Issue 20

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MAY / JUNE

"CAMéLIA GALBé" RINGS AND BRACELET WHITE GOLD, CERAMIC AND DIAMONDS

DUBAI MALL +971 4 382 7100/06 www.chanel.com

OYSTER PERPETUAL L ADY-DATEJUST PE ARLMASTER

www.amwaj.ae Al Nasr Street, Beside Arab Bank Abu Dhabi, United Arab Emirates Phone: 00971 2 6315600 | Fax: 00971 2 6315400

poltronafrau.com

Lelit, designed by Paola Navone

Intelligence in our hands.

True beauty is more than skin deep. This is what we think at Poltrona Frau, which is why we have always placed our trust in the skilful hands of our craftsmen, who lead every single step of the manufacturing process and choose the very ďŹ nest raw materials. This is our way of offering you the best italian quality.

PF Emirates Interiors LLC Downtown Dubai T +971 4 339 7111 Corniche Abu Dhabi T +971 2 635 9393 www.pfemirates.ae A Mubadala Development Company – Poltrona Frau Group Joint Venture

louisfourteen.com

GIVE A GIRL THE RIGHT SHOES AND SHE CAN CONQUER THE WORLD. Marilyn Monroe

DISCOVER OUR PERSONAL STYLING AND SHOPPING SERVICES.

Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

Associate Editor SHERI IZADPANAH

Publishing Assistant DESIREE LABANDA-GAVERIA

Assistant Editor KELLY BALDWIN

Subscription Assistant gracelyn gabriel

Guest Fashion Editors Amelia Kashiro Hamilton Camille Garmendia Guillaume Boulez Ada Kokosar

Paris Representative GHISLAIN DE CASTELBAJAC Senior Advertisement Managers Pamela Bayram Cleave rana hatem

Fashion Writer Harry McKinley Editorial Assistant susan devaney

Advertising Inquiries Tel: +971 4 454 20 50 Tel: +971 4 425 79 79 Email: advertising@mojeh.com

Editorial Contributors Gillian Brett Giverney Megan Edwards

Subscription Tel: +971 4 454 20 50 Email: subs@mojeh.com

Editorial Intern CHarlotte codd

LOUIS FOURTEEN FOR MOJEH

ART

Concierge Service Management ASSMA AHMED

Producer LOUIS AGENCY

Head of Lifestyle OLGA KOVALCHUK

Art Director AMIRREZA AMIRASLANI

Corporate Manager JUBRAN HAMATI

Digital Strategy LOUIS AGENCY

Published under HS Media Group FZ LLC Registered at Dubai Media City Building 10, Office 345 P.O.Box 502333 Dubai, United Arab Emirates

Contributing Photographers Adam Secore Alice Rosati CĂŠcile Bortolett Gilad Sasporta Nicolas Valois

Cover shot by Alice Rosati | Styled by Ada Kokosar | Model: Alison Nix at Ford Models wears clothes and jewellery by Oscar De La Renta

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 (July-December 2013): 13,108 copies.

For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Jashanmal National Company LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC. 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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HAUTE JOAILLERIE

piaget.com

Rose Passion Collection

PIAGET BOUTIQUES: Abu Dhabi: Avenue at Etihad Towers, 02 667 0044 Dubai: The Dubai Mall, 04 339 8222 Dubai: Ahmed Seddiqi & Sons, Atlantis 04 422 0233, Burj Al Arab, 04 348 9000 Burjuman Centre, 04 355 9090, Mall of the Emirates, 04 341 1211 Abu Dhabi: Al Manara International Jewellery, St. Regis Hotel, 02 6673535 The Galleria Sowwah, 02 6743444

Mojeh

Contents

Society

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CELEBRATED WOMAN IN SOCIETY

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We speak to the Middle East’s sweetheart Ayesha Depala about creating fairytale-esque gowns for women everywhere.

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WHERE THE STYLE ELITE REIGN In light of MOJEH’s third anniversary, glamorous speakeasy-themed celebrations filled an evening of sheer entertainment.

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FASHION

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FEARLESSLY MOVING FORWARD After bowing out from his tenure at Louis Vuitton, designer Marc Jacobs discusses focusing on his own eponymous line.

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COOL IN COUTURE

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As haute couture strays towards the mainstream, we take a look at its history and place into today’s modern fashion world.

Our tribute to women.

Pavonina

Pavonina. A brilliant tribute to women in all their facets. Glash端tte Original introduces a new collection of glamorous timepieces that combine seductive femininity, timeless elegance and highest precision. Timepieces from the Pavonina Collection are available at selected retailers. For store locations please refer to: www.glashuette-original-pavonina.com.

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Contents

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KARL’S WORLD From Paris to Dallas to Dubai, Chanel is mapping out it’s fashion footprints one country at a time.

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the eternal vision We delve into the Italian woman and her incomparable worth for Dolce & Gabbana and women the world over.

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ACCESSORIES

178 WITH THIS RING

Let individuality reign and choose a ring to match your personality.

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180 MOST DESIRED

From bespoke to fine jewellery, we give to you designers to behold, uncover and love now and forever.

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Contents

BEAUTY

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AU REVOIR, AU NATUREL.

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They say a change is good, and when it comes to hair women love to transform their tresses. MOJEH investigates why it’s au naturel all the way.

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BEAUTY INSPIRATION Peruse our mood boards of inspiration and be inspired to channel a new beauty look for spring.

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CULTURE

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DOWNTON DRAWN OUT

Renowned fashion illustrator David Downton discusses his rise to success and the intimacy behind his work.

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NOOR FARES: JAIPUR London-based jewellery designer Noor Fares takes us on an exploration of Jaipur and all it’s splendour.

Letter

Editor’s

Golden Snake, Photographed by Cecile Bortoletti

A Woman’s Worth The fashion industry is renowned for its pace. Couture has always been deemed the sleepier side of this evolving world but, this season, couturiers have picked up their momentum. Energised by their innovative counterparts, they have introduced a playful and experimental aesthetic. This spirited attitude to couture captivates a new audience, who are imbued with this feeling of revelry and romance. It’s time to wear your princess gown with a bold attitude.

And what better time than now to celebrate this craft than while we excitedly piece together our wedding outfits.

With May conjuring romance, it has become the month to celebrate all things bridal. Turn to our fashion story Golden Snake for a dreamy vision that champions incredible couturiers – from raw new talent like Ulyana Sergeenko to the stalwart Atelier Versace – and evokes the true decadence only found within the tulle folds and delicate lace of a bespoke gown.

Why do we only focus on the affection between a husband and wife? Instead, I’m shining a light on the love and respect we hold for each other as women. From your best friend and mother to your sister and daughter, in an ideal world, we’d have diamonds on every finger to represent those we adore. In a bid to celebrate this empowerment, May is fuelled by the women we most cherish, from locals Ayesha Depala and Sara Farah to international institution Eva Herzigová.

‘It’s all about love!’ proclaimed Eva when we interviewed her this month. And there’s certainly something in the air. Unable to resist its charm, my team began with their #100HappyDays challenge as we sent this issue to print, eager to recognise joy through things that may have otherwise passed them by. I felt an instant positive shift in their morale, so I quickly followed suit. From fashionable finds to the most romantic things to immerse yourself in, use this edition to celebrate the pleasure you gain from one another and the world around you.

Of course, happiness starts from within; a momentum that fast became clear to me as I began my own challenge. What made you smile today? Let your #100HappyDays start right here, right now.

Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Mojeh Izadpanah Editor in Chief

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Softly

S o f t ly Get whisked away by the romance of this season with gentle lilacs, sugar pinks and whiter than whites – a colour palette that evokes a sweet and sensual spirit. Pick and choose from a slick Le Smoking suit or floorsweeping gown, to a soft silk slip dress, and accessorise with either pearls or diamonds, depending on your mood.

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1. BINT THANI | 2. LOUIS VUITTON | 3. DIOR | 4. LANCOME, Tresor Midnight Rose | 5. VACHERON CONSTANTIN | 6. PRABAL GURUNG @matchesfashion.com | 7. RUPERT SANDERSON at Level Shoe District

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8 & 9. 3.1 Phillip lim @boutique1.com | 10. Salvatore Ferragamo | 11. JASON WU @matchesfashion.com | 12. CHANEL | 13. JIL SANDER @stylebop.com

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Names to Know Mihano Momosa

Once upon a time, a little girl dreamed of becoming a princess.

With this dream in mind, Serbian designer Mihailo Anušić makes it a reality for women the world over: ‘I have tried to materialise emotion that each person strives upon: unconditional love, my eternal inspiration. My designs are meant for women who wish to express the girl within. She is also the ruler of her own realm but is also very romantic and believes in love, but is by no means unrealistic. The Mihano Momosa woman is well aware of the world she lives in and is trying to get the most of it, just as each woman should.’ If you’re looking for true flights of fashion whimsy, look to fashion brand Mihano Momosa whose designs are couture-led in their details. As an emerging talent, Anušić says he tries to ‘hold on to my idea of what woman actually represent: strength, fearlessness and determination, but at the same time, tenderness, empathy and love. These virtues are timeless and I am designing to materialise them and make them visible.’ Mihano Momosa is nothing short of fantastical.

Wrist Candy Dior VIII Grand Bal

A spring awakening comes in the shape of a delicate timepiece this season. Playing tribute to Christian Dior, the Dior Plissé Soleil watch is the latest welcomed addition to their VIII Grand Bal collection. Since its launch in 2011, the collection is renowned for its intricate detailing and beautifully finished materials.

Like all Grand Bal models, the oscillating weight mirrors mimic the sweeping of a classic Dior ball gown. Decorated with white mother of pearl marquetry, finished with yellow hems and set with diamonds, the Plissé Soleil is perfect for day-to-night attire. With galvanised steel dials – in either blue or pink – in a swirling pleated pattern, it is a touch of spring-inspired glamour for any occasion.

With a limited run of just 188 pieces, now is the time to put a spring in your step with a beautifully crafted watch on your wrist.

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MOD. 4264B – versace.cOM

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Mojeh

Style Note

The New White

Step into spring with a blank canvas in tow. It has long been the go-to-shade of many a summertime moment, but now white is experiencing an overhaul.

While it evokes both a sense of purity and calm, for summer it’s taken on a bit of an edge. This ultra feminine hue is only being worn one way: whiteon-white. And Chloe is taking the lead. Forget pretty filigree fabrics flying solo or playing it safe with a simple broderie anglaise dress; fusing textures, fabrics and cuts is the only way to go. It’s all about layer after layer. For designer Phoebe Philo, sending an array of models in full on all white ensembles was a welcomed vision. Gravitate towards the white light and produce a blank canvas of your own. A clean palette for the summer sun is perfect.

Au Chocolat

Debauve & Gallais

June – it’s the month that officially signals the start of the wedding season. Whether you’re attending a garden-filled soiree, a traditional blessing or some summer loving style nuptials on the beach, a gift of sheer luxury is a necessity.

Since 1800, French chocolate manufacturer Debauve & Gallais has been heightening taste buds in abundance.

With intimate boutiques placed around the world, their Parisian-inspired touches can be felt – their blue, grey and gold embossed opulent boxes are a gift in themselves. The highly sought-after chocolates were originally handmade exclusively for royalty-only before becoming a treat for the public too in 1913. From the finest dark chocolate truffles covered in cocoa powder, Queen Marie Antoinette-inspired delicious chocolate coins to nougatine pearls of roasted Spanish caramelised almond grains; it’s a gift of luxurious indulgence any bride and groom would find delight in.

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Belles

Photographed by Sarvenaz Hashtroudi

Society

Celebrated Woman in Society

Ayesha Depala As she releases her SS14 Prêt-à-Porter collection – while simultaneously working on her well-known couture line and offering brides-to-be the world over their fantasy gowns – we met with Indian-born Ayesha Depala to find out where the Middle East’s sweetheart draws her inspiration from.

How would you describe your brand?

It is feminine and soft, sensual and timeless, but with an underlying element of forward-thinking. I’m inspired by ancient Indian crafts and textile, which is heavily reflected in my Ayesha Depala Couture line, whereas Prêt-à-Porter remains soft with a strong street-savvy style. It’s the marriage of feminine sensibility with a sensual feel. I like to use soft feminine fabrics such as lace and chiffon but then work them into a strong, sexier silhouette.

In your opinion, what do women in this region want from designers?

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Women here are very switched on to trends and love to dress up. They’re also extremely spoilt for choice and so really enjoy bespoke services such as ours as it enables them to wear something unique and special.

What do you most appreciate about this clientele?

They have an insatiable appetite for fashion and a very unique DNA of their own – they’re never afraid to experiment and have fun with fabrics and colour. In general, the Middle East shows a fine balance between a traditional and modern society. The younger generation is very much in touch with their roots while subtly adopting a broader approach to their lifestyles. I am drawn to this delicate balance and having lived away from my home country for many years now, I try to instil the same values in my two children.

You’re considered as one of the most influential Asian women in this region, how does it feel?

The GCC has a varied mix of nationalities, and Indians have made their own mark in many different industries, from fashion and textiles to finance. I feel very proud and privileged to have received the recognition, love and support of the region for over a decade.

How does Indian culture present itself in your designs?

Although I haven’t lived in India for over 10 years now, it’s a culture that will remain deeply imbedded in my DNA. Indian art, architecture, textile and craft are

Belles

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very much a part of my design process while creating for the modern woman. The process of creating a product for her that is traditional at heart comes very naturally to me.

You’ve created many incredible wedding gowns and are celebrated for truly appreciating what a bride needs. Where does the process start?

When I first meet with a bride-to-be, I gauge both her shape and personal style and I’m then very quick to decide the silhouette that will work best for her. This is crucial, as we’ll build the dress from there. The most important thing is that she feels very special on the day, so we take into account all her likes and dislikes before presenting her with ideas.

When it came to designing your own wedding dress, what did you want?

I had very specific ideas on colour and embroidery and so created my own outfit. It was a soft pink traditional Indian lehenga, with antique gold, bronze gilt wire and thread work. I wanted it to have a vintage appeal as I am very drawn to anything muted and rustic – I had the silk threads naturally dyed so I could get an old world, traditional feel.

Tell us what’s of key importance in a bride’s gown?

It must reflect her personality and individual style – she needs to stay true to her identity, this is not the day to experiment with something new. Sometimes we’ll personalise gowns by discreetly weaving in their husband-to-be’s name – these small touches can help her feel more at home in her dress. I always advise my clients to create a mood board of images first, this way we can understand what her vision is.

What gap in the market were you looking to fill when you started your Prêt-à-Porter line?

The market has a plethora of high-street brands and luxury fashion houses – my line aims to bridge the gap between the two. I wanted my usual clients to buy into the line, which still stands for luxury and detailing, but at Prêt-à-Porter prices.

Who do you have in mind when creating it season to season?

A girl that is fun, flirty and has a progressive attitude when it comes to fashion. She is young, bold and less conservative with her style. Wearing pieces from the Prêt-à-Porter collection offers her a sense of confidence without compromising on the luxe aspect of the brand.

You began your career as an interior designer. What synergies are there between interior design and fashion design?

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I formally trained in interiors and then went on to further study in fashion and textile – I believe all creative fields have a unifying thread in one way or another. While creating my SS14 line, I came up with ideas for some textile pieces that I’m now putting into production. I consider myself to be a ‘dresser’ who enjoys dressing both women and rooms equally.

There is a lot of talent in the region, both established like yourself, and emerging. Where do you think we’re heading?

The UAE is now very recognised in the international arena for both consumers and buyers alike. It has found its place on the international fashion map and has become a hub for nurturing retailers and the creatively minded. Platforms like Fashion Forward assist in showcasing regional talent while paving the way for them to structure their companies. It also enables them to communicate their work to regional and international buyers.

What are your thoughts on the Dubai Design District (D3)?

The D3 initiative is a giant step towards the cumulative growth and expansion plan for the regional art and fashion industry. It offers artists and designers solutions for both manufacturing and retail. Emerging talent need the guidance and subsidised solutions for retail, and the Design District aims to provide it. I’m very excited to see how it pans out.

In your home country, how do you ensure young talent is nurtured?

It’s so motivating to see young Indian talent in the field of art, fashion and design carving out a niche for themselves. Today’s India is connected to its roots while recognising modern sensibilities – the marriage of these two schools of thought is very interesting to watch. We support this young talent in our stores and workshops in the Middle East through internships and placements.

Do you work with any craftsmen there?

I am inspired by Indian heritage and craft and seek the help of local Indian artisans to develop specific embroidery and print techniques. I have worked with craftspeople in Lucknow and Kashmir for thread work and I’m currently working with weavers in Benares for my SS15 collection.

What element of your job keeps you smiling the most day after day?

The process of creation excites me – when something that was just a thought or idea turns into a threedimensional reality.

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Insider

Style

My Stylish Life

Sara Farah, founder and director of White Almonds

Photographed by Sarvenaz Hashtroudi at the White Almonds show room, Dubai

Sara Farah took her exceptional talent in unearthing exquisite pieces, meshed it with an excitement when it comes to ‘the big day’ and utilised her wealth of experience in the arts and interiors industry to form White Almonds, a new gem in the Middle East’s wedding business. Sourcing only exceptional and bespoke table-top and interior pieces, Sara provides a registry service that ensures your gifts are distinctly divine.

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One piece of advice I would give to anyone: Live life in the present, love what you do and always fulfil your dreams and ambitions, no matter how crazy they are | Best childhood memory: I have so many I don’t know where to start! But playing tennis with my father in my favourite pyjamas with hearts on that I refused to change out of is definitely up there | One thing I can’t live without: Love and passion, drive and ambition. I know that’s four!

Heaven is to me: What inner happiness and contentment is to oneself | Most desired belonging: A happy home of my own to be shared with a caring, driven, loving, fun person | Early bird or night owl: Both! I am known to burn the candle at both ends, I am in the office by 7-7.30am, and if it’s a really fun night I simply won’t go home! | Person I look up to: My father | Best discovery: My entrepreneurial spirit | Favourite book: Winnie the Pooh, A.A. Milne. It’s always by my bed and never fails to put a smile on my face | Favourite place in the world: Capri – somewhere I have always connected with, from the moment I went.

