Selections # 21 by Yevgen Kodash

The LBP 10.000 / KWD 2.7 / AED 37

Jewels take wing • Mad about hats • Sleep in style • Looks of the season • Fashion through the looking glass • The secret diary of Tahir Sultan • Paper that makes powerful art JOD 7 / USD 10 / DHB 4 / QAR 37

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Ready to Wear Spring Summer 2013

e di tor i a l

Welcome to

wonderland The first flushes of a new season are here at last and at Selections we are keen to embark on the wings of spring, letting our imaginations run free. So this issue we invite you to join us in a fairy-tale wonderland of mad hatters, luxurious dresses and extraordinary creations. Exploring the wonderful world of luxury and magic, we go through the looking glass, with Alice and her â&#x20AC;&#x2DC;wonderlandâ&#x20AC;&#x2122; as our guide. We also discover the link between fashion and fairy tale with Yulia Yanina, art that takes paper to the next level and far beyond origami, the mad hatter that is Philip Treacy, the fantasy-infused Moschino hotel in Milan, and the intricate details of Avakian jewellery.

The enchantment takes on another dimension in the digital world with the integration of augmented reality between our pages. Download the Layar app onto your smartphone or iPad to enjoy interactive content simply by scanning the special pages of Selections in every issue from now on. Our new digital era also encompasses the launch of our website, Selections iPad application, and presence on Facebook, Twitter and Pinterest. As of the start of May we will be looking forward to you, our readers, getting in touch and sharing your thoughts, from Beirut to Doha, Dubai to London, and beyond.

MELODY OF COLOURS EARRINGS IN PINK GOLD SET WITH WHITE DIAMONDS AND CORAL DROPS

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Safwan Dahoul "Repetitive Dreams"

"Dream 61" 180 X 200 cm. Acrylic on Canvas 2013

Opening reception: Thursday 9 May 2013, 6 - 8.30 pm The exhibition will run till 15 June

ayyam gallery|London 143 New Bond Street, 1st Floor, W1S 2TP London, United Kingdom T: +44207 409 3568, F: +44207 409 3162 london@ayyamgallery.com www.ayyamgallery.com

Asaad Arabi "Om Kalthoum"

"Passions of the Silk Handkerchief" 150 X 150 cm. Acrylic on Canvas 2013

Opening reception: Wednsday 24 April 2013, 6 - 9 pm The exhibition will run till 30 May

ayyam gallery|Jeddah Bougainvillea Center Jeddah, Third Floor, King's Road, Al-Shat'ta District Jeddah, Saudi Arabia, T: +966 555 517000 jeddah@ayyamgallery.com www.ayyamgallery.com

C ont e nts

120 on the wings of spring l u x u ry l i f e s t y l e

ava k i a n

fa s h i o n

Where unique creativity dazzles

t h e u lt i m at e sa n ct u a ry

t h e e xq u isi t e l ig h t n e s s o f b e i n g

between dreams and reality

The fashion diary of

e xq u isi t e ly r egal

t h e m o u t h - wat e r i n g m agic o f m ag n o l i a

ta h i r s u lta n

f r o m a r c h i t e ct u r e to ac c e s s o r i e s

t h e lo o ks o f t h e s e as o n

lo n d o n st e p s u p i ts fas h io n ga m e

i n t h e m o o d at m i l a n

pa r is g o e s w i t h t h e f low

m a d a b o u t h ats

fa s h i o n t h r o u g h the looking glass

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Contributing writers Owen Adams, Miriam Dunn, Alia Fawaz, Avril Groom, Thomas Kinealy, Lucy Knight, Nora Nathan, Yasmina Nysten, Stephanie Plentl, India Stoughton, Susan Wilson

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Located at the Museum of Islamic Art idam.com

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News INSPIRATION Experience Taste The Luxury Touch

LLU u XU x u RY ry Lifest L IFEST yl YLE e TITLE news

{ Bal de la Rose du Rocher} { VERTU TI } Vertu - the world’s leading provider of luxury phones - has launched its firstever smart phone, VERTU TI. Powered by 4.0 Android OS, Ice Cream Sandwich, the TI is the pinnacle of design. A 3.7 inch sapphire crystal screen – the largest ever engineered – keeps the phone virtually scratch free and its titanium case makes it 5x stronger than other smart phones. With an 8MP rear camera, 1.3MP front facing camera, 64GB and solid but beautiful design, the TI certainly takes its place as a contender in the smart phones market.

Their Serene Highnesses the Prince and Princess of Monaco, along with Her Royal Highness the Princess of Hanover, will preside over the Rocher Rose Ball – in aid of the Princess Grace Foundation – that will take place in the Salles des Etoiles on the 23rd of March 2013. When renowned German designer Karl Lagerfeld was approached by Her Royal Highness the Princess of Hanover

to imagine the theme of the Bal de la Rose in honour of the 150th anniversary of the Société des Bains de Mer, two contrasting ideas sprung to mind, ‘beauty’ and ‘pop’. The former will be celebrated, in the style of a 1900 grand ball with the help of the Prague Concert Philharmonic, while the latter, with the aid of Rita Ora, Theophilus London and Dj Caroline Maigret, will combine styles in a night that promises to impress.

{ Mark Jacobs Refreshed } Following in the footsteps of Karl Lagerfeld and Jean Paul Gaultier, American fashion designer Marc Jacobs has been announced as the Diet Coke Creative Director for 2013. Jacobs looks set to follow in the Diet Coke tradition of fun, quirky advertising campaigns with a series of pin-up style ads

that see the fashion director posing shirtless in a photo booth clutching a diet coke. He has created three can and bottle designs along with three advertising campaigns that capture the fashions of the 80s, 90s and 00s, a “whimsical and feminine” campaign from Jacobs to coincide with the drink’s 30th anniversary in Europe.

{ Revving up across the world }

{ Wraith, the new coupé by Rolls Royce }

Rolls-Royce has unleashed its fastest car yet, the Wraith, capable of breaking nought to sixty in 4.4 seconds. The Wraith is the most luxurious car designed by RollsRoyce to date. Powerful, sleek and oozing noir, this is “Rolls-Royce loosening the tie,” says Giles Taylor, Director of Design. The customisable two tone paintwork, elegant leather

World renowned motorcycle manufacturer Harley Davidson kicked of its 110th anniversary in the Middle East by hosting a celebratory event at the Al Badia Golf Club Intercontinental Dubai Festival City on late last year, with over 200 guests attending. 2013 will see a continuation of the celebration worldwide with 12 events across six continents and 11 countries planned, including a party, parade and bike show this August at the Harley Davidson Museum in the birthplace of the motorcycle company, Milwaukee, USA. Harley Davidson is also launching a new line of motorcycles and clothing to coincide with its 110th anniversary celebrations in 2013, hoping to inspire and fuel the dreams of the next generation.

{ 50 Years of Porsche 911 } It’s possibly the world’s most recognisable sports car and this year it celebrates 50 years of innovative and cutting edge design. The Porsche 911 debuted in 1963 at the IAA International Automotive Show in the 901 model. Since then over 820,000 911s have been sold, making it the world’s most successful sports car. Porsche will be marking this year with a series of events beginning in Stuttgart with a ‘Retro Classics’ exhibition

interiors, and wooden panelling combine to produce a classic yet modern masterpiece. The Wraith comes endowed with satellite aided transmission - revolutionised to allow the car to sense not just the next turn but each of the ones after that - ensuring you will always be driving in the optimum gear. Launched at the 2013 Geneva Motor show, Rolls-Royce’s Wraith will be rolled out worldwide in the coming months.

in March. The Porsche museum will be following on from these celebrations with a one-off exhibition on the history and development of the sports car from June 4 to September 29. Porsche is also sending an original 1967 Porsche 911 model on a world tour across five continents and to be a guest of honour at several events. These are all fitting tributes to a unique automobile described by Ferry Porsche as “the only car you could drive on an African safari or at Le Mans, to the theatre or through New York City traffic.”

LU XU RY L IFEST YLE

INS PIRAT ION

WORDS: Owen Adams

Where unique creativity dazzles It goes against global market trends, but the jeweller of choice for Paris Hilton, Madonna and many Hollywood stars is a family-run and family-owned atelier founded in Beirut in 1969 by Edmond Avakian.

s Haig Avakian

ince 1985 Avakian has been headquartered in Geneva, Switzerland, but, says the founder’s son, Haig, who jointly runs the business with his sister Corinne, “Our Lebanese roots are something we are very proud of and Beirut remains a destination which we visit regularly for leisure.” While Edmond’s background was in engineering – which can be seen in some ingenious kinetic Haute Joaillerie pieces – Haig gained a Bachelor of Art’s degree in economics and considered a career as an investment banker before joining the family business and studying gemology in Antwerp, Belgium. “I believe the creative factor is something which is innate, and of course new inspirations

Facing Page: Avakian Emerald Ring

ABOVE, LEFT TO RIGHT: Avakian Emerald Earrings

Avakian Sapphire Cabochon Ring

Avakian Spider Web Earrings

come through different experiences and exposures,” said Haig, whose most notable contributions to Avakian in the past decade have been timepieces and diamond jewellery for men. “My background in economics has been more useful for planning the expansion of the brand into different markets and adapting to different demands.” Avakian was a spectacular success on the red carpet at Cannes Film Festival 2012, adorning many top stars. “A-list celebrities are generally always looking for spectacular and unique brands that are out of the ordinary,” Haig recognizes. “Also the personal relationship we have with some of these celebrities plays a big role. They enjoy dealing directly with the founders of the business.” He adds, “The boldness in a lot of our designs

“The boldness in a lot of our designs is definitely something that people first notice.”

is definitely something that people first notice. We always look for new interesting materials and colours to work with to make the jewellery stand out. Lately we have been using matte black gold to make some very unique rings. They are subtle, sophisticated and yet give a strong contrast in combination with precious stones. Blue sapphires are my favourite gemstones. From a young age, blue has always been my favourite pick. I believe it has a strong connection with the sky being blue and my closeness to nature. There is nothing more beautiful than a deep blue Kashmir sapphire. I could spend hours looking at it.” But Haig Avakian has little time to sit and stare – business beckons. He is currently working with his father on the launch of the company’s watch line, the men’s watch Concept 1 and its companion Lady Concept. “We have expansion plans for Asia, Russia and the Middle East,” he reveals. “These are three markets that we will be focusing on for the next few years, whilst continuing to create unique jewellery creations and sophisticated watches for both men and women.”

LU XU RY L IFEST YLE Ex peri e nce

words : O w e n A d a m s

There can be more to sun worshipping than meets the eye if you are in the right hands: amid an atmosphere of deluxe tranquility, treatments offered at a new Cheval Blanc Spa in an Indian Ocean setting are specifically tailored for solar optimisation.

Cheval Blanc Randheli, Villa Bathroom

E x p e ri e nce

LU X U RY LI F E ST YLE

Cheval Blanc Randheli, Villa View From the Sea

ocated within a luscious elite resort in the Maldives set to open this summer, at the Cheval Blanc Randheli, a Guerlain boutique offers an exclusive creation tailor-made for guests, the Sun Ritual. It prepares the client’s skin for a day in the sun. Another elaborate treatment in Guerlain’s debut appearance in the Maldives is the After-Diving Experience, better to assimilate the incredible sights of coral reefs under the sparkling clear blue waters. The Orchidee Salons comprise four single and two prestige treatment villas for couples, where guests can try out Guerlain’s anti-ageing skincare range, which involved a decade of research, and were inspired by the exceptional longevity of the orchid. The luxury brand’s make-up and fragrance collections can also be sampled. The wellbeing palace also features a Hair Spa by Leonor Greyl, which uses only natural ingredients in its specifically tailored hair beauty treatments. A beauty studio, barber shop, Yoga Studio, Thai Pavilion, a Fitness Centre equipped with state-of-the-art sport facilities and personal training programmes are other encompassing features in this supreme spa.

