“Which one’s your favorite?” I ask, politely waving away an hors d’oeuvres tray. I’ve lost count of the number of times I’ve posed that question tonight. But what can I say? I’m curious. Is it the hand-painted Mugler masterpiece Emma Chamberlain wore to the Met Gala earlier this year? Is it Teyana Taylor’s sculptural, silvery gold Thom Browne dress, or is it Zoë Kravitz’s gothic-glam black lace pannier gown? Maybe it’s Zendaya’s strapless white gown with feathered wings and a tattered train, the work of Matières Fécales. 

Everyone has their favorites, and almost everyone has something praiseful to say about Matières Fécales (yes, you read that right the first time; it’s French for “fecal matter”), which is responsible for three of the top 26 looks featured in The Hollywood Reporter’s inaugural list, culled together based on a survey filled out by 50-plus stylists.

Hosted by The Hollywood Reporter and Egyptian jewelry house Azza Fahmy, the evening is meant to not only to celebrate these much-obsessed-over looks, but also the stylists who made them happen. Many of them are here tonight: Wayman Bannerman and Micah McDonald, the duo behind Teyana Taylor’s aforementioned look and Chase Infiniti’s custom Thom Browne Met Gala attire; Mimi Cuttrell, who put Bella Hadid in a Jane Birkin-inspired Schiaparelli gown at Cannes; and Enrique Melendez, who styled Jenna Ortega in a gothic Dilara Findikoglu number at the Golden Globes this year. 

The space is filled with other tastemakers — from stylists to editors — gathered around chest-high tables, sipping on champagne and cocktails, and leisurely exploring their surroundings. Because, for the guests, this evening includes an added attraction: a spectacular display of jewelry by Azza Fahmy. 

If you visit this blog on the reg, you might already be familiar with the brand. Having grown up in Egypt, where Azza Fahmy was founded nearly 60 years ago, I’ve long admired the house and how it so beautifully weaves the country’s rich heritage and history into contemporary designs. Now helmed by daughters Amina Ghali and Fatma Ghaly, the brand has also garnered an international following, with its creations making appearances on some of Hollywood’s most recognizable faces.

At the Cannes Film Festival last year, Jameela Jamil wore the brand’s art-deco calligraphy bangle, a brooch, and earrings featuring dazzling aquamarines. And during last year’s National Hispanic Media Coalition Impact Awards, Isabela Merced was decked out in the jeweler’s filigree crescent earrings, set with 8.2-carat emeralds — which are on display tonight, alongside some of the brand’s latest pieces. 

“These are three brand new designs,” says Aya Awadalla, design and merchandising director at Azza Fahmy. We pause in front of a display of three high-jewelry pieces, each representing a different family within the house. A pair of dangle earrings, for example, features a star nestled in the belly of a crescent moon — a nod to the brand’s Ottoman-inspired designs. The other pieces draw inspiration from ancient Egypt and the natural world. 

What unites them are the hero stones of morganite, a beryl subtype that shapeshifts in different gradations of pink. From where I’m standing, it shimmers in a delicate shade of pink, but if I tilt my head sideways an inch or two, it blushes a deeper, peachy orange. “I go with Amina to India to pick the stores; usually, we do the trip together,” she says. “This time, we were introduced to morganites, which we fell in love with.” 

As we continue to walk around the space, past the busy bar area, Aya points to another striking design. “This is one of my all-time favorite pieces now,” Aya says. “We’re very big on lotuses, and [we present] them in different forms and shapes.” Every evening, the lotus flower closes its petals and sinks into the water, and with the first rays of the morning, it rises and unfurls again. That’s why it’s considered a symbol of rebirth and eternal life, often used in ancient Egyptian art and tomb rituals. 

The lotus motif appears in various stages of its life cycle on the choker: its petals clenched into a tight-fisted bud, slightly peeled back as it begins to bloom, and finally, viewed from above in its full sprawl. Tucked between the lotus flowers are sections that resemble the braided, ponytail-like back of King Tutankhamun’s golden headdress. It’s an especially meaningful reference considering that blue lotus petals were discovered scattered over the pharaoh’s mummified body. 

My favorite, on the hand, is a necklace that takes “sculptural” to a whole other level. The design wraps around the neck like a collar, with a pair of peacocks and their showy plumage extending along either side. Each tail feather, along with its distinctive eye-spot, is intricately rendered in gold and silver. “This is actually one of the pieces that Amina had created a while back,” Aya says. “We needed this to be light-ish, so it’s all hand pierced.” Over 100 hours went into making each of the peacock collars, and only five of them exist out in the world. 

It’s this level of artistry that makes Azza Fahmy such a natural fit for an evening celebrating the year’s most memorable red carpet moments. 

Not too long after we park the conversation at the last stop of this mini tour, The Hollywood Reporter’s editor in chief Maer Roshan addresses the crowd. Speaking into a microphone, he briefly announces the inaugural list, praising the “magicians” behind the selected looks, and thanking the writers and editors — contributing fashion editor Merle Ginsberg, writer and editor Elycia Rubin, and executive content director Jeanie Pyun — who worked on the piece, before turning to thank the event’s co-host. 

“Thank you so much for your artistry and partnership,” he tells Amina, then tips the microphone in her direction. “A few words?” 

Amina smiles. “It’s incredible to partner up with The Hollywood Reporter — it’s a real honor,” she starts. “We’re an Egyptian brand, and I’m sure when you’re going to go around, you’re going to see a small part of our universe. But I want to take a moment to shine light on everyone that’s here. […] It’s important to acknowledge the effort that everyone is putting here — to shape the fashion industry.”