Valentino - The All-Things Valentino Thread

[reese06]

In that same book Giammetti keeps coming back to the clients as well. the clients the clients the clients. I think one aspect I do miss about older designers are their organically cultivated circles, they served as both an unofficial tastemaking/pr team and a kind of safeboat in treacherous circumstances.
Take Dior right now for example, I don't believe any of those ambassadors have anything in common to talk about at a dinner table, so as a group they already fail to convey a clear message of what the house is about for me. Of course they all come with their individual base but it really does dim the whole thing down in terms of elitism.

is it this belt you were talking about? I didn't follow her work too closely at the time so I can't identify.
View attachment 1437880

Not that belt. It’s hard to see in the post below but I was there and the reason I knew is because I remember thinking, interesting that she’s wearing that belt and wondering if it was Valentino. Somehow the belt got knocked off at the beginning of her bit and in her recovery, she joked that it was Valentino. Fall 2008 collection

I’m not sure Alessandra would be appreciated at a brand in today’s climate of fashion.

 

[alwaysademo]

Not that belt. It’s hard to see in the post below but I was there and the reason I knew is because I remember thinking, interesting that she’s wearing that belt and wondering if it was Valentino. Somehow the belt got knocked off at the beginning of her bit and in her recovery, she joked that it was Valentino.

That's so funny, your curiosity undid the belt lol

 

[Lola701]

Her work was more romantic experimental for Valentino but well within the aesthetic of the house. I would have loved to see more. There was a rumor that couture clients didn’t buy her work but who knows if that was true.

She only had one Couture but I remember that her RTW which was very daywear focused and with a lot of volumes was seen as experimental indeed.
MGC and PPP first 2/3 collections, even when they did the shift in aesthetic were more eveningwear focused.

But ultimately, they created a hit with the rockstud so everything worked.

But for me her collection and the Avatar collection by the duo are some of best Couture collections at Valentino.

In that same book Giammetti keeps coming back to the clients as well. the clients the clients the clients. I think one aspect I do miss about older designers are their organically cultivated circles, they served as both an unofficial tastemaking/pr team and a kind of safeboat in treacherous circumstances.
Take Dior right now for example, I don't believe any of those ambassadors have anything in common to talk about at a dinner table, so as a group they already fail to convey a clear message of what the house is about for me. Of course they all come with their individual base but it really does dim the whole thing down in terms of elitism.

It’s something that I miss too…The kind of social life between designers and clients.

But when you look at some clients, I kind of wonder if it’s not a good thing that designers keep the socializing to a minimum.

Valentino, Karl and co hosting clients in their Hotel Particulier or Castle is not so far in time but seems so gone.

At Chanel, Amanda Sanchez has become the one who goes to see the clients but I don’t know if she is hosting events for the Couture ones.

At Dior, they should have that kind of ambassador. Farida was that for Schiaparelli.

 

[alwaysademo]

She only had one Couture but I remember that her RTW which was very daywear focused and with a lot of volumes was seen as experimental indeed.
MGC and PPP first 2/3 collections, even when they did the shift in aesthetic were more eveningwear focused.

But ultimately, they created a hit with the rockstud so everything worked.

But for me her collection and the Avatar collection by the duo are some of best Couture collections at Valentino.


It’s something that I miss too…The kind of social life between designers and clients.

But when you look at some clients, I kind of wonder if it’s not a good thing that designers keep the socializing to a minimum.

Valentino, Karl and co hosting clients in their Hotel Particulier or Castle is not so far in time but seems so gone.

At Chanel, Amanda Sanchez has become the one who goes to see the clients but I don’t know if she is hosting events for the Couture ones.

At Dior, they should have that kind of ambassador. Farida was that for Schiaparelli.

Maybe her work was not as loud as it should've been for the brand's stature at that specific moment. I remember it being very floral but not statement enough for people's expectation.
I'm sure couture vetting was a silent brutal process back then, more so now. Now I don't even think regional exclusivity matters so much anymore as the online space is where most people really do the socializing.
I didn't know Amanda Sanchez was as key as she turned out to be. Chanel ambassadors still vaguely have that exclusivity, even in Virginia's tenure or before Matthieu I still think of Caroline and Sofia having that energy, at the MET or in their bookclub thing.
I wonder who Mrs. Prada and The Row count as core clients, because somehow even though they don't do couture I still sense it there. I remember one time, this must be around Covid, I opened my copy of Vogue and came across a blank double page, at first I thought it was a mistake but then I saw "The Row" on it. Thought to myself it was a total power move only they would've done that.

