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Georges Hobeika brings out 'the beauty of chaos'

On July 7, in the grand hall of the Palais Brongniart in Paris, the house of Georges Hobeika unveiled its fall-winter 2025-26 haute couture collection with a show themed around the "New Order."

Georges Hobeika brings out 'the beauty of chaos'

A haute couture fall-winter 2025-26 collection under the theme of "New Order." (Credit: Georges Hobeika/Collage by L'OLJ)

How can one not think of the "New Order" and "Constructive Chaos," two very American notions mainly centered on the Middle East? Would Georges Hobeika, working in tandem with his son Jad — co-creative director of the house since 2022 — deliver, under the title "The New Order," a couture collection tinged with politics? Certainly not. In the fashion industry, hot-button topics are not addressed. But ignoring the realities of a rapidly changing world is also a sin of denial. Lebanon, home to the house, emerging from a particularly destructive war, is in itself a stark reminder of reality. For all Lebanese designers, the contrast is immense between the hushed secrecy of the workshops and the surrounding chaos. For the house of Georges Hobeika, under the eye of Jad — a thirty-something attuned to the values of...
How can one not think of the "New Order" and "Constructive Chaos," two very American notions mainly centered on the Middle East? Would Georges Hobeika, working in tandem with his son Jad — co-creative director of the house since 2022 — deliver, under the title "The New Order," a couture collection tinged with politics? Certainly not. In the fashion industry, hot-button topics are not addressed. But ignoring the realities of a rapidly changing world is also a sin of denial. Lebanon, home to the house, emerging from a particularly destructive war, is in itself a stark reminder of reality. For all Lebanese designers, the contrast is immense between the hushed secrecy of the workshops and the surrounding chaos. For the house of Georges Hobeika, under the eye of Jad — a thirty-something attuned to the...
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