Gherado Felloni and Roger Vivier is a partnership that’s meant to be. Throughout his career, Felloni was inspired by the creativity that shoe designer Roger Vivier possessed, and it has continued to drive him since joining the brand as Creative Director in 2018.

Over the past five years, Felloni has been infusing the brand’s accessory collections with his joyful, decorative spirit – evolving the founder’s legacy with his worldly design language for today. Working at a brand with a beautiful history of the finest savoir-faire, Felloni has found the perfect balance of pushing the boundaries but honouring the heritage and capability of the brand. 

This summer, Roger Vivier presented the Viv’ Choc Pièce Unique collection during Paris Haute Couture Week. This special collection of one-of-a-kind handbags designed by Felloni explores the absolute heights of aspirational French savoir-faire. Each unique creation is a delicate fantasia of embroidery and precious textiles showcasing creativity and the finest in craftsmanship. As the collection was revealed in Paris, we talked to Gherardi Felloni to find out more about this and the future direction of the brand. 

Gherardo Felloni – Creative Director Roger Vivier

Congratulations on the Viv’ Choc Pièce Unique collection – tell us how this collection came to life.

This collection came from the desire to share our capabilities and savoir-faire with the world. It’s not the first time our top clients have asked for special, unique pieces, so we knew they would welcome it. It was a nice process for me, too, because, creatively speaking, there was a lot of freedom. We wanted to show what we could do, and it’s a project we enjoyed. 

Can you tell us about the inspiration, the choice of colours, materials, shapes, and the creative process?

I decided to put a theme to this collection because I believe the project will continue, and since they are unique pieces, they have to change a lot from season to season. So as a first step, I decided to talk a lot about the codes of Roger Vivier that I believe everyone should know – the fact that we are based in Paris and that Roger Vivier has always taken a lot of references from iconic French landmarks such as Versailles, The Eiffel Tower, and the 18th French history century in general. So I decided to reinterpret this for the collection using some of the most iconic things that inspired Roger Vivier as a designer from around France. We have reinterpreted some of these locations in unusual ways, and we also looked to the muses that inspired Roger Vivier himself and used them as inspiration as well. 

Regarding the materials, we used only the finest materials – satin, velvet, feathers, python, crocodile – the most precious and delicate materials we could find. Embroideries are made of feathers and natural pearls; everything is very beautiful. 

Viv’ Choc Pièce Unique collection

These pieces are truly works of art; how important is it to you to celebrate the finest in savoir flair and craftsmanship?

It’s something that I have believed in since I joined Roger Vivier. I always talk about what differentiates a beautiful and multi-level Maison from brands who might speak of savoir-faire and heritage but do not actually have it. I have always taken a lot of inspiration from Roger Vivier himself since the beginning of my career. He was an inventor, but at the same time, he was very attached to the atelier because he worked as a haute couture designer, in the sense that the embroideries, the workmanship, and the details that he was putting into his shoes, reflected those of Haute Couture designs. Today, for a brand like Roger Vivier, and especially at this moment when everyone is capitalising on savoir-faire and heritage, it’s time to let people know what we are capable of. We have never been a brand that shows off, but it is time to share our skills and beauty with the world.

Tell us about your vision and direction for Roger Vivier today. 

Roger Vivier is a very unique brand. As a designer, he was, of course, famous for shoes, but today we are growing a lot in other categories – jewellery, bags, belts. And I think that is a natural evolution because Roger Vivier himself was very closely linked to the silhouette of women. He worked with the likes of Christian Dior and Saint Laurent, and he really changed the silhouette of women. So it wouldn’t be right to tell the brand’s story without thinking about this, and what I mean by the silhouette is shoes, bags, clothes, hats – the full universe – and that’s why today we are capitalising on other categories. We have started to create jewels, and they are performing very well, and I believe that the future of Roger Vivier will have a bigger space for other accessory categories.

Viv’ Choc Pièce Unique collection

Would you ever move it into ready-to-wear? 

It’s not something we are thinking about now. We have created some gilets, which will be in stores in September, but for me, they are more like an accessory for the body than clothing items. They are super-embroidered and very beautiful. So for the moment, ready-to-wear is not on the plan, but we have a lot of space to grow!

We know you also recently celebrated the 60th anniversary of the iconic Vigule heel – what does this shoe design mean within the universe of Roger Vivier, and how do you continue to ensure it remains relevant today?

The Virgule was not very present in the collections when I arrived at Roger Vivier. It has been an obsession for all shoe designers over the years. It’s a shoe icon. So when I joined, I decided to bring it back and reinvent it for today. I believe it is a good moment to bring back this heel. It is a kitten heel with a very contemporary and playful design. It’s super iconic but, at the same time, modern. I have changed the shape slightly from the original but preserved the shoe’s identity.

In your opinion, what makes a design an icon?

That’s a big question! Any product that has become iconic in fashion was not planned to be an icon. It’s not something you can predict. All the iconic bags or shoes in history are still here because a designer decided to do something new or unexpected at the right moment. For me, it’s easy to reinvent icons because Roger Vivier has many. My goal is to reinterpret these with a contemporary customer in mind. If I had to sum up the secret to inventing an icon, it would be creativity but finding that creativity at the right moment in time.

Viv’ Choc Pièce Unique collection

How do you ensure that Roger Vivier stands out as a brand today?

There is no other brand like Roger Vivier. It’s a French Maison, there are a lot of iconic styles in our archives, and there’s beautiful savoir-faire. There are no other brands that have that same placement. We are very niche and special; everything we do is well done in Italy in small quantities, and our designs are complex. This kind of rarity makes the brand different. It’s almost five years since I joined Roger Vivier, and I’m always surprised how clients react to our products.

How do you appeal to younger or new customers but not alienate your longstanding clients?

In luxury and fashion, you must look towards new clients, not look back, because our loyal clients will follow us. They are happy to have newness; they are not scared. I’m a respectful designer, so I would never completely change our work. I have taken inspiration from Roger Vivier throughout my career, so it would be a shame to join the brand and change everything! You don’t risk losing clients when you are loyal and respect the brand as a designer. Our clients are curious, and they want to experiment.

Can you tell us about Roger Vivier in the Middle East and what your clients here are looking for from accessories?

The Middle East offers a huge opportunity for Roger Vivier because we are quite small there in terms of retail, but we have a lot of clients who buy our products around the world when they are travelling. I believe that Roger Vivier is a perfect brand for this market. The rarity of the brand is amazing, and the quality is super high, and that’s what customers in the Middle East are looking for. I always see Middle Eastern clients as clients who understand the luxury industry and its products. When you present something very elevated to a client, you need them to know why this product is so special; in this market, customers understand that. Our boutique in Dubai is performing very well, and the retail buying is beautiful.

What message would you send to your friends and clients in the Middle East?

If you are investing in a product from Roger Vivier, you will surely get something special and quite rare, I’m in awe of every detail, and you will be too. And of course, now that we are more present in the market, we will be creating special products for the Middle East.

What can you tell us about the upcoming collections this year? 

Our big focus this year is the Shock bag which will be in stores in September. I love the design of this bag – the buckle, the completely new chain – and the draping technique in soft leather. It’s a beautiful bag.

What is a lesson you have learned throughout your career?

Fashion is a creative job, but it’s a big business, so you have to believe in yourself as a designer. It’s very easy to lose your focus, so try to keep the focus and don’t be scared when you have an intuition.

How do you get inspired?

It sounds very cliché, but I believe inspiration is all around us. As a designer, you need to truly see what’s around you and get the right inspiration at the right moment.

What’s the professional motto that you live by?

Fashion is about selling dreams, and I try to be positive and propose products that are as dreamy as possible.

Her Highness Sheikha Mozah Bint Marwan Al Maktoum is unstoppable. As the UAE’s first female pilot from the Royal Family and the first female pilot of Dubai police airwing, she has already accomplished incredible feats at just 26. But don’t expect her to stop there! She is fuelled by the adrenaline rush she gets in the sky and by the satisfaction of inspiring young girls and women. Sheikha Mozah still has a lot to do. 

As the granddaughter of the late His Highness Sheikh Maktoum bin Rashid Al Maktoum, the brother of the ruler of Dubai, Sheikha Mozah grew up in her home country, the United Arab Emirates, surrounded by inspiring role models who would encourage her to chase her dreams. She became fascinated by air travel at a young age. Despite a scarce number of women working in the aviation industry globally, she pursued her passion of being a pilot. She became the first Royal female pilot and the First Lieutenant Pilot at Dubai Police. She was the first female to attain this position before being promoted to Captain Pilot in 2023.

But her work is not done yet. Sheikha Mozah has many aspirations up her sleeve and her journey is only just beginning. Moving forward, she will focus on channelling her passion for aviation and her experience into inspiring others and encouraging young girls to chase their dreams, just like she did. We find out more. 

Congratulations on all your work so far – what would you say has been the most significant achievement to date?

Thank you. I am really proud of all my achievements, but I am always looking forward to the next accomplishment. I am motivated by continuously pursuing a better version of myself, so I am often guilty of focusing more on tomorrow than on today. Having conquered milestones that can inspire other young girls to do the same, this remains my number one motivation in everything I do. So, what I am most proud of is my ability to see past the achievement in search of what comes next, treating every milestone as a pebble on the path instead of a reason to stop and contemplate without a forward action.

We know many women look up to you as an inspiration – how do you hope your achievements encourage others to follow their dreams?

I sincerely hope that every young girl sees me as an inspiration to have a difficult conversation with their family to support their dream pursuit. When you come from a more traditional background or you don’t have female role models in your immediate family, it helps to say, “but look at her, she did it, so I should be able to as well”. It’s a powerful tool to enable communication and bring down barriers. I hope I can be that for them, a reason to try.

You have achieved so much at such a young age – what more do you still want to do?

Yes, there is a lot I still want to do, but I don’t like to talk about wish lists, I prefer to discuss achievements and the process in retrospect. There is something special about keeping your wishes for yourself without declaring them to the world. First of all, it gives me freedom to change my mind without judgement and that in itself is something I like to hold on to. Secondly, it allows me to relieve the pressure that comes from the expectations of being a public figure. So, you will have to wait for the next accomplishment!

What are you working on currently?

My most exciting project, which has been in the works for a long time, is the upcoming publication of my first book. It’s a children’s book about women in aviation across history and from around the world. I believe their names and stories will inspire young girls in the pursuit of incredible things and teach young boys that men and women have been braving the skies almost in parallel, that for every man that broke a record, there is a woman too. When introduced early on in schools, this kind of representation will enable a different type of growth based on default inclusion. I can’t wait to present the book, and I will hopefully do a tour of schools, bookstores, and festivals starting this fall.

We know you are no stranger to adventure and taking on adrenaline challenges – is there something on your wishlist at the moment?

I always have my eyes on the latest tech when it comes to sports and aviation. I love to try things out before anyone else because I enjoy the thrill of the challenge. Can I do it? Will I do it? It’s what motivates me. I have been looking at a few prototypes of drones and copters that would be fun to experience but safety comes first. When I flew the Leonardo Tiltrotor, while I was the first woman, the aircraft had obtained all the certifications, and safety was not an issue. I have a keen interest in sustainable flights, like the solar pulse and Human jet Flight, which I hope to do in the near future. I have been fascinated with space travel, and space tourism and Space Perspective is working on a balloon that goes into space, in what they define as a safe life life-changing experience. I will be ready when they are ready, so who knows what will be first.

How did you develop your passion and love for the aviation industry?

I guess you could say it was “love at first flight”! It was during a family holiday in the UK, I was only 12, and I really wanted to try as many new things as possible. I was really into extreme sports and always up for a challenge. I had the opportunity to fly on a Robinson 22. It’s a small helicopter. I will never forget the feeling of that day. It was a hot summer’s day, and the doors of the Robinson 22 were removed; as we were soaring up in the sky and the breeze passed through, I felt an incredible sense of power, freedom, and excitement, and I decided there and then that I wanted to learn how to fly.

What is something else that interests you aside from aviation?

I have a lot of interests, and I see aviation not as an interest but as a passion and my work. I love animals and nature and try to learn as much as possible about them and our environment.

Any extreme sport that requires skills and courage, count me in, I have skydived more times than I can count, but I am also incredibly interested in technology, its use in aviation and beyond and especially Artificial Intelligence. Lastly but probably most importantly Health and wellbeing, that I not only try to apply in my daily life but I am actively learning and researching so that I can be in my best form all the time.

Where do you like to travel to when you want to take time out?

Oh, that’s classified information! But what I can share is that I love nature, and I love to immerse myself in the outdoors as much as possible. Sea or mountain or jungle, wherever I can swim, hike, dive, practice sports and be with animals, it’s definitely when I am in my element.

I have often visited the Maldives because it’s a close destination offering incredible relaxation and unprecedented marine life. For us in the UAE, it’s accessible for short trips, too, which is often all I have access to between work and my busy event schedule.

What is the professional motto that you live by?

“Your altitude is only limited by your attitude” – be the best you can be, and you will achieve everything you set your eyes to. Approach everything with a high spirit of possibilities.

What is a book you have read recently that you would recommend?

I am going to do a shameless plug here; it’s the book I have written about women in aviation across history. I have just finished a final review before passing it on to my editor for the last tweaks. There is something magical about reading your own creation, and I hope this book will make it to the shelves of many homes around the globe. It’s coming out in November and I don’t want to give anything away before then, so check on my website for news on the release, and final title. I have three possible titles fighting in my mind at the moment; such a hard decision!

Who is someone who has inspired you throughout your life? 

The Leadership of my beloved country has served me as a compass in all my choices and opportunities. His Highness Sheikh Mohammed bin Rashid Al Maktoum and His Highness Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum have opened doors for me to enable and support my aviation dreams and allowed me to become the first female pilot of the Dubai Police Airwing. They are never afraid to lead by example, and I am honoured to humbly pay my dues by serving my country.

But, also my beloved mother, who had wished for an independent daughter, and since my birth has supported me so fiercely in all my decisions and endeavours, accompanying me on my very first flight when I worked for Emirates. She booked for herself and a few friends to make sure she could cheer for me all the way. How sweet is that? It cannot be easy to give so much freedom to a young girl when nobody has done it before, so her courage and trust in me inspire me every day to give my best never to let her down. I hope I am making her proud after all; she is the one who gave me my first pair of wings, allowing me to be who I wanted to be. Thank you, mum!

What does it mean to you to see so many Emirati women now in the workforce and doing jobs that perhaps they wouldn’t have previously done? 

I am only 26, and in my short life, I can say that I entered the world when progress had been in motion for quite a while. I don’t recall a moment of ever feeling that anything was off-limits for a woman. From the examples around me to the stories I heard and witnessed, I grew up with the certainty that men and women were equal and I could have pursued anything a man could have if I wanted to, and so I did.

Can you tell us about women in the aviation industry, specifically today and how that has progressed?

Women in aviation represent only six per cent of the aviation workforce globally. It’s an exceptionally low number, but things are changing fast and should improve exponentially. Conversations about inclusion and improving the recruitment process for the industry are happening everywhere, and different actions are being implemented to guarantee a future that includes more women.

In my personal capacity, I have established Shehana, the Women in Aviation Association, to facilitate this inclusion in the aviation industry, not just for female pilots but for a full spectrum of female professionals who could add incredible value to the industry’s future. Shehana will be at the Dubai Airshow this year in an exclusive partnership that seeks to engage youth and promote female speakers from the aviation field. I am extremely proud of this work, and I look forward to creating traction, opening doors and manifesting opportunities for women and youth.

What is the biggest lesson you have learned throughout your life?

Patience. I am a very impulsive person; I want it now, and before I get it, I am already focusing on the next goal or the next want. I chose the wrong career for that; patience and a stoic approach is what is most required in what I do, and I am learning, more often than not, against my will. But patience is definitely the hardest lesson, as jumping ahead has made me walk on quicksand many times. I am getting better as I get a little older. I look forward to being in a place where I am so at ease I can patiently exist in the chaos that surrounds me.

What is a message that you would send to women who are about to embark on a new career or journey? 

Be confident with your choices and know that while nothing is inherently easy, your attitude can open doors and bring you achievements beyond your wildest dreams. Approach everything you do with incredible positivity, a humble spirit and the willingness to always be taught and shown how to do better. Ultimately, commit to doing your best and giving your best in every situation. This way, even if you don’t win or don’t achieve, you have for sure learned a lesson the humble way. Lastly, treat everyone around you with respect and kindness so that you can be remembered for that.

The FENDI Fall/Winter 2023 Haute Couture collection celebrates the finest in couture traditions, combined with a lighter, more approachable attitude. With a focus on volume, fluidity, draper and ease for the wearer, Kim Jones, Artistic Director of Womenswear, addressed the growing demand for couture to become more wearable while still honouring the traditions of fine craftsmanship.

“This season, we wanted to concentrate on the achievement of fluidity, drape and shape through couture techniques, bringing these elements together with the attitude of today.” Said Jones.

This collection also provided the opportunity for FENDI to present its debut high jewellery collection designed by Delfina Delettrez Fendi. The Artistic Director of FENDI Jewellery’s approach was to see the jewellery design as an extension of Haute Couture design. The two designers work closely to create a seamless collection.

“We worked on a template based on Delfina’s high jewellery. If there is no jewellery, the idea is still present through the colour palette and embellishment in the collection; the clothes themselves take on the idea of jewellery. Colours come from flesh tones as well as that of stones: black diamonds, rubies, sapphires. There is a play of soft and hard, flesh and stone.” Said Jones.

Delfina Delettrez Fendi added: “There is an emotional relationship that I have with the jewellery in the collection that I hope the women who will eventually wear it will have too. There is an obsessive precision you need to make jewellery like this, such small objects that have such strength, meaning and personality. And yet, in the end, they have a direct and intimate relationship to the body; they are a profound and personal extension of the woman.”

The collection combines simplicity with complexity, a story of contrasts. A clean, elegant silhouette is given depth by hidden intricacies through complex and rigorous pattern cutting. Many garments are created with one single seam. Second-skin silks, intricate knits, neoprene tailored furs and FENDI chevron feathered shearlings add a sense of elevated glamour.

Precision and emotion, the real and the refined, are also found in Delfina Delettrez Fendi’s approach to high jewellery. The jewellery pieces are presented in a FENDI colour palette of exceptional white and yellow diamonds together with green, orange and pink Padparadscha sapphires and spinels. The collection of pink spinels alone, that feature in the ‘Undarum’ set, took forty years to gather together and will probably never be replicated in nature again.

The discreetly multifaceted nature of this couture collection reaches a crescendo in embroidery techniques that unite the clothing and jewellery worlds. While clutching their jewel box minaudière, the mood builds with models scattered with jewel-like embellishments or layered with a stratification of intricate stacked tonal paillettes and stones at the closing of the show. To achieve the glittering rose glow of the final look, it took 1200 hours of handwork.

Elie Saab’s Fall/Winter 2023-24 collection celebrates the image of regal characters through the ages and how they are portrayed through cinema.

The Lebanese couturier looked at medieval fictional characters played by some of Hollywood’s greats as the underlying inspiration for this extravagant offering. Cate Blanchet in Elizabeth, Sophie Marceau in Braveheart, Kiera Knightly in The Duchess, Marion Cotillard in Macbeth, Charlize Theron in Snow White and the Huntsman, Isabelle Adjani in La Reine Margot, and Angelina Jolie in Maleficent –– give breath to an alluring retelling of legends and tales.

Titled “A GLAMOUR OF YORE”, this collection traverses a spectrum of opulence and grandeur and adds new extravagance to fashion as the worlds of history, royalty and cinema collide. 

A lineup of heroines walked the runway dressed in glistening looks with a sense of gracious composure. Tudor sequined roses and flower branches wildly vine up necks and out of caped shoulders in blooming armouries of romantic strength. Dignified gold and glistening crystal beads dance with braids and tresses into corsets that sensually train behind in mousseline sands of time. Striking complexities emerge in dazzling jewelled moments of ruby, amethyst and emerald, while draping velvets still veil rich depths.

Intricate textures are lavishly woven into refined volumes of majestic demure, where each silken thread is a moving ode to elusive beauty. Dramatic capes of crystalized crepe and velvet dentelle add an impressive layer, wrapping matching gowns in enchanting mystery.

Pearl drops and gilded bees buzz through untamed fields of embroidered foliage and into suited gothic statements of versatile strength. Wispy blush feathers swish and sway with glittering sequins in playful fantasies of near transparency. 

The show closed with a captivating bride whose glistening gown in blush pink is a symbol of excellence.

This collection celebrates the highest level of beauty and captures such iconic moments across generations.

Virginie Viard’s Fall/Winter 2023-24 Haute Couture collection for Chanel was inspired by the chicest of Parisian women. Taking a cue from the ultimate French muse Vanessa Paradis, Viard painted a portrait of the contrasts of a sensitive yet bold Parisienne.

“Playing with opposites and contrasts, with nonchalance and elegance, is like standing on a line between strength and delicacy, which, at CHANEL, is what we call allure,” she explains.

In this sense, the collection features many contrasts, sharp, masculine suits in soft feminine hues, masculine-inspired overcoats, diaphanous blouses belted over flat-pleated golden tweed skirts, precious vest tops, pin-striped trousers and men’s waistcoats, a long black chiffon dress of infinite lightness, painted eyewear and two-tone Mary-Janes.

The collection plays with the codes of CHANEL, rigour and asymmetry, using discreet colours and vibrant shades, assurance and discretion.

The show was presented on the riverbank of the Seine. “If we’re in Paris,” she adds, “and this time we’re in Paris itself, on the quayside. The street and the colourful paving stones call for both sophistication and simplicity.” Said Viard. Crowds looked on as models paraded across cobbled stones that had been hand-painted pink – yet another nod to the juxtapositions between hard and soft.

“Handing down emotions, bringing the most unlikely elements together, doing things your own way, just dreaming.” Added Viard in the show notes.

The Giorgio Armani Privé Fall/Winter 2023-24 collection “Le temps des roses” pays homage to the red rose; a symbol of romance, love and life.

Giorgio Armani plays with this iconic symbol in various ways, reinterpreting it in oversized blooms, embellished petals and sculptured shapes that don’t compromise on the romanticism of this universal motif.

Mysterious roses are presented in glossy lacquered textures, embossed on surfaces in a pattern adorned with graphic black and brilliant accents of gold. The entire parade offers an iridescent glow as models shimmy down the runway.

As with many of the Italian designer’s collections, the Far East strongly influences this offering thanks to Mr Armani’s fascination with this region of the world. A journey from the oriental world to the modern West through elongated silhouettes that sway and capture the essence of couture with every movement.

The rose is repeatedly seen across looks that epitomise the brand’s DNA. Sharp geometric lines highlight the designer’s sense of precision, while soft accents offer a sense of feminine romanticism. Cropped jackets, long skirts, fluid trousers and floor-length dresses skim the body and sculpt the silhouette.

In accessories are slim and elegant with pointed toes and higher than we have seen in the past. Many also feature a rose motif at the toe or mesh detailing.

The final look saw an unconventional bride dressed in red with rose decorated glistening bodice. She is undeniably elegant yet bold and powerful.

Tamara Ralph returned to Paris Haute Couture Week this season with her debut collection from her new namesake brand, Tamara Ralph.

The Fall-Winter 2023-24 collection, which was presented in Paris on July 23rd 2023, symbolises the journey the designer has been on over the past few years. It represents the place she is at now as a designer and a woman, with strong, empowering femininity at the heart of the designs. Fresh from the show in Paris, we talked to Tamara about this new chapter and her vision for the future of the brand.

Tamara Ralph FW23 – Look 09

Firstly, welcome back! Tell us about the journey you’ve been on over the last couple of years and where you’re at today.

Thank you! It was a journey that taught me a lot in business and my personal life. I had a beautiful daughter, which was a lovely experience. She’s our world. I wanted to take the time to regroup and look at the future, how to do things differently, and how to take my creativity forward.

We saw the reveal of your FW23 Haute Couture collection in Paris yesterday – tell us about the main themes and inspiration behind this collection.

It was really lovely to be back in Paris with my team. It was a great experience, and we loved working on it. The collection drew on many of the experiences I have been through in the last couple of years. My work has always been very feminine, but some of my experiences made me stronger as a person and allowed me to grow as a designer, and I wanted to highlight that with this collection. I wanted to show feminine strength in the collection, a bolder, more mature side. To highlight this, I took very feminine elements and presented them in harder materials. Roses in metal, to create armour-like structures within the dresses, for example, almost shield-like elements, but done in a very elegant, graceful way, with refined detail. Taking metal work and encrusting it with pearls, or taking roses and making it into metal and covering it in stones, really hardening these feminine elements but keeping them very rich.

Tamara Ralph FW23 – Look 06

Tell us about some of the colours used in this collection. 

The first part of the collection starts with classic black-and-white looks. I think my designs have always had a very elegant, classic aesthetic, so I wanted to start with the purity of black and white with these classic pieces. It then evolves into a raspberry red which is quite a passionate colour, before moving into feminine gelato shades. We have a beautiful peppermint tone and a soft candy pink. Mixing these soft colours with classics combines the femininity and strength that the collection is about.

What has the feedback been like so far?

We have had incredible feedback from the press and clients alike, so it’s been a very busy but wonderful twenty-four hours.

Tamara Ralph FW23 – Look 11

And we saw you had your daughter with you at the show…

When you become a mother, you gain a different purpose and perspective, and my daughter has been instrumental in giving me strength for my next chapter. She is a huge part of me, so sharing this with her is amazing.

Who is the woman that you’re designing for now?

She’s someone who knows herself and has strength. She’s bold; she knows what she wants; she’s fearless, but at the same time elegant and graceful.

Tamara Ralph FW23 – Look 10

What else is in the pipeline for your brand?

We’ve got some exciting announcements coming next year, including some amazing collaborations we’ve been working on. These will set the foundations of having a lifestyle offering from the brand. Couture is obviously the heart of what we do, but I want to push my creativity outside of that and look at other ideas and categories that sit beautifully within the brand’s story and the luxury sector but give a wider offering outside of fashion. We can’t share too much at the moment, but we are really looking forward to it when it launches next year. 

Tamara Ralph FW23 – Look 25

Read the full interview in the upcoming September issue of A&E Magazine.

Dior’s Fall-Winter 2023-24 Haute Couture collection depicts Artistic Director Maria Grazia Chiuri’s ideal of couture and celebrates the power of women throughout time.

Each design underlines the sartorial elements that can be described as archetypal, such as the tunic, the peplum, the cape and the stole – timeless, iconic pieces redesigned in contemporary ways, yet not forgetting their origins.

There was a sense of royalty or divineness to the collection, pieces inspired by iconic women who have ruled and still rule the world. From goddesses to royalty, this was reflected in the model selection and lineup, each feeling somewhat mystical and otherworldly.

Presented in the Musee Rodin in Paris, the colourful landscape paintings of artist Marta Roberti formed the backdrop for the show, complementing the neutral colour palette.

The collection features neutral tones – white, beige, silver and gold – with a sense of purity, while a pillar silhouette paired with flat shoes gives a sense of understated beauty or beauty without trying. With each look, the Artistic Director perpetuates the cult of the goddess and reinterprets the founding emblems of Antiquity.

Chiuri’s mission to promote the strength of femininity was once again highlighted through this collection, illustrating its strength and fragility, which supports and sustains the community we form. Recalling the past, it guides us towards a vision of the future endowed with sensitivity and essential attention to detail.

Schiaparelli opened the latest edition of Paris Haute Couture Week today with a show that highlighted the close connection between the worlds of fashion and art.

The Fall Winter 2023-24 collection by Daniel Roseberry once again highlights the brand’s firm position as an inspirational leader in the world of Haute Couture, with iconic looks that set the tone for a season of glamour and elevated chicness.

Architectural silhouettes, extreme embellishments and a fascination with the human body were once again at the forefront of Roseberry’s designs, as well as the use of exceptional materials and a sense of freedom and fluidity.

Roseberry was inspired by a quote by American philosopher and author Ralph Waldo Emerson that read: “Every spirit builds itself a house; and beyond its house, a world; and beyond its world a heaven. Know then, that the world exists for you: build, therefore, your own world.”

Immersing the audience into the world of Schiaparelli, Roseberry offered a more “organic, more sensual and more impromptu” collection than last season, finding freedom in separates such as a white shirt, pants, puffer coats and knitwear basics. “I wanted to make an impossible wardrobe – impossible not because it’s not wearable, but because it’s so extraordinary, a Surrealist’s interpretation of a woman’s essential closet.” Said Roseberry in the show notes.

The idea of surrealism was reflected by art pieces presented around the show space, once again highlighting the brand’s close connection to the art world. Each piece in this collection is somehow inspired by an artist – from a woman’s body with brushwork inspired by Lucian Freud, to mirrored mosaic pieces inspired by the work of sculptor Jack Whitten, as well as a leather cigarette box that trims a ball gown skirt is a homage to Sarah Lucas, and the deep blue pebble-like beads and powder that cover a multitude of surfaces are a nod to Yves Klein.

Surrealist artist Salvador Dali is also a key inspiration for this collection. His sunrises give birth to a multitude of vibrant colour degradé’s, as well as Matisse and Lucian Freud, whose homes and residences inspired various elements of the collection, including the dramatic chaos of painterly brushwork on an oversized white laminated puffer. “This collection has been so heavily inspired by the agony and ecstasy of creation—but still offers clothes for a woman to love for a lifetime.” Said Roseberry.

In accessories, the new Schiap bag is set to be a season icon, presented in a hand-painted and alligator version, as well as being decorated with wooden beads of the signature ‘trapunto’ technique echoed in white strands of plaster beads and bugle beaded measuring tapes.

The toe shoes return this season, this time with a “barely-there” appearance, with the Maison’s signature measuring tape running up the bag of the leg.

Again, art is a huge influence in jewellery. Giacometti’s monumental sculptures are reinterpreted here as skinny drops of stone-capped gold, and Claude Lalanne’s beloved mouldings inspired massive brooches and cuffs. There are also wooden jewels which marks a first for the maison.

“Going into the unknown, when creative expression and fame feels available to any and all, at least for a moment, we wonder: What can break through? For our Maison, it is the power of design, the power of our artisans, and the power of the human hand at work.” Roseberry finished.

Assouline presents a new book dedicated to the legacy of the Expo 2020 Dubai’s UAE Pavilion.

This impressive falcon-shaped structure became an icon of the country’s Expo thanks to its awe-inspiring architecture and fascinating content. Commissioned by the UAE Ministry of Culture and Youth and situated in the heart of the landscape of Expo 2020 Dubai, the UAE Pavilion invited visitors to discover the UAE as the Land of Dreamers Who Do.

© Smith & Foulkes:Nexus Studios for the UAE Pavilion Expo 2020

It told the story of the country’s past, present and future, and its ability to always look forward while honouring the past. The Pavilion featured an immersive experience that showcased technology innovation and heritage.

© Katerina Premfors for the UAE Pavilion Expo 2020

Now for the first time, a book is honouring the legacy of the Pavilion, allowing readers to return to that memorable year and rediscover some of the highlights. It invites readers to once again experience and immerse themselves in the beauty, simplicity, and natural diversity of the UAE. Ambition and humanity; authenticity and openness; optimism and resilience – these are the values underpinning the story of the Land of Dreamers Who Do and embodied within this exceptional volume.

© Smith & Foulkes:Nexus Studios for the UAE Pavilion Expo 2020

“Land of Dreamers Who Do” offered a visitor experience that engaged the senses, which included the creation of two bespoke scents used at specific points, bringing the narrative to life by evoking scent memories of the UAE. Each book has pages imbued with “Desert of Dreams,” one of these signature scents, giving readers a unique insight into this special encounter with the spirit and character of the UAE.

© Katerina Premfors for the UAE Pavilion Expo 2020

Available at Assouline outlets in the UAE. RRP 760AED.

Looking for a last forever accessory or a statement bag to get you through the summer? We reveal the latest bags to carry, wherever you’re travelling.

Michelin star chef Chef Akmal Anuar arrived in Dubai from Singapore with his decade of culinary experience, ready to shake up the UAE’s restaurant scene with his disruptive dining concepts.

With his own style and identity, the Singapore-born chef was the Head Chef for over seven years at the famous Iggy’s Restaurant in Singapore. He was recognised in the prestigious World’s 50 Best Restaurants, securing the 26th position in 2012 and voted No. 1 restaurant in Asia. While at Iggy’s, he cooked for famous dignitaries and celebrities, participated in exhibitions and culinary competitions, and displayed his culinary skills alongside legendary chefs like Tetsuya Wakuda of Tetsuya’s Sydney and Massimo Bottura of Osteria Francescana, to name a few.

In late 2016, he established 3Fils in the Jumeirah Fishing Harbor, subsequently awarded a Michelin star and becoming one of the UAE’s most talked about restaurants. Most recently, in a joint partnership with Sunset Hospitality Group, Chef Akmal founded Goldfish Sushi & Yakitori. This dining concept introduces the authentic taste of Japan in a laidback, contemporary environment. The restaurant has been listed in the Gault & Millau guide and has just been awarded the Michelin Bib Gourmand. We find out more. 

Tell us about the concept of Goldfish Sushi & Yakitori. 

At Goldfish Sushi & Yakitori, we blend authenticity with modern influences, giving diners a true taste of Japanese flavours in an unpretentious, relaxed atmosphere. We source the freshest prime seasonal ingredients flown in directly from Japan and use both simple and traditional cooking techniques to amplify the unique tastes of our dishes. 

Goldfish was born in 2021 in collaboration with Sunset Hospitality Group during the height of the pandemic. The UAE opened up quickly compared to other countries and made great progress during that time. Discussions on establishing Goldfish with SHG started in 2020. After several meetings and a site visit, there was instant chemistry, and we shook hands to seal the deal. Today, we’re incredibly proud to see Goldfish enter its third year of successful operations.  

What do you think the restaurant offers that you can’t find anywhere else in the UAE?

We prioritise having seasonal, fresh ingredients to ensure our food quality is superior. Another aspect that truly sets us apart in the market is our commitment to remaining accessible and simple. This approach is the main cornerstone of our brand; we want to welcome everyone to enjoy authentic, high-quality Japanese food in a comfortable setting. 

Tell us about some of the highlight dishes and what inspired them.

My love for raw dishes has inspired me to create the popular and best-selling dishes we now have at Goldfish. We have a variety of them on our menu, with some of the stand-out favourites being the Yellowtail Carpaccio and Bluefin Tuna with truffle. 

While our selection of Sushi are winners, our clay pots are a must-try. Embracing the traditions of Southeast Asian culture that deeply resonate within me, these pots represent our culinary artistry. To round off the authentic experience and for a visually appealing presentation, we bring the final touches to the dish right at the guests’ tables. The Mushroom Claypot, Wagyu Hambagu Claypot and Chilean Claypot are our signatures, however, we do often have unique clay pot additions to the daily special’s menu. 

The restaurant has just been awarded the Michelin Bib Gourmand – what does this mean to you?

Being awarded and recognised by the Michelin Guide for two years in a row means the world to me and my team. This is a solid validation for our work and commitment. Some team members have been working with me since 2016 and have demonstrated strong passion and dedication to their craft; their remarkable work deserves to be celebrated. 

Tell us about your wider portfolio of restaurants and ventures. 

I like disruptive concepts and often feel the urge to make people uncomfortable with my ideas. It pushes me to be different and creative. I don’t follow the norm so much. My career has never been about monetary gains; my driving force is finding purpose and creating a dynamic impact as I navigate toward the future. This year I am tightening loose ends and infusing a fresh vibrancy into everything I do. 

In 2019, I set up White Rice Consultancy, offering food and beverage consultation, concept creation, brand management, and joint ventures with projects now underway in the UAE and in Singapore. Among the ventures also undertaken is Chie, a Mediterranean restaurant I manage inside the House of Wisdom in Sharjah. My most recent project is 11 Woodfire, the one-Michelin-starred restaurant which opened in 2022. 

What is your biggest achievement so far? 

The biggest achievement has no measurement. I am blessed and very grateful to be where I am today; being surrounded by my family in Dubai, doing what I enjoy most, and living a comfortable life. Establishing multiple restaurants and operating alongside a team of great people is undoubtedly a great achievement worth celebrating. 

How do you think platforms such as Michelin and World’s 50 Best arriving in the UAE positively affect the country’s hospitality industry?

Such platforms and their influential presence in the region are generating a profound impact on the hospitality industry. They serve as a catalyst, motivating restaurants across the country to innovate and elevate their creations. As a result, stronger competition will eventually fall into place, taking the industry to new heights.

What do you think is the secret to sustaining a successful restaurant in the UAE today, especially when there is so much competition?

I believe the secret is simple: unique brand identity and superior quality.

How does the UAE compare with the industry in Singapore?

The UAE is ever-growing and is a hub for innovation and growth; it attracts visitors from around the globe, given its strategic location. Singapore has strong competition within its culinary scene, however, in terms of scale and spending power, the UAE has its own differences.

What first fuelled your love for cooking?

I was born into a family of hawkers and would often help my parents at the stall. Growing up in this environment fostered a deep love for food within me and inspired me to become a Chef. I took my passion to a profession in 2000 when I landed a job in a French restaurant called Les Amis in Singapore. 

What is your favourite dish to cook? 

I am a 3-4 ingredient guy when it comes to cooking. I choose the best ingredients for the meal, considering what affects its texture and flavour the most. A simple bowl of short-grain rice with a fried egg and furikake can take someone straight to heaven. It’s one of my favourite dishes to prepare.

What is something you would still like to do in your career that you haven’t done yet?

One aspiration that remains close to my heart is to establish a platform dedicated to empowering underprivileged individuals who have not had the opportunity to start their way in the industry. I envision creating a space where these aspiring talents can receive the necessary support and guidance to pursue their passion. I want to work hand in hand with a non-profit organisation to turn this vision into reality and create a more inclusive industry. 

Where do you like to eat when you eat out in the UAE?

I enjoy eating in my restaurants or at home when my wife cooks. Besides that, I enjoy visiting new restaurant openings when I find the time. It’s a way to stay connected with the evolving dining scene.  

What is the professional motto you live by?

Stay sincere in your beliefs. First, never promise or do something for someone when it doesn’t align with your truth and intentions. It’s better to say no than to disappoint. Second, never be a slave to yourself or to something that doesn’t fulfil your beliefs. Remain true to yourself, and you will find purpose in everything you do. 

Hublot’s new Big Bang Unico Sky Blue celebrates the colours of summer with an impressive blue ceramic developed in-house by the watchmaker.

This 42mm watch represents new horizons, exploration and a world of dreams, making it the perfect accessory to take you through the summer months. The dial reveals the column wheel of the HUB1280 manufacture calibre, a self-winding chronograph movement with a 72-hour power reserve.

As its Unico manufacture movement gently tracks the easy passage of time, the Big Bang Unico Sky Blue evokes a sense of brightness and timelessness. The white luminescent hands and indices, which appear suspended, mark the hours spent in joyous reunions. The watch was developed using the brand’s unique processes to produce this exclusive colour and unrivalled comfort.

This high-tech material is hypoallergenic and adapts to the temperature of the skin. Lightweight and ultra-resistant to oxidation and scratching, it is the perfect companion for all your summer activities. The new Summer edition of the Big Bang Unico comes with a Velcro strap with a sports fastener and its iconic lined natural rubber version with a titanium deployment buckle for those long evenings under the stars.

Available in a limited edition of just 200 pieces.

With the Eid Al-Adha holiday on the horizon, an extended six-day weekend for many UAE residents, we round up some of the staycations to try if you plan to stay in the UAE for the upcoming holiday.

25Hours Hotel Dubai One Central

25Hours Hotel Dubai One Central offers the ultimate urban staycation this summer, inviting guests to enjoy a relaxing city break. This trendy hotel which overlooks Dubai’s Museum of the Future, is perfect for the style-conscious traveller, offering a quirky take on an urban property. The hotel features an array of rooms with unique colourful interiors following the history of the UAE, ranging from the Bedouin rooms to the Artist Village Suites. The Glamping rooms have curated design elements like portable sound systems and analogue telephones, adding a unique touch to the design. The largest Artist Village suites are a kaleidoscope of colours with patterned tiles, quirky artwork, seating areas, dual showers and roll-top tubs. For something extra special, the Hakawati Suite is the hotel’s Penthouse accommodation, with a private bar, with a terrace overlooking the Museum and a sheikh-sized bed.

The hotel has numerous award-winning outlets, from Latin American rooftop bar Monkey Bar and German Biergarten Ernst to Indian Tandoor Tina and Nomad Day Bar – operated by Nightjar Coffee. Hotel facilities include a panoramic pool, state-of-the-art gym and the Extra Hours Spa – playfully encouraging guests to make the most of that elusive 25th hour.

The hotel’s ‘Summer Surprises’ package includes various benefits, including 30 per cent off room rates, breakfast included, credit to spend in F&B outlets and other special discounts.

The Westin Dubai Mina Seyahi, Dubai Marina

The Westin Dubai Mina Seyahi is offering a summer staycation experience for all the family. The resort’s summer deal includes breakfast and dinner at Mina’s Kitchen for two adults and two children (up to 14 years). This resort has much to experience, from the adults-only Bussola Mare Beach Club to the kid’s Jungle Bay Waterpark. If the heat is too much, The Westin has a number of food and beverage outlets, from traditional Italian dishes at Bussola to five-star grills as BABA and, for the real foodies, beachside dining at Fish Taverna.

The hotel has also recently undergone a transformation, with the conservatory being the perfect meeting point for guests and friends. The art deco interiors make this one of the most visually aesthetic properties in the UAE.

Caesars Palace, Dubai 

Located on Bluewaters Island, Dubai Caesars Palace combines the best of a beach escape with an urban city break, offering a fresh take on the Dubai experience with celebrity chef-helmed restaurants, five temperature-controlled outdoor pools and two beach clubs, where adults can create lasting memories in a relaxed and refined setting. Encompassing a 500m private beach with unobstructed views across the Arabian Gulf the hotel offers luxury rooms, suites and apartments with sleek, contemporary interiors and private balconies. From relaxing at the well-appointed Qua Spa to enjoying live entertainment and indulging in a variety of alfresco dining experiences, Caesars Palace Dubai expertly caters to the unique desires of each individual guest.

For the upcoming Eid holiday, the resort is offering a special deal for residents and UAE Nationals, including savings on rooms and suites, complimentary breakfast, spa credit and more.

Waldorf Astoria DIFC, Dubai

Waldorf Astoria DIFC is an urban retreat, perfect for those looking for a tranquil escape from city life but who want to travel only a short distance from home. The perfect location for exploring Downtown Dubai, The Dubai Mall and some of the city’s best restaurants in DIFC. The hotel features a relaxing rooftop pool and spa to unwind and treat yourself to some well-deserved “me time”. The chic rooftop lounge St Trop is also perfect for relaxing and enjoying the awe-inspiring skyline views.

For a lively dining experience, head to Bull and Bear, the signature steakhouse inspired by the iconic Waldorf Astoria New York original. Decorated in a sleek and tasteful style, this is the perfect spot to savour the incredible menu that offers an imaginative twist on the legendary meat eatery. And remember to try the iconic Waldorf Astoria Afternoon Tea in the Hotel’s Peacock Alley lounge and bar.

W Abu Dhabi – Yas Island

If you’re considering heading to the capital this summer, W Abu Dhabi is the city’s most stylish hotel. Perfect for a girly weekend or a couple’s retreat, there’s plenty to explore and enjoy! Nestled amidst the UAE’s entertainment hub’s vibrant energy, this hotel is in the perfect location for exploring some of the city’s most exciting landmarks. Step into a realm of indulgence as you relax in stylishly designed rooms boasting breathtaking views of the marina. Take a dip in the infinity pool, where the rooftop deck invites you to unwind and sip refreshing mocktails.

Indulge your palate at the hotel’s exquisite restaurants, tantalizing your taste buds with a fusion of global flavours. With its prime location, world-class amenities, and unparalleled service is a great way to spend your summer.

Rosewood Abu Dhabi 

Embark on an extraordinary 360-degree staycation as Rosewood Abu Dhabi joins forces with the esteemed Saadiyat Beach Club. This exclusive partnership seamlessly merges the coastal allure with urban opulence, enveloping you in a sensory symphony of leisure and luxury. From now until 30th September, bask in the elegance of Rosewood Abu Dhabi while immersing yourself in the breathtaking beauty of Saadiyat Island’s pristine beaches. Begin your day with an exquisite breakfast at Aqua, before heading to the allure of Saadiyat Beach Club. The Club features temperature-controlled pools, steam rooms, saunas, and a refreshing indoor plunge pool. Unwind further in the indoor jacuzzi or find solace on the shaded terrace, basking in the sun’s gentle caress. Retreat to Rosewood Abu Dhabi as the day unfolds, or visit the Galleria Mall for a shopping experience. Finish your day with a choice of seven outstanding restaurants and bars, or visit Sense Spa, an oasis of rejuvenation.

The Summer Beach Escape package includes complimentary entry to the luxurious Saadiyat Beach Club for each guest for every day of their stay at Rosewood Abu Dhabi. Guests will also receive a reduced room rate, including breakfast, plus they can enjoy 20% off the exquisite culinary offerings within the hotel, 20% off at the beach club food & beverage, and 20% off Sense, a Rosewood Spa®.

One of Britain’s most renowned chefs Heston Blumenthal OBE, has opened his concept restaurant Dinner in Dubai with an impressive selection of extraordinary and surprising dishes inspired by the flavours of The United Kingdom, dating back as far as the 13th century.

Blumenthal, who is known for his out-of-the-box cooking and creative concepts, began his Dinner concept in the United Kingdom in the late nineties after becoming fascinated by the historical tastes of his home country. With an “Alice in Wonderland” approach to presenting his dishes, combined with the Tudor dining experiences, he created an experience that guests will not forget in a hurry. Now for the first time, this unique concept has arrived in Dubai, and it really is as extraordinary as it sounds!

The original Dinner concept was created after years of research. Blumenthal became fascinated with historical dining and wanted to find a way of modernising it, offering guests a sense of the past, present and future through the flavours, presentation and style of the dishes. He began by studying 14th-century cookbooks such as those by the royal chefs of King Richard II; he worked with food historians, tapping into the world of the British Library and the team at King Henry VIII’s Hampton Court Palace to create something completely unique.

Located at the awe-inspiring Atlantis The Royal, Dinner overlooks the hotel’s Skyblaze fire and water fountain show. Upon entering the restaurant, guests will be greeted with the scents of frankincense, wood smoke and leather, creating a sensory atmosphere. Guests enter the restaurant via a panelled room where Victorian-style animal sculptures are built into the wood. As the entry door closes, a concealed automatic sliding door opens to reveal the restaurant and show kitchen, as well as the showpiece installation, ‘The Dinner Escapement’ (clock).

The menu, now available at the Dubai location, is an edible history through storytelling in the form of highly modern dishes inspired by a gastronomic insight from the past. We don’t want to give too much away. Still, some of the menu highlights include “Meat Fruit (c.1500)”, which appears to be a Mandarin but is actually an artistically disguised chicken liver parfait when it arrives at your table. It is regarded as one of Dinner by Heston’s most iconic dishes and is inspired by a traditional medieval dish called Pome Dorres or “apples of gold”; Dinner’s contemporary version of the dish features velvety chicken liver parfait disguised as a mandarin and is served with sourdough and requires three cooks on the cold larder station to work five hours every day to make.

Another highlight is the Salamagundy (c.1723), which is Dinner’s contemporary version of a 17th-century salad dish that features layers of smoked confit chicken, warm slices of beef bone marrow, pickled walnuts, braised salsify with bitter leaves and finished with freshly grated horseradish. Furthermore, the Powdered Duck Breast (c.1846), is an incredibly complex duck recipe, highlighting the level of work and detail that goes into each dish on the menu. The dish was inspired by a recipe for “Garnish of braised cabbages” in the 1846 edition of The Modern Cook by Charles Francatelli and comprises sous vide duck breasts paired with duck hearts and pickled cherries, with braised red cabbage and a red cabbage fluid gel. The word ‘powdered’ is an old term or phrase for ‘brined’ (which was a great way of preserving meat before refrigeration was invented); the team ‘brine’ the duck first with herbs and spices to add flavour to the meat.

And you cannot visit Dinner without indulging in an impressive selection of desserts. Guests are invited on a sweet discovery of the 19th century with the Tipsy Cake (c.1858), as well as the Liquid Nitrogen Ice Cream Trolly (c.1901), inspired by the work of Agnes B Marshall, a 19th-century culinary entrepreneur.

“I’m excited for guests to experience Dinner Dubai; although similar to Dinner in London, the Dubai venue has something extra special that our London guests won’t see, a giant pineapple escapement, which is the magical centrepiece of the restaurant, that also provides a functional element, turning the rotisserie which has roasted pineapples on it. Pineapples, historically, were unbelievably expensive; they were seen as unbelievable luxury… and so ours will signify adventure, exploration and discovery; Atlantis The Royal and Dubai were the perfect locations for Dinner outside of London, I like the idea of the juxtaposition of the old and the new, historically inspired recipes reimagined with modern techniques; so there’s the old and the new, housing it in an incredible new building; Atlantis, on the sea in Dubai.” Said Heston Blumenthal OBE.

Dinner by Heston Blumenthal is open daily from 6pm – 11pm. To find out more or to make a reservation log onto www.Dinnerbyhbdubai.com or call + 971 4 426 2444. @dinnerbyhbdubai.

Created by tashas founder Natasha Sideris and inspired by her Greek heritage, Avli by tashas has fast become one of Dubai’s most popular dining destinations.

The elegant interiors and home-style Greek dishes make many of Dubai’s resident’s regular visitors to this stylish restaurant. Avli perfectly combines elegant-rustic interiors with a homely feel, creating an atmosphere that keeps guests revisiting time and time again.

Green Salad

And now there are even more reasons to visit as the luxury eatery launches a new mouth-watering business lunch menu.

Taking you on an Athenian getaway during your lunch break, the new menu features a carefully curated selection of dishes that blend Greek flavours and a balanced Mediterranean diet.

Chicken Souvlaki

Developed by Avli by tashas’ Head Chef, Vlassia Anagnostou, this fine-tuned menu focuses on Athenian flavours and textures with a modern spin, with key ingredients used carefully selected and sourced from Greece to ensure a truly authentic taste.

Beginning with hot and cold mezze, some of our menu highlights include the Tuna Carpaccio with tomato sauce, preserved lemon oil dressing, the Calamari Salad, and the Spanakorizo Arancini.

Tuna Carpaccio

When it comes to main courses, there is a delicious selection on offer, including classics such as the Chicken Souvlaki served with Greek fries or traditional Moussake. The Red Snapper with grilled courgetti is also a must-try.

Don’t forget to save room for dessert, of which the Peach Pavlova and the Daktyla are a delicious sweet ending to your meal.

Daktyla

Location: Unit C-01, Ground Floor, Gate Village Building 9, DIFC, Dubai, UAE.

For reservations: Phone: +971 4359 0008, Email: info@avlibytashas.com

Our pick of the newest fragrances will whisk you away to the joy of summer.

Sisley Les Eaux Rêvées

Sisley’s new fragrance collections comprise six scents, each, in turn, fresh, floral, warm and spiced. These olfactory odes to nature express this imaginary place where inspirations collide, join together and become one – the inspirations of different generations of the d’Ornano family, the creators of Sisley. New to this collection, Eau Rêvée d’Hubert evokes the Geranium that Isabelle d’Ornano has pruned a thousand times. It is named in memory of Hubert d’Ornano, Sisley’s founder. Isabelle d’Ornano wanted this olfactory creation to open with the robust and original scent that arises when you rub the velvety leaves of her famous Pelargonium Tomentosum.

