The SceneStyled Bandage Dress Edit
Once an iconic dress, always an iconic dress - Hervé Léger's second-skin bandage dress is lacing itself back into the fashion bloodstream.
In the mid-2000s, the bandage dress held nightlife in a chokehold. Cut from thick elastic panels and precision-engineered to sculpt the body like a Roman column, it became a cultural fixture - spotted on everyone from Beyoncé to Kim Kardashian to Cindy Crawford. But the dress didn't start in Hollywood. Before the paparazzi flashes, there was Azzedine Alaïa - the Tunisian couturier whose bodycon legacy fed directly into Léger's hands.
Now, in 2025, the bandage dress is finding new footing. Less about the nightclub, more about form, fit, and recontextualisation. Labels are revisiting the silhouett, showing it in soft metallics, earthy palettes, and sculptural cuts that reference both the '90s and something more future-forward.
And in the MENA region, we're are pairing the dress with acid green heels, architectural ear cuffs, archival clutches, and fragrances that smell like heat waves. Below, we break down five ways to style the reborn bandage dress - regionally sourced, editorially sharp, and still clinging on (in the best way).
LOOK 5 | Resort 2026 Collection
Amina Muaddi, Anok 155 Patent Leather Platform Pumps
Sculptural and sky-high, these silver platforms ground the body-hugging silhouette with a bit of 2000s maximalist nostalgia.
Okhtein, Soiree Clutch
Crystals, chrome, and the silhouette of a vintage minaudière—Okhtein's Soiree clutch brings a glam-metal energy to the look.
Martyre, Astrid Studs in Sterling Silver
Minimalist with edge. These studs give structure without shouting, balancing the volume of the dress.
Yacine Hamdi, Silver Eargrillz
Custom-moulded with a rebellious curve, these eargrillz reframe the bandage dress as something a little less predictable.
Panconesi, The Triptych Arm Cuff Like wearable sculpture—Panconesi's Triptych wraps the wrist in geometry and tension.
Panconesi, Blow Up Single Cuff Silver
Chunky and bulbous in all the right ways, this wrist cuff adds industrial drama.
Amouage, Reflection Woman
Fresh white florals with unexpected depth—a scent that lingers like silk on skin.
TANYA GOWN | SS'25 Collection
Dara Hamarneh, Valletta in Green Calf Hair
A textured twist on minimalism. Bold in colour, rich in material, and just the right size to feel intentional.
Yuniu Jewels, Vinti Rings
Deconstructed and stackable, these rings bring kinetic energy to an otherwise structured silhouette.
Bil Arabi, Ya Ein Earrings
Bold and symbolic. An iconic Bil Arabi design that brings language and legacy into the look.
Duha Bakadi, Dama Shoes in Green
Lime-bright and strappy with an architectural heel. Summer on your feet.
Desirs, Suntan Vanilla
Sun, sand, and sugar. This is SPF and skin heat bottled into scent.
REMI GOWN | SS'15 Collection
Amel Batita, Red Brocot Gloves
Opera-length gloves in textured red velvet—gothic, romantic, and unapologetically extra.
Amr Saad, 590 Hipster in Black
Angular, blacked-out frames for when you need to look unfazed at brunch.
Touchless, Ruby Silk Clutch
Andrea Wazen, Nora Pump 105 in Black
Pointed, sharp, and laced with evening energy. A structured contrast to the softness of the dress.
Ibrahim Al Qurashi, Black Diamond Carbon
Smoky and smooth with a mineral edge. Think private driver, tinted windows.
LOOK 15 | Fall 2025 Collection
Nicoli Shoes, Enero - Silver
Like disco for your feet. These reflective heels light up the clean lines of the dress.
Dania Shinkar, Mila Crystal Embellished
Encrusted, embellished, and structured to hold the drama.
Jude Benhalim, Ember Earrings in Blue
Coloured lucite in sculptural form. These drop earrings bring liquid architecture to the ears.
