Pierpaolo Piccioli’s Valentino haute couture collection was a breath of fresh air, writes CathyHoryn
Photo-Illustration: by The Cut; Photos: Courtesy of Valentino A week after the Paris haute couture shows ended, Pierpaolo Piccioli held the Valentino show in Venice, in the magical watery setting of the Gaggiandre, a shipyard built in the mid-1500s. The choice of Venice — rather than Paris, where Valentino has long anchored the couture collections — was more than a little symbolic. On the water, in the murky sunset, the setting seemed apart, free.
Photo: Courtesy of Valentino The colors might have been linked to nature, or to the way a painter sees nature. That was another difference in this collection. Last November, Piccioli had the idea of working with artists. “I was missing creative connections,” he said.
Though the vast majority of the clothes were not so arty, that was probably the show’s saving grace. I was struck by the deft way that Piccioli talked with fashion’s past, including his own. The fluffy ostrich-feather hats, by Philip Treacy, are a reprise of a landmark show. A hot-pink, cone-shaped minidress with a cutout opening for the face could have been a nod to the famous 1965 cover of Bazaar by Richard Avedon of Jean Shrimpton.
Photo: Courtesy of Valentino Okay, I’m making that last bit up, but still: Those dresses seemed primed for the next Met Gala and its theme of American fashion. They’re killers. “The construction looks like it’s falling down,” Piccioli observed of the teal dress, which seemed to drip off the model’s body. That illusion, of oil running over the skin, is simply haute couture.
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