 

[jeanclaude]

Giancarlo Giammetti wanted Proenza boys for Valentino...

reactiongifs.com

 

[TurkicMongol]

Valentino is not that a difficult brand to work with and any designer capable of designing beautiful and glamorous outfits would easily succeed, but definitely out of the league of the PS guys. I wonder what black magic the duo use to fool Giancarlo to consider them.

 

[PDFSD]

Maybe her work was not as loud as it should've been for the brand's stature at that specific moment. I remember it being very floral but not statement enough for people's expectation.
I'm sure couture vetting was a silent brutal process back then, more so now. Now I don't even think regional exclusivity matters so much anymore as the online space is where most people really do the socializing.
I didn't know Amanda Sanchez was as key as she turned out to be. Chanel ambassadors still vaguely have that exclusivity, even in Virginia's tenure or before Matthieu I still think of Caroline and Sofia having that energy, at the MET or in their bookclub thing.
I wonder who Mrs. Prada and The Row count as core clients, because somehow even though they don't do couture I still sense it there. I remember one time, this must be around Covid, I opened my copy of Vogue and came across a blank double page, at first I thought it was a mistake but then I saw "The Row" on it. Thought to myself it was a total power move only they would've done that.

I wonder who Mrs. Prada and The Row count as core clients
People with money! the rest don't matter because they project themself as the core customers ideal to look up to no idols they are it themselves.

 

[Lola701]

Maybe her work was not as loud as it should've been for the brand's stature at that specific moment. I remember it being very floral but not statement enough for people's expectation.
I'm sure couture vetting was a silent brutal process back then, more so now. Now I don't even think regional exclusivity matters so much anymore as the online space is where most people really do the socializing.
I didn't know Amanda Sanchez was as key as she turned out to be. Chanel ambassadors still vaguely have that exclusivity, even in Virginia's tenure or before Matthieu I still think of Caroline and Sofia having that energy, at the MET or in their bookclub thing.
I wonder who Mrs. Prada and The Row count as core clients, because somehow even though they don't do couture I still sense it there. I remember one time, this must be around Covid, I opened my copy of Vogue and came across a blank double page, at first I thought it was a mistake but then I saw "The Row" on it. Thought to myself it was a total power move only they would've done that.

Amanda’s role evolved when Karl died. Virginie stopped having her exclusively as a fit model and she became an ambassador. She travels the world and attends Clients event. A friend of mine who went to the dinner last year (she buys RTW) at BNF in Paris told me about her being there alongside the Chanel staff.

And about clients, it’s exactly what @PDFSD said.

There’s a sort of ideal idea of a client, which is a niche, in a way of people who kind of embrace the ethos of the brand and then the mass who buys it because of more or less rational reasons.

And often, the ambassadors signed are far from being the ultimate idea of ideal client.

I like to refer to a designer’s entourage (friends, collaborators, actresses or singers) to make my idea around their ideal « clientele ».

 

[PDFSD]

MFF/milanofinanza.it​

Valentino, Bellini reorganizes leadership.​

Laurent Bergamo is deputy CEO, Davide Tosi chief merchandising officer.​

According to MFF, the CEO of the Mayhoola for Investments fashion house has created a new management structure, effective December 1st. The names of the current chief commercial officer and Alessandro Michele's former collaborator at Gucci stand out.​

by Chiara Bottoni

From left, Laurent Bergamo and Davide Tosi (Linkedin photo)
Valentino has a new management structure . According to MFF , Riccardo Bellini , CEO of the Mayhoola for Investments fashion house , has reorganized the company's leadership to streamline governance and accelerate decision-making processes. The new managers will support the creative vision of Creative Director Alessandro Michele , ensuring alignment between corporate strategy and creative excellence.

As part of this internal restructuring, which should be effective December 1st, two appointments stand out:

Laurent Bergamo as Deputy CEO and Davide Tosi as Chief Merchandising Officer. Bergamo, currently Chief Commercial Officer of Valentino, will lead the integrated go-to-market strategy across all sales channels for ready-to-wear, couture, and licensed products. Tosi, formerly of Prada , Maison Margiela , and Moncler , and a former Ready-to-Wear & Shoes Merchandising Director at Gucci under Michele, will be responsible for defining and implementing the global merchandising and pricing strategy.

Also starting December 1st, the Leadership Committee will be established, a strategic governance body that will strengthen the foundation for corporate alignment and collaboration, ensuring that key strategic decisions are developed synergistically.

