You can Valentino your own way

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I should also mention that this newsletter is not sponsored by Valentino. While I was able to borrow the “Viva Superstar” bag for this (thank you, Valentino team!), this newsletter stems purely from my genuine admiration for Alessandro Michele’s vision for the brand.

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Alessandro Michele’s Valentino in full bloom, this is a mix of pieces from his Resort 2025 collection, alongside a look from S/S 2025 and Pre-Fall 2025.

Alessandro Michele’s debut for Valentino, Resort 2025, sparked immediate debate. Some dismissed it as Gucci 2.0, while others celebrated it as a refreshing antidote to the Row-ification that has dominated fashion. There are undeniable parallels to his work at Gucci: accessories galore, vintage-inspired silhouettes, and even a few shoe and handbag designs feel familiar. Yes-Michele’s Valentino may not feel entirely new, but in our lord’s year of 2025, what truly is? What is true is that Michele’s first outing for the brand marked a sharp departure from Pierpaolo Piccioli’s approach, which favored streamlined designs and effortless sophistication.

I enjoyed Piccioli’s Valentino—its youthful spirit was certain—but I always felt slightly too young for it, which means I had to admire it from a distance. As for Michele’s debut and even his first show for the brand, I must admit I was initially in the camp that dismissed his offering as merely a continuation of where he left off with the Gucci S/S 2023 collection. However, everything changed in Paris.

It was the week of Michele’s first runway show, and although I didn’t get to attend the show or the re-see, I was able to visit the Valentino store, where the first batch of Resort pieces had started arriving well before their planned stateside release. Seeing the collection in person, stripped of the styling, allowed me to fully appreciate the pieces in their purest form—exceptional not only in quality but also in their bold, unapologetic designs that seemed to proudly proclaim, “I Am What I Am.”

The store windows on Madison.

Over the following months, I kept returning to Michele’s work, poring over lookbook images, obsessively searching for which pieces had made it to production, and eventually visiting the Soho and Madison stores to see the collection in person once more. What initially felt easy to dismiss began to take on new meaning, and Michele’s vision gradually came into focus.

His designs for Valentino are far from a mere extension of his Gucci playbook. They radiate a sense of maturity and sophistication that sets them apart, partially shaped by Valentino’s house codes, which are inherently rooted in refinement and femininity. Yet, beyond the brand’s legacy, these pieces offer something more profound: a wardrobe for someone poised to embrace a more polished and elevated version of themselves. Reinvention seems woven into the brand’s DNA, probably due to its couture background. While I’ve never experienced couture firsthand, I have had a few garments made-to-measure, and even that process carries an undeniable sense of transformation—a shift that feels as personal as it is profound. These are clothes that speak to growth and, above all, transformation.

Jackie Onassis famously wore a Valentino dress to wed Aristotle, a moment that signified a profound shift in her public image and style ( Look 3 and especially 180 are pure Jackie). Julia Roberts’ Vivian in Pretty Woman relied on its designs to transition from call girl to lady, while Lily-Rose Depp’s Jocelyn leaned on the brand to transition from a disillusioned, lost pop star to one with a bold and defined sense of self. (At this point, The Idol feels more like a fever dream, doesn’t it?)

Needless to say, its transformative power lies in the brand’s inherent glamour, which has long been on the bingo card of many, which makes me think of Jeremy Lewis of

LEWIS'S

predicted for

Amy Odell

’s recent newsletter about fashion in 2025:

Eventually, embellishment, texture, pattern, and trim will all be back in vogue. I think we are already seeing the preamble to this with Alessandro Michele’s return at Valentino. Those clothes are so rich and layered in print and detail. I believe there is a budding reactionary interest in more worked and stylized clothes. So, for 2025, I predict that more designers will be offering their own counter-minimalist proposals and thus launching a new conversation about ornament, craftsmanship, and savoir-faire.

Michele’s vision aligns seamlessly with Chemena Kamali’s boho-glam revival at Chloé, with both serving as foils to the prevailing minimalism of our time. These clothes—romantic with a touch of jubilant whimsy—exude a sense of optimism, a quality that can feel in short supply.

Beyond that, what I believe these brands—along with others like Miu Miu—excel at is inspiring the way people approach getting dressed. Which in today’s landscape, is one of the key ways a brand can ensure its relevance. To be a "Chloé girl" or a disciple of Miu Miu does not necessarily mean you have to buy the clothes—it’s about, (and I am using this phrase begrudgingly), “catching the vibe.”

Catching the Valentino “vibe” with a little help from the brand itself. Clockwise from left. Doen top, Batsheva dress, crochet gloves from Etsy, Joan Rivers faux pearl necklace, Etro silk scarf, Tory Burch bag, Vtg enamel brooch, Gigi Burris veil, Valentino boots, Vtg Valentino skirt, and a Todd Snyder jacket.

The same applies to Michele’s Valentino—you don’t need to invest in the entire look to capture its essence. Perhaps you buy a pair of shoes now, and maybe a bag down the line, but it’s more about drawing inspiration, and incorporating key elements, to make it feel authentic to your style. In today’s world, you can really go your own way.

I’ll delve more into this look below. While it’s not directly inspired by any of the Valentino looks, the moment I got these shoes, my first thought was how fantastic they’d look with wide-leg khakis. Here, I’ve paired them with my J.Crew "Giant" chinos, which have been sitting on the shelf for a while. If I were to style this again, I’d likely opt for even wider pair, like these. I also loved the contrast of the gray, which really enhances the crystals. And, of course, the true star of the look is the “Viva Superstar” bag, which I touched on Friday.

