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

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.

Photographer, author and cultural storyteller Alia Al Shamsi has long explored the intersections of memory, heritage and identity through her work. Rooted in social documentary, archives and cultural narratives in the UAE, her multidisciplinary practice spans photography, writing and research, often examining how stories shape collective understanding across generations. A graduate of Griffith University and Durham University, where she explored photography and memory, Al Shamsi was also the youngest photographer exhibited at the Biennale di Fotografia in Brescia, Italy, and most recently received the 2024 Ministry of Culture National Grant for her forthcoming book project.

Now selected as part of Tashkeel’s Tanween Design Programme 2026, Al Shamsi embarks on a new creative chapter, translating her narrative-driven approach into three-dimensional design. Over the eleven-month programme, culminating in an exhibition at Downtown Design during Dubai Design Week, she will explore how objects can hold stories, memory and cultural connections, while collaborating with local manufacturers and embracing material-led experimentation. We spoke to Al Shamsi about this new journey, her fascination with folklore and archives, and how storytelling continues to shape her evolving creative practice.

What does it mean to you to be selected for the Tanween Design Programme 2026, and what are you hoping to explore during the eleven-month journey?

Last year, I took a leap of faith and stepped away from my nine-to-five role as Cultural Program Manager at Louvre Abu Dhabi, a position I deeply loved, to begin a creative journey of experimentation. After working within global narratives, I felt a pull to return home, to contribute to a local narrative within the global conversation, and to create within an ecosystem that continues to inspire me. Being selected for the Tanween Design Programme 2026 filled me with immense joy because it was part of my own journey as an exhibiting photographer. In the early stages, I was encouraged by Tashkeel from the very beginning, and continuing this journey through Tanween feels, in many ways, like coming home.

Pakistan Earthquake Coverage 2005

Pakistan Earthquake Coverage 2005

Your work is rooted in photography, illustration, archives and cultural memory in the UAE. How do you see these themes translating into product design through Tanween?

As a storyteller, I have worked with many types of media. From photography and illustration to writing books and poems, to curated exhibitions. Participating in Tanween with product design has raised a new question: how can a three-dimensional object hold or manifest an embodied story? The story I chose is from the regional folklore of Waq Waq Island: the mystery of the seven beautiful flying maidens in feathered gowns, the gardener, and the magical realm of Waq Waq Island. This story was part of the Khareefa Mejreifa, a book of UAE folklore stories rewritten for modern audiences, with the workshop run by the UAEBBY and the Goethe-Institut. My curious nature led me down a rabbit hole, and through a series of stumbles, I discovered that versions of this story exist in many other cultures, from the Selkie folklore in Scotland to the Fairy and the woodcutter in Korea. The red thread was weaving its way across continents, and the research has led me to believe that these stories are connected through trade in the forms of storytelling told in ports by sailors who then carried them across oceans. These are all hypotheses for how we can really tell how stories are formed. What is important is how I connect all of this to material selection, which will reflect the trade routes and the interconnectedness of our histories through the Mansoon trade.

Much of your research explores the relationship between illustration and memory. How might that influence the objects or materials you develop for the programme?

Creating vessels for the intangible, holding what cannot be seen and connecting people through stories.

Documanetation Al Mudheef 2010

Tanween encourages collaboration with local manufacturers and fabricators. How important is this connection between research, craft and production in your practice?

I believe this is the foundation of a thriving ecosystem, where all parts are interconnected and supportive of one another. To me, sustainability lies in creating with purpose and in making timeless pieces. Artisans and those who work with their hands leave traces of the soul within the objects they create. It is a way of making that I deeply believe in and advocate for.

Gucci Icons on Icons 2014

Syrian Refugees Mreejjeb Al Fuhood Camp 2013

What can we expect from the work you plan to develop for the exhibition at Downtown Design during Dubai Design Week?

The first piece of furniture reflects my love for storytelling, folklore, and the interconnected histories shaped by the monsoon trade routes.

Happy Hearts India 2016

Happy Hearts Kenya 2017

Your career has spanned photography, writing and research. How has this interdisciplinary approach shaped the way you think about design today?

As a storyteller, I am always drawn to objects that carry a story; they become all the more valuable because of it. Purpose, for me, is the answer to sustainability. I aspire to create objects that endure because they are timeless. In a world of fast fashion and the decline of artisanal work, I hope to support the revival of these crafts by bringing them into contemporary practice, merging traditional methods with new and thoughtful design.

Al Khazan / Al Ghurair Mosque

Looking ahead, how do you hope participating in Tanween will influence the next chapter of your creative practice?

My answer to this question always leaves people perplexed because what I describe is less a plan and more a journey stirred by what makes me curious and anchored in passion. What I hope for each story, in diverse forms and media, is to convey a connection through conversations between people who are interconnected by our shared histories and geographies, but above all, our humanity.

By Lindsay Judge

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

As the founder of Enso Design Lab, Ani Han has developed a distinctive design philosophy that prioritises calm, balance and material honesty, creating spaces and objects that quietly enhance everyday life rather than compete for attention. Her work reflects a measured approach to contemporary design, focusing on presence, proportion, and the relationship between people and their environments.

Through Enso Design Lab, Han explores how design can shape not only aesthetics but also the way individuals experience space, movement and emotion. Her projects span interiors, creative direction, and product design, unified by a commitment to minimalism grounded in meaning rather than trend. Natural materials carefully considered proportions, and a focus on tactile qualities are central to her work, allowing each project to develop character over time. This thoughtful approach has positioned Han as a designer interested not only in visual outcomes but in how design influences wellbeing and everyday living.

Han’s philosophy extends beyond interiors into jewellery design, where she translates her principles of simplicity and precision into wearable forms. Whether designing a room, an object or a piece of jewellery, Han approaches each project through the lens of essentialism, removing unnecessary details to reveal clarity and purpose. Here, Ani Han discusses the vision behind Enso Design Lab, her philosophy of essentialism and how thoughtful design can create spaces that feel both refined and deeply human

At the intersection of art, architecture, and mindful design stands Enso Design Lab a studio founded by visionary designer Ani Han. Known for its refined aesthetic and thoughtful approach to space, the studio explores how design can influence the way we live, feel, and connect with our surroundings. With projects that balance minimalism and emotion, Ani Han has carved a distinctive voice in the contemporary design world. Alongside her work in interiors and creative direction, she has also expanded her artistic language into jewelry, translating her design philosophy into wearable pieces that reflect both simplicity and meaning.

In this conversation, we explore Ani Han’s creative journey, the vision behind Enso Design Lab, and the inspirations that continue to shape her work.

What inspired you to found Enso Design Lab?

I started the studio out of a very practical need. The world has simply become too visually noisy. Things constantly demand our attention through their shape, colour, or branding. I missed objects and spaces that just performed their function without overwhelming the senses. My vision was to build a practice where design doesn’t add unnecessary signals. I wanted to create environments where people don’t have to spend their energy processing redundant things.

The name “Enso” carries strong symbolic meaning. How does this philosophy influence the way you approach design and creativity?

Graphically, an enso is a circle, but for me, the most interesting part isn’t the line itself, the space it encloses. In my practice, distance, pause, and interval are just as much physical materials as stone or wood. I spend a lot of time working on how an object relates to the empty space around it. Design is largely a discipline of form. It is the ability to leave room for light, for movement, and for the person, rather than trying to fill every available inch.

How do you balance simplicity with emotional depth in your work?

Emotional depth doesn’t come from adding decoration; it comes from the honesty of the material. When you strip away the excess, the remaining form has no margin for error. That is why tactility is so important to me. Wood, metal, heavy leather, these are living materials. Leather, for example, demands absolute precision: it reacts to touch, changes in density, and develops a patina over time. An object becomes truly expressive through how it ages and records its owner’s habits, not just by how it looks on day one.

In today’s fast-paced world, how important is mindful or intentional design when creating spaces for people to live and work in?

It is a basic necessity. Every day, we process a colossal amount of information. Dubai acts as a powerful catalyst in this regard; it is a city of immense speed and maximum visual density. Working here, right in the centre of this rhythm, makes it especially clear: a living or working space must serve as a physical and mental anchor. Today, the quality of design isn’t measured by the number of complex details, but by how effectively an environment can reduce your daily cognitive load.

What are some of the key elements you believe define the signature style of Enso Design Lab?

I would call our approach essentialism. For me, design begins with selection, not addition. In every object, we look for the structural core, whether in function, form, or tactile sensation, and we cut away anything that doesn’t support it. Our signature is largely defined by what is absent. You won’t find random joints, superfluous hardware, or complications added just for effect. It is a design where materials and forms work directly, without any decorative overlays.

You’ve expanded your creative practice into jewellery. What inspired you to launch your jewellery line, and how does it connect to your overall design philosophy?

Jewellery operates at a scale where the object is in constant contact with the skin. Traditionally, there is a lot of visual excess in this industry: overt shine, complex silhouettes, a heavy emphasis on status. I was interested in applying our discipline of subtraction to micro-forms. I wanted to strip it back to just the weight of the metal, a clear line, and the precise interval between the piece and the body.

Do you approach jewellery design differently from interiors and spatial design, or do the same principles guide both processes?

The process is entirely identical, only the physical scale changes. Whether it is the resistance of a leather bag clasp, the weight of a bracelet on a wrist, or the distribution of light in a living room, the principle is exactly the same. We identify the structural core of a specific brief, and we systematically remove anything that distracts from it.

As a founder and creative director, what has been the most challenging part of building Enso Design Lab?

The discipline of restraint. In the design industry, there is constant pressure and temptation to overcomplicate a form, or to add another material or detail just to justify the amount of work done. It takes professional endurance to stop at the necessary minimum and to refuse to hide weak structural solutions behind visual effects.

The design industry is constantly evolving. What shifts or trends do you find most exciting right now?

We are clearly seeing the end of photogenic, sterile interiors. People are tired of spaces designed as backdrops for images that end up feeling cold in daily use. This decorative emptiness is being replaced by a demand for structured silence. People want objects and environments that have enough mass and texture to withstand real life and daily wear without losing their quality.

Looking ahead, what is your vision for the future of Enso Design Lab?

I see the studio evolving into working with larger forms. For me, essentialism isn’t a stylistic gesture; it is a design method that works just as effectively in architecture as it does in product design. I am interested in partnering with developers and brands who share our value for longevity, teams who understand that high-quality design knows how to step back and become a quiet background, leaving the person at the centre of the experience.

By Lea Nouhra

With a distinctive eye for elegance and a deep appreciation for thoughtful spaces, interior architect Eliane Gemayel has carved a refined presence in the design world. Her work reflects a harmonious balance between aesthetics, functionality, and emotion—creating interiors that feel both timeless and personal. With the launch of her new studio, SOLE Architecture and interiors, Eliane embarks on an exciting new chapter, bringing her creative vision to a platform dedicated to curated spaces and interiors, innovative concepts, and meaningful design experiences. In this conversation, she shares the inspiration behind the studio, her creative philosophy, and what lies ahead for her growing practice.

What inspired you to launch SOLE design studio and what does this new chapter represent for you as a designer?

After years of working alongside an exceptional mentor and team at Claude Missir Interiors, shaping my eye, my standards, and my confidence through high-end residential and commercial projects, I felt ready to build something of my own. SOLE is the natural next chapter: a studio that carries everything I’ve learned, expressed in my own voice. This new chapter is deeply personal. Design is not what I do; it is who I am. I pour myself into every project with a level of dedication that goes beyond profession; this is my passion, my purpose, and where I see myself for the rest of my life.

We believe that every project has a soul, a story waiting to be revealed through thoughtful architecture and refined interiors. Our role is to uncover that essence and translate it into spaces that are not only beautiful, but meaningful and enduring. And at the heart of everything is our relationship with our clients; their story is always our starting point, and every space we design flows from that deeply personal foundation.

The name “Sole” evokes both warmth and individuality. How did you arrive at the name, and what does it symbolise for the studio?

SOLE took so much time to find. I spent months searching for a name that felt true, and it came in the most unexpected, beautiful way. My husband and I were in Marrakech, a city that has inspired me since I was a little girl. We were sitting in the gardens of La Mamounia, having coffee, and I remember telling him: I cannot live in a city without the sun. The sun defines my day. Light is everything to me.

In that same moment, almost instinctively, he picked up his phone and searched what my name, Eliane, means. And there it was, the sun. We both just looked at each other. That was it. That conversation changed everything.

I didn’t want to name the studio after myself. I’ve always believed this work is bigger than one person; it is about the team, the collaboration, the collective dedication. But SOLE felt different. It carried soul, the belief that every space has one. It carried soleil, the French word for sun. And it carried something deeply personal without ever being just about me.

Light has been central to my work from the very beginning. The way it moves through a space, reveals texture, shifts mood, brings materials to life, that is where design truly lives. At SOLE, the careful interplay of light and shadow is not an afterthought. It is the foundation of everything we create.

How would you describe your design philosophy, and how is it reflected in the projects you take on?

I am, at my core, a minimalist. I believe deeply in less is more, but only when it is done right. Great design is never about excess or statement-making. It is about restraint, intention, and the quiet confidence of a space that simply feels right. I am obsessively attentive to details. Not in a way that is visible or loud, but in a way that you feel without quite knowing why. The proportion of a doorframe. The balance of materials. The way light falls across a surface at a particular hour. These are the things that make the difference between a beautiful space and an unforgettable one.

What I care about most is durability, not structural, but emotional. I never want a client to love their home today and feel disconnected from it five years later. That is a failure of design. I want to create spaces that age with grace, that feel as considered and alive ten years on as they did on the first day. Low key, but lasting. Our work is guided by natural and noble materials, a coherent spatial language, and an honest mix of iconic pieces, vintage finds, and contemporary elements. That tension, handled with care, is what gives a space its character.

And perhaps the most personal measure of success: most of our projects come through referrals. A client who returns years later to entrust us with their next home or sends a dear friend our way. To me, that says everything.

Interior design often tells a story about the people living in a space. How do you ensure each project feels personal and unique to your clients?

Every project begins with listening. Before a single line is drawn, I take the time to truly understand my clients: how they live, how they think, what they dream of for their space. I visit them, I sit with them, I ask the questions that go beyond aesthetics. With time, many of our clients become close friends, and I think that closeness is what makes the work so personal.

This applies equally to commercial projects. Whether it is a residence or a hospitality space, the same question drives everything: what do you want people to feel when they walk through that door? For a commercial client, I need to understand their vision, their brand, their guest, because a space that moves people, that leaves an impression, is never accidental. It is designed with intention from the very beginning.

From those conversations, we build a preliminary concept — mood boards that reflect everything we have discussed, a visual translation of their story and aspirations. Once that foundation is approved, we move into the design process with a clear and shared vision.

Throughout, we always keep my clients’ best interests at the centre of every decision. We guide them thoughtfully within their budget, making sure that every choice — every material, every piece, every detail- works toward the most beautiful and meaningful outcome possible. The goal is never just a stunning space. It is a space that feels entirely, unmistakably theirs.

What are some key elements or materials you find yourself naturally drawn to when designing interiors?

I am drawn, above all, to authenticity. Materials that are real, that age beautifully, that carry history in their texture, these are non-negotiable, in design as in everything else.

Wood brings warmth and life. Glass brings clarity and lightness. Marble carries a quiet nobility, and there is something I find deeply moving about its veining, each slab unique, a pattern formed over millions of years. Metal is almost always present too, adding precision and edge, whether as structure or detail.

Symmetry and balance also run through everything we do. There is a discipline in alignment that I find both calming and powerful.

And one thing I feel very strongly about: I will never use imitation materials. No fake wood effects, no simulated finishes. If the budget does not allow for the real thing, we find another genuine material that serves the same intention. A space built on honest materials has an integrity that you feel, even if you cannot always name it.

With SOLE design studio, are there particular types of projects or collaborations you are hoping to focus on?

Since I was a child, I have carried a dream of designing a religious space; and I mean that across all faiths, all traditions. These spaces hold something rare: meaning, history, culture, and a sense of purpose that very few other typologies can claim. When I visited the Abrahamic Family House in Abu Dhabi, I walked through each space and felt genuine peace. I understood, in a very visceral way, what architecture can do to the human spirit when it is designed with true intention. That is something I hope to bring to SOLE one day.

Beyond that, I am deeply drawn to hospitality and marine projects; hotels, boats, spaces designed around an experience and a feeling. The constraints push the creativity, and the results, when everything comes together, are truly beautiful.

One collaboration that means a great deal to me personally is with Cloud Stone Studio, a US-based architecture firm founded by my brother, Antonio. There is something very special about that dynamic: a shared sensibility, a mutual trust, and a fluency that only comes from a deep personal connection. Together, I believe we have the reach and the vision to take on projects across continents.

As for collaborations more broadly, I am intentionally selective. I only work with brands and partners I genuinely believe in. Design has never been a commercial exercise for me; it is about authenticity, and about never putting your name on something that does not reflect your values. That will always be the standard at SOLE.

The design world is constantly evolving. What trends or shifts in interior design are inspiring you the most right now?

