The Bite Magazine - Spring/Summer 2023 - Issue 33

bitefashion It’s clear from these initial looks that Ward reached deep into his experiences with each of his mentors and his extensive knowledge of fashion history to pick the best pieces that would help him form this collection. Look #11 was a gentle, flowing cream gown with draped sleeves and a gleaming metallic bod- ice, evocative of Grecian fashion. In contrast, look #13 brought out a shimmering silver gown with an iconic illusion mesh, giving the audience a peak at the model’s upper thigh as if they were looking through a sheet of cracked ice. Swaying back and forth between classic and mod- ern, Ward presented the audience with another iconic Dior-es- que light blue ball gown with twinkling silver glitter, which had the gallery in awe. Two more pale blue and silver embellished gowns, followed by a gold taffeta dress, ushered in the most daring look of the night, a tiny, light gold bodysuit worn under another giant hat, which surrounded the look with a voluminous sheer, gold tulle veil. Another blazer dress, this time in gold, tailed closely be- hind, with one half completely enrobed in long gold fringe. It seems amiss not to go into detail about each gown, as they twinkled like constellations down the runway, but there were some significant standout pieces. The sensual, one-shoulder, blue-to-light-gold sequin ombre and floating tulle cape of look #24 was captivating and served as the perfect foil to the canary yellow ball gown with miles of ruffles that floated after it. Ward’s love of historic references shone through again with look #29 and its umbrella pleats, drawing heavily from the ar- chetypal Dior wiggle dress. A wave of vivid green and gleaming looks, many with variations of capes, glided across the runway. A 1970s-style champagne gown with ruffles and an accompa- nying hat and a slim, fringed cocktail dress succeeded these. The designer threw everything he had at the last few looks, which paid off. Look #36 was bold in black, with one long sleeve, a daringly high slit nearly to the model’s hip, a train, cutouts lined with sparkling glitter, and the back encrusted with confetti-like embroidery. Next, a black blazer dress with a satin skirt, starburst glitter motif and a hat that looked almost alive as it bounced atop the model’s head was followed by a classic black chiffon gown with a glistening purple bodice and a sheer cape. In stark contrast, a white column dress with a white cape, both with strands of purple and gold sequins, surged ahead along with a licentious white hooded jersey dress, half of which was adorned with black crystals and mesh. The show closed like most haute couture shows, with an elabo- rate wedding gown. Ward’s gown was a direct reference to the popular bridal styles of his home country of Lebanon, with the cathedral-length, glittering veil placed on the hairline and secured with a complex crown of shimmering tendrils. Every inch of the silver-white princess cut dress was painstakingly beaded in a final, enthusiastic display of the deep love of cou- ture that Tony Ward so clearly has. https://tonyward.net