Preserving Lebanese Fashion History: Meet Joe Challita

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by Christelle EL-Daher

Preserving Lebanese Fashion History: Meet Joe Challita

15 Nov 2024

Source: Joe Challita's collection

Introducing Joe Challita isn’t an easy task. He is described by Hollywood reporter Ally Portee as “the Suzy Menkes of Lebanese couture history”, but in my humble opinion names and titles don’t do him justice. He is a phenomenon on his own. Everything he does is guided by his northern star: raising awareness about Lebanon’s fashion history. Joe’s dedication stems from true passion. His meticulousness is unmatched. He is an inspiration to many aspiring Arab fashion historians and journalists, myself included.

Born and raised in Australia, Joe’s Lebanese parents shaped his identity with their love for Lebanon’s rich culture and life’s finer details. After studying law for six years, and being sworn in as a solicitor, he dropped everything to pursue his life calling. After graduating from the fashion college in Sydney, he embarked on an impressive career. His latest research proves that Tyre, an ancient Phoenician city in modern day Lebanon, is the world’s first fashion capital.

Read about Joe Challita, aka @lebanesefashionhistory, a man in love with his Mediterranean roots, who believes that Lebanon’s rich diversity is mirrored in its stunning fashion.

Source: Joe Challita's collection

— How would you describe the relationship between fashion identities and cultural identities?

— It is deeply interconnected. Fashion serves as a powerful mean of self-expression that reflects cultural heritage. Cultural influences shape fashion trends, while fashion has the ability to redefine and evolve cultural identities by integrating traditional elements with contemporary aesthetics. Therefore, this interplay enriches both the fashion landscape and the cultural narratives it incarnates.

— Can you explain the concept of “Lebanese Fashion History” to our readers?

— After a long and eventful career in the fashion industry, I felt a deep urge to show my gratitude towards my home country. “Lebanese Fashion History” was born out of a desire to embark on a project that combines my passion for fashion with a meaningful cause. It was a major milestone since it signaled the beginning of a new phase. I became a fashion journalist with a purpose. My mission consists in preserving Lebanon's rich fashion heritage, promoting it, and sharing it with the entire world. “Lebanese Fashion History” is a digital platform that celebrates Lebanon’s prominent contributions to fashion. It also aims to preserve, archive and document the tangible and intangible aspects of its rich fashion history. The goal is to conserve our cultural identity and maintain the legacy of the Lebanese heritage for future generations. When I embarked on this journey, I have set a twin objective. I want to reach the local community and the Mediterranean region; and demonstrate to the international community that Lebanon did have an impact on a global level.

— Would we ever see an “Arab Fashion History” account?

— Well, it isn’t as straightforward as it may sound. It is true that the Arab world abounds with fashion-centric accounts, but creating an umbrella and overarching “Arab Fashion History” account could amount to oversimplifying or disregarding the different identities in the region. For example, Morocco's vibrant fashion scene is significantly influenced by its rich Amazigh culture, which cannot be entirely considered as Arab. I believe it is important to celebrate and showcase each country's distinctive contributions to fashion, while highlighting the diverse cultural narratives that mould them.

Source: Joe Challita's collection

— What has your fashion historian journey been like?

— My unusual background has given me a special advantage. Law taught me discipline, research skills, and investigative techniques. Being a seasoned couturier has allowed me to tackle the subject with an insider's perspective. This dual expertise allowed “Lebanese Fashion History” to flourish. I also had the privilege to collaborate with global historians to unearth rare references and even solve a couple of fashion’s historical mysteries.

— I love a good mystery… Tell us more about these resolved fashion cases!

— There are plenty, but there is this story that I like in particular. In one of her many interviews, Sabah, Al Shahrourah of the Arab world, said that her all-time favourite master couturier was a “Joseph Harouni”. Obviously, I had to know more about him. After some research, I found out that, in the '50s, he tailored some of her best dresses in two famous Egyptian movies: “Ezzay Ansak” and “Share'a Al-Hob”.

However, I wasn’t able to retrace his professional career or personal life. To be honest, I found it strange. From what I have been able to see, his work seemed exquisite and the level of finishing was among the best for the time. How come nobody remembers him? For over a year, I went through all my contacts in Lebanon and Egypt with the hope of finding a piece of information about this unsung fashion hero. In the meantime, I constantly posted on social media with the hopes of finding a lead. Then, a major breakthrough happened!

