MOJEH Magazine Issue 78 by MOJEH

Styleâ&#x20AC;&#x2122;s New Slowdown Stepping Into A Whole New World

2 Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Print Sales Manager RABIH EL TURK

Editor KELLY BALDWIN

Office Manager JULIA NICOLAE

Staff Writer JENNA CALVERT

Senior Publishing Executive DESIREE LABANDA-GAVERIA

Contributing Editors LUCY WILDMAN NAOMI CHADDERTON SOPHIE STEVENS

Paris Representative GHISLAIN DE CASTELBAJAC Advertising Inquiries Tel: +971 4 553 90 49 Email: advertising@mojeh.com

Contributing Photographers ARJAY NAVARRO HOLLY PARKER RINALDO SATA MANN

Subscription Tel: +971 4 553 90 49 Email: subs@mojeh.com

Guest Fashion Stylists NATASCHA HAWKE SAYURI BLOOM STUART ROBERTSON

LOUIS FOURTEEN FOR MOJEH Tel: +971 4 425 86 00 Email: louis@louisfourteen.com

ART

Published under HS Media Group FZ LLC Registered at Dubai Design District Building No. 8, Offices 212 P.O.Box 502333, Dubai, UAE.

Production and Creative Direction MOJEH MAGAZINE Art Director AMIRREZA AMIRASLANI Graphic Designer BALAJI MAHENDRAN

Cover photographed by RINALDO SATA

WWW.MOJEH.COM Follow us on Instagram @MOJEH_Magazine Louis Fourteen for MOJEH MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation (February-June 2018): 11,077 copies For the UAE printed by United Printing and Publishing. Distribution- UAE: Al Nisr Distribution LLC. 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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ESCAPE ARTISTS

MOJEH explores why art and creativity could be an essential

escape while navigating our new weird world

STYLE EDIT From the latest pre-fall20 launches to an ode to one of Lebanon’s most famous sculpture artists, these are the collections, trends and drops to covet now

THROUGH THE LOOKING GLASS

Actress, model and singer Alma Jodorowsky showcases Chanel’s

latest Métiers d’Art collection in an exclusive photoshoot

UP THE TEMPO Clashing prints, high-octane colour and lots of luscious layers take the stage for an alternative summer

STRANGER THAN FICTION Take a step back in time in retro-inspired fashion with a twist of sci-fi sent from another dimension by Louis Vuitton’s Nicolas Ghesquière

AN UNEXPECTED OEUVRE

From Pablo Picasso to César Baldaccini and Salvador Dalí, writer

Sophie Stevens explores why many jewellery aficionados prefer the

work of artists to that of contemporary jewellery designers

CLARITY IN THE MIDST OF CRISIS Overloaded with negative thoughts and too concerned with the opinion of others? Change is possible, says celebrity doctor Habib Sadeghi

ALLURE OF THE TROPICS High-summer beauty should be anything but safe. Be inspired by clashing shades and tropical brights

EDITOR’S LETTER

THE POWER OF THOUGHT What do the coming weeks and months have in store for each of us? Who knows, is the straight answer. If you’d asked me in January of this year where I’d be spending my July and August I would have listed, with aplomb, a ritual excursion from Geneva to Dubai to Côte d’Azur, and then Iran and Canada; a summer spent prepping for the approaching autumn/winter season with the MOJEH staff intermittent with obligatory (but precious) trips to reconnect with family across the world. A two month voyage which I now identify with mounting recognition as both a treasured and privileged moment. Well, c’est la vie, for the time being at least. While that increasing sentiment of uncertainty is (understandably) provoking anxiety for most, I have been inspired by the community of people who have flipped the disarray into deliverance. Some are using it as a time to indulge in pastimes that they never knew they needed; others as a rare moment to spend every waking minute with loved ones; while for some, it’s an opportunity for rest and reset. In the health and beauty pages, LA-based celebrity doctor and spiritual psychologist Dr Habib Sadeghi offers some compulsory cognitive exercises, encouraging a change of mindset so that those apprehensive feelings become fleeting moments, instead of all-consuming monsters. Similarly, in our opening feature, we explore why art and creativity could be our greatest confidant while navigating our way through this weird, new world. In fashion, we’ve dialled-up the offering of stress-free trends which suit a summer spent at home - think relaxed tailoring, easy-breezy dresses and plenty of accessories to cherise for years to come. But for those few precious moments that still call for celebratory and spirit-lifting style, turn to page 34 where French actress Alma Jodorowsky models Chanel’s latest Métiers d’Art collection; all at once powerful and unduly beautiful. And on page 24, Italian-Haitan designer Stella Jean walks us through her fabulously fun prints which implode across dresses and twopiece suits. For beauty, Totally Tropical is just the right dose of clashing colours and potent looks for a summer spent poolside in the UAE. So in the spirit of powerful thoughts and feelings, let’s view this summer as our biggest freedom yet. Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Mojeh Izadpanah Editor in Chief

Stranger Than Fiction, photographed by Mann

THE MOJEH EDIT Whimsical prints and watery hues signal summer like nothing else. Dial-up the look with high jewels and haute horology 1. Lil Fleur Eau De Parfum, BYREDO | 2. GENTLE MONSTER 3. CHOPARD | 4. DOLCE & GABBANA at Matches Fashion 5. ERDEM | 6. MARYSIA SWIM | 7. WEEKEND MAX MARA 8. CHANEL | 9. VALENTINO

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ESCAPE ARTISTS They say that art creates feelings of joy, similar to the sensation of falling in love. They also say that it relieves mental exhaustion in the same way that retreating to the outdoors does. MOJEH explores why art and creativity could be an essential escape while navigating our new weird world Words by Lucy Wildman

Majd Kurdieh (top right) , Putting the Sun to Dry, 2018 , oil on canvas, 125 x 100 cm, courtesy of Fann A Porter

TALKING POINT

Syrian artist Majd Kurdieh’s works have helped lift the spirits of visitors to Dubai’s Fann A Porter throughout this period. Majd Kurdieh, Putting the Sun to Dry, 2018

Photographed by Philip Riches, MOJEH 19

pending weeks trapped indoors as Covid-19 debilitated our world, few could say the experience was one they were comfortable with. Whether self-isolating alone, with a partner or in lockdown as a family unit, as movement restrictions and curfews were enforced and uncertainty mounted in the pandemic’s wake, finding ways to stay active, occupied and optimistic in such tumultuous times has been a challenge faced by billions. While more time at home has ensured television and streaming platforms have played a major part in boredom-busting – and, for many, essential (albeit electronic) companionship – creative activities have become a form of support previously overlooked by those who once juggled a relentlessly busy lifestyle. From painting and baking to making music, sewing, crafting or photography, aside from filling abnormally empty hours of the day, the solace found in artistic pursuits has proved fundamental to looking after mental health. “During the pandemic, everyone is challenged and struggling in a different and similar way,” says Dr. Ola Pykhtina, psychologist and art and play therapist at Dubai’s Thrive Wellbeing Centre. “We grieve for our usual lifestyle, our social gatherings and a sense of safety and certainty. So when we engage in art activities, whether it’s colouring in, doing crafts or viewing artistic works, we allow our mind and brain to relax. It’s like a pause button that brings us back to a present moment and sets us free from racing thoughts and complex tasks to solve.” With so many exceptional sets of circumstances to consider as a result of the coronavirus crisis, its unsurprising that heightened levels of fear, anxiety and stress are affecting society. Faced with uncertainty of an unprecedented magnitude, and with the inability to predict or make plans for the future, using art therapy as a tool for escaping

