Lebanese-Spanish artist and designer Assaad Awad’s work combines the worlds of craft and technology, where ancient techniques meet futuristic innovation. A finalist in the Fashion Tech category of the 2025 Fashion Trust Arabia Awards, Awad is among a new generation of designers redefining what luxury and craftsmanship mean in the digital era. The FTA Awards final will take place this November, where his experimental vision, rooted in both artistry and research, will compete on one of the region’s most forward-thinking platforms.

Awad’s creative path began in Lebanon, where limited resources sparked a boundless imagination and a drive to create his own worlds. After a decade in advertising, he turned toward accessory and wearable design, quickly gaining global attention for his bold, avant-garde aesthetic. His creations have graced the stages of Lady Gaga, Madonna, Mugler Paris, and The Royal Opera House Madrid, as well as collaborations with Balenciaga and Hermès.

Today, through his company Extraordinary Wearables, Awad bridges centuries-old craftsmanship with emerging technologies such as 3D printing, scanning, and AI-assisted design, crafting hybrid, sustainable objects that blur the boundaries between art, fashion, and science. His work is not only about what we wear but how we connect to it, reimagining the emotional and sensory potential of fashion in a digital age. Beyond creation, he is also deeply involved in education and mentorship, shaping the next generation of designers at IED Madrid and across Lebanon.

As he prepares for the FTA Awards final, Awad reflects on how technology can enhance human emotion, craftsmanship, and sustainability, and why the future of fashion might just be printed, not stitched.

You’ve been recognised in one of the most forward-thinking categories of the FTA Awards. How does it feel to see your experimental work resonate on this level?

It feels incredible, and honestly a bit surreal. As a researcher and developer deeply involved in R&D, I’ve spent years experimenting and trying to crack the code of tech design. Seeing it recognised on this level feels like a huge payback for all those nights of exploration and trial. My work has always lived in that space between technology, craft, and emotion, so to see it resonate within such a forward-thinking platform means a lot. It tells me that people are ready to see innovation not just as a tool, but as a form of artistic expression.

Your creations often blur the line between art, design, and technology. How do you see innovation shaping the emotional and aesthetic experience of fashion today?

I think innovation adds a new layer of intimacy to fashion. It’s not just about what we wear, but how it’s made, how it connects to us, and how it evolves with time. Technology allows emotion to take new forms, movement, adaptability, and even interactivity. It gives life to materials and opens up ways to tell stories through design. AI also plays a key role here, as it helps us explore form, emotion, and storytelling in ways that were unimaginable a few years ago.

Craftsmanship and technology are sometimes seen as opposites, yet your work fuses both beautifully. How do you maintain a human touch in such futuristic creations?

For me, the human touch is in the intention. Every line, every connection, even the algorithm behind a 3D print comes from a deeply handcrafted mindset. I still think like an artisan, I just use new tools. The craftsmanship isn’t lost, it’s translated into a digital language that still carries the same sensitivity and devotion.

From 3D printing to digital prototyping, the tools of design are changing rapidly. How do you approach technology not just as a medium, but as a creative partner?

I treat technology almost like a collaborator; it has its own logic, rhythm, and surprises. When you understand its limits and possibilities, it starts suggesting ideas back to you. I like that dialogue. Sometimes the machine proposes shapes I would have never drawn by hand, and that’s where creativity really expands, and that’s the magic of materialising those proposed shapes into something tangible again, using Rhino 3D, Grasshopper, and sometimes 3D scanning and 3D sculpting!

What are some of the trends and technological developments that are inspiring you right now?

I’m fascinated by material evolution, flexible filaments, bio-based polymers, and the fusion of textiles with 3D-printed elements. I’m also drawn to digital craftsmanship, how we can simulate handcraft in a virtual environment while keeping the soul of the process. And AI, of course, because it challenges how we define creativity itself and allows us to merge human intuition with computational precision.

As someone whose work borders on art installation and wearable design, how do you think architectural concepts like structure, rhythm, and space inform your process?

Both architecture and a bag are spaces that need to be filled with things, keeping a sense of harmony and functionality. Architecture teaches me discipline and balance, and that naturally translates into my design process. When I design a bag or an accessory, I think in terms of space and movement, how the object interacts with the body like a small piece of architecture. Structure and rhythm guide everything, the proportions, the way it opens, how it feels to carry. It’s wearable architecture in a poetic sense.

Looking ahead, what excites you most about the future of fashion and innovation, and what message do you want your work to leave behind in that future?

I’m excited about a future where creation becomes more personal and sustainable, where people can print, repair, and customise their own pieces. I want my work to inspire a shift from consumption to connection, the idea that technology can bring us closer to what we own, not farther away.

I want to be a pioneer in helping put together the blueprint book of how, in the very near future, people will print their own luxury goods. My goal is to make design and post-processing easier for the consumer, so that this becomes a sustainable, accessible solution against fast fashion. AI is also part of this vision, helping translate design ideas into printable, personalised objects that adapt to individual needs and styles.

I also dream of creating an open-source bag, one that people can collaborate on instead of simply being passive buyers. Imagine how that bag would evolve if it reached every continent, how it would carry influences from different hands, minds, and cultures. It would become a living project, a collaboration with the world itself.

What else is in the pipeline for your brand?

I’m working on expanding the collections I presented for Fashion Trust Arabia into more modular, customisable pieces, still rooted in craft but with a strong technological identity. I’m also exploring collaborations that merge art, performance, and design, pushing this dialogue between digital precision and human emotion even further. At the same time, I’m always in the process of mentoring and passing my know-how to my students at IED, Instituto Europeo di Design, and to young designers in Lebanon, helping them embrace technology as a creative language rather than a barrier.

How do you see a concept born from a luxury house transforming into a tech-driven object that still carries emotion and craftsmanship?

The Hermès Tree I created last year perfectly embodied that idea. It served as both a sculptural piece and an equestrian hat rack that lives beyond the holiday season. The saddle shape was lowered to invite people to “ride a new adventure,” while the orange accents reflected the brand’s identity. The stirrups represented the crystal balls, and the wood rods connecting the 3D-printed joints symbolised the connection between people gathered around shared joy. At the top, the Cheval Samarcande overlooked the happiness below, acting as the star of the tree.

The piece was later auctioned for charity, giving it a deeper sense of sustainability. Its campaign, created entirely with AI, transformed the concept into lyrics and an AI-generated jazz song for Christmas — merging technology, storytelling, and craftsmanship into one poetic expression of modern luxury.

By Lindsay Judge

Palestinian designer Ayham Hassan represents a new generation of creatives using fashion as a language of identity, resilience, and reform. Based between London and Ramallah, he has been shortlisted for the Franca Sozzani Debut Talent Award at the 2025 Fashion Trust Arabia Awards, set to take place this November. His nomination highlights a growing global recognition of Arab designers who challenge cultural narratives through craft and concept.

A graduate of the London College of Fashion, Hassan’s work is anchored in the experience of growing up in the West Bank, where creativity and survival often coexist. His designs merge storytelling with social reflection, exploring how fashion can become both a form of expression and protection. With a focus on tailoring, textiles, and draping, he draws on the deep craft traditions of Palestine, reinterpreting them with contemporary precision.

Through collaborations with local artisans, Hassan works to preserve and evolve traditional techniques within a modern framework. His aesthetic is defined by a grounded, tactile sensibility that reflects the physical and emotional landscape of his homeland. Raw textures, sculptural silhouettes, and earthy tones come together to form garments that embody endurance and transformation.

As he prepares to present his vision at the upcoming FTA Awards, Ayham Hassan continues to build a practice that bridges tradition and innovation. Here we find out more.

Congratulations on being shortlisted for the Franca Sozzani Debut Talent Award. How does it feel to have your collection recognised on such a prestigious international platform?

Thank you so much. It honestly feels surreal to be shortlisted for the Franca Sozzani Debut Talent Award. To have my collection recognised on such an international stage is incredibly meaningful. This project was very personal to me, and to see it resonate with others in this way is both humbling and energising. Franca Sozzani’s legacy represents creativity with purpose, and being connected to an award that celebrates emerging voices in that spirit feels truly special. I’m deeply grateful for this recognition and the opportunity to share my work with a wider audience. How does your heritage inspire you, and what does it mean to you to represent your country on an international platform? My heritage is at the heart of everything I create. It shapes the way I see beauty, detail, and storytelling. It’s woven into the textures, colours, and emotions behind each piece. Growing up surrounded by the richness of my culture has given me a deep appreciation for craftsmanship and a desire to reinterpret tradition through a contemporary lens. Representing my country on an international platform is an incredible honour. It’s more than just personal recognition, especially being a Palestinian from the West Bank, it’s a chance to share our creative identity with the world, to show the depth, innovation, and spirit that define where I come from. I carry that pride with me in every collection, hoping to inspire others and open more doors for emerging talent from my region.

What story does your debut collection tell — and how does it reflect your identity as both a designer and an emerging voice in regional fashion?

IM-Mortal Magenta: the colour that doesn’t exist is both a personal and political reflection — a meditation on survival, loss, and the act of remembrance. The collection was born from the experience of growing up under occupation in Palestine, where life itself exists in contradiction, between despair and defiance, erasure and endurance, mortality and immortality. Magenta, a colour that technically doesn’t exist in the spectrum, became a symbol for that in-between state, the tension between presence and absence, between what is destroyed and what refuses to disappear. Through this collection, I reclaim narrative and space, honouring those erased while asserting continuity through craft, memory, and creation. Drawing from Gaza’s historic textile and dress traditions, I used print, embroidery, leatherwork, laser engraving, and knit to translate that tension into form. Every stitch, every surface, carries the weight of loss but also the persistence of beauty and humanity. IM-Mortal Magenta is not just about fashion, it’s about resistance, remembrance, and the eternal pulse of a people who continue to exist, even when told they do not.

Tell us about your creative process.

My work is deeply rooted in my personal experiences growing up in the West Bank and is approached through a critical and analytical lens. Fashion, for me, is a means of challenging and reshaping my reality, a language through which I process identity, displacement, and resistance. I draw inspiration from the social customs and evolving culture of my city, exploring the rich craftsmanship of Palestine, with a particular focus on tailoring, textiles, and draping. Collaborating with local artisans is central to my practice; it allows me to preserve traditional techniques while reimagining them within a contemporary context. Through these collaborations, I aim to sustain and celebrate Palestinian craft, ensuring that these invaluable skills continue to evolve in a fast-changing world. My design process is fluid and ever-evolving, a space of experimentation, reflection, and discovery. Being an international student has widened my perspective, allowing me to see my culture from afar and understand its nuances more deeply.

I’m driven by the desire to innovate with what’s around me, to transform limitation into possibility, and to craft work that tells stories of resilience and healing. The aesthetic of my work is raw, visceral, and grounded, shaped by the physical and emotional landscape of growing up under military occupation. For me, fashion is not only a form of self-expression but also a form of protection, a way to reclaim space, dignity, and identity in the face of oppression. Ultimately, I believe in the transformative power of design as a force for change. Through my work, I seek to provoke dialogue and self-reflection within Arab and Palestinian societies, while advancing sustainable and independent design practices in the region. By building upon tradition and infusing it with innovation, I hope to bring Palestinian identity into global consciousness — not as a symbol of war, but as a source of creativity, resilience, and profound beauty.

Architecture and fashion often share a dialogue of structure, form, and proportion. How do elements of design and spatial composition influence your approach to creating garments?

Architecture and fashion are deeply intertwined in my creative approach, as both disciplines explore structure, form, and the relationship between space and the human body. I consider garments as inhabitable spaces, where drape, volume, and silhouette create a dialogue similar to architectural design, defining movement, presence, and proportion. The balance between tension and release, rigidity and fluidity, plays a central role in how I construct pieces, whether through tailoring, layering, or the manipulation of textiles. I am particularly inspired and analytical by the spatial composition of traditional Palestinian architecture and how the military occupation restricted the natural Landscape, where every line, curve, and proportion carries cultural and historical meaning. Translating this into fashion, I treat garments as three-dimensional structures that both protect and empower the wearer, while reflecting the narratives and heritage embedded in my surroundings. By viewing clothing through an architectural lens, I can explore innovative forms that honour craftsmanship while challenging conventional perceptions of space, movement, and identity in design.

As someone at the beginning of your journey, what materials, shapes, or techniques are you most drawn to exploring?

At this stage of my journey, I am drawn to materials that carry both history and narrative — natural fibres, traditional textiles, and hand-crafted elements that connect me to Palestinian heritage. I am particularly interested in exploring textures that respond to touch and movement, from intricate embroidery and leatherwork to layered knits and laser-cut detailing. In terms of shapes, I am fascinated by forms that balance structure and fluidity, creating a tension between architectural precision and organic movement. Draping, tailoring, and three-dimensional construction allow me to experiment with how garments inhabit the body and interact with space. Techniques that merge tradition with innovation are central to my exploration, hand and machine embroidery, weaving, laser engraving, and modular design all offer ways to honour craft while pushing boundaries. Ultimately, I am motivated by the potential of these materials, shapes, and techniques to tell stories of memory, resilience, and identity through fashion. and currently I’m obsessed with silk chiffon fabrics!

Franca Sozzani was celebrated for championing new voices and socially conscious creativity. How do you see your work aligning with that legacy?

Franca Sozzani’s legacy has always been about giving space to voices that challenge the status quo and bring social consciousness to the forefront of fashion. My work aligns with that ethos by using fashion as a medium to confront and reflect on lived realities — from personal and cultural identity to the broader social and cultural context of Palestine. Through my collections, I aim to tell stories of resilience, heritage, and remembrance, while integrating traditional craftsmanship with contemporary design. Like Sozzani, I see fashion as a tool for dialogue and change, a way to amplify underrepresented narratives and provoke reflection. Being recognised on a platform that celebrates creativity with purpose inspires me to continue pushing boundaries, honouring my roots, and using design to make meaningful cultural and social statements.

What is the vision for your brand looking forward?

Looking ahead, my vision for the brand is to continue bridging tradition and innovation, creating collections that honour Palestinian heritage while engaging a global audience. I aim to expand the integration of local artisans and traditional techniques into contemporary fashion, supporting craft preservation and sustainable production in the region. At the same time, I want the brand to serve as a platform for storytelling — sharing narratives of resilience, identity, and cultural pride — while pushing creative boundaries in materials, form, and technique. Ultimately, my goal is to establish a design practice that is internationally recognised, socially conscious, and deeply rooted in the values and traditions that shaped my perspective, inspiring dialogue and meaningful change through fashion.

By Lindsay Judge

Saudi designer Ziyad Buainain has quietly built one of the most distinctive voices in the new wave of regional luxury design. As a finalist in the Evening Wear category at the 2025 Fashion Trust Arabia Awards, taking place this November, he represents a generation of creatives merging craftsmanship, emotion, and purpose into a modern couture language.

Founded in 2021, his London-based label embodies a global perspective shaped by his life across Al Khobar, Tokyo, Leysin, New York, Milan, and London. This multicultural lens informs a design philosophy rooted in contrast — balancing strength with delicacy, structure with fluidity, and discipline with freedom. Each collection is a dialogue between art and architecture, tradition and experimentation, exploring how garments can carry both resilience and vulnerability.

Every piece from Ziyad Buainain is crafted in London from deadstock, recycled, and responsibly sourced materials, a reflection of his belief that sustainability begins with intention. His approach to eveningwear favours emotion over embellishment, using form, movement, and precision to express a quiet kind of drama. Through his commitment to mindful creation, he redefines luxury as something thoughtful and enduring rather than excessive.

Buainain’s work speaks to a broader cultural moment in the Arab world, where designers are shaping their own narratives on the global stage. His collections invite reflection on identity, craft, and modern Arab expression, offering a vision of couture that is refined yet radical. As he prepares for the FTA Awards final, his perspective feels both deeply personal and distinctly international — an example of how fashion, when rooted in meaning, can connect worlds while remaining true to its origins.

Being named a finalist in the Evening Wear category is a major milestone. What does this recognition mean to you personally and professionally?

Personally, it feels like a moment of reflection, to pause and appreciate how far the journey has come. My work being recognised and seen on this level is incredible. Professionally, it is an honour to be acknowledged by such respected figures in the industry. It reminded me that my work and stories resonate and connect with people. It also feels meaningful to represent the region at a time when so many powerful creative voices are emerging from it.

Evening wear is as much about architecture as it is about emotion, sculpting form, light, and movement. How do you balance structure and softness in your designs?

That balance is at the heart of everything I do. I am drawn to contrasts, so I often start by exploring tension between strength and vulnerability. I build structure to support the body, but I like to soften it with fluidity and movement. For me, structure represents resilience, while softness carries emotion. When they coexist, the result feels human and alive, not static. It is about creating a sense of presence, but also poetry.

Where do you draw inspiration for your silhouettes, from art, architecture, culture, or perhaps your own experiences of the region’s heritage?

My inspiration comes from many places, but it always begins with emotion. I am drawn to absurdist film, surrealist art, and the feeling that comes from something slightly off-balance or unexpected. My time living in Tokyo taught me to appreciate form and restraint, while my Saudi roots gave me an appreciation for storytelling and symbolism. The silhouettes often sit somewhere between those worlds, combining discipline with fluidity. I like to create pieces that hold memory and movement at the same time.

Many of your pieces convey a strong sense of drama and refinement. How do you use craftsmanship and materiality to bring those emotions to life?

Craftsmanship is where emotion becomes visible. I am very deliberate about how each piece is made, from the cut to the choice of fabric. I work mostly with deadstock, recycled, and responsibly sourced materials, so there is intention behind every decision. The drama comes not from excess, but from precision and detail. I like materials that move and react to light, that have a sense of depth. Refinement, to me, comes from restraint and from allowing the craft to speak for itself.

How do you see the dialogue between modern Arab identity and global couture evolving, and what role do you hope your brand will play in that conversation?

The dialogue is becoming more confident and complex, which is exciting to see. Designers from the Arab world are now shaping the conversation rather than trying to fit into it. There is a growing sense of individuality and purpose that feels authentic. I want my brand to be part of that shift by offering a perspective that is rooted in the region but speaks globally. My goal is to show that modern Arab identity can be experimental, emotional, and forward-thinking, while still being connected to its depth and heritage.

If you could describe your creative philosophy in one sentence, what would it be?

To create with honesty and intention, using design as a way to tell stories that hold meaning and hope.

From where do you get your inspiration and when or where are you at your most creative?

My inspiration often comes from observing people and the world around me. I am drawn to emotion, to how we move, feel, and interact with our environments. I am most creative when I have space to think, usually in the studio or while travelling. Research also fuels my ideas; I often look to art, psychology, and social topics that feel relevant to the moment. Creativity, for me, begins with curiosity and evolves through experimentation.

Looking ahead, what is the vision for your brand?

My vision is to build a brand that feels timeless, emotionally grounded, and responsible. I want it to stand for conscious creation, where craftsmanship and storytelling are equally important. I hope to keep pushing boundaries in how we define luxury, focusing on meaning rather than excess. Ultimately, I want my work to inspire reflection and possibility, especially for young creatives from the MENA region who are shaping the future of our industry.

By Lindsay Judge

With its latest high jewellery collection, Virtuosity, Louis Vuitton redefines craftsmanship as a form of architecture. Comprising 110 one-of-a-kind creations across twelve themes, the collection unfolds as a study in mastery and imagination, a balance between structural precision and liberated creativity.

Divided into two chapters, “The World of Mastery” and “The World of Creativity,” Virtuosity celebrates the house’s dual heritage of construction and emotion. The first chapter, The World of Mastery, is rooted in geometry and engineering, where Louis Vuitton’s iconic trunk-making codes merge with the rigour of fine jewellery. Here, design becomes discipline.

