Michele called the space a “dystopian, disturbing, Lynchian” setting that blurred the lines between private and public, exposed and hidden.
For his second ready-to-wear collection, Alessandro Michele took guests somewhere unexpected: a public bathroom. The space, bathed in red light, was unsettling, surreal, and a little too real. His models emerged from toilet stalls, mirrors lined the walls, and the whole thing felt like stepping into a scene of a David Lynch film.
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Michele’s show notes framed the collection as an exploration of intimacy as performance. Do we ever truly reveal ourselves, or is everything a staged act? He called the space a “dystopian, disturbing, Lynchian” setting that blurred the lines between private and public, exposed and hidden. The idea carried through to the clothes, which mixed lingerie, formalwear, and everyday essentials in ways that felt both intimate and theatrical.
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He also referenced philosophers like Wittgenstein and Foucault, suggesting that identity is constantly constructed rather than something that exists beneath layers of appearance. The collection reflected this theme through contrasts in exposure and concealment, using clothing to explore how people present themselves to the world.
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Some wore sheer lace bodysuits left open, exposing the nude tights worn underneath. Others were fully covered in black velvet column dresses with low scooped backs. There were prim skirt suits with power shoulders, fitted jackets paired with slouchy jeans, and delicate chiffon bustier tops layered under structured outerwear. Some looks referenced classic Valentino codes, like a high-necked red bow blouse worn under a tailored gray jacket. Evening gowns leaned into volume, with gold ruffles, exaggerated peplums, and long lace trains.
Menswear echoed elements from past collections, including sheer tops and relaxed tailoring. Some looks played with contrasts between masculine and feminine, revisiting the fluid styling choices he has explored throughout his career. The mix of lingerie, formalwear, and everyday elements reinforced the idea that clothing is always a construction, shaped by context and perception.
The choice of setting emphasized the performative nature of intimacy. Bathrooms have become spaces where people adjust their appearance, take selfies, and curate their image for an audience. Michele pointed out that social media has further blurred the boundary between private and public life, making personal moments instantly visible. In a preview, he referenced Madonna’s habit of sharing provocative images online, saying, “Now Madonna is in the toilet.”
