DUBAI/ PARIS: Lebanese fashion house Georges Hobeika unveiled its latest collection at Paris Haute Couture Week on Monday.
Hobeika and his son, Jad, presented a romantic lineup inspired by the poem “Instructions Before Visiting Earth” by James McCrae, drawing on the poem’s message of embracing life with curiosity, compassion and wonder.
Moroccan-Canadian singer Faouzia attended the show. (AFP)
The front row featured an international guest list that included Moroccan-Canadian singer Faouzia, Lebanese content creator Nour Rizk, influencer Becca Bloom, Chinese actress Fan Bingbing and Tunisian presenter Myriem Boukadida.
Crafted between the fashion house’s Beirut and Paris ateliers, the collection highlighted the meticulous craftsmanship for which the label is known. Intricate embroidery, shimmering beadwork and fluid fabrics evoked the movement of water, while lace emerged as the defining material throughout the presentation. The color palette ranged from soft blues and muted beige to sage green and dusty rose, with dramatic black ensembles adding depth and contrast.
The collection highlighted the meticulous craftsmanship for which the label is known. (AFP)
Founded by Georges Hobeika in 1995, the Beirut-based couture house has become a fixture on the Paris Haute Couture calendar.
Meanwhile, Jonathan Anderson arrived with the fashion world still waiting to see the Dior wedding dress he made for Taylor Swift.
On Monday, he tried to offer something else for it to look at.
Three days after Swift married NFL star Travis Kelce at New York’s Madison Square Garden, with both dressed by Dior, Anderson returned to the runway with a sculptural, heavily pleated collection inspired by American artist Lynda Benglis. The commission was a coup for the LVMH-owned house and for Anderson, the 41-year-old Northern Irish designer appointed a year ago to overhaul all Dior’s fashion lines.
The romantic lineup was inspired by the poem “Instructions Before Visiting Earth” by James McCrae. (AFP)
The collection tried to move the conversation from Swift’s hidden gown to the work of Benglis, known since the late 1960s for pouring latex onto gallery floors and letting metal fold and sag into shape.
Dior workrooms were treated as a version of her studio — a place where flat fabric is pressed, knotted and bent into three dimensions. Benglis bends flat material into shape; so, in the end, does couture.
The clothes followed the idea. A skirt of silver-foiled petals moved with each step, a strapless silver lame gown was cinched with an oversized bow, and trousers and blouses were finished in tight, hand-pressed pleats.
