Saudi designer Arwa Al Banawi grew up in Jeddah, and spent most of her upbringing in Switzerland. She grew up learning about fashion from her parents who inspired her recent designs to include sharp dressing with a retro twist, with travelling being such an important part of her life, this has rubbed off on her design inspiration being heavily focused around her passion for storytelling.

After moving to Dubai in 2012 Arwa took up a career in banking whilst taking up short courses in Fashion Design with London College of Fashion. However, after realising that her true passion lay in design, she noticed a gap in the market for womenswear suiting and decided to launch her debut collection of ready-to-wear suits and shirts in 2015. Arwa understands that women should feel empowered, but also that they don’t need to lose their femininity.

When it comes to her own personal style it is a similar aesthetic, with a signature look of an oversized suit with a t-shirt and sneakers.

This jacket is a key piece from my recent AW17 collection. The inspiration behind the collection is empowering women, and it is about the importance of females and their significance in the world. I wanted to really highlight that message through bold colours with this vivid scarlet hue. Whenever I make samples, they will never become a final piece in the collection until I have worn them, as it is only then that I know what final tweaks need to be made to make the piece perfect. When I wore this jacket I instantly felt powerful, it is both seductive and cool at the same time.

This backpack is a men’s style from Saint Laurent. I always find that backpacks are much better from men’s collections rather than women’s because they are bigger and I prefer the styles. I got this a couple of seasons ago and I love the palm trees as they remind me of Miami. I tend to use this as a day to day bag, carrying my sketchbook, headphones, power bank, and make-up bag, all the essentials!

A new fragrance that I am obsessed with is Arcadia and it is made in the UAE by Amna Al Habtoor. There are ten fragrances, each numbered differently, although this is definitely my favourite. I mostly tend to wear it on its own, or otherwise I pair it with musk that I get from Saudi.

I don’t tend to wear heels, but if I do then I will only wear Prada, as she honestly makes the most comfortable shoes. I particularly love this pair as they are modern, yet with a 70’s futuristic edge. I saw them first on Kim Kardashian on a shoot, and I instantly wanted them, however they were sold out until I finally tracked them down in Zurich.

Backed by Adidas Originals, the casual sportswear division of Adidas, P E by Arwa Al Banawi is a limited-edition capsule collection, with only 15 pieces of each design. The inspiration was freshman year in high school, with lots of hoodies, yet still in keeping with my brand aesthetic with the addition of blazers.

This Maison Michel hat was bought in Paris at Colette. I love the store and am very sad that it is closing, as I tend to always visit when I am travelling in Europe. I rarely wear hats in Dubai, but when I am travelling I always take a huge collection, as I love wearing them, even at night. I will always tend to go for a fedora, or otherwise sometimes a cap.

My studio is an eclectic and raw space filled with original art. These paintings are by my brother, who has just started painting but has not yet become a professional artist. He creates these quirky characters in his mind, giving his artwork an individual aesthetic.

My mother gave me these earrings, she is a very stylish woman and is certainly one of the reasons that got me into fashion. She has vintage blazers designed by Coco Chanel, which her mother gave her, and those pieces were my inspirations for my own designs. I would study the craftsmanship that went into them, to really understand how they were made. The necklace is a vintage find from New York which I wear as a choker.

By Eliza Scarborough

Photography: Henry Pascual

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Jewellery Focus: Swati Dhanak

© The Ocean Agency / XL Catlin Seaview Survey / Jayne Jenkins. Lagoon in the Great Barrier Reef, 2012

The first in it’s kind for a publication in the Middle East, A&E magazine joins forces with UNESCO in the fight to preserve the coral reef.

Following the recent revelation that the coral reef is likely to disappear by 2100 Unless CO2 emissions are drastically reduced, we decided to do something about it by raising awareness of how we can preserve the beauty and life of our oceans.

Dr. Fanny Douvere, coordinator of the Marine Programme at UNESCO’s World Heritage Centre in Paris, has been on a mission since 2009 to ensure the 49 marine sites on UNESCO’s World Heritage List are conserved for future generations.

Dr. Fanny Douvere, coordinator, World Heritage Marine Programme, UNESCO © UNESCO / Andreas Krueger

Under her leadership, marine World Heritage transformed into a global network of flagship marine protected areas spanning 37 countries and stretching from the tropics to the poles, with marine areas protected under the World Heritage Convention more than doubling since she took office.

Her day-to-day work includes field missions to evaluate the state of conservation on a wide range of topics, including the critically endangered Vaquita in Mexico’s Gulf of California, the Rampal power plant in the Sundarbans, Bangladesh, and the Great Barrier Reef in Australia.

© The Ocean Agency, XL Catlin Seaview Survey, Lynton Burger Belize Barrier Reef Reserve System

Most recently, she led UNESCO’s first global scientific assessment on the impacts of climate change on World Heritage coral reefs which is a current issue that UNESCO is facing. Here we understand how many World Heritage-listed reefs, including Australia’s Great Barrier Reef or Phoenix Islands Protected Area in Kiribati, have been working hard to reduce pollution and boost resilience.

However, it is clear that local management is no longer sufficient to protect these iconic rainforests of the sea, and we are facing a global problem that demands global solutions.

© New Caledonia Bleaching The Ocean Agency, XL Catlin Seaview Survey, Richard Vevers

Soaring ocean temperatures in the past three years have subjected 21 of 29 World Heritage reefs to severe and/or repeated heat stress, and caused some of the worst bleaching (when the coral reef dies) observed at iconic sites like the Great Barrier Reef in Australia, Papahãnaumokuãkea in the USA, the Lagoons of New Caledonia in France, and Aldabra Atoll in the Seychelles.

The analysis predicts that all 29 coral-containing World Heritage sites would cease to exist as functioning coral reef ecosystems by the end of this century under a business-as-usual emissions scenario.

© The Ocean Agency, XL Catlin Seaview Survey, Richard Vevers / Christophe Bailhache Great Barrier Reef

Dr. Fanny Douvere explains, “it only takes a spike of 1 to 2 degrees to threaten the health of coral reefs. As seawater heats up, coral animals expel the microscopic algae they rely on for energy. If heat stress lasts too long, and corals don’t reabsorb the algae, they can die. Reefs can recover from bleaching, but it takes 15 to 25 years, and with climate change causing more frequent heat waves, we are approaching the breaking point of these fragile systems.”

Coral communities typically take 15 to 25 years to recover from mass bleaching, so if carbon emissions are not dramatically reduced, every one of the 29 coral reefs on the World Heritage List could be lost, devastating the vibrant ecosystems they support, and the human communities that rely on them for food, jobs, and flood protection.

© The Ocean Agency, XL Catlin Seaview Survey, Christophe Bailhache Great Barrier Reef, Lizard Island

If emissions peak in 2040 and then decline, science predicts there will be widespread devastation. Under this scenario, 14 of 29 World Heritage reefs would bleach twice per decade by 2040, and all but two would bleach annually by 2100. Warming of 1.5°C is recognised by many scientists as the maximum for coral reef survival, and the UNESCO research bore this out. Clearly, implementation of the most ambitious target of the Paris Climate Agreement is absolutely essential.

Protecting World Heritage reefs will require complementary national and global efforts, especially if we want our children and grandchildren to still see these marvellous underwater treasures. Join us and spread the word today.

As we reveal our October 2017 Issue, check out our “Here We ARE: A Portrait British Style”- an exclusive story with one of the best British houses in the fashion industry, Burberry.

The label’s AW17 collection is captured in an historic country Inn overlooking the 100-year-old royal Corfe Castle shaped by warfare ruins, found in Dorset, UK.

Hand-embroidered Wool Cashmere Blend Tank Top, Herringbone Cotton Tie-neck Riding Shirt, Silk-lined Plastic A-line Skirt, Diamond Knit Cotton Mouliné Socks, Riveted Metallic Leather Cone-heel Sandals, The Pocket Satchel in Alligator. ALL BURBERRY

LEFT IMAGE: Tartan Double-faced Wool Cashmere Oversized Coat, Diamond Knit Cotton Mouliné Socks, Riveted Metallic Leather Cone-heel Sandals RIGHT IMAGE:  Tartan Double-faced Wool Cashmere Oversized Coat ALL BURBERRY

LEFT IMAGE: Shearling Trim Wool Ceremonial Coat, Crystal Daisy Chandelier Earring and Stud Set RIGHT IMAGE: Bonded Cotton Poplin Seam-sealed Car Coat, Tartan Wool High-waisted Trousers, Herringbone Cotton Tie-neck Riding Shirt, Tartan Cotton Clutch, Diamond Knit Cotton Mouliné Socks, Tartan Wool Cone-heel Sandals ALL BURBERRY

LEFT IMAGE: Long-sleeve Embroidered Tulle Dress, Soft-touch Plastic Single-breasted Jacket, Tartan Cotton Clutch, Crystal Daisy Chandelier Earring and Stud Set RIGHT IMAGE: Hand-knitted Yoke Cashmere Wool Sweater, Geometric and Cable Knit Wool Cashmere Skirt, Diamond Knit Cotton Mouliné Socks, Tartan Wool Cone-heel Sandals, Crystal Daisy Chandelier Earring and Stud Set ALL BURBERRY

LEFT IMAGE: Shearling Oversized Belted Coat.  RIGHT IMAGE: Sleeveless Chantilly Lace Embroidered Tulle Dress, Long Check Wool Mohair Blend Scarf, Crystal Daisy Chain Chandelier Brooch, Tartan Wool Cone-heel Sandals, Crystal Daisy Chandelier Earring and Stud Set.   ALL BURBERRY

Fashion Director: Eliza Scarborough
Photographer: Carla Guler
Hair & Make-up: Meghan Emine Cox
Model: Lucy at Next Management
Location: The Greyhound Inn, Corfe Castle
Videography: Glen Demuth

Pick up your October copy now and enjoy our exclusive video with Burberry below.

