The King Abdulaziz Center for World Culture (Ithra) has today announced the open call for the seventh edition of its biennial Ithra Art Prize. Established in 2017, the Prize presents a $100,000 award to one winning artist and seeks to support contemporary art across the Arab world.

This year’s Prize marks a significant expansion of the programme. In addition to the grand prize, five finalists will each receive production grants to develop works for a group exhibition at Ithra, scheduled to take place in spring 2026. The winning artwork will then join Ithra’s permanent art collection, underlining the centre’s commitment to preserving and promoting regional creativity.

Submissions are open from the 24th of July until the 16 of October 2025. Both new commissions and recontextualised existing works are eligible for consideration. The Prize is open to individual artists and collectives aged 18 or over, of Arab heritage or currently residing in one of the 22 Arab countries. Submitted works must demonstrate intellectual rigour, contextual awareness and evidence of sustained research and practice.

Winning artwork of the Ithra Art Prize’s 1st edition, Mem by Ayman Zedani, 2018. Courtesy of Ithra

Farah Abushullaih, Head of Ithra’s Museum, said that the Prize “supports artists who engage creatively and critically with conditions and ideas that speak to the diverse contexts of our region. The 7th Edition of the Ithra Art Prize marks a homecoming that expands the Prize’s scope through an exhibition at Ithra featuring multiple works in dialogue with one another.”

Previous editions of the Ithra Art Prize have highlighted a range of practices at leading regional and international platforms. The inaugural award in 2018 went to Ayman Zedani for his film Mem, unveiled at Art Dubai. In 2019 Daniah Al Saleh received the second edition prize for Sawtam, an audiovisual installation exploring Arabic phonemes, which later travelled to the State Hermitage Museum in Russia. The 2020 Prize was awarded to Fahad bin Naif for Rakhm, an installation examining themes of environmental preservation and urban ecosystems.

Winning artwork of the Ithra Art Prize’s 6th edition, Palms in Eternal Embrace by Obaid Alsafi, 2024. Courtesy of Ithra

In 2021 Nadia Kaabi-Linke won with E Pluribus Unum, presented at the Diriyah Contemporary Art Biennale. The fifth edition in 2023 went to Iraqi-Finnish artist Adel Abidin for his large-scale installation ON. Most recently, Obaid Alsafi received the sixth edition prize in 2024 for Palms in Eternal Embrace, which debuted at the AlUla Arts Festival.

Over its seven editions, the Prize has grown from a national Saudi initiative to a leading regional platform. By providing substantial awards, production support and partnerships with institutions such as Art Dubai, the Diriyah Biennale Foundation and the AlUla Arts Festival, Ithra aims to nurture a thriving cultural ecosystem across the Arab world and beyond.

Ithra.com

Giorgio Armani is celebrating its 50th anniversary today, tap below to find out how the house is marking the occasion. 

Italian luxury maison Giorgio Armani is celebrating its 50th anniversary today, with the house originally founded on the 24th of July 1975.

Central to the celebrations is the launch of Armani/Archivio, a new digital platform designed to preserve and showcase the fashion house’s legacy. The new platform is set to go live next month on the 30th of August as part of the Venice Film Festival. According to the house, it is an interactive and content-rich catalogue of the Giorgio Armani collections, and is intended to bridge the brand’s history with its future, offering a digital archive accessible to the public. A physical location for Armani/Archivio is also planned to open just outside Milan in the near future.

The milestone celebrations will also continue throughout Milan Fashion Week. On Wednesday, the 24th of  September, Giorgio Armani will open a specially curated showcase to the public at the Pinacoteca di Brera. For the first time, the museum halls will host an exhibition dedicated to fashion: 150 archival Giorgio Armani looks will trace the brand’s evolution over five decades, in an unprecedented dialogue between the Armani aesthetic and the gallery’s masterpieces. 

The house will then conclude Milan Fashion Week on the evening of Sunday, the 28th of September, with a show in the historic Courtyard of Honour within Palazzo Brera, featuring the Giorgio Armani Spring/Summer 2026 Women’s Collection alongside select menswear looks from the collection presented in June.

armani.com

Dior is marking the tenth anniversary of its Lady Dior Art project by inviting ten international artists to reinterpret the brand’s iconic Lady Dior bag. Among the selected artists is Kuwaiti painter Alymamah Rashed, recognised for her distinctive style and cultural perspective.

Since its launch, Dior Lady Art has provided a platform for contemporary artists to transform the Lady Dior bag into a canvas for personal and experimental expression. The project has gained a reputation for blending the French fashion house’s traditional craftsmanship with avant-garde artistic visions.

ALYMAMAH RASHED KUWAIT

For its 2025 edition, Dior has chosen ten artists from a diverse range of countries, including France, Korea, Brazil, China and Kuwait. This anniversary release is designed to celebrate creative freedom and global perspectives. The full line-up includes Jessica Cannon, Patrick Eugène, Eva Jospin, Lakwena, Sophia Loeb, Inès Longevial, Marc Quinn, Alymamah Rashed, Ju Ting and Lee Ufan.

INES LONGEVIAL FRANCE

Each artist was given carte blanche to reimagine the Lady Dior, a design originally distinguished by its refined construction and signature Cannage motif. Known for its sculptural silhouette and status as a Dior style icon, the Lady Dior serves as both a luxury accessory and a symbol of the house’s heritage.

LEE UFAN KOREA

In this milestone edition, the featured reinterpretations represent a dialogue between heritage and innovation, materials and ideas. According to Dior, the project pays tribute to both passion and the intersection of art and couture. By incorporating virtuoso techniques and unique cultural references, the anniversary bags are intended to push the boundaries of fashion and art collaboration.

SOPHIA LOEB BRAZIL

Alymamah Rashed’s involvement places Kuwaiti artistry on the global fashion map. Her contribution reflects not only her individual practice but also the ongoing engagement of Middle Eastern artists in international creative discourse.

MARC QUINN UK

The 2025 anniversary edition of Dior Lady Art stands as a testament to the continuing evolution of the Lady Dior bag and Dior’s commitment to artistic collaboration. It is both a celebration of the past decade and a look forward to future possibilities at the crossroads of tradition and contemporary vision.

dior.com

Dubai Design Week will return from the 4th to the 9th November 2025, marking its 11th edition under the patronage of Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, Chairperson of Dubai Culture.

The event will take place in strategic partnership with Dubai Design District (d3) and is set to expand its presence across the creative hub.

This year’s theme, ‘Community’, reflects the UAE’s 2025 ‘Year of Community’ initiative and will explore the role of design in fostering social cohesion and collective care. With a growing international reputation, the festival continues to serve as a platform for cross-cultural dialogue and design-led solutions across architecture, art, and innovation.

Among the key components of the programme is Downtown Design, returning from the 5th to the 9th of November with leading global brands including Lasvit, Kartell, Poltrona Frau, and Vitra. New exhibitors such as Roche Bobois and Stellar Works will also take part. The event will feature installations, live talks and keynotes, with designer Tom Dixon headlining this year’s Forum.

The UAE Designer Exhibition, supported by Dubai Culture, will present a revised format aimed at nurturing emerging local talent and offering international exposure. According to organisers, more details will be revealed in September.

Editions Art & Design, the region’s first fair dedicated to limited-edition works, will also run from the 6th to the 9th of November with a preview on the 5th of November. It will showcase 50 local and international studios and galleries working across a range of mediums, from ceramics to photography.

The 2025 edition will also see the return of Abwab, now open to applicants across West, South and East Asia, as well as Africa. The initiative’s theme, ‘In the Details’, invites immersive interpretations of ornament and historic forms. Similarly, the Urban Commissions competition calls for community-focused design proposals around the idea of the ‘Courtyard’.

Further highlights include outdoor installations, activations, workshops at Maker Space, and a curated retail Marketplace. The d3 Architecture Exhibition, organised in collaboration with RIBA, will also return in alignment with the wider ‘Year of Community’ values.

Since its inception in 2015, Dubai Design Week has evolved into the Middle East’s leading design festival, providing a space for experimentation, social impact and regional creative growth.

dubaidesignweek.ae 

Global pop icon Jennifer Lopez is set to perform at Etihad Arena on Yas Island, Abu Dhabi, next Tuesday, the 29th of July, in what is being billed as the capital’s biggest pop concert of the summer.

The show, presented by Ethara, is part of Lopez’s Up All Night: Live in 2025 tour and marks her only Middle East performance. According to the organisers, although most ticket categories have sold out, there is still limited availability in the General Admission, Golden Circle and Bronze sections.

The Abu Dhabi concert follows Lopez’s recent European tour dates, which have received widespread acclaim for their high-energy performances, strong production value and emotional delivery. The Up All Night tour began earlier this year in Spain and has consistently played to sold-out arenas across Europe.

