The color black is not exactly a novelty in fashion. But for Zuhair Murad, it is: he’s known best for his vibrant use of saturated tones and embellishment, with previous collections finding extravagant inspiration in the ’70s French Riviera or Belle Epoque era. So when his couture featured clothes in a dark, moody palette, it truly did feel like a notable departure for the Lebanese designer.
“The entire mood of the collection is gothic,” Murad said. “I went back to the era of mysterious work—abandoned mansions and dark nights.” Indeed, many models walking down the runway felt like modern Edgar Allan Poe muses in their gowns with peekabo lace corsets, cage skirts, or raven-like feather embellishments.
The collection contained plenty of other references to mysterious creatures of the night: silver detailing similar to moth wings, spider web-like embroidery, and tulle bows as well as necklines that resembled the silhouette of a bat. A leather trench coat, meanwhile, was dotted with arachnid studs.
Another recurring motif was a macabre rose, which adorned the finale look of a wedding dress. “The rose was a very important element in the collection. It’s a symbol of romance and tragedy at the same time,” said Murad.
Many of the materials Murad embraced were new to his couture line: he used latex for bodices and gloves, and some dresses came in a draped jersey. (In these jersey pieces, said the designer, he wanted to explore high-end simplicity.)
Whereas some pieces felt like they veered from couture into costume, Murad’s intricate black lace work stood out as sensually stylish. Wednesday Addams would wear them, sure, but so perhaps would Poe’s “rare and radiant maiden.” And—by the number of phones that went up when they walked by—so would a number of the audience members themselves.
