Merhej has built her brand around an aesthetic that feels instinctive and eclectic. Drawstrings and ribbons trail silhouettes that feel deliberately unfinished. The use of tulle gives the impression that it has been draped and tied directly on the body, while blazers slip from the shoulders as if intentionally pulled askew. The effect is raw, yet undeniably beautiful. “I like when things feel a bit undone, when you can play around with the pieces. That imperfection feels more playful and human to me than trying to project a ‘perfect’ image.” For her latest collection, she used crumpled techno taffeta to evoke the feeling of an unmade bed. Shorts feature raw hems with pockets peeking out from beneath, while a bolero’s adjustable bows can be scrunched to resemble gathered bedsheets – conceptual, yet wearable.
Her work is reminiscent of couture, but Merhej is quick to shift the conversation from spectacle. “I’m going to talk about custom pieces more than couture. I can’t describe the luxury of having something tailored to your body; it’s incredibly liberating. I think we see couture as this big extravaganza, something over-the-top, which is also very fun. But to me, couture is something that is incredibly intimate and freeing, because to wear something that your body knows is very special,” she notes.
Photography: Alessandro Raimondo
That belief in custom dressing as something personal rather than performative is reflected in the women choosing her designs. Case in point: Duwaji, who eschewed established luxury houses in favour of a regional label for a public ceremony. New York’s first lady wore a coat made by Lebanese women using locally sourced wool and faux fur – a choice that once again uplifted Arab talent. “I was surprised she knew about the brand, but when I saw her universe, it made total sense that we are aligned. That she chose to wear us over any other big name says so much about who she is.”