Someone brought to my attention that their grand-aunt was married to Joseph Harouni. At long last, I found the missing link! After several conversations and encounters, I discovered that he died at a young age. No one was able to perpetuate his legacy because his wife also died early, he didn’t have children and his archive was destroyed during the Lebanese civil war. After witnessing my passion for Joseph’s work, the distant relatives of Mrs. Harouni entrusted me with the only surviving picture of him, his wedding photo. Throughout my investigative adventures, I solved mysteries, paid tribute to forgotten names and, more importantly, made many friendships.

— You meet all these interesting and fascinating people from the golden days. Can you share with us a story or an anecdote that marked you most?

— Oh, there are so many stories, many of which I can't share! However, I have been profoundly marked by the journeys of Lebanese international models like Andree Acouri in the '60s and Mona Ross in the '70s. They had impressive careers, yet took distinctively different paths. The lives and tales of these two pioneers showcase the diverse challenges and obstacles they had to overcome as first international Middle Eastern models in the fashion industry.

— If you can interview anyone — no time and space limitations — who would you interview?

— I would have loved to meet Lady May Arida. She was the remarkable president of the Baalbek International Festival, and Lebanon’s cultural ambassador par excellence. Additionally, I would be thrilled and honoured to interview Lamia El Solh, the Lebanese Princess of Morocco.

Photo 1, 2: Baz Guest House with the oldest handlooms in Lebanon; photo 3: Inspiration from Lebanese historical figures at Beiteddine Exhibition. Source: Joe Challita's collection

— “Lebanese Fashion History” opened to you many doors. One of them being your current job as fashion editor at Maria Claire Arabia. Can you tell us how did that end up happening?

— Yes, it all began when my project caught the attention of Lebanese broadcaster MTV Lebanon. They tasked me with preparing a full episode on the history of Lebanese fashion, spanning from the 1920s to the pre-civil war 1970s. It was commissioned for the “Saro Miyye” program, a primetime show celebrating the centurion of Greater Lebanon. The episode was a resounding success. It left a lasting impression on viewers. I received hundreds of messages, especially from the Lebanese diaspora, expressing their pride in their countries’ fashion legacy. This cameo caught the eye of Vogue Arabia’s managing editor, who recognised my particular expertise and knowledge of a field that has been overlooked and marginalised. Soon after, they asked me to write articles that brought a fresh perspective. This led to a wider recognition. Later on, Marie Claire Arabia reached out and offered me a wonderful opportunity. Today, I proudly serve as their fashion editor, where I continue to elevate and promote fashion on a global stage.

— We live in a world of continuous news at best and fake news at worst. How do you deal with renowned publications using your words and images without being cited as a source?

— Unfortunately, this has happened on too many occasions. It speaks volumes about the author’s professionalism. Some may think they can get away with it, but readers are intelligent. They are aware of who comes up with the research and ideas. Many well-known media personalities have taken notice of my work and are now hosting the individuals I have interviewed and featured first on my page.

— What advice would you give for all aspiring fashion editors out there?

— Write from the bottom of your heart, carry a powerful message and leave an impact. Moreover, be genuine, offer unique perspectives, and find interesting topics that you can identify with.

— You won a grant from “Maison Mode Méditerranée” in 2022. How did it feel to be recognised as a preserver of Mediterranean history?

— Winning the “Enthusiasm Award from Maison Mode Méditerranée” in 2022 was a significant turning point. Over the last two years, I have been able to shift into second gear. I have been able to expand the scope of research, improve the digital platform, and curate more historical archives. This recognition provided a solid foundation for the next chapter. Receiving this grant from France was not only a great honor, but also a meaningful opportunity to put Lebanon back on the international stage. It proved the importance of safeguarding and promoting Lebanon’s fashion history as an integral part of Mediterranean culture. Meeting the key people behind this initiative in Marseille is one my career’s highlights. I cannot thank them enough, because this grant allowed me to greatly expand my international connections and contacts.

— In 2007 I was as a little girl, and I remember watching you on the reality TV show “Mission Fashion”. Can you tell us more about that experience?

