Designers

With London Fashion Week in full swing, Arab designers on the calendar are making waves with their Spring/Summer 2024 shows. Below, discover the new Atelier Zuhra and Noon By Noor collections.

Noon By Noor
Photo: Courtesy of Noon By Noor
‘Moonlit’ by Bahraini label Noon by Noor, presented at London’s ‘HERE at Outernet,’ is a radiant testament to the boundless creativity of its founders, Shaikha Noor Rashid Al Khalifa and Shaikha Haya Mohamed Al Khalifa. This collection, for Spring/Summer 2024, masterfully captures the ethereal dance between light and darkness, mirroring the moon’s ever-shifting phases.
Photo: Courtesy of Noon By Noor
The designers have woven a tapestry of contrasts throughout the collection. From the billowing cape-like sleeves that create an airy and voluminous allure, to the square-cut shirts, some cropped, others transformed into bibs, this collection infuses different elements with remarkable versatility. The inclusion of utilitarian cargo pockets on chinos, shorts, and cotton dresses tied at the back brings a dash of practicality to the elegance, while the jackets stand as paragons of clean lines and simplicity, artfully devoid of linings, facings, or canvas.
Photo: Courtesy of Noon By Noor
In a harmonious collaboration with their creative team, Shaikha Noor and Shaikha Haya have taken a cinematic approach, exploring the intricate facets of the Noon By Noor woman and seamlessly blending romance, softness, independence, and strength to celebrate the unique spirit of women. This collection, aptly adapted for the Middle Eastern climate, exudes confidence and strength, truly embodying Noon By Noor’s vision of harmonious contrasts and adaptive creativity.
Atelier Zuhra
Photo: Courtesy of Atelier Zuhra
In a dazzling display of gracefulness and nostalgia, Atelier Zuhra, the Dubai-based couture fashion house helmed by Omani designer Rayan Al Sulaimani, transported us to the refined opulence of the Victorian age with its latest collection, ‘Timeless Beauty.’ This enchanting collection pays homage to the era of grandeur, seamlessly blending the past with the present.
Photo: Courtesy of Atelier Zuhra
Each piece in this collection was a testament to the house’s signature craftsmanship, which has caught the attention of stars like Beyoncé. The intricate embroidery, and choice of fabrics like silk taffeta, French tulle, and silk organza resulted in pieces that embraced femininity to the fullest. Rich tones of red ruby, luxurious blue sapphire, and affluent fuchsia also created a captivating visual symphony that resonated with a sense of regal splendor and modern vibrancy.
Photo: Courtesy of Atelier Zuhra
Read Next: Hijabi Runner Intisar Abdul-Kader Just Walked the Runway for the First Time at Copenhagen Fashion Week

With designers exploding couture’s clichés, the future of form seems to be very different.
Robert Wun
Couture is the pinnacle of fashion as an art form; the distillation of a designer’s artistic vision and talent. It is also a playground for new ideas – both a mirror and a crystal ball, reflecting what is and showing what’s to come. At the FW23 couture shows, Thom Browne upended what a sleeve could be (and seem), while Balenciaga weaponized dresses into rigid, overstated contours. The shape of things to come, it seems, is anything but normal.
Iris van Herpen
“Risk-taking is the fun of it all,” says celebrity stylist Karla Welch. After visiting couture shows in Paris with Tracee Ellis Ross, Welch immediately snagged a mountainous hot pink Valentino gown for Ross to wear to the 2018 Emmys. “This dress was so extreme at the time,” Welch notes. “That moment shifted volume and silhouette on the red carpet.” It’s a trend that has only gained momentum, as stars and normies alike step away from conventional mermaid dresses and LBDs. Welch has since put Kristen Wiig in a Valentino dress with vertical ruffles for the 2020 Academy Awards, and Sarah Paulson in a Louis Vuitton two-piece with a square crop top for the 2022 Emmy Awards. The hourglass is out, the quadrilateral is in – as is the cylinder, the cone, and the balloon.
Viktor & Rolf
Thierry Mugler’s alien women, Viktor & Rolf’s ultra-exaggerated tailleurs, and Iris van Herpen’s circle shapes representing infinity are all pioneering avant-garde couture statements. Daniel Roseberry is mainstreaming the new unconventionality since his arrival at Schiaparelli in 2019. The Texan designer took a maison known for its surrealist daring and reinvented it for the modern age, showing that Elsa Schiaparelli’s singular spirit lives on. He continued the irreverence with his SS23 couture, playing especially with trompe-l’oeil shoulders and stiff, undulating waves. Chinese designer Guo Pei has also played with these proportions, following up the viral yellow cape she created for Rihanna for the 2015 Met Ball with collections inspired by Ming vases and even a “Siamese twin” dress worn by two models.
Rihanna in Guo Pei
Designers use fashion to explore and challenge societal norms, cultural boundaries, and personal beliefs. “My exaggeration with some silhouettes take me back to a time where fashion was pure excitement, where you look at a piece and smile because it’s not fitting in most of the boxes you can find,” says Jad Hobeika, co-creative director at his father Georges’ eponymous Lebanese house. For Georges Hobeika FW23 couture, bright purple fringe coats with bobbled sleeves are worn over tiny twin sets, while a feathered bodice wraps around an ethereal white gown like a fluffy boa. “Women who wear Georges Hobeika have a high understanding of the world of fashion,” Jad continues. “They don’t only look beautiful from the outside, they also have an influence on their surroundings. They are independent and brave.”
Schiaparelli
To pull off shapes not traditionally associated with actual pieces of clothing, it takes fearlessness. It is a look and an attitude that is not polite or predictable. “These are clothes that make you aware of the fact of your body; that make you think about how you move through the world,” Roseberry noted at one of his shows. Perhaps that is the point of fashion breaking away from its conventional shapes – to make us more aware not only of the power and provocation of our own bodies, but to be acutely conscious of the spaces we move in. For women, especially, these spaces are not always safe or welcoming. Showing up in an unexpected shape says more than just “look at me;” it signals a rejection of norms and societal authority. You don’t have to take it as far as Kanye West’s girlfriend Bianca Censori in her bodycon dress with shoulder pads like walls, simultaneously hiding yet drawing attention to her face – but thoughtfully placed statements such as surprising volume or atypical outlines show you know these radical times call for unconventional looks.
Thom Browne
At Nina Ricci, creative director Harris Reed has been upending the heritage house’s codes with novel interpretations. Fresh from dressing Florence Pugh in a mandarin orange tulle dress for this year’s Bafta awards, the pleated fringe bodice bursting upwards like rays, Reed sent giant bows and fluoro feathers down the runway. Pouf-sleeved jackets and dresses almost as wide as the catwalk itself further announced a new aesthetic – one not necessarily concerned with practicability or “prettiness.” “It’s a bold new statement,” the designer said backstage. Hong Kong designer Robert Wun also stunned crowds with his couture debut this season, presenting sculptural peplums, pleats, and headwear with entirely unconventional burn marks and drink stains.
Couture designers have also been experimenting with various cutting-edge techniques and materials, blending traditional craftsmanship with modern technology. Indian designer Gaurav Gupta, for instance, embraces his heritage in the creation of futuristic showmanship. His shows are immersive artistic affairs, taking in sculpture, theater, and poetry alongside his fantastical dresses. His SS23 collection displayed gowns in undulating wave shapes, with exaggerated pleating creating new forms and dramatic visions. “I love the sense of freedom from monotony,” Gupta notes. “Exaggerated shapes tend to tickle multiple fantasies in all of us.”
Originally published in the September 2023 issue of Vogue Arabia
Read Next: Bahraini Brand Monsoori’s Fall 2023 Couture Collection Explores Art Through Craft

Photo: Szilveszter Mako
Like a dazzling sunset, an exquisite, structured haut seems to capture the rays within its silk taffeta threads. Its golden hue evokes warmth, richness, and opulent couture. In all, it required 130 hours of craftsmanship by skilled petites mains. Meanwhile, a cascading, silk tulle gown hides between its skirts the secrets of patternmaking, fabric cutting, the assemblage of its layers, draping, hand-stitching, and elaborate beadwork. The garments are featured in what appear to be oil portraits from the Renaissance, but these romantic pictures, puissant with allure, are in fact images from Monsoori, a Bahraini couture brand led by founder Shaima Al Mansoori, to showcase its Fall 2023 collection.
Photo: Szilveszter Mako
“It was a time when womanly allure held an enigmatic charm, transcending convents and captivating hearts,” considers Al Mansoori of the epoch that serves as the backdrop to the latest collection. A symphony of classic hues – brilliant gold, midnight black, and verdant green – emerges to invite on a voyage through splendor, strength, nature, and hope. The couturier’s overarching aim is to remind that “authentic beauty transcends the confines of both time and space, inviting all to revel in the radiance of the inner self, and to celebrate the resplendence that lies within.”
Photo: Szilveszter Mako
A source of constant stimulus to the couturier, the European Renaissance marked the period from the Middle Ages to modernity and spanned the 15th and 16th centuries. Beginning in Florence, it was a cultural movement that saw realism and humanism infused in thought and art. Paintings were treated as windows into space; light and shadow and human anatomy were meticulously studied. Al Mansoori is well-versed in the Renaissance masters. She cites Giovanni de Paolo as a favored artist “because he possesses a remarkable ability to infuse his canvases with life. Through his deft brushstrokes, you get to explore a world where time and space dissolve. Most of his paintings offer a glimpse of a place where dreams and reality intertwine harmoniously.” She mentions Masolino da Panicale, whose “skilled brushwork and a rich color palette create scenes of breathtaking beauty.” While Masaccio “wove threads of perspective, anatomy, and light, infusing his subjects with pulsating life.”
Photo: Szilveszter Mako
Alike phrases can be said of this collection, which the designer describes with expression and eloquence, rare in this emoji-driven day and age. Al Mansoori explains that she spends time deliberately away from social media, preferring to immerse her mind in vintage literature and occasional visits to her favorite European Renaissance museums, the Uffizi Gallery in Florence, and the National Museum of Palazzo Venezia. This past summer, she isolated herself in the countryside with the company of family and close friends. She also continued to hone her craft, practicing the art of dart manipulation techniques.
Al Mansoori began her foray into fashion at 18, embarking on a self-taught journey as a designer. “There were humble beginnings,” she recalls, “refining my skills through draping on mannequins and exploring the art of illustration and silk painting. Gradually, I delved into the world of basic tailoring techniques, allowing my creativity to flourish.”
Photo: Szilveszter Mako
Soon after, she found herself curating small collections and she founded her brand in 2006. Two years later, the opportunity arose to showcase Monsoori internationally at the Altaroma fashion week. “This pivotal moment fueled my determination to deepen my knowledge and enhance my skills,” she states. Consequently, Al Mansoori enrolled at the London College of Fashion, embarking on a professional pursuit of her passion. Today, her designs are worn internationally by celebrities such as Beyoncé, Ariana Grande, and Julia Roberts.
“The world of fashion design beckoned me,” she says. “My deep affinity for unique fabrics and textiles blossomed through travels across diverse lands. The rich tapestry of history woven within each thread resonated with me profoundly, igniting a passion for the stories behind the craftsmanship. It is this intricate interplay of skill and accompanying historical narrative that shaped my journey, resonating within me synonymously.”
