Issue no. 14 by IN Magazine

IN Magazine

EDITOR’S LETTER

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Dear readers, The year 2014 was quite a full year for us here at IN Magazine. We had the chance to meet some of the region’s and the world’s most talented artists, designers, entertainers, and more. All of whom showed much love and praise for IN Magazine. The beginning of 2015 gives us a chance to reflect on our past; that is because we will be turning 5! Five years older, (and 15 issues later), we find ourselves still as passionate and crazy for what we do here at IN. We are proud to have garnered somewhat of a cult-following; making each issue of IN a collector’s item, adorning many-a-coffee table and many-a-book shelf all over the region and all over the world. We are perhaps the proudest for representing our Middle East region in the fashion, art, and design arena in a way that showcases the incredible pool of talent our part of the world has to offer. It is our calling to give voice to the talent and prominence otherwise overshadowed by global cultural trends and mass media attention to political strife. We are talented. We are innovative. We are forward thinkers. We are more than just a political label. We are art, fashion, design, and love. As I enter my 10th year in the publishing world, and despite all the experiences I’ve had and all that I have learned; there is but a single lesson that has resonated with me over the span of my career: Hard work does pay off! I can’t wait to share with you dear readers all the cool stuff we have planned for 2015! Thank you for taking yet another journey with us in 2014, and here’s to a brand new journey sure to be choc-full of surprises, fun, and lots of love. I wish you all a fantastic Holiday Season and a very happy New Year!

Ahmed R. Abou Naja

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IN.SIDE

IN.FASHION 30 QUIRKY TRENDS 32 FURRY SITUATION 34 WRAP IT UP 36 OH SO VELVETY! 38 SWEATER COMBOS 40 ROBE DE CHAMBRE 42 SHAGILICIOUS 44 VISUAL ILLUSIONS 46 SEEING IN COLOR 48 FALL/WINTER 2014 ACCESSORIES ARE ALL THE RAGE

IN.TRENDS 50 PARISIAN CHIC BY HERVE DUNOYER 58 GET YOUR SEXY ON BY YANNICK ALEKSANDROWICZ

IN.FOCUS 68 FREDERICK LEE SINGAPORE’S PRINCE OF HAUTE COUTURE 72 POLISH DESIGNER KATARZYNA KONIECZKA ON HER FASHION SCULPTURES 78 CHARBEL ZOÉ ON DRESSING JLO, SHAKIRA, & BEYONCÉ LEBANESE COUTURE ON THE BIGGEST STAGE IN THE WORLD 86 DESIGNER JESSICA ROWELL ON THE ELABORATE WORLD OF J-CHAN’S DESIGNS

92 RAD HOURANI THE ARCHITECT OF UNISEX COUTURE 96 ZIAD GHANEM THE BLACK GOLD 98 NAZ CANNON GOES FUTURE-MOD 100 INGE CHRISTOPHER BRINGING THE BEST OF BOTH WORLDS IN A SINGLE LABEL

134 MAKE IT LOOK GOOD BY JORGE MORANDEIRA 144 WIDE ANGLE BY HERVE DUNOYER 152 UP & GOLD BY BEN FOHRER 166 FOCUSS BY REBECCA SCHWEINS 176 QUIET STORM BY REBECCA SCHWEINS

IN.SHOES

IN.ART

102 MARLOES TEN BHOMER CHALLENGES TRADITIONAL WOMEN’S SHOES

190 ARTS-MART THE FIRST & LARGEST ONLINE ART GALLERY IN THE MIDDLE EAST IS NOW OFFLINE TOO

IN.JEWELRY

IN.DESIGN

106 NINA BAKRY BODY JEWELRY ADORNING THE BODY IN UNCONVENTIONAL WAYS 110 MARTHAMAECH HEIRLOOMQUALITY JEWELRY BRINGING A TIMELESS PAST TO THE PRESENT

192 HERMÈS MAISON BRINGS ITS’ RICH HISTORY & HERITAGE TO SHANGHAI 198 DOWNTOWN DESIGN FURNITURE DESIGN ICONS MEET

IN.FEATURE 112 ME I AM NOÉMIE LENOIR BY REBECCA SCHWEINS

IN.SHOOTS 122 ODIN BY YANNICK ALEKSANDROWICZ

IN.MUSIC 204 TANIA SALEH THE OFF-STREAM MUSIC 208 MATHIEU SAIKALY MIDNIGHT IN PARIS 210 JERMAINE BROWNE ON MOVEMENT, DANCE AND FEMFUNK

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IN.NEWS

LOUIS VUITTON EXHIBIT MODULAR LIVING BY PIERRE PAULIN At the Design Miami and Art Miami Beach fairs, Louis Vuitton displayed a modular living concept furniture designer Pierre Paulin had envisioned with Herman Miller, the American furniture manufacturer, in 1972, but never realized.

A structural sofa covered in foam and woolen textile

Michael Burke, chief executive officer of Louis Vuitton hopes the satellite exhibit will emphasize the enduring modernity and purity of Paulin’s furnishings, still prized by cognoscenti. When asked about the recent comeback of all things early Seventies, burke says, “It just seems right.” Burke enthuses that the project, “combines everything we like: craftsmanship, design, modernity and audacity.” Indeed, functional and surprising design are part of the French company’s legacy, with Burke noting that Gaston Vuitton dreamed up foldable cots and chairs, contributing to a fecund period of design that would later be hailed as midcentury modern.

The Tapis siege 1970 seating ensemble

The Paulin/Miller residential concept — a multistory living arrangement whose furnishings can be modified to suit changing needs — was received well in Miami, a hotbed of architectural innovation, Burke notes. “It was all about open spaces, for one simple reason: There was no air-conditioning at that time,” he says. “It required a different set of furniture.” “Making furniture is a very long process,” explains Burke. “It’s midway between making a dress and a car; that’s what furniture is. It’s very technical; it has a function that is more technical than a garment.”

An armchair covered in foam with a table in white lacquered wood

FURLA UPDATING TO 3.0 “We call 2015 the year of Furla 3.0. It’s the end of one journey and the beginning of another,” said Eraldo Poletto, chief executive officer of the Bologna-based accessories company, mapping out the changes going forward. These include the relaunches of a women’s footwear line, and of bags and small leather goods for men for fall 2015, with new, dedicated business units. Aiming for a new perception of the brand, Furla has tapped Mario Testino for a marketing and advertising campaign. “The time has come to raise our voice a notch, to communicate with a more daring tone and an updated image,” said Poletto, referring to the brand’s past understated approach.

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Vuitton produces some limited-edition design objects — hammocks, stools, hanging cabinets — as part of its Objets Nomades series. Burke notes that such collaborations with top industrial designers, including the Campana Brothers and Atelier Oï, can yield unforeseen results and new ideas.

VERSACE MADONNA STRIKES A POSE

Madonna is the new face of Versace, posing on location in New York in Mert Alas and Marcus Piggott’s spring-summer 2015 campaign shots. “Madonna is one of the true Versace icons,” said Donatella Versace, creative director of the Italian fashion house. “I’m thrilled to have not only a dear friend, but also today’s leading artist and icon, as the face of Versace.” Alas and Piggott’s black-and-white images highlight the artist’s athletic build and provocative, unflinching gaze. Makeup was by Lucia Pieroni, hair by Garren, styling by Jacob K and art direction by Giovanni Bianco.

CHANEL

MÉTIERS D’ART SHOW

Karl Lagerfeld tapped into his Bavarian roots for Chanel’s latest Métiers d’Art show in Salzburg, Austria today. The prefall ‘15 collection featured many cheeky twists on traditional lace-up boots —both over-the-knee and mid-calf — all made by footwear mason Massaro. For men, there was even an Oktoberfest-ready take on Haferlschuhe-style cropped hikers, as modeled by Sebastien Jondeau and Brad Kroenig, with his young son Hudson in tow. The leggiest silhouette, however, was reserved for Kendall Jenner, who wore the tricolor boots for her trot down the runway.

BULGARI ADRIEN BRODY FOR WATCH CAMPAIGN Bulgari has tapped Bulgari Ambassador Adrien Brody to front the brand’s latest ad campaign for the Octo Finissimo watch, due out on air in January. The Academy Award-winning actor was photographed in Paris by Mark Segal.

MAC

Kendall Jennar at the Chanel Salzburg show.

PHILIP TREACY FOR MAKEUP COLLECTION

London milliner Philip Treacy is bringing his flair for flattering the face to MAC Cosmetics and will launch a collection with the beauty brand in April. “Makeup… enhances the features. Which is what hats are about,” said Treacy, who has a history of working with MAC on the makeup for his shows. Treacy said his collection with MAC isn’t about the “dramatic” but, rather, about colors that make “the features look good — it’s about beauty and elegance,” he said. “There’s a transformative aspect to makeup that is similar to wearing hats or clothes.”

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IN.FASHION

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QUIRKY TRENDS

It’s been a season of exquisite strangeness on the runways. Designers like Comme des Garçon and Gareth Pugh are taking inspiration from other worlds and bringing them to us.

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IN.FASHION

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FURRY SITUATION

It was quite a furry deal on many of the runways. From Alexander McQueen’s feral beauty to Tom Ford’s color-blocked stunner, the fall runways were packed with fur in every color and cut. From Roberto Cavali’s 70’s vibe fur coat with red strokes, to Alexander McQueen’s period-piece belted fur coat.

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IN.FASHION

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WRAP IT UP

Coats are a major statement piece this season, not an item to take off as soon as you walk into the door. From edgy Jean Paul Gaultier and Prada metallics, to youthful large prints as seen on the Burberry Prorsum and Alexander Wang runways.

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IN.FASHION

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OH SO VELVETY!

Velvet has made a beautiful comeback, proving to be a more versatile fabrick than previously perceived. Donna Karan does an update on her signature velvet gown, while Elie Saab doesnâ&#x20AC;&#x2122;t shy away from draping and entire gown made of velvet. 2

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IN.FASHION

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SWEATER COMBOS

Matching sweater top and pants were spotted on many runways this season. There’s no reason why a sweater-set can’t mean top and bottom. It’s a cozy outfit that must make it into every woman’s closet this season.They are surprisingly sexy!

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IN.FASHION

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ROBE DE CHAMBRE

Robe-coats are a major trend this season. With designers like Stella McCartney taking an urban and super edgy approach, to Givenchy making it a more romantic and sophisiticated must-have piece.

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IN.FASHION

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SHAGILICIOUS

If you’re not into fur, but still crave a full feel, go for shag baby! Shaggy coats have been made into sophisticated pieces by desingers like Marc Jacobs, Chloé, and Celine.

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IN.FASHION

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VISUAL ILLUSIONS Large, bold patterns, ranging from the geometric to the fluid abstract have walked down the runway this season. They grab attention and keep it.

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IN.FASHION

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SEEING IN COLOR

Just because it’s winter, it doesn’t mean that bright colors should hybernate. The shows this fall were all lit up with bright yellows, vibrant reds, corals, hot-pinks, and electric blues.

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IN.FASHION

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FALL/WINTER 2014 ACCESSORIES ARE ALL THE RAGE This season itâ&#x20AC;&#x2122;s all about exaggerated accents like the Alexander Wang shoes and furry Jason Wu hand-bags. Hats and gloves made some appearances on the runways as well, along with earthy hues and pastel tones.

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IN.TRENDS

PARISIAN CHIC Photography HERVE DUNOYER Stylist AURORE DONGUY Assistant LEANA ZIMMERMANN Hair CYRIL LAFORET USING TIGI Make-up OMAR BOUKER Model ASHLEY - WOMEN

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Coat SCHIAPARELLI Dress TONY YAACOUB Headband SCHIAPARELLI Sunglasses BARN’S Necklace LANVIN Ring DE GRACE Shoes CHRISTIAN LOUBOUTIN FALL/WINTER 2014

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Jacket JEAN PAUL GAULTIER Dress LN FAMILY Skirt CLARISSE HIERAIX Bag BULGARI Ring KMO Shoes WALTER STEIGER IN 54 | FALL/WINTER 2014

Jacket JEAN PAUL GAULTIER Top AUGUSTIN TEBOUL Dress JITROIS Belt PASCAL MILLET Earrings ELISABETTA FRANCHI Short Necklace ROSANTICA IN ECLAIREUR Long Necklace LANVIN Skirt VIKTOR&ROLF Shoes AZZEDINE ALAIA

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Coat CEDRIC CHARLIER Shirt MARC JACOBS Dress LANVIN Earrings SHOUROUK Bag ISSEY MIYAKE Shoes IRIS VAN HERPEN FOR UNITED NUDE IN 56 | FALL/WINTER 2014

Sweater ISSEY MIYAKE Skirt AZZEDINE ALAIA Headband PANAME Ring SYLVIA TOLEDANO IN ECLAIREUR Earrings CHIC ALORS! Bracelet Snake BULGARI Bracelet ELISABETTA FRANCHI Shoes LANVIN FALL/WINTER 2014

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Dress AZZEDINE ALAIA Hat MAISON MICHEL Bag BULGARI Rings DE GRACE Shoes JOHN GALLIANO IN 58 | FALL/WINTER 2014

Coat MARINA YACHTING Dress AUGUSTIN TEBOUL Earrings ON AURA TOUT VU Gloves GLOVE STORY Shoes CHRISTIAN LOUBOUTIN FALL/WINTER 2014

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IN.TRENDS

GET YOUR SEXY ON Photography YANNICK ALEKSANDROWICZ Creative Direction & Stylist MICKAEL CARPIN Make-up & Nails STÉPHANE DUSSART Hair TAKAYUKI NUKUI Model TARIK LAKEHAL - SUCCESS MEN PARIS, STÉPHANIE COLOSSE AND ASHLEY ANSELM - ANGELS AND DEMONS PARIS Thanks to JERMAINE BROWN - RESPECT MY STEP

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Jumpsuit JITROIS Bag & Bracelet VERSACE Heels GUISEPPE ZANOTTI FALL/WINTER 2014

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Rings BOTTEGA VENETA Boots GUISEPPE ZANOTTI Scarf, Shirt & Coat MAISON MARTIN MARGIELA IN 62 | FALL/WINTER 2014

Glasses PRADA Necklaces THOMAS V Sweater RALPH LAUREN Tuxedo DSQUARED2 Boots BOTTEGA VENETA FALL/WINTER 2014

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Necklace VERSACE Jacket VERSACE Ring THOMAS V Boots WALTER STEIGER IN 64 | FALL/WINTER 2014

Bag ROGER VIVIER Cuff URSUL PARIS Necklace ADELINE CACHEUX FALL/WINTER 2014

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Glasses CARLOTTI LUNETIER Necklace JEAN PAUL GAULTIER Bag DSQUARED2 Pants TRUSSARDI IN 66 | FALL/WINTER 2014

Sweater JITROIS RingsTHOMAS V Bracelet VERSACE Bag GUISEPPE ZANOTTI FALL/WINTER 2014

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Necklace VERSACE Ring YASMIN EVERLEY at Botica.fr Clutch JEAN PAUL GAULTIER Tuxedo SMALTO IN 68 | FALL/WINTER 2014

Bag PRADA Bow Tie SMALTO Glasses CARLOTTI Lunetier Tuxedo & Shirt GIORGIO ARMANI

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IN.FOCUS

FREDERICK LEE

SINGAPORE’S PRINCE OF HAUTE COUTURE Words by Nagmani

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Frederick Lee is the golden boy of an already burgeoning fashion industry in Singapore. He is admired across Southeast Asia for his bizarre yet beautiful couture outfits that titivate a woman’s sensuous elegance in myriad forms. Lee doesn’t subscribe to any rules while working on his mesmerizing creations because he thinks they constrict a flow of ideas. In an exclusive interview with IN Magazine, we check with the man himself and try to find out how fashion turns him on and much more. Fashion Fairy Tales Lee sees fashion as a fairy tale that needs retelling in different ways. More or less, it’s his personal take on life. “I fell in love with fairy tales at a very young age. For me, it was all about weaving stories around elements plucked from the world of legend, myth and magic. Till today, I still enjoy the old-world Hollywood glam. Think Dietrich and Crawford in Balenciaga, Schiaparelli to Garbo and Davis wearing Vionnet and Dior,” he says.