Speaking about her upcoming Abu Dhabi appearance, Lopez said: “This show is really for the fans. I’m bringing back songs I haven’t done in years, even a few that have never been part of the show before. There’s going to be a lot of dancing, a lot of high energy, and a lot of heart. I always try to create different types of moments in the show – and this one is full of them.”

Tickets for the Etihad Arena show are available through several platforms including ethara.com, etihadarena.ae and ticketmaster.ae. 

Louis Vuitton has revealed the 20 semi-finalists for the 2025–2026 edition of the Louis Vuitton Watch Prize for Independent Creatives.

The prize, run in collaboration with La Fabrique du Temps Louis Vuitton, supports a new generation of independent watchmakers around the world.

The initiative was established to highlight bold design, technical innovation and craftsmanship within the world of independent watchmaking. It follows the success of the inaugural edition, which was won by Swiss watchmaker Raúl Pagès.

The 20 semi-finalists were selected from hundreds of global applicants by a panel of experts affiliated with the Prize. Jean Arnault, Louis Vuitton’s Watch Director, said, “The bold creations of the semi-finalists for the Louis Vuitton Watch Prize are a testament to this spirit. In their hands, watchmaking becomes an expression of pure creativity, each timepiece a testament to uncompromising craftsmanship and unique vision.”

The selected projects include a diverse range of styles and innovations. The semi-finalists, listed alphabetically by brand name, are:

• Anton Suhanov – St. Petersburg Easter Egg Tourbillon Clock
• Auffret Paris – Giverny “Blue Train”
• Behrens – KUNG FU
• David Candaux – DC6 Titanium
• Daizoh Makihara – Beauties Of Nature
• Fabian Pellet – Essentiel
• Fam Al Hut – Mobiüs
• Hazemann & Monnin – Hazemann & Monnin School Watch
• JN Shapiro – Resurgence
• Kallinich Claeys – Einser Central Seconds “Hong Kong Edition”
• Kudoke – KUDOKE 5
• Lederer – CIC 39mm Racing Green
• Masa & Co. – SOHKOKU
• Mgraver – Ventrallis
• Mineroci – RD002
• Petermann Bédat – Seconde Morte
• Quiet Club – Fading Hours
• Reuben Schoots – Series Two
• Tasaki – Face Of Tasaki “Black Mother Of Pearl”
• Winnerl – The Tremblage Dial

Later this year, a 65-member Committee will evaluate the projects based on five criteria: design, creativity and audacity, details and finishes, complexity, and technical innovation. The Committee will vote to select five finalists, to be announced on the 15th of December 2025.

The winner will be revealed at a ceremony on the 24th of March 2026 at La Fondation Louis Vuitton in Paris. The winner will receive a €150,000 grant and a one-year mentorship with experts from La Fabrique du Temps and Louis Vuitton.

louisvuitton.com

Saint Laurent Productions has announced its fourth feature film, “Father Mother Sister Brother”, written and directed by acclaimed filmmaker Jim Jarmusch.

According to the house, the film will premiere at the 2025 Venice Film Festival, which runs from late August until early September.

The project continues Saint Laurent Productions’ recent expansion into cinema, under the direction of Anthony Vaccarello. It marks the brand’s first appearance in the official competition at Venice, following back-to-back Cannes appearances in 2023 and 2024.

“Father Mother Sister Brother” is described as a feature film composed as a triptych. Each segment focuses on the complex relationship between adult children and their somewhat distant parents, in separate locations: Father in the northeastern United States, Mother in Dublin, and the adult children in Paris. The film is presented as a quiet, observational series of character studies with elements of melancholic comedy.

The cast includes Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Sarah Greene, Indya Moore, Luka Sabbat and Françoise Lebrun.

Jarmusch characterises the film as a kind of “anti-action” piece, structured to allow small details to accumulate in a quiet, layered cinematic form. He reunites with frequent collaborators including cinematographers Frederick Elmes and Yorick Le Saux, editor Affonso Gonçalves, and costume designer Catherine George.

Saint Laurent Productions previously presented three features at Cannes in 2024: Emilia Pérez by Jacques Audiard, Parthenope by Paolo Sorrentino and The Shrouds by David Cronenberg. In 2023, the house produced short films by Pedro Almodóvar and Jean-Luc Godard.

Founded under Vaccarello’s leadership, Saint Laurent Productions is the first fashion label to operate a full-scale film division. The initiative reflects the brand’s intent to integrate cinematic storytelling with its creative direction.

saintlaurentproductions.ysl.com

Gucci has unveiled its Fall Winter 2025 campaign, titled ‘The Gucci Portrait Series’, a collection of photographic and video portraits that explore identity through fashion.

Shot by renowned American photographer Catherine Opie, the campaign features forty-two individuals, each representing a distinct perspective across generations and backgrounds.

In keeping with Opie’s signature human-centred style, the campaign focuses on the authentic connection between subject and clothing. The imagery captures both composed and candid moments, highlighting how subtle gestures such as the way a jacket folds or how a scarf moves express individuality. The campaign moves away from performative fashion, instead emphasising ease, posture and attitude as true indicators of personal style.

Gucci describes the campaign as a “collective portrait” and an invitation to view clothing not simply as form and fabric, but as a frame through which identity is naturally revealed. The visual repetition of poses and garments across varied individuals underscores the uniqueness of each subject, demonstrating how personal expression emerges within shared forms.

Accompanying the stills is a video series directed by Lisa Rovner. In these short films, cast members respond to open-ended prompts, offering unscripted reflections, memories and humorous moments. These videos serve as an extension of the campaign’s ethos, aiming to evoke not just statements but emotions — a sense of being seen without filter or performance.

The campaign remains rooted in Gucci’s longstanding codes, particularly the Italian concept of sprezzatura — a kind of effortless elegance that has defined the House’s aesthetic across decades. The Fall Winter 2025 collection carries forward this tradition, blending the House’s legacy with a contemporary approach to self-expression.

The creative team behind the campaign includes art director Riccardo Zanola, stylist Suzanne Koller, and still life photographer Charles Negre. Make-up is by Lauren Parsons, hair by Benjamin Muller, and nails by Alexandra Janowski.

Under the artistic direction of Demna and the leadership of CEO Stefano Cantino, Gucci continues to redefine luxury by merging craftsmanship with conceptual storytelling. The Gucci Portrait Series reaffirms the brand’s commitment to authenticity, inclusion and a modern interpretation of identity through fashion.

gucci.com

Prada has unveiled its Fall/Winter 2025 campaign, titled “Prada Motion Pictures”, which highlights the theme of movement and collective force. 

The campaign features both women’s and men’s collections designed by Miuccia Prada and Raf Simons.

According to the house, the concept revolves around “pictures in motion” and “images of free movement,” capturing the intensity of dynamic life through fashion. The campaign presents multiple figures in free-form motion, never standing still, representing a journey towards an unknown and unseen destination.

Rather than relying on static imagery, the campaign depicts models photographed in everyday actions such as walking. The aim is to present a sense of authenticity and vitality, with the resulting visuals reflecting the core intention of the collection. The direction suggests a freer attitude towards fashion, one that values realism and spontaneity.

The campaign also explores the idea of “kinetic grace,” describing motion as a vehicle for progress and shared knowledge. The models are grouped together in scenes that emphasise collective action and unity. According to the release, the campaign intends to convey a shared reality and lived experience, where individuals become stronger as a group than they would be alone.

The visual material includes still photographs and slow-motion 360-degree films. These media formats aim to formalise instinctive gestures and choreograph the intersecting paths of people. The result is a series of visuals that seek to encapsulate energy, freedom and the movement of the body within clothes.

The house describes the work as reflective of “actuality” and “real reactions,” and notes the embrace of imperfections and unanticipated gestures. The broader objective appears to be a portrayal of fashion not just as a form of design but as an evolving, lived experience.

The campaign was creatively directed by Ferdinando Verderi. Photography was led by Oliver Hadlee Pearch, with film direction by Frank Lebon. Creative direction for the collections was provided by Miuccia Prada and Raf Simons.

prada.com

Bvlgari has announced two new collections that extend its long-standing exploration of colour: the final chapter of its High Jewellery “Color Journeys” series, focused on tourmaline, and “Bvlgari Colors”, a global in-store activation showcasing six pieces across key jewellery lines.

The High Jewellery capsule, comprising more than 30 pieces, pays tribute to the exceptional versatility and wide chromatic spectrum of tourmaline. Known as the “gem of all colours”, tourmaline offers Bvlgari a varied palette from which to express its distinctive style. Highlights include the Neon Chromatique necklace, which features seven green tourmalines (108.75 carats) and seven pink cabochons (42.20 carats), accented by black onyx and amethysts.

Another standout, the Serpenti Blush Chain necklace, reinterprets the house’s serpent motif with two pear-shaped pink tourmalines (27.64 carats) and a rose gold chain that evokes the infinity symbol. The Tubogas Green Leaf necklace pairs three green tourmalines (38.50 carats) with pink tourmaline accents (9.12 carats) on a flexible yellow gold mesh.

