Sculpting The Dream N° 32
NOV
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24 Chairman SHAHAB IZADPANAH
EDITORIAL
PUBLISHING
Editor in Chief MOJEH IZADPANAH
Publishing Director RADHIKA NATU
Associate Editor SHERI IZADPANAH
Publishing Assistant DESIREE LABANDA-GAVERIA
Managing Editor KELLY BALDWIN
Junior Publishing Assistant Kisada Hurin
Fashion Writer susan devaney
Paris Representative GHISLAIN DE CASTELBAJAC
Senior Editorial Assistant Natalie Trevis
Senior Advertisement Manager Pamela Bayram Cleave
Editorial Assistant Dmitri Ruwan
Advertising Inquiries Tel: +971 4 553 90 49 Email: advertising@mojeh.com
Guest Fashion Stylists Alba Melendo García Camille Joséphie Teisseire Gregory Wein Marjorie Chanut
Subscription Tel: +971 4 553 90 49 Email: subs@mojeh.com
LOUIS FOURTEEN FOR MOJEH
ART
Concierge Service Management ASSMA AHMED
Producer LOUIS AGENCY
Corporate Manager JUBRAN HAMATI
Art Director AMIRREZA AMIRASLANI
Manager IT Division Ali Roman
Graphic Designer Balaji Mahendran
Senior Stylist MARIAN GIRGIS
Digital Strategy LOUIS AGENCY Contributing Photographers Anthony Arquier Greg Adamski Julien Vallon Mazen Abusrour Marco Cella Matt Albiani SARVENAZ HASHTROUDI
Cover photographed by Anthony Arquier, model wears Louis Vuitton.
Published under HS Media Group FZ LLC Registered at Dubai Design District Building No. 8, Offices 212-213 P.O.Box 502333, Dubai, UAE. WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation (January-June 2015): 13,306 copies. For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Al Nisr Distribution LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC. Lebanon: Messageries Du Moyen-Orient 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
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M o j eh C o ntent s
SOCIETY 48. What I Know About Women Could he be the next Manolo? The founder of footwear brand Aquazzura tells us what he’s learned about his greatest inspiration: women.
54. Three Decades of Design Hervé Léger turning 30 is of no concern for designer Max Azria. We celebrate this milestone with him as he discusses glamour, femininity and design.
74. Women in Society Crossing continents and cultures, renowned jewellery designer Kimberly McDonald and Miss Arab World 2015 came together in NYC to talk all things political.
FASHION 80. The Curious Case of Couture
108. Freedom’s Future
What does the future look like for Haute Couture? We
As creative director Raf Simons sadly departs from
discuss its 150-year history and its (possible) conflicting
Dior, delve into his creative vision of rebellion versus
move into modernisation.
fantasy for his last couture collection for the house.
88. The Heart of Rome
112. The Illusionists
Opening the doors to their atelier in Paris, we sat down
How do they do it? Take a look at the people who
with Valentino’s creative directors, Maria Grazia Chiuri
ensure a celebrity reaches the ‘best dressed’ list after
and Pierpaolo Piccioli, to discuss Haute Couture.
they’ve walked the red carpet.
© 2015 CHLOE. ALL RIGHTS RESERVED.
fashion avenue, the dubai mall - dubai avenue at etihad towers - abu dhabi
chloe.com
30 FASHION shoots 144. Where I Belong Bring in the winter with a Californian carefree feel. Embellish your new sartorial choices with cruise’s latest offerings.
158. A Lonely Decadence From Stella McCartney to Alexander McQueen, embrace a less-is-more approach to glamour for evening soirees over the next month.
176. Sculpting The Dream Journey through Nicolas Ghesquière’s latest collection for Louis Vuitton as we celebrate our cover story.
ACCESSORIES 188. Life in Jewels: Gaelle Khouri
200. High Drama
Born in Beirut and educated in NYC, gain an insight
It’s official: fine jewellery has shifted its stuffy persona
into the life and work of the young jewellery designer
and embraced an energetic side. But what’s prompted
who’s our one to watch.
this playful turn?
192. In High Jewels We Trust
206. A Magnificent Obsession
The jewellery industry is changing face. See
Adorn yourself in jewels of sheer opulence and play the
why, what, where and who are investing in these
role of the leading Lady, who says exquisite pieces are
exceptional pieces.
only for special occasions.
32 BEAUTY 214. The Essence of Couture From ruby red lips to subtly shimmering eyelids and flushed cheeks, peruse our edit of the couture trends to see you through the winter months.
220. The New Hydration The long, hot summer days are gone. As we head for cooler climes focus on replenishing the skin you’re in and giving your mind, body and soul some TLC.
230. Beauty and Body Secrets The regional makeup artist and blogger Sheida Babareza lets us in on a few of her secrets for looking and feeling good.
CULTURE 236. Scent of a Woman’s Ink
242. City Slicker
Is there still sexism in publishing today? We discuss
She’s gained a following due to her stylish ensembles
why some authors and journalists believe we’re
with some Spanish flair. As a recent style ambassador
fighting a battle through books.
for Reemami, we ask: who is Gala Gonzalez?
239. Risking Delight
244. The Shining
Residing between the Middle East and L.A, we
From Bottega Veneta to Louis Vuitton, take inspiration
chat with artist Sherin Guirguis about her work
from our gold-infused snapshot to influence your
and today’s art world.
sartorial choices for any festive soirée.
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E d i t o r ’s L ette r
An Ode to Eveningwear Leather and lace, silk and velvet, florals and black? Never has dressingup been quite this versatile and satisfying. For our annual festive issue, we’re celebrating a new era of eveningwear, one in which the only rule that need apply is to ‘shake it up’. Across our pages, you’ll find styling suggestions to help shape your approach to this season of grandeur. Try a soft and sumptuous fur, thrown over a sharply tailored two-piece; heels need not apply. A personal favourite is to bask in the comfort of an easy-fitting tee and baggy jeans, finished with an avant-garde piece of fine jewellery (in our accessories section, we look towards those young jewellery designers taking the industry to new youth-fuelled heights). No longer are we expected to don a floor-sweeping gown teamed with jewelled, encrusted shoes and a stately piece of fine jewellery – instead, nothing says style more than a carefully crafted mash-up of meticulously made couture, relaxed ready-to-wear and perhaps a coloured gemstone or two. Beauty follows the same path, highlighted through this season’s couture shows, in which we witnessed sunglasses on the runway, undone Raf Simons’ final cruise collection for Dior, photographed by Matt Albiani
hair and satirical colour palettes. Rules are left wailing in the wind, and with this, personal style comes up trumps. The key? Never take it too seriously. A memo we’ve followed throughout, as we look at the softly spoken street style outfits and consider the role of the personal stylist in today’s landscape; who still uses them and are style mishaps really that big of a deal? On the eve of sending this issue to press, the news broke of Raf Simons’ departure from Dior. Rumours might have been circulating during Paris Fashion Week, but the confirmation has still sent shockwaves through the industry. The malleable style you see in our November issue is one that has been championed by the Belgium designer since he took on the French powerhouse. Having helped demystify the heavy expectations placed on women to be ‘done’ the entire time, Simons instead offered a fresh beat to fashion; one that encouraged exploration and effortlessness, and is seen in our fashion shoot showcasing his final cruise collection for the house. We wonder – which new worlds will we accompany him to next?
Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com
Mojeh Izadpanah Editor in Chief
38
E d i t o r ’s SN A P SHOT s
Midnight Owl 1
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As cooler climes roll in, ensure your winter wardrobe packs some festive punch, with opulent trimmings of regality. From midnight hues of crushed velvet at Balmain to elegant embellishments by Chanel, ’tis the season to dazzle with the details.
1. CHARLOTTE OLYMPIA | 2. ETRO @matchesfashion.com | 3. CHRISTIAN DIOR | 4. BVLGARI | 5. CHANEL | 6. GUCCI | 7. ALBERTA FERRETTI at Symphony | 8. BALMAIN @net-a-porter.com
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Shade of Revolution Emeralds are staging a comeback, and in a big way. Take this Dhamani 18k white and yellow emerald diamond necklace, whose regal cuff shape perfectly pushes the virtuosity of green into the limelight. Strong, stately and for a woman who appreciates the power found in this earthy hue. But, not only is the gem of choice bringing with it a new wave of poised design, alongside that, we’re experiencing a revolution in the way we acquire gemstones. Emerald mining company Gemfields forges the way with a socially responsible ethos that strives for excellence in the way we mine and in the final product. So, in celebration of our November issue, we begin with an exceptional jewellery piece that pushes boundaries in both design and ideology.
18K White & Yellow Emerald Diamond Necklace, Bracelet, Earring, Ring set with Gemfields’ Zambia Emeralds and Rose cut, Round Diamonds, DHAMANI.
Photographed by David Goff, styled by Sandra Lane
T h e S to n e
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T h e p i ec e
C o u t u r e C r e at u r e s As we look to the fineries of couture for our November issue, we also celebrate those jewellery pieces that pose the same craftsmanship and expertise as any handcrafted dress. In the below pink gold, diamond and gemstone Melody of Colours high jewellery ring, we embrace finery that respects the traditions of its industry with a recognizable fit and form, while propelling us into an innovative era of high jewellery, in which colour and stones are melded and played with to create new customs in design. Like an AW16 couture gown, where embellishment and adornment take precedence, the 24 briolette-cut amethysts cascade between orange sapphires, rubies and diamonds to create an almost unearthly ring. Meant to be worn with flair and frivolity.
Photographed by David Goff, styled by Sandra Lane
Pink gold, briolette-cut amethysts, orange sapphires, amethysts, white diamonds and rubies ring, De Grisogono.
©2015 COACH®
CHLOË GRACE MORETZ / Actress Coach Swagger 27 in metallic blue Biker Sheepskin Coat in black/natural coach.com
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S t yl e N ote
Fallen Fur
Photographed by Sarvenaz Hashtroudi
As we move into winter, transition your texture play with sumptuously soft fur trimmings. Look to a neutral colour palette of earthy tones for elegance in the extras.
Clockwise from left: MANOLO BLAHNIK | CHARLOTTE SIMONE at Boutique 1 | FENDI
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S t yl e N ote
Look to fresh and fragrant scents this fall and unleash floral notes of Bulgarian rose and white jasmine for a lighter, more feminine aroma. From left to right: ESTEE LAUDER, Modern Muse Le Rouge | VALENTINO, Donna | DOLCE & GABBANA, The One Essence
Photographed by Sarvenaz Hashtroudi
Secret Gardenia
48
D e sig n er I nter vie w
What I Know About Women:
Edgardo Osorio He’s the founder and creative director of Aquazzura, a Florence-based luxury footwear brand, beloved by the likes of Olivia Palermo. Here, he tells us what he’s learned about his greatest inspiration: Women.
Who’s the most inspirational woman you know and why? I always feature two in my mood boards: Kate Moss and Giovanna Battaglia. They both represent the sort of sensuality, easy elegance and coolness that I love. You’ve previously said you couldn’t do what you do without the women in your family. Why? I grew up around women; my mum had four sisters and they always took me shopping with them. I remember playing in and admiring my mother’s shoe closet when I was little. I think their elegance helped me understand what women want and how important it is to have the right pair of shoes.
In what ways do women inspire you on a daily basis?
How do women you see on the street
Women are my biggest source of inspiration
influence your work?
– I grew up surrounded by women and I’m
I think that women I see on the streets inspire
still very much a ‘ladies man’. I’m constantly
me especially when I travel abroad.
feeding off the needs and wants of all my
I love to travel to get inspiration and to see how
girlfriends from around the world. For them,
women around the world mix their style up in
I think about creating something beautiful, an
different countries.
object of desire. My aim is to create things that women will fall in love with and that will enhance
You’ve previously said you look to Instagram
their natural beauty. I try to give women what
to gain a deeper insight into the lives of the
I think they want. I want them to feel and look
women who buy your shoes. What have you
amazing whenever they wear my shoes.
learnt from doing this? I constantly use social media to have a deeper idea of the women who buy my shoes. Thanks
importantly, why do they love your shoes?
to Instagram, I am able to communicate directly
They purchase through emotion. The beauty
with our costumers all over the world on a daily
of a shoe is that if you find a pair that fits you
basis. I start relationships, answer questions
well, it will make you look like Cinderella. A
and I am able to communicate the vision and
woman with the right pair of shoes feels more
style of the brand through images. I really get
secure, more beautiful and, in the end, more
to see who my woman is, through their use
powerful.The problem is that generally, most
of hashtags and comments. Each season,
beautiful shoes are often uncomfortable. So,
we create moodboards around the Aquazzura
when I started my brand, I knew I wanted to
woman – we take into consideration who she
do something different. I hired a technician,
is, what she wants and where she goes, to
who has been making shoes for over 40 years.
make sure we cater to her needs.
Together, we developed a shape that fits better on the foot and distributes the weight of the
How do you plan to expand your brand
body, not only on the ball of your foot, but also
further in the future so that it continues to
in the arch and the back. We also put extra
appeal to women?
padding with memory foam on the sole, so
The idea is to start opening Aquazzura
it’s softer when you walk. As a consequence,
boutiques in the most important capitals in
woman love my shoes, because they are
the world. My aim is to transform Aquazzura
beautiful, and at the same time, they tend to
to become a global luxury accessories brand
be very light and soft. I create shoes for women
selling not only shoes, but also bags and all
to walk, to dance and to enjoy – not to suffer.
kinds of fashion accessories.
All images courtesy of Aquazzura
Edgardo Osorio with Olivia Palermo
Why do women love shoes, and more
50
The Look
Double Duty 1
Dress or coat? However you define it, the coatdress re-emerges as a new kind of classic.
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1. OSCAR DE LA RENTA | 2. CHRISTOPHER KANE | 3. ALEXIS MABILLE | 4. VICTORIA BECKHAM
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Fashion might be cyclical, but sometimes the latest sartorial cycle breathes new life into a classic that we didn’t realise we needed. Short, sweet and little bit prim, we’re riding a new wave of outerwear sophistication inspired by the neat coatdresses proposed by Christopher Kane, Victoria Beckham and Oscar de la Renta, to name a few. Kane’s version sizzles, its hot red collar and pocket flaps adding a dapper touch to clean lines, slim sleeves and a luxurious velvet trim. A counterbalance to the collaged bodies entwined across dresses elsewhere in the collection perhaps, but one that nonetheless contains a revealing promise of its own. Peter Copping was in a similar mood: His finely tuned debut collection for Oscar de la Renta offering a vintage royal blue, bracelet sleeved coat, nipped in at the waist and anchored by a ruffled highnecked blouse that hinted at Victoriana. Elsewhere, oversized buttons kept the piece wedded to its origins as a cover-up, while dress-like slits and closely cut silhouettes did the opposite. The lingering ambiguity of the coatdress – does it stand alone or is there more to reveal? – gives an edge to its inherent elegance that brings it right up to date.
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The Mood
B a u h a u s
MM6 Maison Margiela
J.W. Anderson
Experimental and minimalist, a Bauhaus mood emerges as a new artistic proposition in the cruise 2016 collections.
There was plenty of artistic, modern simplicity on offer for autumn (Marni, The Row, Christophe Lemaire), but as we look towards cruise 2016, the creative mood takes a starker turn. Forget watercolours or cubism, Bauhaus looks set to artistically rule our winter getaways as designers from Costume National to Louis Vuitton and Tomas Maier abide by the movement’s vision of creating harmony between function and design. MM6 Maison Margiela’s resort muse means business, her burnt orange dress shrugged down over an asymmetric black inner layer, creating monstrously long sleeves reaching towards paint splattered trousers and overblown flatforms. Fittingly, MM6 is overseen by Maison Margiela’s enigmatic ‘collective’: The result is unapologetic statement dressing at its finest. Embodied in geometric prints, colour blocking, luxe leather, fantastical silhouettes loaded with exaggerated forms and deconstruction in abundance, there’s a masculine sensibility to the mood that refreshes the palette after seasons of ultra-feminine bohemia. It’s a bold new world – let’s embrace the experimental and enter the design lab.
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T h e S to ry
Three Decades of Design This year, we celebrate 30 years of international glamour, femininity and design at Hervé Léger by Max Azria. Designers Max and Lubov Azria
Turning 30 is no cause for trepidation for Hervé Léger by Max Azria. Just like its independent and always glamourous muses, both past and present, the brand is a celebration of creativity, signature style and endless confidence. Launched by designer Hervé Peugnet in 1985 and reinvented by Max Azria and wife Lubov in 2007, the label is synonymous with a sculpted beauty that celebrates, above all, the female form. It’s fitting that Hervé Léger, loved by Cindy Crawford, Helena Christensen and Tyra Banks in the Eighties and Nineties, marks a big birthday as the fashion world once again honours the womanly form of the original supers in a new generation of Insta-ready and body-secure models like Gigi and Bella Hadid and Kate Upton. “All the dresses remain faithful to their figure-hugging legacy,” explains Lubov. “This will never be lost; this is our heritage, the foundations upon which the brand has been built.” To honour those foundations, the label released The Vintage Collection last month: Six limited re-editions of original designs in classic lipstick red, nautical blue and midnight black, all riffing on an original design for a modern re-enactment of a classic runway or red carpet moment from the label’s heyday. As the label has matured, its codes have too. Autumn/winter 2015 proposed a body conscious but less-is-more approach to the wrap dress, with layered t-shirts and shearling jackets adding an art nouveau-inspired sophistication. Now, as the brand glides towards its next big birthday the innovation continues, most notably with a celebratory spring/summer 2016 collection including jumpsuits, jacquard trousers and without a traditional bandage dress in sight. A new direction and a new generation of customers: 30 has never looked so good.
Backstage at Hervé Léger autumn/winter 2015
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S t yl e N ote
As designers reimagine the traditional Mary Jane, amp up the style mileage with the season’s most extravagant shoe. From glitter by Miu Miu to embroidery by Dolce & Gabbana, put your best foot forward. Clockwise from top right: GIANVITO ROSSI @net-a-porter.com | MIU MIU @net-a-porter.com | NICHOLAS KIRKWOOD at Level Shoe District | DOLCE & GABBANA at Harvey Nichols Dubai
Photographed by Sarvenaz Hashtroudi
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T h e Fa s h io n N e ws
defining gisele Thousands of models strut the runways of the world’s fashion capitals each season, but there are few who turn their supernatural good looks into a career quite so stellar as Gisele Bündchen’s. The Brazilian bombshell celebrates 20 years of dramatic ad campaigns, visually arresting editorials and catwalk marches in a limited edition coffee table book, Gisele, published by TASCHEN. As many as 1,000 collector’s editions are on sale, all signed by the super, while 100 art edition copies have been signed by long-time collaborator Juergen Teller. As much a celebration of the iconic fashion photographers of our time as the muse herself, images include some of the best work from Steven Meisel, Mario Testino and Peter Lindbergh, all of whom have turned an inspired lens on the model of the decade.
Images of Gisele courtesy of TASCHEN, photography by Paulo Vainer. Image courtesy of Hermès, photography by James Bort. Image courtesy of Dior, photography by Patrick Demarchelier.
Gisele, by Giovanni Bianco, published by TASCHEN, October 2015 (available at ARTSPACE, Dubai)
A Walk With Hermès Who knew that urban wandering was an art form? Hermès brings its quintessentially Parisian charm to ‘la flânerie’ in a travelling exhibition entitled Dans L’Oeil du Flâneur, a selection of carefully curated objects from the Hermès archive. “The journey brings together “two intrinsic elements of la flânerie,” says Bruno Gaudichon, curator of La Piscine-Musée d’Art et d’Industrie in Roubaix, who was commissioned to create the Paris leg of the exhibition, “dreaming and freedom of spirit”. Daydream while you stroll through 11 rooms of multi-media installations including a 19th century shopping arcade, prized special edition handbags like the iconic Birkin and cabinets of intriguing café-culture curiosities. Experience the fantastical philosophy first-hand in Dubai, as the exhibition looks set to arrive on our very own shores in January 2016.
By Patrick Demarchelier.
Le Théâtre Dior There are some fashion turning points that are unmistakably Dior. The New Look, the iconic Bar suit, a certain Parisian artistry and a love of femininity, beauty and flowers - think of the cascading dome of delphiniums that decorated the s/s16 set. Bringing to life Dior’s seminal designs from 1947 until the present day, Le Théâtre Dior, proposes a series of miniature replica designs echoing the exact proportions, details and hand crafted techniques of the historic originals. The exhibition explores avenues from Versailles: the Trianon, evoking the decadence of Marie Antoinette (a constant source of inspiration to Christian himself), to Stars in Dior, following the relationship between the house and stars from Elizabeth Taylor to Jennifer Lawrence. Take in the world of Dior in an enchanting diminutive timeline that is an ode to fashion history itself. Le Théâtre Dior, from 9 to 24 November 2015, The Dubai Mall, Fashion Catwalk Atrium
Jumpsuit, STELLA MCCARTNEY | Jacket, ASHI STUDIO | Shoes, CHRISTIAN LOUBOUTIN | Cuff, CHLOÉ and choker, GEMMA REDUX, at Harvey Nichols Dubai
A wide-leg jumpsuit channels a Studio 54 androgyny that evokes decades gone by. Paired with a softly embroidered gilet and sturdy gold accents, this is effortless evening decadence at its finest.