Originally published in the September 2023 issue of Vogue Arabia
Read Next: Bahraini Artist Shaikh Rashid bin Khalifa Al Khalifa’s Vibrant Work Meets Fashion in Full Bloom

At only 28 years old and in just two seasons, Maximilian Davis has transformed the century-old Ferragamo into the brand everyone wants to wear now. Vogue Arabia meets with fashion’s rising star in Florence.
Photo: Bohdan Bohdanov
To some, red is the color of passion. To others, a color of fear. Some civilizations associate red with power and majesty. For Maximilian Davis, the recently appointed creative director at Ferragamo, red was the perfect color to coat the floor and walls of the 500-year-old palazzo of the former Archbishop’s Seminary in Milan, when he presented his much-applauded debut collection for the heritage brand last year. This is not the only drastic move that came with the appointment of the young British designer. Fearless, Davis has fully rebranded the fashion house from day one in the office, starting with the name and the logo – dropping Salvatore and altering the typeface to a modernist take on a classic font (serif) – to adopting the new flaming shade. “When someone arrives at a brand, they need to change the whole perspective of what the past was, and the way we can energize and renovate what we have,” shares the 28-year-old creative in his atelier in Florence. “First, though, was to focus on the brand’s name, to make it easier to refer to. The next thing was the color. I feel that every brand has a shade, which really helps it to be recognized. Red has many meanings behind it. For some it’s anger, but for me, it’s romance, sensuality, and passion. Ferragamo did have a dark Bordeaux, almost like a red, so I didn’t want to change that too much, but rather provide a new energy to the color. Honestly, these were the steps that I was thinking of even before my first day at work.”
Ferragamo SS23
Maximilian Davis
Starting with a bang, besides the brand’s new visual identity, a shift in the style of clothes was immediate. Worn on his scarlet runway by an inclusive cast of models –under a rain shower that made everything even more dramatic – his debut collection featured sensual dresses in solid colors, dégradé or see-through, looks fully bejeweled with sparkling stones, and tailored trousers and jackets that tightly hug the body. The message was clear: the new Ferragamo woman is not to be ignored. “With clothing, I always want to give a sense of power. I would never make clothing that makes people feel weak, you know? I also want to prove that Ferragamo is not just the brand your parents wear.”
Photo: Bohdan Bohdanov
While many might question the appointment of a designer in his 20s to take the helm at a brand with almost 100 years of fashion history, the answer lies exactly in the legacy of Ferragamo. Salvatore Ferragamo made his first pair of shoes for his sister’s communion at age nine; at 16 years old, without speaking English and all alone, he crossed the Atlantic to relocate to the United States, to work in a shoe factory. A few years later, once established in Santa Barbara, California, he quickly became the favorite designer of leading ladies such as Audrey Hepburn, Marilyn Monroe, and Sophia Loren. Judy Garland was also one of his clients, with Ferragamo creating for her in 1938 what would become one of the brand’s most recognizable symbols: the iconic Rainbow platform shoes. Looking at Davis’s biography, the similarities are obvious. Although the designer was born in Manchester, he is the descendant of immigrant parents from Jamaica and Trinidad. He was taught sewing at age six by his grandmother, and made his first leather jacket at 13, while working for his family tailor. After graduating from the London College of Fashion in 2017, he launched his eponymous label in 2020, with the brand Maximilian quickly spotted on trendsetting celebrities such as Rihanna, Kim Kardashian, and Dua Lipa. “My father studied fashion design. My mother modeled when she was between 16 and 20 years old. And my sister also studied fashion design – but none of them continued a career in this area,” says Davis, when asked about growing up in a household where there was a serious sense of style. “When I was a teenager, I remember having a conversation with my headmaster, who was pushing me to pursue some sort of corporate job. But I remember sitting and telling him that what I really wanted was to make clothes. And that is what I did.”
Photo: Bohdan Bohdanov
Officially relocating his brand to Florence after returning to Italy in 1927, Ferragamo created some of the most iconic shoe designs of our century, including the stiletto, and even cork and gold heels. There’s an infinite richness in the Ferragamo archives that Davis is proud to acknowledge, showing once again his maturity and confidence. “Working with this heritage doesn’t hold me back,” he says. “As a creative, you always need some source of inspiration. Many designers go around the world for ideas. In my case, there’s a lot of legacy that I really want to talk about. I want to educate the new clients of the brand, as there are many things that are so fascinating… Look at the career of Mr Ferragamo, from working in a tiny shoe shop to becoming the shoe couturier of Hollywood.” The brand’s vast archive counts more that 15 000 pieces of museum-quality shoes that completely reshaped contemporary fashion. “There are so many techniques, so many constructions, materials, and ideas,” says Davis, without hiding his excitement. “There are crazy designs, so innovative and full of technology having in consideration that they were produced in the 1930s and 1940s. It’s real craftsmanship at the highest level.”
Photo: Bohdan Bohdanov
This true admiration for the life of Salvatore Ferragamo is, perhaps, one important tool to navigate the politics and the reality of a brand where the founding family is still present. Up until today, the Ferragamo clan is the major stakeholder of the company, which means that members have a say in the present and future of the brand. But Davis shares that so far, he has only experienced support from the family, and that he feels more and more empowered as his work blossoms, from receiving amazing reviews to dressing Beyoncé. “When the CEO [Marco Gobbetti] and I joined the brand, we were allowed to implement our vision with the teams, to take it where we needed to. There’s a big level of trust, and even a push to go further,” says Davis. “Of course, we need to show the collections before they go out to the world, but the reactions are always positive. It’s also important that the family sees my clothes connecting to the existing clients – that’s reassuring – while our audience is also changing and becoming younger. We are not doing something super crazy, so there’s a big support.”