In Savoir, the collection opens with a 30.56-carat black opal and a 28.01-carat emerald drop, suspended in a lattice of angular lines that recall the maison’s trunk corners and metallic rivets. It is a piece that took over 1,500 hours to complete, transforming craftsmanship into a wearable monument.

Louis Vuitton’s gemmologist explains that this dedication begins long before design: “At Louis Vuitton, our journey begins with the careful sourcing of stones and a deep appreciation for the offerings of nature. This treasure hunt reveals a distinct DNA: a focus on rare and exceptional finds, coupled with a disruptive approach to colours, shapes, and the unconventional origins of our gems, ensuring unwavering quality and excellence. Inspired by a spirit of adventure, a love for vibrant colours, highly refractive crystals, and precisely cut stones, these elements form the unifying essence of our creations.”

In Protection and Keeper, architectural discipline softens into symbolism, shield motifs, rubies, and pearls intertwine to guard the maison’s secrets. Maestria and Monumental stand as testaments to strength and structure, necklaces engineered like cathedrals in gold and gemstone. The latter features 320 stones arranged into a mosaic of emeralds, rubies, onyx, and diamonds — a façade of colour and light that mirrors Louis Vuitton’s architectural precision.

Throughout the collection, the variety of stones tells a global story of rarity and refinement. “The gems used in the Louis Vuitton Virtuosity collection are particularly special, mainly because of their variety, their impressive carat weights, and their diverse origins,” the gemmologist notes. “You can find an opal from Australia, exceptional and rare emeralds from Zambia, Colombia or Brazil, pigeon-blood rubies from Mozambique, an impressive chrysoberyl from Sri Lanka, an astonishing sapphire from Sri Lanka, rubellites, and indicolite tourmalines from Brazil. They feature different cuts and colours that are very characteristic of Louis Vuitton, such as the opal on the Savoir necklace, cut into a unique triangle, echoing the V of Vuitton and the triangle of knowledge, symbols of the Maison’s relentless pursuit of innovation.”

This dedication to discovery extends beyond the rare and precious to the imaginative and unconventional. “We are also continuously expanding our material and colour palettes to include new and less familiar stones, allowing us to offer a differentiated selection, including gems like aquamarine, Mexican opals or zircons, for example. We aim to transform our expertise into emotionally resonant pieces, never compromising on excellence or perfection, while discovering and appreciating the unique magic each stone possesses. The seemingly effortless result is achieved through extensive and meticulous work.”

In Apogée, the collection reaches its pinnacle, a transformable masterpiece centred around a 30.75-carat Brazilian emerald pear-cut, embraced by Louis Vuitton’s Monogram star diamond, the ultimate symbol of artisanal triumph. Rope-like gold details, reminiscent of architectural rigging or tensile structures, connect craftsmanship to creativity, guiding the collection into its second universe: The World of Creativity.

Here, motion and emotion converge. In Motion, sapphires and diamonds ripple in waves of energy and movement, while Florescence blossoms into vibrant tourmalines that seem to breathe with life. No longer bound by symmetry, these pieces dance between structure and freedom,  their beauty lying in effortless balance.

The crescendo arrives in Joy, Aura, and Eternal Sun, where light itself becomes the muse. “I am particularly proud of the fabulous yellow diamonds pairing for the Eternal Sun collection,” shares the gemmologist. “It took us seven years to gather all 27 diamonds just for the necklace to have this perfect combination of colour and sizes! These extremely rare diamonds are true miracles of nature, and there are still many gemological questions surrounding this type of yellow Ib diamonds (versus type Ia), where a nitrogen atom has lodged itself in the carbon’s crystalline structure under extreme conditions of temperature and pressure.”

In Eternal Sun, those 27 radiant yellow diamonds are arranged in a spiral so seamless it resembles the geometry of light itself — a feat of artistry and patience that captures Louis Vuitton’s relentless pursuit of perfection.

Throughout Virtuosity, Louis Vuitton treats each jewel like a structure, a monument of emotion, precision, and imagination. Every clasp, setting, and facet becomes an architectural element, as if the maison’s legendary trunk-makers had turned their craftsmanship from sculpting leather to sculpting light.

As Abu Dhabi Art prepares for its most ambitious edition yet, welcoming 140 galleries from 35 countries, the fair stands as a symbol of the UAE’s growing influence on the global art scene. At its helm is Dyala Nusseibeh, Director of Abu Dhabi Art, whose leadership has been instrumental in shaping the fair into a meeting point for international collaboration, cultural dialogue, and artistic discovery.

Under her direction, Abu Dhabi Art has evolved from a boutique fair into a major platform that reflects the emirate’s wider cultural vision, one defined by inclusivity, education, and global exchange. This year’s edition extends that vision further, spotlighting Nigeria, the Gulf, and modern Türkiye through its Focus Sectors, and introducing new collaborations with emerging galleries and artists from around the world.

In this interview, Nusseibeh reflects on the fair’s remarkable growth, the power of cultural diplomacy, and the dynamic creative energy that continues to position Abu Dhabi as a bridge between global art markets

This year’s edition has been described as Abu Dhabi Art’s most ambitious yet, with 140 galleries from 35 countries. What does this growth signify about the fair’s evolution and its role on the global stage?

The rapid growth of Abu Dhabi Art in recent years cannot be seen in isolation. Important cultural projects are now coming to fruition in Abu Dhabi, many of which have been in planning stages for close to two decades. More specifically, I would point to the constellation of museums on Saadiyat Island that have opened or are soon to open, among which are Louvre Abu Dhabi (opened 2017), Natural History Museum which opens this month, Zayed National Museum (opening December 2025), and of course Guggenheim Abu Dhabi, opening toward the end of 2026. Cultural professionals working for these institutions, building global networks, contributing to our creative economy and enabling local knowledge production to be shared globally, have collectively created a strong base for the development of our market.

Seen through a wider lens, the Gulf has come to global attention for its significant government-led investment in culture, at a time when many countries are facing significant cuts in arts funding. This makes the UAE attractive as a partner for global galleries seeking new collectors and institutional support for their artists.

Finally, as an art fair that started as a more high-end boutique project, we have been able to introduce different (lower) price points for artworks, bring in a wider range of galleries from a broader geographic spread, and create a space for emerging and mid-sized galleries to participate. This has, in turn, attracted a younger generation of potential collectors and encouraged them to start acquiring works from the fair. In this sense, we have supported the growth of less dominant global art markets and grown as a fair in step with this.

With many first-time participants from new regions, what was the curatorial vision behind expanding geographic diversity this year?

Our collaboration with the Nigerian Ministry of Art, Culture, Tourism and the Creative Economy, in particular, bears reference here. Like the UAE, the Nigerian Ministry has placed strong emphasis on developing and enhancing its creative economy and providing opportunities in the creative sphere for its youth. Thanks to their support, we are presenting modernist Nigerian artists such as Nike Davies-Okundaye and Twins Seven Seven through kó gallery alongside emerging artists from 6 galleries, including SOTO gallery, which is a community-centred space that opened in 2022. The ambition for the Ministry is to develop a new, broader market for its artists. Abu Dhabi, as a cultural hub,§ offers a dynamic platform for them.

The Focus Sectors shine a light on Nigeria, the Gulf, and Modern Türkiye. What connects these regions conceptually, and how do they reflect Abu Dhabi’s position as a bridge between cultures?

I would say that all three geographies are dynamic creative centres for artistic production and that modern and contemporary artists from these countries are relatively under-researched in the context of global art histories (traditionally Euro-centric in emphasis). All three societies have undergone tremendous socio-political transformations in recent decades, and it is fascinating to think about how artists have engaged with these changes in their practice and how globally connected these artists were and continue to be. Take, for example, Fahrelnissa Zeid (showing at DG Art Project), who was born under the Ottoman Empire in Türkiye, married Prince Zeid bin Hussein, a member of the Hashemite royal family of Iraq, lived and showed in Paris and London as well as Baghdad and Istanbul and ended her days mentoring younger female artists in Jordan. Or Nike Davies-Okundaye and Twins Seven Seven (showing with kó gallery), who were part of the Osogbo movement in Nigeria. The Osogbo movement came out of a period of transition in the early years of Nigerian independence in the 1960s. Osogbo—a town connected by rail and known for its cultural heritage—became a gathering point for artists, performers, and thinkers. Many of these artists are also currently in an exhibition in a show about Nigerian Modernists at the Tate Modern in London. To be able to visit the fair and acquire works by such historically important artists is exciting in my view. In the Khaleeji Focus, Nasser Al Yousif is being presented by Albareh Gallery. He was an important artist in Bahrain, and the beautiful linoleum prints on view depict quotidian community scenes such as fishing, diving, music, and dancing. These works were created in the 1980s when the artist had begun to lose his sight. He drew on his mind’s eye to recreate these vignettes, recalling a now much-transformed country.

The UAE’s art scene has evolved dramatically in the last decade. From your perspective, what makes Abu Dhabi’s approach to art and culture distinct within the region?

The commitment of the UAE government to supporting the creative economy and placing culture at the heart of its vision for the future development of the nation is exceptional. I would say it is two-pronged; on the one hand, led by an ambition to provide the best possible opportunities for youth on the ground and on the other, as an exercise in soft power internationally. The UAE advocates that the wealth of the nation lies in its people and therefore strategically invests in the best possible education for youth, providing the tools necessary for younger generations to build their futures. This sentiment drives investment in higher learning institutions for technology and AI, medicine, science, space, astrophysics, engineering and of course culture. Both local and international universities that have set up in the UAE are contributing to what has been called the “brainport generation”, a generation growing up at a time where the UAE is a centre for knowledge production globally, where many innovators have set up in the UAE to work on world-leading research. Of course, others in the region are thinking along similar lines, but few have managed to attract so many global investors and innovators to make the UAE their home, contributing to social innovation on the ground. At the same time, global economic exchange and economic integration bring in their wake cultural exchange, the exchange of ideas and positions. The UAE is supported in its global economic and political aims in part through the strength of its cultural diplomacy and soft power policies.

How have government and institutional investments influenced the pace and direction of this growth?

Enormously. The Louvre Abu Dhabi is a case in point as a symbol of a far wider bilateral co-operation between the UAE and France that has benefitted both the French and the Emirati creative economies, whilst also strengthening political ties between the two countries. Since the Louvre Abu Dhabi opened in 2017, it has welcomed over 1 million visitors a year, vastly increasing the number of cultural tourists to the emirate, but also the quality of exhibitions and art historical research available for local schools and universities to integrate into their curricula. Guggenheim Abu Dhabi, though not yet open, has been acquiring art for its collection for years and has already had a seismic impact on artists in the region, attracting global interest in Southwest Asia and North Africa (SWANA) art and art histories.

Similarly, New York University – Abu Dhabi Art Gallery and Al Mawrid Arab Centre for the Study of Art at NYU-AD have accelerated research into the art histories of West Asia and North Africa and enabled vital knowledge production to come out of Abu Dhabi in this field. Professors at NYU-AD also spend semesters teaching as New York University faculty, ensuring a transfer of knowledge and integration of ideas globally. In terms of pace and direction of growth, global partnerships and local institution-building are vectors that interconnect to drive these changes. There is a real energy in Abu Dhabi at present that is led by the government but also supported by grass-roots organisations, private philanthropists and corporations. The work of these stakeholders and others whom I should also highlight (Warehouse 421, Rizq Art Foundation, Cultural Foundation, etc) will yield, I think, amazing opportunities for youth today.

How does Abu Dhabi Art ensure that homegrown talent is represented and supported on an international scale?

Our Beyond Emerging Artists programme springs to mind here. Each year, we commission three artists from the UAE to create new work, which is shown first at Abu Dhabi Art, then later exhibited internationally in different locations. We work closely with a group of cultural philanthropists called Friends of Abu Dhabi Art (FOADA) to deliver this programme and appoint a guest curator each year to mentor and support the artists with their commissions. In 2024, we showed these artists in Venice, Italy, and then, thanks to the support of a FOADA member, Shafeena Yousuff Ali, we showed these artists in Kochi, India. This year, thanks to the support of our partner HSBC, we exhibited three commissioned artists in both London and Hong Kong.

The UAE has become a major destination for collectors. How do you see the collector base evolving, and what trends are emerging among regional patrons?

It is certainly a desirable destination with the relocation of many high-net-worth individuals to the UAE in recent years. However, I would highlight that there is also an existing community with strong roots, thanks to whom the fair has evolved. We have collectors who have been building collections for decades in the UAE. What is evolving is how younger collectors are impacting the scene, what their interests are, as well as the buying power of some of the newcomers to the UAE and the ramping up of museum acquisitions for the region. I would say a clear growth in the value of art from the region can be expected, given the investment of museums that are both acquiring and building on existing research and archives for and about artists from this part of the world.

Collaboration and education seem to be central to Abu Dhabi Art’s DNA. Can you share more about the initiatives that extend beyond the fair, such as community programmes, residencies, or public art projects?

We launched the Pavilion Prize in 2017, inviting architecture and design students to propose a Welcome Pavilion for the fair. The winning design is produced for the fair following an annual competition, and the Pavilion is viewed by 35,000 visitors each year. We also commission artists to create site-specific works in cultural sites in Al Ain, bringing art into public spaces. This year, six artists are creating works for Al Ain, including our Beyond Emerging Artists, Alla Abdunabi, Maktoum Al Maktoum and Salmah Almansoori, as well as more established artists Issam Kourbaj, Nike Davies Okundaye, Ramin and Rokni Haerizadeh and Hesam Rahmanian. Their work will be on view in sites including Hili Archaeological Park, Al Qattara Arts Centre, Jebel Hafit, Al Ain Oasis, and outside the newly reopened Al Ain Museum.

Having led Abu Dhabi Art through years of transformation, what has been the most rewarding moment or milestone in your journey so far?

Probably reaching 140 exhibitors as a fair this year. When I joined in 2016, the fair had fewer than 40 exhibitors, so we have really matured over time into a major cultural event that contributes in a meaningful way to the local ecosystem and attracts international investment.

Looking ahead, and with the recent announcement of Frieze Abu Dhabi, what is your vision looking forward?

I can’t wait to collaborate with Frieze on the next chapter for the fair. I anticipate more integration globally for our regional market, more integration of our own narratives about our part of the world in global discourses and widespread benefits beyond the fair itself for arts professionals in the region. I look forward to seeing what Frieze Abu Dhabi ushers in. The team is fantastic and has decades of experience running major global fairs that bring big benefits to the cities they are part of.

For Victoire de Castellane, Creative Director of Dior Joaillerie, nature remains an inexhaustible source of inspiration. Through the La Rose Dior collection, she continues to reinterpret Christian Dior’s lifelong passion for flowers,  particularly the rose, a symbol of femininity, emotion, and eternal beauty.

This season, the Maison unveils exquisite new creations that expand the poetic world of La Rose Dior, bringing fresh expressions of lightness, romance, and craftsmanship to its signature lines.

Bois de Rose

First imagined as a contemporary take on the stem of a rose, the Bois de Rose line now welcomes two exceptional necklaces. The first, in white gold, is mounted on a fine chain that delicately traces the neckline, embodying understated elegance. The second introduces freshwater pearls for the very first time within this collection, a harmonious blend of natural softness and refined craftsmanship. The design is completed with a rose gold clasp, subtly nodding to the Maison’s emblematic codes of contrast and grace.

Rose Dior Bagatelle

Named after the enchanting gardens of Bagatelle in Paris, the Rose Dior Bagatelle creations celebrate romance through diamonds and white gold. Each petal and curve is sculpted with meticulous precision, capturing the ephemeral beauty of a rose in full bloom. The result is a radiant expression of femininity that reflects both nature’s perfection and Dior’s high jewellery savoir-faire.

Rose Dior Pré Catelan

The Rose Dior Pré Catelan pieces offer a warmer, more sensual interpretation of the motif. Rendered in rose gold and adorned with rose quartz, these creations evoke the tenderness of dawn light and the serenity of a spring garden. The subtle interplay between the metal and the translucent gemstone reveals a refined, modern romanticism.

Together, these new jewels reaffirm Dior’s devotion to the rose, a timeless muse that continues to inspire new stories of elegance. Each creation is a tribute to Monsieur Dior’s favourite flower, lovingly reimagined by the Ateliers in forms that are as delicate as they are enduring.

As Saudi Arabia continues its remarkable cultural and creative transformation, one of the world’s most influential design platforms is set to make its debut in the Kingdom. This year Salone del Mobile.Milano will arrive in Riyadh with its first-ever regional edition: Red in Progress: Salone del Mobile.Milano meets Riyadh, a landmark moment that unites Italian design heritage with Saudi Arabia’s fast-evolving creative landscape.

Leading this ambitious expansion is Maria Porro, President of Salone del Mobile.Milano, whose vision is guided by collaboration, education, and long-term cultural exchange. For Porro, Riyadh represents a shared stage for innovation, craftsmanship, and dialogue. The 2025 edition will serve as a preview of what’s to come in 2026, transforming King Abdullah Financial District into a hub for design, architecture, and ideas. Featuring over 35 Italian brands and a strong Saudi presence, the event will highlight sustainability, craftsmanship, and cross-cultural collaboration, setting the tone for a lasting partnership between two design capitals.

In this interview, Maria Porro shares the vision, values, and ambitions behind Salone del Mobile.Milano meets Riyadh, exploring how this creative encounter will contribute to the Kingdom’s Vision 2030, empower emerging Saudi talent, and redefine what a truly global design platform can be.

What inspired the decision to bring Salone del Mobile.Milano to Riyadh in 2025?

first of all, it is a cultural horizon. Riyadh is writing a new chapter, opening museums and schools, rethinking hospitality and public spaces, and doing so with a clear mandate for quality and knowledge. That is where Salone belongs: as a bridge between cultures and a catalyst for standards. We come not to “export” Milan, but to listen to the Saudi genius loci and place it in dialogue with Italy’s manufacturing culture, curation meeting craft, service meeting industry, ideas meeting delivery. 2025 is our opening gesture: a shared stage where we celebrate design as a public good and lay the groundwork — through education, methods, and partnerships — for a lasting exchange that will grow into the full Salone in 2026.

The event’s title, “Red in progress. Salone del Mobile.Milano meets Riyadh”, is intriguing. Can you tell us more about the concept and message behind this theme?

Red is Salone’s signature — our signal for energy, welcome, and momentum. In Riyadh it becomes space: Giò Forma’s landscape of modular scaffolding, entirely red, turns the raw language of the building site into a cultural stage. A vivid red path acts as the fil rouge, guiding visitors through an immersive journey and announcing that we are building something together. Indeed, within this architecture, the product path is clear: a curated sequence of furniture, lighting, and surfaces from 35+ Italian brands, positioned not as isolated icons but as solutions, with materials, finishes, and specifications easy to read. It’s both a preview and a manifesto: Salone is arriving, and it’s arriving to work.

With over 35 Made in Italy brands and a strong Saudi presence, what kind of creative and commercial exchange are you hoping to spark?

Culture and commerce in one frame. On one side: a curated constellation of Italian companies selected for quality, innovation, and sustainability. On the other hand: Saudi designers, developers, and institutions who are ready to translate ideas into interiors, fit-outs, and cities. The exchange is practical; clear specs, targeted B2B meetings, and site visits, so conversations become briefs, pilots, and orders, and partnerships.

How did the partnership with the Architecture & Design Commission take shape and what vision underpins it?

