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Into the wild: Rami Al Ali’s latest collection
Syrian fashion designer Rami Al Ali is perhaps one of the biggest rising stars to emerge from the Middle East in recent years.
- PUBLISHED: Sat 12 Jul 2014, 5:50 PM UPDATED: Fri 3 Apr 2015, 7:59 PM
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We caught up with him following his showcase at Paris Fashion Week to find out how the Brazilian rainforest inspired his latest collection and more
It’s said that a rising tide lifts all ships, and with designer Rami Al Ali’s meteoric and well-deserved ascent into the upper echelons of the fashion industry, he is perhaps changing the way the global industry views Middle Eastern designers.
Last Tuesday the Syrian-born designer returned to Paris Fashion Week to showcase his much-anticipated couture creations inspired by the nature of the Amazon. Playing host to an exclusive crowd of fashion’s top tier, Al Ali revealed his exquisite twenty-piece collection that heavily featured intricate embroidery and three-dimensional weaving with fabric finishings of silk organza and chiffon.
We caught up with the fashion star, a regular fixture on Dubai’s social scene, to find out where success is leading him next.
You’ve just finished showcasing your latest collection at Paris Fashion Week. What were some of your biggest inspirations this time around?
My travels have always worked as catalysts for inspiration. I use them as time away to recharge and re-group after each season; however, the creative process unfolds so organically when you’re in a new place. Your mind is completely captured and stimulated by your new environment, and everything becomes visually interesting. So even though I don’t necessarily search for a theme, it comes out anyway. This time I had a refreshing perspective on nature while visiting Brazil. The greenery is abundant and you feel its influence everywhere. I was particularly intrigued by the concept of the rainforest, and the contrasts presented. In one respect you feel absolute stillness and calm, but all the while there’s a state of continual change and surprising vibrancy; it leaves an intensely vivid impression. I imagined a collection that explored that juxtaposition and reflected the different levels at work underneath the forest canopy – cascading light, richly hued foliage and shadows. Every theme of mine must have shapes and details so the final product offers something interesting and I saw this as something that could be captivating when approached the right way.
Fashion houses like Chanel and DKNY are increasingly catering to their Middle Eastern clientele. What do you think this says about the changing perceptions of the industry and the potential for commercial growth?
Fashion that aims for classic appeal is never conservative or controversial for the sake of being so. Brands that have lasted and become iconic understand women simply want to look beautiful, and that means all women. Designers can innovate and progress while still maintaining this basic principle. I do not feel it’s a limitation to create wearable haute couture respectful of the female body. Style is an individual thing and fashion houses that understand this know that creating pieces that allow women to express themselves through their personal style comes down to good business. The viability of any label does come down to consumer needs, so it becomes a balance between personal design aesthetic and commercial appeal. I consider how my garments would look on a client, whether they would shoot well in editorials and if it would pique the interest of media.
In such a competitive industry such as fashion, what kind of risks do you enjoy taking with your designs?
With every collection you’ll see I’ve experimented with new, interesting textiles and techniques. I never want to stop pushing myself, or feel stagnant as a result of becoming too comfortable. So while I have maintained classic silhouettes with most of the dresses, I take risks through experimenting with colour and depth, while continuing to manipulate fabrics in unconventional ways. With my latest collection, I used special weaving techniques with a few of the dresses. I wanted to recreate the multi-dimensional aspect of the rainforest, its various layers and the interesting perspectives it offered. I always prefer to build depth, staying away from flat designs. I added embellishments, working in texture with beading and embroidery for an overall structured 3D effect.
Gaining industry recognition from European fashion capitals like Paris and Milan has always been important for Middle Eastern designers. Do you see a future where Dubai joins their ranks?
It’s possible, but it is quite difficult and still requires time. The Middle East is competing with a mature industry where fashion capitals like Paris, Milan and London have already reached their pinnacle years and years ago. It can feel like an uphill battle trying to get the attention of celebrity stylists, the right international media, and the big buyers. Regardless of the creativity or quality, the road to success is definitely more difficult. However, designers here are getting noticed and their dedication and resolve has been well worth it. There is a big wave that everybody is riding right now from major fashion titles moving to the Middle East, to the launch of the Dubai Design District. I feel optimistic, watching the new generation of designers driving innovation in Dubai and creating a voice for their own unique identity. Rather than graduating and going on to follow the path of Western designers or reproducing tired representations of ‘Middle Eastern’ aesthetics, now you find something interesting. It’s not Middle Eastern and not Western - it’s simply them.
While your creativity was founded in Syria, you chose Dubai to launch your career. How have you seen the fashion scene here evolve over the years and what are some of the obstacles that many local designers face today?
Initially, my move to Dubai was a transit stop to eventually continue to the United States. I had only intended to gain some short experience and advance my studies while there (in Dubai), then move on where the career track in fashion was faster and at a more global scale. However, at the time, fashion in this region was shifting from a Gulf taste to a more international taste. It’s taken longer to emerge as an international designer – if this was done somewhere in New York, London or Paris we would have got somewhere five years ago – but I don’t regret that I have stayed. It’s give and take in the end. You choose other things in life, not just work. I’m comfortable there, as I have a life there, an identity there. Local designers are well aware that everything comes down to accessibility and proximity. Middle Eastern designers are competing for those sources of recognition, and they’re doing so locally even before the international level is even an option.
You’ve dressed some of the most famous women in the world. What is it like for you to see your designs garner so much high-profile attention?
It makes me incredibly appreciative of all the people and work involved to make those kind of moments happen. I think about the road I’ve had to reach this point, and don’t forget the regional celebrities who’ve helped me when I was only regionally known. These are the people who believed in me and supported me at the beginning when I was still a small fashion house.