Designers

It’s no easy feat gathering high-wattage stars Ciara, Tracee Ellis Ross, Demi Moore, Olivia Wilde, Paris Jackson, Paula Abdul, Hannah Einbinder and more for a gala on yet another rainy Tuesday night in Los Angeles, barely a week after the awards-race-capping Oscars.
But the inaugural U.S. Fashion Trust Awards did, putting the next young designer prize on the map in L.A., with help from celebrity board members and corporate sponsors Shop by Google, Farfetch, Code 8 Beauty and St. John Knits.

“I’m excited L.A. is getting some fash-un, because there’s a lot of fashion here,” said Heidi Klum during the boisterous pre-awards cocktail hour at Goya Studios, where she was showing off her sculptural silver gown by up-and-comer Kate Barton, complete with fishbowl handbag.

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“I am on the advisory board so I was a part of making the decision this morning and what we’re doing is so special, giving artists opportunities,” said Storm Reid, wearing a sparkly minidress by L.A. designer Jonathan Simkhai.

Not to mention shopping opportunities. “Today I was supposed to be voting, and I was like, um, where can I buy that?” she laughed.

From a pool of more than 400 applicants, six grants in amounts varying from $50,000 to $150,000 were awarded to a diverse group of American brands — knitwear designer Aisling Camps; L’Enchanteur jewelry; Agbobly (formerly known as Black Boy Knits); recent FIT grad Papa Oppong; Puppets and Puppets, and recent CFDA Award winner Elena Velez.

Heidi Klum and Alessandra Ambrosio at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

Fashion Trust U.S. is the brainchild of Tania Fares, who assembled a buzzy board of founders and advisers for the contest, including stylists Karla Welch and Law Roach; LB Media founder and former InStyle editor in chief Laura Brown; Harper’s Bazaar editor in chief Samira Nasr; fashion consultant Anne Crawford; Academy Award-winning costume designer Arianne Phillips, and designer/TV personality Tan France.

Hollywood stylists were key movers for the nascent event. They gave out awards onstage (“I can’t mess this up because I need this job,” joked Roach, addressing his much-covered retirees ). They called up their clients to participate (Welch enlisted Wilde and Ross, among others, and brought on collaborator St. John). And they proved their power in supporting young designers on stage and screen.

For example, stylist Zerina Akers was wearing fingers full of rings by L’Enchanteur, which she helped gain exposure by putting in Beyoncé’s “Black Is King” visual album.

Although none of the winners were from L.A., the awards underscored the importance of Hollywood in the fashion industry.

Sustainability award winner and Milwaukee-based designer Elena Velez, who incorporates Midwestern craft and industrial remnants into her collections, shared with WWD that during her L.A. visit she inked a deal to design some pieces for Beyoncé, as well as work on a few commissions for the upcoming Coachella Art & Music Festival. “It’s been a great trip,” the designer said.

“It was the coolest morning to meet all these designers, I was so blown away by the originality…I left feeling really energized,” said Kiernan Shipka, who is a Fashion Trust U.S. board member, of the judging process.

Charlotte Lawrence and Kiernan Shipka at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

Fares confirmed that the awards ceremony will remain in L.A. And many of the city’s established designers and brands came out to support, including Mike Amiri, Greg Chait, Clare Vivier, Zaid Affas, Andrea Lieberman and Nick Fouquet.

“It’s the garage, man. The best things are made in the garage,” Amiri said of his passion for young talent, and why he is happy to meet up with anyone wanting advice “as long as they don’t film me,” he laughed.

“For us as one of the original American luxury brands, to come back and support young American designers, we thought it was the right thing to do and very circular,” said St. John chief executive officer Andy Lew of supporting the ready-to-wear award won by Camps, which will include a capsule collection and mentorship.

“I’m in a room with all these amazing people and I spend so much of my time in a 350-square-foot room with knitting machines, this is insane I’m getting acknowledged,” said Camps in accepting her award.

Soull Ogun and Dynasty Ogun of L’Enchanteur at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

“We want to thank Fashion Trust for trusting us with this award.…We are really shocked. Our dad is in Nigeria and he said ‘call me.’ Even though he’s sleeping, we’re going to right now,” said the Brooklyn-based Ogun designer twins of L’Enchanteur. “This is dedicated to our mother who passed away two years ago.”

Hosted by comedian Phoebe Robinson, the gala was slickly produced with long banquet style dinner tables, hundreds of flickering candles, and a small stage and projections of the nominated designers on walls overhead.

“I want to send a lot of love to Tania Fares, because this is her baby, she believes in the up-and-coming generation…you guys need to know that,” said Ciara onstage.

Tania Fares, Tan France and Lake Bell at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

Fares, who lives between Lebanon, London and L.A., has always had a passion for fresh faces. She created the U.K.’s BFC Fashion Trust in 2011, and Fashion Trust Arabia in 2018. 

To establish the Fashion Trust U.S., she enlisted L.A.-based British heiress Jordana Reuben Yechiel, jewelry designer Jacquie Aiche, Juicy Couture cofounder Gela Nash-Taylor and 23 other founding patrons in the real estate, finance and art worlds.

“I met Tania years ago and I think she has a real passion,” said Nash-Taylor, with hubbie John Taylor on her arm, before turning her praise to winning designer Velez. “It’s made in the glamorous USA, which matters to me, and I love her story, wanting to build factories in her hometown, but she’s also really talented. The stuff looks great.”

Fares said there was no intent to set up a rivalry with New York; indeed, she has collaborated with the CFDA before and many of the designers and presenters have, too.

“There’s not enough money, $150,000, $175,000, those amounts don’t go very far. It’s just nice to show up and get recognize them, it builds their self-esteem, if they are smart they will know how to use it, that’s why I’m here,” said diversity activist Bethann Hardison, who serves on both the CFDA and the Fashion Trust U.S.’s boards. “We need more people to learn how to build a business, so prizes are always welcome.”

Elena Velez and Jacques Agbobly at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

The sponsors seemed pleased.

“We’ve featured the designers all week on the site, are doing mentoring for them, incorporating them onto Shop Google, and will get them two months of training on e-commerce,” said Stephanie Horton, global consumer marketing director for Google Commerce. “We already added a second prize today because we couldn’t decide. I literally called my number two and said I just spent money I hope we had,” she said.

“I think it went very well, the talent was amazing, the room was so positive,” said Fares.

“It was very heart-centered with the messages that came through of humility, and the appreciation for opportunity…and appreciation for mamas,” said Demi Moore, whose daughter Scout LaRue Willis blew the crowd away with her husky performance of “Mysterious Ways.”

“I’m deeply humbled to be in this room and so in awe of the level of artistry and authentic unique expression,” said Willis, as she settled in with her guitar, sparkly pink dress and Barbie boots. “I’m grateful to be here to share the thing that I love.”