reality is a practice well-documented by mental healthcare professionals. From boosting self-esteem and providing a safe outlet to relieve emotions, to giving a sense of control over your life, studies show that creating art stimulates the release of dopamine, the chemical released when we do something pleasurable, with increased levels of this feelgood neurotransmitter proving extremely beneficial in the battle against depression. “Creative practices can offer a buffer against stress and anxiety,” says Girija Kaimal, an associate professor in Drexel University’s creative arts therapies PhD program and president-elect of the American Art Therapy Association. “Creating things, especially in the face of uncertainty, fear, or other distressing and unsettling emotions, is an innate drive. It speaks to our own individual identity and our need to have a sense of agency and control over our lives and over our time.” Along with offering the chance to take control over at least one part of your day, getting creative, in whichever way you choose to manifest it, can help to address new or existing issues that may previously have laid dormant. “Art is important during this time more than ever as it allows expression of deep, sometimes conflicted and intense feelings. It also gives us an opportunity to process these feelings and let go of them,” adds Dr. Pykhtina. “But to get therapeutic benefits from art, one should allow themselves to go with the flow and let go of any kind of judgement. The process is more important than the outcome. It’s not necessary to display your artwork. What matters is being engaged and letting yourself fully feel and embrace the process.” Inspiring and encouraging UAE residents as lockdown was enforced across the Emirates, Dubai-based art consultancy Art Painting Lab launched the Community Art Collaboration, an initiative asking artists and amateurs alike to create and share a piece of visual art, with the intention of creating public murals from the submitted works. Commemorating an exceptional moment in history, the murals will tell the story of how the UAE’s residents came together to create something inspiring in such deeply unsettling and uncertain times. Offering the opportunity for more artists to be recognised, as well as communicate the importance of art and culture as a pillar that binds societies, the sixweek submission period saw Art Painting Lab inundated

with entries from all ages from across the Emirates. “We saw people all over the region sharing a lot of creative endeavour, whether that was cooking, painting, singing or crafting – all of them artistic coping strategies. And it was from this that the United Art Emirates initiative took organic shape,” explains Art Painting Lab’s founder, Sam Saliba. “Historically, an art renaissance occurs during tremendous events, and incredible art often comes out of them. As contributions for our initiative started to come in, its direction became very clear to us. This art vehicle had to serve the community during the pandemic and be a place where feelings could be shared, merged and heard. Utterly inclusive and narrative-free, it allowed people to shamelessly express their sadness, their fears, their hopes and their joy. Whatever we received, good or bad, all works submitted were welcomed. We just wanted people to paint like no-one was watching, and send their pieces to us.” To the delight of the APL, submissions arrived in their hundreds. “People need a creative outlet during times of uncertainty. Even if they themselves are not participating, simply by viewing art that other people have created, one experiences the sense of belonging,” says Sam. “When a community can come together openly, using positive means to express their feelings, it fosters strength, recovery and growth. And when the murals do finally go up, the whole UAE community will see themselves and the spectrum of feelings that we all collectively shared alone with one another and with the world at large – perhaps helping them achieve a personal sense of heroism and even connect to a very optimistic sense for the future.” The process of viewing and engaging with art itself is a recognised method of dealing with stress and anxiety. Neurobiologist Semir Zeki found that just viewing art creates feelings of joy, similar to the sensation of falling in love. Additionally, it relieves mental exhaustion in the same way that spending time outdoors does – indeed walking in nature, losing oneself in music and admiring art directly influences health and life expectancy. But even without a daily dose of mother nature, art can help. Dubai-based gallerist Ghada Kunash agrees that both viewing and creating art has a hugely beneficial effect on mental health, making a profound impact on those struggling with

anxiety, stress or other health issues. “The work of one of our artists in particular seems to have a significantly positive effect upon mental health,” says Ghada, managing director of The Workshop’s Fann A Porter in Jumeirah. “Whether it’s here in Dubai, Amman or Cairo, I’ve talked to many visitors who come to see the exhibitions of Syrian artist Majd Kurdieh, who all say his work helps to make their souls feel lighter, and makes them smile inspite of whatever personal suffering they may be facing.” Creating a group known as ‘The Very Scary Butterfly Gang,’ Kurdieh’s characters speak his thoughts through his paintings, revealing his philosophy on life. On a mission to steal the sadness of their neighbours, the gang’s weapon of choice is a flower, a symbol for love, hope and optimism. “We’ve received so many messages from visitors telling us how much Majd’s work has affected them,” reveals Ghada. “A cancer patient receiving chemotherapy told us how looking at his paintings online everyday positively affected the process of her healing. Another man infected with Covid-19 told us how much he looked forward to seeing which artworks Majd would post on Facebook every day, which helped him manage his long period of isolation in quarantine so much more positively.” Holding online art classes hosted by The Workshop during lockdown (ongoing due to high demand), Kurdieh taught the basics of drawing combined with art appreciation sessions, helping participants to de-stress during quarantine whilst giving them new tools to express themselves. “Receiving artistic work sends many feelings to the soul – it can be joy or sadness, contentment, discontent, hope or despair. But no matter how different these feelings are, they are gentle rains that irrigate the gardens of the mind and heart so that a person can bloom from within,” he explains. Kurdieh is a firm believer in the inherent power of art, but notes it has a particular relevance during the current challenging period. “In these times, the importance of art lies in its ability to create many parallel worlds that a person can turn to. You can sail inside a painting hanging on a wall; fly inside the pages of a novel; stroll inside a piece of music as you sit relaxed in the sitting room,” he explains. “Art at all times is a lifeline in the seas of this choppy world. He is a friend of man, accompanying him in all his feelings, taking his hand as he walks towards the most beautiful and human of places.”

Submissions to the Art Painting Lab’s Community Art Collaboration project. From top to bottom: Dr. Najat Shukri, Sana Maarrawi and Minakhee Mishra

STYLE EDIT

Pretty LittleThings

Sculpted shapes in blush tones and with modest detailing make for a sublime salute to summer style Photography by Arjay Navarro Styling by Stuart Robertson

Saint Laurentâ&#x20AC;&#x2122;s Cassandra is a buy now and love forever classic. Its miniature size and neat shape work perfectly when nonchalantly thrown across either a simple summer dress or a structured linen suit Bag, SAINT LAURENT

To all our bootie addicts: high climes donâ&#x20AC;&#x2122;t need to mean that boots be set aside until winter. Opt for blush tones and perforated leather and wear with airy dresses for a sunshine appropriate approach Boots, GIORGIO ARMANI

Diorâ&#x20AC;&#x2122;s latest platforms are as daring as they are dynamic. Dial-up with a two-piece suit or dial-down in a free-flowing boho-style dress. The quilt detailing adds extra oomph Shoes, DIOR

All at once feminine and refined, crepe pink is fast becoming the shade of the summer. As an accesory, flaunt the soft hue with pure white or earth toned outfits Bag, TODâ&#x20AC;&#x2122;S

A delicate dusting of floral embellishment never grows old. Opt for whimsical designs for a look that will transcend seasons Bag, FENDI

In celebration of the French Maison’s 55th anniversary, creative director Gherardo Felloni reimagines Roger Vivier’s timeless buckle motif. Words by Gherardo Felloni The buckle is the eternal signature of Roger Vivier, so it’s always a source of inspiration and a challenge to reimagine every season. This year is the 55th anniversary of the original buckle that Monsieur Vivier made in 1965, and I made different styles for the Belle Vivier shoe – a style that embodies timeless beauty. I’ve created the Belle Vivier sling-back pump that has a graphic, colour block design so it’s more contemporary, and I also made a bicolour version which is more playful and fun. I launched the Très Vivier bag in spring/summer 2019. It was my first collection for the Maison and I wanted to reinterpret the Belle Vivier shoes and buckle to make it younger and a little bit retro, so I designed the Très Vivier pumps with a larger buckle and made the corners rounder and the square shape curvier. Then I designed the Très Vivier bag to match the shoes, which I also designed with a curved, oversized buckle. I’ve always said that Roger Vivier is a Maison of evolution and the buckle is a part of that. One of the first things I wanted to do when I became creative director was to really evolve the line of casual shoes. I wanted to have a contemporary look but still keep to the codes of Roger Vivier so I reimagined the buckle to fit a trainer, like what you see in the Viv’ Run Sneakers. Women in general look at Roger Vivier as beautiful dreams that become reality. That is our job as designers: to make women dream and create beauty. After this pandemic, that will play an important role in how women will dress.

