Shutdown
Big Pilot’s Watch Perpetual Calendar Edition “Le Petit Prince”. Ref. 5028: Some things remind us of the boundless nature of the human imagination. Apart from “The Little Prince”, a global literary success that celebrates its 70th anniversary this year, one of those things is undoubtedly this watch. Its perpetual calendar, operated via the crown, is a perfect example of a watchmaker’s dream come true. With a depiction of the little prince himself on the moon phase
display, it also reminds us of the man after whom the 270 watches in this strictly limited special edition are named. Turning imagination into reality and leaving us just as speechless.
FALL/WINTER 2013
FOR THE PRINCE OF WORDS: A WATCH THAT LEAVES YOU SPEECHLESS.
IWC . ENGINEERED FOR MEN .
Limited edition of 270 watches, Mechanical movement, Pellaton automatic winding, 7-day power reserve when fully wound, Power reserve display, Perpetual calendar and perpetual moon phase, Small hacking seconds, See-through sapphire-glass back, Water-resistant 6 bar, Case height 16 mm, Diameter 46 mm, 18 ct red gold
Didn’t age in 70 years: The Little Prince
New IWC Schaffhausen Boutiques: Dubai Mall Tel : 04 339 8111, The Galleria, Abu Dhabi Tel : 02 622 7820 iwc.com
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SHUTDOWN 12 AED 40 QR/SR 40 KD/BD/OR 4 LBP 16,500 USD 11
FALL/WINTER LONDON FASHION WEEK MAIKO TAKEDA MOST MEMORABLE RUNWAY SETS ANIMALS ON THE RUNWAY SEPHORA BEAUTY NUQTA ARAB CALLIGRAPHY IWC SCHAFFHAUSEN FILMMAKER AWARD HERMANN AUGUST WEIZENEGGER BARRINGTON BARBER SOO SUNNY PARK GYPSUM GALLERY
IN.SIDE
IN.NEWS 16 JUST IN BREAKING STORIES
IN.FASHION 18 LONDON FASHION WEEK SPRING/SUMMER 2014 20 MAIKO TAKEDA TRANSCENDING FORM 22 MOST MEMORABLE RUNWAY SETS FALL/WINTER 2013 26 ANIMALS ON THE RUNWAY
IN.BEAUTY 64 SEPHORA 66 IN LOVES
IN.SHOOTS 68 SAINTE DANIELLE CASANOVA BY NIKOLAI DE VERA 84 LA PETITE HISTOIRE BY HERVÉ DUNOYER
94 LOVE ARMY BY BORIS DRASCHOFF 102 DARK ARMOR BY FILBERT DIEGO KUNG 110 BE•DAZZLE BY YOSHIMICHI SAIKI 120 AFTERMATH BY ASAF WISMEL
IN.FOCUS 128 NUQTA ARABIC CALLIGRAPHY ENTERS THE DIGITAL RACE 132 IWC SCHAFFHAUSEN AT THE DUBAI INTERNATIONAL FILM FESTIVAL 2013 CATE BLANCHETT HEADS JURY OF SECOND IWC FILMMAKER AWARD
IN.ARTS 134 HERMANN AUGUST WEIZENEGGER FLUIDLY TRAVELLING BETWEEN DESIGN GENRES 142 BARRINGTON BARBER ON ART AND PHILOSOPHY
IN.DESIGN 148 SOO SUNNY PARK UNWOVEN LIGHT BY RICE UNIVERSITY ART GALLERY
IN.LOCATION 152 GYPSUM GALLERY CREATING COLLECTORS REGIONALLY AND INTERNATIONALLY
IN.MOVIES 154 ARIANA DELAWARI’S MUSIC FUSING AFGHANI TRADITION AND CONTEMPORARY NOTES
IN.MUSIC 158 EGYPT’S FIRST FEMALE METAL BAND A VOICE AGAINST INJUSTICE
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IN.NEWS
DIESEL GOES TO TUMBLR TO CAST AD CAMPAIGN
TAMARA MELLON
JIMMY CHOO NEVER DESIGNED SHOES Last time IN Magazine touched base with Tamara Mellon in our November of 2012 issue, she was withdrawing from the fashion spotlight to spend more time with her daughter in her Upper East Side Manhattan sanctuary. Mellon had resigned as head of Jimmy Choo, the company she co- founded and catapulted to great success. Today Mellon is making headlines with her tell-all autobiography. Jimmy Choo never designed a single shoe for the company named after him Mellon has said, speaking ahead of the launch of her autobiography, In Her Shoes. The multi-millionaire businesswoman said that she conceived the ideas for the shoes - which were then sketched by Choo’s niece Sandra Choi - and that she never received a single sketch from Choo who was a “cobbler”.
The theme of Nicola Formichetti’s first ad campaign as artistic director of Diesel is “reboot,” but it could easily have been “power to the people.” Instead of focusing on models or actresses with big names, Formichetti relied on Tumblr and word of mouth to cast the subjects of the campaign. The 20 people chosen primarily live in New York, work in artistic fields and clearly aren’t wallflowers, with tattoos, varying body shapes and sizes, colored and shaved hair and androgyny heavily represented. Examples include Michelle Calderon, a 22-year-old pink-haired graffiti artist; Helen Primack, a 15-year-old aqua-haired aspiring filmmaker and student at the Frank Sinatra School of the Arts in New York, and Benjamin Ackermann, a light-eyed 23-year-old photographer, musician and collage artist. There are a few models in the mix, notably Loulou Robert, Omahyra Mota and Casey Legler, the former Olympic swimmer who broke gender barriers as a woman being contracted as a male model.
“The original idea was for Jimmy to design the collection, and I would run the operations of the business,” Mellon told America’s Today show. “But it soon became very clear that Jimmy’s skill was in making shoes. He’s a cobbler.” Jimmy Choo - who now has his own company creating bespoke shoes - left the business in 2001, then left Mellon’s employ in 2011. “By the end of 2000, Jimmy Choo was turning a profit of around £3 million a year,” Mellon writes in the book. “We had our own London boutique and were represented at 450 more stores, including Harrods and Selfridges. To top it off, we’d won a British Fashion Council Award, which Jimmy insisted on accepting on our behalf, even though his design contribution had been nil.” The book also reveals the full extent of the drink and drug problem that saw her leave her job at British Vogue to enter rehab at just 27. She also talked openly to the Today Show about her difficult relationship with her mother, who she alleges was also an alcoholic - although Mellon’s brother recently told the Daily Mail that this was not the case.
ESTÉE LAUDER
SAID IN TALKS WITH BUTTER LONDON
Reports circulating around the market indicate the Estée LauderCos. Inc. is in early talks to possibly acquire the indie cosmetics brand Butter London. Founded as a nail enamel line in 2005 by British entrepreneur Sasha Muir and manicurist Nonie Creme, Butter has since expanded into a range of lip, eye and cheek color, which launched in August at Ulta and on butterlondon.com. Earlier this year, Butter London’s chief executive officer Leslie Freytag claimed it to be the number-two brand in the prestige nail color category, just behind Chanel. IN 16 | FALL/WINTER 2013
CHRISTIAN LOUBOUTIN
UNVEILS NUDE PUMPS FOR ALL SKIN TONES
STEPHEN JONES DRESSES BARBIE IN COUTURE FOR SELFRIDGES
Louboutin lovers rejoice, the red sole designer we swoon over has added a new collection to his eponymous label: “The Nudes,” a collection of nude pumps to complement a range of skin tones. Thankfully Christian Louboutin is one of very few designers to acknowledge that all nudes are not created equal and has added five shades made to match complexions from fair to darker tones. The collection ranges from the popular “Pigalle” pointed pump to peep-toe “Vendome” in shades of bronze, cocoa and a deep chocolate hue. The icing on the cake? Their new app Louboutin Shades allows customers to photograph their foot to find the perfect flesh-colored stiletto for their skin. We’re IN!
Stephen Jones has teamed up with Selfridges to create couture looks for a series of one-of-a-kind Barbie dolls to be sold exclusively at Selfridges in London. The British milliner has designed five bespoke looks for Barbie for the holiday season: Happy Holly; Toffee Ice; Santa Baby; Snow Globe, and Christmas Tree. Jones joins the roster of fashion designers and brands that have dressed the doll in the past, including Burberry, Chanel, Louis Vuitton, and Prada. The dolls are priced at 250 pounds, or $399, each and will be available for purchase at Selfridges on Nov. 15. “Barbie is the most fabulous private client,” said Jones. “She came into the salon for her Christmas morning hat, and left with five glamorous outfits. Barbie and I have the same design vision; We love tradition, but have an eye for the future,” said the milliner, noting that Holly Barbie is his preferred creation. “This is my personal favorite, using the contrast of soft velvet and spiky holly leaves. Barbie also has her very own pet robin to give her a Christmas peck.”
