Michele triumphs in new debut at Sala Bianca

A blank space in ecru toile reminiscent of the Sala Bianca, site of Signor Valentino's greatest early triumph, also greeted guests at Alessandro Michele's debut show for the Roman house on Sunday afternoon in Paris.

Also a catwalk with cracked mirrors, which symbolizes the artistic emergence of the house, and a bold and beautiful collection that made reference to what Michele called “the golden age” of Valentino: the 60s and 70s.

The collection, which was the most anticipated show of the nine-day Paris Fashion Week, which ends Tuesday, captured the sense of excitement of Valentino's famous 1962 Sala Bianca show in Florence, considered the opening page of the postwar renaissance of Italian fashion.

A great show and a brave collection that seems certain to be a great success. Clearly, this is a house that believes strongly in its designer. Michele's pre-collection, presented online at the end of June, will begin selling tomorrow morning in two Valentino Paris flagship stores.

“I think Valentino's shows and designs and the beauty he created have really marked the history of Italy,” Michele insisted at a post-show press conference held in Italian.

Visually proclaiming the Golden Age of Valentino, although always with Michele's maximalist touch: original pearl necklaces, lip or nose rings and, of course, large satin bows.

Opening the show in a cool ruffled tuxedo dress; ruffled gathered dresses or lots of bold jacquard jackets paired with bold floral printed skirts. Eccentrically delicate, all models wear lace stockings in snow white or sinful red, with satin bows around the ankles. Their heads were topped with skullcaps, turbans or enormous wide-brimmed hats. A pile of lace underwear peeks out through it. Although Michele's girl is definitely a patrician, she is not a prude.

See catwalk

In accessories, she debuted a very attractive large bag, with a very prominent V, a symbol first revealed at the founder's second Sala Bianca show in 1968. Along with a boho-chic suede shoulder bag studded with silver balls .

His tailoring was simple and slender; There is no 80s power shoulder in sight. For the men, black polka dot tuxedos, brocade Nehru jackets and lace socks and loafers, like the ones Michele wore, albeit with jeans and a lumberjack shirt, when she made her bow. They looked like elegant Roman princesses working on a novel in Brooklyn Heights.

For the girls, white polka dot Spencer jackets, flared riding jackets, and a brown polka dot lion tamer suit reminiscent of Michele's old job at Gucci.

But the internet rumors that Alessandro had worn too much Gucci to Valentino really miss the point. In truth, you could have called this Valentino for Alessandro Michele, because his own grandiose sensibility is so strong. But these pieces were also immediately recognizable as Valentino and clearly respectful of the house's DNA. The 85 looks.

“My first day at Valentino was dedicated to the archive. In my opinion, no house is as linked to the spirit of its founder as Valentino. His spirit lives throughout space. I’d say it would take 10 lifetimes to discover all the amazing clothes and items he created!” -Michele enthused.

A wisely staged show, with a wonderful operatic soundtrack, 'Passacaglia della Vita'. A call to joy, sung in three languages: English, French and Italian. Alessandro earned a standing ovation, hugs from Elton John and Jared Leto, and prolonged applause backstage.

“I thought it was great to see a young designer brilliantly interpreting the great Valentino classics from more than 50 years ago. This shows that great fashion has no age and does not die,” concluded Giancarlo Giammetti, life and business partner of the founder.