AI is impossible to ignore right now, and I embrace what it offers. It saves time, streamlines processes, and frees up space for the thinking and dreaming that drives great design. But I believe deeply that it will never replace the human part of what we do. It cannot sit across from a client and feel what they need. It cannot translate a personal story into something spatial and alive. That remains ours.

What inspires me most right now is the growing consciousness around sustainability, and honestly, it feels overdue. As designers, we have a real responsibility to our planet. The materials we specify, the suppliers we choose, the longevity we build into every project; these decisions matter. A space that lasts twenty years is, in itself, a sustainable choice.

Design shapes how people live. And how people live shapes the world. That connection is something I feel very personally, and it will only become more central to the way SOLE works.

What has been the biggest challenge—and the most rewarding moment since launching your own studio?

The biggest challenge, honestly, is the current climate. The uncertainty is real, and it would be naïve to pretend otherwise. But I believe deeply in this country and in this region. The UAE has given so much to us and to so many others. We have been here for twelve years, and not a single day has passed without genuine gratitude for the opportunities this place has offered. So, while the times are uncertain, my trust in what is coming remains unshaken. If anything, there is excitement in it.

As for the most rewarding moment, it is not one moment; it is every message. Every time a client reaches out, whether days or years after completing a project, to share how much their space still means to them, that is everything. Those messages carry more weight than any award or recognition ever could. They are the proof that what we do matters, that the spaces we create truly become part of people’s lives. That, for me, is the greatest reward of all.

How do you balance creativity with the practical demands of running a design business?

To be very honest, the business side has never been my natural territory. I am a designer at heart; that is where my instincts live, where my energy goes, and where I am most at home. Numbers and financial management are not my forte, and I have always believed in surrounding yourself with people who complement what you lack.

I am genuinely fortunate to have a husband who not only believes in what we do, but also actively steps in to support the financial and business side of the studio. His trust in our design capabilities means everything, and his involvement allows me to focus fully on what I do best: creating spaces that are meaningful, considered, and lasting.

I think that balance is one of the most important lessons in running a creative business: know where your strengths lie, protect your creative energy, and never be too proud to lean on the people who support you

Looking ahead, what is your long-term vision for SOLE design studio, and what kind of impact do you hope it will have in the design community?

My vision for SOLE has always been clear, even from the very beginning: to remain intentional. I never want to grow for the sake of growing. It is not the more the merrier, it is about the right projects, the right clients, and the right energy around every single space we create.

I want SOLE to be known for deeply personal work. Boutique in spirit, yet present on a global stage. The kind of studio that takes on fewer projects precisely because each one deserves everything we have. That balance, intimate and worldwide at once, is something I protect carefully.

Equally important is the team. I want every person at SOLE to feel a sense of ownership over what we build together. This is not my studio alone; it is theirs, too. When the team feels that investment, it shows in the work, and the work shows in the spaces.

Ultimately, what I hope SOLE leaves behind is simple: more beauty in the world. More spaces that feel personal, considered, timeless, and alive. More rooms where people feel truly at home, where moments are lived so fully, they become memories. If we can do that, genuinely and consistently, then I think we will have done something that matters.

By Lea Nouhra

As Saudi Arabia continues to redefine its position on the global fashion stage, few figures have played as influential a role in shaping its cultural and creative landscape as Her Highness Princess Noura bint Faisal Al Saud. From leading the Kingdom’s first Fashion Week to helping establish the strategic foundations of the Saudi Fashion Commission, her work has been instrumental in building a framework for long-term growth, talent development, and international recognition.

Now, as CEO of JAY3LLE, Princess Noura brings that same vision and strategic clarity to a new chapter in regional fashion. A Saudi-born womenswear brand with a global outlook, JAY3LLE is rooted in Riyadh while drawing creative influence from international fashion capitals. Under her leadership, the brand is evolving into a platform that reflects a new definition of luxury, one that is progressive, purposeful and deeply connected to community.

Working alongside Creative Director Johan Lindeberg, whose legacy spans brands such as Diesel and J. Lindeberg, JAY3LLE merges Saudi identity with global design expertise. The result is a contemporary approach to fashion that moves beyond traditional seasonal structures, focusing instead on versatility, longevity and a lifestyle-driven perspective. This direction reflects a broader shift within the region, where fashion is becoming both a cultural expression and a tool for shaping new narratives.

Here, Princess Noura discusses the vision behind JAY3LLE, the importance of balancing cultural identity with global relevance, and how the next chapter of Saudi fashion is being shaped from within.

What attracted you to JAY3LLE, and what made this the right moment to join the brand as CEO?

For me, JAY3LLE’s story isn’t really about timing; it’s about vision. What drew me in was the purpose behind building a progressive luxury brand from Riyadh with global relevance, and how it connects to the broader transformation happening through Vision 2030. There’s a sense of momentum here, driven by partners and stakeholders who share that same commitment to innovation and progress, and that’s what truly inspired me to be part of it.

JAY3LLE is rooted in Riyadh while targeting a global audience. How do you envision balancing Saudi identity with international appeal?

It really begins with a clear sense of identity. When the vision is authentic and anchored in purpose, it resonates naturally beyond borders. For us, it’s not about choosing between Saudi identity and global relevance, but about expressing both with consistency, refinement, and intention. The strength of our perspective lies in where we come from, and that’s exactly what makes it globally compelling.

You have played a key role in shaping Saudi Arabia’s fashion ecosystem. How does your previous experience inform your leadership of JAY3LLE today?

My background has always been centred on building structure and creating platforms that enable sustainable growth. At JAY3LLE, I bring the same approach, focusing on establishing a brand with strong foundations and long-term relevance, rather than chasing short-term visibility.

JAY3LLE follows an ‘item by item’ release philosophy rather than traditional seasons. What does this approach enable the brand to achieve, both creatively and strategically?

Our ‘item by item’ approach reflects who we are as a lifestyle brand—seasonless, versatile, and intentional. It allows us to design with precision and agility, creating pieces that can be worn for any occasion, dressed up or down, and naturally integrated into everyday life. This philosophy gives us the freedom to stay responsive to our community while building a timeless, cohesive narrative around each release.

The collaboration between Saudi leadership and international creative direction is central to JAY3LLE. How do you see this dialogue shaping the future of the brand?

What makes this collaboration special is how our experiences complement one another. The brand is proudly rooted in Saudi Arabia, shaped by its energy and ambition, yet built through a global lens that brings depth and perspective. It’s not about defining differences, but about creating something that reflects the strength of Saudi with a mindset that speaks to the world.

Supporting Saudi talent is a key part of your vision. How do you plan to nurture emerging designers and creatives through JAY3LLE?

It starts with creating meaningful access, whether through mentorship, collaboration, or hands-on project involvement. Our aim is to build real capabilities and confidence within emerging talent, not just offer visibility. We want JAY3LLE to serve as a platform for developing, sharing, and elevating creativity.

Saudi Arabia’s fashion industry is evolving rapidly. What excites you most about this moment for regional designers?

What excites me most is seeing new markets like ours take an active role in shaping the global fashion narrative. There’s a genuine openness right now, a space to build with a fresh perspective, to redefine what luxury and creativity look like from this region.

What are your thoughts about the growing industry in the region as a whole and where it stands on the global map today?

The region is becoming an increasingly influential player in the global fashion landscape. What’s important now is maintaining consistency, building scale, and establishing a long-term position that reflects the depth and maturity of our creative industries.

With Riyadh becoming the brand’s creative hub, how do you see the city influencing JAY3LLE’s aesthetic and identity?

Riyadh brings a unique mix of energy, contrast, and ambition; it’s a city constantly in motion. That spirit naturally informs JAY3LLE’s aesthetic, shaping a brand that feels structured yet bold, rooted yet forward-looking.

Building a new luxury brand comes with challenges. What has been the biggest challenge in this transition so far?

The main challenge and opportunity have been building a strong foundation that positions JAY3LLE as a truly global brand from the start. It’s about striking the right balance between commercial strategy and creative freedom, while thinking ahead about how to access and resonate in different markets. From deciding which events to participate in to defining how we engage globally, every decision is made with long-term relevance and purpose in mind.

Looking ahead, what is your long-term vision for JAY3LLE, and how would you like the brand to contribute to the future of Saudi fashion on the global stage?

Looking ahead, my vision is for JAY3LLE to become a globally recognized reference in progressive luxury defined by strong design, clarity of positioning, and enduring consistency. Beyond the brand itself, the greater ambition is to help shape a wider movement: establishing Saudi Arabia as a credible, influential force within the global fashion system, not merely an emerging market, but a lasting source of creativity and value.

What advice would you give to entrepreneurs in the fashion industry?

Stay disciplined. A clear vision is essential, but it only becomes meaningful when supported by structure, persistence, and thoughtful execution.

In a city that’s constantly developing, Alserkal Avenue has emerged as one of Dubai’s most compelling cultural anchors, a space where art, design and community come together with purpose. Founded in 2008 by Emirati businessman and patron Abdelmonem Bin Eisa Alserkal, the district began as a cluster of industrial warehouses in Al Quoz, reimagined as a home for contemporary art and creative exchange. What started with a handful of galleries has since evolved into a multidisciplinary destination that reflects Dubai’s growing cultural confidence. An anchor destination in the UAE’s creative scene, it has quickly become one of the most forward-thinking hubs for the arts, fashion, architecture, gastronomy and more.

At the centre of AlSerkal Avenue’s continued evolution today is Basmah El Bittar, whose work has helped shape the Avenue into a dynamic ecosystem extending far beyond visual art. Today, it encompasses performance, film, design, wellness and culinary concepts, all while maintaining a clear commitment to nurturing regional talent and fostering meaningful dialogue. Here, El Bittar reflects on the milestones that have defined Alserkal Avenue’s journey, the importance of building a community-driven cultural model, and how the district continues to evolve in step with Dubai’s ever-expanding creative identity.

Alserkal Avenue has grown into one of the region’s most important cultural districts. From your perspective, what has been the most meaningful transformation in its evolution over the past decade?

Following the Avenue’s opening in 2008, we expanded in 2015, doubling the Avenue’s size and nearly tripling the number of units. That was followed soon after in 2017, with the launch of Concrete, a multipurpose, museum-grade space designed by OMA. The opening of every new concept has been a milestone in its own right. I don’t think we could ever pinpoint just one. What’s more, we’ve been very fortunate to have the belief and vision of our founder, Abdelmonem Alserkal, driving us. Over the past decade, we’ve grown to have more than 90 concepts, the vast majority of which are homegrown brands from the region, steeped in their respective histories and cultures.

Supporting regional creatives has always been central to Alserkal Avenue’s mission. How does the organisation actively nurture artists and designers from the UAE and the wider region today?

Alserkal Avenue was founded with the vision of creating a space for contemporary art, creativity and cultural exchange. Since we opened in 2008, our mission has been to create an ecosystem from the ground up, working in partnership with cultural entrepreneurs – gallerists, artists, creative entrepreneurs, designers and audiences – to nurture a creative community here in Dubai. We’ve produced more than 5,000 programmes, free and open to the community, offering audiences a chance to engage with artists and cultural practitioners across a wide range of disciplines. Our network of artists and practitioners has grown with time, and we’ve commissioned more than 35 works of public art across the Avenue.

Alserkal Avenue has the feeling of being a living community. How intentional has that sense of community-building been in the way the district has developed?
Community is an essential part of any cultural endeavour. The exchange of ideas, meaningful dialogue, and the sharing of creative energy are contingent upon a community committed to curiosity and cultural exchange. That intent underpins how we curate the Avenue experience, not just for audiences but for community members too. Our focus is on the relationships that can grow and thrive, and the conversations that can arise as a result. A few years ago, when we began to grow our culinary offering, we spent a lot of time working with the concepts popping up on the Avenue, as well as those making their permanent homes here, to encourage a dialogue. The result is a culinary community that consistently experiments and shares its curiosity with audiences. It’s the same for the design concepts that are now in the Avenue. Each of them (there are eight permanent design spaces in the Avenue today) brings a unique approach and aesthetic to the community.

Beyond galleries, the Avenue now encompasses film, theatre, performance, literature, music, food and wellness. Why was it important to expand beyond the visual arts into a broader cultural ecosystem?
Culture informs creativity in all its forms. Whether in design, film or theatre, visual arts or literature, dance, performance, craft, music, or culinary arts, we see cultural nuances reflected in all creative endeavours. In a city like Dubai, where multiculturalism is a way of life, having a space that celebrates its distinct energy and plurality is important. It allows for a deeper, more layered, and multidimensional understanding of each other’s backgrounds, beliefs, and ways of thinking.

What role do spaces like Alserkal Avenue play in helping regional creatives gain international exposure and recognition?

Championing creatives and cultural practitioners from the region is woven into our DNA. From the earliest days, when we supported our galleries at international art fairs such as Art Basel, to our present-day community grants, which support projects such as Ishara House at Kochi Biennale, we’ve always worked to create and enable platforms for the region’s artistic and creative community to be celebrated, at home and on the international stage. The inaugural exhibition in Concrete was a celebration of Syrian art and a regional collection—Syria: Into the Light—which presented the Atassi Foundation’s collection. For our public art commissions, we regularly work with artists and practitioners from the region; in recent years, we’ve worked with Emirati artists Nujoom Alghanem, Asma Belhamar, and Sarah Al Mheiri, as well as regional artists such as Shilpa Gupta and Abbas Akhavan. We have numerous examples; the fact remains that contemporary artistic practice and critical thinking from the region should be celebrated on the international stage, and we’re really excited to shape and support that endeavour.

How do international collaborations strengthen Dubai’s position as a global cultural destination?

For us, as Alserkal Avenue, the more pertinent question is how collaborations can be beneficial to both parties. The UAE is already a global cultural destination, and collaborations serve a symbiotic purpose by fostering cultural exchange. They create opportunities that allow both parties to become stronger, more diverse, and more representative in their offerings and in the audiences they reach.

Alserkal’s model has moved beyond the traditional landlord-tenant relationship to a more collaborative one. How does this approach benefit creative entrepreneurs and cultural organisations within the district?

This has been our approach from the very beginning. We’ve never seen our role as that of a traditional landlord with a top-down approach. We begin every conversation with a long-term view: how can we work together to develop a concept that will challenge the status quo within its own industry, endure and grow, and how can we (Alserkal Avenue and the community as a whole) support that growth and vision?

Kave started as a pop-up in one of the warehouse spaces in the Yard in 2018. Today, the space is a hub for the community and hosts regular community programming throughout the week. Cinema Akil, now an anchor tenant, was a regular programming partner as far back as 2015, as we worked together to build a community and audience for independent cinema before they opened a permanent space in the Avenue.

We also frequently encourage conversations and collaborations amongst and between concepts in the Avenue. The results are beneficial to the entire community: synergies and new ideas emerge, and an authentic and supportive camaraderie grows.

Looking ahead, what can audiences expect from Alserkal this year in terms of exhibitions, festivals, or new cultural initiatives?

Our galleries’ openings are always a highlight, both during Alserkal Art Weeks and in September and January, and you can expect more programming to draw audiences into a space for interaction with contemporary art and critical thinking. We already do this, but people will find more opportunities to engage with contemporary art and design, and with the practitioners and creatives involved, as we move through the year. In addition, we will have more consistent programming through our growing weekend programme, which focuses on activities for the whole family, with arts programming, music, the farmer’s market and culinary activations. What The Food and QAF will return, and both programmes are already starting to look really exciting.

As the Avenue continues to grow, how do you balance expansion with maintaining the independent, experimental spirit that made the space special in the first place?

As an organisation, our ethos has always been about experimentation by design and a purposeful improvement. We take calculated risks and consistently look for ways to respond to and address the needs of businesses and creative entrepreneurs. With feedback from various business owners and creatives, we decided to create our kiosks, which allow entrepreneurs to experiment with products and ideas. They can try out their ideas without overcommitting, and tweak and fine-tune their offerings as they go. The pop-up model, whether in our kiosks or our warehouse spaces, enables us to work with more independent brands as they test the market and refine their offerings. It’s been an incredibly rewarding experience for us as well as the business owners who have brought their concepts to the Avenue.

Badibanga, a homegrown fashion brand started by Oscar Badibanga and Gilda Gilantash, recently had a pop-up in the Avenue, selling out their third capsule in just a few days. House of Habanero has recently opened as well.

While we do make concerted efforts to continue bringing fresh, independent concepts into the Avenue, experimentation is also part of the ethos of some of our concepts: Satellite, artist Rami Farook’s studio, is a great example. Ever since it first opened its doors, Satellite has been a space of continual reinvention.

Ultimately, Alserkal Avenue is a microcosm of Dubai’s multiculturalism and plurality. In many ways, we are a reflection of, and a response to, the cultural shifts in the city’s social fabric, and as the city evolves and grows culturally, so do we.

In your view, what still needs to happen for the UAE’s creative industries to reach their full potential?