C. WONDER
SIGNS MIDDLE EAST DEAL Christopher Burch’s colorful C. Wonder retail concept is going global. Just two years into the life of the brand, Burch, chief executive officer of Christopher Burch Creative, has signed a licensing agreement with Al Tayer to open stores in the Middle East. In addition, he has a timetable for rolling out the brand to other parts of the world. “We have a fiveyear plan,” Burch said of international expansion. “The goal is to have 250 to 300 stores in 50 countries in five years.” C. Wonder in the first quarter of 2014 will open five stores in the Middle East, in the United Arab Emirates, Kuwait, Bahrain, Oman and Qatar. The first C. Wonder unit in the region will bow in Dubai at the Mall of the Emirates in early spring. FALL/WINTER 2013
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IN.FASHION
BEST OF
LONDON FASHION WEEK SPRING/SUMMER 2014 Words by Tosha Cole Clemens
For a single week, London was transformed to the hub of fashion for industry figures and celebrities who were there to commemorate London Fashion Week. Out of several stunning fashion shows, we at IN Magazine have picked our favorites for you.
Day one Bora Aksu is known for “the cocktail dress,” and a signature style of contrasting components, showing romance with a rigid edge. “The inspiration started with the beauty that comes from a fresh summer’s morning; that clear blue sky, whispering clouds, clear still waters and refreshing scents,” says Aksu. The collection represents a classic feminine look with unique style details and clean lines. The color palette is soft yet bold, promoting white, blue, pink and yellow. The fabrics are lightweight, smooth to the touch and flow nicely with the movement of the body.
Day 2 Julien Macdonald is known for conspiring extraordinary gowns on the red carpet. The collection is based on metallic influences with a high attention to detail. The embellishments are strategically placed to enhance the hourglass feature. “My designs are sexy, high octane, powerful and liberating,” says Macdonald.
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Day 3 Temperley London is known for a feminine and enduring collection. The Temperley London lady is “A sexy, strong, welltravelled and confident woman. She knows her own identity but yet is comfortable enough to experiment with different styles and shapes,” says Temperley. The collection is embodied by incredible embellishments, lively patterns and a unique artisan technique. The color palette is mixing highs and lows to bring a uniform look. Fabrics drape perfectly on the body to maintain definition. Temperley London dresses can be seen on Catherine, Duchess of Cambridge, Florence Welsh, Demi Moore and Jennifer Lopez.
Day 4 Tom Ford has been known for his time spent designing for Gucci. However, over the last several years he has been making a name for himself. The collection is bold, daring and artistic to say the least. The diligence to the creations is fascinating. The saturation of the colors is dark and more intense. Showcasing leather, lace, netting and embellishments, each piece was precisely constructed. Day 5 Maria Grachvogel is known for cut trousers, incredible prints and jumpsuits. Grachvogel goes against the traditional pattern making protocols to create an unconventional drape on the body. When asked to describe her ideal client, Grachvogel says, “It’s all about attitude. A strong, confident woman is drawn to my collection. She has an innate sense of her own style but is also willing to trust me to try something new.” The collection is chic casual with a touch of masculine elements. The fabrics are airy, meant to stand-alone from the body. The colors are delicate so the intentness can be on the silhouette.
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Maiko Takeda
Transcending Form “Logic + geometry + space form the common denominator in all Maiko Takeda pieces. It’s a world in which the simple will seem complicated and order turns to chaos. But do not be afraid to indulge, as at the end you will always find that the common denominator stands (right there at the bottom where it belongs).”
In her recent collection titled Atmospheric Reentry, Takeda draws on environmental influences such as shadow, wind and gravity, and juxtaposes these elements in her creations. The series of sculptural head and body pieces endeavor to transcend the traditional expectations of headwear. “Initially I wanted to create something like a cloud on the head. I didn’t know how, so I started experimenting with various materials such as plastics, fabric, metal and so on. Eventually I developed a technique to create the effect I wanted but it was a very long journey to get there!” says Takeda of her collection. The headpieces are all made of printed plastic films, acrylic discs and sterling silver jump rings that hold all the components together without any glue or stitches. Takeda imagines giving people wearing her pieces the opportunity to, “Experience or share surreal moments in their daily lives, at a party or in the privacy of their own home,” she says. “I want my pieces to give people those magical experiences.” IN
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© Images Courtesy of Bryan Huynh
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FALL/WINTER 2013
MOST MEMORABLE RUNWAY SETS Here are some of IN Magazine’s most memorable F/W 2013 runway sets:
CHRISTIAN DIOR Surrealism and Pop were the main inspiration for Raf Simons and the Dior team who created countless enormous mirrored spheres reflecting the floor, which was painted sky blue with fluffy white clouds. The set was an homage to the work of Belgian surrealist artist René Magritte—best known, perhaps, for his Ceçi n’est pas une pipe (“This is not a pipe”) series. “I wanted a set that would marry dream and reality,” Simons said. “The surreal Magritte-like cloud path expresses the feeling one could have floating above the sky, while the reflection in the silver mirrored surfaces confront you to reality and to yourself. It also refers to the dual vision of Christian Dior, marrying a defined architectural silhouette with a more airy, almost ethereal aesthetic.”
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LOUIS VUITTON It was Marc Jacobs who created the concept of a corridor of an imaginary hotel. The space was lined in doors that models emerged from with the audience sitting in the center peeking into the rooms like voyeurs. “There is a mystery about what goes on behind the doors,” Jacobs says. “I spend a lot of time in hotels and it’s intriguing to think about your life and what other people think about you—as well as other people’s lives and what people think of them in turn. The hotel corridor provides a really good backdrop for many different characters.”
CHANEL Daft Punk’s “Around The World” on repeat set the mood at Chanel where a giant globe was the centerpiece with flags pinned in spots where Chanel has a presence. It was Karl Lagerfeld’s vision that inspired the set, which was executed by Chanel’s in-house team. “The spirit of the show was Chanel’s globalization,” Lagerfeld explains. “Chanel opened its first boutique exactly 100 years ago in Deauville, and now there are 300 Chanel stores in the world, so it is a tribute to the world and to the global Chanel.”
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VIKTOR & ROLF Antwerp’s Job Smeets and Nynke Tynagel of Studio Job conceived a backdrop visual of wilting sunflowers in black and white and a damaged wooden floor. According to the designers, “The show was about raw glamour and the girl was a sophisticated rebel. Ripped-jean effects were translated to embroidered tuxedo looks. We wanted to visually complement the collection with the set print.”
PRADA's “Reclaimed Space” set featured projections of images around the space’s perimeter, from idyllic visuals to abstract panoramas and shadows of a contemplative woman, with seating in the center. The set was created by AMO, the research arm of Rem Koolhaas’ Rotterdam-based OMA. “The audience faced an ‘Ideal House’: a continuous interior populated with geometric furniture, objects and manifestation of everyday life,” said OMA associate and Prada project leader Ippolito Pestellini Laparelli. “Models weaved through the set, acting as characters in a sequence of sophisticated domestic scenes.” The effect was full of theater and emotion—“The show was ultimately more similar to a play than a traditional catwalk,” she notes.
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MONCLER GAMME ROUGE Paris’ La Mode en Image created an arctic complete with an iceberg, a fake blizzard and mountain climbers landing on the snowdrift runway via a zip line. According to Moncler, the aim of the set “was to go deep into the brand’s soul, where the cold is absolute and extreme: The encounter with nature, the challenge of sport and putting resistance to the test.”
MARC JACOBS Olafur Eliasson’s “The Weather Project” at the Tate was the inspiration behind the huge hot sun that intensely shone on the models who walked a circular runway. “Marc was feeling a certain melancholy and wanted the show to have a somber quality,” New York-based set designer Stefan Beckman says. The warm light washed out the looks with an amber, almost gray tone, and the models did an encore with normal lights, exposing the intricate embellishments. “He loved that idea of everything being in black-and-white, and all of a sudden your perception was in color,” says Beckman.
