Rouba Saadeh is a Lebanese fashion and design professional whose public career is closely associated with ELIE SAAB. She is also known internationally as the former wife of Italian actor Michele Morrone, but her professional identity stands apart from that relationship: her record includes graphic design, fashion training, entrepreneurship, ready-to-wear work, and documented participation in ELIE SAAB projects.
Saadeh and Morrone married in 2014 and separated in 2018. They have two sons, Marcus and Brando. As of September 2026, Saadeh’s public professional profile continues to associate her with ELIE SAAB, while independent production credits confirm her involvement with the fashion house on two 2020 fashion films.
Key takeaways
- Rouba Saadeh is a Lebanese fashion and design professional with a documented association with ELIE SAAB.
- Filmmaker Mounia Akl credited `@roubasaadeh` as part of the ELIE SAAB team on two 2020 fashion films.
- Saadeh’s professional background includes graphic design, fashion training, ready-to-wear work, and the venture Le Paradis Des Fous.
- She married Michele Morrone in 2014; they separated in 2018 and have two sons.
- Frequently repeated claims about her exact birth date, net worth, height, religion, and current relationship status are not supported strongly enough to present as established facts.
Rouba Saadeh profile summary
| Detail | Verified information |
|---|---|
| Full name | Rouba Saadeh |
| Nationality | Lebanese |
| Profession | Fashion and design professional |
| Public professional association | ELIE SAAB, current as of September 2026 |
| Documented fashion work | ELIE SAAB team credits on two 2020 fashion films |
| Former spouse | Michele Morrone; married in 2014, separated/divorced in 2018 |
| Children | Two sons, Marcus and Brando |
| Fashion training | Istituto Marangoni listed on her professional profile in 2012 |
From graphic design to fashion
Saadeh’s career is best understood as a move from visual communication into fashion rather than as a career created by celebrity attention.
Public professional information associates her early work with graphic and web design. A detailed employment record compiled by ContactOut lists freelance graphic-design work, an internship with Publicis Graphics in Lebanon, and a graphic web design position connected with Alfa-MIC1. Those exact dates and titles rely on profile-derived data, but the broader progression from graphic design into fashion is consistent across the stronger records.
By 2020, Saadeh’s career at ELIE SAAB was already visible publicly. A Beirutista profile published that year reported that her LinkedIn described her as a Senior Ready-to-Wear Coordinator at the fashion house and noted her earlier graphic web design work at Alfa.
That 2020 article is useful mainly as a dated snapshot of her professional profile. Its speculation about her private life and precise locations is not necessary to understanding her career.
Saadeh’s currently indexed LinkedIn still associates her with ELIE SAAB as of September 2026. Third-party professional data describes later roles including Ready-to-Wear Studio Supervisor and Ready-to-Wear Studio Manager, although the exact current title is not secure enough to present as employer-confirmed because the same database contains inconsistent labeling.
The reliable point is simpler: her long-running professional connection to ELIE SAAB is well supported.
Documented work with ELIE SAAB
The strongest independent evidence of Saadeh’s fashion work comes from filmmaker Mounia Akl.
On Akl’s official project archive, `@roubasaadeh` appears among the ELIE SAAB team credits for two 2020 fashion films: Hymne à la Vie and Retour aux Sources.
Those credits are important because they place Saadeh inside identifiable fashion productions rather than merely repeating a job title from a biography site.
Hymne à la Vie was connected with ELIE SAAB’s Spring/Summer 2021 ready-to-wear collection. Akl’s credits establish Saadeh as part of the wider ELIE SAAB team involved in the project, but they do not show that she personally designed a specific garment or collection.
That distinction matters. Saadeh’s record supports work in fashion production and ready-to-wear operations, but not claims that she served as ELIE SAAB’s creative director or personally authored the house’s collections.
Education and professional training
Saadeh’s professional profile lists Istituto Marangoni in 2012, giving solid support to her connection with the Milan fashion school as self-reported education.
More detailed profile data also attributes studies at Lebanese American University and shorter programs associated with NABA and Central Saint Martins. Those additional qualifications appear repeatedly in online biographies, but they have not been independently confirmed through the institutions themselves.