Photo: Bohdan Bohdanov
As this magazine hits newsstands, the Ferragamo boutiques will be carrying the designer’s FW23-24 collection, paying a tribute to Sophia Loren and Marilyn Monroe, and photographed for these pages in Florence, exclusive to Vogue Arabia. “I decided to refer to these icons as they hold timeless beauty and elegance. The timelessness comes from their self-awareness and sophistication. They were also Ferragamo clients and allowed the brand to be more sensual and desirable. Their sensuality is something that still works for us today.”
Photo: Bohdan Bohdanov
With everything happening so fast, one wonders how the 28-year-old manages the overnight fame and success, and how he stays centered to continue to perform his job with the level of creativity, detail, and obsessive search for quality that Ferragamo requires. “I do scream inside. And I scream at home when I call my friends,” Davis laughs. “I’m super happy with the response we have been receiving from all the celebrities that wear my clothes. But, most importantly, I value the feedback of our regular clients, who wear the brand with their own personality and style. I feel that I’m designing for different women and different people, and this is allowing me to expand my creativity. I’m honestly grateful.”
Photo: Bohdan Bohdanov
Appointed not long after the much-needed racial discussions ignited by the impact and reach of the Black Lives Matter movement, Davis became an unintentional symbol of diversity and inclusion in fashion, standing as one of the very few designers of color to take the helm at a European heritage brand. But Davis is quick to add that he doesn’t believe one should accept any kind of obstacle linked with skin color. “I think you really need to put yourself out there or encourage yourself in these positions that you don’t feel comfortable in. I don’t think it has to do with race. You just need to go into a situation where you don’t feel comfortable and try to make it your own,” he says. “In order to succeed in fashion, you need drive, to find your passion, and to study and research what you must do to get to where you want to be. In my case, it was my family that gave me that support system.” But do we, as a collective industry, not have the obligation to open doors to communities that haven’t had the same opportunities in the past? “These changes can’t happen overnight, as our industry wasn’t built in one day either,” Davis concludes. “For the shift to happen, people need to come together and work on the improvements. And it will also take time for people to accept the flaws and the growth opportunities. This is something that will not happen next week, for sure…”
Naomi Campbell at the Green Carpet Fashion Awards in March
Beyoncé at her Renaissance World Tour show in Amsterdam in June
Imaan Hammam at the Fashion Trust Arabia in London in June, wearing Ferragamo
Originally published in the September 2023 issue of Vogue Arabia
Style: Ellen MirckHair and makeup: Katja WilhelmusPhotography assistant: Andrea SerioliStyle assistants: Torrin Gouskos, Eleonora Bacci, Irene ChiaramontiCreative production: Anaïs IsabelleLocal producer: Olimpia BalliCasting director: Reinard GrevinModel: Samia Gisage at Independent Model Management 
Read Next: 6 Celebrity Who Are Already Fans of Maximilian Davis – Ferragamo’s New Creative Director

Hussah Al Tamimi, Nur Kaoukji, and Noor Al Sabah
Placed on a table is a Jaisalmer marble pillared bukhoor burner, Jaipuri hand-block printed placemats featuring dhows, and hand-painted glazed ceramic plates with palm trees and falcons. They all beckon the eye. In 2013, three childhood friends – Nur Kaoukji, Noor Al Sabah, and Hussah Al Tamimi – embarked on a creative journey and launched their lifestyle brand, Ecru. Inspired by their love for traditional Arab hospitality and the rituals they grew up with in Kuwait, the Ecru universe fuses quintessential elements from the region with artisanal craftsmanship to create unique homeware objects and clothing. From the get-go, the brand’s vision was about celebrating craftspeople from various regions, including India, Morocco, and Lebanon.
As Ecru turns 10, the trio is exceptionally proud of what they’ve achieved. In 2021, they opened a brick-and-mortar store in Jaipur – a significant milestone for the brand. And last month, they released their collection Retrospect, which reflects the past decade. “When we started Ecru, the love for arti sanal craft was not as mainstream as today, especially in the Middle East. But we stuck to our narrative – we decided our story would be about teaching people the beauty of craft because we genuinely believe in it. And now, we’re being applauded for it,” says Al Sabah.
Ecru integrates elements from the region into both homeware and clothing
Ecru, which translates to fabric in its raw state, first started as an online platform for artisanal clothing before quickly expanding into handcrafted homeware. “I was initially working in fashion in Kuwait, but my role quickly became very retail-oriented, and there was a lack of creativity,” recalls Al Sabah. Meanwhile, Kaoukji had been living in Jaipur since 2006 and was working with jewelry designer Munnu Kasliwal of Gem Palace. Through her work, she had already built a network of local artisans. “One day, we had an honest chat about everything possible from where she is, and thought, maybe that’s something we can merge and create together,” says Al Sabah. They then roped in Al Tamimi, who had a full-time job at The National Council of Culture, Arts and Letters in Kuwait at the time but was also interested in starting a company from scratch. Soon after, the brand was born – with each friend playing a distinct role. Al Tamimi handles the operations, Al Sabah manages social media, styling for shoots, and other creative content, while Jaipur-based Kaoukji spearheads design. However, Kaoukji adds that all three are involved in their own way creatively. “For example,” says Al Tamimi, “when I look at daily sales, and the others like a specific color, I tell them that while it’s a great shade, it’s not going to sell. So, I provide creative input too, but more on the technical side.”
