Author: Jersey Nadel
Editor: Jack Bouchard
Valentino’s Spring Summer 2025 Haute Couture Collection, titled Vertigineux (‘Vertiginous,’) takes an angled approach to haute couture, subverting our expectations of what is possible in the medium. Under the direction of Alesandro Michele, the show coincided with Paris Fashion Week (PFW) and was shown alongside esteemed fashion houses such as Chanel, Miss Sohee, and Schiaparelli. In contrast to ready-to-wear collections, haute couture shows put an emphasis on craftsmanship and uniqueness, giving designers an opportunity to express themselves without the pressures of commercial viability. And that, they did. When I first came across Vertigineux, my viewing experience was (quite fittingly) accompanied by A$AP Rocky’s Fashion Killa. As the song came on, I was transported from my wee bedroom in dreary, gray, West England, to the hustle and bustle of Paris Fashion Week. In the rare event that you’ve seen enough of Alex Consani and Amelia Gray on your explore page, here are my thoughts on the breathtaking (vertiginous!) Valentino SS25 Haute Couture show.
Michele’s angled approach to this collection goes against the norms of PFW haute couture. My senses delighted at every bow, ruffle, tulle, lace, hood, bead, pearl, frill, fringe, layer, shape, and other vibrant element of each of the 48 looks. No two pieces belonged to the same era, surrounding the show in ambiguous temporality. Michele’s expression of high culture is filtered through a maximalist lens and is atypical to what we’ve seen at the other shows this year, with consistent motifs throughout the designs—yes, I know, comparison is the thief of joy. For the faithful minimalists or those simply unknowing, the crux of maximalism embraces complexity and rejects the philosophy of ‘less is more.’ In his show, Michele is daring, including all manner of textures, colors, and layers and effectively incorporating critical elements of maximalism into Vertigineux. On the other hand, this stands out from other shows from PFW 2025 because the haute couture we know and love embodies consistency, like at Schiaparelli’s SS25 show with its necklines, or in Chanel’s recycled pastel palettes. And yet, while it is always lovely to see familiar themes, they make Vertigineux’s uniqueness all the more striking.
Vertigineux, through Michele, hones in on the dichotomy between chaos and order. This motif was apparent in the clothes themselves, but appeared most noticeably in the choreography. In an organized manner, models simply walked on, posed at a large ‘X’ on the floor, and walked off. Large numbers in blinding lights behind each model gave the show a chaotic, dystopian feel. This effect minimized the model’s look to just their outfit, reminding viewers to focus on merely the outfit and not the model wearing it. My attention was drawn to the clothes and craftsmanship, rather than to the identity of the models; in this case, models came second to the clothes. However, chaos still reigned in other, simpler aspects of the show.
A scrolling set of words set behind the numbers created an eerie feeling when combined with the models’ deadpan walks. The words, despite having potentially been Michele’s source of inspiration for the collection, were incredibly dissimilar to each other. Words such as “diophysus,” “catharsis,” “obsession,” “pastry,” and “Edgar Allan Poe” had no connection to one another. And yet, attempting to make sense of how they relate to one another would defeat their purpose. Michele continued to play with these opposing forces in his music choices for the runway, contrasting grand orchestral pieces with quick transitions into futuristic, staccato breathing sounds. Watching the show, the music didn’t necessarily provide any resolution when transitioning from ambient noises to the instruments, but it also didn’t make me feel uncertain. Michele’s careful choice of music made for an interesting accompaniment to the outfits, and provided me with a plethora of feelings in accordance with the themes of order and chaos so prevalent in the collection.
Now, onto the outfits themselves: each of the 48 looks seemed to impress me more than the last, perhaps because they were all so unique, but also because they did not belong to a distinguishable timeframe or era. Despite their differences, they were all presented in the same choreography: everything was equal and anything went. The show was characterized by an organized chaos that somehow worked.
For me, look #19 (pictured above) exemplified the designer’s strategic decision to ignore the pressure to conform to the normative standards of haute couture in Paris. I love the gown’s silver ruffles that go above the waist and sit at the model’s torso. The shine of the metal played into Vertigineux’s futuristic quality, and the ruffles contrasted with the embellished white shoulder pads and black floral earmuffs. Overall, the collection’s vibrant and audacious colours direct attention away from the pastels that flooded Paris during fashion week, and onto itself.
Another thing I appreciated about the show was the way Michele styled the models. In look #33, a puffy blouse and skirt, he played with shape. At first glance, the outfit lacks cohesion: a long peplum skirt covering the shoes simply doesn’t work. However, when paired with a completely different top (and a black waist piece to separate the two) it somehow makes sense. I loved his experimentation with bold patterns and accessorization, which encompassed all of the characteristics of a true maximalist. Trying to figure out the secret ingredient in the Valentino sauce seems counterproductive, so I won’t try to quantify exactly why it works; all I know is that it does.
Now, I won’t spoil the ending of the show, because that is for you to watch and to experience the “vertigineux” of it all. I will, however, leave you with this: we should all be watching Alessandro Michele’s next industry moves. The designer continues to defy the bounds of Paris couture as a maximalist in a minimalist realm. For me, this show put Valentino on the board for SS25 (despite it being wildly out of my price range,) but don’t be too shocked if you see me pull up to fall OAP in September in look #11.
References:
Valentino | Haute Couture Spring Summer 2025 | Paris https://www.youtube.com/watch?v=_3Crg3JW3VQ
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