In just under a decade, Hiba Jaber Jewellery has quietly cemented its place in the jewellery boxes of royals, creatives and tastemakers across the region. Founded by Hiba Jaber, a Palestinian-Moroccan designer raised in Jordan and educated in London and Florence, the label is a reflection of its founder’s rich cultural tapestry and global perspective.

With a Diamond Gemologist degree from GIA and formal training in Italy’s most esteemed jewellery ateliers, Jaber brings both technical mastery and soulful intention to each piece she creates. Her Dubai-based brand, now in its eighth year, is celebrated not just for its delicate forms and bespoke Arabic calligraphy, but for the deeply personal narratives it helps its wearers express.

In this interview, Jaber shares the inspiration behind her latest collections, how her nomadic upbringing continues to shape her creative vision, and why building a brand rooted in emotion and authenticity will always matter more than following trends.

Tell us about Hiba Jaber Jewellery today.

It’s been eight years since we launched Hiba Jaber with our signature thin Duo Rings. What started with two letters has evolved into a full range of pieces, all built around the idea of meaningful personalisation, whether through initials, names, or symbols. Today, we offer both fully customised and ready-to-wear jewellery, but the heart of the brand remains the same. We’re honoured to be part of our clients’ most personal moments, creating unique pieces for their special occasions.

Who is Hiba Jaber, the woman behind the brand?

I’m a 35-year-old Jordanian-Palestinian woman, born in Morocco and raised in Jordan. My journey has taken me through London and Florence for my studies, and eventually to Dubai, where I launched my brand. I’m passionate about leading an active lifestyle, exploring new experiences, and travelling whenever I can. Most of all, I find purpose in creating meaningful connections and making a difference wherever possible.

How did your passion for jewellery begin?

I’ve always been drawn to the arts, and my interest in jewellery naturally deepened during my time working in editorial. I’ve long been fascinated by gemstones in all their forms, and I’ve always had a love for design, whether in fashion, interiors, or jewellery. Over time, that fascination evolved into a focused passion for creating pieces that hold both aesthetic and emotional value.

How does your heritage inspire you?

Heritage is part of who we are. It’s shaped by the places we live, the languages we speak, the architecture that surrounds us, and the traditions we carry forward. My designs often begin with the Arabic language, which I reinterpret through clean, architectural forms to tell stories that hold deep personal meaning.

How would you describe your design aesthetic and what are your biggest influences?

My aesthetic is minimal and clean, always rooted in storytelling. The pieces are versatile and designed to transition seamlessly from day to night. I’m inspired by meaningful moments, personal connections, and a desire to create jewellery that people want to live in; pieces that become part of their everyday.

Tell us about the Duo rings and what makes these pieces so timeless and recognisable.

The Duo Ring is our signature. We launched with a simple, thin ring featuring two letters, and from there, expanded into an entire category, including thick duo rings, trio rings, necklaces, bracelets, and more. The concept remains the same: bringing together two or more letters in a way that feels personal and beautifully wearable. It’s an honour to know that people recognise and connect with this design wherever they go.

Who is the woman you design for?

She is minimal, thoughtful, and values both quality and meaning. She leads with purpose, whether in her career, her family, or her community. She’s confident, active, and wears her jewellery as a quiet extension of who she is.

Can you share some details on your design process?

There are two main approaches. For collections, inspiration often comes from travel or personal moments that spark an idea, which then evolves into creations.

For custom designs, particularly initials, we have a structured process. The design always begins with the letters or names chosen by the client. We refine it based on their story and feedback, combining their vision with our aesthetic to create something that is both meaningful to the client and aligned with the brand’s identity.

Tell us about your latest collections.

The Odd One Out has become one of our bestsellers, and we’re now introducing it in new colours for summer. It’s playful, personal, and has really resonated with our community.

What’s been the biggest challenge so far?

Scaling the brand while staying creatively present has been the biggest challenge: managing the team, operations, and growth, while also carving out time to design and innovate. It’s been an incredible journey, and I’m grateful for the strong support system, the beautiful community we’ve built, and the amazing team behind it all.

Where would you like it to be in five or ten years?

So far, we’ve focused heavily on the GCC market, but starting this summer, we’ll begin investing more energy into the UK, targeting the same global customer who travels and values thoughtful design. In the next 5 to 10 years, the goal is steady international growth and a stronger global presence, Inshallah.

What’s your most treasured piece of jewellery?

I can’t choose just one. I have sentimental pieces from my parents, jewellery I’ve collected over the years, and of course, the pieces I’ve designed myself. Together, they form a personal collection, each with its own story, each one meaningful in a different way.

What advice would you give to aspiring designers?

Get as much experience as you can. Don’t rush – take your time to build a strong and unique concept before launching.

What is the professional motto you live by?

Break it down into small steps, and everything is possible.

Where is a place you go when you want to relax and escape the world?

I don’t feel a desire to escape the world, but a vacation every now and then is great, whether in the city or by the beach. I truly love my life and believe that we can build and design life to be the way we want to.

What else is coming up this year?

It’s been a time of transformation. We’re about to launch our new packaging and branding, a revamped website, and a new collection, all of which have been in development for some time. We’re also embracing technological innovation and exploring new ways to enhance our customer experience. As always, we release new creations regularly, almost monthly, and a very exciting project is coming towards the end of summer that I look forward to sharing soon!

hibajaber.com

As Director General of Irthi Contemporary Crafts Council, Her Excellency Reem BinKaram is at the helm of a movement that merges heritage craft with contemporary design — and now, with meaningful global impact.

Founded under the patronage of Her Highness Sheikha Jawaher bint Mohammed Al Qasimi, Irthi is a Sharjah-based organization dedicated to preserving traditional Emirati crafts, empowering women artisans across wider region.

In her latest undertaking, BinKaram is leading one of Irthi’s most ambitious projects to date: the Precious Heart collection, a luxury jewellery collaboration with British heritage brand Asprey and The Big Heart Foundation (TBHF). The limited-edition collection reinterprets the traditional Emirati craft of Talli in 20 extraordinary pieces made from high-purity imperial jadeite, diamonds, amethysts and pearls, with 100% of proceeds supporting TBHF’s humanitarian initiatives for refugees and vulnerable communities around the world. Crafted from ultra-rare imperial jadeite and inspired by the intricate Emirati craft of Talli, the 20-piece collection was developed under BinKaram’s guidance to celebrate cultural identity while contributing to global impact. Under her stewardship, Irthi has not only upheld the integrity of traditional craft, but also reimagined it as a vehicle for diplomacy, empowerment, and purposeful luxury. It was her oversight that ensured the collaboration would meet both artistic and philanthropic ambitions.

Here, H.E. Reem BinKaram reflects on the remarkable journey behind Precious Heart, the fusion of craft and cause, and how this project signals a new global standard for collaborations rooted in heritage, humanity, and hope.

Tell us about the work of Irthi today and what you are trying to achieve.

Irthi Contemporary Crafts Council was founded through the vision and leadership of Her Highness Sheikha Jawaher bint Mohammed Al Qasimi to create an artisan economy for women while preserving and revitalising the cultural traditions and craftsmanship of the UAE. Today, our work has expanded significantly beyond the Emirates, empowering female artisans across the Middle East, North Africa, and Asia, while collaborating with leading designers, brands, and institutions worldwide.

Our primary mission is multifaceted as we aim to preserve indigenous craft heritage, empower women both economically and socially through comprehensive training programmes, and develop new market opportunities by facilitating collaborations between these craftswomen and internationally recognised designers and brands.

By uplifting communities, promoting artisanal excellence, and encouraging sustainable methodologies, we are forging a legacy where every thread woven and every pattern crafted carries ancestral knowledge; a story of resilience; and provides an authentic and connected narrative between the past, present and future.

What can you tell us about the Precious Heart Jewellery project and why you decided to embark on this initiative?

The Precious Heart jewellery collection represents a purpose-led collaboration between Irthi, The Big Heart Foundation (TBHF), and the iconic British luxury brand Asprey. Together, we set out to create something truly extraordinary that would showcase the rich heritage of Emirati traditional design while generating substantial support for humanitarian causes worldwide through the efforts of TBHF.

The collection is a testament to what can be achieved when creativity, luxury design and humanitarian change unite through a common purpose. Inspired by the intricate beauty of Emirati Talli, this initiative combines Irthi’s design language with Asprey’s renowned craftsmanship and The Big Heart Foundation’s philanthropic vision. Every piece sold fuels The Big Heart Foundation’s work for refugees and vulnerable communities, transforming luxury into a lifeline.

What are the common codes between Irthi and Asprey, and why do you feel these are the right partners?

Irthi and Asprey are kindred spirits in our pursuit of excellence through craftsmanship and the undeniable power of art. Asprey’s 250-year heritage of British luxury mirrors our commitment to building a legacy, while their ethical sourcing practices align with Irthi’s pledge to preserve both cultural and environmental heritage. What solidified this partnership was a shared belief that luxury should transcend materialism; that it should tell stories, uplift communities, and spark dialogue.

Through a common cause, Asprey’s donation of 1,000 grams of rare imperial jadeite, a stone with unparalleled clarity, allowed us to push creative boundaries while adhering to sustainable principles. Together, we are redefining luxury as a language of empathy, where Emirati motifs meet timeless elegance, and every piece becomes a tool for global good.

Why was it important to you to collaborate with The Big Heart Foundation on this project?

Under the visionary leadership of Her Highness Sheikha Jawaher, TBHF has upheld the idea that creativity and compassion are inseparable, and for Irthi, this partnership ensures that our cultural endeavours are never detached from their social impact. The Precious Heart collection’s proceeds will fund critical initiatives for refugees and displaced communities, and this collaboration also embodies Her Highness’s philosophy that every aesthetic achievement must serve a higher purpose. By uniting Irthi’s artisans, Asprey’s craftsmanship, and TBHF’s humanitarian expertise, we’ve created a blueprint for how organisations across sectors can amplify their impact, and it’s a reminder that heritage, when paired with empathy, can transcend borders and generations.

Tell us about the launch event that happened, and what was the reaction to the pieces?

The launch event for the Precious Heart collection was a significant occasion, held at The Chedi Al Bait Hotel in Sharjah, which included the opening of a silent charity auction. The reaction to the pieces has been extraordinary. Against the backdrop of the hotel’s restored heritage architecture, guests witnessed the unveiling of 20 pieces that marry the ethereal green hues of imperial jadeite with the meticulous artistry of Emirati Talli. Collectors were able to pledge bids not just for beauty, but for a belief in a better world —a resounding affirmation that when heritage and humanity collide, the world takes notice.

How did the support of Sheikha Jawaher make this project possible?

Her Highness Sheikha Jawaher’s guiding vision and support has been absolutely fundamental to this project, and every single day I wake up inspired and extremely proud to work towards the mission she has set in place. Her leadership as Chairperson of both Irthi and TBHF ensures that this initiative has far-reaching global scope and meaningful humanitarian impact.

Her Highness’s vision of pairing beauty with purpose has established a culture that distinguishes our organisation and has created a humanitarian dimension to our initiatives that engages with global issues and challenges, contributing to shaping a more just and compassionate future. The guidance we receive ensures that Irthi’s work extends beyond preserving crafts to using them as powerful tools for women’s empowerment, positive change, and cultural dialogue.

Can you tell us about some of the highlight pieces in the collection?

We are extremely proud of what we have created, and the collection features 20 exceptional pieces, all crafted from high-purity imperial jadeite and valued at a total of £9.7 million. The collection features a diverse array of jewellery types, including rings, necklaces, earrings, bracelets, anklets, and beaded jadeite necklaces, all meticulously set in 18-karat gold and adorned with precious stones such as diamonds, amethysts, and natural pearls.

Among the standout pieces are beaded jadeite necklaces, jadeite pendants, and hinged bangles, and each piece represents a perfect harmony between Asprey’s luxury heritage and Emirati design traditions, resulting in jewellery that is both culturally significant and exquisitely beautiful.

How has Emirati heritage and the concept of Talli inspired this collection?

Talli is a form of creative artistry that mirrors the rhythm of Emirati life, a dance of threads passed down through generations. For the collection, we translated its geometric precision to complement jadeite’s curves and crystalline origin, forming a fluidity of design that captures our heritage. These immaculate pieces aim to honour ancestral skill while embracing modern elegance, proving that tradition is a canvas for infinite reinvention.

What is the biggest challenge you have in educating the younger generations about traditional Emirati crafts?

What I would consider more in line with our purpose than a “challenge” is bridging the wisdom of artisans who hold centuries-old techniques with the curiosity of younger generations. With the digital age often prioritising immediacy, the goal is to ensure these time-honoured practices remain a living lineage rather than an unrelatable relic. It requires collaborating deeply with women who have mastered their craft, not only documenting their knowledge, but also creating spaces where their skills can appeal to modern times.

To this extent, we’re working to demonstrate the relevance of these crafts to modern design and contemporary issues such as sustainability and cultural identity. We’re also exploring how traditional techniques can be combined with new technologies and materials to create innovative hybrid approaches that appeal to younger practitioners.

Looking ahead, what are the future plans for Irthi?

Our mission is clear. We aim to further expand Irthi’s global reach and impact, creating more strategic partnerships with international luxury brands that share our values of cultural preservation, artisanal excellence, and social responsibility. By further developing educational programmes and empowering artisans, especially women, we will ensure the transmission of traditional craft knowledge to younger generations, creating a sustainable future for these important cultural practices. By documenting techniques, creating accessible learning opportunities, and elevating the status of crafts in contemporary culture, we can ensure that traditional Emirati crafts remain globally accessible and remain forever relevant. We also aspire to further develop the economic potential of craft-based enterprises, creating more opportunities for women artisans to achieve financial independence and professional recognition through their work, and we’re excited to see what the future holds.

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Located in Dubai’s DIFC, fashion school Istituto Marangoni Dubai is carving out a space for the region’s next generation of fashion and design leaders.

Helmed by Director Roberto La Iacona, the school brings together Italian heritage, global industry insight, and regional creativity to offer a truly international learning environment.

With specialised programmes spanning fashion design, fashion business, interior design and beyond, the institute is equipped with modern facilities and a faculty of international experts who combine academic knowledge with hands-on industry experience. As part of its growing vision, the school is introducing a new roster of mentors — influential names across fashion, design, and innovation — to offer students personalised guidance and access to real-world perspectives.

As the latest panel of mentors are announced, Roberto La Iacona shares how Istituto Marangoni is fostering emerging talent in the UAE and why mentorship is becoming an essential pillar of creative education today.

How does the 2024/2025 Mentorship Program at Istituto Marangoni Dubai aim to shape the next generation of creative leaders, and what role do industry mentors play in bridging the gap between academic learning and real-world experience?

Istituto Marangoni is proud to have once again welcomed leading global experts to mentor its students this year. Our students had the opportunity to work with top-tier designers, creatives, and business leaders such as Ross Lovegrove, Heliot Emil, Luca Finotti, and Ingie Chalhoub.

Connecting students with the industry and developing dedicated partnership projects is essential. These mentors not only bridge the gap between academic learning and real-world experience but also push creative boundaries and offer students fresh perspectives. This ensures that our students are equipped with the skills, vision, and networks they need to thrive in their future careers.

What can you tell us about the vision for Istituto Marangoni?

At Istituto Marangoni Dubai, we aspire to be a leading academic institution in fashion, art, and design, both in the UAE and across the region. Our goal is to be a driver of innovation in education by encouraging collaboration between creative disciplines and integrating new technologies. We’re committed to delivering high-quality education that combines innovative learning methods with Italian design expertise. This approach helps us nurture local talent and contribute to shaping the future of the creative industries in the UAE. We also place great importance on building strong connections with the local community and industry leaders, ensuring that our graduates are well-supported in launching successful careers.

Can you share a little on the talent you see here and the potential for nurturing this talent?

The Middle East is a region rich in history and culture. Our mission is to nurture talent and empower creatives to preserve these exquisite aesthetic traditions while designing for a global audience. Our goal is to serve as a hub and platform for all aspiring creatives in the region who are passionate about the arts and design. Istituto Marangoni is committed to supporting them on their journey and helping them become the creative leaders of tomorrow.

What can you tell us about some of the programmes the school offers?

Aside from the Bachelor’s degrees in Visual Design, Interior Design, Fashion Design, Product Design, Fashion Communication, and Fashion Management (offered in two concentrations: Digital Communication & Media and Fragrances & Cosmetics), the university has recently validated two Master’s degrees—one in Fashion & Luxury Brand Management and the other in Interior Design. These programs are designed to address the growing demand for talent in these two key disciplines within the region.

In addition to its degree programs, Istituto Marangoni Dubai also offers short courses, intensive courses (for students seeking a career shift), and professional courses. As part of a global strategy, Istituto Marangoni Dubai recently launched an intensive course in Product Management for Fragrances & Cosmetics, as well as a professional course in Interior Design for Luxury Hospitality, Wellness, and Retail. These initiatives aim to meet the market demand for upskilling and reskilling talent in the region.

From a global perspective, how do you think students entering the school are offered better opportunities, with it being an international school?

The unique offering at Istituto Marangoni allows students to study at an institution ranked globally among the QS Top 100 for Art and Design, right here in Dubai, while benefiting from strong connections with major local and international industry players. In addition, students can choose to complete their degree entirely in Dubai or transfer to other Istituto Marangoni campuses in Milan, Florence, Paris, or London. This presents a unique opportunity for young talents to experience one or several of the world’s fashion, art, and design capitals. Our globally diverse faculty in Dubai is further enriched by top professionals flying in from other Istituto Marangoni locations worldwide, offering students a truly international and forward-looking perspective.

How do you feel collaborations and events help to elevate students’ experience, and is this something we can expect to see more of?

At Istituto Marangoni, we believe that collaborations and events are essential to enriching students’ experiences. We are proud to participate in major events both locally and internationally, such as Downtown Design in Dubai and Milan Design Week. The institution has also hosted swap events to promote a more sustainable approach to fashion and organised several panel talks featuring international designers, creatives, and thought leaders.

In addition, students work with mentors and participate annually in local and international competitions and industry events, such as Breaking Boundaries with Richemont, where IM Dubai students won first prize this year, as well as Women@Dior, and many others.

Starting from their first year at Istituto Marangoni, students gain exposure to the industry through didactic projects, where they work on real-life briefs and deliver projects directly to industry partners, as well as through field visits and seminars led by key stakeholders from the industry and various brands. All these experiences play a vital role in enhancing students’ academic journey and promoting the exchange of ideas and knowledge.

What advice would you give to aspiring designers or aspiring fashion industry professionals?

I would encourage them to be passionate and to explore as much as possible during their time at Istituto Marangoni. I’d suggest they join student clubs, consider starting their own entrepreneurial journey, and seize every opportunity the university offers, whether through industry projects, networking, or events.