Closely followed by Montenegro | Favourite artistic expression: Dancing | Best purchase: My ongoing plane tickets, I love to travel and discover new places Beauty, make-up must haves: Eve Lom Cleanser, By Terry foundation, Lancôme Hypnôse Mascara, Chanel lip pencil and By Terry Laque De Rose Lip Gloss. It’s never changed for as long as I can remember | Signature scent: Hamptons Perfume by Bond No.9 and Molecule 01 fragrance by Escentric Molecules. I switch it up from day to night | Fresh-faced or full glamour: Full glamour. I guess it’s the actress in me who loves to dress up! | Favourite designers: Roland Mouret, Alexander McQueen and Miu Miu | Ultimate accessory: Earrings. I love dramatic statement pieces such as the ones Mounser designs. Also my Sergio Rossi heels | Most-treasured wardrobe item: A vintage Chloé dress from the Eighties my mother gave me | Best fashion moment: Doing performance art for artist Kirstie Macleod during Art Dubai a few years ago. I had to wear two of the most beautiful and incredibly theatrical gowns that were so big, one of which actually covered the size of a basket ball court. It truly was the best fashion moment ever as it fused three things that I love – art, theatre and fashion.

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SERGIO ROSSI | 5. ALEXANDER MCQUEEN | 6. MOUNSER | 7. LANCOME, Hypnôse | 8. BOND No9, Hamptons

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Where the Style Elite Reign

A birthday to rival all birthdays, MOJEH celebrated another candle on the cake by throwing a roaring party from the Roaring Twenties. We take you inside.

‘Do you know the password?’ For those in the know, it took a stealthily mumbled ‘diamonds and cake’ to gain entry to the hottest party in town – a speakeasy-themed celebration of all things high fashion at The Act, Dubai.

Marking three years of MOJEH, guests were treated to more than candles and balloons, with a plethora of theatrical entertainment to echo

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the flamboyant mood. Aerial acrobats swayed over a jubilant crowd that included the likes of designer Rami Al Ali, Tala Samman and Basma Abu Ghazaleh of local label Kage.

Of course at this party, diamonds were a girl’s best friend, not just because the Gentleman Prefer Blondes hit was the opening number, but thanks to Bulgari, which ensured that the models for the evening were draped in jewels from the pitch-perfect Diva Collection – the ideal accompanying sparkle to the venue’s flickering candelabra and flashing stage lights.

True to the spirit of the Roaring Twenties, the talk was loud and toes were tapping. A few shade-swathed corners provided an opportunity for huddled conversations, but most threw themselves into the gregariousness of the night, gesturing animatedly at familiar faces or to catch the attention of the troop of circulating waiters.

On offer: canapés and bubbles.

A sea of sequins distinguished the girls from

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the bow-tied chaps. A slick of red lipstick was de rigueur, whilst on the crowded dance floor, Chanel, Dior and Oscar de la Renta ruffles merged into one oscillating band of merriment.

More than a few trains felt the unintentional step of a misplaced foot, but among the action, no one seemed phased.

For the guys it was dapper in designers – tuxedos, pocket squares and sharply tailored suits hinting that they’d thrown themselves as much into the idea of dress-up as the girls.

Meanwhile, never short of a talking point, a wander of the venue turned up a myriad curiosities. Peep shows included models languidly draped in rose-petal-filled bathtubs (a copy of MOJEH in hand, naturally) or sat in hidden sitting rooms, unperturbed by the wandering eyes of inquisitive passers-by. The acts of The Act only got more riotous as the night progressed – roller-skaters flinging each other around with wild abandon, contortionists

A slick of red lipstick was de rigueur, whilst on the crowded dance floor, Chanel, Dior and Oscar de la Renta ruffles merged into one oscillating band of merriment. impossibly bending and singers belting out show tunes as streamers plummeted from the ceiling.

It all culminated as birthdays do, with a cake and a speech from the lady of the hour, editor in chief Mojeh Izadpanah; thank yous to the sponsors – Falcon Bank, Louis Fourteen and Bulgari – and to the people who made it happen, those who have unfailingly offered their support.

As the lights clicked on and the crowd filtered out into the night, fun-filled but tired, there appeared to be the same words on everyone’s lips, ‘Same time next year?’

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Photographed by Cecile Bortoletti

Romance is the glamour which turns the dust of everyday life into a golden haze

E L I N O R G LY N

Interview

Mojeh

Fearlessly

Moving Forward MOJEH talks to designer of the moment Marc Jacobs about the next step for his eponymous line, his SS14 collection, including that Victorian gown, and what he most admires about the women surrounding him in fashion.

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How big a role does ‘fearlessness’ play in fashion?

There are different designers that I respect, like Miuccia Prada, who is fearless. Once I saw this thing about Anna Wintour and fearlessness on the cover of WWD for the [CEO] Summit.

Anna talked about being fearless. It triggered something in my head because I’d been thinking about this in regard to other things. There’s something with people who are sensitive and creative and talented, that instinct is a very huge part. You are very sensitive. Maybe your instincts don’t always please people, maybe they don’t always strike a chord. But a large part of what I know drives me, and what I imagine drives Miuccia, is something that you could never learn, something you could never calculate, and that’s instinct. There’s a certain amount of curiosity, a certain amount of boredom, a certain amount of instinct, and there’s a whole lot of fearlessness. I do believe instinct plays a big part, besides inspiration and all of that. All those things I think exist within really thoughtful, sensitive, creative people.

Have you ever doubted your creative instincts?

All the time; that’s part of the process. For me, there certainly needs to be a healthy dose of questioning, feeling very confident about one’s choices, then questioning one’s choices.

That’s how something organically shifts and grows and becomes what it ultimately does.

It’s not about making an instinctive decision six months prior to having a show and just executing that decision – that wouldn’t allow for any spontaneity.

You talked about Miuccia Prada earlier. What do you most admire about female designers?

Throughout history, the best designers, the ones who have made the biggest difference and the longest-lasting difference in fashion, are women. Miuccia Prada, Rei Kawakubo, Madeleine Vionnet, Elsa Schiaparelli, Madame Grès, Chanel, Westwood. I remember years ago, Saint Laurent was talking about how he wanted to create a style because that’s what Chanel did. That’s what lasts. Not to create a fashion.

A fashion is a trend.

Tell us about the SS14 Marc Jacobs collection – what mood were you in while you were creating it?

I was happy as can be. I was back in my house.

I was so excited about both of the collections. I collaborate with a lot of people and work with a team of designers. We sit there and go through fabrics, archives and references. We see things we like, I see exhibitions, etc. And for some reason, we think, ‘We’re all sitting around here in the middle of the summer in navy blue and black and it’s like, ‘Who wears white?’’ It’s not that I think we’re going to make clothes that everyone will wear all of a sudden. Everyone is one of those ‘new’ words.

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Your Victorian dresses were an instant hit, do you think we’ll be seeing them everywhere this season?

No. Not everyone is wearing white, not everyone is wearing black and not everyone is wearing pastels. But I think fashion people are fashion people. We all have to come up with something that we’re interested in each season. I read something Rei [Kawakubo] once said: ‘I didn’t know what to do this season.’ And I thought what a beautifully honest thing to say. Because the reality is, you have to do something. And maybe, we didn’t know what to do. So we said, there is Jamie [Bochert] coming in a Victorian dress.

What is Jamie to you, would you call her your muse?

Jamie is kind of the inspirational, fit-model muse. She came in with jet black hair and traipses in some old Victorian dress in the middle of summer. And you know what? She looked cool. So you sort of say, ‘Why not?’ We started looking at things that are Victorian. It really started out with a pair of surf shorts and a Victorian blouse. I just thought, wouldn’t I think it was cool to see a girl walking down the street in a beautiful Victorian blouse with a pair of men’s surf shorts?

Where did the idea spring from?

There were a list of reasons: the final scene of Pippin. This book of women in Tahiti wearing Victorian blouses and making these tropical print quilts. Maybe a bit of what Prada’s men’s show was. Maybe a lot of things I’ve taken in.

Then Jamie walks in with this dress and all of a sudden you’re adding things up, and somehow I make a logical connection between these things.

There is no right or wrong.

Along with your business partner Robert Duffy, you’ve signed a new contract with LVMH for Marc Jacobs. What does it signal?

Yes. It’s a huge contract. Again, after Robert was negotiating for so long, it’s another demonstration of how seriously intent they are on taking the company to the next level.

What the contract seems to provide for, what they did for Robert and I, is setting up for ‘this is the direction’. We’ve had [Bernard] Arnault’s word and now we have this contract. This is all super positive.

What do you want from this next step?

This is just projection, but I’d feel differently if anything changed. I’m going to continue to work in Paris for part of the year because it’s beneficial for us. I’m going to continue to devote the amount of time I work on things like shoes and bags. To be honest, there was a lot of time that I was in Paris over six months of the year that I was working on Marc Jacobs as well as Vuitton, which is why we have an office there.

At this moment, nothing has changed. The only thing is the Vuitton shows.

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Interview

Designer

From familiar faces to new kids on the block, MOJEH speaks to the designers making waves in Haute Couture.

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Interview

Designer

Zuhair

Murad ‘What sets me apart? Well, I can only say it’s a great honour to be considered among the great international couture designers. I can’t speak to what sets me apart, it’s up to the people who follow and wear my designs to define my particular place.’

Born and raised in Lebanon, we can say that Zuhair Murad’s place is now as a renowned designer on the global stage. Whilst the merits of haute couture are hardly defined by a celebrity clientele, if they were then he would surely have much to sing about. His clients include everyone from Beyoncé to Miranda Kerr. With his quintessentially elegant designs – all ornate detailing and billowing sheers – he manages to capture a sense of occasion. It’s no surprise that his designs are a red-carpet favourite. ‘I think women are drawn to my designs because they celebrate the body in a beautiful way. My collections are all about glamour and femininity, along with sensuality and elegance. Women always want to look beautiful.

There’s a sense of fantasy in my work because I’ve always dreamt of dressing the iconic stars of old Hollywood. Back then it was all about glamour and romance, which I evoke with the fabrics I use such as lace, chiffon and organza.’

Although an international designer, Murad’s Middle Eastern heritage marks him out as a source of pride in the region. He has managed to draw inspiration from his upbringing whilst developing an aesthetic that entices women the world over. ‘I am a Middle Eastern designer with a European vision, which stems from the cosmopolitan context in which I was raised. This combination of European and Middle Eastern cultures and their rich heritages have nourished my talent and understanding of design. It’s this diverse inspiration that motivates me to create sophisticated and glamorous collections.’

His journey as a designer has taken him from Lebanon to the runways of Rome and Paris, but ultimately home is where the heart is and Murad has never sought to abandon his ties to Beirut in favour of a life under the Parisian clouds. ‘I’ve expanded my company to Paris where we are located in an 800

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square metre showroom and atelier on Francois 1er.

Our RTW collections are manufactured in Italy, but Beirut is my homeland – I was born there and it is the place I choose to live no matter what, surrounded by my family, my friends and my team. It started from there and it will always be the place where everything starts for me.’

An international business, but also a painstaking one, couture is fashion at its most artisanal and its most artistic. It seems to exist in a sphere apart from commercial realities or the confines of what is traditionally ‘wearable’. More than an aptitude for fashion, a designer who deals in couture must have a love for it that makes the sheer scale of the undertaking worthwhile. ‘The process of creating a gown is not only exciting, but extremely personal for me. It’s a time when I can allow my imagination to take over and I’m able to create pieces that reflect who I am as a designer, and more importantly as an artist. The process begins with the team at my atelier behind closed doors. We let our minds lead. Inspiration, references, fabric samples and treatments – everything is laid on the table. It’s a very long process that can take more than 300 hours of work between creation and production for a single look. Sometimes one spectacular gown can take 1000 hours. In our collections we usually show 45 looks!’

For Murad, he has long since climbed the hurdle of becoming a household name. Success has been a companion for many years, but it is merely the gust that pushes him on in his mission. ‘Couture is a part of my daily life, something I can’t live without. It is a world of its own. It is a place of experimentation and challenge, almost like a playground of creativity with no rules. This exclusive world is also an opportunity for me to show off what I can do and create a fashion fantasy, presenting ideas that truly define my personality and reflect my state of mind. For me, my success is reflected through the testimonials of my customers, assuring me that I’ve succeeded in this artistic mission. I’m very proud and thankful for all the appreciation I get from around the world.

It makes me feel so grateful and fulfilled. All these accomplishments boost my will to continue and to surpass myself in trying to come up with new and innovative collections.’

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Interview

Designer

Ulyana

Sergeenko The Russian Mafia: not a group of organised criminals, but a term of endearment for the new pack of ochen-stylish fashionistas from the sprawling Eurasian nation. As part of this exclusive crew, Ulyana Sergeenko has already made a name for herself as a trendsetter, a jetsetter and an all-round aficionado of dress. But of course, more than a street-style star, Sergeenko is also a noted couturier. Rihanna, Chrissy Teigen and Jaime King are just some of the wellknown names to have sported her designs.

A relative newcomer to the couture parade, Sergeenko’s impact has been immediate. Her fanciful designs and keen eye for detail have made the highly capricious fashion press take note. She’s a serious designer, with a serious point of view and a serious business, even if her aesthetic is playful. ‘Today many houses are trying to modernise their collections and make them more accessible and understandable. In a way, I consider my style as more traditional female couture,’ Sergeenko tells us. ‘My woman literally radiates femininity and it applies to everything: to the way she walks, the way she speaks and, of course, to what she wears. It’s something that unfortunately you hardly find these days. So, every inch of my work is devoted to the idea of giving this woman what she needs – a clean silhouette, which underlines her beautiful shapes, and romantic, sometimes even naïve, prints and textures, which evoke the feeling of infantile excitement, something we lose through time.’

As a voracious and long-time buyer of couture herself, Sergeenko understands the emotional pull of a beautifully crafted piece. Before she launched her own line, she was already avidly scouring the collections and the boutiques of the world in search of those perfect finds. ‘I love couture,’ she gushes, ‘especially vintage. One of my favourite things to do is to spend all day walking around flea markets, looking for the extraordinary. I must say, the feeling when you find that special something is just unexplainable.’

One would imagine that having such a personal appetite for couture would give Sergeenko an innate

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understanding of the nuances of good design. She knows how a couture dress should fit and feel because, after all, she lives her life in them. That’s not to say that she hasn’t developed her own very individual approach but, as a collector, she sees firsthand how ideas are brought to life through fashion. ‘I can’t say it helps literally, but I also can’t deny that my preferences in clothes help me in designing for my brand. I feel as though I want all of our designs to be complementary on women’s bodies, so proportions are crucial. Clearly it takes a while before the imaginary picture transforms into a garment, but the process itself is so exciting that I never view it as something difficult.’

With such fêted personal style, it is natural that elements of Sergeenko’s eccentric aesthetic also filter through to her work – her penchant for a natty hat and love of an accentuated waist, for example.

She’s managed to take a perfectly honed ability in styling the work of others and translate it into originating her own garments. It’s indicative of the clarity and decisiveness of her vision on style. ‘My designs are always going to be a direct reflection of my character – my thoughts, my surroundings, my childhood. I believe that life experience is the most inspirational thing in the world. Sometimes the inspiration comes from truly unexpected things, like food that my grandmother used to cook for me, or a feeling I experienced in a certain period of my life, or old Soviet illustrated books I kept from my childhood. When it comes to the choice of fabrics or construction, I have some amazing specialists to work with. I am always trying to be a part of each step. For instance, I fit all the pieces myself, as it is a very personal story.’

Although Sergeenko’s journey is, in many ways, just beginning, she’s already bringing a distinct point of view to the field. Her Russian heritage – ripe for exploration – allows her to traverse territory that still feels uncharted. ‘I am very proud of being Russian,’ she explains. ‘Having all of that history behind me makes each of my collections so different and filled with all sorts of inspirations, from fairytales and nature to music and handcrafts, which in each region of Russia are absolutely unique. But my journey has always been a mystery. I never know what’s waiting for me. So far, I can’t be happier with what I have already achieved, because of course for me, couture is a dream, the quintessence of beauty.’ So whilst Sergeenko will undoubtedly continue to take the streets by storm with her inimitable taste, it would appear her collections will also be blazing trails on the runway for some time to come.

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Interview

Designer

Alexandre

Vauthier

Image by Jean Baptiste Mondino

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‘I never lock myself into categories or ranks,’ Vauthier tells us. ‘I just try to transcribe the world surrounding me, highlighting a certain femininity in an extremely luxurious context.’

A couturier with a decidedly sultry point of view, Alexandre Vauthier is known for his unadulterated expression of glamour. Short skirts, a flash of cleavage and figure-hugging silhouettes are all hallmarks of his work. Having launched his brand in 2009, he has quickly developed a reputation as the king of sex appeal, offering up visions of couture that feel effortlessly youthful and edgy. You might say his customer is the vixen of haute couture, but, for Vauthier, his ‘woman’ is all a state of mind. ‘I find it difficult defining the Alexandre Vauthier woman,’ he explains. ‘If there were a definition, it would be more about an allure than a uniform. If the collections convey youth and radiance, it’s because I always try my best to put forward a certain ease and an allure free from any diktat. I don’t know if sex appeal is important, I only know I am attracted by the woman as I represent her and try to make her as attractive as possible. But if you call it “sex appeal”, why not!’

As the world of couture evolves, Vauthier is perhaps one of the designers most ahead of the grain.

While he demonstrates an affinity for the classic sensibilities of the industry – he has previously worked in Thierry Mugler’s design studio and as head couture designer at Jean Paul Gaultier – he is also happy to evolve with changing tastes. ‘Of course couture evolves. Robes still exist, but I believe there is a new approach to couture through the clients.

