A Zuhair Murad Couture show is always spectacular on and off the runway. It is an invitation to a royal Murad event for the clients who actually wear the brand. Murad’s ladies take the proceedings seriously, so you will always see tiaras, lashings of sequins, towering stilettos, and Mommy and Me–style duets.
Zuhair Murad Haute Couture Spring Summer 2020 Paris Runway, did not disappoint. Smartphones in the air for the Couture front row moment or to eye spy who was in the room wearing what! Yet, trying to get a shot with a smartphone popping up was hard to come by.
Zuhair Murad Haute Couture Spring Summer 2020
On the runway models strolled Down the Nile Murad, riffing on the ancient tropes of Egypt. The collection was fit for Nubain Queens Isis and Nefertiti. Who held court and —invoked the gods, pharaohs, and queens to follow the power of the female.
Zuhair Murad Haute Couture
“I decided to go back in history, especially in this place and time, because the pharaohs were so mysterious,” he said, name-checking Isis and Nefertiti backstage before the show. “There’s a richness of life and fashion, but women were powerful too, maybe even more powerful than men. The mix of power and beauty sums up the Zuhair Murad woman. She likes to seduce.”
The Murad women were ready for a function, red carpet moment, to a board meeting and battle. Perhaps in a crop top embroidered with thousands of sequins depicting all manner of symbols, from hieroglyphs, falcons, and deities.
We even saw something the new cat women could wear, Bastet, the cat-goddess, made an appearance and slew the runway.
Tutankhamun’s masculine feel gave the collection a bit of tailoring. One fully sequined gown required 800 hours of embroidery, the designer reckoned. At one point, the show segued into a romantic interlude of lotus-print chiffon.
A reference to rebirth—but the designer also offered up a bit of sly wit, pointing out a number inspired by mummies.
(“The ones you see in the museums are really quite embellished,” he noted.) The bride was Murad’s “modern queen of Egypt” in a sun-ray-beaded gown inspired by Ra, the sun god, and a lavishly jewelled headpiece.
Even so, that queen was no one person in particular. “When I design for my clients, I’m inspired by them. When I do a collection, I like to rely on my imagination,” the designer said.
This couture show was one of Murad’s most commercial. The designer understands the new couture clients needs. Where they look like queens and their followers, want to wear what they are wearing. More than once. It says Beyonce all over it. What do the stylist think?