silk serge gown with handpainted coral motif by photographer Ruven Afanador
For almost 50 years, Valentino created exquisite and coveted designs for both pret-a-porter and Haute Couture. Based in Rome, his was the first couture house outside of Paris to be recognized by the French government, and his contribution to fashion is recognized in a fabulous Rizzoli publication, Valentino: Themes and Variations by Pamela Golbin. It catalogues the designer’s most beautiful looks from all the way back to the 60s, to his last collection in 2008.
“I think a couturier must establish his style and stick to it. The mistake of many couturiers is that they try to change their line with every collection. I change a little each time, but never too much, so as not to lose my identity.” Valentino
Francois Halard photographs from Spring 2008 document Valentino’s backstage fittings for his final couture collection and reveal the intensity and passion that contributed to making his shows so perenially popular with editors, socialites, celebs, and fashionistas. Valentino Garavani and Giancarlo Giametti reviewing dress rehearsal for Spring 2008 Couture Collection. Paris.
Behind the scenes preparation for Valentino’s last collection.
It’s about details, craftsmanship, and timeless design.
This gorgeous hardcover coffee table book is a catalogue of Valentino’s most beautiful and famous dresses. The book has minimal text, which is entirely appropriate as the clothing speaks for itself. There are some great backstage shots with models like Natalia Vodianova and Sasha P as well as shots of seamstresses putting together the clothes. Some sketches of the dresses and the finished products are shown side-by-side.
Valentino writes a short introduction and there is a biography of him at the back of the book, followed by photos of the designer’s numerous campaigns. The book features the designer’s work in chapters entitled “Themes” ~ Ornamentation; Technique and ”Variations” ~ Line; Volume.
It’s a beautiful book for anyone who loves Valentino or for anyone who appreciates haute couture.
A young Valentino Garavani perusing his first collection (Spring/Summer 1959)
The book spans Valentino’s entire career and is full of beautiful images of the designer’s exquisite creations over the years. It has a particular focus on the many intricate techniques employed by Valentino to embellish his gowns accompanied by crisp detail shots highlighting the fine craftsmanship that distinguishes haute couture frompret-a-porter. The book also chronicles Valentino ad campaigns over the years many shot by world class fashion photographers and featuring familiar faces such as a young Anjelica Huston (Spring/Summer 1972).
The tomb of eye-candy features images by the worlds best fashion photographers who have captured Valentino’s dresses for magazine editorials and portraits of supermodels and Vals girls.
“Christy-Valentino, Le Grand Hotel”
Photographed by Walter Chin, Italian Vogue, March 1993
was the spirit of a Roman weekend in 2007 when Valentino threw a red extravaganza ~ the soundtrack of Fellini’s iconic 1960 movie kicked off Valentino’s couture show. The designer had come back from Paris to his home city and he embraced it with a light spirit and deep opulence.
Rome hadn’t seen such a bright red carpet in decades, probably since the ‘Dolce Vita’ 1960′s, which coincided with the beginning of the 75-year-old designer’s career, as golden boy of the international jet-set. Moving to Rome in the early 1960s is where Valentino found success. This period coincided with an era of Roman glamour – La Dolce Vita – that the mayor, Walter Veltroni, was keen to recapture. Veltroni gave his full support to Valentino’s celebrations, permitting the use of historic venues such as the Santo Spirito in Sassia, founded in 727 as a refuge centre for pilgrims to the nearby tomb of the apostle Peter, and the Galleria Borghese.
To celebrate the 45th anniversary of Valentino’s career a fashion extravaganza took place in Rome, 6 – 8 July 2007. Festivities started on Thursday 5 July with a dinner for Valentino’s assistants and employees at Ristorante Gusto and ended on Sunday 8 July with the launch of a perfume and a brunch at the French Academy of Villa Medici.
This is the day Valentino asks his women to change their clothes four times, and they could not be happier. We start with the cool casual breakfast/shopping/sightseeing outfit, move into the day- time chic lunch ensemble, change into a late afternoon cocktail dress for the show, and once more redo ourselves head to toe, pouring our bodies into ball gowns for the gala–my idea of a perfect day.
1pm Marina Palma’s Lunch for Valentino at Dal Bolognese Overlooking the Piazza del Popolo
Sunday 8 July ~ Valentino launched the house’s latest perfume, Rock ‘n Rose Couture and a giant book. In addition to the celebration in Rome, a tribute book written by Vanity Fair writer Matt Tyrnauer will be published in July by Taschen.
Fashion Royalty Hailed its King.
Actresses Elizabeth Hurley and Sienna Miller wore ruffles and feathers to the ball.
Let the fantastic festivities begin!