They should stay curious about their own cultural origins while also gaining insight into the many cultures represented in Dubai, where diversity is truly celebrated. I also encourage them to explore the rich history and unique aesthetic of this region, and to bring that perspective to the international stage.

What do you think it takes to make it in the industry today?

Determination, perseverance, creativity, problem-solving, and a proactive attitude are essential qualities. In the creative industries, it’s crucial to have a solid understanding of branding, global trends, and the impact of emerging technologies. That’s why at Istituto Marangoni Dubai, we’ve chosen to integrate key subjects such as sustainability, new technologies, along with entrepreneurship and branding, from the very beginning of our students’ educational journey.

What else is in the pipeline for this year?

We are planning an Open Day for high school students, as well as a dedicated Beauty Open Day featuring speakers from the fragrance and cosmetics industries. Both events are open to the public and will take place on our campus located at Gate Village 8 in the DIFC.

We believe this will be a unique opportunity for prospective students to connect with both faculty and industry professionals, gaining valuable insight into our programs and the wide range of career opportunities in the creative disciplines.

istitutomarangoni.com

Arwa Lootah is part of a new wave of Emirati talent transforming the region’s food culture.

With formal training from Le Cordon Bleu and a background in art and design, she brings a multidisciplinary approach to cooking—one that fuses storytelling, visual aesthetics, and a rethinking of traditional Emirati flavours.

Based in Dubai, Lootah has already made her mark through high-profile collaborations with the Museum of the Future and the World Government Summit. She’s currently working on a new Emirati-inspired menu for Parlour Boutique, running her micro-bakery brand iwara, and preparing to launch a culinary lab dedicated to creative experimentation. Her work reflects a growing movement in the UAE’s food scene—one that values heritage while pushing boundaries. Here we find out more about her journey so far and how she hopes to transform the way Emirati cuisine is presented on a wider scale.

Where did your passion for cooking come from?

It came from memory, emotion, and imagination, all intertwined. I grew up in a household where food was deeply connected to storytelling, art and family history. This is when I found myself drawn to the way ingredients could carry memories, evoke moods, and tell stories. Over time, cooking became my canvas and sensory extension of how I process the world.

Tell us about your career today and how you got to where you are now.

I’m a self-taught Emirati chef with a background in art and design, and I later pursued an online culinary degree in Food Merchandising from Le Cordon Bleu. I started with a home-based cookie brand, which evolved into a high-end catering service and the curating of culinary experiences rooted in Emirati flavours.

How do you feel your background in art and design influences your career as a chef?

It shaped how I see food, not just how it tastes, but how it feels, and tells a story. In texture, colour, form, and symbolism.

What has been the biggest highlight so far?

Curating exclusive menus for government and cultural events, including the World Government Summit, where I showcased modern Emirati cuisine in unexpected ways. It was meaningful to see local ingredients take centre stage in a global conversation.

What would you still like to achieve?

I aim to expand the narrative of Emirati cuisine further, not as something traditional or nostalgic, but as something alive, contemporary, and worldly. I also want to grow my culinary space into a platform for experimental cooking, storytelling, and collaboration.

What can you tell us about Iwara?

Iwara started as a micro-batch cookie brand which I ran from my home, but it was never just about cookies. It was about quality, intention, and emotional connection through food. It became the seed that grew into my larger vision, a culinary brand that doesn’t limit itself to Emirati flavours, but is rooted in my heritage while exploring global techniques and influences.

What is your favourite dish to cook and why?

It depends on the season and the story I want to tell. However, I often return to dishes that reinterpret Emirati classics, such as pumpkin aseeda, reinventing them in ways that surprise people. I love the challenge of transforming something familiar into something new without losing its soul.

How do you feel your cooking is unique?

It aims to reimagine traditions. I incorporate Emirati ingredients in unexpected ways. It’s layered, emotional, and personal.

How would you assess the restaurant and hospitality industry in the UAE today?

It’s ambitious and fast-moving, but still finding its true voice. There is a growing appetite for authenticity and narrative-driven dining, and I believe the next wave of meaningful culinary work will emerge from local chefs who shape their identity from within.

What are the biggest challenges you face?

Balancing artistic integrity with business demands. Also, time. As a mother and entrepreneur, I’m constantly navigating how to honour and balance both my creative process and my responsibilities.

How does your heritage inspire you?

My heritage is everything, not just as nostalgia, but as a living resource. I draw from the maritime histories of my ancestors, the trade routes they sailed, and the spices they carried. Even silence, rituals, and poetry from Emirati culture find their way into my work.

What’s your first memory of food?

The scent of the house when I’d come back inside after playing outdoors. My mother would be cooking. Our house was always a stopping point for family and friends.  They’d pass by after errands, sit for a meal or just a bite, and food was the constant thread that held it all together.

Tell us something about you as a woman.

As a woman, I hold multiple roles simultaneously (mother, chef, creative, leader) and carry them with intention. I trust my instincts, lead quietly, and build things in my own way, even when there’s no path before me.

Where is your go-to restaurant to eat in the UAE?

We always seem to go back to two restaurants, which are Zuma and Il Borro Toscana.

What advice would you give to aspiring chefs?

Don’t rush to fit in. Take your time developing your voice. Technical skill is important, but it’s your perspective that makes your food matter.

What is the professional motto you live by?

Stay rooted, but not still.

Where is a place you go when you want to relax and escape the world?

Anywhere with water and silence.

What else is coming up this year?

This year is about building, both behind the scenes and within. I’m developing new culinary concepts, refining long-term projects, and exploring collaborations that connect food with art, culture, and storytelling in deeper ways.

Ling Ling at Atlantis The Royal, has revealed a vibrant new menu that reimagines contemporary Asian cuisine with flair and finesse. With over 30 new dishes, this new delicious offering invites guests to explore flavours from Japan, Korea, Indonesia, Thailand, and beyond, all while enjoying views of the Dubai skyline.

What’s New on the Menu?

Chef de Cuisine Steven Nguyen has curated a lineup that spans the breadth of Asia’s rich culinary landscape. Think Australian wagyu beef sandos with classic tonkatsu, jumbo tiger prawns paired with Balinese sambal matah, or fire-grilled wagyu short rib with a Korean BBQ twist, served alongside banchan and lettuce wraps. If seafood’s your go-to, don’t miss the wok-tossed spiny lobster, available in four bold Cantonese sauces—from ginger scallion to typhoon shelter style.

There’s also a nod to Thai flavours in desserts like mango sticky rice and a clever Thai iced milk tea crème brûlée. Signature favourites such as Boston lobster pad Thai, 24k gold wagyu, and the Kiwami sushi platter also make a welcome return.

Ling Ling Cucumber Salad, with Green Apple, Tosaka Seaweed, Shanxi vinegar

Late-Night Bites for the After-Hours Crowd

For those who like to dine (and dance) late, Ling Ling has also introduced a Late Night Bites menu available every Friday and Saturday from 12:15am to 2am. Perfect for post-party cravings, expect dishes like Oscietra caviar, crispy chicken or tofu bao buns, and indulgent okonomiyaki-loaded fries.

Ling Ling Korean Short Rib, Bibb Lettuce, Ssamjang, Selection of Banchan

Why Go Now?

Located 22 floors up at Atlantis The Royal, Ling Ling offers more than just a dining experience—it’s an escape. Two private lifts whisk guests to a two-level venue with expansive dining lounges, a buzzing bar, a wraparound terrace, and the exclusive Ling Ling Ultra Lounge for those who want to keep the energy going long after dinner is done.

Ling Ling Miso Roasted Eggplant

Plan Your Visit
Ling Ling is open daily from 6pm to 1am, with the Late Night Bites menu running Fridays and Saturdays from 12:15am to 2am. Note: Guests must be 21+ after 9pm, www.linglingdubai.com

We reveal the UAE’s best new hotels to discover this season and beyond

Anantara Mina Al Arab

​Opened in 2024 Anantara Mina Al Arab Ras Al Khaimah offers UAE residents a luxurious escape that rivals the Maldives, without the need for a long-haul flight. Nestled on a private peninsula surrounded by natural mangroves, the resort features the emirate’s first overwater villas. These eco-friendly sanctuaries boast private plunge pools, expansive sundecks, and serene lagoon views, providing an exclusive retreat just 45 minutes from Dubai.​ Sit back and enjoy the calming atmosphere as you indulge in your own private pool and luxury room.

Choose from a range of culinary experiences with six diverse dining venues on offer. The resort’s highlight has to be Mekong, which takes guests on a journey through Thai, Vietnamese, and Chinese cuisines. With overwater tables available for special occasions, this is sure to be an experience you won’t forget. Meanwhile, Beach House serves Mediterranean-inspired dishes with fresh coastal flavours in a picturesque setting, and for a personalised touch, the Dining by Design service offers bespoke meals on the beach or even aboard a private yacht, perfect for romantic occasions.​

The Anantara Spa, set amidst lush gardens overlooking the lagoons, offers a blend of traditional Thai healing and local wellness rituals. Signature treatments include the Ras Al Khaimah Ritual, utilising indigenous ingredients like dates and honey, and the Yam Khang fire therapy, a rare Thai practice that relieves tension and restores balance.​ Be sure to visit during your stay.

With its commitment to sustainability, exceptional service, and tranquil setting, Anantara Mina Al Arab Ras Al Khaimah offers a true island experience without having to leave the UAE.

The Delano, Dubai

Delano Dubai, the first Delano property outside the U.S., brings a new era of refined luxury to Bluewaters Island, offering UAE residents an unforgettable staycation experience. With 251 rooms—including 84 suites, many with private pools—the hotel is designed with calming natural materials, curved silhouettes, and a soft, minimalist aesthetic that seamlessly blends indoor elegance with outdoor beauty.

Guests can enjoy a diverse dining scene, from the relaxed Italian coastal vibes of Tutto Passa to the vibrant, elevated Japanese plates at Gohan, while the legendary Rose Bar serves world-class cocktails in a chic setting. The heart of the hotel is the whimsical Delano Pool, a lush sanctuary inspired by Roman baths, where guests can unwind in style. Perfectly positioned near Dubai’s most exciting attractions yet feeling blissfully secluded, Delano Dubai is set to become one of the city’s most sought-after addresses for those seeking sophistication, creativity, and true serenity.

Jumeirah Burj Al Arab Family Suite

Jumeirah Burj Al Arab has just unveiled its new one-bedroom family suite, designed to accommodate up to two adults and two children comfortably. Designed for paramount relaxation, the newly announced suite—available with a choice of king bed or twin-sized beds—offers guests a balance of elegance and comfort, with breathtaking Gulf vistas providing the perfect backdrop for a family escape. For a truly picturesque stay, guests can enjoy unforgettable views of the iconic Dubai skyline or the serene Palm Jumeirah.

For a well-rounded retreat, the guest experience at Jumeirah Burj Al Arab extends outside of the parameters of its refined suites, beginning with a welcome drink upon arrival and including a daily breakfast that allows guests to savour the beginning of each day. A Jumeirah Burj Al Arab retreat includes access to the hotel’s world-class facilities, including the SAL Beach Club and private beach, the Summersalt Beach Club, and Wild Wadi Waterpark™. Additionally, children can delight in activities at the Madinat Jumeirah Kids’ Club, making this an ideal choice for both rejuvenation and entertainment.

 For ultimate convenience and ease of mind, guests can enjoy dedicated butler services and 24/7 concierge support, ensuring personalised care throughout. Guests can also avail themselves of professional services such as wardrobe packing, unpacking, and shoe shining. Additional highlights include access to a variety of international digital newspapers and tailored amenities for babies and children.

The Lana, Dubai

​The Lana Dubai, the Dorchester Collection’s Middle East debut, offers UAE residents an unparalleled blend of understated elegance and world-class service. Situated along Marasi Bay Marina with sweeping views of Burj Khalifa, this 30-storey architectural marvel by Foster + Partners features 225 rooms and suites, each adorned with floor-to-ceiling windows, private terraces, and interiors by Gilles & Boissier that harmoniously blend modern minimalism with Emirati cultural nuances. ​

Culinary enthusiasts can indulge in eight distinctive dining venues, including Riviera by Jean Imbert, Jara by Martín Berasategui, and Bonbon Café by Angelo Musa. The rooftop infinity pool offers a serene retreat with panoramic city vistas, while the Dior Spa—the first in the UAE—provides exclusive treatments like Dior Stone Therapy. With its discreet luxury, exceptional amenities, and prime location, The Lana sets a new benchmark for sophisticated urban retreats in Dubai.

Jumeirah Marsa Al Arab

​Jumeirah Marsa Al Arab, the latest jewel in Dubai’s luxury hospitality crown, offers UAE residents an extraordinary staycation experience. Situated on a private peninsula in Umm Suqeim, this superyacht-inspired resort, designed by Shaun Killa, features 386 rooms and suites, 82 private residences, and an 82-berth marina. Culinary enthusiasts can indulge in 11 exceptional restaurants and four bars, including Iliana, a Greek Mediterranean pool club; Kinugawa, blending Japanese and French cuisine; and The Bombay Club, celebrating Indian flavours.

The three-storey Talise Spa redefines wellness with advanced therapies like cryotherapy, ChromoSpace light treatments, and hyperbaric oxygen treatments. Families are catered for with a dedicated Family Club for guests aged 3 to 10, designed around connection and discovery. With its unparalleled design, exceptional gastronomy, and state-of-the-art wellness facilities, Jumeirah Marsa Al Arab sets a new benchmark for ultra-luxury hospitality in Dubai.

Ritz-Carlton Al Wadi, RAK Signature villas

Ritz-Carlton Al Wadi, Ras Al Khaimah’s ultimate luxury retreat, has recently opened a series of exclusive signature villas that offer complete privacy and relaxation for guests. The pinnacle of luxury, these spacious sanctuaries span 900 square meters, offering all the comforts of refined living in the heart of the desert. Each villa is designed for complete seclusion, featuring a private infinity pool that stretches out toward the sand dunes, sun-drenched terraces, and expansive indoor spaces that blend modern elegance with natural textures.

Thoughtful touches like personalised butler service, luxurious amenities, and uninterrupted views make it a place to truly unwind. The Signature Villas offer a peaceful, immersive escape that feels both indulgent and grounding. Guests will, of course, also have access to all of the resort’s amenities, including the spa and restaurants.

Pianist and composer Guy Manoukian on the entertainment industry, his commitment to community, and his World Tour with Live Nation.

With unforgettable music that dances between classical precision and upbeat Middle Eastern rhythms, few artists can make a piano speak like Guy Manoukian. The Lebanese-Armenian composer and performer has carved out a unique space on the global music stage, and now his regional success is about to be taken to the next level as he prepares to embark on his highly anticipated world tour with Live Nation. Here. Manoukian sits down with us to reflect on a career that continues to evolve with every performance.

Your partnership with Zenith Watches as a brand ambassador continues. What do you feel are the common codes between you and this historical watchmaker?

As you can see, I choose the brands that I want to partner with very meticulously, and Zenith is one of the brands that I’ve always admired. When this opportunity arose, I was extremely excited and immediately seized the chance. Many of Zenith’s codes are my own, and a significant portion of their aspirations and dreams are ones I look up to and are also part of my journey in this great entertainment world. As Zenith, I hope to be around for a long time and continue to bring something new.

How would you assess the entertainment industry in Dubai and the wider region, and how it’s growing?

Dubai and the region in general are becoming an entertainment hub. Dubai was the first trailblazer to start attracting the world’s performers and artists. People come to Dubai for the security, and when you have security, it’s very easy to establish a good business and convince people to invest. So, I think all the thanks go to the people running this city and the rulers of the United Arab Emirates who have created an environment where people feel safe, with their families, their money, education, transportation – and I think it all comes down to security.

Tell us more about your role as Chief Entertainment Officer for 7Management and what it entails.

I am very proud to be a partner at 7Management, and I am the Chief Entertainment Officer as well as the Artistic Director of “The Theater”, which I see as my baby. What 7Management has achieved over the past few years is nothing short of a miracle, and I’m privileged to be part of this remarkable journey with my partner, Rabih Fakhreddine and the other managing partners. I look forward to seeing what the future holds for us.

Last time we met, “The Theater” was shaping up. Today, it has become a nightlife destination of choice. What does this mean to you?

Indeed, “The Theater” has become one of the city’s bright spots, but as a dinner show and an artistic institution in itself, it has become one of the best in the world. I think being in Dubai is a major reason for that. Dubai is a city where you have so much art and so much talent on every level. The Theater has become an institution. Season after season, our concepts are becoming better and better, and I can proudly say that we have created something timeless.

You’re known for your immense passion for sports and basketball in particular. Tell us how your role at the helm of the Homenetmen basketball team is progressing and what you envision for the future of this club.

I think that sports in general are very important. They help children sustain a healthy body. My role is a bit different because what I try to do is to keep our community happy, and I represent a club which is 107 years old – it’s not as old as Zenith, but it is one of the oldest clubs in the region and the oldest club in Lebanon. And we’ve had amazing success throughout the years; we’ve won every championship possible. I took the team from the second division and made them the Arab champions and Lebanese cup holders. Of course, the major thanks go to the fans who have been there from father to son, from mother to daughter, it’s a legacy that is not a burden on my shoulders, because I carry it with honour and respect. We lose with dignity, and we win with honour. The club’s motto is “rise and raise”, I think it’s a beautiful motto because it looks at the power of the human being to raise himself and when he is up there, to raise with him the community of his family or whoever is surrounding him. I think that’s a very unselfish motto, it’s not a socialist motto, it strives for success but also reminds us that with success comes responsibilities. What I’m doing at the club today is giving back a big debt that this club has always given to its fans and supporters.

We know that you will be embarking on a world tour with Live Nation. How did this collaboration come to life, and what can we expect?

The entire region has become a major entertainment hub, and Live Nation, which is the biggest touring company in the world, has established over the past years a solid presence in the region by bringing artists to the area. Last September, I was approached by my very good friend Amin Kabani and James Craven at Live Nation Middle East, and they saw potential in my music and style to crossover. They said maybe it’s the right time for us to take artists from the Middle East to the world, not vice versa. I think Oriental music has a kind of mystique that is very appealing. It has hidden gems that should be exposed to the world. Plus, there are huge Arab communities across the world, so I’m very proud to say that I’m the very first Arab artist to ever get signed to Live Nation. My tour stars May 18 in Los Angeles, May 21 in New York City, May 23 in Detroit, May 25 in Toronto, May 26 in Montreal and I end the first leg of the tour at the historical Olympia theatre in Paris which I’m playing for the third time in the past three years.

We know that you’re working on your new album. What can you share on that?

I have been working on my new album for the past five years, and every year I add a bit more to it. The world changed. Previously, when I was signed to EMI, they used to give me an advance and I would go into the studio and finish my album; I would give them the CD, it comes out, and you go to the shop and buy it. The world is changing so rapidly that the entire industry has undergone significant transformation. Today, we talk about streaming, we talk about online. Nobody goes and buys a physical CD anymore. Every few day,s I come up with new music, and I’m still looking for the best way to put it out. But I have started sharing some small hints out on some posts and stories to create a vibe, but I’m very excited about it, and it’s definitely the best music I’ve ever made in my life.