Dior La Collection Privée Dioriviera

Created by Francis Kurkdjian, Perfume Creation Director – Parfums Christian Dior, the new Dioriviera fragrance captures the spirit of the South of France’s home of perfume, Grasse, during the rose harvest. Surrounding Dior’s Château de la Colle Noire, the scent of roses during the harvest period is irresistible, addictive, defined and delicate. “The inspiration for the Dioriviera fragrance came to me suddenly in Provence, amid a field below the La Colle Noire estate. The southern sun was shining, the May roses were in bloom, and a warm breeze blew through the leaves of a majestic fig tree, my sole companion.” Said Francis Kurkdjian. “This magical moment was seared into my memory, and in that very instant, the desire to create a perfume arose.” He added.

Acqua Di Parma Arancia La Spugnatura Limited Edition

Acqua Di Parma celebrates a rare and precious citrus essence with its new limited edition fragrance. Traditionally used only to obtain the most precious essence from bergamot fruits, La Spugnatura is an antique extraction method practiced by a few artisans in Italy. This summer, the Maison explores the age-old technique on a different citrus fruit, the Arancia Vaniglia orange, to craft a new-limited edition scent.

Loewe Perfumes Paula’s Ibiza Fragrance Edition

As part of the annual Loewe Paula’s Ibiza collection, the brand has decided to create two perfumes that capture the essence of a Mediterranean island, a homage to the summer spirit that defines the Ibiza mindset in music and culture. The original LOEWE Paula’s Ibiza EDT is an irreverent composition, with beachy notes of mandarin, driftwood, frangipane, sand lily and patchouli oil while the LOEWE Paula’s Ibiza Eclectic EDT is hedonistic and wild with notes of orange flower absolute, jasmine sambac, incense, sandalwood, and musk. Both feature delectable gourmand notes of vanilla and coconut

Les Parfums Louis Vuitton Pacific Chill

This summer Louis Vuitton is transporting you to America’s Pacific Coast with the new Pacific Chill Cologne Perfume. Created by Master Perfumer Jacques Cavallier Belletrud, the latest scent offers a cool, purifying vibe with an ethereal, fruity mist and floral depth. The feel-good fragrance captures a sense of well-being, vitality and the pleasures that come from the light of a new day warming the skin. This scent is designed to uplift the mind, body and spirit and offer a fresh, warming sense of balance.

Q By Dolce&Gabbana

Q by Dolce&Gabbana was crafted by perfumer Daphne Bugey in Italy using exclusively the highest quality raw materials selected according to the fine fragrance criteria. The woody, fruity Eau de Parfum opens with the quintessentially Italian and tart Sicilian Lemon, revealed alongside luminous Blood Orange and glowing Jasmine petals. The delicious crunchiness of an irresistible scarlet red Cherry at the heart delivers a stunning contrast between the fresh and addictive zesty lemon. Tangy and sweet at the same time, these notes contrast perfectly while being complemented by creamy Heliotrope. Sharing commonality with K by Dolce&Gabbana, this perfume also builds on a fiery and sensual cedarwood base, amplified by the delicate sophistication of musks.

Elie Saab Elixir

The House of Elie Saab is introducing a new line of fragrances this summer, exploring the most sensual facet of femininity. Elie Saab Elixir creates a captivating scent that celebrates the sensuality of women, a symbol of absolute femininity. Perfumers Aurélien Guichard and Jérôme Di Marino came together to create this fragrance, a sumptuous oriental floral bouquet whose every facets evoke the haute couture creations. At the heart of the fragrance is the Cedretti iris, a variety that blooms in the cedar region of Lebanon. This is combined with the “love accord” of iris and topped with Lebanese Neroli and Italian Mandarin. To finish, a carnal accord, with amber and balsam tones of Myrrh and Benzoin, warms the note while a vanilla and musk accord unfold the infinite sensuality of this fragrance.

Brunello Cucinelli Pour Femme and Pour Homme

Brunello Cucinelli has revealed its first foray into the fragrance world with two new scents for men and women. In collaboration with EuroItalia this exciting new venture celebrates the culture of beauty and crafts that the brand has been cultivating for many years. The women’s fragrance offers up sweet chestnut, citruses (bergamot, mandarin, and orange blossom), pink pepper and prestige woods, among other notes. While the men’s fragrance lends voice to the essence of cypress harmoniously balanced by spicy juniper and other refined ingredients such as angelica, black pepper, clary sage and ginger.

Roja Parfums Isola Blu

Roja Parfums has launched an exquisite new fragrance capturing the scent of an endless, sophisticated summer in the Mediterranean. A five-star summer vacation has been captured in a fragrance by the British perfumer, and it will have you excited for the coming months. With just one spritz of this sophisticated citrus perfume, you’ll be transported to an endlessly beguiling summer by the sea. Key notes include citrus fruits such as lemon, lime, and apple combines with coconut, freshly cut grass and pink pepper. This captivating perfume is available in a limited number of bottles.

Words by Sheikha Majda Jaber Humoud Al Sabah, philanthropist, entrepreneur, and founder of Houna Initiative. 

According to a 2022 survey conducted by McKinsey Health Institute, nearly two-thirds of employees across four prominent GCC nations – Kuwait, United Arab Emirates (UAE), Kingdom of Saudi Arabia, and Qatar – have reported symptoms of poor mental health. In recent years, the relentless pace of modern life has captured millions of individuals in cycles of stress and burnout. Fuelled by a societal norm that glorifies constant productivity and trivialises self-care, the pressure to keep pace is undeniably intense.

Sadly, this mindset contributes to a toxic culture of neglecting mental well-being, thus exacerbating the silent crisis of mental health. Further emphasising on this upsetting reality, the survey also revealed that one in three GCC respondents reported burnout symptoms and struggles with physical health conditions. Based on these alarming stats, it has become clear that the necessity for widespread intervention has never been more pressing.

As we grapple with these unsettling findings, it’s vital that we turn our attention to effective solutions. Nowadays, we often underestimate the power of the outdoors and overlook the necessity of maintaining a connection with nature. Studies have actually shown that connecting with nature can significantly reduce stress hormones, increase feelings of happiness, and enhance overall well-being. The gentle warmth of the sun, the rustling of leaves in the wind, and the songs of birds perched on trees can, in their own quiet ways, coax our minds to shed their worries and find a sense of calmness within.

One might argue that our region’s scorching summer sun can limit our options when it comes to physical activities and being outdoors. However, while that might be true, there are plenty of alternatives to explore! Think an early sunrise yoga session, a short afternoon walk or an evening dip in the water; all these activities are potent catalysts in harmonising our body and mind. Let me tell you how.

More ‘feel-good’ hormones.

Engaging in outdoor activities such as walking, swimming, cycling, or hiking triggers the release of endorphins – our body’s natural mood lifters. These ‘feel-good hormones’ enhance our mood and serve as a natural counter to stress and anxiety. The result is not merely a healthier body but a state of enhanced mental well-being – a transformation that resonates at the core of our overall health. In fact, according to a study published in The Lancet Psychiatry Journal, people who engage in physical activity have 43.2% fewer days of poor mental health than individuals who don’t do any form of exercise.

Improved sleep

The ripple effects of physical activity and natural light exposure extend well beyond immediate mood enhancement and stress reduction. A key benefit, often overlooked, lies in their potent influence on our sleeping patterns. Engaging in physical activities and bathing in the glory of natural sunlight work in tandem to regulate our circadian rhythms – the internal ‘clocks’ that dictate our sleep-wake cycles. Irregular sleep patterns can lead to irritability, mood swings, and an increased risk of developing mood disorders such as depression and anxiety. Actually, a 2021 study found that participants were 2.5 times more likely to have mental distress when getting less than 6 hours of sleep on average compared to those with efficient sleeping patterns. Hence, quality sleep is not merely a luxury; it’s a health pillar that is as vital as balanced nutrition or regular exercise. In the realm of mental health, its significance is even more pronounced.

Cognitive stimulation

Engaging in different outdoor activities stimulates the brain and keeps it active, thus aiding in increased creativity, improved memory, enhanced problem-solving skills, as well as nurtured positive thinking and self-talk. Science also suggests that spending time outside can replenish depleted energy circuits. In fact, one study found that hikers were able to solve 47% more puzzles requiring creative thinking than other individuals. This cognitive stimulation immediately affects and improves our mental agility, allowing our bodies to cope with stress and anxiety.

Nurtured self-confidence

Embarking on different and new outdoor adventures, whether it’s harnessing the rhythm of the waves when surfing, savouring the patient thrill of fishing, or navigating the vast expanses with sailing, broadens our perspectives and enriches our life experiences, thus facilitating a robust sense of achievement that in turn bolsters our self-esteem – a key driver when it comes to our mental wellbeing. Cultivating self-confidence not only increases positive self-perception and reduces negative self-talk and self-criticism, it also strengthens our resilience and ability to overcome challenges and setbacks. Thus, as we welcome the warmth of the summer, let’s seize the opportunity to dive into new outdoor activities. By doing so, we are enriching our skillset and indulging our adventurous spirit and nurturing our mental health in a significant, sustainable way. In this pursuit of novel experiences, we find pleasure, passion, and peace of mind.

Self reflection

As the vibrant hustle of the world yields to the leisurely rhythm of summer, we find ourselves in the embrace of a slower pace, giving us the precious commodity of time. This seasonal shift can serve as a vital catalyst for reflection and introspection, an invitation to look inward and re-evaluate our paths. Carving out time in nature and embracing the outdoors can open doors to profound self-discovery. The serenity and calmness allows us to gain perspective on our lives, to assess our goals, values, and relationships with fresh eyes. We can explore what truly brings us joy, what challenges us, and where we might need to implement changes for a more fulfilling life trajectory.

The rising tide of mental health concerns within the GCC region is a stark reminder of the dire need to address this largely silent epidemic. While the reasons for this escalation are multifaceted and complex, the solutions may lie in simple acts that bring us back to the heart of our innate human nature. Embracing the outdoors can serve as a powerful tool in fostering mental well-being. The tranquillity of nature and the dynamism of physical activity synergistically harmonise to create an atmosphere that encourages the release of stress, improves mood, enhances sleep, stimulates cognitive function, bolsters self-confidence, and fosters introspection.

For the Bulgari Mediterranea High Jewellery 2023 collection, Lucia Silvestri wanted to get out of her comfort zone when it came to the choices of stones, colours, shapes, and designs. She took inspiration from worldwide to create a universal collection that will appeal to women from all walks of life. Silvestri joined the House of Bulgari when she was just 18 years old and has worked extremely closely with Gianni Bulgari for decades. She credits him for much of her knowledge and success; his vision inspires this collection. We find out more.

Tell us about the three verticals of this collection and some of the unusual stones you have worked with in these high jewellery pieces. 

When I was very young, one of the first lessons Mr Bulgari taught me was not to be shy with colours. Every time I start a new collection, I remember this sentence, and with the Mediterranea High Jewellery collection, I had the opportunity to move out of my comfort zone when it came to colours and stones. I thought about Africa, for example, the colours, the spices, the landscape and beauty of this region.

What is your favourite piece from this collection?

This is one of my favourite necklaces, and I met the client who bought it yesterday. When I designed this necklace, I started with the gems. When I saw the three Mandarin Garnets, I felt they had a fire inside them, they also made me think of the sun, and I felt they had to be combined with something very light. This is the first time we have used Citrine in high jewellery, which is out of our comfort zone, but they matched perfectly for this necklace. This necklace combines the cultures of Morocco and Venice, the architecture, and motifs that you can find in both locations. I was inspired by the spices and the desert when I created this piece. The Mandarin Garnet is a stone I wanted to work with for a while, but ten years ago, no one wanted to buy this stone. We at Bulgari started buying and using it in high jewellery, and now everyone wants it! I actually regret that I didn’t start using it sooner. The final touch came in the form of Onyx. For me, this necklace is spectacular, even from the back.

MUSE OF ROME

What is another special piece you can tell us about?

It’s difficult to say, but, this piece, Muse of Rome, is special to me because I followed the stone’s journey. When I first saw this emerald, it was not completely cut, it was just polished a little. The owner called me and asked for my suggestion for the cut. They had seen it as a faceted stone, but I told them this stone was too sweet to be faceted; there was something inside it that I felt could only be seen if it was cut into a sugarloaf. So, the cutter and the owner followed my suggestions, and I followed the cutting step-by-step. In the end, we have this beautiful sugarloaf with rounded corners, which makes all the difference. It’s over 200 carats, and it was a challenge to set such a huge gem in a contemporary way. You can wear this necklace in a modern way, and the eye is immediately drawn to this gem. It is very versatile because you can wear it in several ways. I love the fact that the artisan followed my suggestion about the idea of this necklace, but especially because I’m very close to this emerald; it makes it very special for me.

What has been the best comment you have received about this collection so far?

The best comment came from Mr Bulgari; he said: “Very good job!” I’m still crying about this! This was the best recognition I could have, and I told him he was my teacher.

What is a lesson you learnt from him that you cherish? 

I remember he told me: “Don’t buy a stone if you don’t know how you can use it.” So, from the beginning, when I was just 18 years old, I started to develop my creativity based on that point. He told me not to buy stones just because they are beautiful but to buy them because I could imagine them on a ring, necklace, etc., before I even made that purchase. I learned so many things from him, but this will remain in my mind forever.

What message would you send to your clients and friends in the Middle East?

I think women in the Middle East are Bulgari women. I can’t wait to share my creativity, the new colours and how I have gotten out of my comfort zone. We have explored so many cultures this year, so I expect to receive their feedback on the collection.

As one of Lebanon’s most successful wedding planners, Toni Breiss has created the perfect day for some of the region’s most influential couples.

His passion for perfection has seen him reach an impressive level of success with his events and weddings company Level Toni Breiss which is recognised all around the globe for its world-class luxury events. While Toni’s business began with a core focus on Beirut and Paris, he has since branched out, organising events and weddings across Europe, The Middle East, and The United States. He prides himself on only producing the best of the best for his clients, with each event or activation unique in its own way. Toni has gone from strength to strength over the past 20 years, with celebrity weddings, VIP events and even luxury brand consultancy on his portfolio. Now, as his biggest wedding ever is set to take place this season, we caught up with him to find out what’s next on his journey to success. 

Lake Como wedding

Tell us about your company and where you are at today.

We have been in the business for 20 years and are very pleased with our progress. Our company is expanding, and the scale of our events is increasing, which presents new and exciting challenges. Some of our events are now more global and international, which is very motivating and exciting. We have also expanded our work beyond Europe, Lebanon and KSA, into the extended MENA Region. We are also very proud to be working in the USA. Our agency specializes in creating unique and irreplicable designs for events, not just weddings and hotel openings but a vast range of luxurious events, including the Joy Awards in KSA, which is equivalent to the Emmy Awards for Arab countries. We have also opened a branch in our company specialising in consultancy for luxury brands, specifically those looking to open new boutiques and we are currently doing this for two high-end brands in the Middle East.

What first inspired you to get into the world of weddings and events? 

I love working on weddings and events because I am passionate about creating beautiful concepts. I enjoy seeing my ideas come to life and I love to see how a place can be transformed into something completely different. Everything we create is custom-made and unique. We have a love for remodelling an entire space into a new and full experience that captivates guests, transporting them into another world of beauty, that is what sets us apart.

Lake Como wedding

Tell us about your work in the Middle East and what clients expect from their events and weddings here.

The Middle East is one of our biggest markets. Many clients in the Middle East expect uniqueness and originality. They expect great new ideas, and they like to experiment with new choices of materials. It is a challenge because Middle Eastern women are very knowledgeable and have great taste. We are here to create new, fresh, and luxurious experiences that meet these expectations.

What are some of the biggest wedding trends for this year? 

I would say there aren’t too many specific wedding trends these days, if you are hiring a big designer, they are supposed to set the trends, not follow them. It’s not about flower types or colours, we design the trend for each event based on the style of the bride and groom, the colours we decide to play with, the tradition, and the period we are in. It’s about transforming the venue to make it look contemporary and unique, and it must be a new idea. 

You have worked with many interesting clients and celebrities – what have been some of the highlights? 

We are grateful to have had the chance to work with many high-profile clients. We have created weddings that cover 6000 to 7000 m² for hundreds of guests, and currently, we are building a wedding from scratch in Cairo to accommodate over a thousand guests in a ten-thousand-meter square area. We also had the pleasure of working with Tiffany Trump in the United States. Her wedding was very American-style, intimate, elegant, and refined. While we have worked with reputable families, the importance for us is not who they are, but rather what we can create for them.

In this issue, we are talking about success – in your opinion, what is the secret to success? 

The secret to success is hard work. You always must be present and hands-on, no matter how big your team is. You must be the first to arrive and the last to leave. You have to be passionate about your work and follow up on everything enthusiastically.

Is there anything that you have changed about your business since the impact of the pandemic?

Many things have changed. My mentality has changed, and we are now focusing on bigger and more challenging projects. The era has changed, especially our client’s demands. The sizes and timelines of weddings have also changed, and “living the experience” is becoming more and more important. Our internal organisation has evolved too, with people working differently but with the same passion and same productivity. Post-COVID, Zoom meetings have replaced in-person meetings, even many of our clients opt for online meetings although we might be available at the office. Hybrid work has become common, and we have had to adapt to these changes.

Working in events can be a stressful business – how do you keep calm when things get hectic?

