Dubai-based Emirati jewellery designer Noora Shawqi has built her brand around storytelling, travel and modern elegance. Since launching her eponymous label in 2018, Shawqi has created collections inspired by destinations around the world, translating cultural landscapes, colours and architectural details into wearable fine jewellery designed for contemporary women. A certified Diamond Graduate from the Gemological Institute of America, her approach combines craftsmanship with narrative, creating pieces that carry both meaning and timeless appeal.

As the UAE’s jewellery landscape continues to evolve, Shawqi is part of a growing generation of Emirati designers shaping the industry with distinctive perspectives and global ambition. In this interview, she reflects on how travel inspires her collections, the influence of her heritage, and the challenges and opportunities of building a fine jewellery brand from the region.

As an Emirati designer, how has your heritage and cultural background influenced your approach to jewellery design?

My heritage is always present in the way I design, even if it is not always obvious. The environment I grew up in, learning about our culture and traditions, and the people around me have all shaped how I see things. It naturally influences the way I approach design and how I develop each collection.

How would you describe the philosophy behind the Noora Shawqi brand today?

The brand is built around the concept of travel through jewellery. Every piece has a story behind it, and each collection is inspired by a destination. We want our customers to understand how a piece was created and the meaning it carries. That connection adds a different kind of value to the jewellery, beyond its appearance.

How have your personal journeys influenced the stories, materials and aesthetics behind your collections?

Travel gives me a different perspective every time. I pay attention to what I see around me, whether it is colours, textures, or patterns. That becomes the starting point for a collection. It also influences the materials I choose, especially when it comes to gemstones. Each destination adds something new, and I try to translate that into pieces that feel connected to a place but are still easy to wear anywhere.

How do you strike a balance between tradition and modernity with your designs?

For me, it’s about taking inspiration from the places I experience through travel and interpreting them through my own perspective, which is naturally shaped by my Emirati heritage. Each collection is rooted in a specific destination, whether it’s the colours, textures or patterns I encounter, but I don’t replicate tradition directly. Instead, I translate those elements into clean, refined designs that feel modern and wearable. My background influences how I see and develop these ideas, so even when a piece is inspired by another country, there’s always a subtle connection to where I come from. It’s about creating jewellery that carries the essence and story of a place, while still feeling timeless and relevant today.

Tell us about the creative process for your collections.

The process usually begins with research and observation. I spend time understanding the place or idea I am working with, then I start sketching. From there, I look at materials and how they can support the story. Once the direction is clear, I work closely with artisans to bring the pieces to life. It is a mix of planning and allowing the design to evolve along the way.

Many of your pieces are made in Dubai in collaboration with skilled artisans. How important is it for you to support local craftsmanship and production within the UAE?

It is very important to me. Working with local artisans allows me to stay involved in the process and maintain a certain level of quality. It also supports the craft and keeps those skills active within the region. There is a lot of talent here, and it is important to continue building on that.

How have you seen the industry in the UAE grow, and what opportunities do you see for Emirati designers?

The industry has grown a lot over the past few years. There is more visibility, more platforms, and more support for local designers. Emirati designers now have the opportunity to reach both regional and international audiences. There is also greater openness to different styles, creating space for new ideas and approaches.

As an Emirati entrepreneur, what makes you most proud to represent the UAE through your brand?

Being recognised as an Emirati entrepreneur makes me proud, especially knowing that I am representing my country through something I have built. The UAE has created an environment where we are supported and encouraged to grow, and that is something I value. It motivates me to continue building the brand in a way that reflects that support and carries a sense of responsibility.

Building a jewellery brand requires both creativity and business strategy. What have been some of the biggest challenges you’ve faced along the way?

One of the biggest challenges is balancing creativity with the business side. There are also external factors affecting the industry, especially over the past couple of years. For example, the steady rise in gold prices has directly affected how we operate. In situations like that, you have to stay flexible and adapt rather than focus on what is beyond your control. It can be challenging, but it is part of building and sustaining a business.

As your brand continues to evolve, are there new markets or regions you are particularly excited to expand into?

I am interested in expanding into markets that align with our style and storytelling. At the moment, we are focusing on growing more in Europe, where there is a strong appreciation for craftsmanship and design.

What advice would you give to women looking to launch their own brands or pursue careers in the creative industries?

Take your time and focus on building something that feels true to you. There will always be pressure to move quickly, but consistency is more important. Learn as much as you can, stay open to feedback, and be patient with the process. Staying connected to your values will help guide your decisions.

Looking ahead, what would you still like to achieve with Noora Shawqi?

I would like to continue growing the brand while staying consistent with its identity. That includes exploring new destinations, working on meaningful collaborations, and expanding the impact of each collection. The focus is on building something long-term that continues to evolve while staying true to its foundation.

By Lindsay Judge

With L’Afshar, Lilian Afshar has built an accessories brand focused on material, form and a strong visual identity. In a region where a new generation of designers is reshaping the language of luxury, her work stands apart for treating accessories as objects to be both worn and collected.

Since launching L’Afshar in 2013 with just five pieces, the brand has grown into a globally recognised name, known for its sculptural clutches that sit between accessory and objet d’art. What began as a prototype during her time at Esmod has expanded into a wider creative universe, now including furniture and objets d’art alongside her signature designs.

Working primarily with acrylic, a material she describes as balancing structure and light, Afshar has developed a design language that feels both architectural and instinctive. Each piece begins as raw material, shaped and refined with a jeweller’s eye for detail, resulting in precise, considered forms.

Here, Afshar reflects on the evolution of her brand, the role of craftsmanship and material innovation, and the realities of growing a business in an ever-changing industry.

What first inspired you to launch L’Afshar, and how has your vision evolved since those early days?

I was initially inspired by a desire to create something sculptural yet functional. Pieces that felt like objects of art but could still be worn and used. There was a gap for something clean, architectural, and material-focused. Over time, that vision has evolved beyond handbags into a wider world of design, including homeware and furniture. The core has remained the same, but it’s grown into a more complete expression of the brand’s identity and aesthetic.

Your designs have become instantly recognisable. How would you describe the design philosophy behind L’Afshar today?

The design philosophy behind L’AFSHAR today is rooted in creating sculptural, timeless pieces that sit between art and function. I’m drawn to clean lines, architectural forms, and a sense of balance where each piece feels considered from every angle. Materials play a central role, particularly acrylic and resin, which allow me to explore light, texture, and structure in a very distinct way. The goal is always to create something refined, impactful, and modern, with a lasting presence.

How has Dubai influenced your creativity and the growth of your brand?

Dubai has given me the freedom to have an idea and act on it almost immediately. Whether it was creating my first prototype in Al Quoz 13 years ago and then starting the business or taking a much bigger leap in 2019 by opening our own factory.

Being based here in Dubai has allowed me to experiment freely and scale the brand internationally, while still maintaining a strong connection to where everything is made. The energy, diversity, and ambition of Dubai constantly push me to think bigger and evolve creatively.

The Middle East has seen a significant rise in homegrown luxury brands. How do you see the regional fashion and accessories industry evolving?

I love seeing it. There’s so much creativity in this region, and it truly deserves to be highlighted globally. What feels different now is the confidence. Designers are building strong, distinct identities rooted in their own culture, rather than looking outward for validation.

Our region is an incredibly strong market, and it’s been truly powerful to witness the level of support and engagement from clients here. They’re no longer looking abroad to meet their needs. The same applies to tourism; when I travel, I’m always drawn to discovering designers that are unique to that city.

L’Afshar has gained international recognition and a global clientele. What do you think resonates most with customers both in and outside the region?

I think what resonates most is offering something truly unique and distinctive. There’s a strong sense of identity in the designs; you can always spot a L’AFSHAR piece.

It’s that balance between sculptural form, materiality and a clear point of view that connects with customers both within the region and internationally

How important is craftsmanship and material innovation in your design process?

Craftsmanship and material innovation are integral to my design process. Acrylic and resin are complex materials with many limitations, but that challenge is exactly what drives me to push their boundaries and explore new possibilities with my team.

At the same time, every piece is handmade in our Dubai studio, ensuring a sense of precision and individuality. It’s that balance between innovation and craftsmanship that defines the brand.

What have been some of the biggest challenges in building an independent luxury brand from the region?

One of the biggest challenges has been growing and scaling the brand from the region. International buyers and department stores have become more cautious about adding brands from here, especially as costs like shipping, duties, and logistics have risen significantly in recent years. At the same time, the industry here is still relatively young, and the region isn’t yet fully recognised for its craftsmanship, which adds another layer of challenge when building credibility internationally.

As a female founder in the region, what advice would you offer to emerging designers and entrepreneurs?

We need to stop glamorising entrepreneurship and the whole “girlboss” narrative. Running a business requires real resilience, vision and grit, but that label often creates pressure to constantly perform and overachieve. In reality, 99 per cent of the time, it’s about navigating challenges and constantly adapting to whatever comes your way. It’s so important to maintain a calm, regulated nervous system while building a business, and to have an outlet. Otherwise, you risk compromising your health.

What inspires you and when are you at your most creative?

I’m often most creative on a plane, I get a rush of energy and ideas seem to flow effortlessly, only without the kids, though!

Inspiration comes from many places. Some days it’s in the simplest details, like observing how petals are naturally formed, and other days it’s immersing myself in different cultures or getting lost in an antique market

What’s the professional motto that you live by?

A lot can change in a day, for the better.

Are there any new categories, collaborations or expansions you are currently exploring?

Having two categories already is essentially like running two separate businesses. For the next few years, my focus is on rediscovering and expanding the homeware and furniture category. Something I launched six years ago, but which naturally fell onto the back burner after having two children back-to-back.

What’s in the pipeline for L’Afshar this year?

A much stronger focus on homeware, as it’s a category showing significant growth. I also want to lean more into in-person events with my clients and community. I’m seeing a real appetite for connection and shared experiences.

By Lindsay Judge

Discover Dior’s Spring/Summer 2026 collection by Jonathan Anderson, a thoughtful study in quiet power, where reinterpreted icons and statement pieces redefine modern dressing.

Black “Dior Show Stingray” Hat
Black Jacket
Black “Dior Medallion” Belt
All Dior

Black “Dior Aurore” Mules
By Dior

Black Bar Jacket
Beige “Diorly” Bag
Jeans
All Dior

Earrings
Denim Shirt
Denim Bow Collar
Denim Skirt
Green “Petit Trèfle” Bucket Bag
All Dior

White Dress
Bracelet
Blue “Dior Cigale” Bag
All Dior

Green Shirt
Yellow “Dior Crunchy” Bag
All Dior

“Teddy-D” Bucket Hat
Green Shirt
Denim Skirt
All Dior

White Daisies “Lady Dior” Bag
By Dior

Earrings
Olive Green Cropped Jacket
All Dior

Founder/Editor in Chief: Lara Mansour

Styling & Direction: Lea Naoufal

Photography: Ziga Mihelcic

Model: Era at MMG

Hair: Aiza Qureshi

Makeup: Manuel Losada for Dior Beauty

Salha Obaid has emerged as one of the UAE’s most thoughtful and distinctive voices in the country’s evolving literary landscape. From her early short story collection Alzheimer to her more recent novels, her work traces the complexities of memory, identity and place, offering narratives that are at once deeply personal and broadly reflective of the societies they inhabit.

Rooted in the UAE yet resonating far beyond it, Obaid’s writing reflects a sustained engagement with the world around her, shaped by observation, inquiry and a desire to understand the human condition in all its nuances. Alongside her literary practice, her role within the country’s cultural landscape, from her work with the Board of Directors of Culture and Science in Dubai to founding the Cultural Community Project, underscores a broader commitment to dialogue and collective cultural growth.

As the UAE’s literary scene gains momentum, her work sits at the intersection of tradition and experimentation, exploring not only what stories are told but how they are shaped and expressed. Here, Obaid reflects on memory as a central theme, the influence of place on her storytelling, and the evolving role of writing in times of uncertainty.

What first inspired you to begin writing, and how has your voice evolved since then?

What inspired me in the first place was reading. From there came my first fragments of writing, through imitating imagined friends and stories like those I read. Over time, observations and personal questions about place, people, and the world emerged, allowing my writing experience to develop with a voice I continue to shape.

What themes do you find yourself returning to most, and why do they resonate with you?

I often return to the theme of memory. It first appeared quite directly in my debut short story collection, Alzheimer, shaped by my own understanding and perspective. Since then, it continues to surface in my work, sometimes subtly, through small details and underlying narratives.

Over time, memory has evolved into something broader for me, almost like an ongoing exploration of how individuals and societies understand themselves. It intersects with both personal experience and collective history, shaping the way we relate to place, identity and one another.

In many ways, everything begins with memory. It informs how we interpret the present and how we imagine the future. We often ask what comes next, but before that, there is another question: what happened, and how? That is where memory becomes essential, in helping us make sense of who we are and how we move forward, both as individuals and as societies.

As an Emirati writer, how has the UAE influenced your storytelling, and what does it mean to contribute to the country’s growing literary landscape today?

My work is deeply connected to place, even when it isn’t explicitly referenced in my short stories. The human experiences and transformations I explore are drawn from my observations of people and everyday life in the UAE. In my novels, place becomes more central. It acts as a framework that holds events, shaped by social, historical, political and economic shifts. Many of these changes may not be immediately visible to those observing the Gulf region, particularly the UAE, from a distance. There is often a perception that we exist separately from the wider global experience of modern life and its complexities. Through my writing, I try to offer a more nuanced perspective, showing that we are deeply connected, and that our experiences, emotions and challenges are shared.

You have published both short story collections and novels. How does your creative process differ when working on short-form versus long-form writing?

For me, a short story centres on a specific emotional state. It’s about capturing and unpacking a feeling or a moment in a condensed, immediate way, and I often complete it in a single sitting. Novels, on the other hand, require a different approach. While they share that same impulse to explore an idea, they exist on a much broader scale, often connected to wider social and historical contexts. The process involves building fully realised characters and situations, supported by research, to create a cohesive world that feels believable and immersive for the reader.

You are also actively involved in the cultural landscape, serving on the Board of Directors of Culture and Science in Dubai and founding the Cultural Community Project. How important is community building to your work as a writer?

I believe a writer exists in two ways. The first is through their work, which lives on over time, beyond their own presence. The second is more immediate, shaped by their engagement with the world around them, through dialogue, participation and a conscious effort to contribute to the cultural life of a place.

For me, community building is part of that second role. It is about being present, engaging with others and helping to create a shared cultural awareness. I often think of Michel de Montaigne’s idea that conversation is a way of refining the self through connection with others. In that sense, dialogue becomes essential, not only in writing, but in how we exist within a cultural environment.

Being actively involved allows me to contribute to that wider cultural movement, supporting its growth and vitality in a more immediate and tangible way.

The UAE’s literary and publishing scene has grown significantly in recent years. How have you seen opportunities evolve for writers in the region?

This growth has played an important role in bringing forward a wider range of creative voices, each with different perspectives and levels of experience. It reflects the energy of a region like the UAE, where development is constant and where culture is being actively supported, both at an institutional level and through individual initiatives.