— “Mission Fashion” was an unforgettable experience, particularly because I had the privilege of meeting Lebanese designer Elie Saab. It was an incredible honour to be mentored by such a big name, especially that he designated me as his favourite designer. I was particularly proud to be the only candidate to join his team after the show ended. For those who don’t remember, the final was a family affair. Indeed, my brother and I fought for the big prize. He won the contest by a mere 5%. Overall, this show offered invaluable exposure on television, started my fashion career and sealed my decision to move from Sydney to Beirut. Building on the existing momentum, I came across another interesting opportunity: to animate a segment on live television. I hosted a weekly fashion segment on “B Beirut” show, aired on LBCI, where I talked about the latest trends, shared fashion news, and shared insights from the industry. This programme allowed me to connect with a bigger audience. I had the possibility to share a fresh take on fashion while staying up-to-date with the latest developments in the ever-changing fashion world.

— Are you still designing evening gowns?

— Absolutely! It allows me to unleash my creativity. I define myself as an artist who caters to the needs of a niche clientele that truly values quality over quantity. I privilege working on a small scale. I craft each garment myself, because I appreciate the intimate relationships I knit with my clients. This old-fashioned approach to couture enables me to handcraft pieces that puts front and center the client’s identities.

National Costume designed for Miss Lebanon, Nada Koussa. Source: Joe Challita's collection

— During Miss Universe, Miss Lebanon has to walk out in a traditional Lebanese outfit… And every year her team misses the mark! Why do you think that keeps on happening?

— Costume making is an intricate art form that goes beyond the simple notion of design. It needs a great understanding of the history and story behind each piece. All designers can create costumes, but few can master their craft. True mastery comes from extensive research and genuine appreciation for the cultural narratives that each costume is telling.

When it comes to Miss Universe, it isn’t uncommon for the designated designers to be given tight deadlines to submit their creations. Therefore, they don’t have enough time to perform extensive research. They have to rely on their knowledge of historical contexts to make costumes that projects authenticity. A national costume should seamlessly convey its country of origin, and the designer’s personal touches shouldn’t supersede the main message. The national identity must remain at the forefront, ensuring that the costume tells a story as rich and vibrant as the culture it represents.

One critical aspect that has been overlooked in the past is the importance of accurately referencing Lebanese historical costumes. Most of the time, the presented costumes don’t include a historical context nor the designs don’t have the dramatic effect for such occasion.

— To our greatest delight, you are leaving your mark on Miss Universe 2024, currently held in Mexico. Miss Lebanon, Nada Koussa, is wearing a National Costume designed by you. Can you break down the look for us?

— It is a tribute to our Lebanese heritage. The colour palette had to be hues of purple to honour Tyrian purple and the Murex shell. The look itself consists of a velvet qabran overcoat, an essential element of Lebanese dress in the 19th century, with dramatic sleeves, a long train and hand stitched embroidery along the trims. A silk organza serwal pants for the fluidity and sensuality we are known for. A hand-crafted, hand-beaten tantour, referencing the headpieces of Lebanese princesses. And a necklace of traditional coins.

I am incredibly proud of the end result, but my joy is incomplete. I embarked on this project while my country is living through difficult times. So, I wasn’t able to travel to Beirut and bring all the talented artisans with me on this journey.

— If asked, I would say that Joe’s aesthetic is earthy tones in natural fabric. How did you get there?

— My aesthetic has two fundamental pillars: appreciating the beauty of natural materials, and celebrating fashion as a form of personal expression. I am a firm partisan of embracing the organic qualities of earthy tones and natural fibers. It adds a great touch of authenticity and individuality.

— Who are you leaving this legacy to?

— I am leaving this legacy to the new generation of Lebanese. I urge them to take pride in their unique heritage and to continue raising awareness about it. I have been collecting rare books and historical documents about Lebanon that touch on fashion. I also have a grand archive of vintage high-end fashion magazines, dating back from the 1950s and 60s, such as Vogue, Harper’s and more. These publications depicted Lebanon in its glorious golden days. They showed how the pearl of the Mediterranean earned the moniker of “Paris of the Middle East”. They provided sublime fashion shots and accounts which are a head and shoulders above anything we have seen in recent times.

My goal is to create a dedicated space where experts, students and fashion enthusiasts can use these resources for research. This space will also house a museum. It will feature garments from past designers and historical costumes that I have collected or created. It will also host a workshop section. In short, I aim to establish an institute of Lebanese fashion history. I am actively seeking funding and looking for institutional support to materialize this dream.

On a complementary note, I am collaborating with educational institutions to launch the first Lebanese fashion history course, which I will be giving. Initially set for this summer, we had to postpone this project, due to the on-going situation. Nevertheless, it remains a top priority of mine.

— What is next for Joe Challita?

— To be Lebanon’s Cultural Ambassador… I am wishing!

by Christelle EL-Daher