Valentino Unveils Dreamy New Campaign For Chinese Valentine's Day & We're In Love!
The two protagonists wear looks from Valentino Fall 2025 collection and Valentino Garavani accessories, including the Nellcôte and Viva Superstar bags.
Valentino Garavani Nellcôte Bag
Evoking the spirit of the late 1960s, the Valentino Garavani Nellcôte family continues to play a central role in Maison Valentino's collections. With its signature hippie-chic allure, the group is expanded this season with rich new textures and bold decorative elements.
The original crossbody and tote silhouettes – both crafted in soft suede – are reimagined with embroidered mirrors, vibrant jacquards featuring geometric motifs, and dimensional flower embroideries in multicolour beads or delicate garlands. Each variation reveals a distinct personality, balancing artisanal intricacy with everyday wearability.
Following the introduction of the medium tote during Spring/Summer 2025, the Fall season brings two new smaller sizes in fresh materials including grained calf, suede, and richly detailed embroidery, such as the whimsical Cherryfic motif – further enhancing the group's versatility.
Valentino Garavani Viva Superstar Bag
With a bold VLogo and retro attitude, the Viva Superstar continues to evolve. This season welcomes a striking red and black colourway alongside previous bicolour styles.
New textures, including a precious skin finish, bring added depth to the line. Two new shapes also join the collection – a compact crossbody camera case and a belt bag that can also be worn as a shoulder or body bag, enhancing both style and function.
Valentino's latest campaign captures the beauty of connection and the timeless joy of dressing up. Whether you are celebrating love or simply expressing your individuality, these pieces bring the perfect mix of romance and personality. Visit Valentino's official website for more.
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Hype Malaysia
31-07-2025
- Hype Malaysia
Valentino Unveils Dreamy New Campaign For Chinese Valentine's Day & We're In Love!
Maison Valentino presents its new campaign dedicated to Chinese Valentine's Day, celebrated this year on 29th August. Conceived by Creative Director Alessandro Michele and shot by photographer Julie Greve, the campaign features actress Ren Min and model Zixiao Zhao in a lush garden bathed in the warm light of a late summer afternoon. The two protagonists wear looks from Valentino Fall 2025 collection and Valentino Garavani accessories, including the Nellcôte and Viva Superstar bags. Valentino Garavani Nellcôte Bag Evoking the spirit of the late 1960s, the Valentino Garavani Nellcôte family continues to play a central role in Maison Valentino's collections. With its signature hippie-chic allure, the group is expanded this season with rich new textures and bold decorative elements. The original crossbody and tote silhouettes – both crafted in soft suede – are reimagined with embroidered mirrors, vibrant jacquards featuring geometric motifs, and dimensional flower embroideries in multicolour beads or delicate garlands. Each variation reveals a distinct personality, balancing artisanal intricacy with everyday wearability. Following the introduction of the medium tote during Spring/Summer 2025, the Fall season brings two new smaller sizes in fresh materials including grained calf, suede, and richly detailed embroidery, such as the whimsical Cherryfic motif – further enhancing the group's versatility. Valentino Garavani Viva Superstar Bag With a bold VLogo and retro attitude, the Viva Superstar continues to evolve. This season welcomes a striking red and black colourway alongside previous bicolour styles. New textures, including a precious skin finish, bring added depth to the line. Two new shapes also join the collection – a compact crossbody camera case and a belt bag that can also be worn as a shoulder or body bag, enhancing both style and function. Valentino's latest campaign captures the beauty of connection and the timeless joy of dressing up. Whether you are celebrating love or simply expressing your individuality, these pieces bring the perfect mix of romance and personality. Visit Valentino's official website for more.