The New Eveningwear Photographed by GREG ADAMSKI Styled by NATALIE TREVIS
Sometimes, the clothes that speak to us are the simplest. Redefine eveningwear with layered tailoring, carefully edited colour palettes and minimalist silhouettes, for a nonchalant glamour that encapsulates the moment.
Top, MAX MARA | Pinky ring, MARIA BLACK and necklaces, CHLOÉ, at Harvey Nichols Dubai
Undone hair falling in loose, easy waves is the perfect foil to dramatic eveningwear. Embrace a carefree attitude with delicately defined cheekbones and a bronze shimmer swept across the eyelids, for a unique take on the smokey eye – blended, but seductively haphazard.
Resist the temptation to reach for a gown. Instead, a trompe l’oeil quilted silk coat provides a Palm Springs aesthetic, with a dose of cool-girl masculinity.
Coat and shoes, LOUIS VUITTON
Dress and shoes, MARC JACOBS | Coat, MAX MARA
Evening simplicity doesn’t mean saying goodbye to embellishment and flair. Black and white tones sing with multiple floral prints, and a heavily embellished sheer-panelled dress is counterbalanced by a voluminously draped boxing robe.
Graphic stripes work from day to night in Cruise s/s16 accessories that provide minimalist punch to monotone outfits.
Bag, CHRISTIAN DIOR | Shoes, SALVATORE FERRAGAMO | Trousers, CH CAROLINA HERRERA
Dress, boots and earring, CHRISTIAN DIOR
Less is usually more. Whether a simple satin slip dress or a cascading open back gown, join the minimalist brigade this season. Accessorise with a single draped earring and brocade boots for a laissez-faire approach that would make Jane Birkin proud.
Top and trousers, CH CAROLINA HERRERA | Polo neck, ERDEM at Harvey Nichols Dubai | Earrings, OSCAR DE LA RENTA
Lace speaks of sophisticated evening adventures, but needn’t be confined to a cocktail dress. Tailored separates offer a discreet new vision on the delicate fabric in navy, paired with chunky knitwear for understated charm.
Bodysuit, shorts and coat, CHANEL
Sequins were destined to shimmer at night. Reimagined here in mischievous separates, their light is lent a sophistication by a woven, flared-sleeved coat that is at once laidback and exquisitely constructed. Halfway to glamour is a beautiful place to pause.
White is always right for the transitional season and in high-waisted, loose trousers and a simple tank is a fresh take on darker tones for the evening. New season accessories lend a nautical, and ultimately relaxed, air.
Bag, CHANEL | Top and trousers, MAX MARA | Pinky ring, MARIA BLACK, cuff MONICA SORDO and necklaces, CHLOÉ at Harvey Nichols Dubai
Underplay a full length embroidered gown with artful layers and striking accessories, for an unexpected take on nighttime dressing.
Dress, ELIE SAAB | Top, SANDRO | Boots, SAINT LAURENT by HEDI SLIMANE | Ear cuff, RYAN STORER at Symphony
Boots, SAINT LAURENT by HEDI SLIMANE | Bag, M2MALLETIER at Symphony
Studded boots and a structured bag with silver hardware challenge the reign of the sparkly clutch and offer balance to an otherwise sweetly feminine ensemble.
Jacket, SAINT LAURENT by HEDI SLIMANE | Dress, ALTUZARRA at Harvey Nichols Dubai | Belt, stylist’s own
A leather jacket atop a ladylike dress is a classic combination of street meets tradition that never goes out of style. Sling across one shoulder or two: The more feminine the dress, the bigger the impact.
Let skin lead the way when it comes to the new evening beauty look. Lean toward dewy finishes and a nude makeup palette to allow your natural beauty to shine through and ensure eveningwear never looks overdone. Enhance lips with a colour tone close to your own and emphasis eyes with soft mineral shades.
Photographer: Greg Adamski at MMG Artists Model: Beata at MMG Models Hair and makeup artist: Manuel Losada Location: Per Aquum Desert Palm
Bodysuit and coat, CHANEL
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S o c i ety b elles
Women in Society:
Houda Majd and Kimberly McDonald Kimberly McDonald, a renowned jewellery designer whose creations have adorned Michelle Obama, and Houda Majd, the recent winner of Miss Arab World 2015, bonded over their political passions. Crossing countries, continents and culture, we meet the pair in Kimberly’s new studio in New York City.
How did you both meet?
KM: I would like to see women stand up
KM: Houda began following me on Instagram
for themselves and to start by respecting
around two years ago. She liked and
themselves more. I feel that in this current
commented on many of my posts, which
age, some women place too much emphasis
made me curious about her, so I followed
on the exterior and on the need to feel
her back. One of my posts inspired her to
desired or become famous for their looks.
name her company, Meraki. It means to
Women are so fascinating and intelligent.
do something from the heart, with passion
We are natural problem solvers. I would love
and love. About a year after we began our
for more women to rely on their inner being.
Instagram correspondences, Houda won
Their talents, their intellect, their unique and
the title of Miss Arab World 2015. At that
individual energy…rather than to all strive
time, I sent her a direct message (for the first
to look like the girls you see on reality TV.
time) to congratulate her. We began almost
HM: In Morocco, women have a long way
messaging daily: Ranging from topics like
to go to be equal to men. Not being judged
our backgrounds and families to fashion and
by their sex, looks or clothing is important
travel. About three months ago, we were
to me. To be a free person, who decides
talking and Houda said she wanted to come to
for herself and for her children. We need to
the States for the first time… and here she is!
empower them, educate them and inspire them to know their true value. I would like to
You’re both equally passionate about
enlighten people about the issue of violence
women’s rights and equality – what changes
against women (especially domestic violence)
would you like to see across the world?
in the Arab world. I want to empower women
KM: Coming from two very different cultures,
to work, so that they can support themselves
you may think that we do not face the same
financially, so that they are not dependent
issues as women. However, the truth is that
on abusive men.
in both Morocco and the United States,
KM: I second that.
women still face concerns about equality. For
HM: We are also both very concerned about
example, as progressive as the US is, women
the issue of human trafficking and women
still on average earn approximately $0.82 to
and children that are sold like property.
every $1.00 their male counterparts earn.
It is something really unbelievable and it has
HM: But this isn’t the case in Morocco, as women
been going on for far too long with far too
and men are paid equally for equal positions.
little progress towards an end.
Photographed by Dylan Cross
Do you work with any charities?
Animals belong in their natural habitat. Not
general destruction of our natural resources.
HM: First, I was concerned with some specific
in cages. I am also a supporter of the DSWT
For me, the fashion industry has a very long way
associations in Morocco, then I felt that this
(David Sheldrick Wildlife Trust). They do the
to go. But, I know they can make the changes
was unfair to support one association over the
most amazing work saving orphaned elephants,
when I see people like Stella McCartney putting
other, because every legitimate cause needs
who have lost their mothers, almost always to
emphasis on what is used in her product, how
help raising funds and awareness. They all have
poachers who kill them for their ivory. I would
it is made and so on. In my own industry,
different needs. So, I decided to help whichever
do anything in my power to stop the ivory trade
I am very careful to use recycled diamonds and
association I find out about by any possible
100 percent. Raising awareness is every bit as
reclaimed gold as much as possible. I work with
means, until I have the resources to create
important as raising money.
stone suppliers that I know very well and who
my own association. This has been a lifelong
use the utmost care when unearthing these
dream of mine.
You’re both also passionate about climate
stones. For example, my geodes – the supplier
KM: I am passionate about charities that help
change and looking after the environment
I work with lives on the land and I know that he
those who cannot help themselves. Namely
– why? How can we make changes in the
and his family take great care in their methods
children, the elderly, and animals. I am very
fashion, beauty and jewellery industries to
of obtaining these stones. Also, I manufacture
involved in PAWS (Performing Animal Welfare
create more sustainable products?
100 percent of my fine jewellery collection in
Sanctuary) just outside of Sacramento,
KM: I have been involved with an organisation
the United States, where I know they are held
California. They take in elephants and other
called Conservation International since my
to very strict standards in waste disposal and
animals that have been in circuses and zoos.
first year in business. I love their approach to
where I know that workers are paid fair wages
Most people do not realise the absolute torture
addressing issues related to the environment
and work in very good conditions.
these animals are subjected to during their
(including climate change). They work around
HM: In my early years, I was not aware of the
time as “property” of circuses and zoos. I am
the globe to show people and local governments
importance of nature and how we treat our
hopeful that in my lifetime, circuses that use
what their future will be if they do not deal
planet and the creatures that we share it with.
animals to perform will be outlawed globally.
with overconsumption, overpopulation, and the
But, I was very fortunate to have lived for two
Kimberly McDonald and Houda Majd in Kimberly’s New York studio.
76 idea what she wanted to do with her time on Earth, I sure did pick the right road. HM: I agree! A person has to do something with love and passion. When I saw her post that said Meraki, it awakened something in me. I was working for a multinational company. I had a good position with a nice salary. I was stable in every sense. But, I was not happy. Getting the title of Miss Arab will only help me meet people and make connections that I know will lead to the job of my dreams. What is your most memorable career moment so far and what’s your biggest goal for the near future? HM: It was winning the title of Miss Arab 2015. It was really incredible. My goal for the near future is to be able to use my talents as an actress to be in quality film projects and to use my energy to influence young women to be better people and convey to them that education is the key to everything. KM: I have been so blessed and have had so many amazing moments that it is difficult to pick just one, but if I have to, then I would say being selected to work with Jason Wu on the inaugural gown for Mrs Obama. I was so proud to see her walk out on stage and to see my jewellery on her, as well as the special diamond clip that I designed as part of the dress. That dress is now on display at the Smithsonian Museum of American History in Washington DC and no matter what your political viewpoint, it is an honour to be a part of history in this manner and to have one of the most stylish, most photographed women on the planet choose your work. For the near future, I would like to expand my unique passion for natural materials into home dÊcor and accessories, including promoting my newly-launched wallpapers and fabrics. What projects do you both have planned for the rest of 2015 and into 2016? years in Egypt. Here, I got to see how people can
way that men further control us, by pitting us
KM: For me, the rest of the year will involve
be affected by the damage other humans cause
against one another for attention and praise,
travel. I will be in LA, Dallas, Mexico, and New
the Earth. So, I began to educate myself more
by judging us and in turn causing many women
York, just to name a few! This is the busiest time
about the environment and climate change.
to become insecure and judge or bad-mouth
of the year for the fine jewellery industry and
one another. It is just not acceptable. We are
one of the retail partners I work closely with is
Why is it important for women to help
not in competition with each other, we are only
expanding into new locations, so I expect to
each other?
in competition with ourselves.
earn a lot of frequent flyer miles!
HM: Back in history, women were not helping
HM: I will be reading through scripts that I
one another and were jealous of one another.
What do you love about your job?
recently received from Egypt, and selecting
Please be kinder to one another. Teach each
KM: I love rocks! I am thankful I get to wake up
which projects to be involved with. And, I will
other. And praise the good in each other.
and realise that I get to create beautiful things
be travelling in the Arab region between Dubai,
The future of women is in our hands.
out of materials or with the images of materials
Lebanon, and Egypt. In October, I plan to be in
KM: I agree. Women have got to stop being
that come from this magnificent planet that I
Sweden for the debut of my short film, Echo,
jealous of each other. I believe this is just a
love so much. For someone who really had no
at the Malmo Film Festival.
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Photographed by Sarvenaz Hashtroudi
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Velvet makes a decadent return with sleek and modernist elements. From cascading gowns at Christopher Kane to pointed pumps by Jimmy Choo, keep it simple with minimal trimmings.
78
T h e Op inio n
normal history department wants to hire someone whose speciality is fashion history, because that was seen as so frivolous. Can you recall a moment when you’ve truly felt the stigma attached to working in fashion? One story that I’ve told repeatedly is when I was at a cocktail party at Yale as a graduate student, and one of the professors asked me what I was working on and I told him ‘fashion’. He said, “Oh that’s really interesting. Italian or German?” And I kept thinking, what is he talking about? Lagerfeld? I mean what does he mean by German fashion? And then, finally, I twigged and I said: “No, no, fashion – like Paris. Not Fascism.” He said: “Oh” and he turned and walked away. There was nothing more to say to me. Why do you think people refuse to admit they have a keen interest in fashion? A lot of people are in denial about their involvement in fashion at all. I mean they really despise fashion and they’ll say: “I’m not interested in fashion”. I usually try and say something flippant like, “Does your mother still buy your clothes?” And then
The F - Word with
Valerie Steele Interview by Susan Devaney
they have to admit they are engaged in fashion. I remember one young German man said to me: “Fashion’s despicable, with all of its emphasis on brands and conformity. And I said: “Really, who made those blue jeans of yours? He said: “Levi”. And I said: “Isn’t that a brand?” People are in denial. They think they’re outside of fashion. They don’t realise what fashion involves… I mean, it’s not just
The chief curator of the Museum at the Fashion Institute of Technology in New York discusses fashion’s stigmas, stereotypes and taking clothes seriously.
clothes, hairstyles, music and food. But have the stigmas lessened? Oh, I think so, especially for men. I mean, there’s more of a sense of acceptance of men going into fashion. Educated parents tend to be more accepting of difference and different career ambitions. I think most women would encourage
Why is the word fashion still often associated
and the majority of women, they may get jobs, but
their children to go into a field where they’re
with negative stigmas?
they may not have their name on the label.
most likely to succeed. Fashion is a very volatile
It’s associated with women, therefore it tends to Can you tell us a bit about the hostility you
going to succeed for you. I know people, who
to people (a little bit) when you point out that it’s a
maybe encountered while studying for your
graduated recently from the Fashion Institute of
multi-billion dollar industry and then they’ll admit it’s
PhD at Yale?
Technology and who are making big bucks in the
a big economic force. When, on the whole, there’s
Well, I think that it’s not just happened to me
business now. But, I don’t know so many fashion
a lot of prejudice that thinks of it as being a very
personally. If you go back years, you’ll find
design students who’ve had such a rapid rise.
negative and cultural force. I think the feminine
there’s a tremendous amount of hostility towards
aspect is really one of the reasons for it not being
fashion that permeates our culture, going back for
How do you respond when people say: “But
taken seriously. I mean sports are another form
thousands of years. The idea that fashion is vain,
they’re just clothes”?
of play like fashion, but those are taken seriously
it’s mendacious, it’s a waste of time, it’s a waste
I think you try and point out to them that it’s a
because men do them – or do the majority of the
of money, it’s not serious and it’s licentious. Within
multi-billion dollar industry. It’s an art form and
‘big money’ sports. But, if you look at statistics,
the context of academia, when I decided that I
it’s a kind of form of personal expression that
although the majority of fashion students are
wanted to work in fashion history at Yale, I think
everybody engages with. It’s an embodied practice
women when you look at big name designers,
most of my professors just thought it was (a kind
– everybody gets dressed in the morning. It’s rare
who are successful and have their own brands, a
of) trivial topic – that it wasn’t important. Some
that you have something that affects absolutely
little more than half the top ones are still men. A tiny
of them may also have worried accurately that I
everybody. You could talk about fashion with a
minority of men are disproportionately succeeding
wouldn’t get a real job in academia, because no
3-year-old and with a 90-year-old.
Photographed by Aaron Cobbett
field, it’s a lot of work and it’s not necessarily
be taken less seriously. You can sort of get through
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80
F A SHION INSIGHT
The
Curious Case of Couture Despite a history that spans nearly 150 years, haute couture is modernising. But, is that change at odds with its role as a gateway for exclusivity?
Image courtesy of Getty
By Christopher Prince
is subjective. Youth culture is currently forging ahead, and designers are consciously iterating a lexicon that is fixated on wearable fashion – which now means wearable couture. A prime example is Dior’s current chief-in-command, Raf Simons. Like Slimane, who enjoyed a successful period at Dior Homme, the Belgian designer found fame with his own eponymous menswear line in the Nineties, celebrated for its affiliation with youth culture and underground music. Yet, it was Simons’ tenure at the German fashion label Jil Sander (from 2005-2011) that gave him the training wheels he needed for his next foray at Dior. The designer presented a ‘couture trilogy’, a triad of collections conjured with handcrafted techniques in mind. The third and final installment for autumn/winter 2012 was subconsciously When Hedi Slimane announced the return of haute couture
geared towards his debut couture collection for Dior, held
at Saint Laurent, the backlash was palpable.
in the same year. In an interview with Business of Fashion
In the three years since his debut at the house in 2012,
in May 2015, Simons recollected that he “was completely
he’s forcibly managed to rewrite the codes of the Yves
attracted to the history of Christian Dior at that time. In the
Saint Laurent woman to a point where she is almost
end (Dior) brought me back to my own past, which was so
unrecognisable. Each season, Slimane’s meal ticket has
much related to the landscape and purity of things that are
been found in wearable garb, and while he’s made every
about beauty and femininity and nature”.
effort to justify his own anarchic take on luxury, his clothes
Simons’ appointment was significant, because it injected
have been judged as the very antithesis of couture.
life into the house, introducing a “new couture” mindset, as
Yet, you only have to take a closer look at the microscopic
stated by the designer. His debut couture collection was the
detail of his ready-to-wear line, feel the thousands of
subject of the fashion documentary ‘Dior and I’, directed by
individually sewn sequins on a party dress, or touch the
Frédéric Tcheng. In one early scene, Simons stands in front of
spikes on a supple leather jacket, to know these are clothes
the white-coat-clad Dior atelier for the very first time. Asked
actually entirely couture-like in their craft. And, they sell
if he would prefer to be called “Monsieur Raf” – a tradition
extraordinarily well. According to Kering’s first-half financial
in couture – or simply “Raf” by Dior’s CEO Sidney Toledano,
report for 2015, Saint Laurent posted an increase in sales
the designer firmly replies “Raf”, followed by Toledano’s
of 24.3 percent – accumulatively, this has helped double
response: “Let’s call him ‘Raf’ as a token of modernity.”
the house’s turnover to US$1.21 billion in profits. Given his
Beyond producing a haute couture collection in less than
success in ready-to-wear, why does Slimane feel the need
eight weeks, beyond the last-minute tears before Simons
to venture into haute couture at all?
stepped out on the floor to ceiling flora-lined runway to receive
Part of the attraction is exclusivity. An executive for the house
his applause, through all the drama, ‘Dior and I’ was vital in
stated, “Hedi Slimane decides these (couture) orders case
humanising a house so secretive in its approach to couture.
by case. Unlike a couture collection, this is an even more
Since then Simons has produced six couture collections,
exclusive definition.” A collection more exclusive than couture
each more daywear driven than the last. He introduced
itself? Although the industry operates behind closed doors,
sportswear for spring/summer 2014 with a hybrid scuba-
tucked away in private ateliers located across Paris, couture
trainer smothered in bijou trims, and he made a sweeping
is open to anyone with enough financial scope. By contrast,
gesture to connect couture to the wider world a year later, by
Slimane will produce bespoke pieces by personal merit
fusing the unlikeliest of materials such as plastic with PVC.
only, which will, as a result, exclude a passionate clientele.
Perpetuating reality in fashion is the reason why Simons
For the figureheads of the Paris couture scene – Chanel and
became a designer in the first place. It’s a formula that has
Christian Dior – the notion of an all-inclusive couture industry
helped Christian Dior Couture generate US$2.12 billion in
82
Christian Dior Haute Couture autumn/winter 2012
profits and chart an 18 percent rise in sales across haute
powerful as Chanel. Why? Because no one can touch the
couture and ready-to-wear in 2015.
couture craftsmanship of Chanel, which means no one
At Chanel, the process of creating haute couture is shrouded
can question Lagerfeld’s interpretation of it. The happy few
in mystery, much like the house’s financial trajectory. These
that get to experience these rarefied creations, reportedly
figures aren’t actually accessible from the privately held
between 300 and 1,000 women worldwide, will buy into
company owned by the Wertheimer family, but you have to
Lagerfeld’s vision no matter what the agenda. Take this
assume profits are good just from observing the gargantuan
season’s fashionable game of poker dans le Casino de
show spectacles held each season in Paris’ Grand Palais.