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A&E October Cover Revealed
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Hublot melds forward-thinking watchmaking with age-old tradition and it’s state of the art Swiss manufacturing.

Unlike most venerable Swiss watch brands, which tout the importance of history and tradition, Hublot is a modern upstart, founded in 1980. LVMH acquired the brand in 2004 and installed industry turnaround artist Jean-Claude Biver at its helm. Now president of the LVMH Watch Division and chairman of Hublot, Biver embraced Hublot’s contemporary essence and amped it up with big, bold designs using avant-garde materials at stratospheric prices.

Hublot’s headquarters in Nyon, Switzerland, opened in 2009. Then, in order to keep pace with increasing demand and maintain the vertical growth of its production, just six years later it was expanded with a second building across nearby railroad tracks, doubling its production capacity. A sleek Formula One style bridge that arches over the tracks links the H1 and H2 buildings.

Like most premium brands, Hublot leverages cutting-edge technology, including automated electro-spark and CNC milling machines for producing componentry, while centuries-old crafts like finishing and assembly are still performed the old-fashioned way, by hand.

‘Fusion is life. It’s a philosophy. A concept so simple that it is child’s play. Therein lies the key to success: innovation which reveals this self-evident premise. From time immemorial, the greatest achievements have grown out of the simplest ideas.’ Jean-Claude Biver

Hublot creates brand new codes through the fusion of materials, science and style which is now a distinctive character trait, with ‘The Art of Fusion’ forming the brand’s very DNA. Hublot’s story began with this motto, which now guides all its actions, its innovations, its developments, and its partnerships. Embodying this subtle connection between a past ingrained with secular traditions, and a future nourished by visionary ideas, always avant-garde, always researching new materials, it blends styles and materials with ease. Its partners and ambassadors share its convictions. Members of a family united by a common DNA.

By combining elements from nature, which are never found in their native state, Hublot has reproduced the Big Bang, the moment at which everything came into existence. A modern-day alchemist blending the past and the future, tradition and innovation.

The use of metals in their original form and the first ore reductions date back to prehistoric times. Metals and alloys were then developed with the industrial revolution so that, nowadays, we have a plethora of forms, compositions and applications which is seemingly limitless. It is in this universe made of materials, minerals, metals, ceramics, polymers, composite materials and alloys, that Hublot is perpetually reinventing ‘The Art of Fusion’. The endless options of nature are its greatest source of inspiration, an infinite source.

Created in 2004 by Jean-Claude Biver, Chairman of Hublot and President of the LVMH Group Watch Division, and Ricardo Guadalupe, CEO of Hublot, ‘The Art of Fusion’ highlights one gene which has been intrinsically rooted in the brand’s DNA since its creation in 1980, Hublot was the first to combine gold with natural rubber. Ever since, this philosophy has brought dozens of new materials to life. Unique and exclusive, some are even patented.

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A&E Guide To Watches

Be practical and stylish this season with one of our favourite boots.

Although ankle boots are a great option, we don’t think you can beat a knee-high boot as the classic winter footwear. There’s something so timeless about the style, not least because it works with dresses and skirts that you’d normally have to pack away after summer.

By Eliza Scarborough

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Trending Architectural Heels 

Ever wondered who is the mastermind behind some of the most iconic Dior beauty looks? We sit down with Peter Philips ,Dior’s Creative and Image Director, who has worked across multiple runway shows for the house as well as with very famous faces like Natalie Portman and Jennifer Lawrence and most recently on the latest launch of Rouge Dior Liquid and Double Rouge.

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Top Five Beauty Trends At Paris Fashion Week
How to get Dior’s SS18 Look 

A painter’s son from Antwerp, Belgium, Peter Philips was studying fashion at the city’s famed Royal Academy, where fellow alums included Haider Ackermann and Dries Van Noten, when he realised he was more interested in what was happening backstage than on the runway.

Following graduation, he moved to London, and soon established a reputation for thinking outside the kit. Collaborating with the likes of Steven Klein, Craig McDean, and others, Philips became a mainstay of every fashion photographer’s go-to list, and by 2008, he was leading Chanel’s makeup division, before moving to Dior six years later.

Alongside his make-up artistry, the Creative and Image Director continues to break boundaries, making cult products one after the other, with this season seeing the launch of the first liquid lipstick formula by Dior in metallic and velvet shades, as well as Double Rouge, a two-in-one contouring lipstick juxtaposing a dark matte outer layer with a pearly colour on the inside.

The new Rouge Dior Liquid and Double Rouge are further testaments to the expertise of the house of Dior, creator of colour, and here Philips talks us through the journey when creating new launches, his go-to favourite products and the empowering effect of make-up.

‘The idea was to create a Rouge Dior liquid lipstick in astonishing matte, satin and metal finishes, and develop a range of shades to suit any skin tone,’ – Peter Philips.

 

Which colour first came to mind when creating the range?

Jungle Matte, a nude shade. The collection references the nineties, so I thought about Naomi Campbell when she did the spice contour, and that brought me to this shade. Then when I tested it I saw you could get that effect right away. We had to discover along the way, as it is not like you could play with your lipliner and lipstick and combine, we had to put them in a stick and see how they came out.

Tell us about how you create your colours, as you often offer extreme shades?

My main collections always have palettes that are easy to wear as my motivation is to make women look and feel beautiful, and share my expertise. Of course, we are a couture house so we also must show that we dare, as many people have a desire to be very expressive. So, due to that I do create bold colourways as even back in the 50s we dared with make-up shades, so it is always in the Dior DNA.

Rouge Liquid – 614 Jungle Matte Rouge Dior Contour – 532 Jungle Brown Rouge Dior Vernis – 614 Jungle Matte Diorskin Forever foundation – 020 Diorskin Forever Loose Powder Flash Luminizer – 002 Diorshow Iconic Overcurl – 091 Over Black Palette 5 Couleurs – 777 Exalt

How do you think make-up empowers women?

I don’t know how to describe this, but when I apply make-up on someone I can see the transformation, how it gives confidence as you cover up things that make women insecure, and enhance features that make her feel beautiful and elements that she doesn’t know she has. That is an empowerment. It changes her attitude and is part of being a feminist.

What is the best way to prepare your lips before applying lipstick?

I would recommend starting by using Dior Addict Lip Scrub to get rid of skin and moisturise, then most of our lipsticks have a caring element so you can go straight to the final product. What sets our newly launched liquid lipstick apart is that it doesn’t dry out you lips, as many others on the market are dense and dry and after some time will traumatise your lips. It is not just a cosmetic, it is also caring as I wanted a liquid lip product that answered all the expectations that women want, easy application, great result, and care.

Rouge Liquid – 375 Spicy Metal Rouge Dior Contour – 573 Airy Mauve Rouge Dior Vernis – 162 Miss Satin Diorskin Forever foundation – 013 Diorskin Forever Loose Powder

What do you think will be the biggest lip trend for the new season?

I think there will be something in matts and metallics. Ombre has been done, yet metallics has been left out, so I can see that making an impact.

What changes have you seen in the beauty industry over time?

Over the past four to five years, especially due to social media, there have been huge changes, with a lot of millennium brands and extreme products. However, as an insider I recognise the formulas, and there are just a few manufacturers in the world, so it is usually the same formulas put in different packaging with different names. That is what sets us apart at Dior as we have our own labs, so we can add something extra that makes it Dior, however it also pushes us to keep reinventing ourselves as there is this hunger for colour, texture, and innovation, so we have to keep up.

What is your favourite Dior beauty product of all time?

As I can’t mention the new ones, it would be the Diorshow Lash Maximiser as it really works and blew my mind away when I first started using it. The under base really makes a difference on short and thin lashes.

Can you share with us what element of your job you enjoy the most?

It has to be the whole package. The fact I can travel and create products from scratch, developing them and seeing the full process. It is a combination of communicating and seeing how differently everyone treats makeup all over the world, ensuring they seduce customers in the Middle East and in Finland, when both regions are worlds apart, like night and day.