Bvlgari’s approach to the tourmaline pieces underscores its attention to gemstone cut, particularly the use of pleochroism — the optical effect where the gem shifts colour depending on light and angle — to enhance visual impact.

In parallel, the brand has launched Bvlgari Colors, an in-store global activation debuting six jewellery pieces that explore bold colour pairings and classic design codes. The initiative spans the Tubogas, Cabochon and Allegra lines.

The Tubogas range introduces two necklaces, each centred on a single cabochon-cut gemstone: one in 18 kt rose gold with an amethyst and the other in 18 kt yellow gold with a blue topaz, both set with pavé diamond accents.

In the Cabochon series, Bvlgari presents two new rings in yellow gold featuring central amethyst and blue topaz cabochons flanked by pavé diamonds. These pieces mark the first time coloured gemstones have been used at the heart of this collection.

Finally, a necklace and matching earrings in the Allegra line use cabochon and faceted amethysts, peridots, citrines and blue topazes to evoke a lively chromatic interplay.

bulgari.com

Miu Miu has released its Fall/Winter 2025 campaign under the title “Femininities”, presenting an exploration of identity that moves beyond traditional gender and women’s dress.

The campaign is fronted by a diverse cast including entrepreneur Kylie Jenner, musician Towa Bird, actress and singer Lou Doillon, actress and model Rila Fukushima, actress Myha’la, artist and model Yura Romaniuk, and rapper Cortisa Star.

Directed by Miuccia Prada and photographed by Lengua, with styling by Lotta Volkova, the campaign features the group in a minimalist setting with a backdrop of moiré silk. The focus is placed on the portrait and the clothing, which is described as elegant, enriching and reflective of the inner self as much as the outer.

Yura Romaniuk

Miu Miu’s latest offering spans a broad spectrum of silhouettes, merging elements traditionally seen as feminine and masculine. Shapes are transformed with a focus on the torso, and underwear is reimagined in pointelle knits, satin dresses and bias-cut skirts. Menswear and sportswear tailoring is reinterpreted in soft felted wools, away from the body, revealing structure and challenging convention.

Towa Bird

A renewed take on wardrobe archetypes is visible throughout the campaign. Clean-cut garments are rendered in soft pastels and feature design elements such as straight-leg trousers, mid-length skirts and understated sweaters. The brand emphasises a shift in the representation of femininity, highlighting simplicity, freedom and a nuanced attitude.

Lou Doillon

The palette includes mustard yellow, true red, forest green and purple. Lurex appears both inside and out, while unlikely fabrics and surprising colour combinations redefine classic garments. Sexuality is intentionally downplayed in favour of more subtle textures and gestures. The campaign proposes that femininity can be both athletic and sensual, marked by confidence and independence.

Myha’la

Miu Miu also draws from archival bourgeois fashion, offering a modernised interpretation. Accessories include cloche hats, frame faces, brooches and stoles. Footwear ranges from pointed-toe pumps and seasonal bags to sneakers and knee-high boots with structured shapes.

Cortisa Star

Through this campaign, Miu Miu presents a vision of womanhood that is multifaceted and rooted in strength of character. The brand positions individuality, rather than category, as central to its design ethos for the coming season.

miumiu.com

ZENITH has unveiled the final chapter in its Surfer Trilogy, created in partnership with Time+Tide. 

The new DEFY Skyline Skeleton White Surfer Ceramic marks the culmination of a successful three-part collaboration, following the DEFY Classic Skeleton Night Surfer (2021) and the DEFY Skyline Skeleton Night Surfer El Primero (2023).

Limited to just 100 pieces, the White Surfer edition presents a new take on the DEFY Skyline Skeleton line, replacing the previous dark titanium cases with a sleek, micro-blasted white ceramic. 

The 41mm case is scratch-resistant, ultra-light and water-resistant to 10 ATM (100 metres), designed for both beach wear and underwater use.

The watch features a gradient blue openworked dial, transitioning from dark to light blue from top to bottom. It continues the star-shaped skeleton design established in the earlier models, with the return of ZENITH’s luminescent five-pointed star bridges, seen previously only in the original Night Surfer. The dial is also visible through a sapphire caseback.

At the heart of the timepiece is the high-frequency El Primero 3620 SK calibre. This automatic skeletonised movement operates at 5Hz (36,000 VpH) and includes a 1/10th of a second counter at six o’clock. It offers a 55-hour power reserve and a ‘hacking seconds’ function for precise time-setting. The mainplate, bridges and star-shaped rotor are all finished in light blue to match the dial.

The model comes on an integrated white ceramic bracelet and includes a second white rubber strap with a starry pattern, both of which are compatible with ZENITH’s tool-free quick strap-change mechanism.

“This third chapter in our collaboration is the boldest expression yet of what we can achieve together,” said Benoît de Clerck, CEO of ZENITH. Time+Tide Founder Andrew McUtchen added, “The gradient light blue dial sealed it. Best summer watch ever.”

The DEFY Skyline Skeleton White Surfer Ceramic is priced at CHF 18,900 (EUR 20,500 / USD 19,600) and is available from Time+Tide, authorised ZENITH retailers, and ZENITH boutiques worldwide.

The Surfer Trilogy represents a multi-year creative partnership between the historic Swiss manufacture and the Australia-based media and retail platform. With this release, ZENITH and Time+Tide close out a series that has gained popularity for its distinctive design and technical innovation.

zenith-watches.com

Founded in the late 1970s by biologist Yvan Allouche and physiotherapist Josette Allouche, Biologique Recherche is a Paris-based luxury dermo-cosmetic brand built on a scientific and highly personalised approach to skincare.

With nearly 50 years of expertise, the brand has developed a distinctive methodology rooted in an advanced understanding of skin physiology. Treating the skin as an organ intrinsically linked to the rest of the body, Biologique Recherche tailors each treatment to individual needs, guided by diagnostic tools such as the Skin Instant Lab. This technology assesses key skin parameters including hydration, elasticity, pigmentation and sebum levels to ensure accurate and effective treatment plans.

The Biologique Recherche methodology is a three-step process: assessment, initialisation and treatment. Following an in-depth skin analysis, the epidermis is prepared using exfoliating and cleansing products, notably the brand’s iconic Lotion P50. This formulation, refined over four decades, supports natural exfoliation and helps strengthen the skin barrier.

The final treatment stage involves applying concentrated active formulas targeting specific concerns. These include cleansing treatments that remove impurities, exfoliating lotions to renew the skin, targeted serums derived from phytobiology and biotechnology, and facial creams that offer protection without leaving an occlusive residue. The brand’s creams are divided into ten categories, each matched to a specific combination of skin concerns.

All Biologique Recherche products are developed in-house at the brand’s French laboratory. The formulations are fragrance-free and rich in active ingredients, designed to deliver immediate and long-term results.

The company operates through a global network of partners in over 85 countries, working exclusively with top-tier medi-spas, day spas and luxury hotel spas. Its flagship, the Ambassade Biologique Recherche, is located at 32 Avenue des Champs-Élysées in Paris, with additional locations in cities such as Rome, Shanghai, Los Angeles, Munich and Seoul.

Retail spaces also feature in high-end department stores including Bergdorf Goodman in New York, Le Bon Marché in Paris and KadeWe in Berlin.

Biologique Recherche continues to be recognised for its transformative, scientifically grounded approach to skincare, offering customised solutions that restore, rebalance and build better skin.

biologique-recherche.com

Miu Miu has reintroduced its iconic Pocket bag for the current season, presenting updated versions of the design first revealed on the brand’s Paris runway for Spring-Summer 2023.

Known for its distinctively bold and versatile style, the Pocket bag returns in several new iterations while retaining its signature practical features.

The latest Pocket bag models continue to feature the all-over pocket layout that sets them apart. These pockets are not only decorative but also architectural, reinforcing the bag’s dual focus on form and function. Although utilitarian in appearance, the design is crafted using high-quality materials that are central to the Miu Miu identity. The brand aims to balance fashion-forward aesthetics with practical everyday use.

According to the house, the Pocket bag is intended as a lightweight yet striking accessory, combining elegance with a rebellious spirit. Alongside the original version, the Pocket bag range has expanded to include a larger bauletto-style version, as well as hobo bags, satchels and backpacks. A smaller variant of the bauletto-style bag is designed for crossbody or shoulder wear.

The collection is available in classic shades of black and brown. The bags come in various finishes, including aged nappa leather, which is treated for a worn-in, well-loved effect, and smooth calfskin for a more traditional, polished look. The materials have been selected for their softness and flexibility, offering a tactile and ultra-supple finish.

This updated offering reflects Miu Miu’s ongoing approach of merging innovation with the brand’s established identity. The new Pocket bag family aims to cater to different lifestyles and preferences while preserving the characteristics that made the original design popular.