Chanel. Instead of proposing something as literal as an
Unlike Simons’ quest for reality, Lagerfeld has made use
elevated piece of sportswear, Lagerfeld’s gamble was all
of haute couture to differentiate its practice from ready-to-
about how he manipulated the old to reinterpret it for the
wear. Speaking to the Financial Times ahead of his autumn/
new. He utilised a revolutionary laser sintering technique to
winter 2015 couture collection in July, Kaiser Karl admitted
mimic the house’s signature quilting for a lineup of classic
couture was “a completely different spirit.” “If it was in the
Chanel suits, and yielded a duochrome tweed motif that
same spirit, I just wouldn’t do it because I would be bored
was slightly transparent in motion. Fairytale creations were
to death. I would just say no. No, no, no! It has nothing to
replaced with daywear-driven pieces – even the mandatory
do with ready-to-wear. It should not have anything to do
finale bridal gown was cast aside for a double-breasted
with ready-to-wear.”
tuxedo suit in satin-crepe, complete with a tulle-embroidered
So, how does that explain the frou-frou couture trainers of
veil consisting of 45,000 elements. How it fared with Chanel’s
spring 2014? And what about last autumn’s foray, which
couture clientele we’ll never know, but based on the multiple
Lagerfeld touted as “haute couture without the couture”?
regrams, reblogs and retweets of Kendall Jenner’s finale
To most ‘serious’ couture designers, this tongue-in-cheek
walk in the said tuxedo, it probably garnered a pretty sum.
approach would be bad press, but not for a house as
It’s ironic that couture’s old masters have introduced this
Chanel Haute Couture autumn/winter 2015
84
Such was the case for the once-disgraced John Galliano, previously exiled from the industry in 2011 for making controversial anti-Semitic remarks, only to be welcomed back at the couture house Maison Margiela in 2014. According to Renzo Russo, the chairman of Maison Margiela’s parent OTB group, profits were up “at least 20 percent” with sales exceeding US$113 million in the year Galliano was appointed. Renzo put Galliano’s success down to him being, “not a designer but a couturier who can turn ‘couture concepts’ into ready-to-wear clothing and accessories”. For some, couture has provided a safe haven from the monotonous ready-to-wear schedule. Veterans Jean Paul Gaultier and Viktor & Rolf, for example, traded in ready-towear to focus solely on couture. But it isn’t all about the old guard. In recent years, the French Federation of Fashion has embraced modernity by allowing new blood to infiltrate the vein of the couture aristocracy. See the arrival of Giambattista Valli, who launched his couture line in 2011, and the debut of Russian socialite Ulyana Sergeenko a year later. Only recently has couture begun to have a purpose again, and an insatiable appetite to market towards a younger clientele, combined with radical technological advancements, has driven the industry into the 21st century. Although couture is only just getting to grips with modernity, designers like Hussein Chalayan have been challenging the perception of artisanal ready-to-wear for decades. Chalayan is an example of a designer who sees duality in both the commercial and the fantastical as a medium between ready-to-wear and couture. His ‘One Hundred and Eleven’ collection produced the famous animatronic dress, an interchanging dress form that morphed from one decade-specific silhouette to the next. Deciphering the collection back in 2007, Chalayan said, “People always think I’m a showman, but I honestly love making real clothes.” Hussein Chalayan ‘airplane’ dress, 2000
That attitude is felt today in the work of Alessandro Michele at Gucci. Michele is an example of how to successfully transform a brand without losing its heritage, hence his new season thrift shop girl, dressed in all her couture-like finery, new ready-to-wear mindset to haute couture, because the
still wears a pair of 1953 original horsebit leather loafers
practice itself was never meant to be commercially viable.
inscribed with the house’s interlocking ‘G’ emblem. Equally
Jean-Jacques Picart famously proclaimed, “No matter how
successful is Nicolas Ghesquière’s modernised treatment
successful you are, you can’t make a profit from couture.”
of the iconic Louis Vuitton monogram, first created in 1896,
The former co-founder of Maison Lacroix had firsthand
which has since been radically reimagined for his futuristic
experience of failure in 2009, when his right-hand, Christian
customer. Since their respective debuts, Ghesquière in
Lacroix, considered one of the industry’s most renowned
2013 and Michele in 2015, both houses have posted annual
couturiers, ended a 22-year career with debts in excess of
turnovers in excess of US$10.1 billion and US$3.9 billion,
US$170 million. Perhaps this explains why haute couture is
respectively. Clearly, it’s a formula that works.
so exclusive and the guidelines so bourgeoisie – it prevents
Aside from financial advantages, ready-to-wear has
mishaps like these from happening.
been trying to compete with the same level of bespoke
workmanship as couture for quite some time. Sarah Burton at Alexander McQueen may be victim to the seasonal readyto-wear cycle like so many of her contemporaries, but at the very heart of the label, there’s a couture-like spirit instilled from the house’s founder, Lee McQueen. “We do so many collections, and I want each one to be special,” Burton told the International Herald Tribune in 2012. “There is always a lot done by hand. I know this is not Paris couture, but in our humble way, we are working towards it.” Striving to emulate couture is relative for Burton — her interpretation is the closest thing ready-to-wear gets to experiencing it. That was evident last season as the designer ripped apart a very couture-like method of construction, gesturing the “frayed nature of reality and the beauty of imperfection” in gowns withered in tendrils of black peacock feathers and fur. Burton’s work correlates neatly with Lee McQueen’s own twisted version of couture. McQueen presented fashion in a way that provoked social commentary. He challenged themes of morality, religion, death and rebirth, incorporated robotics in 1990 to spray-paint a canvas-clad Shalom Harlow, and imprisoned the likes of Kate Moss and Erin O’Connor as crazed patients in his couture asylum of spring/summer 2001. Showmanship of that caliber is hard to match, but fortunately, there are designers in the industry who still embrace fashion as an art form. It’s a method that can be applied to the interior print artist-turned-fashion designer, Mary Katrantzou. The alchemy of her debut London Fashion Week collection in 2008 – filled with hyper realistic trompe l’oeil prints and divinely embroidered lampshade dresses – enraptured critics, who had previously lamented the lack of creativity from designer’s dealing with the crippling demands of the ready-to-wear cycle. Like Katrantzou, experimental fashion often manifests itself in Jack McCollough and Lazaro Hernandez’s work at Proenza Schouler. They’re fixated on pushing the boundaries of ready-to-wear to emulate the practice of couture, which explained why backstage at their autumn/winter 2015 show, Hernandez revealed that it was their “most technically ambitious and intense collection yet”. He was referencing the decadent eveningwear dresses the duo had put on display, so densely packed with sequins that seamstresses had to stitch 300,000 individual paillettes on each design.
Maison Margiela Haute Couture spring/summer 2015
86 Part of the struggle for designers is the ability to forge innovation in fashion that can be commercially viable. Jonathan Anderson’s success at both his namesake label, J.W. Anderson, and at Loewe, a house he’s helmed since 2013, is a significant marker on how to balance that notion. Speaking to Women’s Wear Daily in April 2015, the designer admitted that he was “trying to go into the heritage, create new heritage, and trying to fundamentally excite people.” Given the disparity in age – Loewe was established in 1869, J.W. Anderson womenswear in 2010 – the designer has managed to thread his experimental tendencies without compromising profits or damaging an already devoted clientele. Collectively, he’s ensured an annual turnover for LVMH in excess of US$385.5 million, meanwhile establishing a new type of luxury ready-to-wear consumer that, in his words, “demands a global picture”. That method can be applied to Bertrand Guyon’s work at the revived couture house, Schiaparelli. The solution for Guyon to bridge the gap between ready-to-wear and couture was in ‘prêt-à-couture’, which according to a representative for the house translates to “garments that exist in sizes (that are) exclusively sold in the atelier at 21 place Vendôme, Paris”. “It felt right in a period when authenticity, craftsmanship, relevance and imagination seem all the more important. Buying prêt-à-couture means that a woman may alter the garment with changes way beyond a hemline. She may remove sleeves or add some, she may have something closer to her body than the original garment.” Editing while creating an image is the mantra for the industry folk, who are using haute couture as a marketing tool. For stylist Sofia Odero, “Classic couture back in the day used to be less wearable and styling was more about creating an image that linked all those different styles to make a story. Right now, because the influence of ready-to-wear and street style is strong on couture shows, it allows us to play around more.” However, she agrees that the concept of wearable couture is “smart, as people who can afford couture right now are Backstage at Alexander McQueen autumn/winter 2015
younger girls, who like to have something that is unique”. It’s an attitude universally recognised among fashion creatives. “Haute couture had become such a spectacle that it was slowly excluding itself from today, and losing its hand on the actual market,” explains fellow stylist Guillaume Boulez. “Otherwise, houses like Saint Laurent wouldn’t be re-opening their haute couture ateliers. I think that’s why we are seeing a change in the haute
Haute couture had become such a spectacle that it was slowly excluding itself from today, and losing its hand on the actual market.
couture collections, because the demand from those clients is different.” The litmus test for department stores is deciding exactly what pieces to entice that new breed of haute couture client. Lauren Kiefer, Bergdorf Goodman’s Vice-
President and DMM of Couture, takes on a very romantic
couture is, unsurprisingly, the Middle East. “Middle
approach when selecting pieces for the store. “We start
Eastern women tend to be the principal buyers of couture
with what we love. Clothing of this quality elicits a very
fashion, mainly due to their social calendar being fully
emotional response, so we just let ourselves get carried
scheduled. The socio-economic status of the consumers
away by the collections. While the majority of couture
in that region ensures disposable income to spend.”
clients will always be of a certain demographic, now
Disposable income – that’s what haute couture is all
that the aesthetic of revered fashion houses like Dior
about. The tug of war between tradition and modernity
and Valentino are becoming younger and hipper, we
has played a significant role in revolutionising the industry,
are seeing younger clients investing in couture pieces.”
and as a result, it has introduced an entirely new clientele
David Dessureault, buyer at Saks Fifth Avenue, shares
to the fold that doesn’t fear the exclusive nature of its
a similar observation.“Couture has now become about
member’s only club. What really matters for haute
fashion fantasy that you look forward to wear. Today,
couture’s survival is its ability to transcend creativity for
the collections are more versatile to target a younger
commerce, in order to flip the notion that even the most
demographic.” He believes the biggest market for haute
beautiful things don’t always have to be the most useful.
Backstage at Mary Katrantzou spring/summer 2014
88
D e sig n er I nter vie w
Valentino creative directors Maria Grazia Chiuri and Pierpaolo Piccioli, photographed by Peter Lindbergh
The Heart of Rome By Natalie Trevis
Valentino Creative Directors Maria Grazia Chiuri and Pierpaolo Piccioli drew Haute Couture Week to a rousing finale of regal proportions in Rome this summer. We enter the Valentino Haute Couture atelier and meet the creatives redefining the house for the next generation.
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“May I?” says Pierpaolo Piccioli, gesturing to a cigarette and leaning back into the taupe sofa that fits perfectly into its opulent surroundings in the Haute Couture private appointment salon of 8 Place Vendôme. It’s a busy day at Valentino, but one senses that they all are. Creative directors Piccioli and Maria Grazia Chiuri are juggling fittings for the menswear spring/summer show the next day and as I arrive, I bustle into the lift with a throng of tousle-headed boys, who will transform the next day into the designers’ visualisation of a redefined Valentino. Cool yet graceful, youthful yet steeped in history and heritage. They are simultaneously fielding interviews, conducting a portrait shoot and preparing for the imminent couture event of the season, Mirabilia Romae. Though neither louche thinker Piccioli nor kohl-eyed Chiuri – pure rock ‘n’ roll in her signature all black uniform, fingers stacked with rings that flash through the air as she gesticulates – show any signs of pressure. This has been their world since 1999, when they arrived from Fendi to bring fresh eyes to Valentino Garavani’s accessories and emerged in 2008 as his creative successors. But, it is not Paris that is the heart and soul of the brand: It is Rome. Often returning to Italian Renaissance art as the genesis of the house’s enduringly elegant but never haughty collections, the ancient city is a common thread that runs through every lovingly crafted piece. “We were both born in Rome and so, art is part of our lives. That’s why we find inspiration in it. All that we do is very close to us personally”, says Chiuri. “Art is a witness of our time,” adds Piccioli, layering insight onto Chiuri’s musings as the pair often do, in tune with each other’s thoughts after more than two decades working together. “We believe that with fashion, you have to be a witness of your times too. It is the same thing with art, but in a different language.“The Pre-Raphaelites set the tone for the innocent draped goddess gowns of the 2014 autumn/winter Haute Couture collection, while the quote attributed to Leonardo da Vinci, “simplicity is the ultimate sophistication”, inspired enchanting cashmere, crystal embroidered astrakhan and a gown and train cascading with thousands of river pearls a year earlier. With Vermeer playing muse for an a/w13 collection visualised in Calvinist white collars, and the paintings of Marc Chagall vying with Dante’s Inferno to deliver romantic Russian-inspired embellishments for Haute Couture s/s15, art of all kinds is a starting sentiment for the Valentino journey. “We like sharing ideas or just taking inspiration from artists from the past and bringing those ideas into contemporary life,” continues Piccioli, “because sometimes, the message can be the same. Even if the period is different or the language is different, you find the same kind of values coming out.” Rome has always been at the heart of Valentino and this time, rather than take Valentino to couture week, the duo
Valentino autumn/winter 2015 Haute Couture. Photography by Boa Campbell, styled by Natalie Trevis
Models in Piazza Mignanelli for the autumn/winter 2015 Haute Couture show
The meaning behind the Roman nuances in the collection may be artfully complex, but the impact of the clothes is breathtakingly simple.
magical than if it had been choreographed by Fellini. For Chiuri and Piccioli, the city is a living, breathing thing, synonymous with the Valentino woman. ”In a way, we don’t want to show Rome, we want to allow people to experience Rome through our perspective. You can’t describe Rome with only words. It has many aspects,” says Pierpaolo. “The city is really the same
Show image courtesy of Valentino.
as women are today: Multi-faceted. There are many brought couture week to Valentino’s birthplace. Staging
aspects living together, floating together, whether
the Mirabilia Romae collection under the setting sun at
monastic, sensual, aristocratic, sexy, gothic, dark.”
the brand’s headquarters in Piazza Mignanelli close to
A homecoming certainly, but why now? “Probably
the historic Spanish steps, Chiuri and Piccioli brought
because we are ready,” Chiuri adds with a laugh, hinting
imperial Rome to life and the fashion crowd (including
at the mammoth task involved in staging the show
a beaming Valentino Garavani) to its feet. With the
outside of the Paris schedule. “It is an important moment
beautiful attendees gathered in head-to-toe Valentino,
for us. We are opening a school of couture in Rome
the models floated down the raised runway in gowns,
and we are so proud to be able to bring the culture of
capes and gladiator dresses in the finest brocade,
couture into the future, because sometimes you think
tulle and regal velvet littered with ancient symbolism,
of couture and you think of something beautiful but
some pieces seemingly spun from ancient gold. The
belonging to the past,” explains Piccioli, stressing the
meaning behind the Roman nuances in the collection
social responsibility that both designers feel towards
may be artfully complex, but the impact of the clothes is
continuing the traditions of their craft. “This is the
breathtakingly simple. The memory of stolen moments
moment to describe the two very particular aspects
from the day’s La Mostra Diffusa exhibition lingers, too
of Valentino, being Roman and being a couture house.”
– discovering couture delicacies hidden in historic sites
And, of course, there is the Palazzo-style flagship store
from Biblioteca Casanatense to Sacristy Sant’Agnese
in Piazza di Spagna to show off too. Opened this year
and the Sistine Chapel. The whole scene no less
and designed by starchitect David Chipperfield, it offers
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The couture finale takes us back to a vision of the Roman Empire
the “couture attitude” to every customer. “To be a creative director is not only about the dresses,” says Chiuri, “it is about vision. The concept store is a huge part of our vision because it’s like our home around the world. It’s important that the people see why we decided to use these particular materials in the store:
As forward-thinking as the pair’s vision of the couture of the future may be, it is always inevitably entwined with the past, particularly at a house with such strong and recognisable codes.
Because they are close with the timeless values of with our vision.”
times, but even talk about our couture, about details.
It’s evident from such timeless values that the pair are
Because this is very Italian,” says Piccioli. “Couture is
not interested in the kind of easy, fleeting attention that
more about culture, it is more about vision, but it is
comes with chasing trends. They are not preoccupied
not about something that is dusty and old or simply
with followers or headline-grabbing campaigns, seeing
expensive,” adds Chiuri. “It is a value and we also want
the digital world as an instrument, not a leader but
to translate it into different categories that are more
a starting point. Instead, a couture sensibility filters
daytime, like denim.” As the designers have intimated
through the simplest of the ready-to-wear items,
before, couture is a realm in which you lay hands on
absolving them of any hint of the mundane. “Everything
your dreams. Valentino’s ready-to-wear, the closest
starts from a human point of view. At the end, it delivers
most of us will ever get, is more than reverie enough.
something that is human, too. Design is something
As forward-thinking as the pair’s vision of the couture
that is close to the inner emotions,” reasons Piccioli.
of the future may be, it is always inevitably entwined
It is a strategy that works at every level, from sell-
with the past, particularly at a house with such strong
out accessories to red carpet outings on Hollywood
and recognisable codes (Valentino’s signature red, the
starlets. The philosophy both elevates ready-to-wear
long-sleeved gowns and sumptuously high necklines).
and modernises Haute Couture. “This idea of one of a
Having found their own groove after a couple of
kind, of uniqueness, we wanted to translate into prêt-à-
reverential early seasons, the pair no longer refer to
porter too. To create pieces that, of course, are of our
the Valentino archives: After so long, their experience
Studio images shot at White Cube Studios, Dubai. Runway image courtesy of Gorunway.
quality and craftsmanship that we want to express
of the brand is much more visceral than that. “In some ways, we prefer to speak about heritage with our point of view. We are not obsessed with our past, our past is part of us,” says Chiuri. “Sometimes, talking about the past means you are nostalgic,” adds Piccioli with studied care. “Memory is something different. I think we have memory of our past: Selective memory. In selective memory, you remember what you like and why. The feeling you had when you saw something.” This instinct, and an unwavering dedication to a certain fragile beauty, is what has made Valentino the brand favoured by stars from Anne Hathaway to Dakota Fanning and Chloë Sevigny, and that has given certain pieces a must-have status, both current and collectible at once. A new generation has discovered the brand in the hands of Chiuri and Piccioli, who have offered an alternative to dolce vita sexiness: A fresh-faced, modern appeal and a new Italian narrative that feels much more youthful. “If there is something you don’t like, you can react by proposing something new. We believe that women are looking for a new grace, a new delicacy. Even if they are represented as only sexy, only powerful, there is something very romantic and very pure in every woman that you can take and give new life. If you see masters’ paintings from the Italian Renaissance, you see women who are very beautiful with this kind of dignity,” muses Pierpaolo. Chiuri is quick to point out that they don’t like categories in any case. “Nobody is only one way,” and that the same goes for the house itself. “It depends on the moment. I don’t believe that a brand can be a value for life. You have to decide what is right about the moment because it makes a difference. It could be a reaction, it could be an idea but it is not a strategy. It is something that you feel.” Such is the strength of their vision that you feel as if we could be witnessing the start of a new kind of relationship between Haute Couture and the city of Rome. A future centre for couture, a fifth fashionable city to add to the current fashion capitals? It certainly has the credentials. It has Valentino. It occurs to me that as well as innovators, Piccioli and Chiuri are historians of a sort, defining, sorting and storing what is truly sartorially beautiful right here, right now. Indeed, alongside Haute Couture, the ready-to-wear lines and an unstoppable accessories division, the pair forge ahead with dreams of a museum and a global exhibition of Italian craftsmanship, tempered only by such trivial concerns as budget. Ever the pragmatists, they also recognise that sometimes, the work, the dreaming and the creation must pause and that another famous Italian tradition must be observed: The holiday. “You need time to dream,” says Piccioli, in poetic conclusion to my glimpse into the heart of the Valentino empire. “If you don’t dream you can’t deliver dreams. It’s very important to take your time.”
Valentino autumn/winter 2015 Haute Couture. Photography by Boa Campbell, styled by Natalie Trevis
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F a sh io n IN F O C U S
Coated Whether belted or unbuttoned, these coats
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are winter’s glamour essential in emerald cashmere and warm angora.
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1. AQUAZURRA at Harvey Nichols Dubai | 2. MAX MARA | 3. ALEXANDRE BIRMAN at Level Shoe District | 4. ACNE at Saks Fifth Avenue Dubai | 5. TORY BURCH | 6. DIOR
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Graphic Stand out in graphic knits that reference
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everything from cubism to pop art, all while exuding playful elegance with colourful accents.
1. ELISABETTA FRANCHI | 2. BEDOUIN at Harvey Nichols Dubai | 3. ALEXANDER MCQUEEN | 4. BINT THANI | 5. FENDI | 6. MIU MIU
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Textured
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Channel city-sleek with the latest textile innovations of lightweight denim and knitwear, in an urban colour palette of brick, charcoal and whitewash.
1. CH CAROLINA HERRERA | 2. TORY BURCH | 3. MOCHI | 4. SALVATORE FERRAGAMO @stylebop.com | 5. MIU MIU | 6. PRADA
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Wrapped Swathe your shoulders in warm suede capelets and bell-sleeved velvet wraps to combat the chill with refined elegance.