I FIND BEAUTY WHEN MUNDANE MATERIALS ARE MANEUVERED WITH THE PROFICIENT AND PERFECTING SKILLS OF HAUTE COUTURE TO BECOME UNEQUIVOCALLY BEAUTIFUL GARMENTS. So what drew him to fashion? “Personally, I find beauty when mundane materials are maneuvered with the proficient and perfecting skills of Haute Couture to become unequivocally beautiful garments. I always knew I wanted to be a couturier,” he says.

It’s no wonder he can’t envision his life without fashion. This is his identity. As he puts it, “The presentation and adornment of the body through fashion is an inescapable fact of social life we live today. And as a couturier designing dresses is a significant source of aesthetic pleasure I love to indulge in. Identity is made manifest through clothes, and I use fashion to advertise who I am and express my convictions openly.”

I FEEL THAT THE ITEMS I CREATE ARE NON-GENERATIONAL EVEN THOUGH THEY MAKE USE OF IMAGES THAT EXISTED IN THE PAST BUT GIVE THEM A CURRENT INTERPRETATION THAT I ALWAYS FEEL IS RIGHT. Perhaps the most important function of fashion, according to Lee, is that it gives him an opportunity to play and change, to embody his desires and his emotions and to silently talk to others and himself about who we are. He can’t imagine living his life without fashion because the promise of fashion is that it offers him a sense of renewal. There is an indisputable factor as to why his designs are deemed so unique and much sought-after amongst women universally. “I want [women] to go out and dare to be who they really are. I try to create a language in my design that is independent of time. I feel that the items I create are non-generational even though they make use of images that existed in the past but give them a current interpretation that I always feel is right. In addition, it’s important to me to make sure that each item connects between people.”

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So what makes his garments stand out from the rest? “I create clothes that reflect ‘moments’ and ‘dreams’ rather than worrying about finding the next best-selling commercial designs. I believe in individuality and diversity to create, to ignore conventions and to do away with the rituals of seasonal demands.” Wearing a Frederick Lee couture creation is all about bringing together the extravagance, the glamour, the wit and the originality. “I make clothes for that sense-stealing woman, seductive, confident and feminine, who is enchanted by bold new ideas and never harbors a dull moment in her life,” he says. Lee is known for working a lot with feathers, “Working with feathers is a symbol of unmitigated joy for me. Feathers and plumes have always been a part of my creation for they add an ephemeral feel and allow me to design an object of natural poetry. They are truly aerodynamic marvels of perfection. They come in literally every color, every shape, and every size and hence they always make a splash in my collections,” says Lee. Selling Dreams His love of fairy tales extends into his choice of specializing in couture, “To me couture is the business of selling dreams, one garment at a time. Clothes are a communication tool and I constantly create something special that my customer feels an emotional attachment to when she looks at it and wears it. Individuality and craftsmanship are two key factors today that I never fail to deliver in my design,” he says. But for all of this, one needs to have a pool of inspiration. And Lee’s inspiration comes from various things that are completely unrelated to a design process like music, movies or even a stroll in the park, which often fills him with good vibes. However, at other times, he finds it in a prominent building, a striking piece of art or nature. “I love catching plays and also keep traveling from time to time to different parts of the world looking for inspiring examples. The options are endless but the key is to know how to translate these inspirations into imaginative clothing designs,” he says. As he readies the stunning pieces of gowns for women, there are certain things he works on in advance. And it starts with visualizing a woman’s figure in his head. “A woman’s figure and her attitude are part of the elements I visualize in the design concept and when it comes to execution, I need to master the technical side so I know what is possible and how to do it right. I need to understand every part from the foundation to the finished touch,” he says.

TO ME COUTURE IS THE BUSINESS OF SELLING DREAMS, ONE GARMENT AT A TIME. The splendor of his designs is made manifest in their full glory in fashion themed shows. And it’s very important for him to adhere to this norm no matter what. “Fantasy which is not realizable is as sterile as practicality with no imagination. I put great thoughts into the running order of my fashion show. It must have an exciting beginning, a middle that expands on a point of view, and a memorable ending that drives home the philosophy for that collection,” he expresses.

Women in Singapore are bowled over by Lee’s romantic wedding dresses. “A Singapore bride can choose a bridal gown that reflects her personality, style and the formality of her wedding. Brides have worn bikinis, shorts, mini-skirts, jeans, ball gowns or simple suits to exchange vows,” he says. “Bridal dresses now offer different hemlines, waistlines and shapes so that every bride can have her choice that flatters her and meets her own requirements.”

IN THIS COUNTRY YOU WILL STAND OUT AS AN ODDBALL IF YOU WEAR YOUR JEANS AND FLIP-FLOPS. Singaporeans love to delve into high-end fashion. They have a flair for it and seek the finest quality at the same time. “The fact that Singapore boasts such a pool of very talented designers who are lighting up the catwalks and covering royalty and celebrities with their designs has something to do with our own women being increasingly fashion savvy. In this country you will stand out as an oddball if you wear your jeans and flip-flops. Is there a better dresser, more fashion savvy nation on Earth?” he laughs, “they are embracing both Eastern and Western styles but turning them into something unique in sync with their protocol.” Singapore may not hold the same popularity as the fashion powerhouses of New York, Milan or Paris, but then the city is home to many talented designers whose creations have made waves internationally and that sole factor certainly makes Singapore the fashion capital of Asia. Asked how he feels about being the most sought-after couture designer in Singapore Lee says, “I am humbled for being recognized for my couture work with its treasures of workmanship, artistic conceptions and grace, allowing me to bring to the public the vision of an art that must not be forgotten while constantly evolving as a witness of its period in time.” Sometimes, it gets difficult to map out future plans. However, this malaise attacks only when one has no certain goals in life. “I am a passionate believer in the notion that the innovations of couture will continue to set the modern standards of clothing design and I will continue to do what I love most and what I do best i.e. to present an exciting new perspective on the world of couture,” he says. Reflecting on his fashion journey so far, Lee is content, “My journey has been quite rewarding. I feel both challenged and inspired in many ways and I wouldn’t want to do anything else. Only in the process of my creation, I’m able to enter another society, another world. I love to examine the components that make that world what it is, to study the choices people make as to what they wear, the conditions that force them to wear certain types of clothes, and the societal requirements that influence how they choose to dress. That love, that intellectual curiosity, has led to a career that no other job has offered me and likely never could.” IN

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IN.FOCUS

POLISH DESIGNER KATARZYNA KONIECZKA ON HER FASHION SCULPTURES Words by Nagmani Konieczka’s tryst with the world of fashion began early on as a set designer and costumer for fairy tale photo shoots. She attended the International School of Costume and Fashion Design in Warsaw from which she received her honors degree majoring in costume design. “The school allowed me to take the next step toward cherishing my ideas I had about costume making in a big way,” she says. Sensational Creations She designs avant garde dresses that bring together a soft goddess-like flair and a hard warrior woman, “I just find them mysterious and feel attracted to them,” she says of goddess figures. “I try to maintain the surreal aspect of my creations by giving women what they most desire in life. Women want dresses that could make them radiate with power and sex appeal while attending special events. This is what I love doing.”

WOMEN WANT DRESSES THAT COULD MAKE THEM RADIATE WITH POWER AND SEX APPEAL WHILE ATTENDING SPECIAL EVENTS. THIS IS WHAT I LOVE DOING.

Katarzyna Konieczka

The sorts of dresses designed by the Polish-born Londonbased costume designer Katarzyna Konieczka speak volumes about the exciting explosion of unconventional sartorial creativity happening in fashion today. In an exclusive interview with IN Magazine, Konieczka tells us how she does what she does, and about the future of fashion.

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“I am one of the very few people in the market who are able to simultaneously combine a large number of fabrics with such perspicacity,” she says of her design aesthetic. Designing costumes from head to toe is the ultimate reflection of who she is, “You know I’m very much an introspective sort of girl and I like to be mischievous which can for sure hurt someone, but all these vulnerabilities at the time of creation are released and join the process,” explains Katarzyna. “My creations are maliciously dripping with some intensity but never exaggerated; without being kitsch.” A self-proclaimed lover of corsets and headgear, at one point Konieczka’s interest lied in interior design. But her true passion for designing clothes steered her back in that direction. She sees herself detached from mainstream fashion, she reluctantly looks at trends and prefers to dodge them. “I believe in staying afloat away from the trends in vogue. I love to stay ahead of the fashion,” she says. “My thinking about shapes and patterns are largely archetypal although I profusely stick to asymmetry, anatomy and macabre elements in my collections.”

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Feeling More Like An Artist Konieczka is quite averse to being labeled as a fashion designer. However, she looks at her work as more of art, “I’m a sculptor, a painter on fabric, and a costume designer. My technique fits in with what goes on inside the studio of a sculptor or a painter. There is a lot of chaos on display in my work; mania, sadness, euphoria alternately,” she says. Konieczka’s collections are full of contradictions inspired by lots of ideas she comes across in her daily life. That’s what makes her designs quite unique. “Each person is different; sometimes more twisted and sometimes has seemingly conflicting characteristics. At the end of the day, what matters the most is how you approach these often unknown bits,” says Konieczka. Inspired by film, fairy tales, and historical dresses, Konieczka’s work is tough to pin down to a single style, “My projects are very diverse because I often change my mood. They are full

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of hidden passions that you can’t indulge in a day.” Her work is heavily influenced by H.R. Giger (Swiss surrealist), and Zdzislaw Beksinski (Polish painter). While working on her designs, there are certain protocols she follows. Without them, the wheels cannot move. “Generally, I start by backfilling with fabrics and accessories and then comes all the sculpting. The creative process begins with a willingness to let emotions loose. When I turn to work, the idea is mostly ready. Often, these are backed by some notes and drawings.” When it comes to fabrics, Konieczka makes the most of them. She goes one step further by applying pleating and dyeing mechanisms on her creations. “I just care about the uniqueness. It’s a very personal process. My fabrics coalesce only with the noblest because I think if someone puts so much soul in the creative process, that’s what matters and anybody looks for,” she points out.

Fashion Scene In Poland When it comes to a vibrant fashion set up in the country, the Poles feel it doesn’t have the proper channel yet. “There are no fashion houses at a very high level. There are workshops in which young people work. They are incredibly talented and hardworking. It seems to me that the Poles are even more hard-working than people in other countries,” says Konieczka. “It has to do with our history.”

screaming. For me it does not change because I neither see it nor perceive it. In fact, shocking phenomenon arouses my curiosity and I get excited only by very hardcore things.”

Her arrival in London was a turning point for her. It was here that she found her right clientele. As she says, “London gave me the possibility to further develop and reach customers who can afford to wear expensive clothes, clothes in single copies, clothes that are sculptures.”

LONDON GAVE ME THE POSSIBILITY TO FURTHER DEVELOP AND REACH CUSTOMERS WHO CAN AFFORD TO WEAR EXPENSIVE CLOTHES, CLOTHES IN SINGLE COPIES, CLOTHES THAT ARE SCULPTURES.

As we were coming closer to the end of our conversation, I asked Katarzyna about her experience since she became part of this fast-paced world, she had a very subtle answer, “I know this world only; one that is intense,

As for now, Konieczka is busy working, “I’m in the process of preparing another collection. It has got to be something pretty but more utilitarian. I will continue to be more creative with my ideas.” IN

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CHARBEL ZOÉ ON DRESSING JLO, SHAKIRA, & BEYONCÉ

LEBANESE COUTURE ON THE BIGGEST STAGE IN THE WORLD Interview by Nahla Samaha

Photography EMILE ZEENNY Model CHRISTINA KONSTANTINOVA Hair STEVE - HAIR AVENUE Make-up BOUBA

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Lebanese-born fashion designer, and winner of International Fashion Designer of the Year 2013, Charbel Zoé has skyrocketed to world fame after the 2014 World Cup! You might think that football and fashion have nothing in common, but in fact, it is Charbel Zoé Couture that brought the two together in the sparkly, sultry, sizzling playsuits worn by JLo and Shakira while performing at the World Cup. Having studied fashion between Paris and Lebanon, Zoé worked for such renowned fashion houses as Givenchy and Ugo Zaldi. His life has been turned upside down since beating out Versace and another international Lebanese fashion label for the chance to showcase his couture creations on JLo and Shakira at the most watched event in the world. Still humble as ever, Zoé made time to talk to IN Magazine about his World Cup journey, and how his life has changed since.

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Now that the World Cup is over, and you have time to breathe and reflect. How do you feel about being part of the most highly viewed and most highly televised event in the world?

I am still in the shock of it honestly! I never imagined I would get this far! I am really proud of my self and extremely happy.

You have to tell us exactly how you came to design JLo’s emerald green onepiece stunner and Shakira’s sizzling strappy red number for the World Cup ceremonies? Did they call you? Did you reach out to them?

A couple of months ago I was contacted by JLo’s stylists. They said we are fans of your work, you are unique, we love your line and are you interested to dress JLO? Immediately I said of course! And the dream started to become a reality. I presented many designs and they loved them! They selected two looks, one for the American Idol finale and one for the World Cup performance! It turned out that JLo’s stylists also worked with Shakira and so they told her about me.

What was the inspiration behind JLo’s outfit? And what was the inspiration behind Shakira’s outfit?

JLo’s outfit was festive and bright, I was very excited to work on it although I hadn’t gotten confirmation from either JLo or Shakira that they would actually wear them on stage. Both stars surprised me on stage by wearing my outfits! As for Shakira’s outfit; it was inspired by a warrior.

THE WORLD CUP IS HUGE AND I WAS COMPETING WITH VERSACE AND AN INTERNATIONAL LEBANESE DESIGN LABEL TO DRESS JLO FOR IT. Did you feel a lot of pressure to create something very special because the whole world watches the World Cup?

Of course. The World Cup is huge and I was competing with Versace and an international Lebanese design label to dress JLo for it. But in the end she wore my creation.