I think we already see the UAE’s creative industries working to consistently fulfil their potential, from contemporary art galleries to community theatre, cinema, and even F&B concepts. More importantly, we see an incredible dedication and commitment from entrepreneurs to setting, achieving and then maintaining a very high level of personal investment in their concepts. Naturally, the ecosystem and the infrastructure to support their efforts have been growing in tandem. At Alserkal Avenue, we’ve been creating an ecosystem from within, working closely with the government, entrepreneurs, and creatives to develop systems of support that allow talent and commitment to truly shine. In that regard, there is always more we can do, and do better, but the creatives and entrepreneurs themselves, and the businesses they have set up, are a testament to the potential already here in the UAE and across the region.

Over the past three decades, Shaun Killa has played a defining role in shaping the architectural identity of the UAE. From the futuristic form of the Museum of the Future to the flowing superyacht-inspired design of Jumeirah Marsa Al Arab, his work has become closely associated with Dubai’s ambition and forward-thinking design landscape. Over nearly three decades, the award-winning architect and Founder of Killa Design has delivered some of the region’s most recognisable landmarks, including the Address Beach Resort, Shebara Resort, the Office of the Future, and, earlier in his career, the Bahrain World Trade Centre, the world’s first large-scale integration of wind turbines within a building.

Driven by a philosophy rooted in sustainability, innovation and human-centred design, Killa has consistently challenged architectural norms, creating expressive structures that balance technical precision with emotional impact. His projects do more than define skylines; they shape experiences, reflect cultural identity and push the boundaries of what architecture can achieve.

As the UAE continues to evolve as a global design destination, Killa remains at the forefront of this transformation, mentoring the next generation of architects while championing sustainable and future-focused urban environments.

Here, Shaun Killa discusses the evolution of architecture in the UAE, the vision behind his most iconic projects, and how design can shape the cities of tomorrow.

The UAE has become a global stage for architecture. How do you see the country’s design landscape evolving, and what makes it unique internationally?

What makes the UAE unique is its mindset. It’s a place that doesn’t just accept ambition, it encourages it. There is a willingness here to explore new ideas, new technologies, and new ways of living. What’s evolving now is a deeper level of thinking. The conversation is shifting from iconic, standalone buildings to more integrated, human-centric environments. We’re seeing a move toward mixed-use, lifestyle-driven developments that prioritise wellbeing, sustainability and long-term livability. That shift is important. The UAE is no longer just building for visibility; it’s shaping a future where people can live, work and thrive within a more complete ecosystem. That’s what gives it real global relevance.

Jumeirah Marsa Al Arab

Many of your projects, including the Museum of the Future, have become global icons. What does it mean to contribute to shaping the architectural identity of the UAE?

It’s both a privilege and a responsibility. The UAE is still defining its architectural identity, and each project becomes part of that narrative. For me, it has never been about creating icons for their own sake. Architecture should have purpose; it should uplift, inspire, and improve the quality of life. When it’s disconnected from people or a place, it becomes a sculpture rather than architecture.  Projects like the Museum of the Future or Jumeirah Marsa Al Arab are meaningful because they express something larger, a sense of optimism, innovation and cultural confidence. Contributing to that evolving identity is something I value deeply.

Take us back to the Museum of the Future. What was your vision for the project, and how did you approach designing such a landmark?

The project began with a question. What is the future, and how do you design for something that is still unknown? The design evolved around three key elements: the mound, the form and the void. The mound represents the earth, grounding the building in place. The form represents humanity and our ability to innovate. And the void represents what we do not yet know. The challenge was to translate that philosophy into something buildable. The integration of structure, calligraphy and façade required new ways of thinking and making. But when there is clarity in the narrative, design, engineering and technology align, and that’s when architecture becomes something more than just a building, it becomes an experience.

Many of your designs push boundaries both aesthetically and technically. How would you describe your architectural philosophy?

For me, design begins with purpose. It comes from understanding context, not just the site, but the culture, the climate and the emotional character of a place. We approach architecture holistically. It’s the interplay of structure, light, landscape, materiality and movement. When these elements are considered together, the result feels intuitive and connected. I see architecture as a tool for connection, between people and place, between the built environment and nature. That’s what gives it meaning and longevity.

Museum of the Future

Sustainability is central to your work. How do you see sustainable architecture shaping the future of cities in the UAE and beyond?

Sustainability is no longer optional; it has to be fundamental. It needs to be embedded into the design process from the very beginning. We’re moving toward a future where buildings are not only efficient but also regenerative, giving back more than they take. That includes integrating renewable energy, passive design strategies, and a stronger connection to nature through biophilic design. At the same time, sustainability is also about well-being. It’s about creating spaces that improve how people feel, live, and connect with their environment. That balance between performance and experience will define the cities of the future.

The UAE is home to several of your most recognisable projects. Which projects are you most proud of and why?

Each project reflects a different aspect of our thinking.

The Museum of the Future stands out because it pushed the boundaries of what was possible, both technically and conceptually.

Jumeirah Marsa Al Arab is more about experience and narrative. It completes a beachfront story that began with Jumeirah Beach Hotel and Jumeirah Burj Al Arab, evolving into a more fluid, contemporary expression inspired by the elegance and movement of a superyacht.

Address Beach Resort is another project I’m proud of, particularly in how it redefines vertical hospitality while maintaining a strong connection to the sea.

More recently, Discovery Dunes, the ultra-exclusive Discovery Land Company golf residential community, represents a more immersive, lifestyle-driven approach. It’s about creating moments of pause and reconnection within the landscape, where architecture blends into the experience of the place.

And with the Four Seasons Residences in Abu Dhabi, the focus is on creating a sanctuary, where architecture, nature and hospitality come together in a seamless and refined way of living.

The projects I’m most proud of are the ones that create a strong emotional connection and stand the test of time.

Dubai has evolved rapidly over the past two decades. How has the architectural narrative of the city changed during your career?

In the early years, the focus was on creating icons that would define the city globally. There was a strong emphasis on visibility and ambition. Today, the narrative is more considered. There is a shift toward experience, towards creating environments that are liveable, sustainable and emotionally engaging. Dubai has taught me to think at the scale of legacy, to design buildings that capture the spirit of their time but remain relevant decades into the future.  That evolution from spectacle to substance is what makes the city’s architectural journey so compelling.

Shebara

Is there a project you have always dreamt of designing?

There are a few. I would love to design a hyper-luxury eco-safari lodge, something completely immersive where architecture and wilderness exist in balance.

But something very personal to me is designing a sailing yacht. Sailing has always been a source of clarity and inspiration, that balance between wind, sea and movement, and the connection to nature that comes with it.  If we were to design a yacht, it wouldn’t be just an object; it would be a complete experience. A synthesis of performance, elegance and sustainability, where every line is fluid and every space evokes calm. More than anything, it would be about creating something that reconnects people to the ocean and to a sense of freedom and wonder.

Where do you draw inspiration from when conceptualising a new project?

It always begins with place, understanding the landscape, the light, the culture and the emotional quality of a site. But inspiration also comes from experience. From nature, from travel, and from moments of stillness. Sailing, in particular, has influenced how I think about balance, movement and connection to the environment. Often the most powerful ideas come from the space between what we understand and what we imagine. Design is about translating that into something tangible.

You have mentored many young architects. What advice would you give to emerging talent looking to build a career in the UAE’s architecture sector?

Stay curious and stay disciplined. Architecture is both creative and technical, and the strongest ideas are always grounded in rigour. Focus on purpose, not just form. Think about how your work impacts people and how it connects to its environment. And most importantly, be resilient. The UAE offers incredible opportunities, but it also demands a high level of thinking and commitment.

What would you say the biggest challenge is in your position today, and how do you manage that?

The biggest challenge is maintaining clarity as projects become more complex. There are more influences, more constraints, and more expectations than ever before. For me, it always comes back to the core idea. If that narrative is clear from the beginning, it guides every decision through to completion. And equally, it’s about building a strong team. Great architecture is always collaborative.

Jumeirah Marsa Al Arab

In terms of design, what’s your favourite building in the world and why?

I’m drawn to buildings that feel inevitable, where everything is resolved with clarity and intent. The most powerful architecture is not just visually striking, it’s emotionally resonant. It connects to its context, enhances experience, and remains meaningful over time. That balance between simplicity, innovation and emotion is what defines great design.

Looking ahead, what role would you like Killa Design to play in shaping the next chapter of architecture in the UAE?

We want to continue pushing the conversation forward, not just in terms of form, but in terms of meaning, responsibility and experience. Architecture should connect people to place, to nature and to each other. The future of the UAE’s architecture will be defined by that balance, innovation with purpose, ambition with sensitivity. If we can contribute to that in a meaningful way, then we are doing something worthwhile.

From monumental sculptures to the flowing Arabic calligraphy wrapping the Museum of the Future, Mattar Bin Lahej’s work has become an integral part of the UAE’s evolving cultural landscape. The Emirati painter, calligrapher, photographer, sculptor, and designer is known for blending tradition with contemporary expression, transforming Arabic script into bold visual statements that move beyond language into form, movement, and light. As the artist behind the Museum of the Future’s striking façade, often described as “the only building that speaks Arabic,” his work stands as a powerful symbol of both heritage and innovation.

Self-taught and multidisciplinary, Bin Lahej approaches art as a continuous exploration, moving fluidly between painting, sculpture, photography and design. His work draws inspiration from Emirati heritage, cultural memory and the rapid evolution of the UAE, resulting in pieces that feel both deeply personal and widely resonant. Through public installations and gallery works alike, he creates art that invites reflection, dialogue and emotional connection.

Here, Mattar Bin Lahej reflects on his creative journey, the evolution of Arabic calligraphy in contemporary art, and the ideas shaping his work today.

You are known for blending painting, sculpture, photography and design. How do these disciplines influence one another in your creative process?

For me, you cannot separate different art forms. Painting teaches sensitivity to colour and light, sculpture teaches patience and an understanding of mass, design opens the door to innovation, and photography is a third eye that sees what is otherwise unseen. When I work, these disciplines move together like an orchestra; each field complements the others, giving me broader freedom of expression.

Your work often incorporates Arabic calligraphy. What draws you to this art form and how do you reinterpret it for contemporary audiences? 

Arabic calligraphy is not merely letters; it is a spirit. I am drawn to its capacity to transform; it can be a word, a form, or a movement. I present it today as contemporary art, not as a fixed heritage, but as a living energy that interacts with light, materials, and modern techniques.

Emirati heritage and cultural memory are central to your work. How do you translate these themes into visual art?

Emirati heritage is not old pictures to me, but a living memory. I translate it visually through symbols, materials, and the stories I grew up with. The sea, the desert, the majlis, human relationships, and the nation’s rapid development. I always aim to create work that dialogues with the past without repeating it and embraces the future without forgetting its roots.

You are a self-taught artist. How did your journey shape your distinctive artistic voice?

My journey was full of experimentation. I did not learn art only from books but from life, from mistakes, and from passion. That path shaped my artistic voice differently because it was not built on ready-made rules but on continuous searching and a desire for self-discovery.

Your public art installations have become part of the UAE’s visual landscape. Which project stands out as particularly meaningful to you?

Every public work holds a special place because it lives among people. Some projects remain especially close to my heart because they became part of a place’s identity. What moves me most is seeing people interact with the work, take photos, and pass by it daily, as if it has become part of their lives.

The Museum of the Future was a pivotal moment. To see Arabic script transform into architecture and for light to become part of the letter was an artistic dream realised. The project was more than a design; it was a responsibility to the nation and a symbol of the UAE’s vision for the future. I felt I was helping write a new page in the history of Arab art.

You have described your work as deeply personal and handcrafted. Why is this approach important to you?

 The hand carries a truth that machines cannot replicate. Even when I use technology, the handmade touch remains the soul. I believe an artwork must bear the mark of the human; its pulse and its labour. That is what makes each piece unique.

Your Al-Duroor project in Al Shindagha explored an ancient astronomical device. What inspired this concept, and what message did you hope to convey?

I drew inspiration from humanity’s relationship with time and the cosmos. The “Duroor” was a simple yet ingenious device our ancestors used to understand the sun’s movement and the seasons. I wanted to revive that heritage in a contemporary way to show that ancient knowledge is not merely the past but a foundation we build upon.

You have created works both in the UAE and internationally. How do you approach creating art for different audiences while maintaining your identity?

Wherever I work, I carry my identity with me, while also listening to the place and its people. Art is a universal language, but its roots must remain firm. I balance my inner world with the particularities of each city or culture I engage with.

You have established your own gallery and museum space in Dubai. What was your vision behind creating this platform?

My aim was to create a space that resembles me: a place for dialogue, experimentation, and respectful presentation of work. I also wanted to provide a platform for young artists and contribute to Dubai’s vibrant art scene.

Preserving Arabic calligraphy is increasingly important in a digital world. Why do you believe this art form must continue to evolve?

 Arabic calligraphy must evolve to stay alive. If it remains only within tradition, it will lose new audiences. Technology is not a threat but an opportunity; it can give calligraphy new life and open doors it could not reach before.

As one of the UAE’s most recognised contemporary artists, what advice would you give to emerging Emirati artists today? 

I advise them to be honest. Seek your own voice rather than repeating what succeeds for others. Art is a long journey that requires patience, courage, and persistence. Above all, remain true to yourself.

Looking ahead, what projects or ideas are you currently working on? 

I am currently working on a series that explores the relationship between light and script, and between movement and mass. I am also developing international projects that will be announced soon, offering a new vision for Arabic calligraphy in public space.

Who or what inspires you creatively, both within the UAE and internationally?

I draw first from the UAE: its energy, its transformations, and the stories of its people. Internationally, I am inspired by practices that break boundaries between disciplines and redefine beauty in unexpected ways.

What is your professional motto, and what continues to drive your creative journey?

 Art is a responsibility before it is beauty. What drives me is the desire to create work that leaves a mark and adds something honest to the world.

Dior’s Summer 2026 menswear collection is a progressive take on tailoring and movement. Pops of colour, statement accessories, and casual classics make the Dior it a wearable take on fashion-forward dressing.

Off-White Shorts
Yellow “Dior Book Tote”
White & Green “Dior Saltwind” Sneakers
All Dior Summer 2026 Menswear Collection

Blue Denim Jacket
Dior Summer 2026 Menswear Collection

Navy Blue Sweatshirt
Blue Jeans
Grey & Yellow “Dior roadie” Shoes
All Dior Summer 2026 Menswear Collection

White Shirt
Off-White Shorts
Lily Of The Valley “Dior Bag Charm”
White & Green “Dior Saltwind” Sneakers
All Dior Summer 2026 Menswear Collection

White & Green “Dior Saltwind” Sneakers
All Dior Summer 2026 Menswear Collection

Beige Short
Brown Suede “Normandie” Bag
Horse “Dior Bag Charm”
Brown “Dior Archie Boat” Shoes
All Dior Summer 2026 Menswear Collection

White & Green Double-Layer Knitted Sweater
Blue Jeans
White & Green “Dior Saltwind” Sneakers
All Dior Summer 2026 Menswear Collection

White & Green Double-Layer Knitted Sweater
Blue Jeans
White & Green “Dior Saltwind” Sneakers
All Dior Summer 2026 Menswear Collection

Founder/Editor in Chief: Lara Mansour

Styling & Direction: Lea Naoufal

Photography: Daniel Asater

Model: Colin at MMG

Hair & makeup: Aiza Qureshi

Location: One & Only One Zaabeel

This January, the frozen lake of St. Moritz once again became the stage for one of the most anticipated gatherings in the collector car calendar. The I.C.E. St. Moritz, the International Concours of Elégance, brought together rare historic vehicles, contemporary design and mechanical excellence in a setting that was as visually striking as it was technically demanding. For the third consecutive year, Loro Piana returned as an official partner, reinforcing a relationship with the world of classic cars that is deeply rooted in the Maison’s history.

While the event itself celebrated automotive beauty and innovation, Loro Piana’s presence spoke to something more enduring: the dialogue between movement, performance and elegance that has shaped many of its most recognisable Icons. For decades, the House has maintained an authentic connection to classic car culture, formalised in 1987 with the founding of the Loro Piana Classic Cars Team. Comprising collectors, enthusiasts, and seasoned drivers, the team went on to compete in some of the most prestigious endurance races and regularity rallies worldwide, including the Mille Miglia and the Coppa d’Oro delle Dolomiti. These competitions were not only about victory, though the team would go on to achieve more than 200 overall wins and over 500 class placements but also served as an open-air laboratory for innovation.

It was within this environment that one of the Maison’s most enduring Icons was conceived. Introduced in 2004 to mark the 75th anniversary of the Concorso d’Eleganza Villa d’Este on Lake Como, the Roadster jacket was designed specifically for driving.

Lightweight yet protective, warm yet breathable, its sleek silhouette allows freedom of movement behind the wheel without compromising refinement. Details such as a suede key ring, a dedicated pocket for sunglasses and a double back vent were integrated with precision, balancing practicality with discreet luxury. The Roadster quickly evolved beyond its original purpose to become a signature garment for both competitive drivers and devoted collectors.