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1. CHANEL | 2. OSCAR DE LA RENTA @net-a-porter.com | 3. ALEXANDER MCQUEEN | 4. ACNE at Saks Fifth Avenue Dubai | 5. LANVIN | 6. VICTORIA BECKHAM
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W o m en o f S ty le
Power of Two CEO Meher Mirchandani and creative director Riddhima Whabi of label Meher & Riddhima are childhood friends, who have been artistic partners for more than a decade. We sit down with the duo on the very day that they launched 13 years ago to find
Photography by Sarvenaz Hashtroudi.
out why, when it comes to style, two are always better than one.
Meher Mirchandani and Riddhima Whabi at their atelier in Dubai
Truly fashionable forces often come in pairs. Domenico Dolce and Stefano Gabbana, Peter Pilotto and Christopher de Vos, Carol Lim and Humberto Leon, Christopher Kane and sister Tammy, Viktor Horsting and Rolf Snoeren... the list goes on. Challenging the eternal
Fun, charming, happy,” notes Meher.
myth of the lone genius producing
Sophisticated and classical, the
great work in isolation, these designer
aesthetic of the brand is comfortingly
teams prove that creativity can equally
consistent with its growing global
be borne of familiarity, partnership and
fan base and its designs have
intellectual chemistry. School friends
graced many a red carpet this year,
Meher Mirchandani and Riddhima
from Cannes to Bollywood. The pair
Whabi have used just such a synergy
refuses to be phased by or distracted
to establish Meher & Riddhima – the
from their elegant mission by a fast-
Dubai-based line of eveningwear
paced, increasingly digitalised, fashion
that resonates with the fashion pack
world. “I think the M&R brand stands
both here and abroad – even finding
for Eastern influences with Western
inspiration for spring/summer 2016
sensibilities,” says Riddhima, with a
in their solidarity. “The collection is
practised ease that confirms that this
inspired by the relationship that we
really is the essence of the brand.
share, like sisters,” explains Riddhima,
“The characterisation is influenced
who is at a poignant moment in her
by Eastern thread work and that’s
life, only a couple of weeks away from
what sets us apart and makes people
giving birth to her second child. “It’s
recognise that this is an M&R outfit. I
derived from that emotion and it’s very
think if you stick to your individual style,
sophisticated, very floral, very elegant.”
it really works.” That doesn’t mean
To be accompanied by a short film shot
that the brand isn’t evolving: Autumn/
in a mansion on Long Island, New York,
winter saw the introduction of separates
the collection is poised to be a breath of
(based on feedback from the 20-plus
spring air. “It’s like a sisters’ relationship:
stores that now stock the brand across
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strengths. “I’m more into the attention to detail and she really can see the bigger picture well. It’s a good combination,” says Riddhima. “We complement each other,” adds business-savvy Meher. “Riddhima usually works on
Embroiderers work on an intricate gown in Meher & Riddhima’s atelier
North America, Russia and the Middle
the design and makes sure things are
East) and online purchases come with
perfect to a T, and the overall business
a personalised tailoring service in the
strategy is something that I do.” With
UAE to ensure the perfect fit. A flagship
their roles firmly aligned, and as friends
store in Dubai is also on the horizon.
and confidantes as well as business
“You have to keep dreaming yourself
partners, the pair have successfully
and evolving,” notes Meher, “that’s what
weathered any potential storms. “The
we have been doing – but you also have
difference between us comes out of
to stay true to yourself. Every piece
the saleability and the commercial side
in the collection we love to wear. And
of it, which Riddhima respects. If we
that’s the whole point – if we love it that
think it won’t sell, let’s change it. I think
much, we can sell it. It’s just a matter of
that is the understanding that we have
feeling passionate and doing whatever
as a business,” explains Meher. “We
you love.” The pair cares as much about
know the brand is the main priority
how their clothes make the wearer feel
and that’s very clear. We don’t take
as they do about appearances. “We just
it personally. That’s what we decided
want to make sure that everything is
years ago, because we didn’t want to
looking beautiful and making the person
be doing the same things and having
feel beautiful,” says Riddhima.
disagreements.” Whether finding
But doesn’t creativity, as a subjective
creative inspiration in architecture,
pursuit, occasionally give rise to
art, history or pioneering women like
artistic differences in any team? The
Amelia Earhart, Meher and Riddhima
calm and measured partners have
have slowly and surely built a brand
found a diplomatic way to avoid these
from the ground up with one tried and
pitfalls, with each playing to her natural
tested strategy: Teamwork.
Ro cky Ground
Photographed by Sarvenaz Hashtroudi
Don’t be afraid to dazzle during the event-fuelled days ahead, with Loriblu’s collection of neutral-toned but wellembellished heels. Team with tailored eveningwear for cocktail-hour chic.
All LORIBLU
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NOUVELLE COUTURE
Fa sh io n b a n q ue t
GEORGES HOBEIKA
For the season ahead, bigger is better. While aspects of couture filter into ready-to-wear, we find bolder silhouettes for the modern woman. Opt for well sized skirts during the day and tailored volume by night. Allow your accessories to evoke luxury in coral, ivy and sable-grey.
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1. CHARLOTTE OLYMPIA | 2. CELINÉ | 3. POCA & POCA | 4. WEILL | 5. VALENTINO | 6. PIAGET | 7. BUCCELLATI | 8. JIMMY CHOO
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Making Waves
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ASHI STUDIO
Be inspired by softened elements of militant coats against pearly colour tones, bringing to mind visions of nautical entrepreneurs. Lightweight cream fabrics elevate the form with modernist proportions, as luxury gems and embroidery are fragile but strong, while accessories emanate a play of textures in softened grey and coral alligator.
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1. BVLGARI | 2. CHANEL | 3. JONATHAN SIMKHAI at The Luxury Arcade | 4. ALTUZARRA at Harvey Nichols Dubai | 5. JIMMY CHOO | 6. MADIYAH AL SHARQI | 7. CHRISTIAN LOUBOUTIN | 8. CHAUMET
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Rouge Allure
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Chanel
Eclipsing all other shades with its sultry allure, the colour for autumn/winter appears in a multitude of intricate evening dresses and couture pieces in a dazzling array of fabrics, from handmade lace to appliqued petals on satin. Pare back accessories and let your ensemble do the talking.
3 1. BALENCIAGA | 2. L’AFSHAR | 3. DIANE VON FURSTENBERG | 4. ELIE SAAB @Stylebop.com | 5. DIOR | 6. RUPERT SANDERSON at Level Shoe District | 7. GIAMBATTISTA VALLI | 8. NADA G at S*uce Rocks | 9. CARTIER
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B e h i nd T h e Scene s
Freedom’s Future A rebellion between fantasy and fashion was the cause of Raf Simons’ eclectic autumn/ winter 2015 haute couture collection for the house of Christian Dior. Written by Christopher Prince Photographed by Sophie Carre
There’s often an underlining nod to modernity whenever Raf Simons presents a haute couture collection at Christian Dior. For autumn/winter 2015, it translated to the simplicity of a sleeve attached to a basic square. The sleeve triggered renewal, deconstructed from Dior’s heritage into a new iteration. “Fighting out of Dior’s DNA,” Simons called it. “We wanted to deconstruct such a loaded heritage.” He housed his ethereal muse under the spectrum of a pointillist glasshouse at the bottom of the Musée Rodin’s garden, with a structure that was conjured from shards of interlocking plastic panels flecked with paint, emitting a hallucinatory light when cast out from under the shadows. Simons cited the work of Flemish artist Hieronymus Bosch and his triptych painting, ‘The Garden of Earthly Delights’. Part of Bosch’s threepanel design depicts Adam and Eve in Paradise, just a short distance away from Purgatory. Simons riffed on that paradox by contrasting light with weight, achieved through chiffon gowns and dramatic velvet coats. It was the ultimate gesture of seduction. The purple grass runway that snaked the glasshouse interior was studded with clusters of Bosch’s forbidden fruit. Simons rendered his own interpretation of it with an opening Guinevere floor-length white dress that verged on the monastic, only to be pulled back into precarious
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All images, Dior
In place of virginal sheer dresses were substantial metal harness gilets, tunics and sophisticated evening gowns, smattered in floral beadwork or outfitted with bejeweled netting.
terrains due to the nature of the sheer organza. That counterbalanced the conservative coats on offer, clutched demurely at the breast to mimic old-world paintings like that of Bosch and his Flemish compatriot Johannes Vermeer, both masters at depicting drape in oil. Simons adopted the same technique in outerwear born from elaborate proportions, namely cashmere trapeze coats and a cape-like hybrid, proffered up with a single sleeve of luxe sable protruding from one side. A movement in abstract chainmail voiced a secondary silhouette for the Dior woman. In place of virginal sheer dresses were substantial metal harness gilets, tunics and sophisticated evening gowns, smattered in floral beadwork or outfitted with bejeweled netting. Both treatments alluded to an imposed chastity from the designer that reflected his show notes for the collection. “The idea of purity and innocence versus luxury and decadence and how that is encapsulated by the idea of Dior’s garden – no longer a flower garden, but a sexual one.” Flowers are often associated with Monsieur Dior, and with Simons too. Similar to this season’s show setting was spring/summer 2014’s tropical hothouse, speckled with hanging wisteria, and floral blooms sprouted in the designer’s haute couture maze garden a season prior. For every feathered dress, or its digital printed alternative, there was one created out of sheer panels with the side left open to expose the naked body of the models in profile as they walked by. A dichotomy of design that justified why Simons presented the collection the way he did. There was no finale procession of dramatic couture gowns. Instead, Simons offered an amalgam of evening coats and mini-dresses, along with slinky chiffon gowns. Much of what was presented propelled couture into newer, fresher horizons. Which is exactly what Raf Simons intended it to do.
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Tal k ing P o i nt
The
Illusionists They might not be household names, but behind every red carpet ‘best dressed’ look is a power broker, creative and confidante, otherwise known as a celebrity stylist. We explore a world where finding ‘that’ dress has become an industry all of its own.
Image courtesy of Getty.
By Natalie Trevis
Eva Longoria attends the Cannes Film Festival in 2012 wearing Marchesa
114 Some red carpet moments are about much more than a dress. Some go down in fashion and entertainment history. Nicole Kidman in a chartreuse Christian Dior Haute Couture gown at the 1997 Oscars (one of John Galliano’s first designs for the house); Angelina Jolie at the same event in 2009 in a sculpted black Elie Saab gown and giant emerald Lorraine Schwartz earrings that single handedly revived the market in the precious stone; Gwyneth Paltrow, statuesque in a white column dress and full length cape by Tom Ford in 2012. But, behind almost every great red carpet look of the last two decades is a guiding force: The celebrity stylist. Bringing together hours of research, meetings, show attendances, fittings, collaborations, tough decisions and creative inputsinto one magical optical illusion, the top stylists command power, respect and have no small hand in boosting a blossoming actor’s rise to stardom. “I think the rise of the Internet and social media has heightened interest in stylists,” says Sophie Lopez, the stylist responsible for Kate Hudson’s recent run of bombshell chic, including the unforgettable plunging white Versace gown Hudson wore to this year’s Golden Globes. “These days, media is instant and immediate. So much press attention is given to fashion on the red carpet that its importance has definitely increased over the last five to 10 years, mainly due to how, culturally, society has evolved with the Internet. We no longer need to wait for monthly magazines to see fashion.” It’s that instant access that brings out the fashion critic in each one of us: Making any red carpet appearance an intricate dance of the Backstage at Ralph & Russo Haute Couture autumn/winter 2015
right dress at the right event and on the right star. As the top-rated entertainment telecast of the year, this year’s Oscars reached around 40 million viewers in the United States alone and garnered 58 million social media interactions (Nielson Media Research statistics). Beamed directly into homes, the red carpet parade provides focused product placement like no other event. In the late Eighties, it was Giorgio Armani and Gianni Versace that began to capitalise on the celebrity factor. “It was the 62nd Academy Awards. But it looked like a Giorgio Armani fashion show,” commented Gaile Robinson of the LA Times in 1990, as Jessica Lange, Jodie Foster, Julia Roberts and several others arrived clad in the designer. Fashion didn’t ever look back from this nascent model of publicity, with Carolina Herrera, Calvin Klein and Jean Paul Gaultier all quickly joining the mutually beneficial party. In 2001, Julia Roberts wore a 1992 monochromatic haute couture Valentino gown on the night she won a Best Actress Oscar for Erin Brockovich: A look which came about through a connection between a Valentino employee and stylist and editor Debbie Mason, who dressed Roberts that year. With Oscar winners as the holy grail of red carpet dressing, Valentino Garavani realised he had “struck gold” in that iconic moment, and the brand subsequently noted a significant rise in interest from that single red carpet outing. jewellery and glam squad credentials on social media, their Instagram pronouncements read like the credits of a fashion editorial. “Celebrities went from being photographed on carpets to being followed all day while out on the street and people wanted more, more, more,” says stylist Taylor Jacobson, whose clients include Kate Beckinsale, Jon Hamm
Beyoncé in Givenchy at the Met Gala in 2014 with stylist Ty Hunter
and Marisa Tomei. “Stylists and celebs started posting behind
Red carpet images courtesy of Getty.
Now, with stars shouting out their designer dress, shoes,
Gwyneth Paltrow looks every inch the A-lister in Ralph & Russo at the Oscars this year
the scenes photos and videos of sets, shoots and fittings. Also,
global premieres with pre-packed complete looks, labeled
with social media, everyone gets to be in the “spotlight”,
and ready to slip into without a further thought.
even stylists, so I think the more people have put out
The search for the perfect red carpet gown begins the moment
there the more the public wants to see who is putting
nominees are announced and doesn’t stop until the client
their favourite looks together.”
has found ‘the one’. Stylists know that their connections
Working with a high profile stylist and a luxury designer now
with designers are key collateral and no time is wasted in
brings a cache all of its own. The sheer number of events
perusing sketches for custom dresses, runway looks or even
calling for a perfectly nuanced ensemble, from premieres to
archival pieces. “It’s important as a stylist to have relationships
press conferences and even airport dashes, as well as the
with designers,” notes Lopez. “Usually, the designers have
number of designers willing to lend clothes, has left stars
particular celebrities they like to dress, depending on the
with more style admin than they can handle. Hiring one of the
aesthetic of the brand and the fit with the individual. It’s a
Hollywood Reporter’s 25 Power Stylists, like Leslie Fremar,
partnership. Working closely with designers on custom gowns
Kate Young or Cristina Ehrlich to name a few, is as much
for my clients is a highlight of my job.” Inevitably, only one
a career move as learning lines. Uber-stylist Petra Flannery
gown hits the jackpot and stylists walk a fine line between
(this year’s number one on the list) is known for pushing an
calling in enough dresses and disappointing design houses
edgier aesthetic for the likes of Gwen Stefani and tomboyishly
that may have spent many hours creating a couture work of
tailored Emma Stone (remember the studied nonchalance
art. The top stylists need engage only a few specific designers
of the Lanvin jumpsuit complete with train at this year’s
to find that elusive outfit, cross referencing which other stars
Golden Globes that kickstarted a menswear trend for the
the designers are dressing that night and the colour and
actress?). Flannery sends Stone winging her way between
silhouette of their gowns. “Whatever looks the best on my
Perhaps there’s something to be said for not delegating the task of dressing for the red carpet. It harks back to the stylist-free reality of an old-Hollywood era that many stars are seeking to emulate.
Red carpet images courtesy of Getty.
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Self-styled Diane Kruger poses for the paparazzi in Cap d’Antibes
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clients wins,” explains Jacobson of the negotiations between
in the icy blue custom Prada gown Nyong’o wore to the 2014
stylist and designer. “Making sure they feel comfortable and
Oscars. With the likes of Rosie Assoulin, Suno, Givenchy and
happy will always be my number one priority,” she says, citing
a bold red Ralph Lauren off-the-shoulder cape dress added
dressing Jon Hamm at the 2015 Emmy Awards as one of
into the mix that year, Nyong’o made her Hollywood debut
her favourite recent looks (“he looked like a winner in Tom
in style, appearing on best dressed lists all over the globe.
Ford and he did win!”). Gridlock, where a stylist holds on to
By making fashion a priority for Nyong’o, Erlanger had no
multiple gowns, making it difficult for others to get near the
small role in the subsequent campaigns for Miu Miu and
brand, is an inevitable side effect of this careful balancing act.
Lancôme and the numerous fashion covers that followed.
“Oh yes, the politics, especially when it comes to this event
Shaking things up is a strategy that can yield results, but one
[the Oscars], can be rough if you don’t know the players,”
small misstep runs the risk of a client’s achievements being
Elizabeth Saltzman, contributing editor at Vanity Fair and
overshadowed by a dubious style decision. It’s just one of
Gwyneth Paltrow’s go-to stylist, told Paltrow for Goop. “The
the reasons stars are known to switch stylists as frequently
advantage I have is that I’m not new in the industry and I’ve built
as roles. “Not all fashion translates well from the runway onto
relationships that are not about screwing anyone else over.”
the red carpet,” notes Lopez. “You need to consider how
The transformative power of the right outfit has the potential
outfits look when they are photographed and the body type
to make an up-and-coming actor or actress look like a bona
of your client. You also need to consider the event and ensure
fide movie star. Who can forget the awards season in which
the outfit chosen is appropriate for the particular situation.
Lupita Nyong’o truly came into her own in the style stakes
I always want my client to feel comfortable and authentic in
at the hands of rising stylist Micaela Erlanger, who shook up
what they are wearing. If your client is uncomfortable, this
red carpet conventions with the young actress, culminating
will come across in the pictures.” And, that is why red carpet
Image courtesy of Getty.
Lupita Nyong’o and Naomi Watts plan their wardrobes at the Calvin Klein a/w14 show
dressing comes with a set of insider rules all of its own: No big gowns or trains for the Golden Globes (it’s a small venue); save the big dress for the Oscars; have a tailor on hand at all times for the inevitable last minute emergencies (Olivia Munn walked the red carpet sewn into her Marchesa fishtail gown in 2013 after popping the zipper before leaving the house); plank in the car to avoid creases on the way to the event; consider underpinnings as crucial as the dress itself; ensure the second choice gown is just as knockout as the first; and, most importantly, if you win an Oscar, you generally get to keep the dress. But, cultivating relationships with designers, sitting front row at the shows (often with that all-important star whom the stylist will introduce to key designers) and the most militant of sartorial preparation is not always enough to prevent a last minute change of heart. Anne Hathaway switched from a beaded Valentino gown to a pale pink Prada sheath dress on the day of the Oscars in 2013, when she discovered that co-star Amanda Seyfried’s Alexander McQueen halter dress was a similar colour and shape. She later publicly apologised, having gone on to win an Oscar for Best Supporting Actress in Les Misérables in her Prada gown. “It came to my attention late Saturday night that there would be a dress worn to the Oscars that is remarkably similar to the Valentino I had intended to wear,” Hathaway said in a public statement, “and so I decided it was best for all involved to change my plans.” Avoiding such complexities are the stars and brands who choose not to enter the stylist’s thrillingly chaotic world of fine dresses and high jewellery. Hermès stays out of the fray, opting for a communications strategy that doesn’t involve
The custom Prada gown in which Lupita Nyong’o won an Oscar in 2014
celebrity relationships. Diane Kruger, who describes fashion as her second language, famously doesn’t work with a stylist, and neither do Blake Lively, Emmy Rossum, Marion Cotillard or January Jones (an avid vintage clothing collector). Kruger, a close friend and Parisian neighbour of Karl Lagerfeld, has designers on speed dial and an innate sense of her own style. She almost always hits a high note with each look, challenging norms and selecting from designers as diverse as Mary Katrantzou to Elie Saab. Cotillard has been a campaign star for Dior, which has taken the guesswork out of her red carpet appearances, while Lively prefers to play with her style, dressing according to her mood. Perhaps there’s something to be said for not delegating the task of dressing for the red carpet. It harks back to the stylist-free reality of an old-Hollywood era that many stars are seeking to emulate – Grace Kelly and beloved Givenchy muse, Audrey Hepburn, worked directly with designers – and it undoubtedly offers a frisson of fashion excitement amidst the polished glamour of the heavily styled, in a sea of colour blocked gowns and artful statement jewellery. It takes fashion confidence to take a risk in the face of armchair critics, fashion police barbs and best dressed analysis, but these stars embrace the challenge. Over time, the band of stylist-free renegades may grow, but when it comes to ensuring red carpet perfection, the safe money is on the stylish power players, who take the effort out of looking effortless. “I think the relationships between designer, stylist and client will simply grow stronger and stronger,” says Lopez. “The public interest and curiosity in red carpet and celebrity fashion seems to be growing by the day.” The alchemy in matching stars with their exclusive Cinderella gowns is a magic formula, and only a few perfectly connected stylists have the key.