LU XU RY L IFEST YLE Ex peri e nce

Cheval Blanc Randheli, Villa Living Room Opened to the Exterior

There is also a Spa Bar offering an array of nutritious snacks and fresh fruit juices, served in its own private gardens or on the spa’s own beach. The 45-villa resort Cheval Blanc Randheli will be the second maison of its kind – following Cheval Blanc Courchevel in the French Alps, opened by Paris-based LVMH Hotel Management in 2006. Located in the unspoiled Noonu Atoll, a 40-minute private seaplane journey from the Maldivian archipelago’s capital Malé, it will offer an unrivalled experience melding true craftsmanship with serene privacy and genuinely caring service, fulfilling all the wishes of a demanding clientele.

…teak, rattan, bamboo, thatch, coconut shell, and other local materials figure strongly in the contemporary design…

Architect Jean-Michel Gathy has designed Cheval Blanc Randheli in harmony with island barefoot culture, and in synergy with natural surroundings, lush vegetation and lagoon views – teak, rattan, bamboo, thatch, coconut shell, and other local materials figure strongly in the contemporary design which pays its dues to tradition and indigenous culture. The spa, in addition to a gigantic infinity pool and a selection of restaurants and menus curated by three-Michelin-starred chef Yannick Alléno, will accentuate the feeling of the ultimate sanctuary, helping to craft memorable experiences for guests – whether they are honeymooning couples, families, groups of friends or solo holidaymakers.

LUX URY L IFESTY LE Taste

Exquisitely regal wORDS: Susan Wilson

Caviar is fast becoming the ultimate luxury food with the most sought roe being extracted from the endangered beluga sturgeon.

aviar is considered to be one of the world’s finest delicacies, the ultimate in luxury gastronomy. This towering reputation is certainly reflected in its price, with one kilogramme of Beluga caviar – considered to be the premium, from the roe of the beluga ‘husohuso’ sturgeon found primarily in the Caspian sea – ranging anywhere between $7,000 $10,000 dollars. So sought after is Beluga caviar that the beluga sturgeon is currently considered to be critically endangered. For caviar lovers however, there is hope, as more humane and controlled fishing practices are being implemented that are beginning to revitalise the stock of sturgeon in the Caspian. While caviar is now a staple in many restaurants and stores across the world, true caviar

It was served to shahs, kings and queens, the dish of royalty.

is reserved for select types, the most exclusive of which are Beluga, Ossetra, and Sevruga. Beluga caviar, the most expensive, is produced by the largest sturgeon and has the biggest, dark grey eggs, usually severed without embellishment, on toast or a pearl spoon to protect the taste of this delicate cuisine. Osserta caviar is eclipsed only by Beluga and has smaller, more evenly sized eggs, with colours varying from brown to golden and a more oily taste that many prefer to the Beluga. The smaller sturgeons produce the Sevruga caviar, the third most expensive behind Beluga and Osserta, characterised by smaller, grey eggs that are just as delectable as their more expensive counterparts. Eating caviar has a long tradition which goes back centuries, with the name believed to have been derived from the Persian, khavair, khya meaning egg. It was served to shahs, kings and queens, the dish of royalty. To this day it is regarded as one of the most luxurious foods that can be sampled, and is an experience that is well worth the exclusive price tag.

8_Bouquet d’Ailes

10_White Hibiscus cuff, set

ring. Boucheron.

in 18 karat yellow and white

gold and silver, featuring

1_Precieuses ring, pink gold, diamonds, padparadscha and

9_Envole Toi brooch, black

white and pink diamonds

multi-coloured sapphires.

South Sea pearl set on white

and moonstones. Faberge.

Dior Fine Jewellery.

gold and diamonds. Mikimoto.

2_Precieuses rose necklace, white gold and diamonds.

Dior Fine Jewellery.

3_Rose Dior bagatelle ring, white and yellow gold, diamonds and rubies. Dior Fine Jewellery.

4_La Rose Dior Bagatelle ring, white gold, diamonds, pink sapphires and emeralds. Dior Fine Jewellery.

5_Bouquet d’Ailes shoulder brooch with

emeralds, coloured sapphires, fine stones and

diamonds. Boucheron.

6_Bouquet d’Ailes earrings set with emeralds, coloured sapphires, fine stones and diamonds. Boucheron.

2 7_Black Tulip ring, set in 18 karat yellow gold and silver, featuring white, yellow and pink diamonds, pink sapphires and rubies. Faberge.

1 3 9

12_Incroyables et merveilleuses fleurs earrings,

11_Bouquet d’Ailes brooch

white gold, diamonds, yellow

set with emeralds, coloured

beryls, amethysts, orange

sapphires, fine stones and

sapphires, yellow sapphires,

diamonds. Boucheron.

pink sapphires, cultured pearls. Dior Fine Jewellery.

18 13 17_Poppy ring, set in platinum, 18 karat yellow gold and silver, featuring white, blue-grey, yellow, green, pink and violet diamonds. The centre

stone is a padparadscha sapphire. Faberge.

18_Bouquet dâ&#x20AC;&#x2122;Ailes necklace, emeralds, coloured sapphires, fine stones and diamonds. Boucheron.

19_Mantis brooch, 18 karat gold plique a jour transparent enamel wings, sapphire cabochon eyes and tsavorite pave. Leila Tai.

20_Whimsical Blue brooch

from the Fluttery Series,

tanzanites (butterfly body) 25.64ct, diamond, lapis lazuli, icy jadeite, sapphire. Wallace Chan.

21_Precieuses champetre ring, yellow gold, diamonds, emeralds, rubies, sapphires, yellow sapphires and pink sapphires. Dior Fine Jewellery.

13_Ladybird bracelet,

rubies, black and white

diamonds. Pippo Perez.

14_Liberty ring, 18 karat gold, diamonds, pink sapphires, tourmaline and pink quartz. Pasquale Bruni.

15_Caterpillar stickpin brooch,18 karat gold, cabochon ruby eyes. Leila Tai.

16_Precieuses rose necklace, white gold, diamonds,

emeralds, pink sapphires. Dior Fine Jewellery.

LU X U RY LI F E ST YLE Tast e

the mouth-watering magic of magnolia wORDS: India Stoughton

New York’s iconic Magnolia Bakery takes its first steps on the path to world domination

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merican businesswoman Bobbie Lloyd may just have the world’s best job title. As “Chief Baking Officer” at New York’s famous Magnolia Bakery, Lloyd, who is company president, not only gets to spend her days making delicious cupcakes and inventing new and ever-more delicious recipes, she also travels the world helping to establish the iconic eatery in new locations - so far scattered across the Middle East. Magnolia started as a small bakery on Bleecker

Street in New York, aiming to bring sinful goodies the way your mother makes them to the big city. The quality and simple-yet-stylish presentation of their produce soon saw people queuing round the block every morning to get their Magnolia fix, and the bakery - which featured in the 2007 fashion flick “The Devil Wears Prada” as well as the iconic New York series “Sex and the City” - is credited with having started a “cupcake craze,” not only across the United States but around the world. In 2008 Magnolia opened its first store outside the US, in Bloomingdales, Dubai. Earlier this year Magnolia franchises made their mouthwatering morsels available in Lebanon and Kuwait, while Qatar is next on the list. Lloyd revealed that negotiations are also taking place in Brazil, Russia, Turkey and the UK. So what’s the secret to Magnolia’s phenomenal success? “The original store is in a very old-fashioned building in a little neighbourhood,” Lloyd told Selections. “It’s the cutest little store. When you walk in, you’re immediately taken back to another time. We have very high standards on the pastries and we work really hard to make sure that those standards are met through the quality of the ingredients that we use. We’re constantly upgrading... if it doesn’t meet our standards we throw it away.” The homely, old-fashion decor that makes the original New York store so cosy and appealing is carefully recreated in every new branch, for that unique Magnolia feeling. Lebanon’s branch, located in the ABC Mall in Dbayeh, features traditional metal chairs made in Paris, beautiful marble-topped tables, elegant antiques and light-fittings flown in specially from America in order to ensure it is a little slice of New York in the Middle East. Every product Magnolia sells, from cupcakes to biscuits, banana pudding to savoury snacks, is made fresh every single day, meaning that in the New York branch staff are on site cooking 24 hours a day. “The way we ice our cakes is a very Magnolia style,” Lloyd says. “Instead of using a piping bag and doing all the decorations with the tip, we do this style where we’re sort of sweeping the sides, so it’s simple - a cake like your mother could have made at home. Every item I want people to go ‘Wow! This is great!” Lloyd insists that in order to maintain the bakery’s high standards, chefs from each new location are flown out to America for an intensive training course that takes a minimum of four weeks. Selections suggests you keep an eye out for a branch opening near you, as Magnolia takes up a welldeserved worldwide presence, proving that simple and special are not mutually exclusive.

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{ The Little Black Jacket comes to Dubai } It’s the successor to the iconic little black dress - first designed by Coco Chanel herself back in 1954 – and now the little black jacket has come into its own with its relaunched vision under Karl Lagerfeld and Carine Roitfeld. A men’s jacket that became celebrated as women’s fashion, the re-envisioned little black jacket takes this timeless classic and turns it into a unisex garment for every occasion; dressed up, dressed down, there is no look or style that it doesn’t fit with. This versatility has been celebrated in a new book – The Little Black Jacket: CHANEL’S classic revisited by Karl Lagerfeld and Carine Roitfeld – along with a photography exhibition that has been displayed around the globe in Tokyo, New York, London, Paris, Berlin and Milan. Now it’s Dubai’s turn, with the exhibition being showcased at a specially built space at The Venue, in Downtown Dubai. Original photographs by Karl Lagerfeld, showing the jacket’s classic status through a range of famous faces such as Keira Knightley and Carla Bruni, form the exhibition. The event will coincide with the window displays of the jacket at the Chanel boutiques in the Dubai Mall and Burjuman, Dubai, as well as Marina Mall, Abu Dhabi. April 27 to May 11, 2013, The Venue, Downtown Dubai, admission free.

{ Saint Laurent Moves to Paris’ Left Bank } Saint Laurent Paris (formerly Yves Saint Laurent) is gearing up to move its ready-to-wear men and women’s ateliers to Paris’ famed Left Bank, relocating to the L’Hôtel de Sénecterre, a 17th century townhouse on the university street.

While the design studio will remain near creative director Hedi Slimane’s Los Angeles’ home, the move for Saint Laurent’s prêt-a porter lines will place them in a district historically linked with the fashion house.

Elie Saab

Elie Saab FAS H ION TITLE

Ha ut e C o ut u r e

fas hio n

WORDS: Avril Groom

Embellished masterpieces reign at Paris haute couture shows

Elie Saab

lie Saab summed up this springâ&#x20AC;&#x2122;s Paris haute couture with the title of his collection - An Ode to Delicateness. The Lebanese red carpet favourite is justly proud of his Beirut workrooms, and his pale, shimmering beaded lacework becomes more subtly refined each season, even though it is also more complex. Last season he unexpectedly played with black as the opening to his collection - this time it is white, with powerful dresses which show his talent for cutting an interesting shape as well as adding some of the worldâ&#x20AC;&#x2122;s most beautiful decoration - this season a silvery sheen on fragile pastels, or a fine tracery of black on a delicate print.

Haute couture has changed in recent years. With wealthy new clients from the emerging economies, it is now less of a creative playground and more about pleasing those clients who want to wear the clothes they see on the catwalk and who want, above all, the world’s best craftwork expressed in embellishment of all kinds, from beading and embroidery to lace appliqué and feather work. For this spring it is done so lightly it seems miraculous. This move has been spearheaded by Valentino, whose two young creators seem to work with mist and thistledown, actually lace of all kinds, from blowaway fragile to layers of appliqué on silk tulle. It takes hundreds of hours to create one such item, or a cape of fine, handmade piping representing ironwork scrolls. The shapes in the week’s best show are serious and innocent - demure-sleeved and round-necked, often with a girlish gathered waist - the perfect antidote to red carpet over-exposure.

Valentino

Haut e Co ut u r e

Valentino

fas h io n

Valentino

Dior

Zuhair Murad

Dior

Giambattista Valli

Now that Raf Simons is establishing himself at Dior, he too is using decoration to the full, with iridescent, spun organza dresses in his more graphic signature shapes, sporting Â whole flower gardens in delicate multi-coloured embroidery, sequins hovering like jewelcoloured insects, while Giambattista Valli gathers tulle, chiffon or crunchy lace flowers as featherweight cages over sleek sheaths, and Zuhair Murad also uses delicate pastel lace and flowers - undoubtedly the weekâ&#x20AC;&#x2122;s top theme.