It grew from a shared brief rather than a single meeting. We found immediate alignment on four pillars: excellence, education, sustainability, and long-term impact. From there, working groups brought together designers, universities, and industry to define concrete objectives, spotlighting Saudi talent, harmonising standards and specifications, and creating clear routes from concept to production. The underlying vision is fully consistent with Vision 2030: build cultural capital and creative industry capacity at the same time, so identity and economy advance together. In practice, that means a professional bridge that turns cultural dialogue into deliverable projects and durable collaborations.

The 2025 edition serves as a preview of a larger Salone to be held in Riyadh in 2026. How will this first event set the tone for what’s to come?

This debut defines the values and objectives that will guide our path to 2026: a listening-first approach to the Saudi context; quality as a shared benchmark across design, service, and execution; a business-first mindset where cultural content and B2B opportunities reinforce each other; and a commitment to education — from mentorship and portfolio reviews to clear routes from prototype to production. We’re also setting expectations on sustainability as practice and on standards that help projects deliver at scale. Above all, 2025 affirms our role as a cultural bond: recognising and amplifying the Saudi uniqueness while connecting it to international networks. These are the coordinates that will shape the 2026 fair so that it feels authentically rooted in Saudi Arabia and fully aligned with Salone’s ethos.

Saudi Arabia’s Vision 2030 emphasises creativity, innovation, and knowledge-sharing. How does Salone del Mobile.Milano meets Riyadh align with and contribute to this national vision?

By design, our initiative sits at the crossroads of Vision 2030’s pillars: a vibrant society, a thriving economy, and an ambitious nation and translates them into concrete actions for the design sector. First, we’ll amplify cultural life and public engagement around design — supporting the Quality of Life Program’s goal to enrich cultural participation — through an accessible program of exhibitions, talks, and masterclasses that turn design into shared knowledge. Second, we aim to strengthen the creative economy: we connect Saudi studios with manufacturers, contractors, and clients, helping prototypes become deliverable projects and improving supply-chain capability in line with Vision 2030’s diversification agenda. Hosting the event in KAFD — an anchor of Riyadh’s economic transformation — further roots this in the city’s innovation corridor. Third, we align with the Architecture & Design Commission’s mission by building a year-round bridge: mentorship, portfolio reviews, and shared guidelines on sustainability and performance that raise professional practice. In short, “Salone del Mobile.Milano meets Riyadh” is not a one-off showcase; it is a platform that cultivates culture, builds capability, and forges partnerships, so that Saudi identity and creativity gain international visibility while contributing to the Kingdom’s long-term transformation.

The event is set to transform King Abdullah Financial District into a hub for design and dialogue. What can visitors expect from this transformation and how will it reflect both Italian design heritage and Saudi creativity?

Expect an all-red, semi-transparent structure that reframes construction as culture; inside it, furniture, lighting, and surfaces from leading Italian brands meet Saudi voices on stage through masterclasses and roundtables. It’s Italian know-how, clarity, and service translated through Riyadh’s pace and hospitality, an urban stage that feels both familiar to Salone and specific to the Kingdom.

As the design landscape in the Gulf grows rapidly, how do you see Italy’s design expertise and craftsmanship inspiring or collaborating with the region’s emerging designers and architects?

We’ll activate SaloneSatellite as our talent bridge: juried showcases, portfolio reviews with decision-makers, and technical clinics that help promising ideas meet feasibility and production. Alongside that, we’re inviting Saudi universities to join workshops and research studios focused on materials, climate, and use, so collaboration starts in education and flows into practice. And we’ll spotlight the Saudi Design project as a dedicated thread within the program, giving emerging studios visibility, mentorship, and direct access to manufacturers and contractors. In this way, listening, prototyping, and aligning on codes and performance aren’t abstract principles; they’re structured pathways from presentation to production, with quality and accountability built in.

What conversations do you hope this debut opens between global and regional communities?

Three, above all: how beauty and performance can align in large-scale delivery; how identity can be expressed through contemporary, climate-aware design; and how sustainability can be measured across the entire lifecycle — from materials to maintenance — without losing warmth and humanity.

One of the key aims of this partnership is to foster local talent. How will the Riyadh edition support and empower young Saudi designers entering the global design stage?

The Riyadh edition puts Saudi designers on a curated stage, within an international program of masterclasses and roundtables, and places them in direct dialogue with leading Italian companies through a dedicated Business Lounge for targeted meetings. In other words: public recognition paired with concrete B2B pathways. We will also spotlight national initiatives such as Designed in Saudi, amplifying emerging voices and connecting them to manufacturers, contractors and decision-makers — so ideas can travel from concept to specification and into projects. The aim is simple and long-term: raise visibility, build know-how, and open professional routes that are locally rooted and globally legible.

Fine modulo

Sustainability and innovation are at the heart of today’s design conversations. How is Salone del Mobile.Milano integrating these priorities into its expansion and programming?

Sustainability is a working method. Salone is ISO 20121 certified for sustainable event management, and we apply evolving Green Guidelines to exhibitors. In Riyadh, we’ll foreground circular design, responsible materials, modularity, and logistics efficiency, showing not just products but the processes that make interiors last longer and perform better.

What excites you most about this new chapter in Riyadh and what does it mean for the future of the Salone as a truly global platform for design?

What excites me most is the chance to refine what a great design fair can be, not only a stage, but an engine. Riyadh gives us the scale and urgency to test a more agile Salone. It also lets us learn from a vibrant, young design culture — how hospitality becomes spatial practice, how climate and light shape comfort — and let those lessons travel back into our global calendar. For Salone’s future, this is a blueprint. We’re building a year-round platform rather than a single week: continuous dialogue with studios and brands, measurable outcomes for projects, and an education pipeline that moves talent from idea to industry. If we do it right, Milan remains the heart, but new “beats” like Riyadh become permanent nodes in a global network, each amplifying its identity while sharing a common vocabulary of quality, sustainability, and service. That, to me, is a truly global Salone: locally rooted, internationally useful, and always moving forward.

By Lindsay Judge

Beirut once again became the stage for Lebanon’s most dynamic cultural event as We Design Beirut returned for its second edition this October. The five-day celebration transformed the city into a living canvas of design, architecture, and craftsmanship, showcasing the enduring vitality of Lebanese creativity across some of Beirut’s most iconic landmarks.

Anchored in the pillars of empowerment, preservation, and sustainability, this year’s edition deepened its commitment to collaboration and cultural continuity. It brought together artisans, designers, architects, students, and educators in a shared creative dialogue. Described by organisers as both “healing and restorative,” We Design Beirut offers a space to refuel inspiration, rebuild creative networks, and celebrate design’s role in shaping collective memory.

Fifty years after the beginning of Lebanon’s civil conflict, Edition Two embraced themes of legacy, revival, and continuity, staging a cultural renaissance that bridges generations. Its program of exhibitions, installations, and performances breathes new life into the country’s heritage sites, crafts, and architectural icons, transforming design into a language of renewal.

The opening night set the tone with a moving tribute to master Oud craftsman Nazih Ghadban, in collaboration with Michael Ibrahim, Founder and Music Director of the National Arab Orchestra, and guest artist Mirna Mallouhi. Together, they delivered a performance that fuses music and craftsmanship, symbolising We Design Beirut’s commitment to honouring Lebanon’s living traditions through modern creative forms.

Across the city, five landmark venues hosted eight major exhibitions that connect the past to the present. At the Abroyan Factory in Bourj Hammoud, Threads of Life explored textiles as vessels of memory, while Métiers d’Art transformed the industrial space into a live atelier where artisans and designers collaborate to reinterpret traditional techniques. The Factory also featured Skin of a City, a photography exhibition by Patrick Baz and Anthony Saroufim, and Les Indisciplines, both exploring the human body as a form of creative resistance.

At Burj El Murr, the youth-led Design “In” Conflict examined how war and reconstruction shape architecture and space through the eyes of students from nine Lebanese universities. Meanwhile, Villa Audi housed Totems of the Present and the Absent, curated by Gregory Gatserelia in tribute to SMO Gallery, the platform he founded to elevate Lebanese design talent.

At the Roman Baths, Of Water and Stone by Nour Osseiran reinterpreted ancient rituals through contemporary marble artistry, while Immeuble de l’Union in Sanayeh, under restoration by Karim Nader, hosted Union: A Journey of Light alongside Rising with Purpose, a showcase spotlighting designers under 30.

Among the Designer Showcases, The Lab by Naggiar transformed a functioning metal fabrication workshop into a live creative studio where eleven Lebanese artists and designers created on-site. Fabrica Design Platform presented clay unbound, a sensory exploration of ceramics, while Iwan Maktabi unveiled GROUNDWORKS, a dual showcase featuring new collections by Shaha Raphael and David/Nicolas. At Nalbandian Carpets, collaborations with Selim Mouzannar, Sandra Mansour, and others merged fashion, jewellery, and design into woven masterpieces.

We Design Beirut also partnered with ALBA (Académie Libanaise des Beaux-Arts) for its Educational Hub, fostering knowledge exchange between academia and industry. Beyond the city, curated excursions invite visitors to explore Lebanon’s architectural heritage, including a tour of 49 modernist landmarks, the International Fair of Tripoli by Oscar Niemeyer, and the Saloua Raouda Choucair Foundation in the mountains.

Fifteen years after its founding, the Fatima Bint Mohamed Bin Zayed Initiative (FBMI) stands as one of the UAE’s most remarkable success stories in social innovation, sustainability, and cultural diplomacy. Established in 2010 by H.H. Sheikha Fatima bint Mohamed bin Zayed Al Nahyan, the initiative has evolved from a community-driven enterprise into a global model for purpose-led development, fusing creativity, entrepreneurship, and compassion to create lasting social change.

What began as an initiative to empower Afghan women through traditional carpet weaving has blossomed into a self-sustaining ecosystem of businesses and programs built around the principles of education, employment, and ethical trade. FBMI’s model reinvests all profits directly into its social programs, ensuring continuous access to healthcare, schooling, and sustainable livelihoods for underserved communities. Over the past decade and a half, it has created over 10,000 jobs, educated thousands of children, and provided healthcare to nearly two million beneficiaries,  a true testament to the UAE’s humanitarian and visionary leadership.

“Fifteen years of FBMI is more than a milestone; it’s a reaffirmation of our mission to empower, to educate, and to connect communities through creativity,” says Maywand Jabarkhyl, CEO of FBMI. “From the UAE to Afghanistan and now Tanzania, our work continues to evolve, but the foundation remains the same: people, purpose, and progress.”

This year also marks a new chapter with the launch of Hunger, a social enterprise in Tanzania dedicated to tackling malnutrition and supporting local farmers through sustainable food production. The initiative extends FBMI’s ethos from craftsmanship to cultivation — addressing food security while empowering communities across Africa through a circular, impact-driven model.

FBMI’s network of enterprises continues to expand its reach and influence. Zuleya, its design and retail arm, brings together Afghan craftsmanship and contemporary Emirati aesthetics. Mira, the agricultural enterprise, advances sustainable cultivation and ethical sourcing, while Emirati District at Dubai International Airport celebrates local creativity and heritage. At Diplomacy Lab, FBMI fosters cross-cultural dialogue through curated talks and creative collaborations.

To commemorate its 15th anniversary, FBMI will host a series of activations, including special showcases at Dubai Design Week, Abu Dhabi Art, and UAE National Day, alongside the relaunch of Diplomacy Lab Talks under the theme “Cultural Diplomacy in Practice.” Together, these events celebrate FBMI’s enduring vision.

Dubai has announced the launch of the Dubai Museum of Art (DUMA), a new architectural and cultural landmark set to redefine the city’s creative landscape. The project was unveiled in the presence of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, and will be developed by Al-Futtaim Group on the waters of Dubai Creek. Designed by world-renowned Japanese architect Tadao Ando, the museum is envisioned as a beacon of creativity and innovation, strengthening Dubai’s position as a global capital of culture.

DUMA reflects Sheikh Mohammed’s vision of transforming Dubai into a global destination for culture and creativity. The museum will serve as a dynamic platform for artists and visitors from around the world, fostering collaboration, education, and artistic exchange. Through exhibitions, residencies, and public programmes, DUMA aims to inspire dialogue across cultures while supporting the growth of the UAE’s creative economy.

Tadao Ando’s design for DUMA is a masterpiece of symbolism and precision. Drawing inspiration from the sea and the pearl, the structure’s curved shell and circular exhibition hall represent unity, discovery, and continuity. A central opening allows natural light to cascade through the interior, echoing the iridescence of a pearl, a poetic tribute to Dubai’s maritime heritage. Rising five storeys above the water, the museum will house adaptable exhibition spaces, a restaurant, VIP lounge, and a library, along with areas dedicated to education, dialogue, and world-class art training.

Beyond its architectural marvel, the Dubai Museum of Art will stand as a centre for global artistic collaboration. Hosting international exhibitions, artist talks, and educational programmes, it will serve as a hub for creative innovation and cultural understanding. Designed to capture the spirit of Dubai — open to the sea, sky, and world — DUMA embodies the city’s balance between heritage and modernity, and its vision of art as a bridge for empathy, curiosity, and shared progress.

His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, has extended generous financial support toward the rehabilitation of the historic Beirut Grand Theatre, one of Lebanon’s most treasured cultural landmarks.

The initiative forms part of UNESCO’s international campaign to restore the theatre, a cornerstone of Beirut’s artistic and architectural heritage. The contribution reflects His Highness’s enduring commitment to safeguarding cultural identity and fostering international collaboration through the arts, values that have long guided Sharjah’s global cultural mission.

Originally designed by Youssef Aftimos and built by Jacques Tabet in the 1920s, the Beirut Grand Theatre opened its doors in 1929 as a beacon of creativity and cosmopolitan spirit. With seating for 630 guests, it featured an orchestra pit, two balconies, and a stage equipped with intricate mechanical systems. The theatre’s elegant stained-glass ceiling and its moveable steel dome became symbols of the sophistication that once defined Beirut’s golden age.

For decades, the venue hosted world-class operatic, theatrical, and musical performances, drawing audiences from across the region. It remained active until the mid-1970s, when years of conflict led to its closure and gradual decline. Despite the passage of time, its neoclassical façade and timeworn interiors continue to embody the cultural resilience of Lebanon and its people.

The restoration of the Beirut Grand Theatre stands as a continuation of the strong partnership between Sharjah and UNESCO, which has flourished through numerous joint initiatives, exhibitions, and awards. His Highness has consistently championed culture as a bridge between nations, with Sharjah earning international recognition as a UNESCO World Book Capital and a hub for Arab culture and creativity.

Through his unwavering patronage, His Highness reaffirms that the preservation of heritage is not merely an act of restoration but a renewal of dialogue, understanding, and collective memory. The rehabilitation of the theatre will return one of Beirut’s most iconic cultural landmarks to its rightful place, a living stage for artistic expression and a symbol of hope for future generations.

As Dubai continues to define itself as a global capital of creativity, innovation, and culture, each November, the Dubai Design District (d3) transforms into an open-air laboratory of ideas for Dubai Design Week.

A platform where craftsmanship meets technology, and where voices from across the Middle East and beyond come together to reimagine what design can do. Now in its 11th edition, taking place from November 4–9, Dubai Design Week 2025 promises to be one of its most ambitious yet. Across installations, exhibitions, and performances, the event reflects a city and a region in constant creative dialogue with the world. From architecture and product design to digital innovation and sustainability, the week celebrates the power of design as both cultural expression and social catalyst.

At the helm of this evolution is Natasha Carella, Director of Dubai Design Week, who brings an international perspective shaped by years in the art, culture, and design industries. Her vision for this year’s edition goes beyond aesthetics; it’s about amplifying authentic voices, deepening cross-cultural collaborations, and positioning Dubai as a hub where ideas from the Global South meet the creative energy of the world.

This year marks another exciting edition of Dubai Design Week. What can visitors expect from the 2025 programme, and what ideas are shaping this edition?

Each year, Dubai Design Week evolves while maintaining its core pillars. For 2025, we’re welcoming over 1,000 architects, designers, and creatives from around the world. Visitors can expect five exhibitions, over 30 large-scale installations, and a range of special commissions and activations throughout d3. The fair will once again host Downtown Design and Editions, both of which remain cornerstones of the week.

What’s particularly exciting is the collaborative energy this year. The UAE, by nature, is a place where crossovers happen organically, between disciplines, between cultures, and between ideas. That spirit of openness and exchange is very much at the heart of this edition.

We’ve also introduced the d3 Awards, a new initiative that provides AED100,000 in funding to support emerging designers, offering meaningful recognition and opportunity. Alongside that, we’ve expanded our workshop and masterclass programming to give the public access to leading academics, designers, and cultural institutions, ensuring that Dubai Design Week continues to serve both professionals and the community at large.

In terms of curation, we don’t work with an overarching theme. Design is such a vast field — spanning everything from architecture and urban planning to graphic design and digital innovation — that it’s impossible to capture it under one phrase. Instead, we take a principled approach to programming: ensuring that every project we feature is original, high-quality, and representative of the diverse creative voices that define this region and the wider Global South.

The event has always been known for its immersive installations and multidisciplinary approach. How are you expanding the experience this year?

We’ve made a conscious effort to broaden cultural representation, especially from Africa and East Asia. For example, we’re working with Bootleg Griot, a collective that curates African literature and printed media. They’re bringing their public library to life through performances, talks, and workshops, turning it into an active space for dialogue.

We’re also placing greater emphasis on access and inclusivity. The goal is to make Dubai Design Week not just a showcase, but a living platform for exchange, a place where anyone, from a student to a design professional, can participate, learn, and connect.

What are some of the standout installations or exhibitions to look out for?

There are several exciting installations this year. One of my favourites is a collaboration between Nick and Seke, the architects behind Zabeel One, and a historic Japanese family of woodworkers who have been practising their craft for centuries. Together, they’ve created a pavilion entirely from wood, inspired by ancient joinery techniques, paired with a live tea ceremony. A beautiful example of how craftsmanship, architecture, and ritual can come together in one space.

We’re also showcasing Art Collective, a group of young designers who met while studying at the Dubai Institute of Design and Innovation (DIDI). They’ve developed Date Crete, a sustainable material made from UAE sand and date seeds — a low-carbon alternative that reflects how design can be rooted in local materials and innovation. It’s incredible to see work like this, designed and produced entirely in the UAE, entering the global design conversation.

In addition, the d3 Architects Exhibition, in partnership with the Royal Institute of British Architects (RIBA), will explore the theme of community. It brings together international names such as Zaha Hadid Architects and Foster + Partners, alongside regional practices, to examine how architecture shapes collective experience.

The event continues to attract global attention. How do you balance showcasing international design excellence while championing regional and local creativity?

For us, it’s about creating a natural dialogue. Dubai Design Week has become a key moment in the global design calendar, but at its core, it’s a gathering of ecosystems. It brings together universities, cultural institutions, and design businesses, both regional and international, in a way that feels collaborative rather than competitive.

We’re proud to have ongoing relationships with other design events in the region, like Design Doha and Ithra’s Saudi Design Week. These initiatives are strengthening the regional design network, and we’re supportive of each other’s growth. I often say, people assume the market is saturated, but in reality, we need more of these platforms. Just look at London; there are dozens of design events happening year-round. For the Middle East, each new initiative adds depth and opportunity.

How has Dubai’s design scene evolved in recent years?

If you look back a decade ago, design in Dubai was still quite import-driven — in both product and philosophy. Today, there’s a real shift toward building from within. We’re seeing more designers experimenting with materials and manufacturing processes developed locally. There are around 10 to 15 new materials now being produced in Dubai, including innovative bio-composites and sustainable alternatives to leather and concrete.