Kate Hudson sits next to stylist Sophie Lopez at Michael Kors a/w15
Dress, ELIE SAAB | Necklace, SHOUROUK at Sauce | Sunglasses, VERSACE
e
y
e
s
wide open Photographed by Mazen Abusrour Styled by Olivia Cantillon
Dress, RAMI AL ALI | Sunglasses, PRADA
Top, AVIU at HARVEY NICHOLS DUBAI | Shorts, PETER PILOTTO at Harvey Nichols Dubai | Sunglasses, DOLCE & GABBANA
Suit, EMILIO PUCCI | Sunglasses, DOLCE & GABBANA
Coat, MAX MARA | Dress, MAX MARA | Scarf, SPORTMAX | Sunglasses, BURBERRY
Dress, MARNI at Harvey Nichols Dubai | Sunglasses, VERSACE
Model: Eliza at MMG Models Hair and make up artist: Marisol Steward Sunglasses: Courtesy of Luxottica Middle East With special thanks to Bentley Motors Middle East
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A u t um n S ty l e
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Modern Mosaic
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The new embellishment takes inspiration from a diverse range of cultural techniques and adds a touch of contemporary brilliance to everything, from clutch bags to stilettos. Whether going for a touch of sparkle or all-out bling, the trend takes both day and eveningwear to new heights.
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Photography by Boa Campbell, styled by Natalie Trevis. Shot at White Cube studios, Dubai.
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BURBERRY A/W15
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1. MARC JACOBS | 2. TESSA PACKARD | 3. ELISABETTA FRANCHI | 4. TORY BURCH | 5. ALEXANDER MCQUEEN | 6. MADISO | 7. NINA RICCI | 8. LOOMER at S*uce Rocks | 9. DIOR
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The inimitability of traditional couture has long been desired, but its wearability has been restricted – that is, until now. Drawing inspiration from opulent fabrics and architectural voluminous shapes, the essence of this style has triggered a movement. We look to inspire you through the streets of fashion week, as the transition from runway to pavement converts your thinking.
Photographed by Valentina Frugiuele, Go Runway and Imax tree
The Crossover
S t r e et S ty l e
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Cr u i s e T r av el
Sunshine Chaser-Maui
MARY KATRANTZOU
Indulge in the new cruise collections as your plan you winter escape and the accompanying travel wardrobe.
Animated patterns in vibrant hues bring instant energy to your sunny escape. Designers nod towards tropical prints, displaying bold blooms and leafy botanical motifs. VALENTINO
Activity spot, snorkeling: Discover beautiful coral reefs resting on the water’s edge and be mesmerized by the underwater beauty of Maui’s oceans. Kahekili Beach is less populated in comparison to other locations, making it an ideal spot to snorkel. Swim with colourful marine life and spot the occasional Green Hawaiian Sea Turtle.
STELLA MCCARTNEY
Relaxation time, Thousand Waves: It’s a spectacular, 11,000-sq ft villa, edging the awe-inspiring Kahekili Beach. The property’s aesthetic is conceptualized through luxurious Indonesian design. The exterior hosts a large pool embedded around manicured gardens, a private Jacuzzi and an alfresco dining area.
Adventure seeker, surfing: Known for its ideal surfing conditions, Maui is the perfect place to curl up to some much-loved sea foam. Emerge from the deep ocean blues and enjoy the beautiful backdrop this island has to offer. With multiple surf classes available, you will be surfing like a professional in no time.
To stay, Hotel Rumours: Paradise is at your doorstep with sweeping views of the Cook Islands’ unexplored beaches. Boarding pristine waters, the high-class luxury resort offers standalone villas nestled between lush gardens and fitted with a private swimming pool. Luxury facilities are provided with first class service that will cater to your individual needs.
Activity spot, everywhere: Explore the undiscovered beauty of the Aitutaki, one of the natural wonders of the world. This unforgettable experience will have you snorkelling in untouched turquoise lagoons and enjoying pristine beaches. The luminescent waters brimming with marine life are a true treasure of the South Pacific and a ‘must see’ when visiting the island.
Adventure seeker, kayaking: Try out a subdued watersport on your escape and travel along sheltered lagoons in a kayak. Take your time drifting along the South Pacific waters, experiencing a healthy balance between relaxation and adventure, and see the island from a different perspective.
MARY KATRANTZOU
CHRISTOPHER KANE
Look to Christopher Kane’s lilac wonder to transition your look from daytime
Blissful Drifter-Cook Islands
Photos courtesy of Matthew William Ellis
discovering to sunset dining.
Billowing silhouettes and pastel shades will sweep you off your feet as you discover the islands. Choose relaxed shapes and sunshine hues for beachside bliss. CAROLINA HERRERA
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Culture hit: If you are looking to immerse yourself in a dose of culture, be sure to visit Galeries Eigen + Art/Lab. The gallery prides itself on showcasing new topics in Germany that are presented in a different context. The gallery provides a space for emerging artists, offering fresh talent an outlet to showcase their work.
Where to stay, Hotel – Das Stue: Standing in the heart of Berlin, this is the first luxury boutique hotel that exhibits an impressive range of early fashion photography and portraits. The neoclassical building is designed with a focus on contemporary use of colour and texture, and is fitted with spaciously sized room and high-quality furnishings.
MARNI
Urban Explorer-Berlin
BALENCIAGA
Shopping spot, The Corner: For all your shopping needs, make your way to The Corner Berlin, a boutique store in the heart of the city. The luxury store stocks a wide range of products from all your favourite labels like Balenciaga, Isabel Marant and Givenchy, ensuring access to the best merchandise available.
Balenciaga’s peplum top adopts a voluminous silhouette in an edgier leather fabric. Asymmetrical hemlines offer a modern twist to the style savvy city-slicker. FENDI
Louis Vuitton
Tailored separates make for practical yet stylish daywear when sightseeing. Louis Vuitton showcased elegance on the go, by teaming a delicate maxi dress with masculine ankle boots.
BURBERRY
As you explore the city of style, opt for a neutral colour palette of khaki, camel and monochrome. Look to muted hues of dusted pink and Burberry’s gentle greens. GIVENCHY
140 PRADA
Cultured Traveller-Tehran
Evoke ladylike notes with Gucci’s romantic texture play. Team graceful midi-skirts with a statement blouse for a modern update on traditional styles.
Stride in style as you follow a cultural path throughout the colourful streets of Tehran. Embrace artsy prints and bolder shapes by Prada. CHLOÉ
Historical guide, Shirin Gallery: Take a journey through the remarkable artistic world that is the Shirin Art Gallery.The gallery plays a pivotal role in Iran’s art movement, offering a cultural exchange between Iran and the international art community.
GUCCI
Fresh persepctives, Tehran Museum of Contemporary Art: Set in a unique modernist building, the Tehran Museum of Contemporary Art embodies its name. The eye-catching structure shelves a wide selection of Western and Iranian art and is bursting with creative and cultural stimulants.
Bridging the gap, Assar Art Gallery: Hosting a significant collection of modern and contemporary Iranian art, Assar Art Gallery plays a significant role in Tehran’s artistic landscape. Situated in the culture district of Tehran, the gallery aims to engage artists and audiences through its exhibitions, collections, collaborations and publications, both domestically and internationally.
Staycation, Alila Jabal Akhdar: Retreat to the majestic Alila Jabal Akhdar and seek solitude from the surrounding Al Hajar mountain range. Overlook one of Oman’s breathtaking landscapes of rugged untouched beauty, while experiencing the height of sumptuous comfort. Unwind as trained therapists perform anatomical massage and meditation to sooth your body.
Spiritual escape, Ananda: Nestled in amongst the tranquil Himalayan foothills rests Ananda, a wellness retreat offering the ultimate in spiritual discovery. Be at one with the surrounding Sal forests, an enchanting natural beauty that overlooks the serene Ganga. Create a new balance in life with traditional Indian wellness regimes of Ayurveda, Yoga and Vedanta.
Luxury escape, Cheval Blanc Spa: Located in picturesque Maldives, the Cheval Blanc Spa offers a ‘Wellbeing Journey’ that encourages a gentle restoration of the body and mind through wholesome, healing activities. Partake in ultimate relaxation treatments, spiritually healing yoga, specialized life coaching and nutrition betterment sessions, in order to rejuvenate the body, mind and soul.
CAROLINA HERRERA
EMPORIO ARMANI
If serenity is what you seek, leave for no distractions and opt for Emporio Armani’s pristine separates or opt for DVF’s
Wellness Seeker-Retreats
lightweight loungewear.
As you embark on a cultural cleanse, maintain a peaceful composure and keep your wardrobe simplistic, with relaxed silhouettes and fresh whites. DIANE VON FURSTENBERG
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Activity spot, Gstaad Palace: This 5-star winter escape is perched high above the mountains, offering breathtaking panoramic views of the spectacular Gstaad area. Boasting 250 kilometers of slopes for you to enjoy, as well as ice-skating, ice-climbing, snow golf and ballooning, to keep you thoroughly entertained.
Culture hit, Grand Hotel Zermatterhof: Pairing luxury accommodation with historic charm, the Grand Hotel Zermatterhof is one of a kind. Stylish interiors are comparable to a cozy ski lodge, with a stylish aesthetic that would satisfy the most seasoned traveller.
ELIE SAAB
Snow Queen-Swiss Alps
MAX MARA
Where to stay, Badrutts Palace: It’s prestigious repute amongst high society and Hollywood’s elite makes St Moritz an esteemed winter escape. Be pampered in the hotel’s renowned spa, Palace Wellness, and have a personalized in-room butler service take care of you.
Off-slope soireés require supreme elegance in the form of luxurious fabrics and effervescent furs. Lace detailing and bold embellishments evoke femininity amongst regality, for evenings of glamour. BURBERRY
CHLOÉ
Opt for winter-chic outerwear with Chloé’s shearling-lined coats and printed capes. Keep things light and minimal with Max Mara’s all-white ensembles and trapper hats.
VALENTINO
Marvel at the exquisite craftsmanship in Valentino’s delicately embroidered gown. Gentle sheer fabrics reveal a softer side, evoking a timeless allure. BALENCIAGA
Where I Belong Photographed by Matt Albiani Styled by Gregory Wein
Printed and pleated top and skirt and boots, all DIOR
Knitted tweed dress, Dior Abstract sunglasses and Dior Shades earrings, DIOR
Long dress and Dior Shades earrings, DIOR
Coat dress, low boots and CD 47 bag, DIOR
Knitted and linen dress, DIOR
Bar jacket and knitted net skirt, DIOR
Tweed top and shorts, low boots, Be Dior bag and Dior Shades earrings, DIOR
Embroidered top with pleated skirt and low boots, DIOR
Knitted top, skirt, low boots and Dior Shades earrings, DIOR
Sunglasses and Dior Shades earrings, DIOR
Knitted net skirt with top and Dior Shades earrings, DIOR
Model: Talia Richman at Ford Models Hair stylist: Anderson Medeiros Make up artist: Eric Vosberg using Dior Beauty Manicurist: Rachel Shim using Dior Beauty Videographer (see film on MOJEH.com) : Jean Paul Dia Digital Technician: Eric Vogel Production: Louis Agency
A Lo n e ly D e c ad e n c e Photographed by MARCO CELLA Styled by NATALIE TREVIS
Coat, DRIES VAN NOTEN | Ring, ROBERTO COIN | Ear cuff, RYAN STORER at Symphony
Dress, STELLA MCCARTNEY Face, La Base Pro Hydra Glow, Miracle Cushion 030, Belle de Teint 05 | Eyes, Grandiose Mascara 01 Noir Mirifique, Sourcils Definis 06, Hypnose Dazzling Brun Acoustique 165, Crayon Khol Noir | Lips, La Base L’Absolu Rouge, LANCÔME
Gilet, ETRO Face, La Base Pro Hydra Glow, Miracle Cushion 030, Belle de Teint 05 | Eyes, Grandiose Mascara 01 Noir Mirifique, Sourcils Definis 06, Hypnose Palette Taupe au Natural, Crayon Khol Noir | Lips, La Base L’Absolu Rouge, LANCÔME
Blouse and skirt, CHLOÉ | Necklace, ROBERT WAN
Dress, TEMPERLEY LONDON | Rings, BIL ARABI | Earrings, CA & Lou at Symphony
Dress, TEMPERLEY LONDON Face, La Base Pro Hydra Glow, Miracle Cushion 030, Belle de Teint 05 | Eyes, Grandiose Mascara 01 Noir Mirifique, Sourcils Definis 06, Anthony Vacarello Palette Golden Black, Crayon Khol Noir | Lips, La Base L’Absolu Rouge, LANCÔME
Blouse, OSCAR DE LA RENTA | Jumper, ELIZABETH AND JAMES at Bloomingdales Dubai Face, La Base Pro Hydra Glow, Miracle Cushion 030 | Eyes, Grandiose Mascara 01 Noir Mirifique, Sourcils Definis 06, Anthony Vacarello Palette Golden Black, Crayon Khol Noir | Lips, La Base L’Absolu Rouge, LANCÔME
Skirt, DRIES VAN NOTEN, Jumper ELIZABETH AND JAMES, at Bloomingdales Dubai | Blouse, OSCAR DE LA RENTA | Ring and bracelet, TORY BURCH
Dress and trousers, MARNI at Bloomingdales Dubai | Rings, BIL ARABI | Cuff, CA&LOU at Symphony
Dress, OSCAR DE LA RENTA | Gilet, TORY BURCH
Dress, DELPOZO at Symphony | Necklace, ROBERT WAN
Face, La Base Pro Hydra Glow, Miracle Cushion 030 | Eyes, Grandiose Mascara 01 Noir Mirifique, Sourcils Definis 06, Anthony Vacarello Palette Green Fever, Crayon Khol Noir | Lips, La Base L’Absolu Rouge, LANCÔME
Cape, ALEXANDER MCQUEEN | Ring, ETRO
Model: Annemijn Dijs at IMG Models Hair and makeup artist: Marisol Steward using LANCOME Photographer’s assistant: Federico Freda
Sculpting
The Dream Photographed by Anthony Arquier Styled by Alba Melendo
Silk cady dress, exploration flat ankle boot and solaris necklace, LOUIS VUITTON
Sheer knit top, soft plonge leather skirt and lingerie half boot, LOUIS VUITTON
(Left to right) Inspired shoes, triangle bag and sling back pump shoes, LOUIS VUITTON
Tonal ribs knitwear top, studded tweed skirt and inspired shoes, LOUIS VUITTON
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Light sheepskin fur jacket, flannel cashmere pant and exploration flat ankle boot, LOUIS VUITTON
Model: Mariina Keskitalo at Brand Models Assistant Stylist: Maki Make up artist: Cyril Laine Hair stylis: Rimi Ura Set designer: Julien O Production: Louis Agency
Light sheepskin fur jacket, macro ribs knitwear top and macro ribs knitwear skirt, LOUIS VUITTON
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T h e S to ry
The Pearl
Reawakening Pearls are often viewed as a thing of the past: A member of the jewellery family once adorning the older generation and then passed down as heirlooms, now rarely ever worn. Up until a few years ago, and in the Gulf region especially, you couldn’t be blamed for thinking just that, because what was once a fruitful trade in the Arab world (supplying an estimated 70 per cent of all natural pearls around the world, up till the 1950s) and one which formed a beautiful part of the region’s heritage, sadly dried up amidst the oil boom. Things are changing, and the region – namely in Ras Al-Khaimah, where young Emiratis are revisiting the lost seas – is reclaiming its stake in the industry. While providing international and heritage brands such as Van Cleef and Arpels and De Beers with their pearls is a feat to be celebrated, there’s something undeniably gratifying when regional pearls become the stars for other homegrown brands, such as Mouawad. “We source all of our gems with care, and RAK pearls are the perfect choice here, bringing absolute quality while at the same time also adding a deeper layer of meaning,” says Mr Pascal Mouawad. “Since pearls are very much part of the Gulf’s heritage and RAK pearls are breathing new life into this glorious past and safeguarding it for the future.” In this Flower of Immortality white gold necklace, gem–quality, white, cultured pearls play the centrepiece, and offer tribute to the legend of Gilgamesh, a pearl known as the flower of immortality, thought to be lying at the bottom of the Arabian Gulf. Hundreds of years later, these tiny sea creatures sit atop of their industry again. Time to reconsider your view on the tenacious jewellery pieces? We think so. 18K white gold necklace with emeralds, surrounding gem quality white cultured Ras Al-Khaimah pearls and white diamonds, MOUAWAD.
The New It Watch The Clé de Cartier timepiece arrives encapsulating an innate watchmaking heritage with unique technology. The unconventional ovoid case draws its inspiration from the late 1960s and 1970s, possessing an elegant, fluid contour designed to perfectly rest against the wrist. Every Clé de Cartier watch harbours a vivid and signature Cartier sapphire stone (or clé) that sits neatly in the crown. But, that’s where the similarities end. The new model branches away from previous designs, incorporating an innovative time and date setting carried out with an intricate pivot key, designed in-house and named caliber 1847MC. The 22-model collection includes three 35mm women’s timepieces accented with brilliant-cut diamonds surrounding the dial, with one of the models boasting diamonds on the bezel, dial, case and bracelet, perfectly accentuating the sapphire blue Roman numerals that trim the pearlescent guilloche face. All women’s models boast an 18-carat setting, whether in pink or white gold, but that shouldn’t rule out the possibility of choosing one of the men’s 40mm designs, which have been crafted with linearity in mind. The watch comes either with an alligator strap – here in vibrant fuchsia pink – or a bespoke bracelet. It’s those kind of details that make the Clé de Cartier a supreme choice, both in design and operation.
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S o c i ety B elles
Life in Jewels:
Gaelle Khouri Born in Beirut and educated in New York City, young jewellery designer Gaelle Khouri has carved a career different to most. Inspired by the natural world, we gain an insight into her unusual creations and her stylish world.
Photographed by Rudolf Azzi
Gaelle in her atelier in Beirut
In what ways has your background in
fields, but I had never expressed that strongly
giving it a try, and in spite of the many, many
economics and finance influenced where
before. I grew up in Tripoli, which is a city in the
challenges that came along the way, things
you are now?
north of Lebanon and the perception of success
started to unfold and to move forward from there.
I think having an academic and professional
there is in big part dictated by a limited number
background in economics and finance definitely
of academic fields. This has partly influenced
What drew you to jewellery?
contributed to what I do today. It has endowed
my academic choice and led me to major in
I think I always knew that I would end up in a
me with the ability to know where my true
a scientific field. But, when I was getting my
creative field and I knew that I would have my
passion lies, and provided me with the courage
Master’s degree in New York, I started to realise
own business, but not necessarily jewellery-
to pursue that. Also, my stay in New York City
that what I want to do is different from what I
related. When I decided not to take the job
that extended over a few years broadened my
was doing at the time. I think it was normal, as I
offer at Elie Saab, I started working again at an
perspective on things. The energy of the city
was growing up and maturing more to develop a
investment bank in Beirut. But, I certainly wasn’t
taught me how to think freely, without any noise,
better understanding of my real interests and me.
fully satisfied with my decision back then and
find my passion and dare to walk on a different
Also, I think having achieved myself academically
so, continued my search for something else.
but a right path.
– graduating on top of my class at NYU – and
I brainstormed a lot; I built models for fashion
In addition, my academic and professional
professional – working with renowned companies
business ideas, I even started developing a blog!
background taught me key entrepreneurial
– in the field of economics, gave me enough
And, then, I randomly met one of the most well-
skills, which I think are crucial for any start-up
confidence to know what I want, say it out loud,
known painters in the Middle East, and decided
business. It contributed significantly to my skill
and pursue it.
to take jewellery drawing lessons with him – not
set and to my ability to structure, organise and
I took the first and second steps when I took on
knowing where that would lead, So, it started
prioritise various actions and tasks. It taught me
an internship at Oscar de la Renta and then at Elie
as something on the side, which was very self-
crucial financial skills that I am using, in order to
Saab. I got job offers at both houses, but wasn’t
fulfilling from day one. I also think that the fact
keep track of cash flows, which is not very trivial
fully ready at the time to make the transition –
that I already had some drawing skills made me
since a lot of factors come into play and create
and, honestly, I think deep down I knew that
enjoy it even more.
a complex equation.
I wanted to start and run my own venture.
And today, I truly cannot express the joy I get
Then I took extensive private jewellery lessons
out of doing what I do. Despite all the challenges
How did you transition into design?
and developed a good portfolio within a few
and financial problems, being at the workshop,
The transition did not happen overnight. I think
months. The field of production was an unknown
creating and crafting pieces are honestly the
I always had an interest in creative and artistic
territory to me, but I took the hard first step of
most beautiful moments of my day.
190 Can you describe your creative process?
that exists between a woman and nature.
Visual influence aside, my reflective thinking is
Unfortunately not! Ideas and figures of pieces
The pieces translate the complexities of the
very much influenced by philosophical thoughts,
pop up randomly in my head. Mostly when I
feminine through the complexities of the universal.
which consequently impact my creative process.
go to sleep and overthink – like I always do, so
For instance, some designs portray provocative
I was particularly influenced by the writings of
I always keep a paper and a pen on the bed
and appealing physical characteristics of diverse
Michel de Montaigne, Hegel, and Nietzsche, who
table and draw a sketch when I see something,
species that compare in strong ways to human
helped me develop a better understanding of life
otherwise I will forget what I saw in the morning.
psychological characteristics.
and endowed me with the strength to pursue what I really love.