By Lara Mansour Sawaya

Photography: Charlotte Wales for Christian Dior Parfums
Concept and Makeup: Peter Philips for Christian Dior Parfums
Styled in Dior

A LIGHT BREEZE, A FLEETING CLOUD WHOSE SHADOW MOVES ACROSS THE SURFACE OF THE WATER.

1926 Chanel sur le pont du Flying Cloud

No other image could more accurately represent the fierce quest for freedom that propelled Gabrielle Chanel throughout her life. Gabrielle Chanel was a person characterised by contrast, and she lived to free the body from all hindrances, to separate true desire from false pretence, relationships from the weight of convention, life from the ordinary, and to exist as if suspended where air and water meet, between sky and sea.

Flying Cloud is also the name of the yacht which belonged to Hugh Grosvenor, one of the men who undoubtedly counted the most in the designer’s life. The yacht with a black hull and a white wooden deck was the emblem of a lifestyle in which the most extravagant luxury was merely a prerequisite for the most extreme simplicity, of lunches enjoyed under the sun, charades, and conversations among friends. ‘Luxury’, as Gabrielle Chanel used to say, ‘is a necessity that starts where necessity stops’.

As an homage to these solar, radiant moments in the life of Mademoiselle, and in sync with the cruise season, Chanel Fine Jewellery presents the Flying Cloud collection in two chapters. The first chapter reinvents and showcases the most simple and necessary elements to life at sea, buoys sculpted in white gold, lapis-lazuli and cultured pearls in the Precious Float line, ropes crafted from gold and diamonds for the Sparkling Lines collection, white gold anchors, pearls and sapphires for the Yachting Day line, and sails, compasses and tattoos, in white or yellow gold set with sapphires and diamonds for Sailor Tattoo. Also seen are the endless shades of broad ocean expanses, from the transparency of the Turquoise Waters line in white gold, sapphires, and diamonds, to the deep, dark blue of the high seas seen in the Deep Blue set made from sapphires, white gold and diamonds.

The second chapter presents a series of variations on the summer wardrobe, exploring freedom of movement and clothing that seems to float around the body. The Summer Cruise line features alternating bands of deep blue sapphires, white gold, cultured pearls or yellow and white diamonds, Golden Braid depicts the braids seen on marine uniforms, and the Sailor Suit set showcases large yellow or white gold buttons like those seen on sailors’ jackets. These are paired with a gold bracelet and ring in the shape of knotted rope and set with diamonds from the Sunny Rope line, along with bib necklaces and bracelets in white gold, sapphires, and diamonds from the Sapphire Stripes series. The highlights of this collection dedicated to the sun’s golden light and the freshness of the Mediterranean breeze are two unique pieces crafted by master goldsmiths, a bib necklace featuring a woven design in white gold, sapphires and cultured pearls from the Azurean Braid line, and a supple rope motif necklace in white gold and diamonds from the Endless Knot line.

Scrub, brush, or sponge, effective exfoliation can be a minefield.

You’re aiming for glowing, but what you get is aggravated. Exfoliation is a sensitive business, when done well, it reveals smooth, radiant, and younger looking skin, but if it goes awry, it can trigger both short and long-term damage, and not to mention angry looking skin.

There are many different ways to exfoliate the skin. Mechanical exfoliation uses friction to remove dead skin, by way of electrical face brushes which can be used daily when applied correctly. Otherwise there are many scrubs which vary in intensity, or harder bristled brushes which should be used more sparingly.

There is no real consensus as to how often to exfoliate as it depends on your skin and the climate in which you live, meaning it is important to react to how your skin behaves. Both over and under-exfoliation can be evident on the skin, with under-exfoliation preventing topical ingredients from absorbing, leaving the skin looking dull and lacklustre. Whereas too much exfoliation can strip the skin of natural oils, leaving skin looking, and feeling, irritated and sensitive.

Here we give you some top tips for how to strike the balance between a clean sweep and exfoliation overkill, to get rid of impurities and leftover dirt.

DO’S

Start off by exfoliating once or twice a week, preferably at night.
Be gentle and understand your skin type. For dry skin, be gentle, and in the case of oily skin do not be too aggressive, but do exfoliate more frequently.
Always apply sun-cream in general, but especially after exfoliating.

DON’TS

Do not over exfoliate, and most certainly do not exfoliate every day.
Avoid applying too much pressure when you’re exfoliating using a mechanical method.
Ensure you don’t exfoliate irritated skin, bearing in mind that waxing is a form of exfoliation.
Take a break from exfoliation if your skin is being treated with lasers, and before or after sunbathing.

By Eliza Scarborough

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Pick of the Week: Guerlain Orchidée Impériale Rich Cream

Bulgari jewellery creative director Lucia Silvestri first joined the fine-jewellery house aged 18, filling a temporary administrative position. A then young Mr. Bulgari took her under his wing and Lucia went on to trawl the globe for the colourful precious and semi-precious stones that have become the hallmark of Bulgari’s more elaborate coveted pieces.

Here we meet with Silvestri during the launch of Bulgari’s latest Festa high jewellery collection. Introducing the revolution of colours and the eccentricity that brings the joy of a celebration, Creative Director Lucia Silvestri talks gems and colours, why they picked this festive theme for the collection, and how the brand is planning to invite a new younger clientele.

The Festa Collection screams happiness and joy, can you tell us about how this concept came to life?

We started with this concept last year in June, choosing Festa in particular because it is very close to Bulgari’s feel. Working with coloured and playful gems, we thought this was the right theme that could be realised with joy. In fact, I have to say we started with joy and we finished with joy, and although the process in all was very long and full of challenges, it was very happy.

It is clear from the Festa collection that you are designing for a range of ages. Can you share with us who are you planning to appeal to?

We certainly have had Millennials in mind, and I think that with this kind of collection we can reach them. In fact, it has taken me four years to collect the stones for this collection and we are very happy with it, especially because we can reach the younger generations without forgetting our loyal clientele. It is all about a balance of harmony, creativity and staying true to our clients. Of course, we consider our mature customers, but together with inviting new clients, ensuring we don’t forget the past, our DNA, and our tradition, working to blend it all in a contemporary way. Remaining both traditional and modern at the same time, I like to create pieces that are wearable from morning to evening, that are basically the wearers’ second skin, and aren’t just saved for red carpet events.

What are your favourite stones to work with?

My first love is Sapphire, because when I was young I worked with them in many of their different colours. They are versatile, and the fact that I can play with the colours has helped me fall very much in love with this stone, especially the blue colour.

Stones such as Sapphire, Emerald and Ruby are becoming very rare and are not found easily today. Can you tell us about how you like to blend these with semi-precious stones?

I must say Bulgari are one of the first brands to work with precious coloured gems and stones. It is in our DNA to play with semi-precious stones, and our challenge is to mix new gems and colour combinations, which are always in harmony and balanced with the shapes of our designs.

Do you think nowadays that the perception of coloured gemstones versus plain diamonds is changing?

Of course, the diamond industry is a very big market, but now because of different communication outlets, people are becoming more confident to invest in coloured gems from well-acknowledged jewellery brands.

It is obvious that you create with happiness and feelings. Tell us, when are you at your best when it comes to designing?

I believe in the energy of the gems, I am always at joy when I am inspired, especially when I play with all the stones.

To what extent do you feel jewellery empowers the women of today?

In some way yes, jewellery does empower. As a woman who wears jewellery all of the time, especially coloured stones, I feel that jewellery sends an important message and gives a whole lot of confidence at the same time.

What is your personal motto?

Follow your passion, while keeping your feet on the ground.

Do you feel that you have achieved all your dreams?

Yes, but I am still working with a strong passion and level of curiosity, which is the main secret to our brand’s success.

How would like the world to remember you?

I started working in a very male world, so my soul is divided into two parts, one is very creative oriented, while the other is business oriented. So, I would like to be remembered as a woman who made it in a man’s world.

What is your message to the women of the Middle East?

In the Middle East we have a lot of clients as it is a region and culture that appreciates and enjoy colours. So, my message would be, stay the way you are, because you are on the right pathway.

By Lara Mansour Sawaya

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Our Bulgari High Jewellery Editorial

Discover the Perlée collection – a world of sparkling beads of gold and outline curves while they roam the wild desert lands with a heart open to adventure. It is time to go on a exclusive journey with our “Wild Child” jewellery shoot for Van Cleef & Arpels  out now in our October issue!

