Zuhair Murad looked to ancient Greece for inspiration and found two types of goddesses: the warrior princess and her softer, feminine sister. Studded jackets, belted dresses, snug-fitting leather in black, white and gold for the former; feathery embroidery, pastels and a touch of macramé for the latter.
A black silk tulle dress touched the floor, with an embroidered feather pattern and silk nude lining underneath. The sleeves were long, but the shoulders were exposed, and so was part of the back, peeking from below black silk fringes.
“The transparency effect on the body, this is my signature,” noted the Lebanese designer, likening it to a tattoo.
A pair of high-waisted ivory trousers was paired a silk-fringed top embellished with embroidery. Knitwear was present as well and came in the form of a floor-length dress with accordion pleats shimmering in gold and white. Shoulders were bared on this piece, and the bodice was low-cut.
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The pieces were forward-looking, suiting the chic, Champagne-sipping cocktail party guest of this era, despite Murad’s insistence on ancient times.
“I’m not a futuristic person, I like to go to the past,” said Murad, who makes a point of visiting Greece every summer.