Val's Gals used to be called the ladies who lunch, but they might better be called the ladies who shop. They are not ardently trendy, or necessarily business women, but they are rich and they want to look rich, very rich.
They do not buy haute couture for the soaring imagination of John Galliano, or the razzmatazz of Versace. They want polite, classic, wearable clothes and they go to Valentino for them.
Valentino has his fair share of Hollywood stars, but it is US high society which is the backbone of his clientele. It is the young Cornelia Guest, Tara Rockefeller or Tamara Mellon in the front row.
They want that perfect suit with the boxy jacket and big buttons, or the pretty blouses frothing lacy fichu necklines, or the beautiful coat inset with twists of fabric for their society weddings. They want the burgundy silk cocktail dress with lace V-neck, or the brandy georgette dress embroidered with roses for the next charity benefit.
They are dependable, glamorous clothes, but they miss the wit and imagination of the new generation of designers. Valentino belongs to the old school delivering elegant clothes his devotees long to wear, but they lack the inspiration and fizz on which sales of perfume and countless accessories depend.
It is the dilemma facing couture. Is it about designing clothes for customers, or a publicity stunt to raise the profile of the house? Every couturier wants to achieve both, and Emanuel Ungaro is increasingly one who can.
His feminine spin on fashion has garnered him a celebrity list that includes Kylie Minogue and Sarah Jessica Parker. His couture, but for a few long tweed coats, wool pant suits and leather trousers, is evening wear.
There were long lace dresses sprouting big feathered corsages, little jewelled cardigans slipped over long fluted skirts and whisper-fine draped silk and chiffon dresses. Ungaro spins the kind of magic clients love and propels perfume sales into orbit.