Photo: Courtesy of Ecru
People often say that business with friends is never a good idea; the trio, however, found a way to make it work. “When I told my father about the endeavor, he discouraged it, saying, ‘You and Nur have a friendship far beyond sisterhood – you’re going to ruin it.’ So Nur and I decided we had to come to an understanding that this won’t take over our friendship, and put it in writing. It was nothing legal but binding for us,” explains Al Sabah. Meanwhile, Al Tamimi prefers to have everything work-related on paper to avoid conflict. The three are very vocal and express themselves immediately when something bothers them, while trying to keep egos and emotions out of the equation. Additionally, since they’re an odd-numbered team, they vote for the majority when they can’t agree on something. Ten years into the venture, their friendship is stronger than ever. Ecru’s eclectic offering is about pieces narrating their own story: Azizal rugs handmade by women in Morocco, ornamental glass bottles crafted out of hand-blown recycled glass in Lebanon, or brass sand-casted candlestick holders with Arabic letters. While trends never drove their business, their designs resonate well with the evolving landscape of homeware in the Middle East. Kaoukji believes that people are now keen on finding more unique pieces, especially those that embody their own culture. She also thinks there’s a shift in attitude on how people use particular objects in their homes. “For instance, when we first started making tablecloths, they wouldn’t move so fast because previously, fancy tablecloths were used only for special occasions. Whereas now, you can have a block-printed one for daily use.” Additionally, Al Sabah thinks home decor is getting more playful and colorful and isn’t being taken too seriously. “It’s no longer about using pieces occasionally – people are mixing things up and getting creative with homeware. None of our pieces would ever be encouraged to purchase for one tablescape. We want our designs to be used repeatedly and in different ways.”
Originally published in the July/August 2023 issue of Vogue Arabia
Photos: Huda Amin, Prarthna Singh
Read Next: 11 Egyptian Designers Who are Pushing Regional Fashion to the Future

Photo: Instagram.com/maisonsarachraibi
Rabat-based fashion label Maison Sara Chraibi took part in Paris Couture Week for the second year this Thursday, showcasing a collection that breathed new life into Morocco’s revered craftsmanship. Chraibi stands as one of the five Arab-led brands to grace the runway at this season’s couture week. Here are five highlights that perfectly encapsulate the richness of this collection.

It was an ode to Moroccan craftsmanship
Chraibi paid homage to Morocco’s exquisite craftsmanship by incorporating traditional elements into her designs. She skillfully utilized “Sabra,” a type of silk thread derived from aloe vera plants, typically used in Moroccan passementerie. The inclusion of this unique material added a beautiful glossiness to the collection. Sabra was tailored into Arabesque capes inspired by traditional Moroccan designs. Sleek, silky gowns were overlain with sheer material, reminiscent of kaftans.
Colors were simple, as embellishments sung
Chraibi kept her colors muted to show off her expert tailoring and meticulous embellishments. Patterns adorned the garments, with diamond-shaped motifs carefully stitched onto bustiers and rows of braiding framing open backs. The simplicity allowed the impeccable craftsmanship and attention to detail to shine through.

The collection featured Arab-inspired architectural motifs
Drawing from her background in architecture, Chraibi seamlessly integrated geometric patterns and structures into her collection. The influence of her architectural studies and upbringing was evident as she sewed in geometries to chiffon overlays; in a structured corset-like piece with diamond motifs that began large and shrunk reaching the waist; or boots, gilded in gold, carved in diamond patterns.
It was clever tailoring with playful elegance
Chraibi’s collection artfully blended playfulness and sophistication. A prime example was a blazer dress with puffed-out, slouchy sleeves and an ivory dress with a cape-like extension at the back. This clever tailoring technique transformed the ensemble into a symbol of sweet elegance, demonstrating Chraibi’s ability to create unique and dynamic silhouettes.
Chraibi dresses the successful woman
Chraibi’s eponymous label embraces a sense of rigorous refinement, catering to women seeking attire for prominence and desiring an air of extravagance. From collarless suits worn under capes to hooded sleeveless dresses, the collection showcased a contemporary twist on elegant and traditional designs, tailored to empower the successful modern woman.
Read Next: 5 Things to Know About Elie Saab’s Medieval-Inspired Fall 2023 Couture Collection

On Thursday, Ashi Studio became the first guest member from the Gulf to show at Paris Couture Week by invitation of the Fédération de la Haute Couture et de la Mode. Helmed by Saudi Arabian couturier Mohammed Ashi, the brand was one of the two new entries to this year’s Fall calendar. Below, check out five highlights from the show to remember.
Photo: Courtesy of Ashi Studio
Inspired by Patrick Süskind’s novel Perfume 
For his latest couture collection, Ashi looked to Patrick Süskind’s novel Perfume for inspiration. The fantasy book set in the 18th century tells the story of an orphan with an extraordinary sense of smell as he gets overwhelmed by its sheer power. “The dark romance of that novel attracted and pushed me,” Ashi told Vogue. “The collection is about extracting beauty from deep inside to the outside.”
Photo: Courtesy of Ashi Studio
Powerful emotions permeated the collection 
In line with this inspiration, Ashi’s designs were imbued with emotions beyond his usual romanticism, such as passion, obsession, and mystery. Befitting femme fatales and heroines, each dress showcased meticulous craftsmanship with the aim to “reconstruct immaterial notions of memory, yearning, and fragrance into couture.”
Photo: Courtesy of Ashi Studio
Elements of perfume informed the silhouettes
References to fragrance were seen throughout the collection, with an S-curved dress resembling a modern perfume bottle, origami-like folds on an evening gown mirroring vintage flacons, and velvet made out of a mesh of grass honoring the material used for perfume extraction. To top it all off, embroidery, beading, and copper threads lent an evanescent shimmer to evening looks.
Photo: Courtesy of Ashi Studio
The collection was unveiled at Théâtre du Châtelet
For a dramatic first foray into Paris Couture Week’s official calendar, Ashi chose the stage of the historic Théâtre du Châtelet to unveil the collection. Built between 1860 and 1862, the venue has staged countless dramas, operettas, and ballet performances, and is an important landmark in the city’s cultural landscape.