What’s equally exciting is the mindset shift. Designers are no longer confined to expressing identity through stereotypical regional symbols or motifs. There’s a sense of creative freedom, a belief that work can be global in language yet authentic to its context. A designer from the UAE can now create something that speaks universally without having to reference falcons or sand dunes. That confidence and nuance mark a new maturity in the regional design scene.

How is Dubai Design Week shaping the identity of Middle Eastern design, and what defines the regional aesthetic today?

When Dubai Design Week began ten years ago, it was a relatively small event of around 30 exhibitors and 20,000 visitors. Today, it’s the largest and longest-running design week in the Middle East, drawing over 150 exhibitors and more than 100,000 visitors annually. That growth reflects not just the city’s development, but the evolution of design thinking across the region. What defines the regional aesthetic today is dialogue between tradition and modernity, between sustainability and luxury, and between local heritage and global innovation.

Design in the Middle East is increasingly being used as a tool for problem-solving. It’s not only about form and function, but also about addressing environmental, social, and technological challenges. We’re seeing designers explore themes like AI and authorship, cultural preservation through materiality, and design for wellbeing.

We’re also looking outward, expanding partnerships with designers and institutions across East Asia and the wider Global South. The aim is to strengthen this global network of creatives who are redefining design beyond the traditional Western canon.

Who are some designers or highlights we shouldn’t miss this year?

One of our flagship initiatives, Abwab, returns this year with the theme Ornamentalism. It’s an open call inviting designers from Asia and Africa to create new commissions that explore craftsmanship and cultural storytelling. This year’s project by Mirage Studio — the Bahraini duo Latifa and Mariam — is a standout. They’re creating a 25-metre embroidered installation inspired by the forgotten island of Nabil Saleh, weaving together its ecological and oral history through intricate craftsmanship.

We’re also seeing exciting brand collaborations. Jaeger-LeCoultre will present a multidisciplinary activation with Filipino illustrator Aaron Amar, Emirati architect Abdullah Muller, and French chef Yann Couvreur, inspired by the geometry and light of the Reverso watch. It’s a beautiful expression of cultural exchange, where design, gastronomy, and architecture meet.

Le Labo is partnering with Pots & Pines, a UAE-based studio creating sculptural papier-mâché vases, while BMW has commissioned Saudi design firm Bricklab for an exclusive installation. These projects show how global brands are increasingly engaging regional creative talent, not just as collaborators but as storytellers.

For me, that’s what defines the spirit of Dubai Design Week: these unexpected intersections of creativity. It’s where an Emirati architect, a Japanese artisan, a Bahraini designer, and a French brand might share the same space, each contributing something distinct yet connected.

As Dubai continues to evolve as one of the world’s most dynamic creative capitals, Shaima Rashed Al Suwaidi, Chief Executive Officer of the Arts, Design & Literature Sector at Dubai Culture & Arts Authority, stands at the forefront of this transformation.

With a clear vision rooted in innovation, inclusivity, and heritage, she is helping define how creativity shapes the city’s identity and economy.

Under the guidance of Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, Shaima leads initiatives that connect artists, entrepreneurs, and communities, from large-scale festivals such as Sikka Art & Design Festival to policy frameworks like the Dubai Public Art Strategy and Al Quoz Creative Zone. Her work reflects a deep belief in the power of culture to unite people, foster opportunity, and ensure that art becomes an everyday part of life in Dubai.

In this exclusive interview, she shares insights into Dubai’s growing cultural ecosystem, the evolution of its arts and design scene, and the initiatives shaping its next creative chapter, from empowering women and emerging artists to positioning the emirate as a global hub for innovation, collaboration, and storytelling.

As CEO of the Arts, Design & Literature Sector, how do you see your role in shaping Dubai’s cultural identity and supporting its creative economy?

My role is, above all, about connecting people to creativity, ideas to opportunity, and the past to the future. At Dubai Culture, we see culture as a living force that shapes how we experience the city and how the world sees us. Every initiative, from large-scale festivals to mentorship programs, is part of a bigger effort to ensure that creativity becomes an everyday part of life in Dubai.

Under the guidance of Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, Chairperson of Dubai Culture, our mandate is to transform the emirate into a global centre for culture, an incubator for creativity, and a thriving hub for talent. This vision guides all our work, from developing infrastructure that supports artists and entrepreneurs and advancing public engagement to ensuring that the creative economy remains sustainable and inclusive.

What drives me personally is seeing the impact on people, be it an artist receiving their first grant, a student discovering their passion at a workshop, or a neighbourhood coming alive with public art. As CEO, I focus on fostering an environment where creative voices can be heard and supported. The more we empower people to tell their stories, the richer Dubai’s cultural identity becomes.

How would you describe the evolution of Dubai’s arts and design scene in recent years, and what makes it unique compared to other global creative hubs?

Dubai’s creative landscape has transformed profoundly over the past decade. What once began as small, independent initiatives has evolved into a vibrant ecosystem that spans design, fashion, visual arts, literature, and more. The difference today is that creativity is recognised as an integral part of Dubai’s economy and social fabric.

But what makes the emirate unique is the diversity of voices shaping its story. This city brings together over 195 nationalities, and each person contributes a layer to its creative identity. Emirati artists draw from heritage and oral traditions, while international creatives bring fresh perspectives, leading to a kind of cultural cross-pollination that you rarely see elsewhere.

Dubai also benefits from strong collaboration between the public and private sectors. From initiatives like Dubai Design Week, Art Dubai, and Emirates Airlines Festival of Literature to home-grown projects in Al Serkal Avenue and Al Quoz Creative Zone, there’s a shared commitment to making creativity accessible and economically viable. That synergy between government, industry, and community is what truly defines Dubai’s creative evolution.

Sikka Art & Design Festival has become a cornerstone of Dubai’s creative calendar. How has the festival evolved and what role does it play in nurturing emerging Emirati and UAE-based talent?

Sikka holds a special place in our cultural calendar because it represents the heart of Dubai’s creative journey. It began as an intimate community initiative and has grown into a platform that showcases hundreds of artists, designers, filmmakers, and performers from across the UAE and the wider region. Yet, it has never lost its grassroots spirit.

For emerging artists, Sikka is often their first major showcase. Beyond exhibitions, the festival offers mentorship, networking, and opportunities for artists to experiment freely. In fact, many of today’s established creatives began their careers here, and it continues to serve as a launchpad for new voices who go on to exhibit internationally.

Sikka also reflects Dubai Culture’s wider mission: to celebrate the diversity of the UAE’s creative community while nurturing a strong sense of belonging. Every year, it evolves, introducing new disciplines, collaborations, and interactive experiences that keep the festival relevant, inclusive, and deeply connected to the community it serves.

How is Dubai Culture continuing to create opportunities for female creatives across different disciplines?

Women have always been at the heart of Dubai’s creative story and supporting them is one of our highest priorities. Across Dubai Culture, women lead departments, curate exhibitions, design programmes, and shape the city’s cultural dialogue. Sikka has become a stage where female voices, from emerging artists to established designers, take centre stage and redefine creative boundaries.

Through initiatives like the Dubai Cultural Grant and Talent Atelier, women gain access to resources, mentorship, and platforms that allow them to develop their practice and share it with the world. We’ve also made sure our flagship festivals and cultural events include women in every aspect, from curating and producing to performing and leading conversations.

It’s equally important to recognise that women’s creativity often emerges from lived experiences. When their stories are shared, they resonate far beyond the arts; they influence communities and inspire future generations. Seeing young girls walk through Sikka and realise, ‘I can do this too,’ is one of the most rewarding outcomes of our work.

The Dubai Public Art Strategy aims to transform the city into an open-air gallery. What inspired this initiative, and how does it reflect Dubai Culture’s vision for embedding creativity into daily life?

The inspiration for the Dubai Public Art Strategy stems from the belief that art should be part of people’s everyday lives, not confined to galleries or museums, but experienced in the rhythm of the city itself. Dubai has always been a place that values innovation and connection, and public art provides a way to express these values visually in the spaces where people gather, walk, and live.

The initiative is about transforming the city’s landscape into a living gallery. Each piece commissioned under the strategy tells a story, whether it’s about Dubai’s heritage, its multicultural spirit, or its vision for the future. Together, these works form a collective narrative that belongs to everyone, offering moments of reflection, beauty, and dialogue in our shared public spaces.

It also reflects Dubai Culture’s broader mission to weave creativity into urban life. Public art encourages residents and visitors alike to engage with their surroundings more deeply, to see familiar places in new ways. Beyond aesthetics, it fosters community pride and strengthens the emotional bond people feel with the city.

How does Dubai Culture ensure that cultural learning remains accessible across generations and backgrounds?

We believe that culture thrives when everyone, regardless of age, background, or ability, feels invited to participate. This notion drives many of our initiatives, from School of Life and Reading Month to the programmes run across our network of public libraries, museums, and heritage sites.

Through School of Life, for example, we’ve reimagined public libraries as community hubs where learning extends far beyond books. Workshops, creative sessions, and talks bring people together to share skills, ideas, and experiences in welcoming, inclusive environments. In parallel, Reading Month transforms the act of reading into a national celebration, connecting children, families, and educators in activities that foster curiosity and imagination.

We also prioritise lifelong learning. Whether it’s a young student discovering art for the first time or an adult exploring a new craft, we aim to provide experiences that are enriching and accessible. Heritage sites like Al Shindagha Museum play a vital role here, offering intergenerational experiences that connect younger audiences with the stories of their city.

The Dubai Cultural Grant is a key initiative in supporting artists across disciplines. How does this grant contribute to long-term sustainability within the creative ecosystem?

The Dubai Cultural Grant is an investment in the long-term sustainability of the creative ecosystem, empowering artists and cultural practitioners to focus on developing their craft while providing the resources, mentorship, and visibility they need to succeed.

Through it, we’ve been able to support projects across literature, design, visual art, film, and performance, among other fields, helping creative ideas move from concept to completion. This continuity allows artists to grow their practice, build audiences, and contribute to Dubai’s cultural economy in meaningful ways.

But sustainability also means creating systems of support that extend beyond a single funding cycle. That’s why we pair financial assistance with guidance, training, and networking opportunities to support artists and equip them with the skills to sustain their work, collaborate, exhibit, publish, and connect internationally.

What does Dubai Culture look for when selecting artists or projects for the grant?

When evaluating applications, we look for authenticity, innovation, and impact. We want to support projects that tell meaningful stories, whether they’re rooted in heritage, exploring new ideas, or addressing contemporary issues through art. The most successful applications are those that bring a distinctive voice to Dubai’s cultural landscape.

We also value projects that foster collaboration and community engagement. Art that connects people and sparks conversation contributes directly to our mission of building an inclusive, creative society. It’s not just about individual achievement, but about how the work can inspire, educate, or uplift others.

In addition, we consider the project’s feasibility and long-term potential. Our goal is to support initiatives that can grow and evolve, creating ripple effects across the sector. We look for creatives who are thoughtful about how their work fits into the broader cultural ecosystem and how it can add value to Dubai and beyond.

Ultimately, we’re seeking voices that reflect Dubai’s diversity and dynamism; artists and thinkers who are unafraid to experiment, challenge norms, and imagine new possibilities. Those are the voices that define the future of the UAE’s creative economy.

Al Quoz Creative Zone has become a thriving creative ecosystem. Tell us about that.

Al Quoz Creative Zone represents one of Dubai’s most inspiring creative success stories. What began as a handful of artists transforming industrial warehouses into studios and galleries has organically evolved over the years into a vibrant ecosystem where creativity drives both community and commerce.

Through the Al Quoz Creative Zone initiative, Dubai Culture, along with its partners, has worked to formalise and nurture that energy. We introduced policies that simplify licensing, provide affordable workspaces, and encourage cross-sector collaboration. This framework gives artists, designers, and entrepreneurs the stability they need to sustain their practice and grow their businesses.

But what makes the zone stand out is its sense of community: you’ll find painters working next to architects, photographers beside product designers, startups collaborating with established brands. It’s a district that blurs boundaries between disciplines and fosters constant dialogue.

How is the upcoming Al Quoz Creative Entrepreneurship Forum contributing to the dialogue on innovation and creative entrepreneurship in the UAE?

The Al Quoz Creative Entrepreneurship Forum held this year under the theme ‘Passion, Profit, Possibilities’ is designed as a platform where ideas, inspiration, and opportunity meet, bringing together artists, entrepreneurs, investors, and policymakers to discuss how creative ventures can grow into sustainable businesses that contribute to Dubai’s cultural economy.

This year’s edition builds on the momentum of previous forums, offering an even richer mix of keynote talks, workshops, and networking sessions. The goal is to provide entrepreneurs and creative professionals with tangible tools, from mentorship and funding insights to strategies for brand development and collaboration.

The Forum embodies what Dubai Culture stands for: creating spaces where creativity and entrepreneurship intersect. It reinforces our belief that innovation grows strongest in an environment of shared learning, collaboration, and support

Dubai recently won the bid to host ISEA2026. What does this achievement mean for the UAE’s position on the global creative stage?

Winning the bid to host ISEA2026 is a defining moment for Dubai and the UAE’s creative industries, as it places us on the world stage as a city that not only appreciates art and technology but actively pioneers the dialogue between them.

This achievement reflects Dubai’s growing reputation as a destination where artists, scientists, and technologists come together to explore new frontiers of creativity. Hosting ISEA will bring global thought leaders, researchers, and practitioners to our shores, offering invaluable opportunities for local creatives to engage with cutting-edge ideas and networks.

It also reinforces the UAE’s commitment to cultural innovation. By integrating technology into artistic practice, we’re expanding what creativity means, from digital installations and AI-driven art to immersive storytelling and new media. Dubai is uniquely positioned to lead this conversation because our infrastructure, openness, and vision already support experimentation at scale.

As Dubai continues to position itself as a global creative hub, what are your key priorities for the next few years?

Our key priorities focus on sustainability, inclusivity, and growth, ensuring that the creative sector remains both dynamic and resilient. We’re dedicated to building an ecosystem where artists and entrepreneurs can thrive independently, supported by clear frameworks, access to resources, and a culture that values creativity as a driver of progress.

Over the coming years, one of our main goals is to deepen international collaborations. Dubai already serves as a crossroads for creative exchange, and by strengthening partnerships with global institutions, festivals, and networks, we can further amplify the reach of local talent.

We also want to continue investing in the next generation by providing training, mentorship, and exposure opportunities for young artists, designers, and writers. Initiatives like the Dubai Cultural Grant, Sikka, and School of Life will remain central to that mission.

Ultimately, every initiative we pursue comes back to a single vision: to make creativity a defining feature of life in Dubai. By empowering people to express themselves, innovate, and connect through culture, we’re shaping a city that lives its creativity.

How is Dubai Culture nurturing the next generation of creative talent, particularly young artists and designers seeking international exposure?

Empowering the next generation is one of our most important responsibilities. Young creatives represent not just the future of Dubai’s cultural landscape, but also its most powerful voice today. At Dubai Culture, we focus on giving them the confidence, skills, and opportunities to grow locally while connecting them to international platforms.

Through initiatives such as Sikka Art & Design Festival and the Dubai Cultural Grant, we provide mentorship and exposure to both established professionals and global audiences. These programmes are designed to help young artists develop their craft, understand the creative economy, and access networks that can elevate their work beyond borders.

We also encourage experimentation, giving young people the space to take creative risks and explore new forms of expression. Whether that means a designer reinterpreting heritage materials or a poet performing at an international festival, we want them to feel that their voices matter and that they can make an impact from right here in Dubai.

Finally, what is your personal vision for the future of Dubai’s arts and design sector?

My vision is for Dubai to continue growing as an emirate where creativity is woven into every part of life, becoming a city where culture inspires daily experiences and connects people across backgrounds and generations. I see a future where art, design, and literature are not separate industries but living, breathing parts of our communities, influencing how we think, learn, and interact.

For me, the most meaningful progress happens when creativity touches people’s lives directly. That’s why I’m passionate about public art, cultural learning, and accessible spaces, because they invite everyone to participate in shaping Dubai’s story.

Looking ahead, I want Dubai to continue setting global benchmarks for innovation while staying deeply rooted in its cultural identity. Our heritage will always be our foundation, but our openness to new ideas is what drives us forward. The intersection of tradition and innovation is where Dubai’s true creative power lies.

I just want every artist, designer, and writer who calls Dubai home to feel supported, to dream boldly, to create fearlessly, and to share their work with the world.

dubaiculture.gov.ae

These are the pieces you need to know about from the 2025 High Jewellery releases

Chopard

Chopard’s 2025 Red Carpet collection “Caroline’s Universe” offers a look into the personal universe of the brand’s Artistic Director, Caroline Scheufele.

Comprised of 78 high jewellery creations, these exquisite pieces are inspired by some of Caroline’s passions; from flowers to animals, to couture, the cosmos and the heart. “Each piece of jewellery is a stage; each precious stone tells a story in which the art of jewellery reflects both my personal journey and universal emotion” explains Caroline.

Dior

Dior

The Diorexquis Haute Joaillerie collection is a dazzling celebration of Christian Dior’s enduring legacy, brought to life by Victoire de Castellane’s visionary artistry. Inspired by nature, landscapes, and the splendour of grand galas, the pieces unfold like poetic tableaus that capture the rhythm of the seasons.

From icy winter brilliance to spring’s blossoming flora and the radiance of summer, each jewel tells a story. Masterfully crafted with techniques such as opale doublet and plique-à-jour, the collection embodies Dior’s fusion of savoir-faire and imagination, transforming gems into luminous works of art that echo the maison’s spirit of timeless elegance.

Bvlgari

Bvlgari presents Polychroma, a dazzling new chapter in High Jewellery and High-Jewellery Watches, where colour takes centre stage as a universal language of beauty and emotion. Inspired by plurality and movement, the collection celebrates the magic of chromatic diversity, with an impressive 600 masterpieces on display, including 250 new creations and a record 60 million-dollar pieces.

Extraordinary gemstones in 16 different cuts bring brilliance and harmony to bold designs, reflecting Bvlgari’s artistry in transforming nature’s treasures into emotion-charged works of art. Extending beyond jewelry, Polychroma also inspires exclusive Jewelry Bags, Eyewear, and Fragrances — a kaleidoscopic expression of the Maison’s creative spirit.

Pomellato

Pomellato’s Pentagoni collection redefines diamonds through a distinctive, contemporary lens. Crafted with masterful precision, each piece alternates between polished rose gold facets and the Maison’s signature irregular pavé technique, creating a luminous interplay where light dances unpredictably across surfaces.

At its heart, the necklace cascades with pentagons of varying dimensions, evoking movement and fluidity, while bold pendant earrings and versatile rings echo the collection’s modern spirit. Blending artisanal savoir-faire with innovative design, Pentagoni embodies Pomellato’s commitment to craftsmanship and creativity. These jewels capture the essence of contemporary elegance while honouring timeless traditions, transforming today’s artistry into tomorrow’s treasured masterpieces.

Louis Vuitton

Louis Vuitton unveils Virtuosity, its 2025 High Jewellery collection, a journey that bridges mastery and creativity through 110 one-of-a-kind pieces across 12 themes. The collection unfolds in two universes: the World of Mastery, where savoir-faire and discipline are celebrated through striking designs and extraordinary stones such as a rare 30.56ct black opal and a 30.75ct emerald, and the World of Creativity, where imagination blossoms into luminous expressions of colour, light, and movement.

From the precision of Damier motifs to the exuberance of Eternal Sun, Virtuosity transforms heritage into artistry, celebrating Louis Vuitton’s pursuit of innovation, freedom, and timeless beauty.

Chaumet

Chaumet unveils Jewels by Nature, a High Jewellery collection that celebrates the treasures of flora and fauna through exquisite craftsmanship. Comprising 54 creations, the collection pays homage to the Maison’s 245-year bond with nature, portraying its eternal cycles and delicate beauty.

