred the lines between fashion and theater. The runway—curtained in deep blue, shortened to intensify the atmosphere—was set against vertigo-inducing, towering rows of seating, evoking a grand stage. The soundtrack, a heavy, foghorn-like resonance, added to the sense of overwhelming spectacle.
“In my opinion, dresses need a mise en scène; they don’t have a life of their own sitting in a closet. They need to come alive,” Michele explained post-show. This sentiment reinforced the fundamental ethos of haute couture: garments exist not merely as objects but as characters in a grander narrative.
Valentino Spring 2025 Haute Couture Collection
To enhance this narrative, each model stood momentarily on a green “X,” framed by a digital backdrop flashing an LED ticker of words—some historical, some poetic, some surreal—providing an abstract lexicon for the collection’s influences. It was a literal stream of consciousness, ending in a dazzling crescendo of white lights. The effect was both hypnotic and cerebral, compelling the audience to connect fashion with art, literature, and cultural memory.
Michele’s collection embraced theatrical costuming, with silhouettes that felt like a journey through fashion history. From voluminous pannier skirts and hoop petticoats to rich brocades and poetic ruffles, his designs recalled an opulent past while embracing modern eclecticism. The references ranged from 17th-century aristocracy to 1970s bohemianism, much like the time-hopping aesthetic of Orlando, the 1993 film starring Tilda Swinton. Fittingly, words like “Baudelaire,” “Uffizi Gallery,” “Barry Lyndon,” “Summer of Love,” and “courtesan” appeared in the ticker tape projections, offering an intellectual roadmap to Michele’s vision.
Valentino Spring 2025 Haute Couture Collection
Despite some criticism that the collection leaned too far into costume territory, Michele’s approach was in harmony with the essence of haute couture, where fantasy reigns supreme. His modernization of historical silhouettes, particularly the pannier and hoop skirt, demonstrated an acute awareness of Valentino’s archives while simultaneously injecting his own signature aesthetic.
One of the most compelling aspects of Michele’s creative journey was his reverence for the Valentino atelier. “The seamstresses are like fairy tale elves who sculpt each piece for weeks, bringing it to life. It’s a joyful shared effort,” he remarked. Unlike ready-to-wear, where immediacy dominates, haute couture demands patience, and Michele embraced this meticulous process with awe. His deep respect for the craftsmanship extended to his choice of models, favoring a diverse age range. “Time provides grace and beauty in older women,” he noted, reinforcing that haute couture is not just for the youthful but a celebration of timeless elegance.
Valentino Spring 2025 Haute Couture Collection
While staying true to his own maximalist inclinations, Michele paid homage to Valentino Garavani’s legacy, particularly through his interpretation of the iconic red dress. Look 20, a billowing red tulle gown, drew inspiration from Garavani’s affinity for aristocratic elegance and his love of classic portraiture. Michele recalled childhood memories of seeing cardinals in Rome dressed in flowing red robes, a motif that found its way into his collection in both literal and abstract forms.
“I will never be him, but it’s nice to look at his work. Valentino made Paris and Rome make love,” Michele mused, acknowledging the romantic bridge the house has historically built between these two fashion capitals. By the end of the show, Michele himself seemed overwhelmed by the experience. “All of this couture possibility is related to vertigo. You are afraid of losing yourself; you don’t want to finish, but it’s time to stop,” he reflected. But with his next ready-to-wear collection debuting in mere weeks, he has no time to dwell on Vertigineux.
Alessandro Michele has long been known for his ability to weave narratives that transcend mere clothing, creating prismatic worlds where one garment can carry infinite meanings. In a time of global uncertainty, his Valentino couture debut provided an escape—an invitation to lose oneself in a labyrinth of beauty, history, and boundless imagination. If haute couture exists to make us dream, then Vertigineux was an unqualified success.