Giambattista Valli

FAS H fas h ION io n TITLE Haut e Co ut u r e

Dior

Zuhair Murad

Dior

Giambattista Valli

Zuhair Murad

Giambattista Valli

Zuhair Murad

Chanel

Jean Paul Gaultier

Chanel

Jean Paul Gaultier

Chanel

Jean Paul Gaultier

Chanel

Dior

FAS H ION TITLE

Chanel

Jean Paul Gaultier

Dior

Jean Paul Gaultier

Chanel

Jean Paul Gaultier

Ha ut e C o ut u r e

fas hio n

But couture is also about structure, especially as new clients demand day as well as evening wear. In between those Valentino angel frocks come the pure lines of almost monastic silk capes and coats. Simons explores Dior’s classic tailoring in sharp, hip-curved trouser suits and tuxedo dresses. Valli’s longerline, 1950s-inspired dresses and Chanel’s soft, sparkly tweeds and sequins - faintly Victorian with fichu shoulderlines and feather headpieces - also have an appealingly hourglass silhouette. Stéphane Rolland’s modernist drama gets a softer edge of chiffon petals or jewelled waistbands. Everyone loves the tux and trouser suit, though Atelier Versace’s are pinstripe and metallic-beaded rock-chick style while both Armani Privé, with wondrous lustrous weaves and silk rouleau waistcoats, and Gaultier, with Indian colours and accessories, add a fresh ethnic touch. Despite the apparent solidity, all these pieces are as light as the dresses - another couture miracle.

Alice started to r o f , t e e f her it flashed r across he at h t d n i m she had e r o f e b r e nev seen a h t i w t i b b ra either a ta o c t s i a w r pocket, o a watch to take . t i f o t u o

Fashion through the

looking glass This seasonâ&#x20AC;&#x2122;s style feels right at home in Aliceâ&#x20AC;&#x2122;s Wonderland.

Illustrations: Yasmina Nysten

“Oh dear! Oh dear! I shall be too late!”

Dior

e l b a t e h T e g r a l a s wa e h t t u b , one e r e w e e r th d e d w o r c all t a r e h t e g to r e n r o c e on o N â&#x20AC;&#x153; : t i f o o N ! m o ro room!â&#x20AC;? d e i r c y e h t out when they saw Alice coming.

er d n a x e l A n e e u Q c M

Dior tista t a b Giam Valli

Dior

Chanel

tista t a b Giam Valli

tista Giambat Valli

Dior

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FAS H ION Runway

Yulia Yanina works her magic on the haute couture runway

and Yulia Yanina

Words: Owen Adams

Natalia Vodianova

anina is to Moscow in 2013 what Dior was to 1950s Paris – a bold claim to make, for sure, but one that’s hard to argue with. Yulia Yanina’s Spring/Summer 2013 collection, 20 years on from launching her post-Perestroika fashion house, is as wedded to her mother country as Dr Zhivago or Rasputin. As one of only a handful of haute couturiers in Russia, her signature neckerchiefs are the most conscious echo of babushka-recalling tradition. But her latest haute couture array is still a departure from her previous chiffon and fur-dominated collections, which recalled the imperial era when the Tsar and Catherine the Great were still on their thrones, and also emphasised folklore. A bewitching combination of the demurely opaque and revelatory diaphanous, her models cascaded down the Le Bristol Hotel, Paris runway in veils and headscarves, while the garments also tapped into the current worldwide trend for naturalistic forms and archetypes. “I wanted women to look like faeries and elves, and femme fatales,” she revealed. “Each dress is a little story dedicated to the woman. The transparency of the veil is like a canvas, on which an artist expresses their mood and also shows the skill of hand embroidering.” The essence of the seasonal attire is on the “lightweight,” she says. “Even transparent

©Guillaume Collet - Luxury Limited Edition

shoes were made for the lightweight image.” She wants those fortunate enough to wear her haute couture to feel like a mixture of faeries, beauty debutants, like mellow “coloured clouds moving on the runway”. “Russian traditions and customs are not only represented in an obvious decoration of garments, traditional motifs in embroidering, saturation of colours and the happiness of life,” she explains. “In spite of a new mood in our collection, the most important thing is that there is Russian soul and special power.”

“…the most important thing is that there is Russian soul and special power.”

And the naturalism, she adds, is in homage to art masters and the beauty of the feminine form. Yanina says that while her motivation for creating comes from love, her inspiration for her new collection came from Cannes Film Festival and the magic of Hollywood. “This story is about the young debutante who is involved with the festival fuss of Cannes,” she says, the emotive pull of the “red carpet”, and the thrill of attending elite parties and dances. “It all comes between reality and dream, as in Hollywood.” The designer says she was born to make fairy tales come true, in a way not dissimilar to earlyFifties starlets trying on Dior, a sublime kind of luxury and lightness of being.

FAS H ION Di ary

ra p h y P h o to g Words: Owen Adams

The fashion diary of

A glimpse behind the scenes of London Fashion Week written exclusively for Selections by Kuwaiti fashion designer Tahir Sultan.

adness – the madness has ensued again, they said it would get easier the second time round. It’s London Fashion Week – unbeknown to me I have been bequeathed the closing show and everything that can go wrong is going wrong …….. I’m doing an hour and a half of yoga a day and an hour at the gym as well and the stress has yet to subside.

The 13th of February – not Friday the 13th but it may as well be.

I’m in Kuwait, I’m jetlagged and tired. I have flown in and have had to pull more strings than exist on a guitar in order to obtain a six months’ visit multiple entry visa, as I am flying out of Delhi (where I have moved all my manufacturing) and then have to fly back in as have a tonne of work to finish. I am stressed as most of the Kuwaiti sponsors have pulled out last minute with their regular excuses. Yet I take a deep breath – breathe in and breathe out. All is not lost: a fashion fund has been set up in my aunts’ names, which directly benefits me so it’s going to plug one of the holes. Fashion week is so expensive yet so necessary in order to gain a cult following and showcase one’s work. It’s something I

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need to do and have ploughed full throttle ahead to aph y: Ie do it. va B laze vici ute Am on the flight back to Delhi via Dubai to head to London. Oh my God, my passport. Where is my passport – not the one in my hand, the one with my British visa? I can’t remember: is it in Dubai, is it in Delhi, is it in my room in Kuwait? Meltdown hyperventilation. I call my brother and order him to leave work. Finally he finds it, calls Fed Ex, and mails it to me, and I land in Delhi in full blown work mode.

15th February: lights, camera, action – it’s time to drop outfits

I get up at five o’ clock – trudge through the sewage to reach the factory and pick up the clothes, which look fab. I get to the venue at six to start hair and make-up – it’s all very James Dean meets glamour meets the 1940s. The clothes are so tiny the model can barely get into them and then asks me if she needs to lose weight. It’s bad when the make-up artist is screaming at her to suck her stomach in. Meanwhile I am still trying to get my embroidered pieces - I find pieces that I had been told took two weeks to make, could suddenly be made overnight. The second the shoot is over, it’s back to the factory getting outfits together, followed by an hour’s car journey to my graphic designer, who I sit with and diligently design the brochure with. I have become like a money dispensing robot: all I am doing is paying bills at a furious pace. I get home at nine and am exhausted. I still have so much to do - it’s crazy . By the time I finish answering all my emails, it’s well past two and I collapse with exhaustion.

Day six prior 16th February: Nightmare to the madness, my street – 17th unprofessionalism, and onFebruary: Mid air holding my tongue.

Ok so my embroidery pieces are not ready and I am being given the runaround. I am trying my best to keep my cool as I need them for the show. My invites have reached London and are being dispatched and the RSVPs are coming in like crazy. I have yet to organise a fashion shoot for the press and have my lookbooks printed. I am furiously trying to get my looks together, but I can’t as the embroidery pieces are not in. It’s raining. Chattarpur, where the factory is, has flooded, so there is a lake of raw sewage one has to wade through (I get the driver to drive through in order to get to the factory). One would never believe that such high grade garments that were wham bam glam were created and born in these circumstances. I check on my embroideries and am fed some story and I am beginning to panic.

I don’t get my knits. The lady totally let me down. I am fuming. I am now working to get outfits together – picking up all the items I need for styling around town. I have no clue how 1am rolled around, but I am frantically packing all my clothes. I barely make it to the British Airways counter on time – thank God I checked in online and thank God the women who checked me in didn’t mind that each of the three bags was overweight. It suddenly hits me: my stash of sleeping pills is lying on my dining room table, and I will need a prescription for them. Oh no, horror of horrors, I am actually going to have to be super nice to whoever is in charge and get my hands on them. Luckily for me the sleep fairies were totally smiling down on me and the nice man at the Duty Free took pity on me, or what can only be described as a neurotic panda with sleep deprived eyes dressed like some rock star. I get on the flight and 36,000 feet high, I lie down, throw my cashmere blanket over me, and pass out .

FAS H ION Di ary

17th February: 0 degrees – immigration nightmare.

Umm is Heathrow Terminal Five kidding me? I stood in line for two hours to get my passport stamped. By the time I get my bags, I am fuming. It’s freezing, the walk between the airport and the car is painful. Thank God I am draped in fur. On the car ride home I get an inkling of just HOW tired I am. That sleep on the plane did not suffice. I get to Charus, who rushes me out the door. “C’mon darling, we’re meeting Deviki, and going to go see the Manet show at the Royal Academy, it’s completely sold out.” I call my PR team, who tell me everything is all set for tomorrow, to take the day off and chill. After the exhibition I start calling to make sure everyone got their invites. Which of course they haven’t, so the madness ensues, chasing up and organising. Am dragged to Automat. Two members of Vogue India and a member of Vogue Russia are sitting next to us. I strike up a conversation, blablabla, yes yes yes, we’ll come to your show, amazing amazing amazing. I have invites hand delivered to them and of course they didn’t show up. People in fashion are so insincere.

18th February: Migraines, styling and heaven

Ok, so I make it to the office ages before the fit model arrives…. I have a migraine from hell and my prescription medicine is lying a handy nine hours’ flying time away. The model arrives and the first thing I notice is how revolting her hands and feet are. This is not a new phenomenon: when I worked at Galliano I remember making the same observation. I mean, if I was a model and my only job was to look good, you would be pretty damn sure I would be at the top of my game. Trying to put together sequins and looks on girls that are not there is a nightmare. Almost as bad as the long form I had to fill out at Boots to get my migraine medicine. As the meds kick in and the sun sets and I die a million deaths trying to squeeze this chick in and out of outfits, I resolve that there is light at the end of the rainbow. And once we are done I meet Charu, who picks me up (as I wait on the street as my delicate cheeks are whipped by what feels like gale force winds of minus a zillion).

I get in the car, we head to Soho, and settle down at the bar of … (you know what I am not revealing the restaurant - it’s far too chic and delicious). Let’s just say there was teal (baby duck) and truffle polenta and artichokes and, and, and… the list is endless and yummy. One of the best meals ever. By the time I get home I am terrified about the show tomorrow so reach for a sleeping pill, take it, pass out .and then wake up with a knot in my stomach. I am so nervous. Oh my God, what have I gotten myself into?

19th February: Showtime

Tahir Sultan takes to the runway at the close of his

I get to the office, sort out more payments and last minute details. Then head off to lunch at Colbert with a close friend of mine. It’s now 4 o’ clock and I hit the venue. Joe is there (the head make-up artist for The Body Shop). She grabs me and says, “Darling, I know you weren’t here for the test. For you, I’ll do it all over and you can change the whole look if you like.” Ufft I love her. Bill, who is head of hair for Toni and Guy, pretty much said the same thing to me – so we tweak, and dramatically. OK, fine, that’s a lie: we completely change the looks. And hair and make-up begins. We start to fit the models- now here’s the thing: all the models are different, and have their own sense of style, so what they can carry off varies. Georgia and I go nuts sorting everything out. It’s a full blown nightmare. In my last fashion diary I joked about how a model was not going to turn up. Yeah, not so funny as one doesn’t. So it’s back to arranging and re arranging. In the end we drop three outfits, forget to send two shrugs down the ramp and put on some of the tights. I am freaking out the length of the music is not enough and, before I know it, I strut to the end of the runway, and it’s more like ‘blue steel’ than a bow. I have no clue what happened but I walked the ramp myself. Backstage there is FTV and other news channels, and I am exhausted and am being pulled in so many directions by so many people. Finally I am left alone by the press. Go out to dinner then drinks and for some crazy reason come home at 5 am. I wake up for my flight at seven, rush to the airport check in, and think: wow, it’s over. I hate fashion.