The first chapter honours everlasting flora like wild rose, clover, and fern, while the second evokes ephemeral blossoms such as carnation and sword-lily. A third chapter celebrates resurgent species beloved by Empress Joséphine, including magnolia and water lily. Blue tits and dragonflies, captured mid-flight, bring vitality to parures, uniting Chaumet’s artistry with nature’s poetry in timeless harmony.

Dubai Design District (d3) has announced the launch of the first-ever d3 Awards, an initiative created to spotlight and champion emerging talent across the Middle East.

The inaugural edition will focus on architecture, with a call for entries now open.

As part of d3’s Beyond a Decade of Design celebrations, the awards will recognise excellence in material innovation, human-centred design, and forward-thinking architectural solutions. Applicants are invited to submit proposals for projects spanning interiors, landscapes, and spatial design, with one winner set to receive a financial prize of Dhs100,000.

“The d3 Awards marks a significant step forward in our journey of championing emerging talent and showcasing the industry’s brightest minds,” said Khadija Al Bastaki, Senior Vice President of d3. “Through platforms such as Dubai Design Week, our ecosystem is promoting talent from the region and encouraging creative thinkers to reimagine the world through design expertise. The inaugural d3 Awards strengthens our contribution towards Dubai Creative Economy Strategy and Design Sector Strategy 2033, further cementing Dubai’s position as a global hub for design excellence.”

The winner will be revealed during Dubai Design Week, the region’s leading design festival, held in partnership with d3 from November 4th to 9th, 2025. Now in its 11th edition.

Applications for the d3 Awards closed on the 17th of October, and shortlisted proposals will be displayed at the d3 Architecture Exhibition, organised in collaboration with the Royal Institute of British Architects (RIBA) as part of the Dubai Design Week programme. Submissions will be judged on originality, practicality, accessibility, aesthetics, and environmental impact.

Future editions of the d3 Awards will expand to spotlight disciplines including product design, fashion, digital innovation, and design for social impact, reflecting the diverse scope of the region’s growing creative economy.

dubaidesigndistrict.com

Your ultimate guide to the new season interior design trends 

Earth-Drenched Hues and Jewel Tones

Colour this season is rich, layered, and evocative. Earthy palettes like deep chestnut, moss green, clay, and rust, form the backdrop, bringing a sense of grounding to interiors. These shades are not flat but complex, often layered in tonal combinations that create warmth and depth. To contrast, jewel tones are reemerging in accents: sapphire in velvet cushions, emerald in lacquered side tables, garnet in statement glassware. The effect is luxurious yet liveable, a marriage of restraint and richness.

Statement Stone

Marble, onyx, and travertine dominate the design conversation, but this time with maximalist flair. Beyond countertops, stone appears as sculptural dining tables, freeform side tables, and even lamp bases. Designers are experimenting with richly veined slabs, greens and browns reminiscent of natural landscapes, black marbles threaded with white, or creams punctuated by dramatic swirls. These pieces read as functional art, anchoring interiors with permanence and gravitas.

The Return of Woodcraft

Wood is reasserting itself as the heart of craftsmanship. Instead of polished perfection, raw, textured, and even charred finishes are celebrated. Walnut cabinetry with visible knots, oak with bleached finishes, and furniture made from reclaimed timber speak of authenticity and sustainability. In accent pieces, the artisanal hand is evident in carved bowls, imperfect edges, and hand-finished details, a nod to traditions of woodworking across cultures.

Comfort in Texture

Textile design takes centre stage this fall. Bouclé and mohair remain staples, but velvet is making a luxurious comeback. Chenille, raw silks, and layered linens are used not in isolation but together, inviting touch and interaction. Designers are playing with contrasts: linen against polished stone, silk beside rough jute, velvet paired with wood. It is in these juxtapositions that rooms feel alive, cocooning yet dynamic.

Sculptural Lighting

Lighting is no longer a supporting act but the star. Oversized chandeliers with organic, branching forms; handblown glass pendants that catch and refract light like water; brass and ceramic lamps with architectural bases. These designs function as artwork, often dictating the rhythm of a room. Expect lighting that makes a statement even when turned off, with natural forms and unexpected geometry being the prevailing language.

Vintage Meets Contemporary

The appetite for mixing eras shows no sign of slowing. This season, vintage finds from mid-century armchairs, to antique rugs, to ceramic vessels, are juxtaposed with sharp contemporary pieces like glass-topped dining tables or modular sofas. This layering of time brings character and patina to spaces, ensuring homes feel collected rather than curated. It’s also a sustainable approach, honouring the past while investing in the future.

The Rise of Intimate Spaces

The era of open-plan living is gently shifting toward the creation of smaller, private retreats within the home. Cosy reading corners, jewel-box dining alcoves, even workspaces designed with cocooning softness are emerging. These nooks answer the modern need for balance: spaces to retreat and recharge without disconnecting entirely. Layered lighting, textural walls, and enveloping furniture all play into the mood.

Here are all the details for the key looks in the collection

FIRST LOOK 

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow Stick – 012 Rosewood & 103 Toffee

Diorshow Brow Styler – 01 Blond

Diorshow 5 Couleurs – 664 Wild Beige

Dior Addict – 100 Nude Look

SECOND LOOK

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow Stick – 001 Pink, 006 Berry & 103 Toffee

Diorshow Brow Styler – 01 Blond

Diorshow Stylo – 121 Pearly Rosewood

Diorshow 5 Couleurs – 862 Shocking Pink

Rouge Dior – 849 Rouge Cinéma Satin

THIRD LOOK

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow – 012 Rosewood

Dior Backstage Glow Maximizer Palette – 001 Universal Glow

Diorshow Brow Styler – 01 Blond

Diorshow Maximizer 4d

Diorshow Overvolume – 090 Overblack

Diorshow Mono Couleur – 755 Rose Tulle

Rouge Dior On Stage – 425 Wild Rosewood

FORTH LOOK 

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow – 077 Candy

Dior Backstage Glow Maximizer Palette – 001 Universal Glow

Diorshow Brow Styler – 01 Blond

Diorshow Maximizer 4d

Diorshow Overvolume – 090 Overblack

Diorshow Mono Couleur – 530 Tulle

Rouge Dior – 228 Mythique Velvet

FIFTH LOOK 

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow Stick – 103 Toffee

Diorshow Brow Styler – 01 Blond

Diorshow Stylo – 091 Matte Black

Diorshow 5 Couleurs – 931 Bold Black

Dior Addict – 790 Bold Black

Dior Vernis – 908 Bold Black

SIXTH LOOK

Dior Prestige La Micro-Huile de Rose Activated Serum

Dior Forever Glow Veil

Dior Forever Skin Glow – 00,5n

Dior Forever Skin Correct – 0n

Dior Backstage Rosy Glow – 063 Pink Lilac

Dior Backstage Glow Maximizer Palette – 001 Universal Glow

Diorshow Brow Styler – 01 Blond

Diorshow Maximizer 4d

Diorshow Overvolume – 090 Overblack

Diorshow Mono Couleur – 280 Lucky Clover & 530 Tulle

Dior Addict Lip Glow Butter – 102 Glazed Lavender

Shoot credits: 

Makeup: Peter Philips for Dior 

Photographer: Daniel Archer

Scenography: Thomas Bird

Styling: Samuel François

Model: Viktoria Wirs

Hair: Pablo Kuemin

Manicure: Magali Buisson

When Prada first unveiled the Toblach in the late 1990s, it immediately captured attention as a bold departure from traditional footwear codes.

Launched alongside the now-iconic America’s Cup sneaker, the Toblach became the very first Prada Linea Rossa shoe to stride onto the runway in the Fall/Winter 1998 collection. At the time, its defining detail, the engineered rubber sole, was revolutionary, fusing the structure of a formal shoe with the functionality of technical design. Today, that same spirit of innovation and heritage is revived in a contemporary reimagining of the Toblach.

The 2025 return sees the shoe crafted in smooth calf leather with a matte finish, a material choice that reinforces its understated modern character while preserving the sleek sophistication that Prada is celebrated for. True to its DNA, the Toblach continues to blur the lines between categories, bridging sportswear and high fashion, utility and refinement. Its silhouette feels as relevant now as it did when it first debuted, reflecting Prada’s ability to create designs that not only transcend trends but set them.

For more than three decades, Prada has pioneered the inclusion of technical detailing and performance fabrics within luxury fashion. Long before the term “athleisure” entered the cultural vocabulary, the house was integrating elements of sportswear into its aesthetic lexicon, reshaping how elegance could be defined. The Toblach stands as a testament to this legacy. Its engineered sole, durable structure, and fluid design language embody the balance between form and function, qualities that remain at the core of Prada’s vision.

With its rich heritage and forward-looking design, the Toblach is once again poised to become a modern essential, a shoe that bridges decades, occasions, and contexts with Prada’s signature blend of innovation, elegance, and technical mastery.

Prada.com

Riyadh Fashion Week will return for its third edition from October 16 to 21, 2025, bringing six days of creativity, craftsmanship, and international collaboration to the Saudi capital.

Building on the momentum of its first two editions, this year’s program underscores Riyadh’s growing status as one of the world’s most dynamic emerging fashion hubs.

Organised by the Fashion Commission, RFW 2025 promises an ambitious schedule that reflects the Kingdom’s expanding global reach. The event will host more than 25 runway shows and 10 designer presentations, alongside a curated showroom and immersive activations across the city. For the first time, international brands will be included in the calendar, joining Saudi and regional designers on the runway.

The mix of local and global participants highlights Saudi Arabia’s diverse fashion identity, spanning couture, eveningwear, womenswear, menswear, and streetwear. This blend not only celebrates homegrown talent but also positions Riyadh as an international hub for cultural exchange and creativity. Beyond the catwalks, showrooms and networking activations will connect global buyers, media, and industry leaders with Saudi designers, creating new opportunities for collaboration and growth.

“Riyadh Fashion Week has become a gateway for those looking to understand and participate in the future of Saudi Arabia’s fashion industry,” said Burak Cakmak, CEO of the Saudi Fashion Commission. “By welcoming the world to Riyadh, we create a unique platform where international leaders can build meaningful connections with local buyers, media, and consumers. At the same time, the event shines a global spotlight on Saudi talent, whose creativity spans from heritage-rooted craftsmanship to contemporary design, reinforcing the Kingdom’s growing influence on the international fashion landscape.”

Riyadh Fashion Week 2025 aims to provide an in-depth look at this evolving identity, while affirming the city’s ambition to establish itself as a future global fashion capital.

riyadhfashionweek.com

For Fall/Winter 2025–26, Daniel Roseberry reimagines one of the Maison’s most coveted creations, the Soufflé bag, in new iterations that feel both timeless and utterly of the moment.

First introduced for Spring/Summer 2025, the Soufflé quickly became a cult accessory thanks to its feather-light construction and effortless slouch, embodying that elusive quality of insouciance that defines true Parisian style. With its rounded silhouette and supple proportions, the bag offered a sense of ease that instantly resonated with women seeking luxury without rigidity.

Now, the Soufflé returns with bold seasonal updates that make it the ultimate investment piece for Fall/Winter 2025–26. Schiaparelli’s artistic codes are woven seamlessly into the design, with the brand’s iconic trompe l’oeil hammered brass anatomy motif hardware reinterpreted on the handles. These sculptural details transform the bag from a simple shoulder accessory into a wearable work of art.

For the new season, Roseberry has played with rich materials and embellishments, elevating the Soufflé into a statement piece that transitions effortlessly from day to night. Think velvet textures, deep jewel tones, and unexpected surface treatments that reference the Maison’s history of avant-garde design.

What makes the Soufflé a true must-have this season is its versatility and presence. It’s light enough to carry all day, yet dramatic enough to anchor an evening look. It whispers Parisian nonchalance while making a bold statement, embodying precisely the dualities Roseberry has been exploring across his Fall/Winter 2025–26 Ready-to-Wear collection.

Schiaparelli.com

With a career that spans continents and cuisines, Chef Kelvin Cheung has built a reputation for turning food into storytelling.

From his early days in his family’s bustling Cantonese restaurants to formative experiences in Europe and North America, Cheung has always sought to create dishes that connect people, culture, and memory. In 2021, he brought that philosophy to Dubai, co-founding Jun’s with Neha Anand, a restaurant rooted in personal narrative, cultural fusion, and an unwavering respect for ingredients. Here, Cheung talks about his journey, culinary philosophy, and how Dubai has become both his professional playground and personal home.

You’ve worked in some incredible kitchens around the world. What inspired you to eventually launch Jun’s in Dubai?

The first time I visited Dubai in 2016 was on a market analysis visit. Five years later, I moved to the UAE in May of 2021 after watching the hospitality business crumble in every corner of the world. When Neha Anand of Three Layer Hospitality and King’s Group Ventures reached out to me about moving to Dubai to open the restaurant of our dreams the city was already on my radar with fellow chefs in the industry in the city vouching for the relative strength of hospitality in the city, incredible handling of covid by authorities, and encouraging me to explore a move here. To say the least, it turned out to be an excellent decision. Dubai has so much to offer, not just as a chef but also as a father. Neha and I are building our dreams together at Jun’s, our first home in Dubai.

As the cooking is profoundly personal, the name comes from my son’s Chinese name: Jun Jun Wai. It just so happens Neha’s son is Arjun, so it represents both of our children as well as both of our priorities – our family and work – perfectly.

How would you describe your culinary philosophy in just a few words?

For me, cooking is about storytelling. Honouring where we come from, pushing boundaries, and building connections through food that is thoughtful, disciplined, and deeply personal.

Was there a defining moment in your career that shaped the chef you are today?

When I look back on the turning points in my career, my mind always returns to Dinant, a quiet town in Belgium where I took my first job outside my family’s kitchens. Until then, I’d grown up in the rhythm of Cantonese banquets and bustling dim sum dining rooms. Dinant was different. The restaurant had its own garden and a pond where we kept trout for our signature dish, Truite en Bleu.

Each order meant running to the pond, netting a fish in full view of diners, then carefully preparing it from pond to plate. It was humbling, intimate, and sacred — a reminder that cooking is not just technique but a relationship between land, product, chef, and guest. That experience forever shaped how I cook and how I honour food.

Today, whether I am cooking in Dubai, collaborating with chefs around the world, or working on a new tasting menu at Jun’s, I carry that lesson with me. I look for the most pristine, beautiful ingredients I can find, not just because they taste good, but because they deserve to be treated with respect. I want my guests to feel that same connection. To know that what’s on their plate has an origin story and that it was prepared with care, love, and gratitude.

How do you balance innovation with honouring tradition in your dishes?

Third culture is being caught between cultures. I’m celebrating a unique perspective and creativity that comes from straddling multiple cultural worlds. The food at Jun’s is my life on a plate. I do not worry about maintaining the authenticity of a dish. Every family has its own version of a particular area’s authentic dish. Who are we to judge which is more authentic?  I think that keeping boundaries on food, or for that matter, people, does a disservice.

Dubai is home to such a diverse dining scene. How does Jun’s stand out in a market full of global culinary talent?

Innovation, consistency, quality. Our hospitality is also a huge driver. The dishes are profoundly personal, and we try to personalise wherever possible – from fortune cookie messages to altering dishes to fit customers’ dietary requirements. People really connect to our food through our storytelling, and I think that is a key differentiator for Jun’s.

Because the Dubai food scene offers top-quality food and service in every corner of the city, it keeps my team and me motivated to deliver excellence with every experience. There are very few places in the world that cater to such a diverse set of people. With that being said, when creating a menu, I have to ensure we have options for everyone to allow an inclusive experience for diners. The most important thing for Jun’s menu is to keep creating and innovating new, fun dishes that are seasonal and also inclusive, giving the Jun’s experience for everyone.

Many of your dishes blend unexpected flavours and influences. Can you tell us about your creative process when developing a menu?

My menu is an ode to the North American Asian food I grew up with, served in a modern format. I’ve reimagined my favourite dishes and flavours across the entire continent and tell my story through the food with each of my dishes. You’ll see very traditional Chinese flavour combinations using the French techniques I learned during my time in Belgium. You’ll find traditionally considered European dishes like Burrata, or tortellini, paired with unusual flavours like mapo.

My creative process always starts with a thought, a memory, or a craving, usually something nostalgic that connects me back to my roots. From there, we build the dish around a single ingredient, always searching for something unique, local, sustainable, and seasonal. Those memories and flavours become the foundation, and then we layer in technique and a modern approach to create something that feels both familiar and new.

Tell us about your fast-food concept, Jooksing.

Serving up a fresh, casual take on Chinese American favourites, Jooksing brings nostalgic classics to Dubai’s fast-casual dining scene, made with top-quality ingredients and an easy-going spirit to match. At Neighbourhood Food Hall in Motor City and available across all major delivery aggregators, Jooksing offers everyday comfort food, made better. The menu is packed with flavourful ingredients and prepared with what you could say would be my unmistakable twists. Being a name that carries layers of cultural meaning, Jooksing (竹升) reclaims a once-loaded Cantonese slang term historically used to describe Chinese Americans – “hollow bamboo,” neither fully Chinese nor fully American. Today, we are using the term as a celebration of in-betweenness: the sweet spot where tradition and innovation collide.

What have been some of the biggest challenges of opening a restaurant in Dubai?

• High Overheads & Start-Up Costs: Dubai is an expensive city to do business in, from rent and fit-out costs to licensing fees and utilities. Building a restaurant that meets the city’s expectations for design and experience requires a significant investment, and you need to be ready for that level of financial commitment.

• Finding the Right Location: Prime locations are scarce and highly competitive. The right site can make or break a concept, so securing a spot that matches your brand’s identity, footfall needs, and accessibility is one of the most difficult early hurdles.

• Recruiting & Retaining Skilled Talent: Hiring is a constant challenge. With so many luxury hotels, fine-dining venues, and international brands in the market, attracting and keeping top talent like chefs, front-of-house, and management is a competitive game that requires a strong culture and attractive benefits.

• Differentiation in a Crowded Market: Dubai is one of the most dynamic and trend-forward dining landscapes in the world. To succeed, you have to create a concept that is not just good but truly distinctive and something that offers a unique point of view, resonates with both locals and tourists, and can sustain buzz over time.

• Adapting to a Global Audience: Dubai is home to over 200 nationalities, which means your menu, service style, and storytelling must appeal to a diverse, international audience while still staying authentic to your brand’s core identity

What achievements at Jun’s so far are you most proud of?

Our regular guests! They are the backbone of the F&B industry. Just this weekend, I served one of our regulars on his 200th visit to Jun’s and at the same time, another ordered his 65th order from Liu by Jun’s via Deliveroo. There’s nothing more rewarding than seeing a diner return time and time again in a city like this with so many incredible places to eat and order from.

How do you handle the pressure of balancing creativity with running a successful business?

Creativity is my outlet for pressure. I enjoy the process. The pressure of balancing creativity with running a successful business is constant, but in Dubai, the two go hand in hand. To succeed here, you have to be relentlessly creative. You need to pivot quickly, innovate constantly, and reinvent yourself to stay fresh in people’s minds. That creativity is what keeps guests coming back, but it has to be paired with a solid business foundation so that the ideas are sustainable, profitable, and consistently executed.

Where do you see your restaurant portfolio in the next five years? Do you envision expansion or any more new concepts?

