The first look of Elie Saab’s couture show today was a form-fitting mermaid number in black velvet. A swishing train hinted at drama, but no embellishment was in sight—by Saab’s standards, it was an unusually pared-down opener. “I was looking at what I did in the ’90s, and I felt that it still looked fresh, so I wanted to reference that, as proof that my work has been consistent all along,” he offered at a preview.
The first half of the show was a progression from pitch-black into deep tones of ruby and emerald green, with variations on sinuous, sleek shapes, sparsely embroidered or ornate with tone-on-tone flourishes of feathers or flower appliqués. Plays of draping, an abundance of ruching and layers of veiling lace didn’t feel redundant, as they were somehow subdued by the nocturnal palette, conveying a Gothic opulence that was a counterpoint to the usual golden goddess radiance of Saab’s creations. Here, he wanted to hint at a more mysterious, extravagant side of femininity: “In beauty, too much perfection becomes boring,” he said.
As if emerging from darkness, the shimmer of moonlight-silver sequins graced gowns more sumptuous and generous in volume, richly embroidered and crystal-beaded on sensual see-through chiffon and organza. The finale made for a peak of lavishness, much in keeping with Saab’s penchant for showstoppers: la mariée dress was a cloud of a concoction in blush tulle, intricately embroidered in curlicues of pale gold, with a train so regal it would be fit for a royal wedding.