What remains important now is time. As the scene continues to expand, time will determine which voices and projects truly endure and shape the literary landscape in a lasting way, both within the region and on a global stage.

You recently participated in Letters to the UAE, sharing messages of hope with the community. What inspired your contribution, and why are initiatives like this meaningful at this moment?

This is an overwhelming moment, where emotions are heightened and often shaped by uncertainty, fear and anxiety. At the same time, there is a visible collective effort to respond to these challenges with clarity and realism, to understand what is happening and to face it honestly. In this context, writing becomes essential. It offers a way to document these feelings and to create a sense of continuity, a reminder that this place endures, even in moments of instability. We live in a world that often feels disoriented, prone to forgetting its own history. Writing, in that sense, becomes a way of holding on, of recording and of affirming what is real.

Across your books, your storytelling often balances introspection with social observation. How do you approach translating everyday experiences into compelling narratives?

I am naturally drawn to observation and constant inquiry. I tend to focus on small details to understand the bigger picture, approaching the world almost like a puzzle I am continuously trying to piece together.

In my daily life, I collect fragments, phrases, emotions, ideas and questions. Some of these find their way into short stories, while others stay with me longer, gradually developing into the foundations of larger works that require more time, research and exploration. It’s an ongoing process, one that allows everyday experiences to evolve into something more layered and meaningful over time.

What continues to inspire you creatively, and where do you find ideas for your stories today?

Reading remains central to my creative process; it opens new ways of thinking and understanding. Travel is equally important, allowing me to observe different places and the patterns of human behaviour within them. I’m also inspired by conversations and the nuances of everyday life, whether simple or complex. These moments often prompt me to write as a way to explore and make sense of what I encounter.

Looking ahead, what would you like to explore next in your writing, and what do you hope your work contributes to the UAE’s cultural and literary future?

There are many ideas I would like to explore in my writing, but beyond content, I’m increasingly interested in experimenting with form. I’m drawn to the possibilities within storytelling, how structure, voice and style can evolve to create new ways of expression. I often ask myself what my work might look like if I pushed these boundaries further. That sense of exploration is something I find exciting and continue to develop. Ultimately, I hope my writing contributes to a broader, evolving literary landscape in the UAE, one that embraces both depth of content and experimentation in form.

By Lindsay Judge

DIFC Art Nights returned for its 21st edition, transforming Gate Village into a lively hub of art, culture and creativity. Running until Sunday 26 April 2026, the long-standing event once again drew visitors from across the city, reinforcing its position as one of Dubai’s most popular free cultural experiences.

Now in its second decade, DIFC Art Nights brought together a diverse programme spanning visual art, film, music and discussion. This year’s edition featured a curated series of short film screenings presented by Cineolio and its founder, Nawaf Al Janahi, alongside live performances from emerging young pianists Abdulla Makki, Ameera Al Ali and Hadi Kotaich.

Opening night featured a series of panel discussions exploring the evolving cultural landscape, including a session on “The Next Generation of Collectors,” hosted by Christie’s and Dubai Culture, as well as insights from the Electronic and Emerging Art Conference, ISEA2026.

Across Gate Village, visitors experienced a range of installations and live works, from Domingo Zapata’s large-scale acrylic-on-metal sculpture to interactive doodle art by Nour Bazerbashi and live painting by Ayman Mohammed. Complementing the exhibitions, the programme also included complimentary workshops and ongoing live entertainment.

The event continued to highlight Dubai’s growing creative scene, offering an accessible platform for both established and emerging artists.

Alserkal Avenue has expanded its annual Art Week into a month-long programme, introducing Alserkal Art Month, a broader initiative designed to support and sustain the UAE’s creative ecosystem amid regional uncertainty. Running from April 18 to May 18, the programme unfolds across five weekends, offering a more flexible and considered approach to engaging with art and culture across the district.

Rather than concentrating activity into a single week, the extended format allows for a slower, more immersive experience. Developed in collaboration with artists, galleries and multidisciplinary collectives from across the region, Art Month positions Alserkal Avenue as a space for dialogue, reflection and connection. The programme brings together new gallery exhibitions, public art commissions, performances and workshops, alongside Majlis Talks, open studios and reading groups hosted by Alserkal Arts Foundation.

The evolving structure is guided by Shilpa Gupta’s work Still A Sky We Hold, a new iteration of her earlier commission, which serves as a conceptual anchor for the programme. This theme of shared space and collective resilience runs throughout, shaping a series of initiatives that prioritise collaboration and community engagement.

A central highlight is Déjà Vu, a large-scale multi-gallery exhibition opening at Concrete on April 25. The exhibition brings together artists from leading UAE galleries in a collective commercial show that examines ideas of repetition, memory, and the uncanny through a contemporary lens. Curated by Kevin Jones, Nada Raza and Zaina Zaarour, the exhibition reflects a broader effort to support galleries and artists while maintaining a platform for ambitious work.

Beyond exhibitions, Alserkal Arts Foundation has placed a strong focus on supporting practitioners through studio takeovers, participatory programming and research grants. During Art Month, visitors can engage with open studios, artist-led reading groups and live performances, while a newly established fund offers financial support to help creatives continue developing their work.

The programme also extends into wider cultural dialogue. A roundtable hosted by Alserkal Advisory will bring together institutions and stakeholders to explore how the arts can continue to create meaningful impact, while initiatives such as Blank Space highlight emerging creatives working across design, craft and visual arts.

Closing the month, a dedicated programme of moving-image works will coincide with Art Dubai, further reinforcing the district’s role in the region’s cultural calendar.

Through its expanded format, Alserkal Art Month reflects a shift towards a more adaptive and community-led model, one that prioritises continuity, collaboration and creative exchange. In doing so, it reinforces Alserkal Avenue’s position not only as a cultural destination but as a platform that actively supports the people shaping the region’s artistic landscape.

Gucci unveils Gucci Storia, a new exhibition now open at Palazzo Gucci in Piazza della Signoria in Florence, offering an immersive exploration of the House’s past, present and evolving future. Conceived through the eyes of Artistic Director Demna, the experience unfolds across nine rooms spanning two floors, each designed as a distinct narrative environment.

Both archival and forward-looking, Gucci Storia invites visitors into a series of curated worlds that reinterpret the brand’s 105-year history. Tapestries line the walls, reimagining key moments and motifs through a contemporary visual language, while a striking portrait gallery, photographed by Catherine Opie, captures a cast of individuals who reflect the House’s enduring cultural relevance.

The exhibition moves between disciplines and formats. An immersive archive offers a closer look at Gucci’s design evolution, while a dedicated cinema space presents curated film works that expand on the brand’s creative universe. Elsewhere, an interactive oracle installation introduces a more introspective dimension, encouraging visitors to engage with the idea of identity, intuition and transformation.

At its core, Gucci Storia is a meditation on duality. Heritage and reinvention, tradition and radical innovation are placed in constant dialogue, reflecting the House’s ability to evolve while remaining anchored in its origins. Under Demna’s direction, this tension becomes a central theme, shaping an experience that feels both reflective and forward-thinking.

Open to the public from April 27 at Palazzo della Mercanzia.

Maison Margiela presents its Spring Summer 2026 Co-Ed show as a study in contrast, precision and quiet subversion, where the language of tailoring is reworked through the house’s unmistakable lens. This season, structure takes centre stage, anchored by sharply defined silhouettes and a distinctive tuxedo waistcoat cutline that introduces a sense of discipline to the collection without ever feeling rigid.

Fluidity is layered into this foundation through slip dresses worn over suiting, softening the formality of traditional menswear codes. Fabrics further this interplay between strength and delicacy, with plasticised silk adding a subtle sheen and technical edge, while floral motifs emerge in unexpected ways, embossed directly onto knitwear to create texture rather than print. The result feels tactile and considered, offering a new dimension to familiar patterns.

Archival references are revisited with confidence. The house’s iconic heelless footwear returns, now expanded to include pumps and boots, reinforcing Margiela’s long-standing fascination with form and illusion. Alongside this, the Tabi Claw makes its ready-to-wear debut, translating one of the brand’s most recognisable codes into a new, wearable expression.

Accessories follow suit, balancing innovation and practicality. The new Box Bag, crafted from supple leather with thermoformed reinforced edges, reflects the collection’s architectural undertones. Designed for versatility, it can be carried with straps or folded into a clutch, adapting seamlessly to different moments.

Set against this refined yet experimental backdrop, the show’s atmosphere was elevated by a live orchestra of 61 young musicians from Romilly-sur-Seine, aged between 7 and 15. Their performance of classical compositions by Richard Strauss, Pyotr Ilyich Tchaikovsky and Wolfgang Amadeus Mozart brought an emotive resonance to the presentation, underscoring the collection’s dialogue between heritage and reinvention.

In true Margiela fashion, the collection does not seek to disrupt loudly, but rather to reframe. It is a considered evolution, where tailoring, texture and tradition are quietly deconstructed and reassembled into something entirely new.

Chanel returned to Biarritz to present its Cruise 2026/27 collection, revisiting a destination that sits at the very foundation of the House’s identity. It was here, over a century ago, that Gabrielle Chanel established her couture house, shaping a new way of dressing defined by freedom, practicality and life by the sea.

For his debut Cruise collection, Matthieu Blazy builds on this legacy, drawing inspiration from the Basque coastline and its natural rhythm. The collection moves fluidly between structure and ease, uniting elements of French workwear, leisure dressing and eveningwear into a wardrobe that feels both considered and effortless.

Lightweight fabrics and maritime influences run throughout, from sailor-inspired stripes to relaxed silhouettes designed for movement. Materials reflect the surrounding landscape, with fluid silks, textured tweeds and soft knits echoing the tactility of the coast. At the heart of the collection is a renewed focus on comfort, aligned with sophistication, where the boundaries between day and evening dressing are softened.

Blazy also revisits one of Chanel’s most enduring codes, the black dress, reinterpreting it as a symbol of simplicity and quiet rebellion. Accessories reinforce the idea of travel, spanning from practical beach pieces to refined evening accents.

 

A return to Biarritz marks more than a change of setting. It signals a deeper reflection on the origins of the House, reimagined through a contemporary lens.

Dior Maison continues its exploration of design as an extension of couture, unveiling a new series of Corolle lamps created in collaboration with French designer Noé Duchaufour-Lawrance. The collection builds on a shared language rooted in craftsmanship, materiality, and a sensitivity to form, offering lighting pieces that combine function and art object status.

Duchaufour-Lawrance, known for his ability to draw connections between human experience and the natural world, approaches design with an intuitive, almost sculptural sensibility. For Dior Maison, this translates into a series of works that combine couture and art de vivre. The Corolle lamps take their name and inspiration from the iconic silhouette of Christian Dior’s New Look, reinterpreting the volume and movement of the Corolle skirt through light, texture and structure.

Crafted using traditional techniques, the collection reflects a deep respect for artisanal heritage. Mouth-blown glass, produced by master craftsmen in Murano, forms the central element of the lamps, with each piece shaped to evoke the fluidity of fabric in motion. The glass appears almost weightless, its softly curved form recalling the gentle fall of pleats and drapery. In contrast, other designs within the collection explore the art of basketry, with finely woven Madake bamboo fibres creating graphic, structured surfaces that subtly reference Dior’s signature cannage motif.

The result is a series of lighting pieces that feel delicate yet architectural, balancing softness with precision. Each lamp carries a sense of time and intention, crafted over an extended process that echoes the meticulous approach of the ateliers at 30 Montaigne. This attention to detail elevates the objects beyond their functional purpose, positioning them firmly within the realm of collectable design.

Balenciaga presented Artean – Eduardo Chillida, a special installation at its Via Montenapoleone flagship, marking the House’s first major art project under Creative Director Pierpaolo Piccioli. Conceived as the beginning of an ongoing series, Artean—a Basque word meaning “between”—set the tone for a dialogue that bridges art, fashion and heritage.

The exhibition brought together seven works by the celebrated Basque sculptor Eduardo Chillida, displayed alongside Balenciaga’s current collections. Some pieces paid direct homage to Cristóbal Balenciaga, reflecting a creative relationship that dates back decades. Both figures, rooted in Basque culture, shared a deep interest in form and space—where volume, structure and absence become central to the work.

Among the highlights were sculptural pieces in iron, including Homenaje a Balenciaga (1990), presented here as a smaller study, alongside Project for Comb of the Wind I (1966) and Lotura XVIII (1991). These works were complemented by Chillida’s works on paper, including a series of Gravitación compositions, where cut paper, ink and thread explored balance, tension and movement.

Rather than isolating the artworks, the installation integrated them into the store environment, allowing them to converse with the garments. This approach reinforced Piccioli’s vision of art as a living presence, one that brings energy, emotion and context into the space.

Developed in collaboration with the Eduardo Chillida Estate and Hauser & Wirth, the project also carried a personal dimension for Piccioli, who has long admired the artist’s work. The opening welcomed Mikel Chillida, the artist’s grandson and director of Chillida-Leku, further grounding the exhibition in its cultural lineage.

Hermès presented a scenographic installation at Milan Design Week, conceived by Charlotte Macaux Perelman and Alexis Fabry, transforming space into an exploration of form, material and movement. Composed of thirty rectangular columns in varying heights, the structure created a series of pathways and shifting perspectives, guiding visitors through the Maison’s latest home collection.

Arranged in rhythmic alignment, the columns evoke the repeated gestures of craftsmanship, where precision and time shape each object. Wood, plaster and beech form a subtle architectural language, framing the pieces while allowing moments of pause and discovery. The interplay between full and empty spaces encourages a slower pace, in which moving through the installation becomes part of the experience itself.

Throughout, the installation reflected Hermès’ approach to the home, where craftsmanship, materiality and imagination come together with restraint. Rather than presenting objects in isolation, the space allows them to exist within a broader narrative, one that moves between architecture and intimacy, gesture and detail.

As the light shifts and perspectives change, the installation unfolds gradually, revealing new alignments and connections. It is a considered expression of the Hermès universe, where design is experienced not only through objects, but through the atmosphere they create.

Loro Piana presented Studies, Chapter I: On the Plaid at its Milan headquarters, Cortile della Seta, offering a focused exploration of one of the House’s most enduring design elements. Open to the public, the installation examined the plaid not simply as an object, but as a field of experimentation rooted in material, technique and craftsmanship.

First introduced in the mid-1980s, plaids have long held a central role within Loro Piana’s universe, serving as a space to explore weaving methods and fibre innovation with precision. This new project expanded on that legacy through Studies, an evolving framework dedicated to examining individual elements of interior design through a series of chapters.

For its first iteration, the scenography unfolded as a passage, guiding visitors through a sequence of twenty-three plaids, each presented as a distinct study. Differentiated by construction, pattern, technique and finish, the pieces formed a visual index, mapping the breadth of possibilities within a single object. The display adopted a curatorial approach, placing the finished works alongside the raw fibres and yarns from which they originated, revealing the processes behind their making.

Across the installation, materials entered into dialogue with a range of techniques, from embroidery and appliqué to handloom weaving, patchwork and screen printing. Crafted using the House’s signature fibres, including Vicuña, Baby Cashmere and The Gift of Kings®, the plaids reflected Loro Piana’s ongoing commitment to excellence in material sourcing and production.

