Range Rover has revealed a limited bespoke edition of its Range Rover SV. The Bespoke Sadaf edition was unveiled at the Range Rover House, a specially curated destination and experience in Abu Dhabi.

The Bespoke Sadaf (meaning seashell in Arabic) Edition was influenced by the car manufacturer’s long association with the Arabian Gulf and the seaborne trade, as well as the region’s rich tradition of pearl diving, which inspired the pearlescent white colour of the car. 

Range Rover took its inspiration from the unique colours of the natural pearls and the seashells that contain them to create the Range Rover Bespoke SV Sadaf Edition. An exclusive ‘glass pearl flake’ white gloss exterior paint, inspired by the white of seashells, provides a deep and sophisticated finish, paired with a pearlescent contrast roof that complements the seashell-toned exterior colour and 23-inch Diamond Turned SV wheels with gloss dark grey contrast and matching inserts. On the bonnet, beautifully sophisticated two-piece hand-crafted metal script badging is finished in 24k gold and black chrome, for a jewellery-like finish. 

 “Taking inspiration from the heritage of the Arabian Gulf the Range Rover SV Sadaf edition is a sublime example of Range Rover’s peerless DNA; beautifully crafted, understated and highly desirable.” Said Professor Gerry McGovern OBE, Chief Creative Officer, Jaguar Land Rover. 

For the car’s interior, a bespoke design was created in two-tone leather, featuring semi-aniline Perlino front seats, while the upper section of the dashboard and the rear seats are covered in Liberty Blue near-aniline leather that reflects the blue hues of the Arabian Gulf. Natural Cream Ash Burr veneer with contrasting stitching and bespoke embroidery highlight the exclusivity of the vehicle. The treadplates feature the ‘Sadaf Edition’ wordmark alongside a ‘1 of 20’ designation. The car is powered by Range Rover’s 615ps V8 twin-turbo mild hybrid petrol engine. It is exclusively available for sale in the Middle East region, with production limited to just 20 units, and a retail price starting at AED 1,525,076. 

Heightening its exclusivity, clients who purchase one of the 20 pieces will receive a custom-made sculpture designed by Emirati conceptual designer and sculptor Matar Bin Lahej, who gained worldwide fame for his design and calligraphy work that wraps the Museum of the Future building in Dubai. Named “The Pearl”, the sculpture is an eye-catching reflective work made with the highest quality stainless steel. It features a sphere that explodes into multiple layers and shapes that open to reveal a core bursting with energy, made up of intricate shapes of traditional Arabic calligraphy. The calligraphy sphere is the heart of the pearl, surrounded by long stretches of metal that twist and turn with smaller spheres scattered around. It is as if they orbit the sphere’s nucleus.  

landrover.com

Moroccan-French designer Selma Benomar instantly caused a stir in the modest fashion industry thanks to her unique twist on the traditional kaftan.

The designer, who now runs her namesake brand from Dubai, prides herself on taking Moroccan heritage styles and giving them a modern twist to appeal to today’s women, while remaining modest and elegant. 

Each year, the month of Ramadan is a key moment for the brand, and this year is no different as Benomar prepares to launch the Marrakech Twilight collection for 2024. The collection is inspired by the Moroccan city of Marrakech and captures its vibrancy and majestic architecture. The collection features belted kaftans, two-piece suits and flowing evening dresses, decorated with embroideries and iridescent details. Here, we find out more about the collection and Benomar’s commitment to reinventing the traditional kaftan. 

Tell us about your Ramadan collection – the colours, the silhouette, the inspiration etc.

This Ramadan collection is called Marrakech Twilight because it is very much inspired by the red city of Marrakech and the changing of colours throughout the day. I have selected a symphony of shades that represent the city – blue, red, orange, bronze – there are also pastel tones in green and pink that reflect the old souk of the city. A variety of colours that all represent a space in the city. 

Regarding the fabrics, I worked a lot with satin duchesse, which gives a very nice silhouette without being too heavy. It has a very nice shine. I also worked with linen for the casual designs, as well as pure silk, chiffon and crepe – mainly fabrics that are very flowy and light. When I’m selecting fabrics, I always keep in mind that this collection is mainly for women in the GCC and the Arab world and in March, we are still very much in the warmth, so I want the fabrics to be light, flowy and comfortable for women to wear in the weather conditions of the region. 

Why was it important for you to create a Ramadan collection?

Ramadan is one of the key seasons for my brand. It is a period that represents modesty, spirituality, and the joy of coming together, and I think my designs also represent all of these things. I design pieces that can be worn for special occasions, and so mirroring these values of modesty and elegance in my designs is what my brand is about. 

Do you feel all women are looking more for comfort and modest styles in their clothing choices?

I do believe that there has been a shift in women’s desires and their behaviour in terms of their clothing choices. I believe that it is deeper than just a trend, and it comes from a deeper awareness of respect for oneself and cultural roots. I know that today, women are more conscious, and they want to own their own decisions in terms of what they want to wear and how they want to be presented to the world. They are not only thinking about wearing something attractive and beautiful, but they also care a lot about being comfortable in what they wear and wearing versatile pieces, catering to their multifaceted lives. I think throughout the last few years, women feel they don’t want to be following something imposed on them by the fashion world; on the contrary, they want to impose on the fashion world what it is they want. I am very honoured to be able to contribute to this with my own touch of dressing women in g a very elegant, comfortable, but at the same time modest way. 

Who is the woman you design for?

I design for the modern woman of the actual world who is culturally conscious and is proud of her roots, heritage and culture and she doesn’t want to compromise on that. She wants to be modern and wear clothing that is relevant, but at the same time, have that connection to her heritage and be proud to show it through the way she dresses. 

How does your heritage and background inspire you as a designer?

My entire brand is really about my background and my cultural heritage, and I think the idea of building my brand came from a desire to honour my culture. I come from Morrocco, where I was born and raised before moving to France and then moving to the GCC, and I do believe that we can always have a bridge between cultures, and we can create something that’s inspired by heritage with a touch of modernity. I have always believed that in order to keep your heritage alive in today’s world, there has to be a touch of modernity. This is how we can keep it relevant for future generations.  

What else are you currently working on?

Our two main seasons are Ramadan and Bridal, and we have started working on the bridal collection, which will launch later this year. With bridal, I always design pieces for brides who like to wear something that represents their roots and their Arabic heritage. There will be approximately 15 designs that can be worn for various events across the wedding period. We are still working on them, so I can’t say too much more on that for now. 

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

As a designer, I think the biggest challenge I face, and I believe many designers face, is how to keep a balance in a very changing fashion world. The fashion scene is fast-moving and very challenging; there are a lot of new trends coming in all the time. So the challenge is knowing how to keep your brand identity and remain committed to your creative philosophy while keeping up with changes in trends and customer behaviour. For me and my brand it is even more challenging because I must take into consideration that I am working on heritage pieces which have specific guidelines. So, I have to make it modern to follow customer behaviour and fashion trends but keep the spirit of heritage alive and not make the designs too modern. It is about finding this balance, and that is one of the most challenging parts for me, but it is a very interesting challenge that I enjoy as it makes me more creative. 

What would you still like to achieve with the brand?

There is something that is very close to my heart that I would like to achieve next. If you look at Moroccan heritage, it’s not only about clothing. It’s also about architecture and lifestyle products, and I would like to explore this category further. I believe it needs to be addressed in terms of making things very modern but keeping the Moroccan touch. So I would like to explore that further into homeware and lifestyle pieces inspired by the rich Moroccan architecture but present it in a very modern way. 

This month, we celebrate International Women’s Day – who is a woman who has inspired you?

I get inspiration from a lot of women, mainly the women in my family – my mother and my grandmother – their elegance, their strong personalities, their advice and how they have inspired me a lot in what I am today. 

What advice would you give to aspiring designers?

The most precious advice I can give is to be patient and resilient because it’s not only about having talent and being creative; it’s a lot more about commitment and hard work, and nothing comes quickly and easily if you want to build a brand for the long term. You have to be patient, work hard for it, and not expect a quick success. 

What’s a piece of advice that you would give to your younger self? 

Follow your intuition because whenever you do it will be the right thing to do. Believe in what you think you can achieve. 

What is the professional motto you live by?

Honour heritage and embrace modernity. 

What else is in the pipeline for you this year?

The Ramadan collection is available now. I will also be working on a capsule collection of beach kaftans for summer, and of course, the bridal collection, which will come later in spring.  

selmabenomar.com

After being inspired to design jewellery by a gift given to her by her father as a child, Shamsa Alabbar taught herself how to create beautiful jewellery creations.

She opened her own brand after realising her talent for design could be something more than a passion project. Her first piece was created as a gift for her best friend, but it soon became a business, and Shamsa Alabbar jewellery was launched in 2013.

Ten years later Shamsa is expressing her desire to give back to the industry she loves. Inspired by her father Mohammed Alabbar’s entrepreneurship, she decided to open her own jewellery concept that brings together talented jewellers under one roof. Fine Arts Jewellery, a new retail space at Dubai Mall founded by Shamsa Alabbar, features a carefully curated selection of jewellery designers who share a common fresh perspective in the realm of high-end jewellery. The boutique features both regional and international brands including AS29, Mellerio, Rouvenat, Selim Mouzannar, Vever, and Viltier, as well as Shamsa Alabbar’s own jewellery line. Here we find out more about the opening of the boutique and the future of the local designer’s own brand.

Tell us about Fine Arts Jewellery and what inspired you to create this space.

I have been immersed in the jewellery industry for the past decade. As a passionate jewellery enthusiast, I felt inspired to bring together a community of talented jewellers whose work I deeply admire. It has always been my dream to curate a collection of exquisite pieces from around the world, creating a captivating space that serves as a beautiful home for these masterfully crafted creations.

Tell us about the product selection and what visitors can expect to find in store. 

At Fine Arts Jewellery, we prioritise exclusivity and quality when selecting the brands we carry. Our collection caters to a wide range of tastes and preferences, offering both perfect gift options and pieces that you would be delighted to purchase for yourself. Our goal is to provide visitors with a carefully chosen selection of jewellery that is both remarkable and unique.

What are the criteria for the brands selected to be part of the store?

Fine Arts Jewellery places particular emphasis on selecting brands that possess unique stories and craftsmanship. The chosen brands have a distinct niche in the market and offer exclusive designs. By focusing on these criteria, Fine Arts Jewellery ensures that each brand featured in the store embodies a level of artistry and exclusivity that sets them apart from mainstream jewellery offerings.

What are your thoughts on some of the jewellery brands in the UAE and the region?

I am incredibly proud of how the local jewellery industry in the UAE has been flourishing in recent years. The emergence of new designers and the support given to local talents is truly inspiring. I am thrilled to be a part of this vibrant industry and witness its growth.

How would you describe the industry as a whole in the UAE and on a regional level?

The jewellery industry in the UAE is flourishing, with strong support for local talent and a sense of pride in their achievements. Our community is known for its unwavering commitment to nurturing and uplifting its creative individuals, making it a vibrant and thriving industry.

Tell us about your own brand and the direction for that.

Shamsa Alabbar Jewelry, my personal collection, recently celebrated its tenth anniversary. It began as a birthday gift for my best friend and has blossomed into something truly remarkable. The designs are inspired by Arabic typography and represent the strength and modernity of Arab women. Each piece in the collection is meticulously crafted and encapsulates the essence of our heritage in a contemporary and fashionable way. It is a source of great pride for me and a reflection of my journey in the jewellery industry.

Can you talk about your latest and upcoming collections?

This year, we have several exciting collaborations and collections in the pipeline. We are constantly exploring new possibilities to bring fresh and innovative designs to our customers. We are also planning to participate in various exhibitions and events to showcase our brand and connect with jewellery enthusiasts.

What is your first memory of jewellery?

My first memory of jewellery stems from a cherished gift my father gave me when I was just nine years old: a white gold Cartier Love bracelet. Even at such a young age, I could appreciate the bracelet’s significance and symbolism, and it sparked a lifelong fascination with jewellery. Additionally, my mother’s stunning collection of jewellery has always served as a great inspiration for me. I have immense admiration for her beautiful pieces, and they have played a pivotal role in shaping my appreciation for the artistry and craftsmanship of jewellery.

What inspires you to design?

My designs are inspired by Arabic typography and represent the strength and modernity of Arab women. Each piece in the collection is meticulously crafted and encapsulates the essence of our heritage in a contemporary and fashionable way. It is a source of great pride for me and a reflection of my journey in the jewellery industry.

Who are some of the designers that you admire?

I have great admiration for all the designers whose brands we carry at Fine Arts. I truly appreciate how they complement one another in our curated collection. These designers have made remarkable contributions to the fashion industry, showcasing their creativity, innovation, and unique design aesthetics. I feel privileged to be able to offer their exceptional work to our customers.

What is the professional motto you live by? 

My professional motto is: “There is a solution to every challenge.” While working in the challenging field of Fine Arts, I have come to realize that no matter how daunting a problem may seem, there is always a way to overcome it. This mindset has helped me tackle obstacles with confidence and determination, ultimately finding resolutions that lead to success.

What is the biggest challenge that you face in what you do?

I would say that not being a jewellery designer by profession is one of my biggest challenges. I have been working in the industry for the past 10 years, and this experience has presented me with the unique challenge of continuously learning and growing my knowledge in the field. It has required dedication, perseverance, and a commitment to staying updated with the latest trends and techniques. Overcoming this challenge has allowed me to develop a keen eye for design and a deep understanding of jewellery craftsmanship. 

shamsaalabbar.com

Founded in 2016, Waed Asmar is a Dubai-based fashion label that prides itself on creating classic and simple designs that exude modern femininity.

With a strong passion for design, Waed Asmar decided to give up her studies in graphic design and pursue her true passion for fashion. She has dedicated herself to designing for hijab-wearing Muslim women, offering them a blend of modesty and luxury in dresses, abayas, and travel wear. Her modest silhouettes flatter and celebrate the individuality of the modern woman. Her designs seamlessly blend intricate embroidery and luxurious textiles to create timeless and feminine pieces. Focusing on quality, her in-house team of skilled embroiderers and tailors ensures each piece is crafted to perfection. 

This March, the designer proudly presents her Ramadan and Eid collection, which is an ode to mother nature. A series of elegant, modest kaftans and dresses make the perfect celebration outfits for the upcoming season. Many of the pieces are also presented in a smaller iteration for children, beautifully allowing mothers and daughters to wear matching pieces. Here we find out more about the collection as well as what’s in the pipeline for the Dubai-based designer. 

Tell us about your Ramadan collection – the colours, the silhouette, the inspiration etc.

Our collection draws inspiration from the beautiful and nurturing mother nature, just like a daughter is nurtured by her mother. The flowy silhouette and floral embellishments are inspired by flowers such as gardenia, orchids, dahlia, buttercup, and many others. The vast and breathtaking desert sky, landscapes, and Arabian patterns inspire the prints and Jalabis. Spring florals inspire the colours of our collection, ranging from creamy white to pale yellow inspired by gardenia, an orange colour inspired by poppies, and bright blues and greens from orchids and hydrangeas.

Tell us about the children’s designs. 

Our children’s designs are crafted with the same level of care and attention to detail as our adult collections. They feature playfulness, ensuring comfort and versatility for young ones during the Ramadan season.