Perlée diamonds ear stud, white gold Perlée diamonds bracelet, pink gold Perlée ring with diamonds, white gold Perlée clover ring, pink gold, diamonds Perlée signature bracelet, white gold Perlée clover bracelet, pink gold, diamonds Perlée pearls of gold bracelet, 5 rows, white gold. Dress Osman at Bysymphony

LEFT IMAGE:  Perlée diamonds ear stud, pink gold, Perlée diamonds pendant, pink gold, Perlée couleurs variation ring, pink gold, carnelian, Perlée clover ring, pink gold, diamonds, Perlée pearls of gold bracelet, 5 rows, pink gold, Perlée pearls of gold bracelet, pink gold, Perlée clover bracelet, pink gold, diamonds. Jumpsuit Pleats Please Issey Miyake at Bysymphony RIGHT IMAGE:  Perlée diamonds ear stud, pink gold, Perlée diamonds pendant, pink gold, Perlée diamonds pendant, white gold. Dress Temperley London at Bysymphony

LEFT IMAGE: Perlée diamonds ear stud, yellow gold, Perlée couleurs Between the Finger ring, yellow gold, diamonds, malachite. Top Raquel Allegra at Bysymphony RIGHT IMAGE: Perlée clover hoop earrings, white gold, diamonds, Perlée clover ring, white gold, diamonds, Perlée ring with diamonds, white gold, Perlée pearls of gold bracelet, white gold, Perlée pearls of gold bracelet, 5 rows, white gold, Perlée signature bracelet, white gold. Dress Zayan The Label

LEFT IMAGE:  Perlée pearls of gold bracelet, 5 rows, white gold, Perlée pearls of gold bracelet, 5 rows, pink gold, Perlée pearls of gold bracelet, 5 rows, yellow gold, Perlée pearls of gold ring, 3 rows, yellow gold, Perlée couleurs variation ring, pink gold, carnelian, Perlée diamonds ear stud, pink gold. Dress Valentino at Bysymphony RIGHT IMAGE:  Perlée couleurs Between the Finger ring, white gold, turquoise, diamonds, Perlée ring with diamonds, white gold, Perlée diamonds bracelet, white gold, Perlée pearls of gold bracelet, 5 rows, white gold, Perlée signature bracelet, white gold. Top Pleats Please Issey Miyake at Bysymphony

Styling and Direction: Dana Mortada
Photographer: Vivienne Balla at MMG
Hair and Makeup: Hedi Kalmar at MMG
Model: Gia at MMG
Location: Al Maha Desert Resort & Spa, Dubai-UAE

Bulgari knows a thing or two about creating desirable jewellery which they also creatively apply to their bags.

Stars, dots, graphism, studs and multi-colour explosions bring to life a free-spirited energy, subtle rock vibe and artsy touch that flow liberally, enhancing a Seventies-inflected Serpenti Forever collection.

BVLGARI SERPENTI FOREVER Flap Cover Bag in Calf Leather and Polka Dots Warm Shade BVLGARI SERPENTI FOREVER Flap Cover Bag in Quilted Calf Leather Jazzy Tourmaline Colour

LEFT IMAGE:  BVLGARI SERPENTI FOREVER Flap Cover Bag in Python in Silver Colour RIGHT IMAGE:  BVLGARI DIVAS’ DREAM Flap Cover Bag in Calf Leather Vulcan Opal Colour BVLGARI DIVAS’ DREAM Flap Cover Bag in Python Forest Emerald Colour

LEFT IMAGE:  BVLGARI SERPENTI FOREVER Flap Cover Bag in Brushed Metallic Calf leather and Forest Emerald Colour BVLGARI SERPENTI FOREVER Flap Cover Bag in Calf Leather and Polka Dots Cold Shade BVLGARI SERPENTI FOREVER Flap Cover Bag in Brushed Metallic Calf Leather in Vulcan Opal Colour RIGHT IMAGE:  BVLGARI SERPENTI VIPER Top Handle Bag in Calf Leather Linen Agate Colour with Black Scaglie Gems BVLGARI DIVAS’ DREAM Shelley Scarf

LEFT IMAGE:  BVLGARI SERPENTI FOREVER Flap Cover Bag in White Calf Leather with Jazzy Tourmaline and White Agate Star Studs BVLGARI SERPENTI FOREVER Flap Cover Bag in Black Calf Leather with Gold and Black Star Studs RIGHT IMAGE:  BVLGARI SERPENTI FOREVER Flap Cover Bag in Pony Stardust Warm Shade

Fashion Director: Eliza Scarborough
Photographer: Henry Pascual

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Dior Cruise 18: A Desert Landscape

Infatuated by old movie stars, meet the 31-year-old Egyptian fashion designer Maha Abdul Rasheed and the creator of Bambah.

Her foray into the world of fashion began, along with her brother Hussein, when she started her two boutiques, Bambah and The Zoo, collecting vintage fashion pieces along the way. At a time when, vintage was not in the vocabulary of the local market, Maha had the vision and took a risk.

After a few years as the leading destination of elegant pre-loved pieces, Maha took to the design studio herself and launched Bambah. The label exudes femininity, elegance and bold signature shapes that hark back to times bygone whilst reflecting a modern and refined signature that resonates with today’s woman. Think sharp silhouettes of the 1950s, appliqué, bold fabric choices and oversized florals, which are sartorial signatures for the UAE-based designer.

From off-shoulder lace gowns to statement bows and mid-length organza skirts, Maha’s aesthetic is a brilliant mix of beauty, fashion, and extravaganza. Here, we get to know the creative mind behind the clothing line Bambah, who has dressed style icon Amal Clooney among others, to find out what’s around the corner for the breakout brand.

Tell us about your Bambah Ready-to-Wear clothing line and what inspired you to start it?

I started Bambah Boutique over seven years ago, positioning it as the first vintage boutique in the UAE. Tucked away in a cosy villa on Dubai’s picturesque Jumeirah Beach Road, we opened our doors with a strong desire to introduce vintage fashion to Dubai’s fashion-savvy crowd. Although at that time the concept of ‘vintage’ was fairly new to the region, the enthusiastic response that I received inspired my interest in designing, and pushed me towards establishing my own ready to wear line.

Over the years, I have worked very closely with customers in my boutique, which has given me a deeper insight into Middle Eastern trends and tastes, and what ladies in this part of the world are attracted to. Through my observations, I noticed that customers were subconsciously shopping for past trends, and were very interested in styles with nipped in waists, exaggerated sleeves, and princess-style skirts. Through further interaction and research, I learned that there was a pull towards styles from the 1950s, as well as an evident, particular love for dramatic clothing with polka dots, balloon sleeves, and oversized bows, along with feminine floral prints and voluminous skirts.

After travelling the world searching for the best vintage finds and introducing myself to the world of fashion design, I decided to take the initiative and launch my own ‘vintage inspired’ ready to wear collection. I started creating feminine clothing with soft rounded shapes and full flowing skirts, with the intention of bringing back the elegance of previous eras. I wanted to introduce a modern twist into ‘vintage inspired’ styles and provide an affordable evening wear line with an emphasis on excellent craftsmanship and elegant prints, as well as unique and luxurious embroideries.

My objective was to encourage ladies to look and feel good about themselves, so I focused my designs on timeless glamour and the rise of the elegant lady. This was the beginning of Bambah RTW!

What drew you towards vintage style?

I’ve always had a passion for vintage fashion in particular. When I was younger, I’d go through my mother and grandmother’s pictures from their youth and long for their style and fashion. I started looking for unique, one-off pieces while travelling and that’s how I started collecting vintage items. I’ve been a collector for almost 15 years now, and have developed a keen eye for pieces unlikely to be found in conventional shopping spaces.

Which era is your favourite, and what trends do you always aim to revive?

The 1950s. I love the nipped in waists and full sleeves, with floral patterns and polka dots.

How did you decide on the name Bambah, and what does it mean?

Bambah means ‘pink’ in Egyptian Arabic, and it was a term commonly used in the 1940s to symbolise happiness and joy. It also happens to be my favourite colour.

What challenges did you have to face when opening Bambah?

The biggest challenge of course is finding vintage for all our customers, because it’s always a limited one-off piece, so our challenge is convincing people to play around with the piece and try to make it suit their figure and personality. If it’s too short add lace and make it longer, cut off the sleeves, add an embellished here or there, etc.

How would you describe the Bambah woman?

My customers are stylish women who like to stand out from the crowd. They like to experiment with different trends and look and go for exclusivity. They appreciate vintage and the adventure of shopping for a vintage find and the story behind it. They’re experimental and have a great sense of style! They love big statements and fun glamour, and they dress for themselves and enjoy the journey of dressing up and looking good.

What set’s you apart from other brands in the market?

Bambah focuses on the vintage aesthetic and draws upon 1950s old Hollywood glamour, bringing a fresh new life to vintage-inspired style in the UAE and the region. The collection exudes femininity, elegance, and bold signature shapes, such as the bow tube, that are traced back to bygone times whilst also reflecting a modern and refined signature that resonates with today’s woman.

How do you maintain your Arab identity throughout your designs?

Well, firstly our name is Arabic! I really wanted to bring out our culture and my background in our name and main identity. I’m also heavily inspired by Old Egyptian Drama and actresses such as Souad Hosny and Faten Hamama who have a unique distinctive 50’s style that I always aspire to.

What is your most treasured vintage possession?

I highly treasure a 1950s Nina Ricci gown. It’s a strapless velvet dress with a pastel pink and blue bow on the bust. I also like that its mid-calf which makes it versatile and easy to wear.

How do you balance modest dressing with keeping up with trends?

