When Pierpaolo Piccioli was announced as Balenciaga’s new creative director earlier this year, the fashion world collectively paused. The man who spent nearly three decades crafting Valentino’s romantic universe was suddenly taking the reins at one of fashion’s most confrontational houses. It felt like the start of a fascinating dialogue. And now, through a series of inaugural campaigns, that dialogue is coming to life. Among the faces chosen to tell this new story? Lebanese singer and style icon Dana Hourani.
Shot by Korean photographer Hanna Moon, the campaign unfolds like a love letter to Paris, captured in fleeting car rides and quiet glances. Hourani, dressed in Piccioli’s architectural yet fluid silhouettes, becomes the embodiment of what the new Balenciaga woman looks like. The images are a deliberate pivot from the dystopian slickness that defined Demna’s tenure—there’s light, emotion, and vulnerability. It’s Balenciaga, but softer.

Photographed by Hanna Moon
Dana Hourani is one of the Arab world’s most distinct voices (literally and figuratively.) A singer, model, and visual artist from Beirut, she’s long been celebrated for her clean-cut minimalism and magnetic stage presence. Before her music career took off with tracks like Ella Enta and InshAllah Kheir, she built a following as one of the region’s first fashion influencers. In March, she was tapped as YSL Beauty’s first GCC makeup ambassador.
Piccioli’s appointment marks one of the most significant creative shifts in fashion this decade. After departing Valentino in early 2025, he stepped into Balenciaga’s creative helm amid high anticipation. His first show for the brand—staged in Paris this September—was a masterclass in restraint. Gone were the memes and theatrics; in their place, long silhouettes, impeccable tailoring, and a quiet exploration of form. It was Balenciaga stripped back to its bones.
The debut campaign continues this emotional thread. Anchored by Balenciaga’s two house icons—the Rodeo and Le City bags—it bridges the brand’s rebellious past with Piccioli’s gentler reinterpretation of power dressing.