
'Overwhelming feelings': Syrian designer Rami Al Ali on Paris Couture Week debut
The invitation to appear on the world's most prestigious fashion stage is a huge endorsement for the 53-year-old from the eastern city of Deir Ez-Zor who turned to design after a childhood admiring his architect father's drawings.
Now, following years of dressing A-listers from Oscar winner Helen Mirren to Beyonce as well as Middle Eastern royals, Al Ali is rubbing shoulders with the biggest names in the industry.
"Nervous, excited, tired, happy," he said when asked how he felt as he prepared models for his debut Paris Couture show on Thursday (July 10).
"It's a mix of very overwhelming feelings."
After studying in Damascus, Al Ali left for Dubai as a young man in search of opportunities in the fashion industry, working initially for two regional brands.
He branched out on his own in 2001, building a regional fanbase for his eponymous brand from the United Arab Emirates before creating a following in Europe, including via shows in Paris outside the official fashion week calendar from 2012.
The invitation this year from France's prestigious Federation De La Haute Couture et de la Mode places him in a new elite category that is increasingly diverse.
Read more: Why is Jonathan Anderson's first Dior show at Paris Fashion Week so significant?
Syrian traditions
"It's a definitely big credit... to be acknowledged, to be authenticated, to be endorsed," he explained.
Other non-Western designers such as Imane Ayissi, the sole sub-Saharan African at Paris Couture Week, have hailed the French federation's openness.
"It shows that things are changing, that things are moving forward," former model Ayissi said this week.
Al Ali's new collection of couture dresses – he also produces two lines of ready-to-wear per year – has been inspired like most of his work by his Syrian heritage and includes input from the country's Craft Council.
"I built from my heritage, from my background, from where I was based, also in the Middle East, in Dubai, all of those combined together created the form and the DNA of the brand," he explained.
Given an appreciation of tradition from his historian mother, Al Ali draws on the design aesthetics of Damascus, Aleppo and Palmyra in particular.
"You don't see them anywhere else, and those are the ones that I'm trying as much as I can every time to bring back to life," he added.
One of his dresses in Thursday's collection features elaborate sculptural patterns made from rolled off-white crepe fabric that has been stitched by hand in a process that took an estimated 300 hours of work.
Read more: All eyes on fashion provocateur Demna as he attempts to revive Gucci's fortunes
Creative freedom
Beyond the runways and glitz of the fashion world, Al Ali also attempted to support Syrian artists through the country's nearly 14-year civil war via a charity initiative called Ard Dyar.
The fall of former president Bashar Al-Assad in December, which led to the rise of rebel-turned-transitional leader Ahmed Al-Sharaa, has given Al Ali cause for optimism about his homeland's future.
Several Western governments have lifted sanctions on Syria as Sharaa, a formerly Al-Qaeda-linked Islamist, attempts to fully pacify the country and rebuild.
"We called the collection the 'Guardian of Light', and it came also at a time that is very hopeful, very promising," Al Ali said.
"I think many great things will come to light very soon."
After decades of Syria being a byword for violence and political oppression, Ali hopes that artists will now help highlight the country's rich history and design culture.