The Star
23-06-2025
- The Star
Uncovering Valentino's fashion legacy: Celebrities, luxury and the power of red
'Fashion is not always seen as an art, and designers were not yet artists,' said Giancarlo Giammetti, the founder, with Valentino Garavani, of the Valentino brand. He was speaking on video from Rome about the fashion house they created in 1960. This month a large book about the house came out. Valentino: A Grand Italian Epic is a 576-page tome devoted to all things Valentino: drawings of gowns, archival photographs, advertisements, fashion features and many anecdotes from celebrity fans. Elizabeth Taylor discovered the label when she was filming Cleopatra in Rome. Clients like Audrey Hepburn and Nan Kempner liked how classic the classics were. Garavani never embraced fads and stuck to what critic Suzy Menkes described in the introduction as a penchant for 'frothy, sensual, sweet-toothed glamour'. Matt Tyrnauer, who directed the 2009 documentary Valentino: The Last Emperor , said in an interview that the book shows the house's role in the invention of fashion PR and modern advertising. 'Fashion was the most rarefied world for a certain set of women of a certain class who patronised these houses, who were not interested in publicity or marketing because they didn't need it, but the world was changing,' said Tyrnauer, who is credited as the author of the book (Menkes wrote the introduction). 'Giancarlo Giammetti was at the vanguard of that.' Read more: 'Doing what I love': Malaysian fashion designer Zang Toi is living his best life Indeed, the house was savvy about dressing celebrities and maintaining friendships with people in the public eye. 'I was drawn to the craftsmanship and elegance of Valentino's clothes long before we became friends,' Gwyneth Paltrow wrote in an email. 'I had grown up seeing women like Mrs (Marella) Agnelli and Jacqueline Onassis in his creations, and Valentino became a brand I aspired to wear. I cherish the vintage Valentino I have in my archive, especially a couture cape with feathers he gave me as a gift in the early 2000s.' The book, an updated edition of a 2007 version that has been redesigned, including a new layout and cover, has elements of oral history. Gloria Schiff, a onetime Vogue editor, recalled that Jacqueline Kennedy had been a client of Valentino since the 1960s. 'I was playing tennis with Jackie Kennedy at the River Club one morning, and she seemed a bit down,' Schiff said. 'This was some time after the assassination, when she was really in mourning. She said, 'Honestly, even if I wanted to go out, I have nothing to wear.'' Schiff arranged a meeting between the first lady and the designer. Garavani went on to design Kennedy's wedding dress for her marriage to Aristotle Onassis in 1968. Sort of, Giammetti said: 'We knew about the romance and gossip, but she never said, 'Valentino, can you make a dress for me?'' She bought a dress from that season's collection, which she wore to her ceremony. 'The morning of the wedding, that dress was on the cover of WWD ,' Giammetti said. 'They made the scoop. We didn't do anything.' Valentino did design a wedding dress for Anne Hathaway. 'He somehow intuitively knew the exact dress I wanted, which was for the skirt to ombre into soft pink, but which I was too shy to ask for,' Hathaway wrote in an email. 'When he showed me the sketch, I couldn't believe it. It was like he had read my mind and my heart.' A model walks the runway for the Valentino Resort 2018 runway show. Photo: AFP The book works as a history of fashion photography, with images from Lord Snowdon, Bruce Weber, Deborah Turbeville, Steven Meisel and Jean-Paul Goude. One page has Claudia Schiffer surrounded by white-coated women in the Valentino atelier, photographed by Arthur Elgort in 1995. There is a lot of Valentino's brightly pigmented signature shade of red, which is recognised as its own Pantone colour, a mix of 100% magenta, 100% yellow and 10% black. It is shown on masses of models playing blindman's buff with Garavani on a stretch of grass and on a top worn by Vogue editor Diana Vreeland in her Upper East Side apartment, in a room decorated in the same red. Vreeland said that Valentino 'likes women who believe in overdressing, creating a role, giving a feeling that they will not disappear into the background'. A new book offers a look at all things Valentino: drawings of gowns, archival photographs, advertisements, fashion features and many anecdotes from celebrity fans. Photo: Instagram/Taschen 'His woman must startle,' she said. 'She must be riveting.' Read more: Was Bob Mackie misunderstood? The fashion designer has dressed icons like Cher Over-the-top luxury and extravagance were hallmarks of the house as well. There are photos of Garavani wearing sunglasses and denim outside his 17th-century Chateau De Wideville in France. Others show his many pugs hanging out in Gstaad, Switzerland, or on the Valentino yacht. 'Yachts, houses, paintings, entertaining, castles – none of the other designers is living that way,' publisher John Fairchild is quoted as saying. 'Valentino outlives everybody. He's the biggest high-liver I know.' Former French Vogue editor Joan Juliet Buck talks about being impressed that someone ironed her bedsheets daily when she stayed with Garavani and Giammetti in Capri. 'We were young when we started, super-young and curious,' Giammetti said. 'Our lifestyle was taught to us from important clients. So, yes, someone ironed the bedsheets, I feel embarrassed to say. It has nothing to do with style, and it's not a very expensive luxury. Unless you do naughty things, then you change them.' Tyrnauer said that for all the opulence of the brand, Giammetti 'got the best out of everyone at hand'. 'I would be around while they were doing collections,' he said. 'If he needed help doing show notes for the collection, he'd say, 'You're a writer, sit here and help me figure out what to say about these looks.' I thought that was kind of amazing.' – ©2025 The New York Times Company This article originally appeared in The New York Times.
