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Arab fashion was not absent from the recent Golden Globe Awards, held in Los Angeles, thanks to Lebanese designer Georges Chakra’s creations.
The creations of the Lebanese designer were showcased by US singer-songwriter Andra Day and model Molly Sims on the red carpet, each selecting distinct styles from Chakra’s collection. Andra Day chose a black semi-sheer gown adorned with floral ruffles, while Molly Sims opted for a gold, pleated dress with a floral epaulette on one shoulder.
A trademark of Lebanese design
Chakra’s journey into the fashion world began with an initial foray into interior design in Lebanon. However, seeking a different path, he moved to Canada to study fashion design at the Canadian Fashion Academy. In 1985, at the age of 22, Chakra returned to Lebanon and opened his first couture house. His designs quickly gained popularity in Lebanon owing to his European-influenced style that resonated well with the local taste. Chakra’s brand, ONNA Group, was launched in 1994 and has been expanding ever since.
Chakra made his international debut at Paris’s Haute Couture Fashion Week in 2001 with his collection, marking the beginning of his regular appearances at this prestigious event. He has also presented his collections at Mercedes Benz Prêt a Porter Week in New York. His work has featured in notable films such as “The Devil Wears Prada” and television series like “Gossip Girl.” Chakra’s designs have been chosen by numerous celebrities and have featured in major fashion magazines like InStyle, Harper’s Bazaar, Vanity Fair, Elle, and others. His clientele includes celebrities such as Gwen Stefani, Hiba Tawaji, Goldie Hawn, Catherine-Zeta Jones, and many more.
Jordanian Fashion Designer Kish Jeane, breaks Guinness World Records by making the longest cape in the world for Lebanese superstar, Najwa Karam.
The cape is 55.7m long, with 118m of fabric and 3m of gold reflective leather used to craft it.
Jeane, who is known for his use of reflective leather in his designs, designed the cape drawing from Greek mythology for inspiration . He also added the name of Najwa’s most recent album “Charisma” in Arabic calligraphy on the back of the cape.
Najwa Karam also wore a gold cage shoulder piece with a white jumpsuit, also designed by Jeane. She wore both outfits to her welcoming event in Jordan, celebrating her participation in the Jerash Festival .
Kish Jeane will also be the first Jordanian designer to participate in New York Fashion Week, as he will be presenting his Spring Summer 2024 Collection there.
This January, Sara Chraibi, founder of Maison Sara Chraibi presented for the first time at Paris Haute Couture Week. The Moroccan designer greatly impressed critics with her collection which combines traditional Moroccan craftsmanship with modern elements and materials for a unique style that celebrates her heritage but also appeals to the contemporary woman.
After living in Paris and working as an architect for several years, Chraibi returned to her home country to establish her fashion brand. It was a major shift in cultures but she wanted to be in her homeland in order to find ways to embrace the traditional craftsmanship techniques and find new ways to express this as a form of contemporary luxury. Her designs are deeply rooted in traditions but also appeal to the wider world. This season Chraibi presented her Spring/Summer 2023 collection at Paris Fashion Week after being invited by the Fédération de la Haute Couture et de la Mode to showcase her designs to the world. Here we find out more about the experience and what we can expect to see from her brand moving forward.
Tell us a little about how your brand came to life.
I grew up in an environment of art and culture. As a child, I was introduced to sewing and embroidery by my mother. After my architectural studies in Rabat, I moved to Paris where I wrote a diploma (DEA) in “Philosophy and Theory of Architecture”. In Paris, my passion for fashion and couture is nourished by the vitality and creativity of the city. Alongside my job as an architect, I then began to draw, sew and embroider a multitude of couture pieces.
In 2012, I presented my first collection “Anatomic Architecture” during the final of a Competition organized by “Ateliers de Paris”. In the same year, I participated in Festimode Casablanca Fashion Week where the models paraded in front of the Casablanca cathedral. Greeted unanimously by the public and the press, these first appearances were the beginning of my professional retraining.
Congratulations on the Spring/Summer 2023 collection – tell us about this collection and how it came to life.
When I started working on this collection, I wanted to share several elements of my personal story, my influences and my sensitivity to the world. I had this idea of weaving a collection where each thread would represent part of the story: beginning with the architecture, the relationship to the structure of the garment, then there is the know-how, coming from a Moroccan textile tradition and the memory of the elegance of Moroccan women, there is this double culture that makes the originality of my point of view on fashion. I wanted to weave all this together and make it into a framework to tell a new reality.