As an artist, what inspires your music?

What inspires me is life itself. I’m not the type of artist who goes and hides away to create music. All aspects of life with its bitterness, with its loss, its failure, its happiness, its success – that’s what inspires me. If I lack inspiration, I simply go to the airport and watch the people at the arrivals area. You will see so many stories of families, friends, etc. If you know how to read between the lines and look at life in the right way, it’s the biggest inspiration you can ever get. And trust me, you never learn anything from success. It’s the failures that teach you the most, and I always embrace failure. I don’t make a habit of it, but I don’t despise it, and I try to learn from it as much as I can.

What do you still want to achieve in your career that you haven’t done yet?

I think the tour with Live Nation is one of the biggest achievements of my life, and coming out of this tour with a successful output would mean a lot to me!  The dynamics of the tour are different,t and it’s not the way that we have worked before; it’s a completely different approach. But I think Dubai prepared me well for this because it is the best pitstop for a person to go global. It puts you in the right mindset and direction. It gives you the right training, and it gives you a sense of responsibility and accountability. In a way, coming from Lebanon, Dubai was the ideal place to initiate this global formation. I’m there now, so let’s see how it goes!

What else is in the pipeline for you this year?

Many things are in the folds that I’ll reveal soon, yet you are going to be the first ones to know that I will be performing back at Dubai Opera for the ninth time on September 14.

guymanoukian.com/tickets

Credits:

Founder and Editor in Chief: Lara Mansour 

Fashion Director: Lindsay Judge 

Photography Ziga Mihelcic 

Video by Analog Production

Grooming: Aiza Qureshi 

Watches: Zenith Watches

Location: Armani Hotel Dubai

These were the key moments from Milan Design Week this Spring 

Dolce&Gabbana

Dolce&Gabbana Casa introduces a new evolution of its lifestyle universe, unveiling an array of new designs that blend vibrant Mediterranean spirit with refined craftsmanship. The brand’s ever-expanding Casa Collection welcomes a series of striking debuts: the Verde Maiolica homeware line, the first-ever collection of Dolce&Gabbana bed linens, the sophisticated Gotham furniture series, and the sun-drenched elegance of the new Saint Jean outdoor range, developed in collaboration with Luxury Living Group.

At the heart of the homeware additions is Verde Maiolica, a collection that brings the vivid green of Mediterranean landscapes into the domestic space. Inspired by the rich ceramic heritage of Southern Italy, this line pairs crisp white with deep verdant hues, enveloping everyday objects with an artisanal charm that feels both fresh and timeless.

The brand’s inaugural bed linen collection is a sensual and spirited expression of the maison’s signature aesthetics. Duvet covers, sheets, and pillowcases are adorned with bold motifs: the wild elegance of Leopardo, the graphic drama of Zebra, the folkloric vibrancy of Carretto Siciliano, and the iconic majolica prints reinterpreted in tones of Blu Mediterraneo and Verde Maiolica. Each set transforms the bedroom into a space of expressive comfort and Italian glamour.

Also unveiled was the dramatic Gotham furniture line, which takes cues from the cinematic allure of the 1920s and ’30s. Characterised by soft curves, architectural geometry and richly textured finishes, the collection reinterprets vintage sophistication through a modern lens. The result is a powerful meeting of past and present, where artisanal mastery meets bold, contemporary design.

Bringing the Dolce&Gabbana lifestyle outdoors, the new Saint Jean collection reimagines alfresco living with the same exuberance found indoors. From plush loungers to sculptural dining tables, each piece pairs high-performance materials with unmistakable prints and refined detailing. Designed to make outdoor spaces feel both luxurious and inviting, the collection captures the essence of Mediterranean leisure.

Hermès

For Milan Design Week 2025, Hermès is returning to La Pelota with its new scenography by Charlotte Macaux Perelman, architect and artistic director of Hermès collections for the home, with Alexis Fabry. The new creations could be discovered in white, nearly colourless, suspended boxes, projecting halos of bright colours onto the floor. It is through the immateriality of their aura that the objects first appear, like emotions. This staging is a quest for the object, for the luminous vibration that makes it familiar.

Highlights of the collection include the side table. This small table is the manifesto of a tightrope walker. Designer Tomás Alonso seeks balance, plays with ideas and materials, and combines paradoxes. Lacquered glass paints a rectilinear base whose colours come together like on a colour wheel. On the tabletop, a round box in sugi (Japanese cedar), its band curved using an ancient Japanese technique, moves on an eccentric axis and gives the table its unexpected movement.

Coloured glasses are cold-cut by the glassmaker to create stripes or a chequered pattern. The subtly graduated colours become darker or lighter, depending on the angle at which they are viewed and the alternating geometries superimposed by the eye. The cutting work, carried out over large areas according to strict orthogonality, is infinitely precise.

A similar process is applied to the collection of jugs. A master glassmaker melts the material in order to blow it, turn it, cut it, pinch it and shape it in line with the drawing that serves as a model. To create this object, the glassmaker superimposed two different coloured molten pastes onto the glass. Filled with water, these jugs present an infinite range of shades.

And in soft furnishings, the large Points et Plans throw, designed by artist Amer Musa, recalls a child’s game, like draughts, on which multicoloured cashmere appliqué dots are stitched to a large, criss-crossed frame woven into cashmere fabric.

Fendi

Marking the centenary of Maison FENDI, FENDI Casa’s 2025 collection celebrates a century of craftsmanship and innovation with a refined fusion of timeless elegance and contemporary design. Presented during Milano Design Week, the collection introduces new icons and reimagined classics with updated materials, tones, and textures that reflect the house’s evolving aesthetic.

Creative collaborations play a central role, notably with British designer Lewis Kemmenoe, who designed the window displays at the brand’s Piazza della Scala boutique—balancing sculptural tailoring references with a poetic materiality. Highlights include the architectural Later sofa by Ceriani Szostak, the versatile FENDI Cover seating by FF Design, the ribbon-inspired Twist chair by Stefano Gallizioli, and the luminous Idol chandelier by Lee Broom.

Further enriching the collection are the Efo tables and cabinet by Peter Mabeo, new evolutions of signature pieces like the Lunar and Peekasit series, and a selection of side tables and accessories showcasing FENDI’s impeccable detailing and leather craftsmanship.

With a focus on artisanal savoir-faire and bold creative voices, the 2025 collection reaffirms FENDI Casa’s place at the forefront of luxury interior design.

Elie Saab

Elie Saab Maison unveiled its new flagship in Milan during Milan Design Week 2025 and it revealed the Sculpted Dreams collection.

The new boutique spans 450 square metres and acts as a curated environment that celebrates the best of the brand’s craftsmanship and creativity. Set within a historic palazzo, the boutique features an elevated design that celebrates the city’s rich architectural legacy and the brand’s refined style. Each room is envisioned as part of an elegant private residence. A grand staircase leads visitors through a sequence of immersive environments, where furniture is elevated to the status of art.

Milan Design Week also marks the launch of the brand’s latest home collection, Sculpted Dreams. A collection that reimagines classical aesthetics through fluid lines and bold volumes. Drawing inspiration from Milan’s architectural landscape, the collection weaves together curved silhouettes, strong structural forms and noble materials including marble, bronzed mirrors, and tactile fabrics.

Transparency and light add rhythm and depth, elevating each piece into a sculptural narrative. Highlight pieces include the ECLISSE Sofa, as well as the LAYL Canopy bed and the DORIO Table. The LOBSTER dining chair is an iconic new addition that will act as a sculptural centrepiece.

Dior

As a continuation of its Ode à la Nature collection, Dior Maison presents three extraordinary vases designed by Sam Baron, unveiled exclusively during Salone del Mobile. Towering at nearly one metre in height, these monumental pieces push the boundaries of craftsmanship, transforming everyday objects into poetic works of art.

Each vase is a tribute to the natural world—a source of endless inspiration for Monsieur Dior—and embodies the grace and complexity of nature through sinuous silhouettes and exquisitely etched botanical motifs. Ethereal scenes of intertwined branches, blooming flowers and whisper-thin foliage seem to come alive on the glass surface, capturing the ephemeral beauty of an enchanted garden in mid-bloom.

Crafted using the time-honoured technique of Italian mouth-blown glass, the vases are the result of meticulous teamwork and unparalleled savoir-faire. Each one rests on a pedestal-like base, echoing the timeless contours of the iconic 1947 Miss Dior amphora bottle—a subtle yet striking nod to the Maison’s couture heritage.

The finishing touch is a delicate striated texture, refracting light into a dance of luminous reflections that heighten the sense of refinement. Available in a highly limited edition of just eight pieces per design, the collection not only pays homage to Dior’s artisanal legacy, but also to Christian Dior’s talismanic affinity for the number eight.

Louis Vuitton

As part of Milan Design Week, Louis Vuitton unveiled its new Louis Vuitton Home Collections, revealed for the first time in the sumptuous setting of Palazzo Serbelloni. A neoclassical backdrop steeped in history, the Milanese palace is setting the stage for a new art de vivre during Design Week, where design, savoir-faire and innovation converse with heritage architecture and contemporary spirit.

The event demonstrated Louis Vuitton’s growing presence in the design world through a display of its new Home Collections alongside original trunks and the now iconic Objets Nomades.

Louis Vuitton Home Collections encapsulates five product categories: Objets Nomades, the new Signature Collection (furniture and lighting), Decoration (objects and textiles), Tableware, and exceptional gaming.

To celebrate the launch of the new Maison collections, the brand is paying tribute to the Italian graphic artist Fortunato Depero, with his futuristic textile and tableware creations, and to Charlotte Perriand, with the publication of new textiles by the designer whose visionary talent has already been honoured by both Louis Vuitton and the eponymous Foundation.

Ralph Lauren HOME

Ralph Lauren Home brought American style and timeless design to Milan Design Week with a presentation of its home collections at Palazzo Ralph Lauren, an elegant space that combines the worlds of fashion and design. The presentation was an immersive gallery of Ralph Lauren Home’s collections as well as the debut of the Fall 2025 Canyon Road Collection.

Ralph Lauren Home

The presentation captures the essence of the brand’s iconic lifestyle collections – from the glamour of a modern penthouse to the grandeur of an English estate – while the new collection captures the spirit of the American West.

The presentation guides visitors through an immersive offering, as if moving through an exhibition of preserved stills from a movie.

The estate section recalls the grandeur of an English country house, Island offers the unassuming elegance and relaxed spirit of a warm weather retreat, Penthouse offers a modern sensibility with exquisite materials and sleek designs, and Western draws influence from the rich heritage of the American West.

Etro

Etro celebrated 40 years of its Arnica Paisley fabric at Milan Design Week with a tribute exhibition. Born by absorbing the vital force of Indian Paisleys – the only pattern in the Etro repertoire that has never changed. The exhibition 5 THREADS, 40 YEARS: was an emotional and narrative journey on a quest to discover Arnica, from its origins in the imagination to the design and manufacturing process, culminating in its transformation into timeless objects.

The venue for the event is the ETRO boutique on Via Pontaccio in Milan: in the heart of Brera – an area closely linked with the origins and the wandering spirit of the brand, with its ties with radical and artistic culture. Three rooms plundered in darkness, are connected by continuous carpeting that swarms with the unmistakable pattern: from the creation (The Creation) to the icon (The Icon) and to the journey it takes (The Journey). Everything comes together in a flow that is as continuous as the merging of the Paisley drops; each visitor can choose how to explore the rooms, or in what order.

The story of Arnica is an adventure that weaves together the enchanted territories of nature and art. The trunks and suitcases of The Journey serve as both physical and symbolic objects that preserve the memories of everything that ETRO has seen, studied and collected over the years during its travels.

These traces end up on Gimmo Etro’s desk, which is at the centre of The Creation: there the pattern takes shape, then passes to weaving and finally to coating, a transformative process that infuses Arnica with resistance and protects its vivid colours, hiding them. Arnica remains unique and unmistakable, and The Icon bears witness to and celebrates this through a selection of creations that transcend time and trends, while capturing the moment.

Longchamp

Longchamp revealed a new creative venture in partnership with furniture designer Pierre Renart. The collaboration represents a landmark for Pierre Renart, since this is the first time he has worked with a combination of wood and leather, and his first participation in Milan Design Week. The relationship between Pierre Renart and Longchamp dates back to 2021, when the House was renewing its global store network in the spirit of a Parisian apartment and commissioned him to create furniture, notably variations on his Wave coffee table, for its renovated boutiques.

The new venture takes the partnership further, with Pierre Renart designing two original pieces, a Wave leather bench and a set of eight Ruban chairs, which were displayed in Longchamp’s Milan flagship during Milan Design Week.

Both designs, crafted from American walnut and upholstered in a supple cowhide leather, reprise the pure, fluid lines which Pierre Renart has made his signature. Drawing inspiration from the organic forms of nature, the designer painstakingly assembles extremely thin sheets of wood, which can be bent to his desired shape, to create pieces that appear to have been sculpted in one flowing movement.

“My aim, when a piece is finished, is for it to be somehow definitive and timeless, for you not to want to add anything or take anything away. I try to do something original with wood, something that runs counter to its traditional, somewhat rigid image,” explains Pierre Renart.

Since its debut in 1946, the Cannes Film Festival has become synonymous not only with cinematic brilliance but also with high-octane glamour.

On the iconic red carpet that unfurls along the Croisette each May, the world’s most celebrated actors, models, and muses ascend the steps of the Palais des Festivals in gowns worthy of dreams—and jewellery that turns those dreams into legend. Over the decades, Cannes has evolved into a powerful showcase for high jewellery, where the world’s finest Maisons unveil one-of-a-kind pieces, often straight from their vaults or freshly imagined for the festival itself.

The Golden Age Glamour

In the early years, stars like Grace Kelly, Sophia Loren and Elizabeth Taylor brought an Old Hollywood elegance to Cannes, arriving with their own personal treasures: diamond tiaras, chandelier earrings, and multi-strand pearl necklaces. This was the era when jewellery wasn’t just borrowed—it was lived in. Taylor famously wore her 69-carat pear-shaped Cartier diamond (a gift from Richard Burton) on more than one occasion in Cannes, igniting a new kind of paparazzi frenzy: jewel-spotting.

The Maison Era

As the festival grew in global influence, luxury jewellers began to take notice. Chopard, the Swiss house known for its high jewellery and timepieces, became an official partner of the festival in 1998—and changed the jewellery game at Cannes forever. Not only did Chopard re-design the Palme d’Or trophy in ethical 18k gold, but they also pioneered the now-industry-standard practice of dressing celebrities in specially created high jewellery collections revealed during the festival. The “Red Carpet Collection,” launched annually at Cannes, features up to 75 unique pieces—one for each year since the festival’s founding.

Following Chopard’s lead, other maisons such as Cartier, Bulgari, De Beers, and Messika followed suit, turning Cannes into an unofficial haute joaillerie week. The result? A red carpet saturated in rare Colombian emeralds, Paraiba tourmalines, radiant yellow diamonds, and antique-cut sapphires—each stone with a provenance as rich as the stories being told on screen.

The Icons and Their Jewels

Moments that live on in the collective memory include Aishwarya Rai in a sweeping lavender gown and diamond halo at her Cannes debut, Angelina Jolie in a yellow Atelier Versace with a matching citrine cocktail ring, and Rihanna’s 2017 outing in a custom Ralph & Russo gown complemented by a head-turning diamond and emerald Bulgari collar. More recently, Bella Hadid’s Schiaparelli trompe l’oeil lung necklace in 2021, crafted from gilded brass and rhinestones, became an instant viral phenomenon and redefined what “statement jewellery” could mean on a modern red carpet.

Cannes is also a platform where historic pieces are resurrected. Vintage Van Cleef & Arpels, archival Boucheron, and museum-worthy Cartier designs have all made appearances, often with maisons meticulously curating the jewellery to reflect both the personality of the wearer and the spirit of the moment.

Red Carpet as Runway

Today, the Cannes red carpet functions as both a catwalk and a canvas. Jewellery here is not simply worn—it is performed. The festival has become a launchpad for new collections, with jewellers leveraging celebrity moments to create instant global impact. Beyond mere adornment, the right necklace or earring can become a cultural artefact, its image shared millions of times, dissected by fashion critics and embedded in digital memory.

There’s also been a move towards modernity and edge. Maison Messika, for example, has captured a younger clientele with sleek, diamond-intensive designs worn by everyone from Carla Bruni to Cindy Bruna. And in recent years, Cannes has embraced more inclusive forms of beauty and expression: gender-fluid styling, layered body jewellery, and cross-cultural references all now have a place on the red carpet.

A Dazzling Future

As the festival looks to the future, sustainability and ethical sourcing are taking centre stage. Chopard’s use of Fairmined gold is setting new industry standards, and more brands are introducing traceable gemstones and lab-grown diamonds into the luxury conversation—without sacrificing the awe-inspiring artistry that Cannes demands.

From heirlooms to headlines, the jewellery of the Cannes Film Festival tells stories as vivid as the films it celebrates. It is a place where legacy, craftsmanship, and showmanship collide under the flash of a thousand cameras—and where, for one glittering moment, the world watches with bated breath to see what brilliance will emerge next.

In a region steeped in tradition and ever-evolving modernity, Emirati designer Hamda Qubaisi is carving out a distinctive space where traditional heritage meets contemporary elegance.

As the founder and creative force behind By Hamda Qubaisi, the young designer is quickly becoming one of the UAE’s most compelling new voices in jewellery. Her creations are not only visually arresting but rich in meaning, drawing inspiration from her deep connection to her culture, her love of design, and the architectural marvels that the UAE is known for.

Fuelled by a lifelong passion for art and creation, Hamda launched her namesake brand with the vision of telling uniquely Emirati stories through the medium of fine jewellery. Her pieces are architectural yet poetic—clean, sculptural forms that honour tradition while speaking to a new generation of women who seek refinement with a personal edge. Her latest collection, Un Arc, is a bold step forward in that vision. Taking cues from the curves, symmetry, and geometry of the UAE’s most iconic structures, the line presents a fresh, minimalistic interpretation of legacy—an arc, quite literally, between the past and future.

In this interview, Hamda reflects on the artistic journey that led to the launch the brand, the cultural influences that continue to shape her evolving aesthetic, and why her homeland remains the ultimate muse.

Tell us about your brand, By Hamda Qubaisi and why you decided to launch it.

By Hamda Qubaisi was born from my passion for storytelling through design. I’ve always been drawn to jewellery’s permanence, how it carries emotions and memories across generations. After studying graphic design, I realised I could bring my visions to life in a way that merges art, culture, and meaning. Launching the brand was my way of honouring heritage while creating something timeless and contemporary — a space where tradition meets modernity in the most elegant way.