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During the time you were designing and having fittings and so on with these two mega stars, what was your life like?

Well, my life as an artist is always busy and hectic as it is. But with this task, I wanted to give it my undivided attention; it was a very big responsibility after all that I considered an exam of sorts.

Who was more fun to work with? Shakira or JLo?

Both of them are amazing. I had worked before with JLo so it was easier for me to understand what she wanted right away.

HAIFA IS MY LUCKY CHARM, SHE IS FUN TO WORK WITH, AND SHE INSPIRES ME A LOT. MY COLLECTIONS ALWAYS INCLUDE A TOUCH FROM HER. Your close relationship with Lebanese star Haifaa Wahby is well known in the fashion and celebrity circles. Tell us about working with her on the Ramadan TV series Kalam 3ala Waraa.

Haifa is my lucky charm, she is fun to work with, and she inspires me a lot. My collections always include a touch from her. I designed a black beaded pencil skirt with a lace top and the now famous wedding dress for Haifaâ&#x20AC;&#x2122;s character Habiba, which made headlines in Ramadan! It was an amazing experience.Â

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Who else have you dressed regionally and nternationally? Regionally I dressed the famous director Leila Kanaan and internationally the reality star Lilly Ghalichi. Now I am working with many A-list celebrities on upcoming projects.

How would you describe your design aesthetic? (Your style and point of view)

My design aesthetic is original and different. I don’t like to recreate something that was already seen because I get bored easily. I love creative design and sometimes I even take it to extremes.

Who would you love to work with that you haven’t already?

I would love to work with Madonna! I have already worked with Beyoncé, you can find my name on the list of the On The Run Tour as costume designers.

How has your life changed since the World Cup?

Oh my God a lot! Thank God! I still can’t imagine the social media buzz around the world about my designs. I’ve been interviewed by French, Italian, Japanese, and American publications and TV shows. I was even referred to by some as the “First Globe Fashion Designer,” which was awesome.

What’s up coming for Charbel Zoé Couture?

Many exciting projects are coming. The opening of my showroom in Los Angeles and I’m already planning my next big fashion show. IN

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DESIGNER JESSICA ROWELL ON THE ELABORATE WORLD OF J-CHAN’S DESIGNS Interview by Nahla Samaha You’ve been drawing and painting since the age of six, did it ever cross your mind to pursue anything else other than art?

At the age of six I actually wrote on a homework paper that I wanted to be a teacher when I grew up, metaphorically I think I’ve served this purpose at some point. Since adolescence I knew I wanted to create, it was an innate desire. I started painting and drawing, then animation and at one point I was seriously pursuing singing with a slight interest in acting but eventually gave it up. I found fashion, I found it through a hobby that wasn’t related to my academic life and subsequently several educators felt concerned that I was “wasting my talent” and potential success within traditional art by pursuing something as seemingly obscure as fashion. I think the negativity surrounding my experience empowered me and affirmed that fashion was my true calling; fashion is where I felt understood and where I could freely express myself and that meant more to me than anything else.

You grew up with 80s punk rock and classic metal, how has that influenced the development of your aesthetic?

Twenty-five year-old Jessica Rowell is the designer behind J-Chan’s Designs. Her intricate and grand designs have caught the attention of the fashion world and media alike, dubbing her an “Alternative fashion designer.” Not one to run with the pack, Rowell has a singular design aesthetic uniquely her own, one that was quietly bred in Aurora, Colorado, to erupt onto the fashion scene in a most-welcomed sensory sneak attack. “Fashion is more than an article of clothing,” says Rowell, “It’s an art form, a visual experience and a vessel for self expression. This is how I communicate with the world.” IN Magazine got to sift through all the intricately woven layers of Rowell’s world, to get a raw and real insight into J-Chan’s Designs. IN 88 | FALL/WINTER 2014

The style is what influenced me more; I remember studying album covers and cassette tapes from my dad’s collection. If there was a photo or a pullout booklet or a poster I wanted to see it, imagery definitely played a huge role in my youth. Madonna, Cyndi Lauper, Billy Idol, Sid and Nancy, Alice Cooper, these iconoclasts influenced me as a child. My understanding for personal aesthetic and honing an individuality uniquely my own is something that I adapted progressively over time. I dabbled a bit with DIY and often altered found clothing or accessories; I think the accumulation of my experimentation ultimately lead to my pursuit in fashion design.

Denver-Takayama Sister Cities sponsored you to journey through Japan in 2006 at the tender age of 16, something that would be daunting for any 16 year-old… Tell us about that experience.

Before the age of 16 I was a semi-frequent traveler, often road-tripping with my family across states or traveling alone via air within the United States, and for some reason I didn’t find flying across the world with a group of strangers daunting at all! Via the Sister-Cities program, I was one out of 10 candidates selected to travel throughout Japan through sponsorship, so instead I felt immense gratitude and happiness in receiving such a rare opportunity. It was the most exciting moment of my life. I visited Kyoto, Tokyo, Hiroshima, and Takayama- while in Takayama I partook in a home-stay where I was hosted by a Japanese family and briefly experienced daily life. I befriended a couple of students during the trip and we enjoyed every moment possible! As an aspiring fashion designer Harajuku was especially exciting for me, it’s something that can’t be articulated or compared, it truly altered my perspective.

Title BADLANDS Photography NICOLE MARCELLI Hair & Make-up JESSICA ROWELL Fashion Designer & Wardrobe Stylist J-CHAN’S DESIGNS Jewelry Designer BASTEROID www.bstrd.com Model LAUREN HOGUE - DONNA BALDWIN AGENCY Location PAINT MINES INTERPRETIVE PARK, CALHAN, COLORADO

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You forayed into fashion also at a very young age with a fairythemed collection and costume design for theater, what do you love about making clothes? How is it different from other ways you express your art, like painting?

When I discovered fashion design as an outlet, it was fulfilling. I previously felt unsatisfied with other mediums; I think perhaps it wasn’t challenging enough for me. At the time I thought fashion design and styling encompassed a more comprehensive form of expression; it involved everything from sketching, painting, drawing, sculpting, and construction, designing to garment creation. It also lead to the possibility of creating visual imagery through styling, art direction, photography, theater, film, installations and so on. The possibilities and variety intrigued me. Fashion design put my skill and imagination to full use, and delivered an art form that transcended the 2-dimensional realm by becoming a 3-demensional art that could be worn on a live figure, art with movement, a walking canvas, something potentially far greater than what I was producing in any other medium. Fashion can become anything; I think that’s what I love most.

FASHION DESIGN PUT MY SKILL AND IMAGINATION TO FULL USE, AND DELIVERED AN ART FORM THAT TRANSCENDED THE 2-DIMENSIONAL REALM BY BECOMING A 3-DEMENSIONAL ART. So how did you get into costuming music videos and film? What was the turning point?

After building up my portfolio solely in photography, I decided to put out calls and openly express my interest in shifting focus to film. I eventually received some interest from a couple of directors and was fortunate enough to be selected as a lead costume designer on several short films, music videos and a full-length feature. I’m currently working on costuming a film short called The Godly Wilder, and hoping to further expand my involvement of film projects in the future.

Your work seems quite intricate and full of detail; do you do a lot of research and/or travel and exploration ahead of working on a piece or a collection?

Not usually, although some projects require historical research which I do enjoy. Ahead of time, I just coordinate textiles and color palettes before diving into my work, then as I start creating a piece I let it unfold organically.

EXPERIENCING AND TAKING IN NEW SIGHTS AND VISUALS FUELS MY INSPIRATION. Where is your happy place where you find the most inspiration?

Nature: whenever I’m able to travel somewhere new, explore or get away I’m in a happy frame of mind. Experiencing and taking in new sights and visuals fuels my inspiration, my immediate surroundings as well as workspace also contribute greatly to the work I produce.

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Your creations have a lot of dimension, almost as if they have come alive and are heaving with breath… While designing, do you approach your work as a garment or as a sculpture? Is it at the forefront of your mind that this is meant to be worn, or do you create without limiting yourself? This is one of the most interesting questions I’ve been asked in regard to my process. My approach is probably accurately more like a sculptor’s rather than a designer’s. I free-form directly onto the dress-form, and build my design from scratch; it progresses and evolves as I build upon and layer it, much like a sculpture. I design without limitations, but I do have constraints depending on budget and/or resources. As an indie-designer I’m able to produce within my means, but am often capable of so much more. In that sense, it can be limiting. Functionality is important, but I don’t let it control my vision. Mostly all my pieces are comfortable and can be worn freely, although they may appear otherwise.

OTHER ARTISTS AND SUPPORTERS HAVE COMPARED MY WORK TO THE LIKES OF ALEXANDER MCQUEEN, JOHN GALLIANO AND JEAN PAUL GAULTIER. What have been the best compliments you’ve been given in the media and press?

Other artists and supporters have compared my work to the likes of Alexander McQueen, John Galliano and Jean Paul Gaultier; it’s one of the highest compliments I’ve ever received, for my art to be viewed in such regard. I was once overwhelmed when a photographer called me, “The next generation Eiko Ishioka.” As someone who admires her work a great deal, I was shocked by the comment. Press and media tend to describe me as

‘unclassifiable’ which as someone who dislikes being labeled or categorized it’s nice to be recognized as a creator who is making their own mark and paving a path uniquely their own.

Your work has been on many magazine covers, editorials, features, etc… But where would you absolutely love your work to appear where it hasn’t yet? Publications such as Vogue, Love, and Wonderland, W, V and i-D are what I aspire to. I’ve also always dreamed of collaborating with Tim Burton, costuming one of his films or personal projects would really be a dream come true.

What has been your most significant accomplishment to date?

It’s difficult to choose one achievement above all others, but I think seeing my work on the silver screen in Hollywood during the United Film Festival was one of the greater highlights of my career thus far. Seeing my name in the credits at the end seemed a little surreal but overall rewarding and incredibly humbling.

MY WORK IS INCREDIBLY REWARDING AND CONTINUALLY ABUNDANT IN OPPORTUNITY AND EXPERIENCE, I NEVER KNOW WHAT TO EXPECT OR WHAT WILL COME MY WAY. What are you looking forward to in the coming year?

My work is incredibly rewarding and continually abundant in opportunity and experience, I never know what to expect or what will come my way and that keeps me going. I’m looking forward to putting out a couple of more collections before the end of the year, and I’m hoping in the coming year I will have the chance to show at larger runway productions or events as well as work on more films. IN

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RAD HOURANI THE ARCHITECT OF UNISEX COUTURE Words by Nagmani

Unisex couture is unique in that intrinsic to its nature is appealing to both genders male and female. It speaks to fashion-forward men and women who are uninhibited in their fashion choices, and who like to make bold statements. In that regard, Rad Hourani is a non-conformist fashion hero. Jordanborn unisex couturier, Hourani who currently resides in Paris has made waves internationally in a short span of time with his unisex couture. In an exclusive interview with IN Magazine, the 32-year old invites us to explore his unisex-driven fashion that everyone is raving about. How It All Began “I have always been driven by aesthetics since I was a kid,” says Hourani of his eye for art, “I was very aware of how I looked and how I wanted everything to look around me. I didn’t study after high school because except for art and math classes, I hardly enjoyed school,” he says. After high school, Hourani worked as a full time stylist at the tender age of 19, which proved to be a 5-year training for his future in fashion. After moving to Paris at the age of 23 to continue working as a stylist, it struck Hourani that there was a lack of unisex fashion in the fashion capital of the world. “When I would go shopping I would never find what my eyes were looking for. That’s when my unisex vision got rolling,” says Hourani.

MY METHODOLOGY REVOLVES AROUND THE NOTION OF PRESENT EXISTING WITHOUT A PAST. A PURE PRESENT CAN’T BE PURE IF YOU ARE NOT IN THE NOW. Hourani began making sketches of what he himself would like to wear but could never find. A self-taught fashion designer, Hourani relied on his intuition to do what he does with so much finesse. “It proved to be an advantage for me not to be programmed by a school or other conditions as I’m my own teacher and I have the freedom to create whatever comes to my mind that fits in with my unisex vision,” he says. “My methodology revolves around the notion of present existing without a past. A pure present can’t be pure if you are not in the now. I think it’s the same principle that applies to clothing. It’s about creating a form that can be present at all times without fitting in any past categories,” he asserts.

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Asked what’s so special about Haute Couture in his eyes, he replied, “It’s all about “Savoir Faire,” which is working with the best of the best in every aspect be it fabrics, tailoring, cutting, fitting, proportions, etc. I simply admire the craftsmanship of making something extremely luxurious without it being showy.” His designs depend upon three important factors: Wearability, functionality and comfort. “I believe that using what I would like to wear as a starting point for the design process is the most truthful and straightforward approach. It allows me to stay focused on my aesthetics and assess my commitment to them,” he says. Going Both Ways: The Unisex Choice Hourani began questioning fashion convention. Who decided that a man should dress in one particular way and a woman in another? Or different ages should dress differently? Who imposed these codes? “All of my pieces are made to be unisex and they can be worn by anyone irrespective of their gender or age. It doesn’t make sense to me to limit things and that’s why I took a full one year off my regular routine studying male and female bodies to create a canvas that can fit both flawlessly,” he explains.

ALL OF MY PIECES ARE MADE TO BE UNISEX AND THEY CAN BE WORN BY ANYONE IRRESPECTIVE OF THEIR GENDER OR AGE. As per his unisex philosophy, he makes it clear that it’s all about the yin and yang in all of us, the negative and positive, the masculine and feminine, the dark and the light, the passive and active, the intuitive and logical, the cold and hot, the soft and hard. The way he defines fashion

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isn’t easy to discern but whatever he says is very logical if thoroughly examined. He is invariably interested in the juxtaposition of somber and luminous, classic and modern. It’s all about the deconstruction and reconstruction of visual elements gathered along different spaces and experiences. People are perpetually obsessed with what’s hot now or what’s coming next but are rarely concerned with how its visual production will transcend time. Most fashion and art publications are the direct result of the market economy, which tends to show the ephemeral nature of objects that reflect our human finality. But Hourani is beyond it all. “My way of existing in the current paradigm is a dichotomy: I create garments as well as produce videos and graphic arts that appeal to a very contemporary sensibility. Yet, they appear to belong to their own time,” he says. “This timelessness seems effortless, and is not season specific. My photography is my obsession of the moment that could last forever.”