Today, the Roadster stands as an emblem of Loro Piana’s approach to design, where form is always guided by function and usefulness is considered inseparable from beauty. Like the Maison’s wider range of Icons, it reflects a commitment to craftsmanship, performance and versatility. Inspired by pursuits such as sailing, skiing, horseback riding and motoring, these pieces were initially developed to meet the demands of specific activities before evolving into timeless staples suited to everyday wear.

For The I.C.E. St. Moritz 2026, Loro Piana created an exclusive capsule collection centred around this legacy. The offering included a Roadster jacket in Cash Herringbone Coarsehair Storm System® for men and the Roadster Mini Field jacket in Cash Cheviot Coarsehair Storm System® for women. Complementary pieces such as the Roadster Halfzip knit in cashmere, plongé leather driving gloves and a cashmere and silk foulard printed with automotive-inspired motifs extended the collection’s motoring narrative.

Elsewhere on site, a 1923 Bugatti Type 23 Brescia, displayed outside the Maison’s lounge, offered a tangible link between past and present. The car, which received the Chairman Award at Pebble Beach in 2011, once competed under the Loro Piana Classic Cars Team, embodying the shared values of precision, endurance and aesthetic harmony that unite both worlds.

For most of human history, identity was never something we questioned; it was something we inherited. You were born into a place, into a lineage, into a rhythm of life that had already been decided long before you arrived. During the agricultural era, belonging was the organising principle of society, and meaning came not from personal ambition but from participation in a collective story. Your family worked the same land for generations, your community defined your worldview, and your role in life was less about discovery and more about continuity. Stability was not merely desired; it was necessary, because survival depended on cooperation, shared knowledge, and a deep-rooted connection to place.

Then humanity accelerated.

The Industrial Revolution quietly dismantled this inherited identity and replaced it with something entirely new. Efficiency became the dominant force shaping civilisation, and with it came the rise of the specialist. Factories, corporations, and modern institutions required precision, repeatability, and expertise, and so society reorganised itself around narrow mastery. For the first time, people were encouraged to define themselves not by where they belonged but by what they did. Careers became identities. Job titles became personal narratives. Education systems trained individuals to refine a single capability, and success was measured by depth rather than breadth

This model worked beautifully in a predictable world, because the industrial age rewarded stability, repetition, and incremental improvement. A doctor remained a doctor for life. An engineer followed a linear path. Organisations were structured hierarchically, and progress felt orderly and understandable. Specialisation allowed humanity to scale productivity and build extraordinary systems, yet hidden inside that success was an assumption that the future would continue to resemble the past.

That assumption has now dissolved.

We are living through the first era in which change itself has become the constant. Artificial intelligence, exponential technologies, and global interconnectedness are reshaping industries faster than any human career cycle can keep pace with. Skills that once took decades to master are now automated in months, and knowledge no longer holds value simply because it is scarce. Machines analyse faster, optimise better, and increasingly perform specialised tasks with astonishing competence. The very structure that elevated the specialist is being rewritten by the technologies it helped create.

And so, almost quietly, the generalist returns.

The generalist does not begin with a job title but with curiosity, not with certainty but with exploration. Rather than mastering one discipline forever, the generalist learns continuously, connecting ideas across domains, weaving together technology, psychology, culture, leadership, creativity, and human insight. Innovation rarely emerges from expertise alone, it emerges at the intersection of disciplines, where unexpected connections form and new possibilities appear.

What we are witnessing is not the death of expertise but the evolution of identity. The agricultural era anchored us in belonging, the industrial era anchored us in specialisation, and the emerging era asks something far more demanding of us, adaptability. The modern human is no longer defined by a single professional identity but by the ability to evolve repeatedly without losing coherence or purpose.

This shift explains why so many people feel an underlying restlessness today. Individuals who were taught to choose one path now feel drawn toward many. Executives study neuroscience. Creators build businesses. Scientists learn storytelling. Leaders explore philosophy and emotional intelligence. What once appeared unfocused now reveals itself as preparation for a world where synthesis matters more than mastery alone.

Generalists thrive because they understand that the future rewards those who can translate knowledge across contexts. When industries transform, they do not need to start again from nothing because their true skill lies in learning itself. Adaptability becomes a form of intelligence, and curiosity becomes a strategic advantage. The generalist does not resist change, they metabolise it.

Beneath this transformation lies a deeper human story. As automation takes over tasks defined by efficiency and analysis, the uniquely human capacities rise in value. Imagination, empathy, intuition, storytelling, and meaning making become central to leadership and innovation. The future does not diminish humanity, it demands more humanity from us. The generalist mindset allows individuals to remain expansive, integrating multiple ways of thinking rather than shrinking into a single defined function.

Seen through this lens, the return of the generalist feels less like disruption and more like a homecoming. Humanity began as adaptable explorers, capable of surviving across environments by learning, sharing, and reinventing ourselves. Agriculture gave us roots, industry gave us structure, and now the age of artificial intelligence invites us back into intellectual mobility, where identity becomes fluid and growth becomes continuous.

The question we must now ask ourselves is no longer what we do for a living, but who we are becoming through what we learn. The individuals who flourish in the coming decades will not necessarily be those who know the most about one thing, but those who remain open enough to connect many things, courageous enough to reinvent themselves, and curious enough to keep expanding long after certainty disappears.

The future belongs to those willing to remain unfinished, to those who understand that identity is not a fixed destination but an evolving conversation between who we have been and who we are capable of becoming.

The future belongs to generalists.

Dior

Unveiled as a luminous continuation of the Maison’s fine jewellery legacy, the Belle Dior Haute Joaillerie collection draws deeply from the creative universe of Christian Dior, where nature, couture, and craftsmanship exist in constant dialogue. Designed by Victoire de Castellane, the collection revisits the founder’s enduring fascination with gardens and florals, translating these motifs into sculptural high jewellery pieces that feel both romantic and resolutely modern.

For over two decades, de Castellane has reinterpreted Dior’s codes through a contemporary lens, and Belle Dior reflects this ongoing dialogue between heritage and innovation. Here, botanical forms are rendered in vibrant compositions of coloured gemstones, diamonds, and intricate metalwork, echoing the delicate textures and layered silhouettes of couture fabrics. Petals appear to unfurl in three dimensions, leaves seem to ripple with movement, and each setting is engineered to capture light with remarkable fluidity.

The collection puts nature at the centre. Gemstones are arranged in organic clusters that mimic wild gardens in bloom, while unexpected colour combinations evoke the spontaneity of seasonal change. The result is a series of pieces that feel alive, as though frozen mid-growth, balancing refinement with a sense of joyful exuberance.

A celebration of transformation, a theme that has long underpinned both the Maison’s couture and jewellery creations it features meticulous craftsmanship and imaginative design. A contemporary interpretation of Dior’s original love for nature, ensuring that the spirit of the house continues to evolve while remaining unmistakably rooted in its past.

Tiffany & Co. 

Tiffany & Co. has introduced two new high jewellery capsule collections, Bird on a Rock: Love Birds by Tiffany and the latest Bird on a Pearl creations, offering renewed interpretations of one of the House’s most recognisable motifs. First imagined by Jean Schlumberger in 1965, the Bird on a Rock design returns with an expressive sensibility, as diamond set birds appear poised in motion, alighting on rare and exceptional gemstones in compositions that balance creativity with technical precision.

Designed to be worn in dialogue with one another, the creations establish a subtle interplay between form and material, allowing the iconic bird motif to interact with the gemstones it accompanies. This sense of harmony reflects Tiffany’s longstanding commitment to craftsmanship and gemological excellence, which has shaped the House’s identity since its founding in 1837.

In the Bird on a Pearl capsule, the celebrated motif is elevated through the inclusion of natural saltwater pearls. Developed under the artistic direction of Nathalie Verdeille, the collection features exceptional pearls sourced exclusively from the private collection of Mr Hussein Al Fardan, one of the world’s leading authorities on natural saltwater pearls. Tiffany & Co. remains the only jewellery house granted access to this collection, underscoring its ongoing dedication to working with some of nature’s rarest materials.

Together, the two capsule collections offer a contemporary perspective on a historic design, reinforcing the enduring relevance of the Bird motif while exploring new expressions of movement, pairing, and materiality within high jewellery.

Cartier

The third chapter of Cartier’s En Équilibre, High Jewellery collection, offers a considered exploration of harmony through form, colour, and craftsmanship. Conceived as a study in balance, the collection reflects the Maison’s ability to reconcile contrast, where architectural precision meets fluid movement, and to bring symmetry and asymmetry into a carefully orchestrated dialogue.

The third chapter introduces four exceptional necklaces, each interpreting this philosophy through a distinct aesthetic lens. Euphonia brings together rubies and diamonds in complementary emerald cuts, framed by square, baguette, and brilliant cut stones. A sliding clasp lends a sense of movement to the composition, allowing the necklace to shift with the wearer and transform structure into something almost rhythmic.

In Splendea, Cartier refines the interplay between light and placement, threading diamonds into an almost weightless ribbon that appears to shimmer with motion. Every facet is positioned with intent, resulting in a piece that feels both precise and luminous. Meanwhile, Parcae reflects the Maison’s belief in restraint, aligning three pear-shaped Madagascar sapphires along diamond strands of varying cuts to create a striking focal point that is elegant in its simplicity.

Completing the quartet, Ondora introduces a more expressive use of colour. Chrysoprase, spinels, turquoise, and diamonds converge in a composition that shifts between organic and geometric forms. Pendants that move from front to back evoke a sense of fluidity, giving the piece a sculptural presence that is both dynamic and refined.

Van Cleef & Arpels 

For its latest High Jewellery collection, Van Cleef & Arpels turns to one of literature’s most enduring adventure stories, Treasure Island by Robert Louis Stevenson. First published in 1883, the novel has long shaped a collective imagination around exploration, discovery, and the promise of hidden riches. Now, the Maison’s designers and craftsmen reinterpret this universe through a fantastical jewellery narrative that charts an imaginative voyage across oceans, landscapes, and cultures.

Drawing from its extensive archives and patrimonial collection, Van Cleef & Arpels brings together maritime references, dreamlike nature, and influences from distant lands to create a bejewelled odyssey. The collection revisits the Maison’s longstanding fascination with the sea, evident since its early years in creations such as the gold and enamel scale model of the Varuna yacht from circa 1906, or later pieces inspired by seagulls in flight and nautical motifs. Over time, this marine inspiration evolved into a rich repertoire of stylised fish, shellfish, and oceanic forms, which are renewed in this latest chapter.

Structured as a journey in three parts, the Treasure Island collection moves from navigation to nature, and finally to the allure of global treasures. The first chapter draws inspiration from sailors’ knots and navigational instruments, expressed through gemstone compositions that echo shifting seascapes, from turquoise waters to the emerald reflections of moonlight on still oceans. The second chapter celebrates nature in its luxuriant diversity, featuring seashells in vibrant hues alongside delicate floral and arboreal motifs. The final chapter explores a treasure hunt across cultures, referencing influences from Asia to pre-Columbian civilisations in creations inspired by faraway horizons.

At the heart of the collection, the Palmier Mystérieux clip symbolises this narrative journey through its interchangeable motifs, which include a diamond-set boat, a sun, and a chest of precious stones. Crafted using the Maison’s Traditional Mystery Set technique, patented in 1933, emeralds are set without visible metal to create a velvety green canopy atop a sculpted rose gold trunk. The result is a piece that captures both the spirit of adventure and the technical mastery that defines Van Cleef & Arpels’ approach to High Jewellery.

From early childhood memories spent surrounded by gemstones to founding her own fine jewellery house, Kaltham Al Majid’s journey into design has been shaped by both heritage and personal conviction. As the founder of Kaltham’s Pavilion, the Qatari designer brings a deeply considered approach to contemporary jewellery, where craftsmanship, cultural identity and emotional storytelling intersect. Her collections reflect a dialogue between past and present, drawing on traditional influences while embracing modern forms and materials. In this conversation, Al Majid reflects on the inspirations behind her brand, the role of narrative in her creative process, and how she continues to design pieces that resonate with women both within the region and beyond.

Can you share the story behind the founding of Kaltham’s Pavilion and what inspired you to enter the world of fine jewellery?

My journey into jewellery began long before the brand itself. I grew up surrounded by gemstones and craftsmanship — my grandfather was a jeweller, and as a child, I would spend time in the family shop during Eid and wedding seasons, mesmerised by the sparkle of diamonds and the emotion attached to each purchase.

Although I later studied economics, the pull toward design never faded. I pursued certification in jewellery design and CAD/CAM to deepen my technical understanding, and in 2018, I officially launched Kaltham’s Pavilion. The brand was born from a desire to create fine jewellery that feels personal, expressive, and rooted in heritage, yet unmistakably modern.

As a Qatari woman leading your own jewellery house, how has your cultural background shaped your design language?

My cultural identity is inseparable from my creative identity. Qatar’s history with pearls, craftsmanship, and refined elegance deeply influences my work. There is a quiet strength in Qatari femininity — dignified, graceful, confident — and that sensibility shapes my design language. Even when a piece is contemporary in structure, there is always an emotional undercurrent of heritage.

Your pieces are described as contemporary yet timeless. How do you balance modern luxury with tradition?

From the beginning, I wanted to create something distinct from what was already in the market, especially in how gemstones are used. My first collection, inspired by the lotus flower and featuring pink sapphires, helped establish a signature identity that felt fresh yet symbolic. Modern luxury, to me, lies in clarity of form and precision of detail. Timelessness comes from craftsmanship and material integrity. When these elements coexist, the result transcends trends.

What role does craftsmanship play in defining your brand identity?

Craftsmanship is the foundation of everything we create. I am deeply involved in stone selection and production processes, working only with trusted artisans and manufacturers who meet the highest standards.

Luxury is not just aesthetic; it is structural. The quality must be felt as much as it is seen.

Your designs feel imaginative and expressive. Where do you draw inspiration from?

Nature is a constant source of inspiration, with florals, butterflies, celestial themes, and movement. I am drawn to softness, symbolism, and organic forms. However, I am equally inspired by women. Their milestones, achievements, and emotions often shape the narrative of a collection. Jewellery should feel alive; it should reflect the wearer’s journey.

Pearls, diamonds and precious stones feature prominently in your work. How do you select materials?

Material selection is both technical and intuitive. I consider quality — cut, clarity, origin — but also emotional resonance. Pearls speak to heritage. Diamonds symbolise endurance. Coloured gemstones introduce individuality and character. Each material must align with the story the design is meant to tell.

How important is storytelling in your creative process?

Storytelling is central. Before sketching begins, I define the emotional essence of a collection — whether it represents transformation, romance, resilience, or celebration.

The final piece is simply the physical translation of that narrative.

Your prêt jewellery sits alongside one-of-a-kind pieces. How do these categories differ creatively?

Prêt jewellery allows me to design everyday luxury, refined pieces women can wear daily with confidence. This was important to me, as many fine jewellery houses traditionally focus on occasion pieces. One-of-a-kind creations, however, allow for artistic freedom, rare stones, bold experimentation, and elevated craftsmanship. Together, they represent accessibility and aspiration.

How do you design with emotion in mind?

Jewellery marks moments — engagements, achievements, self-celebration. I design, imagining the memory the piece will hold. Emotion gives jewellery its true value. Without an emotional connection, it is merely an ornament.

What challenges have you faced as a female founder in the regional industry?

Building reliable supply chains and sourcing top-tier manufacturers were among the earliest challenges. The industry can be complex and traditionally structured. However, resilience and clarity of vision have been my greatest tools. Being a female founder has allowed me to bring a distinct perspective, rooted in an intimate understanding of the modern woman.

How do you see Middle Eastern designers evolving globally?

Middle Eastern designers are no longer emerging; we are contributing meaningfully to global luxury narratives. Our heritage, craftsmanship traditions, and bold aesthetics are powerful differentiators. There is a growing appetite for cultural authenticity, and designers from our region are uniquely positioned to shape that future.

What legacy do you hope to create for the next generation?

I hope Kaltham’s Pavilion becomes more than a jewellery house, I hope it becomes a symbol of creative courage for women. A reminder that heritage and ambition can coexist. That elegance and strength are not opposites. And that women can build legacies rooted in both beauty and integrity.

By Lindsay Judge

The Victoria and Albert Museum has unveiled the first UK exhibition dedicated to Elsa Schiaparelli, offering a rare and comprehensive look at one of fashion’s most imaginative and boundary-pushing designers. Opening on 28 March 2026, Schiaparelli: Fashion Becomes Art traces the evolution of the Maison from the 1920s to the present day, culminating in the contemporary vision of creative director Daniel Roseberry.

Spanning nearly a century of creativity, the exhibition brings together more than 400 objects, including 100 ensembles and 50 artworks, as well as accessories, jewellery, paintings, photography, perfumes, and archival material. Through these pieces, the exhibition positions Schiaparelli not only as a couturier but as a cultural innovator who blurred the boundaries between fashion, art and performance.

Among the highlights are some of Schiaparelli’s most iconic creations, including the 1938 Skeleton dress and the celebrated Tears dress, both developed in collaboration with Salvador Dalí. Also featured are collaborations with leading artists of the era, including Pablo Picasso, Jean Cocteau, Man Ray and Eileen Agar, illustrating Schiaparelli’s deep connection to the surrealist movement and her ability to transform fashion into artistic expression.