Why was it important for you to create a Ramadan collection?

 Creating a Ramadan collection was important to us as it allowed us to cater to the needs of our customers during this special time. It’s an opportunity to celebrate culture, tradition, and faith through fashion, providing women with attire that reflects their values and beliefs. 

How do you feel women are looking more for comfort and modest styles in their clothing choices today?

In today’s fast-paced world, comfort and modesty have become increasingly important to women in their clothing choices. Our designs focus on offering both style and ease, allowing women to feel confident and empowered while maintaining modesty.

What else are you currently working on?

Currently, we are diligently working on our upcoming Eid collection, which will feature an array of stunning designs tailored for the festive season. Additionally, we are gearing up for our Summer collection launch, where we will introduce new materials and innovative modest travel wear suitable for daily use.

What would you say is your biggest achievement so far?

Our biggest achievement is turning our passion for fashion into a global brand that resonates with people worldwide. From humble beginnings, we’ve left a lasting mark in the market, with people who genuinely love what we do.

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

The biggest challenge we face as designers today is maintaining uniqueness amidst fierce competition and staying ahead with trends and creativity. Additionally, ensuring the consistently high quality of every piece we produce remains paramount.

What would you still like to achieve?

We aspire to continue pushing boundaries and expanding our brand’s reach globally. Our goal is to become a leading authority in modest fashion, inspiring women to embrace their individuality with confidence.

This month, we celebrated International Women’s Day – who is a woman who has inspired you?

This month, as we celebrate International Women’s Day, I am inspired by my mother. Her strength and encouragement have shaped me into the person I am today. She is my rock, motivating me to pursue my dreams and be the best version of myself.

What advice would you give to aspiring designers?

My advice to aspiring designers is to trust yourself and keep doing what you love. The key is to persevere no matter what challenges come your way. Consistency and passion are your greatest allies on the journey to success.

Who is a designer who inspired you?

A designer who has deeply inspired me is Zaha Hadid. Her groundbreaking designs and innovative approach to architecture have left an indelible mark on the industry. Beyond her creative genius, her bold personality and fearless attitude towards challenging conventions have motivated me to push boundaries in my own work.

Who is the woman you design for?

I design for women who appreciate elegance, sophistication, and modesty. My aim is to empower them to embrace their unique style and feel confident in their own skin.

How does your heritage and background inspire you as a designer?

My heritage and background serve as a constant source of inspiration in my designs. They inform my aesthetic sensibilities and influence the cultural elements I incorporate into my collections.

What is the professional motto you live by?

The professional motto I live by is “quality over quantity.” I believe in prioritising craftsmanship, attention to detail, and timeless design, ensuring that every piece reflects the highest standards of excellence.

What’s a piece of advice that you would give to your younger self? 

If I could give advice to my younger self, it would be to trust the journey and embrace failure as an opportunity for growth. Stay focused on your passion, be resilient in the face of challenges, and never underestimate your potential.

What else is in the pipeline for you this year?

This year, we have exciting plans to collaborate with like-minded brands and expand our presence in new markets. We’re also exploring innovative ways to engage with our customers through digital platforms and immersive experiences.  

waedasmar.com

Reham Shaheen is a self-taught artist who did not embark on a traditional artistic journey through formal education.

Instead, her artistic prowess comes from her passion for art and her natural ability, that flows effortlessly from her soul to the canvas. With roots grounded in the universe’s mysterious offerings, Reham found herself immersed in the realm of art, and she has since built a career from it. 

Growing up in Gaza, Palestine, she was inspired greatly by her surroundings and continues to promote emerging artists and talented creatives hailing from the Arab world. Her latest exhibition at RAW Coffee Company Dubai showcases some of her vibrant and unique artworks. We find out more.

Tell us about your passion for art and how it came to be a career.

My passion for art has always been an inherent part of me, but it truly manifested nearly a decade ago when I heeded the calling of my soul to express myself using pens on a blank canvas. This journey allowed my thoughts and feelings to flow freely through my hand, creating a tangible expression on the canvas. My artistic exploration was primarily fuelled by extensive reading on history, life, and philosophy, activating the passion within my mind. As a self-taught artist, I didn’t follow the conventional path of formal education in arts; instead, my natural ability seamlessly translated from my mind to the canvas, guided by the mysterious offerings of the universe.

How would you describe your signature art style?

I would characterise my artistic style as therapeutic, where the apparent chaos in my work holds a profound sense of peace, both for me as an artist and for those who view it upon completion. I’ve coined my style as “Mona-mnamat,” where every stroke embodies a dance of creativity, and each finished canvas serves as a connection with the unseen.

What is the biggest challenge you face being an artist today?

With today’s fast-paced lifestyle, I find that the primary challenge lies in nurturing creativity itself—seeking inspiration and determining the optimal moment to pause, reflect, and process thoughts before embarking on a new piece of art.

What is something you would still like to achieve?

I believe there is much more for me to accomplish as an artist in this lifetime. My goal is to be remembered and acknowledged solely for my art, nothing more.

How would you assess the arts industry in the Middle East?

Navigating the art scene today is indeed challenging, yet it holds tremendous potential. The Middle East boasts a rich and impressive artistic history dating back to its beginnings. To distinguish oneself in this vibrant environment requires dedicated effort—to either discover a unique style or to create pieces that contribute to or match the remarkable artistic legacy of the region.

What more would you like to see happening to support emerging artists?

I aspire to witness an increase in venues dedicated to showcasing art, providing spaces such as studios for artists to work and unleash their creativity. Additionally, there is a desire for a more extensive offering of workshops and talks. Initiatives like those taken by local venues, such as RAW Coffee Company, to actively support artists like myself, play a crucial role in fostering a thriving artistic community. While there certainly has been progress, I believe there is still room for growth in this area.

How do you think events such as Art Dubai are of benefit to artists in the region?

Art Dubai stands out as one of the premier festivals that facilitates artists in forging connections and meeting potential partners and galleries. I eagerly anticipate it every year, and fortunately, this year, I will be showcasing and creating art live as part of an activation to engage both visitors and fellow artists at the event.

How has your heritage and upbringing inspired you in your work?

My culturally rich and renowned heritage has significantly enriched my artistic journey. Specifically, being Palestinian and more broadly, an Arab, has added immense depth to my creative exploration. My inspiration draws heavily from the historical narratives and the natural beauty embedded in the old art scene. I find particular affection and inspiration in the ancient Egyptian culture, as it resonates closely with my style, emphasising the art of storytelling.

Is there an art piece that you would still like to create?

Absolutely! I dream of crafting a monumental piece. While the most extensive piece I have undertaken so far measures two metres in length, requiring nine months to complete, my ultimate aspiration is to finish another one that is ten times that size one day

We have seen you talking publicly about the situation in Gaza – it’s a big topic to tackle but is there something you would like to say about the situation?     

To be honest, the situation holds immense personal sensitivity for me as I hail from Gaza. I consider myself fortunate to have grown up there, experiencing its beauty across various facets of life before the devastating events unfolded. Witnessing the current news and the dire circumstances in Gaza deeply saddens me every day. The only means through which I can express this heartfelt pain is through art in its various forms—be it drawing, painting, singing, writing, and occasionally dancing.                                                                       

What is your hope for the future?

My sincere hope is for the world to embrace the idea that life is a beautiful journey meant to be enjoyed and lived in peace, and harmony.

In terms of your art, what is in the pipeline for the coming year?

Currently, I am proudly exhibiting and showcasing a collection of my artworks at the amazing RAW Coffee Company in Al Quoz, running until the end of March this year. Additionally, in May, I’ve been given the opportunity to showcase some of my pieces at World Art Dubai during their 10th edition.

What is your professional motto?

Art is cheaper than therapy!

What is a piece of advice you would give to aspiring artists?

Above all, persevere and maintain the belief that there is something valuable to share through your art with the world. Embrace authenticity, never shy away, and express yourself genuinely, even within the pieces you create. Be original and resist the temptation to imitate others.

Who is an artist or artwork that has inspired you?

I haven’t been inspired by a specific artist; instead, my inspiration has consistently been drawn from a culture or a particular art style, primarily influenced by historical art from regions such as Egypt, Iraq, Persia, and Andalusia.  

rehamshaheen.art

Dolce&Gabbana has partnered with Alfardan Jewellery to present some of its most emblematic creations in jewellery and watches.

Highlights included the Alta Gioielleria Sicilia necklace, featuring an exceptional 100.10-carat yellow pear-shape diamond, as well as the Kosmos Invisible Setting watch characterized by the proprietary DG 01.01 calibre assembled by hand by master watchmakers in Geneva and by the precious diamonds adorning the case, dial, crown and deployment clasp.

With one of the largest booths at the exhibition, Chopard presented an array of high jewellery, fine jewellery and timepieces, including a selection of Qatar exclusives. On display were piece pieces from the Red Carpet and Precious Lace collections, as well as pieces from the Happy Diamonds collections and watches from the Happy Sport, Happy Hearts and Happy Spirit lines.

Luxury jeweller Mouawad revealed its latest novelties inspired by the Seven Wonders of the World. The brand also announced a new concept to its designs which fuses legacy and contemporary vision and promises to redefine the very essence of luxury. The brand also hosted a star-studded evening for VIP guests, which saw Miss Universe title holder Sheynnis Palacios as the guest of honour.

Bil Arabi participated in the annual exhibition for the first time this year, showcasing some of its iconic and newest collections. The brand’s unique creations serve as an ode to the beauty and richness of the Arabic language and culture, making it stand out in the world of fine jewellery.

Biver Watches, the watchmaker founded by Jean-Claude Biver, presented an exclusive piece at the exhibition in tribute to the rich cultural legacy and timeless traditions of the Arabian Peninsula. The Carillon Tourbillon is a collector’s piece that embodies the finest art of watchmaking, and at the same time it conveys a message that resonates on a subtle, even spiritual level.

TAG Heuer has partnered with Al Majed Jewellery to create a limited edition version of its Carrera watch in honour of Qatar. The TAG Heuer Carrera Qatar Limited Edition pays tribute to the country’s celebrated Arabic culture and symbolic colour and codes.  

To celebrate the 110th anniversary of its historic address on Paris’ Avenue des Champs-Élysées, Guerlain’s myth of the legendary Flacon Tortue is being reborn in a prestigious numbered Métier d’Art edition. 

Cloaked in incandescent red, the perfumer has revealed a special edition crystal masterpiece entirely handcrafted by the House of Baccarat. 

The design, which echoes the original creation sculpted by the master glass-makers, featured an eye-catching “Baccarat red” glass design, infused with 24-carat gold, which turns red upon heating. Presented in a one-litre bottle, this unique anniversary creation is a true masterpiece. 

Inside the bottle is a special blend fragrance featuring fruity, colourful notes of blackcurrant berries, blended with the essence of rose softened by the mimosa blossom at its heart. The base notes combine the carnal accents of hibiscus seed with the enveloping tenderness of an almond wood accord. 

Guerlain.com

As part of Prada’s continued commitment to education and culture, and on the occasion of the new rada Re-Nylon Collection and campaign, the brand has revealed the second step of an ongoing storytelling and media collaboration with National Geographic Creative Works. This thought-provoking project began with a short film series exploring the world’s oceans in 2019, and the latest capture, the second installation, expands on this. 

In 2019, the first step in the project explained how the Prada Re-Nylon project collects plastic waste from the oceans and landfills, as well as textile fibre waste, and regenerates it into ECONYL®, the starting point of an endless cycle of circularity. 

The second chapter, which debuts this spring, comprises of three episodes created by Prada and National Geographic Creative Works. These episodes delve into the “why” of Prada Re-Nylon, as well as the dangers facing some of the world’s most delicate ocean and aquatic ecosystems and the ways we can create a positive impact. 

The first episode focuses on the Indo-Pacific region and the fertile islands of the Indian Ocean, examining the devastating loss of coral reefs and the inspiring actions taken by local communities to combat their potentially damaging effects. The second explores the Arctic and highlights the issue of ocean warming, discussing the repercussions that human life has on the environment in which we live and the knowledge we can gain from indigenous communities. The third episode features the Mediterranean Ocean ecosystem and documents how human activity has given rise to invasive species with detrimental effects on its fishing communities, discovering how we can help mitigate the problem before it is too late. 

Led by National Geographic photographers and explorers, each of these films immerses viewers in a distinct, diverse, and unique marine habitat, exploring these fundamental issues facing ocean conservation worldwide. 

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 about 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 

Sharjah Businesswomen Council is a government entity set in place to support female entrepreneurs and women in business in Sharjah.

Devised with the vision of Her Highness Sheikha Jawaher Bint Mohammed Al Qasimi at its core, the council works to encourage and support women of all nationalities in Sharjah to take that leap into starting their own business, whatever sector it may be in. Leading the Council is its Director, HE Mariam Bin AlShaikh, who has been tasked with bringing this vision to life. Since assuming her role in May 2022, AlShaikh has aimed, alongside her team, to empower women in the UAE’s business sector and help them overcome some of the challenges on the path to becoming successful businesswomen. Here, we find out more about the goals and achievements of the council, as well as what’s in the pipeline for the coming year. 

Tell us about your role at Sharjah Business Women Council and what it entails.

My role is predominantly to create the strategy and division for the council and make sure I fulfil the vision of Her Highness Sheikha Jawaher Bint Mohammed Al Qasimi, the wife of the Rule of Sharjah. Our goal is to bring her vision to life and make sure the vision of what she wants for women in business in Sharjah becomes a reality.  

In order to do that, we have built a great team which has grown to double the size of what it was, and we plan to keep growing. The team is filled with young ladies who have ambitions to create an environment that is sustainable economically for women, and my role is to lead these women and give them the power to make decisions. I might be leading them to make our visions come true, but it is a collaboration, and it’s their work that makes these things happen. 

What is the current vision and direction for the council?

Our vision is to create a sustainable economy for women entrepreneurs and women in business in Sharjah. We do that firstly by making sure it is easy for women to open a business in Sharjah. We ensure that the relevant resources to help them are set in place, whether that’s through government processes or simply educating women on what routes they want to take. Even if they don’t want to be in business, but they want to start investing and using their finances, we can help. We want it to be a space where women feel comfortable and supported. That is our overall goal. 

Do you have a physical place where women can visit for advice, help etc. and what do you offer them when they come to you?

Yes, our offices are always open to our members. Previously, we used to have a one-stop shop at the economic department in Sharjah; however, now it’s moving between the economic department and our office. If women want to renew their licence or have any enquiries about their trade licence or the procedures surrounding it, our office can actually help facilitate that. 

Why do you think it’s important to help women in particular and are you seeing a lot more women wanting to get into business because of the support that’s available to them?

I think it’s important for women to be in business because women make up half of our society and where the world is currently at in terms of GDP and economic level if women are heavily involved, we can reach even higher measures in terms of where we are economically, just by how much women can impact. So it’s very important to support women, and I think creating that space will allow them to feel confident. Post-COVID, there has been an increase of over 67 per cent of female entrepreneurs in the UAE. That says a lot. It’s not that women don’t know what they want, or they don’t have the knowledge. They just need the motivation. Women have not necessarily been supported in the past in the ways they should have been, and I think by giving them motivation, we can achieve so much, and that’s what the council is doing. 