I BELIEVE IN INVENTING A UNIQUE STYLE NOT CARING ABOUT BEING FASHIONABLE. MY DESIGNS WILL ALWAYS BE UNISEX, ARCHITECTURAL, SYMMETRICAL, GRAPHIC. “I believe in inventing a unique style not caring about being fashionable. My designs will always be unisex, architectural, symmetrical, graphic, and that’s what helps me to keep their timeless sheen alive.” Hourani’s Fall/ Winter 2014 collection is once again a testament to making new records in unisex fashion. Genderless, Ageless, Timeless There was never a unisex pattern in existence before Hourani created one. As such, his process is always based on his original unisex canvas starting with his rules: genderless, timeless, seasonless, ageless, straight, symmetrical and involving long shapes. “I sketch a graphic shape that can become a building, a piece of furniture or a sculpture. It isn’t limited to becoming only a garment,” he says. “Then I choose my classical fabrics in black to create the first item. And from there I continue an evolution of the same first sketch.” Quality is the first thing that comes to mind when he thinks of what’s important to him. “Everything is in the details. I am also a perfectionist even if perfection is nowhere. I always make sure that whatever I do, I do it right or I don’t do it at all. I think that’s a great way to live,” says Hourani. He prefers to work with classic and natural fabrics that don’t go out of style like leather, crêpe de soie, cashmere, tweed, wool, silk, etc. So who are his clientele? “I design for people who appreciate a certain sobriety, yet who want to look effortlessly slick at all times,” he says. “Thanks to circumstances that led me to move around the world early on in life which I still do, I have been able to consider things in a wider perspective with no restrictions.”

Asked how he felt to be called by La Chambre Syndicale de La Haute Couture in Paris to showcase his first unisex couture collection in 2007, he said, “It felt like a blessing then. Today, I am very proud to be an invited member of Parisian Haute Couture and to be the first unisex designer in history. I never thought that the past five years of doing what I love would bring me to this point. And it has happened to me because of my craving for taking risks to make a difference in what I do in life.”

TODAY, I AM VERY PROUD TO BE AN INVITED MEMBER OF PARISIAN HAUTE COUTURE AND TO BE THE FIRST UNISEX DESIGNER IN HISTORY. He is no fan of his heritage when it comes to glorifying it in his work. He keeps himself away from such sort of thing. “My work process is permanently based from being nowhere and everywhere. It’s very important for me not to include any influence of culture or tradition or history in my work as it can keep you from evolving,” he explains. “It’s the same as separating people by religion, nationality, age, race or gender.” That’s what makes his shows quite popular in places like New York (where he has consistently shown for four years), Korea, Hong Kong, Dubai, Canada, Berlin, Holland and more. Perhaps there is logic to starting fresh, with a clean slate so-to-speak, “I see the mind as a computer that registers everything around it and it is not possible for it to function when it’s full. We live in a time where there is too much of everything to react to and not enough time to observe. And I can say that I am inspired by the idea of erasing everything in me and starting over and over again all the time.”

IT’S VERY IMPORTANT FOR ME NOT TO INCLUDE ANY INFLUENCE OF CULTURE OR TRADITION OR HISTORY IN MY WORK AS IT CAN KEEP YOU FROM EVOLVING. As the Rad Hourani mania takes over the fashion world, there is no denying that he knows what his next step should be as part of expanding his brand, “I just want to keep on doing what I enjoy the most and to be able to communicate my unisex vision to the world and hopefully participate in building a modern world where I can see more people observing things instead of doing what society tells them to do,” he says. “I wish to see more people questioning everything that they think has been forced upon them like prejudices based on gender, religion, borders, age, race, nationality, etc. Yes, I am a dreamer and I can’t live without dreaming.” IN

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THE BLACK GOLD OF

ZIAD GHANEM Words by Nagmani

Ziad Ghanem, Lebanese couturier, now based in London has garnered a cult-like following over the past decade. In an exclusive interview with IN Magazine, Ghanem reveals his passion for fashion and the secrets behind his own phenomenal gothic touch. Ghanem’s fixation with fashion came at an early age, “I can’t even remember when I was not a designer. When I was as young as six, I started taking interest in clothes and design,” he says. “I think of fashion as a very personal sort of thing,” says the designer, “it has a language that speaks to everyone differently. For me it’s about the senses, the color, the feeling it evokes and the fabric cuddling against your skin and how that makes you feel in the end,” he emphasizes. As seriously as he takes his work, Ghanem mostly values the dream world that he can bring to life through his work. “Overall, my designs are about fantasy and being the person you want to be and with the dream dress anything is a possibility.” So where does Ghanem find inspiration? “Ironically it’s the streets and the people that dictate what is wanted, needed and desired by the fashion industry, in a non-direct way. This is very much so with most fashion names.”

OVERALL, MY DESIGNS ARE ABOUT FANTASY AND BEING THE PERSON YOU WANT TO BE AND WITH THE DREAM DRESS ANYTHING IS A POSSIBILITY. Making Haute Couture designs is Ghanem’s preferred choice, and accordingly he puts so much attention into honing his craft, “I like to develop and research traditional processes and apply them to my work. I like to explore shape and history. One must always look back in order to move forward,” he says.

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His A/W 2014-15 couture collection L’Or Noir draped in black gold is inspired by the work of the late American abstract expressionist photographer Aaron Siskind and by the behavior of petrol-oil in the way it engulfs space, water and living things. “For colors my choices are ever changing. One can clearly enjoy it in my latest couture collection L’Or Noir, which consists of only black but made rich with different textures and tones. And for vintage fabrics I have a lifelong obsession,” says Ghanem.

I LIKE TO DEVELOP AND RESEARCH TRADITIONAL PROCESSES AND APPLY THEM TO MY WORK. I LIKE TO EXPLORE SHAPE AND HISTORY. Ghanem’s Lebanese heritage always finds a place in his crearions, “It will always be present in my work and life,” he says of the Lebanese culture, “I am able to merge East and West harmoniously, and this is very Lebanese,” he says. While his homeland is always in his heart and his designs, so is the Arab woman. “The women from the Arab world want something unique and beautiful and want to feel and look great,” he says, “that also goes for women of the West but on a more functional level to fit in with a fast-paced lifestyle. I understand the human body and I am really good in making flattering, dramatic clothes.” Not one to obsess over celebrities, although he has dressed plenty of them, Ghanem is more focused on his everyday clientele. Still, even this famous designer can get star struck, “I will say Naomi Campbell wearing my clothes in British Vogue shot by Mario Testino was a pretty great feeling,” he confesses.

THE WOMEN FROM THE ARAB WORLD WANT SOMETHING UNIQUE AND BEAUTIFUL AND WANT TO FEEL AND LOOK GREAT. This multi-talented designer also has a love for filmmaking, “Yes, I would have loved to direct films and I have incorporated this into fashion a few times and I’m planning to do more in the future. The way I approach a collection and indeed a show is very similar to writing a film; each person has a character and an identity that is projected through their appearance. Ultimately, we are all dressing for our Oscar winning leading role,” says Ghanem. IN

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NAZ CANNON GOES FUTURE-MOD Photography MARVIN GRECH Model ADRIAN NITA Assistant ALI ALOSH

Last time we caught up with Emarati designer Nasser Mohamed al Midfa, otherwise known in the industry by his brand name Naz Cannon, was a couple of years ago in 2012. Back then his menswear collection was all about spikes, studs, and draping with a very fetish-y, S&M type of feel. Cut to 2014, where we meet with a more refined and more subtle designer, whose design maturity is evident in his strong, understated new collection titled ‘nazcannon 2015 PART I’. IN Magazine met with Naz Cannon for a quick catch-up.

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Your latest fashion, seen here, has a very mod-futuristic feel to it, would you say you have grown more as a designer? Letting the clothes speak for themselves rather than having a lot of bells and whistles?

Well, Yes because I found what I’m looking for and how to define my designs. From simple, edgy cuts to statement looks with spikes, a staple of the Naz Cannon brand.

You had ventured into women’s wear a few years back in a collaboration with local designer Suhail Matar, are you still creating designs for women? The main target for me is men. The structure of men’s bodies inspires me to create garments that would make the wearer stand out in a crowd.

THE STRUCTURE OF MEN’S BODIES INSPIRES ME TO CREATE GARMENTS THAT WOULD MAKE THE WEARER STAND OUT IN A CROWD. How have you grown as a designer and as a label since you were last featured in IN Magazine in 2012?

My brand is gaining more loyalists, and becoming more and more popular. I have also been on a continuous growth journey both professionally and personally.

What have been some of the highlights for your brand over the last few years?

One major highlight was ‘The King & the boy’ collection from April of last year, which sold out immediately to a boutique in Dubai called West. La.

So are you still maintaining your government job to support your fashion business? Yes, I work for the government by day, and I work on my brand the rest of the time.

I WORK FOR THE GOVERNMENT BY DAY, AND I WORK ON MY BRAND THE REST OF THE TIME. How has androgynous fashion changed regionally and internationally since you first launched your label?

It still has a long way to go regionally, but I see more and more people, both men and women taking risks with androgynous fashion.

What more changes do you hope to see happen? I would like to see more designers in my region unleash their most edgy and unconventional design ideas, and not just play it safe by designing plain, regular casual clothing.

I WOULD LIKE TO SEE MORE DESIGNERS IN MY REGION UNLEASH THEIR MOST EDGY AND UNCONVENTIONAL DESIGN IDEAS. Can you share with us what you’re working on now? Working on ‘nazcannon 2015 PART II,’ which is going to feature futuristic designs inspired by Spartans and gladiators. The collection ‘nazcannon2015 Part I’ was the story of a futuristic boy. IN

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INGE CHRISTOPHER

BRINGING THE BEST OF BOTH WORLDS IN A SINGLE LABEL Words by Nagmani Her fascination with fashion took shape at quite an early age when she was a young girl growing up in a textile (batik) family in Indonesia. “I have always been surrounded by people who work in the fashion industry worldwide (US, Japan, France, England, etc) so talking about fashion is like second nature to me and my sisters. My mother, aside from being a batik artist, liked to sew and design our clothes as a hobby. She was a big source of inspiration,” she says. There were limited choices of nice ready-to- wear clothes in the small town where she grew up so she was designing her own clothes along with her mom and her sisters ever since she was a teenager. It is no surprise that later on she decided to pursue a business in the fashion industry. The Birth of a Label The idea of the brand kicked in at first when Inge Christopher decided to quit her corporate job. As she left that world in 1986, she got married and moved to the US from Europe where she and her husband set up their own business. “We wanted to do something that we love, something that would give us the flexibility to work together while starting and raising a family and also allow us to travel the world together (since we both love traveling and our families were not living in the US),” she explains.

Today’s sophisticated women are very conscious about carrying exquisite handbags, clutch bags and minaudieres. They know how handy these accessories are when it comes to keeping their personal essentials. Not to mention, they add more chic to their glowing personality. Inge Christopher, an ethnically inspired luxury handbag label, deals with this requisite in a smart way. In an exclusive interview with IN Magazine, we sit with Inge Christopher, the founder of the Inge Christopher brand (and the creative director of Whiting & Davis luxury hand bag label), in person to find out how fashion became a part of her life. IN 102 | FALL/WINTER 2014

I HAVE ALWAYS WANTED TO COMBINE THE OLD WORLD CRAFTSMANSHIP THAT I ADMIRE FROM MY CHILDHOOD IN INDONESIA WITH THE MODERN FASHION OF THE WESTERN WORLD. And her love for fashion steered both of them toward the accessories business. She wanted to offer and create unique accessories that aren’t easily found in the US. “I have always wanted to combine the old world craftsmanship that I admire from my childhood in Indonesia with the modern fashion of the Western world so I started designing jewelry, belts, beaded handbags and antique rattan bags by collaborating with artisans and craftsmen from Indonesia, Thailand and China,” she says. In the beginning, Christopher was clear about the sorts of accessories her label would offer like jewelry, scarves, belts, and handbags from all over the world. “Soon we realized that doing all that as a small business while also raising a family is really too much to handle all at once so we decided to focus on handbags especially beaded bags and antique rattan handbags both of which involved a lot of craftsmanship,” says Christopher.

“We have clutches that can be worn as day-to-evening bags and we also have clutches that can double up as iPad covers. They are super-functional, stylish and beautiful too.” Inge Christopher is known for offering affordable luxury products i.e. handbags with unique designs and outstanding quality at truly affordable prices. “We often work with leather tanneries to custom create our own leather and we also use top quality silks to create our minaudieres and clutches. We also use Swarovski Elements crystals and Japanese glass beads (the finest beads in the world which are individually polished so that they will not snag on clothes) as embellishments to adorn the bags,” she says. “We use a variety of materials like silk, linen, cork, leather, snake skins, and occasionally we use Japanese glass beads or Swarovski Elements crystals as embellishments,” she says.

WE HAVE ABOUT 20-25 NEW STYLES PER SEASON (NOT INCLUDING COLOR VARIATIONS) AND SOME CLASSIC STYLES CAN LAST SEVERAL SEASONS. Inge Christopher creates a bag for every occasion a fashion-conscious customer can think of, “We have about 20-25 new styles per season (not including color variations) and some classic styles can last several seasons,” says Christopher. The label appeals to socially active and fashion conscious women who are confident of their own unique individual style and appreciate luxury products. “These women tend to buy good quality luxury products that they truly love based on the design and not so much driven by the brand name.”

Stars like Emily Blunt, Nikki Reed, Eve, Shakira, Amber Rose, Pia Mia Perez just to name a few are big fans of the brand. Inge Christopher handbags have also been used in many episodes of the original series Sex and the City and the more recent Hart of Dixie.

I FIND THAT MIDDLE EASTERN WOMEN OFTEN LIKE STATEMENT PIECES I.E. BAGS THAT ARE DISTINCTIVE, DIFFERENT, SPECIAL, AND UNUSUAL AND COMMAND ATTENTION. The Inge Christopher bag is not only designed with aesthetics in mind, “We always have to keep in mind functionality, beauty and practicality. Not only should the bag be stylish, creative & beautiful, but it should also be functional and practical; fit a mobile phone which is a basic necessity nowadays and also credit cards, money, keys and lipstick,” says the designer.

Since Christopher has traveled to the Middle East several times, she knows about women’s taste in bags in the region, “I find that Middle Eastern women often like statement pieces i.e. bags that are distinctive, different, special, and unusual and command attention. They also like glamorous sparkly bags for the evening, so they often like bags that are adorned with crystals or other types of ornaments. They are also not afraid to wear colorful bags as accent,” she says. As for the future, expansion is in the works, “We plan to continue expanding to more international markets where the demand for products like ours is high,” she says.

Wearing Multiple Hats As if she’s not busy enough designing her own label, Christopher also manages Whiting & Davis, (the oldest handbag company in operation in the US since 1876). “We have been designing Whiting & Davis handbags since 1999 and it’s known worldwide for its metal mesh handbags. Unlike Inge Christopher that uses a variety of materials from silk to cork to leather, Whiting & Davis specializes only in metal mesh handbags. A Whiting & Davis bag may have a leather trim, but the primary material is always metal mesh,” she says. “Because of its long history, the brand is well known for its vintage handbags especially among collectors. However, we have also injected a lot of newness and innovation into the brand to bring it on par with the 21st century style by introducing a lot of new colors, contemporary shapes and new types of metal mesh such as the pyramid mesh, dimple mesh, etc,” she explains.