I try to stay organised and centred as much as possible because I am the leader of everything that’s going on in a wedding or event. This means managing the progress with the production team, creative team, office team, florist team, caterers, photographers, and more! I manage my stress level so that everything stays smooth, and nothing gets out of control.

Tell us about yourself – how do you like to spend your time when you’re not working?

I like to relax and recharge my energy. I spend time with friends and family, which is very important to me. I also like to travel and to work out.

Tiffany Trump wedding

What is the biggest lesson you have learned throughout your career?

Be patient. VERY patient.

What piece of advice would you give to young entrepreneurs or others looking to start a business in the events industry?

Starting a business in the events industry can be a very long and exciting path, but it can also be exhausting. You need to have the will to fight day and night for it: even if it looks glamorous, behind the scenes it’s very tough. To succeed in this business, you need to put a lot of yourself out there.

What is the professional motto that you live by?

“You have to achieve success because you should not achieve failure.”

Who is someone that has inspired you throughout your career?

I mainly get inspired by anything that’s beautiful. It could be a piece of art or a beautiful nature scene. I also get inspired by many fashion designers and architects like Jerome Ville and Zaha Hadid. But my main inspiration remains beauty, anywhere I see it.

What else is in the pipeline for you for the rest of the year?

As we speak, we have a huge wedding under construction in Cairo, literally under construction as the venue for it is being built now! Then later this year, we have huge destination weddings, several boutique openings, and four-day weddings which include several events pre and post-wedding, one of them is in production in Spain right now. We also have a couple of luxurious events coming up. Follow us on social media to discover them!

As the summer approaches, we round up the latest looks for men and women to be seen in wherever you’re heading for the coming months.

Photography: Ziga Mihelcic
Styling & Direction: Lindsay Judge
Models: Kate at Fashion League & Borja at Signature Element

Hair & Makeup: Sophie Leach
Location: Mandarin Oriental, Jumeira

 

CHANEL

 

T-SHIRT: BRUNELLO CUCINELLI, SHORTS: BOSS

 

CLOTHING AND ACCESSORIES: LORO PIANA
HER SHOES: EMPORIO ARMANI
HIS SHOES: TOD’S

 

MOSCHINO

 

RALPH LAUREN
BAG: EMPORIO ARMANI

 

SWIMSUIT: ERES
HAT: LORO PIANA

 

VILEBREQUIN
EYEWEAR: CARTIER

 

LOEWE
SHOES: ANCIENT GREEK SANDALS

 

DIOR

 

TALLER MARMO
SHOES: CAROLINA HERRERA

 

CELINE

 

ETRO
EYEWEAR: CARTIER

Born in London in 2013, Thameen is a quintessentially British brand with a twist. With a history in the craftsmanship and beauty of fine perfumery, the brand has remained in its home city for the past ten years, stocked exclusively at Selfridges.

But that has all changed. After David Crickmore became CEO, the brand implemented a new global strategy, expanding worldwide and setting up a global distribution network including Western and Eastern Europe, North and South America, Asia and the Gulf countries. Under Crickmore’s tenure, Thameen will bring to the fragrance industry and international markets a forward-thinking British semantics with a purposeful spirit adapting to an ever-changing landscape in perfumery.

To reposition and re-tell the brand’s story, David enlisted Christopher Chong’s knowledge, who has assumed the role of Brand & Artistic Director at Thameen. He brings over a decade of experience from the celebrated fragrance brand Amouage and will oversee all rand and fragrance developments moving forward. As the brand launches its latest perfume, we learn more about the vision and why we can expect to see a lot more of Thameen in the future.

Take us through the universe of Thameen and the brand’s DNA and focus.

Until recently, Thameen was exclusively available in Selfridges, London, for ten years, tailoring for a specific demographic. It was slightly under the radar but still a very respected brand. Then the pandemic hit, and of course, the department stores couldn’t operate, so the brand started to think outside of their traditional points of sale and outside of London. At that time, one of my former colleagues was brought in to consult and advise the company on restructuring the brand to become a much more international brand. They started with the sales team, then worked on the logistics, and that’s when they came to me!

We did a lot of quite a harsh auditing of the brand. The CEO asked me what I thought; he didn’t ask me to join them at this point; he just wanted my opinion. And I was very honest. I highlighted the negative points, but outside of that pool of negativity, I told him there was a lot of positivity and potential. The brand message needs to be clear, and the great thing is Thameen was still relatively unknown, so we had room for improvement. I told them they needed to rethink their strategy to reach a wider clientele and align with the brand’s message. To share the story of the history, the creative process, the artistry – Perfume, after all, is about emotions, and if you can’t tell that story of emotion, then no one will buy the product. And that’s when he asked me to join! At first, I was hesitant, but eventually, I did, and the rest is history!

What’s your global vision for the brand?

When I thought about the brand, I realised it was still relatively untouched; it needed guidance and moulding to take it to the next level, and that’s where I came in. Rebooting a brand requires elements that are outside of my control. I can bring in the best photographer, perfumer, etc., but it also needs the brand to be in the right place at the right time, which was the moment for Thameen. The name “Thameen” means precious in Arabic; I wanted to capitalise on this, especially since this is a British brand with a foreign name. At a time when diversity was such a relevant topic, this was where my story began as I felt this unusual name allowed the brand to connect with the millions of people out there whose heritage may not be connected to the place, they are living in. There are no genuinely diverse British perfume brands out there now, and that is the space Thameen is going to fill. I wanted to create a positive and inclusive image that embraces everyone. In short, this is my vision moving forward, to take the best parts of the brand and make them even better.

What about the packaging and visuals that signify the brand?

I want to show the world that part of diversity is authenticity, and so I, therefore, want to show them the real juice of the fragrance, so I kept the bottle the same, but I removed the Thameen blue from the glass, used a frosted glass and put the blue into the lettering instead. We also chose to use silver on the lid. It’s very classy and simple.

Then we looked into the logo and simplified it to create something relatable and instantly recognisable. We devised a logo based on British heritage but modernised it. We adapted a British Cypher to create a scripted “TT” representing our heritage and how it is important to the brand, but we are taking it forward.

What can you tell us about the fragrances themselves, both the current lines and the new products?

When I began working at the brand, there were two collections: the Sovereign and the Treasure collections. These will remain, and we have worked on some new additions. I call myself an “artist in residence” because I come to Thameen with a lot of artistic and emotional baggage – it’s not like I’m starting from the very beginning. I decided the strongest thing Thameen can have is to bring my artistic energy and experience to the brand and create this new artistic partnership.

We have developed a new collection that is a style I have never worked on, and the brand has never had before. The Britologne collection is a collection of colognes that pay respect to British perfumery but also give it a modern twist. For me, cologne is generally quite boring – it’s quite aromatic, citrusy, and herby, it’s not long-lasting, it is usually five to ten per cent concentration which for me is not enough. My style is to have a fragrance with longevity, with many elements to it, so it’s strong, loud and captivating. I want the fragrance to tell a story throughout the day. So I decided to recategorise the fragrances as Cologne Elixir. The core structure is a classic cologne structure; then the elixir is the playful part that gives it a twist and originality. To create that longevity, we had to pump up the concentration to 25 per cent, which is exceptionally high, and then we made sure each fragrance had the classic base with a twist. So it’s a hybrid fragrance.

We are launching the new collection in three drops, and it tells the story of London’s Covent Garden, which in my opinion, is the centre of London. People go there to meet friends, to go to the theatre, for shopping, restaurants, it’s the lively centre of London, and it’s also the location of Thameen’s head office, so I wanted to pay tribute to that. So this year we will launch the Covent Garden trilogy consisting of three perfumes. Each one is so unique I decided to launch them each individually throughout the year to give them the time and space to be enjoyed and appreciated. I want to make sure customers are aware of launching too many perfumes at the same time, and I want them to have time to enjoy and discover each one individually.

The first fragrance was Fanfare. For this fragrance, I was inspired by Covent Garden Flower Market and musicals such as My Fair Lady. I engaged Bruno Jovanovic, who is a dear friend, to interpret this into a fragrance. It’s very unexpected and unique. He captured not just the flowers from the flower market, but he added a lot of lemon, orange blossom, because of the citrus ingredients typical of a cologne. So he turned the flower market into a fantasy that will make you want to dance all night.

What about the second fragrance launching this month?

For the second fragrance Bohemian Infusion, I’m taking the world to the Piazza in Covent Garden. For 400 years, this place was a working market, but it is now a heritage site. I took inspiration from the late 18th century and the Edwardian Period when there was a very daring, colourful and expressive scene in London, and I wanted

to capture this spirit. I engaged perfumers Maurice Roucel and Alexandra Carlin for this fragrance. They wanted to work with the idea of the art concept Chiaroscuro. This concept plays with natural light and shadows in paintings, film and photography. We applied this concept to the construction of the fragrance. Combining brightness and darkness together, they used very specific ingredients to mimic this. So for the cologne structure or the light, we have ingredients such as grapefruit, Petitgrain and blackcurrant. Then we start to move into the shadow side with Artemisia and Myrtle. Then we have rare Longoza berries. When all of these combine, it gives that light and dark effect.

How do you think Thameen London is appealing to clients in the Middle East?

I want to push the brand’s olfactive boundaries and always challenge and move forward with what we offer. The Arab customers are the most knowledgeable and daring in perfume, so I think we are a perfect fit for the brand.

What is the proposed retail strategy globally and here in the region?

We already started actioning the retail plan worldwide, so things are happening quickly. We are now present in all GCC countries. We teamed up with Chalhoub Group, and we are within department stores across the Middle East and our first standalone store in Riyadh. We are also now in many markets in Africa, North America, Europe, and Asia, and now we are infiltrating into new markets. We are stocked in a lot of independent stores in America. So it’s happening very quickly!

I can also reveal that we will soon have a standalone store opening in Dubai Mall, with the official opening coming in September. And then eventually we will open a standalone store in London.

What is something you would like to do with the brand that you haven’t done yet?

I want to take it to the level where we are recognised globally, and I want Thameen’s name to be mentioned whenever people talk about perfume. I would like Thameen to become the benchmark of artistic perfume.

What do you think is challenging with the fragrance industry today that you would like to see change?

There is no originality. Brands must do their own thing and stop following other people’s success stories. Just because something worked for another brand, doesn’t mean it will work for you.

What is the professional motto you live by?

You are never at the top of your game. Every day is a learning experience; you can always learn something from someone.

What’s the first fragrance you remember from your childhood?

Chanel No.5. It was a gift that my father gave to my mother when I was four years old, and I was fascinated by the smell and the bottle. It took me out of reality into a world that is perfection.

How would you describe Thameen in one word?

Progressive.

What message would you send to our readers and fans of the brand in the Middle East?

Come and discover more about the brand because it speaks to you as an individual.

This summer, I want readers to take time to engage with new technological advancements because, by September, the world will have changed again due to the fast-paced movement of technology today. There is no avoiding it, so it’s better to be prepared than to be unprepared and surprised. Author Jeremy Rifkin wrote a book called “Zero Marginal Cost Society”, explaining how anything technology touches becomes free of charge. All things that previously came at a cost, from music to photos to communication, are now free of charge due to technological developments becoming available.

Next, we will see transportation and energy production becoming free, as has already happened with communication. A man called Salim Ishmail drove from Miami to Toronto in 2021. At this point, 15 per cent of the drive was automated. Then, six months ago, he made the reverse trip from Toronto to Miami, and 80 per cent of the drive was automated. That was possible because, during the drive, he stopped off and charged his car for free. And so, in this way, transportation is becoming free; electric vehicles are making this possible. Yes, you have to make the initial investment in your car, but when it comes to charging, you will not pay for that service as you go along. And next will be energy production and usage.

Besides all these free products and commodities, the big thing going free now is services. And this affects all of us. By services, I mean experts, lawyers, nutritionists etc.; all of this is or will soon be available to us for free. So all of the skillsets of professionals will be available at no cost. In a recent interview Sam Altman, CEO of Open AI, was asked: “What’s your business model for making money from Open AI and Chat GPT?” And his response was: “We don’t know yet; we will ask Chat GPT when we think we are ready to ask it!” So services are going in such a direction that the owner of Open AI doesn’t know how to monetise his own platform. To the point that he is going to ask his own technology for the answer! Now think about all the services that are or will be coming out of Chat GPT. Your brain does not have that same capability.

To understand this process, there is a concept called the Six D’s: Digitised, Deceptive, Disruptive, Demonetised, Dematerialised and Democratised. The first D is Digitised; everything in this world is translated into a digital concept. Then it becomes Dematerialised, which means products or services that were previously physical are now available virtually. The third D, Deceptive, is the most important. The Deceptive phase is the part that catches us all out. As humans, we are so focused on today that we are not thinking about how technology is coming and is going to change everything. Then we have the Demonetised phase, followed by the Disruptive and finally, the Democratised phase, meaning that these free services can be accessed by anyone, not just those within a particular category. And this process is currently happening in every industry.

We must also reassess how we engage with technology as humans. People of a certain age will think certain technological advancements are extraordinary and others are not. For example, anything that was invented before we were born, we believe it is normal. Someone under the age of 35 would not think that electricity is a massive technological advancement. The same goes for televisions or telephones because these things have always been part of our lives. But if you talk to a 35-year-old about the latest computer or AI, they are much more likely to become overwhelmed. Why? Because, as humans, we find it challenging to deal with change or anything that is introduced as new. We see this with parents not wanting their kids to be too into technology or gaming, and this is because they don’t understand it. Actually, technology and gaming are the future for these children.

So, we all need to consider this over the summer period. Think about how much time you or your family are spending in the future. Are you exposing yourself and your family to what’s coming? Are you ready to unlearn to relearn new skills that will be required in the future world? If the answer is no, it’s time to start engaging with it.

Human skills and engagement are not being disrupted. Those things will still be around, and their value will increase, but we need to consider adding value to how we work. And suppose we are stuck in the deceptive phase, and we are over 35 years old; in that case, it’s a perfect storm for you to disengage with anything new because you don’t know how to add value in this new world because of your age and you are forced into the defective phase, and you can see things happening overnight.

So for people who fall into this category especially, take the time to relax but engage this summer. The more you engage with the future, the more scary it will be, but the more you will be able to move forward. So enjoy your summer break but make sure you keep engaged, and then you can come back to a world in September that will be completely different again, so at least you will be prepared.

Since its inception in 1992, Bell & Ross has been striving to be different. This bold brand arrived on the scene and shook up the watch industry, which at the time, was highly saturated by long-lived watch Maisons. Founded by college friends Bruno Belamich (Bell) and Carlos A. Rosillo (Ross) the company began producing square watches that became their signature style, inspired by the instruments found in aircraft cockpits. Bell & Ross has found its firm place in the market over the past years and while it is still a relatively new brand its strong identity and instantly recognisable design have made it increasingly popular around the world, including in the Middle East.

This year the brand took part in the Watches & Wonders fair in Geneva for the first time. Bell & Ross presented three new novelties enriching its current collections. The BR 03-93 GMT BLUE is an instrument watch with duel time reading continuing the brand’s voyager approach, the BR 03-92 DIVER WHITE BRONZE evokes the glorious hours of the first underwater explorations with a modern flair. And the BR 05 Green Gold with a green dial represents victory. Here we find out more about the new timepieces as well as what’s in the pipeline for the brand.

Tell us about the recent Watches & Wonders presentation and what were the key takeaways for the brand this year.

Last year was an opportunity for us to see how the salon works and to understand if it was interesting for our company to participate. For this edition, we were happy and honoured to be part of Watches and Wonders Geneva. It was a unique opportunity to present our 2023 novelty to journalists as well as our loyal and new dealers from around the world. For our first time participating in Watches & Wonders, we wanted to mainly focus on the new core range which launched at the end of last year: the BR-X5. It is a great honour for us to enter the very closed “club” of Manufacture movements. Kenissi has created a movement specifically for us, with a power reserve of 72 hours, a large date window and a power reserve indicator on the dial. With this new range, we are moving significantly upmarket. In addition, it was essential for Bell & Ross to enrich its core range with new versions such as the novelties unveiled in Geneva: the BR 05 Green Gold, the BR 03-92 Diver White Bronze and the BR 03-03 GMT Blue.

Carlos-Antonio Rosillo

Tell us about the Diving line at Bell & Ross and how it is positioned.

