Following the 2020 Beirut explosion, he redirected his career toward documenting and reviving Lebanon’s rich fashion traditions through his acclaimed initiative, the Lebanese Fashion History Project. In our sit-down interview, Joe reflects on identity, craftsmanship, historical preservation, and the ways fashion can become an act of cultural memory and resilience.
AM: You first captured public attention through Mission Fashion, a show often compared to Project Runway. How did that experience shape your identity as a designer?
Joe Challitta: Mission Fashion was the show that launched my career. After completing my law degree and qualifying as a solicitor in Australia in 2003, I decided to return to my first love, fashion. In 2007, I was selected to take part in Mission Fashion and flown from Sydney to Beirut. The show was under the patronage of couture master Elie Saab, and my success there earned me an invitation to join his team in Beirut. Saab was particularly fond of my design aesthetic and even declared me his favorite contestant on air, an incredible honor that gave me both confidence and validation early in my journey.
AM: Looking back, what did the competition teach you about the fashion industry, and about yourself?
Joe Challitta: The competition reaffirmed my belief in my own creativity and resilience. It taught me to trust my instincts and to understand that the fashion world moves at an intense, relentless pace. You have to be constantly inspired, open to new ideas, and ready to reinvent yourself every day.
AM: As a Lebanese-Australian, how has living between two cultures influenced your aesthetic and your understanding of heritage?
Joe Challitta: Growing up in Australia instilled in me a deep respect for heritage, craftsmanship, and anything with a sense of history or heirloom value. I have always been drawn to the English sensibilities embedded in Australian culture, its architecture, manners, and understated elegance. When my parents moved back to Lebanon in the late ’80s and early ’90s, I was captivated by the country’s glamour, its love for fashion, and the women’s unapologetic sense of style. That contrast between Western refinement and Middle Eastern opulence became the foundation of my design identity.
Joe Challitta: Absolutely, the Beirut explosion in 2020. I was there when it happened, and it deeply shook me. Turning 41 that same year made me reflect on my purpose and what I wanted to contribute. I felt a powerful need to give back to my country through what I know best, fashion. That is how the Lebanese Fashion History Project was born, to safeguard our identity through the preservation of both the tangible and intangible heritage of Lebanese dress, and to pass this knowledge on to future generations.
AM: What has been the most surprising or emotional discovery you have made while exploring Lebanon’s sartorial heritage?
Joe Challitta: What continuously amazes me is how much Lebanon had already achieved by the 1960s and ’70s. Everything that cities like Dubai boast about today, Beirut had already done it half a century ago. We had the exclusive rights to Christian Dior in the Middle East, the first casino in the Arab world, and a cultural scene that rivalled Paris and Las Vegas. Beirut was the glittering heart of the Mediterranean, frequented by royals, Hollywood stars, and international elites. Rediscovering that era reminds me that Lebanon has always been a beacon of creativity and sophistication.
AM: You often reinterpret traditional garments through a contemporary lens. How do you decide which historical elements to preserve and which to modernize?
Joe Challitta: I always begin with the silhouette, as it carries the soul of tradition. I preserve that essence but often exaggerate or sculpt the forms to make them modern. Embellishment is where I allow myself to experiment, sometimes simplifying, sometimes elevating it to couture-level craftsmanship depending on the story I want the garment to tell.
Joe Challitta: Because identity and heritage are the foundations of existence. They root us in our geography, history, and sense of belonging. Preserving traditions, whether through clothing, rituals, or craftsmanship, is not about nostalgia, it is about continuity. To innovate meaningfully, you must first know where you come from. A strong understanding of heritage gives you the freedom and authenticity to create the future.
AM: Social media has played a big role in your visibility. How has Instagram helped amplify Lebanese fashion narratives to a global audience?
Joe Challitta: The Lebanese Fashion History platform has attracted people from all over the world, those who appreciate fashion, history, and cultural preservation. Social media has allowed me to connect with international curators, historians, and designers who share this passion. It is powerful to see how a story so rooted in Lebanon can resonate globally.
AM: Have you noticed a growing international interest in Middle Eastern heritage fashion?
Joe Challitta: Absolutely. Lebanese designers have long been synonymous with red-carpet glamour, an aesthetic that has shaped the global perception of Middle Eastern fashion. But what is changing now is the curiosity about our cultural roots, the embroidery, the craftsmanship, the stories behind the garments. There is a real appetite for authenticity.
Joe Challitta: It always begins with the fabric. Textiles speak to me, and I am constantly drawn to rare, tactile materials with soul. Once I find the right fabric, it tells me what to do. The process is very instinctive, it is a conversation between the past and the present.
AM: Who are some of the figures, past or present, that most inspire your work?
Joe Challitta: I am inspired more by feelings and eras than individuals, but I deeply admire May Arida, the late president of the Baalbeck International Festival. She represented the refined cultural spirit of Lebanon’s golden age, elegant, visionary, and unapologetically proud of her heritage.
AM: Finally, how do you envision the future of Lebanese fashion?
Joe Challitta: Lebanon’s story in fashion is as old as its civilization, from the Phoenicians, who discovered the world’s most luxurious dye, Tyrian purple, to the 1960s golden age when Beirut was known as the Paris of the East, to the 1990s when our couturiers conquered the world’s runways. I see the future as a continuation of that brilliance. With projects like mine, we are putting Lebanese folklore and identity back on the global map, reminding the world that Lebanon’s fashion legacy is eternal.
Photos 1-3: Mohamad Khalidi
Photo 4: Pierre Aboujaoude