00:00I've had personal preview of backstage of the shows yet to come tonight and they're
00:17just going to knock everyone out.
00:19For me there's always this constant appeal to all the players, to all the stakeholders
00:24in the fashion community, whether it's government or the designers themselves or the media,
00:29the buyers, the giant retail groups.
00:33Everybody has to put in and flex their muscle towards the development of homegrown fashion
00:39industry.
00:40We need it.
00:41It is a point of differentiation that we can call ourselves in this seemingly global uniformity
00:48with the power brands.
00:49We welcome them but it's good to champion our very own.
00:52It is a huge market and there's room for everyone.
00:55Fashion Forward helps in the exposure.
00:57People would see my work more easily.
01:01I would like to see European designers but I don't know if it's going to be possible.
01:06It's only Fashion Forward basically because it's the first event that decides to show
01:11designers that are not just about couture.
01:13And the collaboration between the Stite Foundation and Fashion Forward is the greatest thing
01:18because they let more people see us, they let the Middle East see the Lebanese designers
01:22and their work.
01:23The title of the collection is Divine Romanticism, inspiration from the 1920s but with a modern
01:29take on it.
01:30So that's how we make it kind of paranormal to mix what's happening in the early 1920s.
01:39Not only in terms of fashion but what you see is like industrial thing that's happening
01:42as well in that era.
01:44I've been very known for making clothes that is every single color and every single piece
01:51is almost the same.
01:52I think this time I just want to go out of the box to make every single dress different
01:57but it blends in the colors.
02:00Just how the old days of couture is.
02:03This time I just showed 30 pieces of collection, not like last season it was more about 37.
02:09I just wanted to add men because it gives a little bit of kick and flavor to the collection.
02:18This season we're looking at 1930s, we're looking at manor houses and aristocratic families
02:22in the 1930s.
02:23What we really wanted to do this season, we wanted to create a sense of memory for the
02:27collection.
02:28The kind of music we're using, the kind of styling, the boater hats that are handmade
02:33in England.
02:34We wanted the customer and our audience to have a sense of memory as if they're looking
02:37into their own history.
02:38So the lightness of the colors, the lightness of the fabric, the soft tailoring that we
02:42were using was really important for us this season.
02:44As brothers we have different aesthetics, that's what really makes our product unique.
02:48So if one season we're looking at prints, you know like Hartman's and Macy's, one of
02:52the best graphic designers I know, so he designs the prints.
02:55But this season we want to concentrate more on the silhouettes and the coloring.
02:59So maybe next season if it calls for prints, we'll do prints again.
03:02It's inherently needed to be ahead of the game in the fashion industry.
03:06We're not the first that's going to make a white shirt and we're not going to be the
03:08last that's going to make a white shirt.
03:10It's that energy and the feeling and the quality you're giving to your clientele, which buyers
03:14will really appreciate.
03:44["Forever Yours"]
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