Pierpaolo Piccioli wants to make Valentino clothes for women to really live in. Of course, in the Resort 19 collection, there were the precious dresses the house is famous for—some real beauties, too, like a black sequined column picked out with tangy yellow mimosa flowers and an ivory tulle peasant gown with Art Deco beading. But best of all was a kicky little white shirtdress striped with metallic sequins, because it spoke to the overriding message about ease.

Elsewhere he got his point across by serving up everyday eclecticism: a ’70s-cut blazer worn with a silk shirt, denim shorts, and fringed, stacked-heel loafers; a poncho jacket and flared jeans; a charcoal grey pantsuit paired with white trainers. What made these combinations compelling was his liberal and imaginative use of archival Valentino logos. He called them “bootlegged,” i.e., all mixed up, and even in a market oversaturated with branding, his treatment of them, more like prints than promotion, looked novel and fresh.



The Last Fashion Bible is an interactive hub of fashion and lifestyle-related video content, featuring a mix of both international and local runway shows, editorials, interviews, how-tos and much more.

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