The result was an Island Life collection of haute couture that admirably stretched Saab’s oeuvre.
Above all, by adding a fresh new take on his color palette: like the beautiful coral pink feather bustier mini dress that will work brilliantly in fashion editorial pages; or a couple of grand gowns in satin duchesse and iridescent taffeta that shimmered like sunset bays on a South Sea island.
For cocktail hour, figure-hugging mermaid swimsuits worn with long draping capes; or fantastic deep red floral dress will be bestsellers.
Saab did send out plenty of his signature golden gowns for grand soirées, though emphasizing leg more than normal, and finely embroidered in fabric seashells, anemones and mother of pearl.
Though the most dazzling moment was a cobalt blue, one-shoulder sequined column, slit up the side, and finished with an open back, captured by every mobile phone inside the Théâtre National de Chaillot where the show was staged.
“Like a goddess of the sea,” said the couturier of this clever variation on his opus, riffing on the vibrant hues of the West Indies. Even if the show ended – slightly incongruously – with that classic film soundtrack by Alfred Newman and Rodgers & Hammerstein, South Pacific Overture.
Good to see Saab taking his fashion multiple time zones away from the Phoenician roots of his beloved ancient Beirut.
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