Currently, we have three fully functioning, unique brands and menus running in Dubai: Jun’s, Little Jun’s at Time Out Market, and Jooksing. My long-term goals for the restaurant and personal career are simply to continue to cook food that I enjoy cooking and to hopefully have a full restaurant. That is for me what defines success. I only want to continue to improve my technique, to improve and refine my skills while cooking things that I love to eat and be able to provide that same experience to all of my guests and do the best and cook the best that I can. That being said, we’re always pushing ourselves as a group, and we might just have a tiny project close to my heart in the works that I hope everyone will really enjoy soon.

How do you see Dubai evolving as a global food capital, and what role do you hope to play in that journey?

Dubai is evolving rapidly into one of the world’s most exciting culinary destinations. It’s no longer just a place where international brands open outposts, and it’s now a city where original concepts are born, where local talent is celebrated, and where diners are hungry for bold, creative, and world-class experiences. The city is starting to shape its own culinary identity, driven by a mix of global influences and a growing emphasis on sustainability, seasonality, and storytelling.

My hope is to contribute to that evolution by continuing to push the boundaries of what dining in Dubai can be. Through Jun’s, we’re telling a very personal, Third Culture story that combines technique, nostalgia, and innovation. I see my role as not just cooking great food, but mentoring the next generation of chefs, building sustainable systems, and helping to make Dubai a place where original voices and diverse cuisines can thrive.

Finally, what advice would you give to young chefs dreaming of opening their own restaurant?

Don’t rush the process. The time you get with a mentor, inside the kitchen and inside the business operation, is invaluable. You’re never too old to start a business, so take the time to learn all aspects before jumping in.

junsdubai.com

We reveal some of our recommended fragrances for this season

Guerlain

Guerlain expands its iconic L’Art & La Matière collection with a daring new interpretation of vetiver, inspired by the untamed spirit of Rudyard Kipling’s The Jungle Book. This creation captures the essence of a lush jungle at dawn, where nature awakens in a symphony of vibrant sounds, colours and scents. The freshness of vetiver root is reimagined with a surprising clarity, bringing to life an atmosphere that is both raw and majestic. Designed as a unisex fragrance, this woody-fresh sillage embodies Guerlain’s artistry, blending heritage craftsmanship with olfactive storytelling that transports the wearer into an exotic, timeless wilderness.

Maison Francis Kurkdjian

Maison Francis Kurkdjian celebrates the season with Baccarat Rouge 540, a fragrance that has transcended trends to become a modern icon. Known for its luminous woody, ambery, and floral composition, the extrait de parfum intensifies the radiance and depth of the original, creating a scent both powerful and refined. Grandiflorum jasmine underscores airy notes, while bitter almond and ethyl maltol ignite sensual gourmand warmth, softened by ambergris and musk. Encased in a striking red bottle, the fragrance embodies autumn’s richness with unmatched sophistication. Baccarat Rouge 540 is not only a perfume but a timeless olfactory signature of elegance and allure.

Balenciaga

Balenciaga has debuted a collection of 10 fragrances that bridges past and present, reviving the House’s olfactive heritage while pushing perfumery into new realms. Inspired by Cristóbal Balenciaga’s first perfume, Le Dix, rediscovered after a 15-year archival search, the collection reinterprets the Maison’s DNA through contrasts, heritage and innovation, clarity and opacity, tradition and modernity. Each refillable bottle, crafted with a glass globular cap and ribbon, evokes time’s patina while enclosing bold, sculptural scents. This new chapter in perfumery embodies Balenciaga’s radical spirit, where couture becomes fragrance. Available from September 10 at the House’s historic Paris flagship and select stores worldwide.

Prada

Prada unveils Paradoxe Radical Essence, the newest and most intense iteration of the original Paradoxe scent. This bold creation amplifies the floral woody signature, reimagining the gourmand tradition with a radical, avant-garde twist. More concentrated and potent, it celebrates the contrasts of femininity and the freedom of authentic self-expression. The luminous notes of neroli oil and orange flower absolute return, but are now paired with an unexpected salted pistachio accord, adding depth and originality. A creamy sandalwood base lingers with sensual warmth, making Radical Essence an addictive new chapter in the Paradoxe story, but bolder, deeper, and unmistakably modern.

Yves Saint Laurent Beauty

Yves Saint Laurent Beauty unveils Libre Vanille Couture, the first of its new Libre Couture drops for 2025, exclusive seasonal editions that elevate the house’s iconic fragrance. This golden chapter transforms Libre’s bold orange blossom and lavender signature with a rare Vanilla Caviar Accord, crafted from sustainably sourced Bourbon vanilla from Madagascar. The extract, obtained through an advanced CO² process, captures the pod’s most precious aromatic facets for a rich, creamy intensity. Enhanced with rum absolute and cinnamon, the result is a golden ambery floral with couture depth, an olfactory embodiment of freedom, sensuality, and the radiance of Saint Laurent luxury.

As the UAE cements its position as a global hub for entrepreneurship and innovation, Sharjah has become a driving force in championing women-led enterprises.

At the centre of this movement is H.E. Mariam Bin Al Shaikh, Director of Sharjah Business Women Council (SBWC), an organisation dedicated to empowering female entrepreneurs with mentorship, training, market access, and international exposure. Under her leadership, SBWC has been instrumental in shaping a dynamic ecosystem where women are not only building successful businesses but also setting new benchmarks in creativity, resilience, and global impact. Here, H.E. Mariam shares her vision for the entrepreneurial landscape, the milestones achieved so far, and how SBWC is preparing women to lead in the economy of the future.

How do you see the current entrepreneurial landscape in the UAE, and what role does SBWC play in shaping it? 

The entrepreneurial movement in the UAE is driven by an immense amount of talent, ambition, and comprehensive government support; characterised by a powerful shift towards innovation, reinvention, and economic diversification. We are witnessing a new generation of ventures that are inherently digitally-native, globally-minded, and deeply committed to shaping a positive future.

What is particularly inspiring to me is the ecosystem’s increasing inclusivity, where female-led enterprises are not only demonstrating significant economic output but also providing inspirational role models for future generations. When women lead, they ignite progress; and every venture they build is far more than a business, and forms a beacon of resilience, creativity, and change that inspires generations to come.

SBWC plays a major role in this journey empowering women entrepreneurs with comprehensive support systems, including tailored mentorship, world-class training, strategic networking, and facilitated access to global markets. Our fundamental mission is to position female founders at the forefront of innovation and economic diversification, directly aligning with the UAE’s visionary leadership and its strategic goals for a prosperous, knowledge-based economy.

Over the past year, what key developments have you seen in Sharjah’s support for female entrepreneurs?

Sharjah’s support ecosystem for female entrepreneurs has become more interconnected, resource-rich, and empowering than ever before. We have observed a significant and positive shift towards highly collaborative programmes with key ecosystem partners, creating a unified front to elevate women’s business success.

This past year, SBWC has been instrumental in strengthening this framework through targeted initiatives such as our Business Readiness Bootcamp in partnership with Sheraa (Sharjah Entrepreneurship Center), which equips early-stage startups with the foundational skills to thrive. We have also continued our efforts regarding international exposure opportunities, such as sponsoring and showcasing our female-led startups at premier global events like Expand North Star.

Another key development is the growing integration of social entrepreneurship and sustainability into the core support framework, encouraging businesses that deliver both profit and purpose. While F&B and retail remain strong sectors for women, we are incredibly encouraged by the upward momentum in high-growth fields like STEM, health-tech, and edtech, signalling a diversification of female talent into the industries of tomorrow.

Can you share some of the most impactful initiatives SBWC is currently running to support small businesses and startups? 

SBWC’s initiatives are strategically designed to span the entire entrepreneurial journey and also extend to those within other businesses too, focusing on skill-building, global exposure, and market access. This includes ongoing mentorship programmes and networking forums, which guides established and newly-formed businesses through the complexities of commerce and fosters entrepreneurial thinking among business women and entrepreneurs.

We also facilitate dedicated trade missions to key international markets, providing a direct platform for our members to form partnerships and secure clients. However, these efforts extend beyond the launching of businesses, and help to cultivate leadership, confidence, and unlock powerful networks. We believe that instilling knowledge and skills is even more beneficial in the long term than providing capital, as it lays the foundation for sustained growth and leadership in even the most challenging markets.

Much of your work is centred on empowering women through entrepreneurship. What does empowerment mean to you in this context?

To me, empowerment in this context is a multifaceted commitment to equipping women with the knowledge, tools, and conviction to claim their space in the economy without compromise. It is about proactively creating an environment where a woman’s potential is both recognised and actively supported, nurtured, and celebrated at every stage of her journey, from ideation to scale.

When women are truly empowered, they transcend traditional limitations, erase outdated stereotypes, and in doing so, inspire entire communities to pursue greater possibilities. Our efforts today create a powerful ripple effect; there is no inspiration more potent than a real-world example of a successful woman leader. Although we live in complex times, I truly believe that the future is bright, and by empowering women entrepreneurs, we are building a more inclusive, innovative, and better world for all.

Looking back, what would you consider SBWC’s biggest achievements so far in terms of impact on women-led businesses?

Our greatest achievement is not a single statistic, but the legacy of our members’ success. It is witnessing entrepreneurs who began with little more than a compelling idea evolve into formidable industry leaders and trusted brands, scaling from Sharjah to the international stage. To date, SBWC has empowered thousands of women, and we currently have 2,690 members, enabling them to access new markets, secure vital investment, form strategic partnerships, and, most importantly, develop the knowledge and foresight to scale their ambitions.

Every moment a member overcomes a significant business challenge or achieves a major milestone stands as a powerful testament to the impact of sustained support, a strong community, and the belief in women’s potential.

Are there particular success stories from SBWC members that stand out to you and have left a lasting impression?

The SBWC community is full of inspiring success stories and visionary business concepts, each one a unique lesson in leadership and business acumen. I am continually moved by these stories, such as members who transformed a cherished family recipe into nationally recognised F&B brands, and those who have reimagined culture and heritage into contemporary business models. Equally impressive are the innovators who have embedded sustainability into the core of their enterprises, such as those creating low-impact digital solutions or ethical fashion, proving that profitability and environmental consideration can co-exist.

There are also countless stories of women who, in chasing their own dreams, have created extensive opportunities for others, building teams and supporting local supply chains. These journeys, filled with both challenges and great success, remind us that entrepreneurship is as much about personal growth and community impact as it is about business growth.

What can we expect from SBWC in the year ahead? Are there new initiatives or projects you’re particularly excited about?

In the year ahead, SBWC will continue to expand in its efforts to empower women entrepreneurs with the precise tools, knowledge, and networks required to thrive in an increasingly digital and globalised economy. While we will also continue our proven programmes, trade missions, and presence at trade shows and conferences, we are particularly excited about increasing our efforts to support STEM sectors, innovation, and accelerating our members’ digital readiness. We are also adding towards our efforts to facilitate cross-border partnerships and virtual networking, ensuring our members can build global connections from day one. Ultimately, everything we do is designed to ensure that women-led enterprises are active contributors to the UAE’s future economic trajectory.

How do you envision SBWC’s role evolving in the next five to ten years? 

SBWC’s journey, guided through the vision of Her Highness Sheikha Jawaher bint Mohamed Al Qasimi, Wife of His Highness the Ruler of Sharjah, and Patron of Sharjah Business Women Council, is rooted in purpose and strategic proficiency. I would say we are well on our way to becoming a globally recognised example for comprehensive female entrepreneurial support, serving as an essential enabler for businesswomen across the emirate, the nation, and the region.

In the upcoming years we will also deepen our role as a thought leader, contributing data and strategic recommendations to inform policy on SMEs and women’s economic participation. Our aim is to scale our support into frontier sectors like the digital economy, green technology, and advanced sciences, while harnessing digital platforms to create a truly connected global community of women entrepreneurs. As the global economy grows more complex, SBWC’s commitment to creating an ecosystem that fosters personal and professional growth will affirm our legacy as an institution that empowered generations of women to be the very best versions of themselves.

Who has been your greatest inspiration, personally or professionally?

I am consistently inspired by the visionary leadership of women in the UAE, most notably Her Highness Sheikha Jawaher bint Mohamed Al Qasimi, Wife of His Highness the Ruler of Sharjah, and Patron of the Sharjah Business Women Council. Her Highness’s dedication to women’s advancement, her profound compassion, and her strategic foresight are a guiding light and a continuous call to action for all of us at SBWC. What I find most inspiring is that everything Her Highness does comes full circle, and the core of it all is the human connection and creating a better world for all people of the world. I also draw immense inspiration from every SBWC member I meet. Each woman, with her unique story of passion and perseverance, reinforces my belief in the extraordinary drive and brilliance of women and the limitless potential that collective support and guidance can unlock.

What is one life lesson that has shaped the way you lead and approach your work?

A fundamental lesson that has shaped my leadership is the understanding that while success is personally defined, it is almost never achieved alone. Authentic collaboration, deep empathy, and the courage to continuously seek mentorship and guidance are the cornerstones of impactful leadership. When we consciously choose to lift one another up, celebrate our differences as strengths, and generously share our resources and knowledge, we collectively transform what is possible. This philosophy of community-centric leadership informs every initiative I lead and every partnership I pursue, ensuring our work remains grounded in shared success.

What advice would you give to young women in the UAE who want to enter entrepreneurship but may feel hesitant?

My advice is to begin by nurturing a true belief in yourself, your idea, and your ability to make your dream come true, even if it feels intimidating or “impossible”. Do not wait for the perfect moment and work towards your goals; take small, steady steps every day, and you will be amazed at how much you can achieve. I also advise surrounding yourself with a community of mentors and peers, and SBWC provides a perfect setting for this; those who will challenge your thinking and encourage you on your journey.

Remember that failure is natural and not the end, and these lessons give us valuable steps toward lasting growth and resilience. The entrepreneurial path requires courage, but you are not walking it alone; SBWC and an entire ecosystem of support exists precisely to provide you with the guidance, connections, and resources you need to thrive. Your ambition is celebrated, and the world is ready for your contribution!

Beyond your role, what are you personally most passionate about, and how does that passion influence your professional journey?

I would say what really sparks my passion lies at the intersection of education, empowerment, and authentic human connection. From an early age, my family instilled in me the value of mutual respect, kindness, the upliftment of others, and the power of knowledge and personal growth. I carry with me the motto: “Water your mind to grow your soul,” and it is a constant reminder to nourish my inner self through continuous learning, reflection, and empathy; and to remain a student for life. This also forms the foundation of my professional journey, and the work we do at SBWC stems from a fundamental belief that every woman deserves access to opportunity, mentorship, and a platform to thrive.

sbwc.ae

Sotheby’s recently launched an inaugural series of events that will culminate in a landmark calendar of sales during Collectors’ Week in early December.

In partnership with the Abu Dhabi Investment Office, the week-long event marks a milestone moment, bringing together for the first time all of Sotheby’s major divisions, from fine art and jewellery to watches, design, and collector cars through RM Sotheby’s, the auction house’s world-leading platform for classic and high-value automobiles.

Collector’s Week is more than a series of auctions; it is set to be a cultural moment that reflects Abu Dhabi’s rising status as a hub where East meets West, uniting luxury, innovation, and heritage under one roof. Leading this vision is Duccio Filippo Lopresto, Managing Director MENA for RM Sotheby’s, Here, he shares how this landmark edition will not only shape the regional market but also connect Middle Eastern collectors to the world stage.

Sotheby’s is bringing Collector’s Week to Abu Dhabi. Can you share what makes this edition significant for collectors in the region?

This edition is particularly significant because it marks the first time Sotheby’s is bringing together all its major divisions — art, jewellery, watches, design and collector cars through RM Sotheby’s — under one roof in Abu Dhabi. It’s more than an auction; it’s a cultural moment that celebrates collecting in all its forms. For the Middle East, this is a milestone: Abu Dhabi is positioning itself as a global hub where East meets West, and we are excited to make it the stage for some of the world’s most extraordinary objects. What we’re building in Abu Dhabi goes far beyond a series of auctions; it’s the foundation of a new collecting ecosystem. A destination for luxury, art, elegance, and culture. In partnership with the Abu Dhabi Investment Office, we are reshaping the global world of collecting.

What highlights should collectors look forward to, and how do they reflect the tastes of Middle Eastern collectors?

Our highlights reflect both rarity and exclusivity, values that resonate deeply in the region. The standout pieces on the automotive side include our partnership with the McLaren Racing team. For the first time, we will be offering a slot to buy a modern-day Formula 1 cars together with a slot for the 2026 WEC and Indy cars, something truly exceptional! We are bringing a spectacular McLaren F1 car in white, the one-off Pagani Zonda Riviera, and an Aston Martin One-77. These cars embody innovation, performance, and design excellence, qualities Middle Eastern collectors look for. Beyond cars, the week will feature important works of art, rare watches, and exceptional jewellery, all curated with the sensibilities of regional collectors in mind.

How is the UAE shaping up as a hub for global collectors and cultural events?

The UAE has established itself as a crossroads of culture, finance, and luxury. Abu Dhabi’s institutions, such as Louvre Abu Dhabi, Team Labs Museum, Abrahamic Family House, and the upcoming Guggenheim, demonstrate the emirate’s long-term investment in culture. At the same time, Dubai’s dynamism has created a thriving scene for design, fashion, and contemporary art. Together, the UAE offers a unique blend of stability, accessibility, and global connectivity, which makes it an ideal hub for collectors worldwide. Also, the approach they have to collecting is very open and diverse, which makes this region a fundamental hub for the future global development of luxury brands. In general, collectors are quite young compared to the US or Europe and willing to experiment. This makes it a great location for art, luxury and collecting in general.

Sotheby’s RM has a reputation as one of the most prestigious platforms for classic and collector cars. How do you see interest in this category evolve within the region?

Interest in collector cars has grown rapidly here in recent years. Historically, the region has had a deep passion for performance and hypercars, but we are seeing a maturation of tastes: more collectors are turning toward classic cars, vintage models, and cars with cultural or historical importance. Younger collectors are increasingly entering the market, seeing cars not only as a passion but also as alternative assets. Events and clubs are playing a key role in shaping this ecosystem, and from this perspective, the region is growing rapidly. Brands such as Ferrari and Porsche have a strong presence here, with events like Cavallino Middle East and Icons of Porsche drawing thousands of collectors and enthusiasts. The Mille Miglia UAE Rally is also attracting some of the world’s leading collectors. Altogether, these initiatives bring fresh energy to the region and are helping to establish a strong culture of collecting. I personally have never seen Clubs that have such trusted followers as Flat 12, The Stables, Supercar Majlis or Group 63, for example. They are all car clubs that organise car rallies, cars and coffee events, and car meets every week, and you can’t believe how many collectors they are able to invite! They do it in a very open and inclusive way that everyone feels welcomed. This helps new collectors approach the scene and will help it grow radically.

Are there particular models or eras of cars that resonate most with collectors in the Middle East?

Yes — hypercars and limited-production supercars have always been highly sought after in the Middle East. Models from Pagani, Bugatti, Ferrari, and McLaren resonate strongly. We also see significant interest in rare 1990s and 2000s performance icons, which connect emotionally with the next generation of collectors. At the same time, certain historically important British marques, like Aston Martin, carry prestige here. That’s why highlights such as the Pagani Zonda Riviera and Aston Martin One-77 feel especially relevant to the market. From what I see, Ferrari, Mercedes, and Porsche are the strongest brands out here. Also, youngtimer cars such as the Lancia Delta Integrale, BMW M3, and Ferrari Testarossa are surely appealing. Iconic cars from the ‘80s and 90s are something that the region appreciates more and more. Also, obviously, anything that is a 4×4 limited edition SUV will have an impact. What I found interesting, too, is that there is a lot of passion and enthusiasm for Japanese  JDM cars.

