ISSUE 55

Art + Fashion The Seventh Anniversary Issue

N°55 2018

CALIBER RM 07-01

Haute Joaillerie, place Vendôme since 1906

DUBAI: The Dubai Mall - Mall of the Emirates ABU DHABI: The Galleria Al Maryah Island 800-VAN-CLEEF (800-826-25333) ABU DHABI: Etihad Towers +971 2 681 1919 www.vancleefarpels.com

Frivole collection Between the Finger Ring, yellow gold and diamonds.

ASK

(for what you need)

CHAT

(with a lifestyle specialist)

CLICK

(to confirm your purchase)

DONE.

(enjoy!)

Discover the brand new Louis Fourteen app.

T: +971 4 425 8600 | E: lifestyle@louisfourteen.com

Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Managing Director IVAN DONCIC

Managing Editor NATASCHA HAWKE

Brand Manager KELLY BALDWIN

Features Editor ANNIE DARLING

Sales Director NADINE CHEHABEDDINE

Senior Editorial Assistant SOPHIE PASZTOR

Digital Sales LAURA SOBH

Guest Fashion Stylists ANNA KLEIN INA LEKIEWICZ MARILENA KARAGIANNI ALEXANDRE FELIX JULIE BROOKE WILLIAMS

Senior Publishing Executive DESIREE LABANDA-GAVERIA Administrative Executive MINA TAGT Paris Representative GHISLAIN DE CASTELBAJAC

ART

Advertising Inquiries Tel: +971 4 553 90 49 Email: advertising@mojeh.com

Production and Creative Direction MOJEH MAGAZINE Art Director AMIRREZA AMIRASLANI

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

Graphic Designer BALAJI MAHENDRAN

LOUIS FOURTEEN FOR MOJEH

Contributing Photographers CHANTELLE DOSSER VIVIENNE BALLA AURELIA LE THANASSIS KRIKIS ALEXANDRE FELIX DIMITRI HYACINTHE BORNA AHADI ELENA LUKYANCHUK

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

Cover photographed by Dimitri Hyacinthe Model wears dress by Balmain.

Earrings, Joanna Laura Constantine WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation (January-June 2016): 12,275 copies.

For the UAE printed by Emirates Printing Press LLC. 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

New_EBEL SPORT CLASSIC Packshot_Ref 1216392_FPC Eng_Mojeh Magazine Sz (230 x 303mm).ai

24

26

MOJEH CONTENTS

35

7 YEARS OF FASHION

MOJEH’s photoshoots continue to inspire, and our seventh

64

anniversary cover is a testament to their impact. A look through the style shifts of MOJEH, as well as the models, photographers

and stylists who have captured how we view fashion

END OF AN ERA Christopher Bailey’s final collection for Burberry is a remix of his greatest hits and the eras that have defined the brand

78

EXPRESS YOURSELF

86

We ask some of the art and design world’s most successful women

about the importance of creative expression in their clothes

CURATING STYLE The designers behind Turkish fashion label Dice Kayek are blurring the line between art and style. They talk film, fashion and fine art

28

90

IS FASHION ART?

104

Designers are increasingly looking to artists as potential

catalysts for the next big trend. We examine some of the

most successful collaborations to date

FASHION TRENDS Hot off the runways, here are the fashion trends that we can’t get enough of, with styling tips to help you successfully pull off each look

210

COLOUR RIOT

231

Functionality remains key with silhouettes that evoke freedom and movement, while bold colour and print choices

clash in surprisingly striking ways

A LION’S ROAR Chanel celebrates the spirit of the lion with its latest high jewellery collection entitled L’Esprit du Lion

W W W.C E L I N E .C O M

30

236

VICE IN VERSAILLES

248

Victoire de Castellane talks about her eclectic background, as well as her latest collection as head of

design of fine jewellery at Dior

PERPETUATING THE SPLENDOR OF MÉTIERS We look into the magical world of haute horlogerie’s decorative arts and examine the artisanal craftsmanship that goes into creating these masterpieces

275

NEW SEASON, NEW RULES

313

The spring/summer 2018 shows inspire a new look

for summer, MOJEH breaks down the newest products to add to your make-up bag

LIFE & STYLE Collector, curator and cultural entrepreneur, Dana Farouki reveals how her love of art has shaped her Sunset Beach-front home

32

EDITOR’S LETTER

TIME TO CELEBRATE

Photography: Thanassis Krikis, Portrait of Mojeh by Hana Levan

On opening this issue of MOJEH, you will notice it has an upbeat energy. This special March issue marks our seventh anniversary, and in celebration we worked with the exceptional talent of photographer Dimitri Hyacinth who created a unique image that we feel evokes the fantasy of the art world that we explore inside the issue.