Scout LaRue Willis and Demi Moore at the Fashion Trust U.S. Awards held at Goya Studios on March 21, 2023 in Los Angeles.

Michael Buckner for WWD

Trust Bella Hadid to make a sartorial statement, all while supporting emerging talent.
Photo: Instagram.com/bellahadid
Promoting her beverage brand Kin Euphorics in Las Vegas this weekend, the part-Palestinian model championed an up-and-coming designer from the region. The bright red dress worn by Hadid for her attendance at the Stanton Social Prime at Caesars Palace had been picked from Egyptian creative Amy Shehab’s namesake label. Given that the model styled herself for the event, it makes sense that the long-sleeved, curve-hugging number with a drop waist buckle caught Hadid’s eye, as it falls in line with her penchant for 90s-inspired pieces.

See Bella Hadid strike a pose in her pick from Amy Shehab below

Amy Shehab is a US-based online brand founded in 2016, and born out of the designer’s love for fashion which bloomed when she worked in retail at the age of 16. Empowered by her mother’s advice to “never rely on anything or anyone, but God,” Shehab used the social skills and funds from the job to lay the foundation of her independence, and began making her own jewelry while in college. “I would walk around NYC to source materials and it brought me joy. I started wearing my pieces to work and customers would compliment me and ask me where they could buy them,” she tells Vogue Arabia. “Most of the time, I gave the pieces for free out of love, until realizing that I have the power to turn this into a business.”

It was a 2016 trip to her grandmother’s home in Cairo and exploring factories in the city that helped Shehab find the materials to launch her very own line of Egyptian-inspired jewelry which she later brought to New York. “That’s where I broadened my options and started selling all types of jewelry online. Four years later, I began to create clothing, as I love having my own individual style and try to buy pieces I don’t see on others.”
With the brand now finding a fan in one of the world’s most sought-after models, Shehab feels honored. “I love how Bella is her own person,” she says. “Not only is she beautiful, but beautifully places pieces together and creates her style with confidence, no matter what she wears. She is a major influence in today’s world—both, in being a top model in fashion, and also in choosing to shed light on the importance of what’s going on in the world.”
It is evident that a strong passion for individualistic style and faith in the transformative power of fashion has led Shehab to this moment. “Wearing the perfect piece of clothing can completely shift your mood. When a woman is confident it’s almost like a superpower,” she says. “So now, I’m on this journey. Excited to see where it takes me, as I have a big love for fashion.”
Read Next: Bella Hadid Celebrated Her 26th Birthday with a Kunafa Cake By This Palestinian Woman-Owned Bakery

Jean Paul Gaultier continues to surprise and disrupt fashion with his guest-creator concept. His latest designer invite to the couture calendar is Haider Ackermann.
Haider Ackermann with Jean Paul Gaultier
Jean Paul Gaultier declares that once the concept of inviting a designer to collaborate with his eponymous brand came to be, he immediately thought of Haider Ackermann. After inviting Chitose Abe of Sacai, Glenn Martens of Y/ Project, and Olivier Rousteing of Balmain, the baton was passed to the French-Colombian designer. “I was curious to see what his style could bring to my universe and my codes,” Gaultier says, offering his reasoning for wanting to join forces. “Since his first collection, I thought that Haider had a very personal style, already full of maturity and mastery. We instantly recognize his signature.”
Photo: Sabine Villiard
Photo: Sabine Villiard
Gaultier is referring to Ackermann’s tailoring, which he has practically transformed into an art form. So well in fact that he even had a stint as designer of Berluti, the LVMH stalwart of luxury tailoring. “He perfectly masters the cut of jackets and pants along with his subtle sense of colors. All this was confirmed at the show,” affirms Gaultier. The collection came in elevated swaths of blues, blacks, whites, purples, and pinks on models who glided across the runway like swans. From “the meticulous hours and endless threads,” as Ackermann wrote on social media a week before his show, came haute joggers peppered with what looked like pins. There were elongated dresses and suits that expressed more by waving the many accouterments that couture can often entail. To a front row, which included Catherine Deneuve and Daphne Guinness, Ackermann revealed a collection that focused on purity of lines – a straightforward homage to the work of Gaultier. If Ackermann showed he knew how to cut an haute cloth, this show was in fact his first go at a couture showcase. He expressed his honor, surprise, and above all excitement to have access to an atelier of petites mains bringing his ideas to life.
Photo: Sabine Villiard
Ackermann, who studied fashion design at the Royal Academy of Fine Arts in Antwerp, was originally inspired by the work of Yves Saint Laurent. He interned for John Galliano and launched his eponymous label in 2001, presenting at Paris Fashion Week. In the years that followed, he was often photographed alongside actress Tilda Swinton and model Farida Khelfa, two women he dressed and who share a lithe, androgynous air that favors his sharp tailoring. He also became a beloved designer to actor Timothée Chalamet. Notably, he dressed the actor for the Met Ball in a black-and-white jacket, mixing the tuxedo codes with white jogging pants. Recently, he dressed the Luca Guadagnino protégé for the red carpet in a backless red jumpsuit, causing a furor on social media.
Photo: Sabine Villiard
Photo: Sabine Villiard
Along with fashion and his close friendships, Ackermann has a passion for bringing attention to injustice, often focusing on women’s rights in the Middle East. In December 2021, the designer collaborated with Chalamet on a hoodie with all proceeds donated to French organization Afghanistan Libre, dedicated to preserving women’s rights in Afghanistan. At his recent couture show, the music included the song Baraye by the Iranian artist Shervin Hajipour, recounting the murder of Mahsa Amini and the ongoing battle for women’s rights in Iran. Gaultier, of course, has always been attuned to global happenings, most notably taking part in the fight against the Aids pandemic. He’s also promoted diversity since long before it became a keyword.
Photo: Sabine Villiard
Gaultier mentions that he shared with Ackermann which of the 36 looks appealed to him the most. “During one of his shows, I took note of the work on his bomber jackets, which is one of my iconic pieces. He had worked it in a way that I never had; he elongated the zip to make it a wing, which he also did for this collection, but with a double zip. Truly beautiful and impressive,” Gaultier exclaims. The world waits for Gaultier to reveal which designer he will invite next. In the meantime, the concept shows no sign of fading enthusiasm from the scores of fans both at the shows and around the world.
Photo: Sabine Villiard
Originally published in the March 2023 issue of Vogue Arabia
Style: Amine JreissatiHair: Sadek LardjaneMakeup: Loriane LegerPhotography assistants: Hélène Bozzi, Philippe MilliatStyle assistant: Style Aurélien, Storny Aléna BalletProducer: Danica ZivkovicModel: Renata Scheffer at the Claw
 Read Next: Farida Khelfa in Conversation with Jean Paul Gaultier on Life, Fashion, and the Future

