The collection at Valentino’s Haute Couture show at Château de Chantilly where the catwalk was woven around circular bassin d’eau, with the perfect backdrop of the elegant silhouette of the 17th century manor, signposted the week's other relevant themes: youthfulness, simplicity, ease and paradoxes. Pierpaolo Piccioli has always loved a long, fluid shift and he made the case for this by showcasing a collection devoid of pyrotechnics, superfluous gimmicks and crowd-pleasing distractions. It was simple, yet elegant. Nothing complicated, nothing too voluminous.

The showcase that started with a familiar basic crisp white shirt paired with a denim, interspersed with twinkling footwear, was followed with body-hugging dresses purely for the petite-waisted, a shoulder-baring blouse and capes, perennial favourites that never go out of fashion. Here, the strength in Piccioli’s collection lay in its details. The line came glittering with swirls of dainty, meticulous embroidery, placed prettily on traditional silhouettes. It was formal-wear but never OTT and quite appealing.

Examined up close, the workmanship defied comprehension. The stitching was so fine it was invisible. It signaled the heart-stopping delicacy that distinguished the collection. The use of cotton amidst the lace, organza, and filigree, as in a coral separate with tone-on-tone flower print and embroidery that felt embossed. The same approach was echoed in a billowy trapeze-shaped gown, whose circular feathered ruffles were made from 500 feet of white organza. To make the feathers even more featherlight and preternaturally weightless, they were burned one by one to achieve the right quivering cadence.

All of that passes the tests of mass influence, relevance, and great timing, but it’s not the ultimate thing that distinguishes and elevates the practice of haute couture to the true dream level. That resides in the uses of technique, and the application of handcrafted skills. On those points, the Roman couture workers at the Valentino ateliers surpassed themselves. Close up, the micro fan-pleating, intricately pieced together from segments of silk and jersey, the microscopically narrow lines of silver bugle beads cascading irregularly from shoulder to floor, the encrustations of three different designs of floral guipure cut-out lace—all this and very much more was just dreamy, in every case.

There were flowing pleated gowns, statuesque floor-length tabards and silhouettes that caterwauled simplicity with fabric letting lose and trailing out behind as the models walked, the dresses were astoundingly beautiful in motion. The gold and black sheaves of wheat on a white dress were simple but striking. On the contrary, a coat in gold lamé embroidered in menswear with paillettes, and silk thread was as opulent as anything on the runways this week, and the same is true of a tulle toga embroidered with yet more crystals yet sheer and chic to the core.

There was an easy breezy confidence to the clothes, one honed over decades of designing experience. The fabric came draped, woven polka dots moulded into careless shrugs and jackets, slinky, seductive dresses bared from a single shoulder, designs that stood out without trying too hard. He may be one of most senior designers but Piccioli’s spirit is indubitably young.

Will this new collection by Piccioli be enough to redefine women’s eveningwear? Highly likely. It was unrestricted and sexy! The influence of Valentino and its easy-to-wear silhouette is bound to be a dream-fulfiller for many, when taken up by brands further down the market.