Valentino (fashion designer)

Beginnings in Paris and return to Italy (1951–1959)

Valentino secured a position with Jean Dessès for an apprenticeship in Paris when 19,[6] having first joined Jacques Fath, followed by Balenciaga and Dior.[7][8] While an apprentice with Dessès, he assisted Countess Jacqueline de Ribes by sketching her dress ideas.[9]

After five years, Valentino departed following an incident during an extended holiday in Saint-Tropez.[6] He joined his friend Guy Laroche in 1956.[10] After discussions with his parents,[6] he opted to return to Italy and established himself in Rome in 1959, first as a pupil of Emilio Schuberth and then as a collaborator in Vincenzo Ferdinandi's atelier, prior to opening his own fashion house.[11]

Founding of Valentino (1960–1961)

In 1960, Valentino left Paris and opened a fashion house in Rome on the fashionable Via Condotti, supported by his father and a business associate.[12] More than a simple atelier, his father said the premises resembled a maison de haute couture (lit. 'house of haute couture');[13] the operation was notably grand, with models flown in from Paris for his debut show.[13] Valentino soon became known for his red dresses, in the vivid shade that the fashion industry remembered as Rosso Valentino.[14]

On 31 July 1960, Valentino met Giancarlo Giammetti at the Café de Paris on the Via Veneto in Rome.[15] Giammetti, one of three children, was in his second year of architecture school and living with his parents in the haut bourgeois Parioli district.[12] That day, he gave Valentino a lift home in his Fiat, beginning a friendship that soon developed into a long‑lasting partnership.[12] Giammetti left for a holiday in Capri the following day and, by coincidence, Valentino was also travelling there; they met again on the island 10 days later. Shortly afterwards, Giammetti abandoned his university studies to become Valentino's business partner and life partner. When he joined the enterprise, the financial situation of Valentino's atelier was precarious: within a year, Valentino's excessive expenditure led his father's associate to withdraw from the business, leaving him close to bankruptcy.[16] In 1961, Elizabeth Taylor, who was in Rome for the filming of Cleopatra, chose Valentino's white haute couture column for the premiere of Spartacus.[13]

Breakthrough in Florence (1962–1969)

Valentino's international debut took place in 1962 in Florence, then the Italian fashion capital.[5] Former first lady of the United States, 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 a two-piece ensemble in black organza at a gathering in 1964. It made such an impression that Kennedy contacted Schiff to learn the name of the ensemble's designer: Valentino. In September 1964, Valentino was in the United States to present a collection of his work at a charity ball at the Waldorf-Astoria New York. Kennedy wanted to view the collection but could not attend the event, so Valentino decided to send a model, sales representative, and a selection of key pieces from his collection to Kennedy's apartment on Fifth Avenue. Kennedy ordered six of his haute couture dresses, all in black-and-white, and wore them during her year of mourning following the assassination of her husband, President John F. Kennedy. From then on, she became a devoted client and friend of Valentino.[17] Valentino later designed the white gown worn by Kennedy at her wedding to Greek business magnate Aristotle Onassis.[18] In 1966, he moved his shows from Florence to Rome, where the following year he produced an all-white collection that became famous for the "V" logo he designed.[19][18] His all-white couture collection of 1968 set him "solidly in the firmature of Italian design", described by Vogue as "the talk of Europe".[13] He was the first Italian designer to feature in the Paris haute couture scene.[20]

Switch to retro styles and international fame (1970–1979)

Throughout the 1970s, Valentino's womenswear for both couture and ready-to-wear generally followed the trends of the time, opening the decade with an emphasis on midi-skirts worn over miniskirts;[21][22] fitted, knee-high boots; trousers;[23] and foreign looks.[22][23] In 1971, he paired more brightly colored midis and knee-length skirts with that year's vogue for hot pants,[24][25] also continuing to show trousers like culottes and knickers with the gently flared standard trouser of the time.[26] He was noted for his tailored clothes.[26] The 1940s revival was his focus for a time,[25] and Valentino showed platform shoes,[24] padded shoulders, and knee-length skirts,[25] all along with occasional forays into 1930s and 1950s styles,[26] kept modern by an emphasis on pants.[26]