Photo: Courtesy of Ashi Studio
The show marked a remarkable moment in Arab fashion history
Ashi Studio’s invitation to the Paris Couture Week as the first Gulf designer is a testament to the Middle East’s growing impression on the global fashion industry and will go down in history. “This invitation is the most profound moment to occur in my career,” shared about the guest membership with Vogue Arabia. “The federation called me in mid-April to inform me. I was so stunned that I didn’t speak for three hours. I thought back to my humble beginnings – I had hired one first seamstress to give life to the images in my head.”
Read Next: 5 Things to Know About Zuhair Murad’s Gothic-Inspired Fall 2023 Couture Collection

Courtesy of Elie Saab
In a mesmerizing display of artistic mastery, Elie Saab took center stage as the grand maestro of the runway, gracefully maneuvering the queen of his chessboard. In his Fall/Winter 2023-24 couture collection, titled ‘A Glamour of Yore’, Saab skillfully blended the timeless allure of the past with a contemporary vision of opulence. Here, we present five highlights that encapsulate this remarkable collection.
Courtesy of Elie Saab
Powerful silver screen sovereigns inspired the collection
Inspired by the remarkable performances of iconic actresses, Saab took cues from the regal elegance of Cate Blanchett in Elizabeth, the fierce spirit of Sophie Marceau in Braveheart, and the captivating allure of Isabelle Adjani in La Reine Margot. The collection was born from the strength and grace of empowered female figures. Saab embarked on a journey into medieval fashion, reimagining captivating legends and tales that unveiled a bygone era where formidable women were adorned with opulence and splendor.
Courtesy of Elie Saab
The collection manifested the essence of a heroine
Grace, poise, and presence were intricately woven into every garment, exuding an aura of feminine strength. The meticulously crafted silhouettes paid homage to the boundless power of womanhood. Dramatic bell-like capes made of crystalized crepe and velvet dentelle gracefully enveloped the gowns, adding a touch of enchantment.
Courtesy of Elie Saab
The runway shimmered with precious stones
From rubies to amethysts to emeralds, jewels were sewn into the flowing veils and velvet drapery. Pearl drops adorned the silhouettes, creating an enchanting dance of light, and crystal beads glimmered on the bodices.
Courtesy of Elie Saab
Medieval motifs were fused into the collection
Embracing the allure of the medieval era, the garments became a harmonious fusion of contemporary fashion and timeless symbolism. Sequined Tudor roses bloomed across armored shoulders, infusing the designs with romanticism, including gothic motifs like gilded bees and embroidered foliage. At the bottom hems, wispy feathers gently swayed, lending an ethereal touch of near-transparency.
Courtesy of Elie Saab
It was not your traditional bride
As the grand finale unfolded, a bride emerged, carrying a meticulously tailored bouquet of flowers in the same radiant blush pink material from head to toe. Exaggerated, angular shoulders; intricately embroidered lace sleeves; and a flowing medieval veil cap trailed behind, creating an air of magnificence that transcended traditional bridal norms.
Read Next: 5 Things to Know About Zuhair Murad’s Gothic-Inspired Fall 2023 Couture Collection

Zuhair Murad‘s Fall 2023 show during Paris Couture Week offered the world a different side to the Lebanese designer’s creativity. Below, get to know five things about the latest collection.
Photo: Gorunway.com
Black reigned supreme
Foregoing his usual bright colors and joyful hues, Murad championed the timeless black in various looks, alongside deeper blues and reds. The most notable exception was the white wedding gown, which was equal parts romantic and dark. “Defying his natural inclination to craft collections filled with vibrant and saturated colors, Zuhair Murad ventured into uncharted territory by embracing the elegance of black,” read a statement from the brand.
Photo: Gorunway.com
The collection was Gothic-inspired
The designs heavily took cues from Gothic fashion, with pieces shrouded in a mystical mood. “I went back to the era of mysterious work—abandoned mansions and dark nights,” the designer told Vogue.
Photo: Gorunway.com
Mysterious creatures juxtaposed the rose motif
A silver, bodysuit covered in a spiderweb pattern stood out alongside bat-like necklines and sweeping capes befitting vampires, but so did multiple roses sewn onto necks and bodices. “The rose was a very important element in the collection. It’s a symbol of romance and tragedy at the same time,” said Murad.
Photo: Gorunway.com
Latex and jersey dominated the line
In another departure from the regularly-favored breezy materials, the couture collection featured latex gloves and bodices, jersey dresses, and even a leather coat covered in silver spider studs.
Photo: Gorunway.com
Zuhair Murad’s signature glamour remained intact
Despite the many new inclusions in this collection, the pieces were unmistakably Zuhair Murad as his creative DNA, signature glamorous silhouettes, and dazzling embroidery were a mainstay.
Read Next: 5 Things to Know About Rami Al Ali’s Fall 2023 Couture Collection

Egypt Fashion Week saw designers from its abundantly rich homeland heralding a new era of creativity and finesse.
Photo: Natasha Yonan
From Givenchy and Lanvin to Valentino and Christian Louboutin, the splendors of ancient Egypt have long been a source of inspiration for fashion houses around the world. But contemporary Egypt itself is home to an accomplished pool of designers and creatives. In May 2023, the inaugural edition of Egypt Fashion Week launched in Cairo amid much fanfare, unveiled by the Egypt Fashion and Design Council and thrusting these designers to the forefront of the global stage. Beyond honoring the past, EFW spotlighted contemporary talents, artisans, and industry leaders that make up the current regional fashion landscape, a growing textile industry, and the forces driving their future in Egypt, Africa, and the wider Middle East.
