A white space in ecru toile recalling the Sala Bianca, site of Signor Valentino’s greatest early triumph, also greeted guests at Alessandro Michele’s debut show for the Roman house Sunday afternoon in Paris.

A cracked mirrored runway too, symbolizing his arty disruption of the house, and a bold and beautiful collection that referenced what Michele termed “the golden age” of Valentino – the 60s and 70s. 
 
Very much the most anticipated show of the nine-day Paris Fashion Week, which ends Tuesday, the collection captured the sense of excitement of Valentino’s famed Sala Bianca show in Florence of 1962, regarded as the opening page of Italian fashion’s post-war renaissance.

A cool show and a courageous collection, which seems certain to be a major success. Clearly, this is one house that believes strongly in its designer. Michele’s pre-collection, unveiled online in late June, begins retailing in two Valentino Paris flagships tomorrow morning.
 
“I believe that the shows and designs of Valentino and the beauty he created, have truly marked the history of Italy,” Michele insisted in a post-show news conference held in Italian.
 
Visually trumpeting the Golden Age of Valentino though always with the Michele maximalist touch: funky pearl necklaces, lip or nose rings and, of course, big satin bows 
 
Opening the show with a genial ruffled tuxedo dress; frilly ruched frocks, or lots of bold jacquard jackets meeting bold floral print skirts. Eccentrically dainty, every model woe lace tights in snow white or sinful red – satin bows round their ankles. Their heads topped by skullcaps, turbans or huge floppy hats. Plenty of lacey underwear peeking through. Though definitely a patrician Michele’s gal is not a prude.

See catwalk

In accessories, he debuted a very attractive big tote, with a very prominent V, a symbol first unveiled by the founder’s second Sala Bianca show in 1968. Along with a boho-chic suede shoulder bag studded in silver balls.
 
His tailoring was mean and lean; not an 80s power shoulder in sight. For guys, black polka-dot dinner jackets, brocade Nehru jackets and lace socks and loafers, just like Michele wore – albeit with jeans and lumberjack shirt – when he took his bow. Looking like debonair Roman princesses working on a novel in Brooklyn Heights. 
 
For gals, white polka-dot spencers, flippy riding jackets and a lion tamers brown polka-dot suit that recalled Michele’s old job at Gucci.
 
But internet chatter that Alessandro had carried too much of Gucci into Valentino really misses the point. In truth, one could have called this Valentino for Alessandro Michele, because his own grandiose sensibility is so strong. But these clothes were also instantly recognizable as Valentino, and clearly respectful of the house’s DNA. All 85 looks.
 
“My first day at Valentino, I devoted to the archive. In my view, no house anywhere is as linked to the spirit of its founder as Valentino. His spirit lives on the whole space. I would say it would take 10 lives to discover all the incredible clothes and objects he created!” enthused Michele.
 
A savvily staged show, with a stupendous operatic soundtrack, ‘Passacaglia della Vita‘. A call for joy, sung in three languages – English, French and Italian. Earning Alessandro a standing ovation, hugs from Elton John and Jared Leto, and prolonged cheers backstage.
 
“I thought it was great to see a young designer brilliantly interpreting the great classics of Valentino from more than 50 years ago. It shows you great fashion has no age and doesn’t die,” concluded Giancarlo Giammetti, the founder’s life, and business partner.