Whiting & Davis handbags have always been very popular with celebrities dating as far back as the early 20th century. Fans of Whiting & Davis include Jane Wyatt and Gloria Stuart from 1930s, Nicole Kidman, Lady Gaga, Eva Longoria and many others. But it’s never easy when you are handling two world-famous brands all at once. So how does she juggle two worlds at the same time? “It’s definitely not easy to handle both brands but I have an excellent team that works with me to make it possible to juggle both. The fact that Whiting & Davis uses a completely different material than Inge Christopher also makes it somewhat easier to separate the two brands,” she says. “Plus, my marketing background with Procter & Gamble International Division (prior to starting Inge Christopher back in 1986) has certainly trained me to be adept at juggling multiple brands simultaneously. IN

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IN.SHOES

MARLOES TEN BHOMER CHALLENGES TRADITIONAL WOMEN’S SHOES Words by Nagmani London-based Dutch shoe designer Marloes ten Bhomer believes in cutting-edge fashion with no limits on innovation. In an exclusive interview with IN Magazine, Bhomer dishes on her exciting career, and where she’s going from here! While completing her Bachelor’s degree in 3D design from ArtEZ, Netherlands, Bhomer attended a shoe design workshop organized by one of the founders of Lola Pagola, (a famous Dutch shoe brand in the 1980s and 90s), Marijke Bruggink. Later, she completed a Master’s degree in Product Design from Central Saint Martins, London, UK. “The workshop proved to be a blessing for me and provided an insight into shoe design. From then on, I continued working with footwear when I realized that shoe design can deal with a variety of interesting topics including the cultural status of women and shoes, and the value of making and engineering,” she says. To learn a more traditional way of shoe making, Bhomer enrolled in a summer course at the London College of Fashion.

I REALIZED THAT SHOE DESIGN CAN DEAL WITH A VARIETY OF INTERESTING TOPICS INCLUDING THE CULTURAL STATUS OF WOMEN AND SHOES, AND THE VALUE OF MAKING AND ENGINEERING. Bhomer is attracted to the provocative and otherworldly in shoe design, “What makes my work different from others is the way they are made and the materials they are made of, which as a result allow women the incredibly rare chance of freedom from conventional style clichés and codes. They do not conform to the existing codes, such as sporty, girly and slutty,” explains the designer. The resulting shoes serve as unique examples of new aesthetic and structural possibilities, “I aim to challenge generic typologies of women’s shoes through experiments with non-traditional technologies and material techniques,” she says.

I AIM TO CHALLENGE GENERIC TYPOLOGIES OF WOMEN’S SHOES THROUGH EXPERIMENTS WITH NON-TRADITIONAL TECHNOLOGIES AND MATERIAL TECHNIQUES. These shoe pieces are mainly produced for exhibition purposes, but she has also consulted for small labels and big shoe companies. Bhomer believes the knowledge she gains from creating exhibition pieces is very relevant when working for commercial shoe brands as well.

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Comfort and Functionality Most designs are as comfortable as any other high-heeled shoe. She never lets the feel of functionality get in the way of her formal exploration. As she points out, “The objective of these formal explorations is to discover shoes anew. Sometimes they are translated into functional objects. Their function varies from catwalk pieces, pieces that exist in photographs to technically sound footwear which can be worn on a day-to-day basis.” Since Bhomer’s designs are artistically and technically advanced, it’s no surprise that they have been the source of greater attention in major galleries and museums around the globe; Somerset House, Kunsthal Rotterdam, Spring Projects London, Victoria and Albert Museum, MAD Museum of Arts and Design, Crafts Council, Stanley Picker Gallery, Design Project Room, Geneva, British Business Embassy, Premsela Stichting, Zuiderzeemuseum, Modemuseum Hasselt, Design Museum London, Jerwood Space, Krannert Art Museum, Illinois and the Gemeentemuseum Den Haag are some of the museums and galleries that exhibited her creations. A master of technique and material, Bhomer says, “I have used a wide variety of materials to produce my work such as: leather mâché – a technique that resembles papier-mâché, which allows me to produce shoes with a variable wall thickness and at the same time allowing me to produce the very sculptural shoes that don’t follow the natural silhouette of the foot. I have also used carbon fiber and glass fiber laminating, rotational moulding, 3D printing, CNC milling, leather press forming, origami techniques, as well as wood sculpting and casting.”

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Bhomer has also used vegetable tanned leather, stainless steel, foam, tarpaulin, resin, polyurethane rubber and other plastics in her designs, “I source all the materials from the industries that they are produced in or are commonly used in. It really varies,” she says. The color combination hardly matters to Bhomer. It’s no big deal for her. Her work is very often monochromatic so that she could maintain a strong focus on the shape, making and material. Because she doesn’t produce the work seasonally, she also wants to avoid references to color trends. There are certain ways in which she approaches her work. That’s how she works on the procedure from start to end. Bhomer’s dynamic pieces always start out as a sketch, “I start this process with shoe sketches and then translate this shoe into a suitable material that would structurally work and reach the volume aesthetic I am looking for,” she says. “Or I start by draping/folding/pressing material around a foot to create a design – a process referred to as moulage in fashion design.” It’s not inspiration that leads Bhomer to design. It’s more of a drive to make commentary on cultural status of shoes. That’s why she thinks that mainstream fashion has a very different interest that doesn’t deal with challenging the status quo of shoe design.

FRANKLY SPEAKING, CELEBRITY CULTURE DOESN’T INTEREST ME. When most shoe designers are racing to dress mainstream celebrities, Bhomer is swimming upstream, “I’m not really sure whether these are popular amongst celebrities at all. Frankly speaking, celebrity culture doesn’t interest me,” she asserts. At the moment Bhomer is focusing on finalizing work she started during the Stanley Picker Fellowship in Design 2011-2013, with which she aims to completely replace the standard and regimented approaches to footwear design and manufacturing with the working processes of engineering. This method, which purposefully shirks fashion trends and styles, is based on research into the structural parameters required to support a foot (in a high-heeled position) while in motion. “Ultimately I would like to produce a piece of footwear that is positioned completely outside the footwear industry, manufacturing, sales etc. I think that the fashion and footwear industry model of seasonality, bulk orders, the catwalk etc. is ready for an update,” she says. IN

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IN.JEWELRY

NINA BAKRY

BODY JEWELRY

ADORNING THE BODY IN UNCONVENTIONAL WAYS Words by Nahla Samaha With a love for all things art, why go the direction of jewelrymaking? “I have always had a passion for jewelry-making, which led me to regularly visit the jewelry-making workshops in Khan El Khalili to learn from the skillful jewelry makers,” she says of her beginning. After enrolling in a jewelry-making workshop in Cairo, Bakry acquired more technical knowhow, which gave her the final push to start her own line, something she’d only dreamed of doing as a little girl. “I have always experimented with different materials. When I finally knew what kind of jewelry designer and maker I wanted to be and what materials best represent who I am, I decided to pursue it as more than a hobby. My line is a result of years of exploration, learning, growing, and settling into my own skin as a designer,” Bakry explains.

MY LINE IS A RESULT OF YEARS OF EXPLORATION, LEARNING, GROWING, AND SETTLING INTO MY OWN SKIN AS A DESIGNER.

Nestled on a small street on the island of Zamalek in Cairo is a building indistinguishable from any other. Parking is tough, there’s a foreign embassy around the corner, so you have armed security to deal with there, and there’s a convergence of 4 streets that can sometimes prove exasperating. But the means justifies the end. It’s all worth it because once you’ve parked and ascended a flight of stairs into Nina Bakry’s workshop and studio space, you immediately feel transported to a world where color, peace, art, and free spirits collide in a rush of creativity and innovation. A small apartment, which Bakry, with the help of her Art Director husband, transformed into an outward delineation of who she is: an artist unencumbered by convention, unbridled by trends, and quite fond of flamboyant self-expression. Floral wallpaper, a Victorian mirror, a mod hot-pink console, a patterned body form, fresh flowers, a portrait of Fridah Kahlo, and more make up an aesthetic salad of diverse artistic interests. “I’m a lover of all things artistic and innovative. I am drawn to all forms of art and design,” says Bakry of the eclectic mix that makes up her studio space.

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To set herself apart in a burgeoning jewelry-making industry in Egypt, Bakry paid close attention to what the market offers… and what it doesn’t. And so, Nina Bakry Body Jewelry was born, “Body Jewelry enhances any part of the body, not just the conventional parts like the arms or ears or neck. Body jewelry plays by no rules, an arm cuff that can be worn on the leg, a chain that can be worn around the torso, a neck-piece that can be worn on the head. It’s adaptable and can be something different every time you wear it,” she says.

BODY JEWELRY ENHANCES ANY PART OF THE BODY, NOT JUST THE CONVENTIONAL PARTS LIKE THE ARMS OR EARS OR NECK. BODY JEWELRY PLAYS BY NO RULES. Bakry’s work is mainly about enhancing the body as a whole; that is how she sets herself apart, “I want the piece to not just stand out, but to also make the person wearing it seem interesting, like they have a story to tell, and seem different from the rest. One statement piece worn anywhere on the body can say so much about a person.” Her unique creations have taken Cairo by storm, and eventually garnered regional attention as well. A collaboration with UAE-based fashion designer Essa Walla led to great things, “Thanks to Essa Walla, my arm cuffs

Photography AISHA EL SHABRAWY Stylist SUNDOS EL AYOUB Make-up SOHA KHOURY Hair RAFFI

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Arm Cuffs

Ear Cuff

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made it to Lady Gaga’s personal stylist, who showed them to Gaga when she was in the UAE to perform a concert. Gaga chose to wear my arm cuffs at a postconcert event with fans, and was photographed many times in my creations!” The collaboration didn’t end there, but bore even more fruit. Essa Walla recently created the Nina Dress, a dress that bears a Nina Bakry Body Jewelry chest piece on the front, now available in retail shops in the UAE where Essa Walla creations are sold.

Broches

Bakry’s creations cannot be ascribed to a single theme or motif, her work borrows from history, sculpture, cultural references, and more, “I am inspired by anything and everything,” says the designer, “I draw inspiration from the world around me, it doesn’t have to be something so obvious; it could be a moment or a feeling. I also love exploring the aesthetic of various cultures. I am intrigued by the visual representation of cultures throughout history. That is why my pieces have an ethnic flair.”

GAGA CHOSE TO WEAR MY ARM CUFFS AT A POST-CONCERT EVENT WITH FANS, AND WAS PHOTOGRAPHED MANY TIMES IN MY CREATIONS! Bakry works with precious and semi-precious stones, copper, brass, silver, gold, and enamel. She advises that when selecting jewelry to complement an outfit, one must “Look for the empty space and fill it,” she asserts. “Wearing a backless halter? Wear a back piece. Wearing a sleeveless tee? Wear an arm cuff. Wearing a busy top? Enhance it subtly with rings. Wearing an all black dress? Wear an ear cuff to make your face stand out,” is Bakry’s advice. Arm or Leg Cuff

The designer believes that anything you put on your body can tell a story of who you are at that particular moment. Sometimes Bakry herself selects her jewelry or accessories before she chooses an outfit. She then creates an outfit that would make this piece of jewelry shine and stand out. “There is no formula,” she says, “just follow your gut and don’t pay attention to what the ‘trends’ are or what people are wearing.” Bakry’s work doesn’t end at designing, a keen jewelry maker as well, she finds that making is as much a part of the creative process as designing, “I create my pieces with my own hands; this allows me to get as creative as I can seeing the piece take shape in my hands. You can start out with an idea, and as you’re working with the material, the piece takes on another idea completely and you end up with something very special.”

Earrings

Dual Rings

I CREATE MY PIECES WITH MY OWN HANDS; THIS ALLOWS ME TO GET AS CREATIVE AS I CAN SEEING THE PIECE TAKE SHAPE IN MY HANDS. Always surprising her customers with one unique idea after the next, Bakry has no intention of slowing down. Her success fuels her hunger, and if you know her, you know it’s quite insatiable. Balancing being a mother, a wife, and a designer is no easy task, but Bakry contends that, “Where there’s a will, there’s a way!” To view Bakry’s designs, you can find them on Instagram and Facebook under Nina Bakry Body Jewelry. IN FALL/WINTER 2014

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IN.JEWELRY

MARTHAMAECH

HEIRLOOM-QUALITY JEWELRY

BRINGING A TIMELESS PAST TO THE PRESENT Quite a rare breed in the world of jewelry making and design, Marie Oberlin is one of a handful of painterenamellers in Paris. The Founder and Creative Director of MarthaMaech, a heirloom-quality jewelry line, is also a trained designer, gemologist, goldsmith, and enameller. IN Magazine sat with Oberlin to get to the bottom of what exactly an enameller is, what the name of her line means, and the idea behind heirloom-quality jewelry.

Tell us first the story behind your brand name “MarthaMaech"

Martha Maech is the name of my mother’s mother, who was a creative and courageous woman. By borrowing her name, I pay tribute to her, as well as to all the members of my family. I have been creating precious jewelry since 2004, but I also work as an artisan enameller in precious metals for Chanel and other jewelry houses in Paris and London. I decided to change the brand name, so that there is not any confusion between my know-how and my contemporary creations.

Your jewelry is referred to as “heirloom-quality jewelry”, what does that mean?

I use old artisan methods passed down to me by my teachers. It also means that when a client comes to see me to create or change a piece of jewelry, I use gold or old family diamonds and I transform the jewelry according to the wishes of each client.

So what did you have to study to become, not only a jewelry designer, but also a gemologist, a goldsmith and an enamellist?

I started my studies at the Beaux Arts de Paris then entered into the famous school Rue du Louvre where I learned the jeweler’s craft. I then studied precious stones at the Institut de Gemmologie de Paris, the Paris institute of gemology for 4 years. I then went on to discover the amétrine mines (a natural fusion between amethyst and citrine) in Santa Cruz, Bolivia. On my return to France, I discovered porcelain and enamel on gold in Limoges and I studied this typical medieval art for several years before teaching at the ENSAD, Ecole national Supérieur des Arts Décoratifs, the Limoges national school of decorative art.

You are also a painter-enameller, what exactly is that? By the end of the 16th and 19th centuries in Limoges as well as everywhere else, enameling became an art in European capitals. In our time, it is an extremely rare art. Enamel is a vitreous substance made up, notably of silicon, lead and metal oxides. It could be said that enamel is a crystal powder fused onto a solid gold plaque. This powder is sealed at a certain temperature during the firing process.

Marie Oberlin

The gold plaque is coated with a base layer of white enamel, then several different coats of enamel, crushed very finely and often bound with an oil (carnation, iris, garlic juice, lavender.. ) and applied by brush. Several firings at a perfect regulation of temperature are necessary so that colors are not modified nor layers mixed. It’s also a miniature art and a number of techniques are related to this art.

What are some of the most rare stones or gems you have worked with?

Alexandrite is a very rare stone and has a particularity to change color depending on nature’s light. Also, the cut pink pear-shaped diamond, which is my favorite is just magnificent and worked on in the simplest possible way, so as to be worn around the neck.

What are your customers drawn to the most in MarthaMaech jewelry?

