Ziad Ghanem - The Show for the Rest of Us

I was really excited about Ziad Ghanem's show after the amazing spectacle's he has put on in previous seasons. With the lineup being several blocks long last season, I was sure to get there early and stake my place in my favourite spot. I looked around as the room filled. What I love most about Ziad shows, is that they are for everyone. He celebrates all measures of real life beauty in all of it's freakish glory.


I could feel the show was about to begin. At shows like this the lights almost feel hotter and a sort of pressure builds and you can feel something bubbling under the surface...


CRASH! AHHHHH!!! HELP!!!! BANG!!! SMASH!!!


I would have thought it was part of the show but the lights hadn't yet been dimmed. My eyes tore to the photographers pit in which all photographers were in a free fall domino like tumble off the meter high platform! Tripods and camera's crashing to the ground. It always looks and feels like such a delicate balance of bodies and equipment - precariously perched on a needlepoint. My over sized bottom once almost caused a similar catastrophe so once I saw that everyone was ok (but for a few bruises) I thanked bejeezus that it wasn't me who did it. "Girl from Pandora's Thoughts Big Ass Knocks Over 50 Camera Crew While Bending to Pick up Her Pen - 10 Hospitalised.  Bring Back Size Zero!"


I immediately called Mel who's response was "Oh my god what equipment was damaged?? Please don't say any Canon 5d Mach II's...." Typical of her to ask after the camera's before the people! 


The lights dimmed - I chucked my phone and got ready...

First to come out were my favourite married art duo the Battenberg-Cartwright's. I adore their story and their work and their love for each other. So many people marry for what they feel are traditional reasons and do it in a traditional way and it ends up a loveless disaster. These two have something else.... Maybe this couple who got married for art should start giving some lessons! Anyway, they looked amazing with red eye makeup and large bushells of flowers in their hair. He in a cropped white tailored jacket and draped bottom half and her in a gorgeous pink gown.


I love a man skirt, but this was the best I have ever seen. Fold upon fold upon fold of layered white cotton tied with a pink sash. It was unbelievably masculine despite the feminine influence. My favourite piece was a long sheer dress with vertical ruffles which perfectly followed and accentuated the curves of the female form. I would normally insert some sort of self deprecating remark that it wouldn't look as good on me as it did on the model but Ziad designs for all shapes and sizes so I have hope that it would!

          

A stunning girl in a long white dressed veiled in a piece of black netting, it was so innocent and delicate to watch. 

Streets full of lace, a corseted jesus, a haunting mime like white faced figure who tiptoed down the catwalk arms outstretched. A caped figure who poured paint down themselves from somewhere hidden. A delightful beauty in PVC and a voluminous baby doll dress made from miles of fabric skipped along, opened her umbrella to a shower of rose petals! It was unbelievable.... 

                           

Ghanem's young niece stole the show in true diva style. Chin in the air, she was the most confident of a VERY confident bunch! You go girl! You too Ziad. Another amazing season... Thanks so much for having me...

Ziad Ghanam.... That's All We Have to Say....

It was a long wait in the rain to get into the Ziad Ghanam show but I can't even begin to tell you how worth the wait it was.... Perhaps it set the mood?

Mel ran off to get a good photo spot (in front of some fairly unpleasant ladies who spent the show bitterly nattering at each other about their unsatisfactory seating- life is too short ladies - get your elbows out....) and I took a standing spot with Anna Daubner of Our Fashion across from Boy George. Taking inspiration from the video game Silent Hill and the artwork of John-Henry Fuseli we were excited to see what webs would be weaved before us. 

The lights finally went down and a hunched flame haired figure lurked onto the catwalk in a long black dress with large green feathered wing like fans. The catwalk was dark, with fizzling flashes of white and the creature began to rise.. Yes, you read correctly, it started rising up in the air, reaching 10-12 feet high! Then forward it came, with wild eyes and flapping wings before retreating into the London night and leaving the show to the less vertically blessed (though no less large in backbone or personality!)

The darkly wild music changed with almost every outfit providing a fitting gothic soundtrack to go with the crazy cult couture that Ziad Ghanam is so well known for. Everyone we spied in the audience (including us!) were dancing and grinning in their seats - which is always the best sign. The story rolled along twisting tales of, among others, a young woman dark and innocent, whom you assume talks like Wednesday Adams. She grew up as the show continued until she met her match. Then came the blackest "White Wedding" you could imagine. Artist duo Paul and Nora Battenburg-Cartwright played the new husband and wife before the "night of the wedding" arrived and out danced a ballerina who tackled the whole runway and back on points, twirling, veiled in lace and chiffon.

 And so girl becomes woman (or man becomes woman or vice versa or upside down - we love it..!..) and the outfits more powerful, more flowing, more gutsy. My absolute favourite was a studded skirt, and chiffon ruffled top. The painted pale model walked halfway down the catwalk before raising their arms and wiping their face with black paint and walking on. It was gut-wrenching!

Bright colours of fuchsia, teal, royal blue and purple followed, full pheasants on silks, studs, sequins, beads, silver and gold - all on models painted so beautifully and ornately deathlike they took your breath away. Every single character down the catwalk carried with them such personality. It was lush to see a show where the models were WEARING the clothes - and loving them, and expressing themselves - instead of the clothes wearing THEM. It was refreshing to see a designer not fearful of being outshone by his models - because though they were immense the two components of the show played off of each other so well.  One fed the other until there was nothing left but carcasses and bodies and the sound of our awe.

Our hands are held up - we surrender Ziad Ghamen! Thanks so much for being you!

Links:  http://www.ziadghanem.co.uk/

The 4 frontal catwalk photo's courtesy of glamour.com