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ANIMALS ON THE RUNWAY RUNWAY HUSKY Moncler Gamme Rouge recreated an arctic milieu in their F/W 2013 show in Paris. The runway was flooded with dry ice, and was decorated with two types of artificial snow. Bringing the complete scene to a realistic interpretation was the use of five different breeds of Husky to accompany models dressed in Nanook of the North furs. One of the dogs strayed under the benches, while another gave guests a nice petting opportunity. The Plexiglass puddles and the polystyrene backdrop that was carved and painted to resemble an ice wall gave this show a truly chilling effect. To emphasize the arctic ambiance, people dressed in polar bear outfits roamed the runway with the models. Moncler says the production company fully expected some dogs might stray, knowing they’d remain calm and eventually return to find their trainers. The dogs were all from France, at an average age of five years. According to Moncler president Remo Ruffini, the point of the show was to go “deep into the brand soul: Where the cold is absolute and extreme.”
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MODEL POODLE Since Mulberry creative director Emma Hill joined the design label in 2007, dogs have been a runway staple. “It brings an element of playfulness that complements the brand ethos,” says Vanessa Lunt, Mulberry communications director. A Standard Poodle called Max is a fashion veteran and loves his moment in the spotlight. “When it came time for the dress rehearsal and the music started, he knew just what to do. And, always, on his first exit, he likes to linger at the edge of the runway and look at the cameras,” adds Lunt. Hill chooses a breed that dovetails with the season’s theme, and begins the casting process by watching the dogs walk. Besides Max, whose owner is a friend of Hill’s, the brand has used Matilda the Pug, a Hungarian Puli and a Schnauzer. Mulberry has other reasons for hiring dogs to walk at its shows: The brand offers a small collection of dog coats, sold at stores like Harrods. So what will the stylish pooch wear this season? Tweed and a floral print. IN
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WITH THE CURVE Strong architectural shoulder pads are a thing of the past, trumped now by the soft round-shouldered cut that is reinventing the outerwear silhouette. This modern shape provides a powerful contour with a precision cut that is a nod to 60’s era mod fashion. During Fall 2013 fashion weeks, design houses like Balenciaga, Chanel, Gucci, and Celine, to name but a few, added the modern curve definition to outerwear. This oversized soft cut is becoming a hot trend world-wide, with designers updating the look with a contemporary edge.
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1. BALENCIAGA | 2. CHANEL | 3. GUCCi | 4. HAIDER ACKERMANN | 5. MARY KATRANTZOU | 6. JIL SANDER
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SEEING PLAID
Plaid is back with a modern twist. Fall 2013 is all about checkered, tartan, and hounds-tooth delivered in new silhouettes and scale. With plaid jackets, dresses, trousers, over scaled wrap coats, luxe sweatshirts, slim cigarette pants, and more.
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1. THOM BROWNE | 2. TOMMY HILFIGER | 3. CANEL | 4. CELINE | 5. LANVIN | 6. PRADA | 7. VICTORIA BECKHAM | 8. RAG & BONE | 9. STELLA MCCARTNEY | 10. SAINT LAURENT FALL/WINTER 2013
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FUZZY AND FLUFFY Trending this Fall 2013 are fuzzy, cozy digs! From fluffy knits, to angora sweaters, cashmere, mohair and more! The warm and soft knits come in classic shapes as well more form-fitting silhouettes. Designers like Balmain, Jean Paul Gaultier, and Marc Jacobs create feminine, tailored looks with these otherwise bulky winter materials. 2
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1. JEAN PAUL GAULTIER | 2. BALMAIN | 3. ALEXANDER WANG | 4. CHANEL | 5. MARC JACOBS | 6. MULBERRY | 7. NATALIE RATABESI
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DAZZLING EVENINGS Practicality used to be the key to buying a good coat, one that can go from day to night. This season, designers are paying more attention to the coat, with evening coats topping the F/W 2013 trends! Designers like Armani, Marchesa, Oscar de la Renta, and more, are dumping the humble coat in exchange for a vamped up beaded, embellished, and richly plush version that can dress up any evening look.
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1. OSCAR DE LA RENTA | 2. ALBERTA FERRETTI | 3. L’WREN SCOTT | 4. CAROLINA HERRERA | 5. GIORGIO ARMANI | 6. MARCHESA | 7. JASON WU | 8. BURBERRY PRORSUM | 9. THOM BROWNE | 10. TORY BURCH FALL/WINTER 2013
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EVENING BLUSH Shades of powdery pink and nude added a cosmetic touch to the fall couture collections. 2
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1. ALEXIS MABILLE | 2. DIOR HAUTE COUTURE | 3. ELIE SAAB | 4. CHANEL | 5. ZUHAIR MURAD | 6. VALENTINO
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MAY THE FORTIES BE WITH YOU In fashion’s ongoing dance through the decades, the Forties found itself center stage for fall. Strong shoulders, nipped waists, slim skirts of a certain length and softened men’s tailoring were all tweaked for the modern day in the collections of Marc Jacobs, Prada, Miu Miu, Bottega Veneta, Lanvin, Veronique Branquinho and Dsquared2. Why the Forties this season? For the brothers Caten, it started with the style of tailoring that came out of a new factory they worked with in Naples for their men’s show. “It was a very soft and unconstructed, and the jackets ended up being double-breasted and the lapels were bigger, giving us this Forties thing,” says Dan. “We were feeling that era.” Clearly, they weren’t alone.
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IN.TRENDS
WICKED
GAME
Photography REBECCA SCHWEINS Stylist MICKAEL CARPIN Hair YUMIKO HIKAGE Make-up KASIA FURTAK Model ARINA - OUI MANAGEMENT PARIS
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Dress ERMANNO SCERVINO Clutch ZILLI Glasses VIKTOR & ROLF Necklace DINH VAN Earrings EMMANUELLE ZYSMAN Right Rings DINH VAN Right Cuff EMMANUELLE ZYSMAN Left Cuff DINH VAN
Top ERMANNO SCERVINO Heels BLUMARINE Necklace REMINISCENCE Cuffs SCOOTER
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Dress MISSONI Shoes APERLAÏ Earrings VALERIE MAC CARTHY Necklaces REMINISCENCE
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Shirt PAUL KA Fur REDSKINS Bag SALVATORE FERRAGAMO Necklace REMINISCENCE Right Bracelet REMINISCENCE Right Gold Bracelets DINH VAN Right Rings ARTHUS BERTRAND Left Cuff DINH VAN Left Ring SWAROVSKI FALL/WINTER 2013
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Corset LOU Pants BLUMARINE Earrings REMINISCENCE Cuff ALEXIS BITTAR Ring DINH VAN IN 48 | FALL/WINTER 2013
Dress JUST CAVALLI
Dress BLUMARINE Glasses VALENTINO Gloves PAUL KA Earrings & Bracelets REMINISCENCE FALL/WINTER 2013
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IN.TRENDS
ACCESSORIES TREND Exclude “minimal” from the fall vernacular. Designers worked their shoes and bags in feathers, fur, beading and all sorts of fabulous textural interest.
Christian Louboutin
Louis Vuitton
Lanvin
Charlotte Olympia
Tory Burch
Gucci
Givenchy
Celine
Giorgio Armani
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Lanvin
From top Bag by Versace Bag by Tod’s Bag by Fendi Bag by Valentino
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From top Calf hair pump by DKNY Calf-hair and leather bag by Badgley Mischka Calf-hair clutch with patent box leather trim Elaine Turner Calf-hair and brushed lamb leather belt by Kelly Wearstler Calf-hair and embossed leather bag by Coach
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Lanvin For Women
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Transparent plexiglass cuff in laid by Chanel
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Dior
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Lanvin For Men
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From left Ombre patent lace-up with rubber sole by Alejandro Ingelmo Studded oxford by Louis Leeman Camo brogue by Del Toro
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Michael Kors
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Blue Invasion by Comme des Garcons
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FEELING BLUE Since blue is our Editor-in-Chief’s favorite color, we are hitting the spotlight on the watch firms who are turning out timepieces with faces in lovely shades of blue from pretty pastels to turquoise to DayGlo brights.