Jude Benhalim, Essence Bracelet in Blue
A bold, cuffed companion that repeats the visual rhythm of the earrings.
Jude Benhalim, Vault Cuff in Silver
A finishing strike of silver to layer or let stand alone.
Reef, Coral
Warm spice softened by sea salt. Less beachy, more mineral memory.
VALERIA DRESS | SS'25 Collection
Thuna, Selena Silver Sandal
Silver, strappy, and barely-there. These sandals whisper instead of scream.
Mesh Mesh, Sārab in Frost White
Minimalism with a mirage effect. This structured white bag pulls light and shape into one.
Begum Khan, Mari Earrings
Bold botanical forms dipped in shine. These earrings feel ceremonial and grounded.
Begum Khan, Mari Ring
Stacked with symbolism, finished with a punch of sculptural drama.
Begum Khan, Mega Singapore Orchid Bracelet
A maximalist's dream in floral form. The bracelet doesn't blend—it commands.
Gissah, Imperial Valley
Dry florals and desert air. A scent that moves like wind across stone.
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CairoScene
10 hours ago
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The SceneStyled Bandage Dress Edit
Once an iconic dress, always an iconic dress - Hervé Léger's second-skin bandage dress is lacing itself back into the fashion bloodstream. In the mid-2000s, the bandage dress held nightlife in a chokehold. Cut from thick elastic panels and precision-engineered to sculpt the body like a Roman column, it became a cultural fixture - spotted on everyone from Beyoncé to Kim Kardashian to Cindy Crawford. But the dress didn't start in Hollywood. Before the paparazzi flashes, there was Azzedine Alaïa - the Tunisian couturier whose bodycon legacy fed directly into Léger's hands. Now, in 2025, the bandage dress is finding new footing. Less about the nightclub, more about form, fit, and recontextualisation. Labels are revisiting the silhouett, showing it in soft metallics, earthy palettes, and sculptural cuts that reference both the '90s and something more future-forward. And in the MENA region, we're are pairing the dress with acid green heels, architectural ear cuffs, archival clutches, and fragrances that smell like heat waves. Below, we break down five ways to style the reborn bandage dress - regionally sourced, editorially sharp, and still clinging on (in the best way). LOOK 5 | Resort 2026 Collection Amina Muaddi, Anok 155 Patent Leather Platform Pumps Sculptural and sky-high, these silver platforms ground the body-hugging silhouette with a bit of 2000s maximalist nostalgia. Okhtein, Soiree Clutch Crystals, chrome, and the silhouette of a vintage minaudière—Okhtein's Soiree clutch brings a glam-metal energy to the look. Martyre, Astrid Studs in Sterling Silver Minimalist with edge. These studs give structure without shouting, balancing the volume of the dress. Yacine Hamdi, Silver Eargrillz Custom-moulded with a rebellious curve, these eargrillz reframe the bandage dress as something a little less predictable. Panconesi, The Triptych Arm Cuff Like wearable sculpture—Panconesi's Triptych wraps the wrist in geometry and tension. Panconesi, Blow Up Single Cuff Silver Chunky and bulbous in all the right ways, this wrist cuff adds industrial drama. Amouage, Reflection Woman Fresh white florals with unexpected depth—a scent that lingers like silk on skin. TANYA GOWN | SS'25 Collection Dara Hamarneh, Valletta in Green Calf Hair A textured twist on minimalism. Bold in colour, rich in material, and just the right size to feel intentional. Yuniu Jewels, Vinti Rings Deconstructed and stackable, these rings bring kinetic energy to an otherwise structured silhouette. Bil Arabi, Ya Ein Earrings Bold and symbolic. An iconic Bil Arabi design that brings language and legacy into the look. Duha Bakadi, Dama Shoes in Green Lime-bright and strappy with an architectural heel. Summer on your feet. Desirs, Suntan Vanilla Sun, sand, and sugar. This is SPF and skin heat bottled into scent. REMI GOWN | SS'15 Collection Amel Batita, Red Brocot Gloves Opera-length gloves in textured red velvet—gothic, romantic, and unapologetically extra. Amr Saad, 590 Hipster in Black Angular, blacked-out frames for when you need to look unfazed at brunch. Touchless, Ruby Silk Clutch Andrea Wazen, Nora Pump 105 in Black Pointed, sharp, and laced with evening energy. A structured contrast to the softness of the dress. Ibrahim Al Qurashi, Black Diamond Carbon Smoky and smooth with a mineral edge. Think private driver, tinted windows. LOOK 