Who is Hamda Qubaisi, the woman behind the brand, and where did your passion for design come from?

I’m a young Emirati designer who started this journey at 18, fuelled by a love for creating and a deep connection to culture. Growing up, I was surrounded by beautiful heirlooms and stories, especially from my grandmother, and that sparked something in me early on. Studying design helped me channel that inspiration into tangible creations. Over time, jewellery became more than just a passion; it became my language of expression.

How does your Emirati heritage inspire you?

I’m constantly inspired by our architecture. It’s so rich with history and beauty. I’d love to keep shedding light on it through my pieces in a way that feels fresh and meaningful.

How would you describe your design aesthetic?

My aesthetic is delicate, architectural, and deeply symbolic. I love working with clean lines and subtle curves that feel both soft and powerful. I’m influenced by traditional Emirati architecture, modern minimalism, and the human form. Every piece is meant to feel intentional, like a quiet statement.

Who is the woman you design for?

I design for the woman who values meaning, elegance, and individuality. She’s empowered, confident, and connected to her identity. Whether she’s wearing a piece to feel closer to her roots or simply to express herself, I want it to feel like it belongs to her story.

Can you share some details on your design process?

It always starts with a concept, a feeling, or a story I want to translate. Then I sketch, refine, and move to digital design, where I play with form and scale. I’m very hands-on with every part of the process, from sourcing materials to final production. I often revisit cultural references, especially architecture, and find ways to reimagine them in delicate, wearable forms.

Tell us about your latest collections.

My latest collection “Un Arc” is deeply inspired by the UAE’s history, specifically the “Women’s Door” in Qasr Al Hosn, a tribute to feminine beauty and strength. The arch symbol in the collection reflects empowerment and grace. Then there’s Twine, which celebrates self-love and the natural curves of the body. It’s minimal, flowing, and feels like a second skin, like wearing confidence in its purest form.

What’s been the biggest challenge so far?

Starting young meant learning everything from scratch, including business, production, and branding. I’m a perfectionist, so I’ve always wanted to be involved in every detail. Balancing creativity with the realities of running a business has been tough, but every challenge taught me something valuable. The journey is part of the story.

Where would you like it to be in five or ten years?

I see By Hamda Qubaisi expanding globally not just as a jewellery brand, but as a storyteller of culture and identity. I want to keep merging heritage with new perspectives, collaborating across disciplines, and hopefully inspiring others in the process.

What’s your most treasured piece of jewellery?

I don’t have just one, but my family’s collection means everything to me. It’s been growing for decades, and each piece holds a story. That’s the kind of connection I want people to feel with my designs, too.

What advice would you give to aspiring designers?

I want to inspire young girls and the next generation to dream big and create without limits.

What is the professional motto you live by?

Create with intention, design with meaning. Every piece should have a purpose beyond aesthetics.

Where is a place you go when you want to relax and escape the world?

Anywhere by the water. The beach has always been a place of clarity and calm for me. It’s where I can think, reset, and reconnect with myself.

What else is coming up this year?

There’s a really special tribute piece I’ve been working on, and I’m excited to grow the brand even more, both creatively and globally.

byhamdaqubaisi.com/en/

Known for its seamless fusion of high watchmaking and high jewellery, Piaget once again reaffirmed its place at the intersection of art, innovation, and elegance with its newest novelties, presented at Watches & Wonders last month.

From ultra-thin mechanical feats to radiant gem-set creations that blur the line between timepiece and treasure, the maison unveiled a series of bold novelties that both honour its heritage and look decidedly toward the future.

At the helm of this vision is CEO Benjamin Comar, who brings to Piaget a discerning eye for storytelling and a deep reverence for craftsmanship. In this interview, Comar shares the creative impulses behind the 2025 novelties, reflects on the brand’s evolving identity, and explains why Piaget’s signature blend of exuberance and savoir-faire continues to resonate with a new generation of collectors.

Tell us about some of the highlights from this year’s Watches & Wonders experience and the company’s booth.

Even if this year was no longer the 150th anniversary, we felt the same excitement for this edition as we were introducing Sixtie; the first new jewellery watch collection since 2013. You never know how it’s going to be perceived, so the tension builds up until the very first guests enter the booth and praise this collection Since 2022, we have tried to connect our present creations to the past and the Sixtie trapeze case is more than deeply rooted in Piaget’s DNA, it’s a nod to a very important time for us: 1969 and the 21st Century Collection. We have reworked this trapeze shape for Sixtie, and put it on daily watch, but we have also created some more elevated versions with new Swinging Sautoirs. In addition, we have unleashed the creativity that shaped the late 60s and early 70s to celebrate other iconic curves, like the Andy Warhol watch or the Limelight Gala.

We saw a large focus on jewellery watches this year – tell us about this category at Piaget and why this is a current focus.

It’s not just a category for us; it’s one of the Piaget pillars. Just like Yves Piaget used to say, “a watch is first and foremost a piece of jewellery”. So it has always been detrimental for us, whether in a more wearable version or a high jewellery version. We like to have the best of both worlds: the technical innovation like the AUT and the incredible know-how of the jewellery watches. These are truly one of a kind.

Tell us about The Andy Warhol watch and why this was a perfect partnership for Piaget.

Another creation that is highly special to our hearts is the story behind this watch, as well as its shape and dial. Yes, it’s 45mm technically, but what a canvas it opens for the ornamental stone dials and with the gadroons on the case, it creates a nice illusion, and it looks bigger than it is. It was a true delight this edition to see the watch collectors, the Piaget lovers, and new customers come to the booth just for this watch. Everyone has their favourite dial, stone, material, and look, and that’s why it’s the perfect bespoke watch. Everyone can write their own story with it.

How do you feel partnerships and collaborations help to elevate the brand today while also honouring its legacy?

If I take the example of the partnership with the Andy Warhol Foundation, it was an absolute must. Having their recognition, their support, and their access is key for us to elevate the Maison beyond what it’s known for.

Tell us about some of the innovations and technical developments the brand has been working on today.

There are many! You’ll see some in the upcoming months, whether it’s the new High Jewellery collection or the new watchmaking pieces. Every new creation shows a new skill and a new way to master the constraints. Lately, however, I have been particularly proud of the new gold décor for the Limelight Gala. It’s just fascinating to see the artisans reproduce the same movements and effects as those from the 60s. It truly elevates the piece and creates a mesmerising effect.

How do you feel events such as Watches & Wonders still have relevance in the industry today?

I really enjoy these moments; it’s a rare opportunity to meet everyone in one place, and it attracts more and more clients every year. It’s important to be part of this energy. But obviously, as we are both watchmakers and jewellers, we also have other moments during the year, such as presenting the High Jewellery collections, but Watches and Wonders always hits differently.

You have some watches that have become icons – what does it take to become iconic in this industry today?

Time for sure. You don’t create an icon overnight. It has to have a unique design, an imprint, something to tell that goes far beyond the product. Creating one is difficult; updating one is something else. You have to tweak it and make it evolve without damaging its essence.

What are the biggest challenges you’re facing today in your position?

Keep pleasing our audiences in both the jewellery and watches segments. Watches and Wonders was a great moment, and now, we’ll move on to the next one. Nothing is ever forever.

What’s something you would still like to do?

I hope I continue to take as much pleasure in launching magnificent creations as I do lately.

Looking ahead, what is Piaget’s vision and direction this year and can you tell us a little about the brand in the Middle East?

It’s a story of shapes, of how the watch mastery unleashed the creativity in the 60s to become a revolution in the watch panorama. It’s about the Piaget distinction. Something the Middle East clientele know very well, as they have seen the Maison grow and enter the territory at that time, leaving a special impression in their memories. Art Dubai was also the opportunity for us to bring a little bit of Watches and Wonders in the region and feel inspired by everything which is happening at the moment.

Piaget.com

Italian brands Maserati and Giorgetti have unveiled a collaboration that sits on at the intersection of luxury design and automotive artistry. This new partnership, which was unveiled at Milan Design Week last month, marks not only the debut of an exclusive interior collection, but also the unveiling of a singular automotive masterpiece: the Fuoriserie Grecale Giorgetti Edition.

At its core, this partnership is a celebration of shared values—precision, craftsmanship, and the pursuit of the extraordinary. It’s a dialogue between two distinct worlds that converge seamlessly, offering a sensory experience that goes beyond visual impact and ventures into emotional resonance.

The Art of Atmosphere

The Giorgetti Maserati Edition is a poetic composition of myth, movement, and materials. Inspired by Neptune’s trident—a subtle yet powerful nod to Maserati’s emblem—the collection tells a story rooted in mythology and driven by modern elegance. The pieces are named after sea nymphs and marine deities, each embodying a different facet of nature’s strength and grace.

From the modular Nereide sofa, a poised expression of calm power, to the sinuous Seidon that channels the aerodynamic flow of Maserati’s finest silhouettes, every item fuses Giorgetti’s artisanal flair with Maserati’s design DNA. The sculptural Lorelei chair invites with a siren’s embrace, while the Teti pouffe and Ligea tables recall the finesse of fluid forms and automotive intakes. The Sibilia and Ploto tables flirt with movement and air, and Neomeris embodies the eternal restlessness of the sea.

Fuoriserie in Full Expression

Equally evocative is the Grecale Giorgetti Edition, a one-of-one expression of Maserati’s bespoke Fuoriserie program. Crafted in the newly inaugurated Officine Fuoriserie ateliers in Modena, this fully electric Grecale Folgore blurs the boundary between road and residence.

Its exterior, bathed in a bespoke “Gleaming Dusk” hue, pulses with quiet power. 21-inch Glossy Black wheels with grey-clearcoat accents speak of restraint and authority, while copper detailing on the brake callipers and Fuoriserie insignia hint at Giorgetti’s influence. But it’s inside where the magic unfolds.

The interior reads like a curated lounge—every stitch, every surface, a deliberate act of design. Denim-toned leather is paired with Giorgetti’s custom wool-blend fabric, marrying texture with tone in a palette of white mélange, black, and copper. Alcantara headrests are adorned with the Trident, rendered for the first time in elegant grey-blue wood. The door sills—engraved with “Due icone, una visione” and “Eleganza senza tempo”—echo the spirit of the collaboration: two icons, one vision; timeless elegance.

An Ode to the Italian Way

More than a showcase of high design, this partnership is a manifesto of the Italian ethos, where heritage fuels innovation, and craftsmanship is a sacred art. Maserati and Giorgetti have not merely collaborated; they have co-authored a new language of luxury, where furniture and automobiles converge into one singular expression of lifestyle.

Revealed in tandem at Giorgetti’s Spiga showroom and the Maserati Milan showroom, the collection and car were previewed exclusively to a select circle. Now, as doors open to the wider world, visitors are invited to step into this rarefied universe—where design is not only seen, but profoundly felt.

The iconic JA Hatta Fort hotel is an ideal location to experience some of the UAE’s most incredible mountain landscapes.

Nestled in the dramatic foothills of the Hajar Mountains, the hidden gem is just a scenic 90-minute drive from Dubai and offers a breath of fresh air—literally and figuratively—for UAE residents seeking a tranquil escape. With its expansive green gardens, charming chalet-style rooms, and panoramic mountain views, this laid-back resort feels worlds away from the city’s high-rises and fast pace, yet it’s comfortably close to home.

Whether you’re after a romantic weekend retreat, a family-friendly adventure, or simply time to reset surrounded by nature, JA Hatta Fort delivers a staycation experience that’s equal parts relaxing and rejuvenating. From ziplining and mountain biking to lounging by the pool or dining under the stars, every moment here feels like a pause button on everyday life. Authentic, peaceful, and steeped in natural beauty, the resort is also slightly cooler than Dubai, offering some respite from the heat.

This summer, the resort is running the Hatta Calling offer with 20 per cent off best available rates, resort activities, dining experiences and nearby attractions. For weekend getaways, guests can also take advantage of the weekend extended stay offer, which includes complimentary bites and outdoor adventures.

Activities include padel tennis, mini-golf, tennis, archery, and airgun shooting. Additionally, discover nearby attractions such as Hatta Outdoor, offering thrilling experiences like zorbing, tube sliding, waterslides, football, trampolining, and mountain E-scooters. Another must-visit local gem is the Honey Bee Farm, home to over 4,000 colonies of honey bees and featuring an educational garden, with exclusive entry rates for JA Hatta Fort Hotel guests.

In addition, to help you get the most out of your escape, this offer includes early check-in and late check-out.

For bookings and more information, please call +971 4 814 5500 or email reservations@jaresorts.com   

Dior’s La Collection Privée welcomes its latest creation, Rose Star—a fragrance that seamlessly intertwines two of Christian Dior’s greatest emblems: the centifolia rose and the five-pointed star.

The result is a scent that is grounded in heritage and designed for the future, delicately blurring the boundaries between the feminine and masculine.

At the helm of this creation is Francis Kurkdjian, Dior’s Perfume Creation Director, who continues to interpret the house’s legacy through his own contemporary lens. With Rose Star, he has crafted what can only be described as an allegorical perfume—an ode to destiny and desire, rooted in one man’s lifelong passion for both flora and fate. “The rose is truly a gift from nature,” says Kurkdjian. “Containing as it does myriad facets with powerful, almost infinite dimensions.” For him, the rose isn’t simply a flower—it’s a narrative in bloom, a muse with more sides than can be counted. While the world of perfumery traditionally leans on just two rose varieties—the Damask and the Centifolia—it is the latter that Christian Dior cherished. Known as the May Rose, it was his floral of choice, nurtured lovingly in the gardens of his childhood in Normandy, and later cultivated across his estates in Milly-la-Forêt and La Colle Noire.

But Rose Star is more than a botanical tribute—it is also a story of stars. On April 18, 1946, Christian Dior stumbled upon a small metal star on the streets of Paris. He took it as a sign from the universe, one that would give him the courage to launch his own couture house. It became his guiding symbol, woven into the brand’s DNA ever since. In Rose Star, Kurkdjian merges these two icons into a single, luminous composition: “I wanted to overlay the rose, symbolically speaking, with Christian Dior’s lucky star.”

This celestial flower blooms with a vivid array of notes. Kurkdjian reveals, “With Rose Star, two House emblems come together like two sides of the same coin, or two chapters of the same story.” The scent unfolds in five radiant facets—each echoing a point of Dior’s symbolic star. First, a citrus brightness, zesty like lemon peel, opens the fragrance with clarity. This gives way to a lush burst of fruit—lychee, raspberry, and pear—blending playfulness with sensuality. The spice of Sichuan pepper adds a luxurious depth, enhancing the scent’s vibrant heart. Soft musk wrap the composition in velvety warmth, while golden, honeyed notes settle on the skin like sunlit silk.

The result is a fragrance that is generous and enveloping, designed to evolve as it lingers. Rose Star doesn’t shout; it glows. It is both statement and whisper, a scent that beckons rather than demands.

With every spritz, it’s as if that lucky star shines once more, beckoning us to believe in beauty, fate, and the timeless allure of a single rose.

dior.com

To mark the 25th anniversary of Armani/Casa, Giorgio Armani unveiled the Oriental Inks collection during Salone del Mobile 2025 with a captivating installation at the brand’s Corso Venezia boutique in Milan.

Drawing inspiration from East Asian artistry and Japanese interiors, the collection is an immersive celebration of craftsmanship, symbolism, and visual serenity.

Presented against a backdrop of rice paper panels and visible from fifteen expansive windows, Oriental Inks pays homage to traditional ink paintings of bamboo, dragons, and jungle foliage—each motif embodying strength, resilience, and elegance. These are interpreted in hand-painted and intricately embroidered furnishings developed in collaboration with heritage atelier de Gournay, using over 50 materials including sequins, silk threads, glass beads and satin.

“Dialogue with the city of Milan has become an essential part of my work as a creative and entrepreneur,” said Giorgio Armani. “This is even more so during the Salone when the city is so alive and cosmopolitan. After two years at Palazzo Orsini, I wanted to focus attention on the store on Corso Venezia, a dynamic space designed to adapt to ever-changing configurations, creating new visual experiences. The display and the new pieces, authentic examples of the highest level of craftsmanship, are visible through the windows to anyone passing by. I quite like the idea of a surprise that captures attention, a suggestion that broadens horizons, now that horizons are often becoming narrower.”

A warm shade of light gold permeates the collection, bringing a luminous cohesion to pieces such as the VIRTÙ cabinet adorned with a gold-leaf dragon, and the ALBERT sofa embroidered with a jungle motif. Rich tones like viridian green and bold crimson add drama to key pieces, including the AMEDEO bed and ALADINO lamp.

New introductions such as the PLAY modular bookcase, the sculptural TROCADERO table, and the softly rounded VISO seating bring contemporary design language into harmony with artisanal detail. Accessories and tableware—ranging from velvet-covered AMELIE boxes to the selenite-lit ANTHEA lamps and the minimalist ARTHUR porcelain dinner set—underscore the maison’s commitment to beauty in the everyday.

With Oriental Inks, Armani/Casa reaffirms its refined aesthetic while pushing the boundaries of decorative art, turning furniture into couture-level statements that blur the line between design and poetry.

As the CEO of Lungarno Collection, Valeriano Antonioli leads one of Italy’s most refined luxury hospitality groups, renowned for its seamless blend of heritage, elegance, and contemporary flair.

Founded by the Ferragamo family, the group is deeply rooted in the legacy of Italian craftsmanship and style, extending the iconic fashion house’s values into the world of bespoke hospitality. From the art-filled halls of Hotel Lungarno in Florence to the chic sophistication of Portrait Roma and Portrait Milano, Antonioli has played a pivotal role in shaping the group’s vision—where every stay feels like a chapter from a well-lived Italian story. In this interview, he shares his insights on the evolution of luxury travel, Lungarno’s unique identity, and the enduring influence of the Ferragamo family ethos.

Tell us about your role at Lungarno Collection and what it entails.

I entered the hospitality industry at a young age, driven by a passion for growth and excellence. I set clear goals for myself, and, through hard work and determination, I was fortunate to achieve them. After gaining international experience across various regions, I settled in Florence, where I now serve as the CEO of Lungarno Collection. In 2012, after two years with the Ferragamo family-owned Lungarno Collection, I identified some missed opportunities and set out to create something truly distinct. This led to the creation of the Portrait brand, a collection of award-winning hotels in Rome, Florence, and Milan. With Portrait, we’ve been able to transform traditional luxury into a more spontaneous, personalised experience, filling a significant gap in the luxury hotel industry.

What is your vision for the company today?

The vision of Lungarno Collection is to infuse each of our hotels and restaurants with the values and hospitality culture of the Ferragamo family. We are constantly exploring new cities and countries where we can authentically express our philosophy of Italian elegance and the Art of Italian Living. For us, expansion is not simply about opening new properties—it’s about discovering destinations that reflect our commitment to authenticity, craftsmanship, and a meaningful connection to local culture.

As we evaluate new opportunities, we focus on places with rich heritage, vibrant cultural scenes, and a refined sense of luxury that aligns with the expectations of our guests.