Catherine Deneuve with the original buckle pumps on the Belle de Jour set in 1967

The original Belle Vivier

The new Très Vivier bag, featuring the iconic buckle

Felloni’s reimagined Très Vivier

THE MOTIF

NEW LIFE

Gherardo Felloni, creative director of Roger Vivier

SCULPTED STORIES Darin Hachem’s latest collection is inspired by the dynamic works of abstract artist Saloua Choucair “The spring/summer 20 collection was designed around the first abstract Lebanese artist Saloua Raouda Choucair, and her wooden sculptures which could be combined in different ways but, in the end, still represented one single unit,” explains Lebanese-born Darin Hachem, one half of the team behind contemporary Milan-based label Darin Hachem. “Choucair was comparing them to the Lebanese people that were, and maybe still are at some points, so diverse in terms of religions and habits but at the same time forming one single nation. The main terms are combinations of masculine and feminine with geometric but also organic shapes; and the tones and shades of beige are the main colours in this collection recalling the raw materials the artist used.” The latest collection, designed by the brand’s creative director Fernanda Gallardo, features a piece within a piece within a detail, much like the interlocking structures of Choucair’s oeuvre. Angular shapes form unusual looks, while a mix of both severe and fluid fabrics create a visual game within the one outfit (silk and light linen forms relaxed tailoring and heavier cotton is used for the more austere of pieces). Earth tones anchor the collection, from sandstone and beige to moss green, while lilac and sky blue add a touch of sweetness. “I see it as a mix of things, a game of contrasts,” says Hachem when asked about the aesthetic.

“Saloua Choucair was ahead of her time. It’s an inspirational lesson into how to be courageous, move away from a comfort zone and the things we are used to, and towards something a bit more experimental. Even if at the beginning it doesn’t seem that clear, things eventually reveal themselves along the journey,” recounts Hachem.

Style edit: Kelly Baldwin | Photography: GoRunway and supplied

THE INSPIRATION

THE BOBBY Maria Grazia Chiuri’s latest design for the house of Dior comes in the shape of a modern tribute to Christian Dior’s beloved dog Bobby, whose name also christened numerous fashion looks over the decades. “In each collection there was a suit that was expected to be a success that was called Bobby,” the couturier recounts in his memoirs. The hobo-style bag is curved (a departure from the severity of the recent Lady D-Lite launch) and sits smoothly whether worn cross-body or carried. The piece is decorated with the initials “CD” and a saddle-style lock, while matching straps remain interchangeable. Opt for sleek black leather for a modern Photographed by Sarah Blais for DIOR

approach or look towards the house’s signature navy canvas monogram for something a little more timeless.

GET SHORTY Trade in your floor-length boho dress for a thigh-grazing number. The key is a structured silhouette and a killer print - think graphic blooms, powerful paisley and a touch of shimmer Left to right: Zimmermann, Isabel Marant, Etro

22 AT THE HALM OF CHANGE craftsmanship” says Hanna Ransjö, Swedish founder and creative director of Dubai-based leather handbag label, Halm. Officially founded in October 2017, Halm was a concept that had been in the works for a long time, according to Hanna – “I wanted to create understated luxury with limited-edition pieces focused on timeless quality and functionality.” Despite its array of beautifully classic designs, often spotted on the arms of regional style leaders including Queen Rania of Jordan, Halm is facing an uncertain future with the global pandemic threatening the UAE’s homegrown fashion labels. Here, Hanna tells MOJEH how she is channelling the crisis into a learning curve. Tell us about your journey to becoming a designer? My passion for art and design is something that was passed down to me by my grandparents who were Swedish academics and also passionate dilettante textile and craft artisans. Perhaps not a very common combo but it taught me balance. The creative world is almost engrained within my genes: from the age of 8, I was stitching bags and clothes, and experimenting with upholstery. What makes Halm unique? The Halm DNA: Each and every bag is a numbered and signed limited-edition piece. Timeless quality and functionality are the core of Halm, complimented by distinct Scandinavian aesthetics and design, relaxed understated luxe, and a certain ‘je ne sais quoi’. “Slow fashion is at the very core and ethos of Halm and it is our philosophy of sustainability,” says creative director Hanna Ransjö

How do you think the industry will have to rebuild and reinvent itself post crisis? Slow fashion is something we all need to adopt in the light of the impact of overconsumption on the planets resources and the environmental pollution caused. It’s the elephant in the room that no-one wants to talk about. We need to go back to the time when people used to save up for that something they really wanted and loved, and indeed, looked after once they had it. And in this new situation, companies need to downsize and hone their skills and be proud of what they produce. What are your thoughts on skipping or combining seasonal collections? This is what we do already for exactly this reason; a beautifully crafted timeless piece can be updated any season with accessories, but should never be discarded. Slow fashion is at the very core and ethos of Halm and it is our philosophy of sustainability. Finally, how are you trying to stay positive during this difficult time? Reflect back on what made me start this in the first place: a passion for quality, craftmanship and natural beauty not hidden behind layers of artificial coatings. There have been times during this lock down and isolation where I have questioned many things, amongst them what we do – like so many others – but I came to the conclusion that we should use the learning curve and all the experiences we have had so far to complete that journey that we started, which is to make beautiful and useful quality items that aspire to last a lifetime.

Interview: Lucy Wildman | Photography: supplied

THE BAGS

“I have always had a passion for art, design and beautiful genuine

PRADA

DELFT DAZE For pre-fall20, Valentino’s Pierpaolo Piccioli revisits the house’s on-going relationship with Delft, a Dutch pottery concept that focuses on blue motifs. The collection, aptly named Bluegrace, is anchored in the dreamy hue felt through the prints, patterns and embellishment played out across dresses and bags. The result is all at once fanciful and fabulous.

VALENTINO

FIRST LOOK Curated with the Middle East in the mind, Prada has dropped a dedicated collection of shoes, handbags and accessories in boutiques across the GCC. The exclusive collection features mules in soft leather, iconic noughties bags reimagined in sophisticated fabrics and teeny-tiny accessories that offer a glimpse into the autumn/winter20 collection. A MOJEH favourite comes in the form of this miniature Re-Edition, complete with playful tassles and cutsie embroidery.

LOUIS VUITTON

BRIDGING TIME The new Louis Vuitton LV Pont 9 shoulder bag takes its name from Paris’ Pont Neuf, the oldest and most celebrated bridge that sits opposite the house’s headquarters in Paris. Its most desirable feature is the gilded 1930s archive logo reinterpreted by designer Nicolas Ghesquière specifically for the piece. Colourways include vibrant tones such as summer gold, rose dahlia and bleu orage, or timeless choices like black and cream.

STYLE EDIT

Italian-Haitian designer Stella Jeanâ&#x20AC;&#x2122;s latest collection includes traditional embroidery created by the Kalash people, a community found in the valleys of the remote Chitral region of northern Pakistan.

FEELGOOD FASHION Doing the right thing for the global economy and your SS20 wardrobe? MOJEH meets Stella Jean, the Italian-Haitian designer empowering a near-extinct community of Pakistan’s female artisans through cross-cultural collaboration Words by Lucy Wildman

Photography: GoRunway

er global-inspired designs have been travel companions of the world’s most stylish women since her eponymous label launched in 2013. Packed into suitcases and emerging in myriad glamorous destinations as part of the essential holiday wardrobe, the feelgood factor of a Stella Jean piece is the fashion equivalent of that first sundowner on day one of a longed-for vacay – the very thing so many of us are dreaming about right now. And while the realities of the global pandemic continue to unravel our world, highlighting massive changes that must be made in every industry on the planet, choices about the clothes we buy are also subject to further questioning over their socio-economic and environmental impact – factors now as equal in importance to their sartorial appeal. With sustainability, ethical sourcing and responsible supply chains a focal point in an industry undergoing seismic change, and subsequently heightening awareness amongst the conscious consumer, luxury labels like Stella Jean, who have consistently championed co-operative international development in the fashion business, have become even more desirable. Highlighting her multicultural roots, each collection by the self-taught Italian-Haitian designer fuses traditional crafts created by artisans in developing countries with the exquisite tailoring and contemporary construction techniques of her maison. With the aim of promoting cultural heritage as an enabler and driver of sustainable development, alonside the launch of her label, Stella simultaneously created business-bridging platform Laboratorio delle Nazioni, or Laboratory of Nations, focusing on what occurs when fashion becomes a tool for co-operative international

Traditional floral motifs from the Kalash people features throughout the collection