This was your first time showing at such a level tell us about your experience being a guest member of the FMHC.
For me, Haute couture is a dream, a celebration of uniqueness and being part of it as a guest member is a milestone for my brand.
Can you tell us about some of the traditional techniques that you used in your designs and how you have evolved the techniques and craftsmanship to give them a modern twist?
With my work, I take patterns, shapes and ancient techniques from Morocco but I add a certain twist or reinvent them in a new way. For example, I used the “sfifa” weaving technique to create a fabric rather than using it as an ornament, as is done traditionally. I mixed raw materials from Morocco, and I used golden thread and silk fringe to build garments as a link between two cultures and realities. I see traditional craftsmanship both as an inspiration and a call to innovation.
How do your heritage and upbringing influence your work today?
My brand is built around the Moroccan art of living, my architectural background and my interest in couture know-how inspire it. My brand aesthetic evolves around the idea of subdued femininity. With a timeless approach to eveningwear, I merge the East and West through one-of-a-kind couture garments.
Tell us about your first memory of fashion.
I remember times before my mother had an important party, we would stroll from stall to stall in the markets in search of fabric and she would make dresses from scratch. I would sit next to her and watch her assemble the pieces of fabric one by one and sculpt the garment. At that time I started to collect fabric scraps to in turn sew something for my barbie doll. There was something magical about those moments. As I grew up, I remember my impatience to get dressed for these events; to put on a beautiful dress, to finally be part of the adult world, with all those sophisticated ladies, perfumed, richly adorned in silk and lace, with an appearance that made everyone’s heads turn. The women of Morocco are beautiful and sensual and wearing a caftan is an ancestral tradition, a ritual that is passed down from mother to daughter.
How do you think your background in architecture has influenced your designs and the way you put looks together?
I quickly realised that fashion and architecture could share the same vision. As an architect, I liked the modern period. In my clothing designs, I am influenced by modern architecture. All my attention goes to the purity of the lines, to the elegance and the lightness of the structure, it is a sort of quest for the essential.
What is the vision for your brand moving forward?
For me, succeeding in the world of fashion comprises several essential elements: commercial success, of course, but also and above all, success together as a team to share values and wealth, to ensure that each person in the company grows through their work. There is also a cultural success, where in addition to offering products, a brand manages to permanently establish its universe in the collective imagination. That’s all I want to achieve for my brand.
Who are some of the designers or brands that you admire?
Madeleine Vionnet, Jeanne Lanvin, and Elsa Schiaparelli, all made contemporary fashion history with a feminine point of view. I also admired Lee McQueen’s vision and Azzedine Alaia’s sharpness.
There are few brands from the Arab region that have managed to reach success on a global level – what is your opinion on this and what advice would you give to aspiring designers in the Middle East?
I wish that there are more and more brands with an Arab or oriental DNA on the international scene. Fashion is a great tool of soft power. Each new designer who launches in the region is responsible for spreading our culture to the rest of the world.
In this issue we are celebrating the month of Ramadan, what does this time mean to you and how will you be spending it this year?
Ramadan is one of my favourite times of the year. It’s time to reconnect with our faith. I like to spend it with my family and friends, to celebrate with pride and joy and I also like to share iftar with my non-Muslim friends.
What is next for you this year and for the rest of the year?
I’m working on the Maison Sara Chraibi Fall/Winter 2023 couture collection. I will also launch an e-commerce site later in the year.
What can you tell us about your brand in the Middle East and can we expect to see you here soon?
I plan to do some trunk shows in the Middle East over the coming months. The Middle East is an important market for my brand and It’s very important to establish long-term commercial partnerships there.
The event highlighted Moroccan caftan as a key part of Morocco’s cultural identity and diversity.
The UNESCO headquarters in Paris hosted on Tuesday evening a spectacular fashion show displaying the vibrant colors and captivating designs of Moroccan caftan. The show was part of the African Week taking place between June 5 and 9.
The event showcased the work of Moroccan designer Fatima Zahraa Al-Filali Al-Idrisi, the visionary creator behind the renowned brand “Fatim Haute Couture Made In Morocco.” She had been specifically invited to represent Morocco at the show.
With an atmosphere infused with the melodies of Tarabi and Andalusian heritage, the Moroccan designer mesmerized the audience with her unique collection of Moroccan caftans.
She showcased “an original variety of Moroccan caftans resembling historical, vibrant, and pleasant works of art,” indicated a press release.