March is an important time in fashion as it marks the introduction of the new season collections into stores – so we can actually start wearing it. It is also an important month in the cultural calendar as Art Dubai comes to town, celebrating creativity in a myriad of ways in the presence of the global art community. Therefore it felt right that we should fuse the two to be the focus of this very special issue.

Inside you will discover plenty of inspiring ways in which the worlds of art and fashion collide: in life, in style and in literature. Cultural entrepreneur Dana Farouki is the incarnation of life imitating art, as is discovered in this month’s Life & Style (page 313) when exploring her colourfully curated home. In Express Yourself (page 78), we feature some of the region’s most stylish women in creative fields. In Is Fashion Art? (page 90), we explore how artists have loaned their own brand of cool to fashion over time. We have also curated a definitive guide to Art Dubai,

highlighting the standout works that will be on display, and talk to the people who make it possible.

It is also International Women’s Day on March 8, and to mark it we discuss the current efforts being made by Hollywood’s elite in Double Standards (page 96), and we speak to Myrna Ayad, director of Art Dubai, about the importance of the female pioneer’s in art in the region, who shares: “Women working in the arts and culture sector is not new to the Middle East and Arab world. We’ve had a lot of pioneering women predecessors to learn from and who continue to serve as examples for us to follow,” she says. “Looking at the local cultural landscape today, women dominate the scene.”

With the Emirates Airline Festival of Literature coming to town (March 1 – 10) three of the authors put pen to paper to discuss the highlights and challenges of being women writers, with fascinating results, turn to In Her Own Words (page 306) to read the fruits of their labour.

On a personal note, I want to express my gratitude to our readers. Time is so precious and we are so proud that you would share yours with us. Seven years ago MOJEH was just a dream, but as I write my 55th editor’s letter I am thrilled we are still on this journey together. As always, thank you for your support.

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

Mojeh Izadpanah Editor in Chief

Photography: Alexandre Felix. Chantelle Dosser

34

ANNIVERSARY EXHIBITION Colour Riot MOJEH 55 | March 2018 | New York Photographer: Dimitri Hyacinthe Stylist: Julie Brooke Williams Fashion: Mary Katrantzou, Marni

7

years of fashion MOJEH’s photoshoots continue to inspire, and our seventh anniversary cover is a testament to their impact. Here is an overview of our changing shifts in style, as well as the models, photographers and stylists who have captured them over the years

36

ANNIVERSARY EXHIBITION

Jewel of the Desert MOJEH 1 | March 2011 | Los Angeles Photographer: Simon Upton Fashion: Catherine Malandrino dress From day one MOJEH has been for, and about, a globalised woman who sees no borders or limitations. Our first cover shoot was photographed in the Los Angeles desert as a first representation of her universal outlook.

Glamour Cruise MOJEH 2 | May 2011 | Arabian Gulf Photographer: Greg Gex Stylist: Claire Dhelens Fashion: Van Cleef & Arpels High Jewellery For its finesse and dexterity, high jewellery has remained key to MOJEH’s DNA. But, our intention has always been to de-mistify the austerity surrounding it and instead style high jewellery as art pieces that can be worn and enjoyed day in and day out. Be that with a couture gown, a simple white shirt and jeans, or swimwear.

For the Sheer Love of Fashion MOJEH 3 | July 2011 | Paris Photographer: Federico De Angelis Stylist: Elodie David-Touboul Fashion: Marc Jacobs, Azzedine AlaĂŻa, Lanvin

38

After Show MOJEH 12+1 | March 2013 | Paris Photographer: Stefania Paparelli Stylist: Sara Francia Fashion: Maison Margiela

With This Rock MOJEH 14 | May 2013 | Paris Photographer: Federico De Angelis Fashion: Chanel, Chanel High Jewellery

A Loveable Lensman MOJEH 18 | January 2014 Photographer: Patrick Demarchelier Fashion: Christian Dior In celebrating avant-garde and quixotic photography, MOJEH’s joined forced with some of fashion’s most-loved visionaries.

