Valentino’s latest runway show broke away from tradition, taking place inside a setting that caught many by surprise: a public restroom, which created a provocative backdrop, challenging the typical perceptions of luxury fashion. In today’s world, when restrooms often find themselves at the center of cultural and political discussions regarding gender identity and rights, Valentino’s choice appeared to be a deliberate, bold statement. The interior was meticulously recreated, featuring authentic details like tiling, soap dispensers, mirrors, and countless stalls, all under a mysterious, seedy red light.
Inspiration drawn from filmmaker David Lynch gave shape to this unusual setting, establishing the tone for Alessandro Michele’s innovative perspective. Michele, with his rich background in theater and film costume design, weaves narratives into his creations, transforming his garments into layers of stories. This show stood out in the Paris fashion scene, attracting a diverse crowd including Chappell Roan, Parker Posey, Jared Leto, and Barry Keoghan, whose presence amplified the day’s surreal atmosphere.
Stepping further into his vision, Michele often picks venues deeply rooted in historical or cultural significance; prior stage selections included grand palaces. Choosing a public restroom was a clever twist on his own style, probing the twilight zones of public and private life, intimacy and display, and the fluid spectrum of identity in modern fashion.
Models exited toilet cubicles, pausing to glance into mirrors, seamlessly blending the personal with the performative. Michele presented a theatrical collection: pieces like caps, hoods, and dark shades veiled the face, whereas sheer tops revealed the body, illustrating the contrast between concealment and exposure. Known for his creative blend of historical and cultural eras, Michele, who refers to himself as an “art archaeologist,” delves into the evolution of clothing and embellishment across time ages.
A standout piece depicted embroidered lingerie decorated with lavish silk and a rigorous Victorian collar, provocatively unfinished at the crotch, echoing a sense of urgency. A mix of baroque patterns and 18th-century ruffles came paired with oversized, worn-in denim, while the medley of leopard print, faux fur, and tweed added tension akin to a luxurious thrift experience.
The diversity of styles seemed infinite, deliberate in its excess, encapsulating Michele’s aesthetic and his defiance against convention. This showcase was more than fashion, a disruptive tableau that thrust a classic brand into fresh, unforeseen horizons. As a part of the audience exclaimed, Michele appeared to be revolutionizing Valentino in a fashion similar to Demna’s influence on Balenciaga.
Beyond set dressing, the restroom symbolized a realm where societal boundaries merge, challenging conventional thought. This “counter-place,” as Michele described it, merged public with private, transforming routine into symbolic. While Michele subtly skirted around themes of gender politics, the inclusion of androgynous models mingling with varied genders emphasized fashion’s role in the fluid discourse of identity. Such a setting couldn’t go unnoticed, intertwining fashion with current cultural and political discourses on self-expression and access.
Michele’s vision thrusts Valentino beyond crafting garments to embodying motion, the dynamic play of concealment against display. More than a showcase, it was a medium for narrative, reasserting fashion as a vivid arena for articulate and provocative storytelling.