Baume et Mercier
Toy Watch
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Girard Perregaux
Omega
Jean Richard
Harry Winston
Parmigiani Fleurier
Gucci
Van Cleef & Arpels
Glam Rock
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SAINTE DANIELLE CASANOVA Photography NIKOLAI DE VERA Stylist FRANCIS URRUTIA Make-up SHUHEI UCHIDA Hair STEFANI ANNALIESE Models TATIANA - FUSION NY Special Thanks KRISTIN COSTA
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Headpiece KRISTIN COSTA Dress LEONID GUREVICH FALL/WINTER 2013
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Jacket ALEX LONDON Dress LEONID GUREVICH
Headpiece KRISTIN COSTA Necklce GIVENCHY Dress SAKS FIFTH AVENUE
Headpiece KRISTIN COSTA Necklace SEQUIN FOR NEIMAN MARCUS Bustier KRISTIN COSTA Skirt JEDDA KHAN Bracelets ASOS
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Headpiece KRISTIN COSTA Necklace SEQUIN FOR NEIMAN MARCUS Bustier KRISTIN COSTA Skirt JEDDA KHAN Bracelets ASOS
LEFT Coat CACHAREL Shoes MO SAÏQUE Ring PEBBLE LONDON RIGHT Dress PAUL SMITH Lace Lingerie ALÖE Hat RACHEL TREVOR MORGAN Boots MO SAÏQUE Bracelet PEBBLE LONDON FALL/WINTER 2013
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Headpiece KRISTIN COSTA Dress LEONID GUREVICH Bracelets ASOS Snakeskin Wedges MAX AND CLEO
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Headpiece KRISTIN COSTA Fur Shawl DAVID LEINOFF Dress CHANELLE SMITH Jewelry ASOS
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Blouse ALEX LONDON Bra JEDDA KHAN Skirt ALEX LONDON Jewelery ASOS
LEFT Jacket TOPSHOP Lace Body MARINA QURESHI Trousers PAUL & JOE Boots MO SAÏQUE Bracelet PEBBLE LONDON RIGHT Jacket TOPSHOP Lace Lingerie ALÖE Ring PEBBLE LONDON Trousers DAY BIRGER ET MIKKELSEN Shoes MO SAÏQUE
Headpiece KRISTIN COSTA Dress LEONID GUREVICH
Headpiece KRISTIN COSTA Lace Blouse JEDDA KHAN Necklace SEQUIN FOR NEIMAN MARCUS Apron ALEX LONDON Skirt JEDDA KHAN
LEFT Dress KILIAN KERNER Head Piece RACHEL TREVOR MORGAN Gloves THE SHOP RIGHT Dress THE PRETTY DRESS COMPANY Head Piece PHILIP TREACY Bracelet SWAROVSKI CRYSTALLIZE IN 82 | FALL/WINTER 2013
Jacket ALEX LONDON Dress JEDDA KHAN
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LA PETITE HISTOIRE Producer & Photographer HERVÉ DUNOYER Stylist & Creative Director MICKAEL CARPIN Photographer Assistant RAPHAEL NICCHI Make-Up CELINE CHARPENTIER Hair Stylist TAKAYUKI NUKUI Models PAVLINA ENEVA - WOMEN PARIS
Dress MAISON MARTIN MARGIELA Necklace ANNA PELLISSARI Earrings ALEXANDRE VAUTHIER Right Articulated Rings JOANNA LAURA CONSTANTINE Right Rings ISHARYA Left Bracelets chains ALEXANDRE VAUTHIER Left Articulated Ring MFP MariaFrancescaPepe IN 84 | FALL/WINTER 2013
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Dress JITROIS Clutch CHRISTIAN LOUBOUTIN Earrings ALEXANDRE VAUTHIER Pearls & Flowers Bracelet DSQUARED2 Bracelets Chains ALEXANDRE VAUTHIER
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Dress ALEXANDRE VAUTHIER Belt AZZEDINE ALAIA Heels JIMMY CHOO Clutch CHRISTIAN LOUBOUTIN Earrings & Rings JOANNA LAURA CONSTANTINE Right Cuff GIORGIO ARMANI Left Cuff DINH VAN
Shirt & Skirt DSQUARED2 Scarf MANISH ARORA Earrings MAWI Clutch MATTHEW CAMPBELL LAURENZA Right Ring SWAROVSKI Left Rings PHILLIPE FERRANDIS
Dress MICHAEL KORS Earrings PHILLIPE FERRANDIS Necklace PHILLIPE FERRANDIS Cuff DINH VAN Clutch COACH Heels FENDI
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Dress BURBERRY PRORSUM Clutch CHRISTIAN LOUBOUTIN Cuffs ISHARYA
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Dress GUCCI Heels JEAN MICHEL CAZABAT Earrings PHILIPPE FERRANDIS Right Cuff & Ring MATTHEW CAMPBELL LAURENZA Left Rings PHILIPPE FERRANDIS
Dress JOHN GALLIANO Belt PAUL KA Heels JEAN MICHEL CAZABAT EarringsJOANNA LAURA CONSTANTINE Necklace & Bracelet JEAN PAUL GAULTIER
Dress VERSACE Heels GUCCI Earrings MATTHEW CAMPBELL LAURENZA Right Clutch MATTHEW CAMPBELL LAURENZA Right Cuffs MATTHEW CAMPBELL LAURENZA Right Ring MAWI Left Cuff MATTHEW CAMPBELL LAURENZA Left Articulated Ring MFP MARIA FRANCESCA PEPE FALL/WINTER 2013
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LOVE ARMY Photography BORIS DRASCHOFF Stylist IVI GEIST Hair & Make-up TANJA HENNING USING HIRO COSMETICS Model NALA DIAGOURAGA - MODEL MANAGEMENT
Top with Gloves FIRMA BERLIN Leather Cap SCHWARZER REITER
Headpiece PERLENSÄUE Collar & Top SCHWARZER REITER Capri Pants FIRMA BERLIN Shoes ZARA WOMAN
Blazer Coat, Wraped Longsleeve & Skinny Pants FIRMA BERLIN Shoes ZARA WOMAN
Silk Top & Skinny Pants FIRMA BERLIN Golden Body Chain PERLENSÄUE Army Cape STYLISTS OWN
BE•DAZZLE
Photography YOSHIMICHI SAIKI Assistant KAHO KIATAYAMA Stylist KICHIRO KOIKE Hair & Make-up TROY DABSKI - BIGOUDI Model REGINA M - MODELWERK
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Dress JOURNAL STANDARD Shoes NANO UNIVERSE Glasses JOURNAL STANDARD
Top ACTUEL Bottom BEAMS Shoes ISABEL MARANT ETOILE
Top BEAMS Skirt ADAM ET ROPE Leggings ROHMIR Hat RIKE FEUERSTEIN Glasses BEAMS
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Dress CHIAOPANIC Gloves JOURNAL STANDARD
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Dress DURAS Belt & Gloves JOURNAL STANDARD
Jacket ADAM ET ROPE Top BEAMS Skirt AMERICAN RAG CIE Necklace JOURNAL STANDARD Belt & Ring VIS Leggings UNIQLO
Top BEAUTY AND YOUTH Skirt AMERICAN RAG CIE
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Jacket JOURNAL STANDARD Bottom JOURNAL STANDARD Shoes ATMOS Glasses NANO UNIVERSE
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Jacket CHIAOPANIC Dress ADAM ET ROPE Hat BEAMS
Tunic NOA Necklace NELLY Shoes CALIGULA
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Tunic STYLIST COLLECTION Belt STYLIST COLLECTION Shoes CALIGULA
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Tunic NOA Necklace NELLY Belt STYLIST COLLECTION
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Tunic NOA Necklace NELLY Belt STYLIST COLLECTION
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Tunic STYLIST COLLECTION Belt STYLIST COLLECTION
IN.FOCUS
Arabic Calligraphy
Enters the Digital Race
Words by Nagmani
Calligraphy is a medieval art form that expresses with letters instead of pictures. The old Islamic tradition of encouraging believers to write and speak Arabic turned calligraphy into one of the divine practices of the faith and hence made it a permanent fixture of the Middle East’s cultural panorama. Its graphic beauty has attracted people from all cultures and made it a worldwide trend with global pen brands like Sailor, Sheaffer and Mont Blanc all are attracting a global audience with their special calligraphy pens. Even then, there are some art enthusiasts constantly thinking out of the box about taking it to another level in their distinct style.
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Soraya Syed, a professional calligrapher from London has come up with a smart app called “Nuqta”- a mobile web app and the first of its kind to help spread the wonders of this fine art. It is an open invitation to all those people (designers, artists, calligraphers, researchers and enthusiasts alike) out there to express their love for Arabic writing. Users from every corner of the globe can easily capture the splendor of calligraphy with their mobile devices and then post their shots online with captions. Standing by her side all along in the lead up to this project was her husband Mukhtar Sanders best known as an influential graphic designer. He is the owner of an awardwinning company called Inspiral Design specializing in Islamic art and multi-lingual design, which handled the technical aspect of designing Nuqta. “The application is simple. You take a photo of a piece of Arabic writing or calligraphy, give it a name and description, drop a pin on the map indicating where you are located and share your image with the rest of the world,” Sanders points out.
