Fashion week fixture Nora Attal is in high demand in Paris

The model took to the runway for Alexandre Vauthier. (AFP)
Updated 03 July 2019

Fashion week fixture Nora Attal is in high demand in Paris

DUBAI: British-Moroccan model Nora Attal is racing from show-to-show at Paris Couture Week and has walked the runway for an enviable list of luxury labels over the past few days.

Attal took to the Dior runway in a fantastical ensemble by the French fashion house on Monday, showing off a leather dress with cutouts and feather details.

The styles on show also mixed the old and the new, with lightweight materials giving some of the black dresses a diaphanous air, Reuters reported.

Skirts adorned with feathers, touches of velvet or lace were subtly structured to add volume; belted jackets came with exaggerated, bouffant sleeves.

A day later, Attal took to the runway for Chanel, showing off a demure buttoned-up look in the fashion house’s first hate couture collection since Karl Lagerfeld’s death earlier this year.

His successor and former right-hand woman Virginie Viard — who admitted that she spent more time with him than any other person — recreated one of the legendary designer’s libraries inside the Grand Palais, where Lagerfeld staged his shows.

The British-Moroccan model walked the runway for Dior. (AFP)

The bibliophile — who died in February aged 85 — is estimated to have owned up to 350,000 books, AFP reported.

In a rotunda worthy of the British Library, Viard — a book lover herself — sent out a sleeker, more restrained and more classically Chanel collection than the master delivered in his final years.

Nods to Karl were everywhere from the models wearing their hair in ponytails echoing his white powdered mane, to a series of dresses adorned with Lagerfeld’s signature starched collars and cuffs.

The two-tone bowed shoes evoked the court dandies of Lagerfeld’s favorite century, the 18th, with patent slippers adding another touch of boudoir glamor, according to AFP.

The discreet Viard — who did not talk to reporters — appeared briefly on the first floor of the set at the end to acknowledge the applause.

She did, however, put her own mark on the clothes.

A four-pocket belted trouser suit and coat spoke of a purer less flashy marriage of street style and couture in the future, as did some gorgeous retro silk bathrobe and pyjama pants combos.

As Chanel said later, the library theme was also about Viard writing her own new page in fashion history.

White buttons and models in bookish glasses were also prominent as were all the Chanel standards of tweeds and Lagerfeld’s sparkling highly-embroidered sequined pieces.

‘Noura’s Dream’ becomes nightmare dilemma in this raw tale

Hend Sabry plays the lead role in ‘Noura’s Dream.’ (Supplied)
Updated 16 October 2019

‘Noura’s Dream’ becomes nightmare dilemma in this raw tale

CHENNAI: Hinde Boujemaa’s “Noura’s Dream,” which premiered at the recent Toronto International Film Festival and later featured at El Gouna Film Festival, saw the movie’s protagonist, Hend Sabry (Noura), clinch best actress award at the latter.

The director, who also wrote the script, tackles an unusual dilemma for a woman being pulled in three different directions by her husband, lover and three young children, two of them girls.

It is certainly not an easy task to lead a story such as this – emotionally complicated and set in Tunisia – to a closure.

In an interview with Variety, Boujemaa said: “There have been movies about adultery, but very few of them have been wholly empathetic to the woman. There’s often a kind of moral judgement attached. I wanted to make a film without any hint of moralizing.”

“Noura’s Dream” opens with a romantic scene. Working in a prison laundry, she is seen on her phone talking to her lover, handsome garage mechanic Lassaad (Hakim Boumsaoudi), and the two are all set to marry, her divorce just days away.

Her husband, Jamel (Lotfi Abdelli), is in jail having been caught committing petty crimes but when he is freed early after a presidential pardon, things get messy.

The director tackles an unusual dilemma for a woman being pulled in three different directions by her husband, lover and three young children. (Supplied) 

Boujemaa’s film has the feel of a Ken Loach (British director) movie, with its take on the predicament of the working class. There is a certain raw quality about “Noura’s Dream,” devoid of the polish and psychological complexities of “Marriage Story” (screened at Venice), in which auteur Noah Baumbach portrays the pain of a marital split with a degree of levity and sophistication.

A similar approach and treatment cannot be taken with Noura’s story, which is set in a very different kind of social environment that gives little freedom or equality to a woman. Take, for instance, the scene in which Noura’s defense lawyer, a woman, makes her client feel small and guilty, reminding her of the injustice and harm a split would do to her children.

Boujemaa’s film has the feel of a Ken Loach (British director) movie. (Supplied) 

Sabry brings to the fore the quandary of Noura, who is completely lost.

Should she go ahead with the divorce and marry Lassaad, a union that could mean abandoning her children who need their mother? Or should she stick with her wayward husband? There are no easy answers.