The body will consist of Bellini, Bergamo, and Tosi, as well as Yigit Turhan , Chief Marketing Officer, Paolo Brichese , CFO, Matteo Di Pasquale, Chief HR Officer, and Andrea Cappi , Chief Digital & Technology Officer. This strategic reorganization comes just over two weeks after the €100 million recapitalization , underwritten by Mayhoola and Kering , the luxury group that has held a 30% stake in Valentino since 2023, to support the fashion house's relaunch. (All rights reserved)

​

 

[Lola701]

Why are they using AI to make ugly campaigns to sell a lackluster bag?

 

[PDFSD]

Why are they using AI to make ugly campaigns to sell a lackluster bag?

Yigit Turhan , Chief Marketing Office ex gucci
Davide Tosi as Chief Merchandising Officer ex gucci
Creative Director ex gucci
Brand image director ex gucci
Main design directors includes bags & acc director about 4/5 ex gucci
etc etc

hope it answers the question

 

[ellearchivist]

That AI stuff on their insta is so off brand, so eye gougingly bad, so vomit inducing lacking in luxury, that’s its almost like Alessandro wants to be removed from his position there

 

[Avonlea]

Kering really has a talent for hiring the dumbest and most out of touch people in the industry.

 

[PDFSD]

Valentino Pre-fall 2026: Back, but Changed​

The Rockstud is back, but in Alessandro Michele’s new version. Michele’s fashions are back, too, in new, stripped-down versions.​

BySANDRA SALIBIAN WWD. DECEMBER 12, 2025, 12:00AM

























Valentino Pre-Fall 2026 Collection COURTESY OF VALENTINO

Times of uncertainty call for some reassurance. So don’t be surprised to stumble upon the familiar Rockstud theme while scrolling through Valentino’s latest look book images. The spiky motif of the Roman house’s accessories has undergone the Alessandro Michele treatment, with his unique filter casting an even edgier light on high-heeled shoes via a tapered squared toe reinforced by a metal cap, for one.
The designer explained he needed to take time with such a strong design — a signature code for the brand introduced by predecessors Pierpaolo Piccioli and Maria Grazia Chiuri — before he could eventually offer his own take on it and add it to the vocabulary of his Valentino vision.
“I didn’t want to do this the day after I arrived here, because I found it weird and I didn’t know this territory so well,” said Michele, who’s constantly questioning “my idea of what’s Valentino, what I do and what I can also keep from what’s been done by my predecessors.”

“So I looked at this theme which is so interesting and represented a pillar for many years, a great invention,” said Michele, pointing to how the motif connects with the city of Rome and the studs appearing on its buildings’ doors.

And what about that viral appearance of an archival design in the trailer for “The Devil Wears Prada 2” movie? A case of pure serendipity, said Michele.

He’s more focused on his own cinematic view of the house. The images of his pre-fall 2026 collection were telling in many ways, with an increased attention to accessories suggesting the brand’s effort in luring customers with a more approachable price point, as well as the preferred avenue for Michele to express his flamboyant nature (look at the almost 50 iterations of the new DeVain shoulder bag for evidence).

But it’s in clothing where the seismic shift is truly happening. Even here Michele is playing by his rules, though, reconsidering his maximalist handwriting to dig deep into a new, stripped-back approach.

“I’m in a phase where absence seems an element of decoration to me, as if I’m creating the negative of my maximalism,” said Michele. “I went through a stage where my language was very precise and very much about adding rather than subtracting. This activity probably led me to the need to explore something else… It’s something I’ve never done before and that I’m enjoying very much because it’s giving me back a new freedom from a creative point of view… because I feel [overwhelmed] by information and images of all kinds in general and this is like cutting out things and observing them from a different angle. And it’s also the great secret for whoever does my job: not to get bored.”

His new approach was expressed via silhouettes that nodded to the ‘80s in their vibrant color blocking, fluid silk textures and heightened shoulders; dresses splashed with prints anchored in the familiarity of archival logos and patterns, and easily readable looks that played with contrasting weights, often pairing lingerie-inspired pieces with meaty leather jackets and shearling coats.

Michele cut essential shapes from lightweight black-and-white tweed in a cropped jacket; poplin for an everyday striped chemisier minidress; linen for pretty tailored pieces with vaguely scalloped trims outlined by contrasting piping, and taffeta for a vichy skirt suit embellished with a pleated motif on the front.

The dreamy eveningwear proposition was the exception, with its cornucopia of tulle, embroideries, sequins and sizzling embellishments that best displayed the house’s craftsmanship and couture nature.

In menswear, the hushed approach was conveyed via clean and minimal sartorial pieces, relaxed fits and earthy tones. Occasional zings came via embroidered details or the unexpected layering with tracksuits.