15 | Fall 2025 Collection Nicoli Shoes, Enero - Silver Like disco for your feet. These reflective heels light up the clean lines of the dress. Dania Shinkar, Mila Crystal Embellished Encrusted, embellished, and structured to hold the drama. Jude Benhalim, Ember Earrings in Blue Coloured lucite in sculptural form. These drop earrings bring liquid architecture to the ears. Jude Benhalim, Essence Bracelet in Blue A bold, cuffed companion that repeats the visual rhythm of the earrings. Jude Benhalim, Vault Cuff in Silver A finishing strike of silver to layer or let stand alone. Reef, Coral Warm spice softened by sea salt. Less beachy, more mineral memory. VALERIA DRESS | SS'25 Collection Thuna, Selena Silver Sandal Silver, strappy, and barely-there. These sandals whisper instead of scream. Mesh Mesh, Sārab in Frost White Minimalism with a mirage effect. This structured white bag pulls light and shape into one. Begum Khan, Mari Earrings Bold botanical forms dipped in shine. These earrings feel ceremonial and grounded. Begum Khan, Mari Ring Stacked with symbolism, finished with a punch of sculptural drama. Begum Khan, Mega Singapore Orchid Bracelet A maximalist's dream in floral form. The bracelet doesn't blend—it commands. Gissah, Imperial Valley Dry florals and desert air. A scent that moves like wind across stone.
CairoScene
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Inside Beirut and Beyond's First Music Production Residency in Cairo
Inside Beirut and Beyond's First Music Production Residency in Cairo Back in April 2025, Beirut and Beyond, a Lebanese-bred organization and festival that has quickly grown into a sustainable platform for artist development, hosted a nine-day music production residency for the first time in Egypt. Led by Tunisian DJ and producer Deena Abdelwahed in partnership with Cairo-based WRST collective, the residency's core mission was to provide six selected participants of emerging Lebanese producers with a space for experimentation, learning and cultural exchange. This residency came as a second revisited edition of Beirut and Beyond's 'Rap & Beyond' initiative, an artistic residency which was launched in 2023 in collaboration with Sweden's World Culture Museums, inviting hip-hop womxn artists from the SWANA region to Beirut for one week to attend a series of workshops and collaborative music sessions, led by Noise Diva. Beirut and Beyond initially planned for the residency to take place in Lebanon in late 2024 as part of the MASAR, a two-year program supported by the FSPI grant from the Institut Français. However, due to the ongoing genocide in Palestine and the escalation of the Israeli attacks on Lebanon, the residency was relocated to Cairo instead. 'Cairo quickly was a natural fit for the residency, with its dynamic music scene, regional accessibility, and potential for building new networks and collaborations.' Yara Mrad, Program Manager, Beirut and Beyond, tells SceneNoise. However, the move proved beneficial, as participants were given the opportunity to immerse themselves in Cairo's musical landscape, attending a Zaar performance by the infamous group Mazaher. Egyptian multi-instrumentalist YUNIS joined the participants in WRST studio, where he shared his creative process and the inspirations behind his new record, and later invited them to attend his album launch party at Cairo Jazz Club. Deena Abdelwahed, a trailblazing producer herself who has been making waves in the electronic music scene across MENA, Europe and beyond –guided participants on everything, from composition and sound design to navigating the industry and building sustainable careers. Her approach wasn't about imposing a set method, but rather encouraging self-discovery. 'Rather than following a rigid curriculum, the program was designed based on an open-ended and discursive approach, allowing artists to define, or redefine, their artistic direction through dialogue, feedback, and creative trials,' Mrad notes. Collaboration with local music collectives and record labels in Cairo, particularly WRST collective, played a pivotal role in shaping the experience on the ground, providing the logistical support and direct connections needed within Egypt's music community. Participants got to attend a workshop with the lo-fi and electro-shaabi maestro, El Waili, right in his own studio, where he demystified his personal approach to beat-making and storytelling through production, further contributing to the residency's emphasis on practical knowledge sharing. Meanwhile, at Cairo Jazz Club, Egyptian sound engineer Nazli Reda also gave the participants a hands-on technical workshop on live performance, walking them through the D Day checklist and soundcheck technicalities. 