London Fashion Week show.

FAS H ION Intervi ew

Words:

Susan Wilson

The architecture of the world around us is too often overlooked and unnoticed but for Dina JSR - a fashion designer of Lebanese origins who grew up in KSA, and was educated in London and ESMOD Beirut â&#x20AC;&#x201C; architecture forms the inspiration behind her own collections, from the ruins of Baalbek to the modern arches of Spanish architect Santiago Calatrava. You are a woman of many worlds, living, working and travelling in the Middle East and Europe. How has this exposure influenced your designs?

Being able to travel to many different countries and meeting and seeing different cultures has always inspired me and influenced my designs. London has inspired me to design cocktail dresses, Paris has inspired me with its productions and precision, and in the Middle East women love to dress up and look fabulous while attending celebrations and weddings.

I love the work of geometric pattern and structures.

Architecture and interior design have had a strong role in your life - what lessons did you learn from your work in that field and how is it applied to your fashion design now?

The work of architects inspires meâ&#x20AC;Ś I love the work of geometric pattern and structures. Also I find it beautiful to be able to mix the artwork of someone else and use it in a different way while adding your special touch. I like combining structure and the silhouette of a woman to come out with a design that contains both. You started out with a BA in jewellery before turning to your career in fashion design. Why the switch and do you see yourself designing jewellery in the future?

Ever since I was a young girl I wanted to become a fashion designer. When I attended Central

Designer Dina JSR

Saint Martin and did my foundation course, I was fascinated by the use of hands to be able to create and decided to pursue jewellery design. After that I felt there was something missing and that’s when I decided to turn to fashion. I am hoping in the near future to add a line of jewellery to my brand, because I also enjoy designing it. Interning under Rabih Kayrouz must have brought with it challenges and opportunities in equal measure - what was the most important experience you took from that?

Everything was important; I managed to see the whole process from the beginning of a collection until the end. I learned how to start a collection, how to work on my designs, how to see certain finishing and if it wasn’t for this experience I wouldn’t have be able to do what I am doing today. What inspired the look behind your first collection?

My first collection was inspired by the historical architecture in Lebanon, like the ruins of Baalbek and Byblos or the seascape and islands of Tripoli.

Tell us a bit about the latest collection? What is the theme?

The last collection is the Spring/Summer 2013 collection inspired by Spanish architect Santiago Calatrava. He uses a lot of arches in his work, which was what caught my attention, and you could see how the designs in my dresses are related to his work. The collection is colourful with yellow, green, blue and some printed gazar that is one my favourite fabrics. For the coming Autumn/Winter 2013 collection, I am using a lot of laser cuts and prints with designs that I have created and also a new technique - embossed. An architect also inspired me in this collection.

FAS H ION Trends

W ORDS : A v r i l G r o o m

Before you decide which of springâ&#x20AC;&#x2122;s multitude of trends you fancy, there is really only one question to answer - are you the sort of girl who likes to look forwards or backwards? Each new look seems to have its heart in either futurism or nostalgia. So just work out whether you are a modern minimalist or a sweet old-fashioned girl and all will become clear.

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FAS H ION TITLE H

chanel H H H

versace H H H

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chanel

versace

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gucci

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London steps up its fashion game Richard Nicoll

TopShop

FAS H ION TITLE

Words: Avril Groom

Osman Holly Fulton Giles

Osman Giles

Osman Holly Fulton Giles

Osman Holly Fulton

Giles

Holly Fulton

Osman

ondon fashion is now as sleek and sophisticated as anywhere in the world, and more inventive than most. A superb mix for autumn starred Christopher Kane’s best offering yet, with investment in him from the Gucci Group yielding a big step-up in ideas and handwork, stellar collections from local favourites Erdem, Giles, Preen and Osman, luxe glamour from Burberry and Mulberry and the arrival of two world-class New York names, Tom Ford and L’Wren Scott, to polish London’s sheen. Strong trends emerged. The minimalism of sporty modern geometrics that appeared for summer ‘13 continues, and the oversized, square-cut coat will be a staple, but in less austere form - with a border of clear sequins at Richard Nicoll, a tracery of gold brocade on cream at Osman. Simplicity turns to luxury in big, dark, soft checks or sculpted leather at Mulberry, playfully with animal prints, worked in fur, at Burberry, where even heart motifs and latex skirts look classy. The 1950s is the strongest period influence, with the longer, full circle skirt a big trend - ladylike at Emilia Wickstead, rock’n’roll with bobby sox at Holly Fulton, Russian-style in grand wool brocade at young star Eudon Choi and streetwise in patent leather at TopShop Unique. But the most interesting move was back to embellishment in a big way, as if plain clothes can only satisfy a fashionista for so long. Here the New Yorkers scored strongly, Scott with sinuous longer dresses and big coats inspired by Austrian artist Gustav Klimt and featuring gold leaf swirls, big hair and huge gold collars, while Ford went bling-tastic with enough neon fur patchwork and brilliant crystal to please the pickiest hip hop artiste. The beautifully worked decoration at Kane includes tiny dark feathers edging silk velvet and calligraphy swirls of hand corded lace on tulle, while Giles’ ornate fantasy mixed puff-sleeved Victoriana with a romantic, 1970s-style pre-Raphaelite vision. Erdem’s darker than usual look piled lace and beading on appliqued velvet, all making a look that promises a richly glamorous winter season.

Erdem

Eudon Choi

Holly Fulton

Osman

Burberry

Richard Nicoll

Jil Sander

Marni

Ferragamo

Versace

Verscace

Verscace FAS H ION TITLE

Ferragamo

In the mood at Milan Words: Avril Groom

Jil Sander Marni

Marni

Jil Sander Marni Marni

Jil Sander Jil Sander Marni

Jil Sander Marni

Jil Sander

ilan fashion for next autumn is darkly, weirdly beautiful, and was viewed in nearly continual snow. Designers look either to past decades, with a modern twist, or they take a purely contemporary approach, with big proportions and angular cuts. In both cases a slightly tough and haunting atmosphere prevails, in a time of economic and political uncertainty for the home country of many luxury brands. The 1940s and 1950s are favourite fashion periods but Milan’s designers view them through a veil of film noir moodiness. The basic shape is a slim, elegant, long line coat or dress, curves defined by darts at the waist - best seen at Gucci - or with a sweeping, full circle skirt - Prada adds an extra panel, sometimes beaded, to make a more adventurous shape. Dolce e Gabbana work the glamorous 1950s in traditional soft tweed, and contrast them with opulent, golden mosaic and beaded dresses inspired by old icons. Bottega Veneta’s lovely, 1940s-inspired look extends shoulders with layers of fine wool ruffles, and complex vertical pleats on skirts and coats, while Emporio Armani’s drop waists, cloche hats and asymmetric velvets look to the 1920s. Checks are the pattern of the season. Tartan gets you noticed, in Moschino’s Highland extravaganza with velvet jackets embroidered in gold, sporran bags and mini kilts, or reviving punk style at Versace, with black vinyl and metal spikes. Prada does winter gingham in pastels on huge swing coats, while Sportmax takes checks modern with grid patterns in fur or silk. Some surprising brands go modern. Etro, Ferragamo, Missoni and Trussardi all put their trademark prints or house symbols on to tough, dark, oversized shapes for a new edge. Pucci returns to print, very short, very ruffled and worn with hip-high suede boots. Ever modernist Jil Sander and Marni adopt an oversized simplicity that takes great effort to achieve, and with gentle colours and a wistful woodland print respectively achieve a thoughtful optimism missing from much of Milan.

Chanel

Paris Goes with the Flow

Chanel

FAS H ION TITLE

Words: Avril Groom

Louis Vuitton

Lanvin

Céline

Lanvin

Louis Vuitton

aris designer fashion for next autumn is nostalgic and strangely melancholy, softer and more cerebral than Milan’s tough style. It is dark, serious and, at its best, stunningly beautiful, with many standout shows. These include Givenchy’s improbable mix of dusky, gipsy-inspired prints and tiers with Victorian biker girls in tailored velvet and leather, Valentino’s grave and serene governess dresses detailed like Dutch old master portraits, Chanel’s lady-is-a-punk black tweed army marching to world domination, Stella McCartney’s wearable finger on the pulse of every main trend, and Louis Vuitton’s 1930s take on grand hotel rooms, with girls emerging clad in languid satin and lace lingerie dresses or silk pyjamas, under sumptuous tweed or brocade coats trimmed with fur. Austerity chic is a big theme, in a romantic, slightly bluestocking way. Long hems predominate, demurely waisted at Valentino, luxe librarian-style with sensible shoes at Hermès, slim and sophisticated on suits at Dior or Vuitton, full and prom style with a twist, in leather at Dior or Hermès, big silk prints at Lanvin or Rochas. Nostalgia comes in decades but slightly off-key - 1930s film noir at Vuitton, literally warped and reconstructed 1950s at Lanvin, and a 1970s take on dandyism at Yohji Yamamoto. This segues into masculine in the home of “le smoking” pinstripes at McCartney and Vanessa Bruno, dinner suits at Dior. Checks and tartan figure too - on big coats at McCartney and Céline, on softly curvy suits at Lanvin, in sparkly black and grey at Chanel with punk-style studded boots to match - a tough spin on the house’s ladylike image. The newest trend is soft fluidity - gently fluted shapes and wraparound sleeves at Céline, soft chiffon sleeves and skirts at Givenchy, bias-cut, lace-inset lingerie dresses at Vuitton and McCartney. After seasons of tough and angular, it’s surely the way to go.

Dior

Lanvin

Stella McCartney

Hermes

Stella McCartney

Hermes

Stella McCartney

Hermes

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Words: Helen Assaf

Philip Treacy, Photographer : Kevin Davies

It was an event in London Fashion Week history that won’t be easily forgotten. From the moment a neon pink shrouded Lady Gaga appeared to announce “the greatest milliner of all time”, Philip Treacy’s Spring/Summer 2013 collection got underway with a more than usual dose of off-the-wall panache.

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nown for his avant-garde approach to millinery, Irish-born Treacy, often dubbed the ‘Mad Hatter of Britain,’ had taken a ten-year hiatus from London Fashion Week before his triumphant return in September last year. It was regarded as a tour de force from the man whose wearable works of art are designed to challenge people’s perceptions of hats. Staged at the Royal Courts of Justice, the show elicited accolades that reinforced Treacy’s status as a milliner of unparalleled genius. Inspired by the exuberance of Africa, Treacy

created a collection that ran the imaginative gamut of fairgrounds to seafaring ships to the smiley face icon, paraded by models dressed in items from pop king Michael Jackson’s own wardrobe. Swarovski elements – ever present each season – and huge sparkling rings added what Treacy called “an extra bit of glamour to everything”, noting that “everybody loves things that sparkle”. Fittingly from the man who sees hats as accessories of the future, the finale included a tech-infused creation consisting of a meshed, cage-like structure covering the body inter-weaved with a series of 6,000 LED lights.