Alberta Ferretti has been crafting exquisite clothes for women for over four decades. As the owner of brands like Moschino, the Italian designer also harnesses significant business power.
Alberta Ferretti. Photo: Luigi & Iango
Rain pounds the cement like a showering of coins. Its repetitive clacks drown out the clomping of feet on the tarmac as people deplane the Airbus that has landed in Bologna from Paris. In the dead of mid-January, the air in Northern Italy is biting cold. The purpose of this voyage is to meet designer and businesswoman Alberta Ferretti; on her turf, and where she headquartered her company Aeffe, a clothing manufacturer and distributor that owns and operates Alberta Ferretti, Moschino, Philosophy di Lorenzo Serafini, and Pollini fashion brands. Here, it employs 500 people – and 1 400 worldwide – with offices in New York, London, Paris, Milan, and Hong Kong.
Julia Roberts in Paris in 2021 to shoot a Lancôme campaign wearing Alberta Ferretti
Driving down the Autostrada Adriatica, connecting Rimini to Cattolica, the A14 is surrounded by hills peppered with historic villages. I learn that Ferretti has renovated an entire borgo in the distance. This is where the designer was born and raised – and in a sense never left, even though throughout her life she has traveled to all corners of the world, including Jordan and Saudi Arabia long before the Kingdom flung open its doors. Our car pulls into a parking space before a large, corporate-looking building. The Aeffe headquarters appear surprisingly modern for a structure built in the Eighties. A tour up and down a labyrinth of rooms and corridors starts with aseptic offices dedicated to the four companies’ accounting and customer services, but where everything is centralized, I am explained. Aeffe, after all, is a publicly traded company with 350 million euros in 2022 annual revenue, and 138 mono-brand stores operating in 69 countries. From this sober aesthetic, color starts to permeate the space slowly, through various artworks, or from fashion pictures blown up and framed on the walls. Next, the first peeks of clothing announce the entryway to a dreamlike world. From the pattern cutters to the employees working with programs that help decide the exact fabric measurements to minimize waste – everyone bustles about with serene focus.
From left: Jennifer Lopez prior to her performance at the 2021 Presidential Inauguration in the US; Claudia Schiffer at the Metropolitan Museum of Art in New York, 2007; Alessandra Ambrosio at the Cannes Film Festival last year; all dressed in Alberta Ferretti.
“It’s a good environment, and I am very proud of this,” says Ferretti behind the desk of her bright office. Petite, she is dressed in black pants and a sweater knitted with the globe in the shape of a heart. The words “help me” are sewn below it. Her blonde hair is fashioned in a wind-swept bob that highlights her heart-shaped face. Her hazel eyes are framed with kohl, and her mouth always upturned in a smile. Everything about her feels dynamic. Behind Ferretti’s chair are framed photographs, notably of Queen Rania of Jordan, a friend whom she has known for years. There is also a signed sketch of Meryl Streep in the gray Alberta Ferretti gown she wore to the Oscars in 2009. On the walls are fashion photographs of Amber Valletta, Tatjana Patitz, and Shalom Harlow. The women express freedom, frozen in happiness and time. “I always loved the way she walked the runway; like she was going for a stroll,” Ferretti says, following my eyes to Harlow’s hip-swinging gait.
The Un Omaggio a Venezia collection
There is no one woman or muse for the ever-curious Ferretti. She explains, it is all women who interest her, and any woman in the right outfit can be made to look and feel better. Ferretti’s study of the female form started years ago, when she operated her boutique Jolly Shop in Cattolica. Conversations with her clientele helped her to understand what women wanted – how they desired a garment to fit, what worked, and what didn’t. Along with other designers’ clothes, she also made and sold some of her own, “a manner of humble self-expression,” she smiles of her first designs. Some decades before her, another Italian couturier had a similar start, Elsa Schiaparelli. “I kept in touch with the needs of women who had confidence in me and tried to help them find their type… Women’s looks should correspond to their way of life, to their occupation, to their loves, and also to their pockets,” wrote Schiaparelli in her 1954 autobiography, the method proving timeless.
Eva Longoria at the Cannes Film Festival last year dressed in Alberta Ferretti
When one client asked if she could buy and distribute her clothes, Ferretti agreed, ultimately handing over the management of the boutique to her younger brother Massimo and embarking on a new creative journey with a small team of eight. Soon, the signature Alberta Ferretti style heralding femininity was revealed. “Women used to dress in a very masculine way. They were entering the workforce and [that] implied a certain style of clothing. I remember watching movies in the Sixties, with my mother, and seeing women in their lingerie, watching how they would move, and seeing how wonderful they would feel in their skin; then, they would dress, and the magic disappeared,” she recalls. Chiffon, lace, and silk became Ferretti’s outerwear; fabric grazed the skin, and fluttered like butterfly wings. It was draped and delicately layered. She soon earned the moniker Queen of Lingerie, and season after season, year after year, Ferretti persisted. The world’s women, from Angelina Jolie to Elisa Sednaoui and Hailey Bieber, reveling in her creations. Now, she offers that she is keen to spend more time in the Middle East and become closer to her Arab customers. She’s still chatting with HH Princess Basma of Oman, whom she met at the recent Vogue Ball of Arabia, and a new trip to Al Ula is pending on her busy calendar after the upcoming ready-to-wear show in Milan.
Dua Lipa in Netherlands during a collaboration with Jaguar in 2018, wearing Alberta Ferretti
All through these years, her eye for business has been forever in motion; very early she saw an opportunity to found something that was still new at the time in Italy – a major fashion business. Aeffe – the Italian pronunciation of her initials AF – was born in 1980. Massimo, with whom she gets on splendidly, took the reins as president, and Ferretti as vicepresident. They launched Franco Moschino in 1983, and for 10 years produced and distributed Jean Paul Gaultier, as well as Narciso Rodriguez. Today, Aeffe owns multiple brands. Did she ever face challenges due to her being a woman? “Never. I was so focused. I never even thought about it,” she says, her hazel eyes appearing to ponder the question as if for the first time.
Alberta Ferretti Resort 2023
The moment has arrived for il pranzo – lunch – and Ferretti has found a restaurant still open in the middle of January right on the sea. “I’ll drive,” she smiles. “I’ve always loved to drive.” Very Queen Elizabeth of you, I note. As if on cue, Ferretti motions to a black Land Rover and off we go, driving through the gentle landscape; direction, the sea. Inside the restaurant, the staff’s faces light up in Ferretti’s presence. The designer gazes out the window to observe the sailboats bob and points to birds swooping, while the sun breaks through the clouds the length of our meal. “I don’t have one happy moment, because I love simple things,” she says. “My life is made up of many happy moments.” We say “sì” to a café sorbet.
Alberta Ferretti Resort 2023
Originally published in the February 2023 issue of Vogue Arabia
Read Next: All the Reasons Why Italy is a Country with Extraordinary Cultural Prowess