We always try to keep our modest customers in mind when designing, trying to offer variety when it comes to our designs. For example, we have a peplum top that pairs well with a short skirt, however we also offer a fishtail-cut skirt in a longer length. Women take it as an opportunity to make a fashion statement, building new wardrobes and ultimately creating a new season for fashion trends.

Who is your style icon?

Two of my style icons from the past are Souad Hosny and Grace Kelly, I like how they are both very feminine and confident in their styles. Queen Rania of Jordan is also one of my personal fashion idols, as she is a beautiful example of how modesty meets fashion and elegance in the Middle East, as well as the rest of the world.

How would you describe your personal style?

I’m always after comfort and elegance, I like to dress up and dress down. I love vintage and I always look for ways to mix and match different shapes, styles, and textures. I don’t like putting in too much effort with fashion and I shy away from utter perfection. I like to see something off in an outfit and I love it when an outfit makes a strong statement that says something about the person, so more about standing out rather blending in. Ultimately, I don’t believe there should be any rules when it comes to fashion and I don’t usually follow trends, I think it’s all about the overall look and how pieces fit in together. I have a soft spot for ruffles, bows and polka dots and I like minimal make up, messy hair, and distressed jeans.

How do you get inspired for a new collection? Do you follow seasonal trends?

A woman’s charm has always been the centre of Bambah’s inspiration. I think a woman is ultimately stylish when she is confident in what she’s wearing, and her inner beauty is an inspiration for me when I design.

Tell us about your new SS18 collection, what were the inspirations behind it?

Our SS18 collection is inspired by the magical beauty of India and a recent trip that I had in Jaipur, which is known as ‘The Pink City’. I was mesmerised by the rich colourful culture, and the abundance of pink and orange roses everywhere. The plethora of clashing, vibrant colours and metallic gold hues everywhere stayed with me after I returned home, and set the foundation for Bambah’s SS18 collection.

Do you have a favourite piece in the collection?

I have a lot of favourites! It’s very hard to choose one, but I love the Cargo Pants and the White Lotus Gown.

You have just collaborated with Moda Operandi to launch your SS18 collection, do you see this as a platform for a more international presence?

We’re so honoured to be collaborating with Moda Operandi for the reveal of our SS18 collection! I think it’s a great opportunity for our customers to get a first look at the collection, and to be able to pre-order their favourite pieces before they hit stores. This collection is one of my personal favourites, as it’s inspired by the magical beauty of India and infuses a plethora of colours and patterns with an emphasis on gold metallics for added richness. In addition to our main evening wear category, we have also introduced a lot of fun and flirty separates and easy-to-wear styles that would appeal to a more international and casual audience that Moda Operandi caters to.

Little Bambah was recently launched, can you tell us about this children’s range?

Bambah is all about the fairy tale story, the Cinderella moment and all the love and glamour that our customers feel when they put on one of our outfits, so we wanted to create the same Bambah flowers and bows for the little ones too! With a flower tube and a beautiful skirt, we’re hoping to take the phrase ‘like mother, like daughter’ to a whole new level.

Little Bambah evokes the essence of fairy tale fashion, bringing pint-size princesses their very own glamorous gowns. Using silk faille, silk gazar, and organza, the pieces beautifully mimic Bambah’s main line, bringing new meaning to ‘mummy and me’ dressing. The brand’s signature oversized details, such as bows and flowers, have been miniaturised, waists on full skirts are elasticated for ultimate comfort, linings are softer and hemlines have been tailored to be child-friendly to ensure that whilst wearing their couture, kids can still be kids.

Catering for girls aged 2 to 10, Little Bambah on Farfetch offers certain looks pulled from Bambah’s past seasons. It is a curated ‘best hits’ collection of the brand’s most loved silhouettes, including our signature Flower Tube, Red Backless Bow Gown, as well as the standout Diana and Rosebud prints for the mini-me’s.

Why did you decide to create a children’s line?

The mini-me industry is booming! Mothers love to match with their daughters and take so much pleasure in doing so. We have always had a lot of requests from our customers to make matching outfits for their little ones, and that was the drive behind the launch of ‘Little Bambah’.

How well do your current styles translate into childrenswear?

It’s always important to bring out the child’s true style in the outfit while keeping them as comfortable as possible. For example, one of our mini customers chose to style her pink flower tube and skirt with white trainers, which looked very adorable.

By Eliza Scarborough

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Designer Focus: Nour Najem 

A post shared by @carolinelevybencheton on Sep 29, 2017 at 1:35pm PDT

For Spring Summer 2018, Alexis Mabille took a sporty direction, with generously cut silhouettes, and a sense of romanticism. From the masculine shirting, to the cinched in waists, the collection had a couture edge, but with an everyday feel.

Stripes were a main theme throughout as echoed in the invite, whether in the form of pleating, colour bright accents, or candy striped pale blue. Starting with a tuxedo dress, the collection had a clear Parisienne vibe, moving on to masculine shirting, high waisted trousers and paper bag waists. As the show continued, there was an abundance of lace and tiers of ruffles, together with accents of gold and black for that sense of after dark glamour.

However, the standout piece from the show had to be the oversized earrings. Cascading blooms adorned the models, for an added springtime finish.

An oasis within Dubai that makes you feel like you’re miles away? Here is why Al Barai needs to be on your list.

Guided by the passionate founder and chairman, Zaal Mohamed Zaal, Al Barari’s vision of an exceptional botanic haven, unrivalled in its ecological sensitivity, has been realised. It encompasses luxury villas and apartments, a gourmet restaurant The Farm, a state-of-the art health club Body Language, a destination spa Heart & Soul, and the region’s largest privately-owned plant nursery.

THE FARM

Founded in 2012 and set within the green surroundings of Al Barari, The Farm is more than a restaurant, it is a culinary, leisure and social ‘hub’ for UAE residents looking to spend quality time and enjoy great food with family and friends. The Farm’s philosophy is simple, to serve high-quality, wholesome food the way nature intended, in a relaxed and tranquil setting. The flavours of The Farm are inspired from around the world, from Thai and Mediterranean to Middle Eastern, Indian, and Asian.

The unique concept restaurant is built around natural surroundings, serving internationality sourced food with an emphasis on fresh produce. The main building is surrounded by a lawn and green areas, with an outdoor seating area on a deck that is suspended over a lake. In summer months, the outdoor areas are temperature controlled so customers can enjoy the unique dining experience at The Farm all year round.

In addition to the high-quality gourmet cuisine and exceptional service, The Farm is a culinary and leisure oasis with abundant social activities including jazz nights, traditional markets and afternoon tea.

BODY LANGUAGE

Surrounded by the verdant greenery and famed landscaped gardens of Al Barari is Body Language health club, a wellness ‘hub’ for UAE residents looking to keep fit, relax, and unwind in a tranquil setting. Body Language has a state-of-the-art gym, infrared steam rooms and a studio. The studio hosts a wide range of classes for adults and kids from Yoga to Bootcamp and Cardio Tennis, and between its picturesque surroundings and its fully-equipped gym lies a stunning temperature-controlled infinity-edge swimming pool and two sunken tennis courts.

HEART & SOUL

The philosophy at Heart & Soul spa is to restore the soothing effect of nature by helping guests relax, unwind, and achieve balance. The spa has separate levels for men and women, a dedicated entry for each exclusive treatment room, private suites, a dedicated children’s salon, designated nail and hair care sections, and an infrared sauna, hammam and steam room.

Across these 20 treatment rooms a variety of massages, award-winning facials, and hair and nail treatments are practised using a unique combination of organic ingredients, for all round mindfulness and wellness.

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Escape: A&E Stylish Guide To Milan
Things to Do: Winter in Lebanon

In a tribute to women and to Botticelli’s visionary expression of female beauty, Palazzo Mezzanotte reflects the mood of the season for Salvatore Ferragamo SS18.

Recreated in the historic Piazza Affari, the runway for tonight’s show revealed an enchanting Botticelli garden infused with modern elements surrounding the Piazza and Palazzo building. As the invitation, a colourful plexiglass, indicated, this was a collection that merged modernity with Botticellian history.

Models walked the runway, a plexiglass floor suspended above fresh flowers, in pieces that reflected the fragility of blooms. There was flowing silk in iridescent pastel shades, and laser cut styles in bolder brights. Pops of cerise, mustard, and cerulean blue appeared among a muted colour palette, with luxurious accents of snakeskin, feathers, and sequins.

In a location where art, history and technology have lived together, this was a show and collection that was clearly influenced by the environment, linking to Salvatore Ferragamo’s roots of individuality, beauty, and uniqueness.

At the time of his death in 1997, Gianni Versace was one of the most famous fashion designers in the world. In less than twenty years he had created an international company that put Italy on the fashion map and forged an unrivalled reputation for luxury and glamour. Twenty years later and his sister Donatella celebrated his life and works with a collection in tribute to him for Versace SS18.

The retrospective delved into the archives, focusing on Gianni’s most glamorous catwalk moments, from the chainmail dresses at the brand’s couture show in 1997, to the iconic baroque print of the late 1980s.