“The thought of Nuqta bubbled up to the surface while we were working on a special project handed over to us by a Middle Eastern firm. This task involved designing a calendar using Arabic calligraphy in various styles. As we were researching for it, we were astonished to discover that there is hardly anything available on this subject that we can use,” says Syed. No wonder their brilliant initiative has given birth to what will ultimately become a much-needed platform that the West can bank upon to better understand the Muslim world. The couple is trying to preserve this art and bring it to the world’s attention. Their impassioned work sheds light on how an art like calligraphy can emerge as a perfect tool to diminish turmoil in societies. “Stunning artwork can speak to people of all cultures. I can use Nuqta as a platform engaging individuals who normally might not have access to Arabic culture or who have a limited view of the Middle East as portrayed by the Western media. Arabic as a language is beautiful without a doubt. In some countries in the Middle East the younger generation speaks English as a first language. Nuqta can help renew an interest in Arabic as both an art form and a language,” says Syed. Syed’s interest in this art form arose while studying at university. “It was at University that a strong desire to study the art of Islamic calligraphy was born. In 1996, I went to spend the second year of my degree in Arabic and History of Art & Archaeology in Alexandria, Egypt. I had a compelling wish to find a calligraphy teacher there and within a week of arriving, started to take lessons,” she says.
“USERS FROM EVERY CORNER OF THE GLOBE CAN EASILY CAPTURE THE SPLENDOR OF CALLIGRAPHY WITH THEIR MOBILE DEVICES AND THEN POST THEIR SHOTS ONLINE WITH CAPTIONS.” With a high profile degree Icazetname, (the authoritative Islamic calligraphy license) from Istanbul in her hands now, she had envisioned her goals. “I chose Istanbul because Turkey continues to be the main center for learning the traditional art of Islamic calligraphy. The Ottomans were the last major Islamic empire and were great patrons of Islamic art in general. Their legacy continues today through the master-apprenticeship system. All over the city there are classes taking place, some at universities and others at wakfs (a religious endowment and charitable trust) or renovated medreses (educational institution),” she says. She continued her studies of Arabic and History of Art & Archaeology at SOAS (The School of Oriental and African Studies) in London, and in 2001 received a Master’s degree in Visual Islamic and Traditional arts from The Prince’s School, also in London. As I asked her what she likes about this art form, she says, “When you write, it’s like getting lost in space and time. You totally focus, or at least try to, and become aware of the endless nuances the reed pen can make.” While talking of the relevance of the Nuqta project funded by the Khatt Foundation, Design Days Dubai, Crossway Foundation and Shubbak Festival, she says, “It means ‘point’ or ‘dot’ in Arabic. The app aspires to benefit anyone
anywhere in the world with a love for Arabic typography and calligraphy. It is a long-term project that plans to evolve and advance largely based on user feedback. We hope that Nuqta will become a useful tool; the idea is to learn, share and educate, so that the user is learning from the content online as well as educating others through what they post. We aim to observe how these art forms are changing through your eyes and with your contributions, to turn Nuqta into the ‘wiki’ of Arabic calligraphy and typography.”
“STUNNING ARTWORK CAN SPEAK TO PEOPLE OF ALL CULTURES. I CAN USE NUQTA AS A PLATFORM ENGAGING INDIVIDUALS WHO NORMALLY MIGHT NOT HAVE ACCESS TO ARABIC CULTURE OR WHO HAVE A LIMITED VIEW OF THE MIDDLE EAST…” Did she ever sense that this tradition was slowly getting near extinction? She explains, “No, not all. In fact, I would say the reverse. When I first went to Istanbul to study, I could feel that I was on the cusp of a wave and that the art was going to take off in a big way. At the time, I don’t remember meeting any foreign students but the Turkish ones I met were incredibly talented. I was fortunate enough to study with some of the greatest calligraphers today.” “Words pervade our society. We are surrounded by words, by writing expressed in calligraphy and typography, wherever we look: in advertising, art and publishing, on the streets, in movies and television, in graffiti and across the Internet,” says Syed. Not surprisingly, her prolific work that has been exhibited around the world is today sought after by The British Museum, the Saudi Royal Family, the film industry as well as private individuals wanting something personal written for them. Shedding light on her own calligraphy style, she says, “My approach is different, in that my layouts tend to be quite simple. That reflects in the paper and borders I choose too.” To excel at anything, one needs to keep practicing. As she says when asked whether it’s a time-consuming exercise, “Yeah, it’s extremely a life-long process of continually striving to improve and refine one’s own practice.”
Syed was born in London in 1979 to immigrant parents. Her father was born in Kenya but his family originated from Pakistan and came to live in the UK in the 1960s. Her French mother on the other hand, moved from Paris to London in the 1970’s where her parents met. Her upbringing was liberal and straddled two different religions and cultures. So what was it like for her growing up in London? She says, “I am a Londoner, which means I grew up alongside many different languages, religions and viewpoints. This also meant that I could be free to become who I wanted to be although it hasn’t always been rosy. I faced a lot of racial abuse when I was very young in the 80s and during the Thatcher years. London can be a tough place to live if you are not affluent. From a very young age I went to all the major museums, parks, cinemas and places of cultural interest. As an adult, I can now see how that had an impact on me growing up.” In the past, calligraphy was dominated by men only. However, the trend is changing now. Women are also good at it and willing to come out in public. “It is still very much a male dominated art. We still have a long way to go to be on par with our male counterparts. It would be great to see female judges in major calligraphy competitions,” she says. She too runs a company of her own called The Art of Islamic Penmanship, whose sole purpose is to bridge the gap between the spiritual and material, the visual and verbal. It is a living tradition that has the capacity for self-renewal enabling her to adopt a contemporary approach while remaining true to her artistic heritage and the many years of study, linking her to the calligraphy masters of the past. As an artist well-versed in calligraphy, her art has changed her life significantly. “It has had an impact on my day-to-day life in the way that it has sharpened my awareness of the details around me. That was a feature I noticed in my teacher Efdaluddin Kilic- he could spot the most minuteness of things that anybody else would just pass by,”she says. Soraya Mukhtar, Nuqta Founders at Studio
“I AM A LONDONER, WHICH MEANS I GREW UP ALONGSIDE MANY DIFFERENT LANGUAGES, RELIGIONS AND VIEWPOINTS. THIS ALSO MEANT THAT I COULD BE FREE TO BECOME WHO I WANTED TO BE ALTHOUGH IT HASN’T ALWAYS BEEN ROSY.”
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Not so long ago, she won over everybody’s heart with her majestic solo show called “Hurriyah” meaning freedom organized at Leighton House Museum, London. “It explored the concept of freedom through animation and dance – a first for me to collaborate with high profile artists such as Nitin Sawhney, British-born Indian musician, producer and composer.” “Nuqta is a big step forward in the art of calligraphy which will keep it alive for future generations to stay connected with. And I feel nothing could be more interesting for me than to serve my heritage,” she says. IN
TOP LEFT This is an improvised collaborative piece by Wissam Shawkat, Nja Mahdaoui and Soraya Syed produced at the launch of Nuqta at The Archive, Dubai on 21st March 2013. The work is made up of abstract letter shapes as well as the word ‘Nuqta’ meaning ‘dot’ in various calligraphic styles. TOP RIGHT This was the logo of downtown Beirut development project by Solidere in the early nineties. This typography on an old tile in Beirut has spread across the city and now used as a trademark here.
BOTTOM LEFT Circa 15th century blue calligraphic tile work posted from the Jameh Mosque, Yazd, Iran. BOTTOM RIGHT Meshk, Arabic calligraphy practice sheet of letter shapes and their proportions in a style of script called Thuluth by calligrapher and co-founder of Nuqta, Soraya Syed, London, UK
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IN.ARTS
BARRINGTON BARBER
ON ART AND PHILOSOPHY Words by Julia Golovacheva Artist and Philosopher Barrington Barber has been a teacher of philosophy at London School of Economic Studies for over 30 years. Born in 1934, Barber’s parents first discovered his drawing talents at age 2, and so received his art education at Twickenham Art College. Barber worked in advertising and television for many years as designer and art director. He taught at Ealing Art School, and is known for his murals two of which were painted for Queen Mary’s Hospital, Roehampton and three for Northcote Manor Hotel, North Devon. Barber was Head of Art at St James’s Independent Schools, and authored and illustrated about 20 or more books for Arcturus Publishing, including Fundamentals of Drawing. Barber now spends his time painting, drawing, and writing about art. In an exclusive interview with IN Magazine, Barber shares with us his views on art and philosophy.