MiuMiu.com

Roman Forum, a location rich in political, economic and religious significance throughout ancient Rome’s history.

The Roman Forum, once the vibrant core of the Empire, was the setting for legendary historical events, including the clash between Romulus, Rome’s founder, and the Sabines. Archaeological discoveries along the Forum’s sacred street, the Via Sacra, have also suggested it may be the burial site of Rome’s first king.

The show’s setting pays homage to these historical layers. One of the Forum’s structures honours Rhea Silvia, mother of Romulus and a Vestal Virgin. The Vestals were priestesses devoted to Vesta, goddess of the hearth, who maintained the eternal sacred flame. Drawn exclusively from noble families, the Vestals lived under vows of chastity and embodied the virtues of the ideal Roman matron. Their appearance was typically concealed under flowing veils, reflecting their sacred role.

Dolce & Gabbana chose this symbolic location on the Via Sacra to stage a collection that blends Rome’s imperial past with its later cultural heritage. Several pieces in the collection referenced Roman mythology and history, while others took visual cues from prominent Renaissance and Baroque landmarks across the city, including the Spanish Steps, Trevi Fountain and Trinità dei Monti.

The collection also paid tribute to the golden age of Roman fashion in the 1950s, a time when Italian cinema and Cinecittà shaped global perceptions of style. Designers drew on the looks of screen icons of the era, both on and off screen.

Craftsmanship was central to the collection, with pieces produced using luxurious fabrics and inventive design, including fluid silhouettes and adaptable shapes. These elements are considered hallmarks of Rome’s most esteemed ateliers. The garments were cut, sewn and embroidered by hand using the finest materials, with work carried out by artisans whose skills have often been passed down through generations.

The presentation reinforced Rome’s status as the birthplace of Alta Moda. By combining Italian design with the influence of classic American cinema, Dolce & Gabbana’s show underscored Rome’s continuing role in shaping the global fashion landscape and the enduring appeal of Made in Italy.

dolcegabbana.com

Dolce & Gabbana revealed its Alta Gioielleria Roma 2025 High Jewellery Collection at the Teatro Marittimo in Villa Adriana, Tivoli this week. 

The location, chosen for its imperial Roman heritage, reflects the collection’s central theme: a tribute to the Eternal City’s artistic, architectural and cultural legacy.

The new collection draws on Roman antiquity, blending classical inspirations with modern craftsmanship. The jewels incorporate visual cues from Roman architecture, imperial iconography, and the sacred heritage of the city, creating individual pieces that double as miniature works of art.

Designs echo Roman arches, capitals, colonnades and Corinthian elements in chains, pendants and settings. Notable features include classical busts formed using a technique involving marble powder, miniature micro mosaics inspired by Roman art, and hand-painted scenes of the city’s landmarks. Pendant charms reference ancient frescoes, reimagined through a modern lens.

The gemstone palette includes sapphires, kunzites, rubellites, indicolites, peridots, morganites, diamonds, emeralds and aquamarines. These combinations are intended to reflect the vibrant mosaics of Roman villas.

The collection also acknowledges the Dolce Vita period of the 1950s and 1960s. The parures are designed to evoke the glamour associated with Italian cinema icons of the era, using dramatic gemstone settings and elegant forms.

Other pieces in the collection carry religious and symbolic significance, incorporating motifs such as crosses, cherubs and Sacred Hearts. Materials like gold and gemstones are used to create these devotional designs.

The historical significance of various gemstones is highlighted. Aquamarine, used by Roman sailors as a talisman, Mediterranean coral, and cabochon turquoise appear throughout, referencing cultural exchanges with Egypt and Magna Graecia. Coins from the Roman Empire also feature, used as design elements in certain pieces.

Chevalier rings inspired by Roman commanders and patricians are included, complemented by matching cufflinks. These pieces reflect Roman authority through craftsmanship.

The launch also introduces the Mirage line, a limited-edition wristwatch series set with baguette-cut gemstones. Available in monochrome or rainbow designs, these timepieces draw from Roman geometric patterns and feature the Dolce & Gabbana DG 01.01 movement.

With this collection, Dolce & Gabbana seeks to merge the grandeur of ancient Rome with a contemporary aesthetic, celebrating identity through heritage and artisanal excellence.

dolcegabbana.com

LED masks have taken the world by storm in recent years, here we look at some of the best ones in the market

FOREO FAQ 202 LED Face Mask

Swedish skincare brand Foreo is leading the way in the LED Mask space. The most recent addition is the the FAQ 202 Silicone LED Face Mask. Building on previous models, it features 600 LED lights and offers eight different wavelengths, including Near Infrared (NIR), to target a wide range of skin concerns. Unlike many LED masks that focus only on red, green and blue light, the FAQ 202 introduces additional wavelengths: healing green, regenerating purple, inflammation-calming cyan, and brightening yellow, alongside white light for wound treatment and red light to boost collagen. NIR further enhances results by reducing lines and sun spots.

The device is constructed from flexible silicone and features an enlarged eye window, allowing users to move freely while wearing it. A companion app provides access to pre-set treatment routines tailored to specific skin needs.

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Dr. Dennis Gross Skincare SpectraLite FaceWare Pro

The Dr. Dennis Gross Skincare SpectraLite FaceWare Pro combines both red and blue LED technology with a cordless design. The device is battery-operated and can be used up to ten times per charge. The recommended treatment time is three minutes, though some extend their sessions. However, the design has drawbacks. The rigid plastic does not suit all face shapes and can be difficult to pack for travel.

Currentbody LED Face Mask Series 2

The CurrentBody LED Light Therapy Face Mask Series 2 is one of the most reputable masks on the market. Following the success of the Series One model, which saw over 800 purchases in 2023, the Series 2 version has surpassed expectations. By the end of 2024, more than 1,000 units had been ordered, making it the third most-ordered item across the site. The Series 2 mask is constructed from clinical-grade silicone and features 236 LED bulbs that emit three clinically recognised wavelengths: red (633nm), near-infrared (830nm) and deep near-infrared (1072nm). The wireless, USB-charged device is designed for full-face and neck coverage and requires just 10 minutes of use per day.

Silk’n Dual LED Set

The Silk’n Dual LED Set is a professional-level at-home device aimed at reducing the appearance of fine lines, wrinkles, and acne. The product uses a combination of red and blue light therapy, designed to deliver both anti-ageing and anti-acne benefits in a single session. Red light is known to stimulate collagen and elastin production to improve skin firmness and elasticity, while blue light targets acne-causing bacteria and helps reduce breakouts and skin irritation.The set includes two separate, wireless handheld devices: the Silk’n LED Face and the Silk’n LED Body. Each is tailored for specific treatment zones. The Face device offers a compact design with a facial light panel, while the Body version features a wider panel to cover larger surface areas such as the back, arms, or chest.

Hermès has unveiled a new chapter in its Hermessence collection, celebrating spices and their historic journey across continents through a curated selection of fragrances. 

Since its launch in 2004, Hermessence has been the maison’s most exclusive fragrance line, characterised by refined pairings of materials and olfactory storytelling.

The latest scents are inspired by spice routes from Lebanon to India, the Persian Gulf to China. The fragrances are designed to convey not just exoticism but also warmth, depth and a sense of global movement.

The standout additions include Épice Marine, which emerged from a collaboration between a perfumer and a chef. It blends cardamom, Jamaican chilli and toasted cumin, evoking the aromas of the Breton coast and the spice-laden ships that once docked there.

Another highlight is Poivre Samarcande, a fragrance that captures the dry heat of black pepper balanced by the musky softness of oakmoss. It takes its name from the French word for Samarkand, referencing the ancient spice caravans that passed through the city.

Cardamusc focuses on one of the world’s oldest spices. It offers a composition of aromatic cardamom and soft musk, creating a fragrance that nods to the very roots of perfumery.

In Myrrhe Églantine, Hermès pairs a delicate wild rose with East African myrrh. The contrast of floral, spicy and resinous notes results in a fragrance that reflects the elusive nature of dog rose captured from a coastal garden.

These are joined by other existing fragrances in the Hermessence collection, such as Ambre Narguilé, Oud Alezan and Vétiver Tonka, which continue the brand’s exploration of materials and sensation. Each scent is presented in Hermès’ signature lantern bottle, topped with a leather cap featuring the house’s iconic saddle stitch.

Hermessence remains distinct within the Hermès fragrance offering, positioned as an artistic and conceptual exploration of scent. Each composition is designed to surprise, provoke and inspire through carefully crafted material pairings.

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From its delightful Mediterranean climate to its sophisticated al fresco dining scene, Lebanon is arguably one of the best countries in the region to explore during the summer months.