For this newsletter, I drew inspiration from the brand’s collections—mostly from Resort—but took creative liberties to weave in some of the signature elements emerging in this new Valentino. Some outfits are direct nods to specific looks, and if you browse Vogue Runway, you might easily spot the references. Others aren’t tied to a particular look but, in my mind, still exist within the world.

The Looks

This Me + EM coat was the biggest inspiration behind this entire newsletter. The moment I got it, I thought, “This kind of reminds me of the Valentino coat.” Of course, it’s not an exact match—the Valentino version hits around mid-calf (more like this), and its pockets are open versus having button closures. The shirt is also from Me + Em. The exact one I’m wearing is no longer available, but the brand has plenty of similar styles, like this one. The skirt is vintage Yves Saint Laurent Rive Gauche (mine is from the 80s, but here is one from the Tom Ford era), and if you’re craving that boho glam/glamour look put the brand on your watchlists. As for the tights, they’re from Calzedonia. I believe there are only a few pairs left of the ones I own, so I’d recommend searching for “Pointelle tights.” I came across these, which are somewhat similar to mine.

The key to Michele’s Valentino lies in the accessories! The scarf is from 45R, the sunglasses are from The Row x Oliver Peoples collaboration, and the earrings are Jiwinaia, and all of their pieces have cheeky things painted on them. I DIYed this necklace by double-wrapping faux pearls and attaching an enamel floral pin. Lastly, the sheer gloves are from a small shop in Paris.

The hat is Quaker Maine, and has an extra-long bill, which explains the heavy shadow over my face. The blazer is by Caron Callahan and is made from a hearty wool that could easily double as a jacket when temperatures are in the high 40s/50s ( It’s also available in a great navy). The pants are from Stoffa, and the shoes are Bally.

What stands out most to me is how the brand styles scarves— as headbands, ties, or, as I’m wearing it here, as a belt. This scarf is a vintage Bill Blass piece I picked up from Desert Vintage. I typically wear it the other way to show off the intricate beadwork: however, I felt the plain side complemented this look better. The shirt is Prada, I found it at the Ina on 13th (RIP—you can still find great Prada shirts on The RealReal). The vest is from Sézane (try this one from Toast). The tie is Hermès, and as a nod to the brand’s styling tricks, I attached a brooch.

I don’t often post photos of myself in glasses, but as I was getting dressed, I had them on and realized they really completed the look. These glasses are actually Michele era Gucci. The blazer is Victoria Beckham (if you’re a US 10, today’s your lucky day! VB also has some fantastic shirting options if you’re still on the hunt for more ruffled styles). The shirt underneath is Doen, and I tied a silk scarf around the neckline to bring the ruffles closer to the neck. The pants are from Toteme (and they are currently on sale). If I were to style this look again, I’d likely opt for a white or cream shoe instead of the black ones—something along the lines of these.

Gigi Burris hat, Essentiel Antwerp rhinestone necklace, my DIYed pearl necklace, WaiWai bag, and the same gloves from the boutique in Paris—though you can also look at Seymoure.

The velour set is by Suzie Kondi (the sweatshirt and pants—I sized up in the pants to ensure they were ankle-grazing). At Present x Jalil Johnson earrings and bangle (also, check out these), a vintage Monet coin choker, and a taffeta stole from If on Broome (Liana, if you’re reading this, I finally figured out how to style it!). Edie Parker lighter bag (more colors here) and Loewe pavé crystal sunglasses.

The toughest decision was choosing the right shoes for the look. After trying a few options, I settled on the work boot (which I use as my rain boot) and heels—they felt like the best choice to complement the red tights. The coat on top is a cheetah-print piece I found, thanks to Heather. Underneath, I’m wearing a tuxedo shirt from COS, paired with the Tory Burch croc-embossed skirt (There are these non embossed ones as well, but I’m officially on the hunt for more croc skirts). The bag is a vintage top-handle from Etsy, there’s a dime a dozen.

Alix of Bohemia ruffled masterpiece, vintage Levi’s 517s (I’ve finally accepted that 501s just don’t flatter me as much) c/o The Vintage Twin, Dehanche belt, and Calzedonia lace tights paired with Manolo Blahnik heels (mine are from a sample sale, but these would work too). The floral choker is Dries Van Noten.

Everything began with the skirt—or technically, the top that I reimagined as a skirt. It wouldn’t truly be a Valentino-themed newsletter without some polka dot action, after all. Aligne jacket , curved Tory Burch pumps and the same tights from the previous look. THE PERFECT CLUTCH IS THIS ONE! For the headpiece, look up “Mia Farrow The Great Gatsby headpiece,” or you can look at this one from Pardo.

We circle back to this look—probably my favorite from the entire newsletter, believe it or not! While we’ve already discussed the pants, let’s dive into the three layers: an L.L. Bean cardigan (which has basically become a second skin), a cashmere v-neck sweater from Saks Fifth Avenue’s in-house line, and a Polo Ralph Lauren turtleneck. The gloves are also from Saks’ house line, they look like these at a fraction of the price. And a blast from the past: the Lemaire castanet necklace, which I used to wear religiously and still adore.

This look feels more like an homage to Michele’s Gucci era, with the vintage Mickey Mouse sweatshirt layered under a blazer. The pants are Donni, and the riding boots are from Ralph Lauren’s Lauren line. And remember this bag? I held onto mine—did you?

The final look is again suiting-focused, a theme that feels central to Michele’s work—both during his time at Gucci and now at Valentino. The blazer is a vintage Armani tuxedo jacket, paired with a set from Wales Bonner. I doubled up on brooches for this look: one from Monbouquette, designed to hold a fresh flower, and a fabric bouquet fastened to the opposite lapel using a clip-on earring. And of course, and finally my fanny bag!

See you all on Friday.
XX

JJ

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