Photo: Courtesy of Beygood
Beyoncé took her love for Arab designers to another level while in Dubai for the opening of Atlantis the Royal. Besides wearing Nicolas Jebran and Atelier Zuhra for her internet-breaking return to the stage after four years, she also opted for a vibrant look by Tunisian couturier Ali Karoui seemingly during her time in the city.
Photo: Courtesy of Ali Karoui
In a new, unseen photo posted on the website for Beyoncé’s charity foundation Beygood, the Grammy-winning artist is seen in a metallic lime green coat designed by celebrity-loved Karoui. The electric piece featured wide lapel collars and a thick belt with a crystal-encrusted buckle and was custom-made for Beyoncé. Her stylist KJ Moody took to Instagram to share a picture of the look and his gratitude for Karoui: “Thank you for making this beautiful coat for me in less than 24 hours in Dubai.” The statement coat had been styled with a diamond necklace layered with gold pieces, while the 41-year-old sported her signature glam with a pop of yellow on the eyes.

@alikarouicouture
The one and only Queen B @Beyoncé wearing a custom #alikaroui coat 🔥🔥🔥styling #kjmoody 🫶🏻 #AliKarouiCouture #QueenB #Beyonce #MrsCarter #renaissancetour #dubai #uae
♬ original sound – Beyoncé (FP)

While this is the first time Beyoncé has opted for an Ali Karoui creation, the designer is known to have dressed a number of renowned personalities including Spanish model Georgina Rodriguez. As for Beyoncé, the star has been known to favor talent from the region long before she landed in Dubai this year. Some of her go-to Arab designers include Lebanese couturiers Nicolas Jebran, Georges Chakra, Zuhair Murad, and Elie Saab, Kuwaiti accessories brand Marzook, and Kuwaiti designer Yousef Al Jasmi.
Read Next: Beyoncé Is Coming To A City Near You