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Art is everything, everything is art - it seems to be a modern perception of today’s art, would you agree with this statement?
the interest in working out how to do it to the best of my ability and not stopping until I have. But of course for other artists it will be in some way different.
I don’t really think that everything is art. Everything is capable of being used in art, but art is always a process of making something. And art isn’t everything, although artists often live as if it is. But that is just lack of proportion. However everything that a human being can do is capable of being done artistically. That is, it can be done to the best of your ability and with some love of what it is you are doing.
You’ve been teaching art to children and adults throughout your life, would you consider the ability to draw/paint a talent, a god’s gift or a very well trained gift?
What is art to you? Art, for me is making a picture of something that I have been struck by and that I wish to paint or draw. The furthest that I go in this, is painting murals, which I love doing more than any other kind of painting. I think that is to do with the size and the fact that you cannot choose the place to put it. It is where the wall-space is with the lighting available and the viewing positions already set. The process is always demanding perception of the visible world, and design and compositional problems, as well as the normal handling of materials. I find
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The ability to draw and paint can be the result of a talent, but the most important part is the desire to do it and the persistence to work at it until you can do what you want. Anyone can learn to draw and paint, as I’ve often said in my books on the subject, but unless the desire is strong to work at it, even talent is not much use. It helps to start with some talent, but it is not the only thing.
Who’s your favorite artist of all time? To be asked who my favorite artist of all time is, is not a question I usually answer. There are so many artists work that I love, and it would be impossible to answer this truthfully. I suppose that the artist that made the biggest impression on me when I was very young was Picasso. But when I became
more mature, I discovered Masaccio, the great Renaissance painter that almost on his own was the first painter to paint in the three dimensional effect that so many others followed on with. If you ever go and see his magnificent work in Florence, you will see what I mean. But he could not have done that without probably, Brunelleschi, Giotto and others who prepared the ground.
Painting nudes takes up a significant part of your artistic career. What are the reasons behind it? I paint the nude figure because it is the hardest thing possible to paint. It is more difficult than landscape painting, still life painting and even portrait painting. And if a painter draws and paints the unclothed human figure, he can probably paint anything else as well. Because every human being has a body it is impossible to fool people about your ability in this area. So you have to work harder and try to produce a convincing version of the human figure in paint. With clothes on, it is easier, but without clothes it is a real test of your capabilities. And I also find human bodies very beautiful, of whatever age and condition.
In your opinion, are the two concepts of beauty and art inextricably intertwined? I suppose art and beauty are somewhat intertwined. I certainly discover beauty when I paint, and the very act of painting alerts me to the incredible beauty of the world and everything in it. And beauty is a great spur to the artist, to try to produce something as good.
You’ve been a teacher of practical philosophy at London School of Economic Studies for a while, how did you get involved with this school? I became a student of philosophy in the School of Economic Science when I was about 25. I am still a student of philosophy in this organization and now pass on what I have learnt to others, if they want it. I was keen on the subject from my last years at Hampton Grammar School, where the headmaster at the time took the sixth form boys for philosophy each week for about an hour and a half. We read and discussed Plato’s Republic and The Symposium, and it fired me with an interest in philosophy that I have never lost. I discovered at the agency that I was working at, as a designer, that two of my friends there both agreed that the school of philosophy that they went to was an excellent place. And these were two people that I would never have thought would agree about anything much. So I was intrigued and went along to sample it, and have been with it ever since. I’ve been teaching a practical philosophy class for over 30 years there and thoroughly enjoying it.
How many books have you published? I have at the last count published 21 or 22 books on drawing, painting and like subjects. This has been a surprise to me as much as anyone else, and I didn’t start getting them published until late in life. They seem to sell particularly well in the U.S.A. and in Germany, but have been translated into every European language now. Not only that, but some have been translated into Chinese and Japanese, and probably some other languages that I can’t remember. The first book sold 300,000 copies in the U.S. in the first year of publishing, and has now sold over a million copies world-wide. Which isn’t so bad for a do-it-yourself book. Even the French and Italians have published it, which I was amazed at and honored by, because I thought that they wouldn’t think an Englishman could teach them about art.
“THE VERY ACT OF PAINTING ALERTS ME TO THE INCREDIBLE BEAUTY OF THE WORLD AND EVERYTHING IN IT.” You’ve been teaching for a significant part of your life… what is the best lesson life has taught you? I don’t know what the best lesson life has taught me is yet. After all, I still have a bit more to go, I hope, the gods willing. But I suppose I am now prepared not to be too surprised at anything, and I am most grateful that the world has so far treated me rather well. I think for a human being, the civilized world of art, literature, theatre, music and dance, are things that we should all value, because it helps create a better existence, but the most valuable thing that we have is our freedom, of speech, of thought, of movement and not to be hurt by anyone. A good system of humane laws is very important for living well. So look intelligently at your society and help it to be a better way of life.
What are you working on at the moment? At the moment, I am each week painting various human figures and at the same time producing another book. I am painting some small portraits of my grandchildren to make a sort of set with several of my children, painted at the same ages. I have one or two projects that I might be involved in next year, but that will be clearer later. And my publishers have asked me to consider another book on drawing after I have finished this one, which is about painting. IN
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IN.DESIGN Rice University Art GallerY
SOO SUNNY PARK UNWOVEN LIGHT
Rice University Art Gallery presents a fascinating installation by artist Soo Sunny Park, titled Unwoven Light, which animates Rice Gallerys expansive space, transforming it into a shimmering world of light, shadow, and brilliant color. Suspended from the walls and ceiling, thirty-seven individually sculpted units are arranged as a graceful, twisting flow of abstract form. Entering the gallery there is no set path to follow. Instead, you are invited to meander slowly as one might stroll along a river bank, stopping to admire the glints of light that dance on the waters surface.
Born in Seoul, South Korea, Park received her BFA in painting and sculpture from Columbus College of Art & Design, Columbus, Ohio and a MFA in sculpture from Cranbrook Academy of Art in Bloomfield Hills, Michigan. Unwoven Light continues the Park’s ongoing experimentation with the ephemeral qualities of light and how light affects our perceptions of architectural space. The artist began thinking about her installation by making a site visit to the gallery in July 2012, to experience the built and the natural elements of the space: its proportions and surfaces, and in particular its lighting conditions. Though immaterial, light is a critical structural element in each of Park’s works. Here she has utilized both the gallerys lighting and the natural light that enters through the front glass wall. Park notes, “We don’t notice light when looking so much as we notice the things light allows us to see. Unwoven Light captures light and causes it to reveal itself, through colorful reflections and refractions on the installation’s surfaces and on the gallery floor and walls.”
“UNWOVEN LIGHT CONTINUES THE PARK’S ONGOING EXPERIMENTATION WITH THE EPHEMERAL QUALITIES OF LIGHT AND HOW LIGHT AFFECTS OUR PERCEPTIONS OF ARCHITECTURAL SPACE.” The artist shapes each section of chain link by holding it in tension, bending it, and then welding each corner to hold the form in place. The shaped unit becomes a building component that she may use more than once, recycling it into new installations. For Unwoven Light, Park used twenty sculptural units from a previous installation and built seventeen new ones. Working long days with two assistants in her New Hampshire studio, it took Park two weeks to complete one unit. Each required seven hours of welding to brace the fencing, one-hundred hours of tying the wire that holds each Plexiglas piece in place, and many more hours of cutting Plexiglas shapes to fit the chain link cells.
“LIKE A NET, THE SCULPTURE IS A FILTER THAT IS MEANT TO CAPTURE THE LIGHT THAT IS ALREADY THERE AND FORCE IT TO REVEAL ITSELF.”
