Rani Zakhem for Altaroma never stop dancing

When Rani Zakhem sets out his fashion show, something magical happens. So, from mere spectators, we the audience become the protagonists of a dance ball. Not a dance ball in particular, but the hologram of any gala, which could take perhaps place in a Hollywood villa, or even more likely on an Eastern-themed night.

If it were a black & white movie it would be “Black And White Party” by Truman Capote at the Plaza. It doesn’t matter if we wear a mask instead of a huge bow on the chest!

Rani Zakhem for Altaroma and the poetry of the dream

Rani Zakhem does much more than virtually take us to a faraway place. His dresses, luxury volumes and tissues, are never too classic, but encompass the lightness that every fairy tale should have. Like those of Walt Disney, able to charm princesses of all ages. His heroines have a strong personality and a femininity that does not need to speak.

People who know the Lebanese designer know how much he loves taking references from the past and then returning them to us, re – interpreted and incredibly contemporary.

As part of the autumn fashion show, a tribute was staged to Marlene Dietrich and her sinuous elegance, so now he retraces 50 years of American History of costume and brings to the stage the glitz and the euphoria of the most metropolitan city in the world, New York City .

‘One more dance’ is Rani Zakhem for Altaroma

Sleeveless dresses with voluminous skirts that twirl at every step. Designed to be admired from every point of view while the movement defines the space. Clouds of tulle for organza and duchesse skirts. Out of scale maxi bows and bodices designed as ‘botanique élément’ with tens of petals. And from the long evening red dress, we pass to the wisteria of a skirt and to the ankles and pastel colors, sweets and sugary as a summer fruit.

“One more dance” is the last dance of the evening, the first before leave the show, leaving a vacuum that smells of gold dust that decorates a black dress like an Art Deco piece of art.