A crop of designers and fashion houses have long turned to surrealism as a method to question the monotonous. Today, the pathway for free expression continues to captivate the dream seekers of the world.
Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Dramatic, unrestricted, and ambitious. For decades, fashion and surrealism have been sharing the longest waltz, often leaning into each other, inviting people to color outside the lines. The term was coined by Guillaume Apollinaire during the First World War, and surrealism made its grand entrance in the 20th century through the works of Salvador Dalí, Roberto Matt a, Luis Buñuel, Federico García Lorca, Edwin A Bergman, and Samuel Beckett. Simultaneously, it made a great impact on several designers, starting with the grand Elsa Schiaparelli, the woman who paved the route for multiple generations of fashion creatives. Most notably Thierry Mugler, who made massive waves with his designs, including his SS97 “insects motif.” Hussein Chalayan also made surreal history with his FW00 “table skirt.” Equally, Marc Jacobs’ 2008 Backwards collection was designed to proceed in reverse with accessories that played witty pranks, such as hats featuring eyes as well as dissected and patched bags. The topic of surrealism can never be alluded to without a mention of Alexander McQueen, whose illustrious fashion career was characterized by his tendency to evoke drama through his roaring aesthetic. Sending models down the runway with feathers, shells, birds, and butterflies for one of his earliest collections in 1997, McQueen’s La Poupée teaches future generations about the beauty that results when fashion collides with surrealism. Couturier Guo Pei is credited with reshaping Chinese fashion, and surrealism was her main tool to do so. Her panniered gown fit for two and porcelain-inspired designs challenge traditional fashion concepts, emphasize architectural structure, and question the range of modern garments.
In a post-pandemic world, surrealism is naturally rising as an imposing fashion statement. Between fashion houses that have always integrated surrealism into their DNA and those that only made the leap recently, here are a handful of maisons challenging all that is conventional.
Jacket, skirt, Schiaparelli; earrings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Schiaparelli 
This is where it all started, and continues to lead by example. Elsa Schiaparelli launched her full-fledged rebellion against traditional silhouettes and concepts in 1927, guided by her unleashed creativity. From sportswear to haute couture, art, fragrance, and everything in between – the designer’s revolutionary creations laid the foundation for a maison that knows no boundaries. Schiaparelli was also keen on collaborating with other visionaries who defined surrealism. Dalí, Cocteau, Man Ray, Giacometti, and Marcel Vertès are among her legendary creative contemporaries. It was in 1937 that surreal fashion received an adequate moment of birth, when Schiaparelli’s lobster dress, featuring Dalí’s depiction of the marine crustacean on off-white silk, was worn by socialite Wallis Simpson. The designer’s most iconic designs also include the trompe l’oeil sweater – which arguably launched her career in 1927 – the tears dress from the Spring 1938 Circus collection, and the skeleton dress from the same year. Today, the luxury house is still synonymous with surreal fashion. Despite going through a creative hiatus, the maison’s awakening arrived in 2019, led by American artistic director Daniel Roseberry. His smart approach aims to continuously pay homage to Schiaparelli’s rich heritage and signature motifs, while also connecting with the fashion world of today. For spring 2023 ready-to-wear, Roseberry honored the founder’s skeleton dress by embellishing ribs on a jacket, as well as gave the younger generation a distinguished pair of jeans with gold sequins that playfully give the impression of sand on the bum. Schiaparelli’s latest collections remain conversation starters and social media hot topics. Gold ears dubbed as statement earrings, mini bags with facial features, tops with gold nipples, and most recently Kylie Jenner’s polarizing ultra-realistic lion’s headdress at Paris Couture Week – the maison undoubtedly aims to build on its legacy of surrealism.
Dress, Act N°1; earrings, ear cuff , rings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Act N°1
Launching out of Italy, Act N°1 is a melting pot for unexpected combinations. Starting from the founders’ multicultural backgrounds, ranging from China’s antique fine art to Azerbaijan’s craftsmanship, Galib Gassanoff and Luca Lin are masterful at artfully bridging the gaps between opposites. With the brand’s name being an eloquent synonym of the designers’ main source of inspiration, the duo’s childhood, Act N°1 is widely known for its unique take on east meets west. From shirts patched with T-shirts to skirts that also double up as pants and dresses colliding with jackets, hybrid garments and bold landscape prints embody the brand’s unique vantage point. “Act N°1 is very much about realism in fashion and not surrealism. Yes, we take to the catwalk with some very theatrical dresses and, as we experienced, celebrities also love big tulle pieces. But we always love to mix real clothes – shirts, sweaters, masculine pants, and raincoats – with big puffy colorful outfits in tulle ruffles. Without compromising our realism in fashion,” say the founders.
Earring, ear cuff, rings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Panconesi
Standing at an equal distance from art and fashion, Panconesi cherishes both tradition and disruption. The Italian jewelry brand utilizes generational experience to offer unexpected miniature sculptures that also serve as profound jewelry pieces. Guided by Marco Panconesi’s upbringing in Florence surrounded by art and history, the brand borrows inspiration from parallel worlds. Recognizable for its fluid shapes and unexpected silhouettes, Panconesi refuses to be limited by time, trends, and conviction. The brand’s creations step outside the traditional timeline by depending on the classic charm and unforgettable impression of surrealism. From necklaces that curl and swirl, smooth like a masterful symphony, to bulky and bold rings that insist on being heard, seen, and acknowledged – its true specialty is fine art that celebrates boundless imagination.
Suit, Tomo Koizumi; shoes, Jimmy Choo; earrings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Tomo Koizumi
A lack of formal training did not stop Tokyo-based Tomo Koizumi from becoming a master of surreal fashion. His whimsical take on clothing was honed through the years as he grew up creating custom-made garments for his friends. Koizumi is a firm believer that more is always more, often using Japanese polyester to create dreamy, voluminous dresses with statement, larger-than-life ruffles. The designer’s fondness for origami can be seen distinctly in his creations. Borrowing the craft’s keenness on preciseness and ability to see beyond what meets the eye, Koizumi embodies the designer’s creative reinterpretation and artistic manipulation of fabrics to tap into their unrealized full potential. Koizumi’s extraordinary vision and ability to turn mere garments into a state of colorful fantasy paved his way towards an esteemed inclusion in the Metropolitan Museum of Art’s Camp: Notes on Fashion exhibition in 2019.
Dress, Moschino; earrings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Moschino
For four decades, Moschino boldly celebrated the need to stand out and shout in the face of monotony, without uttering even a single word. The Italian luxury fashion house is well known for its over-the-top aesthetic that blurs the line between what is expected and what has never been thought about previously. To track down Moshcino’s history with surrealism is almost impossible, because despite the constant changes of trends, the fashion house has always been an avid advocate of remaining controversially valorous. Over the past decade, creative director Jeremy Scott has managed to remain a patron of uncanny fashion. From his McDonald’s-themed designs in Fall 2014, to Madonna’s black Swarovski stage outfit in 2015, and more recently Katy Perry’s chandelier Met Gala look in 2019 – in the world of Scott’s Moschino anything can serve as a source of inspiration, everything can be turned into a wearable garment. Naturally, today, Moschino is not only recognized as a top-class luxury brand, but it is also widely intertwined with pop culture, something that directly contributed to the success of the brand’s collaboration with H&M in 2018. Between the Mickey Mouse sweaters and miniature leather-jacket bags, the collection sold out across the world in mere hours.
Dress, Germanier; earrings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Germanier
Creatively balancing the past and the future, Kevin Germanier’s eponymous label based in Paris has rapidly carved its status on the fashion world’s frontier of coveted brands in a matter of five years. Recycling the most unexpected materials that had an eventful past life to embody his depiction of the puzzling future, Germanier makes upcycling his brand’s not-so-secret success factor. “Fashion for me is an opportunity to evoke fantasy and create silhouettes. Sometimes I try to turn my dreams into tangible shapes. We also aim to push the limits of identity and proportions through garments.” Adds Kévin Germanier, founder, president, and creative director of Germanier, “I am really drawn to video games and technology, I am a geek myself, I play a lot of games. Naturally, I am really interested in surrealism from a digital point of view. I believe it is easy to do a digital version of a dress behind your computer, but in real life it is hard to give shape to a virtual version, so I really enjoy that.” Worn by several A-list celebrities such as Lady Gaga, Taylor Swift, and Kristen Stewart among others, whether it be Germanier’s bold use of feathers or nontraditional color combinations – the designer is a seasoned expert of sculptural silhouettes, heavily-embellished details, and rich textures.
Dress, Iris van Herpen; earrings, ear cuff, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Iris Van Herpen
Whimsical, dreamy, and often otherworldly – Iris Van Herpen’s haute couture creations put the basic rules of physics to the test. Since its launch in 2007, the brand has boasted a sustainable approach to fashion with steady biannual shows during Paris Haute Couture Week. Utilizing multi-disciplinary technologies, artisanal craftsmanship, and the Dutch designer’s admiration of surrealism, the brand has managed to redefine the possibilities that can be attained by garments. “The IvH designs bend the perceptions of femininity,” says Van Herpen. “In our design process we experiment with tech innovation as well as with different materials, manipulating fabrics to create surrealist movements. The innovative materials and textures often dance surrealistically with the wearer’s body, playing with our perception, sometimes even extending the awareness of the skin.” Continuously pushing the envelope further, the brand aims to explore the future of fashion by making it more conscious, cohesive, and diverse.
Top, pants, Richard Quinn; earrings, ear cuff, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Richard Quinn
Big florals and maximalist gowns, Richard Quinn the brand and the designer are true fashion industry mavericks that have become an international success story in a handful of years. Between the excessive use of all-over color and never shying away from a print, Richard Quinn is widely known for unwaveringly nailing the beauty of an intricately matched outfit, from head to toe. While florals continue to make their frequent comebacks into the trends forecast, for Richard Quinn, florals are a lifestyle – leveraged, dramatized, and blown out of proportion. In parallel, the romantic 1950s are also a brand favorite as the designer repeatedly tends to borrow the decade’s illustrious silhouettes and sense of undisputed glamour. With that in mind, Quinn’s not-so-subtle appreciation of surrealism often comes out through his choice of styling and accessories, whether it is communicated through black latex stockings, unexpected face masks, or dramatic large hats.
Dress, Loewe; earrings, Vernissage; rings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Loewe
LVMH’s oldest luxury fashion house, Loewe is one of the current season’s biggest fashion sensations – thanks to a surreal footwear collection and futuristic pixelated 2D designs. Instigating a new chapter for the seasoned fashion house, Jonathan Anderson is a modern-day knight of surrealism, always keen on evoking feelings and reactions. What is real and what is not, are irrelevant questions for Loewe’s creative director. Starting off in time for SS22, the designer’s fondness of the unexpected and uncanny has been growing steadily – attracting praise from fashion experts and demand from the house’s clientele. Questioning the nature of fashion in the digital age and the necessity of a show in a post-pandemic world, the designer is on a steady route to establish the future of a renowned house that is best known for craftsmanship and quality. Two-dimensional garments, exaggerated proportions, and unorthodox accessories are all rapidly becoming Loewe hall-of-fame designs. For the brand’s spring 2023 ready-to-wear collection, models walked a vast runway with a massive anthurium flower marking its center. The plant found its way to a number of the collection’s main looks, wrapped around the torso and covering the models’ tops. While the concept of florals for spring is far from avant-garde, the anthurium’s poisonous nature made the collection both smartly suggestive and metaphorically empowering.
Jumpsuit, Marine Serre; earrings, Panconesi, Vernissage; rings, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Marine Serre
Reduced, modular, and timeless – Marine Serre is a brand that serves as a love letter to statement prints with unforeseen fabric combinations. Whether it is a traditional tablecloth or a vintage silk scarf, Serre refuses to let anything go to waste. Boasting an oriental flair, as evident in the label’s signature crescent pattern and juxtaposed geometric shapes, the designer intends to broaden the boundaries of today’s fashion. Collaged, pinned, and stitched – the label’s creations are soulful and liberated. The Marine Serre perspective of surrealism is far from subtle, yet effortlessly captivating. A rebellion against all that is common, the designer is keen on rapidly cementing her trademarks through maintaining a strong narrative.
Jumpsuit, Maison Souraya. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Maison Souraya
Championing the feminine form, the Parisian-Lebanese maison aims to integrate technology, science, art, fashion, and philanthropy to create garments that speak volumes. Juggling bold and intricate cuts, designer Souraya Chalhoub’s deep understanding of fabrics and compositions makes the label’s creations malfunction-proof. While the graphic shapes bring in a sensual factor, the artfully constructed fits give a tattoo-like effect. “Fashion is an expression of your imagination. When people get dressed, they are in fact choosing the second skin they wish to show to the world.” Adds Chalhoub, “My infatuation with the world of Tim Burton as a child stayed with me as I grew older. I felt I would be more understood in his world than my own, and that is where all the fun began. I created my world – with my rules – as I see it, from surrealism to reality.” Playing an unexpected game of hide-and-seek, Maison Souraya is quickly becoming known for its precise and dramatic dresses, imitating unexpected references such as an eclipse, a raging fire, and a cursive swirl.
Bodysuit, waist, Harries Reed; shoes, Jimmy Choo; earrings, ear cuff, Panconesi. Photo: Bohdan Bohdanov. Vogue Arabia, February 2023
Harris Reed
Always on the forefront of conversations around activism, gender fluidity, and inclusion, Harris Reed is the perfect example of a fashion brand that has managed to tackle current political and social dialogues. Gender neutral, empowering, and made to last, Reed’s demi-couture designs are fluent narrators of the recent changes overtaking the concepts of identity and liberation. According to the British-American designer, dramatic volumes, powerful patterns, and high-octane collars are best described as “romanticism gone nonbinary.” Reed’s colors are vibrant, his structure exaggerated, and his accessories oversized. While maintaining the regality of traditional tailoring, he is also notorious for experimenting with the unexpected. Reed was chosen to dress British singer and actor Harry Styles for his iconic Vogue cover in December 2020, when he became the first man to be featured on the publication’s cover. Styles’ suit with hoopskirt dress sparked multiple conversations, boosting Reed’s career. Among the designer’s various victory points is also dressing supermodel Iman for the 2021 Met Gala in a look that made her resemble an other-worldly dazzling queen.
Originally published in the February 2023 issue of Vogue Arabia
Style: Ellen MirckFashion director: Amine JreissatiMakeup: Simone GamminoHair: Giovanni IovinoNails: Elena GrecoCreative production: Anaïs IsabelleCasting director: Reinard Grevin CastingPhotography assistants: Mario Capozzoli, Kevin YuStyle assistants: Gijs Taher, Maria Teresa Strippoli, Nicole Giorgi, Sofia PirasMakeup assistant: Valeria IovinoHair assistant: Manuel SundaModel: Ola Rudnicka at Next Model Management
Read Next: Huda Kattan Stars on Vogue Arabia’s February 2023 Issue Celebrating Surrealism