There’s a search for exclusivity and uniqueness but also wearability. People often mistake couture (in the sense of technical know-how) with the couture spirit.

The spirit is something that was defined during the Golden Age, with an overload of embellishment and an almost-exuberant opulence. But first of all, couture is know-how. It is a research centre and a laboratory of technical ideas where craftsmanship is the guiding motif. That is what I find interesting about couture.’

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As a success story, Vauthier’s rise from a designer for the labels of others to a noted and reputable talent in his own right has been swift, but in many ways a leap of faith. ‘I launched my first collection in an almost fatalistic manner, without really knowing what would follow,’ he explains candidly. ‘My career is a rather classical one. After my first, I concentrated on doing my second collection – now I am preparing my 12th! I only think about one day at a time, but it’s an extremely difficult profession because to make just one dress there are so many people involved: the craftsmen, the fabric suppliers, the dressmakers etc. You have to lead all these contributors and it’s hard; even more so because the pace of collections every year is extremely rushed, and building a company is not easy either. You have to be both a good administrator yet creative also. I believe, however, that the end result together with passion outweighs the difficulties. The success of a collection is like a bandage for the pain of the creative phase.’

Yet creativity is where Vauthier soars. When his SS14 Haute Couture designs took to the runway, it reminded us that his aesthetic is unmistakable.

It could have been no other designer but him – his commitment to conveying feminine strength his signature. But while on the surface the collection may have been an ode to the modern party girl or the cosmopolitan woman found in the cocktail bars of Manhattan or inner Paris, it was actually subtly inspired by the idea of ‘beach and windsurf’. ‘Despite busy schedules and collection pace, creation never stops and you draw your inspiration from everything, be it a shape, an allure or a colour. Everything progressively gets assimilated. Finally some elements break away from this whole, resulting in a concept for a collection. For SS14, I wanted to address different mixes; ethnicity, generosity, architecture and fluidity; the body sheathed in neoprene, the fluidity in the movement, the curve of the wave and the wake of a surfboard,’ Vauthier tells us. ‘I tried to translate this into strict neoprene tailored jackets decorated with ethnic embroideries, gowns like sculpted waves in ‘crinoline’ and shirts in silk satin as liquid as water.

In short, I wanted obvious elegance, fluidity and femininity.’

As a designer who takes one day at a time, one might have guessed that his answer would be succinct when asked what the ultimate goal is. Nonetheless it rather sums up his advances so far. ‘There is only ever one goal: to succeed!’

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In The Pink The bride wore pink. Bucking tradition and wearing a non-white gown is more commonplace than ever before. Ever since singer Gwen Stefani opted for a pink dip-dyed silk faille gown – custom-made by Dior in 2002 – for her marriage to rocker Gavin Rossdale, dabbling in pink wedding attire has never strayed far from the mainstream.

Over the past few years a host of celebrities have opted for a sumptuous shade of pink for their big day. Reese Witherspoon chose a blushing pink Monique Lhuillier to marry Jim Toth in 2011. With no sign of ceasing, the trend has continued to rise. Missoni heiress Margherita Maccapani Missoni wed racing driver Eugenio Amos in a light cream Giambattista Valli dress then promptly changed into an identical blush pink version for the reception. Actress Jessica Biel followed in her footsteps and picked a cotton candy-coloured Giambattista Valli dress – drenched in delicate floral motifs and ruffles, and finished with a pearl-covered veil – to marry Justin Timberlake. In wraths of ivory silk point d’esprit tulle, Anne Hathaway walked down the aisle to marry Adam Shulman in couture Valentino with a handpainted pink-hued train. A mere few months ago, actress Kaley Cuoco took on the trend in a petal-pink strapless ball gown with hand-appliqué Chantilly lace by Vera Wang to exchange vows with Ryan Sweeting.

From the palest pinks to dusty damask rose hues, opting for overtly feminine wedding dresses is a flattering palette for most, and a trend that is set to continue in 2014. And New York designer Vera Wang is leading the way. Would you wear a pink wedding dress? Wang thinks you should. Her bridal collection for autumn/ winter 14 featured only four shades of pink: coral, scarlet, fuscia and peony - without a white musing in sight. Wang didn’t opt for the fail-safe blushes of pink-hues, but instead went for vibrant offerings – not fit for shy and retiring types. Adhering to Wang’s signature style of ruffles and flattering corsetry, her collection was made up of an array of romantic gowns – some festooned in large flowers and saccharine bows. Not one to shy away from controversy, Wang routinely diverts away from a traditional all-white bridal range. Fashion stylist Guillaume Boulez thinks ‘today’s bride is seeking out romantic alternatives to the all-white gowns. Pastel hues stand against the formality of a traditional wedding – bringing up a sense of modernity and simplicity – and, yet, the modern-day bride remains the little girl at heart, who’s been dreaming about her special day. Nowadays, more weddings tend to be outdoor affairs, and a pink gown is more suited to a light garden party or beach wedding than the ancestral ivory statement.’ Go ahead and flirt with pink on your wedding day.

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Feature

Fashion

C

l in

C outure

From trainers to sex appeal, we chart the evolution of Haute Couture and explore why fun has replaced formal on the runway.

Haute Couture, that bastion of high fashion and opulence. The words alone evoke images of grand, sweeping gowns and classic glamour. Valentino, Chanel, Dior. Audrey Hepburn, Grace Kelly, Elizabeth Taylor. There’s something fantastical about the world of ball gowns and movie stars. It seems so far removed from the everyday – the humdrum of casual wear. But couture today is going through something of a facelift.

Where Cinderella-esque pumps and fairytale trains once ruled the runway, now trainers and short-short skirts are taking over. A shock for some, a talking point for most: when did couture go street?

With a legacy that stretches back to the 1700s, Haute Couture has long been synonymous with high society and the international elite. The French court at Versailles was the original playground of the stylishly influential and the fashions that walked its palatial halls were

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emulated across Europe. In a world before red carpets, royalty and rulers were the ones to watch. Today, our tastemakers have evolved and are more likely to be the women of the silver screen than of blue blood. But just as New Hollywood has usurped Old Hollywood, so couture has followed suit.

You might call it the Jennifer Lawrence effect. Since entering the mainstream following her 2011 Best Actress Oscar nomination for Winter’s Bone, she has become the darling of the industry and public alike.

Her easy, relatable charm is indicative of an overall trend that sees the down-to-earth celebrated and the highly strung diva of yesteryear falling out of favour. As a face of Dior, Lawrence has proven that ‘girl next door’ still translates to the world of aspirational high fashion.

Her awards ceremony ensembles generate enough column inches to rival those offered to Kate

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Middleton and images of her posing nonchalantly for photographers sends bloggers into meltdown. Even when falling up a flight of stairs (not an easy task) or tripping on a traffic cone, she manages to convey an unpretentious charm – and all in Dior Haute Couture. She’s the film star equivalent of Cara Delevingne, whose youthful spirit and informality seem to have taken over the runway. In her own way, she’s also reshaping the mood. Out with the stomp and pout, in with the ‘I imagine I could be friends with her if she weren’t a supermodel’. So in an age when the zeitgeist dictates that fresh is the way forward, it might be unreasonable to expect that Haute Couture stand still in all of its traditional but inert finery.

Before delving into the evolution of the couture runway, it’s useful to understand the realities of how this elite market stands today. In 1946 there were over 100 couture houses; by 2000, it was less than 20. Today the number fluctuates from season to season but suffice to say, it’s an industry that has shrunk considerably with the passing of time.

We shouldn’t be surprised. When a Chanel made-to-measure jacket can cost upwards of AED300,000, couture is an indulgence that caters to few. A secretive and cosseted world, estimations on the number of committed and regular couture buyers worldwide vary wildly.

Some sources say 2,000, others

as low as 100. Then there’s the issue of economies.

With high production costs and a limited market, many brands operate couture at a loss. Sure, it adds a certain brand prestige that makes those perfumes and shades more appealing to the mainstream, but nonetheless the bottom line that so concerns the CEOs and accountants is often littered with sequins and silk. Couture might be described as the industry with ‘no price tag’, but you can bet your bottom dollar that someone is paying, even if it’s the fashion house itself. That being said, in 1965, The New York Times declared, ‘Every 10 years the doctors assemble at the bedside of [French] Haute Couture and announce that death is imminent.’ Yet it’s still with us. But for couture to survive, it must evolve with both the times and the customer. What we’re seeing now is the sequel to the traditional idea of couture. Couture: The New Generation.

For Chanel SS14, the leading lady was none other than Delevingne herself. Her final costume was a light bridal dress accessorised with shimmering trainers. Because what says couture more than sportswear? They aren’t your average pair of running shoes of course. These trainers are never destined to feel the thud of the treadmill. Handmade in the ateliers of the illustrious Massaro, each pair took more than 30 hours to make and is veiled in high-quality lace.

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And Chanel wasn’t the only label to get the haute casual memo. At Dior, mesh slipons featured crystal detailing and an embossed rubber sole; for any in doubt, the four letters of Dior signifying that these shoes are a step up from the varieties available at the local sports emporium. Where these houses took us to the track, Schiaparelli took us to the beach. The billowing gowns didn’t open to reveal glamorous heels, but feathered flipflops. So far, so couture. Or then again, perhaps not.

Where usually post-show appraisals would talk dramatic staging, the complexity of technique or the extraordinary hair and makeup, for SS14 couture, everyone was fixated on the feet. Even those far removed from the world of fashion found amusement in the idea of a couture trainer. From critics to columnists, every person with a pen or keyboard had a point of view and wasn’t afraid to wield it. So contrary were trainers to popular opinion on the sensibilities of couture, that their presence on the runway was a shock of soap opera proportions. Who shot J.R. had nothing on the Chanel sneaker.

You could argue that there was a splash of wit in the appropriation of athletic influences. This was Lagerfeld and Simons’ wry, knowing but loving nod to the absurdity of Haute Couture. It was the ultimate expression of how fashion is now a constant fusion of ‘high’ and ‘low’ references and a sign that, perhaps, couture isn’t

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taking itself so seriously anymore. It’s because of this that pieces as simple as trainers and flip-flops represent more than mere accessories, they represent a fundamental shift in the nature of Haute Couture today.

Moving beyond those headline-grabbing trainers, the collections as a whole told a broader story of change. Take a look at the couture collection of a designer like Alexandre Vauthier and one sees that couture has already entered territory beyond ornate gowns and wedding dresses. Here you will find short, sassy and sultry. It is couture with sex appeal. For SS14, Vauthier took plunging necklines and highlighted them with spiked collars. There was animal print and layers of gold chains hung over sheer body suits. Even the longer dresses – in bright blue and leopard – featured slits that reached the waist.

Modesty? Not on this catwalk.

At Maison Martin Margiela, T-shirt dresses strolled alongside trousers combined with a printed, tattooinspired crop top. At Viktor & Rolf, minimalism was the order of the day, with pale pink miniskirts and understated pastel wrap-dresses. Atelier Versace went tight and jewelled. A crystal veil from the collection has apparently been permanently ‘borrowed’ by Lady Gaga. It’s all a testament to the evolving face of couture and, more importantly, the woman who wears it. As one customer matures, another has emerged.

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It is generally accepted that the biggest buyers of couture today are women from the Middle East. Both Catherine Riviere, head of Haute Couture at Christian Dior, and Jeffry Aronsson, former CEO of Emanuel Ungaro, have confirmed in the past that this region contains some of their most avid buyers.

Here there is no such thing as ‘party season’, must-go occasions are an all-year-round affair and an off-the-rack dress simply won’t do. In the Middle East, the appetite for extravagant fashion is such that women will travel the world in search of that unique piece. In the Middle East, there is no ‘playing’ dress up. It’s a serious business.

But just as the mothers and grandmothers of the Gulf are happy to invest in bespoke gowns that take hours of manpower and countless individuals to create, so too are the daughters. This new breed of shopper might have a different taste for style, but her taste for quality and exclusivity is just as strong. This is a woman who wants vibrant, directional fashion, has pockets deep enough to opt only for the best and clearly the couture houses have her in their sights.

Of course, while couture may not be as immediately tied to trends as RTW, it does have an important part to play in the trickle-down theory of fashion.

What starts as an extreme and exaggerated concept at the

top – and couture really is the top – frequently ‘trickles down’ to more wearable and more accessible options as we descend the fashion ladder. With such widespread publicity for its couture trainers, which are only available as part of the full Haute Couture look, Chanel was quick to note that a version would soon be available in RTW. They may not take 30 hours to make or carry the same price tag, but they will undoubtedly appeal to all who want a slice of the couture dream without investing in a head-to-toe look.

Almost regardless of the designs, Haute Couture will always be a fantasy. As Christian Lacroix said, ‘Haute Couture should be fun, foolish and almost unwearable.’ It represents the showmanship of fashion at its most extravagant and is a celebration of a craft that many take for granted. As couture evolves to meet the times, it’s no less fun and foolish and arguably no more wearable. For inspiration, couturiers may be looking to the street and ditching the sense of reserve that has so often permeated the catwalks, but there is no loss of imagination and drama. The runway may be channelling pieces more commonly associated with running than high fashion, but if couture has gone street, it’s surely still fit for the most glamorous street in the world.

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Ka r l’ s World From Paris to Dubai, via the rest of the world, we explore how Chanel’s collections are now a global affair.

Ambience images by Anne Combaz Métiers d’Art images by Benoit Peverelli

Coco Chanel: defining, influential and oh-so French. Her namesake label changed the fashion landscape and is now one of the most powerful forces in an industry that envelops the globe. Quilted bags, woven jackets and strings of pearls broken up with the iconic interlocking Cs are all iconic hallmarks of a label that always has a place in the zeitgeist. With that kind of lineage, taking control of Chanel is more than merely ‘taking the reins’, it’s leading an empire – a roaring behemoth with feet on every continent and a heart that beats in Paris.

To become synonymous with a fashion house like Chanel is no mean feat. For someone to make it their own, even harder. Yet occasionally a creative director comes along who seems so natural a fit, so in tune with a brand, that it’s as though the fashion house was always meant to be their home. Karl Lagerfeld is one such talent. Where Coco formed the foundations of Chanel, Lagerfeld shaped it into the label we know today and kept it sitting at the head of the fashion table; elbows down. Resolute.

What has made him such a master in his field is his ability to take the DNA of the house and evolve it for mood of the times.

He manages to reinvent without it feeling like a reinvention. He shifts the direction, moves the pieces around and – more often than not – adds a dollop of something entirely unexpected. And yet it always remains undeniably, identifiably Chanel.

You could say that part of Chanel’s identity is its ‘Frenchness’.

Open a perfume bottle clutch bag and you can practically hear the faint whisper of ‘vive la France’ coming from within.

Lagerfeld, however, is a man of the world and he’s taking Chanel along with him for the journey.

Born in Hamburg in 1933 (a year he’s been rather coy about confirming), Lagerfeld has never been one to put much sway in borders. His mother was Swedish and, despite his German upbringing, it was in Paris that Lagerfeld completed his studies.

His jet set lifestyle is famed, but for the man who said ‘stuff your brain with knowledge’, it’s clear that his jaunts from city to city and beach to beach are more than mere escapism. From the corners of the world, he soaks up inspiration and references like a tourist collecting shells. This global scrapbook is then laid open on the runway with collections that are far removed from the 20 arrondissements of the French capital.

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It’s in the Métiers d’Art and Cruise collections that Lagerfeld’s worldliness manifests itself most. Presented in different destinations each year, they invariably embody their locale, be it Miami’s South Beach or the chilly climes of Moscow. They generate feverish excitement from the international fash-pack, and are often the note of grandeur in the bland void between the high-octane fashion weeks of the Big Four.

In December 2012, when the Chanel circus rolled into the small Scottish town of Linlithgow for the Métiers d’Art 2013 show, crowds lined the streets. Local papers usually filled with ‘reader’s pics’ and tips on family activities went to town as the A-list descended. ‘The most talked about town in the world!’ read one headline. The collection itself was a love letter to the land of tartan and knits. But it was thankfully no Brigadoon, and while it may have occasionally come close to veering into pastiche, on the whole there was a warm authenticity that the audience (by which we mean the world audience) proclaimed a success. Like a high-fashion postcard, this was Karl’s ‘aye aye’ from bonnie Scotland.

The idea of taking Chanel and not just showing it in a place, but using the collection itself to show a place, is where Lagerfeld excels. In Shanghai, he fused modern and traditional Asia with flashes of lucky Chinese red and accessorised with the kind of pointed hats more associated with rice paddies than the runway.

In Moscow, models resembled Russian dolls and sported furry hats. In Mumbai (Bombay), nose rings met beaded sandals and flowing, wrapped, sari-inspired dresses. In a way, these collections represent not the destinations as much as Lagerfeld’s interpretation of them. We’re seeing the globe through his eyes.

Minus the ever-present shades.

It was back in 2002 that Lagerfeld first launched the concept of the Métiers d’Art collections. Derived from the Old French word mestier, meaning employment, and the Latin word ministerium, meaning ministry, it symbolises those who were called upon to work for the ministry. And of course for those who specialised in these kinds of trades – embroiderers, goldsmiths, milliners etc. Their work truly was a calling, a way of life, and not simply a means to put bread on the table. The Métiers d’Art collections are therefore intended to be a celebration of these couture craftsmen. With his extravagant runway shows, Lagerfeld created a platform to showcase the artisanal, delicate and precise craft of fashion. He’s been credited with initiating the fashion world’s obsession with pre-collections and starting a trend for showing pre-fall that the other houses have all been quick to follow. He’s quick to point out, however, that when it comes to Chanel, these are fully fledged collections, not pre-collections.

For the 2014 Métiers d’Art show, Lagerfeld continued the overarching narrative of the house by staging a rodeo-themed spectacular in Dallas. It created what was seen by many as a full circle moment. It was, after all, the Texan Stanley Marcus – of Neiman Marcus fame – who was a vocal and influential supporter of Coco Chanel as she attempted to make her comeback in the 1950s; her post-war image tainted in France. And it was in Dallas in 1957 that she was presented with Neiman Marcus’ award for Distinguished Service in the Field of Fashion, an accolade also bestowed upon Lagerfeld not long after his own collection had walked the runway and the sawdust had been swept.