Swarovski Crystal African Star hat by Philip Treacy, Photographer: Chris Moore

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Swarovski Crystal Blue Eye Mask by Philip Treacy, Photographer: Chris Moore

The Dune hat by Philip Treacy, Photographer: Kevin Davies

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{ La Petite Maison } A French culinary institution since the late ‘80s, La Petite Maison, first established in the heart of Nice, is soon arriving on Beirut’s shores. With its origins lying in Genoese cooking, the town of Nice, where French Mediterranean cuisine has blended and evolved with the influences of Ligurian Italy, just across the border, the Nicoise fare has earned itself a global reputation for light and simple dishes. With oil from the groves of the Alps used throughout, particular produce is artichokes, courgettes, lemons, tomatoes, peppers and girolles will be used generously with seafood, meat and fresh pasta. Coupled with wines from the Languedoc and Roussillon regions, Nice won’t seem so far away. La Petite Maison will be opening its doors this April at Le Vendome, Ain Mreysseh www.lpmbeirut.com

{ A BOLD NEW BASELWORLD } Seven years in the making, and with 22 months of construction work behind it, the new hall to MCH Basel Exhibition was handed over by HRS Real Estate in February this year, making it one of those rare new builds that come in on time and according to plan. The largest ever investment made by the Swiss exhibition industry, 430 million Swiss francs, went into to the building of the 220 metres long, 90 metres wide and 32 metres high hall complex, which has a staggering 38,000 square metres of exhibition space on the ground floor alone. Developed by architects Herzog & de Meuron, the new building’s functionality and aesthetics was used to showcase BASELWORLD The World Watch and Jewellery Show, in April.

{ Disney Stars to descend on Rixos Antalya Hotels } Rixos has some great news for families travelling with young kids this summer. From May 15 to September 15 the ‘Disney Live! Mickey Mouse’s Music Festival’ will be performed at Rixos Antalya Hotels, featuring Disney favourites Mickey and Minnie, along with characters from the Little Mermaid, Aladdin and Toy Story. A lively concert guaranteed to stay in your kids’ minds long after their holiday comes to an end, the Disney Live experience has been selling out worldwide and features remixed and up to date sounds with hip hop, pop, reggae, rock and more.

{ Double Delight in Croatia: The Garden Festival and the Electric Elephant } A weekend filled with electronica, the 6th Electric Elephant is back at The Garden Tiso, with the line-up so far including Frankie Knuckles, Carl Craig, Mr Scruff, Andrew Weatherall & Sean Johnston, Michael Mayer & Tobias Thomas, Horse Meat Disco, Miguel Campbell, Doc Martin, Prosumer, Optimo, Justin Robertson, DJ Nature, Ivan Smagghe, Ewan Pearson, Pete Herbert, Boston Bun, Late Nite Tuff Guy, DJ Rocca, Chris Duckenfield, Lowlife and more. More than just a festival, at the Electric Elephant you can relax in the sunshine, swim in the sea and dance under moonlit Croatian skies, in an event that evokes the original atmosphere of Ibiza. www.electricelephant.co.uk The Garden Festival ‘The Next Step’ – Weds 3rd – Weds 10th July 2013 Electric Elephant – Thurs 11th – Mon 15th July 2013

The original Croatian summer dance festival, the Garden Festival, was launched in 2006, and has gone from strength to strength. Returning home to Tisno, on the Dalmatian coast of Croatia, this year’s live acts include Metro Area, Space Dimension Controller, Crazy P, Auntie Flo, Outboxx, Paqua, Land Of Light, Face and Heel and more. DJs include Floating Points, Eats Everything, Justin Martin, Krystal Klear, Theo Parrish, Soul Clap, Wolf and Lamb, Bicep, Chez Damier, Alex Boman, Psychemagik, Young Marco, Maurice Fulton, Crazy P, Greg Wilson, Huxley, Eric Duncan, DJ Nature, Tim Sweeney and others. With Croatia joining the EU on July 1st this year, this festival will be celebrating a new epoch in the county and returns home to a sun-filled holiday feel, dancing outside under the stars with an audience from all over the world for seven days and nights of music. www.thegardenfestival.eu

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words : S u s a n W i l s o n

Selections checks into some of the fashion world’s top design hotels.

Moschino Hotel Milan Through the looking glass, the Moschino Hotel in Milan is a bacchanalia of design with bright bold patterns inspired by a visionary and contemporary fairy tale theme. Located in one of Milan’s most beautiful buildings the old 1840 neoclassical railway station has been reinterpreted into Moschino’s surreal vision of an Alice and Wonderland inspired adventure. Each of the charmingly named rooms is individually designed, from Alice’s Room’s teacup table to Little Red Riding Hood’s wolf in the bed. Don’t miss … Each of the kooky room designs is a sight to see but a definite highlight is the rose petal covered bed in the Life is a Bed of Roses room.

Contact: +390 2298 09858, Viale Monte Grappa 12 20124 Milan, www.maisonmoschino.com/en

Bulgari Hotel London

The recently opened Bulgari Hotel London is the first brand new luxury hotel to be built in London in over 40 years. Located in the heart of Knightsbridge, the new hotel pays homage to Bulgari’s past with stylish and understated interiors designed by Antonio Citterio, Patricia Viel and Partners. With silver as the unifying theme, Bulgari London’s design aims to combine Bulgari’s silversmith origins and Britain’s manufacturing traditions. With uniquely designed features based on Bulgari jewellery designs complementing modern features, Bulgari’s latest hotel - Bulgari Milan opened in 2004 and Bulgari Bali opened 2006 – is a stylish option for those visiting the capital. Don’t miss … the Private Screening Room, a luxury 47 seat cinema provides an intimate and high tech environment for you to enjoy over 200 films, new releases and classics, as well as being a prime location for business and press events. Contact: +44 02071 5110 10, 171 Knightsbridge London SW7 1DW United Kingdom, www.bulgarihotels.com/en-us/london/the-hotel/overview

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Armani Hotel Dubai

Giorgio Armani himself attended the May 2010 opening of the Armani hotel Dubai. The first of many proposed Armani hotels, the Dubai hotel - located in the world’s tallest building, the Burj Khalifa tower – is the collaborative work of Giorgio Armani and Emaar Properties. Under the agreement between the two, Armani held sole responsibility for all aspects of the interior design and style of the hotel, and this is evident with several of the rooms personally designed by the man himself. A luxurious location and style, the hotel embodies the understated elegance of Armani, with sleek minimalist detail and earthy tones. Don’t miss … the Armani Spa, a reflection of Armani lifestyle and design philosophies, offering individualised treatments and a beautiful space to relax and unwind. Contact: +971 4888 3888, Burj Khalifa TowerDubai UAE, www.dubai.armanihotels.com

Palazzo Versace Australia A collaboration of Gianni Versace and the Sunland Group, the Palazzo Versace Australia opened back in 2000. The hotel is not only the first Versace branded hotel - Palazzo Versace Dubai is under construction – it is the first fashion branded hotel in the world. With a waterfront setting, on Australia’s world renowned Gold Coast, the hotel brings all the class and style once confined to the grand hotels of Europe. Beautifully decorated with true Italian style and opulence, the Palazzo Versace Australia is a design icon. Don’t miss …an antique chandelier that once hung in the grand State Library of Milan and is now a centre piece in the Palazzo Versace Australia. Contact:+617 5509 8000 Sea World Drive (PO Box 137)Main Beach QLD 4217 Australia, www.palazzoversace.com.au

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Missoni Hotel Edinburgh

Located in the heart of Scotland’s capital, the famous Royal Mile, the Hotel Missoni Edinburgh was the first of the Missoni brand hotels to be opened back in 2009. Since then Missoni Hotel Kuwait was launched in 2011 with at least four more hotels in the offering across the world including Brazil and Turkey. Each Missoni Hotel is a unique experience, reflecting the creative vision of Rosita Missoni herself. Hotel Missoni Edinburgh is sleek, chic and stylish - the only 5 star hotel on the Royal Mile – and filled to burst with design touches, bold black and white, bright colours, and Missoni designed products in each of its rooms. Don’t miss … the Cucina, an award winning signature restaurant that is the heart of the Hotel Missoni Edinburgh, where the freshest and finest ingredients offer up an authentic taste of Italy all served on stylish Missoni patterned tableware. Contact: +44 01312 2066 66, 1 George IV Bridge Edinburgh EH1 1AD United Kingdom, www.hotelmissoni.com/hotelmissoni-edinburgh

Schlosshotel, Lobby

Piano Suite by DVF second bedroom

Oceanfront Room, Ralph Lauren Design

Fashion branded hotels aren’t the only places to stay in style and luxury. Many famous and lesser known hotels have elements or rooms designed by some of fashion’s best known names. The Schlosshotel im Grunewald is Berlin’s only fashion designed hotel.The building celebrated its 100 year anniversary in 2012 and, in line with Berlin’s recent push to be considered a fashion hub, it boasts the Karl Lagerfeld Suite and other elements designed by the famous German fashion designer. Similarly Claridge’s in London features rooms and suites designed by Diane von Furstenberg, the culmination of a years-long relationship between the designer and the hotel, and her first outing as an interior designer. For those who want to mix their passion for design with a holiday in the sun there is the Roundhill hotel and villas in Jamaica, whose oceanfront guest rooms are designed by none other than Ralph Lauren, ensuring an understated elegance in a luxurious setting. Another sun filled design paradise is found at the Puntacana Resort in the Dominican Republic whose award winning Tortuga Bay resort boasts luxurious service in villas designed by the world famous Oscar de la Renta. Each of these hotels, while not fashion branded, contain elements or rooms that are stunningly designed by some of fashion’s biggest players, and are well worth visiting to experience the special feeling of staying in a room specifically designed by one of fashion’s greats.

words :

Jennifer Hattam

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orn and raised in Istanbul and educated at the prestigious Rhode Island School of Design in the United States, fashion designer Serra Türker made her name in New York City with her boldly coloured and patterned Misela line of purses and clutch handbags. Named “one to watch” by Elle magazine, Türker’s designs can be found at stylish shops from Mexico City to Jeddah, including Bloomingdale’s Dubai and Harvey Nichols Hong Kong. Last year, she relocated back to her hometown to open her first Misela boutique, in the lively Beyoğlu district of Istanbul. The two great cities Türker has called home are reflected in her past-meets-present style, which combines the knowledge and workmanship of Istanbul’s longtime leatherworkers, metal smiths and other craftsmen with her sleek, thoroughly modern geometric designs.

What are Istanbul’s best and worst qualities?

I love the way that Istanbul is a mix of cultures. The old and the new are interlaced together and you can always find something that you didn’t know existed before. Istanbul’s significant history penetrates you when you become part of the city. Its beauty mesmerises you every day and you can still feel the different cultures that lived there throughout the years. Istanbul has many great qualities, but the traffic is its worst quality. Where is the best place to experience the real Istanbul?

The Beyoğlu district is the best place to experience the real Istanbul. İstiklal Caddesi is one of the oldest streets in the city and it always amazes me with the amount of [foot] traffic it sees on a regular day. I love to explore the [nearby] Çukurcuma and Galata neighborhoods too. What is the city’s best-kept secret?

The Princes’ Islands are somewhere that might not be on your itinerary. These nine islands [in the Marmara Sea] have been the summer getaway for

The Beyoğlu district is the best place to experience the real Istanbul.

many people throughout the years. What I love about these islands is that motorised vehicles are forbidden; you either have to walk around to explore them or use horse-drawn carriages. On the top of Büyükada, or “Big Island,” there is the Church of St. George, also known as the Aya Yorgi Church. It is one of the two holy pilgrimage places for Christians [in Istanbul]. When you’re away from Istanbul, what about it do you miss the most?

I truly miss the Bosphorus. No matter where you see the Bosphorus from, it always gives you a certain feeling of peace. Where is your favourite place to go shopping in Istanbul?

I’m not a mall person; I like to go to stores that have a selection of different brands. I love to shop at Midnight Express [in Bebek and Nişantaşı] and Atelier 55 [in Galata]. Describe your perfect day in Istanbul.

My perfect day would be to walk by the Bosphorus on the European side from Kuruçeşme to Bebek, then have a great brunch at Mangerie with friends. After that, I would go to my store in the Beyoğlu district and hang out in the store all day. At night, I would go to Münferit for dinner and drinks. If Istanbul was an outfit to wear, what would it look like?

It would look like an old caftan with patches on it, symbolising all of the new additions to the city. If you had to sum up Istanbul in five words, what would they be?

Beautiful, eclectic, harmonious, spiritual, and energetic. Misela Boutique Meşrutiyet Caddesi No. 107E Beyoğlu, Istanbul, Turkey Telephone: +90 212 243 53 00 Website: www.miselaistanbul.com Hours: Mon.-Wed., 11 a.m. to 8 p.m.; Thurs.-Sat., noon to 9 p.m.