In 1972, he started the year favoring trousers but ended it showing only skirts,[27] including being one of the only designers to present day dresses in a period dominated by separates.[28] He endorsed the favored full sleeves and layering that were seen on many runways and continued to move away from his trademark monotone or bicolor palette—often cream or red.[29][26][22][24][23][27] A knee-length, square-shouldered 1940s revival was prevalent again in 1973,[30][31] continuing with bright prints, including a Bakst influence.[30] During this era, his evening styles were often ruffled and sometimes had asymmetric hems,[22][23][29][32][24] other times a single, barely discernible letter on a belt or scarf.[23]

The mid-1970s move toward fuller peasant silhouettes was seen in Valentino's work somewhat—dirndl skirts,[33] off-the-shoulder flounces, petticoats,[34] blousons,[35] shawls,[36] ponchos,[33] and layering[37]—but he deemphasized the look's characteristic boots and was sometimes criticized for including styles that were too heavily constructed and stiff in this period of minimal construction and flowing shapes,[37][33][38] as well as for emphasizing conspicuous-consumption wealth projection during the more egalitarian atmosphere of the time.[36] He then returned to his serviceable presentation of monochrome and bicolor garment groupings.[37]

With the Fall 1978 move towards big shoulders, formal suits, and a more conspicuous consumption, mid–20th century retro style, Valentino presented shapes that echoed the big shoulders of the 1930s and adopted the seductive styles being favored by designers in narrow, slit skirts and black bras worn on their own under padded-shoulder jackets.[39][40][41] Along with many other designers, he continued to show this style the following year in stiffly structured, broad-shouldered jackets and dresses presented with retro accessories such as hats, gloves, and cinch belts.[42][43] This padded-shoulder, high-glamour style would continue to dominate fashion into the 1980s and bring Valentino unprecedented fame.[44] Throughout the 1970s, Valentino spent considerable time in New York City, where his presence was embraced by society personalities such as Vogue's editor-in-chief Diana Vreeland and the art icon Andy Warhol.[45]

Cultural prominence and acclaim (1980–1989)

Valentino is one of the favorite designers of actress Joan Collins,[46] famous as one of the stars of the popular U.S. television show Dynasty (1981–1989), bringing the designer additional visibility and name recognition among the public.[47][48] The era's conspicuous consumption, 1940s and 1950s–inspired ballgowns, cocktail dresses,[49] and broad-shouldered, sharply tailored suits were taken up with aplomb by Valentino,[50][51] whose style at the time was similar to that of Givenchy and Oscar de la Renta.[52][53] A few themes remained constant throughout his eighties collections: his familiar color groupings;[54][55][56] his penchant for blatant displays of luxury, wealth, and opulence;[57][58][59][60][61] broad shoulder padding;[62][63] and a more comfortable cut than he was showing at the start of the big-shoulder era at the end of the 1970s.[64] He continued to show his ready-to-wear collections in Paris and his couture collections in Rome.[65] From 1983 to 1985, Valentino contributed a Valentino Edition to the Continental line of U.S. carmaker Lincoln.[66][67][68][69] The uniforms worn by Italian athletes at the 1984 Summer Olympics, held in Los Angeles, were designed by Valentino.[70] In 1986, Vogue reported that Valentino was the largest Italian fashion exporter, with international sales of US$385 million.[13]

