Al Fardan Fine Jewellery is one of the UAE’s few homegrown jewellery industry leaders.

With a heritage based on the country’s historical pearl industry, the company, which is today led by the modern mind of CEO Hasan Fardan Al Fardan, is building bridges between the history and future of the industry in the Middle East. With a rich history around pearls, Al Fardan realises that today, there is a need to reapproach traditional processes and jewellery styles in order to attract the younger generations and that’s exactly what the brand is doing. To find out more, we talk to the General Manager of Al Fardan Fine Jewellery Abu Dhabi, Iulia Al Fardan. 

Tell us about the vision and direction for Al Fardan Fine Jewellery today. 

As we navigate the future of Al Fardan Fine Jewellery, our vision remains firmly rooted in luxury as a bridge between the past and the future. Inspired by our Emirati heritage and the legacy of the pearl industry, we are committed to crafting timeless pieces that resonate across generations.

Our direction is shaped by a dedication to sustainability, ensuring that future generations can inherit not only exquisite jewellery but also a planet that thrives. We strive to integrate sustainable practices into every aspect of our business, reflecting the values of the new generation.

Moreover, we recognize that luxury is evolving, and we embrace the idea of integrating it into everyday style. We aim to empower Gen Z to express their unique style and personality through our jewellery, making luxury an accessible and meaningful part of their lives. At Al Fardan Fine Jewellery, we see ourselves not just as purveyors of luxury, but as custodians of a legacy that spans generations. Our commitment to excellence, craftsmanship, and sustainability will continue to guide us as we shape the future of luxury jewellery for years to come.

Can you share more about the brand here in the region and why it is an important market for you? 

The Middle East holds a special place in our hearts at Al Fardan Jewellery. It’s not just a market; it’s a vibrant hub of luxury and heritage, deeply intertwined with our brand’s legacy. Here, discerning tastes and a passion for quality craftsmanship inspire us to create pieces that resonate with the region’s cultural significance. Our connection to the Middle East goes beyond commerce; it’s a cherished home where tradition meets innovation, and where our commitment to excellence thrives.

How do you balance honouring the history of Al Fardan and continue to be relevant for today’s customers?

While we deeply respect our rich heritage, we understand the importance of staying relevant in today’s fast-paced world. That’s why we continuously introduce novel creations and materials, ensuring that our brand evolves in step with the dynamic landscape of modern luxury. As an example, we still have our traditional jewellery collections like Al Noor but have recently launched lighter, modern collections like Mira, ALFAbet and BonBons Perlée. These pieces are designed for layering, stacking and styling in ways the wearer sees fit – ensuring that within our collections, there will always be a piece to suit different generations and tastes. 

With the influence of social media and technology shaping the industry, we are committed to leading the charge towards the future of jewellery design with grace and sophistication.

Tell us about the brand on a global level and where we can expect more growth over the coming years. 

We recently re-launched our e-commerce platform and are currently enhancing our online presence to reach a wider audience. I think what makes us unique as a brand is our ability to not only integrate our own in-house collections but also offer access to pieces from international designers like Susana Martins and Terzihan. We aim to become a one-stop shop for all jewellery needs, covering the A-Z of what any jewellery connoisseur may need for their personal collection. 

Tell us about some of your highlight pieces and collections for this year.

This year, we have launched two collections that are extremely close to our hearts. First is the Mira collection, a testament to the twenty-first-century woman who is the architect of her own destiny, forging her own path with unwavering determination and resilience. The word Mira itself means female ruler, who is the embodiment of strength and resilience. The collection is comprised of earrings, rings and necklaces with delicate drop pearls and flawless diamonds which are designed to be used as tools for self-expression. 

Next, we have the Alma V collection, the 5^th-generation in our Alma series. This collection stands as a testament to our own rich history, playing into the idea of multiple generations of the Al Fardan legacy. The core pieces within the Alma collection are inspired by the traditional Dyyin (Dean), which is a woven bag worn around the neck of divers to hold the precious oysters they collect. The Alma collection is a tribute to the Emirati heritage of pearl diving, using the intricacies of the Dyyin net as the template for its delicate design by integrating its symbolic woven construction. These delicate net designs are reflected throughout the collection, adorning its elegant bracelets, rings, and earrings, all while pearls remain a consistent presence, paying homage to pearl diving in the UAE.

As a brand you have always remained very loyal to your values and heritage – how do you balance this with moving forward to please today’s customer? 

To balance tradition with modernity, we embrace a philosophy of evolution rather than revolution. While we stay true to our core values of craftsmanship, quality, and cultural significance, we are not afraid to innovate and adapt to meet the evolving needs and desires of today’s customers. Our clientele recognizes this too, hence loyalty goes both ways, and we always see customer retention. 

How do you feel about endorsements and partnerships as a company?

When we feel the synergy, whoever that may be, a public person or a company – we love good partnerships and endorsements. Our collaborations explore different avenues, depending on the collection and occasion. 

It’s deeply meaningful for us to consistently prioritise and foster partnerships with local talents too. Over time, we’ve undertaken numerous projects dedicated to showcasing and uplifting Emirati artists, designers, and celebrities. Through these initiatives, we aim to celebrate their creativity, contribute to their success, and showcase their unique contributions to our community and beyond.

Every Ramadan, we launch a new iteration of our Al Noor collection, featuring a personal handwritten Quranic verse by Sheikha Alyazia Bint Nahyan Bin Mubarak Al Nahyan, making it a cherished piece for generations to come. 

In the past, we have also collaborated with Emirati AI artists, fashion designers, calligraphers, artists, singers, actors etc. to help us create bespoke displays that tell our stories for key moments like the Abu Dhabi Art Fair. 

What does Al Fardan Fine Jewellery do to connect with its clients?

Our current strategy heavily focuses on connecting with end consumers via digital platforms. “Content is king,” as they say, and we are always making sure we invest in up-to-date and engaging content. 

We are also proudly participating in key trade events, ensuring we strategically select places where we connect with people and display our curated collections, where they will resonate most with audiences.

What’s the biggest challenge you face as a brand today?

As with most luxury brands worldwide, we constantly see an abundance of new brands and oversupply. This can confuse customers, which is why we outline our heritage and legacy whilst catering to different age groups and requirements through our collections. We find it most important to establish a relationship with both existing and potential clients to showcase how our brand differs from the rest. 

Who is your customer today, and what is she looking for from jewellery?

Our customer today is a discerning connoisseur of fine jewellery—a knowledgeable individual who values curated looks and knows precisely what she wants. She seeks jewellery that transcends trends, opting for pieces that speak to her unique style and identity.

For her, jewellery is more than just adornment; it’s a reflection of her personality and values. She gravitates towards designs that embody the timeless allure of luxury and heritage while also exuding a contemporary charm.

In addition to seeking pieces that capture her individuality, our customer places a high value on authenticity and sustainability. She seeks brands that prioritise ethical sourcing and responsible practices, ensuring that her jewellery looks beautiful and aligns with her social and environmental values.

In essence, our customer today seeks jewellery that is not just fashionable but meaningful—a reflection of her refined taste, curated style, and unwavering commitment to quality and authenticity.

What else is in the pipeline for this year?

This year, Al Fardan Fine Jewellery is planning an exciting lineup of new collections, collaborations, and initiatives. We’re thrilled to introduce new designs that push the boundaries of creativity while staying true to our heritage and values.

As mentioned previously, we are expanding our digital presence to provide a seamless online shopping experience and investing in personalised services to better cater to our clientele’s unique needs and preferences.

What message would you send to our readers?

We believe that luxury is more than just material opulence. It’s a reflection of the values, stories, and aspirations that define us. Each piece we craft is imbued with a sense of history, artistry, and unparalleled beauty, inviting you to embark on a journey of elegance and sophistication. Thank you for being part of our story.

alfardanfinejewellery.com

Over the past decades, Sharjah has firmly established itself as the cultural centre of the UAE. With numerous activities and exhibitions of art and culture, the historical emirate has become a hub for creative talent and a platform for these talents to promote their work. Helping to support regional artists, the Sharjah Art Museum aims to educate visitors on Arab art by showcasing regional works from established and upcoming artists. 

The museum was inaugurated in 1997 and was propelled by the visionary aim of His Highness Sheikh Dr. Sultan bin Mohammed AlQasimi, Member of the Supreme Council and Ruler of Sharjah, to make art accessible to all. Central to the museum’s mission is to showcase the rich tapestry of cultural heritage alongside contemporary artistic expressions, underscoring the dynamic interplay between tradition and innovation in the region’s arts scene.

Over the years, the museum has hosted an impressive array of exhibitions, spanning a diverse range of themes and epochs, from classical Islamic art to modern and contemporary works. It has been instrumental in bringing international art to the local audience, as well as promoting the works of regional artists on a global stage. Here we find out more with the Museum’s Curator Alya Al Mulla.

Who does the museum aim to attract and what do you aim to showcase to visitors?

Inspired by the vision of HH Sheikh Dr. Sultan Bin Mohammed AlQasimi, The Ruler of Sharjah, our mission and priority is education which and for our museums to be places for education and creating awareness. Often, the term ‘museum’ either intimidates or bores people; our goal is to change these perceptions by catering to and engaging diverse demographics through our various temporary exhibitions, events and activities, and educational programs.

What are some of the main highlights that visitors can expect to see?

Visitors can expect to see the museum’s permanent collection on display and a number of works under the broader narrative of Modern and Contemporary Arab art. The works are put together within smaller groups, under different themes and concepts that introduce the visitors to Arab art, a topic that, in recent years, was overlooked and was not part of any academic teachings. 

Part of our space is dedicated to the ‘Orientalist Collection’ featuring works, some of which are from the 18th and 19th centuries by European artists who travelled to this region. Some of the must-see works here would be, Ruins of the Temple of the Sun, Baalbec (1861) by David Roberts. Also, El Azhar University in Cairo (1890) by Ludwig Deutsch. And of course, the main highlight at the museum currently, is the long-term loan that we have from the Barjeel Art Foundation. 

What are some of the upcoming projects that you can tell us about?

Our upcoming project, which will open later this year, is a collaboration with the Jordan National Gallery of Fine Arts in Amman. This collaboration will bring key works from their collection to Sharjah for an exhibition. We have been working on this show for quite some time now, and I am happy that it is finally happening and very excited about it. 

Then we also have ‘Lasting Impressions’, an annual exhibition that sheds light on pioneer Arab artists who have made a lasting impact on the art scene and art history. We have decided to postpone this year’s edition and make it a bi-annual exhibition, to allow for more thorough research and preparation. We are already working on our next edition and looking forward. We are also continuing our collaborations with local entities in Sharjah to host their exhibitions in our museum spaces.

How are you sharing the work of the museum on an international scale?

We loan pieces from our collection to other exhibitions both within the UAE and internationally, allowing global audiences to experience our offerings.

How do you showcase the rich history and culture of Sharjah through the museum?

While the Sharjah Art Museum focuses primarily on art, the history and culture of Sharjah are showcased through the Al-Hisn Fort and the Sharjah Heritage Museum, both part of the broader Sharjah Museums Authority and both showcase the legacy and rich history of our city. 

Sharjah has firmly established itself as the cultural capital of the UAE – what are your views on this and what would you like to see happen next? 

Sharjah’s reputation as the cultural capital of the UAE is well-deserved, thanks to the wise leadership of  HH Sheikh Dr. Sultan Bin Mohammed AlQasimi, the Ruler of Sharjah. 

The emirate has made significant investments in cultural infrastructure, including museums, art spaces, and heritage sites, and has actively supported cultural initiatives and creative industries. With the establishment of many such art and cultural institutions, including places such as University City and many other educational centres, Sharjah has always been a pioneer in this field, with a longstanding commitment to preserving, promoting, and celebrating art, heritage, and culture. 

Looking ahead, I would like to see Sharjah continue to build upon its cultural legacy and further enhance its position as a global hub for culture and creativity. This could be done through various means and collaborations with like-minded organisations. At the same time, it should address current cultural issues and relevant themes that bring positive changes to society.

The biggest challenge at the moment is keeping up with the latest developments in the art field and museum displays, while still adhering to our mission and vision. We tend to focus more on the latter, striving to balance what we display with innovation. The question is how far to go in terms of using advanced methods and approaches, and how sustainable these will be without compromising the artists’ techniques or the integrity of historical narratives.

What else would you like to achieve with the museum moving forward?

Moving forward, it is crucial to evolve with the times and implement new practices. I aim to make the museum more accessible to a broader audience, both locally and internationally. Additionally, fostering new collaborations will elevate the art museum as a vibrant and inclusive cultural hub, enriching the lives of individuals, strengthening communities, and advancing art and culture on both local and international scales

What is the dream exhibition you would like to have at the museum?

Early this year, we completed our latest iteration of ‘Lasting Impressions: Samia Halaby’. Honestly, for me, that was a dream exhibition! For those who may not know, Samia Halaby is an icon and a living legend. Her contributions to the art of abstraction, as well as to Arab art in general, are immense. We organized a comprehensive retrospective of her work, spanning the past six decades. It was an honour and privilege to get to know her and work with her so closely.

What is your professional motto? 

Work hard and do your best, in the end, everything falls into place. 

What do you look for yourself when you are visiting museums around the world and how do you try to mirror this with the Sharjah Art Museum? 

You may find this amusing, but when I visit museums (and I am sure many museum professionals will understand), I look very closely at the technical aspects, such as their lighting, display techniques, artwork labels, exhibition texts, and the layout of the works. I even touch the walls and texts to understand what materials are used.

Another key aspect I explore is how well I understood the exhibition—not as a curator but as a general visitor. I assess whether the museum clearly conveyed the concept and narrative.

What is a message you would send to our readers to let them know why they should visit? 

Sharjah Art Museum — where admission is free — is unique not only for its location, nestled within the Heart of Sharjah and the old neighbourhood but also for the amazing exhibitions that we have on display. The museum is for everyone, not just art professionals. Art has no language or barriers; you will find that one piece of art that speaks to you. 

sharjahmuseums.ae

The Davines Group has been focused on creating a more sustainable approach to beauty for over 40 years.

Founded in Parma, Italy, the group is headquartered in its “village” which features its own  Scientific Garden and EROC – European Regenerative Organic Center – a research centre focusing on regenerative organic agriculture stemming from a partnership with the Rodale Institute. The Group began in 1983 with Davines, a haircare line with a sustainable approach that cares for your hair and the planet. In 1996, it launched [ comfort zone ], an innovative, science-based skincare line that offers results-driven treatments and products. 

Today, this family-owned business is led by its Chairman Davide Bollati who inherited the company from his father. After graduating from university with a degree in Pharmacy and a Master’s in Cosmetic Sciences, Bollati worked for international companies before joining the family business in 1992. Today he is leading the company with a strong commitment to ethics and sustainability, product innovation and international business growth. His vision of Sustainable Beauty: a combination of cutting-edge chemistry and respect for the environment and society, has led the Group to become a B Corporation. 

Here, we find out more about the company’s vision moving forward and how its unique approach to sustainability could inspire others. 

Tell us about the vision and direction for Davines Group today.

Since the foundation of our Group in 1983, thanks to the care and passion of my parents, our purpose has always been to do our best for the world – creating a good life for all – through beauty, ethics, and sustainability.

Today, these words still represent the essence of the Davines Group. What sets us apart within our industry—our commitment, both today and for the future—is to produce highly performing and scientifically advanced products that satisfy the needs of our customers without harming the planet or future generations. We are the last ones to have this chance.

We have been a B Corp since 2016. We see this commitment as our mission, and we aim to involve an increasing number of companies in embarking on this journey towards a regenerative transition, capable of replacing the extractive economic approach – take, use, dispose of – that has characterised our economy for too long. 

Last year, we also obtained our second B Corp recertification with a remarkable score of 123.5, significantly above the average score in our industry, which globally stood at 94.7 and did not exceed 93.8 points in the beauty sector last year.

In 2023, we closed the fiscal year with double-digit growth, recording sales of over €260 million (preliminary figures), which is up 14% from 2022. 

Can you share a little about the company in the Middle East and why it is an important market for you?

The Middle East is certainly a very important region to our Group, with interesting growth perspectives. It’s facing an increasing interest in sustainability and regeneration topics, which perfectly matches our brands’ values and vision – Davines and [ comfort zone ]. We’ll keep evaluating any possible opportunities for innovation in this market, which has become very relevant for us.

Tell us about the company on a global level and where we can expect more growth over the coming years.

Today, we have more than 900 employees and nine offices globally, in addition to our headquarters, the Davines Group Village in Parma. We have offices in New York, London, Mexico City, Deventer (Netherlands), Shanghai, Hong Kong, and Paris and last year we opened our new subsidiary in Dusseldorf.

We generate 80 per cent of our Group sales in foreign markets. North America is still our top market, as of 2022, where we reached $100 million in 2023. For Italy, we exceeded €50 million in revenues last year and we also faced an increase in France, with a 20% growth compared to 2022.  

Our far-reaching international presence has played a key role in our growth over the last years, and for the future, we aim to expand further in Southeast Asia and South America, major markets that are still quite unexplored for our brands. 

How do you think the Davines Group differs from any other product on the market?

I believe that the payoffs of our brands – sustainable beauty for Davines and conscious skin science for [ comfort zone ] – perfectly embody the core values of our Group. We are committed to promoting and realising an ideal of beauty that’s sustainable and has a strong scientific connotation, respecting people, our planet, and the communities that inhabit it.  

Sustainability is at the heart of your company. Tell us about some of your recent developments in this field. 

Our commitment is to demonstrate that product quality, sustainability and science are strongly linked. The study of new active ingredients for our products starts directly from the Scientific Garden of Davines Group Village, in Parma, which is an open-air laboratory from which the 60 researchers of our R&D department carry out their research activities. 

In 2021, in partnership with the Rodale Institute, we founded the European Regenerative Organic Center (EROC), the first European research and training hub focusing on regenerative organic farming, as an expression of our willingness to invest in the study of new ingredients grown according to these practices that positively impact soil health. To date, EROC consists of 17 hectares with 188 experimental plots in which 22 different plant species are grown in rotation. 

Not only that, but we will also continue to work on protecting biodiversity and studying new ingredients for our supply chain: we aim to have 100 ingredients from regenerative organic agriculture in our product formulas in 10 years. 

In May 2022, we signed our commitment to the Science Based Target Initiative (SBTi) and we are currently working to formulate our Net Zero goals and develop a long-term strategic roadmap to achieve them. This is also why we will be initiating an Agri-voltaic project in EROC with the goal of achieving energy self-production in the Davines Group Village and our production facility in Parma. 

Why do you think it’s important for beauty brands to be considering a more sustainable approach today? 

I know that pursuing sustainability is often not the easiest choice and that this may discourage many companies from embarking on this path. However, we perceive that today, more than ever, it is the only possible choice to ensure a future for the next generations in an increasingly challenging global and social context.  As a B Corp company, we strongly believe in pre-competitive cooperation – which considers the well-being of our planet and its people over profit. 

In January 2022, we were among the founders of the B Corp Beauty Coalition, which now includes almost 90 companies internationally. The aim of this coalition is to promote and improve sustainable standards through the sharing of know-how and best practices within the beauty industry.

What are you currently working on, and are there any launches we can look out for this year? 

Regarding our hair care brand, Davines, at the moment the focus is on “Grow Beautiful”, our first global socio-environmental campaign that supports regenerative agriculture. Launched in 2022, Grow Beautiful celebrates Earth Month, inviting us to balance environmental impact and help regenerate the Earth with our choices. For this year’s edition, we designed a limited-edition Hair & Body Wash bar containing an activist® ingredient, 99.7% biodegradable formulas and packaged in 100% recyclable paper. Named in Davines as an activist® ingredient, the white yarrow extract is the active ingredient in the product formula grown and harvested for the first time ever in the 17-hectare fields of the EROC. 

Another important launch for 2024 is the shampoo refill pouches in the Essential Haircare Line. NOUNOU, MINU, LOVE SMOOTHING, LOVE CURL, and MOMO shampoos will soon be available in 500ml formats to refill twice the bottles for daily consumption. Again, with this launch, we aim to inspire low-waste habits at home and promote reduction, reuse, and recycling. Our new refill and recyclable pouches use 74 per cent less plastic compared to two 250ml sizes of Essential Haircare shampoo and have reduced CO2 footprint impact.

For [ comfort zone ], our skincare division, we have just launched Luminant, targeting uneven complexion. Inspired by the most effective dermatological techniques for treating hyperpigmentation, the new Luminant 3-bright technology ™ effectively corrects and prevents hyperpigmentation. Combining natural extracts and high-tech molecules, the pro and retail formulations very well embody our vegan, conscious skin science approach. 

