Valentino's 'Le Salon' is a Lesson in Regressive Storytelling
I never know what to expect when it comes to Valentino and this past Haute Couture show titled ‘Le Salon’ proved why I am so critical towards the current state of fashion. The livestream premieres with flashing lights from Place Vendôme in Paris, France as notable guest like Florence Pugh, Kris and Kylie Jenner also featuring Kylie’s daughter Stormi and founding house father Valentino Clemente Ludovico Garavani decked in a burgundy velvet suit that gives off exactly what Nicki Minaj would say a lot of you people can’t spell. Couth.
But the second the circus was over and everyone had taken their seats the real show began. Burgundy seems to be a common color scattered throughout shows recently that I am slowly becoming rather fond of. The color reminding me of the Christmas sweater that Mrs. Weasley would make every year for her son Ron Weasley in the films. It is that kind of consistent love that I am beginning to associate with this color. I am sure that nearly every Harry Potter fan will understand what I am trying to describe. Continuing on an Italian aria echos as the models continue walking down the runway. Tombstone grays paired with egg yolk yellows or neon oranges is only something PierPaolo, the current creative director of Valentino, could envision being paired together. Does that mean that all the silhouettes are terrible? Absolutely not! A dress that was worn by Florence Pugh for her Australian Vogue November issue, and that I would have the fortune of featuring on my own tiktok page, would make an appearance; proving the point in my Dior Couture review that certain pieces would look better on a fuller-sized model and Pugh perfectly captures that look.
Yet as the show continued on there were only a few more pieces that would capture my eye. A turquoise evening gown brought a smile to my face as I watched a dark skinned model sporting a shaved head, a quicker-than-lightening attitude and a walk with so much elegance that you couldn’t help but give a small, “you better go girl,” under your breath. The gown only an added accessory to the model. This is the type of energy, I realize, is missing from the runway scene. A lack of personality. I guess we can blame Prada for that one, but that’s for another essay.
The show continued on in tulles, sequins and unique pairings that again, some may say is a work of genius, but I would have to disagree. Now, do not mistaken my disdain for Le Salon as disdain for the creative director. The L’Ecole show still holds a special place in my heart and is shelved right in my top two alongside the Pink PP collection. However, coming off the heels of an amazing show like L’Ecole I had high hopes to see what PierPaolo would showcase and was let down in a tremendous way. In terms of music and performance, I loved the traditional Italian Opera, but when you compare that to, what can only be described as a spiritual conversion to the world of FKA Twigs, I don’t think a younger demographic would care too much for this show once they hear the music. The clothes were, at best, in-cohesive; and at worst, a dumpster fire of the worst color combos you could put together. But just as I was about to write the rest of this show off, Black silhouettes made their appearance and I paused to watch. Each look channeling something that was made specifically for the femme fatale. The Black Swan of her family. I was hooked but by that point the show was over and I was left feeling…underwhelmed.
In terms of artistry and storytelling this was not it Valentino and PierPaolo. I know that I was a fan of the burgundy and the Blacks but the few good pieces that were in those colors were so far in between that it just wasn’t enough to save them this time around. The ten’s are replaced with the 6’s in my book for color crimes against humanity. But again, don’t crucify me, this is just my opinion. It’s not like I am Anna Wintour…yet.
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