For the January 2014 cover story, we showcased the longstanding relationship between legendary Patrick Demarchelier and Christian Dior.

40

The Heart of Fashion Beats 3 MOJEH 19 | March 2014 | France Photographer: Ellen Von Unwerth Stylist: Guillaume Boulez Fashion: Yanina Couture and Zuhair Murad Ellen Von Unwerth is the true enfant terrible of 21st Century female photography, unafraid to present women in their most fantastical form, celebrating feminism and freedom. To shoot for a Middle Eastern title was both a feat for MOJEH and the region.

New Life MOJEH 22 | September 2014 | France Photographer: Cecile Bortoletti Stylist: Guillaume Boulez Fashion: Louis Vuitton When Nicolas Ghesquière took to the helm of Louis Vuitton, he was relatively unknown but would very quickly breathe new life into the house, and the industry, by encouraging fashion to once again live beyond just the runway. MOJEH shot his very first collection and every one since then.

42

Gilded Garden MOJEH 25 | March 2015 | Paris Photographer: Anthony Arquier Stylist: Guillaume Boulez Fashion: Chanel Haute Couture

Fashion In Full Bloom MOJEH 26 | April 2015 | Japanese Tea Garden, San Francisco Photographer: Amber Gray Stylist: Santa Bevacqua Fashion: Christian Dior

44

Paradise Found MOJEH 33 | December 2015 | New York City Photographer: Viki Forshee Stylist: Sofia Odero Fashion: Gucci Fittingly entitled Paradise Found, this narrative predicted the future of Gucci under the creative direction of Alessandro Michele.

Nearly three years on, Michele is revealing artistically-driven collections, which for the most part, tell the story of a dreamland in which love and humanity endlessly prevails.

46

The Drop MOJEH 35 | March 2016 | Oman Photographer: Greg Adamski Stylist: Olivia Cantillon Fashion: Emilio Pucci From Oman’s mountains to Dubai’s desert and seafront, the Middle East’s infinitely breathtaking landscape has helped form the narrative of many fashion stories.

End Credits MOJEH 36 | April 2016 | New York City Photographer: Danilo Hess Stylist: Sofia Odero Fashion: Christian Dior We say our final farewell to Raf Simons’ Dior.

48 Black Widow MOJEH 41 | October 2016 | Iceland Photographer: Anthony Arquier Stylist: Gemma Bedini Fashion: Stella McCartney, Valentino, Saint Laurent

Passion and Power MOJEH 44 | December 2016 | Zambia Photographer: Pelle Lannefors Stylist: Kelly Baldwin Fashion: CĂŠline

Refinery Reimagined MOJEH 47 | May 2017 | Paris Photographer: Fedor Bitkov Stylist: Camille-Josephine Teisseire Fashion: Giambattista Valli

50

STYLE NOTES

MAKE A SPLASH Paint splatters are the most coveted embellishment of the season, thanks to designers such a Oscar de la Renta. Energised flicks add a dash of artistic eccentricity, creating a bold and playful look.

Photography: Elena Lukyanchuk at The Factory ME. Stylist: Sophie Pasztor. Location: Sotheby’s Dubai. Art: Courtesy of The Cecil Beaton Studio Archive

MODERN

MUSINGS For a modern makeover, experiment with a new wave of pieces that demonstrate contemporary cool.

Bag, OFF-WHITE at OUNASS | Shoes, NEOUS at THE MODIST

52

STYLE NOTES

CLEAR VISION Known for its minimalist aesthetic, Céline’s plastic carrier bag is pared-back chic at its most ironic.

BASIC SHAPES New season footwear takes on sculptural forms and sleek silhouettes.

Clockwise from top left: VICTORIA BECKHAM at LEVEL SHOES | STUART WEITZMAN | VICTORIA BECKHAM at LEVEL SHOES | STUART WEITZMAN

54

STYLE NOTE

ABSTRACT EAR Unconventional shapes and experimental construction allows for a contemporary approach to fashion jewellery. Expect the unexpected.

ANNELISE MICHELSON at THE MODIST

Photography: Elena Lukyanchuk at The Factory ME. Stylist: Sophie Pasztor. Location: Sotheby’s Dubai. Art: Courtesy of The Cecil Beaton Studio Archive

ART SPACE Maria Grazia Chiuri takes inspiration from French feminist artist Niki de Saint Phalle, borrowing her colourful iconography to breathe new life into the classic Lady Dior.