People often say to me that my jewelry is made for science fiction characters and mythological Gods and Goddesses from another time. What my clients like the most in my jewelry is the originality and architectural structure, but they also like the raw and unconventional, original and timeless side. My loyal clients know that I also respect the family heritage of their jewelry.

You are mindful of ethical practices in your business; can you tell us a little more about that? Yes, I always pay attention to where raw materials and diamonds come from. This is why I often recycle gold. My clients entrust me with their family jewelry and I transform it, combining tradition and avant-garde style.

Your pieces are exclusively handcrafted, who are some international public personas that have worn your creations?

Yes, indeed my pieces are handcrafted. I make them myself one after the other. It’s a work of patience. I find my clients randomly, through encounters, friends and sometimes by surprising meetings. In New York where I exhibited my jewelry at the Stuart Moore Gallery, Adriana Kaegi, the former star of the New York 80s legendary band, Kid Creole and the Coconut has worn one of my creations: earrings in the shape of rock wings.

What do you want your customer to feel when viewing your creations? I would like my customers to feel emotions linked to reminiscences of the past or the future. I would like them to feel a positive and protective energy. I want to give them an internal journey when they look at my jewelry, that each jewel brings them a story. I want to just bring them dreams and the freedom to dream.

What are your favorite stones or materials to work with and why? Gold and silver, diamonds and also rubies because they are indestructible and timeless. I also like detailed work, rare enamel, patience and dexterity that are needed to use them. I like to go into the raw materials and to use fire. That means, using high temperatures and to exploit each properly, to change the state of metals and the size of the stones. It truly is a passion.

Which one of your creations, or collections, has garnered you the most accolade and attention? The Abacus ring and Caillasses rings, but also the Icare necklace, as well as the Chronos bangle are often the impressive pieces that receive the most compliments.

Does inspiration hit at any moment, or do you seek it ahead of preparing a collection?

Both. Inspiration and creative imagination are a part of my life. I live between two dreams and I draw my inspiration the most from these two worlds. Afterwards, there is the work, the research and analysis because there are a variety of elements that exist. One idea can lead to thousands of ideas and I like to go as far as I can, to cross the line and to attempt to reach a certain form of perfection.

What advice would you give someone looking to buy a luxury piece of jewelry?

Always look at the hallmarks, know the origin of the gold and type of alloy. Look closely at the underside of the pieces and the clarity stones. A great job is as great on the outside as the inside. Follow your heart and don’t only take into account the value of the raw materials, but also take into account the value of the work and the emotions felt. Think about jewelry as art, a look into time. IN For more information, visit www.brokenenamel.wordpress.com, www.thescopeofenamel.wordpress.com & www.marthamaech.com

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IN.FEATURE

ME I AM NOÉMIE LENOIR Perhaps it is the pale-green eyes, dark skin tone and phenomenal body that makes Noemie Lenoir stand out in a crowd… nay, a stadium! Or perhaps it was her four-year stint as the face of Marks & Spencer’s underwear drawer that made her star shine bright. Maybe it’s her remarkable face, or her modern multicultural appeal… Whatever it is, this French stunner is sex on legs. Born in 1979 to French parents, Lenoir acquired her striking genetics from her Malagasi heritage. She had her first son, Kelyan Makélélé, at age 25, with now ex-boyfriend footballer Claude Kelyan Makélélé. Last year Lenoir sizzled in a cabaret show at Crazy Horse in Paris. The leggy model-turnedactress was on fire in a bandage dress designed by Hervé Leroux, and even went topless in one of her acts on stage. In this issue of IN Magazine, Lenoir is her saucy, sensual, sexy self on the cover, with what we call the triple boom-boom-boom appeal: face-body-personality! You would think seeing her on set that she is completely oblivious to her beauty, goofing around, making funny faces, and making everyone laugh... but that is exactly where her sexiness comes from: her confidence. A true symbol of the power of the feminine!

Photography REBECCA SCHWEINS Creative Direction & Stylist MICKAEL CARPIN French Model & Actress NOÉMIE LENOIR Hair ALEXANDRINE PIEL - NIWEL Make-up FRÉDÉRIQUE ALCARAZ - COULEUR CARAMEL Nail BÉATRICE ÉNI Location LE ROYAL MONCEAU, 37 AVENUE HOCHE 75008 PARIS Thanks to JAMILA OUZAHIR

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Jacket, Tuxedo, Docker & Pants GIVENCHY Necklace CHOPARD JOAILLERIE FALL/WINTER 2014

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Dress JEAN PAUL GAULTIER Heels SERGIO ROSSI FALL/WINTER 2014

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IN.SHOOTS

ODIN Photography YANNICK ALEKSANDROWICZ Creative Direction & Stylist MICKAEL CARPIN Hair TAKAYUKI NUKUI Make-up DAVID LENHARDT Model TANCREDE SCALABRE - SUCCESS PARIS

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Jacket & Kilt L’ÉCLAIREUR Pull-over U-NI-TY Boots HESCHUNG Cap STARTER Necklace FABIEN IFIRES Socks FALKE BURLINGTON FALL/WINTER 2014

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Jumpsuit DSQUARED2 Shirt SALVATORE FERRAGAMO Sneakers ONITSUKA TIGER X ANDREA POMPILIO Scarf: LES ATELIERS DE LA MAILLE Bow Tie ALEXIS MABILLE Long Necklace ADELINE CACHEUX FALL/WINTER 2014

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Tuxedo RYNSHU Shirt SMALTO Pants DIOR HOMME Boots HESCHUNG Bag ZANA BAYNE Bow Tie LAYITIA DESIGN FALL/WINTER 2014

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Tuxedo & Bolero SMALTO Shirt ZADIG & VOLTAIRE Pants RYNSHU Bracelets DINH VAN Scarf FABIEN IFIRES FALL/WINTER 2014

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Scarf FABIEN IFIRES

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Sunglasses G-STAR Pull-over U-NI-TY

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IN.SHOOTS

MAKE IT LOOK GOOD Photography JORGE MORANDEIRA Assistant Photographer YING-JU BRARD Fashion Direction & Stylist MICKAEL CARPIN Production & Creative Direction STEEVEN JEAN-YVES ZAMOR Creative Retouching GEORGES EMMANUEL ARNAUD Hair BENOIT GUINOT Make-up & Nails LORANDY - YUMIKOTO PARIS USING GIVENCHY Models MAUDE - MAJOR PARIS AND AXEL - CITY MODELS PARIS Thanks to STUDIO ROUCHON AND YOUR ANGEL MODELS AGENCY

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Jacket AINUR TURISBEK Panty’s VELVETTE Boots CESARE PACIOTTI Bag CLELIA TAVERNIER Cuff ISABELLE MICHEL Rin: JOANNA LAURA CONSTANTINE Pants DIESEL BLACK GOLD Plastron JOANNA LAURA CONSTANTINE IN 144 | FALL/WINTER 2014

Dress ROBERTO CAVALLI Boot HERVE LEGER Earrings MIRIAM SALAT Right Hand Cuff PHILIPPE FERRANDIS Left Hand Bracelets THOMAS SABO Legging JOE’S JEANS FALL/WINTER 2014

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WIDE ANGLE Photography HERVE DUNOYER Stylist AURORE DONGUY Assistant THOMAS SELVA Hair LUDOVIC BORDAS Make-up CELINE CHARPENTIER Model ARTHUR - ANGELS

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Sweater AVANT TOI IN ECLAIREUR Jacket ISSEY MIYAKE Pants JEAN PAUL GAULTIER Hat SMALTO Boots PETE SORENSEN Necklace HELLES Bracelet RITA & ZIA FALL/WINTER 2014

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Shirt BILL TORNADE Sweater AVANT TOI IN ECLAIREUR Pants ELEVEN PARIS Shoes SMALTO Sunglasses LESCA Necklace RITA & ZIA IN 148 | FALL/WINTER 2014

Jacket SMALTO Sweater AS I AM Shirt LES DANDYS Pants GO SPORT Socks DIM Boots CHRISTIAN LOUBOUTIN FALL/WINTER 2014

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Suit LES DANDYS Shirt AMY GLENN IN ECLAIREUR Hat SMALTO Shoes CHRISTIAN LOUBOUTIN IN 150 | FALL/WINTER 2014

Jacket DSQUARED2 Pants AS I AM Gloves GLOVE STORY Bonnet ELEVEN PARIS Boots RAPHAEL YOUNG FALL/WINTER 2014

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Sweater BILLTORNADE Jacket U-NI-TY Pants ISSEY MIYAKE Watch BREITLING Shoes RAPHAEL YOUNG IN 152 | FALL/WINTER 2014

Headband PANAME Pants DSQUARED2 Jacket & Sweater JEAN PAUL GAULTIER FALL/WINTER 2014

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UP & GOLD Photography BEN FOHRER Creative Direction & Stylist MICKAEL CARPIN Make-up YANN REBELO Model CEDRICK DAUBERTON - I LOVE MODELS MILAN

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Jacket J.O.T.T Bonnet ISABEL BENENATO FALL/WINTER 2014

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Cap CAYLERS & SONS Harness ZANA BAYNE Pants SWEET PANTS Sneakers JEAN BAPTISTE RAUTUREAU IN 156 | FALL/WINTER 2014

Sweater SEVEN TEES Short KOMAKINO Sneakers JEAN BAPTISTE RAUTUREAU Cap NEW ERA Socks FALKE BURLINGTON FALL/WINTER 2014

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Cap MITCHELL & NESS Sweater SEVEN TEES Pants VICTORIA/TOMAS Shoes GOLA Socks FALKE BURLINGTON FALL/WINTER 2014

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Bombers KOMAKINO Bonnet NEW ERA Rings THOMAS V IN 160 | FALL/WINTER 2014

Rings THOMAS V Sweater ISABEL BENENATO FALL/WINTER 2014

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T-shirt VICTORIA/TOMAS Pants & Shirt LAURENCE AIRLINE Sneakers JEAN BAPTISTE RAUTUREAU FALL/WINTER 2014

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Jacket & Cap CAYLERS & SONS Pants REPLAY IN 164 | FALL/WINTER 2014

Jacket J.OT.T T-shirt CAYLERS AND SONS Pants VICTORIA/TOMAS Baskets NIKE Umbrella PARASOLERIE HERTAULT FALL/WINTER 2014

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Sweater & Pants LRG Cap NEW ERA Bracelet THOMAS SABO FALL/WINTER 2014

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FOCUSS Photography REBECCA SCHWEINS Creative Direction & Stylist MICKAEL CARPIN Hair LUDOVIC DUPUIS Make-up SABINE LEIB Model HÉLÈNE - OUI MANAGEMENT

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Jacket & Pants BARBARA BUI Necklace ARGUMENT Ear Cuff JOANNA LAURA CONSTANTINE FALL/WINTER 2014

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Hat MAISON MICHEL Gloves JITROIS Necklace PASQUALE BRUNI JOAILLERIE Tuxedo & Pants GIORGIO ARMANI IN 170 | FALL/WINTER 2014

Shirt ALEXIS MABILLE Hat ALEXIS MABILLE Right Cuff H-STERN Left Cuff OUTHOUSE Earrings VIVEKA BERGSTROM FALL/WINTER 2014

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Sweater NACO PARIS Skirt ALEXIS MABILLE Bibi MURMURE BY SPIRIT Ear Cuff JOANNA LAURA CONSTANTINE IN 172 | FALL/WINTER 2014

Tuxedo VERSACE Necklace SELIM MOUZANNAR Earrings ISABELLE MICHEL Cat Ears AMBER SCEATS FALL/WINTER 2014

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Dress HUGO BOSS Rings PASQUALE BRUNI JOAILLERIE Bibi MURMURE BY SPIRIT Necklace AMBER SCEATS Cuffs AIMﾃ右.AIMER

Sweater ALEXIS MABILLE Necklace HÉLÈNE ZUBELDIA Ear Cuff VIVEKA BERGSTROM

Glasses CAROLINE ABRAM Bracelet HÉLÈNE ZUBELDIA

Scarf Gloves JITROIS Bracelet HÉLÈNE ZUBELDIA

IN.SHOOTS

QUIET STORM Photography REBECCA SCHWEINS Creative Direction & Stylist MICKAEL CARPIN Actors JESSE REMOND LACROIX AND SOFIIA MANOUSHA Post-production & Graphics STRANGEROUS ARTWORKS PARIS Make-up (for Sofiia) SABINE LEIB USING LANCÔME PARIS Make-up (for Jesse) LANCÔME PARIS Hair YUMIKO HIKAGE

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Turban DONIA ALLEGUE Kilt wearing as a pancho L’ÉCLAIREUR FALL/WINTER 2014

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Cuff RITA & ZIA Jacket & Pull-over VIKTOR & ROLF MONSIEUR Swarovski Ball PHILIPPE FERRANDIS IN 180 | FALL/WINTER 2014

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Jacket DIOR HOMME Cuff PP FROM LONGWY FALL/WINTER 2014

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Jacket JORGE AYALA T-shirt wore as a scarf DIOR HOMME Top VIKTOR & ROLF Necklace PP FROM LONGWY IN 186 | FALL/WINTER 2014

Dress VIONNET Headpiece PHILIPPE FERRANDIS Leather Shirt GUCCI Cuff wore as a bow tie MAWI AT L’ÉCLAIREUR FALL/WINTER 2014

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Top CLARISSE HIERAIX Earrings RITA & ZIA IN 190 | FALL/WINTER 2014

Dress FATIMA LOPES Cuff MAWI AT L’ÉCLAIREUR Clutch VIKTOR & ROLF FALL/WINTER 2014

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IN.ART

Exterior of Arts-Mart gallery space

ARTS-MART THE FIRST & LARGEST ONLINE ART GALLERY IN THE MIDDLE EAST IS NOW OFFLINE TOO Words by Nahla Samaha

Once upon a time, two Egyptian child-hood best friends had a shared dream. A whimsical one that would grow as they grew, take form as their lives took form, and eventually materialize as reality set in… moving from the realm of the imagination, to the real world. That is the story behind Arts-Mart. “The first and largest online gallery in the Middle East,” as the website boasts. It is the story of how this unprecedented online gallery came to be, and how it came to life with the launch of its’ exclusive exhibition space. IN 192 | FALL/WINTER 2014

www.arts-mart.com is a platform that directly links artists with buyers, art with art-lovers, collectors with collectible art. Easy, effective, enjoyable! Co-creators Dina Shaaban and Lina Mowafy share with IN Magazine how to hold on to a dream long enough to see it come true. Not an easy feat, but one that comes with slight obsession and a lot of determination. “Dina and I grew up together on the same street,” says Mowafy of their early childhood, “we first started painting on my bedroom walls when we were fourteen. We spent endless hours discussing paintings, artists and fighting over which trends and styles were cooler,” she recalls. Both girls eventually studied art, but as life would have it, their paths diverted to different careers, putting art on the backburner. “Until one day, and five children later, we decided it was time to create our own space with our own rules,” says Mowafy. “We knew many people who were like us, looking to buy original, moving art. We knew many super-talented artists who were looking for a new channel to sell and promote their art. We also knew Hatem, the best person on the planet to sell anything. What we needed was for everyone to come together in one place.” And so, the idea of an online gallery started to take shape.