“I’m happy that this process of looking at empty spaces and things I remove to see better what remains is so apparent,” said Michele. “To be honest, when I started I wasn’t able to do it. I might have [shown] more of myself. Still, I liked the things I did when I arrived here… they are part of me and my DNA, but after so many years doing this job, now it’s like going to therapy and wondering: ‘what happens if I look to things from that other way?’”

 

[yslforever]

Valentino Pre-fall 2026: Back, but Changed​

The Rockstud is back, but in Alessandro Michele’s new version. Michele’s fashions are back, too, in new, stripped-down versions.​

BySANDRA SALIBIAN WWD. DECEMBER 12, 2025, 12:00AM

























Valentino Pre-Fall 2026 Collection COURTESY OF VALENTINO

Times of uncertainty call for some reassurance. So don’t be surprised to stumble upon the familiar Rockstud theme while scrolling through Valentino’s latest look book images. The spiky motif of the Roman house’s accessories has undergone the Alessandro Michele treatment, with his unique filter casting an even edgier light on high-heeled shoes via a tapered squared toe reinforced by a metal cap, for one.
The designer explained he needed to take time with such a strong design — a signature code for the brand introduced by predecessors Pierpaolo Piccioli and Maria Grazia Chiuri — before he could eventually offer his own take on it and add it to the vocabulary of his Valentino vision.
“I didn’t want to do this the day after I arrived here, because I found it weird and I didn’t know this territory so well,” said Michele, who’s constantly questioning “my idea of what’s Valentino, what I do and what I can also keep from what’s been done by my predecessors.”

“So I looked at this theme which is so interesting and represented a pillar for many years, a great invention,” said Michele, pointing to how the motif connects with the city of Rome and the studs appearing on its buildings’ doors.

And what about that viral appearance of an archival design in the trailer for “The Devil Wears Prada 2” movie? A case of pure serendipity, said Michele.

He’s more focused on his own cinematic view of the house. The images of his pre-fall 2026 collection were telling in many ways, with an increased attention to accessories suggesting the brand’s effort in luring customers with a more approachable price point, as well as the preferred avenue for Michele to express his flamboyant nature (look at the almost 50 iterations of the new DeVain shoulder bag for evidence).

But it’s in clothing where the seismic shift is truly happening. Even here Michele is playing by his rules, though, reconsidering his maximalist handwriting to dig deep into a new, stripped-back approach.

“I’m in a phase where absence seems an element of decoration to me, as if I’m creating the negative of my maximalism,” said Michele. “I went through a stage where my language was very precise and very much about adding rather than subtracting. This activity probably led me to the need to explore something else… It’s something I’ve never done before and that I’m enjoying very much because it’s giving me back a new freedom from a creative point of view… because I feel [overwhelmed] by information and images of all kinds in general and this is like cutting out things and observing them from a different angle. And it’s also the great secret for whoever does my job: not to get bored.”

His new approach was expressed via silhouettes that nodded to the ‘80s in their vibrant color blocking, fluid silk textures and heightened shoulders; dresses splashed with prints anchored in the familiarity of archival logos and patterns, and easily readable looks that played with contrasting weights, often pairing lingerie-inspired pieces with meaty leather jackets and shearling coats.

Michele cut essential shapes from lightweight black-and-white tweed in a cropped jacket; poplin for an everyday striped chemisier minidress; linen for pretty tailored pieces with vaguely scalloped trims outlined by contrasting piping, and taffeta for a vichy skirt suit embellished with a pleated motif on the front.

The dreamy eveningwear proposition was the exception, with its cornucopia of tulle, embroideries, sequins and sizzling embellishments that best displayed the house’s craftsmanship and couture nature.

In menswear, the hushed approach was conveyed via clean and minimal sartorial pieces, relaxed fits and earthy tones. Occasional zings came via embroidered details or the unexpected layering with tracksuits.

“I’m happy that this process of looking at empty spaces and things I remove to see better what remains is so apparent,” said Michele. “To be honest, when I started I wasn’t able to do it. I might have [shown] more of myself. Still, I liked the things I did when I arrived here… they are part of me and my DNA, but after so many years doing this job, now it’s like going to therapy and wondering: ‘what happens if I look to things from that other way?’”

many things are better left in the past

 

[FashionPower]

I mean, it speaks volumes that after years of lackluster accessories releases from both PPP and AM, they had to revamp a bestseller designed by MGC!

 

[carla56]

Translate "The designer explained he needed to take time with such a strong design" with "They forced me to reintroduce them because nothing of what I've done is strong enough". I had great expectations because I loved his Gucci, but it's been a huuuuge disappointment and a total non-event

 

[PDFSD]

the new version front looks like the tom ford gucci shoes that vaccarello does on repeat and also AH does for TF and the Gucci revival version lol