“

Fashion is a powerful international megaphone, and a collection is more than the sum of its garments Stella Jean

Over 400 metres of Kalash motifs were worked into the collection at the Italian maison

development. Central to her design vision and a pillar of her signature aesthetic, previous LDN collaborations between artisans in Peru, Haiti, Burkina Faso, Benin and Mali amongst others as well as expeditions to South America, Africa and Asia have seen the hands of countless female creatives in different countries working together on Stella Jean collections, with the common goal of caring and preserving an endangered global cultural heritage. In so doing, these women are building their own economic autonomy, preserving their own traditions, and at the same time, gaining a seat at the global market table. “For SS20, we worked with minority communities in Pakistan, including the ancient people of the Kalash,” explains Stella of her latest collaboration. Located at an altitude of 2000 meters in a remote valley in the north-eastern province of Chitral, near the border of Afghanistan, the Kalash are a tiny community comprising less than 3,000 people. “They have their own native language, and a unique set of traditions and heritage which have not yet been completely lost – but this exceptional community is close to extinction,” revealed the designer, who lived in the Kalash community for two weeks to learn about their unique embroidery techniques. “Because of this, the Kalash have been provided with an extraordinary amount of safety and protection by the Pakistani government to preserve their existence.” As part of the Emerging Pakistan Project, a mission supported by the Trade Development Authority of Pakistan, the Embassy of Pakistan in Italy and United Nations Industrial Development Organization, Stella worked with artisans from Chitral Women’s Handicraft Centre, an NGO founded by 22-year-old national women’s football champion Karishma Ali, who was born in the village of Karimabad, and Karigar, a women’s empowerment initiative run by the Aga Khan Development Network in Gilgit-Baltistan. “Over a number of weeks, 46 incredible women created over 400 meters of traditional, hand-embroidered floral motifs for the collection,” says Stella. “It’s a hugely important project, because this collaboration marks the first time in history that the Kalash women have embroidered their traditional motifs for an international

audience, and their handicraft has left the Kalash valleys.” Imagined in an array of natural fibres including cotton, linen and silk “another way of honouring Pakistan – it’s a significant destination along the silk road,” smiles Stella, the collection sees the colourful chainstitch embroideries of the Kalash artisans wrapped around dresses, adorning belts, and decorating the hemlines of the designer’s signature summer dresses. “Fashion is a powerful international megaphone, and a collection is more than the sum of it’s garments,” says Stella. “Clothes can speak louder and in a more incisive manner than words, somehow igniting cultural fabric. I believe that metissage is the gateway to social development, and the meeting of cultures, and its relative inclusiveness, is an irreversible choice.” And while many fashion partnerships of this kind often create a singular opportunity for it’s collaborators, Stella believes the talents of the Kalash community should be showcased for many years to come. As with every other collaboration she undertakes, her label aims to keep these tiny communities and their traditions alive, by creating something that offers a long-term, beneficial impact to their economies.

In this case, the designer created an exclusive pattern that was donated to the artisans of Chitral and Karigar, which merges the Pakistani aesthetic with the Italian one. A model of simple manufacture, embroidered with patterns typical of Kalash, the artisans are able to continue to produce and sell the garment globally themselves through an international e-commerce platform. Remaining their exclusive property, the donated sample has been designed respecting the materials of local, traditional clothes to facilitate it’s production, with the option of changing colours and patterns every season. One of fashion’s true good guys, Stella’s activism goes far beyond slogan tees and hashtags, and actually incites economic and social change.“The maison and the LDN have maintained the same mission since they were founded: an unshakeable principle of multiculturalism applied to fashion, which becomes a tool and a cultural expression for positive, proactive growth and awareness, says Stella. “Using my roots and my wings, I will keep promoting cultural crossover without ever negotiating or comprimising one’s own identity” Find Stella Jean SS20 at Etoile La Boutique.

FASHION IN FOCUS

6 PRINT PARTY Print on print was a star player for 2019 and continues to rule the streets for 2020. Tone down vivid designs with an injection of nude basics. 1. AKILLIS | 2. DOLCE & GABBANA at Matches Fashion 3 & 4 MIU MIU | 5. GENTLE MONSTER | 6. GUCCI 7. FAY at Farfetch

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Style edit: Kelly Baldwin | Images: Go Runway and supplied

7 6 DIVE IN Blue in all its forms remains a summertime favourite. Whether dabbling in sky, turquoise, celeste or cadet, keep it airy and light.

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PRIVATE VIEWS

Rami Al Ali’s spring/summer20 showcase in January 2020, Paris

A WHOLE NEW HAUTE COUTURE WORLD?

As Paris Couture Week goes digital, designers, clients and spectators question what the historic move will mean for the future of fashion’s highest accolade. Here, three acclaimed Middle Eastern couturiers recount the highs, the lows and every brilliant thing in between when it comes to presenting their collections

RAMI AL ALI For those who have ever attended, whether you’re an editor, buyer, client or designer, you’ll be familiar with the chaos that comes with fashion week. With an impossibly tight agenda, every season it became progressively harder to manage, as more shows and presentations were added to an already stretched schedule. A long-discussed topic of conversation, many agreed that the existing fashion month model needed a dramatic reset –and it would appear the global pandemic has been the match to light that fuse of change. Forcing the industry to review its classic seasonal format and develop new ways to operate, heritage houses like Gucci, Saint Laurent and Armani have adjusted their collection calendars, re-evaluating their business models to adapt to this new era in fashion, virtually – in the most literal sense of the term – overnight. Last month, for the first time in fashion week history, it was announced that a digital platform would replace the Paris Haute Couture Shows in July. Presenting an opportunity that allows press to cover the collections and buyers to order items remotely, this new format works to ease schedules and provide an economic solution to reduce the huge financial costs associated with a live catwalk show. A way to connect with a larger audience that could revolutionise the industry, and, following

Couturier Rami Al Ali

the increasingly digitalized pattern of

too that spending behaviour will change, with consumers more

modern media consumption, an online

conscious of what they buy, treating luxury items as investment

showcase will undoubtedly appeal to

pieces that will serve them for years to come.

a younger clientele – it speaks their

As a house, we have made the decision not to produce another

language. And while I do support the

couture collection this year. The spring/summer collection that was

new digital platform – realistically the

showcased in Paris just a few weeks before the global lockdown will

only way couture week could happen in

be our main couture collection for 2020. From a sustainable point

this time of social distancing – I believe

of view, producing a new collection for July simply isn’t plausible.

that couture in particular is all about the

Saying that, we are considering a capsule collection, possibly

intricacy of craftsmanship, which needs

launching in September, if the market requires it.

to be felt, touched and seen in person

Like every other designer in the world, the pandemic has forced us

to appreciate the artistry involved in

to rethink the way we plan our collections and move forward in a

its creation. Unlike the drama of the

new way. Our main objective is to tell a story with our collections,

catwalk production which can, of

and translating that digitally is something we’re working on intently.

course, be portrayed digitally, seeing a

Combined with the pieces created, the model’s hair and make-up,

real life haute couture gown float past

lighting, set creation and music are all elements that present the

you in all its magical splendour is an

vision of that season, and working all of those facets into a film

experience that can’t be replicated. But

format will make that vision very clear and precise.

we have to embrace this new method of presentation because if

With change comes challenge. Because the Covid-19 pandemic

we don’t, how will we know what the result will be? This combination

ambushed our world, we still think and see things the way they

of reality and virtual reality is our chance to survive the current

used to happen. And this is to be expected. Years of practice won’t

storm – it’s just all about getting that balance right.

change in three months, and time is needed to understand this

Fashion is one of the most adaptable industries, and very much the

new language so we can use it to express ourselves properly. The

mirror of society. One that thrives on insight and innovation, despite

impact of this silent destroyer has caused us to examine the past

these incredibly challenging times, in many ways this enforced

and re-evaluate the future. But there is a palpable sense of energy

reboot presents a much-needed opportunity for positive changes

and excitement as fashion enters this uncharted territory, because

to be made. As Covid-19 disrupts every molecule of the industry,

fashion has always evolved. It may occasionally pause to adjust each

the effects on Fashion Week are not the only areas up for review

time we jump into a new era, but it never stops or draws back. It

– the production of collections and their long-term sustainability is

consistently moves forward. And we too are evolving. And while this

also under scrutiny. The number of collections produced by each

time could never have been foreseen, what we do now to adapt to

house will undoubtedly be reviewed, and constraints placed on them

this new world is key to rebuilding both our industry and ourselves.

by sticking to seasonal calendars will be examined. It’s inevitable

And make us all the better for it.