Paris-Dallas was as Lone Star State as they come. Setting aside the diet of corndogs and popcorn on offer, rodeo met Navajo with ponchos, tassels, ruffles and every other detail that suggests Wild West. It was denim and cowboy hats, feather headdresses and suede boots. One didn’t need the flags hanging from the ceiling or the themed barn-like surroundings to gauge where the show was taking place. The clothing did the talking. ‘Texas is wild, but I made it more romantic,’ Lagerfeld told Dallas News.

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The downside of taking such a determined hand with cultural references is that, like most things, it can be easy to stir up a little unintended controversy. With one Native American activist branding the show ‘an offensive mockery’, it managed to garner headlines for more than just its artistic merit. With the issue of feathered headdresses ruffling a few, well, feathers, multiple column inches were spent debating the appropriateness of Lagerfeld’s propensity for cultural appropriation. On the issue, Chanel simply described the backlash as ‘misinterpretation’ and proclaimed that the pieces in question were designed to be a celebration of ‘creativity and craftsmanship’ – a tribute, if you will. Nonetheless it ignited a talking point that still rages across the blogosphere, even if most reviews for the collection were resoundingly positive.

When it comes to Cruise, luckily beaches and bikinis generate less hullabaloo. Where Métiers d’Art is the Lonely Planet approach to world representation, Cruise is Lagerfeld’s beach holiday. Throughout the years, the show has touched down in sandy escapes including Miami’s South Beach and Saint-Tropez. Where the glitterati flock, Lagerfeld follows.

Or perhaps it’s the other way around.

Cruise 2014 saw Lagerfeld pick up his audience and drop them down in Singapore. Although a vibrant and buoyant market for Chanel, the rationale behind the destination was loose. It seemed, simply, as though he’d been to all of the traditional sunny getaway spots and was now on the hunt for runways less-trodden. Still the location bled into the collection. The black and white woven curtains so associated with the island’s homes provided a natural inspiration. What could be more Chanel? Speaking after the show, he was keen to point out that his reference points aren’t overly literal. There was no trawling through the Singapore backstreets searching for elements that could inform the designs. ‘I research with instinct, you see. It has to be a vague impression, but don’t get into the details. Reinvent the details,’ he told reporters.

With the news that Chanel’s next Cruise collection is to be staged in Dubai, talk naturally turns to how this new metropolis will find its footing on the catwalk. A city where fashion is consumed like a figurative fourth meal of the day, there will certainly be an appetite for the wares on show.

Although now an overused description, Dubai is a new city.

It has sprung from the desert like a wayward palm and it has flourished. A place that was previously seen as a monument to artifice and a mecca of malls, is gradually being recognised as more than this. It has a long history as a trade route and as a meeting point of east and west and, in many ways, this is still its defining characteristic. But where before spices and gold keep the city abuzz, today it is fashion commerce and international culture. As a melting pot of globalism, it’s clear why Lagerfeld would be drawn to its shining, skyscraper-lined shores. Another stamp in the Chanel passport.

Of course, Lagerfeld’s own stamp is all over the Chanel we know today. In many ways he has come to embody the brand, and the brand embodies him. He has approached his work fearlessly. There are no half measures. ‘What I do Coco would have hated,’ Lagerfeld once proclaimed. ‘The label has an image and it’s up to me to update it. I do what she never did. I had to find my mark. I had to go from what Chanel was to what it should be, could be – what it had been, to something else.’ With a mantra of change, what Lagerfeld has done is create a label that is not just for the world, but of the world. His world. With more than enough points on the atlas still to tick off, where he will lead us next remains to be seen but, with passports at the ready, we’ll certainly be along for the journey.

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Making Love: Fashion’s Formidable Power Couples Working and living with your spouse sounds like an implausible task. Yet, the fashion industry is full of awe-inspiring duos that blur the lines between professional and personal relationships to create some of the most powerful brands on the market. Is it true that two heads are better than one?

By Gillian Brett

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he saying goes that you should never mix business with pleasure – not unless you’re happy to risk both. Surely then, it is only true romantics who can share both their personal and professional lives together?

Mutual trust and support, combined with the immense shared passion and commitment to driving common goals is what makes some fashion duos so successful. The strong belief in their other half and encouragement to do what they’re best at when both their livelihoods hinge on this joint success is what makes this cohort of fashion tandems work. Together they push hefty profits, straddle numerous creative outlets, and ultimately create a unique and beautiful product.

There are many successful fashion twosomes – Meadham Kirchoff, Rag & Bone, Peter Pilotto – but there is something far deeper at play when the relationship is not purely platonic. Yes, there is the romance, but these individuals are also so powerfully in sync that, together, their creative minds can appear greater than those who choose to go it alone.

Some fashion power couples are drawn together like magnets with opposing aesthetics. One of the greatest examples of this is budding London-based designers Golan Frydman and Fyodor Podgorny of Fyodor Golan. ‘We are like Dr Jekyll and Mr Hyde – our visions are so different,’ explains Frydman. ‘While there are many incongruities to our work, it always feels like one brain and one pair of hands designing each collection.’

‘Seasons where we clash the most are usually the strongest, because it’s not one-dimensional,’

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agrees Podgorny ‘We have to figure out how to make two completely opposing ideas work as one. I’m quite hard whereas Golan is very soft, so having to merge wispy chiffon with laser cut leather is not easy, but the result is always unique.’

The Dr Jekyll and Mr Hyde aesthetic works exceptionally well for the young duo; while there is a discernible sense of experimentation and play in their work, it does indeed seem to come from a singular point of view. With every unexpected texture clash comes great depth. This season, the pair rather remarkably fused ancient tradition with modern technology, as model Chloe Nørgaard stepped out wearing a bell-shaped mini shirt constructed from £68,000 worth of 80 layered Nokia Lumia 1520 smartphones. Inspired by the duo’s holidays in Burma, a collision between Burmese tradition and the digital realm lay at the collection’s heart. The pair’s crazy dissonance on the catwalk and bonkers sartorial vision begs the question whether they would have been brave enough to do this alone. Or indeed whether such an extraordinary idea would have occurred had they not holidayed together. Their willingness to take risks like this has propelled them to become one of the most hotly anticipated shows on the London schedule.

Powerful duos in the fashion industry can be found off the catwalk too. Take photography duo Inez van Lamsweerde and Vinoodh Matadin.

Looking at their work, it certainly doesn’t mark out the pair as typical romantics, yet for almost 30 years, they have been together in every sense of the word. Lauded for their thought-provoking magazine shoots, artwork and ad campaigns for

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MOJEH Issue 12, Photographed by Jean-Francois Aloisi

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MOJEH Issue 6, Photographed by Raphael Delorme & Thierno SY

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the walls in Prada boutiques. His intensity for perfection matches her immaculate collections.

Apparently when he was overseeing the decor of a new Miu Miu store in Manhattan in 1997, he took issue with a mirror and smashed it. He also famously broke the tail lights of several cars parked in the wrong spaces of Prada’s parking lot.

Bertelli and Prada’s personal relationship is the most volatile of all, and the two are infamous for their heated arguments. ‘We work hard. It’s always an intense relationship, and it’s exhausting having to work with him. But I admire and respect him,’ Prada told The Wall Street Journal.

The spirited pair met at a trade fair in Milan in 1977. Bertelli was a handbag salesman at the time and Prada was running her grandfather’s leather-goods store. She was a well-groomed and affluent Milanese woman, dressed in Yves Saint Laurent skirts and Balenciaga dress coats, who studied theatre and talked politics. He was a brash Tuscan tycoon with grand ambitions.

Taken by his fearlessness, she hired him as one of the brand’s main suppliers, and within a year they were living together in an apartment in central Milan. Bertelli continued to encourage his wife to take risks: he pushed her to open the brand’s first store in New York in 1986, urged her to start designing women’s clothes and got her into menswear. His plucky nature transformed a company famous for steamer trunks into a global fashion conglomerate, putting them both firmly on the Forbes rich list with $2.4bn in sales. The Prada brand expanded to include four labels – Prada, Miu Miu and shoemakers Church’s and Car Shoe – and fill 267 stores from San Francisco to Seoul. In an industry overruled by multinational conglomerates, Bertelli, Prada and her siblings own close to 95% of the company; the dynamic pair serve as co-CEOs. The key to their success? Despite their tumultuous relationship, both agree on a crucial point: the creative and commercial needs of the brand have to be on equal footing for the company to be a true success. ‘Miuccia and I have lived very intensely for the past 30 years, even if there have been fights. Living, working and creating a family together has been a great human exercise,’ Bertelli told WSJ. And so it seems that by harnessing each other’s talents, some creative couples find they can bravely explore new ventures, straddling two or three artistic worlds at once. Other couples demonstrate how a little yin and yang has the potential to create something one mind could never dream up alone (or not have the bravery to attempt). In some cases it is one partner’s business acumen that drives the other’s creative vision to become a prosperous and respected commercial entity, landing it not just the awe of the monthly fashion glossies, but giving it the sustenance to sit proudly upon the pages of The Economist. The one crucial element these couples share that gives them the edge over other fashion duos is their enduring and unconditional love for one another.

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the likes of Saint Laurent, Dior and Givenchy, their work is a series of fantastical, dark narratives.

There is certainly no denying the passion in everything they do. ‘Our work is about dualism, the questioning of identity,’ van Lamsweerde told Net-a-Porter magazine. ‘Male/female; the tension between beauty and the beast – that is the fascination that drives us.’

Known for their sentence-finishing synergy on set, the immaculate duality in their work is just as intrinsic. They met in 1986, at the Gerrit Rietveld Academie in their native Amsterdam. Matadin was studying fashion design and a friendship blossomed as van Lamsweerde shot pictures of his collections. Six years later they moved to New York and worked as a photographer and stylist duo (she shot, he styled). Their eventual progression to photography powerhouse occurred quite serendipitously. ‘There was an extra camera on set that we were trying out and Vinoodh was like, “Let me just try it out”. From that moment on, he started shooting as well. The level of stress reduced greatly. Between the two of us, we knew the picture was there. It’s great. We look at each other’s [cameras] and we can say, “Oh, that’s better. Let’s go in that direction.”’

To illustrate their synergy, the pair released a book – a hefty two-volume monograph – called Pretty Much Everything. The cover is a poignant self-portrait of the pair kissing. A heart-warming gesture also inspired their latest venture into jewellery design. Matadin surprised his wife with a necklace he had designed for her. An idea then formed to make 10 necklaces to symbolise each year of their son’s life. Galvanised by the choice of stones and metals available, the innovative couple added bracelets, earrings and leather necklaces, soon amassing a 200-piece collection.

Their intensely personal work also extends to film – having created fashion films in the past for brands like Balmain, and most recently directing the music video for Lady Gaga’s Applause – and has formed an exhibition at the Gagosian Gallery in London. Successfully straddling photography, art, music and design – as well as potentially having the longest photo credit in the business – Inez van Lamsweerde and Vinoodh Matadin are a pure powerhouse of love and creative energy in equal measure.

Working in tandem on a creative project does conjure dreamy visions of days spent together in art galleries soaking up inspiration, or sketching side-by-side in a serene design studio. So what happens when a couple comes together whereby one mans the creative side, and the other tackles the business end? Patrizio Bertelli and Miuccia Prada run one of the most successful fashion houses in the world. Mrs Prada reins as one of the most influential designers in the world, and Bertelli is the driving influence behind her. He brings the same attention to detail to the business end that Prada does to the creative. He holds a notorious reputation as an unrelenting boss with a hands-on affinity for the company – right down to the stitching of shoe seams or the colour of

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Summer Loving When the evenings draw out and the heat lingers until dawn, give a sartorial salute to the summer sun. Start with an all-white base from Antonio Berardi and accessorise with bursting shades of marigold, tangerine and daffodil yellow for any pre-weekend-away bridal party. The summer fun has begun.

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A Sweet Escape From the city to the shoreline, find inspiration from Cannes to achieve that highly desirable sun-kissed and radiant look. Go against the grain and indulgently mix your patterns with prints.

Opt for yacht attire that is an array of sea-blue, and adorn your neckline in something exquisite from Tiffany & Co.

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Paper Trail Take on a modern mood of dayto-night dressing with nature’s palette of forest green and sombre black. Pick an ensemble of sheer sophistication with a delicate goldlace embroidered playsuit from Valentino. Playfully decorate your outfit with Dior jewels and complete the look with a pair of spruced feathered heels from Paul Andrew.

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Young and Beautiful As the summer wedding season fast approaches, invites will land on our laps and sumptuous soirées will be attended. Opt for cocktail attire that is elegantly pleasant and codified glamour from head-to-toe. Look to Stella McCartney for a less-is-more jet-black dress and adorn yourself in frosted pink jewels à la Piaget.

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The Loveable Life of

Natalie Joos Her impeccable style choices have failed to go unnoticed. Hailing from Belgium, but residing in New York, esteemed casting director Natalie Joos spills all in her blog, Tales of Endearment. From her brutally honest notes on dating, to her unique sense of style, MOJEH delves into her enviable fashionable lifestyle and more.

What’s the first thing you do in the morning: Heat water, squeeze a lemon and drink. Describe your average day: I sit behind my desk to answer and write emails, have coffee, go running. Sometimes there’s a fitting, sometime’s there’s a meeting, sometimes there’s a showroom visit or a shoot at someone’s home (for my site) or on location. My days are quite varied, though they mostly revolve around emails and a lot of writing. Describe your style: My style is kind of eclectic.

I dress in characters. Sometimes, I feel like a sexy secretary, other times a preppy tomboy. I go from chic Americana comfort to all-out floral vintage. The essence, however, is feminine and upbeat. I always want to feel like a happy, confident and sexy woman. What’s your all-time investment item: I have a black Balenciaga dress that’s timeless, and a short Céline dress that I will wear forever. What are your everyday wardrobe staples: In autumn and winter I wear a lot of denim and flat boots. In the summer it’s vintage dresses and sandals. I also love coats, and comfortable men’s sweaters. Do you have a favourite outfit: My cigarette Elizabeth and James jeans, Karen Walker loafers, a vintage nautical striped longsleeved T-shirt, Stella McCartney blazer or J.Crew cardigan and Zadig & Voltaire coat. What are your essential beauty products: I have a routine, evenings and mornings. I wash my face with Marianella soap, then use toner, apply eye cream, followed by serum and finish with a day cream with SPF. In the evening I do the same, but with night cream instead. What’s the one thing you can’t live without: Sunlight/vitamin D. Do you have an everyday motto: This is not a rehearsal.

Describe your perfect weekend: On Saturdays I like to do my chores. I do laundry, iron, shopping – all while listening to the radio. In the afternoon I usually see my sister – she lives nearby – and we do our nails or visit our favourite vintage stores (Stella Dallas and Artists & Fleas). I also love to have casual dinners, see movies, and take long walks in the park. My weekends are super chilled out.

What’s the best piece of advice you’ve ever received: Compare and despair (so, I don’t). Where do you plan to visit in 2014: Kazakhstan, Arizona, Vienna, Belgium, Paris… and more. What albums will you be downloading: Beyoncé and Pharrell Williams. What’s your mission to accomplish this year: To solidify my role as creative director and start an office/agency, redecorate my house, stay in shape and maintain my social relationships. As we come into summer, what brand will you be investing in: I’d like to have one of those Victoria Beckham dresses. They are really expensive but I think I should have one. Who will you aim to spend more time with in the coming months: My sister and my boyfriend. What’s your favourite city for shopping: New York! Where’s your favourite place to eat: Soho House – their dishes are simple but excellent. They have gluten-free options, and almond milk and healthy vegan food. It’s the perfect place for meetings, Sunday brunch or a date. A day in the countryside or a day at the beach: Beach!

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Image courtesy of Jamie McCarthy, Getty Images.

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Point

No men allowed. This is a women-only event. As women continue to break the glass ceiling, they’re increasingly holding networking opportunities for their female counterparts – without men. Both inside and outside of the office, women are turning to fellow women to show sisterly solidarity within every aspect of society. In a world of ever-expanding female influence, the new sisterhood has risen to another level.

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rom popular culture to politics, the rise of sisterhood is fiercely prominent. In April 2012, the firstever episode of HBO’s Girls aired across TV screens throughout the USA. And the women of the world sat up and took note.

From their blatant normality to their deeprooted friendships, writer Lena Dunham presented a reminder of the power of female amity. The 27-year-old creator and star of the series has said that even though her characters may all date men,

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Image courtesy of natalyakanj, Instagram, Image courtesy of stellamccartney, Instagram.

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female friendship is ‘the true romance of the show.’ After gracing the front covers of magazines from Rolling Stone to Glamour to US Vogue, the meteoric rise of ‘Girls’ and Lena Dunham hasn’t slipped past the fashion radar, and everyone has had something to say about it. This ode to romantic female friendship has transcended globally. Dubai-based blogger, Natalya Kanj of Five Five Fabulous, works closely with her sister on a day-to-day basis and values the importance of women and female friends: ‘I see my girlfriends regularly. We’re the type of group that has fun in any situation – whether we stay at home, watch movies and order in, or go out and dance the night away – we’re always guaranteed a good night.’

They say there’s power in numbers and, for fashion designer Stella McCartney, this played true during her shows for autumn/winter 2014. Sending a gang of girl models down the runway all at once was illuminating, but not surprising. After McCartney created a capsule collection for actress Gwyneth Paltrow’s online business, Goop, she posted a letter of admiration.