Can you tell us more about the skincare line?

We launched [ comfort zone ] in 1996 as an innovative, science-based approach to beauty and wellness, translating into a result-oriented professional menu of facials and body rituals, and a home care collection targeting various skin conditions. The combination of high performance and guest experience has allowed us to serve prestigious day, destination and hotel spas. We now have over 5,000 partners around the world, whom we also sustain with education and business consultancy.

The constant innovation that powers the brand’s timeless modernity has inspired a very recent innovation called FACE SPAce: a revolution in the skincare industry. It brings cutting-edge pro results from behind the spa’s closed doors to an open, social setting for regenerated, radiant skin in condensed timeframes.

What’s the biggest challenge you face as a company today?

I think one of the biggest challenges that many companies face today is to be aware of the key role they play in ensuring a future for our earth and trying to restore our planet’s resources.

Industries must accelerate their efforts to achieve sustainability and the transition towards a regenerative economic model and, thus, a new way of inhabiting the planet. To do so, strong cooperation and a common goal between every actor—businesses, the public and private sectors, and individuals—are fundamental. 

We have no other choice but to do our best to ensure the transition to a regenerative economic model. However, long-lasting and sustainable positive change can only occur when we strive towards a common goal. In my opinion, this willingness and desire to collaborate are essential for anyone looking to be a part of this change.

How do you feel about endorsements and partnerships as a company?

I believe that a bond of mutual trust and shared values should be fostered between a company and its partners and customers, as well as with broader stakeholders. Our business model is stakeholder-oriented, meaning it aims to positively impact all our stakeholders and the planet.

We seek to build long-term relationships with our partners. As a B Corp, we strongly believe in the power of interdependence, and we prefer partners and collaborators who share our same values, ensuring harmony of purpose and transparency throughout our value chain from the sourcing of raw materials for our formulas to the distribution of our products on an international scale.

What would you still like to achieve at the company that you haven’t done yet?

We have been committed to sustainability for over 16 years, and our growing, increasingly holistic, and integrated engagement is further evidenced by the B Corp certification in 2016. 

We perceive sustainability as a never-ending journey, and we will always strive to do our best to respect and protect our planet and its inhabitants. 

For the future, our challenge will be to demonstrate that scientific research and physical well-being can get along with the regeneration of our planet. One of our priorities is to carry on developing high-end, innovative and performant products for our clients and our customers, ensuring their well-being and one of our planet and our people.

davinesgroup.com

Rayan Imad Hakki, Managing partner and Exhibition curator at Khawla Art Gallery on how the gallery shines light on regional talent.

Founded by Her Highness Sheikha Khawla Bint Ahmed Bin Khalifa Al Suwaidia poet, writer, calligrapher and art critic, Khawla Art, Gallery in Dubai’s Design District was imagined with the vision of showcasing the work of Arab artists, both upcoming and established. As well as holding regular exhibitions showcasing regional and international artist’s work, Khawla hosts art fairs, lectures, workshops, and events to help engage artists and collectors and showcase the creative talent in the region. Driven by the need to make the global art scene more accessible and inclusive, the gallery presents contemporary art from emerging and established Middle Eastern artists who draw inspiration from their culture and traditions. 

As well as the physical gallery, Her Highness founded Khawla Art & Culture as a platform to cultivate interest in the cultural heritage of the world, with an emphasis on calligraphy. The gallery was an extension of this as she realized the need for a platform that shines a light on regional art. Through Khawla Art & Culture and Khawla Art Gallery, she envisions a world where peoples of all nations can learn from one another and usher in an era of peace, prosperity and tolerance.

As the gallery prepares for its latest exhibition, we talk to Managing Partner Rayan Imad Hakki to find out more. 

Tell us about Khawla Art Gallery’s vision and direction today. 

The gallery’s vision has always been to support and promote art from the MENA region – in a very globalized world, we aim to turn eyes to our region, encourage visitors to appreciate our culture and ensure our voices are heard. Today, Khawla Art Gallery’s aim is to go international and bring local art to other parts of the world. We began with Beirut, Cairo, and Spain, and we are planning so much more.  

Who does the gallery aim to attract, and what do you aim to showcase to visitors?

As Khawla Art Gallery is part of Khawla Art and Culture, our main goal is to attract the young generation, especially young Arabs, and educate them in the fields of art and culture. Moreover, we aim to attract collectors, of both regional and international art to show them the new and upcoming artists of the region. 

We show our visitors a variety of artists from all around the region – both renowned and emerging. Each exhibition is a different journey – from its stories to its colours, textures, and eras of the vast culture of the Middle East. 

What are some of the upcoming projects that you can tell us about?

One of the projects I am personally excited about is part of our collaborative project with Museo Universidad de Navarra. It’s a project that combines art, music, and theatre. We will begin with the “Building Bridges” project that brings together the different yet very similar cultures of the Arab region and Spain by curating an art residency. We are thrilled to be promoting an Emirati artist in Spain and giving them a chance for a new experience, and of course, receiving a very talented Spanish artist who will surely create wonders in this residency. 

How are you sharing the work of the museum on an international scale?

To be internationally renowned, you should exhibit, give workshops, participate in art fairs, and more. This is exactly what we are doing by hosting our yearly Al Khatt Festival in Beirut, collaborative exhibitions in Cairo and Spain, and working on upcoming projects in Paris and Saudi Arabia. 

How do you showcase the rich history and culture of the UAE through the museum?

While developing our yearly schedule, we ensure that at least 50 per cent of our artists are Emirati, whether by giving them a chance to exhibit, host workshops, lectures, or participate in any activity. Moreover, as our Gallery is not only a commercial gallery, but rather an art community, we host events such as tours of the UAE’s landmarks: we have already planned visits to the Sheikh Zayed Grand Mosque, the Abrahamic Family House, a dinner at the Sammaliyyah Island, and more. 

In Khawla Art and Culture, we showcase even more by having the yearly celebration of the UAE during the month of December, which coincides with the UAE National Day; the ongoing research on the Emirati Heritage, providing schools and universities with workshops and lectures from Emirati artists and artists from around the world, participating in the UAE’s traditional yearly festivals, and many more projects and activities. 

How does the vision of the gallery’s founder Her Highness Sheikha Khawla Bint Ahmed Bin Khalifa Al Suwaidi shine through in the projects and exhibitions?

Her Highness Sheikha Khawla Bint Ahmed Bin Khalifa Al Suwaidi founded Khawla Art and Culture with an initial aim to give back to our artistic community that has been left out in some sort, and a way to give back to the artists that were not given a chance to stand out. 

As an Art enthusiast and as an Art collector, she hoped for the world to also start appreciating the young and emerging artists of the MENA region by keeping the rich culture and heritage of the MENA region.

By founding Khawla Art and Culture, she provided artists with a platform to have their voices heard and their works showcased, and students and art enthusiasts to learn art and its history. 

After some time, seeing the incredible responses from both artists and the community, she decided to open the Khawla Art Gallery. The gallery doesn’t only exhibit artworks but also hosts dinners, workshops and lectures that help us to create a community and educate the audience. 

The different projects that we do on a different level, are what got us to where Khawla Art and Culture is today. These projects are what will keep us moving forward and keep Her Highness’s vision alive and shining. 

What else is coming up this year?

This year we have many collaborations with other entities. As mentioned, we had our first collaboration with Museo Universidad de Navarra in Pamplona for a solo exhibition by Her Highness Sheikha Khawla Bint Ahmed Bin Khalifa Al Suwaidi, as well as another calligraphy exhibition by Everitte Barbee. Another collaboration with Azad Gallery for two exhibitions: a Solo by Ghaleb Hawila entitled “Mapping ego” and a collaborative exhibition between four incredible Arab Artists: Ismail Rifai, Shawki Youssef, Elias Ayoub and Nawar Shartouh, under the title of “Faces of Expression”. 

We are also working on two more collaborations this year, and we believe that these are crucial for our growth, and to make connections and friendships in the field from one country to another. 

Our yearly schedule of solo and collective shows is surely ongoing. We have Abdallah Akkar’s solo exhibition this month, a summer collective, and more. 

What is the biggest challenge you face within your role today?

Not being able to showcase all the artists we have. It takes a long time to choose who to exhibit as we really try to fit each artist we want to showcase. 

When we started, a challenge was to introduce and make these artists part of the art market and of the collector’s taste. But it has changed, and Arab art is being praised more and more, and the market is shifting slowly to focus on MENA art—this is one of the best achievements that both our gallery and all the other entities that promote Arab art should be proud of—a challenge that is becoming a strength bit by bit. 

What else would you like to achieve with the museum moving forward?

We hope to be part of the tastemakers who will make Arab art part of every collector’s house and museum and have Khawla Art Gallery be a reason for these artists’ inclusion. 

What is the dream exhibition you would like to have at the museum?

A dream exhibition would consist of two components. Firstly, it would be an exhibition of the artists who drew the path of Arab Art—renowned artists who are not present with us anymore and who made a change in the art field from all around the MENA region. By combining works from different institutions, collectors, and artists, we could celebrate them and their journey and show the artists, collectors, and art enthusiasts the broad treasure we have in our world. 

These renowned artists inspired today’s generation of artists, and therefore we would have a parallel exhibition to this, that collects today’s artists that will become tomorrow’s tastemakers. The exhibition of both would have over 100 works and will be a manifesto of the arts of the MENA Region.  

What is your professional motto? 

Without culture, there is no civilization. And without art, there is no culture. 

What message would you send to our readers to let them know why they should visit?

In our region, we have many artists whose work is worth investing in and collecting. We have seen the results in recent international auctions. I would tell A&E readers to be part of this with us, visit us and meet the different artists, learn their stories, and appreciate them. Together we can create a history, paving our way to unfinished stories about the arts and culture of the MENA region. If we put our hands together, we will reach to even bigger achievements together and be proud of where Arab art will reach. 

khawlaartgallery.com

Lebanese fashion designer Rami Kadi recently brought his latest collection to the beautiful region of AlUla in Saudi Arabia for an exclusive one-of-a-kind show, making him the first designer to partner with the Royal Commission for AlUla and AlUla Moments.

Known for his innovative approach to design and his ability to always surprise in terms of his choices of materials, his silhouettes and his designs, this show was unsurprisingly show-stopping as the designer presented a series of gowns exclusively for the Middle East market. 

The Les Miroirs collection which debuted last month features ten exclusive gowns as well as the designer’s Spring/Summer 2024 collection. The designs were inspired by the breathtaking landscape of AlUla from its natural lands to its rich heritage and architectural marvels. Kadi showcased innovative use of materials such as holographic elements, recycled plastics, and shattered glass.

In an event which also served as a platform to reaffirm Maison Rami Kadi’s commitment to sustainability and conservation efforts, a portion of the collection’s sales proceeds were dedicated to the preservation of the Arabian Leopard, native to the region. Here we find out more. 

What is your vision for your brand today? 

My vision for Rami Kadi Maison de Couture today is to continue evolving as a global leader in nouveau couture and continue to be known for my unwavering commitment to craftsmanship, tech innovation, and artistic expression. I aim to create timeless pieces that transcend trends and resonate with discerning clientele worldwide. Part of my vision includes forging strategic collaborations that not only elevate our brand but also add significant value to the couture landscape. I aspire to be at the forefront of the industry, setting new standards of excellence while staying true to my heritage of couture craftsmanship and creativity. 

Congratulations on your Les Miroirs show in AlUla – tell us about this collection. 

Les Miroirs collection is a tribute to the mesmerizing beauty of AlUla. Inspired by its stunning landscapes, resilient flora, and rich history, each piece reflects the interplay of light and shadow, mirroring the enchantment of AlUla’s reflective surfaces. It’s a celebration of modern design infused with ancient inspiration, capturing the essence of timeless elegance. 

Why did you choose to showcase this collection in AlUla 

AlUla holds a special place in my heart, with its unparalleled beauty and cultural significance. It felt like the perfect place to unveil Les Miroirs collection, allowing me to pay homage to the unique landscapes and historical heritage of the region. The setting provided an immersive experience, allowing guests to truly connect with the inspiration behind the collection. 

What are your thoughts on the growing design scene in the region? 

The growing design scene in the region is incredibly exciting and promising. We’re witnessing a surge of creativity and talent emerging from the Arab world, with designers pushing boundaries and making a mark on the global stage. It’s inspiring to see the diverse perspectives and innovative approaches shaping the fashion landscape in the region. 

How would you like to see Arab designers better represented on a global level? 

I believe Arab designers have immense potential to significantly impact the global fashion scene. To better represent Arab designers on a global level, those working on a higher level need to be more visible and recognise our talent and creativity, which can facilitate Arab designers’ journeys globally. 

Tell us about your design process and the choice of fabrics. 

The design process for Les Miroirs collection was ignited by the natural beauty and heritage of AlUla. Inspired by its landscapes, flora, and iconic landmarks like the Maraya, we meticulously selected fabrics that mirrored its unique qualities. Holographic materials, recycled plastics, PVC, and shattered glass were chosen to reflect AlUla’s mesmerising essence in its entirety. 

Moreover, the cuts and designs of the dresses were intricately crafted to evoke the sand dunes, rock formations, and the reflective surfaces of the Maraya. Each piece was a homage to AlUla’s timeless beauty, weaving together elements of its landscape and cultural heritage into a tapestry of couture craftsmanship. 

Who is the woman you design for? 

The woman I design for is confident, sophisticated, and unafraid to make a statement with her fashion choices. She appreciates the artistry and craftsmanship behind each piece and seeks designs that exude elegance and individuality. 

What else is in the pipeline for this year? 

We’re excited to explore more collaborations that align with our vision and values, adding depth and diversity to our brand. Additionally, we’re eagerly looking forward to the launch of our upcoming Fall/Winter 24/25 couture collection, which promises to push the boundaries of creativity and craftsmanship even further. 

Tell us about the brand on a global level and where we can expect more growth over the coming years. 

As we continue to expand our presence in key markets across the world, we anticipate significant growth in regions where there is a growing appreciation for couture craftsmanship and artistic expression. 

Tell us about some of your highlight pieces for this year. 

Some of the highlight pieces for this year include gowns that utilise completely new embroidery techniques and sustainable fabrics. My personal favourite from this collection, especially from the 10 exclusive looks showcased at the fashion show in AlUla, is the beige pink couture crepe georgette dress. This piece holds a special place in my heart, as it incorporates an intricate macramé technique in its design process. What truly sets it apart is the inclusion of vector graphics patterns and the innovative technique in tailoring. This fusion of traditional craftsmanship with modern techniques perfectly encapsulates the essence of my vision for the collection, making it my favourite. 

What’s the biggest challenge you face as a designer today? 

As a designer today, I would say one of the biggest challenges is staying true to my creative vision while navigating the ever-evolving landscape of the fashion industry, while simultaneously navigating all the obstacles we face on a daily basis in terms of economic and political barriers. 

What inspires you? 

I find inspiration in various sources, including art, architecture, nature, personalities, and cultural heritage. Travelling to new destinations, exploring different cultures, and immersing myself in diverse experiences all fuel my creativity and keep me inspired. I also draw inspiration from the incredible women I design for, each with their own unique stories and personalities. 

What is the best advice you have ever been given? 

The best advice I’ve ever been given is to stay true to myself and my vision, regardless of external pressures or trends. It’s important to trust my instincts, embrace failure as part of the creative process, and never stop learning and evolving as a designer. 

What would you still like to achieve with the brand that you haven’t done yet? 

There are still many milestones I hope to achieve, including expanding our presence in new markets, collaborating with iconic figures in the fashion industry, and continuing to push the boundaries of couture craftsmanship and innovation. Ultimately, I aspire to leave a lasting legacy that inspires future generations of designers. 

rami-kadi.com

These jewellery pieces are perfect for the new season.

GRAFF 

GRAFF’s Tilda’s Bow collection represents unconditional love and family bonds inspired by Laurence Graff’s bond with his granddaughter. The collection features elegant bows decorating pendants, bracelets and earrings, mimicking the moment a silk ribbon is tied. Every piece has been designed and crafted to be loved, worn and treasured today and also to be passed down the generations, making it the perfect gift. Every loop in the designs is brought to life in pavé diamonds, which form a shimmering surface of stones, as well as round, custom-cut, and emerald-cut diamonds set by Graff’s master artisans to dance with fire and brilliance. Rings, earrings, bracelets, necklaces and pendants, brooches and watches within the collection are designed to complement yet not perfectly match one another. For this reason, every jewellery piece is subtly different, featuring individually designed bows which are beautifully unique. 

Chopard 

What better way to say ‘I Love You’ than with elegant hearth-themed jewellery? The Happy Hears and My Happy Hearts collections by Chopard have newly updated iterations for 2024, making them the perfect Valentine’s gift. The Happy Hearts collection features a new design with a pink opal heart, as well as malachite, white or Tahitian mother-of-pearl, onyx, carnelian, and sparkling diamonds. The new pink opal pendant features ethical 18-carat rose gold and has a symbolic meaning thanks to the stones’ connection to the Peruvian Andes, where it is believed to have soothing properties on emotional wounds. 

Additionally the My Happy Hearts collection features a constellation of delicate hearts in ethical 18-carat rose gold and pink opal, to be worn alone or stacked as stylish accessories. Featuring an ethical 18-carat rose gold set with pink opal; these new models add a necklace and a pair of earrings to the collection.

Buccellati 

Buccellati recently revealed a special new pendant as part of its Opera line for the occasion of Valentine’s Day. This elegant pendant is inspired by the Renaissance period, with a symmetry in the flower that is its symbol and recurring motif. This delicate pendant is centrally decorated with a small pavé of diamonds. 

Buccellati

The new design also complements the brand’s Hawaii collection, inspired by the welcome garland gifted to visitors arriving in Hawaii. A cascade of tiny gold circles, handcrafted with the twisted thread technique, plays with light and movement. The circles have a diameter of 0.6 mm and are composed of two gold wires, twisted and patiently hand-soldered one by one, creating a movable mesh. These light yet modern pieces are great for both every day and evening wear.  

Boucheron 

Boucheron’s Quatre Double White Edition reinterprets the classic codes of the maison and the iconic Quatre line in an all-white design. Key pieces such as the Grosgrain and Double Godron rings are sculpted in white gold, while the Clou de Paris in pristine Hyceram sits alongside the line of diamonds.

Rings, hoop earrings, necklaces and, the collection’s flagship piece, a daring piece of hair jewellery, Quatre Double White Edition combines monochrome strength with style. These bold pieces will make the perfect gift for a strong and fearless woman. 

Piaget 

Piaget’s is unveiling a new version of its signature technique, bringing new life to the Possession Palace Décor collection in the form of a new bangle which pays homage to the brand’s savoir-faire and daring personality. The collection which also features rings and pendants, brings gold craftsmanship to the forefront of the designs, while a single diamond is set at the centre of the pieces.

These pieces, which represent love and commitment, can be worn in a number of different ways and can be stacked together. Created in rose gold or white gold, in different sizes and settings, the collection puts the beauty of craftsmanship and elegant materials at the heart of jewellery design. 

Pomellato 

Pomellato celebrates the beauty of love with its new Pomellato Together collection, which features smooth sculptural shapes and a modern design. Featuring diamond details, these feminine pieces feature two ellipses held together by a link, symbolising the power of unity and the strength of togetherness. Two new circular pendants feature diamond-set gold links. One of the links allows the chain to slide along the space between the two rings: a tactile reminder of love’s freedom and cheerfulness. The more precious version of the two is set with a full diamond pavé.

The new single-band rings in white or rose gold are entirely set with diamonds with a contrasting plain gold link, and a set of hoop earrings gently caress the ear lobe as delicately as a lover’s touch. A single, outsized ear cuff offers a defiantly modern take on the love token. A bracelet in plain gold and rings, either in plain gold or with a touch of diamonds on the link, offer a reassuring presence and a constant reminder of your unwavering support. The rings are a new variant of the iconic design of this collection: true to the house’s pioneering spirit, they are easy to wear and stackable.  

These are the best looks and highlights from the Haute Couture shows in Paris earlier this year.

Giorgio Armani Privé

Giorgio Armani Privé revealed a collection entitled “Haute Couture en Jeu” (Haute Couture as play). The show notes described the collection as “Armani in its open embrace of different cultures and the joy with which it transcends boundaries to explore distant worlds.” It was undoubtedly a collection which revelled in delight. Key details included froth of lace, delicate embroidery, finely crafted appliqués and the twirling of thin braids that adorn the hair and graze the shoulders.