YASMINE YEYA Regardless of the pandemic, couture shows had become a burden, even for some of the most established fashion houses. Showcasing in Paris has always been the golden key to the doors of international haute couture design recognition, but with the exception of a few houses, there’s been a decline in participation both from the classic French Maisons, and the new names that wanted to become part of this fairytale tradition. It had simply become too expensive and made less sense considering the small customer base of the exclusive haute couture club. I was planning to exhibit my autumn/winter20 collection in Paris this July – at least I was before the Covid-19 crisis hit. But considering everything we are dealing with right now, taking part in the new Digital Haute Couture Week definitely makes the most sense. As brands get involved and endorse its validity, it gives an equal opportunity to other creatives around the world without the financial needs previously required to finally shine. With the exception of those few privileged guests, the world watched Fashion Week from a screen anyway – so enhancing this experience will make couture shows far more accessible. A wholly online experience will encourage a completely different level of creativity, because digital implementation will take the show experience a notch further, and undoubtedly will become the future of couture. Beyond the collection itself, this new world of couture allows designers to sell a dream, complete with visual and sound effects, beautifully edited, that culminates in a complete work of art. Not just a collection of dresses walking down a runway – it creates an entire couture experience. I love this idea that is now formulating our new fashion future.

Couturier Yasmine Yeya of Maison Yeya

MOHAMMED ASHI Haute Couture Week is a sacred moment as it is my time

schedule due to many reasons. One is technical: most factories

to express and showcase creativity through presenting my

have remained closed during the pandemic, as has the fabric

designs. When we meet our clients and editors during a fashion

factory through which we source our material, which has

show or presentation, it carries lots of

been closed for the past three months. Further to that, each

emotion and satisfaction to hear the

collection usually requires six months of preparation between

instant feedback and witness a true

designing, creating prototypes and creating the final pieces;

reaction. That’s especially true when

time which we’ve not had for obvious reasons. As a result of

we see the women who will eventually

these disruptions, we have instead decided to format autumn/

wear and enjoy the dresses indulging in

winter as a monthly drop, meaning that we will release two

a collection for the very first time.

or three designs every couple of months, and each drop will

Although we have had fashion week

carry its own muse and theme. By the end of the six months,

presentations at Ashi studio, we have

we will have released all 20 pieces from the collection.

also always presented our couture

Each will be presented via film, so we’ll still be relying on

collections using digital platforms such

a digital platform for this season. It is going to be a very

as Instagram, Facebook and YouTube.

experimental experience for me.

I do believe that the digital medium

For spring/summer20, I named the collection ‘emotions’ as

helps to reach a bigger audience and

there was an overflow of feelings experienced during the

community, especially within this new

disconnection from reality and transcendence of dreams

proposition of a digital format for the

and the subconscious. Comprised of ten pieces in total, the

entire Haute Couture Week. Of course

collection features three colours: white, grey, and gold. Gold

Couturier Mohammed Ashi of Ashi Studio

fashion shows carry an emotional

being the last colour, as it is reflective and acts like a mirror,

importance for the audience and the designers themselves:

allowing one to reflect in the mirror and wonder where the

this sensation will be affected through the new format.

journey will continue to. But there is going to be a shift in the

In fact, for autumn/winter20 I’ve decided not to follow the couture

direction of the house for this season. While the dramatic storyline still remains, there will be a softer side; something

Ashi Studio’s SS20 collection

slightly more conceptual. It’s really important to motivate people after the pandemic and journey through some new dreams and inspirations. As a couture house that was committed to producing two couture collections a year, nothing has changed as I will remain committed to producing those collections with high production standards and the same dedication. I follow the needs of my clients rather than the trend to produce more or abide by certain schedules. Creating two beautiful collections is more important than subsiding to the pressure of making more and more. My hopes and dreams moving forward are that the fashion industry will change for the better, including more sustainability and more creativity, and less commercially driven collections made in huge quantities and at lower quality. It needs to slow down and reshape.

Through The Looking Glass Chanel’s latest Métiers d’Art show was entitled Paris - 31 rue Cambon in honour of the storied street where Gabrielle Chanel first set up shop as a milliner in 1910. Bursting with rich tweeds, svelte silhouettes and timeless emblems such as gilded sheaves and Lesage embroidery, each of the 71 looks designed by artistic director Virginie Viard are at once a celebration of the house’s founder and the modern-day heroine who now indulges in the collections. Here, French actress and face of Chanel Alma Jodorowsky models just a few of the formidable pieces

Photography: Chanel

“I’ve always found the Métiers d’Art collections the most fascinating ever since the beginning of my relationship with Chanel. Of all the shows I’ve been lucky enough to see, there’s a special soul to these ones,” says Alma Jodorowsky. “I visited the Métiers d’Art ateliers just before the runway show, and I have a totally new view of the artisans as a result. Looking at the details, realising the number of hours spent on the clothes and the different types of work on a piece, is so exciting. The clothes are like jewellery - there are so many sequins and feathers. They represent hours and hours of painstaking work, combined with fluid and comfortable cuts. It’s wonderful to then see this precious savoir-faire in motion at the show.” Alma wears jacket, skirt, belt and necklaces, CHANEL Métiers d’Art

“It’s a story of contrasts: the comfort and elegance, the masculine and feminine. These are clothes that allow you to be dynamic; that’s also what femininity is, being able to move in one’s clothes. A garment can make us stronger, it reflects the way we want to present ourselves to the world, and I think that is the message that emerges from the spirit of Chanel.” Alma wears jacket and necklace, CHANEL Métiers d’Art

The actress shares her thoughts on the house’s artistic director, Virgine Viard: “What I like is the way she delivers a modern and contemporary interpretation of the Chanel codes. It’s the same with her own look and allure - she has a rock’n’roll vibe, she likes mixing masculine with feminine. Subtle touches are mixed in organically with the legacy of the house. This fluidity in terms of materials and the movement of the clothes features a lot. I’m very aware of that.” Alma wears dress and bracelet, CHANEL Métiers d’Art

Jacket, YVES SALOMON | Jumper, CHLOE | Shirt, SANDRO | Skirt and hat, SELF PORTRAIT

Up the

TEMPO FORGE YOUR OWN PATH IN CLASHING PRINTS, HIGH-OCTANE COLOUR AND LOTS OF LUSCIOUS LAYERS Photography by Rinaldo Sata Styling by Sayuri Bloom

Top, KARL LAGERFELD | Dress, ISABEL MARANT | Coat, KOLOR

Dress, DKNY | Top, PINKO | Jacket, TAKAHIROMIYASHITA THESOLOIST | Skirt, BRUNELLO CUCINELLI | Shoes, TOGA PULLA

White shirt, LACOSTE | Shorts, LANVIN | Crinkled shirt and coat, ROCHAS | Socks, WOLFORD | Shoes, stylist's own

Shirt, shorts, belt, ring, necklace, boots and bag, DIOR | Camel top and belt, SELF PORTRAIT

Top, SELF PORTRAIT | Bralette, JUNIE COLOUER | Jacket and trousers, PLEATS PLEASE BY ISSEY MIYAKE | Glasses, LINDA FARROW | Shoes, RENE CAOVILLA

Jacket, YVES SALOMON | Jumper, CHLOE | Hat, SELF PORTRAIT

Jacket, skirt and bag, MULBERRY | Shorts, ESAU YORI | Top, JIVOMIR DOMOUSTCHIEV | Trainer-Boots, KARL LAGERFELD | Glasses, LINDA FARROW

Collared shirt and socks, MICHAEL KORS | Vest and scarf, TAKAHIROMIYASHITA THESOLOIST | Glasses, shoes and bag, ALEXANDER MCQUEEN