A three-day, $10-million celebration of “Valentino a Roma: 45 Years of Style,” an exhibit that encapsulates grace and everlasting beauty. We are ready to rock’n'roll with the 1,000 European aristocrats, movie stars, socialites and journal- ists who are descending on The Eternal City hell-bent on living la dolce vita.
..the group I am traveling with–American industrialist David Koch and his gorgeous statuesque wife Julia, Prince Dimitri of Yugoslavia, Charlie and Sara Ayers and Brad Cosimar, the best friend of Valentino global PR maven Carlos Souza–check into the fabulously chic Hotel de Russie, which has terraced gardens inches away from the Spanish Steps and the 18th-century Palazzo Mignanelli, where Valentino’s Louis XIV-style office–and its 26-foot ceilings–is located.
In each guest’s room is a white canvas tote from L.L. Bean embroidered with endless red Valentino logos , and a note personally signed by our host. We get a detailed schedule of events, a book , aviator sunglasses and a gold plastic entrance card with our name, preferred arrival times at each event and the warning, “Sono di ri gore smoking e abi to lungo.” No one can get near a red carpet without this gold card, which is now worth gold.
A major retrospective exhibition presented the glamorous life and work of Valentino Garavani. It celebrated his career of 45 years, and featured drawings, dresses, photographs, memorabilia and rare archive material. Vestals in scarlet dresses stretched their golden mannequin arms towards the Ara Pacis, or peace altar – a dramatic mise-en-scène. Fresh and spirited, it is viewed in streaming sunlight through the modernist glass box of the architect Richard Meier’s controversial museum.
A chorus of red-dressed women pay homage to the Ara Pacis,
an Altar of Peace, built for Rome’s first emperor, Augustus, between 13 – 9 BC.
It was presented at the spectacular Ara Pacis Museum.
Fresh and spirited, it is viewed in streaming sunlight through the modernist glass box
of the architect Richard Meier’s controversial museum.
The Ara Pacis was built to celebrate Augustus’s triumph return to Rome after an empire-building campaign in Spain and Gaul, and similarly the Valentino exhibition honors Valentino’s return to Rome.
For the first time in seventeen years, the emperor of style presented his new haute couture collection in the Eterna rather than in Paris. Just as the Ara Pacis – with its elaborately carved relief sculptures – was meant to celebrate the Golden Age and the peace brought to Rome by Augustus, so too the Valentino show is a reminder of the dolce vita years in which Valentino began his career. Opera designers Patrick Kinmonth and Antonio Monfreda, designed and curated the retrospective who arranged mannequins in tiers or in choir-like groups.
Patrick Kinmonth, the British opera stage designer, and Roman Antonio Monfreda designed the installation. Hamish Bowles, European editor at large of Vogue, was the archival consultant who curated the 300 dresses. Giancarlo Giammetti, Valentino’s brilliant business partner of 45 years, one- time companion and confidant, oversaw everything. Entering the opening night of the exhibition is as thrilling as lighting the Olympic torch and winning the Oscar for lifetime achievement at the same time.
We ascend a huge, white marble staircase to be greeted and kissed by Valentino with Giancarlo at his side. At 75, Valentino is very slender, very tan, very coiffed, very charming and very, very excited. As he embraces every guest, he also makes sure the photographer gets the two-shot. We enter a dark tunnel with three tiers of mannequins wearing magnificent clothes and attached to sky-high walls. Next we are in a sun-drenched glass box that ironically illuminates evening dresses, which are also juxtaposed against dark Cyprus trees and a blue sky.
The symbolic centerpiece is Valentino’s white 1990 Peace dress
with the word peace embroidered in silver in 14 languages.
Valentino called every embassy to have them fax the correct spelling of “peace” in their language .
Red-clad, goddess-like gilded mannequins flank either side of the altar with their arms outstretched like a chorus of angels. We descend a staircase lined in a rainbow of colored gowns. Champagne is passed among the world’s most famous and beautiful women, who are dressed in Valentino they either own or have borrowed. Uma Thurman, Anne Hathaway, Elizabeth Hurley, Elle McPherson, Claudia Schiffer, Clare Danes, Eva Mendes, Sienna Miller, Natalia Vodianova, Cornelia Guest, Anna Wintour, Joan Collins and 80-year-old Gina Lollobrigida are just a few of the impeccably dressed women floating around. It is an overload of beauty. I don’t know where to look first.
The exhibition also has muslin dummies embroidered with movie stars names on the necks. These display Valentino’s most iconic celebrity dresses–the ones worn by Audrey Hepburn, Sophia Loren, Princess Diana, Julia Roberts, Cate Blanchett and Elizabeth Taylor–and video monitors play mini-movies, Oscar acceptance speeches or just grand entrances.