It was a wholly imagined journey from West to East: kimono-like robes, full skirts, mermaid dresses, petite bodices, long jackets and trousers that narrow at the bottom and airy and voluminous dresses. There was also a blend of exquisite aqueous tones – pale pinks, jade green, soft blues, gold flashes, midnight and royal blues – illuminated by the sparkle of embroidery, dematerialised by the weightlessness of lace and enhanced by the opulence of jacquard.

Indeed, as the house said in the notes accompanying the collection, “fashion is undoubtedly a serious matter for Giorgio Armani but can also represent play, evasion or a moment of suspension. Especially with haute couture, a space in which the designer can indulge in unexpected bursts of creativity.”

Dior

Classic cuts and a muted colour palette took centre stage for Maria Grazia Chiuri’s Haute Couture SS24 collection for Dior. The creative director explored the plurality of textures, supported by Isabella Ducrot, who created the show’s scenography. Both the collection and Ducrot’s creations centred upon the bewitching theme of “aura”.

As the show notes explained: “Like a bewitching Ariadne’s thread, the notion of “aura” infuses the entire Dior haute couture spring-summer 2024 collection dreamed up by Maria Grazia Chiuri. Exploring the plural beauty of textiles, the Creative Director has initiated a captivating, inventive dialogue with Isabella Ducrot, who conceived the show’s scenography entitled Big Aura: twenty-three disproportionate silhouettes are arranged on a grid of irregular black lines recalling warp and weft. A symbol of the aura and uniqueness suffusing each haute couture piece.”

Chiuri was also inspired by Dior’s iconic 1952 gown “La Cigale”, a sharply structured piece, which was originally created by the house’s founder, reinterpreting it for the new Spring 2024 season. Across the collection, there were also coats with imposing collars, wide skirts revealing exaggerated cut-outs, layering, pants, and jackets. Meanwhile, certain garments were in velvet, including a sumptuous feather cape paired with a dress in embroidered double organza. Despite moments of theatre, the collection overall was elegant, understated and very Dior.

Chanel

For Chanel’s latest haute couture collection, the house’s creative director, Virginie Viard, was inspired by the world of dance, and in particular ballet. The collection also marks 100 years since the house’s founder, Gabrielle Chanel, first designed pieces for the Ballets Russes of Léon Bakst and Sergei Diaghilev.

“I often think about dance; it’s an important theme at Chanel,” Viard said in the show notes. “The House is close to its institutions, to its choreographers and dancers, and we create costumes for the ballet. I have tried to bring together the power and finesse of bodies and clothes in a very ethereal collection, composed of tulle, ruffles, pleats and lace,” she continued.

Viard also paid particular attention to the humble button in this collection. Discussing this focus in the show notes, the house said: “The button eases the opening and closing of a garment. Thanks to buttons, women could rid themselves of everything that had prevented them from moving freely. Gabrielle Chanel treated buttons with the utmost respect. Like a jewel, it adds a touch of daring and sparkle to the unique allure of which she was both theorist and artisan.”

“A symbol of emancipation, Viard takes this jewel-button into the world of ballet and dance. Here, fashion, music, theatre and painting come together as physical poetry and, touched by grace or wonderment, the performers briefly escape the laws of nature,” the notes continued.

Across the collection, there were down jackets in tulle and hoods, while there were also references to contemporary culture, for example, through the style of heels presented in the show. There were transparent short straight skirts, long dresses, jumpsuits and capes embellished with embroideries depicting draperies,  bows, illusion tulle pockets, lace belts, sequins, braids and flowers.

In another nod to the world of dance, the pieces in the show were also worn over white ballet leotards and tights. “For me, dance evokes all these stories and emotions that are close to my heart, and that I take such pleasure in handing down and recounting,” said Viard. The result is a passionate, heartfelt examination of Chanel’s past while unbuttoning the house’s steps into the future.

Schiaparelli

Schiaparelli opened couture week with an outstanding surreal-inspired collection. Jennifer Lopez and Zendaya were both in the FROW at the spectacular Schiaparelli show, as creative director Daniel Roseberry put forward a smart, Surrealism-filled theatrical collection.

His latest work confidently showcased the spirit of Schiaparelli, which the house’s founder, Elsa, established nearly 100 years ago at the height of the Roaring Twenties.  However, this collection looks to the future of Surrealist design, as much as its epic history. There were metallic cyber-styled designs, a robot child carried on the catwalk and playful, futuristic shapes. Schiaparelli is most at home in the theatre of Couture Week, and this collection rooted home that point. 

Vinyl materials juxtaposed with lush velvets, while oversized volumes were set against corsets. It was very much a collection of contradictions, which so perfectly matched. “

Of legacy and the avant-garde, of the beautiful and the provocative, of the earthbound and the heaven-sent. But as art (and nature) teaches us again and again, the things and ideas that seem diametrically opposed to each other can also combine to make startling

chimaeras, objects composed of familiar parts that, when united, create something unexpected and new.” The show notes read. 

With this experimentation in creativity, Roseberry has surely reached new heights with this collection. 

Valentino

For what turned out to be his final haute couture collection for Valentino, creative director Pierpaolo Piccioli, created a collection that’s deeply rooted in modern life and the needs of women today. Titled “Valentino Le Salon,” the brand’s Spring/Summer 2024 offering explored a “space of expectation and wonder, where dreams become realities through its specific rites and rituals,” according to the show notes. 

Honouring tradition while also offering a new proposal of course, the collection honours both timelessness and modernism. Piccioli experiments with key pieces of the modern wardrobe. Considering every item individually but bringing them together in perfect harmony. Contrasts of colour and texture in every garment may at first seem jarring, but when see together, are so perfectly in shape with each other. “Outfits become paradoxical, colliding pragmatism and fantasy, differing volumes, abstract sensation. They evoke a freedom of expression synonymous with a love of true fashion.” The show notes said. 

Contradiction is a running theme this season and that is particularly true for this collection which sees so many contrasts throughout. “Contradiction is inherent in Haute Couture – simplicity is complex, spontaneity the result of carefully considered gesture.” The brand said in a statement. 

Piccioli also paid tribute to the home of couture and the Salones of Place Vendôme which traditionally became a melting pot for the world’s rich and famous. The show space was a recreation of one of these salons in a bit to capture the ambience of the past but bring it into modern times. A true reflection of how haute couture can be both modern and timeless. 

Fendi

Fendi celebrates duality and futurism with its latest couture collection by Kim Jones. Discussing the house’s latest collection, Fendi’s artistic director of womenswear and couture said: “I was thinking about Karl Lagerfeld’s futurism with Fendi… In the collection, there is humanism at the heart of this future; there’s the body, the silhouette within the silhouette, the person and the handwork of the couture. The collection is about structure and decoration, where the two become indivisible. I wanted an idea of precision and emotion at once.”

Throughout the collection, there is a dialogue between what the house describes as the dualism of “poetry and reality.”

“From simplicity in geometry to the primal pull of croco, a ‘human futurism’ travels through the collection, conflating constants of the past to make the present and the future. Here structure becomes decoration and decoration, structure,” the notes which accompanied the collection said.

The collection began with a new, ‘Scatola’ silhouette (meaning ‘box’) and ended on the same, precision geometric pattern cutting.

Meanwhile, rich materials were used throughout the collection, from the finest cashmere and vicuna yarns to elevated rib knit dresses elegantly swaddle with knotted ‘Shibari’ harnesses integral to the silhouette.

The FROW included multi-award-winning actresses and Reese Witherspoon, along with Reese’s daughter, Ava Phillippe.

Elie Saab

Elie Saab’s Haute Couture Spring Summer 2024 collection Desert Rose revealed a tapestry of enchanting, feminine pieces across 64 looks. Feathery flowers, dazzling embellishments and silk designs took centre stage in his latest show. The designer is always proudly rooted in the Middle East region, with this collection inspired by  “the magic of Marrakesh and of the mystery of the desert rose.”

Lavish textures combined with exquisitely sculpted lines capture the beauty of Marrakesh. Inspired by the sunrise in the city’s old town, pastel hues of blush pink chiffon and lilac blue crepe combine with warm glimmers of crystal rays. He imagines the sunrise through sandstone tulle passages, illuminating gilded coats woven from intricate metallic knits, silk thread tresses, and ornately engraved porticos. Magnificent archways open onto hidden courtyards with luscious canopies of feather flowers that sway into gradient capes, and dew-kissed florals that glitter and glisten across organza. Vibrant mosaics grace cascading fountains in organic motifs of curve-tracing corsets and twisting halter necklines that flow into colonnade skirts with illusions of layers.

The pulse of the city resonates through the lively street as the evening begins its ripple and pleat into shimmering lurex contours. Opulent aromas of amber and sandalwood linger in the air like sensuous satin that generously drapes into sweetheart necklines and an hourglass embrace. Dazzling constellations of sequin fringe cape sleeves and sinuously beaded mermaid tails trace an ethereal light trail to a veiled oasis. In the hidden heart of the casbah, the mythical Desert Rose materialises. Glistening golden foliage harmoniously arabesques into a royal bridal train that forever fades into a mirage of whispered time.

Giambattista Valli

For his Spring 2024 haute couture collection Giambattista Valli celebrated the beauty of followers. Guests arrived to a show space that was scattered with bouquets of roses and those same flowers could be seen throughout the collection which opened with a velvet body suit, edged with delicate white roses. 

When flowers weren’t literally present, their volume, lightness and colours could be felt within each look in the collection. Shapes were sculpted through draping, pleating, and layering, while fabrics were placed with an air of lightness. 

Tulle and taffeta had a huge comeback in this collection as they created oversized shapes that caught the air and lifted as they glided down the runway with long swishing trains. 

Fresh roses were pinned into the model’s hair to complete the look.

Zuhair Murad

Lebanese designer  Zuhair Murad showcased a mesmerising collection as part of Paris Haute Couture Week. Dubbed “A Tyrian Arabesque” the incredible collection features a mix of Arab, Roman and Greek influences.\

Pieces were constructed with meticulous detailing, including embroidery, metallic touches and beaded fringes. Murad was also inspired by the ancient people of Phoenicia for his collection, who lived in what would become modern-day Lebanon and who traded across the Mediterranean Sea. References to these seafaring people could be seen throughout the collection, as well as the on-set scenery.

Jean Paul Gaultier

Jean-Paul Gaultier invited Simone Rocha to make her haute couture debut for his eponymous fashion house in Paris this week. Rocha is known for presenting a subversive, sometimes dark take on femininity and womanhood – and she did not disappoint with her collection for Gaultier, which also took into consideration the codes of the house which the founder first established with the opening of his house in 1982.

Each season, a guest designer takes to the helm of Jean-Paul Gaultier, to reinterpret the founder’s spirit for a new season of haute couture. For this season’s collection, Rocha brought Gaultier’s playful provocativeness to the collection, through her own lens of femininity, the duality of which was presented through the craftsmanship of haute couture.

Rocha is the golden child of the fashion industry. She launched her eponymous fashion house when she graduated from Central Saint Martins 14 years ago.

There were nods to classic Gaultier pieces (think Breton stripes and sailor hats) mixed with influences from her own heritage (the Irish designer discovered that the founder had used traditional Irish crochet in his archive, which she brought back for her own collection with the house).

There were also Surrealist touches, such as earrings shaped like dangling garter belts and footwear with feathers and pearls. Overall, it was a creative, playful collection, which won over the crowd as well as Gaultier himself.

Tamara Ralph

The Tamara Ralph Spring/Summer 2024 Couture collection illustrates the evolution of the designer’s inspired new journey with her eponymous brand, anchored by the notion of time and its innate transcendence. “I am delighted to return to Paris for my sixteenth season of couture, and my second season under my namesake brand,” Tamara said at the time of the show. “Starting anew, and on my own terms, has been an incredible experience, and I continue to feel both honoured and joyous that I am able to do what I love most and share my passion with the world.”

The second collection in the designer’s new chapter of the brand very much embodies her new vision. It is “centred around the notion of bold femininity and uncompromising strength – whilst revealing new dimension and growth.”  

The collection features bold, unapologetic designs that ooze femininity and glamour. Classic wardrobe staples are given a shake-up with feathers, embroidery and embellishment. The beauty if in the details with floral designers and hand-sewn messages appearing throughout. These looks will surely be coming to a red carpet new year this year!

Georges Hobeika

Maison Georges Hobeika put forward a Couture Spring 2024 collection which celebrates Arab women from across the region. The house described it as “a special love letter to the women and the culture that shaped them and still inspires them today.” The collection references “the glamour and beauty of Middle Eastern women, the joyful and creative aspects of the region’s culture, and the sense of compassion and care displayed throughout the Orient.” 

The design duo behind the collection – co-creative directors Georges and Jad Hobeika – were inspired in particular by childhood nostalgia and the spirit of the ‘50s, ‘60s and ‘70s and the parties from the era. There were references to the glamour of Beirut in the ‘60s with models taking to the catwalk with coiffed hair, and an air of joie de vivre – as the house describes it “as if stepping out of the salon on their way to a party.” 

Tunisian model Myriem Boukadida opened the show, stepping onto the runway in an incredible fuchsia and red sequined ensemble. The collection included playful details and colourful silhouettes throughout, capturing the spirit of the Arab world and providing a much-needed lens into the region’s fashion history and the people it represents.

Georges Chakra

The Georges Chakra Couture Spring/Summer 2024 Collection is a celebration of the extraordinary within the ordinary. Seamlessly blending the common with the mystical, veiled in surreal elegance, inviting viewers to explore the magic embedded within the realms of reality. 

It features bold colours from pink to gold to red, reminiscent of a sunlit sky. Materials are full and flowing, creating volume and texture and thus ensuring that each of the gowns is a show-stopping piece.

Many of the looks feature metallics panels or areas, reiterating the magical mood associated with this collection. Each look has been perfectly designed to make an impact that won’t go unnoticed. 

Tony Ward

Tony Ward’s Spring/Summer 2024 haute couture collection Golden Ratio celebrates the beauty of the colour gold. With a collection of evening looks that range from metallic silver to rich golden hues, the brand celebrates the royal hue with dresses in organic forms of pleating spirals, bold proportions and timeless shapes. 

This season marks ten years of shows for the Lebanese couturier who made his Paris debut in 2014 and with that in mind, he wanted to recognise the golden force that brings us all together. 

“With each curve and line, we pay homage to this ratio that shapes the chaotic beauty we witness around us.” The designer said in the show notes. 

“Geometrical patterns are translated through intricate embroideries, nature’s divine allure, dancing threads replicating the human harmony, explosions of shapes unified into three-dimensional artwork, intersection of different forms & volumes, statement Edwardian sleeves, layers of un-matched materials…” He adds.

Rami Al Ali

Rami Al Ali’s Spring/Summer 2024 Couture collection, is a mesmerising ode to the enchanting world of Bedouin heritage. Each of the 30 pieces resonates with the soulful nostalgia of Al Ali’s cherished childhood memories, weaving a narrative that unfolds as a celebration of the demure elegance, mystique, and allure intrinsic to the Bedouin lifestyle.

The offering effortlessly moves between elegant full-length dresses, refined midi-length designs, captivating off-the-shoulder ensembles, impeccably tailored creations, and a breathtaking bridal masterpiece. The collection showcases a seamless fusion of sheer silks, organza, muslin, tulle, liquid satin, and Gazar, choreographing a graceful interplay of textures that captures opulence and refinement with elegance. The central theme revolves around the concept of lightness, intensified by the airy quality of these fabrics, enhancing the delicate essence of each garment. Every vigilantly placed stitch serves as a testament to the evolution of signature couture techniques, telling a story of craftsmanship and innovation that transcends the ordinary.

A refined colour palette, inspired by the Bedouin’s desert sanctuary, unfolds as a rich tapestry of sandy beige, deep brown, suede, soft pink, maroon, copper orange, and black. Carefully chosen hues create a sophisticated undertone that embodies timeless refinement. Diligent workmanship further contributes to the collection’s ethereal essence, elevating each piece with an aura of understated elegance.

Europe’s biggest design festival returned to Milan this April and there were plenty of highlights. For the 62nd edition, the event presented a new frontier that is based around an open ecosystem and experience capable of communicating and offering many visions of the future to the global design community. 

Evolution and innovation were key themes for this edition which kicked off on April 16 at the Rho Fiera Milano. The event which is traditionally a trade fair only is increasingly becoming an inclusive, value-based concept that helps to foster and nurture relationships within the design community, as well as inspire and educate visitors. This year’s event focuses not just on well-made products, but those that are created by visionaries who think out of the box and are leading a new generation of talent. 

This year saw the relaunch of the layout and visitor paths in EuroCucina and the International Bathroom Exhibition, thanks to the contribution of neuroscience and the adoption of the human-at-the-centre philosophy. There was a total redistribution of the pavilions with a view to grouping the exhibitors by content to amplify the value and meaning of each guest’s experience. 

There was also a diverse multidisciplinary culture offered throughout the event which harnesses artificial intelligence and picks up on conversations of the international design community. A collaboration with the Department and School of Design at Politecnico de Milano University aims to explore Salone as an ecosystem and its impact on the region. 

Also in the celebrations was the 25th anniversary of SaloneSatellite with an exhibition at Triennale Milano which went beyond traditional exhibition canons and featured object prototypes, sketches, stories, images and testimonials. 

The event brought together more than 1,900 exhibitors, including 600 young talents under 35 and 22 design schools. The event consisted of a number of areas or ‘worlds’ including Salone lnternazionale del Mobile, the International Furnishing Accessories Exhibition, Workplace3.0, S.Project, EuroCucina with FTK, the International Bathroom Exhibition and SaloneSatellite. 

Maria Porro, President of the Salone del Mobile.Milano said: “Capturing new trends, the evolution of an entire sector, by involving and listening to communities near and far, identifying new approaches, methodologies and technologies, experimenting, being on the frontier, as they say: this is still the ambition of the Salone del Mobile today. Neuroscience, artificial intelligence, new formats and paths, a unitary but widespread cultural project, encompassing consistency and multi-disciplinarily. David Lynch’s thinking rooms, the Salotto  NY installation that takes us underwater, using poetry and numbers to take stock of the state of  the art of the bathroom industry.”

“There [were] talks with a large number of guests, including the Pritzker Prize-winner Francis Kere and the visionary performances of artists and  food designers: everything was designed to offer visitors and exhibitors an exceptional experience in terms of content and container, impossible to replicate except here, at the Salone  di Milano, unthinkable to miss, even though it is not limited to a single week, but is spread  throughout the whole year thanks to the driving and inclusive force of our digital platform.” 

The layout featured experiential spaces, relaxation areas, conferences, round tables, international guests, vertical workshops, and intimate group sessions. there were immersive and interactive site-specific installations for learning about the state of the art of the industry or reflecting on the physical and emotional value of interiors; it staged artistic performances generating visions of tomorrow; circular bookshop and arena, as well as a new design library. All this was a bid to give visitors the opportunity for an exciting, subjective and memorable exploration, the only one capable of creating long-term connections.

salonedelmobile.venini.com

Author, keynote speaker and futurist John Sanei looks at how we should get on board with new technologies 

“The future is already here – it’s just not very evenly distributed.” Is a quote by William Gibson. And today more than ever this quote is relevant. 

Just this March, some incredibly futuristic things happened in the world that have leapt us into the future, but most people don’t know about them yet. This really puts into context what is noted in that quote by Gibson, because so much has happened, but awareness is not evenly distributed across humankind. Hardly anyone knows about many of these things. 

In the context of AI, we are currently moving from something called Large Language Model (LLM), to Large Action Model (LAM). LLM was excellent at getting us to write essays, making us write our emails better, etc. while Large Action Model, means that the same system is now even smarter to do physical actions for you. Whether it’s booking an Uber, arranging a holiday, or finding you a restaurant – there is a whole process of actionable things that we used to use other services for –  PAs, nutritionists, lawyers, accountants etc. – that can now be done with AI. Services across the world will really start to get challenged over the next few years because of the emergence of LAMs. 

