To observe Kaia Gerber in the Oheka Castle that divides suburban Long Island from New York’s swarming city is to see, at the centre of the French-style chateau, a woman of enduring elegance. She is clad in oversized blazers and monochromatic taffeta and slim black ties. She sits reading in brushed red cashmere coats and feathered combat boots. She climbs in floor-length skirts and cropped blazers. Within this refined estate, she blooms, exuding a grandeur experienced by only a select few. Those who have felt this, the special ones, bear the same type of conviction—a power so distinct it exists in a league of its own.

For over a decade, near Milan’s Giardini Indro Montanelli, Pierpaolo Piccioli has played and thrived in Valentino Ludovico Garavani’s very own league. One possessed, like a spirit, by the intricacies of formal dressing. Here, it is not formality that Pierpaolo is concerned with but a confidence that aligns with the independence of dressing. A characteristic that the Maison insists is a departure from the norm: “A demonstration of individuality and self-expression.” What sets apart this demonstration? Is it Gerber’s reimagination of classic uniforms, the reinterpretation of composure’s distinct signs, or a combination of both? In the library and then in the adjacent hall, she elevates, so effortlessly, the concept of refinement. The Maison calls this elevation an “aesthetic imposition”, a process of infusing new meaning into former, formal codes.

#VALENTINOGARAVANI
@maisonvalentino 
#ValentinoBlackTie