The exhibition unfolds across four thematic chapters. Designing the Modern Wardrobe introduces Schiaparelli’s early years, from her 1927 Paris debut to her emergence as a leading couturier for the modern woman. Known for her innovative approach to daywear, she challenged traditional silhouettes with trouser suits, sharply tailored designs and imaginative eveningwear that redefined modern elegance.

Creative Constellations explores her close relationships with artists and creatives during the interwar years. Through these collaborations, Schiaparelli produced some of the most daring and surreal garments of the twentieth century, transforming clothing into conceptual works that challenged conventional ideas of beauty and fashion.

The third chapter, Beyond Paris, highlights Schiaparelli’s international influence, including her London salon in Mayfair, which played a key role in shaping British fashion and surrealist culture. Rare garments from this period, alongside costumes designed for theatre and film, demonstrate her global reach and cultural impact.

The final section, A Golden Thread, brings the story into the present day, showcasing how Daniel Roseberry has reinterpreted Schiaparelli’s legacy since 2019. His sculptural couture designs, worn by figures including Ariana Grande and Dua Lipa, reflect a contemporary continuation of the Maison’s bold and artistic spirit.

By bringing together historic masterpieces and contemporary couture, Schiaparelli: Fashion Becomes Art offers a compelling exploration of a designer who redefined fashion as an art form. Through innovation, collaboration and imagination, Schiaparelli’s legacy continues to influence fashion today, proving that creativity, when pushed beyond boundaries, becomes timeless.

Schiaparelli: Fashion Becomes Art
The Sainsbury Gallery, V&A Museum, London, 28 March – 8 November 2026

Makeup artist and founder of his eponymous beauty brand, Bassam Fattouh, has helped define modern beauty in the Middle East. For decades, his artistry has shaped how women across the region approach glamour, confidence, and self-expression, earning him a reputation as one of the industry’s most influential makeup artists. From working with Miss Lebanon and members of royal families to collaborating with international fashion houses and countless brides, his career reflects both creative mastery and cultural understanding. Last year, Bassam visited Beautyworld Middle East, solidifying his position as a leading artist in the region. During his visit, we took the chance to find out more about his brand, his vision and what’s in the pipeline.

At the core of his work is a signature aesthetic often referred to as the “Bassam Fattouh look” an approach built on luminous skin, sculpted definition and a refined balance between softness and strength. It is glamorous yet controlled, polished yet wearable. Rather than masking features, his philosophy centres on enhancement, allowing women to feel like elevated versions of themselves.

This vision extends beyond the makeup chair. With the launch of Bassam Fattouh Cosmetics, he translated professional artistry into accessible products designed to suit the needs and preferences of Middle Eastern women. The brand has grown across the region, reflecting his belief that beauty should feel intuitive, empowering and authentic.

In this interview, Fattouh recalls his early passion for beauty, the evolution of the regional aesthetic, the challenges of building a brand and the values that continue to shape his work in an ever-evolving industry.

You’ve become one of the most recognised makeup artists in the Middle East. What first sparked your passion for beauty and inspired you to make it your career?

My passion started very early. I was always fascinated by faces, expressions, and how beauty could transform not just how someone looks, but how they feel. Watching women around me get ready, especially my mother, made me realise that makeup has emotional power. It wasn’t about vanity; it was about confidence, identity, and presence. That’s when I knew beauty would be my language.

How would you describe your signature makeup style — the “Bassam Fattouh look”?

The Bassam Fattouh look is effortless elegance. It’s about enhancing, not hiding. I focus on luminous skin, refined structure, and a balance between softness and strength. It’s glamorous, but never heavy. I want a woman to look like the most elevated version of herself, confident, timeless, and radiant.

You’ve worked with countless celebrities and brides. What moment or project stands out to you as a turning point in your career?

There wasn’t one single moment; it was a series of experiences that built my confidence. Working with Miss Lebanon, members of royal families, and international fashion houses helped shape my vision. But launching my own brand was truly a turning point. It transformed me from an artist into a creator with a voice and a message.

Women in the Middle East are known for their love of beauty and self-expression. What inspires you most about working with them?

Middle Eastern women are powerful, expressive, and deeply connected to beauty. They understand glamour, but they also value emotion and meaning. What inspires me most is their confidence; they are not afraid of beauty, colour, or presence. They embrace femininity with strength, and that energy is incredibly inspiring.

How do you think the beauty aesthetic in the region has evolved over the years and what makes it so distinctive on the global stage?

The region has evolved from heavy, dramatic makeup to a more refined and confident approach. Today, Middle Eastern beauty is about balance, glowing skin, defined features, and individuality. What makes it distinctive globally is its combination of heritage, luxury, and modernity. It’s bold yet sophisticated.

Your brand, Bassam Fattouh Cosmetics, continues to grow across the region. What was your vision when you first created it, and how has it changed since?

My original vision was simple: to translate professional artistry into products that women could easily use. Over time, the brand evolved into a full beauty philosophy celebrating skin, confidence, and effortless beauty. Today, it’s not just about makeup; it’s about empowering women through simplicity and quality.

As both a makeup artist and entrepreneur, what have been some of the biggest challenges you’ve faced in building your brand?

Balancing creativity with business has been one of the biggest challenges. Staying authentic while growing, scaling without losing identity, and navigating a fast-changing industry requires discipline and clarity. I’ve learned that patience, consistency, and surrounding yourself with the right people are key.

You’re known for combining glamour with authenticity. How do you strike that balance in a world dominated by trends and social media filters?

I always return to reality. Trends come and go, filters fade, but real beauty lasts. I focus on skin, texture, and emotion. Glamour doesn’t mean excess; it means precision and intention. Authenticity is about making beauty feel wearable, relatable, and true to the person wearing it.

Speaking of trends, what are the key beauty looks or techniques you think will define 2026?

Softness with structure. Think blurred skin, dewy blush, glossy, defined lips, and lifted eyes without heaviness. Multi-use products and hybrid textures will continue to dominate beauty that feels light, intuitive, and modern.

Many people see makeup as art. What does creativity mean to you in your process?

Creativity is intuition guided by experience. It’s knowing when to follow rules and when to break them. For me, creativity starts with understanding the face once you respect structure, you’re free to express emotion through color and texture.

Beyond the artistry, who is Bassam Fattouh the person? How do you stay grounded and inspired in such a fast-moving industry?

I’m someone who values simplicity, family, and meaningful connections. I stay grounded by remembering why I started, for the love of beauty and people. Travel, conversations, and quiet moments help me recharge and stay inspired.

Finally, do you have a personal or professional motto that guides you, something you always return to when creating beauty?

Yes: “Enhance, don’t transform.” Beauty should never hide who you are. It should reveal your confidence, your strength, and your individuality.

By Lindsay Judge

In a region where jewellery has long served as both adornment and heirloom, a new generation of designers is reshaping its narrative through a more personal and contemporary lens. Among them is Fatma Al Bannai, founder of Dubai-based fine jewellery label Baguette Design, whose work bridges storytelling with craftsmanship to create pieces that are as meaningful as they are modern. Drawing from a background in writing and a deep appreciation for heritage, Al Bannai approaches jewellery as a form of expression, where each design carries its own emotional significance for the wearer. In this conversation, she reflects on the creative influences that shaped her path, the philosophy behind Baguette Design, and how cultural identity, narrative and femininity continue to inform her evolving collections.

Can you tell us about the earliest creative influences that shaped your path toward launching Baguette Design?

As a child, I always felt like I wanted to express myself through different forms of art. My earliest influence was my aunt, who used to paint the most stunning acrylic paintings. I myself dabbled a little in art before I found my passion in fiction, and it remains very important to me. Storytelling has always been the way I express myself. Over time, I realised that jewellery carries its own narratives, becoming sentimental in deeply personal ways for each wearer. Bringing together my love of writing and my passion for jewellery felt natural. That is why every collection I create is accompanied by a story, giving each piece a meaning that goes beyond its form.

As an Emirati woman building a fine jewellery brand in Dubai, how has your personal identity informed the aesthetic and values of Baguette Design?

I take great pride in being an Emirati woman, and I try to create pieces that not only showcase the power of Emirati women but also appeal to women internationally. The Heritage collection is my personal contribution to the evolving identity of traditional Emirati jewellery.

The brand is named after the baguette diamond cut. What drew you to this particular cut as the foundation for your brand’s philosophy?

The brand is named after the baguette diamond cut for its uniqueness, strength, and individuality, as well as for being an underrated cut. Baguette Design strives to create strong pieces for strong women that enunciate their femininity and stand out from the typical.

Baguette Design speaks to women who want to feel both powerful and daring. How do you translate that emotional experience into something tangible through jewellery?

Each woman carries her own collection of jewellery, and with every piece there is a story. Where she found it, why she chose it, who gave it to her, or whether it has been passed down through generations. It is this emotional journey behind each piece that adds to her confidence and strengthens her presence as a powerful woman.

You have a background in writing and storytelling. How does this narrative instinct shape the way you approach your collections?

I have always been in love with fantasy and fictional worlds, with their characters, and with how they dress, which can express their motivations and reveal the plot. Each collection I design has a unique, fictional story tied to it, yet these short stories often intertwine with others to create something deeper and more layered. I always imagine who the character would be who would be wearing the piece I am designing. My character or world building completes the jewellery I design and vice versa.

What role does material selection for your pieces play in expressing femininity in a modern context?

Diamonds are often my starting point when designing, as they are the most accessible and practical when creating pieces on a larger scale. However, I have always been drawn to coloured stones, particularly tourmalines, for the depth and individuality they bring. I am excited to continue exploring collections that incorporate more colour, as they allow for a different, more expressive dimension of femininity in a modern context.

The inclusion of amethyst as a signature stone across your designs adds a distinct identity to the brand. What is the meaning behind this choice?

When I first began shaping Baguette’s identity, I thought deeply about what I wanted the brand to represent in the long term. I wanted a signature colour that was not widely used in the jewellery industry yet still exuded femininity.

Amethyst became my signature stone not only for its beauty, but for its meaning. It is my mother’s birthstone, and my relationship with her is something I cherish above all else. Before starting Baguette, we would create pieces together for ourselves, and those moments remain incredibly special to me. Choosing amethyst as the brand’s authentication stone felt like a natural way to honour that bond and carry it forward into every design.

Jewellery is often associated with special occasions. How do you design pieces that feel equally relevant for everyday wear?

I don’t see jewellery as something reserved only for special occasions. To me, it’s the final touch to a woman’s look, even on the most ordinary days. Whether she prefers something minimal or chooses to wear a cocktail ring while running errands, it’s all part of how she expresses her femininity and personality.

When I design, I think about what I would love to wear, or what a character I imagine would wear, while making sure it still feels modern and easy enough to style day to day. It’s about creating pieces that feel just as natural on a regular afternoon as they do at a special event.

What challenges have you faced as a female founder in the regional jewellery landscape, and how have they shaped your leadership approach?

There have certainly been challenges, and there still are. I started this brand without a background in design or even business, so I had to learn many of the technical aspects of building a company as I went. I also began and continue as a one-woman operation, which can feel overwhelming at times, especially when you are navigating decisions on your own.

Balancing family life with running a business is not always easy, but I am deeply grateful for my family, who have been instrumental in supporting me along the way. I come from a family that has always been driven, and because storytelling and jewellery are two of my greatest passions, that drive pushes me to work harder than I ever thought I could.

We are seeing many beautiful new brands emerging in the Middle East and the UAE in particular – what sets Baguette apart?

Absolutely, and I love that so many beautiful brands are emerging from the UAE right now. What makes Baguette different, I think, is the sense of fantasy woven into each piece. It’s not just about how it looks, but about the story behind it. When someone wears a Baguette piece, they’re not just wearing jewellery, they’re stepping into a narrative. There’s something intimate about knowing the meaning behind what you’re wearing and feeling like your part of a story that’s still being written.

How do you balance cultural heritage with contemporary design when creating collections for a global audience?

I started the brand by focusing on contemporary pieces that could speak to a wider, global audience, and I have many more such modern designs in the pipeline. At the same time, it was always important to me to create at least one collection that carries elements of traditional cultural jewellery, reimagined with a modern twist. That way, it honours my heritage while still feeling relevant and wearable for a global audience.

Looking ahead, what is in the pipeline for the brand this year and what is your vision beyond that?

Creatively, I’m excited to continue designing pieces that truly speak to women, pieces that tell a story and resonate beyond the object itself. I want the work to translate, to connect, and to feel personal to those who wear it. As a brand, I hope to keep growing and take it as far as it can go. I truly believe Emirati jewellery designers can make a meaningful impact on the global luxury landscape. I want to show that we, as Emirati women, are capable of reaching international recognition and standing confidently on the world stage.

By Lindsay Judge

This year, Art Dubai marks its 20th edition, and the fair enters a significant moment of reflection and renewal. Over the past two decades, it has grown from an ambitious regional initiative into one of the most influential cultural platforms in the Middle East, playing a pivotal role in shaping Dubai’s creative ecosystem while fostering dialogue between artists, institutions and collectors from across the globe. Today, its impact extends far beyond the few days of the fair itself, through year-round programmes, commissions and partnerships that continue to support artistic production, research and education across generations.

In this conversation with A&E, Benedetta Ghione, Executive Director at Art Dubai Group, reflects on the milestones that have defined the fair’s evolution and how this anniversary edition builds on that legacy. From new curated sections and expanded commissioning programmes to a renewed emphasis on voices from the Global South, she shares insight into the thinking behind the 2026 edition and Art Dubai’s growing role within both the regional and international art landscape.

This year marks the 20th edition of Art Dubai. How are you shaping this milestone moment?

The 2026 edition marks 20 years of Art Dubai as both a fair and a cultural platform that celebrates the people, partnerships and ideas that have shaped it. Over 20 years, Art Dubai has evolved from an ambitious platform into a year-round cultural infrastructure, creating networks and conversations across regions and disciplines while supporting artists, galleries and knowledge production year-round.

This milestone is a reflective and forward-looking moment to recognise the journey so far and to signal the direction of the next chapter. The 2026 edition, bringing together 120 presentations from over 35 countries, embodies that trajectory. It includes new voices alongside galleries and collaborators who have been part of the fair since its earliest editions, reflecting our continuity and renewal. Across the programme, and particularly within the 20th anniversary edition of the Global Art Forum, the tone is intentionally reflective, considering the distance travelled while asking what comes next.

Looking back at the fair’s evolution over two decades, what defining moments have shaped its identity, and how is this anniversary edition building on that legacy?

Over the past two decades, one of the most defining aspects of Art Dubai has been its evolving understanding of what an art fair can be. From the beginning, we believed an art fair here had to do more than operate for a few days each year. It had to contribute to the long-term cultural development of the city. That broader ambition has guided its development, as Dubai itself transformed into a global cultural hub.

Our independence has allowed us to move quickly, take risks and respond to shifts in artistic practice. Early editions focused on regional discovery and widening international access. Over time, this expanded into more specialised platforms. Art Dubai Digital, launched in 2022 as the first dedicated fair section focused on digital art. Earlier milestones such as the launch of Campus Art Dubai (CAD), now in its 13th year, our over-a-decade-long partnership with Julius Baer, and the 2021 introduction of the A.R.M. Holding Children’s Programme, similarly underlined a commitment to nurturing creative communities across generations.

Commissioning has remained central throughout, providing artists with a platform to experiment and produce ambitious new work that might not otherwise be realised. Over time, this has positioned the fair as more than a marketplace. It has become a site of research, dialogue and production. The anniversary edition builds on that legacy by foregrounding continuity alongside renewal, bringing together long-standing participants and new voices while reaffirming the fair’s role within Dubai’s wider cultural ecosystem.

How does this year’s curatorial direction reflect the maturity of Art Dubai as an institution within the global art calendar?

Today, Art Dubai plays a central role in the region’s cultural landscape. Over 20 years, the fair has built its identity as a trusted, independent platform with real structural impact. When Art Dubai launched in 2007, there were just around 10 commercial galleries operating in the city. Today, there are more than 40, with around half of Dubai-based galleries participating in the fair. The growth of the market has unfolded in parallel with the fair’s development, with Art Dubai acting as a crucial catalyst for the formation and expansion of the city’s gallery ecosystem.

This growing institutional maturity is also visible in the broader cultural shifts around it. Dubai is now the leading global destination for high-net-worth migration, according to the Henley Private Wealth Migration Report, and many of those individuals are becoming active patrons of the arts. At the same time, artists, curators and creative entrepreneurs are increasingly choosing to call Dubai home, contributing to a more permanent and engaged cultural community.

What are the central themes of this upcoming edition, and how do they respond to the current cultural and geopolitical climate?

The central themes of the 2026 edition are closely tied to the artists that Art Dubai platforms. They are very much of the times – artists shaped by migration, technological change and shifting global power dynamics. Many come from the Global South or represent perspectives that have historically been underrepresented within dominant Western narratives. Their work reflects a world no longer defined by a single cultural centre.