Some of the exciting developments that happened in March: 

1. The Starship, the biggest spaceship ever made by humans was successfully launched by Space X. This shows us that we are getting better at taking things into space. I was at a NASA event a while back, and they were discussing building a city on the moon. The problem they have is that they can’t take concrete to the moon; they have to take a machine that will make it there. So developments like this rocket will allow such processes to take place and thus further develop into sustaining life outside of Earth. It is getting cheaper and easier to deliver physical things into space.
2. Neuralink implanted the first human being with a chip that has allowed a person to control mouse functions just by thinking. Someone who is who is paralysed from the neck down is able to play chess and control functions on a screen with his brain because of what’s inside his head.
3. A brand called Be My Eyes has developed a product that allows every blind person to have a camera that can tell them what they are seeing in front of them. Where they are going, how they are going – you can even point it at a fridge or a cupboard and it will tell you what’s in there and give you recipes to cook! The next phase will be the robot cooking it for you (that’s LAM)
4. A company called Figure has created an AI robot demo that’s got OpenAi linked into it and it’s able to multitask. It can make conscious decisions and not just think about one function at once and to have multiple conversations while going through instructions.
5. A company called Cognition has launched something called Devin, the world’s first AI software engineer – that means human input coding will be no longer needed, there will be a programme that can do it. This is a big problem because governments have spent millions on developing coding and coding schools.
6. Google Deepmind has launched SIMA; the first AI agent that can follow natural language instructions to perform tasks across video games. It can understand the challenges in games and complete them! This could mean that gaming platforms will have to change to a certain extent because now players will have an AI helper, assisting them with what to do in their games.
7. The University of Chicago has invented a vaccine to help us forget. This is important because when you have an autoimmune disease, your body is killing itself. The reason you have the disease is that your brain and your internal dialogue have been sending negative messages to yourself about yourself. So what happens is the body starts to react to what your mind has been saying. The vaccine created by the University of Chicago will help you forget these messages so that an autoimmune disease can stop. So it could eventually be healing some of these diseases which currently can’t be cured.
8. An aerospace company called Boom has launched its first supersonic passenger airline which will have planes that fly faster than Concorde. It is nowhere near operational yet but once it is it could cut flight times dramatically and I think we will see a lot more coming out around this.
9. Nvidia has launched a new AI chip called the Blackwell Chip, which is the most powerful graphic processing chip ever. The rate at which chips are now holding increasing amounts of information is exponentially growing, giving us more access to more computing power
10. AI startup Anthropic has developed a family of large language models named Claude.  They are smarter than ChatGPT 4 and you can upload whole books into it – up to 150 pages which is much more than ChatGPT or any other programmes out there. So again we can see AI becoming exponentially smarter right in front of our eyes.
11. By using AI Stanford University has found six new bacteria strands that are able to go against superbugs that are killing people within hospitals. Bugs and bacteria are getting smarter and smarter and these bacteria are resistant to some of these superbugs and can potentially help in finding cures to some of these diseases.
12. Over the next few years, the world will start to become a place where our current level of skills will become essentially useless. We are entering an Intimacy Economy – where we are becoming intimately involved in AI, it becomes our friend and it can make suggestions for us. It’s a very daunting thing but we have to be prepared to adapt. 

But don’t panic! Remember that it took 80 years for electricity to become a regular part of our lives from when it was first invented. And so, even if we cut that 80 years down by 80 per cent, we’ve still got 10-20 years to go. I always say get ready for the next 3-4 years because, over that period, things will start to settle into our society, and we will have to start asking ourselves the question: ‘If the future is unevenly distributed, which pocket of it am I sitting in and how much access do I have of what’s going on?’ If you are able to just get your head around to prioritise AI, to think about, engage with it, and watch talks on it – you will become more familiar with it, and in that process, you can start to look for opportunities within this realm. And that is the real key here…  

johnsanei.com

First launched in 2019, Prada’s Re-Nylon collection highlights the brand’s commitment to promoting responsible production in the fashion industry.

At the heart of the collection is Re-Nylon. A fully recycled fibre that is generated through the recycling and purification of plastic collected from the ocean – such as fishing nets – and from landfills, as well as textile fibre waste from all over the world. Through a complex process of depolymerisation and re-polymerisation, Prada Re-Nylon yarn is produced through a circular approach. 

Today, the production of Re-Nylon has instigated a shift across the brand as a whole. As we speak, production of all Prada virgin nylon has been converted to regenerated nylon, a radical commitment to sustainability by a major luxury house.

This year, the Prada Re-Nylon campaign is inspired by the brand’s commitment to sustainability. Featuring actors and activists Emma Watson and Benedict Cumberbatch, the campaign highlights the group’s ongoing partnership with UNESCO for ocean preservation.

The 2024 Re-Nylon collection features classic Prada bags and accessories, for men and women reimagined in sustainable nylon. From elegant work bags to sports-inspired rucksacks, the collection highlights the versatility of this unique material. 

As of July 2023, 1% of the proceeds from the Prada Re-Nylon Collection supports SEA BEYOND, the educational program launched in 2019 by Prada Group and UNESCO’s Intergovernmental Oceanographic Commission (IOC).

A project in line with the Group’s passionate societal concerns and the value it has always afforded to education and culture, SEA BEYOND has raised global awareness of sustainability and ocean literacy principles, educating young generations around the world. To protect our ocean, we need to understand it – learn, think, act.  

prada.com

The Icon, the world’s first emissions-free yacht has landed at Madinat Jumeirah, offering a new planet-friendly luxury experience for guests. Created by Design by Designworks, a subsidiary of the BMW Group, and German tech start-up, TYDE, the impressive 13.5 metres, 100 per cent sustainable watercraft can now be experienced exclusively by residents staying in the Malakiya Villas at Jumeirah Dar Al Masyaf, the Presidential or Royal suites at the resort’s four hotels, or Jumeirah One members.

The Icon is the world’s first inaugural battery-powered, emissions-free yacht. It emits zero noise or pollution and its cutting-edge design offers an immersive experience with 360-views of the ocean from a twenty-one square meter lounge-like interior, adorned with blue and gold, reinforcing Jumeirah’s reputation for creating ultra-luxurious, one-of-a-kind experiences.

Using leading technology to combine climate-friendly mobility, the vessel operates with up to 80 per cent energy savings compared to conventional yachts, while maintaining a luxurious ride experience. A true display of innovation and craftsmanship, despite reaching a top speed of 30 knots (55 km/h), 50 nautical miles range (>90 km) at 24 knots (46 km/h), the yacht glides silently over the water.

The arrival of The Icon is the latest in Madinat Jumeirah’s environmental initiatives, which also include the cherished Dubai Turtle Rehabilitation Project, an educational and environmental initiative in which turtles are nurtured back to good health and reintroduced to the wild.

Peter Roth, Regional Vice President Madinat Jumeirah & General Manager Jumeirah Al Qasr said: “It is an honour to welcome THE ICON to the waters of Madinat Jumeirah in partnership with TYDE, BMW Group and D-Marin, The Selection of Premium Marinas. Environmentally conscious, beautifully designed, and unforgettable – THE ICON embodies many of the traits we strive for at Madinat Jumeirah, and we are thrilled to be able to offer our guests the exciting opportunity to witness this spectacular marrying of cutting-edge design and sustainability.” 

Christoph Ballin, Managing Director of TYDE added, “Madinat Jumeirah has always been at the forefront of blending unique luxury hospitality with a profound commitment to preserving beaches, wildlife, and the environment at large. We align closely with these values and are privileged and delighted to lend our support.” 

jumeirah.com/en/collection/madinat-jumeirah

Online luxury fashion retailed Ounass and Italian house Dolce&Gabbana, have united their expertise to create an unparalleled experience, transforming Atlantis The Royal’s Cloud 22 into an exclusive celebration of Italian gastronomy and style, a privilege reserved only for the discerning few. 

Redesigning the sky-high club and restaurant on the 22nd floor of Atlantis the Royal, the brand has taken over the design with its iconic blue majolica print, which adorns soft furnishings, walls and decorations. The incorporation of natural materials to the interiors also offers a touch of Italian tradition as guests immerse themselves in the world of La Dolce Vita. 

The beauty of this exclusive destination is its location. Soaring 96 meters above The Palm and spanning 90 meters in length, Cloud 22 is the most iconic place to be seen in Dubai right now, with panoramic views of the city’s skyline and the Arabian Sea. It’s perfect for photo moments but even more perfect for relaxing in style. Choose from floating beds, luxury cabanas with private plunge pools, or a two-storey VVIP cabana complete with its own floating infinity pool to lay back and soak up the atmosphere. The entire floor is edged with a vast infinity pool offering impressive views of the palm and the city, from Downtown the Dubai Marina. 

And now for the best part… the collaboration is accompanied by a carefully curated menu that celebrates the finest Italian ingredients and dishes with Dolce&Gabbana’s Mediterranean spirit. Highlight dishes include the steak tartare perfected with truffle, the grilled octopus, and the lobster tortellini. All of the dishes are light and made for sharing and will make the perfect accompaniment to your fashion-forward day. Make sure you save room for dessert as the Tiramisu is not to be missed and will offer the perfect photo moment!

Prepare to be entertained by live music and as the sun sets, get ready to soak up some of the best views in the UAE.

If all that relaxing has put you in the mood for shopping, be sure to stop by the Ounass X Dolce&Gabbana pop-up store, located on the Galleria Level of Atlantis The Royal, where guests can not only discover exceptional pieces from the Dolce&Gabbana collections – including iconic prints such as Blue Majolica and Psychedelic Cart, together with the Crystal Mesh Collection – but also live Ounass’ unrivalled shopping experience.

This exclusive journey at Ounass and Dolce&Gabbana at Cloud 22 starts from AED 450 per person and welcomes guests from 10:00am to 7:00pm daily. 21+. To find out more or to make a reservation, visit atlantis.com/dubai/dining/cloud22 or call +04 462700. 

This year, Swiss watch manufacturer Breitling celebrates its 140th anniversary. The brand will honour this landmark year by celebrating some of its achievements throughout its 140-year tenure, particularly the ‘firsts’ it has achieved.

From breakthroughs in timekeeping to milestones in sustainability. Throughout the year there will be many events, exhibits and special launches reminiscing on some of the brand’s key moments as well as making new ones. 

The celebrations kick off by marking the 25th anniversary of the first nonstop balloon flight around the world with the launch of a new timepiece; the Aerospace B70 Orbiter. As the sponsor of this ground-breaking voyage, Breitling wanted to pay tribute to the moment that expanded the horizons of human achievement. In a remarkable feat, each watch from the limited edition series contains a piece of the original balloon. 

“Since the birth of aviation, Breitling has been there for all those who looked to the sky and dared to dream,” says Breitling CEO Georges Kern. “As we honour the pioneering spirit of the Orbiter 3 mission, we reaffirm our commitment to being at the forefront of aviation’s future. The skies have no limit, and neither do we.”

The Aerospace B70 Orbiter 25th anniversary edition features a bright orange dial that references the colour of the Orbiter 3 capsule, with a small segment of the original balloon visible through the transparent caseback of each watch. The caseback also features the Breitling Orbiter 3 mission logo around its perimeter and the inscription “First non-stop flight around the world 25th anniversary.”

The watch is presented on a titanium bracelet or a black rubber strap with a folding clasp, it features the Breitling Orbiter 3 mission logo on the dial at 3 o’clock. Its numerals, indexes, and hands are coated with luminescent Super-LumiNova®, making them legible even in low light. Both the case and optional bracelet have been crafted in titanium for the greatest versatility. It’s also non-magnetic, hypoallergenic, and highly resistant to corrosion, guaranteeing its wearers a strong, safe, and comfortable watch that will support them—even on the toughest missions.

The watch is powered by the newly designed COSC-certified Breitling Manufacture Caliber B70: a thermo-compensated SuperQuartz™ analogue and digital display movement that delivers 10 times the accuracy of a standard quartz watch. This engine powers the watch’s array of functions, including a 1/100th of a second chronograph (with split-time and flyback functions), countdown timer, second timezone, two alarms, lap function, and perpetual calendar.

The limited edition watch launched on March 21, 2024, exactly 25 years to the day that the Breitling Orbiter 3 made its historic landing. Available online and at Breitling stores across the region.  

Breitling.com

Solomeo-based fashion house Brunello Cucinelli has unveiled a new eyewear collection in partnership with EssilorLuxottica. This collection, born out of the success of a 2021 capsule collection with Oliver Peoples, is a testament to the brand’s understated luxury. It offers a range of elegant eyewear styles for men and women, each piece crafted with the utmost precision and care. 

Brunello Cucinelli, Executive Chairman and Creative Director of the fashion house commented: “Leonardo Del Vecchio confessed to me one day: ‘Dear Brunello, I don’t know whether the glasses we make are beautiful, but they’re certainly made in the best way in the world!’ Today, admiring the excellent result of such formidable work and harmony, I think back to the words of that gracious, strong-willed, steadfast and kind man, who saw in his Agordo company what he liked to call “the beautiful factory”, a little like I do with Solomeo.”

True to the brand’s philosophy, the glasses are made in Italy by the most skilled craftsmen and women. “Leonardo was able to dream and transmit his enthusiasm to those who worked with him, first and foremost to the highly esteemed Francesco Milleri, who with his special and brilliant humanity knows how to establish a relationship of respect and cordiality between our two teams, a measured approach that is the foundation of every humanistic endeavour. The phenomenal product resulting from this heartfelt collaboration represents an outstanding piece of luxury craftsmanship, as well as the Made in Italy that is recognised and embraced worldwide.” Cuccinelli added.

“Plato said: ‘Beauty is the splendour of truth’. This is why I wholeheartedly hope that our glasses, which are so true and beautiful, will please customers and achieve all the success they deserve.”

The collection features fixed key shapes. The Multimaterico masterfully combine fine materials with highly sophisticated elements with a series of styles that use contradicting materials for a sophisticated finish. The Trama is inspired by the brand’s high jewellery collections and are specifically for women with an understated colour palette and chic lines. 

The Pattern frames highlight the craftsmanship and meticulous detailing of Brunello Cucinelli’s handmade creations. The unmistakable pattern is inspired by Solomeo’s coat of arms and is found on both the titanium and acetate models. Metal details with the BC initials embellish the temple tips.

The Gammae collection is designed for women who embody understated elegance. These strictly ‘Made in Italy’ sculpted acetate frames enhance refined details through very fine constructions. The temples of these exclusive models are embellished with two faceted metal light points, a tribute to the iconic Monile in the Brunello Cucinelli collections.

Available at Brunello Cucinelli stores across the Middle East and globally.  

BrunelloCucinelli.com

After the success of the previous two editions, Bentley Motors has announced the launch of the third edition of its Extraordinary Women mentorship programme, designed to nurture and develop the next generation of young female leaders. This year, the programme will focus on students, universities and inspirational female Pioneers from the United Kingdom and Qatar, shining a light on promising young talents from the Middle East. 

The programme is designed by Bentley Motors in collaboration with esteemed universities in the United Kingdom and Qatar and focuses specifically on female students in the fields of engineering, design, technology, and business, designed to encourage women to explore a variety of career paths in the STEM and automotive sectors. It is part of Bentley’s commitment to diversity and inclusion, which falls under its Beyond100 strategy.

Eight students from the UK and Qatar will be selected to embark on the programme, which will involve one-on-one mentorship by specially selected, high-achieving women – the inspirational Pioneers – and will culminate in a week-long visit to Bentley’s headquarters in Crewe, England, this June. Participating students in previous editions in the UK, Saudi Arabia and the United Arab Emirates have been able to engage with Pioneers such as Amanda Levete, a Stirling Prize-winning architect appointed CBE for her contributions to architecture, Saudi Arabia’s Mishaal Ashemimry, the first female aerospace engineer in the Gulf region, and Amna Al Hashemi, an Emirati thought leader and serial entrepreneur.

Adding to the experience this year is successful entrepreneur Sara Davies MBE who will mentor some of the students. Davies commented, “I love what Bentley is doing, celebrating the achievements of female talent; and most importantly supporting the growth of exceptional young females through their Extraordinary Woman initiative. I cannot wait to get started and meet the student I shall be personally mentoring”. 

Bentley has partnered with the University of Doha of Science & Technology in Qatar, marking the first time such an initiative is taking place in Qatar. Dr. Salem Al-Naemi, President of UDST said; “We are proud to be partnering with Bentley on this initiative. The empowerment of women is not just a necessity but a duty we owe to future generations. At the University of Doha for Science and Technology, we stand committed to fostering an environment where our students, regardless of gender, can excel in their chosen fields. We take immense pride in the achievements of our female students, who are inventors and pioneers and we are excited to anticipate the exceptional results of the Qatar edition of this internationally acclaimed campaign. 

bentleymotors.com

Luxury hotel chain Aman will soon open its first destination in Dubai. In a strategic move for the brand, which already has several destinations across Asia, Europe and The United States, the ultra-luxury hotel chain promises to offer a new, peaceful experience of luxury in the UAE. When it opens, Aman Dubai will be a beachside resort on the Jumeirah Beach, and will also include Aman-branded residences, an extensive spa, several restaurants and an Aman Club.  

As one of the world’s most luxurious hotel chains, the arrival of the group in the UAE has been long awaited. Designed by Kerry Hill Architects, the resort is set to benefit from the highest world-class hospitality service and design that the group is known for globally. It will be located directly on Jumeirah Beach with panoramic views of the ocean and the Dubai Skyline. It will feature nine acres of verdant gardens and showcase the brand’s minimal and contemporary design aesthetic, making use of natural materials and clean lines to frame the cityscape and waterfront views. The design features local stone in a palette of desert tones and connects subterranean spaces and courtyards to extensive sublime gardens that descend to the beach and extend to private living spaces.

Speaking about the pipeline and his vision for growth, Vlad Doronin, Chairman and CEO of Aman, said: “Dubai stands as a global city, leading the charge in dynamic evolution, offering an array of experiences for both visitors and residents alike. Responding to the requests from Aman guests for our presence in Dubai has long been part of my growth vision. Securing the optimal site was paramount to ensure the delivery of our unparalleled service and authentic experiences, for which we are world-renowned. I am delighted that we have collaborated with Bright Start, who have a profound understanding of this market, to bring to life the essence of Aman in an exceptional location.”

The hotel is being built as part of a partnership with project owner Bright Start, a real estate company with a diverse offering of residential developments, commercial venues, and high-end hospitality projects. The group will collaborate closely with Aman on the development of the resort, while H&H Development will lead the delivery of the property. “We are thrilled to bring the first Aman to Dubai. Aman is a leading lifestyle brand inspired by providing a seamless level of service and experience that is known worldwide. The brand’s vision aligns with our strategy to bring exceptional experiences to the city, ” said Shahab Lutfi, CEO of Bright Start.

Situated in a prime location in Jumeirah 2, Aman epitomises elevated living with the azure expanse of the sea and the vastness of the sky, and residents will be immersed in a world where every detail is meticulously curated. As part of our innovative approach to beachfront development, Aman represents a harmonious synthesis of nature, art, and luxury, inviting visitors and residents alike to embark on a journey of unparalleled indulgence and sophistication.”

Aman Dubai is currently in the development phase and further information about the property will be released in due course. 

Aman.com

When Bahraini cousins Shaikha Noor Rashid Al Khalifa and Shaikha Haya Mohamed Al Khalifa started their brand Noon by Noor in 2008 they wanted to create something that would celebrate the individuality of women. 

While their brand has grown, their unwavering commitment to making women feel beautiful in their designs remains unchanged. Now in its 16th year, the brand may have grown far beyond the Middle East, but the founders have not forgotten their roots. While keeping the brand’s headquarters and production in Bahrain, they have successfully managed to balance global expansion while remaining loyal to their home country.

Combining modest designs with a modern aesthetic, the brand has successfully positioned itself in a market that is inclusive to all women, offering versatile pieces that are flattering and comfortable. Relaxed silhouettes and intricate details combine with a deep appreciation of masculine dress codes, to create signature pieces: a perfectly tailored blazer and oversized shirt, fundamentals that continue to define the designers’ vision. Earlier this year, Noon by Noor presented its Spring Summer 2024 collection in London. It was an array of well-made pieces for today’s modern woman. As the collection arrives in stores we find out more about what’s still to come for the brand.  

Tell us about the vision and direction for Noon By Noor today. 

Shaikha Noor: Our vision and direction remain the same: to create a brand that embodies timeless design, artistic innovation, and a celebration of individuality. We will continue pushing boundaries in fashion, inspiring confidence and empowering individuals to express their unique style, while representing our hometown on a global stage.

Can you tell us about your SS24 collection?

Shaikha Haya: The Spring-Summer 2024 collection is titled ‘Moonlit’. In this collection, we exclusively used fabrics in white and black tones, focusing on light and bold shapes and textures, ranging from silk voiles and tulle to metallic woven cotton. We shot our Spring-Summer 2024 collection under the moonlight on location in Bahrain, and it was a beautiful moment that we truly loved.