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Words: Owen Adams, Stephanie Plentl, India Stoughton

Selections shares a few well-kept secrets with readers on our favourite places around the world to visit, eat, stay and shop

San Ysidro Ranch Santa Barbara This breathtakingly romantic property which won accolades in Travel & Leisure magazine as one of their top 25 hotels in the world – is a residential enclave for Santa Barbara’s elite. Individual cottages are charmingly decorated and perfectly private, and there are two cosy restaurants onsite. Imbued with glamour and elegance, this is where JFK took Jackie Kennedy on honeymoon and where Vivien Leigh and Laurence Olivier exchanged wedding vows. www.sanysidroranch.com

Cecconis, Soho House Miami Miami was recently blessed with the growing film-centric institution that is the Soho House members club. For nonmembers, the way to soak up a little of its glow is by dining at Cecconi’s, the sibling to the acclaimed Venetian and London restaurants. Featuring a sublime menu of Venetian classics - the creamy burrata in a bowl is to die for – the softly lit courtyard has a sensationally seductive ambience. The cocktail bar serves Italian and Latin libations to a photogenically blessed set. ©Gesi Schilling

www.cecconismiamibeach.com

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Cellers Hohenhort Cape Town All senses are stimulated at this exquisite Capetonian restaurant set within 9.5 acres of manicured gardens in the Constantia Valley. The Greenhouse is a light-filled fine dining restaurant that has awardwinning chef Peter Templehoff at its helm. Voted No.1 restaurant in South Africa (EatOut 2011) the tasting menu uses local produce with sophisticated and inventive techniques that cannot fail to surprise and delight. The ‘camembert’ cheesecake is a whimsical cheese-board inspired dessert that’s not to be missed. www.collectionmcgrath.com/cellars

Everglades Air Boat Florida Thrill-seekers and nature enthusiasts will have to hold onto their hats for this adventure that’s unique to the Florida Everglades eco-system. A representative of the Miccosukee Native Indian tribe will take you on a private Air Boat tour of the reservation that has been vital to their identity for generations. An enormous propeller glides the boat through the shallow grasslands at top speed, stopping at islands (known to Natives as ‘hammocks’) where wild alligators are cared for. For more detailed eco-tours of the region contact Dragonfly Expeditions (www.dragonflyexpeditions.com) www.tigertailairboattours.com

Wynwood Walls Miami An inspiring surge of creativity has quietly revolutionised an entire neighbourhood in Miami. Previously undesirable and derelict, community revitaliser Tony Goldman saw potential in Wynwood as he had done before in South Beach. By inviting global experts in graffiti and street art to adorn the bare warehouse walls, the area was colourfully invigorated with social and political pictorial commentary. Now the unofficial nucleus of the city’s prestigious annual Art Basel event, the compelling murals of Wynwood are one of Miami’s major attractions, particularly for the monthly ‘Art Walk’. Lunch at the Latin-influenced Wynwood Kitchen & Bar will take you right to the heart of this terrific arts community (www.wynwoodkitchenandbar.com). www.thewynwoodwalls.com

TUSCANY Italy Finding a villa in Italy that won’t disappoint on arrival is tricky game of trust and luck. Tuscany Now, who have been hand-picking their properties for 20 years, thoroughly consult their clients on needs, interests and priorities first to ensure that there are no nasty surprises. Their impeccable collection of luxury villas throughout Italy can also be supplemented with the services of a local cook, maid or babysitter – so that total relaxation is guaranteed. www.tuscanynow.com

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SIX SENSES SPA PARIS Six Senses Paris - the brand’s first foray into France - is an intimate eco-spa with an ingenious use of space: treatments happen in six soothing oak and paper cocoons. A real-time Parisian cityscape is projected the full length of the sanctuary, and at the entrance there’s a ‘living’ botanical wall to purify the air. The spa’s eco philosophy also extends to its thin but soft slippers and hand towels made from an impressive biodegradable material called Tencel. www.sixsenses.com

LOUISIANA MUSEUM OF MODERN ART COPENHAGEN Louisiana Museum of Modern Art is as renowned for its dramatic location as the large collection of artwork it houses. Situated 22 miles north of Copenhagen by train, the light-filled gallery is perched on the shore of the strait that separates Denmark and Sweden. The permanent collection includes art by Warhol and Picasso - as well as Danish living legend, Per Kirkeby – and sculptures studded across the garden include work by Henry Moore. Don’t miss a lunch of open-faced sandwiches at the café, with glorious panoramic views of the sea.

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www.louisiana.dk

DERRIERE PARIS The precocious concept restaurant owned by Mourad Mazouz of Momo fame, Derriere is brimming with mismatched furniture and knick-knacks. Dining takes place over two floors of a house: in the ping-pong room, lounge and the boudoir, where people perch on the bed’s edge. Serving up comfort food – think roast chicken and creamy mash – people are drawn to its cheeky and convivial ambience. After dinner, find your way to the secret chamber hidden through a mirrored wardrobe for a game of table football. www.derriere-resto.com

GAYA ISLAND RESORT MALAYSIA Situated on the palm-fringed shores of Pulau Gayan Island, this new five-star resort is nestled within an exotic nature reserve. With Borneo’s Mount Kinabalu and the South China Sea as its epic vista, the hotel boasts gourmet restaurants, an alfresco bar and infinity pool with floating cabanas. Unlike other popular Malaysian properties, this compact resort promises utter seclusion and tranquility. Individual contemporary-designed villas are studded on the hillside, and guests are attended to by staff who hotly anticipate needs without being obsequious. www.gayaislandresort.com

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KEMPINSKI MOIKA 22 ST PETERSBURG Few cities in the world can claim to be littered with imperial palaces, monuments and churches of such breathtaking opulence. St Petersburg is captivating – during both its frozen Dr Zhivago-esque winters and the summer festivities of the White Nights. The five-star Kempinski Hotel, located on the charming Moika River, is a stone’s throw from the mintgreen Winter Palace and legendary Hermitage Museum. Impeccable service, a rooftop restaurant with panoramic views and an abundance of teatime treats add to this hotel’s cachet. www.kempinski.com

AU JARDIN SINGAPORE Au Jardin, part of the city’s highly respected Les Amies restaurant collection, has a special plantation-style setting within Singapore’s Botanic Gardens. French haute cuisine is served in a 1920s colonial cottage, replete with polished period décor. A bygone era is effortlessly captured in the intimate space, with button-backed chairs in the bar, grand chandeliers and abundant orchids. The full dining experience should be maximised with the tasting menu, featuring dishes such as pan fried foie gras, Wagyu Striploin and French farm cheeses.

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www.lesamis.com.sg

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News Art Beat new york report event spotlight legacy Initiative exhibition genre interview

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Spring Summer 2013

ELC Spring 2013

www.elclebanon.com

Verdun, ABC Mall - AchraďŹ eh, ABC Mall - Dbayeh, City Center Tel: +961 1 429 529 - E-mail: toys@elclebanon.com

news

Toyo Ito takes the Pritzker Recognised as architecture’s highest honour, the Pritzker Prize has been awarded to 71 year old Japanese architect Toyo Ito this year. Speaking on Ito, whose conceptual style has been brought to the fore across the globe, chairman of the Pritzker Prize jury, Lord Palumbo, said, “Throughout his career, Toyo Ito has been able to produce a body of work that combines conceptual innovation with superbly executed buildings. Creating outstanding architecture for more than 40 years … each time seeking to extend the possibilities of architecture.” The recognition of Toyo Ito is seen by some as long overdue, his own office in Tokyo having already produced the 2010 Pritzker Prize winners Kazuyo Sejima and

Ryue Nishizawa, making him the sixth Japanese architect to be awarded the prize. Consistently encouraging and pushing for improvement is the drive behind Ito, who commented on his win, “When one building is completed, I become painfully aware of my own inadequacy, and it turns into energy to challenge the next project. … I will never fix my architectural style and never be satisfied with my works.” Ito’s latest project, the Taichung Metropolitan Opera House in Taiwan, is still in development, yet already looks set to extend the possibilities of architecture with its sponge-like 3D façade. This year’s award ceremony will take place for the first time in Boston, at the John F. Kennedy Presidential Library and Museum, on the birthday of JFK himself, May 29.

Tower of Winds, 1986, Yokohama-shi, Kanagawa, Japan. Photo by Tomio Ohashi

{Abu Dhabi’s modern pyramid}

Having wrapped the Reichstag in fabric back in 1995, Christo’s latest venture is a modern take on the pyramids of Giza, set to be the largest sculpture in the world. The idea for “The Mastaba,” as the sculpture is called, was conceived back in 1977 by the Bulgarian artist and his late wife, the French artist Jeanne-Claude. The sculpture, which is estimated to cost $340 million to complete, will be built in the desert just outside Abu Dhabi and will consist of 400,000 empty oil barrels painted in shades of red, orange and yellow, inspired by the colours of the sand at the proposed location, set amid some of the highest sand-dunes in the Middle East. The flat-topped pyramid in set to measure 494 feet, making it taller than the pyramids of Giza, and will take hundreds of workers 30 months to construct.

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Words: Susan Wilson

Selections picks out some of the best art events not to miss in the coming months

Bill Brandt: Shadow and Light

Projects 100: Akram Zaatari

March 6 – August 12, 2013 MoMA: Museum of Modern Art, New York, USA A comprehensive look at the career of prolific photographer Bill Brandt, through his work pre and post the Second World War, examining his distinctive artistic vision in the context of each photograph, from the Blitz to the human form.

May 11 – September 23, 2013 MoMA: Museum of Modern Art, New York, USA A complex body of work has been amassed by Beirut-based artist Akram Zaatari, through his exploration of film, video, photography, installation and performance. Projects 100 premiers two video installations in the United States: Dance to the End of Love (2011) and On Photography, People and Modern Times (2010).

A Trip from Here to There March 15 – July 30, 2013 MoMA: Museum of Modern Art, New York, USA Engaging and documenting our exploration, A Trip from Here to There follows the drawings made by Colombian artist Mateo López as he travelled from Bogota to Cali to Medellin, his drawings becoming an act of resistance in a country occupied by government and rebel forces.

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Making the Invisible Visible Conservation and Islamic Art April 2 – August 4, 2013 Metropolitan Museum of Art, New York, USA Prior to the reopening of the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia in November 2011, curators at the Met where able to examine and discover many fascinating examples of Islamic Art in the museum’s collection now displayed along with the story of their rediscovery.

Punk: Chaos to Couture

Afshin Pirhashemi: The Wrong Women

May 9 – August 14, 2013 Metropolitan Museum of Art, New York, USA Punk: Chaos to Couture will examine the influence of the punk movement on high fashion from its inception in the 1970s to today. The Met’s spring 2013 Costume Institute exhibition will include original punk clothing, with over 100 designs for men and women presented in an immerse multimedia experience.

March 11 – April 25 Ayyam Gallery, Dubai – DIFC, UAE Black and white depictions of the lives of women in modern day Iran, and their social and political identity are the subject matter of a series of twelve new paintings by Iranian artist Afshin Pirhashemi.

New Order: British Art Now April 25 – June 9 2013 Saatchi Gallery, London, UK An exhibition of 17 up and coming British artists will be taking place at the Saatchi Gallery for contemporary art in London, taking a fresh look at the multicultural art scene in Britain with artists from across the world currently living and exhibiting in the UK.

The Birth of a Collection: Masterpieces from the Barber Institute of Fine Arts May 22 – September 1, 2013 The National Gallery, London, UK Twelve Old Masters and 19th century paintings first acquired for the Henry Barber Trust by Professor Thomas Bodkin - its first director (1935-52) - have been loaned to the National Gallery as part of the Barber Institute’s 80th anniversary celebrations, reuniting the pieces for the first time in 70 years at the Trafalgar Square site.

Mexican Art at the Louvre: Masterpieces from the 17th and 18th centuries March 7 – June 3, 2013 Le Louvre, Paris, France An expansion of the Hispanic collection, ten of the finest works from the Mexican school of art will be showcased, including the work of José Juárez, Cristóbal Villalpando and Rodríguez Juárez, bringing the art of the new world to a wider audience.