How does Sotheby’s approach international consignors and buyers with the emerging pool of collectors in MENA?

Sotheby’s global network is one of our greatest strengths. We are uniquely positioned to bring consignments from Europe, North America, and Asia directly into the MENA market. At the same time, we cultivate relationships locally, building trust and knowledge with new collectors. Our role is to act as a bridge, introducing global consignors to serious buyers in the region, and helping Middle Eastern collectors access the finest cars and collectables worldwide. A good example of that is our December 2024 Dubai auction, where the top lot of our sale, a Pagani Zonda LM One Off, flew all the way from Europe to be sold again back to Europe! The UAE is becoming a hot hub for international collectors, and we have proved the point perfectly.

What global trends are you observing in the car resale market, and how are they influencing demand here?

Globally, we are seeing continued strength in rare, low-mileage, and limited-production cars, alongside growing demand for youngtimers — the 1980s, ’90s, and early 2000s icons. In general, collectors are becoming more and more informed and careful about what they buy. This is good because it makes our world more sophisticated and cultural. People now want cars that tick all the boxes: original, not crashed, low mileage, with a clear history of owners. Also, they are more and more interested in who owned it, what races did it participate in, if it was featured in a particular movie or show. Also, the rarer the car, the more attractive it will be. Social media has helped in this direction as it has created a platform for collectors to show off their vehicles. Very old cars, in general, are unfortunately becoming more difficult to sell, but for extremely good and rare examples, we don’t struggle to find buyers. These trends resonate in the Middle East, where the appetite for exclusivity and forward-looking design is very strong.

We’re seeing strong crossover between luxury, art, and automobiles. How is Sotheby’s embracing that intersection to appeal to next-generation collectors?

We see cars as moving pieces of art, and that’s why it makes sense to present them alongside fine art, design, and jewellery. Next-generation collectors don’t put boundaries between categories; they may be equally interested in a Basquiat, a Richard Mille, and a Pagani. Sotheby’s embraces this by curating experiences like Collector’s Week, where different worlds come together in one setting. This interdisciplinary approach is especially appealing in the Middle East, where collectors are deeply attuned to aesthetics and lifestyle.

With sustainability shaping industries everywhere, do you see it affecting the way collectors engage with classic and vintage cars?

Sustainability is absolutely influencing the industry, but collectors understand that vintage and classic cars are preserved as cultural artefacts, not as daily drivers. In fact, their rarity and careful preservation mean they have a relatively minimal environmental footprint compared to mass production. What we do see is a growing appreciation for timeless craftsmanship and durability — qualities that stand in contrast to disposable culture. Some collectors are also exploring conversions and innovations that allow classic cars to align with modern sustainability standards, but always with respect to their heritage.

How do you envision Sotheby’s role in growing collector culture in MENA over the next five years?

Our vision is to create a lasting ecosystem for collectors in the region. We want to help reshape the luxury and collector world globally, using the Middle East as a central hub for this vision. That means not only bringing world-class auctions to Abu Dhabi and Dubai, but also investing in education, partnerships, and community building. We want to help first-time buyers grow into lifelong collectors, make the UAE a must-visit destination for global collectors, and give regional collectors a platform to showcase their collections to the world. In five years, I see Sotheby’s as a central catalyst for the growth of a vibrant collector culture in MENA. We are working closely with the Abu Dhabi Investment Office in this direction, with the objective and vision to educate, grow and influence the next generation of collectors.

What advice would you give to first-time collectors in the region who are looking to enter the world of auctions?

My advice would be to start with passion, buy what you love, not only what you think will appreciate in value. Do your research, work with trusted advisors, and don’t be afraid to ask questions. Start by attending auctions, engaging with experts, and getting a feel for the market. And remember, collecting is a journey: the most rewarding collections are those that tell a personal story, not just those built for investment.

sothebys.com/en/series/abu-dhabi-collectors-week

Since its founding in Bahrain in 2008 by cousins Shaikha Noor Al Khalifa and Shaikha Haya Al Khalifa, Noon By Noor has been one of the region’s most successful exports.

The brand has always stood out for its distinct blend of understated luxury and contemporary femininity, a vision that has carried it from its Gulf roots onto the international stage. From its earliest collections, Noon By Noor has been defined by a philosophy of “elegance through simplicity,” creating pieces that feel both effortless and deeply considered, resonating with women who value timeless design over fleeting trends.

For Shaikha Noor and Shaikha Haya, Bahrain remains central to their story. They have consistently drawn on their heritage as a source of inspiration, weaving elements of architecture, culture, and natural light into their collections. This balance was central to their Fall/Winter 2025 collection, which explored the dialogue between structure and fluidity through references to Bahraini architecture. The collection captured Noon By Noor’s core identity: refined, minimal, yet quietly bold.

Most recently, Shaikha Noor and Shaikha Haya presented their Spring/Summer 2026 collection, “Mirage,” at London Fashion Week. This marked the latest chapter in their ongoing dialogue with the city, which they describe as their “second creative home.” The collection embraced lightness and fluidity, with fabrics shimmering like desert heat and a colour palette inspired by the Bahraini landscape.

As Noon By Noor continues to expand thoughtfully on the international stage, Shaikha Noor Al Khalifa and Shaikha Haya Al Khalifa remain committed to a design philosophy that celebrates heritage while shaping modern femininity worldwide. Here we find out more.

Noon By Noor has become one of the region’s most celebrated fashion houses. How would you describe the brand’s DNA today, and how has it evolved since its inception?

Shaikha Noor: Our DNA has always been rooted in understated luxury and self-assured femininity. Over time, we’ve refined that into a language of ease, precision, and timeless wearability. The tailored blazer, the oversized shirt, these remain our signatures, but each season we reinterpret them through new fabrics, volumes, and cultural references.

Shaikha Haya: What has evolved most is our confidence in knowing who the Noon By Noor woman is. She appreciates simplicity, but never at the expense of detail or artistry. We’ve grown more intentional, but the essence remains the same: effortless, modern, and deeply personal.

What is the philosophy behind Noon By Noor, and how do you balance global appeal with staying true to your Bahraini roots?

Shaikha Noor: Our philosophy is “elegance through simplicity.” We believe in clothing that feels instinctive yet carries layers of thought in construction, detail and craftsmanship.

Shaikha Haya: Bahrain is central to our identity. It’s in our upbringing, our architecture, our memories. Even as we design for a global stage, that influence naturally flows into our work. Whether it’s the balance between structure and fluidity in Fall Winter 2025 inspired by Bahraini architecture, or the desert light in Spring Summer 2026, our roots give us a perspective that feels unique yet universally understood.

You’ve often spoken about elegance through simplicity. How do you translate this ethos into collections season after season?

Shaikha Noor: It’s about clarity. A collection should feel like a good book; easy to understand, precise and free of unnecessary noise.

Shaikha Haya: But simplicity isn’t minimalism; it’s refinement. Each season we experiment – fraying tweeds into new textiles, or splicing a raincoat with macramé belts – but always with restraint, so the pieces whisper quietly yet leave a strong impression.

Noon By Noor is a proud Middle Eastern brand with a global presence. How important is the region to your identity and design process?

Shaikha Noor: Hugely important. Our heritage shapes our sensibility. The balance between tradition and modernity, modesty and femininity.

Shaikha Haya: At the same time, the Middle East is no longer only a source of inspiration; it’s also a platform. Women here are confident, bold and fashion-literate. Designing from the region but speaking globally is part of what makes Noon By Noor authentic.

What role does the Middle Eastern woman play in inspiring your collections?

Shaikha Noor: She’s integral. She embodies duality, rooted in tradition but cosmopolitan, modest yet daring. That paradox inspires silhouettes that reveal and conceal, tailoring that is strong but fluid.

Shaikha Haya: And beyond aesthetics, it’s her confidence. She dresses for herself, with conviction. That’s the spirit we always want to capture.

Do you feel the fashion landscape in the Middle East has changed in recent years, and how has that influenced your brand’s growth?

Shaikha Noor: Absolutely. There’s a stronger infrastructure now. Regional retailers, international press interest and platforms for designers.

Shaikha Haya: It’s also about perception. Middle Eastern brands are no longer seen as niche; we’re part of the global conversation. That recognition has reinforced our decision to show consistently in London and position Noon By Noor as a house with both local pride and international relevance.

Can you talk us through the inspiration and creative direction behind the FW25 collection?

Shaikha Noor: Fall Winter 2025 was inspired by Bahraini architecture, specifically Christian Kerez’s car parks in Muharraq that transform into cultural spaces. We wanted to explore the contrast between structure and fluidity, past and present.

Shaikha Haya: That idea of balance has always been our creative direction: sharp tailoring softened by drapes, strong shoulders offset with slices that reveal the skin, a collage of generations. It’s a dialogue between precision and emotion.

Which fabrics, silhouettes, or details define this season’s pieces?

Shaikha Noor: We worked with double crepe, wool tweeds, silks, and bonded cottons.

Shaikha Haya: Silhouettes focus on sharp shoulders, defined waists and draped bodices. Our only embellishments were created from fabric itself, like frayed tweeds re-applied onto tulle to form new textiles. That spirit of craft and innovation defines Fall Winter 2025.

Are there particular looks from the collection that you feel perfectly capture Noon By Noor’s spirit this season?

Shaikha Noor: The sculptural jackets with cut-outs epitomise our play between strength and softness.

Shaikha Haya: And the dresses layered with frayed tweed-on-tulle embody our philosophy of simplicity elevated through craft. They feel bold yet quiet, unmistakably Noon By Noor

Your SS26 presentation just took place in London. What excites you most about returning to this fashion capital?

Shaikha Noor: London has become our second creative home. The city embraces diversity and gives space for independent voices, which is invaluable for us as Middle Eastern designers.

Shaikha Haya: Each time we return, it feels like a continuation of a story. London allows us to show Noon By Noor on our terms: intimate, thoughtful yet global.

Tell us about the latest collection presented at LFW.

Shaikha Noor: Spring Summer 2026, “Mirage,” is about capturing beauty in fleeting moments – the shimmer of fabric in the desert light, silhouettes that appear and disappear.

Shaikha Haya: There’s fluidity, lightness and a palette that feels familiar, like home – desert khakis, Bahraini red, white, pale gold and cherry blossom pink. It’s delicate yet bold.

How do you approach designing a show for a global stage while keeping the brand’s Bahraini identity at its core?

Shaikha Noor: We approach each show as storytelling. The fabrics, the colours, even the soundtrack are woven with references from Bahrain, but presented in a way that resonates universally.

Shaikha Haya: For us, it’s not about broadcasting identity; it’s about embedding it naturally. A desert memory, an architectural detail, a musical rhythm – these become part of the design language.

What message do you hope the SS26 show in London will convey about Noon By Noor’s direction and future?

Shaikha Noor: That Noon By Noor continues to evolve with clarity and conviction, while remaining deeply personal.

Shaikha Haya: And that we’re committed to celebrating femininity in all its forms –strength, fragility, confidence. Spring Summer 2026 is about freedom, about women dressing with ease and magnetism.

As Noon By Noor continues to expand, what are your ambitions for the brand in the coming years?

Shaikha Noor: To keep building a house with integrity where craft, storytelling and authenticity come first.

Shaikha Haya: And to expand thoughtfully, deepening our presence in key markets, but always staying true to our DNA. Growth is important, but so is legacy.

noonbynoor.com

Since arriving in Dubai more than a decade ago, Chef Izu Ani has built a portfolio of restaurants that have not only captured the hearts of diners but also redefined what it means to create a truly homegrown concept.

Each of his ventures tells a different story; from the Mediterranean warmth of Alaya, to the relaxed sophistication of GAIA, the Parisian charm of Maison Ani, and the coastal-inspired freshness of Eunoia by Carine. Collectively, they form a diverse portfolio, bound together by a philosophy rooted in authenticity, respect for ingredients, and a deep commitment to hospitality.

GAIA Dubai

Chef Izu’s approach has been nothing short of transformative for Dubai’s dining culture. At a time when the city was largely dominated by international imports, he placed his focus on crafting restaurants that were born in the UAE but could stand on the global stage. His concepts feel both local and universal, celebrating the multicultural spirit of Dubai while resonating with international audiences. In doing so, he has shifted perceptions of what a homegrown restaurant can achieve, creating brands that thrive locally while expanding abroad, and proving that Dubai is not only a destination for global culinary talent but a source of it.

What makes Chef Izu’s concepts unique is his ability to balance familiarity with surprise. His restaurants are welcoming spaces where diners feel instantly at home, yet every menu offers fresh perspectives and new discoveries. He places as much emphasis on emotion as he does on flavour. Here, Chef Izu reflects on his journey so far, and on the lessons and values that continue to shape his work.

GAIA Dubai

You have created some of Dubai’s most beloved dining concepts, each with its own distinct identity. How do you approach building a restaurant portfolio that feels both diverse and cohesive?

Each concept begins with an emotion and a story I want to share, whilst the diversity comes from different inspirations, whether that is a journey, a memory, or a culture. What unites them is the philosophy behind everything I do – respect for ingredients, authenticity in the execution and the intention to create genuine connections.

Each restaurant carries its own story. What do you see as the thread that ties all your ventures together?

The thread is connection, whether it is a dish, a concept, or a moment, I always seek to curate experiences that bring people together. Each restaurant is unique and tells its own story, yet they are guided by the same intention, to create moments that spark joy, encourage discovery, and leave lasting memories.

Gaia Dubai

You’ve been part of Dubai’s dining scene for many years. How have you seen the industry evolve, and where do you think it’s heading?

Dubai’s dining scene has grown and evolved with incredible speed, but also with depth. In the early years, it was about bringing the world here, but today we see homegrown restaurants expanding globally and inspiring audiences abroad. What makes Dubai so exciting is its energy, ambition, and its endless possibility, and the way it continues to influence the global culinary stage.

Dubai is known for its constantly shifting landscape of restaurants. What do you believe are the secrets to longevity in such a fast-paced market?

Longevity is built on trust. You must deliver consistency, but also evolve with your diners and guests. It is about listening deeply and never becoming complacent, and ensuring that the essence of hospitality, that warmth, care, honestly and generosity is never lost.

Many chefs can create great food, but not all can keep guests returning year after year. What do you think keeps your customers coming back?

Food is only the beginning. Guests return when they feel welcomed, when they feel cared for, and when they feel at home. What stays with them is not only the taste of a dish, but the memory of how they felt in that moment. When you stay authentic, consistent, and evolve with your guests, that trust becomes a lasting connection.

Beyond the food itself, what do you feel defines a truly memorable dining experience?

A memorable dining experience is never only just about the food, but about sharing it together with friends, family, and loved ones. It’s the experience of being present in that moment, from the glow of the ambiance, the warmth of the hospitality and the emotions stirred round the table. When all those elements align, the meal becomes more than nourishment; it transforms into a beautiful and unforgettable memory that endures long after the table is cleared.

Alaya is celebrating its anniversary this month. Looking back, what were your goals for the restaurant when it launched, and how has it grown since then?

With Alaya, my intention was to celebrate the meeting point of cultures, to honour the Mediterranean spirit through the lens of the Middle East. It’s a homegrown concept rooted in creativity, generosity, and honesty, where familiar flavours are reimagined with fresh perspectives. Over time, it has become a place of discovery and connection, where heritage, fresh and beautiful ingredients, and hospitality come together to create moments that feel both timeless and new.

How do you decide when it’s time to embark on a new concept, and what inspires the direction it takes?

For me it is instinctive, like knowing when a piece of fruit is ripe. Inspiration comes from my travels, from conversations, from nature and from life itself. A new concept begins when a story feels ready to be told, and when the moment feels right to bring it to life.

How do you balance staying true to your culinary roots while innovating for today’s diners?

Roots are the foundation, and innovation is the growth, and you cannot have one without the other. I honour my roots by respecting tradition and technique, whilst staying true to what I love and approaching everything I do with honesty. For me, embracing the present by allowing my curiosity and creativity to guide me is essential. I believe balance comes when passion, integrity, and evolution flow together.

What do you think visitors are looking for most when choosing a dining destination in Dubai today?

I believe people are looking for meaning. Beyond luxury or novelty, they seek authenticity and experiences shaped with intention, not simply created for effect. They want to connect with a concept, to feel part of its story, and to share moments that connect them to others. Hopefully, what endures is not just the memory of the food, but the emotions and connections it has awakened.

Looking back at your journey so far, what would you say is the single most important lesson the culinary world has taught you?

Without doubt, humility. The kitchen is a place where you are always learning and always evolving. Food teaches patience, respect, and gratitude, not only for the ingredients but for the people you cook for, and for the journey itself. The beauty lies in knowing that the learning never ends.

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Step inside the world of High Jewellery with our 2025 guide to the best pieces released this year.

Chaumet

Chaumet unveils Jewels by Nature, a High Jewellery collection that celebrates the treasures of flora and fauna through exquisite craftsmanship. Comprising 54 creations, the collection pays homage to the Maison’s 245-year bond with nature, portraying its eternal cycles and delicate beauty.

The first chapter honours everlasting flora like wild rose, clover, and fern, while the second evokes ephemeral blossoms such as carnation and sword-lily. A third chapter celebrates resurgent species beloved by Empress Joséphine, including magnolia and water lily. Blue tits and dragonflies, captured mid-flight, bring vitality to parures, uniting Chaumet’s artistry with nature’s poetry in timeless harmony.

Chopard

Chopard’s 2025 Red Carpet collection “Caroline’s Universe” offers a look into the personal universe of the brand’s Artistic Director, Caroline Scheufele. Comprised of 78 high jewellery creations, these exquisite pieces are inspired by some of Caroline’s passions; from flowers to animals, to couture, the cosmos and the heart.

“Each piece of jewellery is a stage; each precious stone tells a story in which the art of jewellery reflects both my personal journey and universal emotion” explains Caroline.

Dior

The Diorexquis Haute Joaillerie collection is a dazzling celebration of Christian Dior’s enduring legacy, brought to life by Victoire de Castellane’s visionary artistry. Inspired by nature, landscapes, and the splendour of grand galas, the pieces unfold like poetic tableaus that capture the rhythm of the seasons.

From icy winter brilliance to spring’s blossoming flora and the radiance of summer, each jewel tells a story. Masterfully crafted with techniques such as opale doublet and plique-à-jour, the collection embodies Dior’s fusion of savoir-faire and imagination, transforming gems into luminous works of art that echo the maison’s spirit of timeless elegance.

Bvlgari

Bvlgari presents Polychroma, a dazzling new chapter in High Jewellery and High-Jewellery Watches, where colour takes centre stage as a universal language of beauty and emotion. Inspired by plurality and movement, the collection celebrates the magic of chromatic diversity, with an impressive 600 masterpieces on display, including 250 new creations and a record 60 million-dollar pieces.

Extraordinary gemstones in 16 different cuts bring brilliance and harmony to bold designs, reflecting Bvlgari’s artistry in transforming nature’s treasures into emotion-charged works of art. Extending beyond jewelry, Polychroma also inspires exclusive Jewelry Bags, Eyewear, and Fragrances — a kaleidoscopic expression of the Maison’s creative spirit.

Pomellato

Pomellato’s Pentagoni collection redefines diamonds through a distinctive, contemporary lens. Crafted with masterful precision, each piece alternates between polished rose gold facets and the Maison’s signature irregular pavé technique, creating a luminous interplay where light dances unpredictably across surfaces.

At its heart, the necklace cascades with pentagons of varying dimensions, evoking movement and fluidity, while bold pendant earrings and versatile rings echo the collection’s modern spirit.