'This helped the participants explore new ways of thinking about sound, audience, and community, allowing them to step outside of their usual context while remaining connected to the regional fabric that binds us.' Yara explains. But, beyond the technical skills, the residency encouraged participants to engage with deeper artistic questions 'Altogether, we wanted to emphasize process over product, supporting the participants in asking the difficult but essential questions around what makes their sound distinct, and how to keep evolving it with clarity and intention.' Yara shares with SceneNoise. This focus is crucial, especially for artists in the region who often don't have the privilege of dedicating uninterrupted time to their practice, as they struggle with financial instability and the need for stable side jobs, which frequently get in the way of creative exploration. As Yara puts it, 'Residencies like this one offer a much-needed space and time for artists to step away from their daily realities and focus solely on developing their music and sound.' Looking ahead, Beirut and Beyond plans to continue supporting the participants of the residency by showcasing their work and offering further opportunities. This Cairo residency is just the initial thread of a larger vision to build a network of residencies that, according to Yara Mrad, 'not only support individual artistic journeys but also contribute to a vibrant, interconnected cultural landscape throughout the MENA region.'
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Inside the Emotional Armor & ‘Amoural' of Egyptian Label HaledLena
A stylist and a makeup artist walk into a brand. Of course nobody is telling any jokes here - storming onto the scene like an ode to maximalism, HaledLena is already taking up space in the Egyptian fashion world. Sharp-shouldered coats, liquid silks, and layers that unfold like a well-kept secret, every piece walks the tightrope between power and vulnerability. HaledLena fits within the realm of contemporary high fashion. With its sculptural silhouettes, tactile and gauzy textures, and poetic presentation, the Egyptian fashion house sits somewhere between luxury prêt-à-porter and couture. It's a melting pot of conceptual design and dramatic tailoring, making it feel more like a fashion house than just a clothing brand. Founded by Khalid Farid, a stylist with an obsession for shape and mood, and Lina Abosreea, an editorial makeup artist turned managing director, they weren't looking to create another trend-driven label. Instead, they built something around an archive of identity and a refusal to separate emotion from design. They named it HaledLena, based on a nickname their friends used long before it was ever printed on a label. 'We've always been a unit,' Farid, the designer of Haledlena, says. 'This was just a way to make it official.' Farid and Abosreea are no strangers to the world of beauty and fashion. Farid has long worked behind the scenes styling others for labels like Okhtein, Dkhoon AlEmiratia, Maghrabi, Fama, while Abosreea's makeup brushes have painted countless editorial faces for labels like Ritmo Apparel, Be Indie, By Reema AlShohaib, and Beymen. However, HaledLena is where they decided to step out from the background and tell their own story. 'I told Lina, my biggest supporter, about a collection I created a year ago and my dream of starting a brand,' Farid says. 'The very next day, she called me and said, 'I'm in. Let's register the brand and do this properly.'' HaledLena wears Farid's mother's name like a shield, and taps into her memory as an endless pool of inspiration. The draped silhouettes, the exaggerated shoulders, the way structure and ease coexist— it's all her. 'Yasmin, my mother, didn't follow a formula,' he explains. 'She threw things together in a way that shouldn't have worked, but always did. I didn't even realise it was called 'maximalism' until years later.' Somewhere in his mind, his mother is still draped in a riot of prints—leopard, paisley, and gold-threaded florals—stacked in bangles up to her elbows, moving her hands in animation with a flick of red-polished nails, a glow bouncing off her oversized sunglasses. 