The fashion week kicked off with an exclusive event held amid the grandeur of the country’s ancient relics at the old Egyptian Museum in Downtown Cairo. In the days that followed, more than 70 designers showcased their creations among the lush greenery of the Museum of Agriculture, an architectural treasure in its own right. Dating back to 1937, the newly refurbished museum traces the history of agriculture and cotton in Egypt, from prehistoric times to the modern age, acknowledging agriculture as the basis on which ancient Egyptians built their prolific civilization.
In addition to the runway shows, exhibitions, and workshops, the event featured panel discussions from local and international experts, sharing their takes on the current and future fashion landscape, and discussing issues such as sustainability, the importance of education in the industry, connecting cultures through fashion, keeping local craftsmanship alive, and support systems for startups. The three-day fashion bonanza wrapped up with a Shop the Runway event held at Mall of Arabia. Here, Vogue Arabia spotlights the key Egyptian fashion designers who are pushing regional fashion to the future.
Saedi
Buliana wears earrings, Maison Saedi; heels, Sarah Wagdy. Alia wears earrings, Maison Saedi; heels, Sarah Wagdy. Photo: Natasha Yonan
Founded by Egyptian fashion designer and entrepreneur Ahmed Al-Saedi in 2012, Saedi is a celebration of “the soft warrior woman.” The persona and muse he saw in his own hardworking, yet warm and feminine mother. Inspired by female empowerment and a drive to succeed, Saedi developed a unique design aesthetic over the span of a decade, merging unconventional fabrics and cuts to create daring, original pieces. “I like solid colors, the mix of soft and hard materials in the same design,” says Al-Saedi. “I believe that every garment should tell a story that creates a personal experience relating to the owner of the piece.”
Mazoura
Buliana wears earrings, Noha Abbassi; sandals, Katee by Kristina. Alia wears earrings, Noha Abassi; choker, Reem Jano; heels, Sarah Wagdy. Photo: Natasha Yonan
After dedicating her life to raising her family, Heba Abou Ouf decided to pursue her passion for design, establishing Mazoura in 2012. “I was always fascinated by the look and feel of fabrics, threads, and buttons,” she shares. “Most of my special outfits were my own creations and I was always complimented on them by friends. So, I felt it was never too late to fulfill my dream.” Inspired by global trends, Abou Ouf aimed to create a brand that addresses the need for premium quality apparel, catered to a segment of the Egyptian market that would normally shop abroad. The brand pays close attention to detail in order to execute exclusive collections that spotlight not only elegance, but also comfort, body inclusivity, and sustainability. Using the finest fabrics and the most skilled local craftsmanship, the brand offers uniquely tailored pieces at relatively affordable price points, supporting Egyptian production and local industries.
Maison Farah Wali
Buliana wears earrings, Dys-Euphoria; sandals, Katee by Kristina. Alia wears heels, Sarah Wagdy. Photo: Natasha Yonan
Fashion designer and mixed media artist, Farah Wali is known for her innovative collections that embody the concept of wearable art. Inspired by Egyptian culture, her eponymous brand offers handmade, artisanal pieces with a globally relevant and contemporary touch, using recycled fabrics and sustainable ink for all prints. Wali combines an artistic aesthetic and superior quality local materials, crafting each into customizable garments that showcase the uniqueness of the individual. The brand aims to empower its clients, encouraging them to be bold and expressive, yet comfortable. The designer believes that a woman who dresses in her pieces is “wearing a canvas of imagination, walking with confidence, spreading beauty, and helping others do the same. Our design aesthetic is ‘street couture,’ derived from a mélange of experimental, modern, and chic.”
Christine Massarany
Alia wears earrings, Dys-Euphoria; rings, Noha Abassi; heels, Sarah Wagdy. Photo: Natasha Yonan
Founded in 2018 by Christine Massarany and Rami Ashraf, Christine Massarany is a semi-couture and ready-to-wear design label that draws inspiration from the female silhouette. Combining elaborate fabrics and overtly feminine lines, the brand offers exclusive statement pieces that focus on individuality and uniqueness. “For me, fashion is art,” says Massarany. “It’s not about how luxurious the brand is, it’s about a style that reflects who you are, a form of self-expression.” Inspired by Ancient Egypt, the label launched its latest collection at Egypt Fashion Week. “There’s so much beauty and mystery to draw inspiration from,” shares Massarany. “From the beaded dresses and ornate patterns to the abundant luxurious fabrics, the pieces I designed would make any woman feel royal.”
Nadine Chamaa
Buliana wears earrings, Reem Jano; anklet, Nadine Chamaa. Alia wears earrings, Dys-Euphoria. Photo: Natasha Yonan
Lebanese designer Nadine Chamaa left Lebanon during the war in the mid Seventies as a child, moving to Cairo first for high school, and then again in 2008 to be close to her mother. This is also where she went on to establish her brand. “To see, to touch, to feel, and to be moved by beautiful fabrics has always been part of my desire for discovery,” says Chamaa. “Nadine Dans Tous Ses États is a brand inspired by a life lived in-between cultures,” she elaborates. Spirited in nature, refined, and complex, yet always evoking subtlety and delicacy, her pieces are inspired by elements of the earth. Through her various travels across South America, the Far East, and Europe, she learned to use age-old techniques such as Japanese Shibori 3D, indigo dye from Mali, and Argentinian wool felting among others. Chamaa incorporates these traditional techniques into her natural blends of fabrics such as crisp Egyptian cotton and linen, as well as upcycled materials. The label aims to stay at the forefront of sustainable fashion, offering an ethical choice to eco-conscious fashion consumers.