‘Sometimes in life you get a girlfriend who becomes likes a sister. Someone who really sees you. Who is as honest with you as they are loving,’ McCartney publicly stated. And Gwyneth reciprocated by saying: ‘I feel a sisterhood emerging

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Talking Image courtesy of Andrew H. Walker, Getty Images.

around me.’ And this girl troop state of mind has even transcended to the famous front row. Socialites Alexa Chung, Pixie Geldof, Laura Bailey and Kelly Osbourne have taken ownership of the FROW during fashion season. Sitting together in a row and projecting the notion of a girl gang – the type every high-school wannabe lusts to be part of. Even before they reach the front row, they want to be photographed as a part of a group. Time and time again, models Daisy Lowe and Poppy Delevingne are seen surrounded by their counterparts, companions and comrades, and they’re having fun doing so. But there’s much more depth to it, Dubai-based fashion blogger of MyFashDiary, Tala Samman, suggests: ‘As much as men are great to have as friends, nothing beats a close girlfriend. I’ve realised that most of my girlfriends have been close ones for years.

You can talk about the most private things, have a good time with them and have them there for you when you need a good cry. Whether we like it or not, a woman has that soft and understanding trait that we will never find in men.’ It’s extended across the world of modelling, too. Modelof-the-moment Jessica Hart makes time for her friends even though they don’t get to see each other as much as they’d like: ‘I have many friends in the industry but with our schedules, we barely ever get to hang

out. Jessica Gomes, Nicole Trunfio and Poppy Delevingne are probably my closest friends and when we do get to hang out, we have a ball!’ London-based jewellery designer, Solange Azagury-Partridge keeps female friendship a central part of her life. Spending those intimate moments with her girlfriends allows for: ‘sisterhood, freedom of expression and fun’. There’s a pattern here: women no longer shy away from using the words sisterhood and feminism.

Over the years, editor-in-chief of US Vogue Anna Wintour and former US Secretary of State Hillary Clinton have kept a close allegiance. Their friendship grew after Clinton graced the front cover of US Vogue in 1998. Former US Secretary of State,

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Madeleine Albright, famously quipped: ‘There’s a special place in hell for women who don’t help other women.’ And it would appear that Clinton has the same mentality: ‘I believe the rights of girls and women is the unfinished business of the 21st century.’ At a recent event celebrating the work of Oscar de la Renta, Wintour publicly supported her longtime friend: ‘I can only hope that all of you [here] will be celebrating her come November 2016 … All of us at Vogue look forward to putting the first female president of the United States on the cover.’ These high-profile women don’t shy away from their mutual unwavering admiration, and it sends a sound wave of inspiration for women the world over.

And now an educational tool, in the form of Disney, has turned to the prominence of sisterhood for their edifying message to young minds. Remember when little girls thought they had to erase everything that was interesting about them and straighten their hair to achieve success in life? Or let their hair unravel from a castle window and be saved below by their knight in shining armour? Or achieve princess-like status and live happily ever after? Well, even the makers and writers at Disney have turned their backs on that age-old plot. They’re accepting that women are tired of this make believe. With the reworking of Hans Christian Andersen’s 1845 tale of The Snow Queen, the depiction of sisterhood is the central theme to the entire story of Disney’s new animation, Frozen. Until now, it was an unexplored subject matter for Disney, or an added after-thought, but this time around, the unbreakable bond of sisterhood is too strong to set into the background. The huge success of the film can only further indicate this welcoming storyline.

Only two years ago, after much speculation, the spotlight shone firmly on two of the biggest names in fashion: Miuccia Prada and Donatella Versace.

Not for their highly sought-after designs, their shared Milanese expertise or globally acclaimed success, but for their friendship. Yes, they hang out. But, why

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Talking Image courtesy of Tim Whitby, Getty Images, Images courtesy of myfashdiary, Instagram, Images courtesy of JXXSY, Instagram, Images courtesy of 1JESSICAHART, Instagram.

does society find this fashion-based friendship utterly surprising? Can women not be both competitors and companions, like men can? After meeting in Milan, the two quickly became acquaintances: ‘We just talk, talk, talk. She’s so inspiring.

We make fun of each other and teach each other. [Miuccia] says, “I could never make sexy clothes, but I love them.”

And I say, “Well, I love what you do,”’ said Donatella to one publication. What harbours even more interest is their viewing toward a womans position in the world – making them have even more in common: Both agree that feminism has had its day, especially in Italy. Donatella bluntly protested: ‘Feminism is dead in the world. It comes from another time.

I’m a feminist. I want to fight, but I don’t see many people with this desire to fight for something.’ She believes women in fashion don’t help each other either, claiming that Miuccia is her only good friend within the industry. Miuccia has openly stated previously that she nearly gave up a career in fashion altogether as she thought it conflicted with her feminist principles. But you only have to take a quick glance at the front row of any fashion week, and you’ll witness a string of females huddled together, indulging in their love of fashion and sharing stories.

But two years on and there’s a turning

These high-profile women don’t shy away from their mutual unwavering admiration, and it sends a sound wave of inspiration for women the world over. and concrete shift within the mainstream.

Unlike the 1980s, it is apparent that women are completely uninterested in mimicking masculine behaviour to succeed. It’s not that the term feminism has been rebranded or altered; women are accepting the importance of sisterhood and feminism, and they’re not ashamed to say so. Journalist Hadley Freeman, who never shies away from her own opinion, put it simply: ‘I wish feminism were more complicated because it would explain why so many people misunderstand it.

But it is actually amazingly simple: it is a belief in gender equality. There are complications within it, but that’s all it is. The reason it has a special name is because equality is not the human race’s default position and only a very wealthy, white, heterosexual man could possibly think otherwise.’ Where will this bring us to in 10 years’ time? As the rise of the girl gang, rebranding of feminism and a new sisterhood emerges (or whatever term we would like to place upon it), one thing is for certain: women are coming together to do things their way.

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Photographed by Michael Schwartz

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The Eternal Vision They’re never the shy, retiring types. Instead, they embody what it is to be an Italian woman. Dressed in glamorous attire, fit for any female who was faithfully graced with beauty and the warmth of love, this season’s Dolce & Gabbana woman is Eva Herzigová.

Buried within the cracked, cobbled streets of Italy, the all-Italian family rejoices in another gathering.

From your next-door neighbour to your local shopkeeper, the Italian family extends a hand to all. But at the heart of tradition the strong presence of a glamorous woman always lies. With a backdrop of the glorious Italian countryside in Taormina, and light lilac flowering blooms, Eva stands in amongst the gloriously animated famiglia. ‘I am very close to my family – we have a very strong bond among us all and Italian tradition reflects the same values,’ Eva muses. For designers Domenico Dolce and Stefano Gabbana, la vita è bella is the Italian family

and its heartwarming traditions. Gathered on the paved piazza, surrounded by adoringly lustfuleyed men and indulging in an Italian staple of freshly baked bread, Czech-born Eva Herzigová is every inch the Italian woman. Hand-picked for their spring/summer 14 campaign, Eva understands the infamous D&G vision: ‘It’s about the Italian ‘La Dolce Vita’ kind of style – where people enjoy life itself. [It’s] the image that comes to mind for people around the world when you mention Italy: the aperitivo, friends, the beautiful countryside, amazing food, fun, elegance, gorgeous women and handsome men. [It’s all about] love!’

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‘I believe confidence and being who you are gives you power that no money can buy,’ - Eva.

It is obvious that Eva loves their vision. With a modelling career spanning decades, Stefano and Domenico have been there from the beginning: ‘I’ve known Stefano and Domenico since the beginning of my career. They are my friends and they are my family. I’m a fan of their beautiful feminine clothes and the image [projected] behind them.’ Since winning a modelling contest in 1989, Eva’s career has continued to rise. From the front cover of Vogue to walking the runway for numerous big names, Eva has achieved more than most within the fashion world. Like a D&G campaign, it’s always the woman at the forefront, taking charge. Staying in line with Italian tradition, it’s still a modern must for their culture to recognise the vital importance that mothers, sisters and daughters play in Italian and, more importantly, family life. It has never strayed from their custom. Catering to the powerful presence of Italian women, Eva shares the same view: ‘I believe confidence and being who you are gives you power that no money can buy.’

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Eva naturally exudes this power and confidence associated with the Dolce & Gabbana woman. It is easy to see why she was chosen to front their campaign. But it’s how you feel when you’re wearing a design by the duo: they understand what women want. ‘I just wore the most amazing gold dress by them for the V&A Museum Italian Glamour Exhibition [in London]. Now, gold isn’t the easiest colour to pull off, but this dress is a masterpiece! Such lovely lace, and the tone of the gold is perfection. I just loved wearing it,’ Eva confirms. Designers Domenico Dolce and Stefano Gabbana are known for producing one thing: grown-up glamour, the Italian way. The word glamour originally meant magic or enchantment: ‘to cast a glamour’. It’s very evident that the design duo has been ‘casting a glamour’ for more than 27 years now. Eva understands why their success has stood the test of time: ‘Dolce and Gabbana’s clothes represent the ultimate femininity… and every woman can identify with that.’ The ultimate femininity being clothes that cater to every aspect of a woman’s needs, remaining consistent with: tailoring, leopard-print, lace and lingerie. It’s all very Sicilian; very D&G. Equally, exploring opposites has always been a central part of their work: virgin/tart, romance/sex, city/country and masculine/feminine. This shared mutual affection and appreciation of each other’s talents and

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successes is fully apparent. Picking Eva to front their new campaign came with ease: ‘We are like family; we’ve been working with Eva for many years!

We actually were the first ones to work with her in Italy. She was the perfect protagonist for our AW14 campaign, expressing a Norman Sicilian beauty,’ says Stefano. For Domenico, ‘she represents a Nordic kind of beauty and yet exudes the warmth of Mediterranean beauties.’ To put it simply: she is today’s D&G woman.

Throughout their tenure, Dolce & Gabbana have become known for their super-successful advertising campaigns. They openly glorify the Italian culture: it’s a life-affirming embrace of womanhood, the monuments, sunshine and, of course, il cibo. Most of all, they’re about the ‘la bella figura’. ‘The Dolce & Gabbana women are real women with a strong femininity, passion and sensuality, but also with strengths and weaknesses,’ says Stefano. ‘We have always been attracted to women that are at the same time wives, friends, lovers, managers and style icons – often all at the same time,’ continues Domenico. Women who exhibit the ‘the beautiful figure’ (like Eva does) are being paid the highest compliment from Italians.

Italy has never been short of an iconic stunning bella or two. Part of the requirement of a D&G woman is Italian DNA, as Stefano confirms: ‘Of course, being Italian: Anna Magnani, Monica Vitti,

‘We have always been attracted to women that are at the same time wives, friends, lovers, managers and style icons – often all at the same time,’ - Domenico.

Sophia Loren, come to mind [when describing the D&G woman]… and also the women of today such as Monica Bellucci and Eva, of course. To us, we think of [Eva] as an Italian!’ Domenico continues in agreement. ‘We often think of them when we create, as they are our first source of inspiration. Their pictures are always present in our mood boards.’

It’s encouraging that the women of the world are always at the forefront of their creative process.

Shot by Domenico and creatively directed by Stefano in Sicily, captured within a picturesque environment, the Italian way of life is highly desirable through their campaigns. Accompanied by other seductive senoras – Bianca Balti, Catherine McNeil and Marine Deleeuw – Eva Herzigová reigns for spring/summer. Eva fully embodies the Dolce & Gabbana woman, as we all do. With their extravagantly embellished coats, curve-hugging dresses and timeless accessories, we can relate to the Italian woman, at the forefront of the family, who exudes true femininity. Eva reminds us that it’s a dolce vita life, after all.

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By Royal Appointment We speak to designer Amanda Wakeley about taking back her business, accolades and why she’s bringing her signature aesthetic to the Middle East.

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ith her romantic designs and classically feminine aesthetic, it would be easy to assume that Amanda Wakeley is the traditional English rose, and, in many ways, she is. But underneath her svelte and effortlessly impeccable exterior lies a fiery spirit. This is the woman who rubs shoulders with royalty, fought to regain control of her namesake business after it was bought by an investment company and who is now on a mission to expand, having brought her Atelier line to Dubai’s Etoile La boutique and having recently opened a new flagship store in London’s Mayfair.

‘I always think that Dubai is so cosmopolitan and Middle Easterners also travel so much that it’s not just about what you’re wearing here, but what you’re wearing to Europe and beyond,’ Wakeley tells us, when we ask how she sees her collection transitioning from the streets of London to the UAE’s sun drenched sands. ‘There’s a very sophisticated taste level here and a very knowledgeable customer. It’s a real pleasure to work with clients who understand quality.’

Wakeley’s journey has been one of ups and downs, at least behind the serene façades of her elegant boutiques. Despite achieving incredible success and dressing the likes of Diana, Princess of Wales, and Queen Rania of Jordan, it was only a few years ago that she bought back full control of her brand. Before that, she was in a kind of professional limbo – her name hung above the door, but when it came to decisionmaking, she was beholden to the investors. It’s a situation she’s spoken about with refreshing candour, and the pride she feels in having overcome it is palpable. ‘I have to say the powerlessness is not a good feeling when your name is on the door,’ she explains. ‘Then again, getting it back after that makes you feel even more of a sense of complete ownership!’

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Part of her not unsubstantial charm is her combination of intellect and warm ‘relatability’. She clearly values those around her, her customers included, and despite having ample opportunity to sing her own praises as it were, she instead addresses her challenges and her accomplishments with equally becoming modesty. ‘Of course there were times when I worried about the success of my business, but you persevere and I’ve had great loyalty and support from my customers, which is vital. Also the support from my partner Hugh Morrison, who has helped me hugely.’

We could say luckily her personal fortunes have changed dramatically since the reacquisition in 2009 but, frankly, luck has little to do with it. Wakeley is the example of a woman who felt powerless but, through determination, regained control of her professional destiny.

‘It’s a passion,’ she tells us. ‘I love making beautiful things and I love empowering women to wear them. I wasn’t going to give up on that.’

As if signaling the tides of change, in 2010 Wakeley was awarded the OBE, an accolade bestowed by HM The Queen for her services to fashion. ‘I was so surprised to open the envelope because I’d only recently got the business back. You could have knocked me over with a feather! It came at just the right time,’ she recalls. ‘It was a really extraordinary moment because it was a moment I could share with my parents as well as my partner. It really was, in a way, the last big outing with my father before he died. It meant so much to him, as well as to my mother. It’s always special to be recognised in that way, but more so when you can share it with the ones you love.’

Now, several years on, and with Amanda Wakeley the main name at Amanda Wakeley, she has her eyes set on taking the brand to new territory, not just in terms of countries but in the pieces. ‘What’s great is that we are really expanding the product offering. In a way it’s more lifestyle than red carpet. We will always have beautiful red carpet pieces, which are wonderful for this part of the world because the women are incredibly glamorous, love to dress up and have a wonderful spirit – I adore being here,’ she says as a kind of flattering aside. ‘But then we’ll be adding extra product that relates more to the way we live our lives now. We’re not always super dressed up, so it’s about keeping that “clean glam” aesthetic running through, whether it’s the cashmeres or suede and leathers, the sheepskins or the furs.

And all for different end-users, from the school gates to the evening.’

As a designer who is also known for her exquisite bridal wear, it’s interesting that her final thought is one of companionship. After all of her various triumphs and struggles, the greatest lesson she has learnt is a simple one: ‘Choose your partners carefully. I feel very lucky with my partner, in life as well as in business. If done right, it’s the most rewarding thing of all.’

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S n a k e Photographed by Cecile Bortoletti Styled by Guillaume Boulez

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Dress, bandeau and hoodie, ATELIER VERSACE Gloves, ARISTIDE

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Dress and jacket, STEPHANE ROLLAND

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Top, pants and belt, ALEXANDRE VAUTHIER Stockings, FALKE Earrings, AURELIE BIDERMANN

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Dress, GAULTIER PARIS Gloves, ARISTIDE Clutch, ULYANA SERGEENKO

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Dress and coat, ATELIER VERSACE Stockings, FALKE

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Dress, GIAMBATTISTA VALLI Stockings, FALKE Necklace, CECILE & JEANNE

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Dress, ULYANA SERGEENKO Stocking, FALKE Earrings, HELENE ZUBELDIA

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Jacket, top and skirt, SCHIAPARELLI

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Dress, SCHIAPARELLI

Model: Mae Lapres at Marilyn Agency | Hair stylist: Vinz at B Agency for Leonor Greyl | Make Up artist: Olivier Baille | Photographer’s assistant: Jean-Yves Giot | Stylist’s assistant: Noemie Ferre | Special thanks to artist Mathias Kiss and his work the Golden Snake #5, mathiaskiss.com | Production: Louis Agency

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Hand knit dress, coral necklace, resin flower drop earrings and shoe boots (throughout), OSCAR DE LA RENTA

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Love locked down Photographed by Alice Rosati Styled by Ada Kokosar

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Embroidered dress and Oscar O earrings, OSCAR DE LA RENTA

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Peasant blouse, lace skirt, resin flower and cabochon earrings, OSCAR DE LA RENTA

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Sheer skirt and shoe boots, OSCAR DE LA RENTA

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Cotton lace dress and pave tear drop earrings, OSCAR DE LA RENTA

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Embroidered cut out top and skirt and pave tear drop earrings, OSCAR DE LA RENTA

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Embroidered tunic dress and resin flower drop earrings, OSCAR DE LA RENTA

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Model: Alison Nix at Ford Models | Hair stylist: Jerome Cultrera at See Management | Make-up artist: Akiko Sakamoto at See Management | Production: Louis Agency

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Lace applique blouse, lace skirt and crystal vine earrings with teardrop cabochons, OSCAR DE LA RENTA

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Photographed by gilad sasporta Styled by guillaume boulez

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She wears: Dress, SAINT LAURENT BY HEDI SLIMANE He wears: Jacket, shirt and trousers, all SAINT LAURENT BY HEDI SLIMANE

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Shirt, shorts, leggings and shoes, all GIVENCHY BY RICCARDO TISCI

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Coat, skirt and shoes, CELINE