Elizabeth Taylor gave Valentino his big break in 1961 by wearing one of his dresses to the Rome premiere of “Spartacus.” “When my press officer asked if she would mind having her picture taken with Mr. Valentino, she said: ‘Yes. Yes. Come, Rudy, but you will have to give me a dress for free,’ ” he says. “When she came for her gown, she chose the most expensive outfit of the collection.”
Every Valentino dress has its own such story, apparently, not just those selected for the show. And as Kinmonth, Bowles and Monfreda presented the edit of 300 outfits they planned to exhibit, “Valentino started remembering every dress — who’d bought it, who’d worn it, everything,” Kinmonth says. “And I had to say, ‘I’m sorry, I will do my absolute best, but we really can’t start to bring all sorts of things back in.’ ”
“I guess it was my sister’s wedding dress, when I first knew Valentino” said Lee Radziwill, referring to the girlish gown made for Jacqueline Kennedy’s Greek island marriage to Aristotle Onassis in 1968.
During the cocktail party for the opening, a guest, pointing to a silver dress edged in feathers, asked Valentino if it wasn’t a famous number once worn by Jennifer Lopez.
“No, that was Jackie Kennedy’s dress,” he said with a shrug. “We made Jennifer a copy.”
Farah Dibah, remembering the beige wool Valentino coat with sable collar in which, as wife of the former Shah of Iran, she had fled her country in 1979, said, “It was the most terrible day of my life – but I try to look forward.”
That coat is in the exhibition among a line-up of celebrity outfits on dressmaker’s dummies, each identified by an embroidered name as “Jennifer Lopez,” “Gwyneth Paltrow” or “Julia Roberts.” while a miniscreen shows virtual images of them picking up or attending an Oscar in a Val gown.
“I did all these dresses and they are like children for me,” said Valentino, 75,
looking at the twin groups of 33 red dresses spanning 40 years.
“I always believed so much in elegance and femininity,” he said.
“They could all be worn today – and that makes me very proud.”
The perennially tanned Valentino has a style that is defined by clean lines, minimal detail, and elegant forms. It is these qualities of his that enabled him to dress movie stars, globe-trotting socialites and European royalty including the late Princess Diana. He designed the wedding gowns of two Onassis women: Jacqueline Kennedy for her marriage to Aristotle Onassis and Athina Onassis.
All hail Valentino
A video of the Valentino show at the Ara Pacis museum - really a slide show.
Red glass box outside the Ara Pacis Museum.
Valentinoo’s original iconic 1965 red crepe sheath was encased in a giant red glass cube at the entrance to his retrospective exhibition.
The new museum was launched in 2006. designed by America’s Richard Meier and partners. The Ara Pacis is an “altar of majestic peace”, an ancient sacrificial altar from Rome 9 BC. After being kept in a protective shelter for a long time, it was unveiled for the first time in years on 22 September which is the birthday of the Emperor Augustus who was around when the altar was built as a tribute to peace (i.c. victory/ sacrifice). Now there it is in the museum, all large and light and airy and made so by Mr. Meier et al, over looking the Tiber and Emperor Augustus’ mausoleum. It is a stunning but controversial museum and architectural space.
Three dancers in red – Valentino red – floated like puppets on a string in front of the Colosseum.
As their shadows flickered over the ancient stones, a giant balloon,
celebrating Valentino’s 45 fashion years, drifted by and a golden shower of fireworks exploded.
Acrobats wearing Valentino gowns danced above the ruins,
as lighting of different colors transformed the Colosseum, symbol of Imperial Rome.
In the early second century AD, Rome’s most architecturally talented emperor, Hadrian, built a massive temple near the Colosseum and dedicated it to Roma, the divine personification of the city, and to Venus, the goddess of love and beauty.
In preparation for the imperial event, Oscar-winning set designer Dante Ferretti recreated ancient Rome with his own special effects. Rising to the occasion with aplomb, he erected fiberglass Corinthian columns on the temple platform and in an impressive spectacle that would have amazed even the ancient Romans, these were slowly illuminated as the sun set behind the Roman Forum. The stage set made clear the fact that it wasn’t just Valentino receiving homage at this party, however. The designer aptly shared his accolades with Venus, the goddess who brought beauty into the world, for from a giant niche facing the Colosseum, a colossal and nude Venus gazed enviously across the designer-clad crowd of 300 who dined and danced in the cool evening air.
Just before midnight, Venus and Valentino were further honored with an acrobatic performance staged between the Temple platform and the Colosseum.
Acrobats in Valentino dresses danced in the air to the strains of Maria Callas
~ the Colosseum, illuminated in red, behind them.
Women dressed in Valentino Red and suspended on invisible cables ascended into the stratosphere to the tune of Ave Maria. Once aloft, spotlights illuminated their flowing gowns and sinuous movements as they performed an ethereal dance while the haunting voice of Maria Callas singing Norma wafted across the eternal landscape.
