'Success is a form of resistance': Rami Al Ali makes triumphant haute couture debut in Paris

Drawing on Syrian culture, the Dubai-based designer's arrival on the official calendar has been a decade in the making

Rami Al Ali's haute couture debut in Paris featured several of the Syrian designer's trademark sculptural looks. Reuters

“Success is a form of resistance,” noted Rami Al Ali in a statement ahead of his show, where he became the first Syrian designer to join the prestigious ranks of haute couture.

For his debut on July 10 in Paris – having shown off-schedule for a decade – Al Ali presented Guardians of Light, conceived as an homage to the precious handicrafts of his Syrian homeland, which had been endangered and almost forgotten during the country's long civil war.

Drawing on the beauty of courtyards in private Ottoman-era homes, the painted panels of Al Azem Palace, the dramatic splendour of Jami Al Darwishiyya and Khan As'ad Pasha, and the hypnotic rhythm of geometric mosque tiles, Al Ali distilled it all into a parade of looks united in an airy lightness.

A look inspired by the geometry of mosque tiles from Rami Al Ali's haute couture show in Paris. AFP

In a discreet palette of cream, bisque, oat, crepe pink, powder blue, ash, dove grey, muted gold, black and white, Al Ali offered a plisse blue dress etched with mashrabiya patterns. The motif appeared again on a bone dress with a skirt that stood out like a bell; scattered in bronze around a long gold sheath; and as a gown in bone with the design built in three dimensions across the surface.

Elsewhere, a crisp patterning of blue lines traced from a halterneck fell to the floor, in geometric contrast to the flowing, plisse skirt, while two looks seemed to be woven from an intricate matrix of golden threads, echoing traditional Aghabani embroidery. This plaiting was also used to create a corset that floated over a gossamer chiffon gown.

Between these, Al Ali delivered the sculptural forms he’s known for: a stiff ruff rippling from shoulder to floor, beaded inside and out; cream folds that wrapped the body and spilled into kick-flare skirts like reams of paper; and high arcs framing the face and arms. Softer iterations appeared as long origami folds in eau de nil that swept the floor, and light latte pleats that swayed with each step.

Al Ali presented a muted palette with shades of powder blue, dove grey, crepe pink and muted gold. AFP

In a statement to the Federation de la Haute Couture et de la Mode ahead of the show, Al Ali explained why reworking Syrian heritage was important for him. “Every step forward, especially when you're coming from a place that’s underrepresented or misunderstood, is an act of quiet defiance,” he said.

With fitted silhouettes that offered sleek lines and restrained refinement, Al Ali proved why he deserves to be among the ranks of haute couture. It is the highest stage a dressmaker can aspire to, and a title bestowed on only a select few.

Having established his brand in Dubai in 2001, and showing his creations alongside the official haute couture week in Paris for 10 years, Al Ali has been quietly honing his skill to arrive at this point.

The designer mined his own Syrian culture for inspiration, including this look where he references Aghabani embroidery. AFP

Devotees of his work will recognise his touches in this collection, from his whisper-light touch of placing a fold here, and deftly turning down a shoulder strap there. To the rest of the world, this show will announce the arrival of a talent worthy of their attention.

With the restraint and elegance he has made his own, Al Ali offered propositions that are refined, poised and achingly beautiful.

Al Ali has staked his claim on the international stage, with a collection filled with remarkable savoir-faire. A decade in the making, it has been well worth the wait.