"I think now we have much more freedom in expressing ourselves in all different aspects, political, humanitarian, creative. We have a lot to say, and definitely we are bolder, braver in the way we express it," he said. – AFP
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The Star
6 days ago
- The Star
Artisanal masterpieces: How designers went all out at Paris Couture Week
At Paris Couture Week, Chanel celebrates 110 years by recreating its couture salon in a palace, Iris Van Herpen imagines clothing as both organism and artifact and Elie Saab blends 19th-century romance with red carpet style. Here's a closer look at the Autumn/Winter 2025 haute couture collections. Celebrating a milestone Only Chanel would call its legendary Rue Cambon salon "too small' – then rebuild it, supersized, in a palace. As the house marked 110 years of its haute couture – a century and more of Coco Chanel's revolution in how women dress, it recreated its atelier inside the freshly restored Grand Palais, turning intimacy into spectacle for a nature-drenched show. Boucle tweeds mimicked sheepskin with buttons beautifully handmade at Chanel. Photo: AFP Chanel, whose founder banished corsets and reimagined luxury as liberation, showed just how far that legacy stretches: from the tiny salons of 1915 to its modern colossus. It was a flex only a handful of luxury giants could pull off – and perhaps, as one front-row guest suggested, a dazzling distraction as the fashion world counts down to the debut of Chanel's new designer Matthieu Blazy. Penelope Cruz, Naomi Campbell and the house's tightest VIP circle scaled gilded steps, sweating past marble and gold, to enter the reconstructed atelier. The set by Willo Perron was classic Chanel: intimate yet monumental, old world yet futuristic. "It just felt special,' Campbell said, "like stepping into a memory and something completely new. There's warmth, intimacy, nostalgia. Chanel can recreate anything, and it works." More drama unfolded on the runway. This was couture as nature fantasy, filtered through the Chanel prism. Menswear tailoring added swing to sculpted jackets and coat dresses, while mohair suits in deep greens and plums channeled autumn's hush. Boucle tweeds mimicked sheepskin; feathers and tweed created illusionary faux fur. Gold-sprayed wheat ears – the house symbol of abundance – were everywhere: stitched into flounces, embroidered on necklines, set on every guest's seat. The theme may have been country, but make no mistake: This was as close as Chanel gets to "roughing it'. Technique dazzled at every turn: jewel-buttons, embroidered florals and a finale of lame so luminous it mimicked sunlight on harvest fields. The studio team, holding the fort after Virginie Viard's abrupt and unceremonious exit last year, anchored the show in classic codes but played with wit and lightness. That obsessive handwork matters – not just for tradition, but for business. Chanel is fashion's juggernaut: Privately held, the brand reported US$18.7bil (RM78.87bil) in revenue for 2024, cementing its status as one of the world's most powerful luxury houses. Couture may be the crown, but its influence drives global sales in fragrance, bags and jewelry, making it the envy of rivals. Change is always looming at Chanel. For more than 30 years, Karl Lagerfeld transformed the brand from Parisian legend to pop phenomenon, staging ever-grander spectacles at the Grand Palais. After his death in 2019, Viard, his longtime deputy, guided Chanel into a softer, more discreet era. Now the industry is holding its breath for Blazy, a Belgian talent with stints at Margiela, Celine and most recently Bottega Veneta, where he won fans for his blend of innovation and reverence for craft. Campbell said of Blazy, whom she knows personally: "He's focused, open-minded – he'll bring something special.' The show unfolded inside the Grand Palais' newly restored Salon D'Honneur, its gold and stone revealed after a €600mil (RM2.98bil), multi-year restoration co-funded by Chanel. It's more than a venue; it's an advertisement to the house's power and commitment to Parisian heritage. Read more: Still calling the shots: Giorgio Armani proves he is very much in control at 91 Reimagining a new era Wedding gowns crafted from lab-grown bio-protein, a futuristic Japanese fibre that's biodegradable and endlessly recyclable is seen at Iris Van Herpen. Photo: AP For years, Dutch wunderkind and celebrity-favourite Iris Van Herpen has occupied fashion's edge, conjuring couture from unexpected sources – banana leaves, cocoa beans and even 3D-printed polymers, while exploring the intersection of biology, art and design. The collection, "Sympoiesis', felt like the culmination of her restless experimentation: A show that dared to imagine clothing as both organism and artifact. In a shadowy Paris venue, Van Herpen sent out a series of gossamer gowns spun from alternative fibers so fine and insubstantial that they seemed conjured from air itself. At the collection's heart, a luminous "living dress', animated by millions of bioluminescent algae, quietly stole the scene. The algae, thriving within a custom-molded nutrient matrix, glimmered in electric blue as if stitched from the deep sea – offering an eerie, captivating spectacle that went beyond mere artifice. Elsewhere, Van Herpen introduced wedding gowns crafted from lab-grown bio-protein, a futuristic Japanese fibre that's biodegradable and endlessly recyclable – a glimpse of a fashion industry reimagined for a new era. If the show dazzled, it also underscored a rare feat in modern couture: independence. In a world where most designers rely on billion-dollar groups to bankroll their dreams, Van Herpen stands nearly alone, thriving outside the grip of giants like LVMH and Kering. Her creations have become magnets for pop royalty and rule-breakers: Lady Gaga, Beyonce, Bjork, Scarlett Johansson and Natalie Portman have all worn her sculptural gowns on the world's biggest stages. At the Met Gala, Hailee Steinfeld stunned in a Van Herpen dress made from ocean plastic. Dove Cameron shimmered in her work in 2022. Star power helps sustain the atelier, but it's invention that defines her legacy. While many independents have vanished from the couture calendar, Van Herpen survives by never playing it safe. Every season, she proves that true originality is not only possible, but essential – in Paris. By harnessing living organisms and boundary-pushing textiles, Van Herpen's latest collection doubled down on her signature ethos: couture not just as spectacle or skill, but as an open question – what might fashion, and nature, become next? In a world obsessed with spectacle, Van Herpen continues to ask not only what we wear, but how we care for the world that makes it possible. Read more: From Balenciaga and onward to Gucci: Demna's final show was his legacy letter All about romance Elie Saab evokes romantic silhouettes from the turn of the 19th century in Europe. Photo: AFP Elie Saab, the Lebanese designer long favoured on the red carpet, returned to familiar territory with its haute couture collection – and did so unapologetically. In Paris, fashion insiders gathered among marble columns as models descended a gilded stone staircase to the strains of harpsichord music, setting the tone for a collection steeped in historical romance. Saab leaned into his signature codes: sumptuous velvets, gowns gathered at the back, and pearl and jewel-adorned chokers. Floral appliques – another hallmark – blossomed, anchoring the collection in the femininity that has defined the house for decades. This was a particularly thoughtful collection, evoking romantic silhouettes from the turn of the 19th century in Europe. The soft draping and historical references gave the show a sense of emotional depth beyond its surface opulence. Macaron hues – nude, rose pink, water blue, and mint - punctuated by imperial black and gold, set off bold blooms across brocade and print, infusing the collection with romantic vibrancy. Among the standout pieces were gowns with cascading trains and bejeweled details, encasing the body in a kind of luxurious cage. Elie Saab said the collection – dubbed "The New Court' – was "a sumptuous playground for the modern queen – one who plays by her own rules'. Though luxury and opulence may be Saab's well-trodden path, he showed that consistency remains its own form of artistry. Saab's couture is less about surprise and more about control – control of silhouette, embellishment, and fantasy. Where other houses have veered into avant-garde or gender-fluid territory this season, Saab stayed rooted in his vision of archetypal femininity, shaped by heritage and craftsmanship. If the show felt familiar at times, it was also undeniably polished – a standout collection that reminded audiences why Saab's world of embellished escapism continues to resonate. It's a formula that keeps Hollywood coming back. Angelina Jolie, Gwyneth Paltrow, Sarah Jessica Parker, Marion Cotillard, Penelope Cruz, Charlize Theron, Emmanuelle Beart, Sophie Marceau, Beyonce, Maggie Cheung and Diane Kruger have all stepped onto the world's biggest stages in Saab's gowns – a testament to a house where fantasy and glamour are always in season. – AP

The Star
14-07-2025
- The Star
Still calling the shots: Giorgio Armani proves he is very much in control at 91