56

STYLE NOTES

SHAPE SHIFTERS The season’s arm candy comes in structured, architectural silhouettes, bold primary colours, and petite sizes that you’ll want to put on display.

From Left: JACQUEMUS at SHOPBOP | ROKSANDA at NET-A-PORTER | ELIZABETH AND JAMES at NET-A-PORTER

58

STYLE NOTES

CLEVER FOOTWORK Athleisure isn’t going away. Invest in hi-tech style by Balenciaga to keep you on the move.

DIGITAL DOMINATION Inject a flash of colour and eccentric flair into daywear with Les Petits Joueurs’s Alex Eyes bag. Pixel perfect.

LES PETITS JOUEURS at OUNASS

60

STYLE NOTES

TALKING TRANSPARENCY Trust Chanel to add a new dimension to waterproof footwear with practical and playful plastic boots.

TAG LINE Burberry continues its collaboration with British artist, illustrator and photographer, Danny Sangra, expanding its Doodle Collection with ready-to-wear pieces in an urban streetwear vibe.

62

STYLE NOTES

FACE VALUE Sit down to a stylish pret-a-portea with Consept’s chic Karl, Marc or Dolce & Gabbana fine bone china teacups.

CONSEPT at OUNASS

MALONE SOULIERS at THE MODIST

STYLE PROFILE The monochrome Camille ankle boots by Malone Souliers are perfectly on-point for this season’s Surrealist influences.

64

STYLE NEWS

STYLE EDIT

END OF AN ERA

THE COLLECTION

Christopher Bailey’s final collection for Burberry is a remix of his greatest hits and the eras that have defined the brand

After 17 years at the helm of Britain’s most successful luxury brand, how do you say goodbye? If you’re Christopher Bailey you celebrate with 1,300 of your closest friends by putting on a show to end all shows.

As a metaphor for new beginnings, the Time collection, as it is sentimentally called, was auspiciously unveiled on February 17 during London Fashion Week in a new show space. The listed Dimco Buildings in west London provided the cavernous, disused warehouse backdrop to Christopher’s finale, with the light installation Our Time by London-based United Visual Artists, providing the mood.

As the pendulum lights melodically swayed to the music in the otherwise pitch-black space, the show poignantly opened with model-activist Adwoa Aboa in an oversized fleece hoodie worn over a floor-length gown with sneakers, perfectly setting the tone for a collection that had a lot to say.

The clothes, the music and the models came together in a megamix of Christopher’s greatest hits, referencing collections of old and bringing them into the new, often with a loud, proud flash of rainbow symbolising hope, freedom and a bright future.

Capes were worn over hooded sweaters, the trench was worn over tracksuits, and in an ironic nod to the current ’80s and ’90s revival, Christopher paid a particular homage to Burberry’s chav days — an association that the brand has tried hard to bury — by bringing back archive pieces from caps to shell suits, covered in archival check from the ’80s and ’90s, a selection of which was made available immediately, delivered to the first fast few via the new ‘Show to Door’ service launched with Farfetch for 24 hours after the show.

As ever, the music played an integral part, setting the tone for Christopher’s nostalgic, autobiographical journey through fashion by opening with the haunting vocals of Bronski Beat’s Jimmy Somerville whispering “memories, sweet memories.”

As Burberry campaign faces Jean and Edie Campbell navigated the runway in rainbow puffa jackets. The beat gained tempo with I Feel Love featuring Marc Almond, fading out to reveal a rainbow-drenched Cara Delevingne, who closed the show in a floor-length shearling cloak.

To mark the show’s finale, rainbow lasers burst out from the floor to form the perfect prism over the runway, flashing to the sound of The Communards Don’t Leave Me This Way as Christopher took his final bow to a standing ovation as the lyrics “set me free” echoed through the air. A triumphant finish that marked a moment in fashion history, and judging by the smile on Christopher’s face, an exciting time ahead for one of the industry’s most respected talents.