Tell us about the evolution of Lungarno.

Lungarno Collection began its journey in Florence, the heart of Italian art and culture, where it owns and operates four distinctive properties: Hotel Lungarno (including Lungarno Apartments), Gallery Hotel Art, Portrait Firenze, and Hotel Continentale. All are located just steps from the iconic Ponte Vecchio and offer stunning views over the Arno River, each with its own unique character and charm.

The group has since expanded into two of Italy’s most iconic cities. In Rome, Portrait Roma offers a refined boutique experience with just 14 suites, nestled near the Spanish Steps. In Milan, the recently opened Portrait Milano marks a bold step forward, set within a restored former archepiscopal seminary, it provides an immersive hospitality experience in the heart of the city’s fashion district.

Beyond its hotels, Lungarno Collection is also celebrated for its culinary excellence. It manages three renowned restaurants: the Michelin-starred Borgo San Jacopo, Caffè dell’Oro, and The Fusion Bar & Restaurant. These are complemented by three signature bars in Florence—La Terrazza at Hotel Continentale, 701 Rooftop Bar at Gallery Hotel Art, and Picteau Bistro & Bar at Hotel Lungarno—as well as the elegant 10_11 Bar-Garden-Restaurant in Milan.

At the core of this evolution lies the Portrait brand, representing the pinnacle of Lungarno’s personalised approach to luxury. With Portrait Roma, Portrait Firenze, and Portrait Milano, the brand redefines the guest experience, eschewing traditional standards in favour of bespoke hospitality that fosters a deep, authentic connection with each city.

You opened the first fashion hotel in 1997, but today many brands are following in your footsteps – what do you think is the secret to success today in this category?

While Lungarno Collection benefits from the heritage of the Ferragamo family, we are not an extension of the Ferragamo fashion brand. This distinction has been key to our success. From the very beginning, our aim was not to simply translate a fashion label into hospitality, but to build a luxury hotel brand rooted in the values of timeless elegance, craftsmanship, and personalised service.

Today, many fashion houses are entering the hospitality space, seeing it as an opportunity to extend their brand identity into physical, experiential realms. There’s no doubt that aligning with a recognisable name offers advantages, but fashion, by nature, is seasonal and ever-evolving, while hospitality demands permanence and consistency. A successful hotel brand must stay relevant and desirable year after year, not just for a season.

Our approach has always been to draw from the Ferragamo family’s cultural sensibility and tradition of innovation, rather than relying on the fashion name itself. This has allowed us to develop a distinctive identity—one that is deeply personal, intentionally niche, and centred on creating immersive, beautifully crafted experiences in iconic locations.

The Portrait brand, for example, was built from the ground up, not on instant recognition, but on substance—through exquisite design, intimate service, and a philosophy of tailored luxury. In the long run, we believe this foundation will lead to enduring global recognition, attracting guests who value authenticity, discretion, and a truly personal connection.

How do Lungarno’s hotels remain modern but also honour the legacy of the Ferragamo family?

Balancing contemporary elegance with the heritage of the Ferragamo family is at the heart of Lungarno Collection’s philosophy. We believe that true luxury comes from authenticity, where the richness of history and the sophistication of modern living coexist in harmony.

As with all our hotels, this vision is brought to life through the creative direction of renowned Italian architect Michele Bönan, who has designed all Lungarno properties. His work blends classical Italian elements with contemporary refinement, creating spaces that reflect the timeless elegance associated with the Ferragamo legacy while appealing to today’s global traveller.

But honouring legacy goes beyond design. In Florence, Rome, and Milan, we embrace the cultural fabric of each city, working closely with local artisans, designers, and creatives who represent the best of Italian craftsmanship. These collaborations allow us to preserve and reinterpret tradition in a way that feels both relevant and refined.

Staying modern also means being forward-thinking. We continuously observe and anticipate global trends—not only in design but also in service, lifestyle, and guest expectations. This allows us to evolve our offerings with intention, ensuring each guest experience feels fresh, meaningful, and tailored.

The result is a distinctly Italian hospitality experience—rooted in heritage, elevated by innovation, and deeply personal. Our guests don’t just stay with us; they connect with a story, a style, and a legacy that continues to evolve.

Tell us about the design of the hotels and what makes them unique?

Design is at the very core of the Lungarno Collection’s identity, shaped by a 30-year collaboration between our President, Leonardo Ferragamo, and Michele Bönan. Together, they have cultivated a distinctive aesthetic that blends timeless elegance with modern sophistication, emphasising craftsmanship, bespoke details, and the use of precious materials.

Each property within the collection tells a unique story through its design:

• Hotel Lungarno, our flagship in Florence, evokes the feeling of a luxurious riverboat, nestled along the Arno. Guests are surrounded by an extraordinary private 20th-century art collection of over 400 works, including pieces by Picasso and Cocteau. The experience is enriched by our renowned concierge service, which opens the door to Florence’s hidden treasures, and a Michelin-starred culinary journey at Borgo San Jacopo.

Gallery Hotel Art was Florence’s first design hotel. Conceived as a contemporary art gallery, it hosts rotating exhibitions and photographic vernissages. Its modern, creative energy is complemented by the Fusion Bar & Restaurant, offering global tapas and innovative cocktails.

Continentale channels the glamorous energy of the 1950s with a playful yet romantic spirit. Its vibrant interiors are matched by its iconic La Terrazza Rooftop Bar, offering one of the most breathtaking views over Florence.

The Portrait hotels embody tailored luxury. Each location is intimately connected to its city’s cultural heart: in Rome, overlooking Piazza di Spagna on Via Condotti; in Florence, beside the Ponte Vecchio with views of the Arno; and in Milan, housed in a historic seminary on Corso Venezia, in the heart of the city’s fashion district. The Portrait brand offers a deeply personalized experience, where every detail feels curated just for you.

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

I have been travelling to Dubai since 2006 and during these years I have seen the city evolving into a great innovative hub: during my last stay, I admired the architecture, the beaches, the wonderful restaurants, the gardens, and the people.

Are there any plans for expansion into this region?

If the right opportunity were to arise, I would be happy to consider opening a Portrait hotel in Dubai. We are committed to seeing the Portrait brand grow, and in constant search of a future location, and in part determined nevertheless by the same iconic position accessible to locals and where we are able to transport our Italian DNA.

Tell us about more about Portrait collection.

The word Portrait speaks to individuality. It’s about capturing the unique essence of every guest, just as a portrait captures the soul of its subject. From the beginning, the vision behind the Portrait Collection has been to redefine luxury hospitality through deeply personalised experiences that go beyond aesthetics and comfort, and instead engage, inspire, and connect on a human level.

At the heart of this vision is our international Lifestyle Team—a group of hospitality professionals with an innate sense of care and an intuitive ability to anticipate guest needs. More than a team, they are the soul of the Portrait experience. Their talent lies in making each guest feel truly seen, understood, and welcomed—not with scripted service, but through genuine, thoughtful gestures and meaningful connections. This human touch is what transforms a stay into something unforgettable.

Portrait Milano represents a new chapter in this journey. It is more than a hotel—it is a destination. Housed in a former archiepiscopal seminary, it offers a unique urban retreat in the heart of Milan’s fashion district. With its grand central square, curated cultural events, restaurants, boutiques, and lush gardens, it is designed to be open and inclusive—a place where locals, visitors, and guests come together in an atmosphere of elegant informality and discovery.

The evolution of the Portrait brand is guided by a commitment to authenticity, emotional resonance, and the art of Italian living. As we continue to grow, our focus remains on delivering moments of beauty, belonging, and personal connection—crafted not just by design, but by the people who bring each space to life.

What is the biggest challenge in your position today?

Perhaps the greatest challenge today is the unpredictability and influence of geopolitics, which directly impacts travel patterns and demand. Events like the Covid-19 pandemic have also highlighted the responsibility I hold—not only toward our guests, but also toward our entire team—their well-being and professional stability during one of the most severe crises our industry has faced.

What would you still like to achieve with the Group?

My goal is to contribute to the Group becoming one of the most respected and recognisable Italian luxury hotel brands, known not only for excellence in service, but for offering an experience that is distinctly Italian, deeply authentic, and globally admired. I want us to be synonymous with refined hospitality that reflects our heritage, our culture, and our passion, while setting new standards in innovation, guest connection, and local immersion. Achieving this means building a brand that inspires pride within our teams and loyalty from our guests around the world.

What do you believe is the secret to unrivalled service in the hospitality industry today?

The secret to unrivalled service today lies in creating genuinely human, culturally connected experiences that go beyond traditional hospitality standards. Guests no longer seek just comfort or efficiency—they’re looking for a sense of place, belonging, and connection. To deliver this, we must break from stereotypes and instead offer a style of hospitality that mirrors how we ourselves experience the city: personal, immersive, and emotionally engaging.

This begins with deep listening—truly understanding what matters to each guest and being agile enough to respond with thoughtful, individualized touches. It’s powered by a team of people who don’t just have skills, but the innate desire to serve, to share, and to make others feel welcome. When staff are genuinely passionate, knowledgeable about their surroundings, and proud to represent the local culture, they naturally create a service style that feels effortless and unforgettable.

In short, unrivalled service is not about perfection—it’s about authentic connection, local insight, and a heartfelt commitment to hospitality as a way of life.

lungarnocollection.com

In a region where tradition and innovation intertwine, Tima Abid stands out as a designer who knows how to honour both.

With her roots firmly planted in Saudi Arabia and her vision reaching across continents, the Jeddah-based couturier has quietly and confidently risen to become one of the Arab world’s most respected fashion voices. Known for her exquisite craftsmanship, sharp architectural tailoring, and romantic silhouettes drenched in detail, Abid creates couture that speaks not only to beauty but to strength, legacy, and evolution.

With over two decades of experience, Abid has built a brand defined by elegance and emotion, often drawing on themes of femininity, resilience, and cultural pride. Her breakthrough moment on the international fashion scene came in 2020, when she became one of the first Saudi designers to present at Paris Haute Couture Week—a milestone that signalled not just personal triumph but a wider shift for Saudi fashion on the world stage. Since then, her collections have been met with praise for their intricate embroidery, masterful construction, and the quiet power they exude.

Abid’s client list is as diverse as it is distinguished—from Gulf royals and international celebrities to brides seeking something extraordinary. And yet, for all her acclaim, she remains grounded in her commitment to artisanal craft and emotional storytelling. Whether it’s a sweeping wedding gown laced with French tulle or a structured evening dress embellished with thousands of hand-sewn crystals, every Tima Abid piece is designed to make a statement.

As Saudi Arabia undergoes a cultural and creative renaissance, designers like Abid are helping to shape a new narrative—one where regional identity and global sophistication coexist. In this exclusive interview, the designer opens up about her journey to the top, the evolution of her aesthetic, and why she believes the future of couture is being written right here in the Middle East.

Tell us about your brand, Tima Abid.

For a more complete answer, you might ask those who wear Tima Abid. As for me, Tima Abid is a reflection of who I am—an extension of my imagination, designed to adorn those who appreciate beauty.

Where did your passion for design come from?

My passion for design stems from various sources, often a mix of personal influences, life experiences, and the environment around me. Cultivating a sense of beauty means actively looking for it in every aspect of life and finding it in everything around me.

Tell us how Saudi Arabia’s culture inspires you.

Saudi culture is abundant in artistic and historical influences that provide a rich foundation for design inspiration, whether in fashion, architecture, or the visual arts. Our kingdom, with its expansive deserts, the undulating dunes of the Empty Quarter, the rose-filled mountains of Taif, and the shores of the Red Sea, all evoke colours and patterns inspired by the natural world. The hues of the sand, the shifting shades of the mountains, and the rhythm of the sea— these elements present a profound visual artistic heritage that can be embraced and infused into my designs.

What is your secret to creativity?

Creativity has no hidden secret or set formula. If there were a recipe to ignite the imagination, I wish I had it—because I would gladly share it with everyone!

As a designer from the Middle East and Saudi Arabia specifically, what does it mean to you to represent your country globally?

“”Representing one’s homeland”—such a powerful notion. Yet, I see it not just as a representation, but as both an honour and a responsibility. No matter how much I create or how deeply I strive to reflect cultural and historical identity, it is my country that truly represents me. I believe no one can fully embody their homeland.

What more would you like to see happening to highlight the talent of designers in this region?

Genuine collaboration and meaningful empowerment go hand in hand—what is the purpose of empowerment if we don’t support those just starting their journey or those who have faced setbacks? Together, we grow and rise.

Tell us about your latest collections.

What I am working on will soon come be revealed, and seeing it unfold is far more beautiful and true than just hearing about it. So, stay tuned with me.

What’s the biggest challenge you face with your brand today?

The biggest challenge is maintaining consistency and setting priorities. I strive to do my best while ensuring a balance between my work and my family’s needs.

What would you still like to achieve?

While the future remains uncertain, my hope is for Tima Abid to reach a broader audience. My goal is to expand production and connect with customers beyond Saudi Arabia. My ambition is for Tima Abid to establish boutiques in the world’s leading fashion capitals.

What is a lesson you’ve learnt throughout your career?

Lessons never end, and if you think you’ve learned them all, you’ve stopped growing. But the most important lesson is mastery.

What inspires you?

Everything around me can inspire me.

What is the professional motto you live by?

My professional principle revolves around prioritising the work environment and the well-being of those within it, considering their circumstances. I make it a point to remember every employee’s name and see them as part of my extended family. One of my major principles is to focus on quality, not quantity.

Who is your muse or a woman you would love to dress?

Usually, I think of my mother… how much I wish to reach out to women who have fulfilled their duties and stepped aside from society as they grow older. How beautiful it is to show them their beauty on their special occasions. I truly believe that beauty can never be erased.

How would you describe your brand in one word?

Dream. I dream of uniting the beauty of the living idea in my imagination and shaping it with precision.

TimaAbid.com

Emiliano Salci and Britt Moran, founders of Dimoremilano, on their recent work with Loro Piana

At this year’s Milan Design Week, Italian luxury brand Loro Piana joined forces with Milan design studio Dimoremilano. Rooted in the prestigious tradition of Milanese design and supported by a network of Italy’s finest artisans and manufacturers, Dimoremilano pays homage to the country’s craft culture while boldly pushing it forward, always remaining true to the style and identity from which it all began.

For this first-of-its-kind collaboration, the two luxury houses created a captivating experience inside Loro Piana’s Cortile della Seta courtyard, in the Maison’s Milan headquarters. Visitors were transported to La Prima Notte di Quiete, a world of vintage cinema within a fully furnished installation that replicated a house from the 70s or 80s. Exceptional furniture was designed by Dimorestudio for Loro Piana Interiors; while new and classic pieces from Dimoremilano were upholstered with Loro Piana Interiors fabrics, and items from the Loro Piana The Art of Good Living Collection were also on display. Antique pieces artworks from local galleries completed the offering. Here we find out more about the installation and what this partnership means to Dimoremilano’s founders.

Tell us about your brand, Dimoremilano today and its vision.

Dimoremilano represents a refined balance between tradition and innovation. Our design philosophy is rooted in a deep respect for history, particularly the 20th century, while embracing a contemporary perspective. We create timeless environments where every piece feels as though it belongs, integrating historical references with a modern sensibility. Our work is defined by an intense focus on proportions, the quality of materials, and impeccable attention to detail. Each design tells a story, evoking a sense of elegance and timelessness, which is reflected in both the products we create and the spaces we design.

What can you share on the collaboration with Loro Piana and how it came to life?

The collaboration with Loro Piana felt like a natural extension of our approach. Both brands share a commitment to quality and craftsmanship, but also an understanding of the power of materials to define a space. This collaboration was born out of a shared desire to push the boundaries of design and create something extraordinary. Loro Piana’s exceptional fabrics allowed us to explore new textures, while ensuring that the final pieces aligned with our vision of understated elegance.

What are some of the highlights?

In this collaboration, we aimed not just to create products but to design a complete sensory experience. With La Prima Notte di Quiete, we sought to evoke an intimate atmosphere of warmth and quietude, and here we wanted to engage all the sensorial layers of the space. The use of Loro Piana’s exceptional fabrics allowed us to infuse texture, softness, and tactile richness into each piece, crafting an environment where every element—from the upholstery to the overall design—came together to create a cohesive experience. Our intention was for people to enter the space and feel fully immersed, not just by the furniture, but by an atmosphere that stimulates all their senses, visually, tactily, and emotionally.

Why did you decide to partner with Loro Piana on this project, and what do you feel are the common codes between Loro Piana and your own brand?

We’ve always admired Loro Piana’s commitment to craftsmanship, quality, and timeless elegance, which aligns perfectly with our philosophy at Dimoremilano. Both brands share an appreciation for the beauty of simplicity, the importance of texture, and the exploration of materials. The collaboration was a natural step for us as we both value the artistry of fine craftsmanship, and we believe in our approach to design—one that combines historical references with a modern sensibility. It was a perfect match with Loro Piana’s rich heritage and commitment to creating luxurious, enduring pieces.

What can you tell us about some of the pieces you created specifically for the space?

For this collaboration, we designed several pieces that were specifically created for the space and Loro Piana’s exceptional materials. One of the key pieces is a round bed, created exclusively for Loro Piana Interiors, offering both comfort and luxury with its enveloping design. Another standout piece is the Carl Low Table, which also functions as a bar cabinet. Positioned within the conversation pit, this piece not only adds a sculptural element but also enhances the space’s functionality, seamlessly integrating with the environment.

What were some of the challenges you faced in bringing this collaboration to life?

The main challenge was creating a cohesive experience that aligned with both Dimoremilano’s and Loro Piana’s philosophies. We wanted the space to be more than just a collection of objects—it had to be immersive, engaging the senses in a way that felt natural. Finding the right balance between design and comfort while respecting the identities of both brands was key. Additionally, we had to consider how each piece interacted with the space and with the overall atmosphere we wanted to create.

Tell us how you worked with Loro Piana materials and fabrics to achieve the final pieces.

We began with an in-depth research phase, exploring the wide range of Loro Piana Interiors materials. From there, we selected a palette of cashmeres and velvets that not only highlighted the tactile richness of their textiles but also felt aligned with the identity of both our brands. The tones we chose were soft yet expressive—warm neutrals, deep reds, and subtle contrasts that created a dialogue between comfort and character. It was less about decoration and more about atmosphere, about using material to reinforce the emotional tone of the space.

Can you share more details of the craftsmanship and materials used to create the pieces for Loro Piana?

All the pieces were entirely custom-made for Loro Piana Interiors, designed specifically for this collaboration. What mattered most to us was not only the precision of the execution, but how each element could evoke emotion through contrast and detail. We explored combinations of materials that enhance each other—lacquered wood against soft cashmere, brushed metals alongside deep-pile velvets—creating unexpected tactile experiences. The craftsmanship lies in the layering: hidden seams, curved structures that required complex carpentry, and textile applications that follow the geometry of the design with surgical accuracy. Each piece was conceived as a unique object, expressive and rich with tension between rigour and softness.