Throughout history, so many of those who were trailblazers who made a difference in the world were women – in maths, science, engineering, etc. – these were women who changed the world, and unfortunately, with time, sometimes the motivation goes down because of society’s pressures, and I think for us it’s about giving them that motivation. Essentially, all we are asking for is economic equality for women. 

What are some of the council’s biggest achievements so far, and what would you still like to achieve?

One of the achievements is having that one-stop shop, which we will keep working on growing. Another achievement is having over 2,000 members. And these are all quality members. We constantly follow up with them to make sure that these are not ghost members. We make sure that their trade licence is active and that all their information is correct. Something else we are proud of is that in the past few years, we have been focusing a lot on women in STEM (Science, technology, engineering, and mathematics) and women in non-traditional sectors, and we have been heavily focusing on tech, construction, finance etc. In the past few years, we have had some of our members be part of GITEX, and the North Star, and some of our members have even won competitions within these events. 

Her Highness always wanted women to be active in the economy but also to get them involved in the non-traditional sectors. Making sure that there is no fear in that. So this is a big part of what we have been focusing on, and we will continue to do so moving forward. We want to make sure women have the right information and knowledge in their field in order to make the best decisions for themselves. 

What does the council do to bring the women in the network together? 

We host SBWC talks, which bring in women from different sectors, focusing on a specific subject in order to get a conversation going. We have this majlis concept. When you think of a majlis in terms of the cultural sense here in the UAE, that’s where a lot of conversations and decision-making happens. So we decided to create these sessions with a majlis concept to get conversations going and get the women to meet each other in more of a relaxed environment. 

We also host events throughout the year to reconnect them and get them to reflect, recharge, and just give each other a boost of motivation. 

How would you assess Sharjah as a hub for visionary women today?

If we look at the Emirate as a whole and its holistic approach to women in business, there are many elements. Sharjah has one of the largest entrepreneurship festivals, bringing big-name speakers and giving entrepreneurs the chance to connect, find investors, and pitch their ideas. We also have Saeed (Sharjah Investors Services Center) – another one-stop-shop for new businesses in Sharjah, which focuses on facilitating procedures for new businesses. There are different entities that cater towards different types of clientele, but at the end of the day, they all have the same vision, which is to support people in business in Sharjah. 

What is the biggest challenge you face in your role?

The biggest challenge is educating women on what they are capable of. I never worry about what women can achieve, but we constantly need to inform these entrepreneurs on what they can do and give them the motivation and confidence to do it. There is so much information out there that it can be overwhelming, so we try to create an environment that sends one concise, clear message. As much as it is a challenge, in the end, it is a benefit for us because it has a positive impact. 

What is the most rewarding part of your job? 

It’s definitely when women who are part of the council are successful in business. I think that speaks for itself. Also, the feedback that we get from the women and internally at SWBC and creating a tight, strong team gives the women in the council an example of who is supporting them. I think the biggest satisfaction for me is seeing women succeed. I admire women supporting women. We are all on a journey in life. It’s not about jealousy and competition – healthy competition is fine – but at the end of the day, it is about supporting and motivating each other. We are trying to get away from that negative notion that women can be jealous of each other. 

What about the younger generation of women, are you seeing a lot of young aspiring entrepreneurs coming through?

A lot of the women who participate in our events – especially in GITEX and the tech-focused fields – are young women. These are women who just graduated from university. They are getting into these fields, whether it’s in data or science or finance or engineering, and this is very impressive. It gives me hope for where women are going in the future. Of course, this doesn’t make it any less important for women in other fields, but it is nice to see that they are interested in these sectors where women are usually the minority. 

What is a piece of advice you would give to aspiring young women?

Do something you love. If you do something you love, it will never feel like it’s a chore. You will constantly want to find ways to improve it. And even if you feel like you’ve got too much work, it’s an enjoyable type of work. Also, try to do something that has a positive impact, and make sure you support other women in your field. Share your knowledge and tips with them and grow together. 

What is in the pipeline for the coming year for the council and how can women get involved in what’s coming up? 

We have a lot of participation in exhibitions coming up around the UAE. We are going to be creating a lot of panel discussions, workshops, and networking events. We have a trade mission coming up later in the year, for which we will be announcing the destination soon. All of this information can be found on our social media as well as on the SBWC app. Any information on signing up for membership can also be found on our website. 

For more information on how to sign up visit www.sbwc.ae or follow @sharjah_sbwc. 

When the Mach & Mach double bow heels started to appear on the feet of fashion insiders and influencers a few years ago, they immediately caught the attention of women in the Middle East.

Desperate to know what this unusually bold yet feminine brand was, women were quick to discover the relatively new brand that was about to bring sparkle to the region. 

Georgian sisters Nina and Gvantsa Macharashvili founded their brand Mach & Mach, in 2012. Their creativity and passion for design were the driving forces behind their idea to bring a new kind of luxury brand to the market. The gamble paid off and now, 12 years later, Mach & Mach has become a highly successful brand, with products now available at Harvey Nichols Dubai, as well as many e-commerce sites in the region.

As the industry has developed over the past decades, the sister duo have always been one step ahead, determined to impress their loyal client base time and time again. With an element of fairytale to their designs and that all-important sparkle, their products have become a go-to feel-good fashion essential. As the Spring/summer 2024 collection arrives in the UAE, we were of the first to see the latest pieces, as well as talk to Founders Nina and Gvantsa. 

Tell us about your vision and direction for Mach & Mach in 2024.

Nina: With each collection, we try to develop new, interesting pieces, and we do a lot of research to bring strong, beautiful items to life. For this collection we were inspired by mermaids, bringing them from the sea to our world. We developed special colours and structures for this season and it’s visually very strong. 

Gvantsa: To add, with regards to direction, we see the brand as a full 360 brand and we are trying to develop each sector a lot and we try to structure the company in this way. In 2024 I think customers will feel a lot of newness from us. There are a lot of projects coming up and it’s very exciting. 

Tell us about the brand here in the Middle East.

N: We love our customers in the Middle East because they’re fashion-forward, they know what is interesting, new and fresh. Our brand is still young and upcoming and we find out customers here in the Middle East love this and we really appreciate that. It is inspirational.

G: I think women in the Middle East have loved the brand since the beginning and the warmth that they gave to us is really precious and we appreciate that a lot. Women in the Middle East really understand luxury products and high-quality products. It’s really special for us to be here in the region and to be celebrating our latest collection with Harvey Nichols Dubai. 

How did the idea for the brand come about and how do you work together as a team?

N: We launched in 2012 and since then we have developed from a start-up brand to what we are today. It’s been a really amazing journey. We are both very creative and in search of new ideas for our collections. We have very different points of view but we love to challenge each other and combine our ideas to create something in the middle. 

G: It’s a very interesting process and even though we have very different tastes, it has never been difficult for us to work harmoniously. In the end, we understand each other and it gives us an opportunity to see things from different angles. I think it also gives our products some diversity. 

What’s been the biggest challenge so far? 

G: When you are a new brand it’s difficult to grow and develop your business but it’s a reality we understand and we are always ready for challenges. Sometimes in life, you have to overcome obstacles in order to grow yourself. If you want to be a brand in the luxury segment you have to have high-quality products, high-quality production, a great relationship with your customers, the right partners, and season to season you have to have new creative ideas. Without these obstacles, though it’s impossible to grow, so we try to do our best with every collection and continue to develop and create. 

You have grown from a start-up company to where you are now in very little time, how do you keep that momentum moving forward and how do you keep up with customer demand?

N: You’re right, the growth was really rapid. Even from 2020 to today we have grown a lot. We launched a factory, a showroom in Milan, we extended a lot worldwide. It’s difficult because there are a lot of challenges and that’s why we try to structure each category very well and we try to find the best people with the best experience who can produce to the best quality. We try to do our best in terms of creativity and all together this makes a difference. 

How do you keep the creativity going and where do you go for inspiration?

N: With each collection we try to be in the present moment and think about what the world needs. Then we start to research the materials, what’s going on in the world, and colours, it’s a huge process to bring our products to life. With each product we do many trials – we try them ourselves and it is not an easy process. 

The brand has a very recognisable identity with the double bow motif, how do you continue to keep that but reinvent the products each season? 

N: The brand is very recognisable you’re right and we have had our signature double bow since the very beginning, but we try to extend the categories and somehow fulfil a wider type of customer. We launched a lot of newness recently which we will see very soon in the market, but at the same time, it’s really important to stay true to your roots and to keep going with what you believe in. So extend step by step but keep your identity. 

Tell us about the ready-to-wear category and where you’re heading with that. 

G: We know we are famous for our shoes, but our ready-to-wear is also very important for us because the company started with ready-to-wear. So it’s a really special direction for us and we hope to develop it further and achieve a high level of quality and requests from the market. 

Who is your customer today? 

N: It’s a really special girl who is fashion-forward, a risk-taker, young, cool, and she wants to find new interesting things all the time. She’s not afraid to express herself and to be bold. 

What are the professional mottos that you live by?

G: Bring interesting, new and fresh ideas to the world. Bring something special that doesn’t already exist. This is a huge motivation for me. 

N: The most interesting part of designing is to be involved in this constant process of searching for something new, then when you find that it’s a beautiful moment. We want to create unique products to make our clients stand out from others. 

Where do you go to get inspired?

G: Inspiration comes from everywhere – the street, architecture, movies, travel – when we are working on a collection we do as much research as we can and then we sit down and think about what we are most passionate about. In the end, I think our collections are always inspired by a reflection of the light and this phenomenon and when you see our products you find that they are always sparkly and shiny and they reflect the light. Our vision was always to bring light and sparkle into people’s lives. 

What advice would you give to aspiring designers who would like to set up their own luxury fashion business? 

G: Always do something that you are passionate about. 

What are your favourite pieces in this collection? 

N: We have a few favourites – the basic double bow is always a favourite and this season we created it in a new shape with a round toe. It’s more of a timeless shape and we love it. It’s important to keep this double symbol throughout our brand to represent both of us as sisters and it also highlights the meaning of our collections of togetherness and infinity.

As designers, what would be your style recommendations?

G: Always have some very classic pieces but pair them with something a little bit special. 

instagram.com/machandmach

Looking for a last-minute Valentine’s Day gift, or simply want to celebrate the one you love? These are the best feminine jewellery collections from some of our favourite luxury houses.

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 for Valentine’s Day or the rest of the year. 

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. 

graff.com

Chopard 

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 stone’s 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.

chopard.com

Buccellati 

Bucellati

Buccellati has 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 makes the perfect gift for a loved one, centrally decorated with a small pavé of diamonds. 

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 everyday and evening wear. 

buccellati.com

Boucheron 

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. 

boucheron.com

Piaget 

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. 

piaget.com

Pomellato 

Pomellato

Pomellato celebrates the beauty of love with its new Pomellato Together collection features smooth sculptural shapes and a modern design. Featuring diamond details, these feminine pieces feature two ellipses held together by a link, symbolizing 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.  

pomellato.com

The 2023 edition of Red Sea Film Festival in Jeddah, Saudi Arabia returned with its most star-studded guest list yet.

Following on from the success of the second edition in 2022, this year’s edition promises to shine a light on films from Saudi Arabia the Arab World and Africa, with a lineup of regional films set to debut. To raise awareness the festival also attracted several international film stars, directors and industry professionals, keen to get a glimpse into the growing industry in the region. 

A series of talks and discussions were hosted including an “in conversation” presentation with Will Smith who discussed his journey in the industry, the challenges and successes.

Chris Hemsworth took part in an exclusive session hosted by visionary film director Baz Luhrmann, deep-diving into Hemsworth’s diverse career and sharing behind-the-scenes stories and experiences.

Gwyneth Paltrow was also in town to host her own session. The actress and founder of Goop shared stories from her own experiences in the industry and the transition from actress to successful businesswoman. Other celebrities in attendance included actors Johnny Depp, Sophia Vegara, Michelle Williams, Alia Bhatt, Ed Westwick, Freida Pinto, Sharon Stone and many more. 

Ahead of the event Mohammed Al Turki; CEO of the RedSeaIFF said of the previous edition: “Our second edition was a huge success and signified that The Red Sea International Film Festival is evolving into a global event that we are very proud of and grateful to everyone who supported us.” He added; “we are still navigating our way being a young Festival and film industry but have been delighted with the feedback from the local community, regional and international guests. We were honoured to welcome some of the leading voices in Hollywood, Bollywood, South Korea, Africa and Arab cinema, sharing their journeys to the big screen with a new generation of Saudi creatives who are capturing the attention of the global film industry. Throughout the year, we will continue to support emerging filmmakers, welcome productions to shoot against our extraordinary landscapes and plan for our third edition as we continue to make our mark on the Festival circuit.” 

The festival provides a platform for Arab filmmakers and industry professionals from around the world to connect, and its growing popularity is helping to raise awareness of the talent in the region. The Red Sea Souk, the Festival’s industry market runs alongside the main event, designed for global exchange and partnerships between the international and Saudi film industries. The four-day market offers a program of curated events to foster co-production, international distribution, and new business opportunities. The Souk offers unbeatable access to the new vibrant Saudi scene, as well as the best of the Arab market through pitching sessions, one-on-one meetings, screenings, industry talks, and networking events. 

redseafilmfest.com

Dior Maison has unveiled its latest collection for the home with designs by French artist Jean-Michel Othoniel. The Perles collection features a series of plates and dishes, adorned with metallic designs, evoking the gilded bronze sculpture created by the French artist. The collection was created to mark the launch of Francis Kurkdjian’s new perfume for Dior; L’Or de J’adore. 

Othoniel dreamed up the designs in sketches featuring a multitude of pearls intertwined to form the delicate curves of an airy rose. These dynamic motifs are featured across tableware including a presentation dish subtly embellished with a 24-carat gold border, as well as dinner, dessert and bread plates.

The symbolism of gold, Dior’s iconic code, highlights here more than ever the House’s timeless audacity and inventiveness. 

An ode to the excellence of contemporary art and the beauty of the plant world, this exclusive line is dedicated to the pleasure of entertaining so dear to the founding couturier.  

dior.com

Dubai has become the fourth permanent international location of the L’ÉCOLE, School of Jewelry Arts, alongside Paris, Hong Kong and Shanghai. Founded in 2012 with the support of Van Cleef & Arpels, the L’ÉCOLE, School of Jewelry Arts concept has helps to create a global community, offering courses and experiences to educate talented creatives in the fields of jewellery and arts. 

The newly opened Dubai brand is located in Dubai Design District (d3), and will feature a programme of in-person talks as part of its opening season this spring. To mark the opening an inaugural exhibition, Garden of Emeralds will explore the mysteries of the coveted gemstone. Garden of Emeralds which will run until April 2024, was opened in the presence of high-ranking officials, including Pierre Fayard, CEO of Richemont Middle East, India, Africa and Türkiye; Alessandro Maffi, President of Van Cleef & Arpels Middle East and India; Lise Macdonald, Global President of L’ÉCOLE, School of Jewelry Arts. 