‘Each year Gianni lived he lived to the fullest: throughout his career he created collections that to this day are considered a cultural point of reference and inspiration to many. It would be impossible to commemorate Gianni’s entire world in a single collection, therefore, I have decided to honour his legacy with his beloved prints and dazzling metal mesh.’ Donatella Versace

The show opened with the glamour of baroque and leather in a palette of black, white, and gold, together with a sea of pastel body-hugging gowns reminiscent of the AW97 show and a rivetted dress which echoed the famous safety pin dress, while shoulder pads harked back to the 80s. Rather than music tracks, instead there was a soundtrack thanking and proclaiming love for Gianni, celebrating the genius.

Pop art prints brought in the 90s switching from the muted pastels to fluorescent colour pop concoctions worn with leotards and oversized earrings. The jewel-encrusted dress emblazoned with Warhol’s Marilyn Monroe prints, originally worn by supermodel Linda Evangelista in the SS91 Pop Art collection was revived in the form of dresses and matching thigh high glittering boots.

Following the finale, the lights dimmed before the famous metal mesh dress was unveiled. Using Gianni’s trademark technique, turning chainmail into a fabric so fine it moves like glittering silk, the supermodels of the 90s modelled the gowns in a glittering finale. To a standing ovation, Donatella led Cindy Crawford, Naomi Campbell, Claudia Schiffer, Carla Bruni and Helena Christensen down the catwalk.

This was a gloriously retro collection, full of life and glamour which mirrored the way that Gianni celebrated each day of his life as though it was extraordinary.

Welcome to the future as the sixties meet space.

Dress in black embroidered crêpe, Necklace in gold and white resin pearl, Wrist warmers in grey alpaca wool embroidered with little stones, Metal brooch embellished with faux pearls, Sparkling silver boots with black patent leather toe caps. All Chanel

LEFT IMAGE: Long metal necklace embellished with faux pearls, Dress in white crêpe embroidered with black vinyl, Wrist warmers in black wool and cotton, embroidered with beads and stones, Tights in black and silver polyamide, Sparkling white boots with black patent leather toe caps

RIGHT IMAGE: Coat with belt in black and navy houndstooth tweed, Pants in black and navy houndstooth tweed

All Chanel

Grey knitted headband embroidered with rhinestones, Top in black printed crêpe de chine, Trousers in black printed crêpe de chine, Sparkling silver boots with black patent leather toe caps. All Chanel

LEFT IMAGE: Cardigan in black cashmere, Pants in black taffeta, Belt in black and red leather, Fingerless gloves in black tweed and leather, Boots in beige suede and black satin

RIGHT IMAGE: Grey knitted headband embroidered with faux pearls and crystals, Wrist warmers in black wool and cotton embroidered with beads and stones, Tights in silver polyamide Sparkling white boots with black patent leather toe caps

All Chanel

LEFT IMAGE: Silver leather headband, Coat in black and white fantasy tweed with belt in black leather, Skirt in black cashmere

RIGHT IMAGE: Anthracite grey knitted headband embroidered with crystals, Metal bracelets embellished with faux pearls, Long metal necklace embellished with faux pearls, Dress in white crêpe embroidered with black vinyl

All Chanel

Fashion Director : Eliza Scarborough

Photographer : Lezli and Rose

Hair and Make-up : Julie Read at Carol Hayes

Model : Myrthe de Poel at Models 1

Location : Roca London

From the relaunch of the Eighties classic, Panthère de Cartier, to extraordinary jewels with echoes of the company’s vast archives, Global Head of Marketing and Communication Arnaud Carrez understands the demand for heritage with a strategic return to Cartier’s jewel-making roots.

Tell us about the Résonances de Cartier collection, and what your favourite piece is?

I am very happy to unveil this collection, which is another facet of Cartier style, and is a new and very exciting journey for us. We are a living language and we keep on enriching our vocabulary with new creations. Résonances de Cartier is also a very exciting project as I feel it is very true to who we are as a brand at Cartier, since it is about triggering emotions, creating energy, and style. My preferred piece is the emerald necklace because I feel it is very true to the spirit of this collection, as it is both classic and a very eye-catching novelty.

You speak about emotions and luxury, tell us how challenging is it to create the dream and the desire in today’s fast world?

I don’t think it is about strategy, I think it is about ensuring that the heart of Cartier’s creative studios is composed of people as passionate as our Creative Director Jacqueline Karachi. They need to be ready to take risks and challenge themselves, in order to generate new ideas. Cartier is very big, but it is still human and personal, which is what you can see in our different creative studios. Our teams are very passionate and are not complacent, pushing boundaries, and coming up with new jewellery techniques and innovations.

Moving from jewellery to watches, can you share with us the response to your new collections since SIHH?

It has been very good, and beyond our expectations. We keep on revising our forecast on Panthère, which has been very successful in terms of results across all regions, and it is creating a positive buzz for the Maison. It has certainly come at the right time, as it was very important for us to have a strong feminine watches story, as this is the core of Cartier. It is a watch, and also a piece of jewellery too, with a contemporary communication platform. I particularly like the idea that we didn’t come up with another novelty, and instead chose to relaunch a classic.

What is Cartier’s communication strategy, to ensure a balance between attracting millennials and still speaking the same language that your existing clientele needs to hear?

I think today we are watching our clientele in a very static way, by age bracket, whereas I think we should instead look at it from different angles. Around the world there are so many diverse communities, so it is about finding the right balance and working more on relevance, with the Middle East being the best example of this. If you look at five or ten years ago, Cartier was a very centralised organisation applying the same to all markets, whereas today it is about collaboration and co-construction to find the right balance in each region.

RESONANCES DE CARTIER

What can we expect to see for the main direction of Cartier in 2018?

What I can tell you is that we will definitely build on what we have done this year. Cartier is a big brand, playing in the same league as Hermès, Chanel, and Louis Vuitton, so it is about avoiding short-term opportunistic choices, as instead we need consistency, continuity, and coherence. We have done some very exciting work in the past year, particularly on our foundations, vision, and values for the Maison to redefine the brand, and things are falling into place. So, now the vision and framework are clear to move into the year ahead.

Can you define 2018 in one word?

Surprise!

By Lara Mansour Sawaya

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A&E Editorial: Cartier Symbols of Eternal Feeling

 The Great Escape

Sartorial suits, rich jacquards, and quilted leather that celebrate Italian elegance.

Short parka with inside out details in african earth calfskin, Single breasted jacket, Turtleneck sweater in cashmere silk., Skinny ski trousers, Portfolio bag, White high-top sneakers. All Ermenegildo Zegna

LEFT IMAGE: Leather padded trench coat in white calfskin, Single breasted suit. Turtle neck sweater in cashmere silk. White leather oversize bag. Oxblood monk shoes. All Ermenegildo Zegna

RIGHT IMAGE: Single breasted jacket, Turtleneck sweater in cashmere silk, Skinny ski trousers, Sunglasses with a metal bridge and leather insert around the lenses, Small Libro clutch bag. All Ermenegildo Zegna

LEFT IMAGE: Shearling bonded hoodie in cream calfskin, Geometric jacquard sweater in cashmere mohair,High neck sweater in cashmere silk, Skinny ski-pant, Cream hiking boots. All Ermenegildo Zegna

RIGHT IMAGE: Hybrid short coat with shearling front, cashmere sleeves and back with contrast leather details, Boat neck thick sweater, Wide leg trousers with leather drawstring, Sunglasses with wooden insert and titanium temples, Gloves with lacing detail, Fox colored hiking shoes. All Ermenegildo Zegna

LEFT IMAGE: Cinched single breasted jacket in oxblood cashmere with quilted sleeves, Heavy knit turtleneck sweater in oxblood cashmere, Wide leg leather draw string trousers, Vicuna hand-buffed Pelle Tessuta holdall, Oxblood hiking shoes. All Ermenegildo Zegna

RIGHT IMAGE: Cinched single breasted jacket in oxblood cashmere with quilted sleeves, Heavy knit turtleneck sweater in oxblood cashmere, Wide leg leather draw string trousers, Optical square-shaped frame in acetate, Leather gloves. All Ermenegildo Zegna

Boat neck chunky sweater, Turtleneck sweater in cashmere silk, Wide legged ski trousers, Sunglasses with wooden insert and titanium temples, Black cap, White hiking boots. All Ermenegildo Zegna

Photographer: Pasquale Abbattista
Fashion Director: Eliza Scarborough
Grooming: Giovanni Iovine
Model: Federico Filipponi
Location: Hotel Giardino, St Moritz
Car: Maserati Levante Blu Emozione with Ermenegildo Zegna interiors

Since launching a made-to-measure service in her living room in 2007, London-based Emilia Wickstead has become synonymous with couture-precision tailoring, and unapologetically feminine colour palettes. Soft femininity, impeccable tailoring and polished elegance are her signatures, and have garnered Emilia a burgeoning list of clients, from first ladies to supermodels, Hollywood actresses to Royalty, including The Duchess of Cambridge, Samantha Cameron, Alexa Chung, and Poppy Delevingne.