Historic motifs drawn from the archives were reinterpreted through contemporary compositions, highlighting a balance between heritage and innovation. Each piece, created upon request, underscored a sense of individuality and precision, positioning the plaid as both a functional object and an expression of craftsmanship shaped by fibre, technique and time.

At Milan Design Week 2026, Dolce&Gabbana Casa unveiled its latest furniture collections, created in collaboration with Luxury Living Group, continuing the brand’s expansion into the world of interiors. Presented at its Via Durini showroom, the collections translated the House’s signature aesthetic into a refined domestic setting, where bold motifs, rich colour palettes and artisanal craftsmanship came together with a distinctly Italian sensibility.

The new Moss and Gardenia collections introduced softer, more fluid forms, with modular sofas, armchairs and daybeds defined by sinuous lines and generous proportions. These pieces balanced comfort with heightened attention to detail, reflecting the brand’s focus on both function and visual impact. Complementing these were the City line of cabinets and storage pieces, as well as the Club Noxus bar cabinet, where sculptural presence and contemporary design created a strong focal point within the space.

Outdoors, the Saint Jean collection expanded with a series of seating and dining pieces, distinguished by Dolce&Gabbana’s iconic prints. From Leopard and Zebra to Sicilian Cart motifs and majolica-inspired patterns in Blu Mediterraneo and Verde Maiolica, the designs brought a vibrant, expressive quality to open-air living.

Beyond the collections themselves, the brand extended the experience through a live installation titled The Italian Lunch, an act of love, staged at its Corso Venezia boutique. Here, the concept of mise-en-place was reimagined as a moment of connection and conviviality, transforming the window display into a theatrical setting that celebrated Italian culture through design, food, and shared experience.

Presented at its Milan flagship on Corso Venezia 14, the Armani/Casa 2026 collection unfolded through Origins, an exhibition that reflects the essence of Giorgio Armani’s approach to living. Conceived as a fluid narrative, the project moves between past and present, using the Maison’s most iconic pieces as a starting point to explore how design evolves while retaining a clear sense of identity.

The presentation began at street level, where eight signature designs were displayed in the windows, each shown alongside its contemporary evolution. From the outside, these pieces appear as softened silhouettes behind frosted glass, creating a sense of intrigue that is only resolved once inside. The contrast between original and reinterpreted forms sets the tone.

Inside, the space was transformed into a series of carefully composed interiors inspired by Armani’s own residences. On the ground floor, dramatic black drapes frame golden display cases, introducing a theatrical quality that contrasts with the restraint of the furniture itself. Upstairs, the exhibition opens into three living environments, each centred around the idea of the home as a place of gathering, reflection and personal expression.

Hand-painted watercolours form the backdrop to each space, referencing elements of Armani’s interiors and guiding the viewer through different atmospheres. From structured, graphic compositions to softer, more intimate settings, the collection explores a balance of textures, materials and tones. Pieces such as the BORGONUOVO game table, PLAY sofa system and BRANDO modular seating reflect this approach, combining craftsmanship with a sense of ease.

No matter how long someone has been in business, there’s rarely a point where everything feels completely secure. Something is always shifting. It might be a quieter month than expected, a dip in bookings, a launch that doesn’t land as planned, or external factors that create uncertainty and make even the most experienced founders question their footing. That’s why I always say, business is a rollercoaster.

After over 17 years in business, one thing becomes clear: these periods are not unusual. In fact, they are often the moments that shape us into the strongest and most resilient business owners. The seasons that feel the hardest are usually the ones that demand growth, sharper decision-making, and a deeper level of self-trust.

It is easy, in those moments, to assume something has gone wrong. When things slow down or feel “off,” the natural reaction is to question every decision, to overanalyse, or to hesitate. But often, the shift is not as dramatic as it feels. What matters most is not the uncertainty itself, but how it is handled.

Standards over motivation

Positivity is often misunderstood as something that should come naturally, as though it is a mindset that simply appears each morning. But it really doesn’t work like that. There will always be days when motivation feels low, when things feel heavier, or when clarity is lacking. Building a business cannot rely on those moments. Instead, it is consistency and standards that carry things forward.

Showing up, even when it doesn’t feel easy. Continuing to communicate with your audience. Leading with intention, especially when others rely on you. These are the behaviours that create stability over time. Try to make a list when you lack motivation that you know will lift you back up. That could be listening to a podcast, going on a walk along the beach or hitting the gym.

One of the most common reactions to uncertainty is to retreat. To post less, to become quieter, to wait for things to improve before taking further action. While it may feel like the safest option, it often has the opposite effect. Reduced visibility leads to fewer opportunities. Less communication weakens the connection and trust. A lack of action inevitably impacts income. During these periods, it becomes even more important to remain present. To continue showing up, to maintain visibility, and to communicate clearly. Not forcefully or overwhelmingly, but with a steady, reassuring presence that signals consistency and confidence.

Focus on what can be controlled

Uncertainty often draws attention towards what cannot be controlled: the economy, external events, or the actions of others. However, this focus rarely leads to progress. What creates movement and momentum are the simple, consistent actions like showing up, speaking to clients, maintaining relationships, following up, and continuing to offer services or solutions.

These are not complicated strategies, but they are the ones that make the greatest difference. Waiting for clarity or certainty before taking action can lead to stagnation. In most cases, it is the action itself that rebuilds confidence and restores a sense of control.

When things feel unpredictable, structure becomes essential. That doesn’t have to be rigid or unrealistic routines like 5 am starts. But simple, consistent habits that provide direction. Starting the day with intention, having clarity on priorities, and continuing to take small, meaningful steps forward. In service-based businesses, this consistency is equally important for clients. Continuing to open, to connect, and to deliver services creates a sense of normality and reassurance. That sense of stability is something people value deeply, particularly during uncertain times.

It’s never just about the service

Businesses, particularly within beauty, wellness, and service industries, offer far more than surface-level service. Clients are not only investing in a treatment or appointment; they are investing in how it makes them feel. The time to pause, to reset, to connect, and to feel better, even if only briefly.

This is often underestimated, yet it is one of the most valuable aspects of any service-led business. Continuing to show up during challenging periods is not simply about maintaining income; it is about providing something that holds real value in people’s lives. That 60 minutes out can make a world of difference to someone.

The environment surrounding a business owner plays a significant role in how uncertainty is experienced. Constant exposure to negativity, fear, or pessimism can quickly shape perspective, leading to hesitation and reduced action. On the other hand, being around individuals who remain proactive, solution-focused, and forward-thinking can have the opposite effect. It reinforces possibility, encourages action, and helps maintain momentum.

While business ownership can feel isolating, building or being part of a supportive network can make a significant difference in navigating more challenging periods. You really are who you surround yourself with.

Stay present and focused

Looking too far ahead during uncertain times can often create unnecessary pressure. Focusing instead on what is directly in front of you can be far more effective. Asking simple, practical questions like, What can be done today? Who can I support today? How can progress be made in the immediate term?

This will allow for consistent movement without becoming overwhelmed by factors outside of control. Momentum is rarely built through large, sudden actions. It is created through small, consistent steps taken over time.

There is often a belief that a clear plan or complete certainty is needed before moving forward. In reality, clarity is usually the result of action, not the starting point. Taking the next step, adjusting when needed, trying new approaches, and making decisions even without complete certainty are all part of building a resilient business. Waiting for everything to feel aligned or guaranteed can often lead to inaction, which is far more limiting than making a decision and adapting along the way.

Uncertainty is not something that can be avoided in business, it is something that becomes part of the journey. Each time there is a bump in the road, and you have worked through it, it builds resilience, confidence, and experience. Over time, it becomes easier to navigate, not because the challenges disappear, but because the ability to handle them strengthens.

Periods of uncertainty do not indicate failure or being off track. More often, they signal growth, adjustment, and the need to step forward with greater intention. And with that comes progress.

Katie Godfrey is a Business Strategist, Podcaster and Best-selling Author “Get off the Tools”

By Katie Godfrey

Since its founding in 2012 with the support of Van Cleef & Arpels, L’ÉCOLE, School of Jewelry Arts has established itself as a unique educational platform dedicated to sharing the cultural, historical and technical dimensions of jewellery with a wider audience. Through a multidisciplinary approach spanning courses, workshops, talks and exhibitions, the institution opens up the world of jewellery to all, from curious beginners to seasoned collectors, offering an immersive understanding of gemstones, craftsmanship and the artistry behind each creation.

Now with a permanent presence in Dubai, alongside its campuses in Paris, Hong Kong and Shanghai, L’ÉCOLE continues to expand its global dialogue while engaging closely with regional audiences. The Middle East campus reflects the school’s broader mission, creating a space where education, cultural exchange and heritage intersect, while also supporting local initiatives through partnerships and philanthropic programmes.

This season, that dialogue extends into its latest exhibition, Poetry of Birds, a thoughtful exploration of symbolism and storytelling across jewellery and the arts. Here, Lise Macdonald, President of L’ÉCOLE, reflects on the institution’s evolving presence in the region and its role in shaping the future of jewellery education.

L’ÉCOLE has steadily expanded its international footprint. How do you see the school’s presence evolving in the Middle East, and what opportunities does this region offer for jewellery education and cultural exchange?

The Middle East has experienced remarkable growth in recent years, particularly in the cultural and educational spheres. Its unique context as an international melting pot, the openness of the public to cultural exchange and the strong interest in history, arts and savoir-faire provide a natural, fertile ground for L’ÉCOLE. We aim to actively contribute to this growth by building strong and lasting relationships with local audiences and institutions.

L’ÉCOLE’s mission is to share and transmit jewellery culture to a wide audience through diverse educational paths – from courses to exhibitions, talks, publications, podcasts, and research programs. We hope to inspire the public – jewellery lovers and amateurs, children and adults – as well as experts and students to approach jewellery arts in new and creative ways, blending tradition and modernity in their imagination.

Why did the Middle East feel like a natural next chapter for L’ÉCOLE, and how do you tailor your programs to resonate with the artistic traditions and aesthetic sensibilities of the region?

We chose Dubai to settle L’ÉCOLE’s first permanent campus in the Middle East as it is a dynamic cultural hub, a strategic place to initiate partnerships with local cultural and educational institutions, and to progressively organise activities across the UAE and the whole region. Our programs are tailored to local needs, while drawing on our expertise to collectively address the universality of jewellery arts. Accordingly, we are increasingly developing our courses and talks in Arabic and forging strong links between our scientific content and the region’s. Our most recent exhibition to date, “Poetry of Birds”, features a particularly strong local relevance, developed in close collaboration with local lenders, including institutional partners such as the Sharjah Museum of Islamic Civilization.

Your latest exhibition, Poetry of Birds, has captured attention for its delicate storytelling and craftsmanship. What inspired this theme, and how does it connect with L’ÉCOLE’s broader mission of blending art, history, and craftsmanship?

Birds, with their vibrant plumage, their songs, and their capacity for flight, are considered symbolic creatures in multiple cultures. They have inspired many artists and jewellers. L’ÉCOLE has been interested in these aerial figures since 2019, when it presented the “Birds in Paradise” exhibition in Paris. We decided to adapt the topic for the regional audience by highlighting the links between bird-shaped jewellery and Middle Eastern arts, with poetry as the connecting thread. The precious loans from European Maisons encounter the works of art from the Sharjah Museum of Islamic Civilization and Dubai Museums, alongside photographs by Emirati photographer Faisal al Rais. With its immersive scenography, the exhibition creates a dialogue between 19th and 20th-century jewellery and other artistic fields, shedding light on a topic relevant at both local and international levels.

Birds have deep symbolic meaning across cultures, including in the Middle East. How does Poetry of Birds explore these narratives through jewellery and decorative arts?

Birds have indeed long been revered in Middle Eastern culture as symbols of freedom, renewal, and the human spirit. Through “Poetry of Birds,” we aimed to honour this tradition and demonstrate how these figures resonate across time and continents in art, poetry, and jewellery. The work by Persian poet Farid al-din Attar, The Conference of the Birds, written in 1177, was a real inspiration for our curator, for instance. The 150 exceptional pieces bringing together bird-shaped jewels from myriad styles, but also calligraphies, photographs, sculptures, ceramics, and tapestries, have all been selected in that goal: to transcend mere aesthetics and reveal how even the smallest motif can encapsulate centuries of memory, emotion, and craftsmanship.

One of L’ÉCOLE’s core strengths is nurturing new generations of talent. How are you empowering emerging jewellery artists, designers, and craftspeople, particularly young voices from the Middle East?

L’ÉCOLE in Dubai launched specific professional development programs for young talents, like ADMAF Jewelry Design Award and the Talent Atelier Program with Dubai Culture & Arts Authority (Dubai Culture), to empower local professionals and create cross-disciplinary dialogues. These programs enrich and inspire emerging designers by providing a platform to refine their skills and advance their expertise in jewelry arts with educational experiences in the Dubai and Paris campuses through courses, workshops, museum visits and encounters with jewelry experts of different backgrounds. These programs are one of the key cornerstones of our campus in the region as we are increasingly solicited to play a role in transmitting knowledge to young creators. Our campus in Dubai is becoming an increasingly important hub for the next generation of creative talents.

Traditional craftsmanship techniques are becoming increasingly rare worldwide. How does L’ÉCOLE work to safeguard these skills, and what role do you believe education plays in preserving centuries-old savoir-faire?

Traditional craftsmanship is evolving with technology, but jewellery still has a strong connection to human gestures and creativity. It is our purpose to shed light on and share knowledge of the jewellery arts through hands-on workshops, to foster understanding and admiration for this savoir-faire, part of our humanity. L’ÉCOLE has a role to play to introduce people of all ages to jewellery craftsmanship, history and the world of gemstones as appreciation inspires preservation.

Hands-on learning is a hallmark of your approach. How important is it for students to experience real tools, materials, and techniques rather than only digital or theoretical learning?

Education creates intellectual and emotional resonance because it brings meaning and context to what might otherwise remain an object or a theory. For example, we conduct hands-on workshops by recreating the actual jeweller’s bench and explaining real jewellery-making techniques. We also use professional gemmology equipment, where one learns to recognise and appreciate gemstones and minerals.  That said, L’ÉCOLE is also providing different paths of education – one can learn not only through in-person experience, but also through reading jewellery-related books and remote learning with online talks and podcasts. With our own publications on different jewellery topics or the recent literary collection Dédale associating jewellery and literature, as well as our podcast “Voice of Jewels”, L’ÉCOLE hopes to multiply different touchpoints to interest the public with different learning habits and from various locations.

You’ve championed accessibility in jewellery education. How do you ensure L’ÉCOLE remains inviting to the public while also maintaining depth and academic rigour for more advanced learners?

Our goal is to propose pleasant and meaningful experiences at the crossroads of leisure and education. We want to create the perfect conditions so that our participants can focus on the beauty of jewellery and discover something new. The quality of the learning experience is also a key priority at L’ÉCOLE. Our courses are designed for small groups, with two Lecturers for each class. Regarding academic content, L’ÉCOLE’s Research and Education Department leads jewellery research and develops pedagogical materials to ensure our courses and talks remain accessible to everyone while upholding scientific rigour.