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The structure of chain link fencing is similar to the grid of fibers arranged horizontally and vertically on a weaving loom. However, Park uses the grid structure as a means to “unweave.” Wired into each open cell of the chain link is a cut-out shape of iridescent Plexiglas. Iridescence in nature is seen in the sheen of peacock feathers, fish scales, and butterfly wings, appearing as a myriad of colors that appear to change with the angle at which they are viewed. Here the iridescent properties of the coated Plexiglas serve to unweave light, each shape turning from clear to colorful in light’s presence. Explains Park, “Like a net, the sculpture is a filter that is meant to capture the light that is already there and force it to reveal itself. Now we can see it, the light, in purple shadows and yellow-green reflections that both mirror the shape of the fence and restructure the space they inhabit.”
“EACH VISITOR’S EXPERIENCE OF UNWOVEN LIGHT WILL BE UNIQUE, DEPENDING UPON THE TIME OF DAY, RATIO OF NATURAL TO ARTIFICIAL LIGHT, PRECISE ANGLE OF VIEWING, AND EVEN THE NUMBER OF PEOPLE IN THE GALLERY.” Each visitor’s experience of Unwoven Light will be unique, depending upon the time of day, ratio of natural to artificial light, precise angle of viewing, and even the number of people in the gallery. It is possible for two people to stand next to one another and each have a completely different experience of the dynamic presence of light. IN
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IN.LOCATION
GYPSUM GALLERY
CREATING COLLECTORS REGIONALLY AND INTERNATIONALLY Words by Nahla Samaha Anyone involved in, or is an admirer of the art scene in Cairo, as an immersed art aficionado, an occasional art viewer, or an artist exploring their world through their art, has come across the name Aleya Hamza in one form or another. Whether as curator of the renowned Townhouse Gallery in Cairo, as a lecturer on contemporary art at the American University in Cairo, or as curator at the ground-breaking Contemporary Image Collective, also in Cairo. With an MA in History of Art from Goldsmiths College, UK, Hamza’s projects and exhibitions have been seen around the world in major art hubs such as Alexandria, Amesterdam, Beirut, Berlin, Bonn, Budapest, Cairo, London, Odense and Rabat. Hamza, the founder and director of the latest entry into the Cairo art gallery scene, Gypsum, has co-curated the third and fourth editions of PhotoCairo, while her most recent exhibition Objects in Mirror are Closer than they Appear (2013) was on show at the Tate Modern in London and the Contemporary Image Collective in Cairo in 2012-2013. Her latest undertaking, Gypsum, is a new international contemporary art gallery established this year. The Birth The idea of creating a commercial gallery had been simmering in Hamza’s mind since October of 2012. “I was having chats with a number of artists who felt that Cairo was in need of a new contemporary art gallery that worked with artists whose work was visible in the international circuit of biennials, public
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institutions and residencies, but did not have an entry point into the art market,” explains Hamza. “A gallery that redefines what can be shown in a commercial context, and that had a strong line up of artists and a strong curatorial vision. A gallery that traveled to fairs, and that worked on producing new bodies of work with the artists,” she continues. The local art scene that had long embraced Hamza’s passion and vision welcomed the idea of a commercial gallery that could fully represent established young artists who lack the commercial support needed in Cairo. “The idea struck a chord,” she proclaims, “I began researching and thinking about the artists that I would like to work with, and conducting long conversations individually with them, until the form crystalized.” Far from wanting to reinvent the wheel, Hamza’s vision was clear-cut and practical: a classical contemporary art gallery that represents a small group of artists and exhibits their work in solo shows, with the goal of placing their work in private or public collections. Not one for an ostentatious approach to art, the no-frills name ‘Gypsum’ is as much a representation of Hamza’s approach to her business as it is of the art her gallery represents. “Gypsum is an inexpensive industrial material (plaster),” she says, “it is used to build all different kinds of forms. I found the parallel to contemporary art - which is very idea based and mixes high and low brow - interesting.”
The Agenda Gypsum’s main ambition is to explore and present artists whose work covers a wide range of media, from photography, to painting, sculpture, video, installations, and “whose practice is cross disciplinary (i.e. their work references literature, film, popular culture, psychology etc.,) and who are a cross-cultural mix,” she says. Hamza aims to curate a strong program of solo shows that cross the boundaries of nationality and culture, and that do not adhere to a particular medium, “It’s about showing artists whose work is singular, precise, meaningful, and who push us as viewers to reflect on the world around us in unexpected ways,” she declares. This will ultimately nudge, if not push, the viewer out of their comfort zone through challenging exhibitions that compel the viewer to question and contemplate, “I think this is one of roles of contemporary art. In a city like Cairo, what Gypsum aspires to do is to redefine what is acceptable to collect.”
© Hunt courtesy of Tamara Al-Samerai
It is Gypsum’s core drive to provide a new breed of homegrown collectors who redefine the traditional criteria of acquired art by taking a chance on the young visionary artists that Gypsum works with. That is why all exhibited artwork is for sale. Gypsum also provides a gateway for international collectors to be able to access the work of these artists. To reach the international collector base, Gypsum’s agenda includes participating in international art fairs. “We have already been accepted to participate in Art Rotterdam in early 2014,” says Hamza, “and hope to take part in Art Dubai in 2015, as well as others.” And while nothing is free of the socio-economic-and-politicalturbulence brand that has come to accompany all discourse related to Egypt, Hamza was not discouraged by the current conditions, if anything, she saw in it an even more imperative need for supporting artists, “It’s definitely a risky time to start a gallery that relies on sales for its livelihood in a country that has undergone so much political and economic instability,” she explains. “But I believe that this also a key time to give artists the critical support that they need to continue producing works that are born out of and speak of this incredible historic moment, with all its ups and downs.” The Artists Currently, Gypsum is working with 8 artists, two of whom are Cairo-based (Maha Maamoun and Doa Aly), and two are Alexandria-based (Mahmoud Khaled and Maha Maamoun). With the remainder being Ala Younis (Palestinia Jordianian living in Amman), Tamara Al-Samerai (Kuwaiti-lebanese living in Beirut), Setareh Shahbazi (Iranian – German) and Basim Magdy who is from Assiut, Egypt, currently living in Basel. All of the artists have pretty extensive international careers, with works that have been shown in biennials from Venice, Sharjah, Istanbul and Gwanju to Sao Paolo and Dakar. Their works have been featured at some of the most important art institutions such as MoMa (New York), Tate Modern (London), Palais de Tokyo (Paris), International Center of Photography (New York), The New Museum (New York), Darat Al Funun (Amman), Haus Der Kunst (Munich) and many more. Ala Younis for example has been featured in ArtReview Future Greats in 2012, and Basim Magdy is the winner of the Abraaj Capital Prize 2014 and has been shortlisted for the Future Generation art prize. For more information on Gypsum Gallery and the artists it features, please visit www.gypsumgallery.com IN
© Spectral Day courtesy of Setareh Shahbazi
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IN.MOVIES
ARIANA DELAWARI’S MUSIC
FUSING AFGHANI TRADITION AND CONTEMPORARY NOTES
Words by Nagmani
Afghans believe in the ideals of a happy life instead of conflict. After all, they have suffered a great deal for decades because of the influence of outside forces. Making sure that Afghanistan achieves what seemed unfeasible years ago are its Diaspora artists. They are determined to bring to life Afghanistan’s musical golden era. One such great artiste making a real difference is an Afghan-American filmmaker and singer-songwriter Ariana Delawari who always dreamed of visiting her country one day. But she wasn’t sure what she wanted to do when she visited it for the first time. As she explains, “My first trip to Afghanistan was not to shoot a film. In fact, I didn’t realize I was making a film till about halfway through shooting it. I moved to Kabul with my parents on their mission to rebuild the country in 2002. It was the first time in my life that there wasn’t a sign of the Soviet war, civil war or Taliban leadership. So, it was really the first opportunity to visit the land of my ancestry.” She seemed absolutely delighted when she recalled this unforgettable visit. “I fell in love with Afghanistan the moment I saw the land from my window on the plane. I felt so deep in my heart and it just kept growing ever since. The film We came Home was a part of this. It was part of my journey and how I documented experiences over ten years since 9/11,” she says.
© Photograph Courtesy of Raphel Lugassy
“I MOVED TO KABUL WITH MY PARENTS ON THEIR MISSION TO REBUILD THE COUNTRY IN 2002. IT WAS THE FIRST TIME IN MY LIFE THAT THERE WASN’T A SIGN OF THE SOVIET WAR, CIVIL WAR OR TALIBAN LEADERSHIP.”
