Defenses of Valentino's first collection from designer Alessandro Michele

Defenses of Valentino's first collection from designer Alessandro Michele

In fashion, change can be a double-edged sword. Sticking to the same formula risks stagnation, while venturing into new territory can alienate a brand’s loyal following. This paradox is exactly why Alessandro Michele’s first collection for Valentino is receiving some backlash.

Critics on social media have dubbed Michele’s collection “Vucci,” suggesting a mere copy-and-paste job from his previous role at Gucci. However, this is a surface-level critique. While, yes, this collection is steeped in Michele’s signatures—full of layering, bold patterns and prints, gender fluidity, vintage hallmarks and maximalist accessories—Michele isn’t simply designing for Valentino; he’s engaging in a conversation with the house’s past collections, pushing it forward—an evolution in and of itself.

The color palette leans cooler, with a focus on light tones. He subtly references Valentino’s ’70s hippie chic and feminine refinement, while letting loose with his signature ruffles.

Looking at ‘80s Valentino, the cheetah print is an obvious nod. One cream polka dotted dress seems to be a reinterpretation of the red polka dotted dress of the Valentino Alta Moda Spring/Summer 1988. The opulence of accessorization of the ‘80s Valentino shines through colored tights, as well as all a variety of headwear.

The 171-look collection (yes, you read that correctly) features playful details like prim princess coats, tasseled bags, and wide-leg trousers. Even the “minimalist” bow and flower prints—compared to the overall maximalist aesthetic—offer a delightful twist.

On the topic of bows, Valentino bedazzled bows are featured among the magnitude of accessories. Quite literally from head to toe, Michele adds accessories wherever he can fit. Think colored lace tights, flower-embroidered socks, pearls, dangly earrings, and turbans—this collection is a celebration of accessorizing.