Zuhair Murad – opulence and exquisite glamour

Created a masterful vision of opulence and exquisite glamour.

The ethnic Nothern-African carpeted inspired runway, revealed a triumphant display of magical romance, reminded us the quintessential beauty of Marrakech. No one understands the women essence quite like Zuhair Murad. He creates for free-spirit independent women who dare, are proudly confident and utterly comfortable in their own skins. The show notes read, “Mirage and Oasis”.


The collection beautifully fit the the theme.

The runway resulted in a parade of voluptuos and glorious gowns, every garment has it’s own energy, a plethora of warm sunny color  palette of deep reds, stunning emeralds, vibrant golds, solid purples and velvet blacks, took us to a dreamscape land, that triggered our curiosity and fascination. An array of incredible pieces, that radiates glamour, amazed the audience, the prints depicted a beautiful patchwork, the fabric featured countless takes on textures and colors, ombré effects evoke dawn and light, moon and the warm Maroccan sun. The embroidery work hid as much as it revealed.
Zuhair Murad’s trademark fairy-tale crystal embroidered aesthetic, we all come to expect, haven’t failed us. We loved the handwork of beading on jackets, dense embellissements on sleeves and flowers. I fell in love with the flowy shimmering capes and caftans trimmed with feathers. The full skirts contrasted with small bodices and sharp over-embroidered  detailing contrasted with plain bottoms, thé silk taffeta’s skirts were belted,the mini-lenght bohemian dresses were a delight,and felt like dancing.A modern version of the traditional turban,added an unmistakable air of magesty,to the models.

Once again Zuhair Murad,unleashed pure,unsullied creativity,that echoed a great sense of fashion and delivered a concise and captivating collection,that offer us sensations and emotions,a very modern take on classical goddess gowns,based on a firm art and craft foundation. It is impossible not to burst,into applause.

An article by Patrycia Afzal