By Jesse Scott
2025 has quickly become the year of Georges Hobeika. Within just six months, the Lebanese house managed by a father-and-son team has released three extensive - and spectacular - collections (two Haute Couture and one ready-to-wear). Both the depth and breadth of these offerings have been impressive; the Hobeikas have created an ambitious and all-encompassing universe while nonetheless executing a concise and inspired vision that suffers no extraneous or directionless pieces.
For Fall/Winter 2025-26, the Hobeikas proposed a “New Order.” Searching for serenity within the tensions of modern society, which is in a state of permanent and radical change due to technological advancements, they placed a renewed emphasis on traditional craftsmanship that in and of itself can be described as an act of subversion. “The discipline of drawing, the mastery of our craft, the sacred act of honoring what we transmit: these become our rebellion,” guests were told in the show notes. In an age of fast fashion, haute couture remains a final bastion of pure sartorial artistry: an island of beauty standing strong within a chaotic storm. Hobeika is a leading light on that island, and, now marking its 30th anniversary, is performing stronger than ever.
1940s Glamour with Timeless Sensibility
Hobeka’s Fall/Winter 2025-26 collection was an ode to timeless glamour with nostalgic undertones yet distinctly modern details. Staged under the towering ceilings of the Palais Broningart, the show was possessed of a romantic grandeur that reminded me of why I originally fell in love with couture. Hobeika was quite simply one of the best cast shows of the season. The vision for hair and make-up was also exceptional. 1940s style “victory rolls” provided a sophisticated structure to many hairstyles, mirroring bold symmetrical dresses that carried a particular ferocity. Meanwhile, tightly slicked backed looks created balance through contrast with voluminous trains.
Bejeweled and finely embroidered looks took center stage. One structured bodice ballooned into a graceful hourglass shape covered in countless strings of cascading pearls. A gold bodice was frosted with hundreds of intricately arranged gems that shimmered like iridescent stars. A black dress with gracefully draped black shoulder pads and a semi-sheer lace midsection was given an air of gothic romance through an elaborate jeweled detail fastened to the waist like a belt. And one form-fitting sheath, extending into a mermaid-esque train covered in black crystals, exuded an intoxicating air of medieval drama. Crystal fringes, simultaneously feminine and fierce, were omnipresent.
As elaborate as the details were, the color palette was refreshingly restrained. At a time when many designers feel pressured to force non-sequitur brightly colored looks into largely neutral-toned collections, the Hobeikas demonstrated outstanding discipline in maintaining a quietly elegant palette notable for creams, whites, periwinkle blue, and soft pinks. They also showed mastery in texture play, most notably on a dramatically cut bejeweled semi-sheer dress fanning out into a pleated matte mermaid train.
The Hobeika show took place during a driving rainstorm. But the sky quickly turned into a brilliant blue as the exclusive guest list, including names like Mara Lafontan, Aba Sofy, Manuel Arnault, and Farnoush Harmidian, filed out of the Palais Broningart to continue their day’s schedules. It felt appropriately symbolic. During a chaotic period in fashion, defined by rapid change and an uncertain future, the Hobeikas delivered hope, calm, and an impeccable elegance that is truly temporally transcendent.
Georges Hobeikas Couture Fall/Winter 2025-26: Looks 2, 8, 7, 16, 18, 24, 28, 35, 36, 42, 44, 43, 48, 47, 55, 56 (Images courtesy of Georges Hobeikas)