Photo: Gorunway.com
It’s been quite the eventful week so far in Paris at the haute couture shows, from Apple Martin – daughter of Gwyneth Paltrow and Chris Martin – making a surprise appearance on the front row at Chanel, to emerging designer Miss Sohee debuting an off-schedule collection that sent the fashion set into a frenzy. Let’s not forget, also, the divisive animal-inspired looks (man-made, of course) at Schiaparelli, which Kylie Jenner also wore to show support. However, Viktor & Rolf may have just topped the list of unforgettable moments with its latest show.
Photo: Gorunway.com
At the Intercontinental Le Grand hotel in Paris, Viktor Horsting and Rolf Snoeren showcased a collection of head-turning looks that were their most meme-worthy yet. The show began with a handful of breathtaking tulle dresses in the most delectable confectionary hues. But as the show progressed, the dresses started to appear in the most bizarre positionings – from appearing slightly lopsided and with a bustier placement right up to the model’s neck, to being entirely sideways, as well as upside-down and covering the face. With certain looks, it seemed as if the model was carrying the dress while wearing undergarments.
Photo: Gorunway.com
In previous seasons, the design duo have brought out some joy-inducing moments on the runway, whether it’s the kooky doll heads from fall/winter 2017, or the meme-inspired gowns from spring/summer 2019, emblazoned with giant slogans (“No photos, please”). As always, a touch of light-heartedness is extremely welcome at couture fashion week.
Photo: Gorunway.com
Photo: Gorunway.com
Originally published on Vogue.co.uk
Read Next: Paris Couture Week SS 2023 Day 2: All the Highlights You Missed

