domingo, 27 de julio de 2014

ZUHAIR MURAD FALL 2014 COUTURE

DANIELA DE JESUS (MAJOR)

ZUHAIR MURAD


FALL 2014 COUTURE



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.


DANIELA DE JESUS (MAJOR)




















DANIELA DE JESUS (MAJOR)




ANASTASIA IVANOVA (WOMEN)









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