If you haven’t been living under a rock, you’ll know this week Alessandro Michele released his debut collection for Valentino, Resort 2025. Of course, everyone jumped onto the fact it’s essentially Gucci round 2: the return of the ruffles, however, I can’t help but admit, that there are many references to the Valentino archives that many people, including myself, missed at first glance.

It’s easy to write this collection off as a Gucci redo. Let’s face it, besides surprising us with a collection out of nowhere, only two months after joining the house, Alessandro hasn’t surprised us with what he’s put out. It’s Alessandro through and through. Huge amounts of clashing colours, animal prints, billowing fabrics and layered necklaces. And we can’t even disagree that it does look just like what he did at Gucci only a few years ago. However, although this collection is light-years away from Pierpaolo’s vision at the house, Alessandro has replicated some major Valentino archive looks.

So let’s delve a little deeper. Many of Alessandro’s Gucci looks accidentally (I assume) referenced vintage Valentino. Looking at these side by side, it’s no wonder he got the job as creative director. Many of his Gucci looks are reminiscent of vintage Valentino, I hate to admit that until researching for this article, I hadn’t even realised. I’m almost certain the resemblance got him the role at Valentino.

One of my favourite pieces in the collection was the bomber jacket. Firstly, a good jacket is always a staple and usually does well with consumers as they aren’t trend pieces and you can get a lot of wear out of them for the money you’re paying. These ones especially are brilliant. The tie detail on the collar is fresh and modern, giving a casual yet almost workwear style. A real all-rounder of a piece. I love anything that’s a classic with a twist and this hits the nail on the head (see Look 25 above). Something else that stood out to me was the use of beading and tassels in the collection. They were so well used, they are in your face but subtly, I’m not even sure how that’s possible. Looks 17 and 18 (below) are the best examples of this. The dress in look 18 is so Prada inspired which I adore, the bustier at the top with this waterfall of beadwork in a check design cascading down the dress. Look 17 also uses this beading on a skirt and matching coat ensemble in what I can only describe as the most perfect shade of green.

Left - Valentino 1970 / Right - Gucci 2017

Left - Valentino 1981 / Right - Gucci 2017

Some of the main similarities are the use of bows (which I mentioned was a connection between his and Pierpaolo’s work in my previous article) and the use of outlandish prints. But even moving on from Alessandro’s Gucci looks, these new looks he’s created for Valentino are almost exact replicas of the Valentino archives. This is a classic move for a new creative director and one I spoke of in my previous McQueen article. An easy way for a new creative director to get acquainted with the house and the team they are working with is to recreate classic looks that are signature to the house and easier for the ateliers to recreate.

Overall, despite my opinions on the collection, it is quite amazing that Alessandro managed to create a 170-look collection on his debut. Most collections have a maximum of 70 looks total, usually more than 50-60. Add in the fact he has only been at the house for two months, it’s quite a feat!

Personally, I’m not fond of the collection. It’s not my taste. But quite frankly my opinion doesn’t matter. It’s not the Valentino I know and love but there’s no denying it’s Valentino, even if a bit of a dated version. I do feel the clientele for the brand will now change dramatically. We will lose the laid-back lovers of jeans and an exquisitely designed top with a perfectly fitting blazer. Maybe the old Gucci fans will be elated since Sabato’s Gucci is now so minimalist. I’m intrigued to see if there will actually be some sort of evolution with Alessandro’s work this time around.