Olivier Rousteing, creative director of Balmain, speaks of his African roots and why the Land of the Pharaohs has forever been a place of endless inspiration.
Olivier Rousteing
Now into his 13th year as the creative director of Balmain, French designer Olivier Rousteing was 25 years old when he was selected to lead the Paris-based heritage house. Often described as a perfectionist and flamboyant, Rousteing creates collections recognized for their extreme attention to detail, a profusion of materials, embroidery, and craftsmanship, and as being somewhat autobiographical. With his resort 2023 collection, Rousteing pays tribute to Egypt, its culture and beauty as seen on these pages featuring Egyptian actress Salma Abu Deif, lensed by Egyptian photographer Bassam Allam. His inspired creations are amplified by his close collaboration with the premier Egyptian high jewelry brand Azza Fahmy. Together they created a new, old-world masterpiece – a gold-plated bustier reminiscent of a Ptolemaic plaque. Rousteing speaks exclusively to Vogue Arabia to celebrate Egypt with his love letter to the country and its people.
Photo: Bassam Allam. Vogue Arabia, January 2023
“Egypt has always been part of my love for the world. I am adopted and I didn’t know my origins until three years ago when I did my documentary Wonder Boy. Because of my features, there was always a possibility – or a belief – that I might be Egyptian. I didn’t know my mother, nor my biological father, but I always loved Egyptian culture and carried this idea that maybe, I came from there. There was no proof, but it’s as if my French parents met me and said, ‘You look like a pharaoh.’ It was such a beautiful story and I kept thinking about it until I finally discovered that I am from Somalia and Ethiopia, which are not so far from the North African country.
Photo: Bassam Allam. Vogue Arabia, January 2023
Because I always thought I was Egyptian, as a kid I was fascinated with the culture. I watched documentaries, learned the mythology of the god Osiris and all the gods of Ancient Egypt, and the history of Cleopatra, Nefertiti, and Tutankhamun. As I grew older, my feelings evolved. I started looking deeper into the details. I was determined to learn everything about the clothing, the colors, and jewelry. I was also thinking about Egypt when I started at Balmain. I did a first collection inspired by the country for SS19, in September 2018. I wanted to remind the world that even the beauty of our French culture is based on the beauty of many cultures.
Photo: Bassam Allam. Vogue Arabia, January 2023
In fact, my country and Egypt offer many parallels. For example, I love draping as did Mr Balmain, although he was inspired by Madame Grès. When you look at Egyptian sculpture, all the incredible clothing features draping. And I am obsessed with the pyramids. They represent both the maximal and the minimal. There is something so impressive about how futuristic the ancient civilization is and at the same time, it feels like it is the birth of the world. It’s timeless. This is the paradox that I love. Maximal, minimal, the future, and the past.
Photo: Bassam Allam. Vogue Arabia, January 2023
I like the flamboyance of life. When I say this, I mean that I like the details, the hard work, precision, and perfectionism. I also like the shine, the brightness. This is not just about ‘bling,’ but about what is in the details. For me, with Egypt, every detail is so specific and calculated, and features such exceptional construction. Egypt is mathematical couture and I treat my clothes, my themes, and my accessories in the same way. For me, my collections are mathematical couture. They are like art works – so detailed, the stripes on the clothes, the shoulder pads, the number of sequins, and the stones. For this collection, I worked with incredible Egyptian artist Azza Fahmy. The metallic bustier is a work of art and the molded pieces are like the gold masks of King Tutankhamen. For the accessories, I used a great deal of scarabs. In the 1950s, Mr Balmain also used them in his jewelry. The archives from 1945 were also inspired by the country and featured leopard print, an ode to Egypt in the Fifties. I am not independent of the house and my infatuation with the ancient civilization and with the maison’s archives connected many dots for me.
Photo: Bassam Allam. Vogue Arabia, January 2023
My love letter to Egypt is to remind the world that it is the birth of humanity, of mathematics, of architecture, and of beauty. It’s time to see the beauty of Africa more than ever. As for my Balmain Army, I love people who are unique, who are shaping the world, and who are not trying to be someone else. People who have something to say. We are all here to create a better world. All the people in my Balmain Army are here to deliver a message in their own field. I do believe that in the recent past, there wasn’t space for everyone, and I do think that it is my role in fashion to give a platform for expression of aesthetics and beauty that is not only Eurocentric.”
As told to Gay Gassmann
Photography and art director: Bassam AllamFashion director: Amine JreissatiHair and makeup: Ivan KuzJunior fashion editor: Mohammad Hazem RezqProducer: Sam AllisonSet design: Yehia BedierDigitech: Ali Jerome
Originally published in the January 2023 issue of Vogue Arabia
Read Next: Exclusive: Egyptian Fashion House Okhtein Collaborates With Balmain To Create a One-of-a-Kind Bustier at Paris Fashion Week

Time after time, celebrities have chosen Arab designers to make a statement in their public appearances, proving the glamour quotient of regional talent, and 2022 was no different. As another post-Covid year full of red carpets, film festivals, weddings, and stunning Vogue Arabia covers comes to an end, look back on the best looks sported by your favorite stars, courtesy of Arab designers.
Jennifer Lopez in Elie Saab couture at the ‘Marry Me Tonight!’ concert
Photo: Instagram.com
Rita Ora in Yousef Akbar for Vogue Arabia’s February 2022 cover shoot 
Photo: Jeremy Cho
Doja Cat in Samer Halimeh jewelry at the 2022 Grammy Awards
Photo: Instagram.com
Photo: Instagram.com
Lady Gaga in Elie Saab at the 2022 Grammy Awards
Photo: Instagram.com
Samira Said in Nicolas Jebran on the cover of Vogue Arabia’s May 2022 issue
Photo: Philipp Jelenska
Deepika Padukone in custom Ashi Studio at the 2022 Cannes Film Festival
Photo: Instagram.com/deepikapadukone
Fatima Al Banawi in custom Rami Kadi at the Women in Cinema Gala at the 2022 Cannes Film Festival
Photo: Instagram.com/fatima_albanawi
Mona Zaki in Georges Hobeika at the 2022 Cannes Film Festival
Photo: Instagram.com
Tara Emad in Georges Chakra at the Women in Cinema Gala at the 2022 Cannes Film Festival 
Photo: Instagram.com
Yara Al Hogbani in bespoke Tima Abid couture on the cover of Vogue Arabia’s June 2022 issue 
Photo: Sam Rawadi
Deepika Padukone in Monsoori at Cartier’s high jewelry event in Madrid
Photo: Courtesy of Cartier
Jennifer Lopez in a Zuhair Murad gown to marry Ben Affleck

Tessa Thompson in Elie Saab at the 79th Venice International Film Festival
Photo: Instagram.com
Sharon Stone in Rami Al Ali on the digital cover of Vogue Arabia’s September 2022 issue

Naomi Campbell in El Tayeb Nation on the cover of Vogue Arabia’s November 2022 issue
Photo: Sam Rawadi
Naomi Biden in a Reem Acra gown for her wedding reception
Photo: Norman Jean Roy
Jessica Chastain in Zuhair Murad at the 13th Annual Governors Awards
Photo: Instagram.com
Priyanka Chopra in Tony Ward couture at the 2022 Red Sea International Film Festival
Photo: Instagram.com
Alessandra Ambrosio in Yousef Akbar at the 2022 Red Sea International Film Festival 
Photo: Amina Zaher
Sonam Kapoor Ahuja in Sara Mrad at the 2022 Red Sea International Film Festival 
Photo: Instagram.com

