Hassan Idriss: Redefining Power, One Stitch at a Time

In a region long synonymous with opulence and ornament, Hassan Idriss has carved out a different kind of beauty, the kind that speaks less of fantasy and more of force. The Lebanese-British creative director, best known for his eponymous couture house HASSIDRISS, designs with a conviction that fashion should carry meaning. His work draws on a fascination with mythology and strength—his women are not princesses, they’re warriors.

“I want to help redefine the cliché of what a Lebanese designer represents,” he says. “I want to shift the narrative from dressing like a princess to embodying the strength of a superhero needed by the world.” It’s a statement that feels both aesthetic and political, particularly in a landscape where couture is often bound to convention. Sleek yet sculptural, architectural yet sensual, his designs subvert the tropes of Arab fashion without disavowing their heritage. They honour the handwork, embroidery, and precision for which Beirut’s ateliers are known, but reimagine them with restraint and modernity.

“All our work is produced entirely in-house in Lebanon,” explains Idriss. “From tailoring and embroidery to draping and colour dyeing, every piece is crafted by artisans from diverse backgrounds, religions, and ethnicities. It reflects the richness and unity of the country itself.”

Born and raised between Lebanon and the UK, he studied fine art before turning to fashion while at Central Saint Martins in London. “Fashion revealed itself to me as a kind of living, moving work of art,” he recalls. “The idea of capturing not just a moment or a feeling, but even meddling in developing an attitude fascinated me.”

That fascination has since evolved into a full-fledged creative philosophy, one that extends beyond couture. Idriss also works with installation and mixed media, creating sculptural works that explore humanity’s connection to nature, technology, and faith. “The ideas I work on often come from an inner urgency, a need to express rather than a simple desire to create.”

It is this intensity, tempered by quiet precision, that defines both the man and his practice. In the sometimes conservative or performative confines of Arab fashion, Idriss’ refusal to conform has made him both admired and contested. His minimalist ethos stands in sharp contrast to the glitz that dominates regional red carpets. But for this creative director, controversy is not a provocation but a byproduct of authenticity.

“Fashion is far from a stagnant field,” he says. “It evolves constantly, and we’re fortunate to be part of that ongoing transformation.” His evolution continues. In the coming months, Idriss will unveil his new bridal collection and a couture line early next year. This is alongside a series of tapestries at Beit Beirut, a city landmark that, like his work, bridges memory and renewal. Beyond couture, he envisions HASSIDRISS as a creative house, merging art, design, and social commentary. At a time when Beirut’s creative community continues to rebuild – physically, emotionally, symbolically – Idriss stands as part of a generation using art not merely to adorn, but to refine and repair.