Valentino’s new designer makes his maximalist debut in Parisian ready-to-wear

PARIS – Alessandro Michele’s highly anticipated ready-to-wear debut at Paris Fashion Week at Valentino was unveiled in a setting that suggested a transformation: a show in the midst of change. Stools, ladders and lamps wrapped under white blankets suggested a house renovation, signaling not only change, but also a conscious rebirth of past glories. The scene, poetic and understated, perfectly set the stage for a “light maximalist” show, equally haunted by history and informed by Michele’s unique flair.

Meanwhile, under the high ceilings of the École des Beaux Arts, overlooking the Seine, Sean McGirr’s second ready-to-wear show for Alexander McQueen arrived with a palpable sense of relief. The change of setting – from a gloomy industrial warehouse in the Paris suburbs to this iconic location – reflected a new beginning for McGirr, whose uncertain beginnings had sent shivers down the spine of critics, both literally and figuratively. Now, with more time to prepare, McGirr seemed more comfortable, although hints of his sometimes overly simplistic approach persisted.

Here are some highlights of the spring-summer 2025 ready-to-wear shows:

Michele’s Valentino debut

The ambiance was set by haunting music and the steady beating of a drum, creating an atmosphere full of drama and anticipation. Michele, who made headlines earlier this year after being named the new creative director of Valentino, following his successful reign at Gucci, brought much of his recognizable style with him. Yet there has been a distinctive evolution in his vision – less overtly ostentatious, but still unmistakably eclectic.

Feathers fluttered from the hats, soft and playful. The lingerie showed through delicate layers. Flowers, fortune teller hats, sparkling embellishments, all rolled into one eclectic wardrobe with vintage accents. Michele, it seemed, was separating the DNA of the two houses he knows intimately: the exuberance of Gucci and the ethereal heritage of Valentino.

Some pieces seemed familiar to longtime Valentino admirers: the feminine dress with a cinched waist, the soft floral dress with its ruffled skirt, and the iconic Valentino red that made its spectacular debut. Yet in Michele’s hands, these classics were playfully revisited: feathers replaced fur on a puffy stole, and the result was a softer, more modern version that avoided excessive luxury.

Jared Leto was among the VIPs seated in the front row, a testament to Michele’s continued appeal among Hollywood’s elite. The designer, who had gained international recognition by infusing Gucci with his beloved “Geek-Chic” aesthetic, seemed to bring a similar ethos to Valentino, albeit filtered through a more graceful couture lens.

Throughout his tenure at Gucci, Michele was celebrated for prioritizing his personal vision over the often stuffy codes of heritage houses, and Sunday’s show echoed that defiant spirit.

McGirr’s second outing

The opening tailored suit, its lapels rolled up as if to ward off an unexpected downpour in London, seemed a pointed metaphor – perhaps a shield against the relentless skepticism that followed his first catwalk outing. This season, McGirr turned to a reference steeped in both his heritage and McQueen’s beginnings: the dark romance of the series “Banshee.” In doing so, he rooted his own identity more deeply in the brand’s heritage, adopting a gothic look that was more commercially viable this time around.

It was a collection of contrasts. The precise cut echoed McQueen’s subversion of British suiting, twisting and tightening the fabric in a way that seemed to have been caught in a sudden gust. However, this has not always been effective. One such example – a shredded off-white tuxedo – looked more like a restrained suit. This overly simplistic approach to tailoring lacked the subtle layering and tension that distinguished Sarah Burton’s previous work for the house.

However, where McGirr really shined was in her evening wear – an area that has become increasingly vital in the era of celebrity-driven fashion. The shimmering embroidery and light silks, frayed and distressed in lilac georgette, demonstrated her understanding of red carpet glamour. The brushed white chiffon mini dress, paired with a beaded and sequinned gold jacket, made a compelling case for the designer’s growing confidence. And when the silver chains traced the lines of the body, their complex embroidery brought a boldness finally worthy of McQueen.

The highlight of the evening was a look of pure excess: an extreme dress embroidered with shimmering silver chains that seemed to catch every glow in the room. It was an ensemble that Daphne Guinness herself – watching approvingly from the front row – could have worn in a heartbeat.

Despite his progress, McGirr’s sophomore effort still carried the weight of a designer learning the ropes of a legendary brand.

Akris: When utility meets minimalism

Akris’s Sunday collection caught the public’s attention, not for an over-the-top spectacle, but for the luxurious intricacies that Albert Kriemler so masterfully fashions. The designer, true to form, took the idea of ​​the trench coat – a wardrobe staple – and transformed it into something distinctly Akris. With utilitarian details in every seam, it was an exercise in functional luxury, the kind Kriemler has long been perfecting. His creations don’t scream; they whisper.

The collection opened with trench coats, each reinvented to combine functionality and avant-garde style. Minimalism also reigned supreme, with looks that kept embellishments at bay to let the craftsmanship shine. A flat, streamlined fabric top paired with culottes nods to Akris’ timeless aesthetic: simple, luxurious, and quietly powerful. It was minimalism of the highest quality, a testament to Kriemler’s commitment to creating clothing that defies the viral trend, focusing instead on timeless appeal.