Today, fashion increasingly reflects an accelerated and hypertrophic world, one that relentlessly pursues the promise of novelty: new forms, new traces, new narratives. Within this whirlwind, I chose to inhabit a different gesture: not to rush, but to pause. Not to open yet another chapter, but to deepen a theme already set in motion. Not to consume novelty, but to allow images and questions to settle, to grow, to unfold through a vertical excavation.
Hence the need to return to the themes of the Autumn-Winter 2025-2026 show, Le Méta Théâtre Des Intimités, with the intention of continuing to explore the intimate relationship between identity and sartorial practice. Once again, the public bath emerges: a counter-space where the private and the relational blur, where the visible challenges the invisible, decorum collides with forbidden pleasure, and exposure plays with concealment. It is a liminal environment that, in this campaign, welcomes new bodies, gazes, and encounters, transforming into an inexhaustible stage of possibilities.
It was like imagining a life after the show: how many other existences could that same unsettling, collective space host? How many unspoken desires might take shape? And what other intimacies might be reflected along its corridors?
We know that fashion has always been a language of appearance, a device that stages bodies and exposes them to the gaze. Even in its most intimate dimension, we cannot escape this expository nature. Hannah Arendt had already grasped this with clarity: appearing is the very mode of human existence in the world. Within this frame, clothing affirms itself as a second skin, the medium through which we decide to present ourselves on life’s stage.
Perhaps this is fashion’s most precious legacy: where depth reveals itself as a weaving of surfaces, and intimacy discloses its political and poetic power. Not an immobile essence, but a ceaseless movement. Not a private refuge, but a shared stage.
