Imagine a world where a single color becomes synonymous with a name, a brand, a legacy. That's exactly what Valentino Garavani, the legendary Italian fashion designer, achieved with his iconic shade of red. But now that he's passed away at the age of 93, is this passionate hue truly his to own forever, or will its fiery spirit evolve beyond his influence?
Valentino himself declared in 1992, "The red dress is always magnificent." And this week, following the announcement of his death, that very statement rings truer than ever. The fashion world is awash in tributes, many of them, unsurprisingly, in various shades of red.
Vogue Italia's February issue will feature a cover inspired by Valentino red. Donatella Versace, a fellow design icon, paid her respects wearing a striking red suit. Even amongst the sea of black attire at Valentino's funeral, a pop of red – a scarf worn by Damian Hurley – stood out as a subtle yet powerful homage. It’s interesting to see how even in mourning, the impact of one person’s vision can dictate the visual landscape.
Valentino's obsession with red began with his very first collection in 1959. The "Fiesta" dress, a strapless gown adorned with roses, was born from a profound experience: witnessing a woman at the opera, her red dress cutting through the crowd like a vibrant flame. Alistair O'Neill, curator of the "Valentino: Master of Couture" exhibition at Somerset House, notes that this initial impact fueled Valentino's lifelong use of the color. But here's where it gets controversial… it wasn't just any red. It was a specific scarlet, a shade with a hint of blue. What do you think, is it possible to truly 'own' a color?
According to O'Neill, the magic of Valentino red lies in its universality. "It's a tone that works across a range of skin colors and it makes nearly all women look great," he explains. "I think that's because it's a very pure and clean color but it has a luminosity about it." It’s a fascinating thought – that a single color can possess such transformative power.
Charlie Porter, a fashion writer who worked on the book "Valentino Rosso," points out that Valentino developed his signature red before Pantone standardized colors in the early 1960s. And this is the part most people miss… In today's world, a graphic designer in Tokyo can replicate a specific color with pinpoint accuracy thanks to Pantone. But Valentino's red was born from a more organic, intuitive process. It possesses, as Porter puts it, "real sensitivity and depth and human feeling." It was a red born of artistry, not mechanics.
Vogue Italia's team collaborated with the Valentino foundation to pinpoint the closest Pantone match to Valentino red for their cover, ultimately settling on 2347C. Francesca Ragazzi, Vogue Italia’s head of content, described it as "the most vibrant, it best expresses a sense of light." The choice highlights the importance of capturing the precise essence of Valentino’s vision, even in a standardized world.
The Italian landscape itself played a role in shaping the shade. Porter argues that the unique quality of light in Italy, particularly in Rome, influenced the perception and creation of Valentino red. "There's location to color, which we don't think about so much now," he says. The angle of the sun, the tilt of the Earth – all contribute to how we see color. It subtly reminds us that location can be a key ingredient in the creative process.
Beyond Valentino, red is experiencing a broader resurgence in fashion, fueled by the "unexpected red theory." This trend, which started in interior design, encourages incorporating pops of red into wardrobes, often through accessories like scarves. The British brand & Daughter's cashmere foulard, for example, has become a common sight at fashion weeks. This invites the question: is this a true revival of red, or simply a cyclical trend?
Kassia St Clair, author of "The Secret Lives of Colour," explains that red has long been associated with luxury and power. In the past, expensive dyes made red clothing a symbol of status, worn by royalty, military leaders, and high-ranking members of the church. "It really has said the same things – power, wealth, status – for as long as we know," she says. She also suggests a possible biological dimension to our attraction to red, acknowledging the difficulty in separating cultural conditioning from innate human responses. There's compelling evidence suggesting that red has a unique impact on us.
For Valentino, red became a personal symbol. "When he designed the Fiesta dress, he decided that he wanted to have a red dress in every collection that he produced. It was a lucky symbol for him," O'Neill explains. It was more than just a color; it was a talisman, a source of inspiration and good fortune.
Now, sixty-seven years after the Fiesta dress, Valentino red remains a defining element of his legacy. Ragazzi believes that Valentino has left the world a universal language through his color, one that will endure in the global imagination forever. It's a powerful statement about the enduring impact of a single creative vision.
But not everyone is convinced that Valentino and red will remain inextricably linked. Porter raises a counterpoint: many now associate the brand with the Rockstud shoes, popularized by The Devil Wears Prada. "In the public imagination right now, the biggest talking point about Valentino is the [2010] Rockstud shoes that should or should not be worn in The Devil Wears Prada 2," he says. "I think when someone passes, then we can enter into a eulogising world of 'it's changed something for ever'. I don't think it has, actually." This prompts the question: can a brand evolve beyond its creator's signature element?
St Clair also disputes the idea that red will become more popular because of Valentino's passing. She argues that red doesn't need new associations. "Valentino has a very specific place in our time, and is huge for our time," she says. "But red transcends that." So, what do you think? Will Valentino's red continue to define his legacy, or will the color transcend its association with the designer and take on new meanings? And does the modern world risk losing the 'human feeling' and depth from colours due to standardisation through systems like Pantone?