As the women in red reentered our atmosphere,
an astounding display of V-inspired fireworks exploded against the backdrop of the Colosseum.
Mr. Ferretti does not normally take on this kind of work, but he was intrigued by the idea of recreating a Hadrian work, the Temple of Venus, whose only public use is by the pope.
“I thought, O.K., Valentino is a kind of pope,” Mr. Ferretti said. He added, “That’s a joke, of course.”
Francesco Rutelli, the Italian minister of culture, who was sitting Friday evening with the group that included Mr. Berlusconi and Princess Caroline, said letting Valentino use the temple was “a once in a lifetime” decision that was consistent with the designer’s place in the city, if not Italy’s identity.
As of late June, construction crews were working day and night to complete the exhibition, but by then Giammetti had set his sights on another Roman landmark, the Temple of Venus and Rome, for the opening-night dinner. “There’s a wonderful terrace with an incredible view of the Colosseum,” he says. “The Pope goes there once a year alone, no one else. It was very, very difficult to get.”
Valentino wanted the dinner to feel as if it were in one of his homes. His personal chef supervised the food, and his favorite florist, Rob Van Helden, was flown over from London to do the flowers. Silk napkins and tablecloths were embroidered to Valentino’s design in India, and 3,400 glasses were ordered in his favorite yellow crystal. Then there’s the china. “Oh, my God, it’s a disaster,” Giammetti groans. “Valentino wanted a special color and no one had it, so we are making 3,400 plates in Italy — believe it or not.”
Of course, there were also the guests themselves. “We have a huge call-center dealing with all the requests,” Giammetti says. “They need a pedicure. They need a hairdresser. They need to see the hairdresser’s Web site.” These, however, were the least of his concerns. “The huge, huge problem is saying ‘no’ to the people who are calling now to be invited. It is embarrassing and what I hate most, but I have to deal with it 25 times a day.”
Add to that details like the design of the ushers’ badges and the precise positioning of the red carpet. “Valentino and I are both perfectionists, and with something this huge, perfection isn’t possible,” Giammetti says, punctuating his sentence with a sigh. “The only thing I am praying for is the weather. If it rains, it will be a big, big problem. And, my God, I don’t want bad news.”
Valentino designed a bigger collection than usual — 61 outfits, rather than the standard 40. An audience of 1,000 viewed them amid the 12th-century splendor of the Santo Spirito in Sassia basilica church.
“You know, for my Roman comeback, I have done the essence of my couture,” Valentino says.
“Very beautiful cocktail dresses. Very glamorous evening gowns. Very small red dresses.
The weekend before Valentino was in Paris to rehearse the show and fit the models. The clothes were driven to Paris by trucks, which then took them back to Rome. “We need Valentino here in Rome, and I cannot be in Paris,” Giammetti wails. “This is the first time I won’t see the fittings and the rehearsal. Imagine what a disaster. . . . ”
It was his first show in 17 years in the city where he began his climb to the top of the fashion ladder.
An impressive roster of fellow designers who had gathered to pay homage ~ Karl Lagerfeld, Giorgio Armani, Donatella Versace,Tom Ford, Diane von Furstenberg, Carolina Herrera, Zac Posen, Manolo Blahnik, and Philip Treacy among them—led the standing ovation. When Valentino came down the runway, he stopped in front of the other designers and did a little bow. When he came back up the runway, the habitually unflappable designer had tears in his eyes and embraced Giancarlo Giammetti on the runway.
‘It was the most fantastic collection,’ said Princess Firyal of Jordan backstage. ‘I’m about to cry, too.”
And the signature lipstick red dresses floated by vibrantly.
Once again, those silver Mercedes bring us to another spectacular venue for the couture show: a restructured 16th-century medieval building, the Complesso Monumentale of Santo Spirito in Sassia, originally used as a convent and a stone’s throw from the Vatican.
We need to show that gold ID card to get in . . . society to the white gallery, press to the black gallery. One thousand famous people, still kissing each other, eventually settle into three rows that are a mile long.
The clothes Valentino sends down the runway are as explosive as the fireworks from the night before. The opulent and vibrant evening gowns are bedecked with enough jewels, feathers, beads and bows to wow even the most blasè red-carpet paparazzi.
Equally impressive is the line-up of Valentino’s col- leagues in the front row, which indicates his enormous popularity. Sitting next to each other are Diane von Furstenberg, Zac Posen, Manolo Blahnik, Tom Ford, Donatella Versace, Giorgio Armani, Philip Treacy, Car- olina Herrera and Karl Lagerfeld, whom Valentino has known for 52 years.
At the finale, everyone jumps to their feet and wildly cheers as Valentino strides down the runway behind his models.He is wearing an immaculate white fitted suit and has his arms in the air like a conquering gladiator.
He is crying.
