Kayouz notes how such “intimate constructions” end up conducive to movement. In the accompanying film, director Nasri Sayegh creates a link between Beirut and Paris, between the hand movements that craft a dress and the dance moments that the dress evokes. Hours of workmanship—230 to be exact—come across with the sensuality and fluidity that have long defined Kayrouz’s approach.
As the film ends, we the goldfish is kept in the Paris showroom, its colour almost a perfect match for the brilliant orange of the dress. Kayrouz said that this was not a deliberate homage but rather the ribbon color that the atelier had in the quantity required to assemble the dress. Compared to the previous designs, this version presents a more elaborate skirt structure, with fluted undulations that appear rigid when stationary only to expand freely as model (and Crazy Horse dancer) Yousra Mohsen twirls.
Kayrouz said he is now thinking ahead to the summer collection, as well as a new strategic direction that he plans to announce in the fall. If long-distance relationships come with inevitable challenges, the designer seemed pleased with how this experience worked out. “You realize, I have yet to touch it,” he said of the dress, missing the double entendre. “I feel really good about it—I wouldn’t have thought I would have this feeling. But now I’m ready to give it away.”