CHEONG PHIN

The House of Valentino is infused with a fresher, younger spirit, writes CHEONG PHIN. WHEN Valentino Garavani retired with much fanfare in 2007 from his fashion empire, everyone knew that it would be a tough act to follow in a fashion world that is all too often transfixed with what the master couturier has done and what is considered new.

First successor Alessandra Fachinetti, an ex-Gucci designer, was fired after less than a year at the design helm over differences in visions of the brand. She was replaced by Maria Grazia Chiuri and Pier Paolo Piccioli — a competent duo who were designing accessories with Valentino in the Italian house for almost 10 years and naturally, had a better grasp of the brand’s DNA.

After playing it safe with altered versions of archived house patterns for their first lukewarm Spring 2009 couture collection, the duo charged back six months later with a radical all-black couture collection for Autumn/Winter 2009, and caused a stir with the fashion crowd at the end of Couture week in Paris.

The entire show was devoid of the iconic “Valentino Red” and what appeared initially to be impertinence to the label was ironically hailed as breakthrough collection for the new designing duo in the shrewd world of fashion.

The same Haute Couture collection travelled to Kuala Lumpur recently and was presented for the first time in Malaysia to a selected few at Ritz Carlton.

“It signalled a break from the ‘old’ Valentino mould and to do so, we had to be focused and put forward a strong message, hence the all-black collection. It was something that was required to move the brand forward.

“After Valentino left, everybody was asking for something new, something fresh. Chiuri and Piccioli are two talented and younger designers with strong personalities and similar vision to give the brand a new life,” explained Stefano Sassi, chief executive officer of Valentino Fashion Group S.p.A, in an exclusive post-show interview with Life & Times.

“However, the Valentino red, in my frank opinion, will come back again because it is an iconic sign of the House and we do respect and remain very faithful to the iconic properties of Valentino like refined craftsmanship, feminine detailing, laces and ruffles in our products. The only difference today is that we are addressing a different kind of woman,” he added.

In the 1960s and 1970s, Valentino Garavani was famous for dressing up the international jet-set women in the most elegant gowns. Today, Chiuri and Piccioli are targeting the daughters of these jet-set women who are less formal in their dressing for different occasions.

“They have a much younger attitude and are at an age where they are known to be dangerous and breaking all the rules (sartorially speaking). As such, evening wear is no longer key to our couture collections but also day wear or casual wear developed with the same elegance, workmanship and luxury which Valentino has defined for the brand,” said Sassi.

Inspired by the renowned Black Ascot of 1910 to mourn the death of Edward VII in England, Chiuri and Piccioli answered the call of the new Valentino generation by delivering a significantly stronger and edgier collection.

Gone were the ladylike day coats and formal silky gowns; in place were short, sexy dresses, thigh skimming skirts, bustiers and modern evening gowns in glossed layers of dark over lighter nude shades with Chantilly laces, organza ruffles, delicate tulle, Macramé, interweaves, cut outs and embossed materials — all in definitive black and expertly executed with trademark Valentino Couture craftsmanship by the ateliers of the House.

Diverse consistent shapes and forms are joined or twisted in the most unexpected ways to produce some of the most magical dresses with concealed bustier and bodice constructions while architectural stratifications of luxurious silk organza or tulle generate layers of shadowy elegance and swirling ruffles preciously decorating dresses or boldly shielding a day coat over a delicate yet edgy, sexy laced dress.

Apart from some simpler designs that were bordering on Ready-To-Wear, the quivering images of certain dresses when in motion and other astonishing designs in this exquisite collection simply implore us to marvel at the artistry and intricate work of haute couture.

Instead of hats, dramatic laced masks-cum-headpiece in black and nude by star milliner Philip Treacy were commissioned to accentuate the inspiration of the Black Ascot while the evening footwear were infused with equal drama by incorporating ruffles, feathers and embellishments in various imaginative ways.

Not surprising from two designers who were practically in charge of accessories for the brand before and after Valentino left. “They wanted to impart their rich experience and innovative ideas not only on the clothes but also on the accessories. It was also to remark their strength in what they were doing before and add something impressive to the collection,” said Sassi, who dismissed any misgivings of a risk when promoting these two designers.

“Firstly, Chiuri and Piccioli have worked very closely with Valentino Garavani during their 10 years with the brand and were gaining first-hand experience with the master couturier himself as well as the ateliers of the House.

“Secondly, they have the best in-depth knowledge of the archives because they were constantly studying them for their design task. Thirdly, they are professional and have the right personalities to adapt the key values of the House to fashion today,” added Sassi.

Judging by the positive reviews from the fashion media and approval from old and new Valentino fans as well as the new generation of celebrities such as Kristen Stewart, Rachel Weisz and Lady Gaga, these two new designers have evidently succeeded in moving the brand forward with a fresher, younger spirit and at the same time, respecting the DNA of the brand.

Or, as Sassi readily put it, “Last year had been a tough year and we are very happy to achieve our goal of finding a balanced formula of an old vision of Valentino and a new vision of Valentino — one that has an image-driven vision and a commercial personality — because it’s the only way to survive in the business today.”