For me, creativity stems from the inside, not outside. Inspiration does not relate to what I
As a designer, who or what influences you?
see, but to what I experience emotionally. The
I think we are all constantly influenced by
You interned at Elie Saab and Oscar de
pieces I created are sort of my inner voice; they
everything that surrounds us, like random shapes
la Renta. What were the greatest lessons
are a tangible form of my emotions.
and forms. The amount of information we are
you learned?
accumulating and stocking is growing even more,
I learned that this is the field I want to be in. I
Tell me about the creative inspiration behind
due to various social media platforms. And so,
also learned that it is not going to be an easy
your recent collection
we passively stock the things that our eyes are
transition. Also, both experiences gave me great
Creating the pieces has really been a personal
exposed to in our memory and for people that
insight into the fashion and design world – I got
self-exploratory journey. I have used the design
design, everything they are exposed to influences
to see the different departments and sides of the
process to be inquisitive and reflective.
their work, whether they want it or not.
business and have a well-rounded idea about
I have always felt an instinctive connection
But, out of everything that gets stocked in my
how a fashion brand lives and functions.
with nature, which I try to expose and
head, I am particularly interested in strong
emphasise. So, the first collection, The
movements and shapes. I find beauty in
Where are your designs made and why?
Garden of Earthly Delights, reflects upon
intricate and complex shapes that are left
I have a small workshop in Beirut. All the pieces
the
unfinished and unclean.
I create are handmade, which means they are
deep-rooted
instinctive
connection
crafted on wax first, like a little piece of sculpture and this requires great craftsmanship skills, which we definitely have in Beirut. We actually have the best craftsmanship in the Middle East and I think one of the best worldwide. It is worth mentioning that the jewellery industry was introduced to Lebanon with the Armenians’ migration, after the Armenian Genocide in 1915. Do you ethically source any of your materials? Certainly – there is no exploration of diamonds here. Cutting and polishing of diamonds exists in Lebanon, but the centres that do so do not guarantee the expertise and proficiency of foreign diamantaires. Hence, most cut and polished diamonds are usually imported. How do you channel your Middle Eastern heritage through your designs? In the city where I grew up is the Gold Souk, which is one of the oldest in the region. I was exposed to that since I was little. So, this has definitely steered the artistic direction I took. I think my interest in intricate work and the amount of details that I invest in my pieces come from my Middle Eastern heritage, which is known for its crafted and elaborate jewellery. Also, many of my pieces follow the movement on the fingers and hands, which also relates to my Middle Eastern roots, as women used to cover their hands and body parts with big jewellery. From your own jewellery collection, what pieces do you treasure and why? That is a difficult question. I really feel attached to each and every piece. So much thinking and work has gone into each one. But, if I had to pick, I would maybe choose The Anchor earrings, which are one of the first pieces I created for the Garden of Earthly Delights collection. They are made of 18 kt yellow gold, set with brown Inside Gaelle’s home
diamonds and baroque pearls. Pearls are often worn by older woman, safer woman, and communicate a romantic and feminine feel, but
How would your describe your personal style?
I would say any celebrity, who is daring in
in the Anchor earrings, the bold design also
It really depends on the days and my mood. But,
her style and has a strong understanding of
creates a sense of fearlessness and edginess.
I usually go for something that is a bit edgy with
fashion and style. An example would definitely
This sharp contrast and dichotomy resonates
a bohemian feel. I love oversized shirts and do a
be Daphne Guinness. She is never boring,
well with my divergent personality traits.
lot of layering in winter and wear a lot of shorts
always surprising with her looks. She has
in summer. I also love ankle boots!
a great sense of style – she is daring, but always on point.
How do you wear and style your pieces? Most of the pieces I create are statement pieces.
What fashion pieces will you be investing in
They are fun, edgy, but elegant at the same time.
for your winter wardrobe?
What’s next? What’s your vision for the
So, they could be worn with a casual outfit like a
The Stella McCartney wool-blend coat, Isabel
future of your brand?
pair of jeans and loose shirt, or a more elaborate
Marant embroidered suede boots and Nathalie
I launched the brand only a few months ago
outfit like an evening long or short dress.
Trad’s Carlyle clutch!
and now I am looking forward to my first
The pieces work well with all kinds of outfits,
stockist in London! The pieces will very soon
but it really takes a fashion-forward woman with
Which celebrities would you love to see
hit the shelves at the Talisman Gallery at Harvey
sophisticated taste to pull the piece off.
wearing your designs and why?
Nichols in London!
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tal k ing p o i nt
In High Jewels We Trust Once considered a vestige of social class, high jewellery has shifted focus to become a viable business venture for those willing to invest.
By Christopher Prince
Gilded Gardenia, photographed by Anthony Arquier, MOJEH Issue 25
194
After Show, photographed by Stefania Paparelli, MOJEH Issue 13
When the stock market fluctuates and you hear the word
of perspiration, can trigger rapid deterioration. Think about
‘volatility’ interjecting your conversions, you may find yourself
it – would your favourite Birkin bag, (an investment piece in
thinking, “Is there an investment I can make that will not only stand
its own right) be as valuable now than when first purchased
the test of time and look beautiful, but also fund my old age?”
in pristine state? No. But what fun is it to own a Birkin bag for
We never want to think about retirement, simply because it
only you to see? The consensus is that the more you enjoy
isn’t attractive. But, what if high jewels, so brilliant in all their
your favourite possessions, the less they’ll be worth.
decadence, can make that thought a little prettier? Buying
It’s natural to assume high jewellery suffers the same demise, but
jewellery is no less damaging to your disposable income than
that isn’t the case. Unlike a couture gown or an interior finishing,
say, commissioning a bespoke piece of furniture, or donning
where you can clearly see the craftsmanship, investing in high
a vintage Chanel suit from the Twenties, but the security is
jewellery garners much more intellect than people probably
that it won’t deteriorate in value.
expect. Choosing to invest will leave you vulnerable to making
While it isn’t always the case that those who buy high jewellery
the wrong decisions – for example, what is the difference
do it to parade their wealth, you can’t get the same level of
between a valuable stone and a piece of signed jewellery?
gratification from something as large as a salvaged Louis XIV
And, how can you tell if that’s a real Suzanne Belperron
rosewood bureau hanging from around your neck, or indeed
‘corne d’abondance’ brooch or a second-rate knock-off?
on your wrist or finger. Garments, if subjected to a single drop
“Collecting is not just price and attraction, but also learning
about creation and craftsmanship, along with the social,
“I would be interested in the most recent decades, like 50s,
economic and cultural context in which the creation was
60s and 70s, because pieces from this period just arrive on
made,” explains Pierre Rainero, Heritage & Style Director
the market today and they are less known probably than the
at Cartier International. “A high jewellery creation is a very
rest,” says Rainero.
particular piece, beyond the value of the stones and the metals
Likewise is Keith Penton’s observation at Christie’s. “Many
with which it is made. It carries within itself the human eyes and
jewels produced in the early 20th century are recognised for
hands, ancestral skills passed on from generation to generation,
the strength of their design coupled with high production
to master and maintain the mystery of setting jewels.”
values, but there were also several decades after the Second
If you don’t possess the knowledge, the trick is to go to
World War when high jewellery was at a peak due to larger,
someone who does, like an auctioneer. At Christie’s, the
better quality gems becoming available again as evidenced
infamous auction house established in 1766, investors are
by some of the production of Harry Winston.”
looking for both style and substance. “They want to know that
To successfully invest in high jewellery, a collector must be
they are buying a good stone or jewel that will be a good store
able to sort the real from the fake. Penton’s advice would be
of wealth, but also something that they will enjoy wearing,”
to simply “go for quality every time.” David Bennett’s more
notes Keith Penton, head of Christie’s Jewellery Department
realistic approach is to “ask for certificates to accompany the
in London. “Trust is a key element in our relationships with
jewel, which attest to quality and origin”.
our collectors and at some point in the future, they or their
But, it isn’t always that simple. Often, a piece of jewellery
heirs may wish to sell their collection through us.”
triggers an emotional response that doesn’t necessarily
There’s also the matter of what pieces to choose and from
depend on the size and weight of a stone, and you can’t
which brand. Cartier, Van Cleef & Arpels and Bulgari, which
help but have it. “Trust your taste,” says Bennett, “because if
Penton classes as the “Great Houses”, are perennially sought
you like something and you feel a connection with it, someone
after. “Signed jewellery, particularly from the Art Deco period,
else most likely will too if you come to sell it.”
jewels with provenance, natural saltwater pearls, unheated or
Though high jewellery specialists keep tight-lipped about their
treated sapphires and rubies, coloured diamonds of a pure
particular clients, which Cartier’s Pierre Rainero attributes to
hue and good clarity, a flawless white diamond weighing in
‘shyness’, they’re happy to note the global evolution of the
excess of 10.00 carats,” are just some of his suggestions.
industry itself. “Asia, America, Russia and the Middle East,”
And then, there’s the option of repurposing high jewels.
are leaders in high jewellery buying according to Christie’s.
“A tiara is always worth considering especially if it can be
“Collectors are generally better informed nowadays and some
converted to a necklace.”
women are more likely to buy their own jewellery.”
But, why stop at signed jewellery? Value of worth is secreted
For high jewellery brand Mouawad, whose biggest market is
in obscure stones, “Like Burmese rubies, Kashmir sapphires
the Middle East, it’s all about building ties with their client.
and of course, emeralds from Colombia,” according to David
“When we design, we aren’t specifically thinking Middle East,
Bennett, Worldwide Chairman of Sotheby’s International
but at the same time having close relationships with clients
Jewellery Division. For an auction house like Sotheby’s, it’s
in that part of the world, stretching back decades, gives
all about breaking the record books.
us a unique insight into what they prefer,” explains Pascal
“We’ve seen continuing strong demand in recent years for
Mouawad. “The high jewellery category is currently enjoying
diamonds and especially coloured diamonds. For example,
growth, which can be attributed to a slight cultural shift, with
the current record-holding “Graff Vivid Yellow” (sold at
women increasingly having financial power and choosing to
Sotheby’s Geneva, May 2014 for US$16.4 million), and the
make purchases for themselves, and also a growing inclination
“Zoe Diamond”, which set a new record for a blue diamond
for the wearing of high jewellery in less formal settings than
last year (sold at Sotheby’s New York for US$32.6 million).
traditionally was the case.”
Since April 2014, Sotheby’s has broken the world auction
Buying and selling are equal components when turning a profit.
record per carat for a Kashmir sapphire four times – the
David Bennett notes there has been a “generational change”
current record was set in Hong Kong less than a week ago:
in the attitudes towards investing in high jewellery, particularly
The 27.68-carat “Jewel of Kashmir” sold for US$6.7 million
in the Middle East. “There’s been a dramatic increase in the
or US$242,145 per carat.”
number of sellers in the region, predominantly people who
Often, historical or noble provenance plays its part in enhancing
inherited jewels and approach us to request a valuation or
the appeal of a piece of jewellery. “The ‘Beau Sancy’ – a
advice. It is always very interesting for us to advise clients
stunning 39.48-carat diamond, which passed among Europe’s
in the region on the value or potential of their collections.”
royal families over four centuries, was sold by Sotheby’s for
With people taking on such an entrepreneurial approach,
US$9.7 million in May 2012,” continues Bennett. “Coming up
it’s no wonder that the high jewellery investment market
in Geneva on November 11th is “Queen Maria-José’s Ruby
is thriving. Combining expertise with a shrewd business
Ring”, which belonged to the last queen of Italy and boasts
strategy, whether that means keeping within the safe
a beautiful 8.48-carat Pigeon’s Blood Burmese ruby.”
haven of big brand signed pieces, or branching out into
For a brand like Cartier, the emphasis is less on individual
more rarefied jewels, there’s evidence enough to know
jewels and more on the time period in which they came from.
that as long as quality is key, you can’t put a foot wrong.
ZUHAIR MURAD HAUTE COUTURE AW15
196 A cc es s o ry affair s
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2
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4
5
Gilded Pixie Call forth the spirit of nature with a mesmerizing array of abstract and free flowing pieces that reference flora and fauna in polished modernist perfection. Watchfaces are concealed in enchanted blooms, while brooch pins flutter in polished silver and washed diamond, as rings in rose gold and silver intertwine methodically.
1. CINDY CHAO | 2. CHANEL | 3. HARRY WINSTON | 4. CHOPARD | 5. LUCIFER VIR HONESTUS | 6. MESSIKA
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GIAMBATTISTA VALLI HAUTE COUTURE AW15
198
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Soirée Gems Go bold for fall, as larger than life gems in surrealist colours of ultraviolet and chemical pink ignite against wrists and fingertips with youthful exuberance. Jewellers distill couture elements into fine jewellery with hand-placed elements, panelled diamonds and futuristic intricacy.
1. DE GRISOGONO | 2. EUGENIE NIARCHOS | 3. CHANEL | 4. NADA G at S*uce Rocks | 5. HERMÈS | 6. LA MARQUISE
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M o j eh I ns ig h t
High Drama This year, fine jewellery has shed its stuffy persona and embraced its energetic side, with designs that express costume qualities. But, what’s prompted these playful pieces? By Laura Binder
Image courtesy of Getty
Reese Witherspoon, Olivia Wilde, Francesca Amfitheatrof and Amber Heard attend the 2015 Tiffany Blue book dinner
A brunette 20-something arrives at the De Beers London head office each morning, cycling to work in a simple ensemble of jeans and trainers. At first
Emma Watson wears an Oscar de la Renta ear cuff
glance, you’d be forgiven for dismissing the pretty, freckle-faced commuter as just another trainee. Look closer, though, and you’ll find it’s none other than Hollie Bonneville Barden, De Beers’ Head Designer – the youngest ever appointed. Despite her obvious youth, the 28-year-old has been part of the century-old diamond giant for four years, impressively turning her freelance position into that of head poncho – and all before her 30th birthday. “It’s certainly been an amazing and inspiring environment to develop myself as a designer,” says Bonneville Barden. “It’s also really reassuring that companies such as De Beers want to invest in young talent and are able to nurture and recognise that quality.” Is it this rare combination of heritage and youth, then, that’s prompted one of the world’s oldest high jewellery houses to release contemporary designs with a fresh new feel? Bonneville Barden thinks so. “My ambition to drive designs with fresh creativity combined with the long-lasting heritage and expertise of De Beers creates contemporary design with timeless elegance,” she says. The proof is in the pieces. Until now, De Beers has been famed for its iconic diamonds – from the 203-carat pear-cut Millennium Star diamond to the iconic DeBeers Marie Antonette
wearable and relevant for a modern woman.”
Necklace, one of the world’s most expensive.
Look beyond De Beers and you’ll find that
Most recently, though, their pieces depict a look
they’re not the the only esteemed house to be
that’s altogether more playful, more wearable,
‘moving with the times’. Piaget’s Biennalle 2014
bordering on that of costume jewellery in its
Extremely Piaget collection included none other
design aims. Take Drops of Light – transformable
than a pair of ear cuffs. With 18-carat white gold
jewellery that the modern woman can wear from
set with 11.59 carats of marquise-cut diamonds
day to night – or the new Tailsman collection.
and 20 brilliant-cut diamonds, they stay true to
Launching in September, the latter includes
the maison’s highbrow form. Yet, designed to
detachable studs for versatility and enables a
be worn behind the ear, the cuff-style design
multitude of looks. It’s certainly far easier than
cues an experimental dawn for a brand that’s
wearing the Marie Antoinette from morning
steeped in tradition. It wasn’t just a daring one-
meeting to evening cocktails…
off, though. Piaget continued to elevate the ear
The renewed approach is one that Bonneville
cuff to full fine-jewellery status, by showcasing
Barden advocates. “We see more and more that
a second design featuring yet more marquise-
woman are breaking the rules in terms of how
cut diamonds and ink-blue sapphires radiating
they wear fine jewellery and it’s really exciting
from the ear.
to see major houses reflecting this in their
Indeed, across-the-finger rings and ear cuffs
innovative approaches,” she tells MOJEH. “High
appear to have officially made the transition from
jewellery is set in traditionalism and heritage,
high fashion to haute joaillerie with the help of
but we must continue to create pieces that are
such grand maisons. Garrard, too, embraced
202 not just the lobes, but the entire ear with a
Hepburn, flitting around town in diamonds and
pair of ear climbers – albeit bow-shaped and
a little black dress, and more an independent
diamond-encrusted – while Mellerio dits Meller
modern woman with a multitude of roles. “The
has been seen to create the most elaborate of
Tiffany woman has a spring in her step,” says
cuffs: Curling around and over top the ear in a
Amfitheatrof. “She makes her own rules and she
tantalising tangle of diamond-encrusted leaves.
doesn’t conform. Tiffany T is first and foremost
Look to the hands, meanwhile, and rings have
modern and makes no apologies for that.”
taken an equally costume-inspired form. Van
Is it this modern woman, then, who dictates that
Cleef & Arpels Cadeau d’Orient ring took
fine jewellery houses create pieces that are no
inspiration from the famous French fairytale
longer merely beautiful but innovative; exciting
Peau d’Âne, presenting a colourful combination
rather than classic? Amfitheatrof thinks so.
of turquoise and purple Sri Lankan sapphires,
“Jewellery is a great way of putting a signature on
which spill over the fingers like vibrant stone lava.
your outfit, of adding a strong dose of personality
Indeed, high jewellery rings no longer appear to
and making a statement about who you are
limit themselves to a single digit. Boucheron’s
and how you want to be perceived as,” she
opal piece is a regal across-the-finger design
says. “The possibilities for styling Tiffany T [for
inspired by ancient Indian palaces, while the one-
example] are just about endless, which adds an
off Ricochet ring – created for the Biennale de
element of fun and individuality for customers.”
Antiquaires – boasts diamonds and rock crystal
Italian heritage brand Buccellati takes a similar
that appear to almost skitter across the hand
stance. Although it has a history boasting
like a pebble over water. Perhaps most apt of
timeless and traditional pieces, which the brand
all, though, is the Boucheron Ispahan ring, which
continues to stay close to, a new era takes hold
features rock crystal cut as if it were a diamond (cue subtle shades of blue) and hematite, a stone rarely used in high jewellery. Elsewhere, Tiffany & Co can be seen hopping to a brand new beat too, with pieces that look more
Cara Delevingne wears a Chanel ear cuff
at home on the likes of rock chick Cara Delevigne than the fawn-like form of Tiffany icon Audrey Hepburn. Could the newly-appointed Design Director Francesca Amfitheatrof be behind the change? At 44 years old, Amfitheatrof not only has youthful looks on her side (she looks not a day over 34), but is the first-ever female to be hired for the role. Which perhaps makes her perfectly placed to assess the needs or wants of the modern Tiffany & Co woman. Ask Amfitheatrof about her take on Tiffany & Co’s 177-year-old history and she’ll tell you that contemporary, forward-thinking designs are the direction they should head in. “This frame of mind links directly back to the company’s founder, Charles Lewis Tiffany,” she tells MOJEH. “He was a firebrand, a risk taker, someone who constantly did things no one else had the courage to try. At Tiffany, we carry forward that spirit of risk and vision. We’re unfettered by historical styles or schools of design; rather, we create with a freedom to make – and break our own rules.” Upon her appointment as Design Director, she launched the ultra-modern ‘Tiffany T’ – a line with sleek shapes and materials meant for layering and daily wear, as opposed to being shut in a jewellery box, brought out only for special fine jewellery. “The ‘T’ pays homage to the Tiffany name, but it also has a verticality and angularity that I associate with the energy and intensity of New York,” explains Amfitheatrof. The modern New York woman, then, is less 1960’s Audrey
Image courtesy of Getty
occasions – as is often the case with traditional
Chloe Grace Moretz wears an ear cuff by NAC Jewellers
Fleur de Indes Indian Palace Ring, BOUCHERON
Flexible Bracelet, BUCCELLATI
204
While diamonds are always in style at the Oscars, the biggest trend to be seen were ear cuffs – in their most spectacular form, of course.
Image courtesy of Getty
Scarlett Johansson wears an ear cuff by Piaget
at the house as 25-year-old Lucrezia Buccellati
comments Kashanipour. “In the GCC, women
sits at the helm of design. ”Buccellati has its own
have always been about the accessories and
very defined and recognizable style, which has
they wear them so well! Our feather hand cuffs
never changed: Some pieces are quite linear and
and new Occhiu handcuff from the Oculus
can be worn with very casual outfits,” says Maria
collection do so well in the Middle East.”
Cristina Buccellati, communications director.
This crossover from wearing classic pieces to
”Nevertheless, we have Lucrezia, from the fourth
those that exude costume qualities says much
generation, who has started designing jewellery
about the women who wish to wear them.
along with her father, Andrea (Buccellati’s
A sentiment that Amfitheatrof agrees with.