Blending artisanal savoir-faire with innovative design, Pentagoni embodies Pomellato’s commitment to craftsmanship and creativity. These jewels capture the essence of contemporary elegance while honouring timeless traditions, transforming today’s artistry into tomorrow’s treasured masterpieces.

Louis Vuitton

Louis Vuitton unveils Virtuosity, its 2025 High Jewellery collection, a journey that bridges mastery and creativity through 110 one-of-a-kind pieces across 12 themes.

The collection unfolds in two universes: the World of Mastery, where savoir-faire and discipline are celebrated through striking designs and extraordinary stones such as a rare 30.56ct black opal and a 30.75ct emerald, and the World of Creativity, where imagination blossoms into luminous expressions of colour, light, and movement.

From the precision of Damier motifs to the exuberance of Eternal Sun, Virtuosity transforms heritage into artistry, celebrating Louis Vuitton’s pursuit of innovation, freedom, and timeless beauty.

In the world of fine watchmaking, certain timepieces rise above seasonal trends to become timeless landmarks, embodying the pinnacle of design, innovation, and desirability.

These watches are more than instruments of time; they are symbols of heritage, artistry, and enduring style. Whether forged in the depths of the ocean, the halls of royal courts, or even the surface of the moon, each is a testament to the enduring allure of horology. Owning one is not just about telling time—it is about holding a piece of history that continues to define the art of watchmaking. We explore eight luxury watches that have secured their place as icons, each with its own unique story.

Rolex Submariner

Few watches have achieved the universal recognition of the Rolex Submariner. Launched in 1953 as a professional dive watch, the Submariner defined the category with its unidirectional rotating bezel, luminous indices, and water resistance that evolved over decades. Beyond its technical prowess, it became a pop culture icon—immortalised by Sean Connery’s James Bond in Dr. No. Today, whether in stainless steel or precious metals, the Submariner remains a benchmark for sporty elegance, balancing rugged performance with a design that is instantly identifiable across the globe.

Audemars Piguet Royal Oak

When Gérald Genta unveiled the Royal Oak in 1972, it broke every rule in the book. A luxury sports watch in stainless steel with an octagonal bezel and integrated bracelet was radical at the time.

Initially polarising, the Royal Oak redefined modern watch design and established Audemars Piguet as a pioneer of contemporary horology.

Its iconic “Tapisserie” dial, exposed screws, and slim profile have made it a favourite among collectors and tastemakers, while limited editions and complicated iterations continue to drive its cult status.

Patek Philippe Nautilus

Another Gérald Genta masterpiece, the Patek Philippe Nautilus debuted in 1976 and quickly became a symbol of understated luxury. Its rounded porthole-inspired case and horizontally embossed dial set it apart from traditional dress watches, embodying the idea that a fine watch could be both elegant and casual.

Today, the Nautilus commands extraordinary demand in both steel and gold, and it is celebrated for its craftsmanship, versatility, and the timeless Patek philosophy that “you never actually own a Patek Philippe, you merely look after it for the next generation.”

Cartier Tank

Introduced in 1917 and inspired by the silhouette of military tanks during World War I, the Cartier Tank is an enduring emblem of refined minimalism.

Worn by style icons from Jackie Kennedy to Princess Diana, the Tank’s rectangular case, Roman numeral dial, and chemin-de-fer minute track have remained virtually unchanged for over a century.

Its ability to transcend eras—adapting seamlessly from Art Deco chic to modern elegance—cements its status as a quintessential watch for women and men alike.

Jaeger-LeCoultre Reverso

The Reverso is one of the most ingenious watch designs ever created. Born in 1931 for British polo players in India, it features a unique swiveling case that flips to protect the dial from impacts.

Over the decades, Jaeger-LeCoultre has transformed the Reverso into a canvas for both technical artistry and aesthetic exploration, with enamel painting, skeletonization, and dual-time complications. The combination of Art Deco geometry and functional innovation ensures its place as a timeless icon of horology.

Omega Speedmaster Professional “Moonwatch”

The Speedmaster is not just a chronograph—it is a piece of history. In 1969, it became the first watch worn on the moon, earning its “Moonwatch” moniker.

Its robust construction, legible design, and NASA certification for manned spaceflight have made it an enduring symbol of human exploration. Collectors prize both vintage and modern iterations, with its black dial, tachymeter bezel, and tri-compax layout representing the perfect marriage of form and function.

Piaget Altiplano

Known for its ultra-thin movements and timeless sophistication, the Piaget Altiplano is the epitome of minimalist elegance. Launched in the 1950s and refined ever since, it has become synonymous with slim, dressy watches that double as jewelry for the wrist.

Piaget’s mastery of thin movements allows for dials in stone, enamel, and gem-set artistry, making the Altiplano a go-to for collectors seeking quiet luxury and impeccable craftsmanship.

Bvlgari Serpenti

A true icon of women’s horology, the Bvlgari Serpenti coils around the wrist like a piece of high jewellery, blending the worlds of watchmaking and goldsmithing.

First appearing in the 1940s, the serpent motif has become a signature of the Roman house, representing seduction, rebirth, and eternal elegance. Its Tubogas construction and hidden watch face make it as much a statement bracelet as a timepiece, coveted by collectors for its glamour and artistry.

Breitling Navitimer

First launched in 1952, the Breitling Navitimer quickly became the pilot’s watch of choice thanks to its innovative slide rule bezel, which could perform crucial flight calculations.

With its distinctive multi-scale dial and robust chronograph movement, it remains a symbol of aviation heritage and technical utility. Today, the Navitimer continues to resonate with travelers and adventurers who appreciate its storied legacy in the skies.

Zenith El Primero

Introduced in 1969, the El Primero was the world’s first integrated automatic chronograph beating at a high frequency of 36,000 vph—enabling tenth-of-a-second precision. Preserved in the 1970s by watchmaker Charles Vermot, it returned in the 1980s to power Zenith’s resurgence.

More recently, the Chronomaster Revival A386 and A384 models faithfully recreated the original 1969 design using historical blueprints—with updated steel cases, tricolour dials, and the modern El Primero 3600 movement that offers 1/10-second accuracy. This blend of heritage and cuttingedge mechanics keeps the El Primero at the forefront of chronograph excellence.

A. Lange & Söhne’s story begins in 1845, when Ferdinand Adolph Lange founded his watchmaking workshop in the Saxon town of Glashütte, setting the foundations for what would become one of Germany’s most respected names in precision timekeeping.

For over a century, the Manufacture produced pocket watches renowned for their technical mastery and understated beauty, before disappearing from the landscape following World War II, when Glashütte’s watch industry was nationalised.

The brand’s remarkable revival came in 1990, when Walter Lange, great-grandson of the founder, brought it back to life after German reunification. Four years later, the relaunch was marked by the debut of four timepieces, including the now-iconic Lange 1 – a watch that would redefine German watchmaking for the modern era.

Today, under the leadership of CEO Wilhelm Schmid, A. Lange & Söhne combines the principles of its founder with contemporary innovation, creating all of its movements in-house and hand-finishing every component to the highest standard. With 36 different calibres developed since its rebirth, the brand continues to evolve while remaining deeply anchored in its heritage.

In this interview, Schmid reflects on the milestones that have shaped the manufacture since its relaunch, the fine balance between tradition and innovation, and the challenges of steering a brand whose appeal lies as much in its quiet exclusivity as in its technical brilliance.

Since the relaunch of the brand in 1994, what have been the defining moments that shaped A. Lange & Söhne’s modern identity?

There are hundreds of moments, but if I try to identify those you’ll read about in books, it’s rare to present the most complicated wristwatch ever built in Germany – and that’s what we did in 2013. That complication will always mark a milestone because it answered the question of what we can do if we want to. Very soon we will be celebrating the 10th anniversary of what we still call the new manufactory, opened in 2015, another key moment in our history. And in 2019, on October 24, we launched the ODYSSEUS. We don’t often introduce new watch families, and certainly not ones that explore completely new territory for us. If I had to choose three milestones, those would be them.

How do you balance tradition and innovation when introducing new models or reinterpreting iconic references?

We are very traditional in our values – focus on quality, craftsmanship, how we treat each other and view the world – but that doesn’t stop us from innovating in mechanical fine watchmaking. I don’t believe innovation and tradition are opposing forces; innovation is part of your DNA. At any point in history, what a brand was doing was innovative, and it is only with time that it becomes a tradition. We never stand still, as our founder Mr. Lange said. I believe that represents our vision now. Staying true to who we are means hand-polishing, decorating, creating watches by hand, but also being innovative.

The Lange 1 remains one of the most iconic watches in the industry. Why does it still resonate so strongly with collectors?

First of all, let me really emphasise that we don’t call our own watches icons; that’s for others to say. From the start, the Lange 1 stood out because it was different. It had traditional elements but a completely innovative dial design, combined with legibility that’s very hard to beat. That rare combination of uniqueness, purpose and usefulness has stood the test of time. It still looks as modern today as it did in 1994. Longevity comes from being beautiful at first glance and remaining beautiful decades later. I think that’s probably the criteria for being iconic. Knowing that someone can look at it today, and it still feels new and refreshing for them as it did 30 years ago.

How important is in-house development and hand-finishing to the brand’s position among the finest haute horlogerie manufacturers?

This is what sets us apart from almost all the other brands. We start with a clear idea, then work out what’s needed and how long it will take to bring to life. Some complicated watches take six to eight years to create. Each watch family has its own design language, so ideas must fit within that scope. Once we feel a design aligns with our brand identity, construction begins. Everything is in-house, so we are masters of our destiny. It’s a very complicated process. We currently have 36 different movements, each created from scratch for its watch.

How do you ensure that these very rare watchmaking skills are sustained for the future?

Firstly, we’ve operated our own watchmaking school since 1997. Currently, 92 apprentices are training with us, most in watchmaking, others in toolmaking, machining, logistics and accounting. Around 280 watchmakers have graduated so far. Secondly, we spend a lot of time looking into the revival of forgotten crafts, such as enamelling, which we brought back in-house after years of research and trial and error. Enamelling is one of those because it hasn’t been used in watches for 100 years, because there were cheap alternatives. Unfortunately, this is one of the areas where nothing was documented, and the old trick that the master gives it to the apprentice and it’s passed on through the generations meant that nothing was written down. So, we had to start from scratch, which we did. We took our time to find the right people; there was a lot of trial and error. Today, we print our enamel dials ourselves. The third element is the continuous training that we do within our manufacturer in combination with all the efforts to keep our people. Because it doesn’t help if you train five and lose five, it’s as important to make sure that the people you train are happy and stay with you for a long time.

Would you say there’s good motivation among employees?

Even though we belong to Richemont, our values are closer to those of a family company. If you ever visit our manufacturing facility, you can see for yourself that these people are very proud of what they do, and that’s part of what keeps them with us. So, we gladly don’t have to take care of too many people leaving us. And if they do, it’s often a well-deserved retirement. Of course, in that case, we do lose people who are very valuable to us as a company.

This year has already seen the introduction of exciting new references, including updates to the Zeitwerk family. What can collectors look forward to in upcoming releases?

Yes, we just launched the Zeitwerk Date. Capacity is our biggest challenge because it’s a complicated watch to work on. We have a dedicated department for Zeitwerk, both new and for revision. We had to reduce the number of Zeitwerk white gold watches to make room for new pink gold models. Whenever something new comes, something else has to give and it’s a very fine line to balance.

How do you balance meeting demand for existing watches while creating new innovations?

It’s challenging and of course there are mistakes. Capacity is limited, and not every watchmaker can work on every watch. Top watchmakers are rare, so balancing workloads sometimes means customers wait longer than they’d like for a watch. But hopefully, those who understand our process know that quality takes time.

How important is the Middle East to A. Lange & Söhne’s  global growth strategy?

It’s traditionally a very strong market for us. I remember opening our first boutique in Dubai Mall, and it has been very successful. We are well connected to our customers in Dubai and there are few cities like it in the world that combine a strong local watch community with such a large influx of tourists. That’s why Dubai is so important for us. It’s always a pleasure to come to Dubai and work with our team there. And again, if we talk about longevity, most of the people who are working successfully in Dubai are with us for a long time. Which is unusual for Dubai, but it fits our brand DNA very well. We always see the long and sustainable relationships with our people, and that usually means that he or she stay a little longer with us.

What’s the biggest challenge you face today?

First, 90% of our people live and work in Glashütte, but all our customers live outside. Glashütte is the heartbeat of our company, but the challenge is connecting our work here with the rest of the world. We don’t feel the breath of competition here in Glashütte because we are by far the biggest and most successful company, and it’s our job to make sure that nobody becomes complacent, because complacency is the loser of tomorrow.

Second, our watches are discreet; their value is recognised only by those in the know, and we must balance exclusivity with reaching more people. The third challenge is an industry-wide challenge because, nobody needs a watch to tell time anymore. We have to make our craft relevant to younger generations who live in a digital world. The good news is that young people still appreciate quality and longevity; the challenge is that they digest information differently, so we have to reach them in different ways that also fit our brand DNA.

What’s something that has surprised you most about the brand?

From the beginning, it has been the pride of everyone working for us. On my first day, I arrived from South Africa, and it was a bit of a cultural shock, I admit. I toured the manufactory and met the team, and then they hosted an event at Dresden castle, where I saw the passion of everyone, from Mr. Lange to our earliest retailers. You can’t manufacture that feeling; it comes from the heart, and I see it every day within our Manufacture, down to all our staff in our boutiques worldwide. Whenever I meet collectors after a manufacturing tour, and I see the light in their eyes talking about what they saw, you can’t construct that feeling. This comes from the bottom of the heart of our people, and I think this is still the most surprising and inspiring element in our company.

Looking ahead, what is your long-term vision for A. Lange & Söhne?

We are still so young, and there are so many things we can still do. We always have to balance the ideas with what we have in resources. There is a long future ahead of us, and we will continue to surprise our clients with watchmaking done at A. Lange & Söhne in a way that they haven’t seen before.

How would you like people to remember the brand?

If you have a very sharp profile, which we have, you can’t please everybody. So, there will always be people who don’t like our watches, but regardless of whether you like them or not, there are three things I would fight for. The first is the amount of skilled craftsmanship that goes into our watches. It’s all trained people who have an apprenticeship training or a master. They work so hard on all these tiny little things. In watchmaking, polishing, engraving, decoration, enamelling, finishing – all these people are masters of their art, and the number of hours that go into each and every one is something that I would like everyone, whether they like our watches or not, to appreciate.

The design of our watches is legible and sophisticated, very clean and clear, but if you turn it around, you will see the opulence of the movement with all the different decorations and so on. That’s very German to be shy and not show off too much until you get closer.

The third thing is our interesting history. We were a family company for 100 years, then didn’t exist for 40 years, then we came back with four watches in 1994, and the rest is history! I think that’s quite unique.

Can you share anything about what’s coming up this year?

There’s a lot in the pipeline. I won’t spoil the surprises, but we have several more launches planned this year, so stay tuned.

Few marques in the automotive world command the same respect as Ferrari.

A symbol of Italian excellence, passion, and performance, Ferrari is so much than just a manufacturer of luxury sports cars, it’s an iconic brand and a legacy. Since its founding in 1947 by Enzo Ferrari in Maranello, the brand has cultivated a story that transcends racing circuits and city streets, shaping the way the world views not only supercars but also the very idea of driving as a true luxury. Today, Ferrari continues to stand as one of the most instantly recognisable names in the world, its prancing horse emblem a signal of prestige, power, and timeless style.

Roots in Racing

Enzo Ferrari, an Italian driver and entrepreneur, never set out to make road cars for prestige or profit. His passion was racing, and the earliest Ferraris were born on the track. In the years following the Second World War, Ferrari transformed his small workshop in Maranello into a factory focused on building high-performance machines that could dominate the competition. In 1947, the 125 S became the first official Ferrari, powered by a V12 engine that set the template for decades of engineering brilliance to follow. The success came quickly. By the 1950s and 1960s, Ferrari was a force in Formula One, securing world championships with legendary drivers such as Juan Manuel Fangio and Phil Hill. Victories at endurance races like Le Mans and the Mille Miglia cemented Ferrari’s reputation as a brand synonymous with speed and resilience. But for Ferrari, racing was never just about trophies, it was the laboratory where Ferrari honed its engineering innovations, which would later flow into its road cars.

Road Cars with Racing DNA

What distinguishes Ferrari is the way it channels motorsport pedigree into its consumer models. Cars like the 250 GTO of the 1960s remain among the most sought-after collector cars in the world, not only for their scarcity but for the way they combined aggressive performance with sculptural design. The lineage continued with icons such as the Ferrari Testarossa in the 1980s, the F40 – often cited as the ultimate analogue supercar – and later, the Enzo Ferrari in the early 2000s, a technological marvel that paid tribute to the brand’s founder. Each Ferrari is designed to be more than transportation; it is an emotional experience. The shriek of a naturally aspirated V12, the tactile feedback through the steering wheel, and the sculpted curves of Pininfarina-designed bodies remind drivers that these are cars born of passion as much as precision.

Ferrari Today: Icons for a New Era

While the brand’s legacy is rooted in heritage, Ferrari has remained forward-looking. Its current lineup demonstrates how it continues to balance tradition with innovation. Models such as the SF90 Stradale mark Ferrari’s entry into hybrid technology, delivering blistering performance while acknowledging the demands of modern sustainability. The Purosangue, Ferrari’s first four-door, four-seater model, reflects the brand’s willingness to evolve while still carrying the DNA of performance.

At the same time, Ferrari maintains its commitment to limited production numbers, ensuring exclusivity and desirability. Every car remains hand-assembled in Maranello, where craftsmanship is treated as seriously as engineering. The brand’s bespoke program, Ferrari Tailor Made, allows clients to create one-of-a-kind cars that reflect personal taste, further reinforcing the individuality and artistry behind each vehicle.

More Than Just a Car

Ferrari’s influence extends far beyond the automotive world. In cinema, cars such as the 275 GTB in The Italian Job or the 308 GTS driven by Tom Selleck in Magnum, P.I. became cultural touchstones. Celebrities, from Steve McQueen to modern-day icons, have long gravitated towards the marque as the ultimate expression of status and style. In fashion and design, Ferrari’s aesthetic language inspired collections and collaborations that blur the boundaries between car and couture.

Perhaps most importantly, Ferrari represents aspiration. For many, it is the dream car, the ultimate goal that transcends material value. Owning a Ferrari is not merely about possessing a vehicle but about participating in a legacy of excellence.

Racing Into the Future

Ferrari’s dominance in Formula One remains central to its identity. With more constructors’ championships and iconic drivers than any other team, Scuderia Ferrari is the most decorated and celebrated name in the sport. Every season, the scarlet red cars line up on the grid carrying decades of history and the expectations of millions of fans. Even in years of fierce competition, Ferrari’s presence is a reminder that it is more than just a team, it is the beating heart of the sport.

As the automotive industry shifts towards electrification, Ferrari faces a delicate balance: preserving the visceral soul of its cars while embracing innovation. The brand has already committed to unveiling its first fully electric car by 2025, promising to do so without compromising performance or the emotional thrill that defines its vehicles. This pursuit reflects Ferrari’s guiding principle since Enzo’s time: to race, to innovate, and to inspire.

A Legend Continues

Seventy-eight years after the first car rolled out of Maranello, Ferrari remains a singular name in the world of automobiles. It is a legacy forged in speed, refined in design, and sustained by an unwavering commitment to excellence. Each new model pays tribute to its past while carving a path towards the future, ensuring Ferrari remains an icon not bound by time.

To drive a Ferrari is to experience more than horsepower or torque—it is to touch a piece of history, to feel the artistry of Italian craftsmanship, and to share in a dream that began with a man who believed racing was life itself.

ferrari.com