Piece de Resistance, La Grande Finale
~ Gala Black-tie Ballat Galleria Borghese
“I love you, all of you very much“
an emotional Valentino said in his champagne toast during Saturday night’s opulent bash,
a lavish party in the grounds of historic Villa Borghese,
which culminated two days of celebrations marking the designer’s 45 years in fashion.
Red was the hue for the celebrity events ~ especially for the Saturday night red carpet parade through the soft dusk of the Borghese gardens. Scarlet dresses shone out like beacons on Claudia Schiffer, with Valentino’s signature bows pert over her bare navel; or on the Texan supersocialite Lynn Wyatt in a 25-year-old vintage gown.
The boldest colors were eclipsed by the garnet glow of Caravaggio’s paintings on the palazzo walls. But once inside the vast chinoiserie dinner tent, Sienna Miller wowed the crowd with scarlet lips to match her dress. She sat on Mario Testino’s lap, while the uber-photographer flashed away. Click! Mick Jagger; Click! Eva Mendez; Maggie Cheung; Tom Ford; Rupert Everett. And, this being a “very Valentino” event, the royals: Princess Caroline of Hanover (in her favorite Chanel) and Marie Chantal of Greece, gorgeous as a crimped-hair 1930s vamp.
The Chinese Pavilion tent, put up at the cost hundreds of thousands of euros just for the party.
The evening’s Shanghai inspired setting, again designed by cinéaste Dante Ferretti, evoked the Orient with lacquered red and black walls with gilded decorations framing the 78 tables adorned with centerpieces made up of roses, hydrangeas and orchids. Waiters in guru jackets served the fish based menu on 3,500 delicate green porcelain plates, while an orchestra played high society music from the 1940′s. Pop star Annie Lennox offered the highlight with a surprise performance. Disco dancing with British DJ Laurence Steinman followed.
Leave it to Valentino to gather in the same room Mick Jagger — in town for a Rolling Stones concert — Princess Caroline of Monaco and family on their way to a Mediterranean cruise on their private yacht and the widow of the late Shah of Iran, former Persian Empress Farah Pahlavi.
Movie stars flocked too: Uma Thurman, Anne Hathaway, Sarah Jessica Parker in black draperies, Sienna Miller in an ostrich-feather crinoline gown, Jennifer Hudson in a gown with a train, Eva Mendes in a black version of the designer’s iconic 1965 red crepe sheath (the original was encased in a giant red Perspex box at the entrance to his retrospective).
Schiffer flaunted a gown in Valentino’s trademark flaming red. Hathaway was in a black Valentino with white embroidery, while Italian actress Gina Lollobrigida, a longtime friend, wore a vintage Valentino red gown.
The lobby of the Hotel de Russie is clogged with swans in Valentino ball gowns
– Julia Koch in white, Sara Ayres in red, Marie Chantal in pink, Anne Hathaway in black, Jennifer Hudson in brown and Sarah Jessica Parker in gold.
Senator and jet-set racounteur Mario D’Urso spontaneously drives me over to the Villa Borghese and gives me a tour of the Galleria Borghese museum with its Caravaggios, Canovas and Bernini sculptures. He introduces me to every noble Italian in Italian–which is a little scary. We stroll through the gardens into a vast, Chinese- themed, tented dining room designed, and built especially for the evening–complete with tufted ceilings, palm trees and lacquered red and black walls, recreating the exotic glamour of Shanghai in the 1920s.
During dinner, snippets of the cinema veritè documentary on Valentino are shown. The documentary was produced and directed by Matt Tyrnauer, a veteran VF journalist. He has been globetrotting for two years, filming Valentino’s life of “art, beauty and love” on the designer’s 152-foot yacht and in his five homes: Rome, London, Gstaad, Paris and Manhattan. Tyrnauer describes his film as a celebration of the “last emperor of haute couture.”
Valentino then makes a very short speech to everyone who has shared his unforgettable weekend.
Chanteuse Annie Lennox, wearing her first Valentino,
sings Sweet Dreams (Are Made of This)
and Mick Jagger, fresh from his sold-out performance the night before (attended by Lance Armstrong and Tory Burch) jumps up on the dance floor . . . along with Uma Thurman, Rupert Everett and the girls in red: Claudia Schiffer, Sienna Miller, Natasha Richardson and Lynn Wyatt in a 25-year- old gown. Claire Danes snakes her tight body around Hugh Dancy’s tight body as they dirty dance the night away.