Creative Director). Her first collection was
“Jewellery is art for the body,” she says. “It’s a
dedicated to a younger target and as always,
common thread that runs through generations
has our DNA – but, it is easier to wear.”
and cultures from the beginning of time. We
The dramatic approach is spilling over on the red
have always adorned ourselves and used
carpet, too, with a whole new look that’s less
jewellery as a sort of completion of ourselves.
classic Old Hollywood and more current. While
It’s a way of expressing your personality,
diamonds are always in style at the Oscars, the
sometimes telegraphing your social status
biggest trend to be seen were ear cuffs – in
and, ultimately, making your mark in a tangible,
their most spectacular form, of course. Take
beautiful way.”
modern glamour icon Scarlett Johansson, whose
Time-honoured maison Garrard, however, is
half-shaved head was the perfect backdrop
loathe to acknowledge any relationship between
to a Piaget ear cuff made from pink gold with
‘costume jewellery’ and ‘high jewellery’. “At
five pear-shaped emeralds, 278 brilliant-cut
Garrard, we only use the finest gem stones
diamonds, four pear-shaped aquamarines and
carefully sourced from around the world, which
two pear-shaped green tourmalines. Chloe
are then turned into beautiful pieces of jewellery,
Grace Moretz, meanwhile, chose to accessorise
designed and handcrafted in our in-house
her somewhat grandmotherly gown with an edgy
workshop in Mayfair,” says Garrard’s CEO, Eric
diamond ear cuff, while Emma Stone opted
Deardorff. “Costume jewellery and fine jewellery
for a Tiffany Blue Book rose-cut diamond cuff
are completely different industries. Starting
around her wrist.
with the look and feel, down to the end client.
It’s a manoeuvre – from the classic or timeless
There really is very little in common, perhaps
to the current and daring – that’s happening
only that both are called ‘jewellery’.” That said,
not just internationally, but regionally too.
Deardorff is only too happy for Garrard to use
Take LEIVANKASH, for example. Founder and
first-class gems in what is an undeniably more
Creative Director Leila Kashanipour has built
contemporary way than ever before. “Despite
upon her classics collections to bring unusual
being a historic heritage brand, Garrard does
designs that include not just ear cuffs, but hand
embrace innovative design and modern day
bracelets and ear jackets. Leila herself is a fan
relevance,” he concedes.
of their costume qualities, “I do like to wear
The question on aficionados’ lips may be, ”Will
jewellery in an unconventional way and even
we still be wearing cuffs or across-the-finger
if the pieces are simple, I tend to style them in
rings in 10 years’ time?” Many would say not,
a more fun manner,” she says. And she’s not
expecting the apparent ‘trend’ to pass like so
the only one. Her pieces can be seen adorning
many costume-style design pieces do. Yet if
the likes of Kendall Jenner, Erin Wasson, Cara
some of the worlds’ finest maisons are pledging
Delevingne, Olivia Palermo, and Rita Ora.
their creativity and diamonds into such innovative
Stocked at Harvey Nichols, Luisa Via Roma and
styles, such costume qualities may well be here to
Saks 5thAvenue, the combination is clearly on
stay. But, whether you’re a classicist or a modern
point for fine jewellery buyers. “I think over the
woman in matters of fine jewellery, few can
past few years, people in general have grown to
deny that it’s an exciting and experimental new
love wearing more visually interesting pieces,”
dawn for the world’s greatest diamond houses.
Peau Ane-Mariage-Bague Ring, VAN CLEEF & ARPELS
Drops Of Light Riviere Earrings, DE BEERS
Marie Antoinette Ring, DE BEERS
A Magnificent Obsession Photographed by Julien Vallon Styled by Camille-JosĂŠphine Teisseire
Lion Perles earrings, CHANEL Fine Jewellery Face: Complexion, Le Blanc de Chanel, Vitalumière Aqua 10 Beige, Correcteur Perfection 10 Beige Clair, Eclat Lumière 10 Beige Tendre, Joues Contraste Lumière 12 Coups de Minuit Eyes, Le Volume Ultra-Noir de Chanel 90 Noir Khol, Collection Holiday 2015 Rouge Noir , CHANEL Beauty (throughout) Eyes, Signe Particulier Exclusive Creation, Ecriture De Chanel 10 Noir, CHANEL Beauty
Makeup: Lips, Rouge Allure 109 Rouge Noir, CHANEL Beauty
Lion Pépite rings, CHANEL Fine Jewellery Makeup: Eyes, Signe Particulier Exclusive Creation | Nails, Le Vernis 18 Rouge Noir, CHANEL Beauty
Makeup: Illusion d’Ombre 257 Rouge Noir, CHANEL Beauty
Lion Pépite ring, CHANEL Fine Jewellery Makeup: Nails, Le Vernis 18 Rouge Noir, CHANEL Beauty
Makeup: Lips, Rouge Allure 237 Vaporeuse, CHANEL Beauty
Model: Taya Ermoshkina at Supreme Management Paris Hair stylist: Quentin Nguyen Makeup artist: Aude Gill Manicurist: Miss Moji at Backstage Agency Production: Louis Agency
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B e au ty T ip s
The Essence of Couture Margiela AW15 Haute Couture
In an ode to Audrey Hepburn, oversized glasses show off candid beauty backstage. Accentuate your look with statement accessories and maintain refined makeup for effortless everyday styling.
The length of hair is concealed as tucked tresses provide an illusion of a shorter do. Volume is instantly enhanced in a playful yet coy style, providing an alternative to the daunting bob.
Derived from the sartorial power of Couture, beauty emerges as essential factor in its overall allure. Discover the latest trends emerging from Haute Couture A/W 15, as its predictions for the season are revealed.
Giambattista Valli AW15 Haute Couture
Atelier Versace presented a contrast from previous shows, unveiling a delicate styling. Fragility was expressed through soft-feathered details and natural wispy hair. Atelier Versace AW15 Haute Couture
Turn to the dark side with dramatically moody eyes, as thick shadows of charcoal liner exhibit elements of mystery and drama. Faint traces of midnight blue mesmerised, as they are faded into the look.
Rani Zakhem AW15 Haute Couture
Abstract beauty is conceived in strokes of Azure. The eccentric nature of this look is uniquely expressive and is adopted in this season’s hottest colour.
Exude radiance with a dewy complexion and warm golden tones. Luminous skin appears iridescent, as fresh faces models don a more refined look. Bouchra Jarrar AW15 Haute Couture
Jean Paul Gaultier AW15 Haute Couture
216 Georges Hobeika AW15 Haute Couture
Dany Atrache FW AW15 Haute Couture
Minimalism is maintained through a sleek, polished updo. Hair disguises natural partings as it’s pulled back into a low, asymmetrical ponytail.
The conventional chignon has found new life, reinterpreted into a majestic updo. Carefully placed metal details are included into the style as luxury is presented at its finest.
Gender-defying hair replaces traditional styles at Armani Prive, with vibrant pouts playing off against bold fabrics. Flushed cheeks balance bold varieties in a nod to a decade passed. Armani Prive AW15 Haute Couture
Stephane Rolland AW15 Haute Couture
Stephane Rolland looks to the Middle East, with opulent golden details. A matching look was envisioned, pairing seductive red lips and nails in a potent formula.
Subtlety is the essence of this look. Light shadowing of dark pigment borders the outer eye, while romantic tresses complement intricate details from the garment.
The fresh return of coloured pigments clouds the eyes this season, as renewed blue and green lids leave onlookers spellbound. Rosy cheeks are met with glossed lips to create a whimsical look. Schiaparelli AW15 Haute Couture
Ralph & Russo AW15 Haute Couture
218 Gothic beauty emerged backstage with pale porcelain skin and a dark fantasy lip. Innocent femininity masks an eerie edge as mysterious beauty is revealed.
Lan Yu AW15 Haute Couture
Textured locks appear organic as the undone appearance of tousled hair is exposed. This manageable style can easily be replicated with selected products and
Gold accents at Elie Saab echo modern-day regality, evoking romance through enchanted garden prints. Gilded crowns decorate unassuming hair, transforming them into whimsical works of art. Dior AW15 Haute Couture
Elie Saab AW15 Haute Couture
Photo courtesy of GoRunway, Getty & IMAXTree.
minimal effort.
Photographed by Sarvenaz Hashtroudi
As we wave goodbye to the barelythere hues of last season, embrace bolder shades for your nails; from Chanel’s defiant blue to Guerlain’s glistening purple, opt for vibrant peacock colours.
From top to bottom: CHANEL, Les Vernis, Vibrato 665 | GUERLAIN, 903 | OPI, Green on the runway | REVLON, Edgy | DIOR, Metropolis 701 | CIATÉ, Regatta 076
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b o dy F o cus
The
New
Hydration High summer takes its toll more than you might realise. As we move out of the intense heat towards the cooler months and the events season ahead, focus on revitalising and replenishing your body.
Born Free, Photographed by Marco Cella, MOJEH Issue 28
Studies in beauty yield new and exciting components geared towards better skin and hair, and at no other time of year do we need it more than now, post high summer, when soaring
Clarins Everlasting Foundation is rich in moisture and consistency, a natural way to add hydration to your daily routine.
temperatures, sand and saltwater show their marks. And, as we approach the festive time of the year, it is pivotal to look and feel our best with a combination of new beauty essentials that aid to stabilize dehydration, whilst retaining natural moisture and combating the effects of environmental pollution. Across the following pages, explore a range of topics, from the latest hair treatments in caviar to the top shades in autumnal makeup and the best places to get a classic blow out, along with inspiration for this season’s trending hairstyle go-to.
As a starting point, attempt to adopt the below notes in to your regime to repair, nourish and enrich.
1. The Vitamin PP in nectarines enhances the synthesis process of epidermal lipids that serve as natural waterproofing for the skin, helping it keep hydrated. 2. Attain plump cherub-like skin and illuminate fine lines caused by dry atmospheric conditions with hyaluronic acid, present in Insitut Esthederm’s Intensive Vitamin C Cream. 3. Essential elements and natural moisturising factors, such as
Lancome’s Visionnaire Nuit Beauty Sleep Perfector is essential for rebalancing the skin after long flights during the holiday months.
amino acids found in quinoa, help in the organic preservation of water in the skin. 4. Vitamin E in blackberries helps in the prevention and reparation of the dermal structure against damage caused by UV rays that induce a form of collagen (foundation protein of the dermis)deterioration, resulting in wrinkles. 5. Moisturising is a golden rule for city–dwellers, as air-conditioned and centrally heated environments add to dehydrated skin, robbing it of its natural moisture. Try a heavy duty cream, such as Dior’s Prestige moisturiser. 6. Chlorine present in drinking water has negative impacts on the
Institut Esthederm’s Intensif Vitamine C Formula aids in skin repair.
skin. Utilising a carbon water filter for your home will ensure that your skin is exposed to spa quality water, free of contaminants. 7. Hydration is integral. The skin contains 64 per cent of water, the levels of which are directly influenced by water consumption, physical environment and skin products being used. Clarins Foundation retains the skin’s natural moisture. 8. The correct type of moisturiser is one that does not stop the skin from breathing, whilst retaining natural water on the surface – such as Lancome’s Vissionaire Nuit. 9. Harsh weather dehydrates hair and skin; humidifiers help control the natural humidity in homes and regulate it efficiently.
Dior Prestige’s nourishing properties re-sculpt, contour and hydrate.
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Anti-pollution serums such as Clarins UV PLUS become the norm, aiding skin to hydrate and self-protect against harmful toxins.
Detoxify against dryness and dehydrated skin with Guerlain’s Orchidée Impériale Night Essence, which soothes redness and softens skin tone.
Light fragrances such as Givenchy’s Dahlia Divin slide delicately across skin, without soaking up moisture.
Give your skin a rich boost of Omega 3, 6 and 9 for that revitalising glow, with Aurelia’s rich bioorganic formula.
Polish your body and rejuvenate coarse skin with nourishing elements by Elemis body scrubs.
Lather yourself in the natural oil by Jo Malone, which penetrates pores in scented blackberry for smoother skin.
Amanda Lacey’s miracle tonic combines soothing mint and rosemary for intense spot correction and climate-induced irritation.
Ward off environmental fatigue and harmful radiation with a rich elixir of combined vitamins and lightweight potions, which sink into pores and soothe against harsh climates.
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Detoxifying the Body Stepping inside the quiet sanctuary that is The Pearl Spa at the Four Seasons Dubai is enough to bring on the sense of calm embodying the perfect prelude to a detoxifying body treatment. Pink Himalayan salt and macadamia oil combine to cleanse and exfoliate, before a silky natural mask is applied. “Most of the ingredients are marinebased,” says our experienced beauty therapist Titi about the Sodashi products used. “Seaweed, green clay, spirulina, lemongrass, ginger and rosemary: All good for breaking down cellulite.” Cocooned in plastic to encourage pores to open and the mask to do its work, a soothing face and head massage follows, before a combination of ginger-infused contouring gel and cream tone and moisturise. The result is smooth, glowing skin and a burst of energy from the mineral mask, making this a feel-good treatment that we would happily make a regular indulgence.
Repairing the Face After the long, hot summer, your skin needs a pick-me-up. With blasting airconditioning, rising humidity and the sun’s strong rays, the skin on your face can appear like it’s been fighting a never-ending battle. Located in Dubai Mall, Obagi MediSpa offers a significant solution. Their Mesofacial employs a procedure performed with a new and innovative technology. Using a Dermapen (a microneedling device with a vibrating stamp-like motion) it tightens your epidermis, helps to reduce fine lines and wrinkles, minimises pore size and rejuvenates The Pearl Spa, Four Seasons, Dubai
your skin all over. Your skin is left feeling soft, plump and fresh. It’s the perfect treatment before the invitations start rolling in for events over the festive season.
The Talise Ottoman Spa, Jumeirah Zabeel Saray, Dubai
Reawakening the Sense We looked to Jumeirah’s Zabeel Saray Talise Ottoman Spa to wash away any hang-ups and debris left over from the harsh summer months, for both our body and mind. In stepping into the spa we’re met with a serene setting, as the sound of softly flowing water trickles out from the numerous relaxation pools and saunas. Senses relaxed, we pass through the women’s private hammam area towards an intimate treatment room, decorated in traditional mosaic and delicate hues of blue and gold. In the following hour, and from head to toe, we’re scrubbed and exfoliated to remove any dead skin cells, toxins and promote renewal. We’re then soothed with a gentle and moisturising silky soap, which envelops the skin as our Turkish masseuse gently massages the skin. To end the rejuvenating journey, a mask is slavered on in which sea salts rid any remaining toxins and pure honey restores and traps every ounce of goodness from the last 60 minutes.
Obagi MediaSpa, Dubai Mall
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5
3 2
4 6
1 7 Nothing speaks luxury like gold and exuding opulence is forecasted for fall. Warm golden shade filtered though the catwalks at Fashion Week, as precious metals were pressed onto lids and sparkling copper and bronze pigments were dusted onto cheeks. This season, it’s all about keeping a touch of the summer sun in your winter look. 1. CLARINS, Pretty Day & Night Autumn Make-up Collection 5-Colour Eyeshadow Palette | 2. DIOR, Diorshow Fusion Mono 631 Blazing | 3. BOBBI BROWN, Extra Illuminating Moisture Balm | 4. CHANEL, Rouge Allure 162 Pensive | 5. DIOR, J’adore Touche de Parfum | 6. GIVENCHY, Metallic Shimmer Eyeshadow 4-Colour | 7. GIORGIO ARMANI, Gab Eclipse Collection Eye Tint 13 - ZéNith | 8. CHRISTIAN LOUBOUTIN, Maya Lip Definer
8
Alberta Ferretti SS16
228
b o dy F o cus Milan street style
The evolution of the bun is continuing to
Hair is loosely twisted
diversify. Fall’s newest hair trend is set to
up and lightly folded
be a sure favourite and perfect for giving
in a carefree attitude.
hair tired by the sun and sea salt a well-
This easy, on-the-go
needed break. With a multitude of options,
style is ideal for
choose the one that’s right for you.
channelling that celeb or model-off-duty look, as it requires little effort without compromising on style.
Taylor Swift
This style makes for a simple solution to any unforeseen ‘bad hair days’. The key to it rests in the position – lowering the placement of the bun will provide a sense of effortless elegance.
To restore moisture: Hydrate your hair with a nourishing hair spa
To get rid of sun-damaged ends: It goes without saying that a fresh
treatment that will leave your tresses revitalized. The caviar treatment
cut is regularly needed to maintain the health of your hair. Fadi Chedid
from White Avenue aims to combat harsh weather exposure and prep
Salon’s precision and attention to detail will ensure that any hairstyle
your locks for styling.
you wish to obtain will have a polished finish.
Photo courtesy of GoRunway, Getty & IMAXTree
Giovanna Battaglia
Milan street style
Look to sunnier days with a beach-
If structure and
inspired updo. Gently pin tussled
sophistication is what
tresses back, allowing for smaller
you’re after, sweep
sections to delicately fall. For a slightly
hair back disguising
more undone look, give the hair added
your natural parting.
texture and gather it in a looser knot.
Opt for a unique overlapping design to provide a modern edge that gives onlookers a reason to turn back.
Heidi Klum
For a polished look, sweep hair back and bundle it into a small bun that rests gently on the nape of the neck. If your hair is short, carefully tuck any loose ends behind your ears. Vanessa Hong
For those lazy hair days: For the perfect blow dry to achieve this
For post-summer colour correction: Nicolas & Jean are trusted hair
season’s hottest hairstyle, head to The Loft. Whether you are trying
colourists, renowned in the industry for exceptional hair care. They will
to create added volume or tame your unruly mane, the experts at The
ensure that your locks are given new life with a fresh shade of colour,
Loft will be able to assist.
transitioning your look into cooler weather.
230
S o c i ety B elles
Beauty & Body Secrets with
Sheida Babareza
MOJEH meets one of the Middle East’s most followed beauty enthusiasts to find out about her health and beauty regime.
Beauty trend to covet for aw15? Go grunge this season and opt for a smokey eye with a nude lip, or a natural eye with dark, romantic lips. The age you began wearing makeup? I started experimenting with makeup when I was 12 and would choose anything that glittered. Your make up ritual as a teen? My approach to make up was like painting a picture. I was really good at art, so I would just recreate the beauty looks I saw in magazines. Beauty products you can’t live without? I’ve been using Maybelline’s Dream Satin Liquid foundation for eight or nine years now, so I couldn’t go a day without it. I also live by MAC’s Pro Longwear Concealer and Anastasia Beverly Hills brow products.
Go-to hairdresser? Sasha at Pastels Salon in the Ritz Carlton, JBR. Blow dry or au naturel? Definitely a blow dry – with Dubai’s humidity, there is no chance of au naturel looking good! Best hair treatment? Olaplex. Best skincare product? Elemis Pro Collagen Marine Cream. Favourite beauty brand? I’m unashamedly addicted to MAC for their lipsticks, with over 100 in my beauty bag. I am also a big fan of Anastasia Beverly Hills. Favourite shades? Shades of mauves, pinks and nudes are my go-to colours. I am currently switching between Retro and Velvet Teddy by MAC. The best beauty tip you’ve been given? To always towel dry my hair before conditioning; if your hair is wet when applying conditioner or a mask, the product will just slide off. Favourite at-home beauty solution? I drink lemon and mint water to detox in t h e m o r n in g . Signature scent? Shot on location at the Waldorf Astoria, Dubai Palm Jumeirah Photographed by Sarvenaz Hashtroudi
I don’t tend to stick to one scent, but I love sweet smells such as Dior’s J’Adore L’Absolu. Top tip to stay looking youthful? Don’t stress and smile as much as you can. When working out, early bird or night owl? I prefer to work out in the morning as it makes me feel more awake for the day ahead. Supplements to stay healthy? I take Biotin for healthy hair and skin. Best workout? I start my workouts with 10 minutes of cardio and then concentrate on stomach workouts and weights. Guilty pleasure? It has to be Ferrero Rocher chocolates! Hours of sleep you get a night? Anything between five and nine hours.
Photographed by Paul Edmondson / Mint Images, Corbis
232 M o j eh H ealth
(
N o t S o
)
Sweet St
o
r
y
By Susan Devaney
From scientific reports and documentaries to government announcements, we’ve been told sugar is the new enemy. We look at the rising problem.