The Star
30-05-2025
- The Star
Dior's first female head of womenswear, Maria Grazia Chiuri, steps down
Maria Grazia Chiuri, the first woman to lead Dior's women's collections, announced Thursday (May 29) she is stepping down as creative director after nine years at the storied French fashion house – the latest sign of mounting pressure and ongoing creative turnover at the top of the fashion industry. The Italian designer confirmed her long-rumoured departure in an Instagram post, capping a transformative era defined by bold feminist messaging, record sales and industry-defining collections. "I am particularly grateful for the work accomplished by my teams and the ateliers. Their talent and expertise allowed me to realise my vision of committed women's fashion, in close dialogue with several generations of female artists,″ Chiuri wrote. "Together, we have written a remarkable and impactful chapter, of which I am immensely proud.' Chiuri, 60, leaves behind a legacy that reshaped Dior's creative direction and broadened its global appeal. Since her arrival in 2016, she steered Dior through a golden era of commercial and cultural success. Read more: What led to Jonathan Anderson's sudden appointment as head of Dior menswear? Revenue reportedly rose by nearly US$8bil (approximately RM33.8bil) from 2017 to 2023 as Chiuri's vision of empowered femininity resonated with a new generation of clients. The house itself credited Chiuri with nothing less than redefining "the identity and femininity of the Dior woman, celebrated and reimagined the iconic heritage and savoir-faire'. Delphine Arnault, the LVMH executive who oversees Dior, paid tribute to Chiuri's "tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior'. Chiuri, Arnault added, not only designed "highly desirable collections', but "has written a key chapter in the history of Christian Dior' – a chapter that will forever be marked by the milestone of her being the first woman to lead the women's collections. Chiuri's debut for Spring 2017 made headlines with "We Should All Be Feminists' T-shirts, declaring a new era for Dior. She brought activism to the runway, collaborating with artists like Judy Chicago and Faith Ringgold. She revived icons such as the Saddle Bag and made space for women's voices, drawing on Dior's past while rewriting its aesthetic. Chiuri departs as the first woman to lead Dior since its founding in 1947, having redefined the house's codes and opened the door to a new chapter at one of fashion's most influential brands. Her exit comes amid a broader wave of creative upheaval across the industry. Pierpaolo Piccioli, her former co-creative director at Valentino, was recently named artistic director of Balenciaga – after Alessandro Michele, known for his maximalist, gender-fluid reinvention of Gucci, was appointed to succeed Piccioli at Valentino in 2024. Meanwhile, Matthieu Blazy, who stepped down from Bottega Veneta last year, will debut at Chanel this fall, succeeding Virginie Viard – whose unceremonious departure shocked the industry. The recent round of high-profile exits and appointments has amounted to fashion's most dramatic game of musical chairs in years – and it's giving the industry whiplash. Read more: A look back at Jonathan Anderson's star-studded legacy of dressing celebrities The moves reflect a period of transition for major fashion houses as they adapt to shifting consumer expectations, slower luxury growth, and the demands of a digital-first market. At least half a dozen top houses have changed creative leadership in the past year alone – a sign of the mounting pressure on designers to deliver both artistic vision and commercial results in an increasingly unstable landscape. Chiuri's shows spanned continents, from Mumbai to Kyoto, each celebrating craft and community. But for her final collection, Resort 2026, Chiuri returned home to Rome – staging the show at Villa Torlonia, enveloping her guests in ritual white, and invoking the spirit of Italian cinema with a film by Matteo Garrone. The choice of her native city, paired with the all-white dress code, signalled a deliberate full-circle moment; an intimate farewell and a subtle hint that Chiuri was preparing to close her chapter at Dior. Dior has not yet named a successor, but speculation centers on Jonathan Anderson, who recently took over Dior's men's collections. – AP