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She wears: Shirt, jacket and skirt, all DRIES VAN NOTEN | Socks, FALKE | Shoes, PIERRE HARDY He wears: Shirt and trousers, all DRIES VAN NOTEN | Sunglasses, PRADA | Shoes, CHRISTIAN LOUBOUTIN

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Shirt, coat and trousers, all LANVIN | Shoes, PIERRE HARDY

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She wears: Top, jeans and bag, all LOUIS VUITTON | Sunglasses, STELLA MCCARTNEY | Socks, FALKE | Shoes, CHRISTIAN LOUBOUTIN He wears: Jacket, sweater, shoes, scarf and chain, all LOUIS VUITTON

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Jacket, shirt, trousers and shoes, all SAINT LAURENT BY HEDI SLIMANE

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She wears: Dress and socks, PRADA | Shoes, CHRISTIAN LOUBOUTIN He wears: Shirt, sweater, trousers and shoes, all PRADA

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Hair stylist: Yusuke Taniguchi | Make-up artist: Olivier Baille | Models: Noam Frost and Sam Lammar at Elite Paris | Photographer’s assistant: Yoan | Stylist’s assistants: Noemie Ferre and Pauline Lambot | Special thanks to Mouna | Production: Louis Agency

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Swept Away Photographed by Adam Secore Styled by Camille Garmendia and Amelian Kashiro Hamilton

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She wears: Top and shorts, NOON BY NOOR | Ring and earrings, CARLA AMORIM He wears: Top, PRADA | Trousers, FRANCISCO VAN BENTHUM

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She wears: Shirt, OPENING CEREMONY | Bikini bottoms, L*SPACE He wears: T-shirt, GUCCI | Shorts, YOJI YAMAMOTO

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She wears: Jacket, CLAES IVERSEN | Skirt, DOLCE & GABBANA | Shoes, GIANVITO ROSSI | Diamond flower rings, DEMARCO He wears: Suit, ANTHONY FRANCO | Shirt, DOLCE & GABBANA | Shoes, LANVIN

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Dress, MARIA LUCIA HOHAN | Cuff, ISHARYA | Rings, SETHI COUTURE

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Dress, PHUONG MY | Jewellery, CARLA AMORIM

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Jacket, GIVENCHY | T-shirt, YOJI YAMAMOTO

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She wears: Shirt and trousers, ZIMMERMAN | Shoes, stylist’s own He wears: Shirt and trousers, PETER JENSEN

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She wears: Shirt, DELPOZO | Shirt, DRIES VAN NOTEN | Hat, WALTER VAN BEIRENDONCK He wears: Shorts, IAD MUSICIAN | Jacket, EOTOTO

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Models: Sandy Leddin and Chris Davis at Wilhelmina Models | Hair stylist: Frank Galasso | Hair stylist’s assistant: Junior | Photographer’s assistant: Tae Kwon | Make-up artist: Mia Yang at Atelier Management | Production: Louis Agency She wears: Swimsuit, ZIMMERMAN | Hat, BERNSTOCK SPEIRS He wears: Swim trunks, DRIES VAN NOTEN

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Beyond the Sea Below deck or above board, modern nautical means a paired back colour palette and light Spring / Summer essentials. Take to the high seas in laidback style with pieces that translate from a day in the sun to dinner in the dining room and for the occasional bout of shore leave on exotic sands.

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1. OMEGA | 2. SAINT LAURENT | 3. LOUIS VUITTON | 4 & 5. ERMENEGILDO ZEGNA | 6. GIVENCHY @matchesfashion.com

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7. BOTTEGA VENETA @mrporter.com | 8. CH CAROLINA HERRERA | 9. BORSALINO @mrporter.com | 10. KILSGAARD | 11. INCOTEX @mrporter.com

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Well Groomed Whether best man or groomsman, with duties fulfilled dressing for the reception means fashionable formality. The party spirit manifests itself in splashes of vibrant eccentricity, be it a statement tie or playful cufflinks, whilst shoes are fit for dancing. The only must-have accessory? A perfectly prepared speech.

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1. BLANCPAIN | 2. BOTTEGA VENETA | 3. HERMĂˆS | 4. SALVATORE FERRAGAMO | 5. DOLCE & GABBANA @matchesfashion.com

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6 & 7. BALENCIAGA @mrporter.com | 8. DIOR homme | 9. HERMÈS | 10. DSQUARED2 | 11. LANVIN @mrporter.com

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Always On Time

From Baselworld to SIHH, we take a look at the best new timepieces for him.

Louis Moinet Part of a range of limited editions crafted to showcase some of the world’s most dynamic cities, the Mecanograph New York is meticulously hand engraved. Nestled into the dial are fragments of the famous New York meteorite, appropriately positioned hanging among the stars above the iconic skyline.

Mecanograph City

IWC Schaffhausen An understated new addition to the Aquatimer family, the Aquatimer Chronograph features a slimmer external rotating bezel and cover on the sliding clutch system at 9 o’clock. With a paired-back dial that harks back to the simpler designs of the first 1967 Aquatimers, it’s fit for both day and dive.

Aquatimer Chronograph

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Cartier An authentic diving instrument, the Calibre de Cartier Diver is water resistant to 300 meters. With a rubber strap and maximum-precision unidirectional turning bezel, its technical prowess is matched only by its handsome aesthetic appeal. Robust and bold, it marks a welcome new addition to the Cartier family.

Calibre de Cartier Diver

Richard Mille When it comes to Richard Mille, more is often more and the Flyback Chronograph Regatta exemplifies the brand’s propensity for daring design. An oversized date display features automatic adjustment for months of 30 or 31 days whilst a rotor with variable geometry includes ribs in 18-carat white gold.

Automatic Caliber Flyback Chronograph Regatta

GlashĂźtte Original Channeling a decade when design was suavely masculine, the Seventies Chronograph Panorama Date combines classic good looks with precision technology. A stainless steel case with sapphire crystals on both the top and the bottom is offset against a Louisiana Alligator strap in dapper navy.

Seventies Chronograph Panorama Date

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Chopard Billed as a ‘new design for a grand classic’, the L.U.C. Lunar Big Date features a 42mm case in polished 18-carat white gold. So accurate is the Moon phase that the difference between the mechanism and the real lunar cycle amounts to just one day’s difference in every 122 years.

L.U.C. Lunar Big Date

Rolex An exercise in technical and scientific progress, the Milgauss was originally created in 1956 for those who are exposed to magnetic fields in their work -which would disrupt the performance of mechanical watches. Decades later, new aesthetic innovations include an electric blue dial to compliment the green sapphire crystal.

Oyster Perpetual Milgauss

Van Cleef & Arpels Drawing inspiration from the movement of the planets, the Midnight Planétarium is as much an artistic accomplishment as a technical one. ‘Reducing the scale of the heavens to the dimensions of a wristwatch’, the celestial bodies align and rotate as a shooting star provides an indication of the current time.

Midnight Planétarium Poetic Complication

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IWC. EngInEErEd for mEn.

Portuguese Tourbillon Mystère Rétrograde. Ref. 5044: Apart from being an example of watchmaking at its most perfect, it shows the time of day with the precision guaranteed by a flying tourbillon, which eliminates even the slightest error. With its seven-day power reser ve, it’s not only firmly in

command of the present but the future as well. And you have it all on your iwc . e n g i n e e r e d fo r m e n . wrist.

Mechanical IWC-manufactured movement, Flying tourbillon (figure), Pellaton automatic winding system, 7-day power reserve with display, Retrograde date display, Antireflective sapphire glass,

Sapphire-glass back cover, Water-resistant 3 bar, Limited edition of 500 watches in 18 ct red gold

IWC SCHAFFHAUSEN BOUTIQUES: Abu Dhabi: The Galleria at Sowwah Square, Tel: 02 622 7820. Marina Mall, Tel: 02 681 1557. Dubai: Dubai Mall, Tel: 04 339 8111. Burjuman, Tel: 04 355 1717.

Ahmed Seddiqi & Sons: Atlantis, Tel: 04 422 0233. Burj Al Arab, Tel: 04 348 9000. Mall of the Emirates, Tel: 04 341 1211. Mirdiff City Centre, Tel: 971 4 284 3100.

Dubai Duty Free, Tel. Toll Free: 800 - 4443. Al Manara International Jewellery: Abu Dhabi, Emirates Palace Tel: 02 681 9222.

Photographed by Alice Rosati

You are my heart, my life, my one and only thought

ARTHUR CONAN DOYLE The White Company

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Jewel P wer Since designing her first ring in 1987, Solange AzaguryPartridge’s career has continued to rise. From opening her first shop in London in 1995 to being handpicked by Tom Ford as creative director of Boucheron in 2001, her mark has been firmly made on the jewellery industry. We speak with her about her success and much more.

Diamond Hot Lips

You designed your own engagement ring in 1987, why was it important for you to design it yourself?

I had looked at what was available commercially and didn’t feel the pieces spoke to me, everything felt like it was aimed at a more serious, conventional type of woman, so I went about making something that incorporated the elements I didn’t see elsewhere.

I wanted the ring to feel youthful, more robust and practical.

What does an engagement ring say about the woman wearing it?

That she is in love and has chosen her life partner, it speaks about how she sees herself and her place in the world at that particular time in her life. Hopefully, it illustrates her passion and love for life.

Picking jewellery to wear on your wedding day can be difficult. What qualities should someone look for when doing so?

Jewellery should reflect how you want to appear overall – if you want your dress to be the main event, then something very light is a good idea. If you can cope with it and are lucky enough to have access to a tiara, then go for that.

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Mojeh Portrait of Solange Azagury-Partridge

Some women turn to vintage jewellery for their special day, why do you think that is?

Vintage pieces are so romantic, and they work really well with the notion of something old and possibly borrowed as well. Old cut stones, particularly diamonds, have a gorgeous lustrous sparkle – they’re very flattering.

How would you describe the woman who wears your pieces of jewellery?

She is strong, confident, bold, bright, self-determined, unusual, enquiring and industrious. She recognises her own value.

What are your favourite stones and materials to work with?

Emeralds are my all-time favourite stone – I love the feel of the patination you can achieve with blackened gold. It suggests a past life for the jewel – like the oxidisation of silver on antique pieces.

Is there a creative process that you always follow when designing?

I always have a concept married to a craft technique. I tend to visualise pieces fully formed, so the process is about collaboration with the craftspeople to make the vision a reality, constantly assessing at each stage of the process until the piece is ready for the next stage of its journey out in the world.

Your designs are always very expressive and colourful, why is this an important aspect of your designs?

I love to see a sense of vitality in any work of art, so I try to keep some spontaneity with my pieces. They shouldn’t be so developed they lose that freshness. They should feel surprising each time you wear them.

How do you think you personally shaped the Boucheron brand during your time as their creative director from 2001-2004?

I looked at their archive, their tradition of the finest stones and craftsmanship and tried to fuse this with a wilful aesthetic. The Boucheron woman I envisaged knew all about convention and worked with and against that in her life, so I hope we brought some of that maverick muse to the house.

You’ve had an impressive and extensive career. What has been your career highlight so far?

I’ve had many career highlights. Becoming creative director of Boucheron. Buying back full control of my company was so affirmative and liberating. I am so passionate about what we do that I am always thrilled when someone buys a piece – from the smallest to the grandest statement – to have someone commit to expressing a part of themselves with your vision is a huge compliment and never fails to make me buzz.

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A New

Addiction Images by Pol Baril

Bringing classic inspiration into the fold, Dior’s Addict bag fuses clean good looks with inventive construction. When seen from the side, the curved slips of leather doubling over each other recall the sleeve of the timeless Dior Arizona coat, first shown in 1948. But where the inspiration is classic, the new vision seen in the Addict is one of crisp modernity.

The same Dior DNA is there, in the heritage references and recurring elements, but it has evolved to reflect the minimal manifesto of the house today. The well-known charms hang from the handle, but the letters are now more rounded, the elegant curves serving as a neat contrast to the graphic silhouette of the bag.

Playful use of colour has long been a staple of Dior, and in the Addict it is used to add a sense of vibrancy to an otherwise understated piece. A burnt orange option is offset with fuchsia detailing on the handles and tags, whilst python print accents create a striking clash in blue and lime green varieties.

Described by Dior as a ‘new essential’, the Addict is a bag for the woman of today. Functional but stylish, quiet yet impactful, it wows with its bold simplicity – the epitome of effortlessness.

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With This Ring We explore why your engagement ring should be as individual as you are.

There was a time when a proposal of marriage rings apart is the element of surprise. was accompanied with the immediate ‘will I, From colourful stones and unusual cuts won’t I’ conundrum. Not about the decision to whimsical settings and flamboyant to marry of course, but as to whether one arrangements, choosing a ring with character would like the ring. For most these days, the is a surefire way of guaranteeing that, whilst snapping open of the box luckily reveals less of you may be about to dive head first into a a surprise. Choosing the ring in advance might celebration of ritual, you’re far from the not be as romantic, but it does allow for a break cookie-cutter fiancé. with tradition, as women are increasingly Repossi, Lydia Courteille, Leyla Abdollahi and Olivia Collings are all examples of highopting for styles that veer from the norm.

A study by De Beers found that just 19% of end jewellers that manage to fuse quality engagement rings purchased are as a surprise. of material and design with a feeling of And so with more and more brides-to-be originality. Where Repossi channels a feeling picking out the ring before the big ‘I do’, it’s of edgy modernity, Collings specialises in no wonder they’re using the opportunity to statement designs that capture the attention. select glittering examples that reflect their Swiss jewellery brand Shawish – which also has offices in Dubai and personalities more than London – is another a generic diamond on a What sets the more label that manages to nondescript band. transform the diamond Scarlet Johansson’s art select rings apart is the deco design, Angelina ring from a well-worn element of surprise. custom into something Jolie’s sensational square suitably noteworthy. It cuts and Mary-Kate Olsen’s vintage Cartier are just a few examples designed the world’s first all-diamond ring. of celebrity bling rings that manage to be both If you’re curious as to just what that means, desirable and breathtakingly distinctive. Sure, it’s a ring made entirely from one faceted when you live your life under the glare of diamond – a hole boring through the lower public scrutiny, the idea of having a ring that half to create one seamless wearable rock. resembles someone else’s must be enough Quite the statement of affection should your to induce cold sweats, but there’s clearly suitor to be happy to swipe the cool $70million something to be said for a ring that recognises it’s valued at.

Ultimately, an engagement ring is more than one’s inherent individuality.

But just what does constitute a ‘traditional’ just another piece of jewellery, it will forever ring? Well, it’s difficult to define and yet we serve as a marker to one of the most defining all know the type. It’s the ring that’s perfectly moments in a person’s life, imbued with lovely but the likeness of which adorns the sentiment and a testament to a love that will posters for every high-street jeweller from San hopefully last a lifetime. So give the personal Fran to Hong Kong. What sets the more select some personality.

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Victoria Tryon

Middle Eastern Promises The spice-infused aroma is intoxicating. The streets of Arabia are awash with the distinctive architecture of unique designs. Moving from a rich heritage to an inimitable culture, finding inspiration from the Middle East comes with ease. Designer Victoria Tryon, looked to the sand-covered desert and exotic Arabian lands for her Alia Collection: ‘The inspiration for the collection came from my regular travels to the Middle East. I have a loyal following there and very much enjoy the region.’ Alia, translating to ‘sublime’ or ‘noble’, draws from the mystery surrounding the area, and the fine jewellery collection captures that mood beautifully. Pickings of blue topaz, encased in Arabian-style 18kt white gold and finished with sittings of pavé diamonds, come together to make a striking necklace and earring set. The repetitive geometric shapes often found within Islamic architecture can be uncovered within Tryon’s designs time and time again. As the night air rises and the summer sun slowly sets, adorning your neckline in sky blue jewels and gold is the perfect fitting for any Arabian evening wedding celebration.

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Ippolita

What Lies Beneath Exploring the sub-level wonders of what lies beneath the ocean will always lead you to the wonder emporium that is the coral reef. Through a kaleidoscope of colours, the reef meanders and entwines itself within the deep blue sea. It’s a metropolis for life under the waves. Making a splash with her Stardust Collection, jewellery designer Ippolita Rostagno draws inspiration from aquatic creatures to fuse dotted white pavé diamonds, enwrapped in 18kt gold, to mirror the reef. The couture range incorporates an array of wonderful marine-like shapes. Paired with cocktail attire for a glamorous touch or worn to embellish a day-to-night ensemble, wearing a piece of Stardust will set off any outfit choice – as already debuted by Sofia Vergara and Penélope Cruz. The deep depths of the ocean reveal hidden treasures to be adorned by the woman who wants to discover the unknown and surround herself in the harmony of the still waves underneath. You’ll find yourself all at sea with these tastefully delicate pieces that are perfect for any event come summer.

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Kimberly McDonald Hidden Treasures

Every now and then, you come across something raw and undiscovered. Journeying to the Earth’s core, a wild woman wanders. Decorated in rare minerals, stones and precious materials; she is at the epicentre of beauty. Fine jewellery designer Kimberly McDonald has captured this rare beauty in her designs, fusing her signature staples of raw geode, quartz and opals into luxurious pieces. The designer remained a hidden treasure until 2010s Golden Globes when actress Halle Berry stepped out adorned in her designs. Inspired by the natural world that surrounds her, McDonald’s designs capture the wild unknown. Meteoric precious materials encased in diamond enhanced rough-hewed stones are a signature style of the designer. With a mesmerising colour palette of tones and textures, her new collection exhibits a stunning range of pieces. Drawing from the butterfly kingdom, a fusion of natural brown diamonds, black and Yowah opals are crafted into beautiful butterflies. Double-black diamonds and black rhodium are combined to create delightfully delicate earrings that can be worn time and time again. Whether you choose from the main collections or a pick a personal bespoke touch, they’re the perfect adornment for the summer wedding season ahead.