Also celebrating were Valentino’s American boyfriends since 1982, Bruce Hoeksema; Valentino’s and Giancarlo’s god-children, Sean Souza and his brother Anthony along with their dad Carlos and mom Charlene de Ganay; Nati Abascal and her son Duque de Feria; Lita,George and Stavros Livanos; Lord Charles Spencer Churchill; Carolina Herrera, Jr.; Prince and Princess Pierre d’Arenberg; Count and Countess Ravenal; HRH Princess Firyal of Jordan; Eugenia Silva and Alejandro Santo Domingo; Eugenia and John Radziwill; Baronne Silvie de Waldner; Stephen and Christine Schwarzman; Giles Bensimon and Diana Widmaier Picasso; Margherita Missoni; Charlotte and Andrea Casiraghi (Princess Caroline’s gorgeous children); Glenda Bailey; Pamela Fiori; Patrick McCarthy; Andrè Leon Talley; Fabiola Beracasa; Jennifer Creel; Rachel Zoe; Delphine Arnault Gancia; Taki Theodoracopulos; Theodora Richards; Georgia and Elizabeth Jagger.
In the end, Valentino’s only disappointment is missing Gwyneth Pal- trow, who smashed her knee tripping over furniture and is on crutches in her East Hampton home, and Meryl Streep, who sent her husband Don Gummer and their daughter Mamie. Valentino had a cameo in The Devil Wears Prada and became very friendly with Meryl, but she is stuck in Stockholm preparing to film the hit Abba musical, Mamma Mia!
His lucky friends will reminisce for years to come about this extraordinary event.
Rome wasn’t built in a day, but Valentino transformed it in three.
These are my favourite Valentino creations from the exhibition.
I have tried to unearthed pictures of the clothes divine on people rather than the fashion dummies in the exhibtion.
I loved everything from the Valentino White Collection, created in 1968. Still so modern.
Vanilla wool jersey dress with a circular cape with long laced suede boots ~ haute couture A/W 1966 – 1967.
This delicate ensemble with ruffled cuffs and appliqué of small flowers from the white and ecru toned haute couture Spring /Summer 1968 was worn by Audrey Hepburn and modelled here by Marisa Berenson for Vogue.
And this lacy vanilla mini, was worn by Audrey Hepburn and attracted world attention when Jackie Kennedy chose a version of the dress for her wedding to Aristotle Onassis.
A stunning white evening gown of coils, from haute couture S/S 1993, sculpturally hugs the body. It was worn by Ashley Judd to present Valentino with the Lifetime Achievement Award at the 2000 American Fashion Awards.
The two black transparent gowns below are amazingly beautiful in reality,
and the images struggle to capture the beauty.
Black & white evening dress ~ for the cocktail hour, cobwebs of jewelled sequins in black and white, feather-hemmed and transparent crystalline gown; haute couture A/W 2003 – 2004. Black evening dress from haute couture A/W 2004 – 2005.
Dramatic and shimmering brocade dress coat with black trim; haute couture A/W 2006 – 2007.
Exquisite white evenin gown panels of sequins, beads and crystals, pleated tulle;
haute couture S/S 2007; fabric: Sophie Hallette; embroidery: Marabitti.
Flesh-coloured evening gown embroidered with ostrich feather fringes in a camaïeu of pinks alternating with bands of pink beads and lines of white strass crystals; haute couture A/W 2007 – 2008; fabric: Sophie Hallette; embroidery: Shameeza; feathers: Galeotti.
This gorgeous pink dress and cape is one of my favourite, favourites!
Evening ensemble Haute Couture Autumn/Winter 2007–08 / Empire dress with draped bodice, sheath with ribbed darts and triangular train made of pink silk crêpe; cape entirely composed of pink organdy petals; fabric: Ostinelli; embroidery: Pino Grasso / Collection: Les Arts Décoratifs, Paris
Evening suit Haute Couture Spring/Summer 2008/ pale tulle appliquéd with an origami in pink faille embroidered with iridescent pink glass beads, knotted half belt, overstitched pink stain collar and cuffs; fabric: Buche-Guillaud; embroidery: Pino Grasso
White bejeweled evening gown with crystal trims; haute couture S/S 2008; fabric: Hallette; embroidery: Hurel.
I love the mystery and beauty of the lace masks from the Haute Couture Autumn Winter 2009-10 collection. The short, flirty dresses in wisps of black lace, are a little bit dark and gothic and a little bit Midsummer Night’s Dream, very ethereal.
A Chrysalis dress in bronze and black organza with encrusted lacquered lace
Tattoo dress “oiseaux de nuit” in Chantilly lace, feathers and “lave”
The gorgeous off-white pantsuit from the haute couture S/S 2000 collection at the front left ~ Valentino was an ardent fan of pantsuits for women in the early ’70s and pioneered the evening pajamas look.
Another favourite that I couldn’t find an image of was a LBD, haute couture S/S 1960;
and then there were some lovely creations I discovered….. some extra Valentino exquisiteness!
“I know what women want. They want to be beautiful.” Valentino
GOMA was a sea of Valentino signature red
when Ruby Connection ‘gals’ frocked up last night to celebrate the final moments of
Valentino, Retrospective: Past/Present/Future.
