Renaissance Renaissance Spring 2024 Ready-to-Wear collection, runway looks, beauty, models, and reviews.
At times, the designer Cynthia Merhej has cursed the phoenix-like name she gave her fledgling label when she was starting out in 2016. In some senses it has left her feeling trapped and unable to throw in the towel—beginning again seems a foregone conclusion when your label is named after an act of rebirth, doubled for emphasis.
When even highly established fashion houses are faltering, it’s unsurprising that emerging designers are tapping out of fashion’s rat race. Happily for Merhej’s fans—of whom there are many, and a discerning bunch they are too—she persisted. Currently based between Paris and Beirut, the Lebanese designer has recently come out the other side of a period of reviewing, revising, and refining. She has sought out suppliers and factories in Lebanon to assist her mother with production.
Her spring collection was beautifully put together, styled for the lookbook by Claudia Sinclair. But it’s when one analyses the pieces individually on the rack that one appreciates the thought and skill that has gone into each item. “I wanted everything to be able to be layered over everything else,” Merhej explained. “And I wanted to make everything really wearable, so that even our signature tulle skirts didn’t look too pouf-y and princessy, but could be worn every day, maybe even over jeans.
Of the latter, she said: “I just loved how they were able to talk about these very difficult subjects, sometimes violent, in a very soft, beautiful way.” For spring, Merhej had envisioned a protesting woman, walking on the street with white banners flying behind her. “I wanted to mix the idea of something that feels a bit more crisp and structured with a lot of softness, lightness and fragility,” she said.
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