The BR 03-92 Diver is the first square diving watch created by Bell & Ross. It was designed especially for professionals and meets the international standards governing diving watches. Bell & Ross has had in-depth expertise in underwater matters since 1997 when it released the Hydromax, its first diver’s watch. With this model the brand achieved a world record for perfect watertightness to a depth of 11,100 metres, made possible by perfectly filling the case with a patented transparent fluorinated oil: a major innovation. Ten years later, a second diver’s watch emerges, with the BR 02 collection dedicated specifically to the underwater world. With its barrel-shaped case, this family of watches is immediately recognizable. Technically speaking, the BR 02 is equipped with a helium decompression valve and an ultra-resistant domed sapphire crystal: essential elements for saturation diving. But not all Bell & Ross Diver’s watches are round. As of 2017, Bell & Ross took on a new aesthetic with the arrival of the BR 03-92 Diver model. Part of the BR 03 family of instrument watches for professionals and civilians alike, in true watchmaking fashion, it perfectly reinterprets the functionality of fighter plane dashboards, featuring the signature ‘round within a square’ case. Above all, like all the instrument watches in the BR 03 family, the BR 03-92 Diver are conceived and designed as professional quality tools for divers. In order to meet their expectations, it complies with international standard ISO-6425, which states that a “diver’s watch” is a “watch designed to withstand diving in water at depths of at least 100 metres and equipped with a secured measuring system”. Underwater, the indices must still be visible at a distance of 25cm in the dark. A diver’s watch must also be magnetic-resistant, shock-resistant and, of course, resistant to salt water. Complying perfectly with all these demanding specifications, the BR 03-92 Diver is an underwater instrument worthy of its name according to Swiss standards. In 2018, Bell & Ross added a remarkable new variation by cutting the 42 x 42mm square case in bronze: a material historically linked to the maritime world. This is a family that would go on to see great success, welcoming several new releases each year. It included models in steel and bronze, with red, green, blue and even black dials… Some collectors sought to own every version. This year, the BR 03-92 Diver White Bronze joins the elegant and athletic line. Paired with a pearl white dial, the bronze case of the new BR 03-92 Diver White Bronze, evokes the glorious hours of the first underwater explorations with a modern flair. It’s a new chapter in the Bell & Ross nautical odyssey.

The BR 05 Gold Green is a stunning watch, what can you tell us about the choice of green on this dial, as well as the brand’s gold watch offering?

The new BR 05 Green Gold is the third link in the gold family, its case is made entirely in gold. The different models in this collection are characterised by a distinctive colour on the dial. The green on the BR 05 Green Gold evokes victory. It’s the colour of trees – more precisely, that of the fir or spruce tree. On the new BR 05 Green Gold dial, the green shade takes on a luminous, sparkling tone. The painted metal plate that serves as the base of the dial has a sunburst effect, changing colour when tilted. Depending on the reflections hitting its surface, it varies between an almost fluorescent shade all the way to dark bottle green. The depth of this unique colour is obtained thanks to the numerous coats of tinted green varnish.

Bell & Ross is a brand that creates experiences around its products – what can you tell us about this and how do you connect with clients and create a community feel around the brand?

Since the beginning, Bell & Ross aims to create useful timepieces that become tools in the hands of professionals working under extreme conditions. On-board instrumentation has always been the key to entering the Bell & Ross universe. The universe in which we immerse our customers is essential. Through our story and our universe, we create a strong link and an emotional connection with them. We are attentive to the request and desires of our customers, for example, the launch of the BR-X5 range allows us to respond to a request from customers looking for a Manufacture movement. We also differentiate ourselves thanks to our original and identifiable design. We have a great community at Bell & Ross, a community of enthusiasts who have a great interest in each of the company’s models and we are delighted to maintain this strong link with them. We have also managed to build a large community thanks to our various partnerships with the Patrouille de France for aviation, Alpine for the F1 and Tara Foundation around the oceans. We find the three pillars: Air, Land and Sea that speak to a large community.

Tell us about the new BR 03 GMT – what is different from the previous GMT watches?

With the new BR 03-93 GMT BLUE, an instrument watch with dual time zone reading, Bell & Ross continues its voyager approach with a colourway that’s rare, elegant, and subtle. The previous BR 03_93 GMT had a black dial with a black and red two-tone bezel. This year Bell & Ross opted for the blue colour of the sky. A new version to meet a wider audience!

How would you assess the watchmaking industry today?

The Manufacture is a must-have, the creativity makes the difference and the brands who have an icon have a powerful strength.

What else can we expect to see coming for the rest of the year, particularly in the Middle East – can you give us a sneak peek?

As we do every year, we will introduce watches in our key categories: aviation, city, and instrument watches. Through the shapes, sizes, colours, materials, and functions, we will evolve our collection. Without forgetting, of course, the introduction of novelties within the framework of our partnerships such as the Patrouille de France for aviation, Alpine for car racing and maybe we will introduce something with our new partnership; Tara. We are also developing our new high-end collection of the BR-X5.

What is something you would still like to achieve with the brand?

Our plan for the coming years is to consolidate our BR-X5 range and strengthen our partnership with Kenissi. We would like to continue to develop our international presence and maintain our icons (BR 03) and our best sellers (BR 05) to meet our customers’ expectations.

Tell us about your passion for watchmaking – what do you look for from a timepiece?

Form and substance with the design, the engineering, and the watchmaking manufacture.

What is the professional motto that you live by?

Our tagline is: “From the cockpit to the wrist”. In the quest to create the ideal utilitarian watch, we broke traditional watchmaking codes in 2005 with the simple idea of turning a plane’s cockpit into a wristwatch. I think the strength of our company is our very strong DNA, a Bell & Ross watch is immediately recognisable, and we have from the beginning marked a very strong identity. More than a concept, this motto always reminds us of our origin: to create timepieces perfectly suited for professional use.

Noor Anwar Al Bahrani studied Electronic Engineering in her home country of Oman before realising her passion for fashion design and realising that this could become a career. After the birth of her first daughter, Noor decided to take the leap and launch her own fashion brand, channelling her passion into her own label. She started her brand Noor Al Bahrani in 2020 with a vision of creating dreamy styles that are a reflection of her personal style and unwavering vision. She is inspired by nature and timeless storytelling to create feminine pieces that evoke individuality and flourishing beauty.

The Spring/Summer 2023 collection is inspired by sunrise on a warm summer’s day. It features a warm colour palette with iridescent embellishments, perfect for the summer month. Silhouettes are highlighted in long dresses, separates and kaftans fused with scattered embellishments and delicate embroideries. Embellished patterns adorned on necklines and sleeves using intricate techniques elevate each look with a ray of femininity. Designed with luxurious fabrics of crepe and chiffon, each style illustrates the true essence of the Noor Al Bahrani aesthetic.

As the new collection launches in stores around the region, we learn more about the inspiration for the collection and what’s next for the Noor Al Bahrani brand.

Let’s start by talking about the Spring/Summer 23 collection – tell us how this collection came together and what the inspiration was.

This collection symbolises a new day and the first rays of sunlight that break through the clouds. I envisioned this collection to be something that offers a breath of fresh air, something that brings joy to a new day.

What can you tell us about the colours, the shapes, materials and the details in this collection? 

Flowy silhouettes in a warm colour palette with subtle embellishments lie at the heart of this collection. Long dresses and kaftans with embellished patterns on the sleeves and necklines highlight the feminine aura of the collection. While fabrics such as crepe and chiffon embody the brand’s aesthetic of gracefulness. Soft shades of cream, tan, mocha, lilac and rose reference the different hues of sunrise.

Tell us how your brand came to life and has developed since its launch. 

Noor Al Bahrani, the brand, came to life when I decided to channel my inner desire to create dreamy styles. What was once a few sketches and fabric samples I played around with soon became a brand where I unleashed my creativity and love for feminine silhouettes. Since its launch in 2020, the brand has evolved, releasing collections that our clients love regionally and internationally.

At what point did you realise you wanted to give up your job in engineering and turn your passion for fashion into a career?

The turning point for me was when I had my first daughter. At that point, I realised my lifelong love for fashion and wanted to channel this into my own label, where I could design for women of all ages.

Who is the woman that you design for? 

I design for the graceful woman who wants to express her femininity through her style and what she wears.

What is the vision for your brand moving forward?

I would love to see the brand at different stores across the world.

What would you like to see in terms of more Arab designers being recognised on a global scale?

I would love Arab designers to be showcased on more platforms globally and to become the first choice for quality and craftsmanship.

What else do you have coming up for the rest of the year?

I have a new collection launching soon that includes resort wear styles that would be the perfect companion for any woman.

What can you tell us about the retail strategy for Noor Al Bahrani and how you would like it to develop?

Noor Al Bahrani is stocked at several retail stores across the region, such as Ounass, Tryano and Saks Fifth Avenue Bahrain and internationally with Threads Styling and Every Whim. Our retail strategy is simple, our styles are designed for women from every walk of life, and we want to be present at different parts of the world to be able to cater to them.

Are there any brands or designers that inspire you?

Oscar de la Renta, the brand is so dreamy!

Who is a woman that you would love to dress?

Queen Rania.

What is the current motto that you’re living by?

To put my heart into my work.

What message would you send to your clients and fans across the Middle East?

I would like to thank each and every one of them as their constant love and support helps me continue doing what I love.

How would you describe your brand in one word?

Graceful.

Earlier this year, Dior travelled to India to Mumbai’s extraordinary Gateway of India, a location that represents cross-cultural influences, heritage, and tradition, to present its Fall 23 collection, designed by Creative Director of Womenswear Maria Grazia Chiuri.

This collection was more than just an offering of garments, much like all of the Italian designer’s collections since joining the House of Dior in 2016. This was a celebration of crafts, and Chiuri wanted to shine a light on the incredible craftsmanship and traditions of India, a country that has been so dear to her throughout her career, as well as having an intertwined place in the Maison’s history.

For this collection, Chiuri collaborated with the Chanakya School of Craft in Mumbai, a school that has for many years contributed to the House’s designs. This was the first time, however, that they would be put at the forefront, with the School’s Director, Karishma Swali, taking the lead. Working closely with Dior’s Creative Director this school explored traditional Indian crafts, reinterpreting them in the Dior way and highlighting the visionary spirit of the founding Couturier. The result was an extraordinarily colourful and detailed collection, which could not be fully appreciated at first glance. Intricate embroideries, prints and needlework were combined with innovation to create something truly magical.

Championing talented artisans and exceptionally gifted women in the worlds of design arts and crafts has been a clear mission of Chiuri’s since she joined the House. Travelling to some of the far corners of the world, she has worked with and given the spotlight to some of the most diverse artisans and craftspeople. As this collection launches in stores around the region, we find out more about the story behind the show and the Creative Director’s mission to fulfil the vision of the House’s founding Couturier but make it relevant for today.

Let’s start by discussing the Fall 23 collection; tell us how it came together.

This collection is the result of a long creative process. One which began long before this actual project of showing in Mumbai. So, in a way, it was not the result of a few months, but it most surely reflects years of creative dialogue. The Chanakya School of Craft worked on the show installations, and over the last few years, it has been an opportunity for the students to collaborate with great female artists, such as Judy Chicago or, more recently, Mickalene Thomas. For this collection, we approached things a little differently: the students conceived a “toran,” a symbolic arch made of textiles and needlework which represents a sense of gathering, of welcoming. And this time, they were entirely the authors of their work, an opportunity to acknowledge their growth as artists as much as artisans.

The colours, the shapes and the embroideries in this collection are beautiful – what can you tell us about the attention to detail in the pieces?

I wanted a great variety of techniques to be represented in the collection to suggest the wealth of textile cultures pertaining to India. We included different embroidery techniques, such as zardozi, appliqué and mirrorwork. But beyond the needlework, we also conceived a design of block-printing on silk and collaborated with artisans in the South of India to produce a series of woven silks such as those used for saris. It was a humble way of mapping part of the diversity of gestures and traditions forming the Indian culture.

In the history of the House of Dior, there is an iconic French fabric, the ‘toile de Jouy’, which was used notably to decorate the first Dior store in the 1940s. The history of this fabric is fascinating because it was actually a French answer to the popular Indian printed cotton back in the 18th century. Drawing from this important reference for the House of Dior, we revisited this print, and, instead of the flowers and forests of France, we placed the fauna and flora of India, with elements such as lotus flowers, peacocks, or tigers. I felt it was a meaningful way of reflecting on mutual influences and the way patterns and textiles travel between cultures.

Can you share a little on the partnership with Chanakya ateliers and their connection with the House?

The Chanakya School of Craft is a space for education and the transmission of artisanal needlework. The students are taught the techniques, but also to reflect on the value of craft: in this context, it felt very relevant to connect with the art world, and especially with female artists who have demonstrated, over the last decades, that through textiles and embroideries, you could create art pieces with the same symbolic and aesthetic value as a painting or a sculpture.

This was the starting point of our collaborations around the Dior couture shows, where I have commissioned women artists to create installations to which the Chanakya School of Craft students contribute. I am profoundly proud and touched that the many conversations I have had over the years with Karishma Swali have inspired her to create this incredible project. It’s both an honour and a great pride to be able to have accompanied the realisation of such a vision and to continue to do so across many projects together.

What impresses you about the skills and craftsmanship you can find in India?

I started by discovering the embroideries of India – indeed, in the 1990s. I was amazed by the wealth of techniques and materials that this tradition has kept alive. But it was not a heritage looking only towards the past. As soon as I started collaborating with Indian artisans, I understood that I had found partners who would allow me to constantly push the limits of craft and reinvent it for the future.

I think it’s difficult to define the fashion culture of India in general precisely because it is so rich and vast. Each region has its own specificities when it comes to dress and textiles, and this is what is so fascinating. I will never be done exploring the numerous techniques and stories that they carry.

The show for this collection was truly breathtaking – what was your initial vision, and how did it come together?

This show is the result of collaborative work, on so many levels. And it’s possibly what make it that much more powerful. I really felt I shared its success, first and foremost, with the many artisans that have helped me make it come alive. This was one of the most emotional experiences for me as a Creative Director because the show was not just about a creative performance or the display of visual art in all its shapes and medium. It was truly a collective gathering and one meant to express gratitude. I hope that this energy could be felt and that it was demonstrated to the audience as well as the beauty that comes from working together.

Since you joined Dior and over the last few seasons, it has felt as though your collections are more than just a creative idea; there is a meaning, a partnership, or a message in everything you do – why do you think it is important to convey this through your designs?  

I have approached this as an opportunity to redefine the notion of femininity, which the House of Dior was built on, as something less normative and more empowering for all women. It has been crucial for me to look back at the legacy of the Couturier and to explore with my ‘female gaze’ his sometimes-misrepresented idea of womanhood. In other words, I have sought to connect Dior with women in a different way – past, present and future.

I truly believe in collaborative projects; this is an integral part of my creative process. Establishing dialogues with other creatives from different fields and practices is an extremely challenging and enriching adventure. I have cherished these moments and relationships for what they have taught me. I feel it’s only natural to acknowledge the fruitful collaborations that I have initiated as it’s so intrinsically connected to my work. These are values that guide me no matter how successful they may be. I am committed to these ideas and will stay consistent in my project to bring them to the forefront.

We have seen collections presented in so many beautiful corners of the world, but where do you go when you truly want to be inspired and how do you get into your most creative state of mind?

India has been an important country for me throughout my career as a designer. It’s a place where I have met wonderful collaborators who have introduced me to the unique Indian culture of craft. It’s a place where I have really come to understand my own creative process and the central role that craft plays in it.

How do you balance using traditional crafts at Dior with new technology and innovation?

I think it’s very important to balance heritage and innovation. In any case, when you work for a brand like Dior with a long, rich history, you have to maintain the heritage and value of the brand, but at the same time, to move into the future. For instance, the RTW 22-23 collection was called The Next Era – title of Mariella Bettineschi’s artwork at the heart of the show’s scenography – because this collection was a new design challenge geared towards inventing a series of garments that combine fashion with textile innovation. This ambition is the essence of the collaboration between Dior and the Italian start-up D-Air lab*, which has given rise to a new era of clothing – performance is increased tenfold thanks to new technologies. Technical elements are integrated into outfits that symbolise a dialogue with fashion, embodying the synthesis of these two languages. It represents a post-humanity conceptually unfolding through the forms that have defined the legendary destiny of the House of Dior.

*D-Air lab is an Italian start-up founded in 2015 by Lino Dainese. Architect Silvia Dainese Gris has led this special project for Dior.

Looking to the future – what is your vision for the House of Dior? 

The Dior fashion house has succeeded in staying relevant over a long period, peppered with revolution and social and cultural transformations that have sometimes been drastic by reinventing itself and constantly building its identity around femininity and its complexities. This is mainly because the codes have remained at the core of the Dior project, constantly brought up to date and reinterpreted in light of the times and fashion trends. It is important to respect the past because you can only imagine the future if you know what came before it.

What is a key piece every woman should own this summer?

I see many girls with vintage bags, but they have added a new strap, and I think it’s cool. It’s about freedom and personal style, so I really like this idea. This is not to make someone else happy. This is to make yourself happy. Women today are full of freedom; they wear whatever they want and be whoever they want to be.

What is the current motto that you’re living by?

While you should feel confident of your accomplishments of the knowledge you have acquired through training, remember that you never stop learning.

Nayla Al Khaja has had quite an impressive career, with her films being screened at more than 42 film festivals worldwide. Nayla is passionate about sharing deep and emotional stories through her work and has been widely recognised for her honest and open approach to producing. This year, Nayla will achieve one of her biggest goals, producing her own feature film. Titled “Three,” the film will depict a true story about the struggles of a child and his family.

Having run a production company in the UAE for over 15 years, Nayla has a 360-degree perspective on requirements to deliver a successful production in addition to an appreciation for both the creative and fiscal, and she plans to use all this experience to make the best possible success of her upcoming film. Ahead of the press launch for “Three” in Dubai, we met Nayla to find out what to expect.

We know you are working on an exciting project, “Three” – tell us about this film, what it’s about, and what it means to you.