As President, what has been the most significant challenge you’ve faced in steering a global institution like L’ÉCOLE, and how has it shaped your vision for the future?

The recent rapid and international expansion of L’ÉCOLE in the Middle East and China has been a wonderful opportunity for all the teams worldwide to expand our knowledge and, in turn, the transmission of jewellery culture from these regions. It continues to be an immense source of new projects, collaborations and future developments for us, and we are confident that this international approach will enable L’ÉCOLE to better fulfil its mission of transmission to all.

Looking ahead, what would you still like to achieve for L’ÉCOLE, whether through expansion, new programmes, partnerships, or areas of research?

The world of jewellery culture provides an endless source of content, and we are thrilled to continue our journey in its transmission, looking through the prism of different cultures, know-how and gemmology topics. Our ambition is to delve deeper into their studies, foster cross-cultural dialogue, and spark interest – if not passion – in the beautiful and rich world of jewellery.

Finally, when you think about the next decade of jewellery arts, what excites you most and how do you hope L’ÉCOLE will contribute to that evolving landscape?

By transmitting jewellery culture and knowledge to the widest possible public, L’ÉCOLE aims to cultivate a community that deeply values the history, craftsmanship, science, and art inherent in jewellery. This objective seeks to inspire a public perception of jewellery that moves beyond mere adornment to recognise its profound artistic and cultural significance as a form of human heritage.

Looking ahead, L’ÉCOLE hopes to have a significant and lasting impact on cultural education by serving as a dynamic, international hub for jewellery knowledge and exchange. It envisions itself as a meeting point across its campuses worldwide, where jewellery professionals, academics, and enthusiasts can converge to share insights, exchange ideas, and collaborate on innovative projects within the jewellery arts. In the Middle East, partnerships with cultural institutions like Dubai Culture, ADMAF, Al Safa Library, etc. are also ways for us to support young people, emerging artists, and outreach to a wide public with an interest in art and culture in general.

As President of Salone del Mobile.Milano, Maria Porro is helping shape one of the design world’s most influential platforms at a moment of global change. With shifting markets, evolving urban development and new expectations around sustainability and innovation, the 2026 edition arrives at a time when design is being asked to do more than ever before.

Under Porro’s leadership, the fair continues to evolve beyond a traditional trade event into what she describes as a cultural and economic infrastructure that connects designers, architects, developers, and institutions from across the world. From new initiatives such as Salone Contract and Salone Raritas to deeper engagement with emerging markets, including the Middle East, the upcoming edition reflects a broader vision for how design can respond to complexity and shape future cities and experiences.

In this conversation, Porro reflects on the vision for 2026, Milan’s growing global influence, and how Salone del Mobile continues to serve as both a marketplace and a meeting point for ideas, collaboration, and innovation in an increasingly uncertain world.

As President of Salone del Mobile, how are you shaping the vision for the 2026 edition in response to an increasingly complex global landscape?

In 2026, we are shaping Salone as a platform that helps the design industry confront complexity with greater awareness, not greater abstraction. Today, the global landscape is marked by geopolitical instability, shifting trade routes, rising operational costs, new social expectations, and profound changes in market structure. In this context, our role is not simply to present products, but to create the conditions for companies to interpret change, strengthen their positioning, and build more resilient strategies.

This is precisely why Salone Contract is such a significant part of the 2026 vision. Contract is one of the areas where these global transformations become most visible. It is where design intersects with international investment, hospitality, workplace transformation, real estate development, infrastructure, and new urban demand. It is also where competitiveness no longer depends only on aesthetic quality, but on the ability to integrate production capacity, technical expertise, sustainability credentials, digital tools, regulatory knowledge, and operational reliability. In other words, Contract is where the market is asking design to become a system, service, and long-term partnership.

That is why, in 2026, we are not presenting Salone Contract as a finished format, but as the beginning of a broader strategic process. With the involvement of Rem Koolhaas and David Gianotten of OMA, the project begins this year through a public lecture, an international forum, a thematic pathway across the fair, and a structured incoming programme with selected global operators. These are concrete steps designed to help the industry read where the contract market is going, what new forms of demand are emerging, and how Italian and international companies can position themselves more effectively within that evolution.

More broadly, the 2026 edition reflects a clear conviction: in a fragmented world, the Salone must be both a marketplace and a cultural infrastructure. It must remain a place where business happens, but also where industries, designers, institutions, and markets can build a shared understanding of the changes ahead. Our vision is to make the Salone increasingly capable of connecting economic value with cultural intelligence, because today the real challenge is not only to respond to complexity, but to transform it into direction.

This year introduces new initiatives, including Salone Raritas. What prompted this addition, and how do they reflect the evolving needs of the design industry?

The introduction of Salone Raritas comes from a very clear observation: the boundaries that once separated collectable design from the professional project world have progressively dissolved. Today, unique pieces, limited editions, and author-driven works are no longer confined to galleries or private collections. They are increasingly being integrated into hospitality projects, high-end residential developments, and experiential retail environments, where identity, storytelling, and differentiation have become strategic assets.

What we are responding to is a shift in demand. Clients — whether developers, brands, or institutions — are no longer looking only for performance and efficiency. They are looking for meaning. They want spaces that communicate a narrative, that carry cultural depth, that can be recognised and remembered. In this context, collectable design is not an exception to the system; it becomes part of the project logic.

With Salone Raritas, we are making this transformation visible and operational. In 2026, it takes shape as a curated platform with 25 international exhibitors, bringing together galleries, designers, and high-level craftsmanship within the core of the fair. For the first time, these works are placed in direct dialogue with architects, developers, and decision-makers, allowing them to be sourced and specified within real projects. This reflects a broader evolution of the industry: design today operates across multiple scales. On one side, it must address complexity, systems, and large-scale integration. On the other hand, it must generate identity, emotion, and cultural value.

Salone Raritas is our way of acknowledging that both dimensions are essential—and that the future of design lies precisely in the ability to connect them.

With over 300,000 visitors and a highly international audience, Salone remains a global benchmark. What do you think continues to draw the world to Milan each year?

What continues to draw the world to Milan each year is something that cannot be replicated, scaled, or digitised: the Salone is a moment of activation. It is a spark that ignites the entire system. For one week, the industry does not simply present itself; it accelerates. Ideas circulate faster, decisions are taken in real time, and relationships are built that would otherwise take months, sometimes years, to develop. There is a unique concentration of energy in which designers, companies, developers, institutions, and media are all present at once, fully engaged.

This creates a form of momentum that is very specific to the Salone. It is not just about visibility, but about simultaneity. What happens here happens together: conversations, negotiations, discoveries, alignments. You meet the person you needed to meet, you encounter a material you were not looking for, you see a solution that unlocks a project.

Milan amplifies this dynamic by extending it beyond the fair. The city becomes an open system in which formal and informal exchanges overlap continuously. A meeting that begins in the pavilions continues in a showroom, evolves during a dinner, and becomes a project the following day. This is why the Salone remains a global benchmark. It is not only an event, but a living infrastructure of relationships. A place where the design industry becomes, for a brief and intense moment, fully visible to itself and, in doing so, moves forward.

Design weeks globally are becoming more decentralised. How is Salone adapting to this shift?

We see this shift not as a fragmentation, but as an expansion of the design ecosystem. Today, design no longer exists in a single format or place. It unfolds across multiple layers, and each of these contributes to a more complex and dynamic landscape. The Salone has evolved precisely in this direction: from a central event into a system that activates and connects these different dimensions. Milan is the clearest expression of this model. During Salone Week, the city does not compete with the Exhibition; it becomes part of it. What happens in the pavilions resonates across showrooms, cultural institutions, and public spaces, creating a continuous exchange between industry, culture, and society.

This is something we study in a structured way through our Permanent Observatory, developed with the Politecnico di Milano. The data confirms that the value of the Salone lies not only in the fair itself, but in the broader ecosystem it generates — economically, culturally, and socially. It is this distributed model that produces impact and relevance. Our role, therefore, is not to centralise, but to orchestrate. To ensure that this expanded ecosystem remains coherent, legible, and capable of generating meaningful connections. Because today, the strength of the Salone lies precisely in its ability to hold together multiple centres of energy and turn them into a shared momentum.

Sustainability continues to be a key conversation. How is Salone encouraging meaningful, measurable change?

We focus on implementation, not messaging. In 2026, sustainability is embedded in multiple concrete actions: the renewal of ISO 20121 certification for 2026–2028, the use of structured guidelines for exhibitors, and the growing emphasis on circular materials and lifecycle thinking across installations. Even projects like Aurea, the immersive installation at Pavilions 13-15, are conceived with recycled and responsibly sourced materials, demonstrating that sustainability and high-end design can coexist. What matters is that sustainability becomes visible through decisions, not declarations.

The theme of recent editions has placed the human experience at the centre of design. How do you see this evolving in 2026 and beyond?

In 2026, we move from the human body to what the body encounters: matter. This is expressed very concretely through the campaign “A Matter of Salone” and through the exhibitions themselves. Visitors will not encounter material as an abstract concept, but as transformation: in Salone Raritas through craftsmanship, in SaloneSatellite through experimentation, and in Aurea through atmosphere. The evolution is clear: design is not only about how spaces feel, but about what they are made of and the responsibility embedded in those choices.

The Middle East is emerging as a major design hub. How important is this region to Salone’s future strategy?

It is certainly a central region for us, a space of evolving dialogue. What we are building there is already visible through initiatives like “Red in Progress” — a project not conceived as a standalone event but as the first step in a broader, multi-year collaboration. It brought together Italian companies, Saudi institutions, designers, and developers within a shared platform that combined exhibition, cultural exchange, and B2B encounters.

What is important is the nature of that format: it was designed as a business-first and culture-driven meeting point, where conversations are directly connected to real projects, ongoing urban transformations, and long-term investment strategies linked to Vision 2030.

So, when we look ahead to 2026 and beyond, our approach is consistent with that experience. It is not about exporting the Salone as a fixed model, but about building context-specific platforms that can connect design culture with local ecosystems in a meaningful way. In regions like Saudi Arabia, where architecture, infrastructure, and cultural identity are evolving simultaneously, design becomes a strategic layer of transformation. Our role is to enter that process as a partner — facilitating exchanges, creating connections, and helping translate ideas into spaces, projects, and, ultimately, cities.

Are you seeing a shift in participation or influence from Middle Eastern stakeholders?

We are seeing increasing participation from Middle Eastern developers and decision-makers, particularly within contract-related initiatives and international incoming programs. In 2026, this is reflected in the targeted invitation of global top players within the Salone Contract framework, many of whom are active in Gulf mega-projects.

With large-scale developments across the Gulf, how do you see design contributing to new urban identities?

In these contexts, design operates at multiple scales simultaneously. For example, in hospitality projects, it defines not only interiors but entire experiences: from material choices to spatial sequencing. In large developments, it contributes to how cities express identity and cultural positioning. The opportunity lies in combining global expertise with local narratives, creating spaces that are both internationally competitive and culturally grounded.

In times of global uncertainty, how do you see Salone responding to the geopolitical climate? And how will Salone lead that conversation?

In times of global uncertainty, I believe the Salone has an even greater responsibility: not simply to reflect the market, but to offer it a point of reference.

Today, we are operating in a landscape marked by wars close to Europe and in the Middle East, geopolitical fragmentation, trade tensions, rising transport and energy costs, and a broader climate of volatility that affects supply chains, investment cycles, and confidence. These are not external conditions to the design industry. They are reshaping the way companies produce, position themselves, and grow internationally.

In this context, the Salone responds first of all by remaining open. In moments of instability, there is always a temptation to retreat into narrower geographies or more defensive strategies. Our role is the opposite: to keep channels of exchange active, to strengthen international relationships, and to create a space where industries, markets, institutions, and design cultures can continue to meet. That is why I often say the Salone is not only an economic engine, but also a form of diplomacy. It is a neutral ground, a cultural bridge, and a place where dialogue can continue beyond political divisions.

But there is also a second level to this response, which is more structural. The Salone is evolving from a trade fair into what I would call an infrastructure of orientation. Our task is not only to gather the industry once a year, but to help it interpret complexity. This is the deeper thinking behind initiatives such as Salone Contract, developed with OMA. In a geopolitical landscape that is becoming more unstable, the contract sector shows very clearly how value has shifted: not from quality to quantity, but from products to integrated systems, from display to long-term capability, from catalogue logic to strategic positioning.

This is why the 2026 edition does not treat contract as a side topic, but as a lens through which to read the present. The lecture by Rem Koolhaas, the international forum, the thematic pathway across the fair, and the incoming programme for selected operators are all part of a broader effort to give companies tools for analysis and positioning in a time when the market is asking for more than products. It is asking for reliability, data, sustainability, technical competence, and the ability to work across complex international ecosystems.

At the same time, our response is also cultural. The Salone must continue to be the place where the industry becomes visible to itself, where thought is articulated, and where future scenarios are discussed before they fully emerge in the market. And this is where the ecosystem dimension becomes essential. The value of the Salone does not end at the fairgrounds. Through the work of the Permanent Observatory developed with the Politecnico di Milano, we continue to study the broader economic, cultural, and urban impact generated by the Salone. What emerges is that the Salone is not a standalone event, but a distributed ecosystem that activates relationships, produces knowledge, supports hospitality, and generates value across the city and beyond. In times of uncertainty, this matters enormously, because resilience is never built by single actors alone. It is built by systems that are capable of connecting industry, research, culture, institutions, and markets.

So my answer is this: the Salone responds to the geopolitical climate not by becoming defensive, but by becoming more strategic. More international, but also more selective. More cultural, but also more operational. More attentive to markets, but equally committed to building a shared framework of meaning around what design can do in a fractured world. Because when instability grows, the real value of a platform like the Salone is not only that it generates business. It is that it helps transform uncertainty into direction.

By Lindsay Judge

In Dubai’s evolving creative landscape, UrArtU Gallery offers a distinct perspective on the role of floristry within contemporary culture. Founded by Gurgen Yeritsyan, the Alserkal Avenue space moves beyond traditional notions of flowers as decoration, positioning them instead as a medium for artistic expression, spatial design and emotional storytelling.

Drawing on more than 15 years of experience in floral artistry, Yeritsyan has developed a practice that treats flowers as both material and message. At UrArtU, this vision unfolds through a programme of exhibitions, installations and collaborations that blur the boundaries between art, architecture and design. The gallery operates not only as a space to view floristry, but to experience it, inviting visitors into environments where nature is reimagined through scale, structure and context.

This approach is further explored through the gallery’s recent collaboration with Crosby Studios, where floristry takes on a more architectural presence, shaping the space as much as inhabiting it.

Here, Gurgen Yeritsyan reflects on the concept behind UrArtU, the evolving language of floristry and the role of the gallery within Dubai’s wider creative ecosystem.

UrArtU Gallery has always explored flowers as more than decoration. What was the original vision behind the gallery, and how does this new collaboration with Crosby Studios expand that concept?