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Irene Neuwirth All at Sea

Her one-of-a-kind gemstone confections are delectably lustrous. Drawing inspiration from under the sea, designer Irene Neuwirth fuses a palette of aquatic hues with a bohemian spirit. Adorning the necks of high-profile celebrities, her colourful combination of lozenges and teardrops in sumptuous shades gently sweeps the neckline. Nature comes to the fore as every shimmering sea shade of the waves is captured in boldface gems. From deepwater ultramarines to mermaid-greens, this natural colour-clad sensuality is captured in a luxurious combination of emerald, opal cabochons and chrysoprase. In opposition, delicate designs such as earrings and rings encompass small snippets of the astrological wonders of the galaxy through a stunning selection of stones. Many of Neuwirth’s designs are a fusion of organic stones set by and encircled against rose-cut and pave diamonds. This juxtaposition of materials lends to her lavish, yet free-spirited signature style. A Neuwirth piece is the perfect accompaniment for any bridal-based soirÊe this spring; it’s the ideal way to wander towards the unknown, be at one with nature and make a simple statement.

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Accessory

Lady in Waiting They are cut to sparkle and shine. As the aisle transforms into your very own runway on the big day, only diamonds will do. Gracefully decorate your dĂŠcolletage in Van Cleef and borrow something special from Chopard to finish. The link between love and diamonds will be coveted, eternally.

1. VAN CLEEF & ARPELS | 2. CHANEL | 3. LOUIS VUITTON | 4. PIAGET | 5. PHIORO | 6. CHOPARD | 7. VACHERON CONSTANTIN

georges hobeika

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True Romance Be a picture of poise and polished charm to see the nuptials of another loved one this summer. Look to sunny shades of radiant colour to accessorise your attire of choice with pickings of dusty pink jewels from Pomellato, and rose gold finishes from Cartier for extra sophistication.

1. BOUCHERON | 2. BVLGARI | 3. CHAUMET | 4. POMELLATO | 5. CARTIER | 6. GRAFF

giambattista valli

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Jamie Grill / Tetra Images / Corbis

Point

Talking

Point

Talking

I’ve Got This Why more and more women are saying ‘I do’ to buying their own rings.

‘Never!’ cries a friend in faux horror when asked if she’d buy her own engagement ring. ‘If he couldn’t buy me the ring, then I doubt I’d be marrying him.’ – this time slightly less faux. It might sound harsh but, if we’re honest, therein lies an awkward truth. Our expectations of ‘The Ring’ go beyond a mere promise of unending love.

Each to their own but, for many of us, it would be disingenuous to imply that the material is immaterial, even when it comes to matters of romance. A friend tells you that she’s engaged and your eyes immediately dart to her already outstretched left hand. You compliment her not on the proposal but on the sparkle of the diamond. ‘Oh it’s beautiful!’ you gush. Because what says love more than a moon-sized rock?

For more and more brides-to-be, it’s creating a quandary. We’ve all read how the glass ceiling is no more. In the workplace and in society at large, gender parity is becoming an ever-increasing reality. But what if your ‘take home’ is much greater than that of the man you take home? Marriage might be on the cards, but what about the ring on your finger? You could follow tradition and settle for something more modest, and within your partner’s means, or you could follow the example set by celebritiesgalore and simply stump up the cash for the dream diamond yourself.

Kate Moss, Mary-Kate Olsen, Jennifer Hudson, Jessica Simpson and even Kim Kardashian (circa Kris Humphries) were all rumoured to have paid for their own engagement rings. Kardashian in particular might not be everyone’s favourite celebrity, but when she debuted a $2million ring upon her engagement to basketball player Kris Humphries, the press were quick to note that the salary for shooting hoops pales in comparison to shooting a reality show, and the ring was clearly a selfie of the retail variety.

But setting disparate finances aside, if marriage is now a partnership as opposed to an ownership and the roles within the home are equal, one could argue that there’s a case for at least going Dutch. After all, the man may get you on his arm, but you do get to keep the stone. ‘I’m absolutely for splitting the cost of the ring,’ says another more pragmatic friend. ‘I’m a big believer in female empowerment and, in this day and age, I believe there’s absolutely nothing wrong with both parties chipping in. What could be the better foundation for a marriage than starting things off with a display of fairness?’ It might seem an alien idea to the traditionalists among us, but there is a certain logic.

So here’s a shocking thought. Maybe Beyoncé got it wrong. ‘If he liked it then he should have put a ring on it’? Well, if you liked the ring that much, perhaps you should have bought it yourself.

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Photographed by Nicolas Valois

Love itself is what is left over when being in love has burned away ‌ when all the pretty blossoms had fallen from our branches we found that we were one tree and not two

LOUIS DE BERNIĂˆRES Captain Corelli's Mandolin

News

Beauty

Gracing

Us This Spring…

Be spring-ready: from the latest beauty product to covet to getting in shape in time for the summer sun, MOJEH has got it covered.

The cat-eye has long been hailed as one of the most iconic beauty looks of all time. If you’re frightfully fearful of the stuff now is the time to embrace it – it’s back in the spotlight for spring.

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What’s small, ripe red and bitter, but sweet? A Buffaloberry. Follow in the footsteps of the it-crowd and taste the new superfruit. It’s berry-licious.

News

Beauty

Working as both a serum and primer the new Dior Capture Totale Dreamskin gives your face a beauty boost. Let it fill that gap in your make-up bag.

Fashion is in the middle of a love affair with plaits. Take inspiration from Alberta Ferretti and embrace a romantic braid or two.

As we gently leave the winter months behind and transcend through spring into summer, sometimes our skin needs a beauty update. This luxurious cream from Guerlain softens, nourishes moisturises your skin to perfection.

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News

Beauty

Following in the footsteps of House of Chanel’s ethics from 1921, they have launched three new fragrances from their Les Exclusifs de Chanel range. From May, you can choose from 1932, Beige and Jersey for a new summer scent.

We’ve got our eye on: Psycle. The new spin phenomenon has taken the US and London by storm – will Dubai be next?

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With spring in full bloom, pick a pink pretty petal or two to enthuse your beauty palette. A rosy glow is the perfect ode to romance.

News

Beauty

Taking inspiration from London’s cloud-covered skies, Jo Malone has launched a limited edition range of colognes.

The four fresh scents are perfect for a moody day.

There’s always time for a little pampering session. Opening this month in the St. Regis in Abu Dhabi, Sisters Beauty Lounge hosts a range of treatments for you to relax and reboot. Perfection.

Embodying the idea of mindfulness in motion, Yoga Ashram is the first to introduce Sri Sri Yoga to Dubai.

Drawing from many types of creative expression in order to promote tranquillity and rejuvenation, we’re already hooked for the summer ahead.

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interview

Mojeh

Beauty and Body Secrets with

Hanaa

Ben Abdesslem

Image courtesy of Lanc么me Paris

Tunisian-born model Hanaa Ben Abdesslem has been making her presence known within the world of modelling since 2010. MOJEH discovers the secrets of this brunette bombshell.

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interview

Mojeh

What is your morning ritual?

It depends on what time I need to be at the studio or at work, but usually I have a light breakfast (fruit or yoghurt) and then I do my morning exercises.

Do you prefer to work out in the morning or in the evening, and why?

I prefer in the morning to get it out of the way, but if I have time to fit it in during the day, that’s also fine.

How many hours per week do you work out for?

On average, I work out five times a week, for an hour each session.

Do you prefer to workout indoors or outdoors, and why?

I work out indoors because it’s more practical and I’m used to it.

Who do you train/workout with?

When I’m in Tunisia, I have a personal coach. When I’m travelling, I do it on my own.

What types of exercises do you do?

A mix of kickboxing, cardio and pilates.

Are there exercises you think are especially effective for your body shape?

Yes, definitely. We each have a different body type and the exercises need to be adapted to the body-sculpting that you desire. Some women like to have full muscles to increase volume, but I prefer having a leaner firm body and tighten my muscles.

If you’re having a down day or lacking motivation, what do you do?

I look at photos of firm bodies, and then get motivated!

The summer is fast approaching, what is your fitness tip to get bikini-body ready?

Exercise all year round! One should not only be motivated to have the perfect body, but to have good health as well.

Exercising is a lifestyle.

Do you have any body insecurities?

Not any more, and this is thanks to my workout ritual. If there are any body insecurities, one can shape them with

proper exercise and a healthy nutritional lifestyle.

What music do you listen to when you work out?

R&B, deep house and anything that gives you a good beat.

How do you prepare your body for a photo shoot?

I don’t do anything special before a shoot. I just try and maintain a healthy lifestyle all the time. I sleep early, eat healthy and exercise consistently. There is no secret to feeling and looking good.

It’s all about discipline.

Which foods and drinks do you turn to stay healthy?

I eat lots of fruit and vegetables. I only drink water and fresh vegetable or fruit juices. They provide you with energy and a very good complexion.

What’s your favourite meal?

My mother’s homemade couscous, of course!

Why do you think it’s important for women to treat themselves well?

It’s all about feeling good about yourself.

When you feel good about yourself, you will definitely look radiant to others.

Do you have one piece of advice you would offer to any woman?

Follow your dreams, desires and be good to yourself.

Which beauty product can you not live without?

Moisturiser and make-up remover.

If you had only four minutes to get ready, which areas would you focus on?

My hair. I am growing it out, so the whole time would be focused on that.

Share with us your most recent beauty find that you love?

Tea tree oil! I put a few drops in my bubble bath and it’s wonderful for the skin.

What’s your signature scent?

I don’t have one, yet!

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Point

Talking

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MOJEH Issue 6, Photographed by Federico De Angelis

Point

Talking

Au Revoir, Au Naturel.

By Giverney Megan Edwards

They say that you can tell when a woman is going through something major, because she’ll change her hair. The general rule, whether conscious or subconscious, is that the more drastic the cause, the more drastic the change (think Britney, circa 2007). It’s commonly a case of colour association – a sort of coiffured chameleon effect. After suffering a broken heart, women are likely to crave a literal ‘lightening up’, with blonde almost universally viewed as the ultimate break-up shade.

Women starting new jobs may attempt to blend in with grown-up brunettes, those seeking fresh starts may dare to try Rihanna reds or, for the ultimate screw you, dabble in dip-dyes, pastel pinks and lilacs. Colour is our most striking sensory catalyst, and hair is uniquely integral to our bodies – and arguably our souls. Changing our hair colour, then, sparks hope of a chrysalis emergent rebirth. ‘I went on and did what I had to do, because it was time to change my life, to become the woman that I am inside,’ sings India Arie in her female anthem I Am Not My Hair.

Perhaps it’s true – changing our hair can change our lives, empowering us as independent women who certainly don’t need men to sparkle and shine.

Within the fashion world, catwalks are the ultimate platform for change, so it is little surprise that hair on the runway has been awash with radioactive arrays of rainbow hues for as long as we can remember. The SS12 catwalks for example were notable for catapulting kaleidoscopic colours into the mix and the results soon ricocheted into the celebrity world - over the past few seasons we have seen Rihanna go rude-boy red, Miley Cyrus bleach a bright blonde crop, and Diane Kruger dip-dye her tips in fearless fuchsia pink.

Notice a trend? Sure, the colours may differ, but the roots remain the same and they’re shrouded in rebellion.

Vibrant dyes are a kind of war paint. Hair is a more permanent part of a woman than her make-up, which she wipes off at the end of the day, and her outfits, which she must change daily, according to the weather and her working environment. It’s natural then – or unnatural in this case – that the colour of our hair signals part of our persona, constantly visible to the public eye but less so to ourselves, meaning we tend not to be so self-conscious about it. Once we’ve selected from a chocolate box of colour-determined moods, from sombre black to bubbly blonde, we can relax knowing our chosen hue is haloed around us whether we feel the part inside or not. For celebrities, look-at-me locks can compound any overall

message they want to portray to the media – or the men who may have wronged them. And it’s always been that way. Close your eyes and picture Marilyn Monroe – can you picture her any other way but as a bouncy, bubbly botttle blonde? Courtney Love – raise your eyebrows at those rock chick roots. Pink – need we elaborate?

So in a world where natural is no longer normal, what’s next for the dare-to-dye epidemic? Well, bigger and better of course and thank goodness the fashion world is so au fait with keeping things fresh – this season the onus is well and truly footed in the future, and all things unnatural become the catwalk’s crowning glory. Roots, a universal symbol of rocker rebellion, stood out loud and proud at Marc Jacobs, and Josh Wood for Prada took the trend even further by dying each and every model’s hair in blunt, block colours, simply stating, ‘no colour, no catwalk.’ Shades from sucrose-sifted sugar pinks to neon orange and ballsy brick red all reared their heads, creating an overall onus of unattainable perfection. Except that it was attainable, because each model stomped down the stages staring us straight in the face, flicking their manes with dazzling defiance. Yes, we might have seen all the colours before, but never in such super-slick glossy finishes. This was futuristic lego hair on another level of intimidating fixture – weather proof, wear proof and far too menacing to mock or meddle with. Translating back to the real world, these shades are sure fire success stories for women who want to show the rest of the world they mean business, and refuse to stick to the ‘natural is nicer’ mantra preached by many men (the result of which only makes us girls feel more pressure – now we can’t even use our secret cosmetic weapons to look good!?).

But, as India Arie asks towards the end of the song, ‘Does the way I wear my hair make me a better person? Does the way I wear my hair determine my integrity?’ We tend to think not. Sure, some may criticise celebrities such as Kim Kardashian for her flippant back and forths from light to dark or Beyoncé for arguably camouflaging her cultural roots by taking her hair super light, but at the end of the day, changing our hair colour is not insidiously damaging anything but the thickness of our follicles. With this season signalling hair trends more unapologetically unnatural than ever, our au revoiur to au naturel has inevitably been a long time coming. If you do have the courage to reach for the bottle, we say why not dare to dye and embrace the enjoyment of feeling like a better, brighter version of you.

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Inspiration

A Regal

Beauty

Romance It is the colour of sheer luxury and regality. A shade once only worn by society’s elite, it has now trickled down into the mainstream. Take inspiration from actress Eva Longoria and pair a fusion of amethyst and violet-hued eyes with a glass pink lip for an opulent shine at any spring soiree.

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1.YSL, Pivoine Crush Palette | 2. SALVATORE FERRAGAMO, Viola Essenziale Flacon | 3.YSL, Dessin Du Regard Eye Pencil | 4. GIVENCHY, Noir Couture Rose Pulsion | 5. EVA LONGORIA | 6. PPQ | 7. MISSONI | 8. JEAN-PIERRE BRAGANZA | 9. CENTAUREA CYANUS

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Image courtesy of Vince Bucci, Getty Images. Image courtesy of Carol Sharp, Corbis Images.

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Bridesmaid

Inspiration

Blushing

Pink: It’s our spring crush. From the prettiest of pinks to nonchalant nudes, take on a healthy rosy glow throughout the warmest months of the year. Pick a rose petal or two to channel this ethereal love affair. It’s the perfect look for any blushing bridesmaid.

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1. DIOR, White Reveal Make-up | 2. GIVENCHY, Ombre Couture Rose Illusion | 3. CLARINS, Minute Base Illuminatrice de Teint | 4. CATE BLANCHETT | 5. VICTORIA BECKHAM | 6. PHILOSOPHY | 7. GIAMBATTISTA VALLI | 8. BLUMARINE | 9. ROSES

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Inspiration

Something

Beauty

Blue

We’ve got our heads in the clouds this season with a palette of sapphire, sky, azure and aquamarine. Look to the skyline and under-the-sea colours to take you to a blue mood. Opt for a bold raspberry-stained lip à la actress of the moment Lupita Nyong’o to finish.

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1. YSL, Vernis | 2. DIOR, Couleurs Transat Edition | 3. BOBBI BROWN, High Shimmer Lip Color | 4. LUPITA NYONG‘O | 5. TALBOT RUNHOF | 6. MARIA GRACHVOGEL | 7&8. MARC JACOBS | 9. HEPATICA NOBILIS

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Image courtesy of Ethan Miller, Getty Images. Image courtesy of Luciano Gaudenzio, Corbis Images.

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Softness

Inspiration

Summer

If girlie pastels aren’t for you, follow the lead from actress Thandie Newton and pick a paintboxbright to suave across your lips. Leave the eyes in a light shimmering shade and let the lips do all the talking. It’s the perfect colour combination to accompany a summer tan.

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1. CHANEL | 2. GIVENCHY, Prismissime Euphoric Pink Palette | 3. LAURA MERCIER, Creme Smooth Lip Colour | 4. THANDIE NEWTON | 5. PHILOSOPHY | 6. HOUSE OF HOLLAND | 7&8. JOHN GALLIANO | 9. PURPLE ROSE

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Face (throughout), Perfection Lumière Velvet n°12 Beige Rosé, CHANEL Les Beiges Healthy Glow Multi-Colour n°01 | Eyes, Illusion d’Ombre n°96 Utopia, Le Blush Crème de CHANEL n° 79 Cheeky, Inimitable Waterproof n° 77 Orange Touch, Stylo Yeux Waterproof n°911 Ambre Doré | Lips, Lèvres Scintillantes n°184 Hello | Nails, Le Vernis n°623 Mirabella, all CHANEL BEAUTY | Soleil Ring, CHANEL High-Jewellery

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Blonde Ambition Photographed by Nicolas Valois Make-up by Olivier Baille

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Eyes, Illusion d’Ombre n°97 New Moon, Le Blush Crème de CHANEL n° 79 Cheeky, Inimitable Waterproof n° 77 Orange Touch, Stylo Yeux Waterproof n°911 Ambre Doré | Lips, Lèvres Scintillantes n°184 Hello all CHANEL BEAUTY | Soleil Earrings, CHANEL High-Jewellery

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Eyes, Illusion d’Ombre n°95 Mirage, Le Volume de CHANEL Waterproof n°20 Brun, Stylo Yeux Waterproof n°911 Ambre Doré | Lips, Lèvres Scintillantes n°188 Sunny | Nails, Le Vernis n°615 Sweet Liliac, Le Vernis n°613 Eastern Light | Cascade de Diamants Ring, CHANEL High-Jewellery

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Eyes, Illusion d’Ombre n°95 Mirage & n°97 New Moon, Stylo Yeux Waterproof n°911 Ambre Doré | Lips, Lèvres Scintillantes n°184 Hello, all CHANEL BEAUTY | Ruban Mademoiselle Earrings, CHANEL High-Jewellery

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Eyes, Illusion d’Ombre n°96 Utopia | Lips, Lèvres Scintillantes n°185 Sexy, Lèvres Scintillantes n°188 Sunny, all CHANEL BEAUTY | Franges Swing Hoops, CHANEL High-Jewellery

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Model: Alexandrina at Oui Management | Hair stylist: Javier Palacio | Manicurist: Tatiana Sery | Photographer assistant: Franck Aubert | Digital assistant: Manu Pestrinaux at Imagin Production | Photographer’s agency: Eric Hennebert Agency | Production: Louis Agency

Eyes, Inimitable Waterproof n°77 Orange Touch, Stylo Yeux Waterproof n°911 Ambre Doré | Lips, Lèvres Scintillantes n°03 Glaze, all CHANEL BEAUTY

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My heart is, and always will be, yours

JANE AUSTEN Sense and Sensibility

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In Residence

Artist

In Residence

Artist

Downton Drawn Out

Think of fashion illustration and you think of David Downton. He talks to MOJEH about fame, the game and why a line isn’t just a line ‘Renowned’, ‘illustrious’, ‘legendary’, all words that have been used repeatedly to describe fashion illustrator David Downton. It’s tricky to find adjectives that don’t feel well-trodden, sycophantic even. The other difficulty is that they’re all so appropriate. He is, quite simply, the most famous illustrator of his generation.