Mix and Match
Shoes, Bulga; necklaces, MIix and Match. Photo: Natasha Yonan
Mix and Match began in 1985 as a small, family-owned business with ambitious dreams of elevating a budding local fashion scene. By integrating contemporary designs and traditional textile patterns designed in-house, the brand has always focused on supporting local artisans, suppliers, and governmental manufacturers in order to help preserve Egyptian heritage and support small, local businesses. Despite its exponential growth in recent years, the label is an advocate of “slow fashion.” It has taken significant steps towards sustainability, using 100% local fabrics and natural dyes, supporting local NGOs and women with small businesses, and opting out of plastic use by using leftover fabric to produce its shopping bags.
Sarah Bahaa
Buliana wears earrings, Dys-Euphoria; heels, Sarah Wagdy. Photo: Natasha Yonan
Inspired by women’s innate power and strength, designer Sarah Bahaa was driven to found her eponymous label in 2021. As a supporter of sustainable fashion, Bahaa strives to highlight the importance of environmental awareness through her statement designs by ethically sourcing and using a variety of materials and upcycled fabrics. To the designer, economic status bares little worth, “You can always find a way to create art, wherever you are in life,” she states. With this philosophy in mind, Bahaa creates striking pieces from fabrics salvaged from the Egyptian Clothing Bank, such as her signature dresses that pair a simple, black body with a single, ornately beaded, voluminous sleeve. She views Egyptian Fashion Week as a breakthrough moment for her fledgling brand, allowing her to share her Egyptian aesthetic with the world.
Rasha Pasha
Buliana wears earrings, Dys-Euphoria; ring, Noha Abassi; heels, Sarah Wagdy. Photo: Natasha Yonan
Rasha El Gammal always loved color; but it was watching her television presenter mother, Samia El Etrebi, traveling the country in search of Egyptian traditions that solidified her passion for artisanal design. “My mother told Egyptian stories of traditional crafts, vernacular folklore, authentic garments, and most importantly, of the heroes that artfully crafted them,” says El Gammal. “I decided to channel my creativity into putting these artisans and our traditional aesthetics of vibrant colors and textures back on the map and produce my own bold, and colorful style.” From the vivid, cotton-silk kimonos hand-embroidered with luxuriant images of animals and foliage, to the patchwork jackets in joyful primary colors, Rasha Pasha layers cultural elements and luxury fabrication, with lighthearted humor. “Our clients have always been fond of our outerwear and longer silhouettes, but EFW was a great chance for us to introduce even more fun, wonderfully tailored pieces with new cuts to a different clientele.”
Manza
Alia wears earrings, Dys-Euphoria; cuff, Reem Jano; rings, Noha Abassi; heels, Sarah Wagdy. Photo: Natasha Yonan
In 2020, Rana El Sheikh left behind a decade-long career in the corporate world to pursue her fashion dreams. She founded Manza, a brand that offered everything that she herself had struggled to find in the local market. The ready-to-wear label prides itself on fusing statement designs with high-quality fabrics, printed in-house in a range of dynamic color palettes. “At Manza, we create timeless investment pieces. Our focus is on craftsmanship and ensuring that every design fits every woman,” explains El Sheikh. “We know that finding the right fit is the key to an outfit that feels and looks exceptional.” The brand heralds femininity through slick bustier silhouettes. The pieces feature futuristic cuts and darts that offer an edgy feel, far from gentle romance, instead leaning into a racer style for the woman on the go.
RebelCairo
Alia wears necklace, Odd the Even. Photo: Natasha Yonan
Founded in 2019 by Dara Hassanein and her mother, Dalia Abbas, RebelCairo is the fusion of two visions, one fiery and free-spirited, the other perceptive and settled. “Every piece we share with the world is part garment, part art; always merging both worlds together,” say the founders. With a slower, more considered approach to fashion, many of the signature prints that decorate RebelCairo garments are meticulously illustrated, taking up to 40 hours to finish by hand. “We believe that the initiation of an Egyptian fashion week is the first step to showcasing Egyptian talents to a global audience. As a brand, we’re also excited to witness and be part of the development of the fashion industry as a whole in Egypt.”
Almah
Alia wears heels, Sarah Wagdy. Photo: Natasha Yonan
Established in 2020, Almah is a collaborative social enterprise, designing, and archiving unique high-end products through the upcycling of excess resources provided by the Egyptian Clothing Bank, a charitable NGO that aims to become a zero waste entity. It serves underprivileged communities across Egypt, specifically orphans, the elderly, and individuals with physical disabilities. As social and environmental advocates, Almah strives to offer artistic resources and creative solutions to their customers by providing unique upcycled products, rental of one-of-a-kind pieces, as well as educational practices and collaborations.
With her unique combination of culturally rooted and interactive designs, Creative Director, Youssre Abdelkader, upholds the core pillars of circularity, education, innovation, and creativity on which the brand stands. The brand has found many sustainable alternatives to problematic materials, such as their award-winning “Foe-Fur” which uses scraps of other fabrics to create various animal-like textures. Thanks to the slashing and brushing techniques used, this unique innovation takes on any shape, form or color, depending on the combinations of fabrics. “Our processes include various techniques such as patchworking, quilting, weaving and more,” says Abdelkader. “In order to reach maximum impact and efficiency, we believe that emphasizing the small matters always leads to greater results in both, our message and design process.”
Originally published in the July/August 2023 issue of Vogue Arabia
Style: Yasmine KenawiCreative director and producer: Nadia El-DasherHair: Osma AttarMakeup: Lina Abo SreaFurniture design pieces: Don TananiGaffer: Mohamed MabroukProduction: SNAP14Production coordinator: Marwan RizkallahPhotography assistant: Mohammed MostafaStyle assistants: Farida Hammouda, Fardida El BadawyModels: Buliana at Vigor & Alia at UNNLocation: Ardi Dahshur
Read Next: Exclusive: Egyptian Designer Malak Nahas Launches Melkyana Swimwear in Dubai