As a self-confessed Mary Poppins fanatic, the fall/winter catwalk shows were enough to drive me nuts, for all the piled-high tapestry and romantic ruffled lace were sure to lead to a high street rich in all things upholstery. (I cannot emphasise enough the perfection of the words "high-waisted tapestry knickers".)
It's safe to say that since childhood, I have spent most of my life desperately trying to emulate Mary Poppins - (or, to be more specific, a hybrid of Mary and Pocahontas). And, though a Dolce and Gabbana needlepoint bag may be a little out of reach for the time being, wearing this jacquard dress, with my parrot-head umbrella in hand, is enough to make me feel practically perfect in every way. Well, almost...
With a chill in the air, white may not seem the most obvious go-to winter warmer - but these Valentino-inspired pieces are a sure fire way to send pulses racing.
Breathtakingly simple and cut to stand the test of time, each of these designs give scope for updating season after season. High neck lines allude to tradition, yet feel very current. Match with gently dishevelled french braids for a whisper of femininity, or keep to clean and crisp tailored lines and block colours for a more modern approach.
At the forefront of every brand is the idea of their quintessential woman.
And if there were a show to so succinctly define the 'Valentino Girl' of recent seasons, it would be Fall/Winter 2012.
The vision communicated by creative directors Maria Grazia Chiuri and Pier Paolo Picioli was one of contradiction - and yet was explicitly eloquent in its delivery.
Before I had even laid an eye on the designers' inspiration for the season, I had already come to the above conclusion.
As it turns out, the image of Mick Jagger's 1969 coat dress wouldn't look horrifyingly out of place on the mood board for the collection (as reported by Paris Modes - below), which was very much underpinned by the undone androgyny of the late 60's and 70's.
Opening the show was a stealthy punch of jet black leather, with masculine tailoring taking the form of full-length macs, capes and culloutes. The look was severe, all but for the punctuating collars of blouson white shirts.
In a folksy twist, intricate craftsmanship and needlepoint embroidery celebrated the couture heritage of the design house, introducing warm umber tones to crisp whites and ivories. Sleeves elegantly cloaked arms, while waists were highlighted by a neat unpronounced bodice - instantly feminising the rougher elements of the designs.
Rich contrasts in texture and delicate embellishment then made way for a customary dose of Valentino Red, lacquering established silhouettes in a slick of crimson.
Finally, to see out the collection came a string of elaborate, though remarkably subtle high-neck evening gowns with playful layers of sheer chiffon and beading.
Hair was likewise laced with tradition, as centre-partings were swept into graceful, almost Pre-Raphaelite up-dos.
Like a Tim Walker photograph, Valentino is a label that seems to uphold an unyielding association with femininity, all the while exploring a sense of morbid fascination that contributes to a compelling aesthetic. For the fashion house, FW12 stands as a landmark in the new direction taken since the creative directors took the helm from Valentino himself. Not only have they sculpted a new silhouette for the brand, but they have also shaped the story of the woman who would wear it; the Valentino Girl is betrothed to classic beauty, but will flirt with darkness and chaos.
