Zuhair Murad and his team jumped through many hoops for the 60 or so pieces in the fall collection, which was mostly produced in Italy via Zoom.
Picking up on his pre-fall outing, the designer pushed further into the world of dance, taking it into abstract territory with some help from the Russian-born artist Wassily Kandinsky, who settled in Paris in the early 1930s. It’s not the most obvious pairing, but one could say the trajectories of designer and artist intersect at the quest for “inner resonance.” Kandinsky used that term to describe how color touches the soul. For Murad—who worked in a night butterfly palette of crimson, steel blue, jet, anise, and dusty pink—resonance lies in the tension between structure and suppleness, a means of resurrecting a kind of night scene that’s hit pause for over a year now.
Named “The Glowing Beats,” the collection got an extra assist from a sleek Jaguar and Murad’s first-ever video, directed by Elie Fahed. Using duchesse silk and crepe cady as a canvas, Murad fused geometrics, macramé, and plumetis with sequins, complex pleating techniques, and swingy fringe that seemed to pine for a dance floor. In his notes, he referenced the timeless glamour of the ’40s although a few ‘’80s moments edged through (jutting shoulders and a red moiré number with a bouffant skirt spring to mind).
The Kandinsky tribute was most evident in prints now re-embroidered with sequins or geometric placements, for example in multicolored sequins on black silk tulle with ostrich feather trim. Silver trompe l’oeil embroideries were eye-catchers. A few sharply tailored pieces, like double-breasted blazers or a knife-pleated miniskirt served as a reminder that Murad can do minimalism when the spirit moves him. On that note, a cashmere cape coat with leather trim was a winner.