2024/09 Valentino – FW24
Details:
Valentino
Fall-Winter 2024
Via Monte Napoleone 20, Milan
Review:
by Peter Hamer
October 2, 2024
It’s hard not to think of a before and after when reflecting on Pierpaolo Piccioli’s final collection for Valentino, now showcased in stores. This visual divide evokes a wave of memories of Piccioli’s influence, without needing to sift through lists or images. Two things immediately stand out: the Rockstud, born in the Maria Grazia Chiuri era, and PPPink—a creative burst with little staying power.
I had been eagerly anticipating this window display, predicting it would reflect a clean ‘reset’ for the brand. Yet, what I encountered felt more like a funeral. Everything is black. While this echoes the collection itself, the mood felt far too somber. Some props, seemingly repurposed from 2020, supported the product—a move I applaud for its sustainability. However, notable absences, like the Rockstud and any trace of PPPink, signaled a clear hiatus, a pause before Alessandro Michele’s expected turnaround.
And while signaling “something new is coming” is a typical retail maneuver, it can be risky. A retail hiatus, especially one as noticeable as this, implies that both the brand and its customers are waiting for change. This can alienate loyal customers, hoping that the next wave will bring in fresh clientele.
Reflecting on Michele’s arrival at Gucci, he and Marco Bizzarri were able to take an already successful commercial machine and turn it into an even stronger powerhouse. Bizzarri once described Gucci as a “learning organization,” which, with the right strategic direction, became one of the most successful fashion cases in history. Gucci had a solid hull to work with—using the metaphor of a ship—and Bizzarri’s business acumen combined with Michele’s storytelling prowess created a brand that sailed ahead of the competition. The evidence is clear: today, without Bizzarri at the helm and Michele guiding its creative course, Gucci has reverted to being just a company with products. In fashion, every good ship needs a good captain—one who brings both strategy and creativity on board.
This comparison is particularly relevant now, as Valentino’s new leadership—Alessandro Michele as creative director and Jacopo Venturini as CEO—will be scrutinized for their ability to achieve both creative success and financial performance. Much like at Gucci, where the Bizzarri-Michele partnership drove exceptional results, both Michele and Venturini will need to ensure that Valentino not only innovates creatively but also thrives commercially.
But Valentino is a different story. Where Gucci thrived as a cash cow for Kering, with products that could be ‘milked’ throughout Michele’s tenure, Valentino has relied on Piccioli’s bursts of creativity. Yet, these efforts have been more about captivating the moment than building a sustainable fashion empire.
Aside from the Rockstud, what products at Valentino are truly ready to be ‘milked’? The blackness of this display seems to answer that question—there’s little left to lean on. It’s not just the color that casts a shadow; it’s the uncertain mood. Hope for a jackpot is not enough. Customers and buyers want security. Where is that sense of stability? This isn’t Michele’s job—he’ll do what he does best. But this isn’t Gucci, and there is no Bizzarri guiding the ship.
I’ll continue to follow Michele’s journey at Valentino with the same passion I follow Ferragamo and Burberry. Let’s just hope Valentino gives me more to talk about soon.