On a day like any other in 2009, Dina and Lina were having coffee in the old but upscale urban neighbourhood of Zamalek, Cairo. “I told Lina, you know what? It’s not fair that there aren’t any galleries that exhibit the work of younger artists,” remembers Shaaban with the same fervour of the moment, “all the artwork out there is not relevant to our generation, it’s overpriced and inaccessible. I wish I could one day open a gallery and showcase younger artists.” And that was the spark that blazed the fire because right then Mowafy blurted out, “Let’s start an on-line gallery.”

space. “It was the natural thing to do after the success of the on-line gallery and the one day art shows. Now Arts-Mart is not just a place where you can learn about, see, and buy art from your home. It is now a place where you can bring your whole family to experience the art, meet and greet the artists, understand the artistic process that the artists go through to produce this art, learn how to become an artist your self, learn about art history, art collecting, art curation, and a lot more,” says Shaaban.

Although the idea was conceived in 2009, it was a long and arduous labour before it could be born. The duo worked on conceptualizing the project, and as the work began to progress, Shaaban found herself pregnant! Upon assurances from her life-long bestie Mowafy that she would “have her back”, not two weeks later, Mowafy found herself with child too… make that with two children, twins! “In 2010 we had a bunch of babies,” says Shaaban, “in 2011 there was the Revolution, and so we only started to get back on track by 2012.” It wasn’t until 2012 that the pair began to put words into action along with Hatem Zaazou, the 3rd partner who came on board bringing with him over 20 years of expertise in marketing consultancy.

From Left to Right: Lina Mowafy, Dina Shaaban and Hatem Zaazou

“It was a huge success!” proclaims Shaaban of the opening event. The gallery space launch saw some of Cairo’s art aficionados, fans, friends, and even children all in one place. The space was inaugurated by a retrospective exhibition of Egyptian contemporary artist Mohamed Abla’s work. “We were really happy to see art lovers that have been following us since the very beginning of Arts-Mart, many renowned gallerists, artists, interior designers, architects, came as well,” says Shaaban. People brought their kids along, which is a scene you don’t quite see in galleries here.” The site, www.arts-mart.com was launched in 2012 with their first Arts-Mart street show. The platform launched with young artists, some well-known names and others making their debut, artists like Hany Rashed, Hady Borai, Miriam Hathout, Esraa Zedan, Mohamed El Masry, Tasneem El Meshad, Sara El Sawy, and many more. “Most young artists and most young collectors were excited about having an accessible platform where they could meet,” says Shaaban, “but naturally like with all different concepts some people had their doubts.” From 2012 onwards Arts-Mart’s online community expanded, and exhibitions were held in some of Cairo’s hottest spaces. Until early December 2014, when Arts-Mart opened its’ first permanent exhibition

“I now have my own play ground,” says Shaaban of the gallery space, “Lina’s room that we recklessly covered with graffiti 20 years ago is now a 750 square-meter art space with a ridiculously high ceiling.” Then Mowafy chimes in, “it’s a dream come true.” The expansive and airy gallery space also has an agenda of events and workshops planned for adults and children, “We have always done things differently and we plan to continue doing things differently,” promises Shaaban. The next upcoming show at Arts-Mart is called The Artists of Tomorrow. A group of young up and coming Egyptian artists will have the chance to share their art with the world, artists who both Shaaban and Mowafy believe “will leave a very distinct mark in the future of contemporary Egyptian art.” IN

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IN.DESIGN

HERMÈS MAISON

BRINGS ITS’ RICH HISTORY & HERITAGE TO SHANGHAI With 318 Hermès stores around the world, and 22 in China, the first of which was established in 1997, Hermès has become an integral part of the growing fashion industry in China. Almost 2 decades later, on September 12th, 2014, Hermès Maison found a new home in Shanghai, only the fifth Maison around the world. Located in the historical Huaihai Road quarter, the building boasts subtle architecture that marries perfectly with Hermès’ passion for the future and respect for the past. “Through its marriage of bricks, stone and wood, the building links the historic and the contemporary. With its feet firmly on the ground and structure pushing upwards towards the sky, it is as discreet in its materials as in its architecture,” says Axel Dumas, Chief Exectuive officer, Hermès. Six generations of family and thousands of passionate artisans have since 1837 spent their lives crafting the finest quality objects that carried the name Hermès, “From our beginnings as harness-makers to the incredible diversity of collections offered today, our founding values remain the same – creative freedom, fine craftsmanship, innovation and excellence,” continues Mr. Dumas.

ON SEPTEMBER 12TH, 2014, HERMÈS MAISON FOUND A NEW HOME IN SHANGHAI, ONLY THE FIFTH MAISON AROUND THE WORLD. It is no coincidence that the year 2014 is the year of the Horse according to the Chinese calendar, the very essence of the beginnings of the Hermès brand. The year of the Horse signifies an enterprising spirit, success, and prosperity. “But the horse also has a special meaning for Hermès, having been its first customer and oldest friend and ally. Thus the birth of a Hermès Maison in Shanghai this year is serendipitous timing,” says Weiming Cao, President, Hermès Greater China. Sitting atop the south façade of the new Hermès building is the Hermès firework-maker on horseback, his hands raised to the sky with a pair of silk scarves fluttering in the wind. This figure, a replica of one from 24 Faubourg Saint-Honoré in Paris, symbolises that Hermès in Shanghai is a Maison, joining Faubourg Saint-Honoré in Paris, Madison Avenue in New York, Ginza in Tokyo and Dosan Park in Seoul, the other four Maisons worldwide.

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IT IS NO COINCIDENCE THAT THE YEAR 2014 IS THE YEAR OF THE HORSE ACCORDING TO THE CHINESE CALENDAR, THE VERY ESSENCE OF THE BEGINNINGS OF THE HERMÈS BRAND. The store in the building hosts pieces from the Émile Hermès Collection and original prints from the Hermès Collection of Contemporary Photographs, such as France, Baie de Somme, Fort Mahon Plage by Harry Gruyaert (1991), two prints of the Los Angeles series by Bruce Davidson: 405/10 Underpasses and Riverside Dr, (2008), and Selle kazakhe, Selle dite de Boukhara and Paperole by Antoine Schneck (2014). The entire 210-square-metre fourth floor is an event and exhibition space, of museum quality. The space is inaugurated with an exhibition, The Hermès Horse, curated by Philippe Dumas, artist and member of the fifth generation of the Hermès family.

CRAFTED WITH THE BEST SAVOIR-FAIRE AND MATERIALS THAT BOTH FRANCE AND CHINA COULD PROVIDE. Crafted with the best savoir-faire and materials that both France and China could provide, the new Hermès Maison has an ambience as warm and welcoming, as a home should be. A contemporary home built out of a historic past; the ever-present legend of Hermès is alive in the Hermès Maison in Shanghai. IN

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IN.DESIGN

FURNITURE DESIGN ICONS MEET AT DOWNTOWN DESIGN Downtown Design in Emaar's Downtown brings together a group of exhibitors that form the most coveted names in furniture design. The iconic brands have been meticulously selected to showcase some of the most famous and historic furnisture-designs-turned-museum-pieces. Not more than 50 of the world's finest brands and their most celebrated creations make Downtown Design a historic event unlike any other.

Eames Lounge Chair and Ottoman

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The Egg Chair

Downtown Design is a unique design fair that features a curated selection of the most exciting global brands in interiors and furniture from eye-catching chandeliers to the latest espresso makers. What the design professional and the discerning individual share at Downtown Design is a keen eye for all things beautiful and a passion and dedication to originality in design. Some of the most coveted international design brands renowned for their creativity, craftsmanship, and quality manufacturing will showcase their latest creations and innovations at the Fair this year.

THE FAIR’S PARTICIPATING BRANDS DISTILL GENERATIONS OF EXPERTISE AND CRAFTSMANSHIP TO GENERATE INNOVATIVE PRODUCTS. The Fair’s participating brands distill generations of expertise and craftsmanship to generate innovative products, or use new methods and technologies to breathe new life into classic pieces. De Vecchi’s T8 silver candlestick, which was designed by sculpturer Pierro De Vecchi in 1935 and can today be found in the Museum of Modern Art (MoMA) in New York, has been re-vamped to give it a fresh, contemporary look. Lasvit’s art director, Maxim Velčovský, an acclaimed designer whose works have been exhibited in some of Europe’s best museums, moulded vases from snow and casted their melting shapes in plaster to create his “Frozen” collection. Vitra, a legend in furniture design with pieces like the Eames Lounge Chair, the Panton chairs or the Akari lamps, boasts a Design Museum that ranks among the most important museums of design worldwide. Fair Director of Downtown Design Romelli Gervasoni says, “Original Design refers to things that are beautiful yet functional and are designed to withstand the test of time.

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Downtown Design brings together some of the world’s most beautiful things and offers a space to appreciate them. There is always a story about the designer, the inspiration and the motivation that transforms the object into a meaningful piece of design. You will find that each piece carries with it a distinguishing feature that ultimately makes it special and unique with a distinct feeling emanating from the spark of inspiration that originally brought it to life. That quality is inimitable: it is what makes it original.” Many of the brands have adopted the latest innovations in technology in their ability to push the boundaries in design and production. Innovation is a key driver for some of these products as they continually strive for opportunity for originality. A design that was not possible a few years ago is now achievable: what we can do with traditional materials such as wood or marble today creates new possibilities while new materials and textures provide a clean slate of endless possibilities for designers.

“MANY OF THE BRANDS HAVE ADOPTED THE LATEST INNOVATIONS IN TECHNOLOGY IN THEIR ABILITY TO PUSH THE BOUNDARIES IN DESIGN AND PRODUCTION.” “These immensely creative brands are on an endless journey of exploration that seeks out original designs with meaning and context worthy of becoming a museum piece one day,” adds Gervasoni. “That is why this year we are incorporating a special installation looking at “The Home of Tomorrow”. This special installation aims to give us a sneak peak to what tomorrow’s home will look like, thanks to the innovations in home automation. Much like the smart phones we all now carry around with us, in the not too distant future we’ll all be living in smart

homes - which is what the Home of Tomorrow is all about. The Project will demonstrate how technology enhances and often can transform our at-home experience vis-à-vis comfort, practicality, safety, time-saving and much more. I’m really looking forward to seeing that.”

THIS YEAR WE ARE INCORPORATING A SPECIAL INSTALLATION LOOKING AT THE HOME OF TOMORROW. THIS SPECIAL INSTALLATION AIMS TO GIVE US A SNEAK PEAK TO WHAT TOMORROW’S HOME WILL LOOK LIKE. Please, Take a Seat In addition to the latest innovations in design, the Fair will also bring to the design lovers of the region brands who have designed and produced some of the world’s most iconic pieces of furniture such as the Egg Chair, the Eames Chair, the Wishbone Chair and the 1006 (read Ten-o-six) Navy Chair, to name a few. Their legendary status and lasting popularity has earned them distinguished places not only in stylish homes but also in major art museums around the world. What makes these pieces so priceless? Why do they generate the same excitement as owning a Hermes bag or an Andy Warhol print? For one thing, they all have the common denominator of being original pieces of design. They are innovative, cherished, and sought after because each of them is unique and was the outcome of a creative mind. One such example is Arne Jacobson, who in 1958 was commissioned to design the SAS Royal Hotel in Copenhagen, a project that gave him the opportunity to put his theories of integrated design and architecture into practice. The furniture, which was specifically designed to contrast with the

architecture and the interiors, spurred the creative insight that brought the iconic Egg Chair to life. Arne Jacobson gave to The Egg an organic, sculpted feel to offset the hard, vertical lines of its surroundings - the hotel’s lobby. The time that went into producing a single chair added to the inherent value of the piece, requiring intricate craftsmanship. The chair became an instant hit. Soon it moved from the confines of the lobby to the sets of Hollywood films like Stanley Kubrick’s legendary Space Odyssey, and to the permanent collection of Danish furniture powerhouse The Republic of Fritz Hansen, Downtown Design’s exhibitor. The piece today is exhibited in New York’s Museum of Modern Art (MoMA), which cemented its iconic stature. Also gracing the permanent collection at MoMA is the Eames Lounge Chair. From timeless form to timeless comfort, the Eames Lounge Chair and Ottoman incorporated ergonomic principles long before these were scientifically established in the 70s. Charles and Ray Eames, who developed their eponymous chair in 1956, featured among the most significant figures of twentieth century design. Their chair and ottoman pair, inspired by the typical English club chairs, is unique for the painstaking detail put into it and a design based on a three-pronged philosophy: achieve ultimate comfort, use the highest quality materials and put it all together with excellent craftsmanship. According to Charles Eames, “The details are not details, they make the product.” The chair and ottoman brought to the market an innovative concept of working with molded plywood. What is most fascinating about this chair is that although it was developed forty years ago, it is still manufactured today by Downtown Design exhibitors Vitra for the European market and Herman Miller for the American one, and it is just as relevant today as when it was first designed. How is that possible? The secret lies in Ray Eames’ prophetic quote: “What works is better than what looks good. The ‘looks good’ can change but what works, works.”

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Moving from timeless comfort to timeless design – Hans J. Wegner’s Wishbone Chair is a triumph of craftsmanship. Inspired by Danish merchants sitting on Ming chairs, Wegner designed this piece against all odds. This was his first collaboration with Carl Hansen and although the chair reflects the utmost in refined simplicity, it is quite complicated to make. One chair alone is made up of 14 parts, including a hand-woven seat made from 120 meters of paper cord. It takes 100 steps and approximately 3 weeks to make just one. Craftsmen work under controlled conditions, with fixed temperature and humidity levels that allow them to mold the wood and fit the pieces together using only glue – no screws at all.

MOVING FROM TIMELESS COMFORT TO TIMELESS DESIGN – HANS J. WEGNER’S WISHBONE CHAIR IS A TRIUMPH OF CRAFTSMANSHIP. Wegner’s approach to design was to create pieces with the greatest emphasis on function, form and beauty. To Wegner, a chair wasn’t just a piece of furniture, but a work of art created to support the human form while enhancing the living space. Considered his most famous work, the Wishbone Chair has stayed true to its original design and purpose and has been in production for more than 50 years now. And from timeless design to timeless durability, the 1006 Navy Chair is synonymous with functionality, purpose and indestructability. Toward the end of WWII, the US government approached Downtown Design exhibitor Emeco to commission a chair with this brief: it needs to withstand

The Egg Chair

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water, salt air and the abuse of sailors. Make it lightweight and make it strong. Make it so it lasts for lifetimes. And with that, the Navy Chair was born. The value of this chair lies in its unique manufacturing process and lifelong durability. It has been in continuous production since 1944. With the famous 77-step process, craftsmen take soft, recycled aluminum, hand form and weld it and then temper it for strength. Finally, the chair is anodized for a durable finish – and is guaranteed for life. Emeco’s goal is to create furniture that is durable. In fact the company’s witty tag line is “first, let’s make things that last.” And they’ve stuck to it. Until 1990, the only place the 1006 could be found was in police stations, hospitals and other public places. You’ve probably sat in one yourself and admired its easy comfort. In 1990, the chair got a facelift when Emeco collaborated with French designer Phillipe Starck, who designed the Hudson Chair for a New York Hotel. Starck described the chair as “washing the detail from the Navy Chair” and added eight hours of polishing to the original 77-step process. The chair also now sits permanently in MoMA. Alongside innovations by global design masters, Downtown Design will also feature a comprehensive program of talks and interactive spaces by world respected designers. Visitors to Downtown Design will be able to experience iconic design first hand as part of a handpicked selection of no more than 50 of the world’s finest brands including Vitra, Louis Poulsen, Sicis, Axor, Lasvit, Caravane, Bang & Olufsen and De Vecchi among others. IN For more information, visit www.downtowndesign.com

Image courtesy of

Downtown Design brings the world’s leading, trend-setting brands in furniture and interiors to showcase their latest creations.