How would you describe your design aesthetic today, and what are your biggest influences?

Our design aesthetic is rooted in a sense of timeless elegance, where every piece feels like it has a story to tell. We aim for designs that are both contemporary and classic, where the patina of the objects gives them a sense of being lived in—like they’ve had a history and have evolved over time. The concept of creating pieces that feel like they belong in a space, rather than just being placed there, is central to our approach. We are influenced by the design movements of the 20th century, where attention to proportion, balance, and materiality was key. But it’s this enduring quality and the passage of time that we focus on—creating pieces that gain character as they age.

Can you share some details on your design process?

Our process always starts with research. We spend a lot of time looking through books—art, photography, architecture, design—searching for fragments, moods, details that resonate with us. It’s about building a visual and emotional vocabulary that then informs the direction of a project. From there, we develop concepts that are not purely decorative, but layered and evocative. The process is intuitive but meticulous: we sketch, test materials, build prototypes, and constantly refine. It’s not linear—it’s more like composing a story through objects, light, and space.

Tell us about your latest collections.

Our latest collections continue to explore contrast and atmosphere through form and material. We’ve introduced new lighting pieces, like the Bodice table lamp and the Bullet ceiling lamp—both playing with sculptural presence and subtle detailing. We’ve also developed modular sofas, such as Corner and Snooker, designed to create conversation areas and adaptable configurations. These new additions reflect our ongoing focus on balance, proportion, and that slightly cinematic sense of space that defines the Dimoremilano language.

What would you still like to achieve?

We hope to continue expanding Dimoremilano’s global presence, reaching new markets and audiences. We’re always looking for new ways to push the boundaries of design, particularly when it comes to materials and innovative uses of space. Achieving a deeper integration of art and design is something we’re particularly passionate about for the future.

Can we expect to see more of Dimoremilano in the Middle East?

Absolutely. While Dimoremilano hasn’t launched a specific collection dedicated to the region yet, Dimorestudio has already been involved in several important projects in the Middle East. It’s a market we find incredibly stimulating—there’s a deep appreciation for design, culture, and detail. We’re always open to new dialogues and opportunities there, both in terms of residential, retail and hospitality projects, and we look forward to expanding our presence in the region.

What’s a message you would share with our readers to understand more about the brand?

To understand Dimoremilano—and Dimorestudio—you have to look beyond the surface. Our work is never just about objects or interiors; it’s about creating atmospheres, emotional landscapes, and memories you can inhabit. Whether it’s a piece of furniture or a complete space, there’s always a narrative, a tension between past and present. Both brands are deeply rooted in research and storytelling: Dimoremilano through collectable design pieces, and Dimorestudio through spaces that blend architecture, art, and time. What unites everything is a distinctive sensibility—one that embraces imperfection, layering, and a kind of quiet drama.

Dimoremilano.com

Louis Vuitton has unveiled a new personalisation service which offers clients an even more enhanced bespoke experience with a wider range of possibilities for customising their leather goods.

Mon Monogram is accessible both in Louis Vuitton stores and online, offering new colours, typefaces, striped designs and patches to enhance men’s and women’s bags in classic Monogram and also on Monogram Eclipse for select items. Models eligible for personalisation include the Travel set which comprises the Keepall, Horizon, the Trio Poche Toilette Monogram, the Christopher backpack, the OnTheGo Monogram, the passport cover, and other products.

The process is easy and seamless, inviting clients to begin by selecting their iconic piece, before selecting from a palette of new colours that are applied to initials and new optional stripes. Clients can also choose to have their initials set within new vintage-style patches that capture the spirit of design eras such as the Belle Époque or Art Nouveau, which can also be positioned in groups and according to several schemes. From each of these options, the outcome is entirely unique. This enhanced iteration of Mon Monogram will continue evolving with a larger selection of Louis Vuitton materials, models and motifs to come.

louisvuitton.com

This season, Armani Beauty has revealed three key new makeup products for eyes, lips and skin. We discover the latest must-haves to add to your vanity case.

Prisma Glass

This new shiny lipgloss combines mirror shine with a smooth, volumising effect that will last for up to 24 hours. Using oil-in-gloss technology and lip-caring ingredients, it doesn’t just look good, but it hydrates and strengthens the skin’s barrier in your lips over time, locking in moisture and ensuring your pout looks its best. Prisma Glass is offered in seven multidimensional, sheer shades, spanning a crystal-clear gloss to translucent delectable pinks, caramels, corals, and cherry, each delivering a mirror-shine effect with little to no shimmer.

Luminous Silk Acqua Highlighter

This new blendable liquid highlighter is the latest addition to Giogio Armani’s Luminous Silk range. Luminous Silk Acqua Highlighter combines skin-boosting ingredients and a unique blend of micro-pearls for glossy translucency and a pearly glow effect.

The resulting watery yet creamy liquid formula catches the light for a three-dimensional shine. Debuting in five radiant shades, the highlighter’s hues are crafted to suit a range of skin tones and a dewy, bespoke finish.

Vertigo Lift Mascara

The new Vertigo Lift Mascara offers sculpted definition, clean volume and extreme length. The mascara focused on developing a skincare-first product that feels lightweight and clump-free on the lashes. The product features the latest in beauty technology, and the new Infinity Loop Brush, offering the look of 70 per cent longer lashes and a striking finish. The brush was engineered to grip and wrap the formula, reach all lashes from short to long, and hold enough formula for striking impact without excess clumping or fallout.

armani.com

Known for its seamless fusion of high watchmaking and high jewellery, Piaget once again reaffirmed its place at the intersection of art, innovation, and elegance with its newest novelties, presented at Watches & Wonders last month.

From ultra-thin mechanical feats to radiant gem-set creations that blur the line between timepiece and treasure, the maison unveiled a series of bold novelties that both honour its heritage and look decidedly toward the future.

At the helm of this vision is CEO Benjamin Comar, who brings to Piaget a discerning eye for storytelling and a deep reverence for craftsmanship. In this interview, Comar shares the creative impulses behind the 2025 novelties, reflects on the brand’s evolving identity, and explains why Piaget’s signature blend of exuberance and savoir-faire continues to resonate with a new generation of collectors.

Tell us about some of the highlights from this year’s Watches & Wonders experience and the company’s booth.

Even if this year was no longer the 150th anniversary, we felt the same excitement for this edition as we were introducing Sixtie; the first new jewellery watch collection since 2013. You never know how it’s going to be perceived, so the tension builds up until the very first guests enter the booth and praise this collection Since 2022, we have tried to connect our present creations to the past and the Sixtie trapeze case is more than deeply rooted in Piaget’s DNA, it’s a nod to a very important time for us: 1969 and the 21st Century Collection. We have reworked this trapeze shape for Sixtie, and put it on daily watch, but we have also created some more elevated versions with new Swinging Sautoirs. In addition, we have unleashed the creativity that shaped the late 60s and early 70s to celebrate other iconic curves, like the Andy Warhol watch or the Limelight Gala.

We saw a large focus on jewellery watches this year – tell us about this category at Piaget and why this is a current focus.

It’s not just a category for us; it’s one of the Piaget pillars. Just like Yves Piaget used to say, “a watch is first and foremost a piece of jewellery”. So it has always been detrimental for us, whether in a more wearable version or a high jewellery version. We like to have the best of both worlds: the technical innovation like the AUT and the incredible know-how of the jewellery watches. These are truly one of a kind.

Tell us about The Andy Warhol watch and why this was a perfect partnership for Piaget.

Another creation that is highly special to our hearts is the story behind this watch, as well as its shape and dial. Yes, it’s 45mm technically, but what a canvas it opens for the ornamental stone dials and with the gadroons on the case, it creates a nice illusion, and it looks bigger than it is. It was a true delight this edition to see the watch collectors, the Piaget lovers, and new customers come to the booth just for this watch. Everyone has their favourite dial, stone, material, and look, and that’s why it’s the perfect bespoke watch. Everyone can write their own story with it.

How do you feel partnerships and collaborations help to elevate the brand today while also honouring its legacy?

If I take the example of the partnership with the Andy Warhol Foundation, it was an absolute must. Having their recognition, their support, and their access is key for us to elevate the Maison beyond what it’s known for.

Tell us about some of the innovations and technical developments the brand has been working on today.

There are many! You’ll see some in the upcoming months, whether it’s the new High Jewellery collection or the new watchmaking pieces. Every new creation shows a new skill and a new way to master the constraints. Lately, however, I have been particularly proud of the new gold décor for the Limelight Gala. It’s just fascinating to see the artisans reproduce the same movements and effects as those from the 60s. It truly elevates the piece and creates a mesmerising effect.

How do you feel events such as Watches & Wonders still have relevance in the industry today?

I really enjoy these moments; it’s a rare opportunity to meet everyone in one place, and it attracts more and more clients every year. It’s important to be part of this energy. But obviously, as we are both watchmakers and jewellers, we also have other moments during the year, such as presenting the High Jewellery collections, but Watches and Wonders always hits differently.

You have some watches that have become icons – what does it take to become iconic in this industry today?

Time for sure. You don’t create an icon overnight. It has to have a unique design, an imprint, something to tell that goes far beyond the product. Creating one is difficult; updating one is something else. You have to tweak it and make it evolve without damaging its essence.

What are the biggest challenges you’re facing today in your position?

Keep pleasing our audiences in both the jewellery and watches segments. Watches and Wonders was a great moment, and now, we’ll move on to the next one. Nothing is ever forever.

What’s something you would still like to do?

I hope I continue to take as much pleasure in launching magnificent creations as I do lately.

Looking ahead, what is Piaget’s vision and direction this year and can you tell us a little about the brand in the Middle East?

It’s a story of shapes, of how the watch mastery unleashed the creativity in the 60s to become a revolution in the watch panorama. It’s about the Piaget distinction. Something the Middle East clientele know very well, as they have seen the Maison grow and enter the territory at that time, leaving a special impression in their memories. Art Dubai was also the opportunity for us to bring a little bit of Watches and Wonders in the region and feel inspired by everything which is happening at the moment.

Piaget.com

​Since 2008, the Saudi Film Festival has been shining a light on the cinema industry in Saudi Arabia.

Long before going to the cinema was legally acceptable in the Kingdom, Ahmed Al-Mulla, often hailed as the “godfather of Saudi cinema”, was finding ways to bring attention to this industry and the talented filmmakers in the region. He has been a pivotal figure in the Kingdom’s cinematic evolution. As the founder and director of the Saudi Film Festival, Al-Mulla has championed the growth of local filmmaking, providing a platform for Saudi storytellers to showcase their narratives. Under his stewardship, the festival has transformed from modest beginnings into a significant cultural event, reflecting the nation’s burgeoning interest in cinema.

The latest edition, which took place this April, was the largest and most interactive yet. Here we talk to Ahmed Al-Mulla, who delves into the latest edition, highlighting its role in nurturing homegrown talent and fostering a vibrant film culture, as well as sharing insights into the broader trajectory of Saudi Arabia’s film industry.

Tell us about the Saudi Film Festival and some of its highlights this year.

Now in its 11th edition, the Saudi Film Festival continues to build on its legacy while introducing fresh and dynamic elements each year. The festival has always centred on its competitive programs, with awards for feature films, short narratives, and documentaries judged by respected committees. But this year marks a new level of scale and ambition.

One of the standout developments is the inclusion of more than 12 world premieres, bringing fresh regional and global voices into the spotlight. The Production Market was also significantly expanded, an initiative that offers tangible opportunities for filmmakers to secure support for their projects. This year, 22 projects were selected to pitch in front of a jury. What makes this unique is that participating production companies commit to supporting at least one project, ensuring that backing offered to filmmakers goes beyond the festival itself.

A spotlight on Japanese cinema added a rich cross-cultural layer to the program this year, with curated screenings and sessions offering a window into another cinematic language. Meanwhile, the central theme of this edition, Cinema of Identity, sparked deep, philosophical discussions about how filmmakers express identity, belonging, and perspective through their work.

Since the festival’s inception in 2008, we have also placed a strong focus on knowledge-building. This year, we reached a major milestone: over 75 titles have been published under the Saudi Cinema Encyclopedia, including translations, authored works, and studies on cinematic poetics. This publishing initiative, led by the Saudi Cinema Association, remains unmatched in the Arab world.

Hosting the festival at the King Abdulaziz Center for World Culture—Ithra—elevates these elements even further. Ithra is not just a venue, but an active cultural partner that has helped shape the festival’s growth and relevance from early on. As a destination for creatives, Ithra provides filmmakers access to enriching facilities, resources, and mentorship programs that elevate their craft and amplify their voices. It creates an environment where artistic exchange, cultural dialogue, and innovation thrive, making it the ideal home for a festival that reflects the spirit of Saudi Arabia’s creative renaissance.

How do you feel the festival is helping to raise awareness of Arab talent and the growing industry in the region?

Since its inception, the festival has gone through several phases, much like Saudi society itself. In the early years, particularly from 2008 through its sixth edition, it was the only platform truly dedicated to Saudi cinema. There were no institutions supporting the film scene, no venues for screenings, and few spaces where filmmakers could gather.

This began to change around 2018, with the start of Saudi Arabia’s cultural and urban renaissance. Cinema became part of the national vision, with support from the Ministry of Culture and the Film Commission. This shift allowed the festival to grow from a lone initiative into a key player in a broader cinematic movement while still holding onto its distinct identity.

Ithra has played a catalytic role in this transition. Long before dedicated film infrastructure existed, Ithra provided not only the space but also platforms and resources that enabled the festival to thrive. This partnership continues to evolve and has shaped the festival’s growth and expansion. The festival connects regional filmmakers with international audiences, experts, and collaborators. It provides an entry point to the global creative dialogue, allowing Arab filmmakers to not only showcase their work but also shape the broader cinematic narrative.

What is the goal or vision of having this festival?

The vision behind the festival has gradually developed. When we started in 2008, the goal was to create a space for filmmakers to come together and share their work. At that time, filmmaking in Saudi Arabia was happening quietly, with few public outlets or opportunities to screen locally. Many were creating films that never reached an audience at home.

The festival was born out of a need to change to provide a gathering point where filmmakers could connect, be seen, and feel part of a creative community. Although it paused for a few years, it returned in 2015 with renewed purpose and has continued evolving ever since. One of its core aims has always been to fill the gaps, offering access to workshops, labs, panels, and mentorship that were not available before. We also helped connect local filmmakers to the international scene by nominating their work to global festivals. Starting from the fourth edition, we expanded beyond a single city, organising film screenings across various regions of the Kingdom even beyond the festival dates. That spirit of accessibility and year-round engagement remains central to the festival’s vision today.

Can you share details on some of the Arab filmmakers we should be aware of?

At the Saudi Film Festival, our approach to Arab filmmaking, especially in the Gulf Cinema section, goes beyond nationality. We focus on films that are meaningfully connected to Saudi Arabia. That could mean a film that explores local issues, portrays Saudi culture, or was shot here. The filmmaker’s background is secondary to the story they’re telling.

We’ve seen a wide range of talent emerge under this model. Some filmmakers explore deeply personal narratives, while others are pushing stylistic and thematic boundaries through documentary, animation, or experimental formats. It’s this diversity of approach, grounded in a shared regional context, that we find most exciting.

Rather than spotlighting individuals, the festival’s role is to create space for a broad spectrum of Arab voices offering them a platform and surrounding them with the resources to grow. That includes connecting them with international experts, authors, and critics through juries, workshops, and collaborative sessions that enrich the creative process.

What are your thoughts on the growing industry in this region today?

In my opinion, after this major cultural transformation in Saudi Arabia, the fastest-growing sector is undoubtedly the film industry, which is moving at a very rapid pace. Since the opening of cinemas in 2018, by 2024, we’ve seen three fully Saudi films become top trends, ranking first at the box office. This was something we expected to happen in 10 to 15 years, because Saudi audiences were accustomed to American, Hollywood, Bollywood, and Egyptian films, as well as others like Korean cinema. It was relatively new for them to watch a Saudi film, so logically, we would have expected that it would take at least 10 years to see a film reach box office success, especially when comparing it to industries with a history of over a hundred years, or at least several decades.

This rapid growth is incredibly promising and indicates that there are talents, abilities, and topics that can be presented within the Saudi context, and through Saudi culture, in the cinematic arts. Certainly, there are institutions that enable and support this progress, such as the Ministry of Culture and the Film Commission, with their open strategies and support, as well as other entities like the Red Sea Film Festival, NEOM, and others. Ithra of course, remains a central pillar in the cinema ecosystem through its sustained and very active support to Saudi projects in the form of funding, education programs and mentorship. It’s impressive to think that in just a few short years, such initiatives have begun to encourage and nurture the industry. The Saudi Cinema Association, though a non-profit and non-governmental organisation, also plays a significant role in this development.

What still needs to be done in the region to help increase the awareness and success of Saudi filmmakers on a global level?

Personally, I focus more on the domestic side because if we succeed locally, global success will follow naturally. This could be applied to everything. If we create a product that we can be proud of, enjoy, and be amazed by, it will surely capture the attention of people worldwide. The world is a part of us, and we are part of the world.

At this moment, I believe there are other challenges, economic, legal, and regulatory, that we must be involved in solving, especially in the film sector. On the other hand, there needs to be a strong focus on the economic aspect. There is substantial capital available, and it’s important to recognise that the film industry is a real investment opportunity. It has the potential to contribute significantly to national economic growth. Moreover, there is existing capital that may not be directly linked to cinema, but when people consider the economic potential of cinema, its revenues and economic contributions, they will realise its high profitability compared to other traditional economic sectors.

Why was it important to you to establish this festival?

My background is not in cinema, it is in poetry, but I truly believe that poetry exists in everything, including cinema. I fell in love with cinema early on and began to follow it closely, then started blending the two. In 2005, we began hosting screenings at the Eastern Province Literary Club. At that time, showing films in the Eastern Province, particularly in Dammam, was quite difficult, and it was nearly impossible at the national level. But there was a need, and when we started the screenings, it became clear that filmmakers were emerging from unexpected places, people we hadn’t known in the literary club. We were familiar with poets, writers, and critics, but these were new voices, a different generation. They started presenting us with works they were creating.

We began to realise that there was a new generation in need of a platform. That’s how it started, and its objectives grew until it reached where it is now. Ithra understood this vision early on, recognising the role of cinema as a multidisciplinary art form that can bring people together and encourage cross-cultural understanding. Ithra’s support from the third edition of the festival onward was not just logistical; it was philosophical. It reflected a shared belief in nurturing homegrown creativity while inviting the world to engage with it.

How do you feel the festival has grown since the beginning?