When I started UrArtU, the idea was to challenge the way people usually interact with flowers. Most of the time, they are seen as something temporary or a gift and used as decoration. I wanted to slow that moment down and give flowers a different kind of presence. The collaboration with Crosby Studios allowed us to push that idea further. Instead of flowers existing within a space, the space itself now feels shaped by them. The gallery becomes a stage where nature and design meet, and where people can experience floristry in a way that feels more immersive and unexpected.

This project transforms floristry into a spatial and architectural experience. How did the idea for a flower space that operates as both a gallery and an installation first come about?

For a long time, I felt that floristry was often confined to the vase. But flowers have so much more potential than that. They have colour, movement and emotion. They can create an atmosphere in the same way that light or music can. The idea for the gallery was to create a place where flowers could exist in dialogue with art, design and architecture. A space where floristry becomes immersive, almost cinematic. With Crosby Studios, we pushed that concept further, treating flowers as part of the environment rather than just something placed within it.

What kind of experience did you want visitors to have when they walk through the gallery for the first time?

I want people to feel welcome. UrArtU Gallery is a place designed to bring people together, and I want it to be a moment to pause. In cities like Dubai, everything moves very fast, and we are constantly surrounded by noise and information. When you enter the gallery, I want it to feel almost meditative. Somewhere you can grab a coffee, enjoy art and take some flowers home to enjoy the memory.

Working with Harry Nuriev and Crosby Studios brings a strong architectural language into the project. How did this collaboration come together, and what was the creative dialogue like between you and the studio?

I’ve admired Harry’s work for a long time because he approaches design with a very conceptual mindset. When we first started talking, we realised we shared a similar idea: that objects and materials can tell stories and evoke emotion. The dialogue between us was very organic. I came from the perspective of flowers and emotional storytelling, and Harry brought this strong architectural vision. Together we created something that lives somewhere between art installation, architecture and floristry.

The aluminium orchid structure is one of the defining elements of the space. How did the idea for this dramatic centrepiece emerge, and what does the orchid represent within the project?

The orchid is my favourite flower, and it’s a fascinating flower because it represents elegance but also strength. It’s delicate, but it also has a very sculptural form. We wanted to take something that is usually fragile and temporary and make it monumental. For me, it symbolises the whole concept of UrArtU, turning something fleeting into something powerful and lasting.

Materiality seems to play an important role in the design, from microcement floors to Italian marble and stainless-steel finishes. How do these more industrial materials complement the softness of flowers?

The project is built around contrasts. Flowers represent softness, fragility and nature and using materials like the beautiful marble by Stonetta represents permanence and structure. When these opposites exist together, they amplify each other. The flowers feel even more alive within a space that is minimal and architectural. And the architecture feels more emotional because it interacts with something organic.

Floristry has traditionally been seen as feminine. As a male founder working with flowers as a primary medium, how do you view that perception, and how do you think it is evolving today?

For me, flowers have never been about gender. They are part of nature, part of culture, part of art. Historically, flowers have always been present in architecture, painting, fashion and rituals across different cultures. I think today people are beginning to see floristry differently – not just as decoration but as a creative discipline that can be conceptual, sculptural and expressive.

Flowers seem to have become particularly relevant again in art, fashion and design. Why do you think floristry has recently gained this renewed cultural ‘cool factor’?

I think, like most things that are organic and natural, society has almost a subconscious cyclical approach to it. In a world that is full of stimulation and speed, as humans, we will always find our way back to nature somehow. I think people are searching for emotion and authenticity again. In a very digital world, flowers remind us of something real. They carry symbolism, memory, and beauty, and artists, designers, and fashion houses are rediscovering that emotional power.

UrArtU operates not only as a gallery but also as a multi-purpose platform for workshops, pop-ups and collaborations. How important is that flexibility to the identity of the space?

It’s essential. I never wanted UrArtU to be static. Creativity is always evolving, and the space should evolve alongside it. The gallery is designed to host many different types of experiences like workshops, installations, collaborations, and even brand projects. It’s a platform for ideas as much as it is a gallery for flowers.

Alserkal Avenue has become one of the most important cultural districts in the UAE. What does it mean for UrArtU to be part of this creative community?

Being part of Alserkal Avenue is very meaningful because it’s one of the few places where different creative disciplines truly meet in the city – art, architecture, design, fashion and food. For UrArtU, it’s the perfect environment. The community here encourages experimentation and dialogue, and that’s exactly the spirit behind the gallery.

More broadly, how do you see the creative industry in the UAE evolving?

The UAE is becoming an exciting place for creativity because there is openness to new ideas and formats. Galleries become event spaces, design studios become cultural platforms, and collaborations happen across industries. That kind of fluidity allows creativity to grow in unexpected directions.

Looking ahead, what are your plans for UrArtU Gallery? Are there particular exhibitions, collaborations or creative directions you’re excited to explore in the coming years?

UrArtU is a long-term creative journey. We’re planning collaborations with artists and designers from different fields, and also more public experiences that allow people to interact with floristry in new ways. At the moment, we are running BELONGING(S), a solo exhibition with Tunisian-Finnish artist Dora Dalila Cheffi, curated by Yeocheva, but definitely stay tuned for more to come.

By Lindsay Judge

For 2026, Dior Joaillerie returns to one of its most poetic signatures with the latest Diorette creations, a collection that captures the spirit of nature through the imaginative lens of Victoire de Castellane. Drawing inspiration from the lush landscapes of Milly-la-Forêt, so closely tied to the life and vision of Christian Dior, the new pieces unfold like miniature gardens, translating flora and fauna into finely crafted jewels.

At once playful and precise, the collection reflects an enduring dialogue between creativity and craftsmanship. Each piece is brought to life through Dior’s exceptional savoir-faire, with lacquer applied entirely by hand in a meticulous, multi-step process. The result is a palette of vivid, almost painterly hues that lend depth and vitality to every detail. Elements are then assembled with equal care, underscoring the technical mastery of the Maison’s ateliers.

Motifs central to Dior’s visual language reappear with renewed delicacy. Daisies, a symbol long associated with the House, bloom alongside bees and other talismanic emblems, evoking a sense of luck, joy and continuity. In select designs, these elements are set against rows of luminous pearls, introducing a refined contrast between whimsy and elegance.

The collection’s more intimate pieces take on the role of modern talismans. Diamond-set clovers, ladybirds and daisies are suspended on fine chains in yellow or rose gold, designed to be worn close to the skin. Light, symbolic and deeply personal, they reflect the essence of Diorette, where nature, memory and emotion are distilled into jewellery that feels both enchanting and enduring.

The Aston Martin DB12 comes with a bold claim attached to its name: the world’s first “Super Tourer.” It sounds like the sort of branding exercise luxury carmakers love to invent, but after spending time with the car, the title begins to make sense. This is not simply another grand tourer built for long motorway drives and occasional bursts of speed. The DB12 feels designed for modern luxury living, equally at home pulling up outside a five-star hotel in Dubai as it is carving through open mountain roads.

What immediately stands out about the DB12 is how approachable it feels for a car with such dramatic performance figures. Beneath its sculpted bonnet sits a 4.0-litre twin-turbo V8 producing 680PS, capable of taking the car from 0-60mph in just 3.5 seconds. Yet despite this immense power, the DB12 never feels intimidating or difficult to manage. Instead, Aston Martin has focused heavily on refinement, balance and ease of use, creating a car that feels surprisingly suited to daily city life.

In urban environments, the DB12’s adaptive suspension and intelligent driving systems come into their own. Luxury performance cars often struggle in cities, feeling overly stiff, too aggressive or simply exhausting to drive in traffic. The DB12 avoids this entirely. In its GT mode, the ride quality remains composed and smooth, absorbing uneven roads and speed bumps with a level of comfort you would expect from a much softer luxury saloon. Steering is light enough to make parking and manoeuvring effortless, while visibility is helped by the car’s cleaner, more contemporary proportions.

The interior is perhaps where the DB12 feels most transformed from previous Aston Martins. Traditionally, the brand’s cabins leaned heavily on old-school charm but lacked the intuitive technology buyers now expect. Here, Aston Martin has clearly modernised its approach. The all-new infotainment system finally feels contemporary, with responsive touchscreens, wireless Apple CarPlay and a far more seamless digital experience. Importantly, though, physical buttons remain for key controls, something many luxury brands are now abandoning to their detriment.

The cabin itself strikes an impressive balance between sportiness and luxury. Hand-stitched leather, elegant trim detailing and beautifully crafted materials create an atmosphere that feels indulgent without becoming overly flashy. The driving position is low and cocooning, but never cramped, while the overall layout prioritises comfort and usability rather than theatrics. It feels like a car designed for someone who genuinely intends to spend time in it, not simply admire it in a garage.

What also makes the DB12 particularly relevant today is its versatility. There are faster supercars and softer luxury cruisers on the market, but very few combine both worlds this effectively. It can switch personalities effortlessly, calm and refined for city commutes, then genuinely thrilling when roads begin to open up. The handling is sharp and controlled, yet the car never loses its sense of composure.

Aston Martin has successfully created a car that delivers all the qualities modern consumers are looking for. It is fast, elegant and unmistakably luxurious, but crucially, it seamlessly blends into everyday life.

As the UAE’s design landscape continues to evolve, a new generation of homegrown brands is redefining how materials, craftsmanship and contemporary living intersect. Among them is YLA, a Dubai-based furniture atelier founded by engineer Benoît Rondard, whose work challenges traditional perceptions of metal in interior design. With a background in high-precision manufacturing and a vision rooted in emotional design, Rondard has set out to transform metal from an industrial material into something refined, expressive, and quietly architectural.

Launched in 2025, YLA’s debut Audace Collection introduced sculptural pieces crafted from stainless steel and aluminium, softened through thoughtful proportions, curved forms and tactile finishes. Designed in collaboration with French designer Rémi Damilleville, the collection reflects a balance between strength and serenity, combining technical precision with a calm, minimal aesthetic. Rooted in Dubai yet conceived with a global perspective, YLA’s philosophy centres on longevity, intentional design, and the belief that furniture should evoke emotion as much as it functions.

With local manufacturing at the heart of the brand and a growing international outlook, Rondard is part of a broader movement positioning the UAE as an emerging global design hub. In this interview, he discusses the inspiration behind YLA, the evolving regional design landscape and how material-led design is shaping the future of contemporary interiors.

What led you to start your own brand, and what’s the vision behind YLA?

Yla was born from the desire to translate deep technical expertise in metal into a design language that feels refined, minimal, and relevant for contemporary interiors. Coming from a background rooted in high-precision metal manufacturing, I saw an opportunity to move beyond industrial applications and explore a more expressive, design-driven approach.

The vision behind Yla is to create indoor metal furniture that combines precision, durability, and a strong aesthetic identity. The goal is to position metal not as a cold or purely functional material, but as something that can convey balance, colour, and emotion within a space.

What drew you to working with metal in particular, and how do you approach transforming an industrial material into something refined and expressive for the home?

Metal is often perceived as rigid and industrial, but it has incredible potential when handled with precision. What attracted me is exactly this contrast: taking a material associated with industry and transforming it into something soft in perception, even if not in structure.

At Yla, we work on proportions, finishes, and colour to achieve this transformation. Powder coating, for example, allows us to introduce depth and warmth, while our approach to geometry keeps the design minimal and balanced. The objective is to make the material appear to almost disappear, leaving a clean, calm presence in the space.

Tell us about your design process and how you approach each piece.

Our design process is highly iterative and closely connected to production. We start with a clear intention regarding proportions and use, then move quickly into prototyping.

Because design and manufacturing are closely linked, we can test, refine, and adjust continuously. Details such as junctions, thickness, and finishing are critical, as they define the final perception of the piece. The goal is always to reach a point where the design feels simple, even if the process behind it is technically complex.

What was the creative vision behind the first collection?

The first collection was conceived as a statement of intent. We wanted to introduce a series of pieces that express clarity, balance, and restraint, while showcasing the technical capabilities behind them.

Colour played an important role, with tones inspired by nature rather than trends. The collection was designed to feel cohesive, with each piece contributing to a consistent visual language built on minimal forms and precise execution.

Producing locally in Dubai is central to YLA’s identity. Why was it important for you to build a design brand rooted in local manufacturing?

Local production allows us to maintain full control over quality and to keep a direct link between design and execution. It also gives us the flexibility to produce made-to-order pieces and adapt when needed.

Dubai offers a robust industrial infrastructure, and our location in Jebel Ali allows us to operate efficiently while staying connected to international markets. Beyond logistics, it was important to build something rooted in the place where the brand was created, contributing to the local ecosystem.

How have you seen the region’s design and manufacturing landscape evolve?

There has been a clear evolution over the past few years. The region is moving from being primarily a consumer of design to becoming a place where design is created and produced.

We are seeing more initiatives, more platforms, and a growing interest in locally developed brands. At the same time, manufacturing capabilities are improving, enabling higher-quality, more complex production within the region.

The UAE is increasingly positioning itself as a global design hub. What opportunities does the region offer emerging design brands today?

The UAE offers a unique platform for visibility and growth. It combines international exposure with strong infrastructure and a supportive business environment.

For emerging brands, this means the ability to launch, test, and scale in both local and global markets simultaneously. The diversity of the audience also creates opportunities to engage with different perspectives and industries, from residential to hospitality.

How would you describe the design identity emerging from the Middle East, particularly in furniture and product design?

The identity is still evolving, but it is becoming more confident and distinct. There is a growing balance between international influences and regional sensibilities.

In furniture and product design, this often translates into a focus on materiality, texture, and a certain sense of calm and space. Rather than following trends, many designers are exploring more timeless and grounded approaches.

Platforms such as Dubai Design Week, Downtown Design and Alserkal Avenue are becoming increasingly influential. How important are these ecosystems for supporting regional design brands?

These platforms are essential. They provide visibility, build connections, and enable brands to showcase their work in a curated environment.

They also help build a narrative around design in the region, which is important for positioning local brands within a broader international context. For emerging brands, this can be a first step towards recognition.

What more do you think is needed to strengthen the region’s design industry and support homegrown brands?

Continued investment in both creative and industrial infrastructure will be key. Education, collaboration between designers and manufacturers, and access to production facilities are all important elements.

At the same time, there is a need to support long-term brand building, not just short-term visibility. Developing strong, consistent brands takes time, and the ecosystem should encourage that.

Material-led design and craftsmanship are gaining renewed attention globally. How do you see this influencing contemporary furniture design?

There is a growing appreciation for how things are made, not just how they look. Material-led design brings focus back to the essence of an object.

In furniture, this translates into pieces that are more honest, where the material and the construction play a central role in the design. Craftsmanship becomes visible, even in minimal forms.

Sustainability and longevity are becoming increasingly important in interiors. How is YLA approaching these ideas in both design and production?

For us, sustainability is closely linked to durability and longevity. Our pieces are designed to last, both in terms of structure and aesthetics.

We use materials such as stainless steel and aluminium, which are durable and suitable for long-term use. Finishes are developed to resist wear and preserve surfaces over time.

The idea is to create objects that do not need to be replaced, which is a fundamental aspect of sustainable design.