DOWNTOWNDESIGN.COM

Axor

ORIGINAL BY DESIGN

IN.MUSIC

The Off-Stream Music of

Tania Saleh Interview by Nahla Samaha

Tania Saleh is a Lebanese singer & songwriter with many other hidden talents. Her unique brand of music marrying a traditional Arabic flair with Western influences has sent her on her own musical tangent away from the mainstream Arab-pop most prevalent in the region. Saleh sat down to talk with us about her career and home life, and musical ambitions. Your sound is definitely not mainstream Arabic pop, in a region of musical clones, and inane lyrics set to formulaic tunes, how did you make sure to stand out? The challenge always tempted me. I have struggled to keep myself safe from the mainstream culture in the Arab world. But being “independent” around this market is a big word. I have managed to survive by stubbornness, hard work and perseverance.

You’re also a visual artist, and you graduated from LAU with a BA in Fine Arts, and from La Sorbonne, Paris with a Maitrise in Arts Plastiques. Why didn’t you pursue visual art as a fulltime career?

I HAVE STRUGGLED TO KEEP MYSELF SAFE FROM THE MAINSTREAM CULTURE IN THE ARAB WORLD. BUT BEING “INDEPENDENT” AROUND THIS MARKET IS A BIG WORD.

For 20 years, I worked in advertising. It was and still is a great school. You learn to be conceptual, picky, fast and efficient. I always tried to include my visual arts in almost everything I worked on. Now, I don’t have a steady job and I am concentrating on discovering how I can live from my own work in illustration and music. For instance, I have drawn all the illustrations for my new album A Few Images, and I also printed a collection of illustrations I made while working on the album on postcards and T-shirts.

Your Facebook biography says, “Her music follows the rhythm of her daily life and mirrors her changing mood, creating a boiling pot of tunes, feelings and love for innovation.” Which is apparent in diverse styles that range from spoken word in “Lezim”, to a rock sound in “Bala Ma Nsammih”, to a pop-y feel in “Rah El Hob”… and now a completely different spirit in “A Few Images” Do you feel that you can’t adhere to a single signature style? Or do you explore music more freely? I like to challenge myself and discover my musical and lyrical abilities every time, with every song. I get bored easily, I like to be able to keep twisting the “expected”. Music is such an inspiring world. I love being part of it. I love exploring with different musical styles, with fresh combinations of instruments, I like insightful stories from our society, I like to play with melodies that come from the heart and I try to maintain their natural feeling until the recording day at the studio.

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I am a mother and this is my priority in life. I keep my sketchbooks alive but I never really have the time or the luxury to take a few days off for drawing or painting. Maybe when my kids leave the house and when they won’t need me anymore, I will.

I HAVE DRAWN ALL THE ILLUSTRATIONS FOR MY NEW ALBUM A FEW IMAGES, AND I ALSO PRINTED A COLLECTION OF ILLUSTRATIONS I MADE WHILE WORKING ON THE ALBUM. How has your talent as a visual artist influenced your music?

I have always admired great bands like, to name a few, The Beatles, Pink Floyd, Radiohead, Bjork, Tori Amos, Godzilla etc… whose image is as important as their music. Visuals and music get along very well.

Photography VALERO RIOJA - PLUGGED MANAGEMENT Hair & Make-up EVA ESCOLANO Stylist CAROLINA MARIMﾃ誰

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My eyes like to discover beautiful things all the time. I love calligraphy, photography, illustration, fashion, video art, animation and film. With small budgets, I have managed to sustain a decent image throughout my journey. I always try to work with talented people in the audio and visual Lebanese scene.

You’ve traveled the world with your music. What has been your most significant career accomplishment to date?

A Few Images is nothing like the sounds in Tania Saleh and Wehde, is it a metamorphosis in your musical identity or you just a coincidence?

I don’t have a band, unfortunately. I keep changing musicians for practical reasons. But every musician I work with becomes family. Good Lebanese musicians are very hard working and busy all the time. You cannot have someone commit to you if you can’t guarantee a monthly wage, which I still cannot afford. The independent music business in Lebanon is becoming very tough, it is getting harder and harder to make a living out of it. The country is too small and too weak. I am trying as much as I can to perform outside Lebanon, and now with the new CD, I will hopefully have a busy year.

I have always wanted to make an album with a Latin feel. I have been into the Brazilian culture for a few years now and I have rediscovered their music and art. Brazil has many inspiring musical styles. Bossa Nova always gives you a positive feeling when you listen to it. You can’t but sway. I wanted an album with a Lebanese nationality but with a Brazilian passport.

I HAVE ALWAYS WANTED TO MAKE AN ALBUM WITH A LATIN FEEL. I HAVE BEEN INTO THE BRAZILIAN CULTURE FOR A FEW YEARS NOW AND I HAVE REDISCOVERED THEIR MUSIC AND ART.

Being able to succeed in the crowdfunding campaign that I did for my latest album. It was a very tough experience and a hard lesson in humility.

Have you and your band members been together for long?

What are some parting words you’d like to leave us with?

I know that, as far as I am concerned, love was the reason behind everything I did. My kids, my music, my lyrics, my illustrations and the vegetable noodles I just served to my friends. Love makes this life worth living. It is a mysterious force that ties us all together. It might have a beginning, but certainly has no end.

Tell us about the significance of the city of Beirut in your music.

I love her at the break of dawn. She is very wise and serene. She is understated and shy. You can’t but love her with all her imperfections. I hate her when the sun is up. She becomes ugly, wild, noisy, bitter, chaotic and mean. She is very, very old but still trying to look young and somehow, with all her wrinkles, she has managed to keep her charm intact.

You were featured in the Le Beyrouth Des Arts by France 24 and you’re the only Lebanese singer featured, how does it feel to be the only singer featured there? There are a lot of talented singers in Lebanon. I am very happy to have been chosen to represent them all.

Your sound merges together traditional familiar Arabic musicality with clear Western influences. What kind of music did you grow up with? Who were your biggest musical influences?

I love almost every single musical style on the planet. But the music that is the closest to my heart is the one I grew up on: the Lebanese and Egyptian music from the 50’s to the late 70’s. I also grew up on Jacques Brel, Georges Brassens, Gilbert Becaud, Barbara, Pink Floyd, Bob Dylan, Joni Mitchell, Crosby Stills and Nash, Pat Benatar, The Police, Sting, Fleetwood Mac and the rest of them…. Now, I always try to listen to fresh bands or artists with new alternative sounds like Elbow, Bjork and Beck, I like to watch live performances of Jazz singers and Jazz bands. I love to be surprised by a performance from an unknown artist from Kenya (for example) on Mezzo TV or Arte. IN

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Midnight in Paris WITH

Mathieu Saikaly Interview & Photography by Mokhtar Beyrouth Production by Charbel Kamel

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Mathieu Saikaly is a vibrant fresh musician hailing from France. He is the winner of Nouvelle Star the French version of Super Star in the Middle East. Saikaly who’s half-Lebanese, charmed the audience and the jury last season with his tender voice, his dazzling performance, and his sense of humor. I sat down with the young artist to discuss his music. Afterwards we took a night stroll wandering the streets of Paris where I took his portrait.

You have become a YouTube sensation because of your remarkable covers, tell me more about that and about why you decided to participate in Nouvelle Star.

I started my channel four years ago while I was still in college studying English, I was looking for a way to perform and uploading my covers online was the best way for me to reach people. After finishing my degree I decided to take my music seriously, and felt ready to embark on a different journey, so I tried my luck with Nouvelle Star. The funny fact is when I participated in the show I just wanted to get more hits and subscribers to my YouTube channel, but things took a turn for the best, and I found myself at the end competing with less and less contestants. I was surprised because I am more into folk music than pop or commercial, and people loved that, which made me very happy.

What are your music influences, and what kind of music inspires you?

My ultimate favorite artist is Elliott Smith, I kept listening to his music for many months; it touches me a lot. The band Beirut is one of my favorites too, their music is very rich and harmonious yet simple.

You are half-Lebanese, tell me about that. Have you visited Lebanon before?

Indeed, my dad is Lebanese from a village in South of Lebanon, he moved to France long ago to help his family. He used to tell me stories about the country but I’ve always been curious about life there. I went to Lebanon when I was very little, and recently

every time I’ve planned to travel back there, something always comes up that prevents me from going. However I would love to learn to speak Arabic, and have the opportunity to go there, and maybe perform as well.

You are a songwriter and music composer – What are the challenges you face and how are you proceeding with your next album?

I am very keen on writing and composing my own music; I want people to really feel the authenticity of every song I perform and to find my touch behind every tune. Producing an album is a complex process, that’s why I have a great team with me: Yann Arnaud, the album director and two other musicians: Olivier Margerie & Stéphane Milochevitch.

What genre of music is your album, and what are the themes you are tackling?

It’s basically folk music mixed with some electronic tunes, reversed guitar / piano cords; we are calling it “space folk” because of its original mixture. In this album I am trying to touch upon the theme of finding one’s self, the transition from a young adolescent to being an adult, with the addition of some love songs.

I noticed through your performances on stage that you have acting skills.

Well actually I love acting, it’s something I’ve always wanted to do, but then I was absorbed by the music and it became my priority. I’d love the chance to act in a film later on, maybe I will do it after I am more established in the music industry.

When will your debut album be out and what are your plans after the release.

My debut album will be released in early 2015 and my ultimate goal is to go on tour worldwide afterwards starting summer next year. IN Mathieu Saikaly’s debut album is produced by Polydor, a division of Universal Music Group. For more updates, visit www.facebook.com/mathieu.saikaly

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Jermaine Browne On Movement, Dance, and FemFunk Interview by Mickael Carpin Photography by Philippe Reynaud Famous dance choreographer Jermaine Browne has worked with some of the biggest names in entertainment and fashion in the U.S. and Europe. With a unique approach to movement and dance, even actors covet his expertise for movement training in preparation for movie roles. IN Magazine had the opportunity to have a quick one-on-one with the powerhouse dancer/choreographer.

Tell us a little about yourself, what do we need to know?

I’m originally from British Guyana. When I moved to New York City I wanted to become a preacher. I used to dance along to music videos as a kid. I would also perform these dance moves to my friends at parties until a DJ saw me and asked me to work with his company dancing at parties, Bar Mitzvahs, sweet-sixteen’s and weddings, I said yes. I was a kid in school dancing at a parties on the weekends making $200 per party, sometimes 4 parties a weekend. It was great! I started taking dance classes where I had some amazing teachers. A lot of what I’ve learned from them, I found useful in working with the celebrities, models and brands I work with. I’ve always admired Micheal Jackson, Janet Jackson, Pink, among many more. I really like people that work hard and love being creative. It’s hard to be original because a lot has been done, but I have great respect for people that don’t play it safe. People that feel they have something to say and they don’t have a problem showing it. One of my best moments recently was after choreographing the opening of Barneys holiday window revel in New York City. We were at the dinner party and the amazing Baz Lhurmann, who was the event Director, came over to tell me he saw how focused I was and that I did a great job. I respect him because he’s original and an artist like no other, so it felt nice to know my work, and the way I work was noticed and appreciated. I feel over all my best moments are still ahead of me.

IT’S HARD TO BE ORIGINAL BECAUSE A LOT HAS BEEN DONE, BUT I HAVE GREAT RESPECT FOR PEOPLE THAT DON’T PLAY IT SAFE. You’re one of the creators of Respect My Step, tell us more about your company. Yes, I’m the co-founder of Respect My Step! RMS was created to give dancers around the world a place to belong in an online community. It’s for dancers and non-dancers alike, who share a common interests in Dance. As a dancer you can share you work, as a visitor to the site you can see amazing dance videos and dance styles. On RMS after watching a dance video the next video you see will not be a cat or dog. I want to help educate people on movement and the different styles of dance around the world, where everyone’s voice and style has a purpose.

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You’re also working for various artists and TV Shows, what is your creation process like?

I start by meeting my clients to learn what their needs are. I think it’s important to know the audience of the brand and then see how you can respect both of those elements and of course see how you can bring who you are to the creation. I then take all of those elements and create a formula that will get me the best results. I believe in reaching the viewers or audience in an organic or shocking way that would touch them and move them in a small or big way.

Jermaine Browne is now a brand with the FemFunk style which you have created.

FemFunk was created this year. Mostly because I got sick and tired of seeing women loose their sensuality and sexuality to twerking or men’s stereotypical idea of how a woman should move. A lot of women, including artists are blindly following this mis-education. I love a woman that owns her sensuality and doesn’t need to be perverse in showing it. I’m not taking the women back to the 1920’s at all, I think class, femininity, and sensuality are important, a woman that can be aggressive and confident is unstoppable; she’s powerful! That’s the FemFunk style.

I GOT SICK AND TIRED OF SEEING WOMEN LOOSE THEIR SENSUALITY AND SEXUALITY TO TWERKING OR MEN’S STEREOTYPICAL IDEA OF HOW A WOMAN SHOULD MOVE. You’ve been working as a choreographer for the Victoria Secret Show for more than 8 years now, what’s that experience like?

Yes, this is my 8th year working with the Victoria Secret team. What can I say? This show has the most amazing singers and models in the world and I get to work with them. It’s amazing! My job is to handle anything that deals with movement whether working with a model, a singer a dancer or even being a space filler myself! It’s an amazing show to be a part of.

Our cover girl this issue Noemie Lenoir was an angel, you guys worked together before didn’t you?

Oh Yes! She’s so much fun to work with and has a big personality, which made it easy to do my job. At the last minute, they asked me to create a little dance for Noemie to perform with a singer. The dance was very short, but it needed personality and she was the perfect model for this challenge.

What is your advice for aspiring dancers?

Firstly, I think it’s important to connect to the music by listening to the beat, choose whether you will dance to the words or the beat. You can dance to both, but sometimes doing that can make people come off looking a bit like electricity zapped them. Secondly, don’t compare yourself to people, but watch and learn. Thirdly, have confidence; it’s very powerful and sexy! Finally, bend your knees from time to time; it gives your hips freedom to move. IN

Jermaine Browne

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