Dress and top, HYUN MI NIELSEN | Shorts, DIOR | Bracelet, ALEXANDER MCQUEEN | Shoes, LANVIN

stranger than fiction Take a step back in time in retro-inspired fashion with a twist of sci-fi sent from another dimension by Louis Vuittonâ&#x20AC;&#x2122;s Nicolas GhesquiĂ¨re Photography by Mann Styling by Natascha Hawke

Jacket and trousers, LOUIS VUITTON

Dress and boots, LOUIS VUITTON

Boots, LOUIS VUITTON

Top, LOUIS VUITTON

Jacket and trousers, LOUIS VUITTON

Top, trousers and boots, LOUIS VUITTON

Cape and boots, LOUIS VUITTON

Boots, LOUIS VUITTON

Jumper and skirt, LOUIS VUITTON

Jumper and dress, LOUIS VUITTON Model: Agata Wozniak | Photographer: Mann at Things by People Stylist: Natascha Hawke | Make-up: Sophie Leach | Hair: Melanie Meyer at MMG | Neon lighting: Vertical Design

Jewellery photography supplied by Sothebyâ&#x20AC;&#x2122;s

JEWELLERY EDIT

Photographed by Silja Magg, MOJEH 7

Artist-jeweller Wendy Ramshaw designed her Picasso’s Ladies collection by creating one or more jewels for each of the 66 portraits by Picasso depicting the various women in his life

An Unexpected Oeuvre From Pablo Picasso to César Baldaccini and Salvador Dalí, writer Sophie Stevens explores why many jewellery aficionados prefer the work of artists to that of contemporary jewellery designers, and begs the question: could you be looking in the wrong place for your Picasso?

The minimalist, whimsical work of artist Alexander Calder first began in 1906, when he was just eight years old

French sculptor César Baldaccini downsized his impressive Compression sculptures into jewellery pieces

alí, Picasso, César: all infamous 20th century artist names whose works can command dollar prices into the tens (and hundreds) of millions. So it may come as some surprise that these great names also tried their hand at jewellery design, with many art aficionados adding these bejeweled masterpieces to their collections. Jewels by Salvador Dalí were created in the latter part of his career, after he had been suspended from the surrealist group and veered away from contemporary art world trends. Designed between 1941 and 1970, such was his focus on jewellery over other works that one critic later crushingly stated he thought Dalí had died. Calling on the help of top jewellers Fulco di Verdura and Carlos Alemany, Dalí first designed his jewels on paper and selected the materials and gems to be used. Despite some of their dreamlike designs (think gleaming pearl teeth bared between ruby-encrusted lips on a brooch, or melting gold telephone earrings suspending rubies and emeralds), Dalí demanded his jewels be taken seriously. “Illusory! Dalinian jewels are totally serious. I’m glad that people smile at telephone earrings. A smile is something pleasant. But those

earrings, like all my jewels, are serious. They represent the ear, symbol of harmony and unity. They connote the speed of modern means of communication; the hope and the danger of an instantaneous change of thought,” the artist once said. The prices for his one-off or limited-edition designs are just as serious. The “Eye of Time” blue enamel, diamond and ruby watch-brooch, for example, was originally conceived in 1949 as a gift for his wife, Galia. There are only four known examples of this work – one of which was sold by Sotheby’s in May 2014 for a whopping $1,055,000. Later versions still attract much collector interest however, with one “Eye of Time” watch-brooch by Henryk Kaston for Dalí reaching $75,000 against a rather modest pre-sale estimate of $15,000-20,000 in New York in December 2019. “Artist’s jewellery offers collectors almost the antithesis to Haute Joaillerie, where it is not the stones which necessarily hold the value, but the design and thought behind them,” says Jessica Wyndham, specialist and Sotheby’s head of jewellery sales for Europe. “You can of course be a collector of both categories but I see some buyers who would not feel comfortable wearing some of the more traditional multi-gem set pieces most of us think of when we think of high end jewellery, but who instead find themselves captivated by the illusory, sizeable and sometimes comical artist’s jewels.” In contrast to Dali, Pablo Picasso’s foray into commercial jewellery was somewhat of a happy accident. In the late 1950s he asked his friend, French goldsmith François Hugo, to cast some of a damaged plate’s decoration in gold. From then until the 1960s, Picasso and Hugo worked together

creating collections of high-karat gold medallions and brooches inspired by motifs in the artist’s paintings, each coming in limited-editions of just 20 pieces. Picasso’s influence on jewellery continued into the mid-1980s, when British artist-jeweller Wendy Ramshaw designed her “Picasso’s Ladies” collection, designing one or more jewels for each of the 66 portraits by Picasso depicting the various women in his life – wives, mistresses, friends and muses. Displayed at the V&A for a time, these jewels include a brooch modelled as the head of Picasso’s muse and lover, Dora Maar, recently sold at auction for $3,200. Other artist-jewellers have also tweaked their existing artworks into jewellery designs. French sculptor César Baldaccini (1921-1998) downsized his impressive “compression” sculptures into jewellery by blending clients’ existing jewels into individual pieces. These jewels are highly sought after, with one of César’s compression pendants soaring above its pre-sale estimate of $13,000-19,000 to almost $56,000 in London in April 2020. Precious metals and gems are, however, not necessarily a prerequisite for all artist-jewels. The minimalist, whimsical work of Alexander Calder first began in 1906 when, at just eight years old, he transformed some copper scraps he found in the street into miniature necklaces. This was a technique he would elaborate on in his later jewellery work – often in copper and silver but sometimes in gold – where he steered clear of traditional soldering and welding and instead hammered and bent the metals into wearable pieces. Despite being uncomfortable to wear, these eyecatching pieces were soon seen on celebrity fans including Anjelica Huston, with actress Laura Dern sporting a Calder necklace to the 2018 Met Gala. Calder’s jewels, while minimalist in composition, can fetch impressive sums – a 1946 Calder gold wire and string necklace reached $312,500 at Sotheby’s New York’s Contemporary Art Day auction in November 2019. “ These untraditional and highly original jewels demonstrate the imagination of the artists who created them,” explains Jessica. Whether they completely veered away from the artists’ typical medium or were a simple tweak in style, these jewels are a much soughtafter addition to many an art collection. “In a world where we are each keen to be seen to have our own individual style, artist’s jewellery offers buyers the opportunity to break the mould.” Sophie Stevens is the jewellery specialist at Sotheby’s Dubai

Pieces from Salvador Dali’s impressive collection of work

JEWELLERY NOTE

EMERALD BY DAY, RUBY BY NIGHT The alexandrite, also known as ‘emerald by day, ruby by night’, is the colour changing variety of the chrysoberyl which was discovered in Russia’s Ural Mountains in 1830. As featured in the below jewellery set, the enigmatic stone moves between dusky grey to deep green and later blood red; a rare, and enviable find. “Other than its appearance and its unique colour-changing quality, the Alexandrite caught our attention because of its rich history and intriguing story – it was the official gemstone of the Romanov Imperial family,” states Nataliya Bondarenko, CEO and founder of Rubeus Milano. “Emperor Alexander II always wore an alexandrite ring, and as the story goes, the one day that he forgot to put it on, he was murdered.” At 69.37 carats, the stone used in the necklace is the largest known in history (beating the 66 carats which is currently exhibited at the Smithsonian Museum in Washington). “The excitement of working on this historical project was breath-taking, “beyond rare” if I may. Words cannot express how beautiful the journey was, from the time we discovered a stone that beat the record of the Smithsonian Alexandrite, all the way through conceptualisation and watching it develop into a gorgeous collection that left everyone in awe,” shares Bondarenko.

