Hourglass

Valentino RTW Fall 2022 – WWD

“We see you, we feel you, we love you because love is always the answer,” Pierpaolo Piccioli said in a voiceover message to the Ukrainian people, ahead of the start of the Valentino show on Sunday, where he transformed The Tile the Temple into a pinkscape and painted the trail with love.

Valentino may have been built on red, but for fall 2022, at least, the house shade was an intense magenta “Pink PP”, a new Pantone color created by Piccioli himself and worn by the star. of “Euphoria” Zendaya at number one (it’s a way to start a trend).

“I wanted to work like a monochrome artist,” the designer said during a preview, thinking of Lucio Fontana’s ability to create gesture and dimension in his monochrome paintings. “When you look at color, you have to go beyond the surface, to texture, cuts, silhouette, volume and detail. Because I’m not a stylist, I like being a designer,” he said. he declared, perhaps throwing a little shade on some of his peers.

Why pink?

“Pink is a color that I really love, and it’s also a color that can have different sides,” Piccioli continued, noting how soft, sexy, powerful and rebellious it can be.

Images of princesses, Marilyn Monroe in “Gentlemen Prefer Blondes”, Pussy hats and political power suits all came to mind watching the procession of pink, with occasional interludes of black, and especially women with men’s looks.

The range captured every mood, while emphasizing the rigor of Piccioli’s couture techniques in ready-to-wear. In a break from last season’s mostly casual wardrobe, it was elevated pieces that were also literally elevated, with models wearing tonal tights and towering platform boots.

Piccioli showed her range with soft volumes, as on a cape-back t-shirt dress that floated down the runway, and with more graphic pieces such as the edgy, abs-barred ballgown and tie at the chest and the sleeves that had Zendaya’s name all over it.

Tailoring ran the gamut, from classic feminine to more utilitarian, an hourglass-shaped coat with a looped bow at the waist, to a tall version of a boiler suit with a plunging front.

Sweetheart dresses with curved necklines were a lovely throwback, while a ruffled chiffon shirt dress with a train worn over high-waisted pants was a more masculine take on diva drama.

The details were something to behold – crystal embroidery as dense as rock candy on a bubble dress with loose sleeves and as thin as cotton candy on a delicate knit cape.

Three-dimensional flowers covered a masculine overcoat like a topiary, while black nylon floral macrame was cut into a sporty masculine jacket. Sequined cable knits and swingy tees were also playful.

Piccioli worked on transparency on embroidered transparent tops for men and women (the designer underlined the fluidity of the collection).

A black trench coat with a billowing fabric panel had a nice movement feel, while buttery black leather jackets, fleece hoodies and pants should speak to the streetwear ensemble.

Piccioli saw the possibility of changing perception, and it worked. Now, if he could only manifest peace.