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Michele, who previously spent nearly eight years redefining Gucci with his eclectic, gender-fluid maximalism, has long drawn inspiration from history. It's an obsession that traces back to his childhood in Rome, where he would rummage through his mother’s closet, captivated by the textures of bygone eras.

His tenure at Gucci transformed the brand into a powerhouse of layered nostalgia and offbeat opulence, making his appointment at Valentino — a house steeped in aristocratic elegance — both a natural evolution and a challenge.

His arrival was a significant shift from Valentino's former designer Pierpaolo Piccioli, who was celebrated for his pared-down romanticism.

The opening look set the tone: a harlequin-patterned gown of enormous proportions, fusing the whimsy of the circus with regal splendor.

Full skirts billowed with 18th-century grandeur against a stark black runway, while ’70s-inspired ruffles added his distinctive vintage-inflected edge. A standout floral gown, evocative of Marie Antoinette, received the New Romantics treatment, a nod to the late ‘70s and early ’80s era that has long fascinated the designer.

Though the collection largely played to Michele’s strengths, with exuberance tempered by couture-level precision, some elements felt overdone. A polka dot jacket with an oversized bow veered into twee territory, an example of how his fondness for embellishment can sometimes tip into excess. Yet, the overall balance leaned toward refinement, with a relative restraint compared to his past work at Gucci.

The show featured models of diverse ages and backgrounds, maintaining Valentino’s commitment to inclusivity — a theme central to Piccioli’s tenure and which Michele continues under his creative direction.

Michele’s couture debut reaffirmed his reputation as a designer who finds beauty in historical excavation.