In the first half of the 1980s, he mostly followed the short, narrow skirt line with broad-shouldered tops also followed by Yves Saint Laurent, Givenchy, Emanuel Ungaro, and others,[71][72][73] but also presented longer, looser looks,[74][66] the chemise dresses of the era,[75][76] and a variety of pant shapes.[77] During the mid-1980s, the fashion press and buyers often rated him higher than other Paris designers,[78][79][64][80] ranking him with Saint Laurent and Karl Lagerfeld.[78][72][81] He felt confident enough with this elevated stature that, in 1985, he added his moniker to a line of designer jeans.[59] Like other designers, he showed a variety of miniskirts throughout the eighties among his other lengths and garments,[57] and he joined the rest of the fashion world in 1987–88 in showing almost exclusively mini lengths for two seasons and then followed his colleagues by the end of 1988 in retreating from an exclusive mini-length focus.[80][82][83][84]

Accademia Valentino (1990–1997)

1990 marked the opening of the Accademia Valentino, designed by architect Tommaso Ziffer, a cultural space located near Valentino's atelier in Rome for the presentation of art exhibitions. The next year—encouraged by their friend Elizabeth Taylor—Valentino Garavani and Giancarlo Giammetti created L.I.F.E., an association for the support of HIV/AIDS–related patients, which benefitted from the activities of the Accademia Valentino.[85] Throughout the 1990s, his work was seen as the antithesis of the dominant grunge trend, while becoming a staple of the rising celebrity culture.[13]

Sale of company and retirement (1998–2008)

In 1998, Valentino and his partner Giammetti sold the company for approximately US$300 million to HdP, an Italian conglomerate controlled, in part, by Gianni Agnelli.[86] In 2002, Valentino S.p.A.—with revenues of more than $180 million—was sold by HdP to Milan-based textiles giant Marzotto Group for $210 million, including lucrative deals for Valentino and Giammetti.[87] The brand was owned by private equity group Permira from 2007 onwards, which had acquired the brand from the Marzotto Group for $3.5 billion.[88] It was later sold to the Qatari royal family for 700 EUR million through an investment vehicle called Mayhoola for Investments.[89]

On 4 September 2007, Valentino announced that he would retire fully in January 2008 from the world stage after his final haute couture show in Paris.[90] In October, he delivered his last women's ready-to-wear show in Paris, where he received a standing ovation.[91] His last haute couture show was presented in Paris at the Musée Rodin on 23 January 2008. The show was somewhat marred by his criticism of fellow Italian design duo Dolce & Gabbana and the death of Australian actor Heath Ledger,[92] although he received a five-minute standing ovation from an audience that included hundreds of notable names from all areas of show business.[93] Many models returned to attend Valentino's last haute couture show; the audience included Eva Herzigová, Naomi Campbell, Claudia Schiffer, Nadja Auermann, Karolína Kurková, and Karen Mulder.[94]

In September 2007, Valentino decided to depart his role as creative director. Maria Grazia Chiuri and Pierpaolo Piccioli were at that point first nominated as creative directors of all accessories lines. before Valentino returned to fulfill his roles in 2009 after the sacking of Alessandra Facchinetti in a public feud with Valentino and Giammetti.[95][96][97] In July 2016, Piccioli assumed the role as Chiuri departed.[98] In March 2024, it was announced that Alessandro Michele would take over as creative director following his departure from Gucci.[99]

Tributes

People from the worlds of fashion and entertainment reacted to Valentino's death with profound tributes, emphasizing his dedication to "beauty" and his creation of the iconic Rosso Valentino, as Italian prime minister Giorgia Meloni called him an "undisputed master of style" and a legend whose legacy would continue to inspire. President Sergio Mattarella praised his ability to look beyond conventions. Alessandro Michele, creative director of Maison Valentino, described him as a central figure in Italian cultural history who transformed a craft into a vision of the world. Donatella Versace called him a "true maestro" and a loyal friend who supported her following the assassination of her brother Gianni. Giorgio Armani's family commented that his passing left an "immense void" in the world of couture. Gwyneth Paltrow recalled his "naughty laugh" and his private love for beauty, family, and gardens. Claudia Schiffer and Cindy Crawford expressed heartbreak, with Schiffer citing her Valentino wedding gown as a constant reminder of his generosity. Sophia Loren noted his "warmth and kind soul" and how his art would remain a forever source of inspiration.[129]