The edition celebrates what has defined the fair for the past 20 years, its role as a convening platform for exchange across communities, disciplines and geographies. At a moment when geopolitical tensions and rapid change can fragment dialogue, Art Dubai continues to create space for encounter and sustained conversation.

At the same time, the fair acknowledges the depth of the region’s art histories while looking ahead. Historical frameworks sit alongside contemporary and digital practices, recognising that today’s cultural narratives are driven by connectivity, circulation and evolving identities. Dubai is a global city built on movement and exchange, and the fair reflects that energy. In a climate that can reward speed and spectacle, the fair’s emphasis remains on community, context and long-term cultural development – qualities that feel particularly relevant right now.

Are there any new sections, commissions, or curated programmes that signal an expansion in Art Dubai’s vision?

Yes, we have several new and expanded sections that signal a deepening of Art Dubai’s vision. Zamaniyyat is a newly introduced section that brings greater art-historical depth to the fair through a focused, research-led engagement with 20th-century modernisms. Rather than presenting modernism as a single Western narrative, Zamaniyyat explores parallel modernisms shaped by migration, exile and institutional change. In doing so, it adds deeper historical context to the fair.

Another new section, Bawwaba Extended, represents a spatial and experiential expansion. Curated by Amal Khalaf and Alexie Glass-Kantor, it moves beyond the booth format to prioritise large-scale, site-responsive works encountered across the fair. Installations, digital media, moving image, sound, performance and public interventions are given space to unfold in ways that do not sit comfortably within a conventional commercial structure. Alongside this, the Bawwaba Gallery Support Programme reflects a pragmatic expansion of vision. By sharing risk and reducing upfront costs, it enables greater participation from emerging galleries and supports experimentation at a moment when market conditions can otherwise encourage caution.

Art Dubai has long positioned itself as a gateway to the Global South. How is this year’s edition further amplifying voices from the Middle East and surrounding regions?

Art Dubai is rooted in Dubai but deeply connected across the Middle East, South Asia and Africa, functioning as a platform of sustained exchange. Over time this has contributed to a shift in collecting culture in the region, with collectors becoming more research-driven and historically informed, supported by initiatives such as Dubai Collection, the Art Salon and the Modern and Collector Talks.

This year’s edition further amplifies regional voices, including through our 20th anniversary edition of the Global Art Forum (GAF). Organised by long-term Commissioner Shumon Basar under the theme ‘Before and After Everything’, the Forum reflects on two decades of cultural transformation while foregrounding thinkers and practitioners in the region today. Speakers such as Sultan Sooud Al Qassemi, Founder of Barjeel Art Foundation, Reem Fadda, Director of Cultural Programming at the Department of Culture and Tourism Abu Dhabi, and renowned artists including Monira Al Qadiri and Joanna Hadjithomas bring perspectives grounded in the Middle East’s lived realities and intellectual histories.

It also places these voices in dialogue with international figures, reinforcing Art Dubai’s role as a global meeting point. That balance reflects our long-standing focus on modern and contemporary art from these geographies, positioning regional modernisms as central to global art history. Combined with the fair’s independent model, which allows it to function as a testing ground for new gallery models and institutional approaches, these shifts have meaningfully rewritten the creative economy.

In what ways are regional artists being platformed differently or more prominently this year?

Platforming regional artists has always been central to Art Dubai’s direction. In 2026, more than half of presentations come from the MENASA region, and 27 of this year’s exhibitors are Dubai-based, reflecting a market in which regional galleries operate with year-round presence.

What may feel different today is the depth of that platform. Artists are part of a mature ecosystem that includes long-standing galleries and returning collaborators. The fair welcomes back established regional galleries such as Efie Gallery, Leila Heller Gallery, which presents across both Art Dubai Galleries and Zamaniyyat, and Saleh Barakat Gallery, alongside new participants entering the conversation.

This balance of continuity and renewal allows regional artists to be introduced, revisited and contextualised within an evolving framework. It reflects a platform that has moved beyond exposure toward long-term visibility and integration within the global art calendar.

How do you see the relationship between local talent and international galleries evolving within the fair’s ecosystem?

Local and international artists are increasingly operating within shared conversations, and in an unprecedented convergence of global and regional voices. Regional galleries are engaging with global collectors and institutions on equal footing, while international galleries are presenting artists whose practices are shaped by transnational identities and shared concerns. Art Dubai Digital, now back for its 5th edition, is an example, bringing together global and regional practitioners in a context where digital and immersive practices naturally circulate across borders while remaining rooted in local realities. With galleries spanning Argentina to Japan, the United States to New Zealand alongside leading regional spaces presenting Emirati and GCC artists, this year’s edition reflects an international field grounded meaningfully in local context.

Could you elaborate on the role of initiatives such as the Dubai Collection and how they strengthen the city’s broader cultural infrastructure?

Art Dubai Group develops long-term strategic initiatives designed to strengthen Dubai’s cultural infrastructure beyond the annual fair. Over the years, this has meant sustained investment in year-round programming, capacity building and thought leadership, working in close partnership with government and business to support the long-term growth of the sector. A good example is Dubai Collection, developed in partnership with the Dubai Culture & Arts Authority. It is the city’s only institutional collection of modern and contemporary art, and represents a new model for cultural development in Dubai. Rather than building a collection through a single public entity, Dubai Collection brings together works held in private homes and corporate collections, making them accessible to the public for the first time. In doing so, it enables a shared civic resource to emerge from a constellation of committed patrons and collectors.

This model reflects Art Dubai’s broader role in creating frameworks that allow cultural ecosystems to deepen. By creating the conditions for initiatives like Dubai Collection to exist, the fair contributes to a more structured and publicly accessible art landscape. The Collection’s presentation at Art Dubai this year highlights its working methodology, rooted in long-term commitment and support for artists and their practices. Alongside this, the Art Salon Programme convenes an invitation-only community of dedicated collectors and cultural enthusiasts based in the UAE. Through studio visits, research-led conversations and sustained dialogue, it nurtures informed patronage and strengthens the network that underpins the city’s cultural life.

Year-round programmes have become central to Art Dubai’s identity. How do these initiatives extend the fair’s impact beyond its annual edition?

Art Dubai operates as a year-round cultural platform with an impact that extends through capacity building, professional development and long-term partnerships that impact the wider ecosystem of creative practice in the region. Programmes such as Campus Art Dubai have supported generations of artists and curators, while many practitioners who first engaged with the fair have gone on to major commissions and institutional recognition. This year, for example, data and kinetic artist BREAKFAST returns to realise the Julius Baer commission after previously participating in Art Dubai Digital, reflecting a trajectory that moves from presentation to long-term collaboration.

The fair’s influence also extends into strategic partnerships, contributing to the cultural direction of organisations such as A.R.M. Holding, including advisory around their corporate collection, as well as to broader frameworks like the DIFC Art Strategy. In this way, it operates as a cultural interlocutor.

More broadly, Art Dubai Group functions across art, design and innovation. Apart from Art Dubai, it delivers long-term cultural infrastructure through Downtown Design and Dubai Design Week, as well as initiatives such as Prototypes for Humanity and Editions. The Group effectively functions as an active ecosystem builder, connecting creative practice with industry, research and public life throughout the year.

Education has always been a key pillar. How is Art Dubai investing in the next generation of artists, curators, and collectors?

The A.R.M. Holding Children’s Programme, now in its sixth year, has reached more than 30,000 students across the UAE, demonstrating how sustained private-sector collaboration can embed arts education at a national scale. Rather than a one-off initiative, it represents a structural commitment to nurturing creative curiosity from an early age.

Another example comes from Campus Art Dubai’s ongoing support to artists, curators and cultural practitioners through hands-on mentorship and critical engagement. Its impact is visible in the trajectories of its alumni, including names like Munira Al Sayegh, who has gone on to play an active role within the UAE’s cultural discourse as independent curator and a cultural instigator. These initiatives reflect a long-term investment in people, so that the next generation is equipped to contribute to and lead the region’s cultural future.

How would you assess the current state of the art market in the Middle East, particularly in Dubai?

In many ways, the trajectory of Art Dubai mirrors the maturation of Dubai itself. Today, the city hosts around 90% of the UAE’s commercial galleries and functions as the region’s primary art market centre. What began two decades ago with a small number of operating galleries has developed into a consolidated ecosystem of commercial spaces, global auction house presence, and a steadily expanding base of private and corporate collectors.

Dubai’s position is reinforced by its broader demographic and economic shifts. The UAE continues to attract significant high-net-worth migration, and that movement is translating into deeper engagement with the arts, from collecting to institutional patronage. At the same time, artists and cultural entrepreneurs are choosing to base themselves here, strengthening the year-round creative economy. Creative districts such as Alserkal Avenue, alongside institutions like Jameel Arts Centre, have embedded galleries, studios and non-profit spaces into the urban fabric. This growth is supported by long-term cultural policy frameworks, including Dubai Culture’s Creative Economy Strategy, which place culture at the centre of civic development. As a result, the market today is structured, internationally connected and increasingly confident in its identity, operating as both a regional anchor and a global meeting point.

What opportunities and challenges do you foresee for galleries and artists operating in the region today?

The level of cultural investment taking place across the Gulf is unprecedented. Significant, long-term infrastructure projects are being developed across the GCC, supported by policy frameworks and institutional commitments designed to create sustainable conditions for artists, galleries and cultural organisations to thrive. This creates real opportunity, generating greater visibility, deeper institutional support and a more stable environment in which practices can develop over time.

The UAE is also expected to see an unprecedented net inflow of more than 9,800 high-net-worth individuals in 2025, proving its position as a premier destination for private wealth. As the market grows, maintaining curatorial rigour and long-term artistic development will be critical to sustaining credibility.

Looking ahead to the next decade, what is your long-term vision for Art Dubai and its contribution to the region’s cultural landscape?

The next decade for Art Dubai is about depth, sustainability and long-term cultural impact. Over twenty years, we have helped shape a more confident and internationally connected art ecosystem in the region. Now the focus is on strengthening that foundation.

We will continue to combine the energy of the annual gathering with year-round initiatives in education, commissioning and research. This structure allows us to support artists and galleries over time, not just during the fair.

As the Gulf’s cultural landscape continues to expand, credibility and rigour will be essential. Our ambition is to remain an independent, globally engaged platform that champions artists from the region and the Global South, expanding digital and interdisciplinary dialogue, and contributing to a cultural environment that is ambitious, sustainable and built to endure.

Art Dubai 2026 will now take place from 14 to 17 May, 2026.

By Lindsay Judge

In a city defined by constant motion, Janu Residences in Dubai introduces a more considered pace of living. Marking the Middle East debut of Aman Group’s visionary lifestyle brand, the development brings a new dimension to DIFC, pairing contemporary design with a focus on connection, creativity and wellbeing.

Derived from the Sanskrit word for soul, Janu represents a fresh expression of hospitality that places social interaction and shared experiences at its core. Following the acclaimed opening of Janu Tokyo in 2024, Janu Dubai extends this philosophy into its first residential offering in the region. Designed by Pritzker Prize-winning architects Herzog & de Meuron, the tower presents a sculptural form that distinguishes itself on the city’s skyline with a tactile, mineral presence that feels both grounded and refined.

The mixed-use development comprises a 150-key hotel, the world’s first Janu Club, and a limited collection of 57 branded residences ranging from two to five-bedroom apartments. Positioned to overlook the Zabeel Palace Gardens, with sweeping views across the Burj Khalifa and DIFC skyline, the residences occupy the tower’s most panoramic levels and are defined by expansive layouts and generous terraces that blur the boundary between indoor and outdoor living.

Residents benefit from discreet access via a dedicated entrance lobby and private lifts, while the entire 34th floor has been reserved exclusively for the owner community. Here, an infinity edge pool and residents’ only Lounge and Bar offer a private retreat above the city, designed to foster both relaxation and sociability.

Wellness is central to the Janu experience. From landscaped outdoor terraces and lush planting to a comprehensive fitness and wellbeing centre, the development encourages an active, holistic lifestyle. Residents enjoy seamless access to destination dining venues, a mixology bar, and curated social spaces within the Janu Club, alongside the Janu Private Office, which offers tailored travel, bespoke events, and lifestyle services.

Developed by H&H, Janu Dubai occupies an entire tower rising from a reimagined souk courtyard, anchoring the project within its cultural surroundings while introducing a more pedestrian-focused environment to DIFC. As further Janu destinations are confirmed in Ras Al Khaimah, Saudi Arabia and Turks and Caicos, the launch of Janu Residences signals the beginning of a new chapter in contemporary urban living for Dubai.

In Dubai’s evolving culinary landscape, a new generation of homegrown talent is redefining the language of luxury through craft, creativity and personal narrative. Among them is Ines Chatti, a Dubai-based pastry artist of French and Tunisian heritage whose refined yet imaginative creations reflect a deep connection to memory, travel and the natural world.

Having trained in some of the world’s most acclaimed Michelin-starred kitchens, Ines has developed a distinct approach that blends technical precision with poetic storytelling. Her work moves beyond traditional pastry, drawing on the warmth of Tunisian ingredients such as orange blossom and rose water, while remaining grounded in the rigour of French technique. The result is a collection of desserts that are both contemporary and deeply personal, each one inspired by a lived experience, a landscape or a fleeting moment in nature.

As the founder of her own eponymous patisserie in Dubai, Ines represents a new wave of female entrepreneurs shaping the city’s luxury food scene from the ground up. Here, we find out more.

What are your earliest memories of food and cooking, and how did your French and Tunisian heritage shape your palate from childhood?

When I was around eight or ten years old, I asked my mum if I could bake a chocolate cake for a friend. From that moment, I started baking more for friends and family, and it quickly became part of who I am, though I didn’t realise then that it would one day become my career. I simply loved the process of creating something special for the people I cared about.

Throughout my childhood, my family celebrated both French and Tunisian cuisine and blending the two created an incredible fusion. Tunisian food is filled with warm spices, nuts, fruits, grains and of course, flowers, such as orange blossom and rose water, which opened my palate and made me a curious eater, always wanting to discover more. That curiosity is what led me to travel for food and to explore new ingredients and tastes.

Was there a particular moment in your early life when you realised pastry was more than a hobby, that it could become your language of expression?

I never imagined that my life would take me into a career in pastry. When I was growing up, you aspired to be many things, but being a female chef in the kitchen was not one of them. It was only when I studied law and experienced that role in real life that I realised I wanted to spend my days doing something I truly loved, something that would also make others happy.

Looking back, what was the biggest learning curve when you transitioned from law to professional kitchens?

There are many things I have learned, but one that stands out consistently is the importance of your team. A kitchen is built around a brigade, with each member focused on a specific role, and without that structure, you cannot succeed. Having the right team around you is the most important thing, whether you’re part of something big or small. You cannot go far without the right people beside you.

Another key learning was not letting external influences dictate your creativity. There are so many talented pastry chefs creating innovative concepts, so it’s important to stay true to your own inspiration. This was a discipline I had to develop, as it is so easy to look over someone else’s shoulder.

During your time at Maison Pic under Anne-Sophie Pic, what lessons about discipline, creativity and resilience have stayed with you the most?

I truly value the time I spent under Anne-Sophie Pic’s leadership. During my time at Maison Pic, I learned lessons that continue to shape me today. As I reflect, these three words, ‘discipline’, ‘creativity’, and ‘resilience’ are the key to success. Without discipline and rigour, the results become inconsistent, and execution remains average. Without creativity and curiosity, you can’t explore new flavours or profile combinations, and you risk remaining stuck in your ways. Lastly, without resilience, the road to success is short-lived; we simply don’t get very far.

I have ingrained these three principles into my everyday career. My line of work is very hard; it can be incredibly intense and, at times, unforgiving. There are moments when you find yourself starting over and over again just to achieve the desired outcome. When you are faced with challenges, without resilience, it’s easy give up and not move forward. By combining these three lessons, you can push forward, succeed, and stand out and shine.

During my time at Maison Pic, I created a pre-dessert which was infused with rose, nutmeg and plum. It took several trials before I received her seal of approval, and the dish was finally placed on the menu. The process reminded me that your final showcase is rarely achieved on the first attempt, it’s earned through discipline and creativity and sustained by resilience.

What have been the biggest challenges you have faced as a homegrown entrepreneur building a luxury pastry brand in Dubai?

As an entrepreneur, I face different challenges every day, but the biggest has been visibility. As a homegrown brand without a physical storefront, it’s not as simple as having a name on the street or in a mall. We rely heavily on digital visibility, and investing in Google Ads comes at a high cost.

That said, most of my clients actually come through word of mouth, which I truly love. It shows that people trust the quality of our creations and naturally share their experiences, which is the most genuine form of growth.

Another challenge is reactivity. Unlike delivery platforms such as Deliveroo, every order is made in advance and prepared fresh for delivery, often early in the morning. Our strength lies in that personal touch, being responsive and ensuring every order feels bespoke.