Commenting on the opening in d3, Khadija Al Bastaki, Senior Vice President of Dubai Design District – part of TECOM Group PJSC, says: “Strategic partnerships are essential to the growth of d3 and Dubai’s creative community and economy. L’ÉCOLE’s opening in our district is a result of this commitment, and it represents the growing learning opportunities and platforms available to creatives in d3, whether they are enthusiasts or professionals. The school will bring exceptional new creative experiences, expertise and talent to our community and region, furthering the ambitions of the Dubai Creative Economy Strategy and the Dubai Economic Agenda D33. We are eager to continue attracting world-class creative companies from the world over and secure Dubai as the global address for the creative industry.”

L’ÉCOLE promotes jewellery culture through a rich programme of in-person courses and talks for beginners and collectors, along with free temporary exhibitions, publications and research programmes. Its new Dubai campus is created by the renowned multidisciplinary French designer and interior architect, Constance Guisset.

Starting Spring 2024, L’ÉCOLE will present hands-on workshops and insightful courses led by a rotating body of lecturers, including art historians, gemmologists, jewellers and craftspeople. Its courses will be open to all, for adults and children. Enthusiasts can also look forward to monthly online talks open to the public for free.  

lecolevancleefarpels.com/me/en   

Le Royal Monceau – Raffles Paris, one of the city’s most iconic hotels, has collaborated with Messika Paris to create a sparkling winter wonderland this Christmas.

With updated interiors by Philippe Starck, the hotel is both an iconic and contemporary space, always moving, just like Messika. For the occasion, the stylish property will be adorned with a thousand sparkles in the jeweller’s colours, creating an exclusive setting that combines festive spirit and luxury jewels. Trees in the Maison’s signature electric blue and purple hues are scattered around the hotel’s public areas, decorated with XXL silver snowflakes and surrounded by Messika-branded gift packages. The magical décor is inspired by the design of the brand’s iconic Move collection. The spaces become jewels in and of themselves, with every element twinkling, from the trees to the snowflakes.

“For this project, we dreamt up a series of ephemeral decorations in the shape of pendants, paying tribute to our new So Move collection.” Explains Valérie Messika, Artistic Director and Founder of Maison Messika. She adds: “The Royal Monceau is an institution that I’ve loved for a long time, and for me it’s connected to a unique story involving Beyoncé. It was during one of her stays in the Parisian Palace that she discovered our Maison. A magical meeting for Messika.”

Le Royal Monceau – Raffles Paris has long been a key meeting place for artists and writers, gentlemen and adventurers alike. One of Paris’ most elegant hotels, the property is a must-visit for any luxury-seeking traveller. The hotel reopened in 2010 as one of the most incredible 5-star luxury hotels in Paris, following a radical full two-year transformation by designer Philippe Starck. In 2015, the hotel received the distinction of “Palace”. The most contemporary Palace in Paris, it has 149 luxury rooms and suites, including 3 private apartments, just minutes from the Arc de Triomphe and the Champs-Élysées.

The collaboration goes one step further with a project between the brand and Le Royal Monceau – Raffles Paris Pastry Chef, Quentin Lechat. The two have co-designed a limited-edition Yule Log, once again inspired by the jeweller’s move collection. Presented in full vanilla, the yule log features praline, cream, crisp and Bavarian cream elements, as Quentin Lechat perfectly combines techniques to enhance all the flavours of the star ingredient.

As a subtle nod to Maison Messika, a cascade of little golden and caramelised choux buns punctuates this new creation where pastry meets jewellery, evoking gold and diamond elements. It’s a break from the traditional Gâteau Saint-Honoré, a parallel inspired by the very first Messika boutique in the famous Parisian street of the same name. “As someone who can’t resist a delicious patisserie, the idea of working on a Yule log based on the Move collection was very exciting”, said Valérie Messika. The Yule Log is limited to just 100 pieces.

Art abounds at Le Royal Monceau – Raffles Paris, with an exclusive Art Concierge service, art bookshop, gallery, and 99-seat private cinema: Le Cinéma Katara. The hotel’s culinary offering is driven by the same spirit of creativity, from the buzz of Le Bar Long to its three restaurants: Matsuhisa Paris, dedicated to Japanese gastronomy with the illustrious Chef Nobu, and Il Carpaccio, a Michelin-starred Italian restaurant in collaboration with the Da Vittorio family.

Not to be missed are the exceptional breakfasts and brunches at La Cuisine restaurant, where Quentin Lechat’s pastries can be found. And with its spectacular swimming pool bathed in natural light, the Clarins & myBlend Spa is a true haven of peace – a place where you’ll gladly get lost to find yourself again.

leroyalmonceau.com

Loewe has partnered with Kyoto-based ceramic studio Suna Fujita to present its 2023 holiday collection.

The Spanish brand revealed a short documentary film where the studio’s founders Shohei Fujita and Chisato Yamano describe natural landscapes and animals as the source of inspiration for their artwork, which draws on imagination, childhood memories, and life with their son and pet dog to create hand-painted stories on ceramics such as teapots, cups, and plates.

Their designs can be seen across key pieces in the Loewe SS24 collection, where their unique characters have been transported to knitwear, jersey and denim, signature bags, slippers, wallets, and accessories.

Highlight pieces in the holiday collection which will make perfect festive gifts include the deep green hammock bag, the ruched Squeeze bag, and the iconic Puzzle bag, available in a series of eye-catching shades. 

Loewe.com

Prada 

Prada’s fine jewellery collection Eternal Gold marks a first foray for the Italian house into the world of jewellery, but also acts as an important step in the brand’s journey towards sustainability. That is due to the fact the collection of eye-catching pieces is made from 100 per cent certified recycled gold. As the name suggests, the gold used for the designs is in a sense eternal – it has been used before and can be used again – drawn entirely from recycled material sources. Prada partners exclusively with those suppliers of precious metal and stones who meet the highest industry standards concerning human rights, labour safety, environmental impact, and business ethics. The collection which is designed around the brand’s triangle motif also features lab-grown diamonds. Eternal Gold features a series of pieces with geometric shapes and lines. Snake bracelets, heart motifs, chain necklaces, ribbon chokers – defining shapes and forms of fine jewellery, they are also signs and signifiers of affection and love. 

Chopard

Chopard’s L’Heure du Diamant collection explores the beauty of diamonds with a selection of timeless, elegant designs. Three new pendants in ethical gold, enlivened by a refreshing touch of colour now join the collection, adding a contemporary twist on the designs. Each oval-shaped pendant is meticulously set with marquise-cut diamonds, creating perfect harmony between shapes and materials. More than just jewellery creations, these pendants are transformed into veritable talismans, bearing witness to the energy unleashed when creativity meets jewellery-making excellence. The distinctive feature of these new pendants is the cleverly concealed bow, hidden beneath an exquisite selection of precious stones. They alternately feature a diamond, sapphire or emerald, carefully chosen to enhance the brilliance of each creation and offering a bewitching palette of colours. 

Piaget 

Piaget’s Infinite Radiance collection will make the perfect festive gift. Combining savoir-faire with modern design, the pieces are inspired by the light of the sun, featuring asymmetric movements and geometric lines. The collection features earrings, rings, a pendant and bracelet, as well as an eye-catching version of the brand’s Limelight Gala watch. The designers also played with textures, volumes and forms to render the sun’s unpredictable glow. To achieve this mastery of light that sits at the core of Piaget’s savoir-faire, they use the contrasts of finishes. Polished or decorated, the precious material’s versatility and pure beauty thus shine through, as the unique craftsmanship of the Palace Décor perfectly shows. Each creation is as beautiful as it is unique and require a level of precision and attention usually reserved to High Jewellery creations. The Limelight Gala watch features a mother-of-pearl dial with alternating diamonds-set indexes and pink gold Roman numerals radiates a contemporary aura of femininity. 42 brilliant-cut diamonds are set on the rose gold using the intricate technique of “serti descendu” that magnifies the brilliance of each stone.

Buccellati

Buccellati’s much-loved Opera Collection is inspired by the Italian Renaissance culture. The creative designs explore the idea of absolute symmetry as jewellery pieces become works of art. Centred around a floral motif inspired by the house’s logo, the collection also pays reference to the dome of the church of San Carlo alle Quattro Fontane in Rome and its opulent decorations. This year the collection also lends itself to a new interpretation in the form of the Opera Tulle; a contemporary offering of rings, sautoirs, bangles, pendants and earrings, presented in three different versions with semi-precious stones or coloured enamel. All of the pieces have a common denominator: the radial tulle layer, which is the hallmark of most precious Buccellati creations.

Louis Vuitton 

Louis Vuitton’s Blossom collection will make the perfect gift for the stylish ladies in your life. Following the launch of Idylle Blossom in 2012 and Color Blossom in 2016, the brand introduces new designs to the delicate collection. The new Blossom collection is inspired by the maison’s Monogram flower motif that has been elegantly displayed on the house’s products for decades. The new collection sees the Monogram in bold new volumes and sizes scattered with diamonds or full pave diamonds. The collections consists of 11 pieces in pink and white gold. Many of the pieces are stackable and rang from understated pendants and rings to oversized hoops and diamond studded earrings. Strong and graphic but also organic and wearable, these pieces are a play on daring volumes, sizes and textures. 

Boucheron

First created in 1968 and continually reinvented, Boucheron’s Serpent Bohème collection repeats its iconic teardrop design to bring out your radiance. Serpent Bohème Solarité is the perfect collection for those who aren’t afraid to scintillate. Highlight pieces for this season include the Serpent Bohème Solarité hoop earrings, paved with diamonds, in yellow gold, as well as the Serpent Bohème XXL motif medallion, multi-motif ring and multi-motifs bracelet, paved with diamonds in yellow gold. The collections represents freedom and its aesthetic reveals the full expertise of the Maison Boucheron craftsmen. Serpent Bohème Diamond designs reflect an assertive, modern femininity.

Tiffany & Co. 

Tiffany & Co.’s iconic collections LOCK, HardWear & Tiffany T make the perfect everyday jewellery pieces. The LOCK collection is inspired by a padlock, a renowned House motif since the 1880s, It celebrates the unbreakable bonds that connect us. Each new design is an infinite expression of love. Inspired by the bold energy and powerful architecture of New York City, the Tiffany HardWear collection features signature gauge links that play with tension, proportion and balance. And the Tiffany T collection is marked by a sleek T motif—a signature House code—inspired by the brand’s name. 

Repossi

Repossi’s Brevis Collection features dancing diamonds that sit elegantly against the skin as if floating in mid-air. The collection is a reinterpretation of the Serti sur Vide collection, combining floating diamonds and coloured stones with beautiful white gold bands. The collection features necklaces, rings and braclets, all with an understated appeal. The simplicity of the designs makes the pieces timeless and everlasting, but not without a touch of individuality. The newest additions to this high jewellery collection were created using the finest craftsmanship. 

MARLI New York 

MARLI New York’s Tip-Top collection is composed of unrivalled fine jewellery creations that challenge convention to celebrate fearless femininity. From signature pendants and eye-catching earrings to tennis bracelets that are anything-but-classic, Tip-Top stands as a playful collection that’s defined by unrivalled quality and craft. The collection features brilliant diamonds and vibrant gemstones complimented by MARLI’s iconic pyramid stone shape, set alongside modern 18K gold details designed to get your heart racing. Tip-Top challenges tradition with multi-faceted femininity and distinctive edge, exemplifying MARLI New York’s innovative design and paramount technique. 

Krasota Dubai is a unique immersive restaurant or ‘gastro-theatre’ that combines the worlds of gastronomy, art and culture with a one-of-a-kind experience.

The brainchild of Michelin-starred chef Vladimir Mukhin, whose renowned White Rabbit restaurant ranked 13th in The World’s 50 Best Restaurants in 2019, this one-of-a-kind experience presents creative culinary masterpieces in a setting that combines food and art. Guests are invited to experience a visual show, as their tastebuds are tantalised thanks to a unique food pairing, creating a multisensory adventure.

This November, a new production, titled Imaginary Future, debuted at the intimate venue. This showcase seamlessly blends storytelling elements with visual arts and AI technology to explore the wonders of the future. Imaginary Future features seven acts that push the boundaries of imagination and creativity, revealing future scenarios of humanity. Alongside these acts is a meticulously crafted seven-course meal, each course designed by award-winning Chef Vladimir Mukhin to harmonise the unfolding acts of the show. The menu delves into the realm of future gastronomy, exploring the question: what will food be like in the future? 

The show depicts a future epoch when human life and artificial intelligence work together to advance space exploration, a voyage to Mars and other planets leads to interplanetary civilization. Exploring themes such as new food rituals and future plant production, the pursuit of time control, a world where cyberpunks rule with eternal celebrations of neon night, and the emerging rise of technology to ocean exploration. The AI-curated gastro-theatre creates a truly immersive experience where guests can interact with the performance in real-time, blurring the lines between reality and fantasy. Expect an accompanying array of innovative dishes that tantalise the taste buds and challenge culinary norms. 

Tickets are available at ticket.krasota.art or by calling the Krasota Dubai restaurant Box Office at +971 4433-12-58. 

ticket.krasota.art

Ras Al Khaimah has revealed an extensive art and cultural programme for 2024, building on the Emirates’ dedication to arts and engaging local communities. The new programme will see the current Ras Al Khaimah Fine Arts Festival reborn as Ras Al Khaimah Art – a year-long programme focused on empowering emerging creatives and the community.

Evolving from the Ras Al Khaimah Fine Arts Festival, Ras Al Khaimah Art will be a hub for identifying and cultivating existing and emerging talent through an ongoing series of grants, masterclasses, and workshops held throughout the year. The programme kicks off with a month-long exhibition at the Sunken Garden at The Ritz-Carlton, Dubai International Financial Centre, which runs until December 15. 

The special exhibition features a selection of works by Emirati photographers Faisal Al Raes and Nuwair Al Hajeri. It also showcases a specially curated display of bespoke jewellery from the private collection of Her Highness Sheikha Hana bint Juma Al Majid, including the spectacular The Savoy Headpiece and The Daisy Hand Ornament, both part of The Great Gatsby Collection by Tiffany & Co. Additionally, visitors can view creations from the exclusively crafted mother of pearl designer collection, EMES Fine Crafted jewelry by Emirati designer Mohammed Rashed Al Suwaidi. Inspired by his family’s pearl-diving heritage and featuring contemporary designs which merge with Mother of Pearl and traditional raw materials, the collection represents a creative reinterpretation of modern Emirati identity.

Commenting on the new identity, Dr. Natasha Ridge, Founding Executive Director of the Sheikh Saud bin Saqr Al Qasimi Foundation for Policy Research, said: “Ras Al Khaimah Art represents an evolution from the Ras Al Khaimah Fine Arts Festival, with year-round programming to serve as a catalyst to celebrate and stimulate the local art scene. The exhibition in DIFC is just one of many ways Ras Al Khaimah Art is attracting and showcasing home-grown and international talent. We are delighted to be working with inspiring artists, photographers, and filmmakers to provide just a small glimpse of the type of vibrant works that visitors will enjoy at our upcoming Festival in February 2024.”

Open for the public to visit and enjoy, the exhibition is one of many initiatives by Ras Al Khaimah Art aimed at enriching and redefining the creative scene in the UAE. 