The FW24 collection, which debuted in London, felt as if it was a new chapter for the brand tell us about this. 

Shaikha Noor: The Fall Winter 2024 collection presented in London during LFW was a new approach for us as a brand. In the past, we have done both shows and presentation formats, but this time, we opted for a hybrid approach. We showcased five-minute-long shows over two hours, with models walking among the audience. 

Shaikha Haya: This setup allowed people to interact with the collection and be up close and personal with it, leaving no room for hiding or mistakes. Everything was visible, making it quite a challenging process. Our intention was to make our audience feel like an integral part of the experience.

Can you share more on the brand here in the Middle East and why it is an important market for you? 

Shaikha Noor: The Middle East is our home, and it’s where we began our collections. Even now, we produce 99 per cent of our products in Bahrain, employing over 20 talented individuals in our workrooms. We’ve witnessed the region’s market thrive, and opening our first Noon By Noor boutique at The Ritz-Carlton in Bahrain earlier this year was a thrilling milestone.

Who is the woman you design for today?

Shaikha Haya: The Noon By Noor woman is a mother, a boss, and a loving partner. As a modern woman, she has many roles to fulfil. She dresses to express her unique style, embracing fashion as a means of self-expression.

Tell us about the brand on a global level and where we can expect more growth over the coming years.

Shaikha Noor: We are currently selling internationally and expanding with each passing season. Our priority is to continue our global growth trajectory. Meanwhile, we also plan to increase our focus on our home market. 

What’s the biggest challenge you face as a brand today?

Shaikha Haya: Our biggest challenge is maintaining focus and consistency in a constantly evolving climate. We’re fully committed to staying true to our identity, even as we adapt to changing trends and consumer preferences. It’s all about striking that delicate balance between staying authentic and being responsive to the dynamic fashion landscape.

What are your thoughts on the growing fashion industry in the Middle East?

Shaikha Noor: It’s exciting to see the increasing international attention towards the Middle East fashion industry. The region is bursting with vibrant talent, and platforms like Fashion Trust Arabia, Dubai Fashion Week and Riyadh Fashion Week provide emerging talents with incredible opportunities to showcase their capabilities to the world. 

What would you still like to achieve with the brand that you haven’t done yet?

Shaikha Haya: Growing the brand further at home and abroad is the ultimate goal. Creating a Noon By Noor community that stretches from East to West. We want to reach more people, connect with them and foster a sense of community that transcends borders.

What is your first memory of fashion?

Shaikha Noor: It goes back to our younger days when we used to travel with our mothers to Paris. We would tag along with them as they walked down iconic streets like the Champs-Elysées, Avenue Montaigne and Rue Cambon. 

Shaikha Haya: We were so young and filled with wonder as we entered the grand doors of haute couture houses and picturesque designer boutiques. We were fascinated and deeply inspired, it sparked our love and fascination for the world of luxury fashion.

What advice would you give to aspiring designers and female entrepreneurs?

Shaikha Haya: Believe in yourself, follow your passion and embrace the journey. Surround yourself with support, seek mentorship and keep learning. With determination, you can achieve great things.

What is a message you would send to our readers?

Shaikha Noor: Success is personal. It could mean building a business, starting a family, or focusing on personal growth. Define what success means to you and make it happen.  

noonbynoor.com

In 2022, Lebanese couture brand Georges Hobeika began a new chapter as the founder and designer Georges Hobeika welcomed his son Jad to the namesake brand as Co-creative Director.

The duo have since worked together to perfect the brand’s positioning and work towards planning its future direction. Over the past two years, there has been a fresh, perhaps more youthful feel to the brand, which was first born in 1995. Jad’s younger generational influence had brought new life to the brand. When combined with his father’s experience and skilled craftsmanship expertise, it was always going to be a winning combination! Now, as the brand gets ready to present its next Haute Couture collection later this summer, we talk to both Co-Creative Directors to find out how the journey has been going so far and what we can expect on the horizon. 

Georges Hobeika 

The last time we spoke you had just embarked on this new chapter of the brand together – how is it going?

This new phase is incredibly exciting. It’s amazing to feel the strong support of your own child — it’s like having an unstoppable force propelling you forward. We both motivate each other to drive the brand forward and show everyone what it’s truly capable of. Our collaboration brings a special energy full of passion, commitment, and fresh ideas.

What has changed within the company since Jad joined as Co-Creative Director?

Working together, we elevated the couture collections to new heights in terms of creativity, techniques, and execution, each show telling a captivating story to the world. In parallel, there has been a notable increase in our dedication to enhancing the appeal of the Ready-to-Wear line, resonating with both consumers and retailers.

Furthermore, Jad has definitely made me more determined to propel the company’s growth forward and embark on a journey of restructuring to attain an international calibre.

Can you share a little about the brand here in the Middle East and why it is an important market for you? 

It’s of significant importance. The Middle East is a region known for its appreciation of luxury fashion and an opulent lifestyle, making it a natural fit for our brand, which epitomises elegance and sophistication. The discerning tastes of consumers in this region align closely with the values and the aesthetic of our brand, creating a strong affinity and demand for our products.

What can you tell us about your ready-to-wear collections?

The ready-to-wear collections are now characterised by their freshness, vibrancy, and modernity. They are designed to cater to the diverse needs of consumers from various walks of life. With a wide range of cuts and styles, the collections resonate with individuals across different demographics, including university students, working women, mothers, influencers, and celebrities.

What’s the biggest challenge you face as a brand today?

Continuously striving to raise the bar and achieve new heights with each subsequent collection. This relentless pursuit demands unwavering dedication, creativity, and attention to detail. It involves surpassing our own previous standards, constantly innovating, and refining our craftsmanship to deliver exceptional designs.

As a brand you have always remained very loyal to your values and heritage – how do you balance this with moving forward to please today’s customer? 

We consistently strive to infuse the brand’s rich heritage with a modern twist, seeking to blend contemporary elements seamlessly with tradition. Our goal is to leverage innovative technologies and new techniques in our creations to elevate the customer experience. Additionally, we reintroduce pieces from our archives with a renewed spirit and fresh perspective to resonate with today’s audience.

Jad Hobeika 

Tell us about the SS24 Haute Couture collection – the inspiration, some of the highlight pieces etc. 

Couture SS24 came from the heart. It’s really to remember the times when our world was safe, beautiful, and full of joy, music, art, and love. It’s to remember that our culture is so precious that revisiting it once is not enough. We should be so proud of it, and really look back at ourselves, and rethink the way we look at the product of today.

Going back to the songs of the masters of music, and the beautiful Arabian evenings and melodies that make our souls smile, to our traditions and everyday life that is unlike any other. The beautiful mornings with our parents, the evenings with our friends and family, it really coming from the feelings I think every Arab shares, and what makes us full of life.

What is the current vision and direction for Georges Hobeika today? 

The vision is to continue delivering great products and new experiences for our customers, as well as expanding into new horizons

What would you still like to achieve with the brand that you haven’t done yet?

There are many projects on my mind that I would love to invest my time in, and most of them would fit beautifully with the story that we are writing.

Who is the woman you are designing for today and what does she want from fashion?

I design dresses for women with style, who understand their own personal style and identity. She wants to create a beautiful wardrobe of special and timeless pieces.

Can you tell us about the menswear line?

Our menswear line evolves every season, and we are very proud of it. It’s reaching a new dynamic and representing the Goerges Hobeika man. This line has a lot of potential for the future of the brand. It’s becoming part of the brand identity and our universe. We can’t wait for a men’s show.

What else is in the pipeline for this year?

We are attracting more retailers. We’re developing our marketing strategy. We’re working on the brand’s image so any piece can be identified as a Georges Hobeika piece without a logo, an emblem or a monogram. 

What message would you send to our readers?

We must start valuing and recognising the creativity and excellence of Arab brands. Buying products from Arab designers is important because they put as much love and hard work into their creations as any other brand. Unfortunately, their hard work often goes unnoticed because the media doesn’t spotlight them as much. We can make a difference by giving them the support and appreciation they truly deserve. 

georgeshobeika.com

Beirut-based jewellery brand Mouawad has been creating unique jewellery pieces since 1890.

With the brand safely guarded by the family (now in its fifth generation), it is one of the few brands in the world that has remained within its founders’ hands. Hailing from Lebanon this opulent brand has successfully found global success with its record-breaking designs and show-stopping jewels. But where does it go from here? With the brand’s Co-Guardians now entering the fifth generation (Jimmy Mouawad, the son of fourth-generation Co-guardian Fred Mouawad, and Anastasia Mouawad, the daughter of fourth-generation Co-guardian Alain Mouawad), there is a focus on making the world a better place, through the launch of the Mouawad Diamond Impact Fund, and its belief in inspiring positivity through meaningful engagement.​

The brand recently showcased its latest collection at the 2024 Doha Jewellery and Watches Exhibition, reaffirming its commitment to the Middle East and proving the importance of this market to the jeweller.  Now, as the collections that debuted in Doha are shared with the world, we walk to Co-Guardian Fred Mouawad to find out what’s next for the brand. 

Tell us about Mouawad’s vision and direction today. 

Mouawad is committed to crafting extraordinary and exceptional pieces that embody timeless elegance and craftsmanship. The brand has strived to push the boundaries of creativity and innovation, blending traditional techniques with contemporary design to create pieces that captivate and inspire.  

In recent years, Mouawad has expanded its global presence as a leading name in the luxury jewellery and watch industry. The brand has embraced a vision of luxury that goes beyond mere aesthetics, emphasising the importance of heritage, craftsmanship, and allure in its creations. Mouawad has been focusing on further expanding the brand’s retail footprint, its product offerings, and strengthening its commitment to sustainability and responsible practices. Additionally, we are constantly exploring innovative ways to engage with our clients and adapt to changing market dynamics while staying true to the brand’s heritage and core values.

Can you tell us about the recent showcase in Doha?

Mouawad took centre stage at the 2024 Doha Jewellery and Watch Exhibition, leaving a lasting impression on luxury covets and enthusiasts alike. The brand’s presence at DJWE was defined by the unveiling of an unprecedented concept, marking a new era for the house. The concept, a fusion of legacy and contemporary vision promises to redefine the very essence of luxury. Mouawad’s commitment to crafting the extraordinary and setting new industry standards was evident as the brand showcased its innovative approach to craftsmanship and desirability. One of the highlights of the exhibition was the unveiling of Mouawad’s “Sun on the Seven Wonders” Collection, inspired by the Seven Wonders of the World. These masterpieces served as a testament to Mouawad’s unwavering dedication to raising the design and creativity bar across multiple generations. The novelties showcased at the 2024 exhibition promise to be iconic pieces that transcend time and captivate the hearts of connoisseurs around the world. Another highlight from Doha was the presence of the 2023 Miss Universe title holder, Sheynnis Palacios. She was Mouawad’s guest of honour who engaged in several discussions with clients and showcased some of the high jewellery pieces. Palacios’ presence symbolised the harmonious blend of beauty, grace, and exclusivity that defines Mouawad. 

Can you share a little about the brand here in the region and why it is an important market for you? 

The GCC has a rich cultural heritage that appreciates luxury and fine craftsmanship. Mouawad’s jewellery and timepieces resonate with these cultural preferences and appeal to an array of customers, making it a natural fit for the brand. This region also serves as a cornerstone of Mouawad’s global strategy, offering a blend of affluent clientele, cultural resonance, strategic importance, and growth potential that aligns closely with the brand’s values and objectives.

With such a rich history, how do you balance honouring the brand’s legacy with continuing to be relevant to today’s customer?

Balancing the rich legacy of Mouawad with the evolving needs and preferences of today’s customer is a delicate yet essential endeavour for the brand. Mouawad honours its history by preserving and celebrating its heritage craftsmanship, design techniques, and iconic pieces. By maintaining a connection to its legacy, the brand appeals to customers who appreciate tradition, authenticity, and timeless elegance. 

While honouring tradition, Mouawad aims to embrace innovation and creativity to stay relevant in today’s dynamic market. This involves experimenting with new materials, techniques, and design concepts to create contemporary pieces that resonate with modern sensibilities. 

Mouawad offers a seamless omni-channel experience that caters to the diverse preferences and lifestyles of today’s clients. This includes integrating online and offline channels, offering virtual consultations, and leveraging technology to enhance the customer journey from discovery to purchase.

Can you tell us about the brand on a global level and where we can expect more growth over the coming years?

Mouawad’s global growth strategy focuses on expanding its presence in key markets, rolling out the new re-branding concept across our boutiques, embracing digital transformation, diversifying our product offerings, forging strategic partnerships, and championing sustainability. By staying agile, innovative, and customer-centric, Mouawad strives to continue to evolve as a leading luxury brand on a global level.

Tell us a little about some of your highlight pieces for this year.

With a renewed focus on pushing boundaries and redefining luxury, Mouawad is poised to embark on an exciting new phase in its journey. The Sun on the Seven Wonders draws inspiration from the awe-inspiring majesty of iconic landmarks around the globe, capturing the essence of their timeless allure.  Featuring exquisite designs meticulously crafted to reflect the splendour of the sun’s rays dancing across the Seven Wonders, this collection promises to enchant aficionados of fine jewellery and connoisseurs of elegance alike. showcases the brand’s mastery of artistry and innovation.

Highlights include the enchanting “Machu Picchu” white and yellow gold bangle and diamond earrings. Inspired by the majestic Andes Mountains, “Machu Picchu” unfolds as a spectacle of unparalleled precision — a timeless marvel echoing the Incan civilisation’s ingenious craftsmanship. Mouawad delicately handsets each diamond in tribute to this ancient wonder, crafting an arrangement that mirrors the intricate beauty found in the hallowed grounds of Machu Picchu.

As a brand you have always remained very loyal to your values and heritage – how do you balance this with moving forward to please today’s customer? 

Mouawad has maintained its loyalty to the brand’s values and heritage while also moving forward to meet the evolving preferences of today’s customers through a careful balance of tradition and innovation. The brand’s dedication to exceptional craftsmanship is a cornerstone of its heritage. It continues to uphold traditional techniques passed down through generations, ensuring that each piece embodies the highest standards of quality and artistry while appealing to today’s client needs. 

The brand pays homage to its heritage by drawing inspiration from historical motifs, cultural influences, and iconic pieces from its archives. By celebrating its heritage, Mouawad creates a sense of continuity and authenticity that resonates with customers who value tradition and legacy.

While rooted in tradition, Mouawad embraces innovation in design to stay relevant and appealing to today’s customers. The brand continuously explores new materials, techniques, and design concepts to push the boundaries of creativity and offer fresh interpretations of classic styles. By blending traditional craftsmanship with contemporary aesthetics, Mouawad creates pieces that appeal to modern sensibilities while maintaining a timeless elegance that transcends trends and has become an industry signature. 

In essence, Mouawad’s ability to balance its commitment to heritage and tradition with its forward-thinking approach to innovation and customer satisfaction is key to its enduring success in the luxury industry. By staying true to its core values while embracing change, Mouawad continues to captivate and inspire customers around the world, generation after generation.

How do you feel about endorsements and partnerships as a company?

Mouawad’s approach to endorsements and partnerships is guided by its overarching brand strategy, which prioritises authenticity, excellence, and innovation. The company carefully curates collaborations or partnerships to ensure alignment with its values and vision.

What’s the biggest challenge you face as a brand today?

There are several challenges that luxury brands in general face in today’s competitive and rapidly evolving market. The biggest hurdles include market saturation, whereby the luxury market encompasses numerous brands competing for the attention of prospective and current clients. Standing out amidst this competition and maintaining a strong brand identity becomes crucial. 

The market is also faced with evolving customer preferences and behaviours. There is constantly a change in demographics, technological advancements, and shifting societal values. Adapting to these changes while staying true to the brand’s core values and heritage can be a delicate balancing act.

Overall, these challenges require agility, innovation, and a deep understanding of the brand’s target audience and market landscape. Mouawad is staying proactive, responsive, and focused on delivering exceptional value and experiences to customers who will value and appreciate a customized and unique brand experience. 

What are some of the changes you have seen in women’s expectations from a jewellery brand?

Over the years, women’s expectations from a jewellery brand like Mouawad have evolved in response to shifting cultural, social, and economic dynamics. Some of the key changes that Mouawad may have observed in women’s expectations include individual expression. Women today seek jewellery that allows them to express their individuality, personality, and personal style. They gravitate towards pieces that reflect their unique taste and preferences, whether it is through bold statement pieces or delicate, minimalist designs. There is also a growing demand for jewellery that seamlessly transitions from day to night and suits various occasions and outfits. Women appreciate versatile pieces that offer flexibility in styling and can be worn effortlessly in different settings, from casual outings to formal events. 

While trends come and go, timeless quality and craftsmanship remain paramount for women when choosing jewellery. They value pieces that are meticulously crafted with the utmost attention to detail. In today’s evolving market, women are increasingly conscious of their purchasing decisions’ ethical and environmental implications. They expect jewellery brands like Mouawad to uphold responsible sourcing practices, ethical labour standards, and sustainable manufacturing processes throughout the supply chain. Those women are also highly educated and seek jewellery pieces and brands with meaning and significance, whether it’s through symbolic motifs, cultural references, or personal connections. They appreciate brands that embrace storytelling and imbue their pieces with narratives that resonate on a deeper level, fostering emotional connections with them.

What message would you send to our readers?

At Mouawad, we believe that every piece of jewellery tells a story — a story of craftsmanship, heritage, and timeless beauty. For over a century, we have dedicated ourselves to creating exquisite treasures that capture the essence of luxury and elegance. Our journey is one of passion, innovation, and dedication to crafting excellence. From the meticulous craftsmanship of our artisans to the brilliance of our gemstones, each Mouawad creation is a testament to our unwavering commitment to quality and craftsmanship. 

Our values remain steadfast as we continue to evolve and embrace new horizons. We are committed to sustainability, ethical practices, and responsible stewardship of our precious resources. We strive to positively impact the world around us, fostering creativity, culture, and community wherever we go. 

mouawad.com

Clinique La Prarie is one of the few luxury wellness organisations in the world that goes beyond the realms of wellbeing and uses proven scientific wellness combined with a holistic approach to help its clients live healthier lives for longer.

The term longevity is being increasingly used as a buzzword today, but there are few companies that truly understand the meaning and help whose treatments are proven to help clients live a healthy life for longer. 

With its Middle Eastern clients regularly visiting the exclusive Clinique La Prairie clinic in the luxurious Montreux region of Switzerland, the wellness destination has built a loyal client base in the region which has led to the recent opening of the Clinique La Prairie Longevity Hub in Dubai. More recently the brand hosted a Longevity Lounge at Art Dubai, showcasing some of the hub’s exclusive treatments as well as reaffirming the brand’s connection to the art world. Here we caught up with CEO Simone Gibertoni to find out more about the concept of longevity and how the Swiss brand is the pioneer. 

Tell us about the longevity hub at Art Dubai and why you chose to align with this platform.

We just opened the longevity hub at One & Only One Za’abeel, which is a very important step for us. We have a close link with this region, starting from the fact that we have many clients here. Why Art Dubai? We have a close connection with the arts and over the last few years, we have been investing in young Swiss artists and working to help expose them through our platforms. If you come to our clinic in Montreux you will find a beautiful exhibition of Swiss artists who created custom artworks for us. This is part of our CLP X Art project which supports emerging artists. So after the success of this, it seemed to make sense for us to be involved in Art Dubai and continue our journey into the world of art. 

There are a lot of connections between art and longevity and we want to further explore that. Dubai is becoming a very important city for us and I think what we have done at One & Only One Za’abeel is probably the most evolved display of longevity you can see in the world today. We believe it is very important for the region and we are already experiencing very positive feedback. 

What can you tell us about the concept of longevity, why it’s important today, and what are you trying to achieve as a company in relation to this?

For us, longevity is a very broad concept. It is about a long-term change of life. You can look at longevity from a marketing perspective, but in reality, for real results, you need to have a very strong intervention part and then comes the follow-ups. For us, follow-ups are what is important when it comes to longevity and to build a relationship with clients. What we have in Dubai is quite unique, not only in terms of the technology and machinery that we are using, but also the skill. We have longevity doctors who will offer preventative solutions. We really have the best working for us who will consider each client’s needs, going beyond the realms of a regular doctor. 

We recommend our clients come to visit our clinic in Switzerland twice a year and then for the longevity hub, we would like to see them at least three times a week to create a regular routine. The point of longevity is personalisation. Despite what you read everywhere about wellness trends and methods, there is no one-fits-all solution. You need to have very precise diagnostics and we are the first to offer epigenetic testing around this.  Now we have taken this one step further to more sophisticated testing that will highlight each individual’s needs. The point is that we will start with something and then we will fine-tune it until it works in the way our clients need it to. We will keep trying until we get it right. And every client reacts in a different way. 

