When circumstances prevent you from celebrating, it will be natural for you to strive to appear your best and cheerful at the first opportunity available to you, and this is what happened with the Lebanese fashion designer Zuhair Murad, during his last fashion show at “Paris Week” on the seventh of this month in the first show His fashion since the beginning of the pandemic, presenting a group that carries a message of inspiration to seek to celebrate life, and a lot of hope, inspired by the carnivals and jewels of Venice, that city that was not conquered by circumstances.
Murad can be considered one of the most affected fashion designers during the pandemic, especially after 20 years of effort and fatigue in the history of his career, during the explosion of the Port of Beirut on the fourth of August last year, when the workshop and headquarters of his famous fashion house consisting of an entire building were destroyed during the explosion, What the designer considered a huge loss, in addition to the pandemic that paralyzed the movement of the world and the fashion industry in particular, saying: “My precious archive was completely destroyed, it was consumed by fire, I lost about three quarters of it, it was a work of 20 years,” in an interview via “Zoom” with a magazine Fogg, adding with hope, “But here we are now ready to come back. Flexibility and adaptability are qualities that are deeply engraved in our society.”
Happiness and the feeling that he has come back to life, is one of the feelings that gave the designer strength during the period of work on the collection, “these are the feelings that I wanted to translate into dresses that celebrate renewal and hope, which is what all my fans and clients demanded of me as well, everyone feels that they need to return To their happy normal life, to go out again, buy party dresses, feel beautiful,” and this is what he achieved in his latest collection, which came after an 18-month hiatus.
Murad did not find an inspiration closer and more beautiful than the Italian city of Venice to start from in the implementation of his collection, a city that lacks luxury, splendor and splendor. They carry it from cultures and magic, and it is the city that has been able to rise over long ages, from pain, wars, invasions, destruction, and epidemics, to return every time more beautiful than before and with an untouched charm. The ornate is another reason to celebrate.
Among the flowers of the garden of the great Louis High School, that ancient school of the sixteenth century, began a series of opulent dresses, so opulent, with so many frills and crystal necklaces, and dancing stones, over the endless waves of fluffy layers of silk that flowed now and then twisted, without being The designer fails to highlight his well-known strengths, emphasizing opulence and luxury, surrounding ultra-feminine cuts.
Silks and jewels
Between the layers of the tour and the silk, the designer was keen to diversify the types of materials, which met on luxury, and varied in their ability to cohesion or fall according to the needs of the designs, which were all – without exception – dresses for the red carpet, relying on Murano stones with gradations and colors of stones. Precious gems, endless crystals, and dangling necklaces in continuous layers, above and between balloon sleeves and skirts, and silk gowns.
The designer did not skimp on focusing on the king of black colors in his raw materials, which were decorated with stones of jewelry colors, relying in his collection on a “pallet” of these rich colors, such as ruby and emerald, in addition to the color of sapphire as a degree of dark blue, which danced like necklaces in chandeliers Behind the scenes of the show, the designer explained to Women’s Wears Daily: “The ladies want to be under the lights, shining under them as if they were luminous chandeliers in a palace overlooking the Grand Canal of Venice.”
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