The 12th edition of the Festival is set to be an immersive and sensory cultural experience for local and international visitors alike. The month-long celebration bridges heritage with modernity in a vibrant community event, featuring a curated display by over 90 different artists, as well as inspiring masterclasses and public talks, live performances, outdoor cinema, and youth development programmes. Hosted within the Al Jazeera Al Hamra Heritage Village, the location’s storied pathways bring a historic backdrop to immerse visitors as they venture step by step through the captivating installations.  

rakart.ae

The Dior Lady bag has become an icon in its own right. Gaining its name from Diana, Princess of Wales, who was gifted the bag by the first lady of France in 1995.  At the time, the bag, which was designed by Gianfranco Ferré, was named the Chouchou. The elegant accessory was not yet on sale publicly, and upon receiving it, Lady Diana immediately fell in love and even commissioned a further edition in blue.

Dior decided to rename the bag after the icon, and it has remained ever since, becoming perhaps the most recognisable of all the Maison’s accessories. The Lady Dior features the brand’s distinctive cannage, and its chic architectural lines and boxy style make it a symbol of modernity and elegance.

In 2016, the fashion house launched the Dior Lady Art project, giving a carefully selected group of artists carte blanche to reimagine the bag in their image. The artists were invited to reinterpret this icon, injecting their own style. Today, seven years later, the eighth edition of the project has been revealed.

Eight, being Christian Dior’s lucky number, makes this a very special edition of the project. The Parisian fashion house has partnered with a series of artists, including Jeffrey Gibson, Gilbert & George, Lee Kun-Yong, Ludovic Nkoth, and Hilary Pecis. This year’s artists originate from locations as far away as China and Japan, to the USA, United Kingdom and everything in between. 

One artist, whose colourful interpretation of the icon is based on her own paintings, is British-born Michaela Yearwood-Dan. Known for her works featuring contrasting motifs and vivid colours, Yearwood-Dan’s poetic creations seem to offer the imagination of a new world of possibilities. Her uplifting, vibrant artworks, featuring visually striking abstract landscapes, bring a sense of joy to all who see them. 

For her collaboration with Dior, Yearwood-Dan applies her powerful yet delicate style to two versions of the Lady Dior. Her “Let Me Hold You” installation is expressed in three dimensions, thanks to the use of a variety of textiles and beads which are applied to the body of the bags. These precious embroideries reproduce the effects of textures found in her paintings. Metal flower petals, directly inspired by her own ceramic works, are featured on one of the designs, while the D-I-O-R charms are revisited with colour and unexpected details. 

More information on the Lady Dior Art project can be found at dior.com

Devika Mankani is a Holistic Psychologist at Hundred Wellness Clinic and Co-Founder of Chearful.com. Here she explains how you can use proven methods to create a better you in 2024 and beyond.

Once again, we are days away from that 10-second countdown to midnight. To a new year.

As a psychologist with close to two decades of experience in integrative and holistic psychology, I have been deeply influenced by the intricate dance between neuroscience, spirituality, and human behaviour. Each year, as we approach the threshold of a new beginning, I often find myself looking back at both the difficult moments and those I have deep gratitude for. I have been trying to train myself with as much discipline as I can muster, to embrace the profound practice of espousing hope and positivity through it all, not just as fleeting emotions, but as powerful forces that shape our lives.

When I begin my personal annual review, I usually walk through this process by reminding myself of all the magnificent advances in neuroscience and how they have illuminated the different ways positivity impacts our brain. Optimistic thinking strengthens neural pathways associated with positive emotions through a process known as neuroplasticity, demonstrating our brain’s remarkable adaptability. Decades ago, functional MRI studies showed that such thinking activates areas of the brain linked to decision-making, planning, and reward processing. Moreover, positivity and hope can enhance serotonin and dopamine levels, neurotransmitters key to happiness and well-being, while reducing stress hormones like cortisol. This hormonal balance then goes on to precipitate a better coping response to life’s challenges. All that without a pill! Sounds too good to be true at times. 

After reflecting on the sciences, usually while sipping a green tea (just getting in the polyphenols and anti-inflammatory benefits while I can), I love to slip on my spirituality hat which always provides a more profound understanding of hope and positivity. Many ancient traditions see hope as a virtue that connects us to a higher purpose and the cosmos, begetting a sense of peace and resilience. Practices rooted in these traditions, like mindfulness, meditation, and acts of service for others can enhance feelings of hope and positivity. Even a single session, with intention, can promote present-moment awareness and a non-judgmental acceptance of our experiences, ultimately deepening our connection with ourselves and our fellow earthlings.

Throughout the year I strive to embody this beautiful integration of neuroscience and spirituality and the holistic approach it offers. Truthfully, however, I get even greater joy from taking my clients in my clinical practice on the journey with me. They often confirm how understanding our minds’ unlimited potential empowers them to invite positive thoughts and emotions more easily. Coupled with spiritual practices, perhaps together we can find deeper meaning within and flourishing connections with others. Perhaps it’s not so elusive after all. 

Woven into my preferred theories, at least the ones shared above is the magic of positive psychology which further expands on this well-being story by advocating for a growth mindset. We try to teach our children, or the young people around us, but often forget the lesson for ourselves in the process. Challenges are seen as opportunities for development, and in the process foster resilience. Additionally, gratitude, a potent tool within this field, can significantly uplift our mood and even shift out perspective on certain events. Practices like maintaining a gratitude journal can have a substantial impact on mental and emotional health, a 12% improvement in mood in the 2 weeks. It’s practically impossible to experience gratitude and distress in the same moment. Experiment with your thoughts and I’m sure you will find this too. 

Ultimately, just as with any habit and shift, incorporating hope and positivity into our daily routine involves intentional practice. This could mean dedicating time for reflection, engaging in wholesome affirmations, or actively seeking experiences that bring joy and peace. Our social connections are instrumental in nurturing these states of mind, so setting up groups of strong, supportive relationships provides essential emotional sustenance. I advocate for this always, especially when in a world of sophisticated digital tools, we may feel more accessible but not always connected beneath the layers of day-to-day check-ins. 

As we prepare for a new year, I’d like to invite you to approach the months ahead with a mindset that embraces both the scientific and spiritual aspects of hope and positivity. This integrated perspective can lead to moments that are richer in connection and purpose. The future, inherently uncertain, can be approached with a mindset of hope and positivity, transforming our experience of the unknown. Embracing change as an opportunity for growth allows us to navigate life’s challenges with resilience and optimism. 

For many of us, this year has involved witnessing human atrocities quashing our faith in humanity. I can say with certainty that a significant number of clients have turned to professionals like me this past year, to get some kind of support with these difficult emotions. I try to help them process these feelings using a framework I call purposeful emotional journeying. The premise of this is to move from Anger to Action, Guilt to Gratitude, and Loss to Love. At the risk of trying to oversimplify deep and complex emotions which not only have roots in the recent past, but also in transgenerational memories. This has proven to be a very useful pathway to guide my clients, my family, and myself during difficult times. 

So, on the threshold of 2024, let’s aim to make the months gone by and those to come, rife with personal transformation and growth. By understanding and applying the principles of neuroscience, spirituality, and positive psychology, we can cultivate a life rich with hope, positivity, and meaningful connections. This approach not only deepens our personal well-being but also contributes to a more compassionate and optimistic world. The upcoming year presents us with yet another opportunity for each of us to grow, connect, and find deeper meaning in our lives, infused with the transformative power of hope and positivity.

chearful.com 

The past few months have seen some of the most tragic, unsettling, worrying and terrible times across the Middle East. The conflict in Gaza has seen thousands of lives and homes lost, with millions more displaced or suffering the loss of a loved one. While this festive season many of us will not feel like celebrating, there is a glimmer of light at the end of the tunnel: hope. When times are terrible all we have left is hope, and as HH Sayyida Basma Al Said, Psychotherapist, Clinical Hypnotherapist and founder of Whispers of Serenity Clinic explains, we must hold onto that.

How would you define hope? 

Personally I think hope is the last thing that is there if everything else falls. It is a glimmer of light. Something that we can hold on to. It can be a positive or negative feeling. It can be positive in the sense that when everything falls, you know that something positive can still happen, but it could be negative in the sense that you feel that everything is gone, and that’s all we have left. It depends on how a person looks at it, but it is essential, and, interestingly, not many people believe in hope.

Why do you believe it’s important for us all to have hope?

It’s important to have hope because when everything falls, hope is all you have left. You have to hold onto something. We learn about hope from a very young age. We might not always understand that it’s hope; we might just think ‘Something’s going to happen, something good,’ but we know it from very young. It’s not something that’s even taught. It’s a feeling that we will later learn is hope. People often associate religion with the meaning of hope. I think that’s something that’s embedded in all faiths.

What are some mechanisms or strategies you would suggest for finding hope in dark times?

Personally, I always feel something good is going to happen. There must always be a positive feeling and God must have done everything for a reason. If it’s not something I can see at that moment, it must be something unknown that will be good. And to build on that is a strategy I would use. Knowing that something good might not happen now but will happen later, I would make plans for later on. I keep thinking, ‘This is all I have right now,’ and it becomes something that you hold on to when you feel that everything is gone. It’s a glimmer of light.

I could be very upset about something, but then something little could happen, and I’ll know there is hope, even if it’s something tiny, that gives me the feeling that things might be okay. I know a lot of people who don’t have that or don’t believe in it, and I think that must be an unfortunate and materialistic life. I believe hope can also be connected to dreams. They often work hand in hand.

The past few months have seen the world in turmoil – what are some of the methods you would recommend for finding positivity and hope at these times? 

What’s happening right now is beyond sadness. We are at a level where things don’t make sense. Since we were children, we heard about what’s happening in Palestine on and off, and as you grow older, it becomes more painful. You see that lives and families are being demolished. In times like this, talking about how you feel is a very big thing that people sometimes don’t do. It’s not just about finding positivity, but it’s explaining your feelings to others and finding out that they’re going through it too. It doesn’t mean it’s a positive, but it’s a mechanism to use to understand what others are feeling this, and at the same time, someone from the same group will say, ‘Things will turn out OK; there must be a positive’, someone always tries to be rational. But in times like this, you could sometimes not really see it. And that’s why I said dream. I think hope and dream work hand in hand because when you are experiencing so much trauma and sadness, you just feel that you could dream of a better tomorrow and that a better tomorrow is hope. Even though you feel in times like this that there is no positive, there must be, even if it’s a little glimpse.

How do we compartmentalise these kinds of traumatic issues in the world? 

We are often taught to ignore it from a young age when bad things happen. So, you start compartmentalising, not wanting to deal with these things because they are so difficult. But is it right to do that? We shouldn’t compartmentalise these things. We should talk about it, we should seek more information about it, and we need to get it out because the more you compartmentalise it, the more it might hurt you. So, I would suggest first talking about it, then learning how to deal with it. Issues in the world will NEVER stop. Sadly, we live in a world that has continuously had things going on, and maybe when we’re younger, we don’t think about it that much, but as you grow older, you start to realise that the world is not really a nice place, and that’s when you start seeking hope. Putting everything in perspective is a good idea, but talking about it, and then putting it in perspective is a better idea.

Of course, there is no one-size-fits-all approach, but can you talk a bit about grief and the methods of dealing with this you would recommend? 

There is no spot-on method, but there are guidelines. With trauma, loss and sadness, there are five phases: denial, anger, bargaining, depression, and acceptance – not everyone goes through the same steps at the same time, but I would recommend seeking help, and talking to someone. Talking about grief is very important. And not talking about it is the worst thing to do. You need to talk about it. You need to express how you’re feeling about it. Because if you don’t, it will hit you even harder. So, trying to deal with it as much as you can in your capacity is one of the most important things. Of course, recognising that there are stages of grief and that these stages might not be exactly the same for everyone is key. Everyone goes through them in different orders and at different times, but there are steps, and when we identify these steps, it can help. What helps more is talking about it and finding a mechanism for dealing with it. You could be someone who likes to write or read more about topics; there will always be something that works for you.

How important is it to talk about and share our thoughts and issues? 

Talking about our feelings is something we don’t do enough of. It could be that we are ashamed. We could feel that there is no use to doing it. It could be that we feel like we are fussing. But it’s never wrong to express and share thoughts. That’s the only way issues can be resolved and that applies to any type of issue in the world. So, talking about issues and sharing thoughts is essential for a healthy lifestyle where we can deal with things correctly.

When it comes to the ways men and women deal with things differently – what can you tell us about this?

Men and women deal with things in totally different ways. Women may want to express themselves more, and they may talk too much about things. Meanwhile, men will just get to the point, not go round in circles. You’ll find women talk more about things with emotion, and in that sense, they could perhaps be more hopeful about things. Men might be more realistic and more to the point. They like to get things done, but that can also make them impatient. I have seen within my practice that women are more expressive than men. And that’s why bigger problems can occur later on with men: they keep things inside, and then they can explode.

As we come towards the end of the year and the beginning of a new one, what should we be doing to prepare?

I think we are all used to making resolutions at the end of a year, which we rarely actually succeed in achieving. I think this has a lot to do with the media and the idea that we need to create resolutions and goals. But this can actually distract us from the reality of what we need to do. Sometimes we need to continue what we have been doing instead of making new resolutions, and we also need to make realistic goals. They could be continuing previous goals that were not achieved. Learning more about what we have been going through and figuring out where we want to go next, is also something we need to think about.

What are some of the things we should think about in relation to planning for our future? 

Be realistic. When we say ‘plan for the future’, when we consider things that have been going on around the world, it’s not wrong to plan, but it’s more realistic if we’re able to take things step by step. Working towards finishing what we’ve started is one of the most important steps. With what happened with Covid, I think planning is good, but, realistically, why can’t we just live day by day and enjoy every day? Thinking about the future can sometimes add stress to our lives because if we don’t succeed in those goals, we can feel like we haven’t done a good job and we feel bad about what we have done.

What are three points or messages we should take with us into 2024?

Interestingly, I have realised with myself that many things have changed in the way I think. I don’t want to say it’s because of age, but I think it’s about things happening around us. If you had asked me this question three years ago, I would have been thinking differently than I am this year.

This year and these past few years, with what has been going on, from sickness to wars, to injustice, etc. and on more of a personal level with my job and my kids and my ambitions, I really think that the first point would be to look after your health, because our health is the most important thing we have. More than any success we could have. The second point is enjoying every moment of your day and your life. And the third point would be to take things as they come. Do plan, but also don’t break down if it doesn’t work. Go with the flow and, don’t put too much pressure on yourself and give yourself a big pat on the shoulder for all that you have achieved.

What is a book or podcast you would recommend listening to today?

“Don’t sweat the small stuff” by Richard Carlson.  

houna.org

Keynote speaker and Futurist, John Sanei explains how harnessing AI is key to the future of mankind.

The tsunami of change around AI will really start to take hold in 2024. Let’s remember, technological advances always arrive slowly, creeping up on us, until suddenly they become a total avalanche. We are on the verge of this avalanche as things start moving.

Social media was our first contact with AI. Social media platforms would use AI to curate entertainment and information for us, building algorithms around our preferences. Now, we are moving into our second contact with AI, and in this, we are moving AI from a curation partner to a creation partner. It is moving from being a tool to an unprecedented partner. In other words, machines are moving from what they can do for us to who they can be with us.

We must no longer think of AI as just technology; what it is now is a profound shift in our relationship with machines.

