Rooted in Lebanon’s heritage, the jewelry designs of Sara Chehab are inspired by a shared cultural memory. “We are all influenced by the same surroundings and visual language. These motifs do not belong to a single person”, she explains while pointing to Beirut’s architectural elements like traditional arches and colored tiles.
For many emerging designers, this cultural lens is deeply personal and forms the very foundation of their identity. Yet as Lebanese nostalgia gains visibility and becomes increasingly marketable, Sara questions the tendency of established names to rebrand around it so readily.
Between reinterpretation and replication lies a boundary that shouldn’t be crossed. “A reference image can be reimagined in many ways. But reproducing the design identically, as in the exact same composition, colors, and size, is unacceptable”, Sara clarifies. Even though this reality extends to concept stores and smaller designers, the main actors behind this practice remain the established names. They operate from a high position of visibility and security that allows them to act without fearing consequences.
“Imitation is the sincerest form of flattery, they say. Well, I am not flattered. Frankly, I am very disappointed. I would like to see more ethical collaborations built on shared values and mutual recognition”, Sara adds. For instance, among “Hikayati by Sara” ‘s best-selling pieces is a pendant inspired by the window of an abandoned Beiruti home that was visited during an urbexing tour. Acknowledging the role of the tour guide, Sara suggested a partnership, as a token of appreciation and recognition.
In my opinion, it is the lack of creative responsibility that undermines both originality and professional courtesy within the industry. It also reflects a broader erosion of integrity and identity. Intimate stories are being detached from their origins and presented without clear context and appropriate background. Also, mainstream fashion media is another actor that holds equal share of the blame. Instead of consistently fact checking and questioning where ideas come from and who they belong to, it is blindly praising and recycling press releases. Instead of putting the future of the industry first, it is prioritizing the glitz, flash and glamor of access to brand events.
Designers have learned to live with it. Nevertheless, the rise of ultra-fast fashion marketplaces has only aggravated the problem. On these platforms, ideas aren’t merely “borrowed”, but outright stolen without attribution nor consent. This parallel system operates at a much opaque level, with even less accountability and little recourse through legal channels. This brings us to the real challenge the industry faces: the lack of enforceable legislation around design ownership. Addressing it would require a level of collective regulation that the industry has yet to fully embrace.
Until then, the only course of action emerging designers can take is to keep building their authorship, making their style known, and trusting that those who pay attention will see not just the work, but also the real creator behind it.
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