Winner of the Fashion Trust Arabia evening wear prize, Moroccan Artsi Ifrach reflects on making a lasting impact with his slow fashion – and the growing clout of Arab culture.
Photo: Amina Zaher
“It will not be seasonable, it will not be trendy, it will not be something that needs to be changed,” proclaims the Marrakech-based designer Artsi Ifrach on acquiring a garment from his avant-garde Maison ARTC label. “It will be something you want to keep, something that you cherish, something that is only you, because we are one-of-a-kind people.” One of the most gifted and revolutionary designers working today, Ifrach offers a new way to rethink the very concept of fashion. Using antique, vintage, and repurposed fabric, old textiles, and scraps of metal, Ifrach creates dazzling, deeply original one-off pieces marked by their vibrant colors, bold patterns, and variety of materials. On models that Ifrach also styles and photographs himself, the ensembles usually include imaginative headpieces and face coverings, and daring jewelry. Bought in flea markets and on his wide-ranging travels, the materials are – importantly for the designer – imbued with a past: they hold stories and memories. In breaking down traditional pieces to create contemporary clothes, Ifrach manages to simultaneously preserve while creating something new, to pay homage to the craftsmanship without museum-izing, and to infuse old fabric with newfound relevance. “I think the future is to go back,” he says. “I am taking what already exists and giving it a new life.”
Photo: Artsi Ifrah for Maison ARTC and Mahdi Sabik
Transforming vintage textiles into exclusive wearable art earned Ifrach the coveted 2022 Fashion Trust Arabia (FTA) Award for the Evening Wear category. The gala was held at the National Museum of Qatar at the end of October before an audience that included honorary chair of FTA HH Sheikha Moza bint Nasser, and co-chairs HE Sheikha Al Mayassa bint Hamad Al Thani and Tania Fares, along with a plethora of high fashion glitterati from Bella Hadid and Naomi Campbell to Egyptian actresses Yasmine Sabri and Salma Abu Deif, Emirati singer Balqees, and the Lebanese fashion entrepreneur Karen Wazen. As Ifrach clutched his FTA Award, the tattooed letters H-O-P-E were clearly visible on his right hand. “It took a lot of hope to get there,” he explains a week after the ceremony on a Zoom call from London. The day is sunny and breezy, and Ifrach, known for his collection of fabulous headwear, sits hatless in the garden in the afternoon fall sun, with a patterned, parrot green scarf wound around his neck. “It was a very long journey.”
Photo: Artsi Ifrah for Maison ARTC
Born in Jerusalem to Moroccan parents, that journey to the podium in Doha was not only decades in the making but it was also far from straightforward. Ifrach is self-taught. He did not go to fashion or design school, and has never received any formal training in the craft. Rather, he studied at a ballet academy and danced professionally until he was 25. Once aware of that important stage, his development in becoming a fashion designer seems obvious. His garments tend to be voluminous and layered, appearing to float. They have a boundarypushing theatricality, a large-spirited showmanship to them, and an essence of pure joy. “For me, the link between ballet and my work as a designer is that I dance my work. I don’t walk it, I don’t run it, I dance it,” he says. By that he means it is flowing and effortless. “As long as I dance it, I will make it.”
Photo: Artsi Ifrah for Maison ARTC
After the ballet, Ifrach worked in a fashion boutique in Tel Aviv and began styling for other artists. He moved to Amsterdam and eventually Paris, where he lived for five years, creating pieces from recycled couture fabrics (including ones by Gucci, Oscar de la Renta, and Emilio Pucci) that he showed during couture week. But it was when he settled in his parents’ hometown of Marrakech, a dozen years ago, that he found his footing. His roots were there, and so was his future. The city offered a level of creative freedom unlike any he had experienced, and certainly no shortage of inspiration on the street, but also a sense of home. He states, “I belong 100% to Morocco.” In 2017, he set up his label. “I didn’t consider myself a designer before Maison ARTC was established,” he says. “As I was looking for my voice and DNA for a long time.” The search ended in Marrakech. “I could not be the creative person I am today without my Moroccan heritage and roots as I believe my creative DNA is Moroccan.” In appreciation, he dedicated his FTA Award to the country.
Photo: Artsi Ifrah for Maison ARTC and Mahdi Sabik
The Maison ARTC workshop (and appointment-only showroom) is located in Marrakech’s Gueliz district, a block off the broad Avenue Mohammed V (and next to the city’s hottest restaurant, +61). With inspiration and some ideas in mind, he gathers stacks of fabrics, and then sets to work in the atelier with his two key collaborators, Fatiha who does the embroidery; and Samira who cuts patterns and sews garments. Ifrach doesn’t sketch his designs. This, he fears, can inhibit his freedom, and he doesn’t “want doubt step into my creative process,” he says. “I keep it free to let my ideas come while I create the pieces.” That means working directly with the fabric, often on a model. The hand-stitching and embroidering on the pieces are exquisite – but also, he admits, imperfect. “We are not machines and shouldn’t be,” he comments. “When something is made by hand it doesn’t have the same feeling. The machine doesn’t speak. But when a person does it, it is like the garment is talking to you.”
Maison ARTC pieces take from two days to significantly longer to create. An elaborate, enveloping work based on the British trench coat and the Muslim burqa that he did specially for the current Africa Fashion exhibition at London’s Victoria & Albert (V&A) Museum took six months. Titled ‘A Dialogue Between Cultures’ and a centerpiece of the landmark exhibition, it consists of three parts (a dress, a mask, and a crinoline) made from taupe organza, covered with hand motifs, and embroidered with sequins, satin ribbons, and, on the back, a long Nelson Mandela quote. “I think that slow fashion is the future – not because we have to slow down, which is another thing that we have to do – but also because I think this is what makes us valuable.” Value, for him, “means putting all of yourself into the process, your heart and soul, your DNA, culture, and memory.” That is impossible if you are riding the industry tide of speed and volume and always looking for what is new. “I don’t work from the head. I work from my heart,” he says. “I capture emotions and dreams rather than trends.”
Photo: Artsi Ifrah for Maison ARTC and Mahdi Sabik
The FTA Award has brought welcomed attention to this slowed-down, handmade approach and, he hopes, will help show the bigger houses that it is possible to do the business of fashion in a new way. “Upcycling is not only valuable – it can also be successful,” remarks Ifrach. The growing clout of the annual FTA Awards also demonstrates for him a larger point that designers in the region don’t need to move to the US or Europe any longer. “The prize recognized my work but also recognized the culture and heritage and the significance of staying in one’s own country. It recognized being an ambassador for what Arab culture means and what fashion means to us and why it is so important for us,” he explains in an impassioned burst. “Everything is possible in Mena today. To remain in the region, to create, to find authentic expressions. And to become a success – not become an immigrant of success but successful regardless of immigration.” There was another reason that winning the prize has so deeply moved the designer. “I didn’t receive any recognition for a long time, but I was really determined and disciplined,” he reflects. Ifrach held steadfast to his own vision, something that is not easy in an industry that tends to induce deep self-doubt. “I never gave up on myself and what I wanted to do. I never looked up and said, ‘OK, I want to be that person.’ No. I want to be myself and want to be recognized as myself as well.” He pauses, and with a mischievous grin adds, “It might sound a bit cheesy, but if you want to be somebody else, somebody else is already you.”
Originally published in the December 2022 issue of Vogue Arabia
Read Next: Fashion Trust Arabia Awards 2022: Everything you Missed From the Spectacular Evening in Doha