Collaboration appears to be central to YLA, including your work with designer Remi Damilleville. How important are creative partnerships in shaping the brand’s direction?

Collaboration is very important. It brings different perspectives and allows the brand to evolve beyond a single point of view.

Working with designers such as Remi Damilleville helps challenge assumptions and refine ideas. These exchanges contribute to shaping a more consistent and thoughtful design language.

What’s the biggest challenge you face with a new brand in the region today?

One of the main challenges is building recognition and trust as a new brand. In a competitive environment, it takes time to establish credibility and communicate the value behind the product.

Balancing investment between product development, production, and brand building is also a key challenge, especially in the early stages.

Looking ahead, what is your long-term vision for YLA, and what role would you like the brand to play within the regional and international design landscape?

The long-term vision is to position Yla as a reference for indoor metal furniture, known for its precision, durability, and refined minimal aesthetic.

We aim to grow both within the region and internationally, collaborating with architects, designers, and hospitality projects. At the same time, we want to contribute to the development of a strong design identity emerging from the Middle East, showing that brands from this region can compete globally with a clear and confident voice.

By Lindsay Judge

Rooted in Saudi Arabia’s rich fragrance heritage and shaped by a commitment to rare natural ingredients, Batlah is redefining the art of haute perfumery in the region. Founded by HRH Prince Mohammed Alfaisal Alsaud, the brand draws inspiration from traditional Arabian perfumery, particularly the prized Taif Rose, to create fragrances that honour heritage while embracing a refined, contemporary sensibility.

With a focus on craftsmanship, patience and purity of materials, Batlah stands apart in an industry often driven by speed and mass production. Each scent is designed to evolve naturally on the skin, reflecting a philosophy rooted in restraint, quality and authenticity. As interest in Middle Eastern perfumery continues to grow globally, Batlah represents a new generation of regional fragrance houses preserving tradition while shaping the future of scent.

Here, HRH Prince Mohammed Alfaisal Alsaud shares the inspiration behind the brand, the significance of Saudi Arabia’s fragrance heritage and his vision for a more refined, material-led approach to perfumery.

Tell us about the origins of Batlah. What inspired you to create a Saudi haute perfumery house?

The story started in 2015 as we were working to refine and increase the production of Saudi Arabia’s Taif Rose, which lead us to the conclusion that such raw material will always be rare and limited by nature, being the top of its grade in comparison to all other rose oils, we took that as a sign for Batlah to create fragrances using the same characteristics of the Taif Rose (Natural, highest grade) oils which led us to create a Saudi luxury Haute Perfumery House.

Where did your personal love for fragrance begin, and what is your earliest memory connected to scent?

I have loved fragrance as long as I can remember. Fragrance is integrated in the Saudi social fabric and heritage; the first distillation of essential oils was conducted by Arabian Scholars. The oldest trade route of incense and essential oils passed through the heart of Saudi, in poetry, gifts of Kings and in celebrations, in every household in Saudi Arabia, you will find a story of fragrance of some sort. One of my most cherished memories was of the Taif Rose, which my grandfather used to gift us when we were very young.

Saudi Arabia has a deep fragrance heritage. How does Batlah interpret and preserve this tradition for a contemporary audience?

Saudi Arabia’s fragrance heritage is profound, and we have always felt that it should be approached with reverence rather than reinvention. At Batlah, we preserve that tradition by remaining faithful to the principles that once defined fine perfumery in the region: natural materials, uncompromising quality, and a respect for the character of each raw ingredient. What changes is the level of refinement. We use contemporary techniques and technologies not to alter that heritage, but to render it with greater precision and purity. The objective is to retain the soul of traditional perfumery while presenting it with a clarity and sophistication that speaks to the present. For us, continuity matters more than novelty. We are simply carrying the tradition forward in its most considered form.

Batlah is known for using rare and natural ingredients. Why was it important for you to focus on this approach, and how does it shape the final fragrance experience?

From the beginning, the intention was to focus purely on creating high-quality fragrances, as if nothing else mattered but the material itself and the audience that truly values it. Rare, natural ingredients offer something that cannot be replicated. They have depth, subtlety, and a natural evolution on the skin that feels alive and unforced.

This shapes the fragrance in a very quiet way. It is not about immediate impact, but about how it develops over time-more nuanced, more personal, and truer to its origin. Ultimately, it allows one to experience the beauty of the raw material itself, in its most refined form.

How would you describe the Batlah signature?

Batlah’s signature is defined by restraint and material. It is less about a fixed style and more about a consistent standard: clarity, depth, and respect for the natural character of each ingredient. There is a certain quietness to it. The compositions are composed rather than constructed, allowing the materials to speak with precision.

For whom are Batlah fragrances created?

For those who believe that the most refined form of beauty is the one that is simple yet carries depth.

The fragrance industry in the region is evolving rapidly. How do you see the Middle East influencing global perfumery today?

The Middle East has always had a deep relationship with perfumery. What is changing now is its global influence. There is a growing appreciation for the region’s understanding of raw materials and a more intimate way of wearing fragrance, one that values depth, presence, and character over trends. In many ways, it is not introducing something new but sharing our heritage with a global audience.

As a founder, what have been some of the biggest challenges in building a Haute perfumery brand?

The greatest challenge is discipline. Choosing patience and restraint in an environment that favours speed. Choosing the long-term brand benefits on a daily basis over short-term gains.

How do you balance heritage and innovation when creating new fragrances for Batlah?

Heritage is a continuous cycle of innovation that was created over time. The way we see it, we are in a cycle in which we work to preserve the essence of perfumery rather than lose it altogether.

Looking ahead, what is your long-term vision for Batlah, and how would you like the brand to shape the future of fragrance in the region?

The vision is to grow with intention, without compromising the standard. If Batlah can encourage a more refined, material-led approach to perfumery in the region, that in itself would be meaningful.

What is the fragrance you choose to wear most often?

Cashmere, Taif Rose, Aqua or Nahar.

What message would you send to our readers about the brand?

I would invite them to experience a long-lost Beauty.

By Lindsay Judge

At Bvlgari, eclecticism has long been more than an aesthetic; it is a philosophy. With the new Eclettica high jewellery collection, the Maison pushes this vision further than ever before, unveiling a collection that blurs the boundaries between disciplines, mediums and meanings. Conceived as a living dialogue with art, the collection extends across jewellery, watchmaking, leather goods and fragrance, forming a complete universe shaped by creativity, craftsmanship and bold imagination.

At the heart of Eclettica lies an extraordinary High Jewellery offering of more than 150 one-of-a-kind creations. Each piece is conceived as wearable art, drawing from a spectrum of artistic influences that range from the sculptural to the painterly. Gemstones are treated not simply as precious materials, but as expressive elements, arranged in compositions that feel both intuitive and meticulously orchestrated.

Anchoring the collection are nine exceptional Capolavori, or masterpieces, which represent the pinnacle of Bvlgari’s savoir-faire. These singular creations embody the Maison’s pursuit of gemstone excellence and technical mastery, while also capturing the creative audacity that defines the collection’s spirit.

This multidisciplinary vision continues into High-End Watchmaking, where time itself becomes a canvas for artistic expression. Here, Swiss horological expertise is elevated through the integration of exceptional gemstones and intricate jewellery techniques. The resulting timepieces move beyond functionality, existing instead as objects of art that reflect the full spectrum of Bvlgari’s eclectic identity.

The collection’s narrative extends further into the realm of accessories with a series of one-of-a-kind High Jewelry bags. Crafted through a dialogue between jewellery savoir-faire and leather artistry, these creations transform the handbag into something far more precious. Alongside them, the High-End Eclectic Serpenti bags introduce a new alligator-leather silhouette, distinguished by a contemporary interpretation of the Maison’s iconic snake-head closure, reimagined through the lens of Eclettica.

Completing this immersive universe is a trio of very high-end fragrances, each conceived as an olfactory interpretation of artistic disciplines. Drawing inspiration from architecture, sculpture and painting, these scents translate form, texture and colour into sensory experiences, further blurring the lines between High Jewelry and High Perfumery.

The collection displays an extraordinary level of craftsmanship, where each creation is the result of hundreds, and in some cases thousands, of hours of meticulous work. Master artisans bring together traditional techniques with advanced innovation, carefully selecting and setting rare gemstones to enhance their natural brilliance and character. Complex transformable mechanisms allow pieces to shift seamlessly between forms, reflecting both technical ingenuity and a deep understanding of wearability. From the precision of stone cutting to the invisible settings that create fluidity and lightness, every detail is considered. It is this balance of heritage savoir-faire and forward-thinking design that defines Bvlgari’s approach, elevating each piece into a true work of art.

Dior enters a new era of femininity with J’adore Intense, a bold reinterpretation of its iconic fragrance composed by Francis Kurkdjian and embodied by Rihanna. Sensual, radiant and unapologetically confident, the new scent reimagines J’adore through a modern lens, capturing the spirit of a woman who embraces intensity, individuality and pleasure without hesitation.

Rihanna’s presence marks a defining moment for the House. As the J’adore muse, she brings a fresh energy to the fragrance, transforming its identity with her unmistakable confidence and golden radiance. Her image, captured in a striking portrait at Versailles, reflects the essence of J’adore Intense. With her arresting gaze, layered pearls, glowing gold tones and signature tattoos, she embodies a femininity that is both powerful and liberated. The setting, steeped in grandeur and history, contrasts with Rihanna’s contemporary presence, reinforcing the fragrance’s dialogue between heritage and modernity.

For Francis Kurkdjian, Perfume Creation Director at Dior, J’adore Intense presented a rare opportunity to compose a fragrance inspired by a specific woman. Designed with Rihanna in mind, the scent explores a more voluptuous, rounded and luminous interpretation of the iconic J’adore floral bouquet. The result is a fragrance that unfolds as a warm, honeyed floral nectar, layered with sensual depth and vibrant intensity.

At the heart of the composition, jasmine takes on soft apricot nuances, while ylang-ylang, one of the most solar of flowers, radiates warmth and brightness. Rose introduces an addictive dimension, enhanced by a gourmand violet accord that adds richness and softness. These luminous florals are grounded by a base of creamy sandalwood and generous vanilla, creating a scent that melts into the skin with enveloping warmth. The fragrance is designed to deliver immediate pleasure, an instant sensation that reflects the emotional and sensual impact of J’adore Intense.

Kurkdjian describes the fragrance as an expression of contemporary femininity shaped by luminous intensity and spontaneous sensuality. The composition pushes the legendary J’adore bouquet to its peak, capturing the moment when flowers reveal their most vibrant and colourful facets. The result is both familiar and daringly new, a fragrance that celebrates indulgence while remaining true to the essence of J’adore.

The bottle itself continues the story. The iconic J’adore amphora, inspired by Christian Dior’s 1947 New Look silhouette, is reimagined with a lighter glass design, reducing environmental impact while preserving its elegant curves. The refined transparency enhances the golden hue of the fragrance, while a delicate golden bead engraved with the name J’adore sits atop the slender neck, like a precious jewel suspended in light.

With J’adore Intense, Dior creates more than a fragrance. It introduces a new interpretation of femininity, one that is confident, radiant and unapologetically sensual. Through Rihanna’s presence and Francis Kurkdjian’s composition, J’adore Intense becomes a celebration of modern beauty, where heritage meets bold individuality and the iconic scent evolves for a new generation.

Founded in 2018 by architect and jewellery designer Lana Al Kamal, Lana Al Kamal Jewelry reflects a thoughtful approach to design rooted in craftsmanship, structure and emotional storytelling. Drawing on her background in architecture, Al Kamal approaches jewellery with a sculptural sensibility, creating pieces that balance proportion, movement and meaning. An elite member of the Dubai Chamber’s Jewelry Designers and Gold Business Group and supported by prestigious certifications from the Gemological Institute of America, she brings both technical expertise and creative vision to her work.

Since launching her brand, Al Kamal has developed collections inspired by nature, symbolism and the evolving role of jewellery in modern life. Her latest collaboration with Al Jalila Foundation, the Amal piece, further reflects her belief that jewellery can carry purpose as well as beauty, supporting women’s health and those facing cancer.

Here, Lana Al Kamal discusses her journey from architecture to jewellery design, the inspiration behind her sculptural aesthetic, the growing regional design scene and her vision for building a meaningful, globally recognised brand.

You began your career as an architect before founding your jewellery brand in 2018. What inspired the transition from architecture to fine jewellery, and how do the two disciplines intersect in your work today?

Architecture was the beginning of my relationship with design. When I studied architecture, I discovered that what truly excited me was not only buildings themselves, but the act of designing. I found myself fascinated by every form of design, interior spaces, exterior structures, objects and details. During that time, I began sketching jewellery purely for myself, almost as a personal creative exercise. Even while working as an architect, I felt a growing desire to explore design beyond architecture. Jewellery slowly became another passion. Eventually, I decided to study jewellery design and gemmology, and that was the moment when I realised I wanted to build something of my own. The transition was not sudden; it grew naturally from a deep love of design. Today, architecture still lives inside my work. I approach jewellery the same way an architect approaches a building, thinking about proportion, balance, structure and how a piece interacts with the body. Each design becomes a small architectural object with emotional meaning.

In what ways does your architectural training influence the way you approach form, balance and structure in jewellery design?

Architecture trains your eye to understand volume, balance and structure. That perspective naturally shapes how I design jewellery. I rarely see jewellery as something flat. I think about how the piece moves, how light touches different surfaces and how it sits on the body from different angles. Many of my designs include layers and depth because I approach them almost like small sculptures. This architectural mindset allows the pieces to feel dynamic and dimensional rather than purely decorative.

Your latest collaboration with Al Jalila Foundation introduces the Amal piece, created to support women’s health and those facing cancer. What inspired this initiative, and why was it important for you to use jewellery as a vehicle for social impact?

I strongly believe that every career should include a way of giving back to the community. As a brand founded by a woman, I have always supported women. I believe deeply in the idea of women supporting women. When I started thinking about how Lana Al Kamal Jewelry could contribute meaningfully, I wanted to create initiatives that could support women in real ways. Supporting women facing cancer felt especially meaningful, leading to a collaboration with the Al Jalila Foundation.

What makes the Amal initiative special to me is that it is not only the brand making a donation. With every Amal necklace purchased, 50% of the profits are donated to support women battling cancer. That means our clients also become part of the impact. In this way, the initiative becomes something shared, the brand, the clients and the wider community all participating together in spreading hope and support.

The name Amal, meaning hope, carries powerful symbolism. How did that concept shape the design of the piece itself?

The entire design process began with the word itself, Amal, meaning “hope.” From that idea, we developed a mood board exploring emotions connected to hope, care and compassion. The heart shape became central to the design because it symbolises warmth, love and empathy.

The heart is framed with diamonds that form a circle around it, almost like a community standing together in support. At the centre, the heart is crafted from mother-of-pearl, chosen for its soft, calming presence and sense of serenity. Finally, a ruby sits at the centre, a stone associated with life, courage, strength and resilience. Each element carries meaning. Together, they create a piece that tells a story of hope, compassion, and collective support.

As a female-founded jewellery house, your brand celebrates strength and femininity in equal measure. How has your experience as a woman shaped the way you build and lead your business?