As a company how does your research keep up with the latest innovations and developments when things are happening so quickly?

This is not yet public, but I’m happy to share with you that we have decided to launch a fund that will create an innovation platform through which we can conduct further research. We are starting to propose to some of our clients to take part in this research as we want to collect findings that will allow us to have a strong impact in the world of longevity. We have a very serious approach to longevity and it is about more than just wellbeing. We are not only an external viewer into what’s happening in the science around longevity, we want to be involved in breakthroughs and developments in the sector. 

Tell us about the Middle East and its close relationship with Clinique La Prairie. 

The Middle East is a very important market for us. CLP in Switzerland is quite a unique place. We have 34 rooms with a maximum of 50 guests, 300 staff and 50 doctors. The setup is unique, and our clients are unique, so we provide a very special experience. We have people coming from all around the world but yes we do have many clients from the Middle East. I was recently in Kuwait and I met some very important people who have been coming to us for more than 50 years. There are families in the Middle East who have been coming to us for generations. This kind of loyalty is something really special. It’s not about the place because we have very simple rooms, but it is about the treatments and the experiences that these guests can get from our clinic. 

The wellness industry has drastically evolved, especially after Covid–19. How would you assess the industry now and what clients are looking for from such platforms? 

It is an interesting question beucase there is the marketing and the reality. The marketing is that everybody is a fan of longevity and everyone wants to focus on this, but if you look at the reality, things are a little different. For a player like La Prairie, there are very few of us, and the reality is that there are not so many people that are ready to invest in their seirous personal longevity. In time, this will change, but when you do these processes of course, it’s also expensive, so it is not for everyone. 

There is a lot of awareness in the market and I think it’s a market that’s evolving and growing. But there is also a lot of marketing that is maybe not doing so much good. What I think is important is to keep a very scientific approach and to be very serious about it. For us, we call it the three Cs approach: Care – because your final objective should be to take care of people. Confidence – confidence in what you are doing, as there are a lot of people out there who don’t know what they are doing. And Customisation – you need to be very precise with the customisation you are offering. 

The longevity market is still quite small but it is growing very quickly and especially after covid, people are aware of the importance of health. The most important change is the mindset shift from genetic to epigenetic. Twenty years ago, you would be told that the way you are is about genetics. If you get a disease, etc., it is genetic. Today we know that this is only 10 or 15 per cent genetic, and 80 per cent of what influences how we are is epigenetic, the expression of the gene and our lifestyles. So, from this came the idea that we can act and impact our longevity with our lifestyle choices.

What are most clients looking for when they come to you? 

They want to be healthier. They want to have a healthier life for a longer period of time. The first thing we do when people come to us is work on the objective, and then we use science to tailor this to work for them. There are no two programmes that are the same. The most popular programmes we have in Switzerland are the Master Detox and the Realitisation which focuses on the immune system. On top of this, there is the diagnostic pack and within all of those, we will personalise the programme for each client. 

Why should our readers visit the longevity hub? 

This idea of finding under the same roof all the skills and tools that you need to start a journey of deeper personalisation of treatments to help you live a healthier life. We are working on healthspan, not lifespan — living better for longer and being healthier for longer. You can come every day to work with the best experts who will create a plan to change your life. Then, on top of this, come and visit us in Switzerland once per year.  

cliniquelaprairie.com/en/longevity-hub-dubai

If you live in Dubai, you may have noticed a series of residential buildings that have appeared over the last few years with distinctive black, white, and orange graphic designs. These instantly recognisable buildings, which are inspired by sunrise, can be credited to Dubai-based real estate developer BinGhatti, which was founded in 2008 by Emirati entrepreneur Dr Hussain BinGhatti and his sons Muhammad and Ahmed. But during thr recent years, the forward-thinking company has taken its portfolio well beyond that initial concept, partnering with luxury brands on some of the most sought-after real estate developments in the region. Working on luxury buildings in partnership with brands such as Jacob & Co. Bugatti, and, most recently, Mercedes-Benz, BinGhatti has become a pioneer in the luxury real estate sector with a unique approach and an innovative vision.

Behind much of today’s vision is CEO Muhammad BinGhatti, who, alongside his brother Ahmed, after seeing his father’s work ethic and passion growing up, has made it his life’s mission to transform the real estate industry. After studying to be an architect, he imagined a new approach to real estate that would be brand-led, seeing projects in the same way that a luxury automotive or jewellery brand might, to create something that will become a visually beautiful investment. As the company embarks on its latest projects, we find out more about what’s in the pipeline for BinGhatti. 

What is the vision and direction of the BinGhatti group today?

It has always been the same vision since day one. Our vision was to create a real estate brand with a very clear architectural and visual design identity and philosophy. Very similar to what you see in the automotive industry or the fashion industry. Take Mercedes-Benz, for example. If you see a Mercedes-Benz car, you immediately know which brand it is. We wanted to be the pioneers of bringing such design philosophy to the real estate segment. That was part one. 

Part two revolved around expansion on a global level. We brought our name to a global audience through partnerships with international names such as Bugatti, Mercedes-Benz, and Jacob & Co., and they were the first partnerships in the world with such brands. This enabled us to take the BinGhatti brand to a global level. 

Now, part three is scaling in terms of the size of our portfolio and the introduction of technology. We are really focusing on the product and enhancing it technologically to redefine the real estate industry worldwide.

Our approach is very design-led, and as an architect myself, that has always been a focus. I am inspired by brands from different industries, and for us, real estate development isn’t a commercially driven exercise; we approach it more like a brand would. 

Tell us more about the brand partnerships you have so far — what are the benefits for both parties and how do you think those particular brands align with your company?

The benefit for us is obviously the brand positioning—some of these brands have existed for over a century, and they have very renowned names amongst huge audiences with large client bases worldwide. So, I think resonating with specific audiences that perhaps weren’t privy to the real estate industry opened up a whole new audience for us.

Secondly, in terms of brand positioning, it puts our name out there. No one in the real estate industry has been able to work with such brands worldwide; we were the first developers to do so. Also from a design perspective, these brands have design guidelines, philosophies, and technology that are sometimes far more sophisticated than what we have in the real estate industry. So, we reap the benefit of working with such minds. 

Of course, the benefit for them is exposure to a huge industry — exposure in the Middle East, where real estate is a very hot industry — and obviously providing their client base with new asset classes. It’s not just cars or watches or jewellery; it’s also real estate. 

How do you work with the brands on the properties’ design elements, and what are some of the challenges related to this?

In terms of challenges, pretty much everything we do is challenging! Specifically in this endeavour, the challenge is bridging the gap between the approach to an industry like real estate and the approach to jewellery, for example. It’s not necessarily the same approach or the same business model, so I guess it’s about finding that consensus and understanding how to go about specific exercises. 

More interestingly, the most rewarding part of the process is sitting down with these brands and working with them on many levels, from design to technology to innovation. And for me, this is the part that can be very enjoyable and beneficial to really make sure that the products we are designing truly depict the DNA of the brand. 

Tell us about technology and innovation at BinGhatti and where you are heading with this. 

As a company, we have always focused on technology, which we have invested a lot in for the past five years. Right now, we are looking at things like AI and sustainable technology. For example, in the Mercedes-Benz properties, we are looking into introducing a facade that spans 75,000 square feet outside of the project, which is envisaged to generate energy for up to 40 electric vehicles per day. We are considering other intricate details. If you look at the projects within our portfolio, many of them have flyback mechanisms for the kitchen cabinets; we have voice recognition software to control lighting and air conditioning. And we’re really trying to take real estate as a product to the next level. We’ve seen it happen in the smartphone industry and the automotive industry, with brands like Apple and Tesla. And quite similarly, we are trying to achieve similar leaps and triumphs in the real estate industry through technology and AI. 

On a global scale, where do you think BinGhatti fits today, and how does Dubai as a market fit into what’s happening with the industry globally? 

I always feel that the real estate industry has so much more to offer, and I say this when I compare real estate to the automotive industry. When you buy a car, the technology you get for the price you pay is so sophisticated. So, the question I ask myself is: ‘How can we achieve such a level of technological advancement in the real estate industry?’ That’s really ultimately what we are focused on as an organisation right now, and of course, scalability is a big thing for us now. We’ve doubled if not tripled, the size of our portfolio over the past three years, and as things stand, we’ve deployed one billion dirhams in plot acquisitions in the past six months. That’s enabled us to compile an additional AED10 billion worth of real estate projects, adding to the portfolio that was already worth AED20 billion. So, we’re now sitting on a portfolio of 30 million dirhams that will materialise within 2024. 

Are your properties still varied in terms of the levels and clients you’re targeting?

Yes absolutely. This was also part of the vision from day one, to have a fully integrated product line. An all-encompassing product line. We have tapped into all the niches in the market. We still offer our mainstream luxury products in a variety of locations. We have products in locations like Jumeirah Village Circle starting from 650,000 dirhams. We have products in areas like Business Bay, where we have products that start from 1.5 million dirhams, but then we also go up to 750 million penthouses! So we try to cover all areas of the market. 

What do you look for in brands that you might partner with?

We look for brands that are design-led, who understand design and think in a design-orientated way. We are a design-led organisation, and we want to work with brands that use that same approach. We also look at partners who are very innovative in their respective industries. We look at brands that have very rooted heritage and have existed for a long time. Brands that have a loyal fanbase. Ultimately, what we look for are leaders in the industries. If you take a brand like Bugatti, it’s the leading hypercar or automotive brand that is not comparable with other supercars. It is the same with Mercedes when it comes to that segment of automobiles. Mercedes-Benz has been dominating the automotive industry when it comes to luxury in the sense of that asset class. I think, more than anything, we should look for brands that break boundaries and go above and beyond. If you look at a brand like Jacob & Co., the timepieces that they are making are ground-breaking and technologically different in the horology industry. The mechanisms they have in their watches and the designs are quite radical, and that’s what we look for. 

What else is in the pipeline for BinGhatti this year?

We’ve been busy buying plots across Dubai. We recently acquired a big plot in Business Bay, spending around 100 million dollars on it. We’ve deployed quite a significant amount in areas such as Jumeirah Village Circle and Business Bay, and we are expanding in these locations. So, there will be many launches happening this year, and it’s very exciting. We recently launched BinGhatti Phantom in Jumeirah Village Circle with a total gross development value of 700 million dirhams and it’s already half sold out. 

What are your thoughts on the outlook of the luxury real estate industry in Dubai and its future direction?

I’ve been doing Dubai real estate for a long time, and honestly, this is the best time I have seen the market perform. I envisage the market continuing to perform well. If you want me to translate that into anticipated numbers, this year specifically, I think we will see a growth in prices between 12 to 15 per cent, perhaps. Rentals will also continue to grow by perhaps another 10 per cent, and I definitely think the market is going to continue to flourish, at least for the next 24 months. I don’t see any signs of a slowdown. The population in Dubai has grown; at least 100,000 new families have arrived here, and a lot of people are choosing to become homeowners from all around the world. Things seem very positive, and I envisage them continuing in this way. 

What drives you and your vision as an entrepreneur, and what advice would you give to others who are thinking of starting their own business?

My advice is to be obsessed and don’t be average! It’s all about that drive and really being committed to something 110 per cent. Being obsessed to the extent that sometimes people will think you’re crazy or that you’re a perfectionist, but you have to do what you have to do to make things work and never give up on your dreams. You must persevere and be ready to fall ten times and get back up on the eleventh time because you will fall. You will incur mistakes on the way, and I think one very important lesson is that failure is a natural part of the process towards success. You have to experiment 100 times to succeed once. 

When we set off on this journey, my vision was to create a global impact and show the entire real estate industry how real estate can be thought of differently and approached like a brand. We see beautiful brands in different industries, and I always felt like real estate could be less commercial and more brand-focused, and that’s what I’m trying to do. 

What is the professional motto you live by?

One of my favourite quotes is by Paulo Coelho. He said, “the secret of life, though, is to fall seven times and to get up eight times.” 

That’s definitely my mindset right now. After so many years of struggle, perseverance, and very dark moments, I think once you can break through and find that light at the end of the tunnel, the reward far outweighs the dark moments. 

What was the biggest challenge you face now?

My biggest challenge is my struggle within myself because once you break a certain boundary in your life and you realise you were able to break something that you thought was impossible, it becomes a never-ending cycle of constantly trying to better yourself. And again, it’s setting the bar higher for yourself. You must keep progressing and challenging yourself to do better and go further. It is the small details that make a big difference and help you to improve, even if you are doing well. So, my biggest challenge would be competing with myself, and it’s not easy! 

What advice would you give to your younger self? 

I would tell myself to really come to terms with failing. Failure is OK. When you fail the first time in entrepreneurship, it feels like the end of the world, but when you don’t realise it, this will be one of many failures that you are going to face. No one is there to tell you that, and if you don’t have that expectation, you will feel devastated the first time you face such a situation. So, I think starting with that mindset helps you a lot as an entrepreneur. 

What message would you send to our readers to sum up your work and why they should be interested in following your journey?

If anyone is interested in seeing real estate around the world change, follow me and watch it being changed! I think I can confidently make that claim, and it is my lifetime commitment to do so for the industry. I think it’s part of my service to the industry to do that. We have made great strides so far, and we’ve done some things that were thought to be impossible before. We’ve brought brands on board who weren’t necessarily interested in working in this industry, and in that sense, we have started to redefine the industry, and we will continue to do so in many ways.

binghatti.com

Canadian-Irish comedian Katherine Ryan first made a name for herself in the early 2000s after touring the comedy circuit in Canada. Her outspoken views on men, relationships, marriage, and motherhood have earned her a huge following in Canada, The United States, and Europe. Her utterly unapologetic stand-up shows make her one of the funniest female comedians today.

Ryan’s comedy has no limits as she fuses women’s issues, pop culture and socio-political issues to create a show that many women (and men) can relate to.

This April Katherine will make her Dubai debut at the 2024 edition of Dubai Comedy Festival, with a stand-up gig that promises to be lighthearted, hilarious and relatable. Ahead of her show, we talk to the comedian to discuss motherhood and marriage, as well as an insight into her upcoming show.

What can we expect from the new show Battleaxe in Dubai?

My comedy is mostly self-authored. It’s about family life, marriage, my experiences and pop culture – it’s provocative, honest and fun! I’ve spent the last two and a half years having children, and before that, no one was going anywhere [during covid-19], so I feel quite removed from the woman that I used to be. I think sometimes you lose yourself in motherhood, which is obviously such a blessing, but I’m a really hands-on mum, so this is my big outing. Dubai is kicking off a big tour of Europe, The UK and The US, so this will be my first taste of getting back to the fun and the woman I used to be after becoming a mum again.

Can you give us any sneak peeks of what we can expect from the show?

I think we can all use a laugh, so I try to talk about subjects in which people hopefully see themselves and their own lives. Things like waiting until your over 35 to have children, but also the duality between having a teenager and having babies in the house.

On my last tour, [I was single and] I advised women not to have a partner, and then I bumped into my high school boyfriend and married him, so I have this life that came at me very quickly, and it is a life that I didn’t anticipate, and at the time, I didn’t want. All of a sudden I had a husband and two babies and I was at home every day with everyone. So there are a lot of observational things around parenting and romance and marriage. I talk about my husband I think in a way that just about would make him leave me but keeps him on the right side of divorce! I talk about some of the frustrations that women in particular are feeling in their marriage, but I think my comedy is also a real insight for men! There’s something for everyone.

How do you like people to feel when they leave your show?

A Scottish comedian told me about 15 years ago that we are in the service industry and we are there to provide a service to give people escapism from their problems or their day-to-day lives. You do the talking for them, and you bring out the truths of their own lives, and you find the lightness in the dark, and make them laugh.

So I definitely want people to leave feeling like they’ve laughed a lot, but I also want them to feel lighter and happier and more calm and connected to others. I think women leave my show feeling really empowered because I speak a lot about women in a very empowering way. When I started doing stand-up comedy in the early 2000s in Canada, comedians were mostly men, and they didn’t talk about women in a nice way at all. And so I talk about men almost ironically in a negative way just to see how they like it – but I’m being ironic obviously – I don’t hate men or anything (although I have been accused of that!). But I speak about women in a way that I hope makes them feel more body confident, more successful, and more peaceful.

As a woman in an industry dominated by men, what have the challenges been?

I think I found the positive in a lot of the challenges, so being different, looking different, sounding different, you use those things to your advantage. Right away, as soon as I speak, I sound different and as soon as I walk on stage (certainly when I started) you hear a groan from the audience. But I loved being an underdog and I loved winning over a crowd and proving people wrong. I always thought that was really fun.

But there were obviously downsides to being the only woman. For example, in a panel show setting, which I used to do a lot of, you might not have likeminded people to bounce off of, so if you thought you were saying something funny you might get shut down faster than if the boys were saying something that they all connected with. To them, my experiences were niche and that’s fair, my experiences WERE niche, but now we see different types of women on these same shows. Women from different socio-economic backgrounds, different ethnic backgrounds and we’ve learned – I think on television in the UK anyway – that one woman, especially one, middle-class white woman, doesn’t tell the story of a spectrum of experiences. So it’s wonderful now, but back in the day, it was different.

You have two new babies as well as your teenage daughter, Violet – what are you doing differently this time?

Yes, I have two babies because I had one and I immediately had another one, and they are sick this week so I haven’t really slept since March – but it’s OK! It’s a different experience having children over 35, in a few ways. When I had my daughter, Violet, I was 24, and I had never had any luxuries. So I wasn’t sacrificing lunch with my girlfriends or getting my nails done. I didn’t know what it was like to have my own autonomy yet. So I just rolled with the punches – I felt like I mothered instinctively, I didn’t have a phone, and I was a great mum.

But now, I have led this life of luxury and freedom for the last ten years, plus I’m old and tired. I used to be say ‘why can’t women have kids until we’re 100?’ And now I know, it’s because we are too tired! We might have one more, but I’m 40 now, and that baby is going to need a nanny!

How do you balance your career and being a mum?

It’s really difficult. I’ve always been working throughout, but I tour in a different way to the male comedians. I might do a show that’s four hours away from my house, and then I’ll drive home and get into bed, and I’m up with the kids throughout the night, and then I’m up with them for good at 5:30 in the morning.

When my son was born two and a half years ago, I was on tour, and I brought him along to all the places. He absolutely hated it; he was not a portable baby! It was really difficult – I was sleep-deprived, and I got really fat for a while too, which is fine for some people, but it didn’t look right on me. I gained all of the weight around my face and shoulders so it just didn’t work, and people had to sort of get their head around this different version of me. So there are all these different complexities for women when you choose to have a family, and you’re a performer. I think the biggest challenge is the guilt. There is always someone competent at home – whether it’s the babysitter or my husband – to look after my children, my children will be fine. But I think all mothers can be reminded that it is the guilt that holds them back the most. It’s an internal struggle.

What lesson do you think your children will take from you?

I get asked a lot about some of the more provocative comedy that I do and how I’ll explain that to my children. My 15-year-old daughter already has access to everything I’ve ever said online and she secretly likes it because I’ve met Taylor Swift! But I think the lesson is that if you become a mother (and you don’t HAVE to become a mother at all), but if you choose to; what’s important is that you can continue to be the woman that you were before. Those two women can exist in parallel, and you don’t have to silence yourself and not say certain things because you’re a mother. My children appreciate that I am who I am at home, but I also have this job where I’m a clown who uses naughty words sometimes.

What message would you give to your younger self?

I would tell her that her struggles are necessary and to really lean into them and go through them with robust determination because they will make her a better person. I wouldn’t take any of them away. I would love to tell my younger self not to bother having any romances until her late thirties, but I think they were necessary. They taught me so many lessons. I wouldn’t want to tell her that everything will be OK, I don’t think that would have been motivational for her to hear.

What advice would you give to aspiring comedians?

I think the game has changed, and the way that I started, going to open mic nights and getting an agent in the physical world is not the way to do it today. I think they [aspring comedians today] would need to understand the future of AI and social media and technology. It’s a wonderful time, actually because everyone has a level playing field and everyone has a phone, you can learn to edit, and you can trust your own timing. So I would get on social media, and most importantly of all, I would hone your authentic voice because you’ll never be successful by doing an impression of someone else. So figure out who you are and what you stand for and really lean into that authentic voice; even if people discourage you at first, you’ll find a tribe who really loves it, hopefully.

