GEORGES HOBEIKA PRESENTS "THE NEW ORDER": COUTURE AS A RESISTANCE TO CHAOS

A POETIC ACT OF DEFIANCE

In a world that seems determined to collapse under its own weight—politics crumbling, climate panicking, trends recycling faster than TikTok memes, Georges Hobeika dares to bring us something utterly scandalous: beauty. His Autumn/Winter 2025-26 Couture collection, aptly titled The New Order, is less a wardrobe and more a declaration. Here, fashion is no longer an accessory to distraction, but a hymn to resilience, an elegant act of defiance against the dissonance of modernity.

The show opens like a cinematic hush, garments gliding out one after another with the solemnity of whispered prayers. Each sketch, each cut of fabric, each bead stitched into eternity is not just a detail, but a line of poetry. Couture, in Hobeika’s hands, becomes a weapon of serenity.

THE LOOKS THAT SPOKE LOUDER THAN WORDS

The silhouettes oscillated between strict discipline and lyrical softness, as if rigor itself had been taught how to dance. A gown in ivory satin appeared first, sculpted with a razor-sharp bustier before cascading into a waterfall of pleats that suggested both order and abandon. Then, a vision in midnight velvet—cut with the severity of a military coat but softened by embroidery that sparkled like fragile constellations—reminded everyone that structure can, in fact, seduce.

And then came the florals. Oh, the florals. Laser-cut petals layered upon translucent tulle, dresses that seemed less worn than grown onto the models, like couture terrariums.

Some pieces carried entire gardens across their hems, their delicate details so painstakingly fragile that one wondered how they even survived the runway walk. These dresses whispered of fragility but declared permanence.

The color palette was as controlled as the tailoring. Neutrals dominated—ivories, muted golds, stormy silvers: before yielding to flashes of lapis blue and blood red, reminders that passion always seeps through serenity. If chaos is loud, Hobeika answered with whispered authority.

CRAFTSMANSHIP AS A FORM OF PRAYER

The collection was an ode to the very act of making. Every stitch felt like a meditation, every embroidery like a litany. Draping was mastered to the point of invisibility, proving once again that true technique is not seen but felt. The interplay of laser-cutting with hand embroidery, the balance of ancient savoir-faire with technological precision, all spoke of a house deeply aware of its heritage but unafraid to experiment.

It was this dialogue between tradition and future, silence and storm; that defined The New Order. In fact, one could almost hear the ateliers breathing in unison behind every piece. Fashion, for Hobeika, is not escapism. It is confrontation. Only instead of riots, he gives us gowns.

THE SUBTLE POLITICS OF BEAUTY

To call this collection merely “beautiful” would be missing the point. It was not about surface, but essence. In a landscape of fashion that too often surrenders to gimmicks, Hobeika anchored himself in the unapologetic seriousness of couture. His vision of femininity was neither caricatured nor clichéd. It was fluid, sensitive, and above all felt, not illustrated.

There was also a quiet political undercurrent: a reminder that peace, order, and serenity are radical acts in themselves. While the world screams, The New Order whispers. And sometimes, whispering is louder.

A NEW GENERATION, A CONTINUED LEGACY

The show was also a statement about continuity. With Jad Hobeika’s presence now shaping the house alongside his father’s legacy, the collection carried both respect for the past and an eye on the future. The dialogue between generations gave birth to a couture that was not nostalgic, but profoundly current. The New Order did not erase history. It expanded it.

George & Jad Hobeika

A FINALE WORTHY OF A NEW BEGINNING

The closing look, an ethereal gown drenched in light-reflecting crystals, was less an outfit than an apparition. As it glided across the runway, the audience was reminded of Hobeika’s ultimate proposition: that fashion, when it remembers its essence, can outshine chaos.

One could almost hear Loïc Prigent whispering in the background: “The world is burning. She’s in sequins.”

CONCLUSION: ORDER IN THE MIDST OF CHAOS

With The New Order, Georges Hobeika delivers not just clothes, but a philosophy stitched in silk. He reminds us that couture’s role is not to distract from reality but to translate it into beauty, to hold a mirror up to our fractures and frame them in embroidery. This was a collection that did not run away from the times we live in, but stared them straight in the eye and chose grace as a response.

ALL THE LOOKS FROM THE COLLECTION:

VIDEO OF THE SHOW: