Mojeh Magazine Issue no16 by MOJEH

SEP / OCT

The

Pursuit

Of Fall

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EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

Associate Editor SHERI IZADPANAH

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ART

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Cover shot by Riccardo Vimercati | Styled by Michela Buratti | Model: Ali Stephens at Wilhelmina wears clothes by FENDI and jewellery by UGO CACCIATORI

WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine, www.shopmojeh.com, info@shopmojeh.com MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation as issued by BPA Worldwide (July â&#x20AC;&#x201C; December 2012): 13,116 copies. For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Jashanmal National Company LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessary those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the readers particular circumstances. The ownership of trademark is acknowledged, therefore reproduction in whole or in part without written permission is strictly prohibited. All credits are subjects to change. Copyright HS MEDIA GROUP FZ LLC 2011

Mojeh

Contents

SOCIETY

MOJEH Snapshots

From spa dates to up-and-coming brands and a taster of next seasonâ&#x20AC;&#x2122;s Fashion Forward, these bite size morsels introduce you to the September issue.

Five Minutes With We chat to industry professionals about their take on the new season and uncover what sees them through a busy fashion week schedule.

Woman in Society

Mimi Shakhashir, designer and philanthropist, shows us that giving back is the only way to do business.

My Stylish Life Dive into the worldâ&#x20AC;&#x2122;s of Leila Yavari from Stylebop.com and Bong Guerrero of Fashion Forward as we discuss childhood memories, style must haves and travel dreams.

Partnership in Prints

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Design duo Christopher de Vos and Peter Pilotto take us on a journey from the echelons of Antwerp to the front row of London Fashion Week.

A b u D h Ab i

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V illAGGio MAll DubAi MAll of T he eM i rAT es J e DDA h K hAy yAT C en T er MA n AMA sAKs fifTh AV enue bCC ri yA D h C en T ri A M A ll

Mojeh

Contents

FASHION

The New Season Discover everything you need to know about AW13 with our 52-page coverage of the latest trends, show spectacles and the hottest colours to wear this winter.

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Maximalism vs The New Reality In six short months we’ve gone from extrovert to introvert fashion. We take a look at the new ‘Lady’.

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Behind Closed Doors We check into Louis Vuitton’s 10 star hotel and lose ourselves in a collection that seamlessly combines romanticism with desire. Staying in is the new going out.

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Made to Order

For your first look at this season’s couture offerings don’t miss our close up of the brands worth investing in.

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The Parisian Bedoun

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MOJEH sits down with designer Stephane Rolland for an exclusive interview as he launches his much anticipated RTW line in the region.

Mojeh

Contents

ACCESSORIES

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Accessory Trends Your pick of the season’s most covetable shoes, bags and jewellery. Be on trend.

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A Fantastical New Approach Tod’s unveil their latest advertising campaign in collaboration with photographer David LaChapelle. It’s a surrealist marvel.

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Most Desired

Discover the most sought after accessories on the market with a selection that will see you from the boardroom to the dance floor in style.

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A Roaring Success A tale of tragedy, fate and astrology surrounds the latest fine jewellery collection from Chanel.

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A Russian Reawakening

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Fabergé’s creative director, Katharina Flohr gives us an unprecedented view into the brand’s history, on-going success and the jewels that make it all worthwhile.

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Mojeh

Contents

BEAUTY

256

Hair and Beauty Trends Whether you’re channelling the Parisian charm, a forties twist or a punk for the 21st century we have all the hair and beauty news for the season.

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Rouge Dior: 60 Years in the Making Join us in celebrating a milestone for the beauty world. The 60th year of the iconic Rouge Dior lipstick.

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Pass the Bucket

Looking ill might not be a bad thing this winter with a trend that uses pallid skin and sunken eyes to its advantage. We discuss a most unusual development.

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Bouncing Beauties In a new feature, MOJEH tests the benefits of the latest craze on the radar. This issue we’re getting breathless with the Rebounder.

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Making Life More Beautiful Diane Kruger opens up about her beauty regime as she fronts the campaign for Chanel’s latest skincare regime.

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Mojeh

Contents

CULTURE

286 Good Intentions

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290

Saudi artist Hussein Al Mohasen on an art form intended to lift spirits.

290

Artist in Exhibition In need of a little fashion history? Then our pick of the top three fashion exhibitions to delve into this month should satiate that hunger.

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Punk for Punkâ&#x20AC;&#x2122;s Sake Punk was everywhere this season but why the sudden comeback? We sought through the evidence to answer a pressing question.

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296 Amour or Less

Parisian goddess Vanessa Paradis talks Lagerfeld, love and a little motherhood as she launches her latest album.

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Dates for the Diary

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A new addition to the MOJEH family, we launch a cultural review that will keep you up to date on the latest literature, design spectacles, cinema dates and musical happenings.

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Editor’s

Letter

The Serene Style Escape

In Another Life, Photographed by Riccardo Vimercati

‘A drama’. Those were my first words to a friend last march once I finally returned from the month long fashion week circuit, following the shows – and the pandemonium in between. When she asked me how I’d really sum it up, I elaborated; ‘a fun drama’, ‘a beautiful drama’ and most of all, ‘a drama I could never be without.’ There’s no denying that fashion weeks have taken some criticism of late with questions raised as to which reigns and ultimately inspires more - the catwalks outside or inside of the shows? In recent seasons the continuum of extravagant outfits displayed in front of the Mercedes-Benz tent or the Grand Palais by street bloggers and ‘It’ girls (whose social media followings hit the tens of thousands plus), undoubtedly, influenced the flamboyant and ostentatious collections offered by the designers themselves. This ‘circus’ is as inspirational to watch as it is demanding to move your way through. But AW13 is cut from an entirely different cloth. Serenity has prevailed. A wave of calm flows through the collections as designers step as far away as possible from exhibitionism, instead offering their collections as a form of escapism, albeit escapism from itself. In New York Jason Wu led with a clean monochrome board, then over in London Mary Katrantzou left behind her emblem prints in favour of a collection focusing purely on form. ‘I want to take my work forward,’ said the designer, signalling where the future of fashion lies. In Milan, Fendi (minus the mohwaks and sprightly furs), showed a collection of workwear staples with clean-cut leathers and fresh fresh white dresses. Finally, in Paris where the pioneers of this practical, ready-to-go style reside, Celine, Chloe, Balenciaga and McCartney all offered an admirable nod; their message had finally been heard. That’s not to say that everyone was looking in the same direction, and for good reason. For the dynamic is what, in the end, creates this ‘beautiful drama’. At Tom Ford, Anja Rubik wowed us in clashing, extravagant prints and Cara Delevingne showcased punk to its very best on the Versace runway. But of course, according to Marc Jacobs at Louis Vuitton, all we need is a silk slip and a fur to see us from morning to night. The point is, everything was still there; femininity, glamour, the avant-garde and the experimental. What prevailed however was functionality and it felt good, it felt just and most of all, it felt needed. ‘I like it when the cut is simple and rich, but not over rich. In fashion, like in architecture, it’s the purity of the shape that shows us how well something is made,’ Stephane Rolland tells us, and it looks as though the majority agree - for now at least. When clothing styles become simpler we find ourselves falling for our accessories all over again, so along with a showcase of autumn’s trends we’re celebrating new launches from the finest high jewellery houses from Dear Dior at Dior to Bulgari’s Diva collection and over in Venice we discovered Chanel’s Sous le Signe du Lion, an assortment inspired by Coco’s life of love, loss and endurance. Speaking of endurance, one of my highlights of the issue is our interview with Vanessa Paradis. I first met with the French beauty at a fashion show two years ago where it was her demeanour that caught my eye - poised, controlled and unaffected. After recently parting ways with her husband of 14 years, Johnny Depp, I anticipated something a little different this time around, but no, still un-wavered and still completely Vanessa. Opening up about life in the limelight, love and raising her children in this day and age; the mother, model, singer and actress is an inspiration to us all. AW, more than any other seasons of late is about the everyday woman, her life, her pursuits, and allowing her the uniform to make it happen. Enjoy it, this one was made for you. Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Mojeh Izadpanah Editor in Chief

Mojeh Izadpanah, Photographed by Ava Famili

Snapshots

Editor’s

The Golden Touch As we leave behind the bright summer sun and a season of neon and candy colours, transition into the gold and deepened glare of the autumn months with a palette more gentle and opulent than the last. Gold is both a rich and refined building block, perfectly complemented by fiery orange, deep red and a touch of salmon pink. Add character with Givenchy’s Bambi motif, Oscar de la Renta’s sequin embellishments and 3.1 Phillip Lim’s falling blossom. Whether you opt for liberal or precise cuts, shapes should remain feminine and functional. 4

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Elegance Intertwined So it begins, September’s here. It’s back to the city, back to work, back to the school run, back to the fast pace of everyday life – and we think the occasion calls for a nifty new timepiece to keep you well on schedule. First introduced at this year’s Baselworld, the Bulgari Catene is a double wrap around bracelet watch celebrating the brand’s famous gourmette chain and inspired by the design of medieval armour. Interwoven 18k pink gold links intermittent with 60 brilliant cut diamonds build the strap, whilst a mother of pearl dial set with another 12 diamonds move seamlessly within the case. As the timepiece cloaks itself gently around your wrist, the real showstopper is its pink rubellite, built to shine during both day and night hours.

The Queen of Recovery Step into the new season with clarity of body and mind by investing in a luxury treatment at the new Saray Spa by JW Marquis, Dubai. With a multitude of options fit for revitalising and rebalancing - from the Hammam rituals, designed to aid in physical and spiritual purification after months of travel, to the less rigourous aromatherapy options including a Sun Soother and Intense Nourishment – the Saray, alongside its world class relaxation room, is a place that truly understands the art of rest and relaxation. After a summer spent under harsh rays and travelling from one place to the next, we highly recommend the Signature Dead Sea Journey as the perfect way to re-balance. It lasts for a mighty 135minutes and includes an energising exfoliation, full body mask using mud straight from the shores of the Dead Sea, relaxing massage and even a short dip in the floatation pool. Inspired by the legends of the Queen of Sheba and Cleopatra, said to have set up their own spas along the sea shores, if it’s good enough for ‘the women who time could not wither,’ then it’s good enough for us.

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Mojeh

Sister Act When the campaign material for Dannijo’s autumn winter collection landed on our desks we couldn’t help but take note. It’s seductive, glamorous, a little moody and a perfect reflection of this season’s jewels (dynamic, bold and a gutsy ornaments for any girl who says it with style), which are new to Saks Fifth Avenue, Dubai. The Dannijo designers Danielle and Jodie grew up in Florida and their affinity for jewellery began when the siblings constructed pieces using their father’s medical tools. Later the duo adhered to a philosophy that fuses edgy rock and roll with a feminine sensibility and makes costume jewellery acceptable for everyday attire. Their client list, ranging from Natalie Portman and Rosie Huntington Whiteley to Olivia Palermo, is testament to the brand’s appealing and wearable nature.

Dystopian Heights For Dior Homme this season Kris Van Assche decided to look to the future. More specifically a future told through the eyes of Andrew Niccol and his 1997 dystopian film Gattaca – a science fiction world where the final scene sees the characters board a space ship in simple black suits. A fairly unconventional uniform for space travel. From here the designer created a collection that is classic in appearance but futuristic in its thinking. Combining the familiar Van Assche visual signs – a refined palette, sleek yet stark tailoring and neat, in-theirplace fastenings – with an optimism about the future. Red, circular, almost tribal like graphics appear sporadically throughout, super slim suits with the brand’s trademark lapels are the bread and butter and the overall look is immaculate, crisp and clean. Perfect for the regimented man of the future. For us, it stood out for its undeniable ode to the luxurious sanctity of fashion and if you want to find out more check out our interview with the designer in MOJEH Men, out now.

Image by Gaetan Bernard, Dior Homme AW13

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Interview

Mojeh

Five minutes with... How many months of the year do you travel in the name of fashion? Probably around six to nine months depending on the extra trips here and there. But I love both fashion and travel, so it’s fine! Which is your favourite fashion week? Paris. There’s such a romantic notion when it comes to that city, it’s still quite a whimsical and fairytale place.

Natalie Kingham Head of Fashion at MATCHESFASHION.COM 1

Away from the fashion capitals, where would you like to go? I’d like to start looking at places such as LA, Miami and Australia. It’s good to visit the different weeks and really get an understanding of what women everywhere want. I’ve not visited yet, but Japan also has a lot of emerging talent. 2

Name one key AW buy? Definitely skirts. Wrap-skirts, slit-skirts, full-skirts, miniskirts…any skirts are a go!

What if we’re looking at investment pieces? It’s a real season for coats from good shearlings, cocoons and dressing-gown styles to classics like the pea shape. Great for every occasion and body shape - it’s about having a lot more than just one. And for our feet? Definitely the thigh-high boot - stretchy, sexy and very modern. We’re predicting bold colours such as oxblood, navy and grey are going to lead the way and there’s always the three quarter length option as an alternative if thighhigh isn’t for you. What young designers should we be looking toward? Thomas Tait is coming through strong – he’s really directional and ground breaking. Then the Brazilian designer Pedro Lourenco is also doing really well.

Which AW show particularly wowed you? Christopher Kane. It was confident, exciting and varied. Name one designer who you look toward each season for your own wardrobe? Stella McCartney is always very relevant. She knows what a woman wants and needs, whether it’s work wear, clothes for the school run or a cocktail outfit. 1. Thomas Tait | 2. Louvre Museum, Paris | 3. Anne Vest @matchesfashion. com | 4. Miami | 5. Stella MCcartney | 6. Gucci

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Interview

Mojeh

What inspired your AW collection? It’s quite diverse as I’m inspired by many things. With their bright colours and shapes, there are shoes that look like Pop art meets Constructivism. Then there are lavish and embellished styles reminiscent of one of my favourite places, Versailles. I’ve also included some androgynous flats inspired by Greta Garbo. Sum up the collection in less than ten words. Every woman will find something she loves! What shoe does every woman need when transitioning through from summer to autumn? Always a court - it goes with everything. This year we’ve added a contrasting tip to our classic BB, called the Bipunta. What do you think a woman’s shoe says about her? A lot. Is she quite conservative or does she like to have fun with her feet? Some women prefer simplicity; where as some of my clients are always waiting for the most quirky and elaborate styles to come out.

Manolo Blahnik Shoe Designer 2

For readers who spend their day running from one place to the next, what style do you recommend? Women often tell me that they can run around comfortably in my heels but I also love flats – they look really chic when worn in the right way. What’s the best way for women to make a shoe statement during an over-crowded fashion week? I love brave women who experiment and don’t care what others think. Botanical shoes are my favourite; it’s fun to see plants climbing up women’s legs! Middle Eastern women know how to use luxurious materials and accessories really well. They always look great. 3

Which fashion capital inspires you the most? Definitely London - it’s full of fearlessly creative people who love to dress up and play with style. The city is bursting with ideas and I always see the unexpected on the streets. What clothes designers do you think are going strong for AW? I always admire the fantasy in a Dolce and Gabbana collection and of course Alaia is always a favourite of mine. Name your two top models. Always and forever Kate Moss and Linda Evangelista. Who do you love to see wearing your designs on the front row? Carine Roitfeld. She has such an incredible presence, a fabulous eye and always picks the best of each collection.

Interview

Mojeh

Taylor Tomasi Hill Art Director at Moda Operandi Which is your favourite collection this season? I always adore Rochas. I’m drawn to their dramatic silhouettes and beautiful prints and I look forward to their quirky shoes which, by the way, I could run a marathon in because they’re so comfortable!

What do you look forward to during fashion weeks? Quite simply, days and days of viewing amazing collections. Name your It model of the year? Cara Delevingne.

How do you describe your style? Always changing. One day I can be classic and preppy and the next I like to be really minimal and simple, I think it depends on my mood. One thing that never changes is the touch of menswear that I always try to incorporate into my wardrobe. What staples should all women have in their wardrobe? A perfectly tailored blazer (my favourite is Junya Watanabe), jeans that fit like a glove (Mother and Frame are great), and a killer single sole pump. 6

What do you love the most about your job? I love to watch the development of emerging talent. Discovering new designers is one of the best parts of my job, each one is unique and inspires me in my work. Most recently I found Rosie Assoulin who I predict will have a very successful brand - she’s a rising star. When does your front row seat come in most handy? It’s always fun to be up close and personal at a Rodarte show. Being able to see all the details in the custom fabrics and tailoring makes all the difference. Who are your best travel buddies? Patrick Devlin and Indre Rockefeller, both from Moda Operandi too. Which city do you admire for its style? Tokyo. I have never been but am dying to go. Whose style inspires you? Lauren Santo Domingo. Lauren dresses in a way that’s really different to me so I’m always interested to see how she puts things together. I also love seeing what Ramya Giangola, Leandra Medine, Yasmin Sewell and Caroline Issa are wearing.

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Ready for Round Two? As the newest and most exciting platform for emerging designers in the Middle East, Fashion Forward aims to nurture the industry’s finest talent over a concession of dramatic catwalk shows, inspirational talks and insightful panel discussions. Fashion lovers can explore the pop-up shop for trendy products, admire the latest collections strutting down the runway and are guaranteed to be entertained at the socially engaging event. Now approaching its second season, Fashion Forward promises not only to deliver, but step things up a notch after a positive reaction to season one from international guests, buyers and the regional designers themselves. In a nod toward no fuss fashion, the stripped back event recognised the talent and skill of designers within the region – no theatrics needed. We saw beautiful couture gowns from Filipino designer Michael Cinco, an energetic unisex spectacle by Emperor 1688 and sinister but endearing looks from Amato. Creative forces behind Kage - the contemporary womenswear label offering on trend pieces and key wardrobe staples - Arwa Abdelhadi and Basma Abu Ghazaleh are ready, set, go, for their next season after a successful first round. ‘As an internationally recognised brand, Fashion Forward invites existing consumers to view the new collection and it’s a great opportunity to gain new potential clientele,’ say the childhood friends. ‘We had a lot of fun working with the FFWD team who made the experience so memorable. We look forward to a new season ahead.’ Zayan Ghandour who launched her label Zayan in 2011 and debuted her first collection during Paris Fashion Week, shows her support by bringing the label back onto home ground. ‘It was wonderful in every way, from the organisation of the event to the professionalism of the team,’ she begins. ‘The excitement that was in the air and the exhilaration of seeing the final designed pieces on the catwalk were all completely magical.’ Taking place from 15-18 October 2013, the second season of Fashion Forward is set to be even more creative than the first. Immerse yourself in four days of home-grown talent and lap up the style they have to offer.

The Emperor 1688

Belles

Society

Belles

Society Pouches, Kaleidoscope by Mimi

Celebrated Woman in Society

Mimi Shakhashir

By merging an international outlook with undiscovered talent, designer and philanthropist Mimi Shakhashir has highlighted a niche within the fashion industry for handcrafted designs that both nurture and benefit underdeveloped communities from the Middle East and Africa to Asia and beyond. MOJEH discovers why giving back is more often than not a natural step for women today. Educated at the Chelsea College of Art and Design, London, and ESMOD Paris, a devoted mother and wife to another entrepreneur and the proud owner of Kaleidoscope, Mimi is both parts successful and caring. The clear vision for her fashion brand Kaleidoscope was first cultivated during her years heading the O’de Rose shop with her two cousins, just after she made the move back to Dubai from Europe. Inspired to embark on a new journey and passionate about travel, culture and life experiences, the USP for Kaleidoscope is a thoughtful one. Mimi collaborates with craftspeople in small towns around the world that have an untapped talent, which is then utilised across her retailer and e-store. Whether she buys ready made pieces such as fun key rings or finds silk fabrics and intricate embroideries to bring her clothes and accessories to life, Mimi carefully develops an industry and source of income for small communities in lesser known areas. When first developing her label,

this was an element that came to Mimi naturally. She wanted to create a brand, not a charity, it just so happens that like most women of today’s generation, the latter is a given step in many of their personal and business endeavours. ‘It’s only natural for me that if I’m gaining then so is someone else. If I can build a business that utilises a person’s talent whilst offering them a job, then why wouldn’t I?’ she says. ‘I adore everyone that works for me, they’re incredibly talented and I’m not one to compromise on quality, so this is why I search far and wide to really get what I need for the brand.’ The quality is clear when you look at her pieces – now stocked across the Middle East and Europe in cities such as Milan, St.Tropez and London – which are ultimately covetable and stylish finds. We find bags made from bold prints and carrying hand-embroidered designs such as peacocks and skulls. Then there are the kaftans, trainers and harem pants in summer fused fabrics: light, fun and very wearable. Mimi’s customer is the type of woman who appreciates luxury but likes to dabble with individuality, throw in a compassionate backstory and she’s completely sold. ‘I am capturing an extravagant fashion market through distinctive and quality driven clothing,’ the designer explains. ‘It lets wearers feel truly individual and be expressive through fashion.’ Mimi first segued into charity work with local organisation Senses, a residential home in Dubai focusing on children with special needs. After working on several projects with the children, Mimi was taken back by the beautiful work they were then creating on their own. ‘I was helping with the arts and crafts for the yearly exhibition until their talents surpassed mine. They made these really cool and interesting Arabic inspired

Belles

Society

Food For Life Vrindavan School in India

piggy banks which I then put onto tshirts to sell,’ she explains. Those same tshirts have now become best sellers in the region, and consequently the school is doing better with the extra income. Later came Food for Life Vrindavan, a school for neglected and orphaned girls situated in one of the poorest areas of India. Mimi tapped into their talent for embroidery and now the girls work together on a regular basis creating large scale designs used on Mimi’s clothes and accessories. The success led to a growth in the workshops and looking forward, girls like Vrindavan’s have a career path once they finish school. ‘The enthusiastic reaction to Kaleidoscope by Mimi demonstrates that there is tremendous demand for looks, accessories and pieces which are unique and mood elevating’, says the designer. ‘Women like the emotional investment and enjoy hearing stories of the people behind the products.’ In a region known for its luxuries and copious business opportunities, the necessity for people to give back to their community has steadily grown. Like Mimi, various members of society have demonstrated their charitable desires and evidenced their generosity in large volumes. ‘I don’t like to market myself as an ethical fashion site,’ she says. ‘I think it’s only normal that these days products are created and produced with consideration for their environmental and social impact.’ It wasn’t until Mimi was introduced to Livia Firth – a UN Leader of Change winner and founder of organisations such as Eco Age, Green Carpet Challenge and the Circle Initiative - that she realised how ethically minded her business was. ‘Livia was amazing and an inspiration to be around. I never saw the brand from a moral point of view but she made me aware of the difference,’ she recalls. ‘I learnt a lot from her buying habits.’ None of Kaleidoscope’s pieces are mass produced in factories but designed,

‘I think it’s only normal that these days products are created and produced with consideration for their environmental and social impact,’ she says. sourced and delivered from communities in the Middle East, India, Thailand and Morocco in order to deliver a genuine, handcrafted and universal attractiveness. ‘I want this brand to make a difference, no matter how small,’ she shares. ‘All my tailors have families and communities linked to them where I know that every payment is going to enhance lives and it’s an amazing feeling.’ Being aware of those less fortunate, whether one mile down the road or a six hour flight away, has always been engrained in Mimi and is something she now encourages of her own children and the society around her in general. ‘People really recognise how important it is to help others. They’re passionate and enjoying it but like everything there is always more we can do,’ she encourages. Within the industry itself, manufacturers are more aware and changes are being implemented across the board. ‘Ethical fashion and recycled fabrics tick the right boxes for the current times. I love the glamorous side of fashion, but with growing poverty and global environmental issues it’s important to know how your clothes are being produced,’ she says. Looking toward the future, Mimi plans on growing her brand but without steering away from its original DNA: Luxurious, fun and quality driven garments produced by communities of people with the right skillset. And, if it just so happens to provide those communities with a viable industry and on-going source of income, then all the better.

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Style

My Stylish Life

Leila Yavari, fashion director at Stylebop.com

Leila Yavari at Andrew Martinâ&#x20AC;&#x2122;s, DIFC

With her first foray into the fashion industry taking the modelling route, it is of no surprise that Leilaâ&#x20AC;&#x2122;s eye for style is a cut above the rest. With a PhD. from Berkley her credentials span all manner of areas and her position at e-tailer favourite Stylebop was a natural progression after 10 years in front of the camera. Sourcing unique and on-trend pieces for the site, Iranian born Leila is constantly on the lookout for new design talent with her most recent destination of choice being the Middle East.

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Motto to live by: Rules are meant to be broken | One piece of advice I would give to anyone: Don’t text while driving | Hidden talent: I can jog in high heels | Lifelong ambition: To beat my brother at backgammon | Best childhood memory: Weekend picnics in Bordeaux | One thing I can’t live without: Hugs | Most loved fairytale character: Majnun | Person I’d like to be: Eloise - so I could live at the Ritz and cause mischief all day | One thing that money can’t buy: Self-respect | Most treasured belonging: Bakalowits and Son, Miracle Chandelier | Heaven is to me: A Sunday at Marché aux Puces de Saint-Ouen | Most desired belonging: Jean Prouvé aluminium and wood cabinet | Person I look up to: Forough Farrokhzad | How I relax: I plan on relaxing when I retire | What I collect: Mid-century furniture

From top to bottom, left to right all images courtesy of: Hulton-Deutsch Collection/Corbis, Adam Pretty/GettyImages

Best discovery: Sophie Bille Brahe jewellery | Favourite book: 1984 by George Orwell | Favourite meal: Chateaubriand for two at Le Grand Colbert, Paris | Best home comfort: Blankets by Barefoot Dreams | Favourite restaurant: Borchardt, Berlin | Favourite place in the world: Le Club 55 in St. Tropez | Favourite city: Tokyo | Favourite artistic expression: Video installations

Beauty, make-up must haves: Kanebo Cellular Performance Lip Treatment and Mason Pearson hairbrush | Signature scent: Intelligence and Fantasy by The Beautiful Mind Series Vol. 1 | Go-to beauty brand: Shiseido | Top moisturiser: Crème de la Mer | Manicure style: Playful, bright and happy | Fresh faced or full glamour: Always fresh faced | Bad hair day product: Bumble and Bumble Surf Spray | Style icon: Francoise Hardy | Describe your style: Effortless | Best purchase: Charles Baudelaire Sweater by Ostwald Helgason | Favourite designers: JW Anderson, Valentino, David Koma, Celine, Giambattista Valli | Wardrobe staples: White-tee from Jil Sander, black leather jacket from Maison Martin Margiela, trench from Burberry | Ultimate accessory: Leather convertible luggage tote from Sophie Hulme | Most treasured wardrobe item: My mum’s vintage Chanel bags | Heels or flats: Flats for off-duty, heels when you need to make an impression | Favourite pair of shoes: Laurence Dacade black leather Dolene open-toe boots | Best Fashion Moment: Raf Simons’ farewell show for Jil Sander

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My Stylish Life

Bong Guerrero, founder and CEO of Fashion Forward

Bong Guerrero at the BRAG headquarters, JLT

As the brains behind Dubaiâ&#x20AC;&#x2122;s latest fashion phenomenon Bong Guerrero is in high demand as the second season of FFWD approaches. Originally from the Philippines, he emigrated to the UAE back in 1990 and has seen the culture and fashion sense of this metropolis blossom over the years. Eager to have the eyes of the world on regional talent, we take a look inside the life of a man who is redesigning the way the Middle East looks at fashion.

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From top to bottom, left to right all images courtesy of: Ed Reeve/VIEW, Bettmann. All Corbis.

Motto to live by: Forever young | One piece of advice I would give to anyone: Find out what you love to do most and make a living out of it | Lifelong ambition: To create something within my realm that is impactful and meaningful | Best childhood memory: Reigning over our grandpa’s tree house in our ancestral farm, playing kings and soldiers with all my cousins | One thing I can’t live without: Breakfast | Most loved fairytale character: Peter Pan | One thing that money can’t buy: Respect and taste | Heaven is to me: Island living | Early bird or night owl: Early bird | Person I look up to: Sheikh Mohammed bin Rashid Al Maktoum | How I relax: Spa and bikram yoga | What I collect: Fridge magnets

Best Discovery: Scuba diving | Favourite meal: Fesenjoon and koobideh | Best home comfort: Our big brown sofa | Favourite place in the world: A white beach on a tropical island, coconut trees, the works | Favourite city: Barcelona and Dubai | Favourite artistic expression: Film

Grooming must haves: Regular visits to 1847 and my Philips shaver | Signature scent: Paco Rabanne Ultra Violet | Top moisturiser: Shiseido for Men | Style Icon: Marlon Brando | Describe your style: Relaxed with flair | Best purchase: Dolce & Gabbana tuxedo | Favourite designers: Tom Ford and The Emperor 1688 | Most treasured wardrobe item: Vintage Versace panel shirt circa 1994, but I dare not wear it | Favourite pair of shoes: Tod’s loafers | Favourite store: Dover Street Market | Best fashion moment: Fashion Forward Dubai, Season 1

Memoir

Mojeh

Partnership in Prints F

rom competitively studying together at the Antwerp Royal Academy to becoming the most anticipated show on the London line-up, in their few short years together Peter Pilotto of Austrian/Italian descent and his Belgian Peruvian design partner Christopher De Vos, have showcased a novel and convincing vision for womenswear. Considered the pattern masters of the fashion world, the creative pair is celebrated for cleverly working with beading and embellishments to create both futuristic and iconic 3D looks. The twosome infuse intellect and exploration into their designs, taking inspiration for their statement prints and decorated pieces from both the natural and scientific world. As a continuously evolving brand, Peter Pilotto has certainly gained a huge following among various notable personalities, from Cate Blanchett and Kate Bosworth to First Lady Michelle Obama. MOJEH uncovers the design duoâ&#x20AC;&#x2122;s pattern process, what lies inside their ambiguous â&#x20AC;&#x2DC;curiosity closetâ&#x20AC;&#x2122; and why sometimes in the realms of fashion, two heads are better than one.

Memoir

Mojeh

You both studied at the Antwerp Royal Academy of Fine Arts. How did it feel when you were accepted to this prestigious university? It was very exciting. The entrance exam had been very scary and it involved two days of drawing a Roman soldier’s torso. We then had an interview with a panel and were told then and there if we were accepted. But it was one thing to be accepted, we then each had to pass the year to move onto the next. A class could go from 60 to 30 and so on. It was extremely hard year on year. Tell us about your first meeting, was there an immediate cohesion with your work? We met for the first time at the university and although we did not work together during our studies, we encouraged and pushed each other’s creativity. From this relationship we realised that we would work well together, using each other’s strengths together to create something unique. In which areas have you clashed and where do you find yourselves to be the strongest? Peter - Everything we do is as a team, however, Christopher focuses more on the design structure and I on the print. Every element is designed with equal input and of course it overlaps. We know each other so well though that its fine to offer constructive critique and opinion.

Memoir

Mojeh

Your signature is prints but how did the first ever Peter Pilotto print come about? Peter - I was not specifically focused on print during studies but I used lace as a stamp whilst experimenting at the Academy. I then discovered digital print in 2002, which we then began to focus on. We’re now beginning to bring back the other elements that we’ve learnt and loved – for example, embroidery, beading and knitwear are key elements in our AW13 collection. Talk us through the pressures you felt on the lead up to your first ever show, the experience of having your first collection walk the runway. Spring/summer 2008 was our first show off schedule and then the first on schedule was spring/summer 2009. It was an exciting and nerveracking experience and it still is every single time we show. The stress is still the same – it may be a bigger team but the collections are also bigger and the pressure is immense.

Memoir

Mojeh

You recently made a trip to the Middle East. Are travelling and experiencing varying cultures an inspiration for your collections? We are always exploring – on each trip, wherever we go, we have open eyes and an open mind. Every place has affected us in different ways. We are always curious and loved discovering the United Arab Emirates. You are known to draw inspiration from your metaphorical ‘Curiosity Cabinet’. How would you describe this? We collect things that theoretically have nothing to do with each other, but the personal choice of the collector gives reason to all of these items and our research combines things together in the end, even if they were once unrelated. They become related by the path that they direct us in. It’s creating a new context and definition through our own personal choice – this helps the design of the collections, which are always influenced by many different elements, cultures and countries. Your collections are always a rich feast of stunning, graphic yet ultra feminine pieces, a sensory explosion – constantly one of our favourite shows on the London line-up. Where do the ideas come from? Can you tell us about bringing one of your collections to life? Our collections are like diaries; they reflect our experiences. For example, last summer’s collection was so much about our trip to India. It’s always much more about a process for us. We had started working on the collection before we left, but India is full of amazing colour combinations and it of course had to become a part of it. We were in Jodhpur and the blue and lilac houses there were incredible.

In Another Life, photographed by Riccardo Vimercati

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Practical Magic

This season’s statement is a powerful one. It’s about the 21st century woman, what she needs and what she’s missing – and what better muse is there than her? Production, parties and street-style aside, during the autumn/winter fashion weeks things felt grounded and the collections more functional and wearable than recent seasons. Modern styles met with vintage forms as everything from the 20s, 40s and all the way up to the 90s were referenced and whether a domestic wife and mother, a highflying business woman or a young singleton, the collections are still in abundance of glamour, but a reigned in glamour where the woman sets the pace instead of the clothes. The avant-garde and ‘out-there’ was slightly left behind in favour of a season where ready-to-wear really lives up to its name. While we’re used to seeing this functional fashion from the likes of Celine, Chloe and Stella, it was refreshing to watch it spread across all four fashion capitals. There were the reshapings of silhouettes; round and soft at Lacoste and Mugler or sharp and precise at Dior and Vera Wang, redefining of necklines; sky-high at Miu Miu and triangular at Ralph Lauren, and a big emphasis on the tailored skirt complemented with a heady mix of outerwear from coats and bombers to capes. Reacting to the needs of the modern businesswoman, collections were rife with Savile Row cuts and monochrome colour palettes offer a feminine sensibility to androgynous looks – perfect for the power woman who strives for nothing less than perfection. The overall use of fabrics was sumptuous and fluxed from frail to thick with lace and sheers, then the latter in velvets, taffeta and tweeds. The fresh pastel palette of summer was taken out of the light and placed into the dark as deeper and more intense variations were offered in maroons, plums and midnight blues and greys. Pulling all these sumptuous fabrics and colours together, and led by Marc Jacobs at both his eponymous house and that of Louis Vuitton, there’s a vision this season of a woman who is happy to go from her bed to the mall and then off to lunch without adding so much more than an outer coat. Stylish, seductive and easy. Accessories felt just as practical with small briefcases carried as totes, a move toward a sturdier shoe and the thigh-high boot of course. Running in parallel with this idea of simplicity and ease of movement, couture felt less flamboyant and more controlled, most notably at Armani Prive where head-to-toe nude suits showcased sophistication at its finest and introduced the idea of utilising our couture outside of just the ballroom. Beauty played its part in the same story, as simple Parisian loveliness surfaced at Hermes and Salvatore Ferragamo, with models sporting glowing complexions and neat eyeliner. Tresses were slicked back at Balmain and Etro, whilst flyaway hair was the rave at Trussardi, each capturing the essence of modern day femininity. Inspiration for a new fashion attitude is of course always dynamic and influenced by a number of factors and as with each season, there are still two sides to every story. Whilst functionality conquered, the flip side here is darker than the first and arguably makes more of a seasonal impact rather than a lasting one. Spurred on by the 70’s punk movement, designers revived the trend on mass scale by serving up their efforts on a multitude of platters - punk princesses are found at Lanvin, sophistication at Preen, sexy at Versace (aka VUNK) and futuristic at Chanel. Think vinyl black fabrics, thick heavy chins, super chic chokers and boyfriend boots. Even beauty salutes the dark side with washed out and haunted looks at Prabal Gurung and pale, opaque skin teamed with gothic, plum induced lips at Gucci. This dramatic and dark sentiment was also felt in the show productions of all four cities, even at the houses where the clothes were free from performance. Bottega Veneta’s Thomas Maier sent out a stream of models adorning clean and easy styles mirroring the wearable glamour of the 40s, but the show opened with a thick, muddy cloud of smoke. Of course we’ve all heard the reviews on Miuccia Prada’s collection, a vision of undone beauty and one of her most practical to date, led however by the epic cinematic backdrop of an eerie underground scene straight from a Hitchcock classic. Then there was Marc Jacobs’ double take underneath a giant suspended sun close to dusk, inspired by Olafur Eliasson’s The Weather Project. Marni; look after look of achingly perfect outfits but against the backdrop of a dark and bitterly cold woodland. Thought provoking and ghostly. What did it all mean? In a season where the governing trend is easy, no nonsense, precise and beautiful clothes, something had to throw us off course - take it as you see it fashion, in a not so take it as you see it setting. And why not? We all love a spectacle.

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The Next Round 1

Welcoming in a softer silhouette, perfectly rounded shoulders make their mark this season. Either go for volume with large lifts or keep it simple with subtle and low curves.

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Caped Crusader 1

Designers have revived the cape for AW13 working the traditional outerwear in new and luxurious ways. From short and sweet to sweeping and gallant, make sure yours shields you from the storm.

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The Height of Winter 1

High necklines rise to the occasion, promising to protect from harsh winter conditions whilst keeping sartorial style in check.

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The Pilgrims 1

In a nod back to the early 20th century, a refined elegance takes centre stage with floor sweeping gowns, nipped in waists, high necklines and tight wrist lace cuffs.

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From the Highlands 1

The classic Scottish fabric is back and being used in some not so classic ways. How will you wear yours? Dipped in sequins at Louis Vuitton, thigh skimming at Dolce and Gabbana or with a furry friend at Mulberry?

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Hitchcock Heroines 1

Hourglass shapes and luxe fabrics created an air of Hitchcock allure for AW13. Nipped in waists, soft furs and tweed separates, thereâ&#x20AC;&#x2122;s plenty to take inspiration from.

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winterâ&#x20AC;&#x2122;s skin 1

If you choose just one skin this winter make sure it comes from the freshwater rivers and lakes as croc emerges from the murky depths as a top trend.

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Big Cats 1

The kitten becomes a cat this season as animal prints are showcased at their best: big and bold. Embrace your inner feline to maximum effect.

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Shapeshifters 1

In a play with angles, designers introduce sharp corners and architectural structures as garments extend upwards and outwards and away from the body.

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Trailing Behind 1

What was once left for going down the aisle can now be used in any walk of life as shirts, jumpsuits and tailoring all enjoy their own floor-sweeping trail.

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Flock Together 1

Soft, flyaway feathers came in abundance and gracefully descended down the runways coating dresses and jumpers for both day and night looks.

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Punk Princess 1

The 70s movement crusaded along all major catwalks making a covetable comeback, but we say keep it pretty with glamorous evening attire showcasing just a slight rebellious edge.

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Colour

Snow Whites

Giambattista Valli

Mirror mirror on the wall, whoâ&#x20AC;&#x2122;s the fairest of them all? Whether itâ&#x20AC;&#x2122;s worn head to toe in dress form or purchased as the dream coat to throw nonchalantly over other shades, let white freshen up your winter wardrobe.

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Badgley Mischka

Proenza Schouler

Elie Saab

Salvatore Ferragamo

Nina Ricci

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Sugar Coated

Simone Rocha

Brighten up your winter with a sugar sweet carry-over colour from summer. Best placed in coat form, first pick your pastel then next choose your fit.

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Sonia Rykiel

Proenza Schouler

Valentin Yudashkin

Rochas

Acne

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Set Fire to the Rain

Moschino

Warm up any wet winter with fiery reds strong enough to make light of those darker days. Keep the hemline low for a modest outlook or go just above the knee for a preppy sentiment.

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Alberta Ferretti

Dolce & Gabbana

Jason Wu

Valentino

Marc by Marc Jacobs

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When the Clock Strikes

Elie Saab

Not quite black and not quite blue, the most flattering shade is often the midnight hue in between. Elie Saab offers the perfect dinner dress, whilst Celineâ&#x20AC;&#x2122;s separates surpass the night and take you comfortably through to day.

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Derek Lam

Badgley Mischka

Jil Sander

Celine

3.1 Phillip Lim

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Not all Roses are Red

Derek Lam

Think deep and meaningful with darker shades of burgundy this winter, placing a sophisticated swing on the traditional red. This Derek Lam knee-length gilet is both parts sumptuous and seductive.

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Lâ&#x20AC;&#x2122;Wren Scott

Felder Felder

Maria Grachvogel

Christopher Kane

Badgley Mischka

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Military Impact

Ralph Lauren

Make a powerful impression with deep green shades. Take note from Ralph Laurenâ&#x20AC;&#x2122;s velvet dress, good for day or night, or look to Hermesâ&#x20AC;&#x2122; slouchy tailoring for a fresh cut on workwear.

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Hermes

Calvin Klein

Louis Vuitton

Emporio Armani

Celine

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Perfectly Plum

Emporio Armani

A surprisingly flattering shade for women of all skin-tones, plum comes in an array of shades this season from light to deep and flat to vibrant. Pick your poison and run with it.

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Carolina Herrera

A.F. Vandevorst

Balmain

Elie Saab

Stella McCartney

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Oscar de la Renta

Maison Martin Margiela

Valentino

Balmain

InThe Details

Watercolours offer an artistic interpretation on faded beauty.

Sequins and swirls turn the runway regal. Metallic, diamond-cut and bejewelled. Try one, two or all three.

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Wrap a woollen yarn (or 10) around your torso for a twizzle of colour.

Christopher Kane

Burberry Prorsum

And they all fall downâ&#x20AC;Ś

Soldered metal embellished camel coats for a new-age interpretation of leopard print.

Giles

Donna Karan

Add layers and texture with patchworks of earth tones.

Be the girl with the golden touch through some gilded glamour.

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Lessons in Clean Comfort CELINE AW13

Subdued variations of ivory, rose and primrose yellow all contributed to the faint colour palette of the Celine collection in Paris, suiting the soft and composed ambience that immersed the space. Images were left on seats indicating Phoebe Philo’s influence for the collection, marble statues and blue cloudy skies all fitting the serene atmosphere. Models sauntered across a chipboard runway to rap music, as Kanye West enjoyed Phoebe Philo’s artistic vision via the finest spot in town, front row. The idea of ‘comfy’ embodied both the setting and collection, which contained rounded, structured and voluminous silhouettes paired with flared and egg shaped skirts. Unduly stylish yet cosy. Heavy wool skirts were cut with clean lines and fell either on the knee or just below, whilst dresses were cleverly layered as box shapes sat on top of thigh hugging skirts. Funnel neck tunics and A-line skirts with wide pleats and

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plenty of room to move suggested that Philo married street wear ideals with something more chic; big sleeves casually knotted at the waist enhanced wool coats and dresses, whilst oversized jackets left plenty of room for layering. Soft pastels may have conquered the catwalk but emerald green fur also made a striking appearance with one memorable head-to-toe look. Philo continued to tease the crowd with a generous handful of plaid looks, utilising the traditional Scottish fabric with head to toe standout pieces. Accessories complemented the collection in a minimal manner; boots were skin-tight which differed from the loose clothing and were either ankle high or reached up to the thigh. Simplicity is the key this season at Celine as timeless pieces either worn as separates or all at once make up a new wardrobe for the new woman. She’s stylish, she’s confident and she never needs to over do it.

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Keeping it Polished

VICTORIA BECKHAM AW13 February in New York, not the warmest place to be. But Victoria Beckham, ever the English host, offered an escape from the cold up on the top floor of the city’s public library. Along with cups of tea and the soothing sounds of a live piano, the audience awaited the AW13 show blessed by the front row presence of the designer’s husband David Beckham. ‘I’m excited to show knitwear for the first time, as well as the quintessentially British heritage materials of tweed, plaid and herringbone,’ said the designer. ‘Combining enhanced volumes with new restrained outlines has allowed me to push my silhouette even further. Reflection, texture and simplicity in design were my starting points.’ The polished collection demonstrates the brand’s growing maturity, continuously catering for women who want to appear both feminine and powerful. An emphasis on sleeves, collars and necklines was consistent throughout as Victoria continues to impress with shapes that are guaranteed

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to flatter. Tuxedo dresses fell to the knee and sleeves were slit to create a cape like effect whilst the long and lean silhouette proved consistent with slim fitting tops and A-line skirts with hemlines residing on the calf. Separates were cinched together with skinny black belts proving that Victoria is not just about a fashionable dress or two, but also two-pieces in svelte fabrics and seductive shapes. For accessories, patent-shine ankle boots from Manolo Blahnik and large tote bags completed the looks and the designer taps into a new trend as models clasped oversized shoppers under their arms like clutches. Makeup was minimal and hair swept back into a low ponytail as runway favourites Tilda Lindstam, Kasia Struss and show closer Julia Nobis stepped into the shoes of the Victoria Beckham woman. As the designer emerged at the end of the show, she topped off another successful collection with a rare smile. We couldn’t help but smile right back.

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In Fall Bloom

Viktor and Rolf AW13 Already one of Paris’s most anticipated shows, there was an extra buzz surrounding Viktor and Rolf’s AW13 collection since it also marked the house’s 20th anniversary. Originating from Amsterdam and led by design duo Viktor Horsting and Rolf Snoeren, the brand - aside from its hugely popular and mass marketed Flower Bomb perfume - is more often than not pigeon holed into the avant-garde and edgier bracket of design. The pair seem to have taken their birthday as an opportunity to transition into the more mainstream, with a collection just as suitable for that same young woman who’s made Flower Bomb her scent. Youth and playfulness was projected through a preppy collection that stuck mainly to a monochrome colour palette. That’s not to say that the existing Viktor and Rolf woman had been left out in the cold, the show was still rife with precise cuts, experimental styling and their statement white shirts, twisted, ruched and ruffled within an inch of their life. Minimalism was portrayed through wearable and functional looks and the show opened with clean tailoring and workwear

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options. Some may describe the overall look as more refined compared to the usual panache displayed incessantly in previous seasons, but the signature flamboyancy still played a key role, with the leather integrated bows and eloquent ruffles both crucial emblems of the brand. Key pieces included quilted skater skirts along with sheer chiffon tops, whilst collared shirts and leather dresses were structured all experimenting with proportion and shape. High on concept and still distorting the line between fashion and art, the additional commercial aspects and younger sensibility of the autumn collection merely added an extra kick. The designers described their woman as slightly rebellious, hinting that the ripped skinny trousers and blazers weren’t pristine for a reason. Models resembled fresh-faced Russian dolls with minimal makeup and their hair plaited effortlessly, not daring to divert attention from the beauty of the clothes. Experimental styles with the added touch of restraint and wearability, what more could the modern woman want in her wardrobe this winter?

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Femme Fatale PRADA AW13

Miuccia Prada delivered another heady show with an intriguing projection of a woman’s life, highlighting femininity through fashion in an emotionally sensual display. The focus was on the sultry and cinematic atmosphere: Architect and good friend Rem Koolhaas assisted with the creation of the dark film noir set showing an alley cat, flocks of birds and a woman mysteriously lingering in her hallway. The dramatic spectacle had a distinct 40s flavour and as models descended down the runway, suspense was amplified along the wooden panelled floorboards with pungent music. Some models mirrored a more put-together housewife with tailored tweed separates, whilst others appeared more seductive with bare shoulders and flashes of décolletage as wool jumpers and fur hung from the body. The styling played an instrumental role in the perception of the Prada woman - clothing was unbuttoned and unzipped, done and undone,

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all suggesting a certain journey. Unequal hemlines were plentiful but always falling under the knee: a conservative counterpart to the exposed skin and dishevelled attitude. A clear Hitchcock influence echoed through the line with sheer black numbers followed by coloured leather looks in teal and red and punctuated with rich furs. It quickly became obvious that Juliana Schurig was cast to play the ultimate platinum blonde femme fatale for added theatrics. Accessories focused on large bowling bags and 70s platform sandals in glossy metallic shades. Perfect for the Prada woman who wants to add further dimension to her mysterious personality and assertive style. Hair was careless, styled wet and tousled to enhance the nonchalant effect, a statement we are familiar with from Miuccia. She’s the designer who won’t get carried away by glamour; but instead offers a seemingly beautiful line with unusual and offkilter details to completely throw you off the scent.

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A New Skin KENZO AW13

As energetic models powered across the first and last runway inside La Samaritaine - a historic department store in Paris which is due to be renovated into a luxury hotel and mall - a striking mix of colour, Asian prints and quirky motifs reminded the industry that Kenzo is worth far more than just its tiger print. Fittingly, the audience were dressed in their Kenzo baseball hats and big cat sweatshirts: Cult buys and soon to be emblems of the brand. What was seen on the catwalk was a sophisticated selection of ready to wear and a slightly more grown up stance for the brand. It was primarily made up of big shapes – the round shoulders and boxy jackets shown on many runways this season were also present here – in vibrant fabrics and healthy colours. Designers Carol Lim and Humberto Leon are directing their efforts at creating distinctive symbols for their followers and this time it was the evil eye that

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found itself on leather skirts, bomber jackets and hidden within busy prints. Inspired by ancient temples in India, Nepal and China, the already exotic mood was lifted further by a soundtrack from MIA much to the audience’s pleasure. The round shapes worked well when cut from dramatic and colourful animal skins, worn nicely as skirt and jacket combos. Opulent jacquard pieces in metallic and interjected with royal ruby and ink blue were another centre point of the collection. Completing the vision was 70s style chunky platforms and thigh-high boots (of course, it wouldn’t be AW13 without), but the pair kept the accessories to a minimum allowing the clothes to rightfully carry themselves. Hairstyles were carefree and windswept, whilst eyes were wide and illuminated with clear eye gloss and framed by sharp liner. A bold but brilliant show for the Japanese fashion house.

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Twilight Zone

MARC JACOBS AW13 Never one to hold back when it comes to dramatic spectacles, Marc Jacobs demonstrated another season of showmanship in Paris. An army of 55 models circled the enormous concrete runway (not once but twice), under the dim lighting of a burnt orange sun and to the eerie soundtrack of David Bedford and Mike Oldfield’s The Sirens. Inspired by Olafur Eliasson’s Weather Project, the first tease came at the start when it was difficult to distinguish the hues and details in the clothing; the producer effectively created a mysterious, sepia toned lighting at the Lexington Avenue Armory. The frustration caused by squinting didn’t last long and the spotlights were turned on as models made their second round across the runway. Jacobs’ mission this season was clear: whoever the woman and wherever she may be going, she should look spectacular. Oversized coats, pencil skirts and blazers in classic tweed and wool felt utilitarian enough for the functional woman. Whilst many models

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remained either topless in high-waist brief shorts or pantless with fur stoles draped seductively around their figures. Old fashioned and wearable 60’s like glamour came as coats were trimmed with fox fur and metallic plaids shimmered their way down the twilight zone. Around-the-clock opulence was demonstrated through luxe loungewear that proved just as vital as the sequins and there’s a definite screen siren feel to the collection, hard not to envision Marilyn Monroe wearing a number of the looks. A clear contrast between the relaxed silhouettes and expensive fabrics formed the Marc Jacobs woman for AW13 and highlights a key trend that spans across all four fashion capitals. Smokey eyes were smeared to entice and seduce the audience and perfectly complemented the glitzy collection along with matted unkempt wigs. He never fails to disappoint with spectacles full of drama and theatrics. Thank you Jacobs not only for the beautiful clothes but also the beautiful shows.

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BanquET

Fashion

September Shopper As the ‘January in fashion’ September means more shopping, more styling and inevitably more hours spent getting in and out of new clothes. Keep things chic but simple with basic separates and a no fuss attitude when shopping. Prada’s leather bowling bag is a handy space for those little extras and Talitha’s cape is a good on-trend option that leaves arms free to peruse through as many clothes rails as you wish.

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BanquET

Fashion

7. Faith Connexion @Stylebop.com | 8. J Brand @net-a-porter.com | 9. Prada | 10. Roger Vivier

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This Means Business This is the perfect month to breathe new life into your working wardrobe and an on-trend monochrome palette portrays a no-messing attitude. Put your trust in precise tailoring with this blazer from The Row, perfectly paired with Haider Ackermannâ&#x20AC;&#x2122;s trousers. Alternatively flirt with your feminine side through this body conscious Herve Leger dress.

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9. Haider Ackermann @mytheresa.com | 10. Stephane Rolland | 11. Michael Kors | 12 & 14. Saint Laurent by Hedi Slimane | 13. Givenchy

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Paris Fashion Week Diary: In a Flash Join MOJEH’s editor in chief for Paris Fashion Week as she dashes from one show to the next. Blink and you’ll miss it. Wednesday, And so it begins 11:00 am Touched down in the city of love and lights, it’s good to be back. 12:00 pm Check into my hotel, quick freshen up and a spritz of No.5 before the mayhem starts. 14:00 pm Just about make it to Alexis Mabille on time. Breathe. Lights out. Music on. Let the shows begin! 15:15 pm Few minutes to pop my head backstage at Dries Van Noten. Quick kisses from the man himself before I bump into the beautiful Marine Deleeuw. 18:00 pm Monochrome o’clock at Gareth Pugh. Enchanting show. 21:00 pm First day done and my feet are already feeling it…

Dries Van Noten

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07:00 am Hearty breakfast and plenty of coffee. Day two here I come. 09:15 am Alexander Wang’s debut at Balenciaga. A fabulously fresh start for the house. 12:00 pm Fun street style outside the shows today. Love that bag! 15:00 pm At Balmain and I’m ready to place my orders. Want everything. Olivier Rousteing, you’re a genius. 18:00 pm Nina Ricci – elegant, feminine and a little sexy for the Ricci woman this winter. 20:00 pm ‘Love and cool’ sum up the carefree attitude at Lanvin this evening. It’s infectious, I feel like a teenager again. 22:00 pm Can’t keep my eyes open, bed time already. Perhaps not a teenager afterall…

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Thursday, From debuts to dynasties

Olivia Palermo

Friday, Where did you get that dress? 10:00 am Bonjour! Roland Mouret kicks off the day with a fittingly Parisian collection, just incase we’ve forgotten what city we’re in (easily done after a month of shows). 11:00 am Chalayan to Issey Miyake then across to Anne Valerie Hash. Rush, rush, rush. 14:00 pm Enough time for a quick bite to eat? Probably not, but fashion needs fuel. 14:30 pm Show time at Dior. Spotted Olivia Palermo looking gorgeous as usual – only March and she’s already donning her pieces from the summer collection. 16:00 pm My killer Louboutins are definitely killing today. No pain, no gain. 18:30 pm Masculine lines and hand-painted stripes at Maison Martin Margiela, simple yet effective. Where’s the paintbrush? 19:30 pm At Sonia Rykiel and I’m seeing undone glamour harking back to the house’s heydey, met with the precision and technique of new director Geralso da Conceicao. Well and truly back on track.

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Saturday, It’s all about the Rock n’ Roll 10:30 am Warrior women walk for Haider Ackermann with tousled Mohawks and haunting makeup. A stylishly spooky start to the day - I think I might fit right in this morning. 12:00 pm Nothing beats French pastries. I’m all-smiles now. 14:00 pm Wandering along the Tuileries garden, fresh cool air and a welcome break from the fast pace of fashion week. 16:00 pm Spotted the kooky Daphne Groeneveld wearing what appears to be a sleeping bag come coat. Taking note for next season, she’s shivering way less than I am. 19:00 pm After a quick change I feel alive, glammed up and ready to party with the likes of Lindsey Wixson backstage at the Jean Paul Gaultier show. Rock and roll! 21:00 pm Waiting for Loewe to start. I wonder how much time I’ve spent so far in life waiting for fashion shows? Oh here we go. So much leather that I can smell the richness as the models walk past. Classic luxury with a hearty Spanish twist every time.

09:00 am Coffee please, extra shots. 10:00 am Prints, exotic skins and bold colours at Kenzo. So much to take in. 12:00 pm Another coffee please. 13:00 pm Celine and my favourite collection so far, so clean and feminine. 16:00 pm Boy meets girl at Chloe and it’s Clare Waight Keller’s fourth season of success. 18:00 pm Albert Kriemler for Akris presenting a tribute to his mother who passed away last December. Turtlenecks and tailoring in deep hues. So touching, anyone have tissues? 20:00 pm Goosebumps at Givenchy. Need I say more? 22:00 pm Definitely time for an early night.

Giambattista Valli

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Sunday, Stylish tributes

Chloe

Monday, So you want me to go grunge? Givenchy

07:00 am Ready nice and early and fashion meets comfort today with my Miu Miu flats, perfect to see out both the day and night. 10:00 am Oh Stella, looks like you’ll be dominating our work wardrobe’s again this winter. 13:30 pm Giambattista Valli and it’s dressed up sportswear with dream coats galore. Fresh and very wearable. A sign of what’s to come for the couture collection in July? 16:00 pm Paco Rabanne and then straight across to Emanuel Ungaro. A more graphic and less girly approach than usual for the latter and I like it. 20:00 pm So, we all need to get ourselves a pair of those Saint Laurent grunge boots this winter. Talk of the town in Paris tonight.

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Tuesday, The penultimate picture 09:00 am Fatigue won’t win this battle. Chanel, Valentino and McQueen, so excited for today’s shows. 10:30 am Over to the Grand Palais and it’s a world within a world as I’m stunned at the 50ft revolving globe. Karl proves that all that glitters is not gold but instead dark and energetic. 14:30 pm White collars, royal blues and feather thin lace on cashmere. Valentino is everything and more this season. 16:30 pm New mum Sarah Burton celebrates the birth of her twins with a ten look collection which could have in fact been five, as every two looks are almost identical. Clever. 19:30 pm A lavish library setting filled with a stream of very French and sophisticated looking models at Hermes. 21:00 pm One more day to go. Bitter sweet.

Elie Saab

Kate Moss backstage at Louis Vuitton

Alexander McQueen

Wednesday, Never enough

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10:00 am Backstage at Louis Vuitton with supermodel Kate Moss. Why can’t we all look that great first thing in the morning? Although according to Marc Jacobs we can stay in our pyjamas all day if we so wish. Totally unacceptable… but I’m totally on board. 14:00 pm Love the plaited double buns at Miu Miu, tres chic. 16:00 pm Having a little glance backstage at Elie Saab and checking the running order. Ready to give all these girls shout-outs on twitter. 16:30 pm And so my final show begins. A mass of modern beauty engulfs the stage with precise tailoring followed by floral and lace gowns in midnight and plum hues. A refined end to a week that’s showcased Paris fashion at its very best: less production and more style. 19:00 pm Off to the airport as a month of shows closes. Until next time…

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Jason Wu

Tom Ford

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Maximalism Versus The New Reality

As competition for the street style photographers’ attention during fashion week intensifies, show outfits have become increasingly outlandish. To appear on a reputed style blog is now the ultimate sartorial seal of approval. Yet, as certain show attendees threaten to overshadow the collections themselves, you would expect the runway to fight back, armed with elaborate frippery. But in true fashion style, the opposite has occurred and with an air of insouciance and a blasé shrug, fashion has taken a demure turn.

This season was something of a surprise. It lacked cohesion and homogeneity, but in the best possible way. The overriding theme was ‘contrast’. Ambiguity between masculine and feminine, strength and fragility, opulence and grunge, past and present clashed together in a cacophony of colours, fabrics and finishes. It pushed the boundaries of personal style, venerating the multiple facets of the 21st century woman. There was attitude and spirit behind each collection¬, whichever end of the spectrum they fell: from Tom Ford’s high octane, sequin-smothered and rainbow-coloured creations, to Phoebe Philo’s immaculate masterclass in ‘less is more’ at Celine, and from Fendi’s voluminous neon fur coats to Jil Sander’s leather jackets, so sparse that they came completely stripped of sleeves and collars. It’s Maximalism versus the New Reality. And in line with these two key trends, come the dutiful followers of both fashion camps. Pared back, subversive, and deeply cerebral forms of dressing have long been associated with reputed fashion editors. Traditionally, the ‘fashion purists’ come to the shows neatly laundered in a sleek black uniform of tightly tailored blazers and crisp button-down shirts, heeled in discreet Balenciaga boots or Celine loafers. French editors like Carine Roitfeld, Virginie Mouzat and Emmanuelle Alt exude this nonchalant yet perfectly executed look. In complete opposition, come the fashion bloggers. A vibrant tribe of sherbet-tinted marabou, neon leather

and pastel mohair, teetering atop vertiginous platforms, bloggers were firmly blacklisted from the sleek fashion world. Refused entry beyond the strict velvet ropes, they took to the Internet to share their opinions and soon generated a strong underground following for their all-inclusive approach and raw portrayals of an impenetrable industry. Designers like Marc Jacobs quickly cottoned on to the fast and widely-exalted reputation wielded by these self-appointed authorities, and from the moment a then-13 year old Tavi Gevinson, aka Style Rookie, was invited to sit front row at Jacobs’ spring/summer 2010 show, bloggers began to flex their sartorial muscles across the industry. ‘Street style and the associated blogs has democratised fashion,’ says fashion blogger and current Louis Vuitton darling, Angela Scanlon. ‘It’s helped break down the elitism previously associated with the industry. Designers look to tastemakers for their cues, the creatives are now valued on a commercial level.’ Indeed, other reputable bloggers like Susie Bubble, Tommy Ton and Leandra Medine of The Man Repeller now receive almost the same level of reverence as the top editors, and their opinions are certainly just as relevant. Yet, as the blogosphere exploded with new voices keen to be heard, some newcomers abused the unfettered and unregulated landscape of the online runway. Thus, in recent times, the editorial motives of bloggers have been questioned. Identified as free advertising for fledgling brands, designer ‘gifts’ became generous in

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return for lofty viral praise, and where the sponsorship deals were blatant, the integrity was lost. Belligerent blogs founded on principles of self-aggrandizement created a ‘look at me culture’ outside the shows where the most outlandish dressers commanded the attention of the street style photographers’ lens. A blogger backlash soon began. Revered fashion editor of the International Herald Tribune, Suzy Menkes, started a media frenzy when she lamented ‘the celebrity circus of people who are famous for being famous’ in her article, The Circus of Fashion, published earlier this year in the New York Times T Magazine. ‘You can hardly get up the steps at Lincoln Centre, in New York, or walk along the Tuileries Garden path in Paris because of all the photographers snapping at the poseurs,’ Menkes grumbled. ‘I can’t help feeling how different things were when cool kids loved to dress up for one another — or maybe just for themselves.’ Certain designers seem to agree with Menkes nostalgic plea for a return to purism. A discernible note of restraint floated through the autumn/winter 2013 collections. With a graceful exuberance, designers actively redefined how we dress. This sentiment was grounded in ‘the return of the lady,’ as fashion’s pendulum swung away from the risqué, toward the refreshingly refined. And indeed, fashion’s most obvious tastemakers have pared back their look in line with this move towards simplicity. Take Miroslava Duma for example, a woman who previously would happily team a stud-encrusted Balmain leather jacket with bold purple Emilio Pucci paisley-print pants, is now more often seen out in a crisp white Equipment shirt with a clean, tailored Chanel skirt and suitably unobtrusive Stella McCartney shoes. The underlying message here is wearability and functionality. Look at the Celine ladies striding purposefully down the runway with their bags clutched in front of them in a manner that says she is wearing her outfit, and not the other way around. The loudly patterned silk pyjama pants that have escaped the bedroom and entered the office in recent seasons can officially take a rest; autumn’s must-have trousers are far more subdued. The new cut is tapered and sits high on the waist; pair them with block heels, an iPadsize handbag and a confident strut. Collections were luxurious and well considered, yet comfy and made for real women to wear every day; rigour has become de rigeur. Bold without being brash, and comfortable yet figure-flattering, the ease of this season no doubt arrives in response to the pageantry and ostentation that’s happening outside the shows.

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Yet of course, not everyone shares the sentiment that fashion should be primarily wearable and reactions came in thick and fast to opinions such as Menkes’. ‘It doesn’t seem quite fair to peg the bloggers that have actually become ‘famous’ as such just for being famous,’ replied Leandra Medine on her blog The Man Repeller. ‘When I think Tavi Gevinson or Susie Bubble or Emily Weiss or, on the street spectrum, Tommy Ton, I think recognition based on the merit of astounding work.’ Certainly, one’s sense of style is completely subjective, and if freedom of expression - however impractical - is at the crux of the blogosphere, maybe we should all run away with the circus. There is a set of designers diligently catering to these fashion eccentrics, and to making the feathered creations for the peacocks to don. Yet, even the most revered of the OTT fashion gang were flagging a little this season. After several spectacular seasons, Mary Katrantzou, one of London’s mostlauded young designers, faltered a little. Katrantzou conjured up bleeding pastels on complex silhouettes and spooky black-and-white digital prints of midwinter trees and a looming, hunched figure. Without the signature primary colours and quirkiness that have bolstered her as the digi-darling of the fashion pack, her usual fans may be left yearning for the irreverence they have come to adore. Tom Ford was perhaps the peak of the maximalist scale: There were shaved fuchsia fur bombers and patchworked mink zebra coats alongside heavily fringed leather ponchos, multi-coloured crystal beading and over-the-knee satin boots. Without a whiff of the smouldering minimalism Ford has become synonymous with, this collection harked back to his raucous Gucci years instead. While the later seems to pander to this new desire for the ultimate exhibitionism, it is interesting that both completely contrasting trends have emerged from the very same season. Of course, fashion will always have its enfant terribles who won’t accept anything that isn’t dripping in embellishment and sporting a full plumage of ostrich feathers; that is their prerogative and a true representation of their personal style. But while the fashion industry as a whole makes a shift towards serenity, we see that conservatism needn’t lack creativity. There is as much thought and imagination behind an oversized Stella McCartney blazer as there is to a bubble-hemmed, cornucopian cocktail dress. It will be interesting to observe whether those previously accused of peacocking shed their feathers in favour of a sleek Celine shirt, a sleeveless Jil Sander jacket and a glossy, no-nonsense bob. But will the cameras still care?

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Elena Perminova

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Front Row Fashion Whether attending shows in the fashion capitals of the world or taking your place at the best seat in town during October’s Fashion Forward, there’s no shortage of style to turn heads. A cropped sequin Margiela top or printed Etro dress will take you from day shows and on to the after-parties, but it’s the details that count so try Cartier’s Crash watch and Faberge’s jewel embedded ring.

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8. Martin Grant @boutique1.com | 9. Maison Martin Margiela @Stylebop.com | 10. Givenchy | 11. Chanel | 12. Prada

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The Sweety Jar A sprinkling of soft pastels and bright colours is just what the doctor ordered as we transition out of summer and into autumn. Never a designer to conform to the darkness of fall, Matthew Williamsonâ&#x20AC;&#x2122;s silver feathered number shines a light, whilst Valentinoâ&#x20AC;&#x2122;s pink and lilac petal dress is a perfect mood lifter. Accessorize with delicate pieces from Van Cleef and Dior.

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Behind Closed Doors Check into Louis Vuitton’s 10 star hotel this season and make staying in the new going out. MOJEH goes backstage. There were 50 identical hotel doors at Marc Jacobs’ most recent show for Louis Vuitton. They created a circle around the waiting fashion pack who sat within a grand and darkened replica of a decadent establishment and with the opening of each portal came a collection that revealed the inner most secrets of this season’s woman. In various states of dress and undress, every woman that emerged from behind the gilded panels left in her wake the shadow of a man or the rumpled mess of sheets and it was in these details that the message Jacobs was conveying rang true. We are a voyeuristic society and women enjoy an element of exhibitionism as much as men, but the air that lingered here was one of romanticism in strife rather than cold-hearted passion. Whether they hail from Hollywood or the Left Bank, are sensual or evocative, thrown together or put together, the Vuitton woman is an individual who has the power to express her inner self and utmost intimacies in anyway she desires. Borrowing from the boudoir, the collection revealed itself in an array of sleepy, muted hues, bringing to mind that moment just before you wake where the world appears hazy in its early sun kissed state. Crushed petals, darkened lilacs, a soft beige

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and moss green were all put to use across garments that ranged from the revealing and relaxed slip, to the cinched and covered robe, interjected with elements of high-class outerwear in belted skirt suits and oversized men’s coats. Bringing the allure of the bedroom outside was paramount with certain models pairing sheer, lace-trimmed negligees with astrakhan coats for modesty whilst the pyjama trend reigned elsewhere with printed silk two-pieces worn over towering platform shoes. It really was a case of exposing the woman behind the door. But it was in the carefully hand crafted details that the true glamour of the season could be found as the overriding theme, without a doubt, was that luxury will prevail. Fabrics dripping in wealth were the order of the day from waxed crocodile and crushed velvet to cashmere and the silkiest of silks. In the details, however, is where Jacob really came into his own utilising marabou feathers as trims, fur accents and degradé embroidery throughout. The hems of jackets were encrusted with sequins that faded into a masculine check, highlighting the crossing of the genders, whilst slip-like dresses were edged in Chantilly lace in areas that revealed just enough but not too much. For the bags, all the old favourites were back in new forms with the Speedy, Lockit and the Pochette making appearances but none of the classic Louis Vuitton monogram could be found, a hint that this was a personal collection that resonated with the individual rather than an international identity. What’s under the clothes is all your own, you might say. Despite the heated undertone that ran throughout, AW13 for Louis Vuitton was far less provocative than one would expect. With a melancholy undercurrent – for whom else but those with nothing else to do would spend all day in PJ’s? – It hinted towards a vulnerable woman who finds solace in the finer things in life. Judgement was nowhere to be seen, however, so make no mistake, this woman knows exactly who she is and she plans on looking fabulous whatever the occasion, including a long and much deserved night’s sleep.

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Made to Order It was a tale of precision, minimal vs maximal and craftsmanship at its very best. Join us straight from the front row for your first look at the couture to invest in this autumn.

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Giambattista Valli Celebrating fragility and grace, Valli crafted a stunning collection influenced by the porcelain goddesses of his native Italy. Lace was appliqued and organza flowers decorated the hemlines of skirts. Dresses were whimsical and splendid whilst jackets came more structured, still a perfect match. Potent colours closed the show as Giambattista did what he does best: beautiful gowns that still play into the fairytale vision of couture.

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versace Showing off the exceptional skills of her atelier, Donatella delivered a signature Versace collection: dresses that explore the contours of the female form and expose as much skin as needed. In dark blues and maroons and finished with sequins and slight dishevelment, this is sex appeal at its very best. The show opened with iconic 90s super Naomi Campbell, a statement that Versace is serious when it comes to her couture.

alexis mabille Inspired by 19th century Italian painter Giovanni Boldiniâ&#x20AC;&#x2122;s fluid brushstrokes, Mabilleâ&#x20AC;&#x2122;s autumn collection experiments with light and dark utilising the ombre effect. Presenting the Victorian era with a modern twist, the designer emphasised what couture stands for most: Craftsmanship. Hair and makeup was kept simple, allowing the dresses to take the limelight.

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Serenity filtered out from a predominantly nude and simple collection, as Giorgio Armani presented a line which was free from any fuss and instead showcased beauty at its very best. Shapes were softer, fabrics were richer and prints were no more. Lace and feathers emphasised a controlled elegance whilst a feel of the 40s rippled through. These are couture creations to be worn by a woman who has nothing left to prove, sheâ&#x20AC;&#x2122;s already made it.

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Christian Dior Now in his third season and instilled with a freedom that comes from confidence, Raf Simonsâ&#x20AC;&#x2122; inspiration moved away from just Paris and instead several cultures and eras were referenced and blended together. We saw European shapes cut from Asian fabrics and sportswear followed by evening attire. Not to mention the blank canvas given to photographers Patrick Demarchelier, Terry Richardson, Paolo Roversi and Willy Vanderperre who shot images of models that very morning to project on all four walls. A triumphant collection and a triumphant show.

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Elie Saab has always been blessed with the ability to capture femininity and elegance in a seemingly natural way. With its controlled shapes and lace and sequins by the mileage, this collection was no different. Beautifully embellished gowns sparkled like rivers and night skies, and a seemingly simple colour palette played out from ruby red and vanilla then on to royal green. Last came the grand finale with an ivory and silver gown fit for any couture princess.

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Maison Martin Margiela Every season Maison Martin Margiela resurrects, reinterprets and transforms vintage using new fabrics and techniques and this time proved no different. The designerâ&#x20AC;&#x2122;s avantgarde ambition saw jeans introduced on to a couture runway (no one batted an eyelid, it is Margiela after all), worn by his staple masked crusaders and decorated with elements of botanical gardens. Bold, visionary, casual in places, and still completely couture.

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zuhair murad Always one to stay close to the immediate vision of couture, Murad has no time for avant-garde gowns or anything overly fussy, instead we count on the Lebanese design to bring us glamour at its very best. With a slight forestry theme, twig and leaf shaped patterns were teamed with generous layers of silk tulle whilst lace and velvet patchworks were placed on floor sweeping gowns. Medieval hues were used generously and offered a slightly sinister stance but embroidered and body conscious gowns kept the collection delicate and mesmerising.

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Models dressed in futuristic outfits walked through the Grand Palais, which had been transformed into an old, derelict theatre and showcased Karl Lagerfeld’s vision of our next metropolis, one in which the old creates the new. The future was found in sharp precise cuts, exaggerated shapes and touches of sci-fi with silver mosaics, sequins and reflective hues. Chanel classics – tweeds and two pieces – were still present but modernised in metallic materials and crystal embellishments. Bold, sophisticated and extravagant, if this is the future, we welcome it with open arms.

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Chanel

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Rami al ali The Syrian designer stunned with a beautiful collection inspired by artist Gustav Klimt and his Golden Phase. A rich tapestry of gold, silver, and platinum threads were used along with rustic shades of lavender and champagne. The luscious fabrics add a feeling of opulence with fusions of lace, tulle, chiffon, and organza, highlighting the intensity of the metallic palette used. The long and wide skirts were cinched at the waist and embody the feminine ideals of Klimtâ&#x20AC;&#x2122;s masterpieces - Rami Al Ali focuses simply on making women look nothing short of magnificent.

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Chiuri and Piccioli moved swiftly between the serene and the elaborate as heavy tweed and cashmere sets were followed by golden floor length gowns, deeply embellished and not short of the wow factor. Leonardo da Vinci’s saying ‘Simplicity is the ultimate sophistication,’ steered the design team’s inspiration for the controlled and precise collection. Highlights were the numerous black dresses – from knee length silk princess shapes to head to toe taffeta gowns finished with forestry decorations – each making it the perfect time to invest in your next LBD.

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The Parisian Bedoun Stephane Rolland knows what he wants and, more importantly, exactly who he is. He is also in love with the Middle East, a fact made abundantly clear when we sat down to discuss his latest venture into the world of ready-to-wear. MOJEH tells all.

hile most of us spent our teens heavily immersed in the culture just beyond the doorstep, couture designer Stephane Rolland became fascinated with one so removed from his European heritage that it’s had a lasting impact on both his life and work. An affiliation with the Arabic touch has been in his blood from day dot and today sees him return to the place he once idolised with an ode as fitting as his designs. ‘It’s as though it’s been written from the beginning,’ he told us over coffee and dates (his

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choice not ours). ‘It sounds bizarre but when I was a teen I became completely fascinated with Sheikh Zayed. His personality, the way he built the country from nothing and so many years later I’m here and I’m opening a boutique in his town.’ Said boutique happens to be more than just another feather in his cap launching, as it has, Rolland’s first foray into the domain of ready-to-wear and taking him away from his usual couturier status. Situated in the Etihad Towers of Abu Dhabi, this new boutique and subsequent RTW instalment has been something of a balancing act for the designer, injecting into it his eye for art, architecture and the Middle Eastern woman whilst all the while staying true to the DNA of his eponymous brand. ‘I was inspired by the 70’s mainly,’ Rolland muses, ‘and I really wanted this boutique to look like an apartment, very feminine and rich. I want the women to feel at home.’ Home for Rolland, however, is out of the desert and over to the French capital where he has grown his now ubiquitous couture label from the ground up. Injecting his Parisian touch - ‘The French touch is one thing but the Parisian is even more,’ he corrects us. ‘It’s like perfume; the EDT and EDP’ – he has masterfully created a brand that sits comfortably within the prestigious and selective

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Designer All illustrations: Stephane Rolland RTW

world of haute couture but, as with anything these days, success didn’t come easy. Stephane Rolland has one of those rare, unexpected gems of a story when it comes to how he made it big. A series of events that any budding designer would pay top dollar for if it could happen to them but it wasn’t without its hardships. Beginning his career at the mere age of 20, after being discovered by Pierre Bergé (the co-founder of Yves Saint Laurent), Rolland went straight into playing with the big boys, heading up the menswear side at Balenciaga before having ever made a male jacket in his life. ‘It was crazy,’ he tells us. ‘ I became creative director at 20 and when I got home I suddenly thought, Oh my God why did I ask for this responsibility? All I wanted was to have nobody behind me and as everyone else was working on womenswear I asked for them to let me take on mens – ‘trust me. I will make it great’.’ Citing his personality and enthusiasm as the tools that landed him the role Rolland literally learnt on the job with a great deal of brazen bravery helping him through. ‘It was super risky,’ he remembers. ‘I was pretending that I knew what I was talking about but I had never heard of a lot of the terms. I would say yes to everything and then run home that evening and look it all up. Thankfully it was

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successful but I’m not sure I would be able to do it again.’ A tale that sounds so farcical in today’s world highlights the finer elements of Rolland’s character that have got him to where he is today. ‘What is more important to me than success is to feel free,’ he elaborates, ‘I’m not made to have a boss. I had one once when I worked at Scherrer ( Jean-Louis) for 10 years but I didn’t agree with what the business men wanted to do with the brand and it is for this reason that I left Balenciaga too,’ he reveals. ‘I am super respectful of the past, of our fathers and what they gave us so it pained me to see that they wanted to change it, the DNA of Cristobal Balenciaga.’ At the age of 24 he chose to move on and the plans for his own label were set in motion. Over the next couple of decades he would learn from some of the best in the business - Balmain, JeanLouis and the world of costume design - until the age of 40 where he cut himself loose and put all this knowledge to good use in the launch of his own, independent couture brand. But the learning didn’t stop there. ‘I always say that I will forever be a student because I am learning everyday,’ he muses. ‘We can lose what we have tomorrow so it is very important to learn. Nobody can take that away from you, your knowledge.’ A typically

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Arabic philosophy, Rolland has invested it into the very heart of his namesake label by ensuring all those who work at his atelier are put through the rigorous haute couture process. ‘I am very traditional. I want to bring back the original Parisian technique and technology of couture, which is important to maintain the quality,’ he says. ‘When I opened my company six years ago I asked the best hands to join me.’ These hands have helped him go from strength to strength over the years, to a point where he is considered as much a part of the echelons of the private couture members club as the old-timers Chanel and Dior. What really sets him apart, however, is an incredibly honed aesthetic that draws on the simple perfection of a garment well made. From his first couture collection for autumn 2007 through to the one presented mere weeks ago for this season, every single element is just right and his constant attention to detail is a trademark he holds in high esteem. ‘I’m a control freak,’ he admits. ‘I want the dresses, the girls, every single detail of the collection to create an emotion and give me goosebumps and I try to make it better every season. It’s like cooking. A little oil, salt, pepper, this and that- it’s the combination of everything that creates the magic. If one detail

What really sets him apart is an incredibly honed aesthetic that draws on the simple perfection of a garment well made.

is wrong it kills it.’ This authenticity can be seen throughout his designs which have come to be known as architectural marvels that play with volume, fabric and clean, simple yet graphic lines. It’s a lesson in understated glamour where a piece that might look minimal holds its richness and far-reaching appeal within that minimalism. From his penchant for a monochrome palette, show-stopping, red carpet-worthy gowns and a generosity that can be felt from an overexaggerated peplum to an aptly placed ruffle Rolland has cracked the couture code, and the proof is in the pudding. Famous faces, from the likes of Lady Gaga, Kim Kardashian and even Sheikha Mozah herself turn to the designer for their breath-taking moments in the limelight and it is the very variety of people Rolland chooses to dress that adds yet more

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‘I want to have winter and summer pieces all year long because women travel so it’s ridiculous to limit it.’

clout to his name. ‘I dress very different people, sometimes even unexpected for the brand, but I like that because what could look strange is also very interesting,’ he explains. ‘I don’t like to say that I dress only one type of woman. It’s ridiculous. I am here to dress any type regardless of their race, age or shape. Every woman interests me.’ He’s not one to have a muse either, never as it happens, a fact that has surprised many over the years but Rolland doesn’t like to be a prisoner of an image – there’s that need for freedom again – and outwardly speaks of his dislike for them. When it comes to the Middle Eastern woman, however, he can see something that sets them apart from the rest. ‘What they all have in common is a sense of self-respect, femininity and refinement. They never forget they are women and always want to keep that element of seduction in tact.’ Something

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he feels they do for themselves rather than for the gaze of a man and this refreshing element has brought him to a rather critical conclusion. ‘I am absolutely sure that the power will come from the women in the Middle East,’ he explains. ‘If you look closely, behind every important man there is a woman and they are starting to express themselves. They are covered but uncovered.’ As an ode to these women, and in gratitude for the endless support they have given him over the years, Rolland’s decision to launch his ready-towear line in the region was simple. And it is a line that goes beyond that of his competitors. Rather than sticking to the regimented schedule of the seasons his will be presented in smaller capsule collections with new pieces being released every month. Sometimes completely unique and always with a timeless spirit this new line promises never to be boring. ‘I want to have winter and summer pieces all year long because women travel so it’s ridiculous to limit it,’ he says. ‘We need to have a global collection without seasons.’ A first look at his offering shows that we won’t be disappointed either. The elements that make up the Stephane Rolland brand remain at its heart, a key criteria for the designer when starting on this endeavour, and they can be easily found within the sculptural

Interview

Designer Stephane Rolland Haute Couture AW13

silhouettes of caped cocktail dresses and billowing jumpsuits. Metal accents feature throughout – cinching in the waists of flowing, layered ball gowns or emphasizing those on body-hugging shifts. The detailing is minimal, from feathered fishtails and monochrome patterning and each and every piece is suitable for the women of the region. The ‘wow’ factor, however, comes from Rolland’s innate ability to make lengths of fabric appear sensual, stylised and utterly chic an element that, without fail, crosses between both of his lines. ‘This natural elegance – that less is more and more is less,’ he explains, ‘it’s really Parisian and it’s also how I describe my brand. There has to be a synergy between the two lines so the DNA is preserved, grows up and evolves.’ And it’s certainly growing. From here Rolland plans to extend his portfolio of boutiques beyond that of Abu Dhabi but if anyone feared that this progression into the world of RTW would take him away from his couture roots they’d be wrong. ‘What I know,’ he concludes, ‘is that if you believe in it and if you manage it well Haute Couture will be forever successful. It’s a real market but I live by a philosophy that the more you give the more you receive.’ This is just the next step on a journey defined by the unexpected. Rest assured Rolland knows exactly what he’s doing.

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In Another Life Photographed by Riccardo Vimercati Styled by Michela Buratti

Wool Remy coat with silver and white embroidery and sequins, TORY BURCH

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Wool Remy coat with black silk and sequins, pleated silk Kara skirt and Harriet shirt with floral check print, TORY BURCH

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Sequin boucle tweed Kennedy jacket, TORY BURCH

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Liquid satin Tia top and Uma skirt with silk embellishment, TORY BURCH

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Pleated silk georgette Jasmin top and chiffon and double matte satin Dhirley skirt, TORY BURCH

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Silk Jasmine top with scarab print, TORY BURCH

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Stretch velvet floral Dayton coat, TORY BURCH

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Model: Ali Stephens at Wilhelmina | Makeup artist: Munemi Imai for Munskin.com at The Magnet Agency | Hair stylist: Felix Fischer at Factorydowntown for PhilipB | Stylist’s assistant: Soukena Roussi | Photographer’s assistants: Zomnia Vazquez and Brandon Mcnamara | Casting: Roger Innis at Boom Productions | Local production: Pstudio | Production: Louis Agency

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Silk Meg dress in heavy crepe and crystal embroidery, TORY BURCH

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Enough to Last TheWinter Photographed by Federico De Angelis Styled by Guillaume Boulez

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Sweater and skirt, CELINE

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Sweater and trousers, SONIA RYKIEL Shirt, DAMIR DOMA

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Coat, DRIES VAN NOTEN | Suit, shirt and shoes, BRIONI

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She wears: Sweater, JUST CAVALLI | Dress, DOLCE & GABBANA | Belt, CHLOE He wears: Sweater: JEAN PAUL GAULTIER Trousers, BRIONI | Scarf, FORGET-ME-NOT

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Shirt, SONIA RYKIEL | Jacket, SAINT LAURENT BY HEDI SLIMANE | Trousers, necklace and shoes, CHANEL

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White silk and tulle embroidered dress with matching train, white tweed embroidered coat and boots, CHANEL HAUTE COUTURE

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Always Look Back Photographed by Riccardo Vimercati Styled by Guillaume Boulez

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Striped silk tulle dress embroidered with crystal beads, matching belt and boots, CHANEL HAUTE COUTURE | Necklace and ring, CHANEL High Jewellery

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Black and white embroidered tulle and organza dress, black suede belt and boots, CHANEL HAUTE COUTURE

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Strapless sequin organza dress, black and white tweed skirt, matching coat and black satin belt, CHANEL HAUTE COUTURE

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Dark blue tweed and organza coat, matching dress, embroidered sequin belt and boots, CHANEL HAUTE COUTURE

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White and pearl grey tweed jacket with matching dress, skirt, belt, gloves and boots, CHANEL HAUTE COUTURE

Model: Chrystal Copland at Fusion Models | Hair stylist: Tomoko Ohama at Calliste | Makeup artist: Tracey Gray at Calliste | Digital assistant: Eleonora Bravi | Photographerâ&#x20AC;&#x2122;s assistant: Louis from Pin Up Studio | Stylistâ&#x20AC;&#x2122;s assistant: Remi Meunier | Casting: Roger Inniss at Boom Productions | Production: Louis Agency

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Yours Truly, photographed by Thomas Paquet

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Quilted Comforts A warm and cosy trend that adds texture and dimension to any outfit and also lends itself to a sophisticated and practical finish. 1. Blumarine | 2. Ohne Titel | 3. Christopher Raeburn | 4. Etro

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Sky High Keep thighs covered in boots that reach well over the knee for both a practical and trendy style this autumn. 1. Moncler Rouge | 2. Prabal Gurung | 3. Emilio Pucci | 4. John Richmond

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Boy oh Boy Work shoes come in the form of classic menâ&#x20AC;&#x2122;s attire as Brogues and Chelsea inspired boots walked the runways from Prada to Blugirl. 1. Jil Sander | 2. Blugirl | 3. Dries Van Noten | 4. Prada

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All Wrapped Up Who said wool was just for keeping warm? Go big with chunky knits from Giles or add some funk with specs by Simone Rocha, but stay out of the rain in your wool-covered shoes. 1. Alexander Wang | 2. Simone Rocha | 3. Dries Van Noten | 4. Giles

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The Magic Number Twoâ&#x20AC;&#x2122;s company but threeâ&#x20AC;&#x2122;s a party this season as shoe straps, belts and fastenings all go for triple the impact. 1. Moschino Cheap and Chic | 2. Ermanno Scervino | 3. Etro | 4. Hermes

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Keeping it Brief Both workwear and eveningwear play an integral role in any modern womanâ&#x20AC;&#x2122;s wardrobe, so hats off to the designers offering this smart and sensible clutched size version of a briefcase. 1. Jil Sander | 2. Calvin Klein | 3. Lanvin | 4. Byblos

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Sweet Tooth Encapsulate the pastel trend with modern icy hues and classic pale shades, perfect for softening day or night attire. 1. Chanel | 2. Sonia Rykiel | 3. Carven | 4. Valentino

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Art Attack Channel the works of artists such as Andy Warhol and Roy Lichtenstein with vivid shoe illustrations at Dior and eye motifs at Kenzo. 1. Kenzo | 2. Diane Von Furstenberg | 3. Dior | 4. Manish Arora

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All Choked Up Refine and restrain your style with statement chokers like this chunky curb chain from Chanel and Versaceâ&#x20AC;&#x2122;s spiked version. 1. Chanel | 2. Versace | 3. Jean Paul Gaultier | 4. Celine

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Black is Back Yes you guessed it; the punk trend doesnâ&#x20AC;&#x2122;t stop at just clothes, hair and makeup. Step back into the 70s and reimagine the movement for today. 1. Saint Laurent by Hedi Slimane | 2. Chanel | 3. Versace | 4. John Richmond

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Hot on the Heels These 70s inspired heels offer a sturdy break from the conventional stiletto. Team with fun prints or feminine dresses to lend a more delicate side to the shoe. 1. Carven | 2. Jil Sander | 3. Bottega Veneta | 4. Kenzo

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Winter Warmers Stay snug with soft fur mittens from Alexander Wang or a Russian Shapka by Ralph Lauren, and why not take these Fendi glasses down the slopes with you this winter? 1. Fendi | 2. Maurizio Pecoraro | 3. Ralph Lauren | 4. Alexander Wang

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A Fantastical New Approach With a luxurious campaign featuring autumnâ&#x20AC;&#x2122;s must have bag and shot by David LaChapelle, the Italian house Todâ&#x20AC;&#x2122;s presents us with a fresh perspective.

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merican photographer David LaChapelle is celebrated as a master of photography and art. Andy Warhol first discovered him at the age of 17 and over the past two decades LaChapelle has been admired for his distinct style in which he repeatedly references art history, with a particular interest in surrealism. A true visionary with an extraordinary imagination, LaChapelle’s high concept approach to fashion often presents unfamiliar worlds pegged by escapism and dream-like wonderlands. Luxury goods house Tod’s on the other hand is admired for its beautiful but functional approach to fashion, for their latest campaign introducing the Sella bag however, the Italian brand takes a surrealist turn with a theatrical vision that marries their aspirational elements with LaChapelle’s perplexing charm. ‘The values of quality and craftsmanship have always been part of Tod’s DNA, but we wanted to express them in a completely new and unusual way. That’s why we called on David LaChapelle, an artist whose work I have long admired,’ said Diego Della Valle, CEO of the Tod’s Group. In a series of shots - each recognisable by their vivid colour scheme and pop

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sensibility - the photographer takes us on a ‘dreamlike voyage of discovery’ with the Sella bag and it’s equestrian influence sitting firmly at the centre as the object of desire. The new bag, launched early this month, is fashioned from one strip of fine leather, gently curves like a saddle and has the added equestrian touches of metal details referencing bridles, their joints and brass rings. The ‘Pop Touch’ campaign signals a completely new and avant-garde approach for the brand, whilst maintaining its distinct and timeless approach to luxury and femininity. The dream-like story presents an almost untouchable vision of beauty (a strong trait of LaChapelle), yet with an entirely attainable outcome (the Tod’s way). ‘This idea came about because looking at the history of the company and its craftsmanship, it just suggested the world of saddlery,’ says LaChapelle. ‘The joy I get out of my work is all to do with the fun of the collaborative process and the creativity – for this project, the set, and working with all of the talented people who made it happen, that process, that moment of creation – it all equals the beauty of the single finished image.’ In this memorable turn for Tod’s, LaChapelle successfully fuses fashion with fantasy presenting the paradox of a functional bag placed within the realms of illusion. We love.

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From top to bottom and left to right: Randy Brooke, Graham Denholm, Pascal Le Segretain, Stephanie Keenan, Dimitrios Kambouris, Jason Merritt, Rob Kim and David Livingston/ All Getty Images

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An Angel Awaits

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Australian model Miranda Kerr has it all: A dream career, captivating beauty and an accessories cupboard to die for. We turn to the former Victoriaâ&#x20AC;&#x2122;s Secret Angel for a moodboard of inspiration, crowning her our icon of the issue.

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TORY BURCH

The Girl with the Dragonfly Shoe As an unusual but somewhat covetable approach to her accessories collection, Tory Burch focuses on insects as her emblem for autumn. Dragonflies played a pivotal role on the backs of shoes and made up rich amber and blue pendants on gold-chained necklaces. Placed on the backs of heels and used as clasps for evening bags, the scarab beetle – one of Tory’s favourite insects – somehow looked as comfortable as they would in their natural habitat. Influenced by the Art Nouveau movement and paintings by Austrian artist Gustav Klimt, the story of the collection is one of free spirit told through rich fabrics, plenty of gold detailing and layers of differing textures. Rusty gold dragon fly wings are hung from fiery amber pendants and held between the rustic loops of costume necklaces. The splendour of a beetle is brought to life as electric blue, apple green and burnt orange gems are layered on shoes in an imitation of its wings. Never one to stray far from her technique as a New York based designer who is mainly influenced by the people and places outside the walls of her city, mother nature is brought to life here in a colourful and rich display.

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RICHARD BRAQO A Quest for Identity

There has always been a dual assessment of Geminis and those who study astrology celebrate them as imaginative, adaptable and readily able to position themselves on either side of any fence. Luxury shoe designer Richard Braqo, who just so happens to fall under the sign, follows these beliefs in his designs which are met with precision, interesting juxtapositions and often lend themselves to both masculine and feminine qualities. Using the finest Italian fabrics such as nubuck, velvet and suede, the shoes – ranging from the Benedetta whose heel is nothing more than a five inch gold pin, to the Nina with its metal feather ankle – are designed by Braqo then crafted by the same artisans used by Prada, Armani and Azzedine Alaia. The designer’s trademark since his launch in 2012 has been the Coralle stiletto. With its golden finish and signature half cuff ankle strap the black version is timeless, seductive and a must for any woman’s wardrobe. Born in Ghana, educated at New York’s Parsons School for Design and winner of the Cesare Paciotti award in 2009, Braqo is both one to watch and wear.

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LYDIA COURTEILLE Riches from the Rainforest

Parisian born Lydia Courteille’s jewellery collections are considered to be whimsical, extravagant and imaginative masterpieces. The designer herself is viewed as a true visionary in her field who stays ahead of the curve, or rather, avoids it all together. Recognised for her expertise in gemmology, Lydia won the haute jewellery award in 2012 for best-coloured gemstone design and as a lover of nature and its untouched colours, her Amazonia collection came as no surprise, showcasing her intrepid use of colour and uniquely creative flair. High-quality techniques are used throughout her workshops where contemporary artisans put together one-of-a-kind pendants, necklaces and earrings that explore intricate movements between metals, diamonds and gems. Combining the real world with a touch of fantasy, Lydia’s pieces are for a certain type of woman. ‘Strong, mystical and liberated although still elegant and feminine,’ she says.

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MOUTON COLLET In Two Minds

‘Our inspiration always comes from the countryside where we’re from, particularly Belgium. We like the paradox between beauty and ugliness, poetry and tragedy, the soft and the trashy. It’s always a question of complexity and balance,’ said Matthieu and Nicolas of Mouton Collet back in 2011 when MOJEH first set eyes on the duo, pitching them as Ones to Watch. And so we watched. Two years later and the pair has truly answered our sartorial calls with a bold costume set in all black, amber, white and red crystals, available on STYLEBOP.com. The pieces each hold their own distinctly unusual design, for example the necklace’s lobster-claw closure and the bracelet’s differing stones. Whether worn as separates or showcased as a set, the standout ruby rocks certainly make a convincing statement. The designers met at the Institute of Saint-Luc de Tournai and when they first set up their brand in Paris in 2005 were best known for their collaborations with high-end industry leaders such as Martin Margiela, Herve Leger, Nina Ricci and Oliver Theyskens. Today however, Matthieu Mouton and Nicolas Collet need no introductions.

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Fine Jewellery

A Roaring

Success

Chanel presents their latest fine jewellery collection with a tale of tragedy, fate and the alignment of the stars. MOJEH travelled to Venice to see the story unfold.

Lion CĂŠleste brooch in 18-karat white gold set with a 1-carat round-cut diamond and 1593 brilliant-cut diamonds.

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Fine Jewellery Constellation du Lion ring in 18-karat white gold set with 157 brilliant-cut diamonds, a 1.5-carat round-cut diamond and a 91-carat carved crystal rock.

orn between July 24th and August 23rd those that bare the star sign Leo are known for their majestic, ambitious and loyal traits. With the Sun as their ruling ‘planet’ and the lion their totem they are renowned for an energetic spirit, big heart and unwavering confidence in who they are and where they want to be. Gabrielle Chanel was one such Leo and her star sign played a significant role throughout her life – becoming an emblem of her unwavering strength and determination and, in turn, a symbol that the house of Chanel have drawn on for their latest high jewellery collection. The story, however, doesn’t begin with the jewels. Travelling back in time we must return to a tragic period in the founders life when the love of her life, Boy Capel died just before the Christmas of 1919. Devastated by the loss of her greatest fan and unwavering support system Gabrielle opted to escape with her good friend José-Maria Sert to Venice, otherwise known as The City of the Doges. Here she immersed herself in the history of the island, a world of beauty, charming idiosyncrasies and unlikely refuges. From the silent churches to the winding alleys and calm, unmoving waters she felt the spirit she once possessed remerge from within.

And her friend was the catalyst that got her there. ‘He knew everything,’ she said. ‘The comings and goings of Antonello da Messina, the lives of Saints, what Durer had engraved at fourteen,’ he was an oracle of knowledge on this forsaken land and as she became more in tune with the past she learned to reaccept the future. But one experience remained with her forever. Led behind the altar in San Marco’s, Gabrielle Chanel discovered the Pala d’Oro, a one-of-a-kind example of the goldsmiths’ craft. A three-metre long altarpiece, it’s covered in cabochon polished gemstones and this unique treasure was to re-awaken her love and thirst for life in a way she never expected. From here she gradually learnt to open her heart to everything else the city had to offer. Over time she could be found frolicking on the beaches of the Lido, sipping cocktails under the stars at Café Florian or tasting Italian delights in the city’s numerous hotels. But it was within the architecture and the history of this world heritage site that Gabrielle found her real affiliation. Throughout the city, statues and symbols of the lion can be found, whether they’re on palace pediments, in doors, mosaics or on plinths, this animal is a mark of the city’s courage, glory and

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Fine Jewellery

Constellation du Lion necklace in 18-karat white gold set with 698 brilliant-cut diamonds, 3 round-cut diamonds and a 250-carat carved crystal rock.

Lion Talisman earrings in 18-karat white gold set with 746 brilliant-cut diamonds and 28 brilliant-cut black spinels.

Lion Mosa誰que bracelet in 18-karat white gold set with 1 344 brilliant-cut diamonds and 2 pear-cut diamonds.

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Fine Jewellery Lion Vénitien secret watch in 18-karat white gold set with 499 brilliant-cut diamonds, 1 pear-cut diamond and mother-of pearl dial on a black satin bracelet.

strength. Ambassadors and Kings would once bow down to them, artists made them the subject of their art and the meaning of this reoccurrence of her star sign’s totem was not lost on Gabrielle. It led her to believe that her destiny was held within the walls of the Floating City and much like the tale of the lion’s breath that saved three cubs from death, its presence in her life resurrected her own strength and helped her piece her life back together. From here the lion stayed close to her heart and made regular appearances in both her home on the Rue Cambon through to the design of her clothes. In the buttons of suits and the clasps of handbags the lion occupied a very special place in her world and today this emblem has made its way back to the centre of Chanel’s fine jewellery with the launch of their latest collection, Sous le Signe du Lion (Under the sign of Leo), of which Benjamin Comar, the international director of Chanel jewellery, walked us through. Made up of 58 extraordinary pieces each one is like a suit of armour, sending a majestic message of both unflappable power and everlasting beauty. ‘Mademoiselle Chanel once said that as a Leo and like a lion, she would sometimes

bring her claws out,’ Benjamin told us. ‘She suffered more from scratching rather than being scratched however. But in the collection, the lions never truly take their claws out.’ The Lion San Marco ring, which pays tribute to its Venetian counterpart, bares the animal sculpted in lapis lazuli as it courageously pounces forth over a diamond set star. The Lion Talisman range, which pays homage to Mademoiselle Chanel’s superstitious ways, features the ferocious head of the beast on pendant earrings in white gold, black spinels and diamonds and the Lion Vénitien celebrates an unbreakable bond with the city of Venice with a secret watch, where a diamond encrusted lion’s head pivots to reveal the watch’s dial. Throughout all the pieces, whether it be a sautoir bearing the lion in motion or a Lion Mosaïque bracelet where the head is masterfully hidden within the craftsmanship of a gemstone puzzle, this is a collection that comes from the heart. Baring the same qualities of the star sign by which it is inspired, it tells a story whose origins may be firmly rooted in tragedy but the ending is one of determination to strive forward despite adversity. Regardless of what happens, we all have it within us to be the leader of the pack.

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1 During the great enchantment of couture week, thereâ&#x20AC;&#x2122;s only one other site magical enough to momentarily steal the stare of the fashion pack; the newest and most divine fine jewellery collections specially presented by our most cherished houses. As an extension of the precision and skill shown on the runway, diamonds, rubies and sapphires held tightly between white, rose and yellow gold glistened inside

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the boutiques of the Place Vendome. Italian house Bulgari unveiled the bold Diva collection, inspired by movie stars of the 50s and 60s and honing in on their trademark use of rare and vibrantly coloured stones. Through a collection of bright and beautiful rings, the Chaumet Liens collection showcases the glamour found when its classic cross emblem is matched with crystal blue stones, whilst French

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maison Van Cleef and Arpels showed off vibrant stones with the Character collection â&#x20AC;&#x2DC;making the heart beat faster.â&#x20AC;&#x2122; Enhancing the pristine and polished characteristics of jewellery, the mood at Dior was techni-coloured as exotic influences made the bold and contrasting colours beam out endlessly for all to admire. On the other end of the colour spectrum, Boucheron

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presented another enigmatic and sensual offering with the Hotel de Lumiere collection, standing out from the other houses for its clean palette. Clear tones of white diamonds were combined with subtle hints of nude pink or pastel blue, which served a very clear message, sometimes in jewellery, less can be more. But then again, more can still be great.

1. Chaumet, Liens rings | 2. Van Cleef & Arpels, Fleur de Lapis Lazuli clip and earrings, Pierres de Caractere collection | 3. Louis Vuitton, Ruby and diamond ring and earrings, Voyage dans le Temps collection | 4. Boucheron, Paon de Lune necklace and brooch, Hotel de la Lumiere collection | 5. Alexandre Reza , La Ronde earrings and Tour ring | 6. Cartier, Emancipated necklace and earrings, Paris Nouvelle Vague collection | 7. Bulgari, Rose gold necklace and earrings featuring amethysts, rubellites, and diamonds, Diva collection | 8. Dior, Exquisite diamond ring and pink sapphire earrings, Dear Dior collection

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A Russian Reawakening Katharina Flohr is the creative and managing director of jewellery house FabergĂŠ. Responsible for both artistic and business aspects of the Russian brand, Katharina immediately set about re-establishing its excellence in creativity and craftsmanship whilst pulling it into the 21st century. In meeting Katharina on her most recent visit to the Middle East we were swept away by everything FabergĂŠ; its history, its jewels and the woman who stands at the helm of it all.

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ay Fabergé to 10 people and the image that springs to mind for at least seven would be their egg – first created for the Russian Imperial family in the late 1800s, the exquisite Easter eggs are crafted from gold and white gold and each bear their own poetic design in acute embellishments, but whilst these are still celebrated as the goldsmith’s greatest accomplishment, and for good reason, the house’s talent transcends across much more. Enter Katharina Flohr who, with the help of the late great Peter Carl Fabergé’s great-grand-daughters Tatiana and Sarah, would unearth and extract the magnificent history and talent from within the house. ‘Most people don’t actually know that Fabergé was a jeweller for the Imperial family,’ she begins. After the Romanovs and the onset of the Russian Revolution, the house of Fabergé was abruptly terminated in 1917 and the family scattered all over Europe. The descendants of Peter Carl Fabergé lost the rights to the brand in 1951 and it went through a succession of ownerships including Unilever; the history of Fabergé in the past century has been interesting to say the least. ‘It was always recognised as something extraordinary, something extravagant, over the top and overwhelmingly grand and unfortunately this connotation had become very diluted over the years,’ Katharina explains. In 2007 the family was reunited with its house and after her appointment, Katharina’s first port of call was to rediscover the beauties that had been hidden and washed-out after 1951 - these would become her inspiration. A look into Fabergé’s past as a way to build it’s future. ‘Fabergé was also a goldsmith who mastered Guilloche enamelling,’ she says. ‘We’ve been able to find some pieces at auction that really show the true worth of the house. Their talent was incredible.’ In meeting Katharina, she is of course adorned in Faberge jewels. Her previous experience as a founding fashion director of Russian Vogue, fashion and jewellery editor at British Tatler and her work with the late Isabella Blow all make her a jewellery connoisseur, so naturally, why wouldn’t Faberge be her choice of finery? Dressed immaculately in a white and black Chanel princess cut dress, summer appropriate wedges and her dark hair gently waved to perfection, Katharina reels off the history of the house and her vision for its future as if nothing fazes her. She describes herself as a ‘perfectionist’ and no feat appears too big. Undoubtedly dedicated to all things Faberge and plain to see why the family entrusted their most prized possession to her hands. Katharina re-launched the house in 2009 with three Les Fabuleuses de Fabergé high jewellery collections; Les Fleurs, Les Fables and Les Fauves de Fabergé, and then followed by six additional collections, each successfully repositioning Fabergé in the luxury market. ‘The direction we took was contemporary regarding the stories and themes but we were inspired not just by Peter Karl’s creations but also his experiences,’ Flohr explains. ‘We spread the realm of our inspiration to include the things he had seen and achieved but without incorporating a single egg as they came much later in his career’. So where did this start for Katharina? ‘The first thing I had to discover is what Fabergé means and distinguish its design DNA,’ she says. ‘Ultimately, it was about the

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extraordinary workmanship and applying the greatest craft of all.’ Highlighting coloured gemstones as a key characteristic, Katharina’s creative process is both captivating and imaginative. ‘Ideas come from everything in accessories and it’s important as a jeweller to be captivating and romantic. You think of a scene and you must paint it with jewels. That’s important as a jeweller and storyteller because people are buying something they don’t necessarily need, so it has to be perfect,’ she says. The high jewellery collection Les Saisson Russes evokes the Russian seasons through an exploration of Peter Carl’s world. The jewels, in true Fabergé style, exhibit an intuitive interplay of rare coloured precious gems, diamonds and pearls with an unmatched handcrafted artisanship used to capture and reflect the changing light, colours and atmosphere of each season. A refined opulence combined with delicate precision is a feature bound to the house. ‘I got to see the greatest workshops in the world and I think if you have sensitivity, appreciation and a clear vision for creativity the role becomes more natural’, she elaborates. ‘My father’s friend was a great art collector and he once said the best way to learn is to go and see things, let your eyes soak it all in and you’ll quickly find the difference in quality’. And so she immersed herself in Fabergé and its clients, sat with the craftsman, helped source the greatest jewels, and ultimately fell into Peter Carl’s world. ‘You’re creating something that is a piece of art, an investment and an heirloom, so you need to be able to apply sensitivity for those clients who do buy it. Put yourself in their shoes and imagine the magnificent jewellery they have seen.’ Instead of selling to just Russia’s Royalty, Fabergé is now making impressive appearances with consumers from Europe, America and China to the Middle East. ‘Everything is extravagant in this region and the market appreciates the finer things, it’s a no nonsense

Giant Magnolia ring, set in platinum with 18 carat pink gold and silver, diamonds and an oval sapphire. Les Fleurs collection.

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Mojeh Tree of Life necklace, 18 carat white gold with white diamonds and emeralds. Les Fameux collection.

place that knows its quality,’ says Katharina. More specifically, an interest in precious jewellery is noticeably stemming from both mothers and daughters alike. ‘They adore the designs and some have vintage pieces in the family. I think that people want to collect the jewels too as an heirloom; everyone needs a Chanel jacket, a Hermes bag and a Fabergé egg,’ she jests. And so we go full circle back to that precious egg, inextricably bound to the legend of the house. Now that Fabergé has re-built itself with wonderfully extensive collections of fine and high jewellery, from Les Tresors and Les Fameux to Les Saisons Russes, Katharina was able to turn her attention to re-imagining the egg. There are over 60 different designs in the Les Favourites collection with a wide choice of materials, techniques and styles to choose from: carved hard stones and minerals, as varied as rock crystal, chrysoprase, snowflake obsidian, lavender jade, jadeite, pink opal, rutilated quartz, jasper and turquoise to name a few, all modern visions of Peter Carl Faberge’s originals. After a long period of ‘sleeping beauty’ Katharina Flohr has reawakened the beautiful fairy tale story of Fabergé, drawing inspiration from Russia, the house’s history and her own career path. The creative director compares a defining moment in her vocation with the house so far to the feeling that Peter Carl himself must have experienced when he initially designed for the Imperial family. ‘At the moment we have a Royal request, ideas have been permitted so fingers crossed and we shall see,’ she confesses. ‘Those would be the first jewellery objects since the originals made for the Imperial family and will take up to two years to complete.’ As someone who lives and breathes all things exquisite and magnificent, we’re sure that whatever stories Katharina has in store for Fabergé’s future, they’ll be ones of both brilliance and beauty. ‘When a design comes to life in the workshop it’s unbelievable. It’s about fine tuning Fabergé and translating what it stands for into beautiful jewellery,’ she ends. ‘At the moment, the ideas just won’t stop flowing’.

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Yours Truly Photographed by Thomas Paquet Styled by Clemence Cahu

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Dear Dior exquisite ruby earrings, DIOR FINE JEWELLERY

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Dear Dior majestic multi-coloured necklace and bracelet, DIOR FINE JEWELLERY

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Dear Dior majestic emerald necklace and majestic pastel diamond earrings, DIOR FINE JEWELLERY

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From left to right: Dear Dior exquisite pink sapphire ring, sparkling ruby ring, exquisite diamond ring and majestic multi-coloured ring, DIOR FINE JEWELLERY

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Dear Dior majestic emerald necklace and majestic pastel diamond earrings, DIOR FINE JEWELLERY

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Dear Dior fascinating emerald bracelet and earrings, DIOR FINE JEWELLERY

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Dear Dior exquisite emerald ring and earrings and sparkling diamond ring, DIOR FINE JEWELLERY

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Treasures of the Adriatic Photographed by Alice Rosati Styled by Sofia Odero

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Dress, shoes and bag, VALENTINO

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Coat and boots, ROBERTO CAVALLI

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Skirt, coat, belt, bag and gloves, GUCCI | Sunglasses, ACNE

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Dress, belt and scarf, MIU MIU | Bag and shoes, PRADA

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Top and skirt, GIAMBATTISTA VALLI | Bag, ACNE | Shoes, ROGER VIVIER

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Model: Andy Nagy at Marilyn Agency | Hair and Makeup artist: Giulio Panciera at MKS Milano | Photographerâ&#x20AC;&#x2122;s assistant: Luca Cadamuro | Stylistâ&#x20AC;&#x2122;s assistant: Clemence Leray | Production: Louis Agency

Dress, VIONNET | Earrings, CARVEN | Bag, MARNI

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Chanel, Where Beauty Begins campaign

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A Perfect Peach For a colour that’s right on trend this autumn look to the fruit bowl and pick up a peach. Whether swathed across the eyes and cheeks à la Lorenzo Riva or plucked perfectly for a ripe lip at Oscar, this hue offers a feminine twist to any casual look. Try YSL’s Corail Colisee nail lacquer and draw the attention away from just the face.

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French Fancy Be simple and suave like the Parisians this season with an overall look that embodies the stylish heights of the capital. Skin is flawless yet flushed, brows are plucked and pruned and hair has the effortless sheen of your favourite cocker spaniel. De rien.

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Fallen Forties A paddle brush, a curling iron and the latest beautifying cream from Miriam Quevedo is all you need to create this rough and ready take on the forties wave. Channel Antonio Marras and ensure perfection is a thing of the past with myriad flyaways and some frightful frizz.

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One Day I’ll Fly Away The bitterly chilled winds experienced by the Western half of the world will come in handy this AW as stray strands are a must for anyone looking to be on trend. Guarantee a sleek look with Philip B’s Anti-Frizz formula but don’t be afraid of a little chaos by embracing the look from root to tip.

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Berry Bitten Inspired by a colour palette of winter berries – lips are dark, rich and juicy this season. From the deepest mauve to the crispest raspberry add MAC’s clear Lipglass for a shine that’ll challenge even the freshest of fruit. Keep eyes free of drama for added clout.

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If your morning ritual doesn’t allow for a lengthy grooming session then this simple and elegant trend should be right up your street. Merely tuck your hair into your collar and you’re off. To achieve perfection amp up the shine and use Evo’s niftily named Root Canal to add volume at the base.

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All Tucked In

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Pretty Slicker Keeping the hair off the face comes in one form this winter – the messy slick-back – perfect for girls on the go. Stronghold hairspray will keep the ‘do’ in place from morning to night and for added texture look to Marc Valvo and add volume with a good old vigorous backcomb.

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Metallics are coppery and full of pigment this season – destined for the eye and an ethereal yet sunken look. Create a smoky base with a spectrum of weathered pennies and for added effect add a blast of intense Berber powder from Illamasqua. Take colour beyond the eye contours and the look will surprisingly soften.

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The Pruned Punk Step back in time this season to an era when being dishevelled gained you extra brownie points. The 80â&#x20AC;&#x2122;s Punk is reborn for the sensual and seductive woman with strong, noir eyes and pure, matte skin. Line the peepers in liquid black and then contour from the inside out for a striking, structured look.

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Raven-claw Take to the night with a gothic overtone where the blackest of black hues are contrasted against hints of pure gold and deep crimson. Don’t be afraid of the dramatic like Miu Miu and emphasise your lips over and above anything else. Looking a little creepy isn’t a bad thing, take note.

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Lose your Marbles Make like the crazy scientist and experiment with a marbled nail effect this winter combining seasonal hues of icy grey, frosty white and jet jet black. To apply â&#x20AC;&#x201C; paint a sponge with the desired effect and then transfer to the nail. Warning: mess may ensue but practice makes perfect.

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The New Nude From crumpets to apple pie, biscotti to treacle tart â&#x20AC;&#x201C; nails are nude this season with a wholesome, sugary twist. Make the plate disappear into the cuticle with a flawlessly applied swipe of colour like the masters at Gucci and remember, the more natural it looks, the better.

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Rouge Dior:

60 Years in the Making The prolific Rouge Dior lipstick marks its 60th anniversary this fall â&#x20AC;&#x201C; a true emblem of the house and an icon of the beauty world. MOJEH heads to Cannes to unearth the tale behind an industry favourite.

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‘My lipstick covered cheeks are the surest proof of the success of my collection,’ Christian Dior.

From top to bottom, left to right all images courtesy of: Tyen for Christian Dior Parfums, Christian Dior Parfums.

t was 1953 when the first Rouge Dior lipstick came on the market. Labelled as the ‘perfect lipstick’ it was created in the wake of Dior’s first foray into the beauty world back in 1949, when limited edition bullets-of-colour were given to clients and welcomed with open arms. Long-awaited, this first beauty offering from a couture house set a precedent for what followed – a long-lasting love affair with a cult classic. From the very beginning Christian Dior wanted to create an ideal of all round beauty and a desire to ‘dress a woman’s smile’ led to the birth of Rouge Dior. Launched in a range of eight colours and sold exclusively at his Avenue Montaigne boutique its instant success was marked by the stars that flocked to its side. From Marlene Dietrich to Josephine Baker and even the great Grace Kelly, all were enthralled by its intense colour, perfect coverage and the enchanting obelisk encasing. With shades inspired by the fabrics of his collections, it is the red pigment that has stood the test of time – remaining the protagonist of a family that has grown and grown with every passing decade. From Serge Lutens in the 70s to Tyen today, every creative director that has manned the helm of the Rouge Dior ship has added to its profound legacy. The avant-garde shades of Luten as well as Tyen’s infamous advertising campaigns have helped in creating an image fit for its couture status. Today, six decades after Dior’s dream came true, the house is looking to their shining star once more, determined to celebrate an icon that has stood the test of time. With a fresh advertising campaign featuring house favourite Natalie Portman, alongside a new silhouette, this season is all about that ‘touch of colour that may be enough to change your appearance.’ In our quest to find out more we headed to Cannes to catch up with Dior’s International makeup artist Violette whose one-off photographic exhibition on the theme of the mouth pays tribute to this emblem. Collaborating with three aspiring artists, her powerful and unusual vision comes to life through a series of evocative images. We chatted to her about her connection to the house, why Rouge Dior remains so intrinsic and the messages that can be found in her homage to an icon.

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Rouge Dior is an iconic and timeless figure for the house of Dior and you’ve created a photographic exhibition in celebration of it. What do you want to express through it? Mr Christian Dior was a superstitious man who really put soul and belief into everything. I feel very close to that. The first make-up product he created was lipstick and when you see the packaging it looks like a piece of art or architecture. So I thought it would be the perfect marriage between the past and the future and wanted to express what is rouge, what is Dior and what is lipstick? How can it become a piece of art? And of course, Rouge Dior is a celebration of the woman. Rouge is life, it’s love, it’s passion and it’s femininity. So it’s also a celebration of the lips within this context. What do you think each series says about the Dior woman? When I think of the Dior woman I see someone who is secure, she’s comfortable with her femininity, her power of seduction and is a little bit audacious. She signifies freedom. This is a celebration of that woman and how she can use Dior to express herself. What genres are you using to express this idea? I chose three directions. One has the feel of a movie - cinema with love, emotion, a story and a soul. The second is a painting and the last is computerised to represent the future. The exhibition features only three artists, each chosen to showcase one of your themes, tell us about each of them. I found young Spanish photographer Txema Yeste for the movie mood. Each of his pictures are completely untouched. For example I’m obsessed with the idea of kissing paper and leaving it for your lover but wanted to capture the moment

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All, Benjamin Decoin for Christian Dior Parfums.

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BENJAMIN LENNOX Having worked for the likes of Vogue UK and V Magazine, USA based Lennox collaborated with Violette on a series of intense, highly saturated images where pure pigment plays the leading role. Fascinating textures combine with passionate colour to create dreamlike versions of the woman. Benjamin Lennox for Christian Dior Parfums.

when the lipstick starts to melt away - he pushed me in the right direction and instantly knew how to make it work. In another image I wanted lips that look like candy so I combined a high gloss with black and then sprayed water on top to get lots of reflection. Next is Benjamin Lennox, a London photographer with whom I wanted to concentrate on art. For one piece I encouraged an opposing texture between the skin and lips then mixed in glitter so she no longer looks like a woman but instead a mermaid, a fish underwater. Benjamin and I share the same love of painting so it was really easy to work together. Finally it was Daniel Sannwald who has the vision of a surrealist and an extraordinary way of catching light and flying pigments. We created everything on the computer but Daniel somehow makes it more real. I love to see the emotion in my pictures; I don’t want to create something without a soul. His series also expresses the idea that makeup can be about communication. How do you come up with the concepts? Do you sit and the face becomes your canvas? Yes it’s exactly like that. When I have a face in front of me it comes naturally, it’s instinctive. The mouth is such a loaded subject matter, highlighted by the Rorschach method used in one of the images. What dialogue did you hope to create with this? When I look at a woman I always imagine her story through make-up. If she chooses eye-liner, why? If she wears lipstick, why? If she hides behind her foundation, why? Make-up is a choice and a choice that means something. What message

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are you sending? That’s where the idea of the Rorschach method came in – what shape do you see and why? What you see helps to explain who you are and for me, make-up is just like that. For example, I wore red lipstick everyday for ten years and then I suddenly stopped. That means something but I just don’t know what yet. With the Rorschach image I want people to see something and then discuss and debate, like a game. What do you think the colour red signifies? Power, passion, seduction, choice, love and life. When did you first discover the colour red? When I was a child I watched The Wizard of Oz and became obsessed with the colour because of Dorothy’s shoes. Later I found a black rose with red tips in a garden in Paris and fell in love with the texture. I was a student at the Louvre at the time and from then on I knew that I wanted to work with red lipsticks and textures, but through painting. How should we apply Rouge Dior? Put the pencil on the outside first to define your shape. Do it twice, mouth closed and mouth open, to check the shape is clean. Next colour your lips with the pencil because the texture will grab the lipstick better. Then apply Rouge Dior with a darker shade around the outside. Finally apply gloss - I love it when you can see the texture, it’s so chic. I’m an extremist, so I add pigments to exaggerate the velvet or glossy texture. I prefer not to use a brush because without it you have nothing that could interfere with the texture of the products.

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DANIEL SANNWALD A German based photographer Sannwald is best known for his work with magazines such as Dazed and Confused and Arena Homme Plus to name but a few. Working with Violette on a futuristic and surrealist vision of Rouge Dior his work plays with texture and rich colours to create hyper-realistic images. Daniel Sannwald for Christian Dior Parfums.

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How long does it take for you to do this? Me, I’m quick. 5 minutes tops! When it takes too long it means the technique isn’t good.

TXEMA YESTE Spanish in origin, Txema Yeste’s work with Rouge Dior focuses on the art of cinema. Seductive and mysterious, the series explores the parallels between beauty and romance through the use of key social symbols. The kiss, the red rose – all are realised with a raw animal magnetism that screams feminine power. Txema Yeste for Christian Dior Parfums.

When wearing bold lips, what look do you recommend for the rest of the face? Many looks still infact work. Perhaps the perfect velvet skin with glossy, plastic lips or maybe try black eyes with red lips. It’s important to recognise your own image and stop when it becomes too heavy. A woman shouldn’t disappear behind her make-up, it should be an accessory. Red is so significant to the history of the Dior house. How can we integrate it into our autumn look? There’s a lot of red lipstick paired with eyeshadow throughout the fashion show. You can wear both today but you have to work at creating a great balance, so play with the red until you find the right kind – a blue red, a rouge red, a light one or a dark one. Red lips are such an iconic statement for women. How do you think they will develop in the future? I always ask myself, what will be the lipstick of the future? Maybe we will have one that changes colour depending on your emotion. Like when you kiss your husband suddenly it will be red. The woman has to remain mysterious though and the lipstick needs to be her best friend, not her enemy. At the moment I’m specifically working on textures and the creation of products that have never existed before. I come from a background studying art and not make-up, so I want to keep this free way of thinking and forget the limits of cosmetics in order to develop products that have never existed before.

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to s th yo fa e fo ur ll e lea w r t sc ns ve be ith he en ur s b an rg hi sea t is e egi n Fo d am nts so ri g s w re an ot o n ht ay st d , m f to fin alw o go er o ss . y i od st . he

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Pass the Bucket

If you’re a little under the weather this month, never fear. Playing up your sickness will score you points in the beauty department. We take a look at a trend that’s breaking all the rules.

s winter rolls around once more it’s safe to say that we’ll soon be reaching for the tissues, snuggling up with hot water bottles and staving off the flu epidemic with any medication we can get our hands on. Fighting off these parasites, the common cold, the ‘bug’ as we call it takes a toll not only on our strength but everything from our hair to our skin too. Whilst this would usually be cause for a panic buy of all the cover ups on the market, this season sees us throwing caution to the wind and embracing the pallid skin, sunken eyes and lacklustre locks that a bout of sniffing and coughing brings with it. Like the girls at Helmut Lang, a runny nose, cracked lips and red red eyes are not necessarily a bad thing. For many, however, this new trend will be hard to stomach. Natural and barefaced is one thing, but why would we choose to go a step further and look ill? A sure sign of weakness and one that doesn’t normally attract many admirers. Perhaps it’s a direct result of the ongoing pressure placed on us ladies to look perfect whilst juggling a full time career and children. A stand, if you will, against the incessant barrage of advice telling us we must look impeccable every second of every day. A final realisation that we’re not superwoman, whether you want to put us on that pedestal or not, and we’re no longer afraid of confronting this fact if it gives us the freedom to choose when glamour is the right way to go. But as with any trend this look takes more than a passing colour palette or a cursory comb to achieve. Perfecting that dark circle and skin as transparent as can be is no mean feat. Quality products are of prime importance here; so don’t hold back when investing in the required goods, as shading, contouring and colour balance will become your new areas of expertise. Starting from the bottom up, coat your skin in a brightening base – Sensai by Kanebo do quite a stellar one – and then gradually layer varying shades of skin tone, from a darkening mud to a bright enlightening white. Paying close attention to the cheekbone is desired as the more pronounced one makes them the closer to perfecting this trend you become. For the eyes, a simple smudge of a dull hued eyeliner will see you through, the accent placed underneath the eye to draw focus to the hollow that exists there. Now onto the lips – an area not in need of much attention if, like us, a mere hour without the reapplication of balm leaves them dry as a bone in the desert. A swipe of Kiss Mix from Eve Lom is particularly handy, giving just the right amount of lubrication without making a statement in shine. And finally the hair. Leave it a couple of days unwashed and we’re sure it’ll look as lank as required but if you’re not one for skipping the shampoo drag a serum or two from the roots to the tips to diminish volume and add texture. When all of this is brought together you should have the exact look that the likes of Prabal Gurung and Jeremy Laing were channelling on the catwalks this season, but if you’d rather not resemble the walking dead in your dayto-day activities we’d understand. Like many, perhaps this trend is best left to the experts and those blessed with the genes to pull off anything, but then again- the sympathy you’ll attract for looking a little ‘below par’ might be just enough to sway your opinion. We’ll leave the decision to you.

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Bouncing Beauties It’s all about the jump this season. We discover how a few weeks of kangaroo behaviour is the ticket to lovelier limbs.

vividly remember the joy I felt as a kid when I was bouncing around on my trampoline. I begged my parents to buy me one for months on end (you know how children do) and when they finally succumbed I was so consumed with the feeling of flying that it gave me that it was difficult to get me off. What I didn’t realise back then however, was that all the jumping, flipping, twisting and diving that felt so effortless was doing more for my teenage body than my teenage mind was aware. It seems the fitness world has finally twigged the benefits of an hour spent pounding the springs by developing a fascination with a miniature trampoline called the Rebounder. To get a better understanding of what a regime based around said contraption could do for my now adult figure I signed myself up for this latest craze with 10 classes that promised to be flexibility boosting, fat-burning and all body toning, a sales pitch that I, with a history of rabbit like behaviour, just couldn’t refuse. Having never been a huge fan of class based workouts though– preferring the likes of swimming and ballet which are fairly independent – I had my fears that I would be walking into some army like regime and I would be shamed into pushing myself beyond a comfortable level of pain, luckily I was wrong. Nicole, my instructor at the DanceFitMe, all-female dance centre in Dubai’s Al Quoz, was forceful but understanding and over the course of my classes, as I slowly learnt the art of balance, she was encouraging and guided me when I would inevitably perform one of myriad movements wrong. The first thing you should know about this regime however, is that it’s hard. I was told this when I turned up for the initial intensive hour (not what you need when the nerves are already ticking) and when talking to Nicole after the event she rated it as a 10 on an ascending scale of difficulty. It’s not for the faint-hearted, so expect excessive sweating, a burn like no other and the inward begging for certain sessions to end, but don’t let this put you off because the benefits far outweigh the effort. Set to a pounding playlist of house music and following the basic premise of high intensity interval training – an intense five to 10 minute session followed by 30 seconds rest and so forth – the Rebounder workout utilises the resistance of the trampoline in line with 1kg Zumba weights and a mini medicine ball (not all at once) to pinpoint almost every muscle in the body. Combining familiar squats with hamstring curls and crunches alongside upper arm focused full motion movements and regular bursts of high energy bouncing it is the variety of exercises that make it so effective and what’s even better is that you’re guaranteed to see results within 3-4 weeks – something I can vouch for. There is a noticeable difference in the tautness of my skin, the strength of my thighs and more than anything a stamina and flexibility that I haven’t felt since I was a tween competing in international gymnastic competitions. Whilst these results are a sure-fire incentive to sign up tomorrow there are myriad long-term benefits that trump all of the above and have seen me commit to a long-term love affair with the regime, starting with a proven ability to combat cellulite – the dreaded C word we all wish we could banish from our lives forever – by targeting the lymphatic system and helping with the re-distribution of toxins. More than that it’s soft on the joints, so perfect for anyone with knee troubles, and over time gently increases our resting metabolic rate meaning calories can be burned for hours after the class has finished. To ensure you reap all of the above you must remember one vital thing however and that’s your posture, without which nothing good will come of the rigorous and downright painful manoeuvres you put yourself through. One thing’s for sure - If I knew how much my childhood toy could help me now I would never have stepped off it in the first place. All class information can be found at www.dancefitme.com.

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Making Life More Beautiful

MOJEH chats to Diane Kruger as she’s announced as the face of Chanel’s latest skincare regime. Diane Kruger is in perfect harmony with the new vision of beauty by Chanel. The actress and ex-model invites you to consider beauty in an authentic and unique way. Her own beauty is based on her self-confidence, her deep-rooted desire to highlight her qualities and turn her flaws into assets that reflect her own life. Now the face of an original skincare signature, Chanel: Where Beauty Begins, the German icon embodies a fresh look, renewed each day. We had a meeting with no holds barred.

Do you have a beauty ideal? When I was a little girl, my beauty ideal reflected the traditional norms. Slimness, perfection and other inaccessible objectives were characteristic of this image. But with experience and the trips that I was able to take all over the world, I became more open-minded. I learned that there is no such thing as perfection. And my career as an actress taught me that flaws make us more interesting. I find that a smooth, unmarked face is incapable of expressing anything that touches me. Were you always aware of your own beauty? I couldn’t say that. I think that we’re beautiful in other people’s eyes. It wasn’t until I became a model that I started paying more attention to my face. Before then, I studied classical dance at the Royal Ballet of London, where the body and grace were what mattered most. Today, I just need to know that the man I love thinks I’m beautiful. Do you think beauty is something that is handed down? I think that it’s important to receive and hand down the keys to staying fit and healthy. My mother ingrained the secrets to a healthy lifestyle

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in me and I’ve never strayed from them. I think that feeling good about yourself is one of the most precious beauty secrets. I believe that these kinds of values are handed down.

Yes, I always make sure I get good sleep and moisturise my skin and hands. Especially when I’m going to a party, I know that my makeup holds better if my skin is well moisturised.

Do you see cosmetics as a chore or a pleasure? To be honest, they can be both. I think that beauty begins with beautiful skin. So even though I enjoy caring for my skin, I also consider it to be an obligation. In my career as a model and then as an actress, I’ve had to deal with this every day. I am very strict about protecting my skin, which is covered in so much makeup. In practical terms, I need a toner to revive the radiance of my face, then a moisturizing cream and an eye contour cream to lighten my dark circles. I’m very careful about not exposing my skin to the sun anymore. I never go out without my anti-UV cream – even in the city.

You have the slim figure of a nymph even though you don’t spend all day at the gym. How do you keep in shape? I’m not actually that athletic and I hate going to the gym. Exercising only makes sense if I get pleasure out of it. But pleasure for me comes from real life so whenever I get the chance, I go hiking. Sometimes I can walk 50 kilometres in four days. I sold my car and so now whenever I’m in Paris I get around on foot, a bike or sometimes the metro.

Since your childhood, you’ve enjoyed a career without borders. Did you teach yourself some habits to overcome jet lag?

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Do you feel more beautiful now than you did before? Actually, I would say that I’m kinder to myself and even though I loved being 20, I’m not nostalgic about my beauty at that time. I am nostalgic however about all of my ‘first times’: the first time that I kissed someone passionately, the first time that I saw New York...

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Beauty All images courtesy of Chanel from the ‘Where Beauty Begins’ campaign

I kept this curiosity intact though because life is such a learning process - you have to make the most of it. Very early on dance taught me that the body also allows you to express strong emotions. To be the most beautiful, the most touching or the most fascinating, you don’t have to be the youngest. You have to invent your beauty the way you do your life, but without projecting yourself into an ideal or an inaccessible dream. I realised that I had to live fully in the moment and open myself to others or life would pass me by. If I’m happier now, then I’m more beautiful than I was before. You’re used to red carpets, front rows and photo shoots – as well as professional beauty teams. Do you always use their services when you make an appearance? My experience as a model taught me the right tips and tricks to enhance my features so I prefer to do my own makeup. Today I want to look like myself above all. Feeling beautiful is a private emotion. This helps me put things in perspective, accept myself as I am and no longer undertake an insatiable quest for perfection. In the end this makes me a lot happier because, like everyone else, I have my own share of complexes. You now represent the cosmetic side of Chanel. What makes this a good fit for you?

It seemed almost like destiny. The Chanel cosmetics philosophy develops like an art: that of revealing each woman’s unique features and unveiling what each woman chooses to be. The skincare products are focused on sensorial pleasure – the desire to care for your skin with no constraints – without emphasising the scientific feats. I send out a message that Chanel makes life more beautiful, while revealing a lovely appearance. This message is in sync with the direction of my own life. I chose to be an actress, to use my flaws and make them my strength on screen. I no longer try to hide behind an appearance; I want to show who I really am. Chanel cosmetics enhance your own beauty. This suits me perfectly. You are as blonde as Gabrielle Chanel was brunette. You are also as natural as she was sophisticated. What do you have in common? Perhaps a form of subtlety, an eye for detail, a certain rigor and a way of holding ourselves. We also have the same definition of elegance, which is never ostentatious, and a preference for noble, classic materials, such as tweed, which are so flattering. Gabrielle Chanel was a free and cultivated woman with a strong character and charisma whom you couldn’t help but respect. This form of independence makes her an admirable model in my eyes.

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I Canâ&#x20AC;&#x2122;t Find the Truth, 2013, Hussein Al-Mohasen

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Tank in Blue, 2012, mixed media on paper.

Good Intentions A look at Hussein Al Mohasen, an artist whose message is vivid on the surface but ambiguous beneath. ‘When I start my pieces I just forget about politics and I simply go into my own world,’ says contemporary Saudi Arabian artist Hussein Al Mohasen, venturing further, ‘I like to be very simple and make things different and more colourful from the way they look in real life.’ Observers of Al Mohasen’s work, however, could be forgiven for questioning both his intentions and his statement. While he protests that his art – predominantly graffiti based - is entirely unrelated to subjects such as politics in the Middle East and abroad, the actual results suggest otherwise. His most recent body of work, ‘I Love You Green’ is riddled with diplomatic innuendo, similar to ‘I Love Music’ featuring former US President George W. Bush at the moment he’s informed of the atrocities of 9/11. ‘This Space of Colour’ centralises around the Palestinian

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Artist No Fly Zone, 2012, mixed media and stencil graffiti on paper

cartoon figure Handala - the refugee child, a popular character during the 1970s who came to represent the suffering of the homeless. Nevertheless, Al Mohasen is adamant that governmental issues have no place in his work and that his intention is merely to put the niceties back into things that can otherwise be scary - hence ‘The Blue Ice Cream Tank’, a figment of his imagination, which replaces missiles with free-flowing ice cream. If this year’s Venice Biennale is anything to go by, Middle Eastern art by Middle Eastern artists focusing on Middle Eastern issues, is on the rise. The fair, now in its 55th year, has seen an influx of exhibitors from the United Arab Emirates, Kuwait, Lebanon, the Syrian Arab Republic, Israel, Egypt, Iraq and The Kingdom of Bahrain (one of 10 newcomers to the fair), resulting in a stronger Arab impact than ever felt before. ‘Although there has been an Arab presence in Venice for seven decades, there has never been such a wide variety of art produced by artists from so many different countries. Collectively, this year’s crop are demonstrating they are willing to confront the concerns and demands of a young Arab generation head on’, said Sylvia Smith of the BBC. As the region’s art scene continues to trend among collectors and connoisseurs alike, it is Saudi Arabian art, according to Meagan Horsman of XVA Gallery, Dubai, that is emerging as a new favourite. Hailing from a nation typically associated with conservatism and frequently viewed as impenetrable, art from The Kingdom is stepping into the limelight and enjoying the attention. Regardless of whether or not he forms part of a politically conscious movement, for artists such as Al Mohasen, these are exciting times.

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No Fly Zone 2, 2013, mixed media and stencil graffiti on paper.

Born in 1971 in the green oasis of Qatif, in the Eastern Province of Saudi Arabia, Al Mohasen has been painting since he was six-years old, encouraged by his family and in particular his uncle, whom he still references in his work. During the 1990s he established himself alongside his fellow Saudi Arabian artists, participating in the Al-Janadriya Festival, and in doing so affirmed his position as one of the nation’s pioneers. During the mid 2000s, Al Mohasen showed at the XVA Gallery and his international credentials have continued to gather pace since. For Al Mohasen, art is quite simply everything. ‘Without art there is no life. Art is the most important thing that we should learn and understand – it is the truth and we can’t be free without it’. His impassioned explanation is somewhat contradicted by his current whimsical style, an amalgamation of street art, vivid colours and popular imagery. Colour is the most important aspect of his work he proclaims, explaining that ‘with colour, we can make anything come alive’. Poetry and Music are also vital to his creative process, which is evident throughout ‘I Love You Green’, the title of which is extracted from ‘The Dice Player’ by Palestinian poet Mahmoud Darwish. ‘My recent work is all about the relationship between colour and poetry. Poetry makes me see things in a different way, it makes everything look different and in poetry, we see the world in colour’. Exploring the themes of human rights throughout the world and the relationship between spaces, ‘I Love You Green’ is also, on a much simpler level, a celebration of the colour that Al Mohasen associates with Peace. ‘Green is the peace we are all looking for! The colour green makes me think of love and life, and of Earth itself. When green is missing in our lives, there we find trouble. All the people in the world deserve to have peace’.

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Artist The Barrel, 2012, mixed media on paper.

‘Oil for Food’, one of the strongest images from the collection is an exploration of freedom and the simple notion that food ought to be available to us all - presented, naturally, in Al Mohasen’s light-hearted street-art style which marks a new departure for Al Mohasen and his work. ‘I started to experiment with graffiti art as I found it so inspiring to see people all over the world showing how they feel with just a few words sprayed onto a wall. I find the physicality of creating this type of work liberating.’ Contemporary Middle Eastern Art critic and curator Arie AmayaAkkermans is quick to point out however that Al Mohasen’s approach to popular imagery is well informed and meaningful, as opposed to merely decorative. ‘Unlike other artists in the Middle East experimenting with graffiti, Al Mohasen understands the acute sense of irony with which pop art was riddled since the outset, and has incorporated his humorous reflections into the altogether tragic narratives of Arab history’. With increasing numbers of comparisons drawn between him and the likes of Banksy and with a new body of work in the pipeline that continues his current love of graffiti, Al Mohasen is well positioned to enjoy the rise of Saudi Arabian art. His style has reportedly awakened a new interest in street art among his countrymen with a new generation of Saudi artists attempting to follow in his vivid footsteps. ‘There are so many artists working hard to come up with new concepts and trying to be different – I’m happy to see this.’ Only time will tell whether this new band of fellow artists manages to achieve the subtle mixed messages that Al Mohasen has been so careful to blur. But then, of course, his work isn’t political.

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Culture Club Made-up in makeup and making a statement, the 80s was the decade that saw theatricality return to fashion. In ‘Club to Catwalk, London Fashion in the 1980s’, the V&A explores the decade’s burgeoning sense of creative freedom, the explosion of a vibrant design culture fed by the new avant-garde and how club nights became catwalk days as social looks made high style. Through more than 85 outfits, the exhibit charts the decade of excess with pieces from the flamboyant John Galliano, Betty Jackson and Katharine Hamnett, whilst looking at how the scene was shaped by a mix of music, mentality and a mission to put the fun into fashion. 10th July 2013 to 16th February 2014, Club to Catwalk, London Fashion in the 80s, V&A, London

Silk t-shirt designed by Katherine Hamnett, 1984, courtesy of Victoria and Albert Museum, London

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All’s Fair in Art and Fashion Demonstrating how fashion can become a vehicle for empowerment, Inspiring Beauty: 50 Years of Ebony Fashion Fair is one of the largest exhibits in the Chicago History Museum’s 157 year history. Exploring the background and legacy of an American Institution that raised millions for charity and existed at a time of social upheaval, the exhibit dissects the culture of the period through the prism of fashion. Featuring classic pieces from the likes of Christian Dior, Givenchy and Oscar de la Renta, the exhibit also introduces audiences to Eunice Walker Johnson. The longtime producer and director of Ebony Fashion Fair, the exhibit charts her dream to overcome prejudice and bring the pinnacle of fashion to those in need of a new aspirational vision of America. Pat Cleveland in Sarli, 1973, courtesy of Johnson Publishing 16th March 2013 to 5th January 2014, Inspiring Beauty: 50 Years of Ebony Fashion Fair, Chicago History Museum, Chicago.

Stars in Stripes An internationally touring exhibit of Jean Paul Gaultier’s work, this collection of the extreme and the experimental rolls into the Big Apple from October. Celebrating four decades of culture-shaping style, the NYC leg will feature materials not previously seen, such as pieces from Gaultier’s recent haute couture collection and costumes worn by stage siren Beyoncé. A vast look at the designer’s oeuvre - including the likes of Madonna’s iconic ‘Blond Ambition’ corsets – the exhibit will also focus on some of his more celebrated collaborations with the likes of Andy Warhol, David LaChapelle and Mario Testino. In the words of Gaultier, ‘I am honored that my exhibition will be presented in Brooklyn, where the true spirit of New York lives on.’ Stéphane Sednaoui, Special Gaultier Exposure Magazine, 1988. Jean-Paul Gaultier’s ‘Rock Stars’ men’s RTW AW1987/88. Model: Tanel Bedrossiantz. © 1988, Stéphane Sednaoui.

25th October 2013 to 23rd February 2014, The Fashion World of Jean Paul Gaultier, From the Sidewalk to the Catwalk, Brooklyn Museum, New York City

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Punk for Punk’s Sake This year punk has entered the mainstream psyche, an abhorrent concept for those present at its birth but one that reveals a little bit more than just a nostalgia for the past. From the MET’s highly documented exhibition, Punk: Chaos to Couture through to the release of Richard Hell’s autobiography and the upcoming CBGB movie, not to mention its prevalence on the AW13 catwalks, 2013 is the year that we have chosen to borrow from the past. The question on our lips - why the sudden interest in reliving a phenomenon that rejected societal norms with such full frontal velocity? From its origin back in the cesspit of the aforementioned New York Bowery Club, the reign of all things punk went down in history as a subculture that subverted the norm and took no prisoners. It was raw, fast, rude and unapologetic – outwardly rebelling against those at the top in a way that could only incite offense and disruption. A movement based on its ability to throw caution to the wind and do whatever the hell it wanted. A regime that saw its protagonists go down in history as the pioneers of something worth revisiting. As Vivienne Westwood, the Grand Dame of the punk era said, ‘The best way to confront British society was to be as obscene as possible.’ And that’s exactly what they did. Where fashion was concerned, an element that went hand in hand with the music of the era, punks had a basic uniform. Born initially out of necessity, and later adopted by the likes of Westwood and her then partner Malcolm McLaren for their infamous Kings Road shop, punks became recognisable by their unique and often torrid take on the fashions of the time. DIY customisation, safety-pinning, lettering and cutting were all trademarks of a trend that was open to all and affordable to boot. A leather jacket, ripped jeans and an overall bedraggled aesthetic were wardrobe essentials and any clothing that would incite a reaction from an onlooker with its aptly chosen words or imagery was a plus. Surprisingly to some, the most pulsating stretch of this period lasted a mere four years – between 1974 when Television (the two piece band headed by Richard Hell and famed for pioneering the punk movement) made their debut at CBGBs through to 1978 when the infamous Sid Vicious, ex Sex Pistol, tragically took his own life. Despite its relatively short-lived existence punk made a lasting impression and

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From top to bottom, left to right all images courtesy of: Push Pictures/Corbis

It’s back; but why now? MOJEH discusses the rebirth of a former flame.

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‘The popularity of punk rock was, in effect, due to the fact that it made ugliness beautiful.’ Malcolm McLaren

‘What people don’t understand is when punk started it was so innocent and not aware of being looked at or being a phenomenon and that’s what everyone gets wrong. You can’t consciously create something that’s important, it’s a combination of chemistry, conditions, the environment, everything.’ Siouxsie Sioux

To me, punk rock is the freedom to create, freedom to be successful, freedom to not be successful, freedom to be who you are. It’s freedom Patti Smith

‘Undermine their pompous authority, reject their moral standards, make anarchy and disorder your trademarks. Cause as much chaos and disruption as possible but don’t let them take you alive.’ Sid Vicious

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if you fast forward 40 years to the present its impact on our world can still be felt; in the rippling sound waves of punk influenced musicians, the youth cultures that continue to celebrate the ideals and, a little closer to home, the autumn/ winter collections of the world’s top designers this season. A trend that points to the fact that punk has stormed forth out of the barriers that once contained it into the wider world and the consciousness of almost everyone. From Donatella’s selfnamed VUNK aesthetic at Versace through to Fendi’s obvious ode to a time of rebellion and individuality, the catwalks were awash with the seeds of revolution. Anthony Vacacarello’s dresses made from safety pins, Givenchy and Preen’s subtle nods with plaid and hounds tooth respectively, Hedi Slimane’s overall look of revolt for Saint Laurent, if you’re not punk this autumn you’re not anything. But why now? The borrowing of the principles and ideals that made punk so inspiring is rife and the subsequent regurgitation of their image should surely resonate more as a verbal message than a mere fashion statement. For some this might mean an analysis of the world that we live in. Our societies, culture and a general consensus that things just aren’t quite right, so we have opted to return to an era and a message that will helpfully convey this feeling to the rest of the world. The fact that it has manifested itself as a trend that died some 30 odd years ago and was never meant for a comeback, however, is a point that can’t be ignored and it is within this that we find an argument for the counter. Bringing punk back in such a materialistic way is the final nail in the coffin of a movement that prided itself on non-commercialism and this 21st century ‘stand’ has marred the memory of its origin. Punk was never meant to be mainstream, as the infamous Johnny Rotten once said, ‘The message was supposed to be: Don’t follow us, do what you want!’ It was a movement that grew organically with its greatest legacy being that of ‘do it yourself,’ so copying such a trademark is, in itself, incredibly un-punkish. The pioneers mentioned earlier would no doubt rebuke the very idea of Punk nostalgia going as it does against the individuality they strived so hard to achieve. With this in mind it has to be said that this resurgence of the aesthetic says more about our need to move forward than it does about that future. Using the past as a way to enhance interest is nothing new, but with its effects felt no further than the end of the runway, Punk seems to be back just for the sake of bringing it back. For better or worse this current revival might just be a temporary emergence that passes along with the change in seasons. With the fashion industry being as transient as it is, no sooner has punk arrived than it will likely be forgotten. Although its presence begs the question as to why, we feel it’s better to leave the past in the past and stride forward with new forms of expression, our own forms of expression. For why would we want to make their voices heard when we could be using our own?

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‘I wanted the exhibition to underscore punk’s continuing relevance, ... It’s this ethos of do it yourself, which is punk’s greatest legacy. And the exhibition explores its impact on high fashion. Punks may be appalled at the idea of being focused at a museum exhibition. But I also think they would have felt a perverse sense of pride and honor.’ Andrew Bolton, on PUNK: Chaos to Couture at the Metropolitan Museum

‘Punk became a circus didn’t it? Everybody got it wrong. The message was supposed to be: Don’t follow us, do what you want!’ John Lydon (Johnny Rotten)

‘Punk is not dead. Punk will only die when corporations can exploit and mass produce it.’ Jello Biafra, Dead Kennedys

‘Punk is musical freedom. It’s saying, doing and playing what you want. In Webster’s terms, ‘nirvana’ means freedom from pain, suffering and the external world, and that’s pretty close to my definition of Punk Rock.’ Kurt Cobain

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Image courtesy of Pascal Le Segretain at Getty images.

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Amour or less 26 years after singer, model and actress Vanessa Paradis launched her number one single Joe le Taxi, the long time muse to Karl Lagerfeld is about to launch a new album entitled Love Songs. We meet the blond-haired, blue-eyed beauty in Paris to talk about love, motherhood and growing up under the public eye.

n route to our rendezvous with Vanessa Paradis Chanel, the start of a relationship that has lasted, on in a chic Parisian hotel we spy several posters and off, for more than 20 years. Her first campaign for the latest British film to play in France. I was the memorable 1991 ad in which she was styled Give It a Year is a romcom about a newly married as a precious songbird on a perch to promote Coco couple and their seemingly poor prospects for perfume. long-term wedded bliss. The film has been retitled After teenage stardom her adult life was no gilded Mariage à l’anglaise for the local market. Is this, we cage of effortless celebrity. Paradis continued ask Paradis, the French idiom for a short marriage? to shoot films and make albums, undertook ‘No, no,’ she laughs. ‘It’s not a common phrase. But international concert tours – and raised a family with you know what? You know how many things are Johnny Depp, the actor whom she had met in the bar called ‘French’ in the world that are not French? of the chic Hôtel Costes in Paris in 1998. ‘I saw those French fries, French kiss – although I’d love to think eyes, and boom! My life as a single man was done,’ that that is French,’ she twinkles. Last summer the Depp later recalled. They had two children together French pop nymph – Lily-Rose, now 14, and broke up with Johnny Jack, 11. Now, aged 40 Depp, her partner of and having recently She became an international completed her first 14 years (certainly no ‘Mariage à l’anglaise’). ever English-language sensation in 1987 when, aged Today she sits calmly film, Fading Gigolo (coand still with the same starring Woody Allen 14, her winsome pop song Joe and directed by the air of elegance that she’s le taxi was a worldwide hit and actor John Turturro), always carried, this is a woman who doesn’t she is returning to her reached the top of the charts. have time to loose site true love. This month of herself if even for a she releases her first moment. There is no album of new material disputing the Frenchness of Vanessa Paradis, for in six years. Called Love Songs, it features a whopping all of her global fame in the realms of pop music, 22 tracks. Why, in these short-attention-span times, cinema and modelling. She became an international a double album? ‘I was so lucky, I guess, to receive sensation in 1987 when, aged 14, her winsome pop such beautiful songs from different musicians, song Joe Le Taxi was a worldwide hit and reached different artists,’ she says. ‘And I started to… what the top of the charts. Within a couple of years she was it?’ She frowns, searching her memory. Locating was an award-winning actress too, taking home a the answer, she claps her hands. ‘Three years ago César for her debut film role in Noce Blanche (White I did my Best of… album. And I was looking for an Wedding). At 16 she worked for the first time with original song.’ Her French record label put out a call the fashion photographer Jean-Baptiste Mondino, to writers for new songs suited to Paradis’ breathy, a creative partnership that she maintains to this intimate singing voice. The offerings flooded in, so day. While still in her teens she began modelling for many that Paradis stockpiled them for future use.

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‘Not just good songs, but grand songs,’ she says, her shirt and a suit-style jacket. Natural and relaxeddistinctive gap-toothed smile on full display. ‘And looking, if she is wearing make-up, it is so simple once you’re in the studio, you try them all. Most of as to be invisible. them inspired us very, very much. So at the end, this The official announcement of Paradis and Depp’s double album imposed itself on me.’ split came last June. But rumours concerning the Paradis likes it when an idea comes naturally, which state of their relationship had swirled for some time was the case with the album’s size and its loose – fed in part, it must be said, by both parties’ longconcept. ‘It’s not a theme, but once I got all the term refusal to discuss their relationship publicly. songs, they were all love songs,’ she says. ‘So the In that spirit of putting two and two together and title of the album wasn’t so difficult.’ So she didn’t coming up with five, I suggest to Paradis that give the writers a brief to write her love songs? ‘No, some observers will scrutinise the album (which no, no, no,’ she says quickly. ‘But that’s what I love is dedicated to her children) for insights into the to sing the most anyway – love songs. And people break-up. They will dig into the words of the partly love to hear love songs, to find themselves in love English-language title track (I don’t know nothing songs. It’s reassuring.’ Although, she adds with a about love, you know), for instance, and assume laugh, ‘sometimes it’s not reassuring at all.’ the record is suffused with post-Johnny ideas or Most of the songs are in French. But one of the sentiments. ‘No,’ she smiles. ‘And I didn’t even write standouts – The Dark, It Comes – was written by that lyric, so I am all safe.’ She hesitates and stumbles Carl Barât, formerly of the British indie band the over her words before declaring, ‘I would never do Libertines. The album’s producer is a friend of Barât, an album as a journal. A journal is yours, but music and during recording told is something to share with Paradis that he had a song people. Everything that has been said or written he wanted to propose to ‘I would never do an album in the record are such her. Being ‘such a fan’ of his voice and songs, universal ideas that people as a journal. A journal is Paradis thought this can relate to and hopefully yours, but music is something was a ‘perfect, beautiful’ make them feel good. And idea. The song is a duet I am completely protected to share with people.’ between warring lovers; there,’ she smiles again, he has killed the ‘evil before adding, ‘I didn’t harlot’ with whom he has write the songs.’ betrayed her. Barât and Paradis, however, have She concedes that ‘because my life is public, people yet to meet; they recorded their vocals separately. always make – what do you call it? – common points?’ While Barât is based in London, ‘I live partly in Paris She means ‘suppositions’. ‘They think, ‘Oh, she sings and partly in Los Angeles,’ Paradis says by way of that because that…’ But it’s not that, it’s something explaining the scheduling problems. ‘But I want to that’s way less… conscious. We think about it way see Carl’s eyes – I want to say thank you. It’s such a more when we do interviews because this is your job, powerful song. Even though it’s a sad dispute, it’s a to analyse and to explain. But music has something fun song to sing. It was very cinematic.’ that is less conscious than we think. It’s something Paradis hails over the waitress and orders her that is like a creature that has a different life. There’s own drink, once it arrives, she insists on pouring so many interpretations that could be made.’ Paradis herself and throughout the course of our sit down, is of the view that if something is as pure as music, accepts no fuss or help from anyone. Evidence of an why do we have to question and analyse how it makes entourage or even an assistant is non-existent. She the listener feel good? ‘It doesn’t matter. You spoil may be an international superstar and an exalted the pleasure by wondering why. Just enjoy it and the fashion muse, but Vanessa Paradis appears very present moment.’ She smiles and slaps her thighs as much a do-it-yourself kind of woman. She has if to emphasise her point. ‘Music is the passport to…’ arrived at the hotel alone, fresh-faced and only Paradis searches for the ending. ‘Peace.’ fashionably demi-late (30 minutes). She is coolly, Having been famous since her adolescence, Paradis’ calmly stylish: grey boots, tight grey jeans, flowery early life has been well documented. The daughter

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Image courtesy of Adam Pretty at Getty images.

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of successful interior designers, she made her first This it seems is how Paradis is approaching the fostering television appearance aged eight on a children’s of her children’s artistic minds, by surrounding them talent show, L’École des fans, and recorded her first with inspirational, creative people. Nothing is forced single aged 10. After Joe Le Taxi, the spotlight followed or presumed. For example, she doesn’t make Lily-Rose her everywhere. Once she became a mother, she and or Jack practise musical instruments. ‘I don’t think Depp worked hard to keep their family life private, it’s a good thing,’ she says. ‘Music is something that maintaining a quiet existence at their homes in the really comes from the heart and the guts. It’s got to be south of France and the Hollywood Hills. Today she something that you want to do. I force them to go to is not about to lift the lid on her life post-Depp, but school. I force them to brush their teeth. I can’t force given that she has already said she divides her time them to make music,’ she says. between Los Angeles and Paris, I ask if she feels ‘Lily-Rose however is a non-stop singer and music will equally at home in both cities. ‘No,’ is the immediate always be in their life, in one way or the other. I’m not reply, ‘I feel at home here.’ What does LA feel like? worried about that.’ Her daughter is now the age Paradis ‘LA is different. It’s an amazing place to see for the was when she had her first hit single. Has she worked first time; it’s really a postcard. It does have blue out her strategy should Lily-Rose suddenly decide she sky all the time – except for the morning, with the wants to follow in her footsteps? Paradis gives a relaxed pollution – and it does have palm trees, it does have shrug. ‘You know, she’s got such a busy life being a incredible Art Deco buildings and a cinema industry teenager already. So when the question pops up…’ history. I love the schools there too. But my heart Another shrug. ‘I don’t regret the way it happened for me belongs here in Paris. It’s here that I feel at home. I at all. If I had to do it again I’d do it exactly the same way. need seasons. I love it when But I’m in a different position it rains in LA – it shows that as a parent and I’d rather for nature takes over.’ her to have time to be a child. ‘I don’t regret the way it Her children are schooled I mean, she already has such a in the US. Do they have spotlight on her just because happened for me at all. If American accents? ‘No!’ she of her parents.’ If we consider I had to do it again I’d do says, eyes wide, as if to say the glare of the spotlight that ‘perish the thought’. Lilythe teenage Paradis had to it exactly the same way. Rose has a writing credit on endure – and that was in the pre-internet age and without Love Songs. She co-wrote having famous parents, then the track New Year having come up with a melody eight years ago, when she we get a mini insight into what Lily-Rose would be was just six. She shares the credits for the song with facing. ‘She’s just a kid, she’s trying to grow up, live her her mother, father and with Ruth Ellsworth Carter. life. It is,’ she repeats, ‘tricky.’ Ellsworth Carter is a remarkable-sounding American Life must be difficult enough given that her parents – in Paradis’ awestruck words, ‘she paints, she sews, are in demand all over the world. This summer she cooks, she writes music and she’s a poet, a real Depp is combining promotion of The Lone Ranger craftswoman.’ Depp first met the songwriter and (another collaboration with the producers and her husband, Bill Carter, when he was shooting director of the Pirates of the Caribbean franchise) What’s Eating Gilbert Grape near Austin, Texas, in with shooting the sci-fi film Transcendence. Paradis 1993. Later, Bill joined Depp in his band P and, even plans on touring her album, is still a face of Chanel later, Ruth made the pirate trousers that Depp’s Jack and has recently partnered with H&M’s ethical Sparrow wears in the Pirates of the Caribbean films. collection Conscious. The Turturro/Allen film should Bill and Ruth are godparents to Lily-Rose and Jack. be released later this year and will present, it seems ‘Ruth’s just an amazing woman to know in your life, fair to say, a new side of Paradis. Meanwhile, Paradis whether you’re a man or a woman. She’s got such promises that we’ll still be bumping into her front a freedom of thought and such a generosity, and row at our favourite fashion shows. She is after all, such a beautiful way of putting everything into a an undeniable fashion force with the type of beauty piece of art.’ and style that never ages and never fails to impress.

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Dates for the Diary

Things to see, places to go, art openings and more. Books

Windows at Bergdorf Goodman Assouline, Out now Available at www.assouline.com

In My Shoes: A Memoir by Tamara Mellon, Portfolio Penguin, Oct 1st

Tamara Mellon of Jimmy Choo opens up about her life at the top with her debut autobiography In My Shoes (Oct 1), documenting the life of the woman behind the brand. Be privy to her time at Vogue, a difficult childhood and some very public relationships. Bergdorf Goodman collates their famous window displays in aptly named tome Windows at Bergdorf Goodman (out now); a true marvel for any fashion maverick. Get lost in page after page of enchanting displays. Written by Kerry Taylor, Vintage Fashion & Couture: From Poiret to McQueen (Oct 7) traces the evolution of fashion from our most sacred designers â&#x20AC;&#x201C; an encyclopaedic compendium of everything you need to know.

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Vintage Fashion & Couture. From Poiret to McQueen by Kerry Taylor, Octopus Books, Oct 7th

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The Big Smoke If visiting London this September take a gander at their Design Festival (14-22) featuring unique installations across the city from St Paul’s to the V&A. With over 300 events, design really is for everyone. londondesignfestival.com

Endless Stair at St. Paul’s Cathedral by dRMM in collaboration with AHEC, Arup and Seam Design. Image by Cityscape.

Lisle Joyeuse by Christian Voigt courtesy of SPM, Dubai

Between Dream and Reality German photographer Christian Voigt’s work lands in Dubai on Sept 9 for a special highlight exhibition at the Salsali Private Museum. Starting his career in 2009 Voigt has quickly made a name for himself with the hyper-real and deeply intense images that make up his collection. Captured during Voigt’s many travels around the world each image tells a story and is created through

multiple exposure where 30 images are layered on top of each other, enabling him to play with colour, light and contrast. From vast landscapes to city scenes and everyday life, his photographs question the definition of reality and whether an image such as his is a reproduction or impression of that. Old questions in art history, this exhibition truly opens the mind. salsalipm.com

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Review

Cultural

Art Frieze it Out Set in London’s Regents Park, Frieze Art Fair (Oct 17-20) presents a selection of the world’s top contemporary galleries alongside prestigious debates and unique projects. New this year: the likes of Maccarone from New York and Goodman Gallery from Johannesburg who join a fleet of galleries with work ripe for the picking. friezelondon.com

Photograph by Lyndon Douglas courtesy of Lyndon Douglas/ Frieze 2012

Ruben Pang. Ants in my Candy, 2013. Oil and alkyd aluminium panel.

Bagus Pandega. Still Untitled, 2009. Acrylic, Motor, 74LP (Longplay)

Lebanon Life The Beirut Art Fair returns from Sept 19-22 promoting international contemporary work from the ME.NA.SA region. With over 40 galleries from 15 countries make sure to check out the Generation War exhibit featuring photojournalism from six artists who’ve immortalised Lebanon’s destruction through the power of the lens. menasart-fair.com

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Naomi Watts as HRH Diana The Princess of Wales.

Review

Cultural

Film

The People’s Princess Hotly anticipated biopic, Diana (Sept 20) sees Brit born actress Naomi Watts take the lead role in a film sure to tug at those heartstrings. Directed by Oliver Hirschbiegel, discover the final two years of the princess’s life as true love transports her to a place of personal happiness and professional accomplishment.

Watts on Watch As she takes to the screen in one of her most anticipated roles to date, we unearth a few interesting facts about the Academy Award nominated actress Naomi Watts.

From top to bottom, left to right all images courtesy of: Front Row Filmed Entertainment – Dubai 2013.

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Her father was the road manager for Pink Floyd. She became best friends with Nicole Kidman when they met on a casting call as children. On the set of King Kong she suffered a horrific fall and thanks her rigorous yoga practice for no permanent damage. The role of Fantastic Four’s Susan Storm was offered to her, which she turned down. After being trapped in an ocean current at age 14 she now has a fear of swimming in deep water. She once appeared in an Australian television commercial turning down a date with Tom Cruise for her mum’s lamb roast. She decided she wanted to become an actress after watching the movie Fame. Her and her fiancé Liev Schreiber have two children together named Alexander and Samuel. She has been nominated for 2 Oscars in her career for her roles in 21 Grams and The Impossible.

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Music

Goldfinger Electric music duo Goldfrapp’s sixth album, Tales of Us (Sept 9) sees a more cinematic and intimate sound than their previous work. Fairytales, love affairs and hallucinations make for a brand new direction.

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Girl on Fire Alicia Keys’ worldwide tour hits Dubai’s Media City Amphitheatre early November and promises to be a spectacle of mammoth proportions. Tickets available at aliciakeys.com.

Mr Jack Jack Johnson’s newest album From Here to Now to You (Sept 17) coincides with the singer’s latest tour. ‘It gives me paranoia at night now – is it too personal?’ says Johnson of the album which also features hit single ‘I Got You.’

Review

Cultural

Food and Entertainment

Putting the F in Fun Studio F by FashionTV in Dubaiâ&#x20AC;&#x2122;s Emirates Towers officially launches this month with a plethora of fashion inspired parties, cuisine and beverages. For the best of what they have to offer head down on Friday between 7pm and 3am and sample the delights of the French Mediterranean menu that promises to dazzle those tastebuds. With two shows a night, it really is fabulous. reservations@studiof.ae

The Pink Brigade As a fitting end to Dubai Goes Pink in October, The Big Pink Ball will raise money for Breast Cancer Arabia with a party set to rival the best. With food, drink, fashion shows and charitable auctions all on the agenda this event marks the beginning of a first in the region; a specially designed Ladies Day Out. Anyone that is anyone is sure to attend. Make sure youâ&#x20AC;&#x2122;re one of them. ladiesdayoutdubai.com

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Cultural

Fashion DOLCE&GABBANA SS13

Fash Pack It’s that time of year again when the fashion elite descend on the style capitals of the world to cast their judgement on next season’s offerings. Stay tuned. (5th Sept – 2nd Oct). Follow us on Facebook and @MOJEH_Magazine for live twitter and instagram coverage from all the shows.

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Always Look Back, Photographed by Riccardo Vimercati

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