I believe that our main concern has always been to ensure that we continue year after year. We didn’t want this to be a one-time event. Continuity, gradual growth and sustainability have always been our priority. We wanted each edition to show progress and achieve set goals. And now, we have more measurable goals than before. We recognise that this art has truly become the pinnacle of culture. It now encompasses all forms of art, including poetry, storytelling, literature, cinema, music, theatre, and performance, and thus, it is the fastest way to communicate stories to the world.

In your own experience, how has the cinema industry grown in recent years?

As a viewer, I have witnessed how the film sector has grown. Before the major transformations in Saudi Arabia in 2018, the efforts were individual ones. But cinema is a collective endeavour, not an individual one. From 2018, we saw rapid growth, especially in the same year. This growth happened because all the forces within our society believed in it, supported it, and contributed to it. Even the youth, previously disengaged from cinema, became passionate about them because all forces became interconnected. This is very important; any growth in any field should not come from one party alone; it requires a collective drive.

What advice would you give to aspiring filmmakers?

My advice is to never settle for anything less than the best. It’s crucial to combine talent with knowledge and learning. Focus on presenting the best of what you have. Of course, all beginnings are difficult, but there must be determination to deliver. Collective work is essential in cinema. Therefore, there are scientific, cognitive, psychological, and social mechanisms to consider when working in this field, and it’s important to give it the attention it deserves.

What films are currently on your watch list?

I have loved poetic cinema for a long time in my life, and I adore anything related to it. From the very beginning until today, I have always been drawn to this aspect. The film that I have recently fallen in love with is a Saudi film called Hobal.

ithra.com/en/visit-ithra/attractions/cinema/saudi-film-festival-11

In a region known for its rich beauty traditions and cutting-edge innovation, Sara Al-Rashed is carving a bold new path. As the founder of Asteri Beauty, the Saudi-born entrepreneur is redefining what it means to build a beauty brand from the Gulf—one that speaks to identity, empowerment, and authenticity on a global scale.

Launched with the ethos of celebrating individuality while honouring Arab heritage, Asteri has quickly become a cult favourite, thanks to its inclusive approach, high-performance formulas, and unapologetically regional narrative. For Al-Rashed, beauty is more than a product—it’s a form of cultural storytelling, one lipstick or skin tint at a time.

As Asteri Beauty continues to expand its presence across the Middle East and beyond, we sit down with Sara Al-Rashed to talk about building a brand with purpose, the rise of Arab-owned beauty, and why representation in beauty is more than skin deep.

Tell us about the universe of Asteri Beauty today and how it came about.

Asteri Beauty was born from a desire to redefine what beauty means in the region. It’s rooted in the strength, elegance, and individuality of Arab women. I wanted to create a brand that celebrates our heritage while offering high-performance products tailored to our unique climate and needs. Today, Asteri is a reflection of our story—luxurious, resilient, and proudly regional, yet globally relevant.

You have had great success with the brand in such a short time – what do you think it takes to build a successful beauty business today?

Success today goes beyond a great product. It’s about authenticity, innovation, and truly listening to your community. You need to build a brand that stands for something and connects emotionally. We focus on creating products that serve a purpose and solve real challenges—like beauty that stands up to desert heat—while staying true to clean, responsible practices.

The products in the collection are very much focused on being “desert proof” What are some of the challenges this uncovered?

Creating “desert-proof” products meant developing formulas that could withstand extreme heat, dryness, and humidity—all while remaining lightweight and breathable. One of the biggest challenges was balancing performance with comfort. We didn’t want heavy, cakey textures. It took a lot of testing and iteration to achieve that seamless, second-skin feel while maintaining longevity and pigment.

We know you are very much inspired by your home country as well as the personalities of women close to you – tell us about that.

Saudi Arabia is incredibly rich and diverse—not just geographically, but culturally. While the desert is a powerful symbol of strength and resilience, there’s also a deep vibrancy in our cities, art, traditions, and communities that continues to inspire me. It’s this fusion of the old and the new, the bold and the understated, that shapes Asteri’s aesthetic.

I’m also constantly inspired by the women around me, especially my mother and the female community I grew up with. They are strong, expressive, and unapologetically themselves. Many of them have pushed boundaries and redefined what’s possible, and that spirit is woven into every product we create. Asteri is really a love letter to their courage and individuality.

What can you share about your latest products?

We’re really excited about our most recent launches—the Committed Lip Tint, Mattitude Loose Powder, and Let It Rain Powder. Each one represents a step forward in our mission to create high-performance, desert-proof beauty.

The Committed Lip Tint is all about versatility. It delivers long-lasting colour with a weightless, buildable texture that gives you that “your lips but better” finish—perfect for everyday wear, yet striking enough for evening looks. It’s hydrating, transfer-resistant, and designed to move with you. Mattitude is our answer to controlling shine in extreme conditions. It’s a silky loose powder that sets makeup without flattening the skin—it keeps you matte but still alive and radiant. It’s become an essential for anyone dealing with heat and humidity.

And Let It Rain Powder is something truly special. It’s a refreshing, waterproof setting powder that gives a soft-blur effect while keeping your makeup locked in. Perfect in hot climates. Each product reflects our commitment to marrying innovation with what our community truly needs.

Looking ahead, what is your vision for the brand, and where would you like it to get to?

I envision Asteri as a global beauty powerhouse with deep regional roots. I want us to be known for innovation, storytelling, and for setting a new standard of beauty that’s inclusive and empowering. Expanding into new markets is definitely in the plan, but always with purpose and intention.

Tell us about what fuels your development of new products and the process from initial idea to finished beauty essentials.

It always starts with a need—something I or someone in our community is missing. From there, it becomes a creative and technical journey. We collaborate closely with labs, test extensively, and never settle. The goal is always to create something that not only looks good but performs beautifully in real life.

We have seen you working on some interesting collaborations – is this something you would like to do more of, and what do you look for in a collaborator?

Definitely, collaborations are a powerful way to merge worlds and tell new stories. I look for collaborators who share our values—creativity, quality, and authenticity. Whether it’s an artist, designer, or another brand, it has to feel organic and add value to both communities.

What does your daily beauty routine look like?

My routine is all about enhancing natural beauty while staying comfortable throughout the day. I start with a good skincare base—hydration and SPF are non-negotiable. For makeup, I keep it minimal but effective: a sweep of our Swoosh Blush Stick for that effortless flush, Committed Lip Tint for a soft pop of colour, and Maha Mascara for instant definition. I finish with a light dusting of Mattitude Loose Powder or Let It Rain Powder, depending on how my skin is feeling. It’s a quick, reliable routine that keeps me feeling fresh and polished from morning to night.

What’s the biggest challenge you face with Asteri?

Balancing creativity with the technical limitations of clean beauty, sustainability, and performance, especially in a region with extreme weather, is a constant challenge. Creating vegan, clean formulas that can withstand desert heat without compromising on texture or payoff requires a lot of innovation. On top of that, finding sustainable solutions for packaging and delivery systems that still feel luxurious is a big part of the puzzle. But it’s a challenge we fully embrace, because it’s core to who we are as a brand.

What’s something you would still like to do with the brand?

One of my biggest dreams is to create a Maison Asteri—a space where people can fully immerse themselves in the brand. Not just a store, but a destination that brings our universe to life through scent, texture, design, and storytelling. A place where beauty, culture, and community come together in an authentic, elevated way.

What advice would you give to women looking to get into the beauty industry?

Be resilient and believe in your why. The beauty industry is competitive and constantly evolving, but you’ll find your space if you’re clear about your purpose and what makes your vision unique. Trust yourself, stay curious, and don’t let setbacks shake your confidence—they’re part of the journey.

What else is in the pipeline for this year?

We’re working on a major launch after summer that I’m incredibly excited about—it’s going to be a big moment for us. We’re also focusing on expanding into new markets, introducing Asteri to a broader audience while staying true to our identity. There’s a lot in motion, and I can’t wait to share more soon.

Asteri.com

In a region where tradition and modernity are in constant conversation, Emirati filmmaker Nahla Al Fahad has mastered the art of capturing both on screen.

Known for her striking visual style and deeply human narratives, Al Fahad has emerged as one of the UAE’s most distinctive creative voices. Her work spans film, television, and music videos—each project threaded with cultural nuance and an unflinching commitment to authentic representation.

With a career that has consistently pushed the boundaries of what storytelling in the Gulf can look and feel like, 2025 finds Al Fahad at a pivotal moment. Her latest documentary project, exploring the evolving role of Arab women in media, is already generating regional buzz, while her recent foray into narrative film is earning her accolades on the international festival circuit.

We sit down with Nahla Al Fahad to discuss the power of representation, the responsibility of storytelling in today’s world, and why she believes the future of Arab cinema lies in its ability to honour the past while daring to imagine what’s next.

How did you fall in love with film and what does it mean to you?

My love for film started with a deep passion for storytelling — the power to move people, spark emotions, and capture life’s moments. To me, filmmaking is not just a career; it’s a way of giving life to dreams, ideas, and voices that deserve to be heard.

What is your current focus and vision for your career?

My current focus is on creating impactful stories that bridge cultures and inspire emotions. I aim to continue directing and producing films that leave a lasting mark, while also supporting the growth of the film industry in the UAE and the region.

Tell us about some of the projects you are currently working on.

I’m currently working on a feature documentary set for completion by summer 2025, producing a short documentary, and preparing two drama series along with a short drama season of 10 episodes. I’m also getting ready to launch filmmaking workshops, which I have been preparing since last year. In parallel, I continue developing creative content that explores the future of storytelling through AI and innovative production techniques.

What has been your biggest achievement over the last few years?

One of my biggest achievements has been directing my first feature film, 218: Behind the Wall of Silence, which was shot entirely during the challenging summer of 2021, in the middle of the lockdown. It was a tough experience for the entire team, especially as we worked on a true and emotional story about home abuse that affected a local girl, and how her neighbour saved her life. The film went on to win awards and recognitions both locally and internationally, and I’m proud to see it featured on more than six international airlines.

Another milestone was my return to drama, directing two drama series for the Ramadan seasons — Mant Rayeg and Bab Al Seen — both of which aired on major Arabic channels and platforms such as MBC, Kuwait TV, MBC Drama, and Dubai TV. I was honoured to be chosen as Best Director for both productions in 2024 and 2025.

Additionally, I co-produced the Malayalam children’s film Momo in Dubai, which was a whole new and enriching experience for me, collaborating closely with talented Indian producers and directors. It opened new creative perspectives and strengthened cultural bridges through storytelling.

I am also proud to have served as a jury member in several prestigious international film festivals, including the Malmo Arab Film Festival (Sweden), Shams Arabic Content Creators Award (Sharjah), Al Marmoom Film Festival (Dubai), Al Danah Award (Bahrain), and Morex D’Or Award (Lebanon). Being part of these juries is a profound experience — it’s a privilege and a great responsibility to watch films and creative works from around the world, and to evaluate them with fairness, passion, and deep respect for every artist’s voice and journey.

What’s been the biggest challenge?

The biggest challenge has been pushing creative boundaries while staying true to meaningful storytelling. Balancing the artistic vision with production realities — especially during difficult times like the pandemic — tested my resilience. But every challenge strengthened my passion and commitment to bring authentic stories to life.

As an Emirati and a woman in this industry, what barriers did you have to break through to get where you are today, and what are you most proud of when it comes to this?

As an Emirati woman, stepping into the film industry meant challenging stereotypes and proving that creativity knows no boundaries. I had to earn trust in a field where leadership was often seen differently for women. I’m most proud of paving the way for other Emirati talents, showing that with passion, resilience, and hard work, we can tell our stories to the world with pride and power.

You have seen the industry in the UAE develop over the last few years. What are your thoughts on where it is now and where it’s heading?

The UAE’s film industry has grown tremendously, embracing both local voices and international collaborations. Today, there’s a real sense of energy, ambition, and pride in telling our own stories in ways that are authentic and globally relatable. We now have stronger support systems, more opportunities for emerging talents, and greater recognition for creative excellence.

I believe we are heading toward a future where Emirati cinema will not only flourish regionally but also leave a lasting and meaningful mark on the global stage, showcasing the richness of our culture, our stories, and our unique perspective to the world.

What are your thoughts on the growing number of women entering the industry in the region, and what would you say to them?

It’s incredibly inspiring to see more women entering the film industry in our region. Their voices, creativity, and perspectives are enriching the storytelling landscape in powerful ways. To every woman stepping into this field, I would say: believe in your vision, stay true to your passion, and know that your story matters. You have the power to reshape narratives and inspire future generations.

How do you want your work to help inspire and support aspiring filmmakers?

I believe in sharing knowledge and creating opportunities. Through workshops, mentorship, and open conversations, I aim to guide aspiring filmmakers, encouraging them to believe in their voice and vision. Supporting new talent is not just a responsibility — it’s a way to keep the spirit of storytelling alive for future generations.

What more would you like to see being done to help filmmakers with the challenges they face in this region?

I would love to see more structured support for filmmakers, such as easier access to funding, stronger distribution networks, and more platforms to showcase independent voices. Mentorship programs, creative labs, and stronger collaborations between local and international industries can truly empower filmmakers to overcome challenges and bring their stories to life.

Is there anything you would still like to do?

Absolutely! I still dream of directing more feature films that can travel across cultures and leave a lasting emotional impact. I would also love to establish a creative hub that nurtures emerging filmmakers and supports bold, original storytelling from our region.

What’s the biggest lesson you’ve learnt?

The biggest lesson I’ve learned is that patience and passion are equally important. Success in filmmaking doesn’t happen overnight — it’s built through resilience, believing in your vision, and staying true to your voice, even when the journey gets tough.

Credits: 

Founder/Editor in Chief: Lara Mansour

Fashion Director : Lindsay Judge

Styling Assistant: Lea Naoufal

Photography: Ziga Mihelcic

Hair and makeup: Lina Dahlbek

Location: Four Seasons Hotel Dubai

In the ever-evolving landscape of Middle Eastern cinema, Nayla Al Khaja stands as a true pioneer—a trailblazer whose voice has shaped the contours of Emirati storytelling both at home and abroad.

As the UAE’s first female filmmaker, she has broken through cultural and industry barriers to bring complex, emotionally resonant narratives to life on screen. Over nearly two decades, Al Khaja’s work has consistently pushed boundaries, tackling themes often left unspoken and shining a light on the human stories tucked within the fabric of Gulf society.

In 2025, she returns to the spotlight with renewed energy. Her last feature film, Three, has earned critical acclaim on the international circuit, cementing her reputation as a bold, uncompromising storyteller with a global vision. As she embarks on a new wave of projects—each more ambitious than the last—Al Khaja remains committed to nurturing the region’s next generation of filmmakers, while continuing to challenge cinematic norms.

We sit down with Al Khaja to talk about her creative process, her upcoming project BAAB, the shifting dynamics of Arab cinema, and why storytelling matters.

Tell us how you fell in love with film and what it means to you today.

My love for film began as a child, and I was fascinated by storytelling. I was drawn to cinema’s ability to transport, challenge, and evoke deep emotions. Growing up, I rarely saw Emirati stories on screen, which fuelled my desire to fill that gap. Today, film is my voice, my passion, and my tool for change. It’s how I push boundaries, challenge narratives, and bring unheard stories to life.

You released your debut feature film last year – tell us about the reaction.

The reaction to “Three” was overwhelming. Being the first Emirati psychological drama film to reach international audiences was a milestone. The film’s cultural depth, psychological tension, and exploration of mental health resonated with viewers beyond the region. Seeing the film spark conversations, especially about the intersection of belief and science, was incredibly rewarding.

What would you like to do next in your journey?

I want to keep pushing the boundaries of Emirati cinema. My next step is BAAB, a dark fantasy psychological drama that fuses Emirati folklore with intense, character-driven storytelling. I also want to expand into TV series and international collaborations, ensuring that Middle Eastern narratives find their place on the global stage.

You have seen the industry in the UAE develop over the last few years. What are your thoughts on where it is now and where it’s heading?

The UAE’s film industry has grown exponentially. We have gone from barely having a filmmaking infrastructure to attracting international productions and developing homegrown talent. However, we still need more investment in original storytelling, stronger support for local filmmakers, and international partnerships. The industry is heading in the right direction, but now is the time to solidify a distinct Emirati cinematic voice.

As a filmmaker, how do you feel you have evolved?

I have evolved by becoming bolder with my storytelling. I have moved from short-form narratives to tackling feature-length, high-concept stories, exploring more complex themes, and refining my visual language. I have also learned to balance artistic vision with commercial viability, ensuring my films resonate both emotionally and commercially.

On a global level, how do you think perceptions of the industry have changed?

There has been a shift toward inclusivity and diverse storytelling. Audiences now crave authentic voices and underrepresented narratives, which gives non-Western filmmakers a bigger platform. Streaming platforms have also opened doors for global content, allowing films from the Middle East to reach audiences like never before.

What more would you like to see being done to support aspiring filmmakers?

I would love to see more funding opportunities, mentorship programs, and industry workshops. Filmmakers need access to global networks, co-productions, and grants that support creative risk-taking. Also, distribution support is crucial; it’s not enough to make great films; they need to be seen.

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

The biggest challenge is securing funding for high-concept films while retaining creative control. I overcome it by strategic pitching, building strong industry relationships, and proving the commercial viability of my projects. It is about finding the right partners who believe in the vision.

Can you tell us about the casting of characters in your movies and how you select the talent you want to work with?

Casting is one of the most critical aspects of my films. I look for actors who bring raw emotional depth and cultural authenticity to their roles. I also work with dialect coaches and acting mentors, ensuring that performances feel genuine and immersive.

What kind of genre haven’t you worked on yet, and what would you still love to create?

As a person who is producing and directing dark fantasy and horror, I would love to explore dark satire/comedy, a genre that is still being discovered in Middle Eastern cinema. I envision a film that combines Emirati heritage with comedic storytelling, creating a visually striking, high-concept narrative.

What is your biggest achievement so far, and what would you still like to achieve?

My biggest achievement is breaking barriers as the UAE’s first female film director and bringing Emirati cinema to international audiences, moving away from short form to feature films. But I am just getting started. I want to see one of my films compete at the Cannes Film Festival, to be released internationally at the Academy Awards and to be a key player in the global film industry.

What advice would you give to aspiring filmmakers?

Don’t wait for permission. The industry is tough, but relentlessness, resilience, and originality will set you apart. Learn every aspect of filmmaking, take risks, and tell the stories only you can tell.

What is the dream film you would still like to make?

My dream film would be a dark, epic drama set in 1921, centred around a devastating contagion triggered by acid rain, where the struggle for survival and the pursuit of love lie at the heart of the narrative.

What else is in the pipeline for 2025?

BAAB is my main focus. It is my biggest and most ambitious project yet.

Credits: 

Founder/Editor in Chief: Lara Mansour

Fashion Director : Lindsay Judge

Styling Assistant: Lea Naoufal

Photography: Ziga Mihelcic

Hair and makeup: Lina Dahlbek

Location: Four Seasons Hotel Dubai

Farah Nabulsi doesn’t just make films—she gives voice to stories that too often go unheard.