At 69.3 carats, the alexandrite in the featured Rubeus Milano necklace is the largest discovered in the world

TREASURES of THE SEA Take a deep and diamond-laden dive into the curious and perplexing world of celebrated 20th century artist Jean Schlumberger’s imagination. In its latest high jewellery collection, Tiffany & Co. brings to life the visionary spirit of one of the world’s most gifted artists through expressive pieces inspired by the sea’s natural beauties. An intricate assortment of sapphire, diamond and tsavorites lay above coils of yellow gold in a stunning starfish creation, while spinels, garnets, tourmalines and pink sapphires bring luminescent life to the Royal Fish clip. And if ever there was a Maison to turn a hermit crab into a fanciful vision, it’s Tiffany and Co: with a shell of luminescent sapphire enveloped by fluttering yellow and white diamond and golden seaweed, it is a dream-like vision stunningly set free from the big blue. Clockwise from top left: Coquillage clip, Etoile de Mer clip and Royal Fish clip. All pieces, TIFFANY & CO. The Legendary Designs of Jean Schlumberger high jewellery collection

MOJEH HEALTH

CLARITY IN THE MIDST OF CRISIS Challenges are something we have, not what we are. Making that distinction is crucial to creating clarity in the midst of trials and tribulations, says celebrity phycologist and TED speaker Dr. Habib Sadeghi

Photographed by Luca Meneghel, Issue 68

here’s a saying in self-improvement circles that goes something like: “What you think of me is none of my business.” It serves as a reminder that on our path of personal growth throughout life, we shouldn’t be looking to people and things in the external world to validate our sense of worth and who we are. Our life experience is created largely from the emotions and choices that arise out of what we think of ourselves. If that idea or image is based heavily on the opinions of others or the outcome of certain situations, then we disempower ourselves to a great degree and give up our ability to consciously create our lives to other forces that we allow to control us. ENLIGHTENING IMAGES I always thought my own self-image was secure from outside influence until I was challenged by just such a situation. I had completed the final edit of my most recent book, The Clarity Cleanse, and was seeking endorsements from industry peers. Amid the glowing recommendations of friends and business associates, I was shocked at one endorsement in particular. It referred to me and the book in such bland terms that it rendered it nearly useless; a generic description that could have been applied to anyone else. What made matters worse was that it came from someone I’d mentored for years. I immediately became upset, feeling betrayed and insulted. At times, I was overwhelmed with feelings of inadequacy. Initially, I didn’t realise how much their opinion of me influenced what I thought of myself. In the following days I struggled with my consuming emotions and how I might respond to this person. It was on a hiking trip where I was sharing my feelings with a doctor friend who then suggested a functional MRI scan to see which parts of my brain were most active during my anguish, and that it might offer some insight as to how I could better deal with the situation. At alternating moments during the test, he asked me to think about something I loved, such as my children, and then switch to focusing on feelings of betrayal and anger. The results showed that the emotional upset activated the same parts of the brain that deal with the fight-or-flight

mechanism. For days on end, I had been putting myself through the same emotional and physical rigours as if I was being chased by someone with a knife. Looking at those contrasting brain images was a wake-up call. I knew I had to create clarity for myself about the situation by engaging in the 12 steps I’d just written about for my book and had used for more than 20 years to cope with and process many other challenges in my life. OVER-IDENTIFYING WITH EMOTIONS It’s so easy to lose ourselves in the emotions of our problems and misidentify with them. Challenges are something we have, not what we are. Making that distinction is crucial to creating clarity in the midst of our problems, but it can be a difficult task when our language and culture often lend themselves to confusing the issue. In many languages, the syntax of having something versus being something is much more distinct than it is in English. For example in Spanish, “Tengo hambre” means, “I’m hungry”, but the literal translation is, “I have hunger”. In English, we say, “I am hungry”. This is a small but important distinction that subconsciously programs us to take on our experiences in such a way that we perceive them as part of who we are. We cannot differentiate between ourselves and the event. This becomes even more significant when we think of contrasting statements such as I have sadness or I am sad/sadness; I have rejection or I am rejected/rejection. Because we often don’t have the language to express our emotional situation accurately, we misidentify with it and can’t process it properly. The biggest issue with misidentifying with our problems and seeing them as who we are instead of a separate situation that we have for the moment is that it places us in an emotional holding pattern. We get stuck on the same thoughts that generate the same emotions that we become addicted to that drive the same behaviours and choices. It locks us into a negative emotional set point or attitude that becomes our new normal, without even realising it. Like an airplane that keeps circling

“

Over the long-term, these unresolved emotional issues consume us physically too, altering our body chemistry to create a pre-critical terrain that suppresses our immune function, making us more vulnerable to everything from colds to cancer the airport and can’t land, we can’t come down from our charged emotional state to create a space for clarity where resolution can begin. Of course, the danger of going in circles is that just like that airplane, fuel eventually runs out and it comes crashing down to earth, exhausted. In the same way, the unchecked avalanche of stress and emotions that come with some of life’s problems will use us up, too. Before we know it, we’re looking back on decades that have been consumed by our sorrow, resentment, shame, or guilt that’s prevented us from really being able to engage in life. Over the long-term, these unresolved emotional issues consume us physically too, altering our body chemistry to create a pre-critical terrain that suppresses our immune function, making us more vulnerable to everything from colds to cancer. WELCOMING WISDOM The Persian poet, Rumi, wrote a piece called The Guest House. In it, he talks about how various situations and their related emotions will come to visit us throughout life, like joy, anger, resentment, and sadness. Our job is to welcome them in as they arrive, resisting none, because while one rests in the bedroom, another emotion will soon knock on the front door, ready to replace him. We would never confuse ourselves with our friends and family members that come to visit us in our real homes. Why then would we misidentify with the thoughts and feelings that arise from our troubles that come to visit us in our mind’s guest house, our consciousness? In reality, we are neither the situation nor the thoughts and feelings that arise from them, but the house or space that welcomes them in to stay for a short time until the next visitor arrives when our circumstances change yet again. This is why I chose the picture of an empty cup to represent this process. Achieving clarity in the midst of a crisis requires becoming a holding space that can contain the problem and your emotional response to it while not entangling your identity with it. The cup holds the tea but is not the tea itself. It’s only from this perspective that we can begin the necessary work of resolving the matter at hand.

A BETTER RESOLUTION Part of my own healing involved contacting my friend and sharing my feelings. I would not be sharing his review with the publisher because I felt it had no bearing on me or any part of my work. It was essential to make this distinction and to speak my truth. Creating clarity in the midst of crisis is about learning to break emotional holding patterns and making the mental space necessary for real thinking, realising, healing, and living to occur within it. No one taught me the process contained in The Clarity Cleanse. Its principles and techniques grew organically out of my own struggle as a way to cope with and understand the significant challenges that have occurred throughout my life. I certainly couldn’t have made it through those times if I’d allowed every crisis that came along to leave me in an unconscious, agitated state of mind. In fact without real clarity, some of those situations would have sent me to an early grave. Let us set ourselves free from the constant promises we make to ourselves to lose weight, make more money or anything else that acts as a distraction from resolving the deeper issues in our lives that prevent us from moving forward. Let us commit to achieving clarity in a way that gives us a greater understanding of ourselves and command over our lives so that we can contain both the joys and sorrows in a way that we can benefit from all of them.

Dr. Sadeghi is based in LA and specialises in spiritual psychology and is the co-founder of non-profit Love Button Global Movement, a published author and contributor to Goop. Instagram: @drhabibsadehghi

BEAUTY IN FOCUS

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1. Traceless Foundation Stick in Tawny, TOM FORD at Ounass | 2. Veil Eye Primer, HOURGLASS | 3. Oasis Verte Eau De Parfum, RITUALS | 4. Radical Mascara in Noir, YSL | 5. Phyto-Eye Twist in Emerald, SISLEY | 6. Fly Pencil Eyeliner in Chromewrecker, FENTY | 7. Shadow Extreme in Emerald Green, TOM FORD at Net-A-Porter | 8. Rouge à Lèvres Mat Lipstick in Valentine Verdante, GUCCI at Net-A-Porter

CHRISTIAN WIJNANTS

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THE GREEN LIGHT Use high-intensity formulas such as eyeliners and lipsticks to create daring lines of green on the eye; small strokes of creativity will go a long way when worn with nearly naked skin

Beauty Edit: Kelly Baldwin | Photography: GoRunway

LANVIN

ROKH

FRESH OFF THE BOAT Dewy skin and high-shine hair can be as easy as it looks â&#x20AC;&#x201C; a healthy glow starts from within but salt sprays, glosses and radiant powders fuel the freshness

ALLUREof the TROPICS Turquoise collides with magenta; apricot melds with amber; and mauve meets fuchsia. Play your high-summer beauty any way but safe Photography by Holly Parker Beauty by Iris Moreau