In the early days, I handled deliveries myself, which allowed me to meet my clients in person. That human connection, which you often lose behind a website, helped me build real relationships and loyalty. It reminded me that even as an online brand, authenticity matters.

Looking ahead, my dream is to open my own physical boutique, a place where I can welcome people into the world of Ines Chatti Patisserie. After two to three years of successful organic growth, I am now looking for the right partners to help bring that vision to life.

Tell us about the creative process behind your pastries and how nature influences you?

When creating a pastry, I usually start with one ingredient that sparks an idea. From there, I imagine what could pair well with it, perhaps hazelnuts or different fruits. I think about texture and how it will feel when you take that first bite, how each layer will sit together in a well-balanced way, and then the design begins to come to life. Sometimes it’s the opposite; I’ll have a creative idea for the design first, and then the flavours and textures build around that vision. For me, it’s always about connecting the dots between taste, texture and memory, creating something that tells a story.

I believe most things in life are inspired by nature and the world around us. It’s important to appreciate the living world that allows us to thrive. My passion is deeply connected to my surroundings; I am constantly inspired by and in search of creativity through nature.

When developing a new collection, I often draw inspiration from the natural world and think about how to highlight each ingredient in a way that is both flavourful and visually beautiful. For me, it’s about creating original, personal expressions, using aromatic plants, reducing sugar where possible, and exploring carefully balanced, sometimes unexpected flavour combinations. Each creation is rooted in my travels, memories and a deep connection to nature.

A great example, and one of my most intricate creations, that truly showcases the extent to which nature inspires me creatively, was my Festive Collection 2025 Yule log, which took the form of a pinecone.

I wanted to work around the theme of pine buds because at Christmas, the pine tree is the central element. I wanted to represent a walk in the forest through this composition. The colours in the forest in winter are white (snow), brown (wood), and green (moss, foliage). So I wanted to incorporate these visual elements but also represent them in terms of taste. That’s why I chose chocolate and praline for the wood, and matcha for the plant element. To bring winter freshness and elevate the flavour, I incorporated a hint of yuzu.

You use exceptional ingredients – how do you go about selecting ingredients, and are there any particular combinations you love to work with?

Selecting ingredients begins when I discover a new taste, smell, or texture, something I experienced during my travels or in my childhood. I love discovering unique ingredients from around the world and incorporating them into my pastries, and the Middle East is no exception. I recently created a recipe using lumi, a sun-dried lime. The cake is paired with black lemon jam and jasmine mousse; the flavour is sour and citrusy, while the mousse carefully balances the acidity.

You release seasonal collections twice a year. How do you approach storytelling through flavour across spring and summer versus autumn and winter?

The feeling, tastes and smells of summer are very different from autumn and winter. Often, I take myself back to a memory, unlocking a moment I have lived and experienced, and build the collection from there. For my Spring Summer season, I often go back to days when I was a child going out into the wild to pick raspberries or Elderberry; and when I think of winter, it’s those crisp mornings walking through the forest with the smell of pine around you, and the cold makes you want something that can taste like a hug, think praline, chocolate, and hazelnut.

As a female founder in a traditionally male-dominated culinary world, what has your experience been navigating this industry?

The culinary world has been evolving in recent years, and we are seeing more and more female chefs joining brigades. I feel proud to be growing in my career at such a time. In the kitchen, men and women bring different qualities, and when those strengths come together, it creates something powerful.

With International Women’s Day in mind, what does female leadership in gastronomy mean to you today?

I am forever proud of every single woman who chooses to pursue her passion in this industry. Female leadership in gastronomy means resilience, creativity and courage. We must always lead with both strength and sensitivity, and champion the next generation of female chefs.

What advice would you give to aspiring female chefs who may feel intimidated by the intensity of professional kitchens?

Stay focused, stay motivated, and trust the process. Success doesn’t happen overnight, but if you hold on and believe in yourself, the future will be brighter than you ever imagined. It’s also important to remain calm, to find your own zen that grounds you in intense situations. Always pause before your next move and think carefully.

How do your Tunisian roots and French training intersect in your pastry style?

In each of my creations, you can experience French technique alongside the essence of my Tunisian roots, whether through Tunisian honey, floral notes, or aromatic plants. At the root of my style are memories. Each creation is inspired by a moment in time, a scent from my travels or a taste from the past.

By Lindsay Judge

Discover the City Wellness Retreat at One&Only One Za’abeel’s Longevity Hub by Clinique La Prairie. Offering a considered approach to restoring balance through a carefully curated four-day programme, it brings together cutting-edge medical science and refined hospitality.

The retreat is designed as an immersive urban sanctuary centred on the pillars of Longevity, Aesthetics, Wellbeing and Nutrition. Each experience is scientifically tailored to the individual, beginning with a comprehensive Longevity Index Assessment that provides an in-depth understanding of each guest’s health profile. This is complemented by an advanced diagnostic process, including a Bio Panel and a calorimetry test, alongside a functional medicine consultation, a cognitive assessment, and a dedicated session with a dermatologist.

Guided by medical experts, these insights inform a personalised four-day plan focused on enhancing vitality, supporting long-term health and addressing individual aesthetic and wellbeing goals. Daily personal training sessions are adapted to suit each guest’s fitness objectives, while movement and recovery sessions are integrated throughout the stay to optimise both physical performance and restorative balance.

Guests also benefit from advanced longevity treatments designed to boost energy levels and encourage cellular renewal, as well as a series of wellbeing therapies that promote relaxation and mental clarity. The programme is further enhanced by an in-depth consultation with a nutritionist, ensuring dietary requirements are met through a personalised, full-board anti-inflammatory dining plan designed to nourish the body from within.

Throughout their stay, guests are invited to enjoy unlimited access to the resort’s wellness facilities, allowing time for reflection between treatments and consultations. In blending innovation with luxury, the City Wellness Retreat at One&Only One Za’abeel offers a meaningful opportunity to restore focus and invest in long term wellbeing.

For bookings and more information visit https:

//www.oneandonlyresorts.com/one-zaabeel/offers

Hermès Musc Pallida

Hermès unveils Musc Pallida, a new eau de parfum by Christine Nagel that centres on the rare and highly prized iris pallida. The composition brings together the soft, powdery elegance of iris with the warmth of enveloping musks, creating a scent that feels both intimate and refined. Inspired by the precision of the house’s signature saddle stitching, the fragrance reflects a seamless dialogue between its key notes. Presented in the Maison’s radiant lantern bottle, finished in warm orange and gold tones, the design is complemented by an ivory leather cap with contrast stitching, mirroring the fragrance’s smooth, second-skin character.

CHANEL N°5 EAU DE TOILETTE

CHANEL N°5 Eau de Toilette offers a luminous interpretation of the House’s iconic fragrance, balancing floral richness with a subtle woody undertone. A vibrant bouquet of rose, jasmine and ylang ylang unfolds at the opening, enhanced by the signature sparkle of aldehydes, while sandalwood and vetiver introduce depth and texture. Elegant yet complex, the composition reflects CHANEL’s enduring commitment to craftsmanship, from the cultivation of raw materials to the precise art of distillation and blending. Guided by generations of expertise, each detail is carefully considered, resulting in a fragrance that expresses both refinement and timeless modernity.

Carolina Herrera Stallion Leather Sirocco

Carolina Herrera expands its Stallion Leather line with the introduction of Stallion Leather Sirocco, a limited-edition eau de parfum inspired by the house’s equestrian heritage. Created by perfumer Jordi Fernández, the fragrance reimagines the signature leather accord with a mineral edge, evoking sun-warmed desert landscapes. A date liqueur note adds subtle sweetness, while Akigalawood adds depth through its woody, floral, and spicy character. Developed in collaboration with textile artist Sibylle de Tavernost, the composition balances strength with refinement, offering a contemporary interpretation of leather infused with warmth, sensuality and a sense of open-air freedom.

Bottega Veneta Almost Dawn

Bottega Veneta’s Almost Dawn is a warm and enveloping fragrance that brings together notes of chestnut, truffle and soft vanilla. Rich yet luminous, the composition balances depth with a gentle sweetness, evoking the quiet anticipation of daybreak. Designed to reflect new beginnings and moments of reflection, the scent unfolds with both intimacy and clarity. Part of the Mezzanotte fragrance collection, which launched last year, Almost Dawn continues the house’s exploration of refined contrasts, offering a modern olfactory expression that feels at once comforting and quietly optimistic.

Givenchy LA COLLECTION PARTICULIÈRE INSÉPARABLES

Givenchy introduces Inséparables, the latest addition to La Collection Particulière, drawing inspiration from Hubert de Givenchy’s Haute Couture heritage. The fragrance reinterprets the rose through a contemporary lens, centred around Centifolia Rose from Grasse, one of perfumery’s most prized ingredients. Opening with notes of mandarin essence and bigarade petitgrain, the composition offers a fresh brightness before revealing a soft, powdery floral heart enhanced by ylang ylang. As it settles, vetiver, patchouli and amber woods create a warm, elegant base. Inséparables captures the balance between strength and softness in a refined and enduring floral signature.

Armani Privé Oud Nacré

Armani Privé presents Oud Nacré, the latest addition to the Les Terres Précieuses collection. Created by master perfumer Alberto Morillas, the fragrance explores the contrast between light and depth, pairing the richness of oud with a softer, more radiant character inspired by the luminosity of pearls. At its core, a distinctive mineral oud accord is enhanced by notes of Ambrox and saffron, creating a composition that feels both sensual and refined. Encased in a pearl-inspired flacon, Oud Nacré offers a contemporary interpretation of one of perfumery’s most iconic ingredients through a balance of warmth, clarity and modern elegance.

Loewe Roasted Vanilla Eau de Parfum

Loewe introduces Roasted Vanilla Eau de Parfum, a scent that explores the richness of vanilla through a darker, more textured lens. Creamy sweetness is anchored by oakwood, adding depth and a subtle smokiness, while hints of cognac lend warmth and sophistication. A touch of pink pepper provides contrast, bringing a lively, spicy edge to the composition. Part of Loewe Perfumes’ Crafted Collection, the fragrance reflects the house’s contemporary approach to perfumery, where exceptional ingredients are layered to highlight singular notes in unexpected ways. Alongside oud and iris, vanilla takes centre stage in this refined reinterpretation of a classic accord.

Within the world of high jewellery, where tradition and innovation must continually evolve, Sartoro Genève has established a design language that feels quietly distinctive. Founded by brothers Saro and Arto Artinian, the family-led Maison has built its reputation on a deeply considered approach to craftsmanship, one that values emotion, movement and individuality alongside technical precision.

As Co-Founder and Creative Director, Saro Artinian sits at the helm of the brand’s creative identity, shaping collections that feel at once architectural and fluid. Raised in an environment where gemstones, design and artisanal expertise formed part of everyday life, his perspective on jewellery has always extended beyond adornment, instead viewing each piece as a form of wearable art shaped by both structure and sentiment. Today, that philosophy continues to inform Sartoro Genève’s evolving design language, where contemporary forms are brought to life through meticulous stone selection and an unwavering respect for traditional craftsmanship.

With the Middle East remaining a key market for the Maison, Artinian reflects on the interplay between artistry and engineering, the importance of timelessness in a fast-paced industry, and what it means to design jewellery that resonates long after fleeting trends have passed.

Sartoro Genève was founded with your brother Arto and carries both your names. How has that partnership shaped the Maison’s identity and creative direction over the years?

Arto and I complement each other in a way that defines Sartoro. While I focus on the creative vision and design, he brings strategic oversight and business development. This partnership has allowed the Maison to balance artistic freedom with disciplined execution, shaping a brand that is both visionary and consistent in its identity.

Where did your passion for jewellery come from and what are your memories of jewellery from when you were young?

My passion stems from growing up immersed in gemstones and craftsmanship. Throughout my life, jewellery has been more about artistry. I vividly remember watching stones being examined and set, the precision and care involved; these early experiences instilled a deep respect for both the beauty and the craft behind every creation.

What does that first sketch represent to you emotionally and creatively before a jewel begins its journey?

The first sketch captures the purest form of inspiration, of an unfiltered emotional and creative impulse. It is where ideas exist without limitation, where emotion is translated into shape and line before technical constraints are applied. It’s the emotional blueprint of the piece.

Sartoro pieces often feel architectural yet fluid. How do you translate movement and emotion into something as precise as fine jewellery design?

Architecture provides structure and balance, while fluidity brings life and emotion. I observe how light interacts with surfaces and how a piece moves with the body. By applying precision in design and execution, we allow a sense of natural movement to emerge, so the jewellery feels alive while remaining impeccably crafted.

Stone selection is clearly central to your process. What do you personally look for in a gemstone beyond technical perfection?

Beyond cut, clarity, and colour, I look for presence and character. A gemstone should have a unique character, something that captivates at first glance and complements the design’s narrative.

Sartoro is known for authenticity and innovation. Where do you believe true innovation still exists in high jewellery today?

Innovation in High Jewellery is evolving through technique and perspective. It exists in reimagining how stones are set, how movement is incorporated into design, and how traditional craftsmanship can be interpreted for the modern woman. True innovation respects heritage while pushing boundaries.

What is the biggest challenge that you face in the industry today?

The pace of the market is a significant challenge. While trends move quickly, High Jewellery demands time, precision, and patience. Preserving the integrity of craftsmanship in an industry often driven by immediacy is a constant responsibility.

Tell us about the Sartoro Genève in the Middle East and what is next for the brand in this market?

The Middle East has a profound appreciation for fine jewellery and an understanding of craftsmanship. Our focus here is on deepening client relationships through private experiences and timeless collections, while expanding our presence in a way that reflects the Maison’s values and vision. We see long-term growth and engagement in this market.

In an industry often driven by trends, how do you ensure Sartoro Genève creations remain timeless rather than momentary?

We design beyond seasons. Timelessness comes from creating pieces rooted in emotion, balance, and craftsmanship. If a piece remains radiant years from now, it has achieved its purpose.

What has been the most technically challenging piece you’ve designed, and what did that experience teach you?

Our transformable High Jewellery pieces pushed the limits of engineering and precision. They reinforced that true innovation must serve the design’s beauty and wearability, and that collaboration is essential in translating complex ideas into reality.

How do you want women to feel when they wear Sartoro Genève jewellery?

Empowered and confident. Our pieces are designed to celebrate uniqueness and presence.

Looking ahead, what would you still like to achieve with the brand?

To further establish Sartoro as a Maison synonymous with integrity, craftsmanship, and creativity, while building a legacy that inspires future generations and continues to innovate without compromising authenticity.

How would you describe Sartoro Genève in one word?

Intentional.

By Lindsay Judge

During a month that has so many reasons to celebrate women, I want to talk about the importance of self-esteem for women today. Even though we talk about achievements, struggles, progress and policies, we often seem to forget about self-esteem. True empowerment, if we are talking about empowerment (which is again a word I do not like using much), really begins with how women lead their own movements, build their careers, and shape their societies.

When we talk about understanding self-esteem, it is important to remember that it is not about ignorance or feeling superior to others. A woman’s confidence and her ability are very healthy. Healthy self-esteem does not require constant validation from the outside world. It is about understanding your own value, recognising your inner strength, and developing the confidence to move through life with clarity and assurance.

This is particularly important for women because, throughout history and across cultures, they have always faced certain expectations. They have been told how they should look, how they should speak and how they should behave. There are often unspoken rules about how a woman should act in society. Social media has also reinforced many of these pressures, constantly presenting ideas of what a woman should or should not be.

However, when self-esteem is strong, a woman can speak with confidence in classrooms, workplaces, and leadership roles. She can negotiate her pay, for example, in her career. She is also able to establish healthy boundaries in relationships. When I talk about relationships, I do not mean only personal relationships, but also those at work and within family structures. There is a strong and undeniable connection between self-esteem and leadership.

We see this reflected in the stories of many successful women throughout history. If we consider names such as Rosa Parks or Marie Curie, these are women who developed confidence in themselves and in their abilities. That confidence not only helped them to achieve their own goals but also created pathways for other women to follow.

Self-esteem is also closely tied to emotional strength and mental health. When women value themselves, they are more likely to seek help when they are struggling. They are more likely to leave harmful environments and to surround themselves with the right people who support their growth. They are also more likely to practise self-care and prioritise their well-being, which, in turn, allows them to continue contributing meaningfully to their communities.

The importance of self-esteem also extends to the next generation, which is something very significant. When young girls grow up seeing confident women around them, they begin to build that same confidence within themselves. They are more likely to pursue their ambitions and to speak their truth. Seeing positive role models teaches them that they too can embody these qualities and, one day, become role models for others.

If we call for reflection on International Women’s Day, we celebrate progress, rights and education. These are all extremely important. However, we must also acknowledge the nature of things that are less visible, including self-esteem. Empowerment does not begin in government buildings or in boardrooms. It begins in the mind, and we sometimes forget that.

When a woman believes in herself, she changes her life. When many women believe in themselves, they change the world.

