Tonight’s couture outing on the Hôtel Potocki in Paris proved past a doubt that Zuhair Murad’s reputation has swelled to a degree that, even from the entrance row, one is more than likely to glimpse the garments first by way of a neighbor’s iPhone. Like a Pavlovian response, a phalanx of new-gen prospects—not simply ladies, and all dressed, befurred, and bejeweled to the nines—raised a display with each passage.
After the present, Murad spoke of Belle Epoque inspirations culled largely from the glory days of the French Riviera, circa 1970. “It was a time of events, stunning celebrations, and sundown colours,” the designer commented amid an onslaught of well-wishers. In his present notes, he nodded to “a brand new technology of heiresses [who] breathe life again into their household heritage,” with riffs on the ’20s and “the liberty of azure and gold days crammed with laughter, secrets and techniques, and sensuality (…) the remnant of nightlife from a bygone period.”
Murad channeled the “romantic attractive” gaiety of sunshine supplies reminiscent of tulle, chiffon, and draped jersey, with extras like beaded fringe and pearl-studded interpretations of macramé. Haute peignoirs harking back to Hollywood’s golden period had been embellished with cascades of crystals, tonal embroideries, and feathers. Some purple carpet numbers, notably pleated and draped robes in Mediterranean blue, lime inexperienced, or sizzling yellow had been accessorized with Murad’s tackle jewels handed down by way of generations. Whereas some rang a bit scanty for real-life events, it wouldn’t be stunning to see some designs—a white halter neck robe, a draped silver costume, mandarin orange and sizzling fuchsia sequin numbers—crop up on the Oscars in only a few weeks’ time. The bridal robe—made with no crinoline, crystals or shine, however numerous macramé embroidery—was a departure for Murad. Whereas that’s a bit out of character, from the entrance row it regarded like it could discover loads of traction.