We are entering a new era called the “Intimacy Economy”. Previously, for us to speak to computers, we had to learn their language, but now, they’ve learned our language, which is a significant shift. So we have to ask ourselves; ‘‘are we shaping AI, or is AI shaping us?’’

Whatever business or job you’re in, the significant questions you need to ask yourself are: Are you going to use AI to defend, extend, or up-end? Using AI to defend means you’re using it to bring about quicker wins and make yourself more efficient and productive. Everyone will do this, and it’s a good way to start. Then you have to move into extend, which, in other words, means to use AI to make your business much better. For example, if you were a financial institution, you would use AI to advise everyday people, and it would be the same quality of advice that billionaires get because AI augments all of that data into one system. Thirdly, you can be really brave and up-end your whole industry.

So, you need to ask yourself what your appetite is for AI and how brave you are. What are your capabilities, and what is your ambition to actually engage with AI in a new and crazy way? Are you going to defend, extend or up-end?

I have developed a graph for my clients called an AI opportunity Radar. This highlights four different quadrants where you can start working with AI. It can be from an external level, an internal level, a game-changing level or an everyday level.

On an everyday internal level, you can have software engineers writing better code; you can analyse data instead of just gathering it. There is a company in New Zealand called Yabble, that has created an intelligent chatbot where you can put all your data in, and then you can ask it intelligent questions such as, ‘‘What are my growth drivers for this quarter?’’ and it will give you an informed answer.

Or you could be talking about front office, every day bettering yourself. This is almost like picking up patterns that you otherwise couldn’t have. A great example is the Santiago firefighters, who have used AI to connect a thousand different cameras to pick up on wildfires. In their trial period, they were able to pick up 77 wildfires before any 911 calls were made. This is an example of external front-office scenarios where you use AI to help you provide better customer service.

Then you have the ability to be game-changing on an internal level. There is a company in Hong Kong called Insilico Medicine that is able to bring nine new drugs to the market per year, whereas big companies can only bring 4-5 drugs to the market per year. And they do this by using AI. Using AI to do all of its scenario planning, research etc.

Then we have external game-changing, which is all about creating new products and services and a good example of this is Khan Academy, which has created Khanmigo. This chatbot is a virtual tutor that hints and guides rather than giving you answers. Plus, you can directly chat with famous experts on the topics you are learning about. It could be Marie Curie if you are learning about radioactivity, or Gandolf if you are learning about Lord of the Rings – any one of these characters can pop up on this chat and become your friend who will guide you to learning more on a specific topic and gives you a very rich interaction with the actual people you are studying. It is hugely changing methods of education.

So once you have defended, extended or up-ended, you need to be able to use the opportunity radar to figure out how you are going to use AI to move your business forward.

A lot of people will panic, but if you break it down, all of a sudden, you can understand it and work with it. The key is to embrace the change and not to be afraid of what might happen.

Remember that we are moving into the strange world of transformation. That transformation has three phases – sad, strange and adventure – and we are currently between sad and strange. Sad is when you leave the familiarity, and we are about to begin the journey into a strange world. So we must prepare for that by making a strange world more compartmentalised. 

johnsanei.com

Cartier has partnered with Louvre Abu Dhabi to present an exclusive exhibition, celebrating centuries of Islamic art inspiration to the Maison’s collections. ‘Cartier, Islamic Inspiration and Modern Design’ which is open to the public until March 24, 2024.

Co-organised by Louvre Abu Dhabi, Musée des Arts Décoratifs, Musée du Louvre and France Muséums, with the support of Maison Cartier, the exhibition explores the influence of Islamic art on Cartier’s designs from the beginning of the 20th century to the present day.

The exhibition features over 400 works from Louvre Abu Dhabi, partner museums, the Cartier Collection and private collections, to explore over a century of artistic influence. It is co-curated by Judith Henon-Raynaud, Chief Curator and Deputy Director of the Department of Islamic Art at the Musée du Louvre and Évelyne Possémé, Former Chief Curator of Ancient and Modern Jewellery at the Musée des Arts Décoratifs, with the assistance of Fakhera Alkindi, Senior Curatorial Assistant at Louvre Abu Dhabi.

The exhibition builds on a recent project titled Cartier and Islamic Art: In Search of Modernity (Paris-Dallas 2021-2022), which was initially conceived and co-organised by the Dallas Museum of Art and the Musée des Arts Décoratifs, Paris, with the exceptional collaboration of the Musée du Louvre and the support of Maison Cartier. The exhibition was curated by Heather Ecker, Judith Henon-Raynaud, Évelyne Possémé and Sarah Schleuning.

At the turn of the 20th century, Louis Cartier, grandson of the founder of the Maison, was deeply intrigued by the artistic traditions that he discovered in the Parisian art market. At the time, significant exhibitions dedicated to Islamic art and the massive arrival of works, particularly Persian and Indian paintings and manuscripts, led to the development of a true Persian fashion in Paris. In search of new sources of inspiration, Cartier enriched the brand’s study library with publications dedicated to Islamic arts and architecture.

The library became an endless source of inspiration for patterns for the Maison’s designs. In the 1910s, Louis Cartier initiated a personal collection of Islamic art, which he made available to the Maison’s designers; the influences can be clearly seen throughout the designs over the past years. In 1911, his brother Jacques Cartier travelled to India to reinforce ties with Maharajas and to the Arabian Gulf region to investigate the pearl market. The discovery of the patterns and shapes in architecture, artworks, and literature unlocked a new realm of modern artistic expression for the Maison, right up to the artistic direction of Jeanne Toussaint and even today.

The exhibition explores these artworks and the influences that they have had on the Maison throughout the years. It features masterpieces of Islamic art, jewellery, drawings, design sketches, miniatures, textiles, photographs and archival material. Highlights include a wooden Carved ivory panel with scrolls (1334 – 1339, Cairo, Egypt); a Dish with a blue Saz leaf, dotted tulips and roses (ca. 1580, Iznik, Turkey). A wooden Carved ivory panel with scrolls (1334 – 1339, Cairo, Egypt); a Dish with a blue Saz leaf, dotted tulips and roses (ca. 1580, Iznik, Turkey); from the Musée des Arts Décoratifs. From the Musée du Louvre highlights include a Fragment of a mosaic panel with geometric decoration (14 – 15th century), Three tiles from a wall panel  (1550 – 1600, Damascus, Syria), and a Pen box, said to have belonged to Mirza Muhammad Munshi.

The Cartier Collection is lending special works, including a cigarette case (Cartier Paris, 1930), a vanity case with decoration inspired by Iznik ceramics (Cartier Paris, 1927), a Hindu necklace (Cartier Paris, 1936) and a tiara (Cartier London, 1937). Le Petit Palais – Musée des Beaux-arts de la Ville de Paris is lending an exceptional collection of design sketches by Charles Jacqueau, a pivotal designer to Maison Cartier.

Manuel Rabaté, Director of Louvre Abu Dhabi, commented on the exhibition: “As the first universal museum in the Arab World, Louvre Abu Dhabi seeks to broaden our visitors’ perspectives by bringing unique art and cultural experiences to Abu Dhabi. Through this exhibition, and thanks to the precious loans from our partners – Musée des Arts Décoratifs, Musée du Louvre and many other lenders, our visitors will not only be able to discover new connections between cultures and gain a better understanding of modernity but they will also be inspired by the rich technicalities and unique materials of Islamic art, architecture and Cartier jewellery on display. The Cartier, Islamic Inspiration and Modern Design exhibition at Louvre Abu Dhabi is also a testament to a longstanding and successful partnership between our institution and Cartier.”

Pierre Rainero, Image, Style and Heritage Director at Cartier added: “Islamic art has played a significant and structural impact on Cartier’s creative language since the beginning of the 20th century. This vocabulary continues to grow even today, thanks to the richness of geometric patterns and their many combinations. This exhibition underscores the living language of the Cartier style and in turn, highlights how important jewellery is to the artistic field. Cartier’s true pioneering spirit is also revealed, along with the role the Maison played in the birth of modernity at the start of the 20th century.”

louvreabudhabi.ae 

The UAE Designer Exhibition is an annual platform devised to support the local creative community, showcasing emerging talents and young practitioners and their design talent. Hosted at Downtown Design in November, this year’s exhibition was curated by Fatma Al Mahmoud under the theme ‘For Future Living Spaces’, with a focus on designers committed to crafting living spaces that embrace social impact and eco-consciousness.

Al Mahmoud currently holds the position of Cultural Planning Manager at House of Wisdom, Sharjah’s cultural hub, and was invited to be part of the exhibition thanks to her dedication and support of the creative community in the UAE. She has made significant contributions to the art and design scene with a strong emphasis on community engagement and a passion for cultural-led exhibitions, projects, and programs. She is at the forefront of shaping the creative landscape as the Cultural Planning Manager at House of Wisdom and Managing Partner at Hamzat Wasl Studio.

Working previously as the Head of 1971 – Design Space, one of her key strengths is identifying and nurturing emerging talents in the regional design field. By working in proximity with local and regional designers, Al Mahmoud has cultivated a deep understanding of the design ecosystem and has developed strong relationships within the industry.

For the recent edition of the UAE Designer exhibition, Al Mahmoud was tasked with selecting submissions that not only considered the future of living spaces but also urged designers to use materials and resources that are environmentally responsible, promote local production and sourcing, and design for longevity and adaptability. This year’s showcase included work from UAE-based designers and studios, including Alya Alghfeli, Munira Almulla, Majid Al Bastaki, Areen Hassan, Ammar Kalo, Alia Mazrooei, Nuhayr Zein and Dachah Studio. Here, we find out more about the exhibition and the importance of supporting local talent.

Tell us about this edition of the UAE Designers Exhibition, how it came to light, and its role today.

For this edition of the UAE Designers Exhibition, I had many conversations with all the designers before they started production. We set many criteria for the selected designers, including cultural reference, sustainability, eco-consciousness, and local production. We managed to ensure that most of the pieces were locally produced or at least elements of each piece were locally produced, using locally sourced materials where possible and also considering sustainable measures when it comes to production.

We have 25 participants, and what’s different about this year’s edition is that it’s actually a blend of renowned designers and emerging designers. I wanted the established designers to act as an incentive or an inspiration to the emerging designers.

How did you select the designers?

I had many conversations with the designers after seeing their proposals. And that was combined with the criteria that we set out for the participants.

Tell us some of the highlights and some of the pieces we should look out for.

We have Nella Figueroa, a designer from Venezuela, who took the water mechanism from her home country and created an innovative water jug and set of cups titled Ávila’s. It’s handcrafted from sustainable materials and based on a well-known landmark in Venezuela. It highly portrays her culture, and it’s about the concept of pouring water and how water is important to life. It acts as a connector to everyone from different cultures.

We have Munira Almulla with O-Collection. Munira incorporated recycled plastic materials from sea waste into a seat. The upholstered seats and backrests feature “Oceanic” by Camira, an innovative upholstery material, where each meter of fabric contains the equivalent of 26 plastic bottles, effectively repurposing these materials that would otherwise pollute the ocean.

Then we have Diana Hawatmeh & Sheika Al Serkal, who created artworks using rugs as the expressive form, in collaboration with Alfombra carpets. They were influenced by their background of graphic design, featuring works from the screen, and translating them into these products. The work is very geometric, like their graphic designs.

Interior design Roudha AlShamsi created a handwoven piece. She took the Emirati craft of Safeefah and incorporated it in a contemporary way.

Why do you think it’s important to highlight talented creatives from the UAE at an event such as this?

An event like this acts as a platform for emerging designers to showcase their practices. Having Dubai Design Week onboard, looking into the proposals, and having a back-and-forth conversation, also impacts the designer’s careers. Such a platform is quite important, and it offers local, regional and global exposure to the designers.

How would you assess the industry in the UAE currently?

It’s booming. We have presented ourselves globally, but we are booming here in the region. Something I would like to mention is that there are a lot of struggles here when it comes to local production. That’s where I think we are still an emerging market in this industry, however, when it comes to the final pieces and the design talent, they have proven that they can get that global recognition.

What would you like to see happen regarding local production?

I believe the governments are investing in the creative industries, so having that support and raising awareness means that we are getting there.

Tell us about House of Wisdom.

House of Wisdom is a contemporary form of a library. It’s not the typical library. It’s a place for people to come together, network, explore, exchange ideas, and discover the programmes that we offer, and our exhibitions. House of Wisdom itself is considered and iconic landmark. It was designed by Foster & Foster and was once again based on cultural references. It takes a lot of elements from Islamic art and architecture. With the programming we do, we manage to attract a diverse community, both local and international, to join us through the programmes and exhibitions that we offer.

And we know there is an exciting vision for Sharjah as a culture capital…

Yes. We have ongoing exhibitions, and they are mainly in collaboration with international institutions. For instance, we have an upcoming exhibition with the King Faisal Research Centre in Saudi. We recently had a Frida Kahlo exhibition in collaboration with a museum in Mexico. So, we are already going global.

dubaidesignweek.ae

Hunza G first came to life in 1984, when it was known as simply Hunza. Born under the direction of Peter Meadows, who created its signature, unique crinkle-stretch fabrication, and high-cut design, Hunza became instantly recognisable thanks to its unique aesthetic.

Before long, Hunza was a household name after being worn by Julia Roberts in the 1990 film “Pretty Woman”. The actress was seen wearing a cut-out dress by the brand, which became an iconic image throughout the nineties. During the following two decades, the brand became a little silent, often remembered for its nineties nostalgia but seen as slightly irrelevant in modern times.

Enter Georgina Huddart. After discovering a vintage Hunza piece in a charity shop, Georgina became fascinated by the brand and its unique material during her university years. As she embarked on a career in fashion, she would use Hunza’s fabric, transforming it into new styles. After meeting Peter Meadows through a friend, Georgina Huddart took on the brand in 2015, adding the ‘G’ in Hunza and giving it new life.

Over the past 8 years, Hunza G has grown rapidly across the globe and has quickly gained a cult following of both vintage lovers and a young, cool audience who appreciate its uniqueness. The brand continues to create swimwear and ready-to-wear pieces in the brand’s signature fabric, which is incidentally made from deadstock fabric or waste as part of the brand’s efforts to a carbon-neutral company. The brand has a One Size Fit mantra, aiming to offer figure-flattering pieces that flex to sculpt and support all shapes. Here, we find out more about the journey so far and what’s to come.

Tell us about the universe of Hunza G today.

We have a strong, loyal customer base of women who, I think, enjoy buying from a brand with a positive tone of voice but also make a product that they feel amazing in. We are developing some new categories, which is exciting, and we have some amazing collaborations coming up.

The brand has become a go-to swimwear brand over the last few years. Tell us how you have ramped up the brand’s presence and awareness globally over the last few seasons.

It’s all been organic; we haven’t had a marketing team until recently… and even then, we are trying to keep the ‘essence’ of Hunza G, which is to not chase people around the internet but let them choose products that they think suit them best. We had a couple of amazing collaborations this year with celebrities such as Rosie Huntington-Whiteley and Helena Christensen, which were so fun to work on, and the products turned out beautifully – both sold amazingly well, too.

How does the Hunza G of 2023 compare with the original 1984 brand?

It’s definitely more diverse and inclusive, but we try to keep the brand’s heritage referenced throughout all collections today. I would say we make a wider range of styles that traverse one aesthetic. It can be very bright, 80s, Ibiza style, but you can also find pieces from the chocolate/cocoa/moss world with more editorial styles and shapes. I hope that most women feel like they can find something that speaks to them on our website.