'It's impossible to capture her or her style in even the largest book.' Growing up without a TV, while other kids were glued to cartoons, Khalid was left to invent his own world. 'I remember complaining to my mom about it, and she told me, 'Maybe you're meant to be different, maybe you're on the edge. ' I said, 'No child is meant to be on the edge—I just want to watch TV! ' And she smiled and said, 'Then play. Be the first kid who is both a child and on the edge.'' So he did. Instead of sitting in front of a screen, he began designing. As Farid puts it simply: 'If I don't love, I don't create. It's as simple as that.' Part of Farid's charm— both as a designer and as a person— is the very thing he never shies away from: his instinct to romanticize the past, to stitch nostalgia into the present, and to see time not as something that slips away, but as something to be layered, folded, and draped into everything he creates. 'I know saying that might sound unprofessional,' he admits, 'but I've always believed that artists who work with their genuine hearts are guided by their feelings.' Although still in its early chapters, the label doesn't tiptoe around experimentation— it leans all the way in. The brand operates like a world of its own, where contradictions are stitched in on purpose. The draping is almost defiant, as if each fold was placed with intention rather than by accident. Suits aren't just suits; they're sharp but softened with sheer overlays, their shoulders sculpted to command space while the fabric moves like liquid. Skirts exist in multiple timelines at once— mini but pleated into something longer, structured yet weightless, raw but refined. If HaledLena were a sentence, The Amoural Collection would be its opening line; an introduction to the brand's language of contradiction. This is a collection that doesn't settle. Nothing here feels overly pristine, or safe from experimentation; textures are played with, fabrics are layered like an archive of emotion, and silhouettes are a study in contrast. Leather coats with exaggerated lapels hang heavy against the skin, while sheer skirts layer over more rigid structures, revealing softness beneath. There's an intentional distortion to it all, as if time itself has been manipulated within the seams. Couture gowns in 'The Amoural' take on a sculptural presence. One dress, 'The Amoural Éclat Dress', corseted and feather-trimmed, cinches the waist before dramatically ballooning at the hem. Another, 'The Amoural Desert Mirage Gown', wrapped in deep maroon folds, carries the raw, crinkled texture of something that has lived, a garment that almost looks like it's been unearthed rather than designed. The couture line plays around even more with elements like sculptural metalwork, extended trains, corseted bodies, ruching, and gathered fabrics. There's something cinematic about it all— like a film still frozen mid-scene, where a structured coat swallows its wearer just enough to make them look like a someone stepping into their own power. In the shoot, models lounge, lean, and drape themselves like characters caught mid-thought, in a setting that feels more like a dream sequence than a traditional fashion shoot. In one frame, a model lies effortlessly in a sweeping gown, as if resting between scenes. In another, a pair plays tawla (backgammon), black gloves still on, as if to remind us that elegance and play are not mutually exclusive. If there's one thing HaledLena refuses to do, it's to squeeze into a box—especially a gendered one. Many of their pieces, like the oversized Pointu coat, are intentionally gender-fluid. 'We never wanted to make 'menswear' or 'womenswear'—just wear,' Farid says. 'Pieces that make you feel like your full self, whatever that looks like.' HaledLena doesn't just challenge stereotypes; it ignores them altogether. Oversized tailoring? Meant to make you feel powerful. Transparent layers? To show that strength can coexist with softness. The maroon layered skirt, the one that shifts from sheer to pleated to sculptural, is Abosreea's favourite. 'It's sexy, but it's also fragile,' she says. 'You feel exposed and protected at the same time.' Then there's the maroon gown, the one Farid holds closest. 'My mother always said, 'If you wear something without ironing it, it's like you pulled it from a dog's mouth,'' he laughs. 'It was funny, but she meant it. She cared about elegance in every moment.'