While trends inspire many designers, Wickstead is more focused on a by-gone era of glamour, and that sense of occasion requiring you to look your best, but with an added dose of modern ease and comfort. In a palette of hues, ranging from buttercup yellow and duck-egg blue, to pistachio and candy-floss pink, her elegant designs with a side helping of fun, manage to never veer into the sickly side of saccharine, thanks to some exquisite tailoring and sophisticated style.

Born in New Zealand and raised in Milan, Emilia hasn’t taken the typical London-designer route to the runway. Growing up she learnt her work ethic from her mother, Angela Wickstead, who ran a successful bespoke dressmaking service in Auckland. She then cut her teeth at the prestigious Central St Martins school of Art, spending her formative years in Milan and New York working at Giorgio Armani, Proenza Schouler and Narciso Rodriguez. Then, with the financial help of her boyfriend, now husband and father to their 2 children, she opened her business at the age of 24, inviting friends and family to buy made-to-measure pieces from the sitting room in her West London flat. From there a foundation of private clients were built as she made her name as a made-to-measure atelier, before becoming one of London Fashion Week’s darlings when expanding her repertoire to include ready-to-wear collections.

The New Zealander has been broadening her range of late, and her new collection goes beyond cocktail hour to encompass the casual polish of a sophisticated off-duty wardrobe. She introduced jeans to her line this season, and the high-waisted, raw denim pants had a pristine, tailored finish that worked well in the lineup of floor-sweeping gowns. Loosening up the demure look of her brand in general with diaphanous silks, there was a sense of lightness to the collection, yet the shimmering sequined silver dress was a standout and stole the show.

Here we learn the secrets to the New Zealand born designer’s success, what makes the perfect dress, and how to accessorise to create her design aesthetic, classic with a twist.

Is fashion in your genes? Did you always dream of going into fashion and becoming a designer?

Growing up, my mother had a career as a fashion designer in Milan, and from a young age I would watch my mother in the studio, which taught me so much about fashion and dressmaking. My mother and grandmother were both exceptionally glamorous and strong women who encouraged me to follow my heart and pursue my dream of becoming a fashion designer. Living in Milan at the age of 14 was also hugely inspiring, I was enthralled by the designer stores and beautifully dressed women.

Who was your style heroine growing up?

My grandmother.

How did you start your business?

I started making bespoke dresses out of my apartment for some of London’s most fabulous women. My husband would arrive home and I would be in a fitting in the middle of our living room! It was a very organic, humble way to start the business, and I’m proud of how hard I worked to make it happen.

Do you feel this unconventional approach put you in good stead with a business made from solid foundations and a loyal customer base?

Absolutely. Emilia Wickstead would not exist without the wonderful, loyal customers who have supported me from the beginning and who continue to do so, 9 years later.

As your brand grows, does the business side always remain in the forefront of your mind?

As the business has grown I have always first and foremost tried to remain true to myself and my designs. As we go forward and grow I am thinking about everything from a business perspective as well as from a design perspective and trying to create the perfect balance, which isn’t always easy.

How do you find the pressure to constantly produce new collections?

I love it! It has definitely been an adjustment to go from designing two collections a year to designing four, as I am now designing pre-collections as well as runway. To constantly get the opportunity to be creative and evolve from a design perspective is a dream.

I’m also aware that my customer is so diverse and comes to me for a whole range of dressing options, from day to evening. For AW17 for example, I launched jeans for the first time. They are dark denim and sit high on the waist, so can be dressed up and down. I recognise that the Emilia Wickstead woman is evolving along with my designs, and needs modern wardrobe staples that are still elegant and refined. It’s exciting to see my offering develop and grow.

I also recently launched a bridal capsule collection. Bridal is something I’m hugely passionate about, I designed my own wedding dress which was such a special moment, so I wanted to produce a timeless, statement capsule collection that my customers would love.

Is your heart more with the made to measure designs in the atelier, rather than RTW?

My heart is equally with both of them. I love designing for a specific client and really knowing that what I am creating for them is going to be exactly what they want, but I also love creating RTW and seeing how other women interpret and wear my designs. They are two completely different ways of looking at fashion and I couldn’t manage without either.

How would you sum up your brand DNA?

Emilia Wickstead is all about timeless yet contemporary dressing which is always elegant, but often subtly playful and nuanced in its approach.

Where do you find your inspiration?

I find inspiration everywhere. Especially in old films and music, but also in architecture, nature, and books. Every runway collection is different and every collection has been inspired by a mixture of different things that have really interested and fascinated me. My SS17 collection was inspired by the architect Frank Lloyd Wright and Japanese ‘Love Hotels’, and then my AW17 collection was inspired by traditional Russian dress.

Can you tell us about your new AW17 collection, it clearly goes beyond your cocktail looks, encompassing relaxed off duty separates?

This collection for me really was all about ‘My Girl.’ I wanted it to be a complement to a feminine personality, a testament to the Emilia Wickstead world. It is about the awareness of my woman and her continuous desire for any and every occasion to dress up. The collection is full of transparencies and puff details, but also has architectural lines that are modern and relevant. It was also the first time I have ever designed jeans and I wanted to make sure that I was delivering my insistence on quality, something fun and directional, yet unexpected.

Is this a direction that you are looking to take your label in?

I am constantly thinking about what I can do on a bigger scale and how I can bring fresh purpose to my designs, but it was also a very natural process for me to start adding more separates as my collections grow. I am always thinking about my woman and about staying true to the Emilia Wickstead aesthetic, whilst looking to create collections that are also unexpected and exciting.

What is your standout piece from the collection?

For me it has to be the sequin Roma Dress, I love the structure and the open back, Its energetic yet romantic.

What are the roots of your fascination with old-world couture?

I love the glamour of the old days. It was just such a fabulous time. I am a constant dreamer and the idea of escaping to a past time where everything seems so grand and magnificent has always made me sweetly nostalgic.

Who is the Emilia Wickstead woman, and what characteristics does she embody?

The Emilia Wickstead woman is feminine, strong, elegant, and effortlessly modern. The women I dress are so diverse, she may be a successful businesswoman who wants to wear something bespoke, or her younger daughter who is looking for a fashion forward piece, but all are tied together by their elegance, femininity, and powerful confidence.

Do you feel that being a woman at the helm of a brand for women allows you to have the best insight into your customer needs?

I feel that what has always given me insight is really understanding my customer. I understand their lives, what they are doing, where they are going, and how they want to feel in their clothes once they have arrived. Building that relationship is what gives me the most insight.

Is there a particular age group who buys your clothes?

I’m grateful and proud that women of all ages buy my clothes. I recently made a dress for my 3-year-old daughter and she looked just as great in it as did the actress who wore it to the Oscars!

How do you create something that is timeless yet fashion forward?

When creating a garment, I often think whether it is a piece I would love to wear, but also a piece that my grandmother would have thought was a strong design.

How would you describe your personal style?

I am very classic in the way that I dress. My uniform is a great pair of trousers or jeans, a delicate turtle neck and a red lip to pull everything together.

Do you tend to dress up all the time?

I often wear very feminine dresses, but like to pare them back with an elegant flat shoe and a simple ponytail. I think the addition of a red lip and neat hairstyle, a ponytail or a beautiful braid, can make any outfit look dressed up and glamourous.

What are your top wardrobe must haves?

A turtle neck, wonderfully cut trousers, a timeless dress, and the perfect red lipstick. When it comes to accessorising, I love to wear a fabulous pair of shoes. Either an elegant flat or a pair of heels, and my personal preference is a pointed toe with a thin ankle strap.

Can you share with us the most cherished item in your wardrobe?

My ring that was given to me by my grandmother. It will forever be a part of my heart.

What has been your greatest achievement?

My family.

What is the best piece of advice you have been given?

‘You can do it.’

Coming off the success of Peri Arenas’ Veri Peri at the Parker Palm Springs, Peri.A is her latest creation, supporting the re-emergence of Robertson Blvd as a fashion epicentre and bringing designers from all over the world like Vivetta, Mira Mikati, Derek Lam and Shrimps to the store. 

Peri curates her assortment by finding ‘hot designers before they become hot gossip’ and introducing the most unique and special pieces you won’t find anywhere else. Arenas is looking to shake the retail scene up, ‘I believe that fashion in America has become safe and I’m ready to bring back a thrill to the art of dressing by inspiring women to wear what excites them.’ The boutique showcases limited edition and custom pieces like graffitied Louis Vuitton straps and more. 

Arenas comes from a family of successful entrepreneurs starting with her grandfather, Jack Parker who founded the famous Parker Palm Springs and Le Parker Meridien. Expanding on her retail entrepreneurship, this new concept is for customers to discover new designers, and incubate those with little retail presence as well as carry exclusive items from designer labels. Her store offers a premium shopping experience, with a gift-wrapping station as well as high-tech dressing rooms, complete with monitors playing music videos and films. 