Giorgio Armani appears at the end of his haute couture Spring/Summer 2025 collection show in January. The designer has missed two of his last shows. Photo: Reuters Giorgio Armani was not present at his couture show last week (July 8). The designer, who later celebrated his 91st birthday on Friday (July 11), had contracted bronchitis before his men's collection last month, and his doctor advised him not to travel. 'In 20 years of Armani Prive, this is the first time I haven't been to Paris,' he wrote in an email sent to some attendees. He obviously wasn't happy about the fact, because he not only said that he actually felt well enough to make the trip in his note, but also added that he still had control. 'Even though I wasn't in Paris, I oversaw every aspect of the show remotely via video link, from the fittings to the sequence and the makeup. Everything you will see has been done under my direction and carries my approval.' Read more: From Balenciaga and onward to Gucci: Demna's final show was his legacy letter As if anyone in the audience for his ode to 'the seduction of black' could have doubted it. Armani is nothing if not committed to his vision, in his design as in his business. However, just in case his absence inspired anyone to start speculating about change (and it wouldn't be a surprise, given all the other upheavals occurring in the fashion world, from designer job switcheroos to Anna Wintour stepping back from the day-to-day operations of Vogue ), Armani had a message for them. 'If I've come this far, it's thanks to the iron focus and obsessive attention with which I manage everything,' he wrote. 'And that hasn't changed.' Models present creations for Giorgio Armani Prive during the Autumn/Winter 2025 Paris Couture Week. Photo: AFP For proof, simply consider the runway. Consider the 77 versions of night sky looks that strolled by in low-heeled bootees. The velvet tuxedos and velvet jodhpurs, side seams picked out in jet, and the jackets finished in peplum swirls over the hips. The velvet pajamas and strapless velvet sheaths with Milky Ways of beads tracing the body. Read more: Jane Birkin's original Hermes bag sold for over RM42mil in an intense auction Or the way many of them were finished off with little velvet skull caps, sheer fingerless rhinestone gloves and velvet bow ties floating at the throat rather than pearls. The bow ties may not have been everyone's idea of the perfect accessory – they made the models look like very fancy mimes, but they were definitely his. – ©2025 The New York Times Company This article originally appeared in The New York Times.


Hype Malaysia
14-07-2025
- Hype Malaysia
From Bill Skarsgård To Aubrey Plaza: 9 Stars Who Want To Be DC Heroes Or Villains
With the DC Universe gearing up for a major reboot under James Gunn and Peter Safran, fans are buzzing about who might join the new roster of heroes and villains. While some actors have already cemented their place in DC history, others are still waiting for their shot — and they're not shy about it. From veteran actors ready to break from typecasting to emerging talents eager to showcase their range in new, boundary-pushing roles, these ten names are generating excitement among fans and industry pundits alike. By hero or by villain, it's going to be a wild ride if the cards are right. Here we go: 1. Tom Hanks as A Batman Villain Yes, that Tom Hanks. The two-time Oscar winner is renowned for his heartwarming, everyman roles, yet he's expressed a surprising desire to diverge from his comfort zone by stepping into the shoes of a Gotham schemer. Hanks has mentioned in interviews that the prospect of playing a cerebral mastermind—someone who manipulates events from the shadows—is a challenge he finds irresistibly compelling. Imagine the gravitas he could bring to a villain who outsmarts Batman through cunning rather than brute force. While no official casting has been announced, fans are already speculating that someone like Hugo Strange or even a reimagined version of a classic Batman adversary could be the perfect fit for Hanks. His interest highlights an intriguing trend in Hollywood: even actors synonymous with wholesome roles are eager to explore the dark, layered narratives that comic book movies now offer. 