Innocence, then, has been replaced by something not altogether darker for Spring, but certainly more mysterious. It lent a richness to Chiuri and Piccioli's recognizable silhouettes. As they said beforehand: "It's a fashion opera. A show has to be a show." Even as flat sandals adorned with golden scarabs reasserted the realness of the collection, some of the long black lace gowns embellished with brightly colored details looked not all that unlike costumes or indigenous dress—elevated to the hautest levels, of course. It's exactly this sort of stagecraft that has the world's most photographed young women vying to wear Valentino; they were all there today arrayed in the front row. And they'll rush to get the more ornate pieces here: a dress patched together from silvery squares that looked like armor, a monastic romper (interestingly, not an oxymoron chez Valentino) in organza embroidered with tiny strips of leather.
As at their July Couture show, Chiuri and Piccioli savvily balanced the extraordinary workmanship of their evening gowns with not-quite-humble daywear: crisp blue poplin shirts, cropped khaki pants, a suede dress with a fringe-trimmed cape back, and even a pair of jeans—if you can call them that—in dark denim with deep ruffles that began north of the knees. For the non-jet-setters in the audience, the really remarkable thing about these designers is that a rugby-striped cotton coat can cast as potent a spell as a dramatic gown made from the finest filigreed lace.
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