For many years, the fashion and jewellery industries were largely led by men. Today, it is inspiring to see more women stepping into leadership roles and shaping the direction of these industries. As a woman designing for women, I feel there is a different level of understanding. I can imagine how the piece will feel when worn, how it becomes part of someone’s daily life and what emotional meaning it might carry. That perspective naturally influences both my designs and how I lead my brand. Femininity brings sensitivity, intuition and attention to detail, qualities that are incredibly powerful in creative industries.

The Middle East is seeing a new wave of independent jewellery designers emerge. How do you see the regional jewellery industry evolving, and what makes this moment particularly exciting?

The Middle East is experiencing a very exciting evolution in jewellery design. In the UAE in particular, there is strong support for creativity and entrepreneurship. The environment encourages designers to start their own businesses and develop their artistic voices.

Over the past eight years, since founding my brand, I have watched the regional design scene grow rapidly. Today, many talented designers produce work that could easily compete internationally in terms of creativity, craftsmanship, and gemstone quality. This moment is exciting because the region is no longer only a consumer of luxury; it is becoming a creator of it.

Many of your collections explore themes found in nature. What draws you to these motifs, and how do they reflect the women who wear your designs?

Nature is one of the greatest sources of inspiration for me. If you look closely, nature offers endless ideas, plants, insects, waves, stars, colours and textures. It is an infinite design library. Personally, I feel very connected to nature, and that connection naturally appears in my jewellery.

Many of my pieces also carry symbolic meaning inspired by nature. Butterflies represent transformation, flowers symbolise growth and bees reflect dedication and harmony. Through these symbols, the jewellery becomes more than decoration. It reflects the journeys and emotions of the women who wear it.

Your pieces are designed to move effortlessly between special occasions and everyday wear. Why was it important for you to create jewellery that accompanies women through all moments of life?

Jewellery should not only exist for rare occasions. The pieces we wear every day often become the most meaningful because they accompany us through our daily lives. I wanted to create designs that feel elegant yet comfortable enough to wear regularly. In modern life, women want jewellery that moves with them, from everyday moments to special celebrations. Designing pieces that adapt to both was very important to me.

Having studied gemmology and jewellery design at the Gemmological Institute of America, how important is technical mastery when it comes to creating pieces that feel both artistic and enduring?

Technical mastery is essential. Creativity alone is not enough to create fine jewellery. Understanding gemstones, metal behaviour, structural durability and craftsmanship is what allows a design to truly come to life. Studying gemmology and jewellery design gave me the technical foundation needed to translate ideas into pieces that are not only beautiful but also durable and enduring. In many ways, jewellery design is a balance between art and engineering.

Entrepreneurship often comes with challenges. Looking back at your journey since launching the brand, what have been some of the most defining or difficult moments?

One of the biggest realisations when starting a business is understanding that design is only one part of the journey. When I launched the brand, I quickly learned that running a company involves many other responsibilities, strategy, operations, communication and business decisions. That was one of the biggest challenges in the beginning. But over time, through experience, learning and persistence, you develop the skills needed to navigate these challenges. Every difficulty becomes part of the learning process.

For women who are considering a career change, as you once did when leaving architecture, what advice would you give them about taking that leap?

For me, the transition from architecture to jewellery did not happen overnight. It was a gradual process. I spent time exploring jewellery design while still working in architecture. I studied, practised and tested whether this passion could truly become a profession.

Only once I felt confident that it could become both creatively fulfilling and sustainable did I make the full transition. My advice would be not to rush such decisions. Think carefully, prepare yourself and build a strong foundation. Follow your passion, but also approach it with patience and clarity.

Finally, looking ahead, what would you still like to achieve with Lana Al Kamal Jewelry?

My goal is to continue growing Lana Al Kamal Jewelry into a globally recognised brand. I want the brand to be known not only for craftsmanship and design, but also for meaningful storytelling and emotional connection. Jewellery should carry beauty, but also purpose and memory. Ultimately, I hope that when people wear a Lana Al Kamal piece, they feel both elegance and meaning, something that becomes part of their own story.

By Lindsay Judge

Her Excellency Mariam Al Hammadi stands at the forefront of advancing women’s empowerment in the UAE and beyond. As Director General of NAMA Women Advancement, she brings a strategic, forward-thinking approach shaped by years of humanitarian leadership, policy development and cross-sector collaboration. With a career spanning both the corporate and non-profit worlds, Mariam has consistently focused on creating meaningful, long-term change, placing women at the centre of sustainable social and economic progress.

Before joining NAMA, Mariam served as Director General of The Big Heart Foundation, where she led initiatives impacting millions of lives across more than 25 countries. These experiences shaped her belief that empowering women is not only a social priority but a catalyst for stronger communities and resilient economies. Today, under her leadership, NAMA continues to expand its reach through partnerships, research, and programmes designed to equip women with the tools to lead and thrive across sectors.

Guided by the vision of Her Highness Sheikha Jawaher bint Mohammed Al Qasimi, Mariam’s work reflects a commitment to creating systemic change, moving beyond conversations around empowerment to building tangible opportunities. In this conversation, she reflects on leadership, collaboration, and the evolving role of women across the region, while sharing her vision for the future of gender equity on both a regional and global stage.

You have led transformative initiatives across both humanitarian and development sectors. How has your experience at The Big Heart Foundation shaped your approach to advancing women’s empowerment at NAMA?

Driven by a deep commitment to advancing women’s socio-economic status, my professional journey has spanned both the corporate and humanitarian sectors. I began my career in the corporate world before making a conscious transition into humanitarian and development work to pursue a path where impact is both meaningful and enduring in people’s lives.

My experience at The Big Heart Foundation was instrumental in shaping my perspective on what true empowerment requires. Working across more than 30 countries and engaging with millions of people facing complex humanitarian challenges, I came to understand that impact is not measured by immediate outputs, but by the lasting change it creates in people’s lives and the systems that support them.

I met women whose resilience fundamentally redefined strength, mothers rebuilding their lives after loss, young girls pursuing education against significant barriers, and entrepreneurs creating opportunities in fragile contexts. These experiences reinforced a fundamental truth that women are not just passive beneficiaries of change, but active drivers of transformation. When equipped with the right tools and opportunities, their influence extends beyond the individual, uplifting entire communities.

Today, at NAMA Women Advancement, I build on this foundation with a clear focus on shaping systems that enable women’s full and sustained participation in economic and social life. Our approach goes beyond programmes to influence policies, strengthen institutional frameworks, and drive partnerships that embed gender equity into the fabric of economies. We are working to ensure that women’s contributions are not only recognised but fully integrated into future-facing sectors and leadership spaces, positioning empowerment as a driver of inclusive and sustainable growth.

Ultimately, empowerment is not only about unlocking individual potential but about redefining the systems that sustain inclusive and lasting impact at scale.

Working under the vision of Her Highness Sheikha Jawaher bint Mohammed Al Qasimi, how does that leadership influence the direction and ambition of NAMA today?

The vision of Her Highness Sheikha Jawaher bint Mohammed Al Qasimi is not only guiding but also foundational to NAMA’s mandate. It drives a strategy focused on scalable outcomes, systemic change, and measurable impact, positioning women’s advancement as a core pillar of economic and social development.

This vision is reflected in how NAMA translates strategy into action, focusing on programmes that deliver tangible results and sustained progress in women’s lives. It informs our approach to designing initiatives that are relevant, scalable, and aligned with national priorities and global development frameworks.

From its inception, NAMA has worked to reshape perceptions of women’s roles and reinforce their position as active contributors to economic and social advancement. This goes beyond awareness to enabling participation—creating environments where women are supported and empowered to lead and thrive across all sectors.

Her Highness’s vision also reflects a global perspective, recognising that advancing women’s empowerment is a shared responsibility that requires collaboration, knowledge exchange, and sustained commitment. At NAMA, we translate this vision into action through strategic partnerships, strengthened institutional frameworks, and programmes that contribute to more inclusive and forward-looking societies.

Her leadership sets a clear ambition: to not only support women, but to redefine the systems that enable their empowerment to be enduring and transformative.

The conversation around women’s empowerment has evolved significantly in recent years. What do you believe are the most pressing challenges women still face, particularly within the region?

The conversation around women’s empowerment has advanced significantly, and in many parts of the region – particularly in the UAE – the foundations are strong. What has shifted more fundamentally is the environment in which women live and work, shaped by rapid economic, technological, and social change.

Over the past decades, economic structures, the nature of work, and the pace of life have evolved rapidly. Industrial and digital transformations have redefined labour markets, placing greater emphasis on specialised skills, adaptability, and lifelong learning. At the same time, roles that were once embedded within family and community structures have transitioned into more formal and complex systems. In parallel, technological innovation has not only expanded opportunities but also reshaped how individuals participate in the economy.

As a result, women today navigate an environment where choices are broader, roles are more interconnected, and decision-making requires greater awareness, agility and confidence.

In this landscape, the challenge extends beyond access or participation. It lies in ensuring that women are equipped—not only to engage with these changes—but to actively shape them.

Women’s empowerment, therefore, is not a standalone objective; it is a strategic imperative for resilient and sustainable societal progress. Achieving this requires moving beyond a focus on individual capability-building to instead addressing the systems that influence women’s experiences- policies, workplace structures, and economic frameworks. It is about creating enabling environments that recognise the full spectrum of women’s roles – whether in leadership, the economy, or within the family – and ensure these roles are supported, not constrained.

At NAMA, this perspective guides our work. Through initiatives such as Irtiqa, we collaborate with institutions to embed gender equity into policies and workplace practices, particularly in sectors where structural gaps persist.

Our research and policy efforts are equally critical. For example, our collaboration with partners on care-related challenges contributed to developing the Care Leave policy, demonstrating how evidence-based insights can drive tangible, systematic policy outcomes.

Collaboration has been central to your work, both locally and globally. How important are partnerships in accelerating gender equity, and what kinds of alliances are you prioritising moving forward?

Advancing gender equity is inherently collaborative – its progress depends on how effectively institutions, sectors, and communities align their efforts.

In practice, the difference between intention and impact often lies in that alignment. When efforts are fragmented, progress remains limited. But when the government, the private sector, and civil society operate within a shared framework, change becomes more scalable, more sustainable, and more responsive to real needs.

At NAMA Women Advancement, we use partnerships as a strategic lever to shape the agenda for gender equity and drive systemic change. We work with government entities to inform and advance inclusive policies, and engage the private sector to strengthen workplace standards and expand equitable economic participation. For example, through our collaboration with Emirates Global Aluminium on the Challenger Programme, we support the development of more inclusive practices within heavy industry, helping address structural gaps in traditionally male-dominated sectors. These partnerships are designed not only to implement initiatives, but to influence how institutions embed gender equity into their operations at scale.

Our international programmes extend this approach globally. Through collaborations with UN Women, we have supported women entrepreneurs in accessing finance and markets. In Africa, our partnership with the International Renewable Energy Agency has focused on advancing women’s participation in the clean energy sector, equipping them with technical and leadership skills in emerging industries.

Looking ahead, our focus is on building alliances that go beyond implementation. We are prioritising partnerships that inform policy, unlock access to opportunities, and elevate women’s voices within regional and global dialogues.

Advancing gender equity requires a shared commitment to creating environments where women can fully participate and actively lead in defining the future of our societies.

What’s the biggest challenge you face in your role today?

One of the biggest challenges I face today is ensuring that progress in women’s empowerment is not only visible but also meaningful and sustainable across policies, institutions, workplaces, and communities.

While there is growing recognition of the importance of empowering women, the real challenge lies in translating that recognition into systems that consistently enable women’s participation, leadership, and growth. In my role, this means working across multiple layers—policy, institutions, and partnerships—to ensure that efforts are aligned, cohesive, and capable of driving lasting change.

It also requires balancing immediacy with long-term impact. There is often pressure to deliver visible outcomes, but the most meaningful progress is built over time—through structures that continue to create opportunities far beyond a single initiative or moment.

At its core, the challenge is not only to expand opportunities for women but also to ensure they are connected so they can thrive across sectors and generations. Because real empowerment is measured by sustained progress over time, not isolated outcomes.

What are some of the key initiatives or programmes that are coming up in the near future at NAMA?

Our focus remains on strengthening both the economic and holistic well-being of women, while continuously evolving and building our existing programmes.

Education continues to be a key pillar of our work, particularly through research grants, academic partnerships, and long-term initiatives such as the Jawaher Fund for the Advancement of Women’s Education, which supports women pursuing higher education and research across fields, including STEM, health, and social sciences —ensuring they are equipped to contribute meaningfully to society and the economy.

At the same time, we are expanding programmes that strengthen institutional capacity and create more inclusive environments. Through our national Irtiqa initiative, we are convening entities across sectors through targeted workshops and forums such as the Women Councils Connect platform, which focuses on strengthening governance models, enhancing operational maturity, and enabling organisations to translate gender commitments into measurable workplace outcomes. This includes supporting entities in establishing and advancing Women Councils as structured mechanisms that inform policy, strengthen accountability, and embed gender equity into institutional decision-making.

We also continue to invest in community-based platforms such as NAMA Talks. The 2026 edition is being delivered as a six-session, year-long series across Sharjah, with a focused theme on women’s health and quality of life. The programme is designed to provide practical tools and structured dialogue that support women in managing competing responsibilities, strengthening wellbeing, and sustaining their participation across professional and family roles.

Alongside this, research is a central component of how we shape policy and programmes. Through the Jawaher Fund for the Advancement of Women’s Education, we awarded 80 research grants in 2025 in partnership with leading institutions, including the University of Sharjah, as well as Al Akhawayn University and Cadi Ayyad University in Morocco. The research spans STEM, sustainability, public policy, and inclusive economic growth, ensuring that our work is grounded in evidence and contributes to addressing pressing regional and global challenges.

From your perspective, where does the greatest untapped potential lie for women in the UAE and the wider region?

I believe the greatest untapped potential lies in moving women from participation to influence, positioning them not only as contributors, but as decision-makers shaping economic and social outcomes. The UAE has already built a strong foundation through sustained investment in education, representation, and opportunity, resulting in a generation of highly capable, globally aware women ready to lead.

Leadership often requires resilience and adaptability. What continues to motivate and ground you in your role today?

What keeps me grounded is the tangible impact of our work, seeing how the right support at the right time can transform a woman’s life, in turn, the future of her family and community.

Across both my humanitarian experience at The Big Heart Foundation and our efforts at NAMA, I have witnessed how access to education, financial literacy, and enabling policies can create lasting, meaningful change. These concrete shifts are a daily reminder of why this work matters.

Early in my career, I learned to combine analytical rigour from the private sector with a sense of compassion and service shaped by humanitarian work. That balance continues to guide my approach to leadership. Over time, I have also come to understand that resilience is not merely enduring pressure- it is the ability to remain anchored in purpose while navigating constant change.

What motivates me is the knowledge that every initiative contributes to a broader vision. Whether it is equipping women with financial literacy or supporting them in taking their first steps into entrepreneurship, we see how access to the right tools can open pathways to growth. This enables women to develop and scale their businesses over time, supported by an ecosystem designed to sustain their progress.