Three is my debut feature film, a lifelong dream. It was challenging to make this project happen. I was initially ready to go ahead in 2019, but then the pandemic hit, and everything paused for a year and a half, and then I had to kick-start it again. I didn’t raise enough funds to shoot the film, so I was stuck in a situation where if I didn’t raise the entire amount, I had to decide whether to return the money to the investors or try to make them wait longer until I find more investment. It was a challenging place to be in. Then a good friend of my husband’s suggested I shoot somewhere else in the world. My film was ninety percent indoors, so it didn’t have to be shot in the UAE; I could easily shoot somewhere cheaper. So I decided to go to Thailand. I started working with a location scout, and when the numbers started coming in, we were shocked by how far the budget could stretch in Thailand. I didn’t realise there would be such an incredible calibre of crew there. There are some incredibly talented people, and they film a lot of content there, so I was fortunate to work with a very experienced team who were used to working on Hollywood films.

What can you tell us about the story and genre of the movie?

It’s a film about mental health, a very relevant topic, but it’s also about exorcism in Islam. Looking at two schools of thought and the ideology of treating people through spiritual and religious healing, and also looking at it from a medical perspective. And this time, we decided to take our character on both routes and the clash, so things get quite controversial, and it’s an interesting journey. The character goes on a journey of self-confusion, and we also see the journey of his mother working through this. It’s based on a true story, and I wanted to really depict the emotional journey of this mother and her son, as it’s a very human story.

All of the exteriors were shot in the UAE, and the interiors in Bangkok. I’m returning to Thailand next week to finish the post- production, working on the sound design and music composition until I bring the film to its final stage. I have officially submitted it to the Toronto Film Festival, and I plan to send it to the Venice Film Festival and Sundance to see where my luck is! I also plan to send it to the Red Sea Film Festival in Saudi Arabia. It’s exciting to see what the reaction will be, it’s impossible to predict, but as a team, we did everything we could to mitigate the risk and ensure the film gets the best chance possible.

I worked alongside a very experienced producer and was in excellent hands. My husband also produced the film with me, and the people that really touched my heart were the investors because they believed in me. I’m particularly pleased about my female investor because she has never put money into a film before, but she does support women with getting education scholarships which is amazing. I owe both of my investors so much; they made my dream come true! The film will be ready in July, and hopefully, the minute it is released at a festival, we will start to get attention from buyers, etc.

And this movie is based on a short film that you already produced?

Yes, the film is based on my short film called “The Shadow”, which was bought by Netflix for worldwide release. It was around fifteen minutes long, and I wrote and produced it. My new film “Three” is based on the concept of “The Shadow.” I am happy to say that in the production of “The Shadow” we had one of the highest percentages of women working on set behind the scenes of any film production. It was almost forty per cent women, which was brilliant to watch. And even with “Three.,” we had a lot of women on set, which I’m very happy about.

How would you assess the development of the number of women in the film industry, and what still needs to be done?

Unfortunately, the numbers are still very bleak; we are at twelve per cent of women worldwide. Cinematographers have it the worst, with just three per cent women. It’s twelve per cent for female directors, so slightly more but not fantastic. What’s interesting, however, is that when it comes to producers, there are over thirty per cent female producers worldwide, which is better, but it still needs to increase. Today, studios especially are very male-orientated, and the bigger the money, the lesser the chances of women getting the role, and unfortunately, that is still the reality. Things are changing, but it will take time, remember, it only really started to change with the Me-Too movement, so we need quite a few more years to see a balance.

In the Middle East, there is around a fifty-fifty balance of male and female directors. This is quite surprising, but I think the reason is that we started much later in the game compared with other parts of the world. By then, there were already developments and awareness of the gender imbalance, as well as men and women starting around the same time in the Middle East, compared with the rest of the world where men have been working in the industry for decades before the women arrived.

Tell us about your upcoming movie BAAB.

“BAAB” is more of an arthouse than “Three”. It’s a story about the five stages of death in random order, and it’s about a sister and her twin and the story of grief. One of the sisters discovers a secret about the other who has passed away, and that’s when the mystery starts unravelling, and it’s quite exciting. I worked with two-time Oscar-winning composer A.R Rahman on this film as the primary composer, and I’m very proud to say that he is planning to use an all-female orchestra of over 40 musicians.

The subjects you cover in your films are quite deep, emotional topics – is this a pattern you like to follow with your works?

Yes, I do. I like to tell stories about coming of age, especially with young boys. I think that’s because I saw my brother go through trauma as a child, and I don’t think I ever got past that. So I feel like a lot of my stories cover topics such as divorce, dysfunctional families, and young children dealing with abandonment issues. I come from a divorced home, so there is a sense of that in my stories. It’s almost like therapy! But it’s also a great way to raise awareness.

The latest edition of the Cannes Film Festival has taken place in France, what do you think is the importance of events and festivals such as these for the industry?

They are extremely important because that is where all the big sales happen. They are still very robust and thriving. As a filmmaker, you can meet all the important people, including representatives from streaming platforms, theatrical distributors etc. It’s imperative to work with a sales agent that’s well prepared and make the most of these opportunities and if the film does well at the festival, then you’re set!

Toronto Film Festival, for example, gets 4,000 film submissions each year; from that 4,000, only seven per cent get selected. The chance of your film being showcased is tough. Sometimes your movie might not get chosen, but it’s not because your film isn’t good enough, it could depend on if there’s a political agenda happening in the world, or the theme of the festival, there are so many elements that play into it, including some good luck!

What is something you would still like to achieve in your career?

I would like to be one of the most successful film studios in the Middle East that can produce films for the rest of the world. I want to be able to produce two to three movies a year and I would also like to produce films for other directors.

What more would you like to see done in the film industry in the region?

I always say this, but I truly believe that the UAE desperately needs a film grant. We need treaties with other countries, and we absolutely need government incentives and grants invested in the film industry

because it’s impossible here. Finding investors is the only way to produce a film here, but it is so difficult. If you look at a Canadian film or an American film, for example, you will see that for a two-million- dollar film; they only have to raise a small part of the budget in cash; the rest is supplemented in a variety of different ways – cashback, incentive, government grants – we don’t have that option here, and that’s why my film was 100 per cent self-funded. It’s also very risky doing it that way, but I had no other choice. I don’t understand why nothing has happened yet; I don’t think they see the potential; I think it might take one or two films to break the mould for them to take notice.

What is the one film you love to watch over and over again?

That’s a tough one! I have a lot of films that I love, but I don’t know if I have one particular favourite. If I had to pick a genre, it’s easy – I love psychological thrillers, anything very dark! I also appreciate a lot of directors’ work, such as Roman Polanski’s, I like Wes Anderson, and in the Middle East, I like Nadine Labaki’s work.

Who would play you in a movie about yourself?

Helena Bonham Carter combined with Cate Blanchett! The seriousness of Cate mixed with the quirkiness of Helena.

Where do you like to travel, and where is a place that inspires you?

I like to travel to Cape Town; it’s beautiful, very relaxing, a place where I find a lot of stunning visuals, and I feel very at peace there. Interestingly, a place that inspires me is Bangkok; I like the energy there.

What else is in the pipeline for the coming year?

As you know, I’m finishing off “Three,” my first feature film, and I’m working on “BAAB”, my second feature film, and I’m already thinking about my third. Two of my sisters are screenplay writers, and they are helping me think of the third, and it might be a horror-comedy, a genre I’ve never explored before but I’m very interested in. My first two films are very heavy and emotional, so I think it would be nice to do something light and fun that will also show my range of directing. I’m also hoping that once I’m finished with the first film that, I get an offer to have an agent represent me in a wonderful management company in The United States.

What message would you send our readers and your fans about your upcoming movie?

I think this is the first time in the history of filmmaking where an Englishman is portrayed at the heart of an Emirati family. He has full access to this family, and you see him become wholly immersed and integrated with them. The mix of East and West is so beautifully done, showing the authenticity of the cultures and personalities. There is a coming together of religions and colliding ideologies, and it’s about how people from very different lives come together to try and help this child. What’s beautiful about the film is how the wonderful cast comes together, and we see Arabs portrayed in a genuine way. It will be different from anything else you’ve seen.

Buccellati’s jewellery collections make the perfect accessory for summer. See more in our latest editorial production below.

Photography: Sandra Chidiac
Styling & Direction: Lindsay Judge
Model: Rona at Fashion League
Hair and Makeup: Lina Dahlbäck at Signature Element

Location: The Westin Dubai Mina Seyahi Beach Resort & Marina

Hawaii color necklace in yellow gold set with onyx. By Buccellati
Jacket and dress, Brunello Cucinelli

Hawaii Color earrings in yellow gold set with opal. By Buccellati
Dress, Valentino

Left hand: Macri Positano Eternelle in yellow and white gold set with round faceted rubies
Right hand: Macri classica eternelle in pink and white gold set with diamonds. Macri Eternelle in yellow gold DLC set with diamonds. Macri bracelet in pink and white gold set with round brilliant cut diamonds.
Macri bracelet in yellow and white gold set with round brilliant cut diamonds. All Buccellati
Jumpsuit, Genny

Hawaii Earrings in yellow gold. By Buccellati
Dress, Noon By Noor

Macri classica earrings in white gold set with 3 round brilliant cut diamonds.
Macri Eternelle in yellow gold DLC set with diamonds. Macri Giglio bracelet in white and yellow gold set with diamonds.
Macri bracelet in yellow gold DLC set with diamonds. Macri Giglio bracelet in rose and white gold set with diamonds, All Buccellati. Jumpsuit, Genny

Torsade necklace in yellow and white gold set with diamonds.
Left hand:
Macri AB bracelet in yellow and white gold set with diamonds.
Right hand:
Macri bracelet in yellow and white gold set with round brilliant cut diamonds.
Macri bracelet in white gold set with round brilliant cut diamonds.
Macri bracelet in pink and white gold set with round brilliant cut diamonds.
Premium band ring in yellow, white and pink gold set with rubies.
All Buccellati
Dress, 1309

Hawaii Earrings in yellow gold. Hawaii Diamonds Necklace in yellow and white gold set with diamonds. All Buccellati
Dress, Max Mara

Daphne Earrings in yellow and white gold set with diamonds. Macri gold watch in yellow gold set with diamonds. All Buccellati
Jumpsuit, Genny

Collane Ombelicali necklace in white and yellow gold set with pearls.
By Buccellati
Dress, Brunello Cucinelli

The Emirate of Sharjah has become known for its rich history and cultural appeal. Thanks to events such as the Sharjah Biennial and the Sharjah Art platform, as well as the numerous cultural museums around the city, the UAE’s third-largest Emirate has received global recognition for its celebration of the arts, welcoming creative talents from around the world to share this platform of culture.

But there are many more ways that Sharjah is sharing its strengths. Under the guidance of H.E. Sheikh Fahim Bin Sultan Bin Khalid Al Qasimi, Chairman of the Department of Government Relations, Sharjah is spreading its uniqueness, beauty and strengths with the world, developing global partnerships and putting Sharjah on the map for its cultural power, as well as its expertise in education and innovation. 

Heading up the Department of Government Relations, H.E. Sheikh Fahim and the department work in cooperation with the Ministry of Foreign Affairs and International Cooperation to coordinate the Emirate’s foreign relations and seek to maintain and strengthen its reputation at the regional and international levels. The department oversees the organisation of the strategic cities program in Sharjah, aiming to build strategic relationships based on enhancing cultural and knowledge exchange and achieving economic development. We talk exclusively to H.E Sheikh Fahim Bin Sultan Bin Khalid Al Qasimi to learn more. 

Tell us about your role as the Chairman of the Department of Government Relations in Sharjah, what it entails and what your role involves daily. 

I started my career in the private sector, and then, nine years ago, His Highness Sultan bin Muhammad Al-Qasimi, The Ruler of Sharjah, asked me to join the Sharjah Government to establish an international cooperation for the Emirate of Sharjah. Having studied abroad, I realised we needed to identify where an international cooperation department in Sharjah would focus. We began by looking at where Sharjah has an outward-looking presence. We identified four areas: economics, tourism, culture and education, and we started working on ways we could place Sharjah by comparing it to other cities in the world. For example, we looked at The United Kingdom and highlighted the similarities between cities like Cambridge, Edinburgh and Manchester. And I think that helped our international partners to place Sharjah. 

My job today revolves around working with countries and cities worldwide to help deepen and strengthen their ties with Sharjah. There are three main elements of my job. The first is to be the international representative when Sharjah travels abroad. I support other departments when it is required for Sharjah to have a global presence. For example, with the Sharjah Book Fair coming up next month, I will be in Korea as the guest of honour, working with our Korean partners on this. My department also helps to organise economic and trade visits to certain countries. The second part of my role is to represent His Highness the Ruler of Sharjah as his diplomat when required. I have had the pleasure and honour of meeting presidents and speaking at prestigious events on behalf of His Highness, and I feel blessed to have had those opportunities. And then last but not least, it is related to representatives of our international partners who are based in the UAE, namely the Consul Generals of all of the countries we work with; whenever they need anything from Sharjah, we call ourselves the “Diplomatic Window” into the Emirates. 

How is Sharjah positioning itself as a tourist destination and appealing to international visitors?

My role is a very multi-faceted job, and I will say that there can be different messages depending on who we’re speaking to, but around seven years ago, we realised that we needed to distil the message down to something that everyone could understand. If we think about the core values of Sharjah, it comes down to the message that Sharjah is the UAE’s capital of culture, education, and innovation. Culture in the sense that we have the Sharjah Biennial and the Sharjah Arts Foundation. We also have one of the world’s largest Book Fairs, the country’s most extensive collection of museums, and so on. Regarding education, we have over 40,000 students from over one hundred nationalities. I always say we educate the region. The number of Cabinet Ministers who are graduates of Sharjah Universities is vast; we have produced numerous lawyers, dentists, doctors and more. This message is quite easy to share, and we work a lot on student exchanges, professor exchanges, and research programmes around this. And then lastly, after 25 years of these Universities, we are focusing on the next phase of innovation, which looks at how we bring applied research and technology to the Emirates. We look to find young start-up companies that are solving global challenges and consider how we, as a government entity, can enable them to have Sharjah as a base. That is an exciting task. 

What is in the pipeline for Sharjah in terms of innovation?

Innovation is a very abstract and broad term. If I try to keep the message very focused, I look at where Sharjah has been leading in particular industries, where I always highlight our “Sharjah Champions”. Sharjah is the only Emirate that has two coastlines on the Arabian Gulf and the Gulf of Oman. And because of that, we have Gulftainer, one of the leading logistics port operators in the world. This is a Sharjah-based company which operates Port Canaveral in The United States. Secondly, Sharjah International Airport, which people living in the UAE might call a small airport, is a large international airport on a global scale. It can carry up to 12 million passengers a year, and it’s rapidly growing. We also have there the Sharjah International Airport Freezone, where cargo and aviation are a huge hub due to Air Arabia, one of the fastest growing low-cost carriers in the world: once again, a Sharjah success story. We can continue to innovate in this huge sector, and any start-ups in that space should look at working with our aviation sector. 

Another company I would like to highlight is BEEAH. BEEAH is a company that’s doing something, unlike anything I’ve seen throughout my career. Around 17 years ago, Sharjah embarked on a mission to solve the waste disposal challenge. The region is one of the highest waste producers in the world, and Sharjah had a bold target of zero waste to landfill. BEEAH was created as a public-private partnership with the Sharjah Municipality and is run by Khaled Al Huraimel, one of the most fascinating CEOs in the country. BEEAH uses a special technology that allowed it to reach seventy per cent diversion of waste from landfill in three years. With the commissioning of a waste-to-energy plan, in coordination with Abu Dhabi, this year Sharjah is on track to being the first city in the Middle East that has zero waste to landfill. And now, BEEAH is exporting its expertise to other areas of the world. They handled waste management for COP 27 and now manage the waste in Sharm El Sheikh, Medina in Saudi Arabia, and the new administrative capital in Cairo, Egypt. This is a global challenge, and this company is solving a problem that needs a solution the world over. So we have these huge success stories in Sharjah, and we need to be sharing these with the world, and that’s my job. 

What’s happening in terms of the cultural attractions and activations in Sharjah?

Sharjah has a unique identity, and I tell people they need to spend a week there to get a true sense of the Emirate, particularly the city centre. We have worked for a long time to build an authentic programme, whether in fine art, handicrafts, innovation, education, arts, or other areas. The Sharjah Biennial is one project that has been successful for many years. The art world now knows Sharjah as this location, and I’ve worked with universities teaching Arab art that have Sharjah as part of their curriculum, which shows we’ve created something of magnitude. The Sharjah Book Fair started as a very humble event before I was born and has been the world’s largest book fair in the last few years. 

Other stories are not as widely shared yet. I’m fascinated by a project by the Irthi Contemporary Crafts Council. I have worked on a few projects with them, and the handicrafts these women are doing are incredible. As a department, whenever we give gifts, we include items that we have co-produced with Irthi Contemporary Crafts, and it also gives the women working there the opportunity to earn a living. When it comes to Irthi, I would say “watch this space” because there will be a lot of news in the design space in Sharjah. 

Last but not least, we as a department have been working on something fascinating in the cultural space. We realised that countries were trying to find better ways to engage with our cultural programme by being on the ground, meeting curators, and finding ways to collaborate. But the cultural centres have always been very much based in the embassies in Abu Dhabi. So, we wanted to find a way to have cultural representation in Sharjah. Most countries worldwide have an official government-associated cultural institution that acts as a cultural ambassador. The British Council is one example; the Allianz Française is another. Coming from the private sector, I realised that one of the challenges for them opening in Sharjah would be the actual physical cost of establishing a centre. But today, with so much content being delivered digitally and people working in more collaborative-like spaces, why don’t we create a cultural centre that houses all of them in one space? And so that is what we are doing! It will be almost like a cultural co-working space. So that is a fascinating project we are currently working on. We hope it will be a place where cultures meet, and I look forward to welcoming Sharjah’s students, residents, and Nationals to this unique space when it opens. 