Beirut remains the country’s heartbeat, with high-end beach clubs lining its coast, rooftop lounges offering panoramic views, and a slew of luxury hotel properties and restaurants that effortlessly blend French, Levantine and modern influences. Just an hour’s drive from the capital, the mountains offer cooler temperatures and luxury boutique stays in destinations like Faraya and Broummana. The Chouf region, with its restored palaces and pine forests, provides both heritage and seclusion. In Batroun and Byblos, heritage hotels and private villas overlook the sea, ideal for travellers seeking privacy paired with centuries of history. Visa-free access for GCC nationals, combined with a short flight time and luxury stays, make Lebanon an excellent summer getaway. Here we explore the best hotels, restaurants and cultural spots to enjoy and this season.

Exploring Beirut

Beirut is home to internationally-recognised luxury properties. Albergo, the city’s Relais & Châteaux property, offers understated opulence with antique-filled suites and a rooftop pool that overlooks the skyline. Another recommended place to stay is Arthaus Beirut, a boutique hotel located in the creative quarter of Gemmayzeh. The hotel is built around Roman-era ruins and houses a curated collection of historical and contemporary art. It combines architectural heritage with modern design and a calm, private atmosphere. For those preferring grandeur on a larger scale, the InterContinental Phoenicia Beirut by IHG remains a landmark. First opened in the 1960s and fully reopened by mid-2023, the hotel has reclaimed its position as a centrepiece of Beirut’s hospitality. With sweeping views of the Corniche, a full-service spa and several dining venues, it offers all the hallmarks of a luxury stay. After nearly 50 years, the iconic St George’s Hotel has also reopened, restoring its art deco façade and unveiling a new annex called The View, which offers unobstructed access to the bay.

Beirut’s food and drink scene continues to evolve while retaining its relaxed, confident energy. Marly’s, a popular contemporary restaurant, attracts a local crowd with a modern menu and a low-key aesthetic suited to leisurely lunches and early dinners. Saifi Village, with its pastel-toned buildings and shaded lanes, is a quieter part of the city where independent cafés serve breakfast and coffee under vine-covered terraces. In the evenings, Capitole rooftop bar provides panoramic views across the sea and downtown. Its open-air lounge and light menu make it a favourite for sundowners.

Beirut in summer is best experienced by walking its layered urban landscape. A short circuit through the centre reveals a mosque, a cathedral and preserved Roman ruins within a few blocks of each other. The Corniche promenade extends towards Raouche where the Pigeon Rocks rise dramatically from the Mediterranean. Locals gather here at sunset and travellers can take in one of the city’s most photographed natural landmarks. For a more dynamic pace, Hamra and the Gemmayzeh–Mar Mikhaël corridor provide a casual mix of bookshops, street art, artisan cafés and nightlife. These areas stay lively until the small hours of the morning and remain the social heart of Beirut.

Seaside charm

Just north of Beirut, a short coastal drive leads to some of Lebanon’s most appealing summer escapes. Batroun, once a quiet town, is now a prime destination for those looking for a relaxed yet stylish beachside break. Its waterfront is dotted with laid-back venues like Colonel, a lovely place for a drink with sea views. Also recommended are Butlers and Bar du Port, both known for their casual food, drinks and direct beach access. A short distance away is Fort Mseilha, an imposing medieval structure set on a rocky ridge, while Hilmi’s in Batroun town serves its signature artisanal lemonade in a shaded courtyard. Further north, Anfeh offers a slower pace with salt-marsh landscapes and simple whitewashed beach huts stretching out on a rocky peninsula, often compared to a Mediterranean island escape.

Byblos (Jbeil) adds a layer of cultural depth to the coastline. A recognised UNESCO World Heritage Site, the city combines ancient ruins, a Crusader castle and lively souks. At the harbour, waterfront restaurants like Pierre & Friends offer fresh seafood with views of moored fishing boats. Many visitors combine Byblos with a day trip to Jeita Grotto, known for its cathedral-like limestone caves, and the hilltop basilica at Harissa, overlooking the coast from above.

Mountain escapes

While visiting Lebanon, be sure to make time to visit the mountains, where there are plenty of delightful restaurants and breathtaking views. In Hrajel, BRUT by Youssef Akiki operates from mid-June to mid-September, offering a private farm-to-table dining experience in a secluded mountain cabin with panoramic views and locally sourced ingredients. Nearby in Faraya, Montagnou transforms into a summer retreat with alpine-style dining, seafood grills, and poolside relaxation just minutes from the slopes. South of Beirut, the Chouf mountains provide a different kind of luxury through history and landscape. Highlights include Moussa Castle, a hand-built fortress filled with traditional artefacts, and the 19th-century Beiteddine Palace, now a museum with intricate architecture and lush gardens. The nearby Al-Shouf Cedar Reserve offers walking trails through Lebanon’s most extensive cedar forest, perfect for a cooler escape from the coast. Whether for gourmet dining, cultural exploration or experiencing the outdoors, Lebanon offers discerning travellers a memorable summer combining some of the best aspects of the local region.

Dior has unveiled a new capsule collection in collaboration with seven-time Formula One World Champion Lewis Hamilton, who served as guest designer for the capsule alongside being a long-time Dior ambassador. 

The collection is described as a creative evolution, reflecting Hamilton’s interest in Afrofuturism. Drawing on themes of heritage and innovation, the line blends traditional craftsmanship with contemporary style and personal storytelling. Dior states the collection seeks to explore “an aesthetic that fuses audacity and cultural heritage”, positioning it as a redefinition of performance wear with a lasting and inclusive vision.

The collection features tailored jackets and coats designed with distinctive cuts and materials, paired with knitwear, sweatshirts, shirts, and reflective tracksuits. The looks are intended to balance refinement and comfort, presenting what Dior calls a “diverse, universal, and timeless vision.”

Footwear includes derbies and boots adapted for everyday use, while the B44 Blade sneaker stands out as a signature sportswear piece from the collaboration. Accessories feature prominently, with a focus on bags such as the Dior Hit the Road models. These are constructed from certified materials and designed with practicality and mobility in mind.

Dior describes the silhouettes as blending elegance and casualness, combining formal style with a relaxed attitude. The brand emphasises the collection’s focus on a “symbiosis of patrimonies”, suggesting that historical, contemporary and personal narratives intersect in the designs.

This capsule collection reinforces Dior’s strategy of engaging with cultural narratives and prominent figures outside traditional fashion circles. For Hamilton, who has been outspoken on issues of diversity and representation, the collection offers a new platform for expressing themes he has long championed.

dior.com

These are the best places to enjoy cooler climes over the summer season

Copenhagen, Denmark

Copenhagen offers a cool escape for travellers with average highs under 22 °C in summer, and the city remains refreshingly temperate compared to the Gulf’s soaring temperatures. A recommended place to stay is Hôtel d’Angleterre, Copenhagen’s most prestigious hotel, which first opened in 1755. Located on Kongens Nytorv opposite Nyhavn, it offers elegant rooms and 1‑star Michelin dining at Marchal. For refined dining, Levi Restaurant impresses.

Designed by Johannes Torpe, it blends Danish, Italian and Japanese aesthetics in a spacious, calm setting. The interiors offer a serene counterpoint to warm days, making it ideal for a relaxed evening meal. No visit to Copenhagen would be complete without a visit to Tom’s Oyster Shack, a stylish, laid-back waterfront spot on Trangravsvej.

Known for fresh Irish oysters, lobster and a creative drinks menu, it provides light, seafood‑focused fare in a laid‑back atmosphere. While in the city, visit the Botanical Garden and Tivoli Gardens, both offer shaded green escapes. Museum-goers should plan a visit to the city’s SMK. For a breezy summer experience, cycle along the waterfront or enjoy a canal boat tour along the city’s beautiful waterways.

Cape Town, South Africa

Nestled between Table Mountain and the Atlantic, Cape Town’s pleasant winter months coincide with the GCC summer. A top hotel recommendation is Belmond Mount Nelson, a historic retreat set in lush gardens at the foot of Table Mountain. Open since 1899, it offers 198 rooms, a renowned spa and iconic afternoon tea, complete with pink-cushioned elegance and seamless service.

For upscale dining, Marble Restaurant at the V&A Waterfront stands out. With its imported wood‑fired grill and sweeping harbour views, it offers a dramatic setting to unwind after cooler coastal adventures. Be sure to make time to visit the Zeitz Museum of Contemporary Art Africa and a sunset cruise from the V&A Waterfront, to enjoy cooling ocean air while viewing Cape Town’s coastline.

Helsinki, Finland

Helsinki has  average summer highs around 23 °C with crisp sea breezes, verdant parks and seamless urban style. Hotel Maria in Kruununhaka is a standout luxury option while visiting the city. Opened last year by Olympian‑turned‑developer Samppa Lajunen, it occupies four historic buildings with 117 rooms and 38 suites. Guests enjoy in‑suite saunas, a spa with pools, steam rooms and jacuzzis, plus Lilja, the main restaurant blending Nordic ingredients with French fine‑dining ambition. For fine dining, Savoy, open since 3 June 1937, remains Helsinki’s gastronomic icon.

