Michele transformed the vast basement of the arena into a dreamy, otherworldly space. Loveseats, chairs, and ottomans were draped in dust covers, sitting atop cracked mirrored floors, along with armoires and oversized bird cages, creating a scene that felt like wandering through an old mansion, uncovering forgotten treasures or awakening old ghosts. Michele, ever fond of metaphors—both visual and literal—set the mood with ambient music filling the space as familiar faces like Elton John, Harry Styles, Florence Welch, Coleman Domingo, and Damiano David from Maneskin gathered.

In this hauntingly beautiful setting, Michele sent out 85 looks, a relatively modest showing compared to the surprise resort collection he dropped online in June. Yet, each piece was as extravagant and striking as anything he ever designed at Gucci, though with a lighter, more feminine touch that spoke to the essence of Valentino. In a conversation before the show, Michele revealed he had dived into the Valentino archives on his first day. “It’s such a vibrant place, filled with history,” he said, noting how the archives span the ’60s, ’70s, and ’80s. For someone like Michele, who revels in dissecting fashion’s past, it was a treasure trove.

His inspiration stemmed from the house’s aesthetic triumphs—delicate ruffles, the doll-like silhouettes of the ’60s and ’70s, and the bold yet sensual power suits of the ’80s, which he acknowledged are quite out of fashion now. But if anyone can revive something considered passé, it’s Michele. He proved it once before by reinventing Gucci with his gender-fluid, inclusive vision that reshaped the fashion landscape.

For Valentino, Michele wove together a collection brimming with drama and intricate details. Think oversized bows, tassels, polka dots, and feather boas, and of course, an abundance of ruffles cascading from collars and flowing down long A-line dresses. The embroidery work was equally luxurious and delicate, teasing the kind of opulence we can expect from his couture collection coming in January. Accessories were layered to the extreme: silk turbans with netting, wide-brimmed straw hats, lace gloves, stockings, and an array of footwear from slingback heels to knee-high block heel boots. Models carried bags two at a time, from logo-stamped clutches to studded suede totes, and even a quirky cat-shaped figurine clutch.

More than just a visual spectacle, Michele infused the collection with his own emotional depth. The show’s soundtrack, a haunting version of *Passacaglia della Vita* produced by Gustave Rudman, underscored the feeling: “a tangle of ways / is life and a maze / And when in disgrace / Joy we must chase / Joy we must chase.” It was a reflective, almost poignant message. As the models walked their final steps, Giancarlo Giammetti, Valentino Garavani’s lifelong friend and business partner, was seen FaceTiming the 92-year-old designer from the front row, as Michele took his bow. It felt like a symbolic passing of the torch and the start of an exciting new chapter for Valentino.