Lichtenstein: A Retrospective February 21 – May 27, 2013 Tate Modern, London, UK A retrospective of popular artist Roy Lichtenstein (1923-1997), a cutting edge figure in American pop art, who reimaged abstract expressionism in the 60s working instead with comic strip inspired art and mass culture imagery.

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W ords : Y a s m i n a N y s t e n

A R Tr & wo l dDESIG NewN Yor TITLE k Report

in search of the

While scratching the surface for the latest artistic innovations in the heart of New York, I came across Inventing Abstraction, 19101925, a recent show at the Museum of Modern Art. Featuring works by Vasily Kandinsky, Robert Delaunay, Pablo Picasso, Marcel Duchamp, Piet Mondrian and many other artists, photographers, poets, musicians, dancers and film makers, the exhibition represented an invitation to explore the core of our modern world.

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t commemorated the centennial of the birth of Abstraction. A lavish diagram mural of the artistic networks that weave throughout Abstract Art was the first imagery upon arrival. It was easy to get lost in this constellation of names and lines, and at first, the concentration of data triggered some discomfort but this quickly dissolved into a cathartic experience. At the time, the innovations and proliferation of connectivity brought about a shift in creative consciousness. This exhibition brought together artists who collectively endeavoured to empower the great human spirit of innovation. The interconnectivity on display embodied nothing less than the human exchange of ideas in service to an overarching commitment to explore the utmost truth. While journeying through the space, a wide breadth of creative mediums could be encountered.

Original illustration by Yasmina Nysten

The imagery and sounds became increasingly difficult to isolate in parcels of time or space. In fact, it was only just after exiting the show and beginning to make my way elsewhere, that the experience of the exhibit first began to compute for me in a way that felt coherent. To understand this phenomenon, one must acknowledge the fact that in talking about, or even actively thinking about, Abstract Art, one must begin by essentially doing the equivalent of learning a whole new language. Each and every one of the ostensibly independent pieces became increasingly suggestive of a larger concept. And while this was never overtly spelled out, nevertheless it became more and more manifest, if only in silhouette – its unspoken credo emerging gradually, almost mystically, and yet brilliantly, from that largely proverbial place where life’s deepest truths and its agents tend to hide themselves called “Between The Lines,” or hidden in plain sight. Picasso’s Cubist paintings

portrayed an ingenious break in form; Kandinsky and Mondrian’s work invited the spectator to visualise sound. The Choreography Sketches by Mary Wigman in another corner invented new lines for the body’s movement. Stravinsky’s sounds seemed to resonate in the body of a new kind of instrument. The organiser of “Inventing Abstraction”, Mrs. Leah Dickerman, relays an anecdote by Francis Picabia, French abstract painter of the late 19th, early 20th century. The painter claims to have invented Abstract Art while driving through France to join his wife, dancer Gabrielle Buffet in England. With his travel companions, poet Guillaume Apollinaire and composer Claude Debussy, he claims they invented Abstraction at a tavern. She then adds that they had had too much to drink and so rumour has it that a painter, a poet, a composer, a journey, and a drink too many, might have set the tone for Art as we know it.

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A R T & DESIG N Event

W ORDS :

India Stoughton

Now in its second year Design Days Dubai has already succeeded in forging its own identity amid a plethora international art and design fairs, more of which seem to spring up each year. Fair director Cyril Zammit shares some secrets to the fair’s success.

“M

iddle Eastern design is still the last virgin territory in the design world,” announces Cyril Zammit, director of the fledgling fair Design Days Dubai (DDD), which opened its doors to the public for the first time last year. “We all know American, Asian, European design but not many people know about Middle Eastern design, so it gives us an extra plus.” Now in its second year, DDD is the only design fair in the world to showcase contemporary design from six continents. Like Art Dubai - also part of Dubai’s multifaceted Art Week, which takes place in

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“We all know American, Asian, European design but not many people know about Middle Eastern design

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late March every year - the fair has an international outlook, but retains a unique character of its own due to its regional slant, with nine of the galleries out of the 29 participating in 2013 hailing from the Middle East. Zammit prefaced this year’s edition by giving a lengthy series of talks with artists, collectors, galleries and press in Lebanon, Saudi, Kuwait, Qatar, Dubai, Abu Dhabi, Berlin, Paris and London. “It’s important for us to have an understanding in the region about what we’re doing,” he explains, “because when we mention design, a lot of people are thinking about design as an end-of-line piece, more interior design... we don’t necessarily want to be seen as a furniture shop. Of course you’ll see pieces that are chairs and tables, and we have the functionality of design, but we are a very artistic aspect of it, which is like a new form of art.” Many galleries these days are blurring the lines more and more when it comes to what constitutes art and what constitutes design, but Zammit sees the distinction as something that ultimately stems from the buyer, rather than the artist. “I think it’s up to the person who says what they want to do with the piece,” he says. “Let’s say you take a chair... it depends how you want to use it, if you want to use it like a decorative piece - almost like a sculpture - or you decided to potentially use it... it’s up to you to do what you want with a piece you are buying.” Zammit has an egalitarian approach to the fair when it comes both to sellers and buyers, refusing to impose restrictions on who can participate, or to cater only to the ultra-rich. A range of pieces priced between 5,000 and half a million dollars makes DDD more accessible than many fairs for young collectors on a budget, while young galleries are also welcome to exhibit. “You never normally show in a fair if you’re less than three years old,” says Zammit. “For me it’s not necessary... if you’re a young gallery you probably have less of a collection to show than a more established gallery, but if you’re good you’re good.”

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7 A R T & DESIG N S potlig ht

The

of The

words:

India Stoughton

Two local design firms team up to create an incredible series of chairs, linked to the steps on the Sufi path to enlightenment.

n Sufism there are seven stages that must each be traversed in order for the devotee to achieve enlightenment, leaving behind material possessions and earthly ties to reach a state of purity. Lebanese designer Wyssem Nochi, owner of the On/Off Gallery, teamed up with Bokja -- the name of local Beirut designer duo, Hoda Baroudi and Maria Hibri -- to create two sets of seven unique art pieces, each one a chair designed to represent one of the stages on this route. “It is the path a Sufi wishes to take in his love for the universe and God almighty,” says Nochi of this journey. “It’s a very flexible path... You could begin at the end and on a monthly basis you could be fluctuating between the different stages, depending on your actions and your interactions with people.” Together Bokja and Nochi have embodied the “Seven Stages of the Heart” in 14 beautiful designs, which come in a variety of colours, materials and finishes. Based on a streamlined hexagonal chair originally designed by Nochi in 1998, their very form is tailored to provide a holistic experience. “It’s a hexagon, so the extension of the lines of the chair

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“It’s a hexagon, so the extension of the lines of the chair forms an invisible pyramid.”

forms an invisible pyramid,” Nochi explains. “When you sit inside it, you put your head in the invisible energy field of the pyramid. It has been tested that if you create a pyramid, and you put one apple inside and you put one outside, the one outside will wilt in a couple of days while the other one will stay as fresh as in a fridge. This is why the Egyptians built pyramids... it’s almost scientific as a piece and very architectural in the form.” The chairs, which were shown at Design Days Dubai in March, have already proved enormously popular. Bokja’s seven pieces are beautifully upholstered in an array of vibrant fabrics. Beginning at stage one with a riot of colours and competing patterns, they gradually become simpler and more elegant. The final chair, representing the last of the seven stages, is upholstered in a natural white fibre, and radiates simplicity and purity. Nochi’s pieces, by contrast, are simpler and more architectural, consisting of laser cut designs in an elegant metal frame. Each of the seven stages -- seeking, faith, love, truth, unity, ecstasy, poverty and homecoming -- is linked to a short text. Four are written and designed by Nochi himself. The first stage is an extract from a poem by Persian mystic

Jalal al-Din Rumi, while the third stage is illustrated in bold calligraphy by artist Shawki Youssef. The fourth, which consists of a verse by Syrian poet Golan Haji, is a beautiful piece of calligraphy by American artist Everitte Barbee, who has formed the words into the shape of a human skull. In keeping with the holistic nature of the project, the two series were designed to complement and complete each other. Place the two chairs representing the same stage side-by-side and you will see that Bokjaâ&#x20AC;&#x2122;s sumptuous upholstered designs and Nochiâ&#x20AC;&#x2122;s sparer metal pieces complement each other perfectly, two sides of the same coin.

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A R T & DESIG N legacy

Words: Miriam Dunn

AndrĂŠe Putman was a pioneer of clean lines and less ostentation

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e may never know whether it was an act of teenage rebellion or her first foray into interior design, but the decision of AndrĂŠe Putman to empty her room in the familyâ&#x20AC;&#x2122;s Parisian apartment on the Left Bank (save just a bed, a chair by Mies van der Rohe, and a Noguchi lamp), was certainly a sign of things to come. Born into a wealthy banking family, Putman, who died in January aged 87, carved out a name for herself as a revolutionary interior designer, despite never formally studying the subject. The designer believed her hallmark style

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of simplicity could be partly traced back to the summers she spent at her family’s Cistercian monastery. “I am interested,” she once said, “in that family of things that will never date.” Having studied music at the Paris Conservatoire, in 1950 Putman, who was born Aynard, opted instead for a career in journalism, working at both Elle and l’Oeil, where she became interiors editor. She also joined the Prisunic department store chain as an art director, teaming up with her husband, the collector and critic Jacques Putman, whom she’d married in 1958. In the years to come, Putman hit testing times following the break-up of her marriage and a failed business venture. However, new inspiration came along in the form of 1930s French modernist pieces which she salvaged from flea markets and marketed through her own design practice. Putman’s major breakthrough came in the early 1980s when she was asked to design the Morgans Hotel in New York. The project would later become the blueprint for boutique hotels the world over. Other commissions followed, including stores for leading fashion houses such as Thierry Mugler, Yves Saint Laurent and Karl Lagerfeld, alongside the CAPC Museum of Contemporary Art in Bordeaux and a 31-floor apartment skyscraper in Hong Kong in her name. A true workaholic, Putman was still working in 2005 when she designed the Guerlain flagship store on the Champs-Élysées. Her daughter, Olivia, took over at the firm as art director two years later. Exuding Parisian chic and culture, Putman appeared as tailored and elegant as her interiors. Her preference for simple, clean lines, a few good pieces, and a subtle, monochromatic environment, spelt the end of ostentatious decor for many interiors that were guilty of the crime she termed “too much Louis and too many flowers.”

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W ORDS : L u c y K n i g h t

A R T & DESIG N Ini ti ati ve

From Brussels the Boghossian Foundation reaches out to the world

or those familiar with the world of fine jewellery, the Boghossian name is a classic. Lebanese jewellers of Armenian descent, their family has a story to tell that many can relate to. Having left Armenia after the genocide of 1915, for Lebanon, and then, due to civil war there having to move to the next welcoming city, they found themselves in Brussels. The family has continued to thrive in the jewellery business and with a heritage cultivated through migration and struggle, it seems to have been a natural progression for the Boghossians to give aid to those in need. It was the 1988 earthquake that devastated parts of Armenia that acted as the catalyst for their extensive humanitarian work in Armenia, Lebanon and Syria in 1992 the father Robert and his two sons Jean and Albert, created the Boghossian Foundation. Now based in the 1930s Villa Empain in Brussels, since 2006, the foundation has, through a series of projects, both practical - portable water projects for isolated villages, renovation of Yerevan’s only remaining public park - and aesthetic - art and design prizes, exhibitions and lectures - worked to contribute to the artistic and cultural dialogue between East and West through activities, in Belgium and abroad. The focus on art is also not just confined to the projects or the jewellery making - Jean Boghossian has been practising his craft for nearly 30 years, and for the last three has been working on a concept using fire. Already exhibited in Beirut, South Korea and Brussels, Boghossian was

“A link between East and West that is not impeded by religion and politics.” 120

inspired by the element, a key tool in the jewellery making process. “I’m captivated by the way fire can change the colours, shape and material of an object,” he says. “You just have to take a welding torch and you’ll get so many complex results.” Using art to improve the world, as well as create his own, Boghossian is now in preparation for his next exhibit – having previously treated canvasses and paper with flames, he will now be using the same techniques on books. As is described in the mission of the Boghossian Foundation, art is a universal language, going beyond boundaries. “It opens ways of communication that have no aggression,” says Boghossian. “A link between East and West that is not impeded by religion and politics.” For more information on the work of the Boghossian Foundation, visit their website www.villaempain.com Jean Boghossian will be exhibiting at the Bibliotheca Wittockiana: Museum of Book Bindings and Book Arts, in Brussels, 20 June to September 2013.