Her public professional profile also lists Arabic, English, French, and Italian among her languages. That multilingual background fits the international settings in which her fashion work and training have taken place, though it remains self-reported professional information.
What the record does show clearly is a career built across more than one design discipline. Graphic design came first, followed by fashion training and increasingly specialized work in ready-to-wear.
Le Paradis Des Fous
Saadeh’s career also includes an entrepreneurial project called Le Paradis Des Fous.
Professional-profile data lists her as Founder and CEO from September 2013 through December 2014. That is enough to include the venture as part of her professional history, but not enough to make broader claims about its commercial success, revenue, scale, or long-term operation.
Some biography sites state that Le Paradis Des Fous closed in December 2014. The stronger underlying record only shows that Saadeh’s listed Founder and CEO role ended then. An employment end date is not the same thing as proof that the business itself closed, so the distinction should be preserved.
Marriage to Michele Morrone
Saadeh’s former marriage to Michele Morrone accounts for much of the international interest in her name.
In a 2016 interview reported by Italian outlets, Morrone described Saadeh as a Lebanese stylist and said they married in 2014. Contemporary coverage of that interview stated that the couple had civil ceremonies in both Italy and Lebanon.
Their marriage ended in 2018. Later reporting, including PEOPLE’s updated profile of Morrone’s children, also places the divorce in that year.
The chronology is notable because their marriage predates Morrone’s global breakthrough. He became far more widely known after starring as Massimo Torricelli in the 2020 film 365 Days, several years after he and Saadeh had married.
The details of how they first met are less clear. Morrone has given conflicting versions in different interviews. In 2016, he associated the beginning of their relationship with a 2011 trip to Lebanon. In 2023, coverage of his One More Time interview reported that he said he first met Saadeh in Milan’s Piazza Duomo and then traveled to Lebanon.
Because both versions originate with Morrone, neither should be treated as definitively correct. The safest account is simply that he has described their first meeting differently at different times.
Family life
Saadeh and Morrone have two sons.
According to PEOPLE, their older son, Marcudo “Marcus” Morrone, was born on September 24, 2014. Their younger son, Brando Morrone, was born on September 1, 2017.
PEOPLE’s article, updated September 2, 2026, reported that the boys live in Beirut with Saadeh. That is the most current well-supported family-status information in the public record.
Beyond that, a responsible profile does not need to expand into schools, routines, precise locations, or other unnecessary details about the children.
Current professional status
As of September 2026, Saadeh’s public professional profile continues to connect her with ELIE SAAB.
That continuity is the clearest thread through her adult public life. Her professional record moves from graphic and web design into fashion, then into ready-to-wear roles and documented participation in ELIE SAAB projects.
Her precise current title remains less certain than the employer association itself. Third-party professional data identifies her as a Ready-to-Wear Studio Manager from January 2022 onward, but inconsistent labeling on the same source means that title should be treated as reported rather than employer-verified.
What can be said with confidence is that Saadeh’s present public identity remains tied to fashion rather than entertainment.
Common claims that remain unverified
Several details about Saadeh are repeated so widely online that they can appear settled even though the underlying evidence is weak.
The most prominent example is her reported birth date of April 15, 1987. Famous Birthdays publishes that date, and numerous later biographies repeat it. No sufficiently authoritative first-party, civil, or institutional source in the documented record confirms it, so it should not be treated as established fact.
The same caution applies to claims about her net worth. Different websites publish estimates ranging from hundreds of thousands to several million dollars, but none provides the financial evidence needed to calculate personal wealth. There is no credible public net-worth figure for Saadeh.
Claims about her height, weight, religion, ethnicity, and current romantic status rely largely on derivative celebrity-profile material and are either irrelevant to her public work or insufficiently supported.
Conclusion
Rouba Saadeh’s public record is strongest where it is most concrete: in design, fashion, and her documented association with ELIE SAAB. Her work history spans graphic design, ready-to-wear operations, an entrepreneurial venture, and identifiable fashion-film projects, giving her a professional identity that is independent of Michele Morrone’s celebrity.
Her former marriage explains why many readers first encounter her name, but it does not define the full profile. As of September 2026, the most reliable picture of Saadeh is that of a Lebanese fashion professional whose current public relevance remains centered on her work rather than on the speculative personal details often repeated about her online.
