The sea is shaping up to be one of spring’s major currents. In Zuhair Murad’s hands, it transforms women into the handmaidens of Venus, served up on the half-shell.
Part human and part anemone, these demi-goddesses emerge clad in flowing jersey, cady, or English eyelet. Elements swept from the deep pop up in starfish embroideries or incrustations of shells and baroque pearls, for example on an easy black top with fluid pants. A wisp of a white handkerchief halter came in eyelet, while a series of poplin bralettes and voluminous dresses featured a lovely Italianate print. A black gown with rococo embroideries looked like a keeper; elsewhere, precious-looking beaded, sequined trim suggested a sailor’s rope and hammered satin was worked to resemble the movement and sheen of water. Geometric sequins eddied over a gray halter dress, a shift spliced by cut-outs, or a youthful white two-piece ensemble with a crop top and long skirt. Lacy cord embroidery anchored by stylized initials caught the graceful drift of algae. Several of the more pared-back ideas here will likely prove timeless.
The designer also has been leaning into sharp tailoring of late, and here he showed admirable restraint by keeping the embellishments to negative space, as on a blush suit or a series in black. But if it’s a game of transparency his ladies are after, he’s got them covered, too, in black or white lace, at times with corsetry details, or (more modestly) strategically placed swaths inserted into breezy silk satin numbers.
Murad’s ladies always dress to shine, but especially so by night, on the red carpet, at weddings, and wherever else they may alight. Here, he offered up draped, pleated, and lamé goddess dresses in a lush and universally flattering palette from champagne to caviar, with lashings of sunrise/sunset hues like apricot, coral, russet, silver, and bronze.