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A R T & DESIG N Ex hibi t ion

W ORDS :

t’s hard to believe now that Istanbul has become a world-famous tourist destination, but when the Turkish architect Ali Saim Ülgen first visited the city’s historic centre as a youth in 1930, its many monuments were neglected, and little-known. “Istanbul’s monuments had been left as they were, so some were in ruins and some were in good condition,” says Lorans Tanatar Baruh, the associate director of research and programs at SALT, an Istanbul cultural institution currently presenting an exhibition devoted to Ülgen’s work. At the time of Ülgen’s early visit, the new Turkish Republic, established in 1923, was busy distancing itself from the country’s Ottoman past and forging a modern, Westernised identity. Having carried his youthful fascination with Istanbul’s monuments into adulthood, Ülgen “was the one who reminded the young Republic about these Ottoman buildings and appropriated them as part of the legacy of the new Turkey,” Baruh says. The first architectural restoration expert of the Turkish Republic, Ülgen was a longtime state employee who structured the government’s restoration work, set up the country’s High Council of Monuments and Antiquities, and established

Jennifer Hattam

regulations in order to protect old buildings from being destroyed. “Ülgen wrote one of the first books of the Republic era on preservation. He opened the way in this field. In his time he was very influential,” Baruh says. But due to his relatively anonymous work within government institutions, Ülgen today is almost as forgotten as Istanbul’s grand monuments might have been without his intervention. Curators and researchers at SALT hope to remedy that with the exhibit “Modern Turkey’s Discovery of the Ottoman Heritage: The Ali Saim Ülgen Archive,” which runs through March 24 at SALT Galata, in Istanbul’s Beyoğlu district. The exhibit, hosted as part of SALT’s “Open Archive” programme, presents the ongoing effort to catalogue and learn from Ülgen’s drawings, notes, architectural plans, and the more than 10,000 photographs he took and collected before his death in 1963. Photos of tombstone designs and rubbings of decorative carvings are displayed alongside newspaper clippings, sketches, and more finished works such as the detailed sets of drawings Ülgen created for over 80 buildings by the famous Ottoman architect Sinan—an unprecedented project he considered his life’s work. One slideshow in the exhibit depicts Ülgen’s monument-seeking travels throughout rural Anatolia and further-flung parts of the former Ottoman Empire, while another features images of labourers and craftsmen working on the restorations he directed. “Ülgen was interested in all stages of the process and very involved at the work site,” Baruh says. “He was not somebody who was just staying in his office.” SALT Galata Bankalar Caddesi No. 11 Karaköy, Istanbul, Turkey Telephone: +90 212 334 22 00 Website: www.saltonline.org Hours: Tues.-Sat., noon to 8 p.m.; Sun., noon to 6 p.m.

A R T & DESIG N Ex hibi t ion

Culture Chanel comes to the Guangzhou Opera House WORDS: Susan Wilson

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he Culture Chanel exhibition held already in Beijing and Shanghai moved to the south of the country between January 16 and March 3 this year, to the prestigious Guangzhou Opera House designed by architect Zaha Hadid. Named the same as the previous exhibitions but with its own interpretation, the backdrop of this Culture Chanel was Sergei Diaghilev’s ballet Le Train Bleu - named after

the 1922 luxury overnight train that carried passengers from Paris to the French Riviera – whose costumes were designed by Chanel. Celebrating Gabrielle Chanel’s influence and inspiration from the art world in her timeless work, the exhibition – curated by Jean-Louis Froment – featured 400 displays including photographs, books from Gabrielle Chanel’s personal library, couture pieces, watches, jewellery and perfume, along with 30 never before seen Pablo Picasso sketches.

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A R T & DESIG N G enre

words: Miriam Dunn

While canvas and clay may dominate the galleries, paper remains the preferred medium for these innovative artists

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ith a wealth of media like never before at their fingertips, the news that a significant number of artists are still choosing traditional paper to create their work may come as something of a surprise to many of us. But while paper art, which has its roots in Japan, can be traced back centuries, contemporary artists have found plenty of ways to give it a new, fresh treatment, producing an abundance of pieces ranging from sharp-edged and twisted curves of nature to the most astounding 3D sculptures.

‘Paper’ is the chosen medium and title for a group exhibition currently taking place at the XVA Gallery in Dubai, which showcases the works of five contemporary artists. Mohsen Ahmadvand, one of the artists featured at the exhibition, is known for his illustrations in ink and coloured pencil which emanate a certain playfulness, often bordering on the macabre. His images, which are taken from poetry, visual and pop culture, are infused with the traditional Persian art form of portrait miniatures. “Drawing has more attractions than the other medium. It is the best and most direct way to show my ideas,” he says. “I use coloured pencils to add more attraction and emphasis.”

“... just a piece of paper, pencil, eraser and inks,”

Although Debjani Bhardwaj, another of the artists featured at the ‘Paper’ exhibition, has been drawing with pen and inks for years, she only began making paper cuts a year ago. “I was inspired by UK-based papercut artist Rob Ryan, whose works deal with love and loneliness and by California based paper cut artist Elsa Mora, who is famous for her whimsical creations,” she explains. As someone who always loved to draw as a child, even on her hand, Bhardwaj loves the simplicity that paper offers. “I like the fact that I do not need a canvas, oil, brushes, palettes, adding layers and layers of paint and never quite knowing when to stop... just a piece of paper, pencil, eraser and inks,” she says.

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“I love how common and versatile paper is.”

Counter Cosmo

Holographic Circle-02

Cosmic Distortion detail

Trinity 2 right

FACING PAGE: CounterCosmo-side, detail

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A young American artist whose name has become synonymous with paper art, Jen Stark believes the tropical plants and cultural diversity she encountered during her upbringing in Miami, Florida provided inspiration for her psychedelic designs. “I’m inspired by all types of things, from plants to outer space, microscopic designs in nature, colour and mystery. Making all the colours and layers and complexity,” she says. Stark discovered paper sculptures in the south of France where she studied for a semester. “The euro was very high, so when I went into the art store I decided to buy one of the cheapest materials, but one that had potential. I ... began experimenting in my studio,” she says. “Eventually I began turning them into 3-dimensional sculptures. I love how common and versatile paper is.”

A R T & DESIG N G enre

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Holding On To Myself I

Broken Flowers, 2007

The Core of Everything III,

Acid-free A4 115 gsm paper,

2008

acrylic paint, and oak frame

Acid-free A4 115 gsm paper,

48 x 37 x 7 cm

acrylic paint, and oak frame 47,5 x 37 x 7 cm Photo: Adam Reich

The ability that paper has to evoke tragedy through its frail and fragile qualities is something that the Danish artist and writer Peter Callesen has focused on in his work. Callesen now mainly works with A4 paper, cutting out a silhouette from which he makes a 3D figure. The beauty and pathos of a flower dying, an angel locked in a birdcage, or even an apple reduced to its core, are often created from one sheet of paper. He explains that he uses paper because it is “probably the most common and consumed media used for carrying information today, but we rarely notice the actual materiality of it.” Callesen says that the paper cut sculptures explore the probable and magical transformation of the flat sheet of paper into figures that expand into the space surrounding them. “Another returning theme in my work is the reinterpretation of classical fairytales associated with a more general interest in memory in connection to childhood,” he adds.

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A R T & DESIG N Intervi ew

words:

India Stoughton

Each spring the Middle East’s biggest art fair gathers some of the finest galleries, curators and artists from around the world. Antonia Carver, Art Dubai’s director, shares some of this seminal regional event’s secrets.

Gallery : Gallery Wendi Norris Title : Perfect Bind Artist : Tomokazu Matsuyama Date : 2012 Medium : acrylic and mixed media on canvas Courtesy : The artist and Gallery Wendi Norris, San Francisco Dimension : 94 cm diameter

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rt Dubai has grown exponentially over the past six years, expanding from a new fair to a major destination on the international circuit. What do you hope to achieve in the course of the next six years?

Thinking back to 2007, it is incredible to consider how far Art Dubai has come. We really want to continue our trajectory of both developing strong relationships with galleries and collectors, and maintaining our commitment to not-for-profit arts programming. From the Global Art Forum, artists’ residencies, commissions, talks and seminars that we do throughout the year – all of these not-for-profit programmes are about providing nurturing and educational opportunities for artists and curators.

How do you unite such a diverse group of galleries and artists to create a cohesive programme?

At Art Dubai, year on year, we aim to raise the quality and dynamism of the fair (rather than increase the number of galleries), while expanding the “global footprint” of the fair, reflecting Dubai’s history as a port city and meeting point for Asia, the Arab world and Africa. We strive to develop Art Dubai as a very different kind of fair – one that encourages a discursive, enquiring approach... Galleries are invited to apply with a detailed exhibition proposal and the artists and works they’d like to show. Several hundred galleries apply for 75 places, and their proposals are considered by an independent selection committee, which attempts

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dramatically expanded our Projects, with over 40 commissioned artists creating site-specific work, performances, sound installations, etc. In an effort to take contemporary art to a broader audience, also new this year Art Dubai Projects 2013 includes a nomadic, pop-up gallery that operates from a truck to bring an exhibition of contemporary artists to neighbourhoods across the city. Your work with Art Newspaper, Bidoun, and Bidoun Projects has been credited with playing a key role in bringing art from the MENA region to international attention over the past decade. As director of Art Dubai how do you balance displaying art from the region and art from galleries further afield?

We try to maintain a perfect balance, if we can, between the regional and the international – and always present the two on equal terms. What makes Art Dubai special is for visitors to come across galleries from India, Indonesia, Ghana, Beirut, UK, China, US, and so on, exhibiting alongside each other, with artists of equal calibre. At the end of the day, it should be the artist’s work that shines through. Art Dubai has its heart in the Arab world but, that said, we are known as one of the most global of art fairs... We’re also increasingly known as a “fair of discovery”, providing a platform for the most dynamic artists and art scenes rarely seen on the international stage.

Title : Untitled Artist : Gabriel Kuri Date : 2012 Medium : painted steel Courtesy : The artist and Sfeir-Semler

Gallery : Albareh Art Gallery Title : Untitled Artist : Annie Kurkdjian Date : 2012 Medium : Mixed Media on Canvas Courtesy : Albareh Art gallery Dimension : 82X120 CM

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to build a balanced mix between international and regional galleries. They look for proposals that are well-thought-out, and galleries with great integrity, a global approach and that have strong, curatorial relationships with their artists. What has changed from 2012’s fair to this year’s edition?

A lot, actually. We are launching Sculpture on the Beach – an exhibition of large-scale works on the Mina A’Salam beach, and we are also launching Sheikha Manal Little Artists, a new programme of artist-conceived workshops and tours for children and teenagers aged three to 14. It is also the first year we are showcasing the winners of the Hamdan International Photography Award... We also have

You pointed out in an interview with Artinfo last year that the Middle East is unusual in that most of the top gallerists, art patrons and philanthropist are women, the majority of the Art Dubai staff is women and many of the artists are female. Why do you think this is?

It’s true – we try to employ men whenever we can, but there are an incredible number of multi-tasking, brilliant women in this region! This is due in part perhaps to the nature of the art scene’s resurgence, as we do not have to fight against an ‘old boys club’ establishment. However, it is also due in part to the leadership from the very top as well. Qatar’s HH Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani is well known for her commitment to developing museums and an arts culture, as is Sharjah Biennale’s Hoor Al Qassimi... Perhaps there is more pressure on men in the Middle East to follow more ‘traditional’ career paths, but women have turned this into an opportunity and really made the field their own.

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