Are your pieces truly’ one size fits all’, and how do you ensure this?

We don’t say one size fits all – we say it’s a One Size Fit. It definitely fits a lot of women, and I think that everyone would be able to find something to suit their body shape. We have a Coverage Collection that actually is extended sizing but also might be perfect for someone who’s super tall who wants more length in the body or more coverage on the bust.

What can you tell us about Hunza G in the Middle East?

Our Middle East presence is steadily growing – we just started retailing in Rubaiyat, Jeddah and already have a presence in a few other department stores across the GCC. As I mentioned previously, we recently launched our Coverage Collection, too, which offers a more ‘modest’ approach to some of our signature styles…with beach season being almost 365 days of the year in the Middle East, great swimwear is always a necessity. We hopefully have a few exciting things coming up in the region next year, too!

Your design style is so distinctive – how do you continue to surprise your clients but not go too off-brand?

Because we have a very clear goal: to make great products that enable women to feel confident about their bodies. Many colours, for example, are great for ready-to-wear but aren’t the most flattering for swim or lingerie. We are mindful of this and tend not to follow trends too much.

Your colour palette is key to the brand – what do you consider when adding a new hue to the collections?

We look at our colours, and we ask: do they make women with different skin tones and body shapes feel absolutely incredible? That’s our number one goal – if the answer to this question is yes, then we consider adding a new hue to our collection.

What are the biggest challenges you face with the brand today?

Keeping it fresh and exciting while staying true to our brand ethos without losing our identity. So far, we have done this really well, but it’s always a concern and takes a lot of work to make sure we’re always adhering to our core values.

Tell us about your collaboration with Helena Christensen – why is she a face that you feel aligns with the brand?

She is a customer who has supported us for several years, actually buying our products, so it felt really natural and not forced to work with her. She is a true icon in my eyes for many reasons: I love her aesthetic, I love the charity work she does, and I love how humble but also how energetic she is when working on projects. Plus, she looks incredible in the swimwear – so it was a no-brainer.

Do you plan to explore ready-to-wear further or expand your current range?

Yes, we have just done a new campaign focusing on our ready-to-wear, including a pregnant model – it’s styled amazingly, and I can’t wait to show the world these images; they are truly stunning. Our ready-to-wear adopts the same policies as our swimwear, so it’s always exciting working on these collections, too. We have some new pieces coming out next year, so you’ll have to keep an eye out.

What else is in the pipeline for 2024?

It’s our 40th birthday! So 2024 is a huge moment for us – we have a few new products, two new fabrics for swimwear in our signature one size, a couple of mega collaborations, and some pop-ups globally… it’s a BIG year for us!

hunzag.com

Just three years ago, three friends, Cédric Mulhauser, Nicolas Freudiger and Singal Depéry decided to launch their own watch brand. Bringing years of experience together, the three Swiss-born entrepreneurs had the vision of creating a brand that went against the norms of the industry, with a focus on sustainability.

ID Geneve was born as the first impact native luxury watch brand, creating products that reflect the values and principles of people concerned about climate change and social and environmental impact. They create watches using recycled materials and develop new materials that have less impact on the planet. As ID Geneve’s co-founders were in Dubai for the recent edition of Dubai Watch Week, we met with Co-Founder and COO Cédric Mulhauser to find out more about this forward-thinking brand.

Tell us about the brand, how it began and where the idea came from.

The brand was born just three years ago. We launched a crowdfunding campaign on December 1, 2020. I’m the watchmaker. Nicolas Freudiger has a background in hospitality and digital marketing; he manages the PR side of the brand. The third co-founder is Singal Depéry, who is our art director and designer. All the images that you see of our watches come from his hand. He came to the brand and brought more of the durability and sustainability aspects we were missing at the time. I have known Nicolas for 30 years, and it has always a dream for us to create our own company, our own brand.

Why was this the right time to do it then?

Because we all had some good professional experiences, Nicolas was always close to the world of watchmaking. He was helping the brand I was working for as a designer and Singal was always interested in the world of watchmaking. So, we decided to create a brand with a real story. We are not just a brand like any other; our purpose is to create a new identity in the luxury world. We want to do something different. We know that luxury is not sustainable, and we want the luxury world to become a laboratory for sustainable development for other industries. That’s our mindset. We develop or co-develop materials with less carbon footprint impact, so all our choices are made with this in mind.

The first model the Circular 1 was created with 100% recycled stainless steel that is ten times less impactful than the industry average. The second collection, Circular S, is made with recycled stainless steel, which is melted in a solar furnace. So, even the energy we use is sustainable.

Tell us about some of the materials used in the watches. 

On our Circular C collection, we use MIRUM, a plant-based for our straps. It’s completely natural and completely recyclable and recycled. That’s the perfect match for a circular economy. It looks like leather, but it’s not.

We collaborated with CompPair, a Swiss startup company that focuses on regenerative carbon. They use recycled fibres from wind turbines. They have developed a design that features the irregular arrangement of recycled fibres in a mould to give a granular appearance. It’s auto-regenerative.

If you heat the material, it comes back like new. We must heat it to about 90 degrees in the oven, and if there are some scratches or marks, they will completely disappear. So, it is quite a durable material to use on a watch, and it’s easy to recycle if we need to.

In a way, watches are sustainable because they last a long time, but you’re putting a new layer onto this, what would you say to that? 

You’re right. It’s interesting because the product is sustainable, but what we do is look at ways to produce the products sustainably, too. That’s our mindset. We have this mission to do something maybe better than others in the industry, to show them that it is possible, and perhaps other industries will look at what we’re doing and use it in their own ways. We know we won’t save the world, but we can be an example for other industries. This is, for us, important. We are co-developing these kinds of materials in what we call our ID lab. We try to find solutions that are less impactful. Even the movements that we use are reused movements. We buy old stock and refurbish them completely.

What’s your biggest challenge as a watchmaker when trying to ensure you’re using all these sustainable elements, and how does that impact your work?

That’s an interesting question because I’m constantly asking myself how I can do better because, for example, we use plastic tools or sometimes we use plastic in our packaging. It makes me think about how we can reuse the plastic for example. The way that we produce, we must think also about these things, but watchmaking, by definition, uses old tools from our grandparents or things that we can leave for the next generation. I think we have to think more about the packaging, the supply chain, the transportation of the parts etc. We try to speak with our suppliers to find all the solutions or to reuse the packaging that they send to us. That’s the way that we try to improve. As a watchmaker, we are now thinking about developing our own movement. This is a project for the next two or three years.

Will that be using recycled parts and bringing them all together?

I think it’s difficult to do it like this. It’s what we do now, but we want to develop a new movement based on recycled materials.

Will you create them from scratch using materials?

Yes, exactly. Maybe not from scratch by ourselves. We are also in discussion with some of the big heritage brands to work on a collaboration because they have some means and know-how that we don’t have, and I think we will be able to have a big impact with this. It’s a win-win, completely.

What’s the vision for the brand looking forward?

We have talked about this within our team. Of course, we are small, so we want to become bigger and grow in the coming years, but we want to control the growth. We won’t produce 10,000 watches next year, maybe that’s an objective in 5 or 10 years, but step by step. We are now developing the UK market and the US markets. We are also here in Dubai because we are in discussion with Seddiqi. This is our target for the moment, and for sure, we want to develop all markets after, but we don’t want to go too fast.

Tell us about the partnership with Leonardo DiCaprio. 

We are proud to welcome Leonardo DiCaprio to the brand. He’s hugely into sustainability and incremental issues, so it was a dream for us. We talked about who could be the best ambassador worldwide to represent our watches, and not only the watches but the concept we developed. We said, “Oh, DiCaprio is the perfect climate ambassador and climate advocate,” and we vocalised it. We never thought it would happen. One day, some friends of friends of friends contacted us and said, “We know some people who know people who know people.” So, we got in contact with his team, and we presented the project, and they loved it. They told us that Leonardo is not working with luxury brands because they do not match his values, but I think there is a match there, so we will pitch it to him.” And he loved it. It was amazing.

He has invested capital, but is he also wearing the watches?

Yes, he’s wearing the watch. The first question in watchmaking is, ‘do you like the design?’ And he liked the design. For us, that was the first big step. Then, of course, the ecosystem we developed was interesting for him. I think he can represent us well. We don’t want to be just a brand. We want to do something bigger, not in terms of volumes, but the message. For the moment, Swiss-made means quality. But we want Swiss-made to be known for its sustainability. We want people to say, “Oh, Swiss made, they are the pioneer of sustainability. They’re good quality but with new materials, less impactful.”

Why is the UAE market important to you?

We are in touch with Seddiqi, and when we look for retailers, we look at two aspects: sustainability and influence because, of course, if we want to have an impact, we need to be associated with the people who have influence. I think Seddiqi is at the top of the top in terms of influence. If they are interested in sustainability, it’s a good match because we can be the first and others will follow. That’s why we are really interested in working with Seddiqi and the UAE market. It’s a challenge for us.

What message would you send our readers to make them aware of the brand, what you’re doing, and why they should come and buy your watches?

First of all, I hope they love the design. Of course, it’s one of the first factors when buying a watch. I think the message is important. One of our taglines is: “Wear your conviction on your wrist.” For a man, a watch is one of the only jewels that you can wear, and you want to show it because luxury is about showing what you have. Maybe with ID Genève, if you wear an ID watch, you wear other kinds of values on your wrist, and that’s what we want to share.

idwatch.ch

Anne-Gaëlle Quinet, Head of Complications at Audemars Piguet, looks at how the brand keeps pushing further. 

Swiss watch brand Audemars Piguet has firmly positioned itself as one of the world leaders in the watchmaking industry. Over the past few years, the brand has become the go-to for celebrities, and well-informed watchmakers hoping to get their hands on the latest timepieces, which are produced in limited quantities. The brand has found the perfect balance between awareness and exclusivity, creating a hype that can only be found at very few companies today.

At the recent edition of Dubai Watch Week, Audemars Piguet hosted a large-scale immersive exhibition that explored the Manufacture’s endless journey to new horizons. Titled “Seek Beyond”, it showcased some of the most unique and complicated watches it has created to date. It also looked at how the brand has repeatedly ventured outside of its comfort zone to push the boundaries of watchmaking and how this mindset has fuelled the teams’ creativity.

One of those creative minds is Anne-Gaëlle Quinet, Head of Complications. In her role, Quinet is tasked with gathering clients’ feedback and bringing her expertise in watchmaking to the table to help ensure the brand keeps its momentum and continues to surprise clients. Here, we find out more about Audemars Piguet’s participation in Dubai Watch Week and what’s next for the brand.

Let’s start with Dubai Watch Week. Tell us more about the brand’s participation. 

The exhibition’s message and title were ‘Seek Beyond’, the same name as the marketing campaign we launched this year. We had almost 100 pieces that were fantastically displayed, expressing our know-how, craftsmanship and innovation. We had more than 7,000 visitors, we were busy all the time, our teams worked very hard, and it was very successful. It was interesting to see how people are interested in watchmaking.

We had different rooms expressing different elements of the brand – craftsmanship in terms of engraving stones. We had a specific area dedicated to the chronograph, and especially our complications, and we had our fabulous Code 11.59 by Audemars Piguet Ultra-Complication Universelle, which recently won the “Aiguille d’Or” Grand Prix at GPHG. It was a great exhibition.

Tell us about the Universelle, what makes it so special, and why do you think it was chosen for the award?

It is the most complicated wristwatch that Audemars Piguet has ever created, but it’s not only in terms of the number of complications, it’s because we have created a highly complicated watch that’s also easy to wear and use. To create something complicated is one thing because we combine all the know-how of our master watchmakers but creating it in a contemporary way is special. Nowadays, clients want to wear their watches, and they want to set them easily, that was our challenge, and we did it. That’s why we won the prize because it’s very impressive to have this number of complications that fit into a 42mm case.

The exhibition at Dubai Watch Week  paid tribute to your past, present, and future. Why was it important to bring these particular watches to Watch Week, and showcase them to the audience in the Middle East?

I think the audience in the Middle East is very interested in watchmaking in general. We are very close to the Seddiqi family, and this is in fact the only watch fair we participate in around the world. So, this is really the only time we can reconnect with the press and clients, taking this opportunity to showcase different watches, and we need to share those moments.

Tell us what your role entails then on a day-to-day basis, what are your main priorities?

My role is focused on promoting complications to our clients and supporting markets to sell those complications. Of course, I have fantastic teams who help me in different fields and markets. I believe it’s essential to be in contact with clients and to listen to them. It’s also important for me to convey this message to our Headquarters and discuss the future of complications.

How important is it to have client feedback in terms of when you’re looking at what you’re doing moving forward? Is that something that you take into consideration as a brand?

Definitely. This is very important because if you don’t listen to your clients, how do you know what they are looking for? We know that our clients love the brand, and we don’t want to disappoint them, so you must always be creative but also bring client feedback to the company. Then, when you meet clients again, they will see that you have taken their comments into consideration.

So there’s this fine balance between making sure they’re surprised and making sure you’re producing something that is on brand?

Exactly, it’s very important. You must keep surprising, and we do that with new innovative materials that our clients love very much. For example, with the Universelle, no one expected us to create such a number of complications on a small case diameter. Again, this one was the highlight in terms of complications of this year. My role moving forward is to broaden the diversity of complications that we offer, and we have to maintain the attractiveness of our complications for collectors and for new clients.

Can you tell us about the women’s segment?

During Dubai Watch Week, I was really happy to meet with a group of women during an intimate brunch. We talked about their expectations, and it was an interesting conversation. Women are a big part of our consumers, so we must consider them.

What’s the biggest challenge you face in your role, and how do you overcome that challenge?

The biggest challenge is that we have many demands in terms of complications, and as you know, we don’t produce in large numbers. So, the challenge is to satisfy most of the demands of our regular and loyal clients, but also to attract new clients. You have to fine-tune this demand and supply.

Another challenge is the importance of meeting with clients. After the pandemic, we were disconnected in a way, so I think it’s essential to build on this and understand what our clients are looking for.

When it comes to supply and demand, obviously, you want to be able to supply your clients with what they want, but also keep that exclusivity by not becoming too mass. How do you find that fine balance?

It’s about fine-tuning because, of course, even though we might want to produce more watches, we cannot. Why? For several reasons. Firstly, we have to keep our quality standard very high. The know-how is something that we also must maintain and transmit. For example, we created a programme to teach apprentices about our know-how and craftsmanship. This could be in restoration, and we also have some masters on hairspring complications for the tourbillon, which is unique in the industry, so we are working with apprentices to train them on this. It’s impressive.

We have to find the perfect balance between keeping our quality standard and not delivering too much because this is what it means to be a luxury brand.

How do you ensure that you have the best quality and the best-skilled artisans when it comes to your craftsmanship? And can you expand more on the apprenticeship programmes? 

Part of our DNA is hand-finishing. Hand finishing has two different sides. The first is the aesthetic side, but it also improves the function of a watch. So, you have these two roles, and with our programme, we are looking to teach apprentices how to maintain this hand-finishing process, which is unique to us. This is what Audemars Piguet is known for. It’s about being contemporary, but also having a boldness, and that’s what makes us a forward-thinking brand.