Yet in an age of celebrity, his fame comes not from an overblown public persona, but through a universal appreciation of his work. There isn’t a quality publication his illustrations haven’t graced, no broadsheet that hasn’t sought him out.

If we do set aside his accomplishments for just a moment, there’s also much to talk about in terms of Downton the man. He’s sharply candid, something of a realist and witty in a sardonic kind of way. For all of the light romanticism of his work, he comes across as remarkably grounded. There’s none of the affected eccentricity that sometimes marks his ilk, despite him having previously said that the biggest misconception about him is that he’s an egomaniac. ‘I was attempting to be humorous with the egomaniac comment,’ he notes. ‘I think. Anyway, it’s a terrible mistake to try and describe yourself, also to try and describe your work or define your style.’

But then what of his own aforementioned celebrity and public profile? Surely that comes with the need for a little personality sculpting?

Well, for Downton it’s all part and parcel of the industry today. He strikes us as something of a reluctant personality. That being said, you won’t find him complaining about the interest people show in his life or having

to attend events. ‘The role has completely changed over the years. When I began, it was only about your work. Today you have to put yourself in the picture, so to speak. I see it as a game; you have to play it so you might as well enjoy it,’ he tells us. ‘I once read that I was the ‘world’s leading fashion artist’. I enjoyed that for five minutes, but also knew that the next step would inevitably be ‘formerly the world’s leading’. Tags are fun, easy to digest and endlessly recirculated, but they don’t have real currency and the only thing that matters is the opinion of someone you respect.’

Interestingly for someone who is now so closely associated with the world of fashion, and who seems to take the idea of fame and pomp with a pinch of salt, it was never his world in the beginning. Try to imagine a Lagerfeld or a Versace outside of the orbit of Planet Fashion and it’s a struggle. Yet with Downton his career started with much more traditional fare, working on projects from packaging to cookbooks. Beginning a career in illustration in 1984, it was some 12 years later that his big fashion break came along, when he was asked by the Financial Times to draw at the Paris couture shows. Since then his title as a leading, if not the leading, fashion illustrator has been cemented. He has fallen into the role with ease, but through his eyes we’re still presented with a vision of wonderment. In the way he captures those oh-so-familiar faces, we glimpse just a hint of the still-awed artist.

‘I never wanted to be in fashion particularly.

It happened and I am extremely grateful, but my first vivid impressions were of cinema and

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In Residence

Artist

In Residence

Artist

I am still starstruck now. I would have loved to have designed film posters like my heroes Bob McGinnis and Bob Peak, but I didn’t have the talent. So for me, meeting and drawing Catherine Deneuve and Anouk Aimée, or more recently Rossy de Palma or Kristin Scott Thomas, is an enormous thrill. But fame is tough, only the smartest and most talented survive it.’

Perhaps survival is what sets Downton apart. Whilst he may be self-deprecating about his own not-unsubstantial talent, the rest of the world thinks differently. There’s an appetite for his work that hasn’t faltered over decades of putting ink to paper. Still, success in illustration is not an easy nut to crack, never mind retaining it. ‘I don’t think there’s ever been a better, or more confusing time to be a fashion illustrator. There are few rules now and no accepted way of working, which is very liberating. That said, I am happy I started when I did and that I was able to make mistakes and learn as I went along,’ he explains. ‘There’s a lot of talent around now. There was a fallow patch, when being a fashion illustrator didn’t seem to be a viable proposition, but today so many people are fascinated by it as a discipline and an art form.

We are so saturated by photographic images that illustration looks increasingly refreshing.

Of course drawing predates photography by centuries, but right now I think it looks more considered and in a strange way, more modern. As long as we have designers, we will have artists and illustrators inspired by their work. Drawing tells an alternate story of fashion.’

Unlike photography, the beguiling nature of illustration is found in its intimacy, in the immediate connection with the artist and, by default, the artist’s connection with their subject. Where photography seeks to capture, illustration drags a living moment from the page. Where photography puts a cage around an instant of reality, illustration creates it. There’s a poetry to it that Downton expounds upon as only an illustrator could, especially when we ask what he hopes to capture through his own work. ‘A sense of the moment, a certain fluidity and the appearance of effortlessness. It’s about capturing the spirit of the person or the clothes as economically as possible. I am passionate about line. The most

exciting moment is that first flash of black on white paper. Line has always fascinated me.

We can all draw a line, but some people can make the line funny, some can make it sexy, or invest it with emotion – yet still it’s just a line.’

It poses an interesting philosophical question: when is a line not just a line? The facetious answer might be, when it pays for 52 nights a year at London’s Claridge’s Hotel. As the hotel’s artist in residence, this is his payoff for supplying them with his work. It’s an arrangement that Downton has described as ‘the gig of the century’ and one that sees him sketching some of the hotel’s most notable guests. It’s also a project on which he gets perennially quizzed, but even when it’s raised once more (well, this is the Artist In Residence section), he seems understanding of the curiosity. ‘I get to stay in the most beautiful hotel in London,’ he says, more disbelieving than smug. ‘I meet extraordinary people. I have a table at the bar. Then, I get to go home.

People say they envy me, but the truth is, I envy myself.’

Perks such as a suite on hand are, of course, lovely, but like most artists, Downton’s career highlights are more related to professional achievement. His favourite moment being a rendezvous down under with one of Australia’s most internationally recognised talents. ‘For their 50th Anniversary edition, Vogue Australia commissioned me to illustrate four covers, all featuring Cate Blanchett. She was, as you might expect, fascinating to draw. Also, it was beautifully set up; suites at the Dorchester, the best hair and make-up team, a full day given over to drawing. Thankfully, it did well.

In fact, it was the fastest-selling issue in the magazine’s history and one of the covers won the Magazine Cover of the Year in Australia.’

Overall it might seem that Downton’s meteoric success had been a steady rise to sketching stardom. Famous faces, contracts galore and global recognition seem to sum up his career.

Any forks in the road are missing from our bird’s-eye view of his creative journey. For a man who’s happy to ‘play the game’, it’s a perception he won’t be dispelling, as much for his own image as his attitude on achievement and what it takes to get there. ‘I’m delighted it looks that way. Let’s keep that illusion going.

Success is for other people, just beyond your grasp, just out of reach.’

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All About

The Dress In a landmark exhibit, London’s V&A Museum charts the evolution of the wedding dress from 1775 to 2014. We speak to the curator to find out what the big event has in store.

I

f the bride is the star of the big day, then the dress is surely the supporting act. From full and fairytale to minimal and modern, all eyes are on those swathes of white when the time comes to take to the aisle. In a new exhibit, Wedding Dresses 1775 – 2014, the V&A charts the evolution of this most symbolic of gowns.

‘It traces the development of the fashionable white wedding dress and its interpretation by leading couturiers and designers, offering a panorama of bridal fashion over the last two centuries,’ curator Edwina Ehrman told us.

‘It also explores the growth of the wedding industry and the effect of the increasing media focus on wedding fashions, particularly those worn by women in the public eye.’

More than just an array of gorgeous gowns, the exhibit uses fashion as a means to explore changing tastes, social shifts and the impact

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of celebrity. Even for the bridal aficionado, there are fascinating tidbits that shine new light on wedding tradition. ‘I think the biggest change is the fact that the traditional Western European white wedding dress is now a global phenomenon, worn by brides of many faiths from across the world to celebrate their marriages.’ Because as this exhibition demonstrates, even the vision of the white wedding dress itself isn’t quite as traditional as we might have thought. ‘In the 19th century, most women wore coloured wedding dresses!’

Ehrman explains. ‘White was a wealthy woman’s colour. At a time when all washing had to be done by hand and dry cleaning hadn’t been invented, white clothes implied the presence of servants, and a wardrobe large enough to encompass a dress that would be rarely worn or quickly discarded.’

Interview

Mojeh

Among the dresses on display are Gwen Stefani’s John Galliano number, Dita Von Teese’s dramatic violet gown from Vivienne Westwood and a wealth of designer creations from the likes of Christian Lacroix and Norman Hartnell. To add a sense of personal significance to the pieces on show, each comes complete with a caption highlighting an element of its history. ‘We’re also displaying images of many of the brides so that our visitors can see the hair and make-up, how she accessorised her dress and where the wedding or reception took place. Two society brides from the 1930s can be seen in newsreel shots as they leave the churches where they married. The stories of the brides and grooms are important to the displays. They help to bring the garments to life and to explain why they have been so carefully preserved.’

A mix of romantic, opulent and historically significant designs from the V&A’s renowned collection, important new acquisitions and a few celebrity loans, Wedding Dresses 1775 – 2014 is, as they say, all killer and no filler.

‘Picking particular gems from the exhibit is difficult but a few would be – a 2014 Jenny Packham, which is swathed in Swarovski crystals and is truly spectacular, an 1807 pure white muslin dress worn by a 17-yearold bride, and a Charles Frederick Worth couture dress from 1880, the skirt of which is lavishly embellished with embroidery, including three-dimensional flower heads and pearl tassels.’

Left image: Pale grey slashed chiffon wedding dress designed by Gareth Pugh and veil by Stephen Jones, 2011, worn by Katie Shillingford for her marriage to Alex Dromgoole, courtesy of Katie Shillingford, photo © Amy Gwatkin Above image: Embroidered silk satin wedding dress designed by Norman Hartnell, 1933, worn by Margaret Whigham for her marriage to Charles Sweeny, © Illustrated London News Ltd / Mary Evans

Wedding Dresses 1775-2014, at the V&A 3 May 2014 – 15 March 2015.

Travel Partner Kuoni, supported by Waterford Crystal, supported by Monsoon Bridal www.vam.ac.uk

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Cultural

Review

The Diary

Show Me the Monet Claude Monet famously said, ‘Everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love.’ And as a founder of the French Impressionist movement, Monet’s work has certainly garnered much veneration. In this detailed and insightful biography from Taschen, Monet or the Triumph of Impressionism, we explore the man behind Haystacks and chart the legacy of a profoundly influential artist through insightful commentary and a comprehensive overview of his oeuvre. www.taschen.com Water-lily Pond, 1899, photo © The Metropolitan Museum of Art, New York

The Turn of the Century A city of rich heritage, grand fashion and captivating culture, it’s hard not to fall in love, not just in Paris, but with Paris. A new exhibition at Petit Palais, Paris 1900: The City of Entertainment brings to life the allure and splendour of the French capital at the turn of the century. Featuring over 600 works, we’re transported back in time through paintings, jewellery, costumes, sculpture and photography to one of the city’s most vibrant periods.

2 April – 17 August, Petit Palais, Paris

Henri Gervex, Une soirée au Pré-Catelan, 1909, © Paris, Musée Carnavalet/ Roger-Viollet

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Review

Cultural

From Russia with Love Described as ‘the most important Fabergé collection outside Russia’, a wealth of historically important and visually spectacular Fabergé pieces will soon be touching down in the land of mountains and maple. At the Montreal Museum of Fine Arts, Fabergé: Jeweller to the Czars features some 240 objects, among them four of the most famous Easter eggs commissioned by the Romanovs. From gilded picture frames and cigarette cases to brooches and clocks, the exhibit demonstrates why Fabergé has remained such a beguiling name for well over a century.

14 June – 5 October, Montreal Museum of Fine Arts, Montreal Left: Carl Fabergé, Imperial Pelican Easter Egg, 1897, Virginia Museum of Fine Arts, bequest of Lillian Thomas Pratt Peter. Above: Carl Fabergé, Imperial Tsesarevich Easter Egg, 1912, Virginia Museum of Fine Arts, bequest of Lillian Thomas Pratt, photo © Virginia Museum of Fine Arts, photo Katherine Wetzel

An Englishman in New York The first exhibit of the newly renovated Costume Institute, Charles James: Beyond Fashion is a celebration of the traditions of haute couture in America. Though an Englishman by birth, it was in New York that Charles James made his name as one of the most eminent designers of the day. Across 75 pieces, the exhibition explores James’s pioneering techniques, the evolution of his opulent aesthetic and his fascination with the human form. Throw in supporting materials such as sketchbooks and video animations and, with this exhibit, you will go to the ball.

8 May – 10 August, The Metropolitan Museum of Art, New York City

Charles James Ball Gowns, 1948 courtesy of The Metropolitan Museum of Art, photograph by Cecil Beaton, Beaton / Vogue / Condé Nast Archive. © Condé Nast

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Review

The Diary

Š Oscar de la Renta Archives

Oscar Dresses Famed for his red carpet gowns and for dressing everyone from First Lady Jacqueline Kennedy to First Lady of fashion Anna Wintour, Oscar de la Renta’s life and career is celebrated in this new eponymous coffee table book from Assouline. Featuring a foreward by Wintour herself, we are taken on a journey through his extensive legacy over 208 pages featuring over 160 illustrations, as well as sumptuous photos of his most prominent work and portraits of the myriad celebrities he has dressed over his decades-long career. www.assouline.com

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Review

Cultural

Oh We Do Like to Be Beside the Seaside ‘Think Park Avenue but with tennis whites and Bain de Soleil’, said Gossip Girl. The sandy playground of New York City escapees and the international elite come vacay season, The Hamptons are a beacon of high society. From the sprawling mansions that have housed some of world’s most iconic stars to the secluded bijous retreats that have formed the backdrops to stories more scintillating than those of the silver screen, this tome from Taschen turns the camera on a fascinating neighbourhood. www.taschen.com

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Cruising in Dubai

Chanel AW12/13

On the Same Page

Like a travelling circus of style, each year Karl Lagerfeld presents the Chanel Cruise collection in a different international city. Last year was Singapore but this year the show rolls into Dubai. On May 13th, the global glitterati are expected to descend on the city, eager for a taste of Lagerfeld’s vision for the season.

‘A futuristic megalopolis of the 21st century, the ever-developing emirate of Dubai is a crossroads of civilisations between Europe and Asia,’ said a Chanel spokesperson. ‘Dubai was chosen because it inspires travel and evokes the true spirit of Cruise.’

One of the biggest fairs of its kind in the region, this year the Abu Dhabi International Book Fair will feature over 500,000 titles on display and is a must for those with a voracious appetite for literature and the arts. For its 24th edition, Sweden is the country guest of honour with 20 special representatives offering a flavour of the nation’s Scandinavian delights – from authors and poets to illustrators, artists and even chefs.

© Georgianna Lane/Garden Photo World/Corbis

30 April – 5 May, Abu Dhabi National Exhibiton Centre, Abu Dhabi

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Review

Cultural

Time for Tea? A British institution, Fortnum & Mason was founded in 1707 and has garnered a reputation as a purveyor of the finest traditional goods.

Whether one is seeking the exotic or just a cup of Earl Grey, Fortnum & Mason’s shelves are a treasure trove of quality. As its first store outside of London, the recently opened Fortnum & Mason Dubai features a groundfloor store selling the company’s traditional teas, preserves and confectionery, as well as candles and oils, whilst the first floor plays host to a restaurant with spectacular views of the Dubai Mall fountains.

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Travel

Diary

Travel © René Mattes / Hemis/ Corbis, © Atlantide Phototravel / Corbis, © Danny Lehman / Corbis, © Michel Gounot / Godong / Corbis, © Gavin Hellier / Robert Harding World Imagery / Corbis, © David Henderson / Corbis, © Danny Lehman / Corbis

Noor Fares:

Jaipur The rich colours and people make Jaipur an easy city to fall in love with. I’ve visited many times and with each place being so unique, you always leave longing to return.

My undiscovered gem: The Jantar Mantar is fascinating with its innovative sundials and astrolabes. I found it so inspiring | My favourite book inspired by Jaipur: A Princess Remembers: The Memoirs of the Maharani of Jaipur by Gayatri Devi | A piece from my collection most fitting for Jaipur: My Fly Me to the Moon Wing Earrings in rose gold with mother of pearl | The best place to stay: Narain Niwas Palace | My favourite activity: Getting lost in the jewellery bazaars | My favourite place to eat: The Kitchen at Jaipur Modern | My favourite style piece: MUNNU The Gem Palace Jewelry, 22-Karat Gold Moonstone Earrings | For the plane: My sketch book and pencils | My favourite Jaipur memory: The pink sky at night | The best time to go: Anytime! | Who I take along: Friends or anyone who wants an adventure | My favourite song for the setting: Khwaja Mere Khwaja by A.R. Rahman | My cultural highlights: The City Palace.

Noor Fares

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