Eyes: Eye Color Quad in African Violet, TOM FORD; Maxi Lash So Volume in Noir, GUERLAIN | Lips: Magic Lip Crystal Elixir, CHARLOTTE TILBURY | Skin: Sublimage La CrÃ¨me, CHANEL BEAUTY; Dior Forever Foundation in 3W Warm, DIOR BEAUTY; I Woke Up Like This Palette, RODIAL | Brows: Brow Lift and Legendary Brows both in Star Brow, CHARLOTTE TILBURY

Eyes: Diorshow Mono in Feeling, DIOR BEAUTY; Maxi Lash So Volume in Noir, GUERLAIN | Lips: Rouge Allure Ink Fusion in Pink Brown and Pourpre, CHANEL BEAUTY| Nails: Verde Pastello Polish, CHANEL BEAUTY | Skin: Sublimage La CrÃ¨me, CHANEL BEAUTY; Dior Forever Foundation in 3W Warm, DIOR BEAUTY; I Woke Up Like This Palette, RODIAL | Brows: Brow Lift and Legendary Brows both in Star Brow, CHARLOTTE TILBURY

Eyes: Phyto 4 Ombres, SISLEY; Maxi Lash So Volume in Noir, GUERLAIN | Lips: Lip Color in Indian Rose, TOM FORD BEAUTY| Nails: La Petite Robe Noire in Pink Ballerinas, GUERLAIN | Skin: Sublimage La CrÃ¨me, CHANEL BEAUTY; Dior Forever Foundation in 3W Warm, DIOR BEAUTY; I Woke Up Like This Palette, RODIAL | Brows: Brow Lift and Legendary Brows both in Star Brow, CHARLOTTE TILBURY

Eyes: Sequin Crush Mono in Confident Nude, YSL BEAUTY; Maxi Lash So Volume in Noir, GUERLAIN | Lips: Le Phyto Rouge in Orange Acapulco, SISLEY| Nails: Colour Games Limited Edition in A Bright Orange, DIOR BEAUTY | Skin: Sublimage La CrÃ¨me, CHANEL BEAUTY; Dior Forever Foundation in 3W Warm, DIOR BEAUTY; I Woke Up Like This Palette, RODIAL | Brows: Brow Lift and Legendary Brows both in Star Brow, CHARLOTTE TILBURY

Eyes: 5 Couleurs Happy 2020 in Party In Colours, DIOR BEAUTY; Maxi Lash So Volume in Noir, GUERLAIN | Lips: Le Phyto Rouge in Orange Calvi, SISLEY | Nails: Verde Pastello Polish, CHANEL BEAUTY | Skin: Sublimage La CrÃ¨me, CHANEL BEAUTY; Dior Forever Foundation in 3W Warm, DIOR BEAUTY; I Woke Up Like This Palette, RODIAL | Brows: Brow Lift and Legendary Brows both in Star Brow, CHARLOTTE TILBURY Model: Bekah Deering at Industry Management | Photographer: Holly Parker | Make-up artist: Iris Moreau | Hair stylist: Claudio Lazo | Nail artist: Naoko Saita | Photography assistant: Ferid Hasbun

The Destination Park Hyatt, Dubai City skyline views. Tick. Flawless white sandy beach. Tick. On-water

environment from the multiple miniatures that most hotels still offer.

dining. Tick. If you’re looking for escape in the city, the Park Hyatt

Once checked in, time will be spent relaxing by the palm tree shaded

Dubai is like taking a European mini-break without leaving the UAE.

pool, or by the picturesque lagoon that offers sunset views over Dubai’s

The bright white and blue Santorini-inspired architecture evokes the

epic skyline. A man-made beach with infinity pool, made with real

same laid-back elegance of the Greek Island in the Aegean Sea that

Maldivian sand, the lagoon creates an island vibe with a city backdrop

instantly changed-up the monotony of the Dubai hotel scene when it

unmatched anywhere else in the region. With world-class service on-

first opened in 2005, and remains one of the city’s more unique resorts.

hand to deliver anything you need direct to the sunlounger, there’s little

Surrounded by a golf course and super yacht-filled marina, yet only

reason to be anywhere else. That is, unless you are a seasoned foodie.

moments from Dubai Airport with views across the city to the Burj

The ten dining destinations in the grounds will keep food lovers busy

Khalifa, this little oasis makes for the ideal escape for a long weekend

with gastronomy from all corners of the globe, from the Thai Kitchen

when a real change of scene is needed.

to Casa de Tapas there is plenty to taste. If visiting on a weekend, the

A melange of design influences, from Arabic to French, proves the

Traiteur brunch is largely thought to be one of the best in the city, and

perfect recipe in creating a contemporary space that remains respectful

for easy-chic surroundings Noepe offers picture-perfect Hamptons-

to the local culture. Rooms are light and airy, a balance of cream

esque decor and a Saturday Lobster bake brunch menu to match.

upholstery and wood, each with terrace overlooking gardens, the marina

Stunning views, world-class food and an ambience akin to a small

or the lagoon. The bathrooms are spacious with standalone bath and

European town, Park Hyatt Dubai is the getaway of choice if a flight

are stocked with oversized refillable Le Labo products – saving the

out of town is out of the question. Hyatt.com / +971 4 602 1234

Park Hyatt: words by Natascha Hawke | Culture edit: Kelly Baldwin | Photography: Department of Culture and Tourism Abu Dhabi Photo by Hufton+Crow.4 and supplied

CULTURE EDIT

The Terrace Shanghai Me, Dubai Nestled into the corner of Dubai’s International Financial Centre’s bustling Gate Village is Shanghai ME, the city’s most stylish and sense-awakening Chinese restaurant. Transporting guests to 1930’s Shanghai, the city’s golden era, interiors are bursting with luscious flowers set against sleek, minimal ceiling designs while the newly enclosed bamboo filled terrace area mirrors the jungles of South Asia. The cuisine is inspired by the culinary traditions of East Asia, the precision and practice of delicate dishes that have taken centuries to perfect. While the menu is as generous as it is delectable, the offering is carefullycurated with a simplified selection of small share-style dishes followed by fish and meat for mains. The spacious terrace is best enjoyed during the day when Dubai’s sunlight bounces off the lush gardenia. shanghaime-restaurant.com / +971 4 564 0505

The Interiors Aura “The dining table is the perfect place to let your creativity shine through,” suggests Kelly Smith, Aura’s head of visual merchandising. “From spoons and forks to plates and vases, a dash of colour here and there is appreciated by everyone; it helps lighten the mood and creates the perfect warm ambience to any meal.” Aura began its journey in Saudi Arabia and has recently expanded to the UAE, offering the interior-savvy a plethora of sophisticated options from stately furniture to statement home accessories. Look towards their jewel-toned tableware for a chic approach to hosting over August’s Eid al-Adha. +971565397873

The Exhibition Furusiyya, The Art of Chivalry between East and West, Louvre Abu Dhabi

The Louvre Abu Dhabi, which reopened its grandiose doors on July 1st, explores the ancient roots of chivalry from Iraq and Syria in the East, to France and Spain in the West. Tales of knightly culture have been told throughout history – of brave heroes fighting for their sovereign, their religion and their honour; stories of war, loss, comradery and courtly love – and in a collection of over 130 rare artworks spanning six centuries, The Art of Chivalry between East and West explores its cultural roots and impact on society both then and today. Until October 18, Louvreabudhabi.ae

FINAL NOTE

Botanical

Beauty

The new high-jewellery Tillandsia necklace from Cartier takes its inspiration from the Bromeliaceae botanical family and features a pair of oval beryls that total 83.23 and 81.09 carats respectively. Placed side by side, the near identical stones represent the water-filled elements of a tillandsia and dazzle like dewy droplets. In order to recreate the subtle tones of the flower, the colour palette combines the fresh, soft green of the beryls with the shimmering pink of rutilated quartz and the radiant sunny yellow of diamonds, as well as darker, slightly earthy tones. Worn best with a v-shaped neckline in a pure colour tone, the one-of-a-kind piece dances with glorious colour and light. Tillandsia high-jewellery necklace, CARTIER

Photography by Greg Adamski

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