Again, it’s always a combination between tradition and innovation. So, you teach tradition, but young people can bring innovation, and create a new style of hand-finishing, or bring new ideas to the table, and we are always open to this. To keep the quality criteria, we have quality control to ensure that our watches are to our standards.

How would you describe the universe of Audemars Piguet today, and how would you explain the vision as you see it?

If I had to use one word to describe Audemars Piguet, it would be forward-thinking. If you look at our past in terms of our watches and our collaborations, we have always been forward-thinking. If I talk about complications, back in 1986, Jacqueline Dimier created a thinner, self-winding, tourbillon, for example. Then, if we talk about collaborations, for many years, we have been involved in music, sport, fashion, and collaborations, which are very forward-thinking concepts. I believe in many different areas, we have been forward-thinking, and for me, Audemars Piguet is the kind of brand that’s always looking to seek beyond.

What would you still like to do in your role that you haven’t had the chance to do yet?

I joined Audemars Piguet three years ago, and I have held this position for one year now at this point, I feel I have collected all the clients’ feedback, so I would like to see this feedback come to life and bring my own experience of watchmaking to the brand. It’s a perfect merge of two worlds because I like to share my knowledge of watchmaking with clients and with HQ. Combining this with client feedback and using this feedback in our products and complications is the goal I’m looking for.

What message would you send to our readers to highlight what the brand is doing, and what’s coming up?

Stay tuned because we have a huge surprise coming very soon and be ready because I think it will be very successful. The 150-year anniversary of Audemars Piguet is coming up this year, and we have plenty of surprises, especially in terms of complications. You will see that many, many things are coming. To quote our CEO François-Hnery Bennahmias, the best is yet to come.

audemarspiguet.com

Since arriving to the watch market in 1992, Bell & Ross has successfully carved out a niche in the industry. Its bold, instantly recognisable designs ensure it stands out from competitors and its 360 concept as a cool, out-of-the-box brand means it doesn’t go unnoticed. Founded as a university project between Bruno Belamich (Bell) and Carlos A. Rosillo (Ross), the brand has never followed the crowd, and its founders are proud of that.

Today’ Bell & Ross’s presence is felt around the world in all the key markets from Europe to Asia to the Middle East. The brand has garnered a loyal following from watch collectors and clients, many of whom are return buyers. The line-up of novelties clearly captures the brand’s DNA, taking inspiration from instruments found in aircraft cockpits. The company’s square-cased BR models have become its most well-known design and are reinvented each year, using new materials and new methods of construction. A few weeks ago at Dubai Watch Week, Bell & Ross presented the new BR-X5 GREEN LUM, a luminescent version of the brand’s BR-X5 watch. It features an exclusively developed photoluminescent material to create an eye-catching appeal. Ahead of the launch, we met with Co-Founder Carlos A. Rosillo to find out more.

Tell us about Bell & Ross’ participation in Dubai Watch Week this year.

First of all, today, there are very few opportunities to connect with journalists, watch collectors, trade, and the general public in one place. That makes this fair very interesting because it involves the entire community. I think this creates a genuine appetite that is very different from other events. I attend many fairs worldwide, and I believe this is the best we have right now. It also allows the industry to experience the flair and flavour of Dubai, which is very special. It creates a genuine experience that’s not just ‘show business’. It’s about the beauty and passion for watchmaking and sharing that with others who share the same passion. I think it’s important to keep that tradition. Craftsmanship is one thing; transmitting knowledge through retailers and media is another, and directly interacting with clients is another. This is quite important because, in the end, what is most important is not the trade but the end-user. So, it’s very rewarding to face them and to see how you are doing as a brand and what you should do next. Therefore, I think it’s a very good event and an important moment for the watch industry.

What is Bell & Ross showcasing at the fair this year?  

We are disclosing one of the most important novelties of the year. Today, Bell & Ross is known for its unique style, inspired by the instrument panel. Our watches have this round and square design. Whether it is a pure professional watch or something more urban like the BR 05. What we’re disclosing at Dubai Watch Week is a watch based on the BR-X5, but it’s a special edition: the BR-X5 Green Lum.

The X5 is, on one side, important because of the movement, which is the manufacturing movement. On the other side are the design, the case, and what we’re doing in terms of specifics for the case. As you know, the X5 is initially presented in the same shape. Its casing is more complex; it has power reserve indicators, three days, big date, etc., and it is presented in black and blue. Now we have this special edition, which is very, very successful. The BR-X5 is doing very well, and people appreciate it, but what we wanted was to innovate and this is the innovation. It features a new material we developed, and nobody has ever made this material before. It’s very light, very resistant, very comfortable, and very luminous. Not just the dial, but the entire case. Nobody has ever made a luminous case.

Why did you decide to create this watch?

The Bell & Ross design is based on four principles: readability, functionality, precision, and reliability. This watch is a direct application of those four principles. We have something very readable from first glance and from day to night. We decided to disclose this watch at Dubai Watch Week for two reasons. The first is the timing, and the second is that I can imagine this watch being worn in all the night-time locations in Dubai. If you wear this watch to a disco, you will have an impact. It’s a watch that will stand out when someone’s wearing it. I think the people that live here, and their styles will like this – it’s going to catch people’s eye. This watch is a limited edition of 500 pieces.

Tell us about Bell & Ross’s presence here in the Middle East. 

I think we have done well. Bell & Ross is a very focused brand. We don’t go up and down like mountains; we prefer to move steadily and consistently every year.

We are growing at a consistent pace, we pay attention to everything we do and touch wood, and we are moving forward. There are things that you cannot change of course, but there are always ways that you can move forward. We have a simple and clear strategy, with a commitment to doing what we really want to do. What is most important for me today in the marketplace and in our working relationships is trust. You gain trust because you deserve it. For instance, the retailers and the customer know what to expect, and they know what we do and trust us after all those years.

What’s the biggest challenge that you face today?

To be totally international everywhere and be at the same level of development everywhere around the world. There are some markets that we are very advanced in. In France, for example, we are one of the top brands for men. In Europe, we’re doing good, depending on the market. Globally, we’re good and we’re developing in all the other markets. In the Middle East, we are growing steadily. We are growing a lot in Asia; in Japan, we have multiplied by more than three times in the last four years. The United States is a tough market, but we are doing well.

It’s important to understand each market as they are all very different, and customers see the brand in different ways, and they are looking for different details. The difficulty is to find the same level of understanding in every country.

We know as a brand; you love to create experiences for your customers and build those relationships. How are you continuing with that method?

Firstly, by continuing with the creativity. Always surprise yourself to surprise the public. Secondly, we need to be creative outside of just our products. Having 360 concepts. Today, just having a good product is not enough. You need to tell a story. To do that, we have to have the right partners and brands that we can work with across a full concept. For example, working with Seddiqi in the Middle East is a great benefit to the brand because there is creativity there.

What else is in the pipeline for Bell & Ross?

We will continue with what we’re doing. We will continue to be very creative but keep our iconic shape, be it urban or professional. We will continue being consistent and getting into the manufacturer, which is so important. We are now present at Watches and Wonders, and I’m happy to join this platform.

How would you describe the universe of Bell & Ross today if you put it into one sentence?

Stand out. We’re different in a non-ostentatious way, but we always stand out. I don’t like to brag, but our watches don’t look like anything else. Not everyone will like them, but they are different, and that’s what gets us noticed.

What message would you send to your fans and customers in the region? 

I want our customers to understand the product because there is a lot to understand. Realising that there is an authentic approach and getting a lot of pleasure from our watches is what’s important. A lot of our customers are returning customers. This surprised me a lot; it makes me proud but also gives me a responsibility not to disappoint. I know many customers who have more Bell & Ross watches than I do, and I have a lot! I know some customers who have more than 100 Bell & Ross watches. We have very loyal clients, and that is because we have been distinctive, but we have also been consistent and surprising.

bellross.com

Since joining Breitling five years ago, Georges Kern has been on a mission. A mission which has seen him reposition and restructure the company, its product lines and its message, revamping the brand, but also taking cues from its heritage to align on a clear direction and appeal to today’s consumer. So far, the success has been widely recognised, not just in numbers alone but with the feedback from clients, collectors and industry insiders who have been following the journey.

This year, the 6th edition of the Dubai Watch Week was an important moment for Breitling as the brand revealed its new Breitling Avenger. A watch with close ties to the brand’s aviation codes dating back to the 1930s, when third-generation founder Willy Breitling formed the HUIT Aviation Department, which was dedicated to creating precision aircraft instruments and pilots’ chronographs. Breitling’s aviation expertise has remained part of the brand ever since, resulting in timepieces such as the Navitimer, the AVI Co-Pilot, the Aerospace, the Emergency, and the Avenger.

The redesign of The Avenger is centred on sleek aviation detailing, wear-resistant materials, and the addition of the powerhouse Breitling Manufacture Caliber 01 to its chronograph models. The new range comes in three formats. A 44mm chronograph, a 44mm automatic GMT, and a 42mm automatic. All pieces come with a choice of military leather strap with a folding pin buckle or a three-row stainless steel bracelet with a micro-adjustable folding clasp.

As Kern launched the latest product on the first day of Dubai Watch Week, we met him to learn more about the brand’s success over the last five years and the next steps in the journey.

Welcome to Dubai and Dubai Watch Week. We’ve just seen the new Avenger that Breitling is launching. What does this launch mean for the brand, and why is it important for you to launch it here at Dubai Watch Week?

It’s important because it is a very successful line. It has always been in the top two or three worldwide, particularly in the Middle East. There is a long history of air travel in the region, so there is a connection to this watch. So commercially, on a worldwide level, it’s super important, and regionally, it’s important because it’s a very established line.

Continuing with the theme of Dubai Watch Week. How do you think the event is helping to put Dubai on the map globally?

I think Dubai has been on the map for a long time now. Today, it’s a key region for any luxury company and, particularly, any watch company. For Breitling, it’s in the top three or four regions. It’s substantial. Secondly, the Seddiqi family are doing a great job, and they’re doing it right. It’s not only about selling watches as we sell watches every day, we communicate through digital media, and we launch products. You don’t need to be behind a counter at this event to sell a watch. This is a cultural platform which is accessible to everyone. Visitors can come and discover the brands, see the novelties at the booths, and meet the people behind the brands. This is what it should be, and this is what you need to connect with your customer base.

What about your customer base here in the region? How would you compare it to other regions?

When I took over, I said from the beginning that we wanted to localise our messages. We want to talk to French people in France, English people in England, and Dubai residents in Dubai. This is also why we have opened so many boutiques: we wanted to have that proximity and the capability to showcase who we are in a 360 environment. As I said, the UAE, and the Middle East overall, is a very sophisticated market. People know about products and luxury, so as a brand, you must interact at their level.

How would you assess the industry as a whole today?

First of all, I believe the luxury industry’s growth is indefinite. If you look at the increase in valuation of the big luxury groups since the 1980s to where they are today, it’s incredible. I think we’re just at the beginning. Where are we in India? Where are we in Indonesia? Where are we in China? There is so much to do. Even in The United States, there is still huge room for growth. Of course, you have a trajectory. Within that trajectory, you have dips, but what is important is the long-term perspective of the industry, and I think it’s indefinite.

Breitling Avenger B01 Chronograph 44

Breitling has been the leader in adopting the squad approach in its communication. Inclusion, diversity, relevance. How do you think this approach has served the brand, and what is the next step?

We wanted to have a squad concept because, first of all, I believe in the power of groups more than individuals. Second, graphically, it makes us different. We have three people in our advertising campaigns, so the appearance is very different from what other brands are doing. It also gives us the flexibility to have a single model in some campaigns if the need is there, but fundamentally, we like this squad idea, which, by the way, comes from aviation.

The next step is that we could consider is to include local celebrities and mixing them with international celebrities. This is what we’re doing partially now in China, for instance. The beauty with this campaign is that there is so much you can do.

Since you joined the brand the journey has been amazingly successful. What is a major challenge you overcame? 

It was the courage to do what we did. For me and my team to leave safe jobs with good revenue and to invest in a company. You become an entrepreneur and you never know what could happen. It’s great to talk about the success of today, but five, six years ago, there was no guarantee. What I believe is that in a way, when you’re an entrepreneur, you take more risks than when you’re in a group. Of course, we need the talent of our team, the right positioning, the right products, etc., but ultimately, it is about having courage.

The New Breitling Avenger Collection

After all that you’ve done so far with the brand, what is it that you still aim to achieve? 

Ultimately, it’s to cement what we have done. We have a strategy that works. Now, we have to do more of the same. We have made great progress, but there are still so many customers who are not aware of what Breitling is doing today and the new look we have. The continued success will come from being more of ourselves, doing more of the same and searching for excellence. Of course, we will not be static; we will always innovate, but we will do so in the same frame.

Today, your approach and everything you’re doing is more about positioning Breitling not just as a watch brand but as a universe and a lifestyle on its own. What can you tell us about that?

We cannot think in silos. It’s not just about watches and watchmaking. The person buying our products has a beautiful car, is going to the cinema, to the theatre, and is interested in art. People are looking for a holistic luxury lifestyle, and it all works together. Therefore, you will see projects in the future that have never been done in the watch industry, but as a brand, we have the freedom to do. I always said we want to be the cool and relaxed alternative to the traditional and conservative Swiss watch industry. I think we’ve achieved that. Next year, in particular, you will see much more of this.

You’ve been focusing more on the ladies segment for the last couple of years. What’s the vision for this, and how’s it doing so far?

Next year, we will do something incredibly cool in the ladies segment. There are eight billion people on this planet, four billion women. Why not talk to these women? There’s a market there, of course. The reality is that all brands, can be more male or female oriented. By definition, we will continue to be a male-oriented brand because of the pilot watches and many other things, yet that doesn’t exclude us from doing something else. In some of the retail stores here in Dubai, 35 per cent of our sales are to women already, especially after our campaign with Charlize Theron, which has been incredibly successful. The product is also beautiful. As with the men’s watches, for women, we want to be the cool and relaxed alternative to the traditional and more conservative types of watches.

What method are you using to reach out to that wider customer base, and how do you tap into different ways of connecting with them?

Having an impact through marketing and communication is not achieved in just one year of effort. What makes it strong is the cumulative investment. The new campaign and the new Breitling have only been in place for two or three years, so we must build on that, and it takes time. Now that the image is clear, the products are established, and the boutiques are renovated, we need to continue to invest in the brand and build on what we have and what works.

On the regional level, what’s the pipeline for the Middle East? 

Today, we have 19 boutiques in the region and three or four more openings in the next three to four months. In this region, that footprint is probably our best marketing tool. People love to come to our boutiques, and it’s a fantastic concept.

What is the best advice you have been given throughout your career?

I was very lucky that I had very good bosses; three major figures influenced my life a lot. I always had managers who were smarter than me. I think for a young manager, the most frustrating thing that could happen is that you have a boss who doesn’t know as much as you do, because how can you learn? Thank God I was never in that situation. The only thing I would recommend to young people is that if you have a boss you can’t learn from, change your company!

What’s the professional motto that you live by?

Have a passion for what you do. And always be happy in one area of your life, whether professional or personal.

What is a message that you would send to our readers?

Learn about the new Breitling.