I see leadership as stewardship. It is our responsibility to carry a vision with care, to remain consistent in times of uncertainty, and to ensure that what we build delivers lasting impact.

What message would you share with young women who are just beginning to shape their ambitions?

To every young woman, I would say this: your ambition is not negotiable. It is not something separate from who you are; it is an extension of your perspective, your experiences and your values. Hold on to it with clarity and conviction.

Do not wait for perfect conditions. Start where you are, even if the path ahead is not fully defined. Growth does not come from certainty; it comes from moving forward with purpose and learning along the way.

Invest in your skills, your knowledge, and your networks, while also prioritising your wellbeing. These are lasting assets that will open doors, sustain you through challenges, and create opportunities over time. Make use of the platforms around you, whether through mentorship, business networks, or initiatives like NAMA Talks, to connect, learn, and build the awareness and resilience needed to navigate both your professional and personal journey.

There will be obstacles, but each one you overcome clears the path for others. Ambition is not only about what you achieve for yourself, but also about the example you set in your everyday roles, whether as a daughter, a colleague, a mother, or a mentor, and how that encourages others to grow alongside you.

And when you step into leadership, do so with that awareness. You are not only shaping your own future but also expanding what is possible for others and contributing to a more inclusive and equitable society.

Looking ahead, what is your long-term vision for NAMA, and the role it can play on a global stage in shaping conversations around gender equity?

My long-term vision is for NAMA to be recognised as a catalyst for advancing women’s empowerment across four core pillars: economic empowerment, sustainable livelihoods, health and wellbeing, and status in society. These priorities should not be treated in isolation, but embedded within national policies and institutional frameworks across the UAE.

Rooted in Sharjah’s values, NAMA’s role extends beyond programme implementation to shaping broader systems of impact. It is about influencing how institutions think, design, and act to support women’s full participation in society.

Internationally, I see NAMA evolving into a thought leader, contributing to global conversations through regionally grounded, evidence-based models. A key part of this is amplifying voices from our region and ensuring that diverse experiences inform global approaches to gender equity.

By Lindsay judge

Lebanese designer Lama Jouni has built her namesake label on the idea that modern dressing should be both effortless and intentional. Founded in Dubai, her brand has become known for its refined balance of femininity and functionality, offering pieces designed to move seamlessly through a woman’s everyday life. With a background shaped by studies at ESMOD, Instituto Marangoni and Parsons Paris, and experience at leading fashion houses including Balmain and Rad Hourani, Jouni’s approach is grounded in strong tailoring, thoughtful construction and a clear sense of purpose.

Since launching her label, Jouni has focused on redefining the capsule wardrobe, creating collections that emphasise versatility, longevity and ease. Her Essentials Series, introduced in 2020, helped shape the brand’s identity, with signature cut-outs, wrap ties and multi-strap silhouettes designed for women seeking confidence without complexity. Recognised by Vogue Arabia, Harper’s Bazaar Arabia and Forbes Middle East, she has steadily positioned her brand at the intersection of luxury and accessibility, with conscious design at its core.

As the regional fashion landscape continues to evolve, Jouni remains focused on building with intention, creating pieces that transcend seasons while empowering women through thoughtful, wearable design. In this interview, she reflects on redefining effortless dressing, building a brand from the region, and why slowing down may be the key to long term success.

Your brand is rooted in the idea of effortlessness. How do you define effortless dressing today, and why do you think it resonates so strongly with modern women?

Effortless dressing today is about clarity. It’s knowing yourself, your body, your lifestyle and choosing pieces that support that without overcomplicating it. Women today are doing so much, they don’t want to think too hard about what they’re wearing, but they still want to feel strong, feminine, and put together. Effortlessness is that balance of ease without losing intention.

Was there a personal moment or experience that led you to rethink how we consume fashion?

Yes, going through both the growth and the setbacks of my brand really shifted my perspective. There was a time when we were producing a lot, selling a lot, but it didn’t always feel aligned. That made me step back and question volume versus value. I started focusing more on creating pieces that have longevity—not just in quality, but in how they make you feel.

In a world driven by constant newness, how do you approach designing pieces that feel both relevant and enduring?

I don’t chase trends. I observe them, but I filter everything through the brand’s DNA. For me, it’s about refining rather than reinventing. If a piece can exist in your wardrobe for years and still feel right, then it’s successful. That’s how I define relevance: something that evolves with you, not something that expires.

Your silhouettes are known for their balance of femininity and ease. How do you ensure your designs remain both flattering and functional?

It comes down to construction and understanding the body. I come from a production background, so I think a lot about how something is made, how it moves, how it sits. I always ask: Does this make a woman feel comfortable and confident at the same time? If it restricts her or feels forced, it doesn’t work.

What lessons have you learnt along the way that continue to shape your approach today?

To slow down and be intentional. Not every opportunity is the right opportunity. Also, to trust my instinct more—especially when it comes to creative direction and business decisions. And to build sustainably, even if that means growing slower.

You’ve positioned your brand between luxury and accessibility. How do you maintain that balance without compromising on quality or design integrity?

It’s a constant balance, but it starts with being very clear on where value lies. I invest in fit, fabric, and construction—those are non-negotiables. Then I simplify where I can, whether it’s in design complexity or production processes, to keep things accessible. It’s about being smart, not cutting corners.

Conscious shopping is a key part of your philosophy. How do you encourage customers to shift their mindset from quantity to intention?

Through storytelling and consistency. I don’t want to overwhelm the customer with too many options. Instead, I want each piece to feel considered, like it has a purpose. When women connect emotionally to what they’re buying, they naturally become more intentional.

What, in your view, defines a truly modern essential?

A modern essential is something that adapts to different moments in your life. It’s versatile, comfortable, and makes you feel like yourself—but elevated. It’s not loud, but it’s impactful in how it’s worn.

As your brand continues to grow internationally, how do you ensure it remains rooted in its original vision?

By staying very close to the core of the brand, its values, its aesthetic, its message. Growth can sometimes pull you in different directions, but I always come back to: does this feel like us? If the answer is no, then it’s not worth pursuing.

What are the biggest challenges as a brand coming from this region, hoping to have success on an international scale?

There’s still a perception gap. Sometimes you must work twice as hard to be taken seriously internationally. Logistics, production limitations, and access to certain resources can also be challenging. But at the same time, coming from this region gives us a unique perspective, and that’s something we should lean into more.

As a member of the Dubai Fashion Week committee, how do you see the regional fashion landscape evolving in the coming years?

I see it becoming more structured and more globally connected. There’s a lot of talent here, but now it’s about building the right systems, whether it’s production, distribution, or visibility. I think we’re moving towards a more mature and sustainable industry.

What would you still like to see being put in place to support designers coming from this region?

Stronger infrastructure, especially in manufacturing and funding. Designers need access to reliable production and financial support to scale properly. Also, more international exposure in the right markets, not just visibility, but actual commercial opportunities.

What would be your advice to aspiring designers?

Focus on building something real, not just something that looks good. Understand the business, not just the creative. And be patient, this industry takes time, and longevity is built through consistency, not hype.

What’s in the pipeline for you this year?

This year is about rebuilding with intention. We’re focusing on smaller, more curated drops, strengthening our direct relationship with our customers, and expanding into new categories. It’s less about doing more and more and more about doing things right.

By Lindsay Judge

The luxury accessories Maison strengthens its presence in Paris with a new flagship boutique on Rue du Faubourg Saint-Honoré.

Roger Vivier has opened a new flagship boutique at 20 rue du Faubourg Saint-Honoré in Paris, marking a significant moment in the evolution of the French luxury accessories maison. Located just moments from the site of Roger Vivier’s original atelier, which opened on rue Royale in 1937, the new space reinforces the brand’s historic connection to Paris while introducing a refined new retail destination in one of the city’s most prestigious shopping streets.

Spanning two floors and ranking among the largest Roger Vivier boutiques worldwide, the flagship represents a broader strategy to strengthen the maison’s global presence while deepening its Parisian roots. The opening follows the recent launch of Maison Vivier on rue de l’Université, a cultural and creative space dedicated to archives, heritage and design. Together, the two addresses establish a dual identity for the brand in Paris, combining cultural storytelling with an elevated retail experience.

Designed to feel more like a sophisticated Parisian residence than a traditional boutique, the new flagship blends architecture, art and craftsmanship. A striking staircase and stone flooring create a strong sense of place, while soft textures, layered materials and warm tones add a residential elegance. Velvet, bouclé, suede and lacquered finishes are combined with polished metals and curated furnishings, creating a space that reflects the maison’s timeless yet contemporary aesthetic.

Art and design play a central role throughout the boutique. Vintage furniture sits alongside contemporary pieces, while carefully selected artworks and original sketches reference the maison’s creative heritage. Decorative elements, including sculptural objects and curated displays, create a gallery-like atmosphere, echoing Roger Vivier’s long-standing relationship with art and culture.

A key highlight of the new Paris flagship is the launch of Atelier Vivier, the maison’s bespoke service. This personalised offering allows clients to customise shoes, handbags and special occasion pieces, selecting materials, colours and finishes tailored to individual preferences. The experience takes place in the Salle d’Argent, an intimate private salon finished in silver leaf, designed to host private appointments and exclusive presentations.

Now open, make this a must-stop destination on any upcoming visit to Paris.

Founded in 2013 by Bashayer Al Mahmood, My Fancy Closet has built a distinctive identity rooted in romance, nostalgia and a deep appreciation for craftsmanship. What began as a single handcrafted design has evolved into a label defined by its vintage-inspired aesthetic, where cinematic references and delicate detailing come together to create pieces that feel both timeless and personal.

Balancing ready-to-wear collections with bespoke creations, the brand is guided by a slower, more intentional approach to fashion, one that places meaning, individuality and emotional connection at its core. Each design is conceived as a story, shaped by memory, heritage and the quiet beauty of everyday moments.

Here, Bashayer Al Mahmood reflects on the journey of My Fancy Closet, the inspirations behind its signature aesthetic and the evolving landscape of fashion in the region.

You launched My Fancy Closet in 2013. Looking back, how has the brand evolved from that first moment to the label it is today?

My Fancy Closet began in 2013 with a single handcrafted design created from a passion for elegance and detail. Over the years, the brand has grown into a distinctive label known for its refined aesthetic. While the collections and reach have expanded, the essence of the brand remains the same, creating timeless pieces that celebrate femininity, guided by our slogan “Made for pretty people.”

The brand is known for its romantic aesthetic, vintage influences and cinematic references. Where does your fascination with this visual language come from?

My fascination with this visual language comes from a deep appreciation for timeless beauty, vintage elegance, and storytelling. I have always been inspired by old films, classic fashion, and delicate details that carry a sense of romance and nostalgia. I also draw inspiration from nature gardens, sunlight, and soft natural moments, which bring warmth and softness to my designs. These influences naturally shape the identity of My Fancy Closet, where each piece reflects a dreamy, cinematic aesthetic.

Tell us about your latest collection. What inspired it and what story were you hoping to tell through the designs?

The After Sunset Collection is inspired by the quietness and calm of Ramadan days, leading into the beautiful moments after sunset when families and loved ones gather. I wanted the designs to reflect this transition, from peaceful daytime serenity to elegant evening gatherings. I reimagined the traditional Mukhawer in a modest and refined way, creating pieces that honour our heritage while bringing a sense of elegance and femininity to these special Ramadan moments.

From ready-made pieces to custom creations, My Fancy Closet offers a range of experiences. How important is it for you that each garment feels unique to the woman wearing it?

It is more important than simply making a sale that each piece feels truly special to the woman wearing it. I genuinely enjoy creating garments designed specifically for one customer. The process is very personal; I put great care into every step, from sketching the design to selecting the right fabric and beads, and imagining how the final piece will look. Perhaps this comes from my own perspective, as I have always preferred owning a special piece rather than seeing many similar ones in the market. This philosophy is what drives me to create designs that feel unique, thoughtful, and truly personal.

As a founder, what continues to motivate and inspire you creatively after more than a decade in the industry?

What continues to motivate me the most is the trust and loyalty of my customers. Even during seasons when a collection may take longer to launch, I receive messages from them saying they are waiting for the new pieces. That support means a lot to me and inspires me to keep creating. I am also driven by the joy of the creative process, from developing the idea and storytelling behind a collection to imagining the photoshoot and how the designs will be presented. Each collection feels like a new story waiting to be told.

The UAE’s fashion industry has grown significantly in recent years. How do you view the evolution of the local fashion scene and its influence on regional design?

The industry in the UAE has grown remarkably over the years, becoming a vibrant platform for creativity and innovation. Local designers today are confidently expressing their identity while blending tradition with modern influences. This evolution has also strengthened the region’s design voice, allowing regional fashion to gain greater recognition while celebrating cultural heritage in a contemporary way. It is inspiring to see how the UAE continues to support and shape a dynamic and influential fashion scene.

Modest fashion continues to gain global recognition. How do you see the modest fashion movement evolving in the region today?

Modest fashion today continues to evolve beautifully, gaining recognition both regionally and globally. In the region, we see designers confidently blending cultural heritage with modern trends, creating pieces that are both elegant and contemporary.

In my designs, I always follow the flow of trends while maintaining the identity of My Fancy Closet, ensuring that each collection reflects modest elegance while staying true to the brand’s aesthetic.

What do you think women are looking for from fashion today, particularly in the Gulf?

They are looking for individuality in their style. They want to feel unique and different in the way they dress, choosing pieces that reflect their personality and suit their body. Fashion has become a way of expressing confidence and personal identity while still embracing elegance and cultural values.

Your brand reflects a slower and more intentional approach to fashion. Why do you believe this mindset is becoming increasingly important in today’s industry?

I believe a slower and more intentional approach to fashion is becoming increasingly important because it allows designers to focus on quality, craftsmanship, and meaning rather than simply producing more. When time and care are given to each piece, the result feels more thoughtful and lasting. For me, fashion is not only about trends, but about creating pieces that women can value, wear, and remember for special moments. This mindset brings more authenticity and purpose to the industry.

What challenges have you faced while building your brand, and what lessons have those experiences taught you as a founder?

When I started in 2013, there were very few competitors in this field. Today, the industry has grown significantly, and there are many more brands in the market, so I have to stay active and continually evolve to remain relevant. What I have learned is that passion is essential. I always create collections that I genuinely feel inspired by, and that connection to the work helps keep the brand authentic and meaningful.

What advice would you give to young designers or entrepreneurs in the region who are hoping to build their own fashion labels?

Never give up on your dreams, no matter the challenges you face along the way. If you truly believe in your vision and keep working toward it with dedication, you will eventually reach the place you aspire to be. Passion and perseverance are the most important foundations for any successful journey.

Finally, what is the vision for My Fancy Closet and where would you like to see the brand go next?

My vision for My Fancy Closet is to continue growing while staying true to the brand’s identity of elegance and femininity. I hope to expand the brand’s presence and reach more women who appreciate unique and meaningful designs. At the same time, I want to keep creating collections that tell a story and make women feel special when they wear them. The goal is to continue evolving while preserving the heart and authenticity of the brand

By Lindsay Judge