Designed by Alvar and Aino Aalto and overlooking Esplanadi park, it serves classic French‑influenced cuisine in a timeless functionalist setting  . Things to do include a visit to Amos Rex, the contemporary art museum beneath Lasipalatsi, which opens its summer programme today with a new installation by British artist Yinka Ilori. Art lovers can also explore the Design Museum and wander Esplanadi’s leafy boulevards . For a cooling ritual, the waterfront Löyly sauna, recognised for its architectural awards, offers harbour‑side saunas and terraces .

Dublin, Ireland

As temperatures soar across the Gulf, Dublin is the perfect temperate summer escape. Known for its combination of heritage and contemporary culture, the Irish capital delivers refined hospitality and curated experiences.

The five-star Merrion Hotel, set in a restored 18th-century Georgian building, offers discreet luxury and is particularly suited to discerning guests, with spacious suites and private dining options available. The hotel’s afternoon tea in its Drawing Rooms remains a highlight. For fine dining, Chapter One by Mickael Viljanen is recommended. The Michelin two-star restaurant offers a tasting menu combining Irish ingredients with Scandinavian precision.

Alexander Talbot-Rice is known for his dedication to classical naturalistic painting and has produced portraits of international icons, including HM Queen Elizabeth II and HRH The Duke of Edinburgh.

Trained in the academic traditions of both the Florence Academy and the Repin Academy in Saint Petersburg, Talbot-Rice is among a rare group of Western artists to have studied in Russia. His time at the Repin Academy under Soviet-trained masters gave him access to methods rooted in the Imperial Academy of Catherine the Great. There, he deepened his understanding of anatomy, colour theory, and the Russian principle of capturing not just likeness, but soul.

His artistic formation began early, following a childhood split between London and the countryside of Herefordshire. After earning the top art scholarship to Stowe School, he diverted briefly from art, enrolling at Durham University to study politics, philosophy and history. A short time in the British Army followed, before he committed fully to painting. Now expanding into Dubai and the wider Gulf region, he continues to work on high-profile commissions while contributing to charitable causes.

In your view, what defines a truly timeless portrait?

When we look at the portrait, three things are happening. Firstly, we can identify with the humanity of the subject. Secondly, we view the subject through the artist’s eyes, and thirdly, we bring our own perception to the experience. In a sense, then, portraiture is timeless because I believe that our common humanity unites us. A great portrait captures something uniquely human with which we can identify. It should tell a story, but more than that, it should be designed and executed in such a way that it catches our attention from across a room. This can be achieved through an abstract sensibility of its design. This means the composition, rhythms of light and shadow of warm and cold colour, and atmospheric brush work.

“A great portrait captures something uniquely human with which we can identify.”

How has your classical training at the Florence Academy and the Repin State Academy of Fine Art in St Petersburg, Russia informed your visual language?

This is a complex question. Typically in the Italian school, the background of the painting is dark, and the pallet is quite limited. The Russian school is almost the reverse of this in that the background is often cold and the Russian palette is broader than the Italian palette, allowing the artist to convey psychology through colour. In the Italian school, artists often use quite a lot of painting medium to create softness or ‘sfumato’. By contrast, in Russia, this is achieved through a dry brush technique. The skilful artist can use the eye of his audience to ‘see’ what he has not painted. As long as the total harmony is correct you will perceive skin tones even though the colour may not be what exists in nature. Without going into too much detail the essence of Italian painting is observation, whereas the essence of Russian painting is ‘understanding’. In Italy today they use a 19th century academic technique which relies on perspective to paint what they see in nature from the outside in. This is called, “the sight size technique”. In the Russian School, they preserve a technique that goes back to the Italian Renaissance, based on an understanding of anatomy, construction and colour theory. Russian colour theory assumes that perception of a colour depends very much on context. Colour can be perceived differently depending upon its context relative to its background.

Using these techniques, the Russian School draws and paints from ‘the inside out’ rather than from “the outside in”. I believe that the Russian portrait is more interested in the psychology of the subject rather than external beauty. This interest in the ‘soul’ of the portrait, may also be influenced by Russian Orthodox faith and the Russian icon. While both passion and precision are important, of the two, passion is more important than precision. If we understand ‘abstract’ to mean, “an abstraction from nature” then it is possible for a portrait to be both classical and ‘abstract’

What was it like to paint Queen Elizabeth II and how do you navigate the formality and symbolism required in royal portraiture while maintaining artistic authenticity?

I think a lot of this happens on the subconscious level. As we paint and repaint component parts, we have to ‘feel’. Feel the softness of the mouth, the architecture of the nose, the eye sockets, the cheek bones, the forehead, the jawline, and the neck. We ‘see’ what exists in nature, in our mind’s eye, and before we make a pencil mark or a brush stroke, we miss the endeavour to see that on the paper or canvas. It is also very important for a portrait artist to have the ability to be able to get the ‘best’ out of his or her subject.

Not all artists have good communication skills, and the subject may look bored. We are all capable of being bored or animated. I think it’s very important, regardless of whom I am painting, to get a balance between dignity and humanity. When you look at my painting of HM The Queen, sitting in the Gold Coronation Coach, you will see that she has an animated smile. You are literally seeing her as I was privileged to see her, and I think this makes the painting more interesting.

HM The Queen was incredibly protective of me, as I was the youngest artist ever to paint her. I painted her portrait shortly after I painted a portrait of HRH the Duke of Edinburgh, for St George’s House, at Windsor Castle. Following the unveiling of this portrait, HRH had invited me to Windsor Castle for the weekend when I met HM The Queen informally and we had dinner together.  HRH knew that my father had just died of cancer, he liked me and being a kind man wanted to help me. Of course, this made it much easier for me when I was later commissioned to paint HM The Queen.

Do you have any strories from when you painted Queen Elizabeth II?

My portrait of HM The Queen was life-size, and HM had agreed to sit for the painting in the Royal Mews. I was formally introduced to her by a senior Palace official who had a rather condescending attitude. Whilst I was painting the portrait, this gentleman was standing behind me, and as you can imagine, I found this quite distracting.  After a few minutes, I asked him if he wouldn’t mind waiting outside and that I would let him know if I needed anything, as I was sure he appreciated I had to focus on HM.  He didn’t say anything but looked rather annoyed and left. After about half an hour, he returned. HM looked at him sternly and demanded; “What are you doing here? Is it cold outside?”  He paled. He walked out backwards and he carefully closed the door behind him!

Are there moments from your sittings with the late Duke of Edinburgh or Margaret Thatcher that particularly stand out?

Margaret Thatcher was one of the most remarkable human beings I have ever met. I was commissioned to paint her portrait in 2012, by the Director of The National Portrait Gallery in Washington, after my paintings of HM The Queen and HRH The Duke of Edinburgh were exhibited there.

I remember going to her home in Chester Square and being struck by how much effort she had gone to in advance of our sitting. I also noticed that she had a way of controlling time by controlling the internation of her speech. Although she was elderly and possibly suffering from Alzheimer’s, I’m quite certain that it was her habit to speak in a deliberate manner.

Likewise, the way that she sat, the way that she held her head, the way that she smiled, and yet her eyes were mesmerising. I could see her iron will beneath the surface, as well as a disarming gentleness which might surprise the reader. It was the combination of both that made her so attractive.  I was humbled that she had gone to a great deal of effort for our sitting. She had had her hair especially styled for the portrait and was wearing all of her favourite jewellery.  Unfortunately, she had chosen to wear a dress which was extremely difficult to paint because it had a distracting pattern.

As well as being perhaps the most significant Prime Minister since Winston Churchill, she was also a grandmother from a market town in Lincolnshire called Grantham.  I had just returned from Afghanistan, where I was embedded as a war artist with Welsh Guards, and so I was able to amuse her with stories of some of my adventures; including a 500 mile journey across Northern Afghanistan on horseback.  I remember the weather was terrible that day and I suggested that she might like to visit my mother’s favourite island of Cephalonia in Greece, where I had been living to decompress from the warzone. She considered this, and said, almost to herself, that she would have to ask Dennis.  Of course, her husband Dennis had already died, and I wondered whether or not she was making her reservations to join him.  I mentioned this to share with your readers an intimate moment which expresses something of the very intimate nature of a portrait painting and the relationship between a patron and their artist.

“I paint because I am moved by the beauty I see in nature.”

Your work is steeped in classical tradition. Looking to the future, how do you view the place of classical art in the modern world?

Conceptualism is a broad term, describing both abstract art and a form of artistic philosophical statement. This is often provocative and goes to the question, “what is art and what is the function of art?” When I was studying at school, a lot of people assumed that ‘conceptualism’ was the future and ‘classical art’ was the past. Actually, in the last ten years, there has been an incredible revival in classical art. Young artists are now able to source very high quality paints, canvas, and paper, which were very hard to find 20 years ago. These are produced by artisans who have carefully studied the painting methods of old masters like Rembrandt, Velázquez and Caravaggio. A lot of people also assume that conceptualism and academic art are in conflict. I think it’s probably more true to say that those who sell conceptual or classical art are in conflict.

