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Al-Ahram Weekly 15 - 21 June 2000 Issue No. 486 
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Published in Cairo by AL-AHRAM established in 1875 |
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Al-Ahram Weekly 15 - 21 June 2000 Issue No. 486
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| Published in Cairo by AL-AHRAM established in 1875 |
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Egypt Region International Economy Opinion Culture Features Travel Living Sports Profile People Time Out Chronicles Cartoons Letters
L'audace, toujours l'audace...
By Tanya Goudsouzian
A little piece of Paris found its way to Cairo on 7 June when BMW sponsored an haute couture fashion show replete with all the frills -- three-course meal, elevator music and willowy blond models, courtesy of Lancôme. Christian LaCroix, Thierry Mugler, Christian Dior and Givenchy were the fashion houses parading in the event that drew a parallel between the crème de la crème of garments and BMW. Billed "haute-couture of the automobile industry" in the opening speech by Hossam Abul-Futuh, owner of the local agency, the event also showcased the latest model of the German make for the first time. The new four-wheel drive beamer seemed a crossbreed between the ever-popular Jeep Cherokee and a Buick '56. In ladies' terms, this would be like going hiking in a pair of really resilient pumps.
The frocks bearing Dior's label are inspired from the pages of French history
Attendees included the elite of Egypt, such as well-known business tycoons Naguib Sawiris of Orascom and Mohamed Nosseir of Click -- rivals in business, united in their sense of style. Government officials like Mamdouh El-Beltagui, minister of tourism, and Mohamed Abdellah, head of the Peoples' Assembly Foreign Affairs Committee, took a break from humdrum affairs of state to heed the country's fashion concerns. Members of the art world added a "reel" sparkle to the evening. The unofficial ambassador of Egyptian cinema to Europe, Hussein Fahmi, was flashing his famous grin throughout. Madiha Youssri was unanimously agreed upon as actress of unmatched grace. Controversial director Inas El-Degheidi looked as regal as a Greek column wearing a white organza blouse. Society ladies lent glamour to the scene, prancing about from table to table in their own couture duds, chitchatting with friends. "Très bien, hamdulilah" was the obligatory response this evening to inquiries of well-being. No need to speak French in order to mimic it. Comme-ci, comme-ca!
Photographers with flashing bulbs were circulating like stray cats in front of the main entrance, where guests posed before proceeding to their seats. Khaled, the resident representative of Egypt's paparazzi, mustachioed and impossible to miss, was making his rounds snapping shots of the who's-who of society, to publish in the local mag-rags. Both of Egypt's competing lifestyle magazines, Enigma and CLEO, had sent representatives. Mohamed Salmawy, editor-in-chief of Al-Ahram Hebdo and Salah Montasser, renowned columnist at Al-Ahram, were also there, schmoozing with the bigwigs. The gentleman seated next to me, a prominent doctor dressed in a beautifully tailored suit, said the attendees were just "regular people, you know" -- thus making the only understatement of the evening.
l-r: Mohamed Abdellah; Mohamed Salmawy; Mamdouh El-Beltagui and Mohamed Nosseir
l-r: Mrs Montasser; Mrs Abul-Futuh; Hossam Abul-Futuh and Salah Montasser
l-r: Inas El-Degheidi; Mrs Abul-Futuh and Hossam Abul-Futuh
photos: Salah Ibrahim
The show, scheduled for 8:30pm began as per custom, two hours late. The lights of the outdoor stage were dimmed, and a short clip of couture history was presented on large screens, conjuring up the images of the inimitable Coco Chanel and Hubert de Givenchy. Prêt-à-porter was only introduced in 1964. Before that time, there was only haute couture, which prêt-à-porter quickly reduced to a whim of the wealthy classes and a venue that permitted the propagation of themes and ideas for prêt-à-porter. Recently, however, a slew of young artists with dramatic flair have revived mass interest in haute couture.
Suddenly, the spots were lit and to the beat of thumping music, in stomped the slender beauties who made you regret having had breakfast, lunch and dinner. Sporting alien-like antennas and large plastic combs on their heads, the models, wearing outlandish LaCroix concoctions, conveyed the message for the year 2000 -- that woman is daring, unabashed and can do as she pleases, leaving the shackles of the last century behind.
Thierry Mugler's collection was brimming with sex appeal, exploiting the female silhouette to the max. Bright colors and form-fitting shapes were the recurring patterns.
Thierry Mugler; Givenchy and LaCroix
John Galliano's designs for Dior were inspired by the pages of French history -- again. He had wowed crowds with his graduation collection evoking the French Revolution and Marie Antoinette. His Spring/Summer 2000 collection recalled the "Rag Balls" of the 1930s to which Paris socialites would come dressed as "clochards." The thirty-something innovator reputed for his experimental spirit took the helm of the House of Dior after it was bought by LVMH and its chairman, Bernard Arnault, offered him the position. Galliano is credited to the launch of what some may call an "Even Newer Look," a sequel to the sleek post-war "New Look" that set off young Dior's career in 1947. Women dressed in vagabond attire, torn skirts, pauper hats and canes represented the venerated fashion house. Theatrical and shocking on the haute couture catwalks, these items translate into very wearable and fluid street clothes nonetheless.
Givenchy's presentation included several deux-pièces in brown tones, perfect office-wear, and a lovely dishdasha-inspired glittery silver top. Under the creative direction of twenty-something Alexander McQueen, the House of Givenchy retains its founder's principles of elegance and femininity, as personified by his muse Audrey Hepburn. Petite, gamine and well-groomed, Hepburn defined a generation through films such as Sabrina, Funny Face and Breakfast at Tiffany's. Her shadow continues to loom today in the form of dainty hoop earrings, crisp cotton shirts, capri pants and large bumble-bee sunglasses. Hubert rose to worldwide appreciation for his simple organdy blouses and cotton pleated skirts, which McQueen has updated to meet the modern woman's tastes.
Catwalk models strike a pose with veteran actress Madiha Youssri; Mrs Abul-Futuh and (far right) Brigitte LeFèbvre, Dior's representative in the Middle East
How practical would the paraded outfits be for Egyptian clotheshorses? Probably borderline if worn as seen on the catwalks. Walking about in slits-up-to-there and deep-diving décolletages on 26 July Street may cause a stir. But extract the themes, the colours, the shapes and the overall message from the theatrical fanfare of the haute couture show, and your wardrobe is likely to be both contemporary and Egypt-friendly.