What’s the professional motto you live by?

Never complain, never explain.

Why should our readers come and see your show?

Come to the show because it will be a great night out. Supporting a comedy festival in its infancy guarantees that the festival will come back with bigger names. So even if you don’t want to see me but who you do want to see is Mindy Kaling or Amy Schumar, unfortunately, you have to come and see me to build the comedy festival!

And I think that it’s important to push yourself out of your comfort zone. It’s a fun night out, and it’s going to be a blast!

Katherine Ryan’s Battleaxe will take place on 12^th April 2024 at Dubai Opera. For tickets click here.

The 2024 edition of LVMH Watch Week took place in Miami this January. The event, which was the 5th edition, presented the latest collections from the Group’s size watchmaking Maisons to journalists and retailers from around the world. Brand’s showcasing at the event included Bulgari, Hublot, TAG Heuer and Zenith, as well as for the first time, Daniel Roth and Gérald Genta, two iconic Maisons relaunched within La Fabrique du Temps Louis Vuitton.

“This fifth edition of LVMH Watch Week is taking place in Miami in the United States, a strategic market for our Watches & Jewelry Division. We are excited and proud to once again shine a bright light on the collective momentum of our watchmaking Maisons – Bulgari, Hublot, TAG Heuer and Zenith of course, but also Daniel Roth and Gérald Genta, joining us for the first time this year,” said Stéphane Bianchi, Chairman and Chief Executive Officer of LVMH Watches & Jewelry Division. Turn the page to find out more. 

ZENITH

Zenith’s participation in the event also marked the first major event for the brand’s new CEO Benoit de Clerck. Joning with a strong background in the industry, he will continue to lead Zenith in balancing its unrivalled heritage with its forward-looking aspirations as the shining star of the future of Swiss watchmaking.

Chronomaster Sport

In the three years since its introduction, the Chronomaster Sport has made its mark and solidified its position as a leading contender among sporty chronographs.

Now, the award-winning Chronomaster Sport takes on a chromatic striking green ceramic bezel and dial, while debuting the line’s new integrated rubber strap. The two new editions couldn’t be more striking. For the first time in the Chronomaster Sport core collection, the engraved 1/10th of a second bezel on top of the 41mm steel case with pump-style pushers is crafted in green ceramic. Fitted with a three-link steel bracelet with an adjustable clasp, the green aesthetic explores a different side of sportiness with vibrant chromatics.

For those seeking something more dazzling, ZENITH presents the fanciest iteration of the Chronomaster Sport yet. Eye-catching and inherently precious, the Chronomaster Sport is crafted in a radiant rose gold case and bracelet, with a dazzling bezel featuring expertly set baguette-cut white diamonds, black spinels and grey as well as blue sapphires on the bezel.

The Chronomaster Original Triple Calendar

One could say that the Chronomaster Original Triple Calendar has been 55 years in the making. A little-known fact that attests to just how advanced ZENITH’s groundbreaking automatic high-frequency chronograph calibre was at the time of its launch in 1969, the El Primero was initially designed to accommodate the triple calendar and moon phase functions right from the very beginning.

A series of 25 prototypes was produced in 1970 as a proof of concept, using the same round case as the A386. But given the success of the core chronograph version, the house decided to wait a few years before releasing the first version of the El Primero triple calendar in a watch, which by the 1970s took on a much more space-age design. With a host of functions, the Chronomaster Original Triple Calendar is the most versatile and functional line within the Chronomaster collection.

The latest model is available in two distinct dial versions: A sportier silvery-white “panda” opaline dial with black counters and 1/10th of a second scale, and an opulent opaline slate-grey dial with silvery-white counters and scale that is directly inspired by the small series of El Primero triple calendar prototypes from 1970.

Both versions are highlighted by rose gold-tone applied baton markers and hands, adding a warm contrast that brings out the polished rose gold moon set on a metallic blue sunray-patterned disk with five-pointed stars. A third dial variant, exclusively for the Chronomaster Original Triple Calendar Boutique Edition available only at Zenith physical and online boutiques, is done in a sunburst olive-green tone with golden applied markers and hands. In each version, the calendar wheels match the dial colours.

HUBLOT

BIG BANG UNICO SAXEM GREEN

Hublot unveils the second shade of its revolutionary material, SAXEM. Closely allied to sapphire, SAXEM is equally resistant yet offers even more luminosity. With cousins, you can tell they come from the same family but they do have distinctive differences. The same can be said for Sapphire and SAXEM; their connection is clear as they come from the same Hublot lineage. The Manufacture in Nyon is credited with bringing them both into the 21st century, to the point of establishing them as hallmark materials. Even so, their profiles are quite distinct. Sapphire is made of aluminium oxide, to which metallic oxides are added to provide colour. In contrast, SAXEM is coloured with rare earth elements. Sapphire has a trigonal (three-sided) structure, while SAXEM has a cubic (four-sided) form. Chemical details? Maybe, but ever since Hublot established itself as an integrated Manufacture, R&D has been the key focus of its operations. This was true when the Nyon Manufacture was inaugurated in 2009, and 15 years later, remains so today. The new Big Bang Unico Green SAXEM is further proof.

CLASSIC FUSION AEROFUSION ORLINSKI CERAMIC

Pop colours, an edgy design, outstanding mechanics, a skeleton tourbillon and a five-day power reserve: Hublot’s new collaboration with the artist is all about fusion, without compromise. From the Classic Fusion Tourbillon Orlinski to his sculptures, Orlinski’s pieces never go unnoticed. The watch emerges from a work of art. Or perhaps it’s the other way around? Hublot’s ‘Art of Fusion’ has never been more exquisitely expressed than through the brand’s collaboration with Richard Orlinski. The world’s best-selling French artist and the most innovative watchmaker of the last 20 years were destined for one another.The first is radiantly sunny, with its case, strap, bezel, hands and index all dressed in yellow. Its ‘beating heart’ is still the manually wound HUB6021. This movement is a favourite among brand connoisseurs. Its components, such as the crown and the six H-shaped screws around the bezel, appear suspended in space by black PVD skeleton bridges. Between 8 and 9 o’clock, the power reserve indicates the five-day capacity. At 6 o’clock, the tourbillon keeps the time ticking on. Plus, thanks to sapphire crystal faces on the front and back, the Classic Fusion Tourbillon Orlinski always catches the light.

MP-10 TOURBILLON WEIGHT ENERGY SYSTEM TITANIUM

The Manufacture’s tenth MP revisits the fundamentals of watchmaking: no dial, hands or oscillating weight, instead a roller display, a circular power reserve and an inclined tourbillon automatic winding by two linear weights. The announcement of a new Manufacture Piece (MP) is always eagerly awaited at Hublot. This MP-10 Tourbillon Weight Energy System Titanium will be no exception. The piece is immediately arresting. With its rounded angles, sleek design and sapphire crystal of an unparalleled complexity, it houses a movement which is no less sophisticated. A fusion of form and substance. The mechanical and aesthetic power are inseparable – one of the key concepts guiding the MP collections. And at the point where they intersect, the Manufacture offers a bold reinvention of the classic watchmaking complications. These are avant-garde pieces which are resolutely disruptive in their movement, display and complications. But they are neither concepts nor exercises in style. Like all the other MPs, the MP-10 Tourbillon Weight Energy System Titanium is a complete, accomplished and practical watch that will soon adorn the wrists of a select few collectors.

SPIRIT OF BIG BANG 32MM JEWELLERY

Watchmaking and jewellery collide to create an enchanting match. Master gemsetters have worked their magic on these six 32-mm cases, enveloping them in light or transforming them into rainbows. These pieces are crafted in King Gold – the Manufacture’s 18K gold alloy, warmer than 5N gold – or stainless steel. Hublot has channelled its avant-garde and unconventional approach to create these stunning variations with a feminine touch. With these fully-set Spirit of Big Bang Jewellery pieces, draped in their precious finery, time becomes incandescent. The slim design embodies a feminine spirit, which enhances the brilliance of its setting. The character of the Big Bang is fused with the sophistication of the gemstones, transforming the Spirit of Big Bang into a sparkling piece of jewellery. The Spirit of Big Bang combines the Big Bang design and the brand’s unique expertise in a tonneau-shaped watch. The piece features six H-shaped titanium screws, the self-winding proprietary movement, the unique “sandwich” case construction which enables an unlimited number of combinations and materials, and comfortable interchangeable straps featuring a deployant buckle. These endless possibilities truly celebrate the art of fusion.

TAG Heuer

Aquaracer professional 200 solargraph

TAG Heuer introduced an entirely fresh lineup of TAG Heuer Aquaracer Professional 200 Solargraph watches. This new collection pays homage to the adventurous spirit of the Aquaracer series, set to redefine elegance and functionality with the introduction of the 34mm size.

CARRERA CHRONOGRAPH and TOURBILLON

The TAG Heuer Carrera Chronograph masterfully combines heritage and modernity. While retaining the iconic Dato vintage look, it has notable technical enhancements, including improved ergonomics on the case, a gracefully curved flange, and a dial with a circular brushed finish.

To complete the release, TAG Heuer unveils the TAG Heuer Carrera Chronograph Tourbillon— a captivating addition to the Carrera collection – in an elegant teal green circular brushed dial of 42mm, creating a sophisticated statement piece. The watch is a testament to the intricate craftsmanship of TAG Heuer, showcasing the infamous movement of a tourbillon.

CARRERA DATE PLASMA

The TAG Heuer Carrera Date Plasma Diamant D’Avant-Garde is a groundbreaking timepiece adorned by 4.8 carats of lab-grown diamonds, including the signature crown made up of a 1.4-carat yellow lab-grown diamond. The introduction of the yellow diamond into the Diamant d’Avant-Garde collection showcases TAG Heuer’s commitment to innovation, adding diversity and a burst of colour to TAG Heuer’s timepieces.

CONNECTED CALIBRE E4 GREEN

As a pioneer in the world of connected watches, TAG Heuer introduced its latest addition to the 45mm E4 line, the TAG Heuer Connected Calibre E4 in a stunning shade of green. This exquisite timepiece blends the traditional elegance of watchmaking with the cutting-edge technology of the connected world.

Bulgari

Bulgari Bulgari 

As the 50th anniversary of this iconic watch approaches, a new 18-carat gold watch, initially a gift to the Maison’s top clients, features an innovative digital display; after it experienced a renaissance in 2019, Bulgari infused the icon with a new take on elegance and refinement, pairing it with a strikingly modern metal bracelet. “With its pure aesthetic, the original Bulgari Bulgari perfectly embodies our DNA without any need for further embellishment,” says Fabrizio Buonamassa Stigliani. The Maison, he continues, “revisits the essence of this initial creation, now subtly enhanced with modern technologies.” New iterations in yellow gold – a historical and iconic material of the collection – and in rose gold come in two sizes. The first has a gender-neutral and versatile 38 mm case with a transparent caseback for a full view of the gears and finishes of the self-winding mechanical BVL 191 calibre, crafted by the Bulgari Manufacture in Switzerland. The second, a 26 mm in diameter with a quartz movement, is a mere 6.35 mm thick, giving it an irresistible watch-as-jewellery vibe. 

Echoing the piece unveiled in 1975, the yellow gold models feature a striking contrast with a black watch face. Against this backdrop, the gilded condensed Arabic numerals at 12 and 6 o’clock, together with the elongated baton indices, stand out. The dial’s understated minimalism further highlights the bold character of the letters stamped on the bezel. Maintaining the original Bulgari Bulgari’s design cues, the geometric lugs of the case extend into a black alligator strap. A second version harmonizes rose gold for the case and silver opaline dial, offering a softer visual appeal. 

Octo Finissimo 

Two new additions the Octo Finissimo line, the Iconoclast Octo Finissimo Yellow Gold and the Octo Finissimo Tuscan Copper, ooze elegance and sophistication. Yellow gold is fused with Octo Finissimo, casting its timeless aesthetic in a new light. his precious metal not only reflects Bulgari’s historic mastery of goldsmithing, but also evokes the fascinating luster of vintage luxury watches. The case, with its 58 facets, exhibits exquisite finesse with architectural angles, leading to a satin-finished yellow gold bracelet of exceptional comfort, completed by a triple-blade folding clasp. The dial, lacquered in deep blue with a sunray finish, completes the gold’s lavishness. Golden, contrasting hands and hour markers ensure outstanding legibility, befitting a chic, sporty timepiece. With a diameter of 40 mm and a slimness of just 6.4 mm, the new Octo Finissimo appeals to both men and women, 

With the Octo Finissimo Tuscan Copper, Bulgari ventures into new creative realms. A true statement piece, its sunray Tuscan copper dial in a salmon hue stands as a highly coveted rarity among Bulgari connoisseurs. Rhodium-plated hands and indexes create subtle and elegant contrasts on this coppery face, paired with a case and bracelet in 904L stainless steel, the same grade as that used in the aerospace industry. The caliber BVL 138 provides an ample power reserve of 60 hours. 

Bulgari’s essence, deeply rooted in its Italian heritage, finds its most exquisite in- spirations on the peninsula. The vibrant hue of Tuscan copper perfectly exemplifies this ethos. Fabrizio Buonamassa Stigliani explains: “Here, the metallic salmon tone draws its inspiration not from the usual vintage aesthetic prized by collectors, but from the very roots of Italian art, that of the 16th century, and more precisely from a disruptive movement of the time, called Mannerism, which marked my own training as a designer. Hence, my choice for this color symbolizes an experimental and disruptive artistic approach.” 

LUCEA 

Celebrating its 10th anniversary, the watch’s jewellery-inspired lines have been elegantly refined, gently and ever so closely embracing the wrist. Beyond its diamond-set dial, Bulgari unveils new facets of Lucea’s personality through the artistry of mother-of-pearl Intarsio and malachite inlay. 

The Rays of mother-of-pearl watch is crafted in either rose gold, lavishly set with diamonds, or in sleek steel, the elegantly slimmed-down, polished bezel frames a captivating dial, either in mother-of-pearl Intarsia or malachite marquetry. The signature Intarsia technique extols light, showcasing the organic iridescence of mother-of-pearl, a precious treasure of the seas, and adds a refreshing take on the sunray finish of watch dials. Artisans assemble ‘rays’ of finely cut mother-of-pearl – a task demanding the highest precision given the material’s brittleness – to create a sunburst pattern with three-dimensional pleating. In white or green mother-of-pearl, depending on the version, this shimmer born of nature itself enhances Lucea’s radiant allure. 

The Intense Malachite timepiece features an intense-hued malachite stone captures the sixties’ fascination with colored stones. This distinct tableau is composed of small pieces of the mi- neral that might have been overlooked but, here, are transformed into something beautiful through the art of upcycling. Skilled artisans at the Bulgari Manufacture in Switzerland carefully select each fragment for the vibrancy of its hue and the expressiveness of its grain. Meticulously cut and hand-assembled, every piece contributes to this special creation, rendering each Lucea a unique masterpiece. 

Twelve brilliant-cut diamonds, claw-set in square, architecturally inspired settings, sparkle as hour markers on these remarkable dials, their angular shape contrasting with the gems’ roundness. Another diamond adorns the V-shaped crown, itself topped with a cabochon-cut synthetic sapphire, mirroring the dial’s design. One subtly opulent iteration of Lucea dazzles with a diamond-set bezel for total of 56 gems and 1.3 carats on the case and dial. 

lvmh.com

The latest edition of Dubai Fashion Week saw five days of back-to-back shows and events at Dubai Design District (d3), marking the first anniversary of the event.

“Every edition of Dubai Fashion Week has made one message clear: if you’re in fashion, you must be in Dubai,” said Khadija Al Bastaki, Senior Vice President of d3.  “In just one year, DFW has provided the regional fashion ecosystem with much-needed legitimacy and structure, ensuring designers get the deserved returns on the time, money and effort invested in shows. Our platform evolves with each new edition, its visibility and network expanding organically and sustainably as the global creative industry recognises the network, reach and partnerships available through our emirate. The DFW Members board is growing with outstanding new talent who are successfully expanding their footprint in international markets and shaping the future of the regional and global industry. International designers, buyers and industry tastemakers are gaining confidence in DFW as a conduit for cutting-edge trends and strategic partnerships. DFW has proven that our emirate has the means, long-term vision and commitment to develop a fashion industry value chain that enables growth for all stakeholders, in line with the Dubai Creative Economy Strategy and Dubai Economic Agenda D33.”

This season more than 18 established and emerging designers from all around the world showcased their collections to buyers, fashion insiders and journalists. Standout moments included a runway show by Moroccan designer Maison Sara Chraibi, who previously showed her collection at Paris Haute Couture Week; however, this time, she added additional designs for the Middle East market. 

In a collaboration with Sotheby’s, MRS. Keepa Studio unveiled  SS24 was unveiled, marking a significant chapter in the brand’s journey. The highlight of the event was the introduction of the Bespoke and Couture Pret High-End section – MRS. KEEPA Studio which is the craftsmanship of the brand’s fearless embrace of the arts of design and colours.

Emergency Room’s AW24/25 collection was displayed in partnership with London-based technology company Nothing Phones, who further complemented the showcase with its unique Nothing Apparel lineup and latest technology products. Esteemed haute couture designer Zeena Zaki teamed up with Tryano, Abu Dhabi’s premier destination for luxury shopping, to unveil her Ramadan 2024 collection at the Palazzo Versace.

As an integral part of the calendar, Bil Arabi by Nadine Kanso, hosted an intimate dinner at KASPIA in collaboration with Bloomingdale’s, providing the perfect setting to unveil their Valentine collection. ‘THAT NIGHT OUT’ served as the premier closing event. The evening started with a presentation of THAT Concept Store’s selection of brands, showcasing the Spring/Summer 24 collections in-store at the Mall of the Emirates and various activations throughout the space. The evening concluded with an industry gathering and an exclusive after-party, to commemorate the closing of DFW. 

In between, Etro hosted an exclusive event at Dubai Opera, attended by celebrated figures across the creative and fashion sectors; in celebration of the new visual concept of its boutique in Dubai Mall. Initiatives such as the Buyers Breakfast and Portfolio Review at d3 also allowed designers to showcase their creations in more intimate environments, fostering authentic connections and collaborations. The inspiring talks with THREADS and the THREADS Fashion Brunch also nurtured critical dialogue and collaboration.

This year, the DFW Members expanded with new names, adding regional icons BLSSD to the group. The DFW Members comprise the Designers Committee and are responsible for shaping the future of DFW and the industry, with new names on the roster contributing to building a more inclusive and far-reaching fashion ecosystem. The physical venue in d3, which served as the hub of all DFW activity, also grew in size and impact with a brand-new, purpose-built structure designed to welcome larger audiences and allow designers to exercise their full creative vision.

Mohammed Aqra, Chief Strategy Officer of Arab Fashion Council, said: “I am elated by the success achieved in the Autumn/ Winter 24/25 edition of Dubai Fashion Week that united the fashion industry with the involvement and membership of the major retail groups in the region. This milestone not only mirrors the Arab Fashion Council’s strategic vision but also propels the creative economy of Dubai to new heights on the global stage. The strategic collaborations, innovative initiatives, and heightened impact contribute not only to the growth of our fashion industry but also serve as a beacon for Dubai’s flourishing creative economy. Our commitment to shaping the future of fashion aligns seamlessly with Dubai’s broader narrative of fostering creativity, innovation, and economic vibrancy.” 

TAMADA, a new innovative fine dining concept, revealed its grand opening this January. The restaurant and performance venue, which has been developed by 7 Management in partnership with SLS Dubai Hotel & Residences, promises to be Dubai’s must-visit destination of the year. 

Located on the 74th floor of SLS Dubai in the city’s Downtown area, this new destination will offer Eastern European cuisine with a twist, combining a fine dining menu with live entertainment, thanks to specially put-together music programme by musical legend and maestro Guy Manoukian. 

At TAMADA, dinner is served from Wednesday to Sunday, 8pm and 11.30pm, while at midnight, it transforms into a vibrant nightclub ready for partygoers to dance the night away. Each night a showcase of DJs and live performances will entertain guests looking for an evening to remember. 

“We are thrilled to officially welcome guests to TAMADA, which we believe will quickly become Dubai’s most loved venue for authentic, beautifully prepared dishes, as well as an ambience quite unlike anywhere else. We say TAMADA is an ‘experience’, where the communal art of dining mingles seamlessly with the enigmatic lifestyle that remains an uncharted territory for many,” commented Rabih Fakhreddine, CEO and founder of 7 Management.