Someone who is selling classical art might argue that artists are drawn towards conceptualism because they lack the skill to accurately draw and paint from nature. This is untrue, perhaps one of the most famous conceptual artists, Picasso, was classically trained. Likewise one of the most famous contemporary artists is Banksy, who is also a very accomplished draughtsman. I paint because I am moved by the beauty I see in nature. I always had artistic talent, but like a musician, or an athlete, our natural ability is enhanced by training. I had the unique opportunity of training in both Florence and Saint Petersburg. This meant that I was not only exposed to work by many of the greatest artists that have ever lived, but also different cultures. Those who taught me, taught me more than technique, they helped me to understand how to draw or paint with ‘understanding’ to convey the ‘soul’ of what I am observing. An artist must have his or her own artistic handwriting’. Perhaps it is this human quality that makes classical art relevant in the modern world.

alextalbotrice.com

Born at the intersection of science and tradition, JUANA is the Middle East’s pioneering biotech skincare brand powered by CBD and driven by clinical precision. At the helm is Co-Founder Yann Moujawaz Martini, a French-born entrepreneur with Syrian roots, whose personal journey blends medical heritage with a bold vision for innovation. Raised in a family of acclaimed surgeons, Yann inherited both a reverence for ancestral wellness practices and a sharp eye for scientific advancement—two worlds he seamlessly fuses in JUANA.

After nearly a decade as a top-tier strategy consultant at Boston Consulting Group (BCG), Yann transitioned into beauty and wellness with a mission to create formulas that work in harmony with the body, not against it. JUANA’s next-generation products are designed to restore the skin’s microbiome, enhance resilience, and spark cellular regeneration using nature’s most potent bioactives. In this interview, Yann shares how JUANA is rewriting the rules of skincare—one molecule at a time.

You’ve had a fascinating career shift — What inspired such a bold pivot?

After a decade designing multibillion-dollar wellness and medical tourism mega-projects for governments and Fortune 500s, I flipped the script. JUANA is my leap from advising empires to building one—owning my future, stepping into my prime, and unlocking human potential.

JUANA is rooted in both science and holistic healing, with your mother’s legacy playing a key role. Can you tell us more about her influence on the brand’s philosophy?

My mother straddled two worlds: a dynasty of world-class surgeons across the US, France, Germany, and Syria, and generations of olive-grove stewards—nature’s original biotech lab. She showed me that surgical precision and botanical intelligence aren’t rivals but co-authors. JUANA bottles that fusion: clinical rigour supercharged by earth-born potency.

Tell us about the vision for JUANA.

We aim to prove energy is ageless and reinvention is forever within reach. JUANA’s north star is to inspire and lift people into their prime—physically, emotionally and spiritually—at any age. We call this force “the potency of life,” and we deliver it through formulas, masterclasses, aesthetics, storytelling and immersive moments that feel less like shopping and more like stepping into a brighter timeline.

How do you define “functional beauty,” and why do you think it matters today?

Functional beauty is skincare that achieves measurable benefits for your biology and provides meaningful psychological benefits. In an era of filter-fed perfection, function matters because confidence built on performance outlives confidence built on illusion.

What makes JUANA’s approach to skincare different from the clean beauty brands already on the market?

Clean is our baseline, not our headline. JUANA’s point of difference is biostimulation—formulas that train skin to outperform itself rather than passively pamper it. We combine pharmaceutical-grade cannabinoids with biotech powerhouses, such as ectoin and biotech-enhanced hyaluronic acid, to encourage cells to produce more collagen, lipids, and antioxidants on their own. Every claim is stress-tested and clinically backed. The outcome: dermatologist-level results wrapped in a clean-clinical, slightly rebellious attitude.

Can you walk us through some of your hero ingredients or innovations and explain how they support skin health holistically?

Some of our key ingredients are:

Cannabidiol (CBD) – it has powerful antioxidant and anti-inflammatory properties to activate the skin’s endocannabinoid system (ECS) safely – calming inflammation, reducing cellular stress, and supporting natural regeneration.

Chlorella Pyrenoidosa (Algae) – Rich in unique Chlorella Growth Factor (CGF), this biotech-derived extract enhances cellular repair and collagen synthesis.

Ectoin – A biotech marvel derived via bio-fermentation from extremophilic bacteria, Ectoin acts as a cell’s bodyguard, protecting skin from stressors and preserving hydration even in the harshest environments.

Helichrysum Italicum (“Immortal Flower”) – Packed with antioxidants that calm inflammation and boost collagen gene expression.

Cobiolift – extracted from rare, peptide-rich quinoa seeds, also known as Peruvian gold—which delivers a clinically proven tightening effect, reducing wrinkle depth by 19% and crow’s feet roughness by 18%, as well as reducing volume of the crow’s feet area by 17% 2.0 generation of Sodium Hyaluronate, stimulating elastin synthesis up to 35%, decreasing elastase activity down to 25% (active already in 2h), and decreasing collagenase activity down to 32% (active already in 2h)

Highly effective lipo-available Hyaluronic Acid, combined with Olive Glycerides penetrating human skin up to 33.7%, comparable to HA in water, stimulating turbo-moisturization within 30 minutes post-application

What was the biggest challenge you faced in transitioning from the corporate world to beauty entrepreneurship?

The toughest hurdle was rewiring my own circuitry. In boardrooms, I was paid to think; in entrepreneurship, I’m paid only when the product works. That shift dragged me from tidy strategy decks into the unruly real world—formulators, freight agents, content creators, marketers, regulators—all speaking different dialects of urgency. Turning theory into something that thrives on real skin required unlearning comfort, embracing chaos, and finding strength in a collage of perspectives. Exhausting, yes—yet wildly enriching.

What has surprised you most about building a wellness brand from the ground up, especially in the Middle East?

The sheer velocity. I expected curiosity; what I found was a full-on growth surge. That appetite translates on the ground: consumers don’t “sample” new wellness ideas—they scale them overnight. Launch a product on Monday, and by Wednesday, you’re scrambling for restock. The surprise isn’t the openness, it’s the acceleration: being a first mover here means you have to sprint just to keep the lead you created.

There’s a growing demand for purpose-driven brands. How does JUANA weave personal transformation and conscious living into its business model?

JUANA is engineering a cultural movement that champions human potential in an age racing toward AI and tech supremacy. We spotlight the spark machines can’t replicate—our capacity to reinvent. Through inspirational storytelling and actionable guidance, every touchpoint encourages our community to reach its full potential, demonstrating that while technology accelerates, humanity still sets the pace.

What’s your go-to morning ritual?

I take a cold shower, perform my morning prayer, drink a double espresso with a ginger shot, and write down my top three goals for the day. The race then starts !

What’s a book or podcast that changed your perspective?

I avidly read entrepreneur biographies because they serve as real-world playbooks for navigating tough moments. Phil Knight’s Shoe Dog hits closest to home—same business-school track, professional background, personality, family context, and even the same birthday—so his decisions feel like a mirror for my own. Ray Dalio keeps my macro view sharp, while The Diary of a CEO delivers fresh, frontline lessons weekly. Together they give me daily grit and big-picture clarity.

What’s one piece of advice you’d give to someone looking to create a more conscious life?

Audit your inputs—people, products, and pixels—with the same rigour you audit your finances. What you consume today writes tomorrow’s operating system.

What’s the professional motto you live by?

Only dead fish ride the current, and ‘good’ is the sworn enemy of great. I refuse drift and mediocrity—swimming against the tide, chasing radical excellence first. Success? It’s just the ripple effect of doing truly extraordinary work. I am very much inspired and learning from Bernard Arnault when it comes to building and running a company.

juanaskin.com

Roger Vivier has revealed its latest project for Autumn Winter 2025/26: La Rose Vivier Pièce Unique, a continuation of its previous prêt-à-porter collection focused on the rose.

The new instalment takes the motif further, transforming it into sculpted and embroidered forms. Central to the collection are eight Efflorescence Jewel bags, each accompanied by two matching gilets designed to extend the silhouette.

For the first time, the house of Roger Vivier has collaborated with Maison Lesage, the historic Parisian embroidery atelier. The project builds on a creative relationship dating back to the 1980s, when Roger Vivier worked closely with Lesage, incorporating embroidery into the core of his designs. This latest chapter marks a new interpretation of that legacy.

Maison Lesage granted access to its archive for the project, offering Creative Director Gherardo Felloni a wide range of materials including beaded appliqués, vintage textures and historic embroidery components. Rather than focusing on homage or reproduction, the collaboration is centred on invention, using Lesage’s techniques and savoir-faire to shape entirely new objects.