The statement added that Al-Idrisi’s designs “embodied both the luxury and honor of this traditional national garment, the Moroccan caftan, which has remained an authentic and refined heritage throughout different periods and generations.”
Exuding opulence and prestige, each garment embodied Morocco’s rich cultural, historical, and civilizational legacy.
The fashion event saw a harmonious blend of international, African, and Maghreb presence, convening diplomats, professionals, entrepreneurs, artists, media representatives, and members of the African diaspora residing in France.
With her participation in the event, under the theme “Authentic National Heritage,” Al-Idrisi aimed to highlight and celebrate Morocco’s cultural diversity and bring the international audience closer to the different cultural realms that shape the Moroccan identity.
From the Sahrawi caftan to the Amazigh caftan and the Moroccan Jewish caftan, the Moroccan designer showcased a wide range of styles, incorporating regional dimensions, including the Fassi, Rbati, Atlassi, Shamali (Northern), Sharqi (Eastern), and Janoubi (Southern) designs.
The spectacle also celebrated the craftsmanship and attention to detail involved in the creation of Moroccan caftans. This included the fabrics, textures, and captivating colors used in the caftans varied according to regions, customs, occasions, and seasons.
The event also showcased Moroccans’ mastery of caftan styling techniques, embroidery, and ornamentation, a testament to the creative skills and dedication of the North African country’s artisans.
In line with the African Week’s objective of showcasing the continent’s cultural and artisanal heritage, Al-Idrisi incorporated “prominent authentic accessories that enhanced this elegant garment,” added the statement.
The accessories included hand-women and embroidered pouches, headbands, crowns, belts, woven and metallic trims, traditional brooches, earrings, and necklaces.
Adorned with coral and gemstones, the accessories enhanced the overall charm of the caftan designs.
Lebanese designer represents Moroccan culture and feminine beauty at Maroc Fashion Week.
Maroc Fashion Week ran from March 8 to 11 in the city of Marrakech. The purpose of the event was to represent the Moroccan caftan and to further celebrate International Women’s Day.
Morocco World News spoke with Lebanese fashion consultant and designer Bernard Jabbour about his newly presented collection, Poisonous Beauty.
The esteemed designer has 28 years of experience in the fashion industry, some of Jabbour’s extensive experience includes his work as a consultant for Lebanese fashion designer Elie Saab and Project Runway Middle East. The designer is mostly known for his work at his Lebanon-based fashion studio, in which he specializes in haute couture – high-end, custom, and handmade fashion – including evening and wedding gowns.
Jabbour has visited Morocco twice before, but the most recent visit marks more of an official trip at one of the “biggest events,” hosted at what the designer described as a “beautiful country.” Poisonous Beauty is also the first-ever collection that he has debuted at Maroc Fashion Week.
“They say I’m classic yet with a twist. I try every time to put something new in my designs, but you can always see the touch of Bernard Jabbour. My DNA is always present in my designs,” Jabbour explained.
Enticing and dangerous inspiration
His primary inspiration for all of his collections is the presence of the woman; each collection simply approaches the woman figure a little differently to create a unique design for every season. Poisonous Beauty is one of his more ambitious and “tricky” projects.
The thought process behind the idea relays his thinking that women are a “beautiful poison that … we want to have … Her soul, her look and everything is poisoning us, but we also ask for it.” The designer sees a woman’s figure and aura as something both enticing and dangerous, a familiarity that when studied and analyzed through an artistic lens, appears unique and foreign.
Furthermore, Jabbour explains that he has experimented with “unconventional material” for this very collection as well, with new volumes and calmer color palettes.
Jabbour’s most prized dress in the Poisonous Beauty collection is one that is inspired by Moroccan architecture. It was never intended to be a part of this collection, but Jabbour says that “because I’m here in Morocco Fashion Week, I said no. I have to do one dress dedicated to Morocco.”
In regards to Maroc Fashion Week, Jabbour applauds the beauty and representation of the caftan: “I have … few Moroccan designer friends … [but] I like how they make the caftan. The handwork they put in the caftan, it’s like really magic.”
The designer felt amazed by the multiculturalism that he and other designers were exposed to at Maroc Fashion Week. Jabbour mentioned that the event unites people from across the globe he said, including countries such as “Kazakhstan, Italy, Lebanon, and Palestine.”
Jabbour is one of many international designers who helped in paying tribute to women’s presence and cultural recognition in the ever-developing world of the international fashion industry.
