Georges Hobeika showcases Fall/Winter 2026 collection at Paris Haute Couture Week

Georges Hobeika presented his Fall/Winter 2025/2026 couture collection as part of Paris Haute Couture Week. (Getty Images)
Short Url
Updated 15 July 2025
Follow

Georges Hobeika showcases Fall/Winter 2026 collection at Paris Haute Couture Week

DUBAI: Lebanese designer Georges Hobeika presented his Fall/Winter 2025/2026 couture collection as part of Paris Haute Couture Week.

Known for his craftsmanship and red-carpet-ready designs, Hobeika’s latest offering featured a wide array of detailed gowns and structured silhouettes.

The runway collection showcased a soft color palette, with shades of beige, blush pink, maroon, black, blue, and brown making up the core color story.

 

 

Fabrics included heavily embroidered textiles, delicate lace, satin and tulle. Many looks incorporated tonal embellishments and shimmering surface details. 

Beaded bodices, crystal fringe, and metallic appliqués were prominent throughout the collection, adding texture and dimension.

Silhouettes ranged from structured floor-length gowns and A-line dresses to voluminous skirts and sleek, form-fitting eveningwear. There were also several mid-length and tea-length designs with sculptural detailing, along with a few two-piece sets featuring cropped tops and high-waisted skirts.

 

 

One standout bridal look appeared during the show — a long-sleeved gown with sheer detailing and silver embroidery. The dress was paired with a beaded headpiece and a trailing veil.

Accessories were kept minimal, with statement earrings and clean, slicked-back hair showed off by the models.

Toward the end of the show, Hobeika and his son Jad Hobeika walked the runway together to thank their supporters.

 

 

Paris Haute Couture Week kicked off on Monday with Schiaparelli’s Fall 2025 show, marking the start of a series of high-fashion presentations that will run through July 10.

The opening show did not begin with sequins or traditional red carpet glamor, but with the surreal sight of Cardi B and a live crow. 

Wrapped in a custom Schiaparelli gown of graphic fringe, the US rapper stood beneath the gilded columns of the Petit Palais, holding the black bird on her arm. Her avian plus one squawked, glared and nearly lunged — setting the tone for a monochrome show that itself soared straight into the surreal.

On the first day, Iris Van Herpen, Imane Ayissi, Rahul Mishra, Julie de Libran and Giambattista Valli also showcased their collections.

In addition to Georges Hobeika, several other Arab designers are on the calendar, including Ashi Studio, Elie Saab, Zuhair Murad and Rami Al-Ali.


Yataghan boutique in Jeddah celebrates Saudi heritage

Updated 20 December 2025
Follow

Yataghan boutique in Jeddah celebrates Saudi heritage

JEDDAH: Yataghan, the contemporary Saudi jewelry house founded in 2008 by designer and entrepreneur Sarah Abudawood, has announced an expansion with its Riyadh debut at Kingdom Centre, alongside the relocation of its headquarters and flagship store to a street-front location on Jeddah’s Thalia Street.

The brand, known for blending Arabian heritage with modern minimalism, unveiled two boutiques designed as immersive experiences rather than mere retail spaces.

Every detail of the new Jeddah location has been carefully curated; brass accents inspired by the Yataghan blade evoke precision and luxury, while striped, gray onyx symbolizes continuity and progress, according to the brand’s founder. Vast windows, softened by Yataghan’s signature hexagonal motif, a symbol of harmony, order, and strength, flood the boutiques with natural light, creating an inviting environment for visitors.

Inspired by the Yataghan sword, with its distinctive, single-edged blade, the brand’s collections fuse minimalist design with Arabic calligraphy and tribal motifs.

“The name Yataghan draws its meaning from the two swords on the Saudi flag — a symbol that has always fascinated me for what it represents: conviction, protection, truth, and above all, balance,” Abudawood told Arab News.

“The Yataghan sword, known for its graceful curve and exquisite craftsmanship, embodies purpose and precision. It is drawn to defend what matters and to guard what is sacred. It sets boundaries and restores equilibrium, reminding us that strength is not only about force, but about knowing when to advance and when to stand still.

“That balance is reflected in every piece we create. Because, like the sword, Yataghan is more than an ornament; it is a statement of purpose, and identity.”

Abudawood explained the cultural inspiration behind the brand, highlighting pieces connected to Saudi identity. “This branch carries designs that are deeply connected to Saudi identity and cultural memory. Some pieces are exclusive, inspired by symbols, rhythms, and forms rooted in our heritage, interpreted through a modern lens … Jeddah, in particular, has a unique spirit: fluid, expressive, open, and layered with history. That essence subtly informs the designs you’ll find here.” 

The founder also spoke of the brand’s philosophy of minimalism and meaningful design.

“It comes from my belief that simplicity creates space for meaning. I have always been drawn to architecture and the principle that form must follow function. I design with intention; nothing is accidental. Every line has a purpose, every curve holds a story. Minimalism, for me, is not about removing emotion; it is about distilling it. I want each piece to feel timeless, personal, and quietly powerful.”

The label has been flaunted by high-profile clients — including Jennifer Lopez, Lady Gaga and Lama Akeel — but Abudawood emphasized the brand’s focus on connection over visibility. “Whether someone is a public figure or not, what moves me is when they feel seen by the jewelry. Yataghan has always been about resonance, about creating pieces that speak to identity, strength, and personal stories,” she said.

Looking ahead, 2026 will mark new chapters for Yataghan, including local and international expansion, innovative collections, and a stronger focus on storytelling and community collaborations. “Growth has never been about reach alone; it’s about depth, integrity, and lasting impact,” Abudawood added.

“Ultimately, what drives me is purpose. I’m motivated by the desire to create work that matters, to offer women something that reflects who they are, not who they’re expected to be. Design, for me, is a form of dialogue, a way to translate emotion into form. As long as I’m creating with honesty, intention, and heart, I know I’m exactly where I’m meant to be.”