2. Bill Skarsgård as The Joker Bill Skarsgård, best known for his chilling portrayal of Pennywise in 'IT', has thrown his hat into the ring for the role of the Joker in the DC Universe. With his uncanny ability to channel an aura of unsettling charm and menace, Skarsgård appears poised to bring a fresh, horror-inflected take to the iconic clown villain—a role that continues to evolve with each new interpretation. His enthusiasm for embodying the Joker further fuels fan debates on who can best capture the character's delicate balance of madness and method. Although Joaquin Phoenix has already set a high bar in a previous reimagining of the character, and Matt Reeves has embraced a distinct vision in his Batman films, the concept of a multiverse leaves the door open for multiple versions of the Joker. Skarsgård's established legacy in horror cinema and his growing star power only add weight to the possibility of his eventual casting in DC's expansive reboot. 3. Dave Bautista as Bane After captivating audiences as Drax in the 'Guardians of the Galaxy' series, Dave Bautista has expressed a keen interest in migrating to the DC side—specifically for the role of Bane. Known for his formidable screen presence and impressive physique, Bautista has long envisioned a version of Bane that is as much a cerebral tactician as he is a brute force villain. Even as the actor evolves beyond his earlier, more physically imposing roles, his passion for comic book characters remains undimmed. Bautista's personal appeals to James Gunn, now a driving force at DC Studios, add an extra layer of intrigue to his casting prospects. Although he has admitted that the passage of time might influence his suitability for Bane, many fans and critics believe that his skill set could easily transition to other menacing characters if not the iconic masked villain himself. 4. Zoë Saldaña as Vixen (and maybe other possibilities) Zoë Saldaña has a storied career filled with blockbuster franchises—from her action-packed turn in Avatar to her space odyssey in 'Guardians of the Galaxy'. Known for her versatile acting and powerhouse performances, Saldaña has openly remarked that she'd love to explore a role in the DC Universe, ideally one that allows her to showcase her skills without the heavy makeup and prosthetics she's endured in past roles. Her positive working relationship with James Gunn, who is at the helm of DC's creative reorganisation, has only heightened speculation about her potential entry into DC's fold. While no specific character has been attached to her name yet, industry chatter has mentioned possibilities like Vixen or even a reinvented version of a classic heroine. Saldaña's willingness to embrace new challenges makes her an exciting prospect for any DC project. 5. Pom Klementieff as Huntress (maybe) Pom Klementieff, whose captivating performance as Mantis in 'Guardians of the Galaxy' won over millions, is already turning heads with rumours that she's in early discussions with James Gunn for a DC role. With her rising profile in Hollywood and her proven versatility, Klementieff's potential transition from the Marvel realm to the DC Universe is generating a great deal of excitement. Though details remain under wraps, sources close to the production suggest that Klementieff could be slated for a role akin to Huntress—a character that marries action with a rich, complex backstory. If confirmed, this casting would not only broaden her already impressive portfolio but also underscore DC's commitment to revitalising its characters with fresh, dynamic talent. 6. Aubrey Plaza as Catwoman Aubrey Plaza's distinctive blend of deadpan humour and dark magnetism has long made her a fan-favourite candidate for roles that require a quirky twist—none more so than Catwoman. Plaza herself has hinted at an attraction to the character, expressing a desire to bring her unique energy to the role of Gotham's most enigmatic antiheroine. 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His candid expressions on social media about what the character means to him have only amplified fan anticipation. If the project revives, there's little doubt that Jaden's natural charisma and youthful energy would electrify audiences in a definitive Static performance. 9. Eddie Redmayne as The Riddler Oscars and accolades aside, Eddie Redmayne has shown a keen interest in lending his talents to the comic book genre, specifically as The Riddler, one of Batman's most intellectually complex adversaries. Redmayne's charm, wit, and ability to deliver lines with a measured, almost theatrical cadence make him a compelling choice for a character who thrives on puzzles and psychological games. Though Paul Dano's portrayal in 'The Batman' has already cemented one vision of The Riddler, Redmayne's unique blend of British refinement and dramatic intensity offers a contrasting take that could redefine the character in the DC Universe. With ongoing discussions about expanding DC's roster in new and unexpected ways, Redmayne's bid for the role remains a topic of enthusiastic debate among fans and critics alike. Sources: Screen Rant Gan contributed to this article.