Unlike traditional accessories, the embroidery is not applied externally but embedded into the design from the outset. Each piece begins with a historical reference point, such as a velvet cape stitch or faded rose on a bodice, and evolves into a gilet or bag through handcrafted detail and gold thread. These items are not accessories in the conventional sense but tactile, sculptural pieces.

The collection was presented in Roger Vivier’s Salle d’Argent, staged with ceramic rose petals in different shades mounted on the walls. The bags were placed on sculptural stands, with the gilets encircling them in installations described as playful and surreal.

The two gilets included in each set are designed to complement the bags both visually and in craftsmanship. While not intended as garments alone, they function as extensions of the bags, reinforcing the concept of wearable art.

La Rose Vivier Pièce Unique explores contrasts including softness and sharpness, as well as tradition and transformation. It presents the rose as a subject reborn—anchored in heritage but expressed in new forms.

Both Roger Vivier and Lesage are headquartered in Paris and are known for their contributions to French luxury design. This collection reinforces their shared commitment to artistry, technical precision and creative reinvention.

RogerVivier.com

ELEMIS has announced a new multi-year global partnership with Aston Martin.

Under the agreement, ELEMIS becomes the Official Skincare Partner of Aston Martin and its Formula One team. The partnership will see co-branded activations, bespoke skincare experiences and exclusive product launches at Aston Martin events and flagship locations worldwide. The collaboration aims to showcase the shared values of both brands, centred on craftsmanship, innovation and quality.

The joint initiative debuted today at this year’s Goodwood Festival of Speed, which will run until the 13th of July. In August, the partnership will continue at the Pebble Beach Concours d’Elegance in California. ELEMIS is set to launch a luxury Pop-Up Spa at the Aston Martin House during the prestigious automotive event. Further international activations are expected to be announced in the coming months.

“This partnership represents a powerful meeting of minds, marrying innovative skincare with high-performance cars,” said Sean Harrington, Co-Founder and CEO of ELEMIS. “Together, we’re creating immersive, sensorial experiences that redefine modern luxury for a global audience.”

Stefano Saporetti, Director of Brand Diversification at Aston Martin, commented: “By integrating premium skincare experiences at our events and flagship locations, we’re not just enhancing the holistic luxury lifestyle associated with Aston Martin. We’re also attracting new audiences and reinforcing our shared British luxury pedigree.”

The agreement signals a strategic move for both companies as they expand their global presence and explore new ways to connect with consumers. Positioned at the intersection of lifestyle and performance, the partnership aims to offer guests opportunities to unwind in high-end, experiential environments.

Both brands are expected to use the collaboration to strengthen their market positions in the luxury lifestyle sector, leveraging their reputations for excellence in their respective industries.

ELEMIS,com

Cheval Blanc Randheli, located in the Maldives’ Noonu Atoll, has officially reopened following an extensive renovation. 

From the 1st of July, guests are once again welcome to experience the resort’s signature blend of luxury, privacy, and natural beauty, now enhanced with refreshed interiors and updated offerings.

The reopening coincides with the launch of the resort’s exclusive ‘Summer Escape’ package, available for bookings until 5 October 2025. Stays under the promotion can be enjoyed up to 10 October, with a minimum four-night stay required. The offer is valid across all villa categories except for the Cheval Blanc Randheli Private Island.

LVMH, Cheval Blanc, Randheli

The package includes a 10 per cent discount on villa rates per night, excluding taxes. Children accompanying adults benefit from complimentary seaplane transfers, accommodation within the parents’ villa, and meals from the children’s menu. Also included is a complimentary 30-minute family surf simulator session per reservation and one Indian Ocean Dinner Night at the White Restaurant per stay, excluding beverages.

The resort, designed by architect Jean-Michel Gathy, incorporates local materials such as bamboo, rattan, and mother of pearl. These elements, along with a colour palette of yellow, white and taupe, aim to harmonise the interiors with the surrounding natural environment. Villas are set amongst lush vegetation and the turquoise waters of the lagoon, with contemporary art by Vincent Beaurin featured throughout.

Among the highlights of the resort is the Cheval Blanc Spa, located on its own private island. Guests reach the spa via traditional dhoni, where six treatment villas offer a range of therapies by Guerlain, including the exclusive Sun Ritual and After Diving Experience.

Cheval Blanc Randheli also houses the only surf simulator in the Maldives, catering to all levels. Guests can further explore the Indian Ocean aboard the resort’s 30-metre yacht, the Azimut, ideal for private excursions and island picnics.

Travel to the resort is via Cheval Blanc’s private seaplane, equipped with nine taupe leather seats, wireless headsets, and a dedicated lounge for refreshments on arrival.

Families are catered for with Le Carousel, a 500 sqm children’s area with both indoor and outdoor play zones, water features, and interactive activities.

Dining options include five restaurants, four bars, and in-villa catering through the resort’s “Carte Blanche” service, all overseen by Michelin-starred chefs.

Cheval Blanc Randheli’s summer offering seeks to deliver a refined and secluded experience for travellers seeking relaxation, adventure, or family time.

chevalblanc.com

Zuhair Murad’s Fall-Winter 2025/26 couture collection, titled “A Sheer Desire”, draws inspiration from the glamour and transformation of Hollywood’s golden age.

Paying homage to screen legends Barbara Stanwyck and Rita Hayworth, the Lebanese designer reimagines the narrative arc of the classic heroine. The collection presents a vision of women who rise and triumph, rather than falter.

The designs reference the 1930s and 1940s, an era when female characters began to assert power both on screen and in appearance. Figures like Stanwyck and Hayworth are cited for embodying strength and sensuality, despite stories that often stripped them of control. Murad responds to this legacy by offering a collection in which the heroine does not fall but instead shines, rises and reigns.

Murad’s approach reclaims glamour through structured tailoring, sculpted shoulders and rich embroidery. The collection features a palette of warm browns, velvety beiges, ivories, blushes and blacks, accented with gold and bursts of light and shadow. Each colour is used to convey a distinct emotion, with each dress designed to take on the role of a character.

Textures and materials are a key element. Velvet, tulle, mousseline and charmeuse interact throughout the collection, with transparency used to create both drama and structure. Ball gowns in draped georgette contrast with ceremonial-style embroidered jackets. The designer also includes ethical synthetic furs, embroidered to resemble gemstones.

Embroidery takes centre stage in the collection, reaching what Murad terms a “baroque pinnacle”. Pearls and cabochons feature prominently, including strands of pearls that coil around the body. Lace appears sparingly, limited to damask patterns intended to evoke vintage studio set mouldings.

The collection acknowledges the legacy of costume designers such as Edith Head, Jean Louis Berthault and Adrian Greenburg, while reframing their influence for a modern context. Murad positions the collection as a conversation between past and future, masculinity and femininity, cinema and couture.

This season’s muse does not escape a tragic fate, nor is she silenced by outdated narratives. Instead, she is presented as powerful and in control, choosing her own conclusion. The designer’s vision challenges the patriarchal constraints of classic Hollywood and seeks to restore a sense of glory and agency to its icons.

ZuhairMurad.com

ELIE SAAB presented its Autumn-Winter 2026 Haute Couture collection, La Nouvelle Cour, at a salon privé in Paris today, revealing a vision of modern royalty marked by unapologetic femininity and sculptural glamour.

The show opened with a striking tableau: newcomers entered the space draped in silk and pearls, setting the tone for a collection that merges elegance with attitude. Described by the house as a “sumptuous playground for the modern queen,” the collection redefines couture for women who lead on their own terms.

Opulence took centre stage in both construction and styling. French corsetterie, traditionally associated with restraint, was reimagined as a confident symbol of power and sensuality. Corsets appeared ribbed in ebony velvet, sculpted in metallic textures, or paired with lace detailing, each iteration designed to celebrate the female form.

Voluminous silhouettes dominated the runway, with moiré sheaths draped to either cinch the waist or offer revealing glimpses of skin. The palette ranged from soft macaron shades—nude, rose pink, mint, and water blue—to deeper notes of imperial black and gold. Bold floral motifs were a recurring feature, rendered in both print and brocade, introducing a sense of romantic energy throughout the collection.

Bows were a unifying element, either intricately beaded onto chiffon or featured as oversized accents on feathered gowns. Floor-length velvet capes added drama to eveningwear, while couture accessories, including a new range of bags, extended the house’s signature craftsmanship beyond clothing.

The presentation concluded with a dramatic bridal look: a full-length gown embroidered with moonlit floral motifs and crowned with a shimmering pearl-toned overskirt. The bride embodied the show’s central theme: a woman of strength, allure, and presence.

Regal without rigidity, La Nouvelle Cour balances refinement and rebellion. With this collection, ELIE SAAB continues to position itself at the forefront of haute couture, offering clients designs that are both meticulously crafted and unmistakably modern.

eliesaab.com