The world is changing – and not necessarily for the best, believes Valentino’s creative director Pierpaolo Piccioli. Their response to today’s ugliness, the alarming loss of human rights, the boom of reactionary movements is beauty and creativity.
“Beauty is resilience, not escapism, and creativity is the only means of contrasting dictatorial decisions,” Piccioli said.
It may very well be, but the beauty of the wondrous couture designs she showcased on Friday evening was just dreamy and shed many tears — literally, including Giancarlo Giamatti and Naomi Campbell, who joined the Spanish Steps with Anne Hathaway. was sitting at the bottom. , Ariana DeBos, Ashley Parks, Kate Hudson, Florence Pugh and Andrew Garfield.
As the sun sets behind the Roman landmark, 102 models walk down the stairs – Piccioli’s light gown fluttering in the evening breeze – singers perform live at the top of the Labyrinth monument, and people in Piazza Mignanelli, Valentino’s headquarters home gathered around, cheering and clapping through the condotti and as far as the eye could see. It created quite a spectacle for even the most captivating fashion insider.
However, Piccioli insisted before the show that the platform was a way to speak about issues he held dear. The Spanish Steps are not only known internationally, but were also the set for a televised multibrand fashion show called “Women Under the Stars” in the 80s and 90s. Piccioli remembers watching the event from the sidelines several times as a young student – hence his decision to invite 120 fashion and art students to the couture show.
“Nothing has changed but everything has changed,” said Piccioli. “The people are the ones who make the difference, the Valentino Palazzo is the same, the Spanish Steps is the same, but the brand has changed: it is no longer about adopting a lifestyle but it is about a community sharing the same values. “
So much so that she decided to make a statement that perfectly suits her more inclusive views of fashion, which included 40 Black models, as well as models of various ethnicities, ages, and body sizes, and men to walk the show. Huh.
“With such a massively diverse representation at an iconic monument, there is an opportunity to offer such an important platform, which makes inclusion official,” he claimed. “Place gives dignity and centrality to what is peripheral and becomes institutional. Beauty arises from harmony. It is not an aesthetic dictatorship, and does not follow predetermined and fixed rules.”
This modern outfit has been readily adopted by Valentino’s seamstress, who took a bow with pixioli, as is customary for the designer. He described how Antonietta, then 82, responded when she was told that a boy with long pink hair – fond of skating and rap – would wear a lime chiffon and organza ruffled dress for the show: “Let’s just cinch his waist.” Make sure to measure so that the dress falls right at her hips,” she said, simply showing no surprise or doubt.
The collection was called “The Beginning,” which Piccioli said may seem counterintuitive after his 23 years at the brand, “but it’s always a new beginning in fashion.”
He acknowledged that it was “a very personal collection”, and that he engaged in a fictitious conversation with Valentino Garavani, not necessarily paying tribute to the couturier, who turns 90 this year (incidentally). He did not attend the show). There was not even a trace of nostalgia. “I was considering how much I am in Valentino and how much Valentino is in me,” Piccioli said.
Although he does not believe in referring directly to Garavani’s work, examples include his first Valentino red dress, the Fiesta, which debuted in 1959. Piccioli created a stunning lightly padded taffeta jacket dipped in red roses.
The rose on the floor-length black cap also appeared in the form of sizable intarsia, offering a less romantic and more assertive version of the flower. Three-dimensional roses were applied to the fire-red cashmere purlin skirt and bra combo.
Lightness and volume were key attributes of the lineup, which made for a perfect combination on the Spanish Steps, swaying in the mild Ponantino breeze and as the models carefully descended from the monument. A skirt made of blue feathers under a mustard-colored crop top looked weightless, as did a coat made of cashmere and nylon straps.
Feathers were a recurring embellishment, for example, on a red peacock feather embroidered, or on a neon green chiffon and organza pleated dress.
An absolute stunner was a black-and-white organza ruffled cape encased with tulle flocks, Chantilly lace, and gazar—reminiscent of ancient Roman mosaics—worn over a black tulle minidress with white chiffon ruffles.
A soft, sequined black tuxedo suit, worn with one of the luxurious Philip Treacy hats – again with feathers – made for Valentino, further blurring the lines between designs for men or women Of course, Piccioli never makes a distinction.
The craftsmanship was excellent, the embroidered sequins gleamed here, the rhinestones shimmered there on a black guipure tank top. A perfectly tailored cape, printed and flocked silk and wool caddy pants or a black silk and organza dress tied with Chantilly lace reflect the expertise of Valentino Atelier.
While Piccioli has recently made an impression with monochromatic bright pink designs—worn head-to-toe by most of the celebrities in attendance—the designer shifted her gaze to a rainbow of colors, often contrasting—in addition to classic Pops of Valentino red, and occasionally orange, purple and emerald green.
In the end, the models posing for the finale made for the perfect postcard from Rome to Piccioli.
