Lebanon’s Georges Hobeika dazzles couture lovers in Paris
The collection at Georges Hobeika's show came with exquisite, well-placed embroidery in a rich palette of neutrals and playful tones, as well as luxurious materials such as satin duchesse and silk chiffon
PARIS: For Spring 2020, Lebanese couturier Georges Hobeika transported his jam-packed front row, that included Dubai-based influencer Hala Abdullah and Lebanese television presenter Diala Makki, to the idyllic shores of Sardinia, Italy.
The Théâtre National de Chaillot in Paris served as the backdrop for the new couture offering, which was a reflection of Hobeika’s favorite inspirations: “The force of nature,” “the ecstasy of freedom” and the “philosophy of entertainment,” according to the show notes.
The first look, a black crochet minidress adorned with oversized yellow and lavender flowers, set the tone for the lineup of sequined evening gowns, voluminous skirts and heavily-embellished tops that followed.
Some of the looks were paired with oversized hats that served as a nod to the umbrellas that line the shores of sunny Italian beaches.
The collection also came with exquisite, well-placed embroidery in a rich palette of neutrals and playful tones, as well as luxurious materials such as satin duchesse and silk chiffon — elements that have made the Baskinta-born designer revered by the royals and red carpet stars that make up his loyal clientele.
Indeed, celebrities constantly turn to Hobeika to dress them in his show-stopping creations for some of their most important events. Case in point: Singer-turned-actress Jennifer Lopez who chose an elegant off-the-shoulder black gown for the 2020 Screen Actors Guild Awards on Monday and before that, a cream-colored, backless gown encrusted with gems at the 2020 Critics’ Choice Awards earlier this month.
With awards season in full swing, Hobeika’s newest offering features plenty of feminine and bold designs set to take over the red carpets to come.
There was a pink, heavily-embellished top paired with a purple crochet skirt and a black oversized bow, a romantic floral-printed blazer that boasted sequined lapels, a long-sleeved gown drenched in black and pink ombre crystals, a metallic minidress embellished with thousands of tiny crystals and sequins and a hot pink ball gown that featured floral appliques on the bodice and feather fringed pouf sleeves.
Meanwhile, Hobeika also offered brides-to-be something to dream about in the form of a metallic gown with crystals and sequins that’s fit for a princess.
Iraqi artist Taha Al-Hiti helps ink new golden age for Arabic calligraphy
In celebration of 2020 being the Year of Arabic Calligraphy in Saudi Arabia, Arab News spoke to Iraqi artist Taha Al-Hiti to get his take on the unique art form
Updated 26 min 34 sec ago
LONDON: Arabic calligraphy has become a very progressive and sought-after form of art, according to renowned artist Taha Al-Hiti.
In celebration of 2020 being the Year of Arabic Calligraphy in Saudi Arabia, Arab News spoke to the Iraqi artist to get his take on the unique art.
He pointed out that Arabic letters and their forms were very distinctive in the way they were shaped.
“I have found a relationship between all the elements of the letter, which I later found out were linked to the human body and the golden section and all these proportions of beauty, which have just enchanted my eyes since a very young age,” he said.
Arabic letters, he added, were designed to emulate the human body, animals and nature in general. The “golden section” (also referred to as the golden ratio or mean) appears in geometry, art, architecture and other fields that are designed to make some of the most beautiful shapes.
Several renowned buildings and artworks apply the golden ratio, such as the Parthenon in Greece, Leonardo da Vinci’s “Vitruvian Man” and the “Mona Lisa,” Salvador Dali’s “The Sacrament of the Last Supper,” as well as UNESCO World Heritage Sites such as the Great Mosque of Kairouan in Tunisia and Naqsh-e Jahan Square in Iran, among others.
Al-Hiti noted that Arabic letters had their own components of the human body and were “based on a very organic way of building.” They are referred to as either “the chin, neck, body, or chest of the letter,” and so on and were also grouped into families.
“For example, the letter Alif (or A in English) in calligraphy is written in a straight, vertical line. But in Arabic calligraphy, it is a straight line leaning slightly forward with a chest that’s protruded forward and the lower part is going backwards, just like the human posture,” he said.
Other examples are the letter Ein (or Aa in English) which takes the form of the eyebrow (or Hajjib in Arabic) and the letter Hha and Kha and Jeem (H, Kh, and J) which are from the same family and are shaped like an ear of a horse.
A graduate of architecture from the University of Baghdad in Iraq, Al-Hiti, was pressured into pursuing a medical degree or one of a scientific nature by his father.
“My dad was a doctor and he suggested I became a doctor, and I said no forget it, I want to be an artist. I thought architecture had got a lot of mathematics and science, as well as arts,” he added. This enabled him to combine his passion for calligraphy and Islamic arts, while also pleasing his family.
Al-Hiti was drawing his name and his parents’ before he learnt to read.
“I used to draw the names, not knowing which one was my name or which was my dad’s or being able to read them. I used to just replicate the shapes that I saw, in enchantment of the beautiful letters and then it was always present with me.”
He compared Arabic calligraphy to any other art form. “I suppose, like all sorts of arts or skills, calligraphy predominantly is a skill mixed with a good or variable bit of talent, but it’s a skill like playing the piano or sketching in pencil, these are all skills that you acquire through practice. Calligraphy requires a lot of practice, mixed with the talent and character of the calligrapher.”
He said each calligrapher’s work was based on the teachings of their “master,” ranging from various countries including Iraq, Iran, Morocco, and Andalusia in Spain, which has deep Islamic artistic roots.
“Calligraphy is an art that is inherited by generations that teach it to each other, so you could tell which master or if it was from a Baghdad, Moroccan or Turkish school. All the different calligraphy forms are developed in different nations of the Islamic world,” he added.
Comparing the different types of calligraphy, Al-Hiti said that Arabic calligraphy was always drawn horizontally, as opposed to, for example, Japanese or Chinese calligraphy, which was drawn vertically, and also used different techniques, inks and pens.
However, he said he aspired “to find a modern form of doing calligraphy or compositions” and “started forming vertical letters for mosques’ minarets,” and had done many successful trials, one of them 90 meters high.
“It’s the versatility in breaking the rules and how good you are in breaking those rules and coming up with something new, not necessarily replicating traditional forms, but no harm in sticking to the original rules of calligraphy as well.
“I think it’s changing for the better, there’s more interest, and the proof is this interview, that you want to convey more about this beautiful art to the public, and that is a beautiful thing.
“And the more you look at it, whether you’re an Arab or non-Arab, whether you can read it or not, you will actually find the rhythm in it, you will find the balance, you will find the harmony, you will find the contrast,” Al-Hiti added.