White goddess gowns, sherbet-shaded suits, signature red hue dresses…
We had a lovely evening of frocks and champagne
and failed to decide which a haute couture creation was the most beautiful!
There are only days remaining to experience the
inspiration and passion of legendary couture fashion designer
Exclusive to Brisbane, ‘Valentino, Retrospective: Past/Present/Future’ will finish this weekend, 14 November.
This major exhibition was developed by Les Arts Décoratifs, Paris
with the assistance of the Valentino Italian fashion house.
The retrospective of 100 ensembles
includes some of the most important haute couture creations originally shown in the exhibition
‘Valentino: Themes and Variations’ at Les Arts Décoratifs, Paris, in 2008.
A chorus of red-dressed women pay homage in the
Valentino a Roma: 45 Years of Style exhibition at Rome’s Ara Pacis Museum in 2007.
He romanticised the idea of woman as goddess with his long, figure-flattering silhouettes in silk, chiffon and lace, intricately beaded, sequinned and ruffled, that became the ultimate in hold-the-front-page dressing.
“I love women,’’ Valentino was often heard to say.
“I have always tried to make them look very sexy, very glamorous.’’
In 1968 Valentino had one of his greatest triumphs, the ‘White Collection’
~ an all-white pring-Summer collection that became famous for the “V” logo he designed.
Valentino was an ardent fan of pantsuits for women in the early ’70s
and pioneered radical looks like evening pajamas and turbans.
Princess Luciana Pignatelli
Audrey Hepburn wore a lot of Valentino in the ’60s, and from his legendary Spring 1968 all-white collection this lacy vanilla mini, is a version of the dress that Jackie O chose for her Skorpios ceremony when she wed Aristotle Onassis.
Known around the world for its sophisticated, timeless design and glamorous clientele, the exhibition showcases a stunning array of Valentino Garavani’s haute couture designs from the late 1950s through to his final collection in January 2008, as well as recent creations by Maria Grazia Chiuri and Pier Paolo Piccioli – appointed Creative Directors in October 2008.
On display are famous gowns worn by royal families, socialites and hollywood celebrities including Cate Blanchett, Nicole Kidman, Julia Roberts, Jacqueline Kennedy Onassis and Elizabeth Taylor.
Above is the stunning black and white gown Julia Roberts wore to the 73rd Academy Awards in 2001,
and below Cate Blanchett in a lovely lemon Valentino dress when she won an oscar.
Elizabeth Taylor wore this elegant pleated chiffon evening gown with ostrich-feather trim to the premiere of Spartacus in Rome in 1961.
The legendary ‘White Collection’ captured his trademarks of feminine sophistication and slavish attention to detail. The pics below show ice-princess nobility in an evening suit of white cotton serge with a jacket and vest embroidered with braid, pearls and strass crystals from the autumn/winter 1968 collection.
A cocktail suit of ivory tulle with flowers embroidered in beads, sequins and strass crystals
from spring/summer 2008 has a timeless quality.
Chiuri and Piccioli embraced the beauty of couture technique and reflected the tradition of Valentino in the Haute Couture Autumn Winter 2009-10 collection shown below.
“This was the first couture show where we showed our vision of the brand. Creating an entirely black collection felt right for us because for our generation, black is black, almost not a colour, it is a part of our everyday lives,’’ says Chiuri. “We wanted to show what’s inside the craftsmanship of couture. It’s beautiful but nobody knows about it, so for this collection we wanted everything to be transparent, to show the corsetry underneath, and the intricate stitches that pull together every ruffle.’’
They played with enduring Valentino materials such as lace, but worked with it in a patchwork of different laces, allowing the colour of the skin to come through to make the pattern appear almost like a tattoo. “We want a woman’s personality to be part of the dress. She is wearing the dress, not the dress wearing her. This is our change in point of view.’’
The duo also likes to mix materials – embroidery, lace, feathers, chiffon – so it can’t be described in just one way. “It gives a new harmony. Depending on who it wears it, it will say different things,’’ says Piccioli.
The Chiuri-Piccioli pieces contain hints of original Valentino but also evidence of the design duo’s distinctively more dangerous and risque appeal. Much like the two themselves: Chiuri with her wild, frenetic pace and throaty Roman voice, Piccioli with his cool denims and perfectionist’s eye.
The exhibition explores Valentino’s techniques and recurring motifs
such as ornamentation, the use of geometric and animal prints, frills, folds and pleats
as well as the creative possibilities of volume, surface and line.
The silk serge gown with handpainted coral motif below is from the Spring/Summer 1968 collection.