A British-Palestinian filmmaker, writer, and human rights advocate, Nabulsi has emerged as one of the most powerful cinematic voices from the Arab world. Her breakout short film “The Present”, which earned an Academy Award nomination and won a BAFTA in 2021, captivated audiences with its poignant portrayal of life under occupation, told through the quiet, emotional lens of a father and daughter on a seemingly simple errand.

With a background in finance and no formal film school training, Nabulsi’s pivot to filmmaking wasn’t just a creative shift—it was a calling. Driven by a desire to challenge dominant narratives and shine a light on the daily realities of Palestinians, her work is as visually poetic as it is politically resonant. Her storytelling is subtle, yet emotional, layering realism with empathy to ask difficult questions without forcing answers.

Today, Nabulsi stands at the forefront of a new wave of Arab filmmakers using cinema as a tool for cultural resistance, social commentary, and nuanced representation. Her latest projects continue to push boundaries, amplifying perspectives from the Middle East and beyond with artistry and intention.

Here, Nabulsi speaks candidly about reclaiming the narrative, finding truth through film, and how her identity as a Palestinian woman continues to shape her voice as a storyteller in a global industry.

How did you fall in love with film, and what does it mean to you?

From as early as I can remember, I’ve loved cinema, theatre, and drama. Certain films I watched growing up had a profound impact on me, shaping my understanding of storytelling, and I performed as the lead role in a number of school plays. However, it wasn’t until much later in life that I pursued it as a career. That decision came with a deeper realisation: that cinema is more than just entertainment; it is one of the most powerful and meaningful forms of human communication and artistic expression the world has ever known.

For me, filmmaking is an act of resistance, a form of storytelling that carries both urgency and purpose. It is a way to stand in solidarity with the marginalised, the silenced, and the misrepresented, those who exist on the receiving end of oppression and injustice. As a Palestinian by heritage, cinema has also become a means of exploring and expressing my own identity. It allows me to give voice to those who have been forcibly silenced or ignored while getting to know myself better. Using artistic expression is not just a form of catharsis but also a means of telling stories that matter.

In many ways, filmmaking has become a kind of alchemy for me; the transformation of outrage, grief, and the deep disturbance I have felt in the face of the injustice I’ve witnessed in militarily occupied and colonised Palestine specifically, into something powerful, meaningful, deeply human, and I hope, inspiring.

Last time we met, you were about to head to the Oscars – tell us about that experience and what has changed in your life since then.

That experience was truly unique. It was right after COVID, so it was unlike any Oscars ceremony prior or since. With a reduced attendance of around 400 people instead of the usual 4,000 at the Dolby Theatre, it felt much more private and personal. It was an exciting, whirlwind experience in the lead-up, during, and after.

What the Oscars did was create momentum and draw attention to my next project, “The Teacher”, which had its MENA cinema release last year and is now available on video on demand in the Middle East and North Africa. I believe that without the credibility gained from the accolades of The Present, including the Oscar nomination, I wouldn’t have been able to make The Teacher in such a short time or with the budget we did. The recognition opened doors and allowed me to be taken more seriously as a filmmaker.

Since then, it’s been a non-stop journey, but all in a positive direction. On the other hand, the last year and a half has been incredibly difficult, particularly given the ongoing genocide in Gaza. As you know, my films are deeply connected to the realities on the ground in Palestine, and this period has been devastating. But despite the challenges, I am forever grateful and privileged to have The Teacher to share with the world during this crucial moment in the discourse surrounding Palestine.

What was the feedback from “The Teacher” movie and the recognition it gained, and how has it helped you decide on the future trajectory of your career and the films you make?

The reaction to The Teacher across the world has been incredible. The film has had numerous theatrical releases, following screenings at dozens of international film festivals. It has garnered over 18 international awards, primarily audience awards and best actor awards, which is always a wonderful recognition for a film.

In terms of shaping the trajectory of my career, I wouldn’t say The Teacher has defined a specific path for me. My goal remains to express myself creatively, to explore varied projects, and to follow wherever my artistic instincts lead. That said, I know with certainty that I will continue to make films connected to Palestine. These are stories that hold deep meaning for me, not just because they speak to my identity as a Palestinian, but as a human being in these darkest of times.

What are you currently working on, and what else is in the pipeline?

At the moment, I’m still very much involved with the distribution of The Teacher, which means a lot of travel, Q&A events, and media engagements. It’s been a full-on but rewarding process, connecting with audiences around the world. The genocide in Gaza continues, as does the escalation of military violence and annexation in the West Bank, so this film still feels incredibly important to continue serving. It also continues to work as a release for me personally in resistance and defiance against all the hypocrisy and violence we are witnessing against our brothers and sisters.

In terms of what’s in the pipeline, I’ve co-written a screenplay with a talented Lebanese-American writer set in cool-Britannia late 1990s London. It’s a crime, finance drama – greed is bad, as well as exploring elements of mental illness. It’s loosely inspired by a personal experience I had many years ago during my years as an investment banker. On the other hand, I’m also just finishing a drama-comedy screenplay, set between Palestine and Ireland, which I’m particularly excited to bring to life. That said, I’m keeping the details of both projects close to my chest for now, but I’m keen to get strong producers on board for both projects.

You spend a lot of time shooting in war-torn areas across the region and areas where many people are struggling. How do you deal with some of these terrible experiences, and how do you think film can help shed light on global issues?

I deal with it by creating. When you witness injustice up close, especially in places marked by conflict and suffering, you carry a kind of moral trauma. But channelling that pain into storytelling becomes a way to process it – to release it. My work becomes a conduit, an outlet for the outrage and sorrow I feel, and a way to make sense of the weight of what I’ve seen and become so acutely aware of. There is truly nothing more cathartic, and even spiritual, than the act of creating. It’s how I cope, and how I try to turn pain into purpose.

In terms of how I think film can help shed light on global issues, cinema has a unique ability to humanise what might otherwise remain abstract or distant. It can cut through noise, headlines, and political rhetoric to reach people on an emotional and psychological level. By telling nuanced, intimate stories rooted in truth, cinema can shed light on global issues in a way that invites empathy, understanding, and sometimes even action. For me, that’s the power of film. It doesn’t just inform, and it shouldn’t just entertain; it connects.

What have you learnt about the industry over the past few years?

Honestly, what I’ve learnt is that it’s a lot harder than it looks! It now makes sense why it does not have as many people pursuing this line of work as you would think, and it is very tough to make a living at it. I have also learnt that it’s quite messy and haphazard and leans towards the sales agents, distributors, and exhibitors rather than the creators, which is a shame. It is certainly not as glamorous as most perceive it to be, either.  It is, however one of the most exciting and personally rewarding industries to work in, from my perspective at least.

What’s been the biggest challenge?

Sadly, the biggest challenge, and that seems to be the case for most independent filmmakers, is funding. There are plenty of great stories that should be told, and talented people who can tell them, but sadly, so much does not get made, or takes ages to make, because of a lack of funding. Also, there is the aspect of distribution, which can be very challenging. It can be very hit or miss, especially when we are talking about independent cinema (rather than studio-produced), which is more my world.

We know you are very passionate about writing and directing your own films – tell us about that and why you prefer this method.

I’ve come to realise that while I’m open to directing a project, I haven’t written – provided it resonates with me on a deep, personal level and the script is truly exceptional, I don’t feel compelled to write something unless I intend to direct it myself. Writing, for me, isn’t where I feel most in my element. I’m much more drawn to the process of directing, even if I still occasionally suffer from impostor syndrome, which I have now concluded many artists do, no matter how seasoned.

What excites me most is taking a story from the page and breathing life into it on screen. That transition, from script to set and eventually to the final cut, is where my passion lies. I find that when I’m both writer and director, it allows for a singular, cohesive vision from beginning to end. And because I only write stories that I feel deeply connected to, there’s already an emotional and creative investment in the work.

For me, the most powerful films are often those made by filmmakers who are intimately connected to the material. Being both the writer and director enables that connection to flow through every stage of the process, from the first word on the page to the final frame on screen.

What are your thoughts on the growing number of women entering the industry in the region, and what would you say to them?

It goes without saying that I’m very pleased to see a growing number of women entering the industry, whether in the Arab world or in the UK, where I’m more rooted, or anywhere else for that matter. It’s especially heartening in the context of such a male-dominated field.

To the women coming into the industry, I would simply say: keep going. We have a unique lens and are more than capable. I encourage women to pursue every corner of the field, whether as directors, writers, producers, executive producers, as DoPs or leading other key departments. We belong in all of it and have much to offer.

Is there anything you would still like to do?

There’s still so much I’d like to do. I often catch myself daydreaming, quietly calculating how many years lie ahead (since I started quite late), and how many of the stories I carry within me I can realistically bring to life. Every time I feel momentum building around one project, another idea calls to me. I’m constantly jotting things down in notepads or on my phone, ideas, fragments, glimpses of future films.

Of course, I know I won’t be able to make them all. So, I try to focus on the stories that resonate most deeply, the ones that feel urgent and meaningful, and that also make sense strategically in terms of scope and possibility. I aim to stay true to my creativity while choosing projects that stretch me, that broaden my horizons, and that still speak to the issues and themes I care most about.

At the end of the day, the work has to come from the heart. There can be nothing contrived, it has to be honest, necessary, and creatively fulfilling.

Credits: 

Founder/Editor in Chief: Lara Mansour

Fashion Director : Lindsay Judge

Styling Assistant: Lea Naoufal

Photography: Ziga Mihelcic

Hair and makeup: Lina Dahlbek

Location: Four Seasons Hotel Dubai

Dior’s Spring/Summer 2025 haute couture collection focused on the Cigale silhouette, first designed by Monsieur Dior for the autumn-winter 1952-1953 haute couture line.

This season, Maria Grazia Chiuri reinvents this iconic shape in the original moiré fabrics, adopted for a little skirt paired with a fitted tailcoat, accentuating the contrasting proportions. The cape is embellished with feathers delicately crafted in organza.

The crinoline, in its modern, practical version, proves to be an extraordinary breeding ground for memories, yielding to the most excessive fantasies and motifs.

This shaken cage concealing its construction discloses threads that stretch and undulate with every movement, like embroidered branches. Simply hiding its structure, the underwiring enhances light blouses sublimated by floral embroidery. The visible bustiers and draped skirts are unforgettable.

Black, both sober and superb, magnifies the coats, which orchestrate and underline the choreography of minute motions.

The long dress shines supremely with its three-dimensional burnished silver embroidery, at the heart of a poetics of the absurd. It seems suspended in the perpetual temporality of fashion, the essence of which is to fulfil desires of all kinds.

As with all the brand’s offerings, this feminine collection celebrates the mastery and talent of the house’s founder, bring romance and fairy-tales to life.

dior.com

We round up key accessories for men and women from the Spring 2025 collections

Giorgio Armani

His

Giorgio Armani’s Spring/Summer shoe offering for men focuses on comfort and ease of movement. The upper gently embraces the foot, while Japanese-inspired geometric lines trace the sole. Available in suede and the iconic black mesh, with or without laces, new models come in classic black, white, sand and the brand’s signature greige.

Hers

Giorgio Armani has collaborated with luxury concept store 10 Corso Como to create an exclusive shoe collection for women. The collection is a line of flat ballerina-style shoes and loafers that offer timeless elegance and the ultimate comfort. The design features a minimal elegant shape, with each pair of shoes constructed to follow the natural contours of the foot.

Dior

His

Dreamed up by Kim Jones, the new Dior Normandie bag features rounded handles, adjustable straps and a refined design. Combining style, elegance and practicality, its main compartment contains a zipped pocket and several flat ones to protect all your precious essentials. It features extremely soft-grained leather and is available in black, beige or brown. Refined details, such as silvered eyelets and the “Dior” logo – the metal letters of which are subtly affixed on the front – testify to discreet, exclusive luxury.

Hers

Dior’s Soft Saddle bag has been reinvented in a supple form for Spring/Summer 2025. Its emblematic lines have been reinterpreted with functionality, while the adjustable shoulder strap offers a practical, modern and effortless crossbody carry. This new piece is available in three sizes and a variety of exquisite shades of leather – black, Downtown Brown, latte or Deep Amaranth – as well as in a bi-material version enhanced by the timeless jacquard Dior Oblique motif.

Louis Vuitton

His

The LV Footprint sneaker is the first of its kind designed by Pharrell Williams—inspired by authentic cleated boots from the world of field sports. The sleek sneaker consists of a laced calf leather upper and a padded rubber outsole, expressing the brand signatures throughout its design. Floral motifs taken from the Louis Vuitton Monogram and an interlinked LV logo are stretched to form a stylised, five-toed footprint on the articulated sole, giving it the ability to leave an LV stamp on soft ground.

Hers

The new LV Sneakerina plays on the contrasts of sport and fashion with a hybrid design that’s midway between a sneaker and a contemporary ballet flat. The streamlined design puts comfort at the forefront and sits perfectly with today’s minimalist sportswear trend. Each variation has been specially designed for everyday wear to match any casual or dressed-up silhouette, thanks to a sole made infinitely flexible by the Sacchetto construction and an ultra-light interior design. All feature Louis Vuitton’s timeless signatures, such as the Monogram pattern, Monogram canvas and LV Circle, adding to the energy of this edgy sneaker.

Tod’s

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This season, the iconic Tod’s Gommino has been enriched with a new sabot version in natural colours. The Bubble Gommino, is presented in the new boat model and with the T-bar accessory. The pop of colour makes a bold statement, while the classic shape puts comfort and elevated style at the heart of the design.

Hers

For women, Tod’s new signature detail is in the magenta bags, which are enhanced by a slim metal band, evoking a feeling of lightness and simplicity. Available in warm brown or rich teal colourways, the bucket-style bags make the perfect accessory from day to night.

Loro Piana

His

The versatile Bale Hobo Bag is inspired by Loro Piana’s textile heritage and is reminiscent in its silhouette and touch of cashmere bales, and large bundles of raw fibre. With a seamless design and unique lightness, it is a celebration of supple softness with its unlined design crafted from carefully selected single pieces of leather. It features hand-stitched handles and a removable inner pouch. Available in Natural Canvas, grained leather in Azuki Beans, Warm Mastic, or Salty Capers.

Hers

Loro Piana’s Loom bag L32 is now offered in a new elegant silk linen chevron version. The bag, which was designed to honour Loro Piana’s textile heritage, is a tribute to the art of fabric making with its Loom-inspired design. Made from fine brown calfskin with a soft and silky hand, the bag is distinguished by its back panel, a unique piece that drapes gracefully over the metal bar, mirroring the way the fabric falls on the loom. The silk-linen blend fabric has a refined herringbone weave with a unique texture. The light and soft material guarantees elasticity and resistance to tearing and its lustre further embellishes the fabric in its natural light.

Prada

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This season, Prada presents key accessories for men as part of the “Closer” collection, which debuted on the runway in Milan. While simplistic in appearance, the designs honour the finest materials and unrivalled craftsmanship. The coffee suede backpack is an elegant companion for the working man, while the Nappa leather shoulder bag is perfect from day to night.

Hers

The new Prada Buckle bucket bag, unveiled during the Spring/Summer 2025 fashion show, is an evolution of the iconic two-handle Prada Buckle, showcasing the brand’s expertise in crafting striking contemporary designs born from the fusion of diametrical elements. Formal in its puristic proportions yet supple in its smooth soft-grain leather, the Prada Buckle bag features a unique closure: a jewel-like belt crafted from flexible golden metallic mesh, exuding a nocturnal, exquisite, and luxurious allure. The resin buckle has an elegant tortoiseshell effect; the strap, attached to the belt, offers effortless versatility, allowing it to be carried by hand or worn over the shoulder.

Louis Vuitton has revealed it will launch a beauty line for the first time ever.

La Beauté Louis Vuitton, which will expand the house’s universe further than ever before, will include a line of luxury beauty products that perfectly embody the DNA of the brand. To coincide with the launch, the house also welcomes Dame Pat McGrath, DBE, as the Creative Director of Cosmetics. The world-renowned British makeup artist brings her incomparable eye and expertise to developing a lifestyle beauty experience that extends beyond products.

“Working backstage for over 20 years at Louis Vuitton fashion shows, I am thrilled to now play such a key role in the launch of La Beauté Louis Vuitton, which is the result of extraordinary craftsmanship, creativity and innovation.” Says Pat McGrath. “The beauty universe is about so much more than just product, and what we are creating here will unlock a new level in luxury beauty.”

Since its founding, Louis Vuitton’s travel history embraced beauty, with innovative vanity cases specially crafted for the transport of delicate toiletries, perfumes and cosmetics. In the 1920s, Louis Vuitton designed luxurious powder compacts, brushes and mirrors. Two exceptional examples preserved in the Louis Vuitton archive date from 1925: Le Milano was a bespoke kit made for the soprano Marthe Chenal, while an exquisite toiletry case was also created for the Polish composer Jan Paderewski. Moreover, the first Louis Vuitton handbags for women were conceived with the need to carry daily essentials, including cosmetics. This upcoming chapter promises to be a continuation of this ethos, taking it to a new level.

“La Beauté Louis Vuitton is a natural business evolution, driven by our meticulous attention to quality, formula and innovation. Through this new universe, we have the opportunity to further accompany clients in their everyday lives with purpose and pleasure while continuing to celebrate our creativity and heritage.”, says Pietro Beccari, Chairman and CEO of Louis Vuitton.

With more information on the product range to follow, La Beauté Louis Vuitton reflects the broadening scope of luxury, whereby the House’s rich heritage assumes once again a new, contemporary form.

SAL at Jumeirah Saadiyat Island is one of Abu Dhabi’s most hidden treasures.

As the second branch of Burj Al Arab’s exclusive pool, beach and restaurant SAL Saadiyat island brings the barefoot chic mood of Saint-Tropez and Mykonos to the capital.

Currently celebrating its first anniversary, SAL offers visitors an impressive culinary experience, featuring SAL favourites, such as King Crab & Homemade Trenette Pasta and Sea Salt Crusted Sea Bass, as well as a delicious array of drinks and desserts. Guests can dine in the restaurant or for a more relaxed environment at the beachside lounge or poolside deck.

Housed in a contemporary mirrored venue, reflecting the beautiful surroundings and blending seamlessly with the environment, SAL Saadiyat Island is the ideal setting for relaxing and socialising, featuring its own dedicated infinity swimming pool and section of beach for those wanting to make a day of it. The chic oasis is reserved exclusively for adults and is designed for couples seeking the perfect escape to spend quality time together.

Relax in style on sunbeds, love beds, or luxury cabanas, each offering a haven of comfort and sophistication amidst breathtaking views of the Arabian Gulf. Whether you’re lounging by the pool or strolling along the shoreline, every moment at SAL is a celebration of relaxation.

For more information or to make a reservation, please contact: +971 2 811 4325 or SAL.SaadiyatIsland@jumeirah.com

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