Zuhair Murad was born under a wandering star; no matter how confined or challenging the circumstances, in his mind’s eye he’s got tickets in hand and he’s ready to fly.
Though he’s never been to the Grand Canyon or Las Vegas, for pre-fall emancipation comes from the lure of wide-open spaces in general, and the American West in particular. That’s a new one for Murad. Through a spokeswoman, he explained that he was exploring relaxation in his own way. He expanded his repertoire accordingly, gamely incorporating materials like
denim and jersey.
Working in a few riffs on Victoriana along the way, Murad let his spirit roam free, but in terms of silhouettes and embellishments, the playbook remains recognizably his own. Denim—not a material normally associated with his world—came in almost-black midnight blue embellished with laser-cut white leather details on the bodice, for example on a jumpsuit with wide flared legs or a sundress style with corset-like topstitching.
Back in his comfort zone, a long white dress mixed laces and dotted Swiss with a vegetal-inspired patch on tulle, a motif reprised in black and white on a tailored skirt suit cinched with a wide belt or a pleated halter dress, and in crystals on leather on an otherwise streamlined gown in black jersey.
New developments include printed knitwear and trims in cotton thread, both produced on what the designer described as rare and fastidious machines. The result appears here in a handful of looks such as an emerald green off-the-shoulder dress or a scarlet crop top and
skirt ensemble. Another flight of fancy: cow spots, worked in Moroccan crêpe and lace with beading, splashed over a tunic dress or a pussy bow blouse.
Relaxed or not, Murad is a maximalist at heart, and his base will likely thrill to a colorful vegetal print on a lace-up caftan. That some of the gold, sequin, and crystal-encrusted
numbers saunter more toward rodeo-fabulous is all part of the fun.
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