Photo: Ruven Afanador
Evening gown (detail) above| Haute Couture Spring/Summer 2008| Strapless evening gown made of silk voile appliquéd with silk voile ruffles and corollas in graduated shades of pink; fabric: Clerici-Tessuto
Evening gown below| Haute Couture Spring/Summer 2003 | Strapless evening gown with low-set draped pale crimson chiffon sleeves, a train with appliqué pleated crimson taffeta rosettes and red strass crystals in their centres, and pink and grey taffeta rosettes in its lining; fabric: Buche-Guillaud; embroidery: Marabitti
This gorgeous pink dress below is one of my favourites.
Valentino Evening ensemble Haute Couture Autumn/Winter 2007–08 / Empire dress with draped bodice, sheath with ribbed darts and triangular train made of pink silk crêpe; cape entirely composed of pink organdy petals; fabric: Ostinelli; embroidery: Pino Grasso / Collection: Les Arts Décoratifs, Paris
The exhibition embodies the glamor, beauty, and ambition of an age
when garments were handcrafted to an uncompromising standard perfection.
Queensland Art Gallery director , Tony Ellwood
Valentino was the first couture house outside of Paris to be officially recognised by the French Government. The exhibition, curated by Pamela Golbin, curator-in-chief for the Fashion and Textiles collection of Les Arts Décoratifs, features a selection of signature ‘Valentino red’ dresses, including one from the couturier’s first collection — ‘Fiesta’, a strapless cocktail dress in draped tulle from Spring/Summer 1959. Valentino often collaborated with master milliner Philip Treacy to create some signature hats and headwear.
Valentino Haute Couture from left: Chantilly lace, tulle, and chiffon ballroom dress, draped Chantilly lace tunic with bronze tulle and lacquered lace, Chantilly lace and feather dress, floral cage ballroom gown. Mask & hat ~ Philip Treacy.
His ‘V’ logo is famous all over the world.
Valentino is synonymous with opulence, extravagance, and drama. In business since 1960, Valentino Garavani made his mark early with intricately detailed, luxurious gowns and tastefully body-conscious silhouettes—even perfecting his own shade of Valentino Red.
Valentino became interested in clothes and fashion in primary school. He was inspired by his Aunt Rosa and learnt the basics of fashion design from her as an apprentice. Valentino dreamt of becoming a fashion designer.
Valentino Garavani was born in Voghera, north of Milan on May 11, 1932. While attending high school he shows a precocious artistic temperament and soon becomes interested in fashion. He takes courses in fashion design and studies French to prepare himself to move to Paris. He is 17 years old when he arrives in the then world capital of fashion and couture. After a few years’ apprenticeship in the Fashion Houses of Jean Desses and Guy Laroche, Valentino returned to Rome at the beginning of the 60s to open his own atelier. Those are the years of the Dolce Vita and many Hollywood stars who come through Rome discover Valentino and determine his quick fame.
In 1964 Jacqueline Kennedy had seen Gloria Schiff, the twin sister of the Rome-based fashion editor of American Vogue and Valentino’s friend Consuelo Crespi, wearing an ensemble in two pieces in black organza at a party. Jackie called Gloria Schiff to know the name of the designer and found out it was some Valentino. In September 1964, Valentino had a show at the Waldorf-Astoria for a benefit. Since Jackie wanted to see the clothes, he sent his saleslady, along with a model, to Jackie’s apartment on Fifth Avenue. Mrs. Kennedy ordered six outfits and from then on she became a devout client and a friend. She then bought six of his couture dresses, all in black and white, to wear during her year of mourning after President John F. Kennedy’s death. Valentino later on would also design the white dress that Jackie wore to her wedding with Greek tycoon Aristotle Onassis.
In 1978 he launches his own perfume during a gala in Paris, where guest star Mikhail Baryshnikov dances Tchaikowski’s La Dame de Pique at the Theatre des Champs Elysees.
Thanks in part to the entrepreneurial skill of Giancarlo Giammetti, Valentino’s longtime business partner and ex-boyfriend, the brand is still manna among European royalty, American socialites, and celebrities craving a touch of class. Though his new creations get a great deal of attention—and requests, especially around red-carpet time—his vintage dresses continue commanding attention. To the horror of loyal fans across the globe, Valentino announced his retirement in 2007. Since he hadn’t groomed an heir, the label is still trying to find its footing: Former Gucci designer Alessandra Facchinetti took over as head designer until being unceremoniously fired after her spring 2009 collection. Maria Grazia Chiuri and Pier Paolo Piccioli, who had previously designed accessories for the label, were then named creative directors.
Celebration of 45 years of Valentino
In order to celebrate the 45th anniversary of Valentino’s career a fashion extravaganza took place in Rome between 6 and 8 July 2007. Festivities started on Thursday 5 July with a dinner for Valentino’s assistants and employees at Ristorante Gusto and ended on Sunday 8 July with the launch of a perfume and a brunch at the French Academy of Villa Medici.