FALL 2014 COUTURE Zuhair Murad

Zuhair Murad fall 2014 Couture 1 Zuhair Murad fall 2014 Couture 2 Zuhair Murad fall 2014 Couture 3 Zuhair Murad fall 2014 Couture 4 Zuhair Murad fall 2014 Couture 5 Zuhair Murad fall 2014 Couture 6 Zuhair Murad fall 2014 Couture 7 Zuhair Murad fall 2014 Couture 8 Zuhair Murad fall 2014 Couture 9 Zuhair Murad fall 2014 Couture 10 Zuhair Murad fall 2014 Couture 11 Zuhair Murad fall 2014 Couture 12 Zuhair Murad fall 2014 Couture 13 Zuhair Murad fall 2014 Couture 14 Zuhair Murad fall 2014 Couture 15 Zuhair Murad fall 2014 Couture 16 Zuhair Murad fall 2014 Couture 17 Zuhair Murad fall 2014 Couture 18 Zuhair Murad fall 2014 Couture 19 Zuhair Murad fall 2014 Couture 20 Zuhair Murad fall 2014 Couture 21 Zuhair Murad fall 2014 Couture 22
Zuhair Murad fall 2014 Couture 23 Zuhair Murad fall 2014 Couture 24 Zuhair Murad fall 2014 Couture 25 Zuhair Murad fall 2014 Couture 26 Zuhair Murad fall 2014 Couture 27 Zuhair Murad fall 2014 Couture 28 Zuhair Murad fall 2014 Couture 29 Zuhair Murad fall 2014 Couture 30 Zuhair Murad fall 2014 Couture 31 Zuhair Murad fall 2014 Couture 32 Zuhair Murad fall 2014 Couture 33 Zuhair Murad fall 2014 Couture 34 Zuhair Murad fall 2014 Couture 35 Zuhair Murad fall 2014 Couture 36 Zuhair Murad fall 2014 Couture 37

 

Beirut has been undergoing an architectural renaissance, with Herzog & de Meuron, Norman Foster, Steven Holl, and Zaha Hadid among the starchitects making their mark on the Lebanese capital. Zuhair Murad, who is based there, saw the potential for a Couture collection built from geometry—particularly Hadid’s extreme forms. To most eyes, Murad’s interpretation might seem tenuous; dresses generally adhered to classic cocktail or gala silhouettes, with an occasional angular bustline, displaced hemline, or enhanced-volume overskirt. But look closely at the surface detail and you could see how the stretched, encrusted wave patterns; guipure macramé; and puzzle-piece prism motifs expressed a certain neo-futurist edge—especially when rendered in black, white, and silver (the result of hammered metallic sequins).

In trading last season’s precious garden inspiration for a modern cityscape, Murad nudged his aesthetic forward, even if only incrementally. To his fairy-tale wedding dress, he added a 5-meter-long veil; yet the crosshatched embroidery evoked the distinctive cladding employed by various architects today. The designer could have pushed further beyond his signature glamour comfort zone—but perhaps his clients (well-evidenced by the primped-up women sitting front-row) don’t demand this of him. He mentioned that his couture customers are younger and younger—in age and also in spirit, and maybe the beaded, multicolored jump-short number will be purchased less because it represents a good investment than a youth-affirming indulgence. The penultimate look, a shimmery belted caftan, was an outlier in its Art Deco vibe; its unstudied elegance was the most modern statement of all.

JULY 10, 2014
PARIS
By Amy Verner – style.com

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About thelivingfashion

I love fashion and travel!!
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