Valentino Spring Summer 2025 Haute Couture by Alessandro Michele

The Valentino Spring/Summer 2025 Haute Couture show by Alessandra Michele was titled Vertigineux, which is French for dizzying or breathtaking. This was Michele’s debut couture collection, and it was most definitely… dizzying, but whether that has a positive or negative connotation is up to the audience. Unfortunately, for me, I wasn’t a huge fan of this collection. But, before I get ahead of myself and dive right into my dislikes for this show, let’s first take a look at this collection holistically and with an objective eye.

This collection was very theatrical with both the looks themselves and the show as a whole. Models walked across a long black runway, emerging from one dark end and disappearing into the opposite darkness. Behind them was two lines of continuous red text that resembled the style of an old digital clock. The looks showcased extreme maximalism, and were crafted using rich, bold fabrics, intricate details, and extravagant accessories. Commonly found throughout the collection was the use of quilted and pleated fabrics, embroidery, and fringe. These fabrics were typically used in various combinations on a single look. In line with this maximalist perspective, there were exaggerated proportions, such as large puff sleeves, full skirts, and oversized collars. There were some clever homages to old Valentino collections, including the reimagination of the strapless blue, yellow, and purple argyle dress from the Spring/Summer ‘92 show into a Georgian-era inspired dress with long chiffon sleeves. There were noticeable references throughout the collection from literature, art, and history. The collection was outrageous and camp, which understandably can leave the audience with polarizing opinions.  

Although the collection as a whole wasn’t my favourite, there were aspects of it that I enjoyed. One cannot deny that the looks themselves were intricately and artfully done. It’s obvious that a lot of thought and care went into the craftsmanship of each garment. The dress made from needlepoint tapestry was more so artwork than clothing – this dress was reminiscent of a Renaissance oil painting. It’s incredible to see so much depth and detail be incorporated into the fabric of a dress. Another dress was made up entirely of patchwork squares quilted together, which paired with the Victorian-era collar and sleeves made for a unique and captivating look. A personal favourite of mine was the Regency-era inspired argyle print dress, Look 42. The beadwork is beautiful, and the look gives a clear nod to the Regency era without feeling too costume-y. The look is stunning in its simplicity, letting the artistry speak for itself without the need to rely of over-the-top caricatures of fashion to grab the attention of the audience. I enjoyed how throughout this collection, each look told a strange and perplexing story. There were influences of a multitude of cultures and histories, transcending both time and geographical location. Michele grabbed our hand and plunged us headfirst into an alternate reality where fashion is inspired by traditional Mongolian, Flamenco, Victorian, and Georgian fashion, to name a few.

Despite these positives, this collection unfortunately just didn’t do it for me. I felt uneasy the whole time I watched the show, which to some may seem like a good thing. Fashion is art and art is supposed to evoke emotion, and whatnot. I can appreciate that fashion doesn’t always need to be pretty to be beautiful, which is clear in Michele’s collection. However, I thought the whole production of it all was too much for my tastes. The use of the words in the background felt a bit on the nose – if you have to spell out the inspiration behind a look, is your collection really doing its job? I shouldn’t have to see the word ethereal to feel that a look was ethereal. I also think that the extreme maximalist approach taken had me feeling overwhelmed. Too often I was distracted by the gaudy colours and loud accessories to notice the precision and skill required to generate such impressively tailored looks. However, that’s not to say I can’t see how someone else may love this collection for all the reasons I disliked it. Like I mentioned earlier, it’s outrageous, camp, and very polarizing. If you enjoy theatrics and kitschy maximalism, you’ll appreciate Michele’s debut couture collection.