On the menu, diners will find a carefully curated offering of premium dishes, with highlights including a premium selection of caviar, 12-hour braised beef check, Russian smoked salmon, wagyu beef Tomahawk steak, bluefin tuna, and star anise with raspberry and lemon confit. 

“This collaboration with 7 Management marks a new chapter for us; together we curated an extraordinary experience that blends the rich Eastern European flavours and contemporary dining in the heart of Downtown Dubai,” said Spencer Wadama, General Manager of SLS Dubai Hotel and Residences.  

book.ennismore.com/hotels/sls-hotels/dubai/dining

Lebanese haute couture designer Elie Saab will participate in the upcoming Riyadh season in the Saudi capital. Having recently opened his boutique in Via Riyadh, the designer has become well acquainted with the city and its developing fashion industry. 

Riyadh Season 2024 will combine fashion and entertainment with many events and activities expected to attract large numbers of international visitors. The month-long festival, which began in 2019, has previously welcomed visitors from all over the world to experience concerts, sporting activities, and other unique cultural events.

Mr Elie Saab met with H.E. Advisor Turki Alalshikh, Chairman of the Board of Directors of the General Entertainment Authority (GEA), Riyadh Season, represented by Eng. Faisal Bafarat, CEO of GEA, in London, where both parties signed an MOU confirming the designer’s participation in the event. 

The MOU also include the launch of the Elie Saab Riyadh Season Collection for Fall 2025, with its reveal marking one of the most important events of the festival. Mr Elie Saab said: “We are thrilled to participate in Riyadh Season 2024. We will be preparing something unprecedented and new to mark this important occasion and celebrate the city of Riyadh as it continues to support creativity and the diversity of culture in the region.”

H.E. Turki Alalshikh said in a statement: “In Riyadh Season, we collaborate with renowned international figures from different domains to enhance the entertainment choices. One of these collaborations is with ELIE SAAB, a prominent name in the fashion industry. We aim to showcase a collection in the upcoming season that will captivate fashion enthusiasts worldwide.” 

 visitsaudi.com

Swiss Haute Horlogerie manufacturer Audemars Piguet has joined forces with fashion powerhouse Tamara Ralph to create a limited edition iteration of the Royal Oak Concept Flying Tourbillon.

As the highest level of watch craftsmanship combines with haute couture design, this style-focused timepiece celebrates bold femininity and boundless creativity with a timeless edge. 

The 18-carat pink gold watch shimmers with a frosted gold finish and takes on a unique palette of graded hues ranging from brown and bronze to golden tones. The Royal Oak Concept Flying Tourbillon “Tamara Ralph” Limited Edition debuted at the designer’s Spring/Summer 2024 show in Paris. “My intention for the design of this piece is for it to capture the spirit and craftsmanship of both my brand as well as Audemars Piguet. The complications of watchmaking orchestrate a foundation which can be played with in terms of textures, colours and designs, allowing for the savoir-faire of couture to shine through. Rich materials, unique colour palettes and ultimate precision are combined, creating an exquisite limited edition of the Royal Oak Concept Flying Tourbillon, inspired by Haute Couture.” Said Tamara Ralph, who previously partnered with the brand in 2020. 

The watch showcases an 18-carat pink gold case adorned with Frosted Gold. This ancient Florentine jewellery technique was revisited by jewellery designer Carolina Bucci and adapted by Audemars Piguet artisans in 2016 to decorate the Manufacture’s timepieces. Tiny indentations are created on the gold surface with a diamond-tipped tool, giving a sparkle effect similar to that of precious stones. Its visual power is accentuated by the polished bevel outlining the octagonal bezel, while the case’s satin-brushed flanks provide added contrast. The juxtaposition of finishing techniques—a meticulous operation which required perfect alignment between the hammered, brushed and polished surfaces—gives sumptuous texture to the case, while bestowing it with endless plays of light.

For its part, the caseback’s glareproofed sapphire crystal is held in place by an 18-carat pink gold octagonal frame, finished with satin brushing and polished chamfers and engraved with “Royal Oak Concept Limited Edition.” Lastly, the hexagonal crown, whose shape recalls the stainless steel screws punctuating the bezel, also plays with light thanks to its satin-brushed and polished finishing. Its translucent cabochon-cut sapphire adds yet another touch of feminine elegance to the case design.

“Tamara’s endless quest for perfection perfectly echoes our watchmakers’ dedication to pushing their craft to the limit. We are delighted to start 2024 in collaboration with such an inspiring woman and it is only the beginning!” Said Ilaria Resta, Audemar Piguet’s CEO. 

The multi-layered dial takes inspiration from the bold femininity and textured detailing of Tamara Ralph’s Couture creations. It is composed of four overlapping circular pink gold plates, creating a ripple effect as they emanate from the flying tourbillon cage at 6 o’clock. Each layer presents a different colour, evolving from brown in the centre to bronze in the middle, to reach golden tones towards the dial’s extremity. While the brown and golden colours have been achieved through galvanic treatment, the bronze layer is covered with bronze lacquer. The dial is finished with a continuous sunburst satin-finishing radiating from the hands outwards, in seamless alignment from one plate to the other.  Pushing details to the limit, each plate is adorned with a thin diamond-polished gold thread that adds depth to the dial.

Matching with the circular, multi-layered architecture of the dial, the flying tourbillon at 6 o’clock merges technical mastery with a sophisticated aesthetic. The cage’s upper frame incorporates three rings radiating from a decentred disc paved with 19 brilliant-cut diamonds (~ 0.04 carats). Its pink-gold-toned hue echoes the 18-carat pink gold hour and minute hands, both filled with luminescent coating for optimum legibility in the dark. At 12 o’clock, the applied pink gold AP monogram adds the final touch. Hour-markers have been left out to accentuate the purity and harmony of the dial design. 

The timepiece comes with a bronze-toned hand-stitched “large square scale” alligator strap. It is also supplied with an additional brown alligator strap recalling the centre of the dial for a refined look. The two straps are decorated with a pearly finish adding subtle elegance and glamour. The timepiece’s glittering hues and intricate details will catch the eye from up close and afar, just like a Couture piece would.

Powered by the hand-wound Calibre 2964, this limited edition combines tradition with modernity. Its flying tourbillon, visible at 6 o’clock, gives a glimpse of the mechanism pulsating within. This delicate, high-end complication counteracts the effects of gravity on a watch’s accuracy. The balance wheel and escapement are mounted in a tiny rotating cage that completes a revolution every minute to prevent their centre of gravity from staying in the same orientation. Contrary to its tourbillon sibling, the flying tourbillon cage is only supported from below to leave the watch’s beating heart unobscured on the dial side. It is considered today as a symbol of watchmaking art as only a few expert watchmakers retain the skills required for its production. 

Inspired by the dial’s circular, multi-layered aesthetic, the back bridges of the movement, which can be admired through the sapphire caseback, are decorated with five circles emanating from the back of the flying tourbillon cage while increasing in size as they progress towards the periphery. Their alternation of sandblasting and satin-brushing add texture and depth while subtly echoing the refined Frosted Gold finishing adorning the case. The sapphire caseback also reveals the sole bridge on which the flying tourbillon cage is fixed, while an additional opening discloses part of the geartrain. Design and movement development have merged once more to reach seamless harmony, inside and out; much like Couture.  

audemarspiguet.com

Italian fashion house Tod’s has joined forces with iconic car manufacturer Automobili Lamborghini to create an exclusive footwear collection that celebrates craftsmanship and innovation, two values that are at the core of both brands.

The collaboration, which is set to become a long-term partnership starts with a men’s and women’s footwear collection featuring two shoe designs: the Tod’s Gommino and the sneaker, available in yellow, green, and blue.

The designs, which were unveiled at the recent Pitti Uomo in Florence, are presented in yellow, green and blue variations.

The Gommino is characterised by a new design inspired by the livery of Lamborghini’s super sports cars, and the tubular band work enhances the aerodynamic appeal, creating movement and elegance.

On the soles, the distinctive rubber pebbles are larger, matching the colour of the heel or the upper part. The leathers are sourced from the finest tanneries, and the production process requires a high level of craftsmanship, where leather cutting and visible stitching are done by hand.

The pieces combine both brand’s desire to achieve the highest expression of Italian design and manufacturing tradition, along with attention to detail. These founding values of both brands allow the partnership to blend two Italian powerhouses seamlessly. 

This is the first collection in a series of projects which will evolve to include leather goods and ready-to-wear collections. 

 automobilllamborghini.tods.com

The latest edition of Desert X AlUla took place this March, with works from 15 artists presenting their specially commissioned artworks in the open-air museum of AlUla’s desert.

Under this year’s theme of “In the Presence of Absence”, the 15 artworks were placed around the ancient desert region, with guests invited to view the works earlier this month. This year’s exhibition was curated by Maya El Khalil and Marcello Dantas, with artistic direction from Raneem Farsi and Neville Wakefield. The 15 selected artists from around the region have worked to combine the natural landscape with the message they are trying to share. 

Desert X AlUla is a collaboration between Desert X and the destination of AlUla established to advance new cultural dialogue through art. The first site-responsive exhibition of its kind in Saudi Arabia, it fosters dialogue and exchange between artists, curators, and international and local communities, shaped by a curatorial vision that takes the desert as its inspiration. Building on the legacy of Desert X, which takes place in California’s Coachella Valley, Desert X AlUla draws on principles of land art, offering a profound opportunity to experience art on a monumental scale in dialogue with nature. 

This edition of the annual event was situated across three locations for the first time, inviting visitors to experience spectacular and varied landscapes as they weave their journey between works. Desert X AlUla works were on show in the desert landscape of Wadi AlFann, amongst the black lava stone terrain and breathtaking views of Harrat Uwayrid and at the AlManshiyah Plaza, which features the carefully preserved AlUla Railway Station, revealing the many layers of history and cultural confluence you find in AlUla. 

Highlights of this year’s exhibition included: 

Sara Alissa and Nojoud Alsudairi, turned the landscape into a self-reflective arrangement in Invisible Possibilities: When the Earth Began to Look at Itself. The work aims to reshape viewers’ understanding of the site’s ecological transition and physical geographies through different viewpoints and approaches. As we enter the cylindrical form of Kimsooja’s work, between iridescent walls, visitors are drawn in and out to the centre of a spiral. The chromatic walls of To Breathe – AlUla distils light that has travelled aeons into prisms that dance across the visitor and the landscape.

Ayman Yossri Daydban draws the contours of a football pitch with white stones and rocks gathered by the AlUla community from across the valley. Placed in a remote, rocky area, the football field is a mysterious and suspicious presence, provoking collective memory and considering the social role of football. For When I saw my reflection, Bosco Sodi gathered volcanic rocks from across the landscape. Wrapped in gold, they have been placed in rock faces that tower above the desert to draw the viewer’s eyes to the beautiful organic formations and accidents that already exist in the rock formations.  

In Caline Aoun’s The Desert Has No Surface, stones from the basalt plateau of Harrat al Sham are polished on one side. The sun is an essential element in Aoun’s work which is activated through the refraction of sunlight producing moments of shimmering that reflect the impermanence of the desert landscape and the natural forces that created it. Rana Haddad and Pascal Hachem’s installation focuses on honouring the traditional crafts of the region, creating a refuge made from rammed earth jars. Dubbed Reveries, each jar in the tower bears geometric cuts, allowing nature and light to shift and cast ever-evolving patterns within. 

Also composed of vessels, Ibrahim Mahama’s terracotta pots are scattered across the landscape, suggesting new ecosystems emerging from the relics of history. Mahama’s works can be viewed across Desert X AlUla’s three sites including Dung Bara – The Rider Does No in Wadi AlFann, Hanging Garden at AlManshiyah Plaza and Gabli Din Pali – A Full Gourd Does Not Rattle; It Is Only a Partially Filled Gourd Which Rattles on Harrat Uwayrid. Drawing on AlUla’s legacy on the Incense Route, Karola Braga uses scent to recreate the sensory world of ancient trade. Her structure, Sfumato, engulfs participants in hazy frankincense and myrrh, inviting visitors to reconnect with the olfactory heritage of the route in a unique and immersive encounter. 

Aseel AlYaqoub’s Weird Life: An ode to desert varnish is inspired by the ‘desert varnish’ that naturally appears in landscapes like AlUla’s, evolving into a luminous veneer with yellow, orange, red and black, and bemusing scientists for centuries. 

Inspired by pre-Islamic beliefs of jinn inhabiting the desert, Filwa Nazer’s elevated walkway of Preserving Shadows is structured using steel mesh to form a massive, undulating black snake. Elaborated into massive, outsized forms, Monira Al Qadiri’s W.A.B.A.R. echoes mysterious objects that perplexed inhabitants of the desert in the 1930s. The work summons a cosmic folk narrative where, upon discovering the pearls, a community in the Empty Quarter believed they had an extraterrestrial origin. 

Rand Abdul Jabbar’s “Where Myths Are Born of Mud and Desire”, was situated in an alcove in the mountain valley, its five sculptural forms telling the story of Venus. While encountering each piece through the story, the visitor becomes immersed in ancient perspectives and shifting relations to the celestial. In The Dot, Faisal Samra shows how the Wadi AlFann valley originated from an ancient crack, revealing the small forces that shape grandeur over epochs. The illusion of time is symbolised by a line composed of rock fragments. 

Giuseppe Penone’s The Logic of the Vegetal – Metamorphosis explores the cyclical nature of all life. Fossilised tree trunks hover between living organisms and mineral states, encouraging visitors to reflect on the transformations that occur over time. Necks of glass bottles emerge from Kader Attia’s sculptures in Whistleblower, which whistle when open to the wind. The haunting sound that results encourages viewers to reflect on the concern we should all have for Earth. 

Desert X AlUla takes place as a highlight of the AlUla Arts Festival, which ran from 9 February to 2 March 2024. During the festival, More than Meets the Eye, an exhibition of contemporary works by Saudi artists, was presented by the contemporary art museum, AlUla. There were two exhibitions of work by Wadi AlFann commissioned artist Manal AlDowayan in Aljadidah Arts District. The festival immersed visitors in a vibrant celebration of contemporary visual and public art, design, art tours, and artist residencies. At AlUla’s mixed-use creative hub, Madrasat Addeera, also offered hands-on workshops on crafts such as palm weaving, pottery, jewellery, geometry, 3D structures, textiles, and many more.

experiencealula.com/en/whats-on/events/desert-x

These are the bags we love from the SS24 new season collections.

Louis Vuitton LV Remix

Louis Vuitton LV Remix collection is giving us noughties nostalgia as it celebrates the houses most emblematic monogram and its early 2000s denim version. As well as ready-to-wear pieces the collection features the iconic Croissant bag, first released in 2002. Its rounded shape is available in two sizes and can be worn across the body, on the shoulder or held in the hand. 

louisvuitton.com

Chloé Penelope

Chloé Penelope

The new Chloé Penelope represents a new chapter for the Parisian maison as the brand also reveals a new logo taking inspiration from its heritage. The structured design of the Penelope, combined with its rounded edges expresses strong yet delicate femininity. The bag comes in multiple styles including a shoulder bag, top handle bag, and a clutch. Inspired by the maison’s jewellery archive the metal coin closure is the bag’s signature detail, as well as refined finishing touches such as the braided leather trim.

chloe.com

Dior Lady D-Sire

Dior Lady D-Sire

Reinterpreting the architectural lines of the iconic Lady Dior bag, the new Lady D-sire from Dior features a supple silhouette designed for an elegant lady. Positioned as a classic evening bag, this new object of desire is available in two interpretations, including crumpled leather featuring the signature graphics of macrocannage, as well as grained taurillon leather that radiates naturalness. The new Lady D-Sire is finished with the “D,I,O,R” charms in an eye-catching gold colour. The bag is available in four sizes and black, beige and brown shades. 

dior.com 

Fendi Origami Bag

Fendi Origami Bag

The Fendi Origami bag returns for its second season featuring a new super-cute fortune-teller charm. This playful accessory is engineered to transform between two distinct silhouettes a cubic bucket bag and a flat trapezoidal shopper – through a complex construction and small leather straps on the sides. The bag, which takes its name from the ancient Japanese folding technique, is offered in large, medium and mini sizes in a bold colour palette. The bag also comes complete with the Fortune Teller charm, which is inspired by the traditional Japanese game of the same name.

Fendi.com

Gucci Jackie Notte 

Gucci Jackie Notte

Gucci’s Jackie Notte is the first bag designed by the maison’s creative director Sabato De Sarno. This evening bag is inspired by the sophistication of the Jackie 1961, which became an icon for the house. Its rounded-edge design features a sexy attitude, and its bold finish makes it a go-to going-out bag for the coming season. The Jackie Notte reflects the creative director’s vision for the house, in which its icons are as beautiful as they are, in design and in spirit, each with its own distinctive allure.

gucci.com

Celine Victoire 

Celine Victoire

The Celine Victoire bag first appeared in October 2023 as part of the Celine “Tomboy” collection and its understated, elegant appearance means it’s back from Spring/Summer 2024. The soft leather Victoire features a Triomphe logo fastening on the leather tab and an inversed T-shape on the side, providing more space within two compartments. The bag’s sliding chain allows for multiple uses and creates an accessory that can be used from day to evening. Available in a number of sizes and multiple variations designed by Hedi Slimane, including black leather, Triomphe canvas, shearling, leopard print, suede and crocodile. 

celine.com

Loro Piana Ghiera Bag  

Loro Piana Ghiera Bag

The Ghiera bag is the latest accessory from the Italian house Loro Piana. At the centre of this classic design is the ring-shaped pendant that has always adorned the Maison’s women’s garments and textile accessories. Inspired by the brand’s textile heritage, the shape mirrors the rings that are part of the spinning machine, which is used as a key element in processing fibres. With a linear minimalist design, the Ghiera features a curved flap, metal fittings and an ergonomic clasp, as well as ring-shaped strap loops to carry it as a shoulder or cross-body bag. Handcrafted in Italy the Ghiera features the softest leather available and dyed with natural pigments, recalling the maison’s fine cashmere fabric. It is available in several sizes and colour variations including , Peach Suede, Dark Chocolate Licorice and Deep Kummel shades.

loropiana.com

Prada Buckle Bag

Prada Buckle Bag

The new Prada Buckle Bag is set to be one of the most coveted bags of the season. Featuring references to the brand’s DNA, which are broken down and recomposed to form a brand new shape. The bag features a belt fastening at the top as well as unusual hand-sewn handles – which become the belt loop – making it possible to alternate belts and add your own customisation and personality to the bag. The Buckle Bag is made of the finest calfskin leather with nappa leather lining and presented in a range of sizes and colours, including a bright version featuring geometric patterns of embroidered studs. 

prada.com

Roger Vivier Viv’ Choc Bag

Roger Vivier Viv’ Choc Bag

This season Roger Vivier’s Viv’ Choc Bag is presented in a fabulous new tie-dye colourway to celebrate the Les Éléments Vivier exhibition. This Multicoloured Viv Choc draped shoulder bag is presented in ripples of ocean blue, butter yellow, and candy pink leather. First launched for the Autumn Winter 2023 season, the Viv Choc combines sculptural fabric with a sensual buckle with curved corners reminiscent of Monsieur Vivier’s iconic ‘Choc’ heel designed in 1959. During the Haute Couture collections in July 2023, the House unveiled the first Viv Choc ‘Piece Unique’ designs: one-of-a-kind evening bags rendered in precious leathers and embellished textiles with exceptional embroidery effects. 

rogervivier.com

Tod’s Di Bag

Tod’s Di Bag

The Tod’s Di bag has been a timeless icon of the brand since its inception in the nineties. This Spring, the Italian house has revealed a limited-edition colourway for Ramadan. The metallic gold version features supple leather with a bucket-shaped body and drawstring fastening. The Tod’s Ramadan campaign was set in a stunning villa in Dubai, designed by an Italian architect, reflecting a synergistic combination of authentic Italian and Middle Eastern lifestyles.

tods.com

Valentino Garavani VLogo Moon Bag  

Valentino Garavani VLogo Moon Bag

Valentino Garavani’s VLogo Moon Bag is inspired not only by the shape of a crescent moon but also by its very spirit. Realised in soft leather and adorned with a bold metal chain, the bag’s versatility makes it a timeless, statement accessory. The Moon bag can be worn tight to the shoulder for a dynamic look, and can also be transformed into a cross-body with its additional leather strap. Crafted out of supple Stampa Alce leather, the new bag is offered in an enticing palette of Couture hues ranging from bold yellow and red to more subdued black and blush. 

valentino.com