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For Connoisseurs of Fine Watchmaking

To mark the 75th anniversary of the Portugieser watch family, IWC has given the Portugieser Tourbillon Mystère Rétrograde an additional touch of luxury. The new arched-edge front glass makes the watch appear both slimmer and more elegant, and the horns have also been ergonomically optimised to make the watch more comfort­able to wear on a slimmer wrist. Another new feature is the exclusive alligator leather strap by Santoni. The dial of the platinum version is silver plated while the red gold model is fitted with a slate-coloured dial. The reverse side of the watch with its see-through sapphire-glass back is also more attractive, and the narrower and partly perforated solid red gold rotor with its ‘Probus Scafusia’ relief engrav­ing provides a generous view of the IWC-manufactured 51900 calibre.

Moving clockwise round the dial of the Portugieser Tourbillon Mystère Rétrograde, we encounter three milestones in IWC’s illustrious history, at ‘12 o’clock’ is the minute tour­billon first unveiled in 1993, next, at ‘3 o’clock’, the 7-day power reserve display of the in-house 50000-calibre family launched in 2000, and finally, between ‘6 and 9 o’clock’, the retrograde date display created in 2010 exclusively for the Portugieser. The tourbillon, which makes the ‘12’ appear to come to life, gives the watch not only its name but also a touch of mystery. The complication is mounted on one side only and therefore known as a ‘flying’ tourbillon, creating the illusion that the balance is floating in mid-air.

The second eponymous complication, namely the retro­grade date display, was clearly not intended to be hidden, as its uncompromising presence suggests, the semi-circular arc from 1 to 31, which has a similar design to that of the railway-track-style chapter ring, takes up a full quarter of the dial. This unusual type of display not only gives the wearer a very special feel for time, it also has the additional advantage that the tourbillon is not concealed by the date disc.

From Louis Vuitton comes a new wristwatch – the Tambour Horizon, an innovative timepiece for travellers in a connected world, which allows its wearer to explore anew the Maison’s pursuit of personalisation, every day.

Boldly innovative in its embrace of technology, the new Tambour Horizon is a pioneering endeavour that nonetheless remains faithful to the spirit of the Maison’s founder, Louis Vuitton. As is only appropriate for this, the ideal watch for the contemporary traveller, the Tambour Horizon delivers the best of expertise, design and technology via exceptional provenance.

This is a timepiece that was conceived in Paris, with a case made at Louis Vuitton’s manufacturer in Switzerland, which deploys technology developed in California’s Silicon Valley, and for the very first time can be used right across the globe, including China.

Working closely with Google and Qualcomm Technologies, Inc., the Tambour Horizon combines all the technical capacity of a ‘smartwatch’ with the elegance and grace of a Tambour, the iconic watch that began Louis Vuitton’s watchmaking story in 2002.

At just 42mm, the case is exceptionally compact for a connected watch, thanks to Qualcomm® Snapdragon™ Wear 2100 platform. A perfect circle it features the distinctive concave bezel of the Swiss manufacture’s Tambour Moon design, and is available in Graphite, Monogram or Black, and there are 60 available detachable straps, 30 created for men and 30 for women.

Louis Vuitton has always had strong ties with the world of travel and the Tambour Horizon smartwatch is no exception, having been fitted with exclusive dedicated functions.

‘My Flight’, the first of these features and one that is found on no other smartwatch, keeps departing travellers informed of their flight times, terminal, and gate information, reports of delays, and the number of hours remaining before landing. The second exclusive function, ‘City Guide’, extends to the smartwatch the services of the guides edited by Louis Vuitton and their apps for tablets and smartphones.

The Chanel Haute Couture Fall 2017 collection was presented under a replica of the Eiffel Tower at the Grand Palais museum in Paris. The use of the Parisian landmark reaffirms Lagerfeld’s attachment to the city and its importance for fashion, something which he will be celebrated for following the show.

Paris Mayor Anne Hidalgo is to decorate the couturier with a Grand Vermeil medal, the city’s highest distinction. This is the highest distinction the city can offer in a merit system established in 1911 to recognise remarkable achievements in the service of the French capital. Lagerfeld and Chanel have pulled out the stops in the last year to bring high-spending visitors and international press back to Paris, staging six shows in a row in the French capital, including the recent cruise show in May.

For this Fall 2017 collection, the inspiration was clearly Parisian, with the Eiffel Tower’s flared silhouette structure, as well as its modernist respect for materials, inspiring Lagerfeld’s collection of shapely dresses and coats.

Though it was Robert Delauney’s painting of the Eiffel Tower that was on the show’s invitation, his wife Sonia’s circular paintings were the inspiration for some of the patterns in the collection. The swirling shapes of her work were rendered in sequins and crystals on a series of evening dresses in bronzy rose and ivory colours.

The key accessory seen throughout, and reminiscent of Coco Chanel’s favourite topper, accompanied most looks on the runway. The boater was created out of various tweeds and leathers to co-ordinate.

Syrian designer, Rami Al Ali, looked to the historic beauty of the Angel artwork by Abbot Handerson Thayer to provide a synthesis of innocence, technique, and grandeur in his Fall 2017 couture collection.

 Set at the Hotel Ritz Paris, the collection showcased an array of artistic composition of visual elements. The couturier looked to the wings of an angel as the symbol, conveying the embodiments of feminine virtue and aesthetic splendour, illuminating both power and delicacy as symbolised by an angel.

To imitate the feather like layers of wings, luxurious fabrics were gathered together in an array of structured and softer lines with tulle, organza, piqué and gazar. Shades of geranium and claret red dominate the darker shades of the colour palette, whilst mauve morn, blush and silver pink comprise the lighter hues, for a striking contrast, and hand-crafted embellishments adorn the pieces; implementing understated feminine charm and powerful composure.

From the floral girl of last summer season to the dark mysterious woman of this winter, Georges Chakra is renewing his creative priorities. The Fall 2017 collection, which was presented at the Musée de l’Homme, is dedicated to the self-assured and graceful feline woman whose fearlessness was deepened and exaggerated.  Although intense, Chakra’s new muse is still in touch with her romantic side.

Silhouettes are contemporary and elegant, with asymmetrical skirts, defined corsets, ruffled skirts, and capes. The fabrics are rich, from shimmering velvet, to fine lace, embroidered tulle, and transparent draping. Off course the embellishment was intricate, and there were flowers embroidered between crystals and Swarovski stones, and airy feathers highlighting sleeves and trains. Colours are inspired by autumn, in tones of emerald green, plum, violet, quartz and amber, with co-ordinating bejewelled thigh-high boots.

The grand finale was a spectacular mini corseted bridal dress, decorated with appliqué mother-of-pearl flowers and waves of tulle, again paired with a matching pair of sequined thigh-high boots, and draped under a hooded cloak train.

Taking inspiration from the identity and natural beauty captured by the grand masters Richard Avedon, Cecil Beaton, and Norman Parkinson, the Ralph and Russo Fall 2017 couture show was full of personality and soul.

In an iridescent palette of ice mints, pearlescent lavenders, aqua blue, and rose gold, the collection was fresh and magical. Feathers cascaded, silk draped, and there were ribbons of metallic chainmail creating movement on floor sweeping trains and wide leg trouser suits.

The show was closed with a show-stopping bridal masterpiece, modeled by Sonam Kapoor. Decked in diamonds, Indian actress Kapoor’s ensemble comprised of champagne Chantilly lace with a double duchess overskirt, phenomenal train, and incredibly intricate hand embroidery.

Giambattista Valli is a king of the red carpet, and when the designer presented his Fall 2017 Couture collection, naturally, Valli eschewed any pretence of day clothes and went straight to big night dressing with show-stopping gowns aplenty. 

As the other star of the show, Celine Dion, sat front row, there was a floral theme running through many of the looks, from wildflower-printed chiffon to appliquéd blossoms and petals fashioned out of tulle. The opening series of looks were super-short and impeccably lavished with crystal and macramé embroideries. Then there were high-low hems, capes, and corseted bodices, cutting dramatic silhouettes on the runway, and accessorised with exquisite vintage jewels from Eleuteri.

The show concluded with a trio of tiered tulle confections in black, ballet-slipper, and bubble-gum pink with plenty of leg on show and trains worthy of the Met Gala stairs.

Installed on the second floor of the house’s Avenue Montaigne store, Donatella Versace presented her Atelier Versace haute couture collection. However, the collection was of course not as understated as it’s setting.

The starting point for the collection was based on Steven Meisel’s 1988 medieval Versace campaign that depicted mega-models du jour, including Carolyn Murphy, Audrey Marnay and Maggie Rizer as noble goddesses with warrior spirit. Chic references were made to the inspiration through lavish fabrics, armorlike constructions, and antique bronzed and gold finishes, echoing the painterly moodiness of Meisel’s iconic pictures. But first and foremost, it referenced the classic Versace glam, glitz, and high-heat intensity.

The static installation allowed the incredible handiwork to be seen up close. From chains suspended in cobweb-like formations, and embellishment that looked like crystal but was actually beads faced with silver leaf, to the first time the house had tried 3D printing.