234 What does 25 grams of sugar look like? Six teaspoons of pure sugar. In one serving, that could constitute a typical six-ounce serving of vanilla yogurt. That’s it. Is it any wonder then that today,
At best, these added sugars are empty calories with zero nutritional value; at worst, they are toxic.
we’re facing high rates of obesity, diabetes, high blood pressure and heart disease? There’s no denying that (most of) us consume the sugary stuff on a daily basis. For many of us, we actually consume it from morning to night without any real recognition. ‘That Sugar Film’, a documentary undertaken by Australian Damon Gameau, fully tests our daily diets and sugar intake to its limits. He consumed the typical Australian’s 40 teaspoons
1000 B.C., it was welcomed with open arms. By
of sugar per day, maintained his normal exercise
A.D. 500, it was being processed into a powder in
regime, the same kilojoule intake of his regular diet,
India and used as a medicine for headaches and
and only ate foods that are commonly perceived to
stomach flutters. It was a secretive venture, being
be healthy. Foods that are labelled as ‘natural’ or ‘no
passed down to selected individuals. By A.D. 600,
added sugar’, foods we believe are good for us. It’s a
the knowledge had spread to Persia, where high
fascinating watch as his body begins to turn against
society was entertained with a surplus of sweets.
him. Concluding with aforementioned liver disease,
When Arab armies conquered the region, they took
10cm of visceral fat around his waist, mood swings
with them the knowledge and love of sugar. And
and (according to doctors) early signs of possible
here we are, addicted to the stuff.
coronary problems. He lacks concentration, suffers
If sugar is so bad for us, why do we crave it? A
horrible mood swings and becomes very emotional
spike of sugar into the bloodstream stimulates the
with no control. Gameau concludes by linking this
same pleasure centres of the brain that respond to
‘sugar epidemic’ to nicotine addiction, a similar
heroin and cocaine. In short: It’s highly addictive.
conclusion drawn by Simon Capewell, professor of
Today, the average American consumes 77 pounds
clinical epidemiology at the University of Liverpool.
of added sugar annually, or more than 22 teaspoons
Writing for The Guardian newspaper, he said: “A third
of added sugar per day. The most thorough data from
of British children and two-thirds of British adults are
the 2012 National Health and Nutrition Examination
obese or overweight. Diabetes levels have doubled
Survey found that 86 million Americans qualify as
in the past two decades… Added sugars are hidden
obese, and 65 million more are overweight. How
everywhere in modern food: Often, there are four
much harm can sugar really do? In the 1960s, British
teaspoons of sugar in a tin of soup, five in a typical
nutrition expert John Yudkin conducted a series of
TV dinner, six in a yoghurt, nine in a can of cola. At
experiments on animals and people, showing that
best, these added sugars are empty calories with
high amounts of sugar in the diet led to high levels
zero nutritional value; at worst, they are toxic.”
of fat and insulin in the blood – risk factors for heart
It would appear it’s only now we’re beginning to
disease and diabetes. But, other scientists blamed
wake up to sugar’s hidden agendas. Over 10,000
the rising rates on cholesterol caused by too much
years ago, sugar was first enjoyed on the island of
saturated fat in the diet. We’ve reduced our fat
New Guinea. Reaching the Asian mainland around
intake, but our waistlines have increased. What’s the main culprit? Sugar. High-fructose corn syrup (HFCS) is a mix of fructose and glucose. It’s found in a range of products – from soft drinks to cereals – and it’s no good for our bodies. Why is it that one-third of adults have high blood pressure, when in 1900, only five percent had high blood pressure? Why did 153 million people have diabetes in 1980, and now we’re up to 347 million? Why are more and more people obese? It all points the finger at sugar. Although glucose is metabolised by cells all through your body, fructose is processed in the liver. The real concern lies in how much we
consume and in a small time frame. If we eat too much too quickly of digested forms like soft drinks and sweets, our livers break down the fructose and produce fats called triglycerides. “Added sugar is unwanted calories. Humans get all the sugar they need from the food they eat. The excesses used by industry and superfluous to requirements are a major contributor to weight gain,” says Tam Fry of the National Obesity Forum charity in the UK. Our sugar problem has spiralled out of control, to the point of leading figureheads calling for action. One of the UK’s most successful chefs, Jamie Oliver, produced a film earlier this year entitled ‘Sugar Rush’
and the claim depends on how much sugar was in
to highlight the destruction across society, along with
the original product.”
a petition aiming for 100,000 signatories, urging the
The shutters came down. They had to go. The Mars
government to tax sugary drinks – with the potential
Bar, the Dairy Milk, all of it. Our love for sugar was
to raise £1 billion a year to fight childhood obesity
to die with our high school’s snack-filled staple
and diet-related diseases. “Fizzy drinks that have
backbone: The Tuck Shop. That was nearly 10 years
excessively high levels of sugar should be taxed by a
ago, when the UK government first acknowledged
minimum of 20 percent. This will be an ‘in-your-face’
the magnitude of the problem. The level of obesity
reminder that they are hugely less than healthy – and
in children was increasing, and the selling of sugary
furthermore rot your children’s teeth if consumed to
snacks in schools had to decrease – due to doctors
excess. They certainly have no place in hospitals,”
attributing the sweet stuff to high rates of obesity,
says Fry. The British Medical Association has called
diabetes, high blood pressure and heart disease.
for a 20 percent tax on sugary drinks in August.
From cakes and cream to candy, change was
Doctors in the UAE have also called for a curb on
imminent. It would seem the biggest mistake made
soft drink consumption. On average, a resident of
in the past 30 years or so was removing saturated
the UAE consumes around 300 cans of soft drinks
fats from food, and instead replacing them with
a year, the fifth highest in the world.
refined sugars. “The estimated total numbers of
The trouble is in today’s world, it’s very difficult to
overweight and obese adults in 2005 were 937
avoid sugar. It’s everywhere and in everything – but
million and 396 million, respectively. If recent secular
does that mean we should avoid it altogether? Mike
trends continue unabated, the absolute numbers
Rayner, director of the British Heart Foundation
have been projected to total 2.16 billion overweight
health promotion research group at Oxford
and 1.12 billion obese individuals. If rates of obesity,
University, believes obesity is caused by too many
type 2 diabetes and dental problems continue to
calories from all kinds of foods, but backs taxation
increase, healthcare services around the world won’t
on soft drinks. “Everyone needs some sugar and
be sustainable. Life expectancy will be cut short
will do just fine with natural sugars,” says Fry. “Read
for future generations,” says Kawther Hashem,
labels properly and pick out products with no ‘added
nutritionist and researcher for UK group, Action
sugars’. Don’t get fooled by ‘low sugar’ or ’25
On Sugar. If not for ourselves, then an educated
percent less sugar’: Both are probably excessive
take on sugar and its true properties should be taught now, before it’s too late. We must protect our future generations. Tam Fry is in agreement: “The future looks terrible. We are consuming double or even treble the amount that WHO/SACN now recommends. Even worse, sugar quotas will be slashed by the EU in 2017, flooding the market with
If sugar is so bad for us, why do we crave it? A spike of sugar into the bloodstream stimulates the same pleasure centres of the brain that respond to drugs. In short: It’s highly addictive.
more [and even cheaper] sugar. Ugh!” Surely, the solution is simple? If we don’t consume, we don’t buy and companies don’t produce. Somewhere along the way, the big companies have to respond to consumer demand. We say goodbye to sugar, they say hello to genuinely healthy products.
236
Tal k ing P o i nt
Scent of A WomAn’s Ink It’s been nearly 20 years since Francine Prose investigated whether ‘women writers are really inferior’, in her explosive essay Scent of a Woman’s Ink. But, is there still sexism in publishing today? By Susan Devaney
inequality”. UK-based publishing house And Other Illustration by Jeanette Getrost
Stories accepted the challenge. Predominantly translating texts from one language to another, Stefan Tobler, the company’s publisher, says: “Of our titles in English translation last year, 68 percent were of male authors.” Will it bring a more equal publishing landscape in 2018? “Although this initiative has faced much criticism in the sense that the idea in itself is encouraging discrimination with regards to literature, I applaud her for taking the reins and going ahead with the idea,” says UAE-based editor and author Aysha Taryam. “It has certainly garnered much interest and debate, which has shed well-needed light on the issue. Whether or not it will achieve change directly is yet to be seen, but the attention it has brought to the concept of publishing more female writers’ works is great.”
It is a truth universally acknowledged that a single
But the statistics don’t really add up. Women writers
woman in possession of a good fortune, must not…
consistently top the bestseller lists across the UK
become a writer. Women can’t write. Well, this is
and the US. You only have to look at the success
what publishers, critics and figureheads would have
stories of writers such as Jodi Finch, Donna Tartt,
us believe, if we were to focus on literary awards.
E. L. James, Stephanie Meyers – to name but a
English-American author Nicola Griffith’s recently
few – to confirm their influential grounding in the
published research, ‘Books About Women Don’t Win
industry. Only time will tell who the biggest selling
Big Awards’, has firmly projected much-needed light
author of 2015 was, but Harper Lee’s ‘Go Set A
onto this subject matter. “When my novel came out in
Watchman’ looks like a certainty. Women write
the UK last year, I started prepping articles to support
books, read books, and more importantly buy
the launch, including a “5 Best” piece for a UK
books. The majority of books purchased today are
newspaper,” she says. “I realised that even though
by women. According to Goodreads’ data, “women
three of the five books I chose were by women, they
read two times as many books published in 2014 as
were about men. All five books were about men.
men”. Griffith’s thinks the fault lies in today’s cultural
I thought, “Hang on a minute, what’s wrong with
landscape: “Literary culture mirrors cultural attitudes
this picture?!” Griffith looked at the winners of the
in general. Women as subjects are seen as less
Pulitzer, Man Booker, National Book award, National
‘universal’ and less interesting than men,” she says.
Book Critics’ Circle award, Hugo and Newbery medal
“Look at recent data about set-texts in schools. A
winners over the last 15 years. Her results were
woman writing about a woman in, say, a marriage,
not surprising, but heart-wrenchingly disappointing.
is seen as inconsequential: Small, domestic, trivial.
Griffith collated the gender of winners and that of
If a man writes about a man in a marriage, it’s seen
their protagonists. Between 2000 and 2014, The
as universal: Important, meaningful, powerful.” A
Man Booker was won by nine books by men about
woman’s voice is therefore less significant than a
men or boys, three books by women about men or
man’s? “In a lead feature in Mslexia back in 2002,
boys, two books by women about women or girls,
I coined the phrase ‘the masculine aesthetic’ to
and one book by a woman writer about both. The
describe this phenomenon,” explains Debbie Taylor,
Pulitzer showed that “women wrote zero out of the
editor of UK magazine Mslexia, “…ascribed it to
15 prize-winning books wholly from the point of view
the long history of publishing, in which men have
of a woman or girl.” All of this data collecting can
traditionally been the gatekeepers, deciding which
only leave Griffith to conclude: “Books about women
manuscripts get published, which are kept in print,
don’t win awards. The more prestigious the literary
which win prizes. This means that what is considered
award, the less likely a woman writing about women
‘good’ in fiction has tended to be fiction by men and/
will win. If you’re a woman who wants to win, say,
or about issues of interest to men. Over the years
the Man Booker Prize, write about a man,” she says.
this masculine aesthetic has influenced the literary
The lack of recognised merit being awarded to
judgments of both men and women.”
women writers hasn’t gone unnoticed by novelists
Feminism is being talked about like never before: Not
in similar positions to Griffith. Based in the UK but
just in print but also all across social media. Author
born in Pakistan, author Kamila Shamsie recently
Catherine Nichols discovered the level of sexism
directly challenged publishers to publish only books
that’s still prevalent in the industry after submitting
by women for an entire year, calling on 2018 as
her manuscript under a male pseudonym – it brought
the “Year of Publishing Women” to “redress the
her more than eight times the number of responses
238 she had received under her own name. In an essay for
works’ worth,” says Taryam. “Personally, I do not
Jezebel, Nichols revealed how after she sent out her
encourage any woman to write under a male name
novel to 50 agents, she received just two manuscript
for the female voice is important and needs to be
requests. But, after she set up a new email address
heard. Regardless of the discrimination, her identity
under a male name, and submitted the exact same
should remain intact for her to be honest about her
material, it was requested 17 times. Female authors
work.” It’s no secret that one of the biggest selling
adopting male pseudonyms is nothing new. From
authors of all time, Joanne Rowling, author of the
George Eliot to George Sand (both women), it’s
literary phenomena that is Harry Potter, was advised
found common ground in history – but surely we’ve
by her publisher to use a pen name of J. K. Rowling
moved passed this now that we’ve entered the 21st
so as not to discourage young boys from buying a
Century? “It is quite shocking that centuries after
book so obviously written by a woman. Welcome
the likes of Mary Ann Evans, who wrote under the
to a new era?
pseudonym George Eliot, women still have to go to
Books about men, written by men, are stealing the
such lengths as to erase their identities to prove their
spotlight in review sections and prizes. Enough. We’ve gathered enough evidence to prove there is a gender bias in publishing. Yes, things have improved
Illustration by Paris E’
over the past 50 years, but what do we do now? “The masculine aesthetic is incredibly hard to combat. When men are in the equation, as authors writing about women, or as the protagonists in novels by men or by women, it’s relatively easy for them to acquire literary kudos. But when women write about women (and why shouldn’t we?), it is very hard to be taken seriously. Is that a glass ceiling? In terms of employment, women are over-represented in most junior roles in publishing, but less so in senior roles. This is the case in many professions, usually because women take time out to have children and also have more responsibility for aged relatives,” says Taylor. The topic of a ‘glass ceiling’ is an interesting one. Are we (women) still fighting a glass ceiling in the publishing industry? “Less a glass ceiling than a glass box: We’re enclosed on all sides, given smaller advances against royalties, published with less vigour, reviewed less often, interviewed rarely, submitted for prizes less frequently, and hardly ever laurelled for writing about anything other than men,” says Griffith. How do we (both women and men) challenge this? “Pay attention; count; talk about it. And talk about books by and about women every single time you talk about books,” suggest Griffith. “By challenging the masculine aesthetic, championing literary books by women, encouraging women reviewers. And, by legislating for parental leave to be shared equally between male and female parents,” says Taylor. It was a topic consistently addressed during my time at university: Can we really tell a writer’s gender from their prose? Can we sniff out ‘the ink of a woman’? It shouldn’t matter.
Risking Delight
Images courtesy of Sherin Guirguis and The Third Line.
Artist Sherin Guirguis, at The Third Line, Dubai
Untitled (Lahzet Zaman) by Sherin Guirguis, 2013, mixed media on hand cut paper
By Natalie Trevis
We talk to artist Sherin Guirguis about art, belonging and straddling a world between LA and the Middle East.
240
A rt is t in R es i de nce
Untitled (Shubback III) by Sherin Guirguis, 2013, mixed media on hand cut paper
“I have put duality away, I have seen that the two worlds are one; One I seek, One I know, One I see, One I call,” go the lines of the Jalal ad-Din Muhammad Rumi poem that speaks to Sherin Guirguis about belonging. It’s a theme that fascinates the Egyptianborn, LA-based artist and which features consistently in her work. As Guirguis melds worlds by presenting her work at the 56th Venice Biennale as part of the exhibition We Must Risk Delight: Twenty Artists from Los Angeles, it’s a fitting moment to reflect on how we have come to inhabit that very human requirement: A home. “Living in the Arab diaspora since I was 14, I don’t feel like an ambassador of any place,” Guirguis explains. “In fact, my most recent body of work, El Biet El Kabeer, is about a sense of not belonging… that inbetweeness: A liminal space I have always occupied.” Exploring the juxtaposition of minimalist Western aesthetics against Arabesque ornamentation in her work, Guirguis employs the ensuing tension to address themes of social concern to both the East and the West. Spiralling paintings travel outwards across the canvas in watercolour, ink and gold leaf, while geometric patterns and mashrabiya latticework are expertly manipulated into intricate mixed-media sculpture. Frequently returning to issues dominating the Middle East – concentric circles in Untitled (khamsa) are inspired by aerial views of protests in Tahrir Square during the Egyptian revolution – it was the flooding of US media outlets with images of the invasion of Iraq in 2003 that proved the catalyst for Guirguis’ renewed artistic focus on issues affecting the region. “These images were in stark contrast to my memories and experiences of my Middle East, my home,” explains Guirguis. “I was conflicted; searching for a way to make sense of what was happening and finding my place as an Arab immigrant in the US.” Guirguis admits that the biggest challenge in tackling such issues was simply to give herself permission to do so. As an artist with a range of cultural identities, Guirguis acknowledges her own voice in addressing social and political concerns around events such as the Arab Spring and perhaps sparking a dialogue on issues of “immigration, nationalism, feminism, multiple identities and otherness”. While Guirguis turns to Rumi to articulate the idea of our place being the “Placeless”,
We Must Risk Delight is inspired by an
away from ‘home’,” says Guirguis. “Seeking
idea without boundaries. A Brief for the
that fleeting connection with my past and
Defense by Jack Gilbert (a Pulitzer Prize for
having to define and redefine the meaning
Poetry finalist) is the starting point for the
of home and belonging. That’s why, even
exhibition and calls on humanity to recognise
though I have a lot of Arabic influences in
every moment of delight, whatever the
my work, it is always in conjunction with
circumstances. Exquisite moments of joy
a Western (and specifically West Coast)
can be found everywhere, from the mundane
aesthetic as well. The symphony/dance/
to the catastrophic. Something that each
clash/explosion/construction mash-up:
artist in the exhibition represents in their own
That’s where the work lives.” As its equal
way, wherever they call home. Like many of
and opposite, staging her first solo exhibition
the artists involved in the touring exhibition
Passages//Toroqat at The Third Line gallery
staged by bardoLA and curated by Elizabeta
in Dubai in 2013 had a similar impact on the
Betinski, Guirguis connects two outwardly
artist. “I cherished the opportunity to show my
different worlds and in bringing them together
work in the Middle East and alongside many
through her work, gives us an opportunity
other Arab artists working internationally and
to discover some of the essence of the
within Arab diasporas across the world.
kaleidoscopic City of Angels.
That context is very important to me. It’s
“My work comes directly out of my experience
been wonderful working with them and
of being an immigrant – being estranged,
having these conversations across oceans.”
Photography by Stefano Leoni. Images courtesy of BardoLA, Sherin Guirguis and The Third Line.
Untitled (Bab Huda) by Sherin Guirguis, 2013, mixed media on hand cut paper
Sculpture by Sherin Guirguis, Painting by Amir H. Fallah exhibited at “We Must Risk Delight: Twenty Artists from Los Angeles”. Collateral Event of the 56th la Biennale di Venezia, Biennale Arte 2015.
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S t yl e I ns ider
Gala Gonzalez in the Superga trainers she collaborated on earlier this year.
Gala Gonzalez curates her stylish life at Amlul.com, documenting her street style adventures, fashion collaborations and fashion week journeys. Jetsetting between London and New York, the Spanish fashion guru is a recent style ambassador for UAE-based label Reemami. We sit down with Gala ahead of her trip to the Middle East to talk about just what’s behind her signature look.
Images courtesy of Gala Gonzalez.
City Slicker
You channel your creativity into blogging, DJ-ing and styling – which do you feel most at home doing and why? I’ve always felt really comfortable multitasking and trying new things. It keeps me going and in a way, it’s a manner of testing my limits to see how far I can go. Blogging and styling would be my forte; however, I’m always open to new ventures within the fashion industry. How would you define your personal style? My style is quite eclectic and mostly related with how I feel that day. I always try to mix and match, in order to create an outfit that is comfortable, but cool and stylish at the same time. Who has been the biggest influence on your style? Anita Pallenberg. I’ve always dreamed of being a groupie! I’m a true advocate of the Seventies style and I always try to spike up my looks with a hat or accessory, which will give me just that touch. You’re often snapped for your street style: Do you ever feel under pressure to maintain a certain public persona? It’s always tough to look perfect everyday of the fashion month. The lack of sleep, stress, bad eating habits can all take their toll on you and it gets to everyone. However, over the years, you learn to take it step by step and try not to stress. I’m really honest and I will always portray a transparent image of myself. It’s not fair to be fake to people. What was the moment you realised you had really made it in fashion? I guess when people started to stop me before shows and ask for a picture and when they told me how much they liked my work. I cherish those moments the most, because without people following your work, there won’t be any room for improvement. Where is your favourite place to hang out in London and why? Hampstead Heath. It’s just a place where you can disconnect and breathe. As soon as I land in London, I like to wander around for a couple hours to get myself grounded. What has been the most inspiring project you have worked on in 2015? All of the projects that I work on are truly inspiring and they provide me with so much knowledge! I try to handpick collaborations that I can see myself reflected in and that allow me to test my limits. Being able to explore my creative side with campaigns such as Amlul x Superga, which is available at Level Shoe District, has been a highlight of 2015. What’s on the cards for next year? There are a few things in the pipeline, but you never know what might happen, so I guess we will just have to wait for 2016. Moving to NY has been a huge change and it will bring many opportunities for sure.
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With a season of soirées upon us, fashion’s fiercest jewel takes center stage with powerful crystalised embellishment. Transition your sparkle into a more daytime approach with off-duty separates. From left to right: BOTTEGA VENETA | DOLCE & GABBANA at Harvey Nichols Dubai | LOUIS VUITTON
Photographed by Sarvenaz Hashtroudi
F i n al N ote
Photographed by Marco Cella
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