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Delawari was getting tired of the stereotyped image of her country being splashed across the international media. And she was desperate to change this. “Since I was born, Afghanistan’s image has been tarnished in one way or another for my entire life. Our beautiful ancient culture has been misrepresented. Rather, it’s an extraordinarily beautiful country and culture. So, the world must know about it,” says Delawari. “I don’t really buy into borders or boundaries.” Her interest in filmmaking was a foregone conclusion. She grew up in a small town La Canada, Los Angeles. “It was a smooth ride for me. I studied film at USC School of Cinematic Arts in the city.
Besides, my mom and sisters were all in the film industry, so I was immersed in cinema from a very early age,” she says. “I have been cultivating my work as a storyteller since I was four in theatre, music and film; on camera and behind the camera.” In response to why she made this documentary, she says, “I made it in order to trace my family history. It also gave me a reason to find out what I can do to bring back the glory of music in Afghanistan and let its enemies know the power it has which they can’t contain.” During the shoot of this feature film, she also wrapped up recording an amazing album titled Lion of Panjshir with Afghan Ustads. “I had a very clear vision of what I wanted to create instrumentally.” When asked about choosing such a unique name for the album, she says, “It’s named after Ahmed Shah Massoud- an Afghan revolutionary who was assassinated by Osama Bin Laden two days before 9/11 as part of an attempt to weaken Afghanistan. I was inspired by his life. I was touched by a man who would sacrifice the opportunity to leave his land at the start of the war, and who instead stayed and protected his people.” She adds, “He was also an advocate of art and poetry. Also some of my ancestors were Panjshiri so that played a part at the time. But there is another side as well. “Lion of Panjshir” rhymes with “Kashmir” the Led Zeppelin song, and I was influenced by that album. In fact, seeing Robert Plant and Jimmy Page play with Moroccan musicians when I was a kid was one of the moments that inspired me to want to make this album in Afghanistan some day.”
The entire recording was done at her parents’ home in Afghanistan for security reasons. “It was the only option. We borrowed recording equipment from Tolo TV (the most popular television station in the country). The facilities were too booked up at their studios for us to record there,” she says. “We would have had to record overnight, and I thought that was an awful idea since we were working with the Ustads who were our elders. One of the musicians was 88 years old, so that would not have worked.” Far from home, she still managed to learn about her country’s music. “We had live Afghan music in our house from the time I was born. My parents would have parties and Afghan musicians would come and play live music. My dad also had a lot of records like Afghan, Indian classical, and all kinds of records.”
“WE HAD LIVE AFGHAN MUSIC IN OUR HOUSE FROM THE TIME I WAS BORN. MY PARENTS WOULD HAVE PARTIES AND AFGHAN MUSICIANS WOULD COME AND PLAY LIVE MUSIC.” She listened to everything: Ahmad Zahir, Ravi Shankar, Madonna, Jimi Hendrix, the Cure, Willie Nelson, Johnny Cash, John Lennon, The Beatles, Nirvana, Bjork, Led Zeppelin, obscure Afghan folk music, obscure American folk music, classical music, Tupac, and Outkast.
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Asked what’s so unique about Afghan music, she says, “Afghan music is actually very happy upbeat music, yet also very deep and soulful. Sometimes it sounds Eastern, or Asian while at other times it sounds like the landscape itself; beautiful, mysterious, tragic at times and magical.” Her parents and relatives’ hardships have shaped who she is today. “The word ‘struggle’ doesn’t sound very natural when speaking of Afghans, because Afghans are such proud people. We don’t ever give up. We come from a long line of warriors. It isn’t in our blood to really complain,” she says.
“THE WORD ‘STRUGGLE’ DOESN’T SOUND VERY NATURAL WHEN SPEAKING OF AFGHANS, BECAUSE AFGHANS ARE SUCH PROUD PEOPLE. AND WE DON’T EVER GIVE UP. WE COME FROM A LONG LINE OF WARRIORS. IT ISN’T IN OUR BLOOD TO REALLY COMPLAIN” Like her father who is the current Governor of the Central Bank of Afghanistan, she too is following in his footsteps albeit in different roles and wants to leave behind a legacy of her own. “I want to create a peaceful world in which our delicate eco- system is not destroyed by our ignorance. I want to create beauty and open hearts. And I want all for the children of the world is to grow up with equal rights, an education, and a lot of love. I want the girls in our world to be protected from being sold into marriages or other demeaning horrible practices,” she says. Before we bid adieu to each other, I asked her one last question. “Do you view yourself as an Afghan ambassador of peace, love and unity living overseas?” To which, she had a very subtle answer. “Yes but not just as an Afghan. I see myself as part of the whole world. I want us to have peace, love, and unity on the entire planet, in all of the lands, through all of the beautiful people,” she says. “I really feel connected to everyone and their beautiful lands. I want to see all of them before I die. I will! I will see all of your beautiful lands, and play music in your lands, and make stories about your beautiful people. It’s going to be amazing. I can’t wait.” IN
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IN.MUSIC
EGYPT’S FIRST FEMALE METAL BAND A VOICE AGAINST INJUSTICE Words by Nagmani
Founded by guitarist Sherine Amr in 2005, the band didn’t have the initial support it needed to grow, “My family, especially my mother, were against both metal music and the notion of me playing in a band. She was very critical of me jamming in the studio with boys. She didn’t let me do it,”says Amr. “I was in an all girls catholic school and mixing with boys wasn’t really familiar to my family. In fact, the very idea of forging an all female heavy metal band occurred to me when I was 19 and began my search for recruiting female musicians from then on.” Another obstacle facing Amr and the idea of an all female band was the weight that pop-culture brought into the mix, “Since our pop scene sells female musicians as sex symbols, our parents had the impression that the image of female singers is so blurred that it would be morally inappropriate for a conservative family.” Metal music has historically always generated controversy in whichever context it was present, “This music genre has had a reputation of being called ‘satanic’. My family could have not accepted it because they are very religious,” says Amr. “Basically, they didn’t like the mix, forcing me to keep it a secret from them for almost five years. It’s weird but I knew I had to do it.”
In Egypt, alternative music bands, fusion bands, and underground musicians have captured the attention of the mainstream since the Jan 25 revolution. With grassroots lyrics and East-West fusion music, bands and musicians once known to small club loyalists now have radio air-time and music videos. One such up and coming band is Massive Scar Era, (also knows as Mascara). This all girl band is trailing blazes and breaking boundaries in a country new to an all female heavy metal band. IN 158 | FALL/WINTER 2013
Asked whether she feels insecure for what she does, she said soberly, “I’ve always felt insecure living in this country. It’s mostly sexual harassment. So, the issue isn’t about what I do. Rather, it’s for who I am... I’m a female!” So what issues does she touch upon in her concerts? “Our band supports women’s rights generally. On our last tour, we were collecting money for Harassment Map (an organization that is trying to create a mass awareness campaign about sexual harassment in Egypt),” says Amr. “Our newest release My Ground talks about oppression and how erroneously religious extremism represents women. Our songs are an outlet through which we vent our frustration against gender discrimination.”
The intense passion for singing was evident in Amr quite early on in her life at the ripe age of six, “When I was very young, I was so much into pop music (I’m still into it by the way). But the track changed when I got into rock. Even that wasn’t enough. When I started listening to metal at 17/18, it became clear to me that this is what I really want to do in my life,” she says. Like all young aspiring musicians, she too had her favorite role models to look up to, “I just love Adam Dutkiewicz, guitarist of the American metal core band Killswitch Engage because he is so creative, funny and so energetic on stage,” she says. “Then, Hayeley Williams, vocalist of the American pop rock band Paramore is my favorite not only because she has an awesome voice but she has a very unique personality and style albeit with morals which, I think, is a wonderful thing to have.”
“WHEN I STARTED LISTENING TO METAL AT 17/18, IT BECAME CLEAR TO ME THAT THIS IS WHAT I REALLY WANT TO DO IN MY LIFE.” Asked where she sees the future of heavy metal five years down the line, she replied grimly, “I do not like where it’s heading. I think Heavy Metal needs a new sound, not just mixing styles. What’s disappointing is that the new bands are simply mixing the styles rather than trying to create new sounds, which is the need of the hour.” Taking the opportunity to express how she feels about the current situation in her country, she says impartially, “Right now I’m not optimistic about its future. The mess is so entrenched that it’s hard to figure out where the solution lies.” But she sounded very happy saying, “The younger girls are more tolerant of what we do. The best part is that even parents’ hard-line attitude is changing. Perhaps, it’s so because we play post-hardcore music with oriental influences. Whatever the reason, it’s good for us.” IN
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