Luxurious Couture, Ready-to-Wear & Wedding Dresses | Tony Ward Couture

By the time the lights went down in Paris, the collection was already moving elsewhere.

That’s how Couture works for us, it lives intensely, briefly, and then it disappears into the world. But before Tony Ward’s Spring–Summer 2026 Couture show unfolded, there were five days of motions and emotions that go beyond the runway and the beautiful pictures.

Casting days blurred into fittings. Models stepped in and out of dresses. Hair and makeup trials followed with over 4 hours to meet Tony’s vision: glossy waves, luminous skin, subtle eyes…nothing loud, nothing distracting yet complementing. The intention was clear: let the dresses lead. Light would do the rest. In between, front-row fittings ran in parallel, last-minute alterations happened quietly, and certain details were still being worked on hours, or even minutes, before the show. Pieces were constantly in motion.

Then comes the setting where it mattered the most. The team pulled 48 hours overnight to ‘re-create’ the space. Inside the Galerie de Géologie et de Minéralogie, a Parisian space shaped by stone and history, a modern installation took over: layered silver panels, dimensional and reflective, but controlled. Not a mirror, more like fragments of light suspended in space. It echoed the collection’s idea perfectly. Facets, not shine. Reflection, yet not excess.

Rehearsals. Coordination. All set. The show is ready.

Icons, press, clients, friends of the brand from all over the world were ready to take their front row seats: Haifa Wehbe, Esha Gupta, Dima Kandalaft, Rym Saidi, Paola Turani and much more of the beautiful faces…

When the first silhouette appeared, the language was immediate. Strapless column gowns felt sharp and elongated, traced with linear beadwork and broken-mirror effects that shifted from dense to sheer. Draped satin and gazar wrapped bodies asymmetrically, forming bows, capes, and architectural folds that moved with purpose. Beaded tulle revealed corseted structures beneath transparent layers. Fringe, metallic crochet, and faceted embroideries shaping the figurine.

Every piece carried time (and narratives). More than 800 hours of handwork shaped the collection. Stones were cut specifically for this season. Embroideries were developed stone by stone, varying in size, tone, and dimension so light could react differently with every step. Sculptural collars were assembled layer by layer. Black embroidery absorbed light, creating tension and contrast. Select looks were styled with clutches from a couture collaboration with Tyler Ellis, extending the collection’s language of precision and craftsmanship.

Backstage, there was no chaos, only focus and adrenaline rush in between. Dresses were checked, steamed, adjusted one last time. Then they walked. And just like that, it was over.

But not really.

Because the moment the show ended, the collection moved again. Dresses were packed immediately. Some left for trunk shows. Others headed to Los Angeles for Awards Season fittings. Several stayed in Paris for editorials, while others returned to the Beirut Ateliers, already requested by clients who had seen the runway and wanted the pieces now.

Facets of Light wasn’t a finale. It was a collision of preparation, precision, and momentum. A brief moment where everything aligned. And then, as always, couture did what it does best: it moved forward.