Tell us about what’s happening in terms of the digital transformation of Sharjah and what this means for the future of the Emirate. 

I didn’t initially come from the digital industry but began bringing technical solutions to the government several years ago. I saw that there was an opportunity to work on that more closely, and I was asked by His Highness Sheikh Sultan bin Mohammed bin Sultan Al Qasimi, Crown Prince, and Deputy Ruler of Sharjah, to look into it, and what I realised was that we needed to think about the people that choose to call Sharjah home. Not digitalisation for digitalisation’s sake but rather, how do we build a plan where the outcome makes people’s lives easier? That took a number of years, the pandemic accelerated a lot of technology adoption, and today we have the Sharjah Digital office, which is now handling this, and they have built the Sharjah Digital app, which is a digital window for residents, and we continue to develop.

Technology, for technology’s sake is great. Still, how we think about it in Sharjah is to consider that only some have access to technology or are used to working with it. We are not naïve to the fact that specific segments of society still prefer to come into a department and deal with someone face to face. So, it’s a tough challenge, and I commend the Sharjah Digital office team who continue to find this delicate balance. 

Khorfakkan Ampitheatre

What are some of your favourite locations in Sharjah that our readers should visit?

I often say that I have the easiest job in Sharjah. I get to bring foreign diplomats to the Emirate, show them all the wonderful places, and tell them all the wonderful stories. I’m lucky as I get to see all the hard work that’s put in, and then I get to share it with others, so I have seen every beautiful corner of Sharjah. 

I recommend anyone to take a walk around Sharjah. There are some locations that people may be aware of but have not truly experienced it. If you start at the Sharjah Art Museum and walk through the Heart of Sharjah, you will get a sense of the culture and beauty of the city. In the cooler months, stop for a coffee in Chedi Al Bait, continue to walk through the Souq Al Shanasiyah, and pass by the Museum of Islamic Civilisation. That gives you a sense historically about how Sharjah has preserved its history. My family have been in Sharjah for hundreds of years, and for us to maintain that is fascinating. 

For people that might be able to call Sharjah home or have just moved there to start a new chapter of their lives, I’m fascinated by the area around University City, all the way across to Al Mamsha and Aljada, where you get a sense of the youthful vibe of Sharjah. You are then also very close to The House of Wisdom, where I spend a lot of time, and it’s a fascinating location. Eating at the Chie restaurant is a great experience, especially if you are a foodie like me!

If you ask me personally where my favourite place in Sharjah is, it would have to be the East Coast. I love Khor Fakkan and Kalba, and because I work in sea turtle rehabilitation in my personal life, I spend a lot of my life underwater on the east coast. The way the mountains roll into the sea is truly special; if I could move the department there, I would! 

How would you sum up the future vision of Sharjah?

If I were to look at what Sharjah is focused on or what drives our approach, I would always echo His Highness’ analysis for any project. This is to consider the economic, environmental and, most notably, the social return. That is what Sharjah’s future will be. It will continue to be a place that people want to call home. We’ve grown by nearly half a million people in just a few years because it’s a place that continues to be very conscious of the balance between driving our economy forward but also protecting the environment and making sure the people that benefit the most are the citizens and residents of the Emirate. As long as my colleagues keep that in mind, the future of Sharjah is bright and full of colour, culture and knowledge. 

What do you do to relax when you’re not working? 

I spend time with my twin boys, who are my everything. I grew up sailing and like to take them out on fishing or sailing boats. If you ask me how to switch off, I free dive. I swim underwater without oxygen because it helps me connect with nature and it lets me completely switch off. 

What is the professional motto that you live by?

One of my biggest mentors once told me: “don’t get comfortable, and don’t get complacent.” That’s driven my entire career. 

How would you describe Sharjah in one word? 

Sharjah means so much more than just a word. No word can capture how dynamic, complex, and multi-faceted Sharjah is. The only way for anyone to describe Sharjah is by using the name of the Emirate itself. I would call Sharjah, Sharjah and if you want to know what that means, you must come and visit! 

At the recent edition of Watches & Wonders, IWC Schaffhausen introduced a significant timepiece to the brand.

The Ingenieur Automatic 40 is a watch inspired by Gérald Genta’s Ingenieur SL, Reference 1832, from the 1970s, reflecting the iconic design codes and bold aesthetic of the watch, encompassing three new editions that bring the iconic design into the 21st century. The new Ingenieur is powered by the IWC-manufactured 32111 calibre with a power reserve of 120 hours. All new models feature soft-iron inner cases to protect the movements from magnetic fields and are water-resistant to 10 bars, making them fully versatile sports watches for the 21st century. With a successful reaction to the watch so far, it’s set the brand up for an exciting year ahead. We talk to CEO Christoph Grainger-Herr to find out more. 

Watches & Wonders 2023

Tell us about the experience at this year’s Watches & Wonders – how did the event serve the brand, and what was the feedback?

We had a fantastic Watches & Wonders this year, and it was one of the most significant evolutions in watches & Wonders I can remember. We’ve been doing these events for sixteen or seventeen years now, and it’s fantastic to see how it’s developed; when you look at the feedback and visitor numbers this year, it’s been by far the most frequented Watches & Wonders. We had a huge influx of visitors from all over the world which, and it was interesting seeing the watch industry come together in this way, especially after the concept of physical fairs has been constantly questioned since the pandemic. The resurgence of attendance we experienced this year proves the importance and relevance of these kinds of events. 

Watches & Wonders was open to the public for the first time this year, it was completely sold out, and I was blown away by not only the interest and the feedback of people travelling from all over Europe and beyond but also how they were interested in the products and making inquiries and I think that’s a fantastic step forward for Watches & Wonders. So as an exhibitor, we couldn’t be happier. 

For us, this year was quite a key moment because after many years of waiting to re-enter the integrated steel sports market with the Ingenieur, we brought back one of the three original Gérald Genta designs, and to receive the sort of feedback we’ve had so far, has felt very special. So, it was a very focused edition of Watches & Wonders for us. We presented several new automatic models in the Ingenieur line, three in stainless steel, and one in titanium, so it’s hyper-focused, but it was interesting to see the clarity of the message and how it was received. It’s not a confusing storyline across many families; it’s one story about the heritage, engineering, and design of this watch and how to distil what is essentially the DNA of the watch and turn it into a relevant product. That’s been the storyline of the launch, and it’s been fantastic. 

Watches & Wonders 2023

How have you taken the original design of the Ingenieur Automatic and made it relevant today, and what were the challenges? 

The Ingenieur is such a unique piece because it has had many iterations throughout its history and lifetime; from the start, in the 1950s, we had an antimagnetic watch with a very classical design. And then, in the sixties and early seventies, we saw this idea of a sports watches emerge from what was previously a classically designed gold watch; all of a sudden, Quartz came in, and a new aesthetic had to be found that went beyond very classical golden watches and that’s really why Gérald Genta jumped onto the trend at the time, reformulated what a luxury mechanical watch could be. He created bold sporty designs using stainless steel, not precious metal, with an openly expressed construction and a much bolder look and feel to these products. The Ingenieur first appeared in 1976 and from there, went through many different iterations; in fact, many of the watches that are now revered as the original designs were never manufactured. There was not a completely continuous design solution from the beginning; there were a lot of disruptions along the way. 

Ingenieur Automatic

Everyone in the watch world and everyone familiar with IWC and Gérald Genta might happily agree that we should bring back the Ingenieur, but we had to look at what that means. Although the design DNA of the Ingenieur is strong, the design translation of the original was neither very wearable nor was it appropriate for today in terms of proportion. So we could not just go back to the original design; an evolution had to happen in terms of case size, height, ergonomics, the way the watch sits on the wrist, the pure wearability, and also making sure the proportions were modernised. The original watch had quite a dominant bezel but was flat with a wide integrated band that looked like a thick bracelet. We decided to maintain the dominance of the bezel but trim down the integrated steel bracelet to make sure it flows over the wrist properly and fits different wrist sizes. We created a more modern balance between case and bracelet. Of course, we wanted to maintain the anti-magnetism, so the new Automatic also has a closed caseback and antimagnetic protection. We have a proper three-piece case construction with a screw-in bezel that is not just decorative but functional. We invested in the bracelet design to ensure that we have a high-end stainless-steel bracelet with the best ergonomics, really good stability. We invested a lot in the finishing to ensure that it’s a product that is at the level of what Gérald Genta intended, but at the same time, is a wearable modern sports watch. Gérald’s wife, Evelyne Genta, has endorsed the watch, and we have support from the family foundation, which is fantastic. Evelyne was involved in the design discussions to give her input and for her to say that this is how Gérald would have done it, and that’s really special and a nice touch to round off the story. 

Ingenieur Automatic

Now we have the core model and the essence of the design; we will go from there and continue to develop this line. It’s been fantastic to hear the feedback from both men and women around this watch, and it has given me the confidence that we can build something from this. 

Pilot’s Watch

We also saw some new references on Pilot’s Watches within the Top Gun line; what can you tell us about that and why the Pilot’s line, in general, is still such an important pillar for the brand? 

Generally speaking, there has been a long-term trend around this appetite for sports watches over the last five or six years, particularly colourful sports watches. We’ve seen a return to the happier, more playful side of watchmaking, especially after the pandemic. We’ve seen boasts of colour, playful associations and so on. Starting from the original straightforward tool watch in the Pilot’s classic designs, in 2019, we embarked into the field of coloured ceramics. That has really appealed to people looking for this slightly more expressive and playful twist on the classic. When you think about aviation-inspired contemporary sports watches, IWC is the reference in that field, and from there on, we’ve found that people love this uniqueness that we bring in colour codes such as the Mojave Desert watch, which is different from anything else in the industry. This watch has a functional background, but at the end of the day, it becomes a contemporary sports watch that is a style choice more than anything else. Then we added the Lake Tahoe-coloured crisp black and white edition, showing the graphic quality of the Pilot’s design so well. The white against the black turns it into the purest expression of that particular design code. I always thought this watch would be more of a niche choice, but it turned out it wasn’t at all! People were jumping onto ceramic watches, and we totally underestimated the response. Last year we introduced the Woodland Green shade, and the latest is the Oceana Blue which we presented at Watches & Wonders. 

Oceana Blue

This watch has a new diameter of 41cm. We kept wearability in mind, and there is definitely a place for two diameters in our line-up. The Oceana is a watch I have been wearing often, especially around the pool. It has a denim inlay rubber strap which is waterproof, sun cream proof and UV-proof. And again, the versatility of a blue and white watch is something that really works. It was a bit of a dark horse in terms of our launches at Watches & Wonders, but once you have it on your wrist, you don’t want to take it off. That is, for me, a good indicator. Ultimately watches are a personal preference; you must like wearing them and feel an emotional connection to them. There are many watches that I like to look at from afar, but on my own skin, they are not comfortable, and that’s why when customers ask me for advice, I tell them it’s such a personal choice. Of course, I can give direction, but ultimately the only thing that matters is that they feel good in the watch and that it brings them joy when they wear it. Quite often, the watch that you might have thought you would like on paper is not the watch for you, and I think that’s what makes our products so unique; it’s a very personal experience. 

Do you think the physical boutique experience is still relevant to customers today?

My background is in-store architecture, so I am a little biased, but when all the other channels started to emerge, from around the late noughties – it really took off around 2017 – it also took us a while to work out what the online shopping experience for luxury watches looked like. There must be a balance between the convenience of online shopping, personal advice, and a seamless luxury experience. But I never thought this would ever be anything but a complimentary channel, a tool to meet a certain customer need. Luxury brands are all about the emotional experience, the meaning, the heritage, the character and ultimately, what the brand expresses. Online shopping has shifted towards a very straightforward convenience factor. When you enter a brand’s website, you don’t have to navigate through tonnes of immersive experience videos until you get to the products, it’s more simple, convenient, and information-driven and that only takes you so far. When buying a non-essential, emotional product, especially from a certain price point and above, I feel customers what to know what the brand is, who’s behind it, where it’s from, what it represents and whether they trust it with a lot of their hard-earned money. And this is where the physical experience starts to come in and where physical advertising, stores and human interaction are such an important part of buying that type of product. And that’s why I think, despite all of the growth online, I don’t believe that you can fully virtualise a luxury brand. I think humans are fundamentally wired to want that human aspect. The virtual part is there for research and to obtain or buy something quickly when the occasion arises. But it is always complementary to the physical experience. 

Lewis Hamilton

How important is it for you as a brand to be creating experiential moments for your clients?

The way that it works for luxury brands and for us is that we want to offer an almost infinite number of layers of interaction, involvement, and relationship to our customers. As you get invested into a brand as a client, it is more important. As luxury watch brands, we are quite particular in the sense that we’re somewhere between being a fashion brand and being an enthusiast technical brand. So, on the one hand, you have that style and status element; on the other hand, you have huge technical complexity, craftsmanship, and heritage, and some of our customers really want to dive into that. So, you must have layers that appeal to all types of customers. To be able to understand a brand from the very public and in a way superficial image and representation is one part, but then you have experiences that go beyond that. Moments where you could interact with a brand to understand its DNA a lot better, and then you start to create a personal relationship with the people behind the brand. When we have intimate events with our customers, the takeaway is that the customers understand more about the brand and why we work with the people we do. Of course, we can’t invite all our customers to these events, but as you get more familiar with the brand, you want to understand more. You want to come to the factory and start finding out what it’s like to build a watch. You want to meet the people behind it, and I think our job is to create a multi-layer platform where you go from a basic understanding of the brand to the very top level, where you become part of the family. 

Digital innovation has allowed us to bring a deeper experience of our brand to many more people than before, and that’s been a huge development we’ve seen over the past few years. This adds a layer of involvement that didn’t exist before, reaching a completely different audience than traditional media. It shows how we can bring diverse sets of people into a conversation or interaction, and that’s what we are working on more of. As new things emerge, my approach is always to be part of it early on and experiment, and we know that things aren’t always going to take off, but we are always open to experimenting. 

Lewis Hamilton

We know that partnerships and ambassadors are key for the brand – tell us more about that, and what do you look for when entering these kinds of partnerships?

The best way for me to explain our relationship with our partners and ambassadors is to take the example of Lewis Hamilton, who has now been working with us for ten years. When you think about the evolution of Lewis Hamilton and the evolution of the awareness of Formula One around the world across generations, it’s nothing short of amazing for me. You have somebody who started with McClaren at a very young age before joining Mercedes in 2013, and we have now just celebrated ten years of partnership with the team and with Lewis. Over this time, we’ve done everything from awareness of social issues to straightforward campaigns, comedy videos, customer interactions, acting, music – you name it, we’ve done it! Lewis is such a great ambassador for the sport and, the values he represents and his investment in diversity anti-racism. Everything he represents is a powerful association for IWC to show what we stand for and who we are. Again, talking about layers, he’s somebody who, as an ambassador, will bring awareness to the brand, especially to young people. The increase in Lewis Hamilton awareness now in the United States is insane. There is an unbelievable platform that you can’t replicate without someone with that sort of reach. Just recently, we had a fantastic basketball activation in Miami where Lewis came out and all of the children from the Dibia DREAM non-profit organisation joined in. Yes, it created huge PR coverage, but at the same time, that charity effect on the local community was great for them and our customer engagement. Lewis is an absolute star when he meets any of our customers. He takes time to talk to them all and to see, after ten years of partnership, the level of trust that’s there and how relaxed he is when he approaches all of the things we do together, that’s something that radiates to the millions of young new followers of Formula One who will be coming into contact with our brand for the first time, all the way to our top customers who might own a Lewis Hamilton Special Edition watch who have the pleasure to meet him through these events. It’s these moments when he really engages with people and answers questions that we see the real benefits of these partnerships and our layers that can be highlighted through the experiences with our ambassadors. We are fortunate to have these kinds of long-term partnerships. 

IWC Schaffhausen boutique The Dubai Mall, Dubai

Tell us about IWC in the Middle East and your focus for the region this year.

The development of the region has been absolutely amazing in recent years. I think we’ve seen the interest in luxury watches rapidly accelerate recently. I remember when the Dubai Mall was constructed, and nobody could have foreseen what sort of development it would take. But it is today probably the most important shopping mall in the world. I think the traffic our store in the Dubai Mall generates is crazy. Since we moved into a bigger, more experiential space, it is one of our leading boutiques in the world. And therefore, the quality of the environment and our customers from all regions of the world is a special blend in Dubai. I love the energy, and it’s a real pleasure. 

This year we have a main launch coming in the autumn, which we are looking forward to, and we will be activating that around that in the Middle East. Quite a number of store openings are happening around the region beyond the UAE. It’s a fantastic region for watches. 

IWC Schaffhausen boutique The Dubai Mall, Dubai

What message would you send to your clients and friends here in the Middle East?

I love that celebrating watchmaking in the Middle East, in many cases, brings together a diverse mix of people, and this exchange of ideas, viewpoints, and tastes is what really needs to be celebrated. We are in a time where many discussions around public life are quite polarising, and we see a lot of trends of things drifting apart, to experience places in the world where people come together peacefully is so important. It’s so important to have things like watchmaking in regions like Dubai where people can connect and come together with their shared passion.