In celebration of the Holy Month, Tod’s unveils an exclusive Limited Edition Ramadan Collection that brings together the house’s Italian savoir-faire with the quiet refinement of Middle Eastern style. Available across select GCC boutiques, the collection presents a considered wardrobe of footwear and leather goods designed to keep pace with the season’s rhythm, moving effortlessly from daytime gatherings to evening occasions.

Defined by a palette of serene neutrals and soft tonal accents, including white, grey, light and deep blue, yellow, and cream beige, the collection centres on versatile silhouettes elevated by the signature T Timeless metal buckle. From elegant mules and heeled sandals to flat slippers suited to more relaxed moments, each design reflects a sense of ease that feels aligned with the spirit of Ramadan dressing.

Complementing the footwear offering is the T Timeless Bag, reimagined this season through a harmonious interplay of materials. Soft calf leather lends timeless durability, while select styles are enriched with precious ostrich skin, adding depth, tactility, and a subtle note of distinction.

Paying tribute to regional heritage, the collection also introduces the men’s classic Tod’s Arabic sandal, crafted from ultra-soft calf leather in warm, earthy tones inspired by the region’s landscapes. Finished with the house’s Gommino-inspired detailing, it offers a contemporary interpretation of a longstanding staple of masculine elegance.

Beyond the Beach, From cultural city escapes to tropical island retreats, these destinations offer the perfect short-haul Eid getaway

Zanzibar, Tanzania

Just over a five-hour flight from the UAE, Zanzibar offers the ideal balance of beach relaxation and cultural discovery for an Eid getaway. Warm temperatures and sun-soaked days are perfect for exploring Stone Town’s historic alleyways or unwinding along the white sands of Nungwi and Kendwa. March falls just before the long rains, meaning lush landscapes and fewer crowds across the island’s boutique resorts. Beyond the beaches, spice plantation tours, dhow cruises at sunset and snorkelling in the turquoise waters of the Indian Ocean add to the appeal. With a growing selection of luxury beachfront properties and private villas, Zanzibar makes for an effortless tropical escape that feels worlds away from the city.

Tbilisi, Georgia

Only a three-and-a-half-hour flight from Dubai or Abu Dhabi, Tbilisi offers a cooler, culture-rich contrast to the UAE’s desert landscapes. In March, early spring begins to bloom across the city’s hillsides, making it an ideal time to wander through the cobbled streets of the Old Town or take in panoramic views from Narikala Fortress. Thermal bathhouses, contemporary art galleries and a growing culinary scene offer a diverse itinerary for a long weekend. Luxury travellers can also venture beyond the capital to the vineyards of Kakheti or the snow-capped peaks of Kazbegi for a change of scenery. With its boutique hotels, historic architecture and café culture, Tbilisi is well-suited for a relaxed yet enriching Eid break.

Yerevan, Armenia

Yerevan is a lesser-explored destination that combines heritage, gastronomy and mountain views. March brings crisp weather and clear skies, perfect for visiting the city’s museums, markets and lively Republic Square. The nearby Geghard Monastery and Garni Temple offer insight into Armenia’s ancient history, while Mount Ararat provides a dramatic backdrop to the landscape. A growing number of design-led hotels and wine-focused restaurants have added a contemporary layer to the capital’s traditional charm. For travellers seeking a cultural city escape without a long flight, Yerevan offers a rewarding alternative for the Eid holiday.

Petra, Jordan

For those looking to combine adventure with history, Petra is just under three hours from the UAE and makes for a memorable short break. March offers pleasant daytime temperatures, making it one of the best times to explore the UNESCO World Heritage Site on foot. Walk through the Siq to witness the Treasury at golden hour, hike to the Monastery for panoramic views or extend your stay with a night in Wadi Rum’s luxury desert camps. Many high-end properties in the region now offer tailored experiences, from private guided tours to stargazing under the desert sky. Petra is ideal for travellers seeking a meaningful journey this Eid.

Phuket, Thailand

For a longer escape this March, Phuket delivers tropical landscapes, luxury resorts and vibrant dining scenes within a six to seven-hour flight from the UAE. The island’s dry season lingers into March, ensuring clear skies and calm seas for island hopping, snorkelling and beachside relaxation. Five-star resorts in areas such as Surin, Kamala and Bang Tao offer private villas, spa retreats and oceanfront dining experiences. Cultural attractions, including the Big Buddha and Old Phuket Town, provide a glimpse into the island’s heritage, while nearby islands such as Phi Phi and Similan offer unforgettable day trips.

Mauritius

Approximately six hours from the UAE, Mauritius combines natural beauty with a refined resort experience, making it an appealing option for families or couples over the Eid break. March brings warm weather ideal for exploring lagoons, waterfalls and botanical gardens. The island’s luxury resorts are known for their beachfront villas, wellness spas and curated dining experiences that blend Creole and international flavours. Activities range from golf and water sports to private boat excursions along the coastline. With its mix of relaxation and adventure, Mauritius offers a well-rounded destination for a longer Eid holiday this March.

For Spring/Summer 2026 Haute Couture, Tamara Ralph presents La Lumière Dorée, a collection that meditates on light, structure and the quiet strength of femininity through the language of couture. Drawing on delicate Asian influences, the silhouettes take shape through origami-inspired geometry, where sculpted folds meet fluid movement in pieces defined by precision and grace.  This is the latest collection from the Haute Couture designer who relaunched her brand three years ago, and what a few years it’s been. The designer has gone from strength to strength, expanding the universe of her brand and broadening her audience and community of women worldwide.

With her latest collection, materials are treated with an almost ceremonial reverence, from the luminous fragility of mother of pearl to intricate metalwork inspired by peacock feathers, long associated with dignity, protection and renewal across cultures, including in the Middle East, where the symbolism holds particular resonance.

Here, light becomes an element of essence. Pearlescent shards and radiant rays glimmer across the collection, refracting illumination like fractured moonlight against the body. Materials bloom with a fanned effect that is architectural yet exquisite, recalling the ritual grace of traditional craftsmanship reinterpreted through a contemporary couture lens. White crocodile appears with immaculate purity and authority, while mint satin introduces a softened coolness that balances strength with sensuality. Mother of pearl in luminous whites and red, metallic embroidery, and gilded golds punctuate the collection, each stitch a gesture of devotion to time-honoured savoir-faire.

In this interview, Ralph reflects on the inspiration behind the collection, the technical challenges faced within the atelier, the evolution of her Maison and the expanding universe of categories that continue to shape the brand.

You recently presented the Spring/Summer 2026 Haute Couture collection in Paris. What kind of feeling or emotion sparked this collection, and where did you go from there?

The first images on my mood board were actually origami. I’ve always found Asia incredibly inspiring, and I wanted to convey a sense of romance, lightness and elegance through an East-meets-West perspective. I love the gold elements and touches of colour, and the emotions I feel when I visit Asia were really what I wanted to translate into this collection.

You worked extensively with light and its refraction through your material choices. Can you talk about that and the technical elements involved?

This season, we pushed further with mother-of-pearl, which we first introduced last season. It’s an incredibly fragile material to work with, but I love the contrast between its hardness and delicacy. It refracts light beautifully into a spectrum of colours from ivory and blush pink to red, creating some very interesting effects across the garments.

We also explored moulded metal elements this season, with some forms inspired by lily flowers. Peacock feathers were something we returned to frequently because they have always symbolised elegance and grace. It’s also a very special bird in the Middle East, so incorporating that motif felt particularly meaningful within the collection.

We are always trying to innovate and do something new each season. It’s important for us to push ourselves creatively and technically within the atelier. We have incredibly skilled craftsmen in-house, and it’s lovely to constantly challenge ourselves and develop new techniques.

What was the biggest challenge you found with this collection?

There are always challenges in any collection. The origami elements were particularly interesting because they required significant development in folding techniques, achieving the right volumes, and ensuring the structures worked once embroidered.

Moulded corsetry is always a challenge because it requires a perfect body mould. That takes several rounds of prototyping before reaching the final result. When you introduce new developments, you are often working with something completely new, so there is always an additional layer of complexity involved in that creative process.

Sometimes, the greatest challenge each season is balancing the workload within the atelier. The team is constantly busy, and we are often working across multiple collections simultaneously, so managing scheduling alongside innovation becomes part of the challenge as well.

It’s been a few years since you relaunched the brand. Where are you at with the Maison now, and what does growth look like over the next few years?

The vision has always been to create a global luxury brand across product categories that I am passionate about, while maintaining a strong focus on high-end luxury. When I relaunched, it was really about concentrating on that.

Within the first year, we launched a collaboration with Audemars Piguet on a limited edition flying tourbillon watch, which was an amazing project. It’s a brand that shares a similar respect for craftsmanship, innovation and luxury positioning, so it was about focusing on very special projects and products that align with our values.

Couture has always been the heart of my work across generations, so relaunching with couture at the centre felt essential. It’s where the house’s vision comes from and represents the highest level of craftsmanship and creativity. At the same time, we’ve branched out into other categories such as our home collection with Daum, where we launched a crystal line that reflects a similar commitment to innovation and artistry.

Collaboration is something you’ve explored in recent years. Is that the way forward when entering new categories?

It’s certainly one approach, but not the only strategy. We are also developing several categories independently, which is exciting because they represent completely new territory for me.

The most recent category we launched was sunglasses, which debuted at this show in collaboration with T HENRI, a niche American luxury brand. Everything is handmade in Japan to the highest possible standards using the best materials. It was particularly interesting because it’s a category I had never worked in before.

The aim is always to grow in a considered way into categories that make sense for our brand and our client, while focusing on very special, often limited-edition pieces.

From the outside, it feels as though the brand occupies a very defined place in the industry. How would you describe its positioning today?

My work has always been at a very high level and supported by an incredible, loyal clientele. Some of the women we have dressed over the years have become closely associated with the brand, and many of those relationships span more than a decade.

It’s very rewarding to see accomplished women recognise your creativity and continue to value and wear your work. I feel very positive about the future. What excites me most is working creatively on things I haven’t done before. Everything I’ve developed for the new brand, apart from couture, represents a category I’ve never produced before, which is an interesting way to challenge yourself.

You oversee both the creative and business sides of the brand. How do you balance your time?

It can be challenging, but having the right team is essential. I work with an incredible atelier, many of whom I’ve collaborated with for twelve or even fifteen years, and they understand my vision immediately. Working with people who support your vision makes managing both the creative and operational sides of the business much more manageable.

I also like to involve my daughters as much as possible while they are still young. When I’m sketching, they come and sketch with me, and when I’m preparing for the show, they are often present at fittings and castings. I want them to grow up inspired by seeing a mother who values hard work and ambition.

You’ve long had a strong connection to the Middle East. Is there anything in the pipeline for the region?

There are developments underway, though I can’t share details just yet. It’s a region that has been close to my heart for many years. We have an incredibly loyal clientele there who truly appreciate fashion and couture, integrating these pieces into important moments and celebrations. Many of the families I’ve worked with there over time have become like family to me.

Looking ahead to the rest of the year, what should we expect next?

Within the next six months, we will launch another product category we’ve been developing for over a year.

This feature appears around International Women’s Day and Mother’s Day. What message would you share with women in business, or those looking to start their own companies?

Follow your heart and your passion. When something is built on genuine love for what you do, that always shines through. It’s incredibly inspiring to see how many women in business there are today, particularly in the Middle East, and I hope to see even more in the future.

What’s the professional motto you live by?

The only limits are the ones you place on yourself. Anything worth doing isn’t easy, but it is always possible if you’re willing to keep trying.

By Lindsay Judge

For his Spring/Summer 2026 Haute Couture collection “Fragments in Harmony,” Rami Al Ali looks beyond silhouette to something more abstract and instinctive. Inspired by a musical composition rooted in the 13th-century poetry of Rumi, the Dubai-based designer explores the idea of contrast as a unifying force, drawing parallels between harmony in sound and structure in dressmaking. The result is a collection shaped by tension and balance, where opposing elements are brought together through layering, texture and intricate surface work to create garments that feel both delicate and architectural.

As his presence on the official Haute Couture Week calendar continues to grow, Al Ali reflects on modernising heritage, shifting global perceptions of Middle Eastern design, and how Dubai’s uniquely international audience continues to shape the evolution of his Maison.

Tell us about the SS26 Haute Couture collection, Fragments in Harmony. What was the inspiration behind it?

The idea for this collection began around a year and a half ago, when I first heard a beautiful piece of music by composer Shura Karimi called Duality. It was inspired by the poet Rumi, whose work I deeply admire and feel very connected to. We connected through conversations about music and the making of this piece, which sparked something creatively for me.

Much of Rumi’s poetry speaks about contrasts coming together in harmony to create unity. That same idea was evident in Shura’s composition and became the foundation of this collection. Sometimes, opposites coming together can create something far stronger than either element on its own.

This concept stayed with me. It is really the essence of fashion: threads and weaving, where very fragile, singular elements unite to create something structured and strong. It mirrors how something delicate, when organised and brought together with intention, can create a powerful and cohesive result. That is where the idea for Fragments in Harmony began. It all started from that musical piece and evolved into the collection you see today.

There were some very interesting silhouettes and material movements in this collection. Can you tell us more about the technical aspects you explored?

As with every collection, we began with techniques we’ve experimented with previously and pushed them further to achieve new results. Layering, and particularly multi-layering, became central to the principle of Fragments in Harmony. Individual, fragile elements come together to create movement and support, much as a society or community does.

We explored this through different materials, from soft, fluid organza to more structured fabrics like satin, crepe, and Mikado. Each material responded differently, offering varied movement, volume, and structure, which, in turn, guided the design process. In some cases, the material dictated the silhouette, while in others, we began with the silhouette, knowing how the layers would behave.

We also introduced new techniques inspired by Persian carpets and their symmetrical patterns. Often, if you look at just one half of a carpet, it appears fragmented or disorganised, but together it creates perfect balance. In the embroidery, we developed a technique that appears pixelated, as though viewed through a magnifying glass. Laser-cut detailing reveals intricate Persian carpet motifs. From a distance, it reads as texture, but when viewed more closely, the pattern emerges. In some designs, it is very visible, while in others, it is hidden within the lining, creating an element of visual discovery for the viewer.”

What did you want people to take away from this collection emotionally?

One of the key ideas, which is becoming part of the brand’s DNA, is modernising heritage. The Middle East has an incredibly rich visual and craft history, but it is often viewed through nostalgia rather than in terms of its relevance to the present.

I wanted to reinterpret that heritage through modern silhouettes and a more minimal graphic approach. By integrating these traditional elements in a subtle way, the collection becomes more current and wearable. It reflects the Middle East’s journey not only through historical references such as the Silk Road, but also as a contemporary cultural perspective that is evolving and forward-looking.

Ultimately, I wanted people to see the region through a different lens, not only through its past but also through its present and future.

How do you feel perceptions around Middle Eastern designers are changing globally?

There are changes within our control and others that are happening naturally as the region evolves. Today, more people are visiting and experiencing the Middle East firsthand, which has significantly shifted perceptions compared to ten or fifteen years ago. A creative exchange is now taking place. We are no longer only importing ideas, but also exporting creativity, craftsmanship and storytelling. This has become more visible across different areas of the industry, from celebrity placements to a growing global clientele that believes in the region’s creative narrative.

However, we are not there yet. There is still work to be done on both sides. Middle Eastern designers are still underrepresented in museums and large-scale exhibitions, which are important for recognition and accreditation. Greater institutional acknowledgement is needed to fully reflect the region’s contribution to global design.”

You are now on the official Haute Couture Week calendar. What does that recognition mean to you?

In some ways, it makes the path easier by providing greater visibility, global exposure and accreditation from some of the most respected fashion institutions.

At the same time, it adds pressure. Every aspect of your work, from collaborations to communication, is now under scrutiny. It means there is no step backwards. Evolution must continue, even if it happens gradually. Being part of the official calendar comes with responsibility, and it requires consistency and ongoing development across every part of the Maison.

Dubai has long been your home. How has the city shaped both your aesthetic and the growth of the Maison?

Dubai has played a very positive role in the brand’s journey. It is a fertile environment for entrepreneurship and offers support to creatives, even those starting with limited resources.

The diversity of the community, in taste and background, allows you to think globally before you actually become global. You are constantly communicating with people from different cultures, mindsets and aesthetics.

The client here is highly exposed, well-travelled and discerning. She has seen a lot, experienced a lot, and she expects originality. It is not easy to impress her with something simple, which constantly challenges us to remain authentic and to renew our vision each season. That environment pushes you to elevate not only the aesthetic experience but also the overall brand experience.

Looking ahead, what are your priorities for 2026?

My main focus remains on fashion. We are working to stabilise our lines and expand into new markets. Bridal is a category with strong potential, particularly in the US, which aligns closely with our design DNA and aesthetic direction.

Entering new markets is an important step forward, especially those where our eveningwear and bridal offering can resonate with the local customer.

How do you balance the creative and business sides of running the Maison?

The key is finding the right team. Having people around you who share your vision allows you the time to focus on creativity while ensuring the business continues to move forward.

I am fortunate to have a team that executes each collection with precision. Their support enables me to develop new ideas, focus on upcoming collections and explore future projects. The credit truly goes to them for allowing that balance to exist.