There is something particularly satisfying about a fashion house that understands exactly why women love it. Georges Hobeika has never been interested in making clothes that require convincing. The fantasy is immediate. You see the dress, you imagine the occasion, and somewhere between the embroidery, the movement and the unapologetic glamour, you want to be the woman wearing it.

For Spring/Summer 2027, Georges and Jad Hobeika expand that fantasy rather than reinvent it. The collection is built around the many expressions of femininity, moving from darkness to light, structure to transparency, masculine energy to an almost liquid softness. There is no attempt to define the Hobeika woman as one thing. She can be strong, delicate, sensual, severe and romantic, sometimes within the same look.

And perhaps that is where Jad Hobeika’s increasingly visible presence within the House becomes most interesting. Working alongside his father, he brings a different rhythm to a vocabulary that has been developing since Georges Hobeika opened his Beirut atelier in 1995. The challenge for a second generation is always the same: how do you make something feel new without disturbing the reason people fell in love with it in the first place? Here, the answer seems to be evolution rather than interruption. The House itself describes Georges and Jad’s creative direction as a balance between heritage and innovation, combining its established craftsmanship with new embroidery techniques.

You can feel that evolution on the runway. Brocade satin enters the vocabulary, guipure-worked mesh gives the House’s familiar lace a more graphic character, and patterned fabrics combine knitted mousseline with satin within a single piece. Even Hobeika’s floral embroidery is pushed somewhere slightly less expected, worked directly onto patterned surfaces. Yet none of this experimentation comes at the expense of desire.

That matters because Georges Hobeika has become remarkably good at creating a runway that lives far beyond the runway. Season after season, the clothes travel across Instagram almost instantly. The dresses are reposted, saved, sent between friends and added to imaginary wardrobes. Girls dream about wearing them. In an industry sometimes so preoccupied with intellectualising fashion that it forgets the pleasure of actually wanting clothes, Hobeika understands the value of desire.

And Spring/Summer 2027 gives the audience plenty of it.

There are sheer columns dripping in embellishment, corseted dresses traced with crystals, flashes of saturated red, fluid satin and evening gowns engineered around the body with extraordinary precision. But what makes the collection work is that glamour never appears embarrassed by itself. These are clothes that want to be beautiful. They want to enter a room. They want to be photographed. They want to become somebody’s dream dress.

Even the smallest details carry the collection’s broader conversation around femininity. A recurring deer appears across earrings, bags and other accessories, chosen as a symbol capable of holding softness and strength simultaneously, while imagery of the animal in an embrace introduces ideas of maternity and protection. It is a surprisingly tender thread running beneath all that surface glamour.

Perhaps that is why the Georges Hobeika universe continues to connect so easily. Georges built a language women already understood, and Jad is helping it speak to a new generation without changing its accent. The techniques can evolve, the silhouettes can loosen, the fantasy can become bolder, but the emotional proposition remains wonderfully uncomplicated.