Karen Wazen on hand as Valentino hosts theatrical show in Paris
PARIS: Valentino paraded high fashion inside public toilets in one of the season's most provocative backdrops, especially for a house as classical as Valentino.
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Lebanese influencer and eyewear designer Karen Wazen was on hand — decked out in an all-cream Valentino look, with polka dotted gloves to boot — as the likes of Chappell Roan, Parker Posey, Jared Leto and Barry Keoghan sat amid the crimson glow of the set.
The meticulous recreation stayed true to the aesthetic of a communal toilet down to the tiling, soap dispensers, mirrors and endless rows of stalls, all bathed in an unsettling, almost seedy red light.
Partly inspired by David Lynch, the space set the tone for Alessandro Michele's bold new vision. With a background in costume design, Michele infuses his collections with inspirations from theater and film, crafting narratives as much as he does garments.
Michele often selects venues with deep historical or cultural significance — think palaces — so this public toilet setting was a clever subversion, even of his own signature style. The result? A show that explored the boundaries between public and private, intimacy and exposure, and the ever-blurred lines of identity in contemporary fashion.
Models emerged from toilet cubicles, some stopping to inspect their faces in the mirrors, blurring the line between personal and performative. The clothes were pure theatricality: caps, hoods, and dark shades concealing the face, while sheer nude tops exposed the body, a direct contrast between covering up and revealing.
Michele's designs are characterized by a kaleidoscopic mix of times and cultures, blending elements from different historical periods to create a unique aesthetic. He considers himself an 'art archaeologist,' exploring how adornment and embellishment have evolved over the centuries.
The audience buzzed with excitement. 'He's upending Valentino in the same way Demna did at Balenciaga,' one front-row guest remarked. The applause was loud, the reaction immediate. This wasn't just a collection, it was a statement, disruptive and irreverent, pulling a classical house into new, unexpected territory.
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