The Burberry February 2018 Capsule collection is now available globally at Burberry stores and Burberry.com

Photography: Courtesy of Burberry. Words: Natascha Hawke

Burberry February 2018 Capsule collection

66

MONREALISM Digital artist Ignasi Monreal’s collaboration with Gucci continues for spring/summer 2018, he tells MOJEH what it’s like to live inside his head

Below: Ignasi Monreal during the making of the Gucci S/S18 campaign

If Surrealism is the “irrational juxtaposition of images” then Monrealism should be the bonkers depiction of high fashion. Trust Gucci, under the creative direction of maximalist Alessandro Michele, to welcome the surreal vision and humorous expression of Spanish artist and illustrator Ignasi Monreal into the Gucci hub to take fashion advertising into a new realm. After all, Michele is a risk-taker if nothing else.

Inspired by everything from Japanese Manga and French and Italian comics, to the idiosyncrasies of everyday life, Ignasi has loaned his illustrative genius to fashion a few times, creating digital artworks for numerous brands including Dior, J.W. Anderson, Louis Vuitton and Christian Louboutin, but insists it was Gucci, who he has worked with on various projects, that first lured him into the world of fashion after discovering him on Instagram. “Gucci were the first luxury brand to reach out to me to do something. The first thing we ever did was the Gucci brand series, and from there it just went uphill. In a good way,” he laughs.

Uphill is a slight understatement if ‘billboard success’ is anything to go by. After working on December 2017’s Gucci Gift Giving, a series of around 80 images, most recently his work is displayed on Gucci Art Walls around the world: one in New York’s SoHo standing at 760-square metres, which he affectionately calls “the guys with the glasses” showcasing two of Gucci’s spring/ summer 2018 sunglasses styles; a 176-square metre wall in Milan’s Largo La Foppa, inspired by a fusion of Jan van Eyck’s famous 1434 painting, The Arnolfini Portrait, and The Garden of Earthly Delights (1490-

Photography: Photo of Ignasi Monreal courtesy of Gucci from behind-the-scenes of the spring/summer 2018 advertising campaign. Campaign images courtesy of Gucci by Ignasi Monreal

THE COLLABORATION

THE MAKING OF

From top: Ignasi Monreal’s Gucci S/S18 campaign image inspired by Ophelia by British artist Sir John Everett Millais; Gucci S/S18 campaign image by Ignasi Monreal

1500) by Hieronymus Bosch, and a newly unveiled wall in Hong Kong’s D’Aguilar Street.

We can expect to see more of his work plastered on billboards and throughout magazines over the coming months as Gucci rolls out the spring/summer 2018 advertising campaign, dubbed ‘Utopian Fantasy’.

A series of 60 magical, photorealist artworks, most with surreal narratives, inspired by a selection of artsy references. “There’s Bosch, there’s Ophelia, there’s a portrait of Queen Elizabeth I that I referenced, there’s Caravaggio, there’s Renaissance, there’s a mix from here and there,” says Ignasi, revealing that of all of them, one image stands out in his memory because of the story behind it. “There’s one of this guy sleeping and there are two cherubs bringing a post-it down… those two cherubs are painted on the ceiling of the office I was working in at Gucci HQ in Rome.

I had terrible Wi-Fi and so had lots of issues sending the files. The two cherubs in that campaign image are holding a post-it with a Wi-Fi password that hopefully would work. That’s the joke… it comes from a real place.

That doesn’t make it my favourite, but it has a story on a personal level.”

So it seems even the surreal is derived from the real?

“In my own personal work I like to work more from reality — actual portraits or still-life, things that actually happen around me. I work from my life,” he explains. But when it comes to advertising and keeping clients happy, it’s a different ballgame. “With Gucci it’s a luxury brand at the end of the day. I borrow the clothes and take photos for reference just to make sure that they look exactly as they are, after all it’s a campaign so it has to look real. There’s a lot of detail, patterns, embroideries, textures and materials that have to be represented faithfully.”

Has this sudden global appreciation of his artworks gone to his head? Not at all. “The impact of the work has been monumental. They’ve [Gucci] put it everywhere.

I am amazed myself, I can’t believe what’s going on.

They keep me motivated and surprised,” he says from his studio in London, noting his gratitude to the brand for giving him full creative freedom. “It’s amazing. I’m not just saying that. They are one of the best clients I’ve ever had. They’ve given me a lot of trust and a lot of room to do what I’ve wanted. They give me a lot of freedom and are very supportive.” So what’s next? “There’s a few things I am working on, but they’re top secret, you’ll find out soon enough.”

THE MOOD

68

Clockwise from top left: Yumi Katsura; Christian Dior; Prada; Oscar de la Renta; Undercover; Comme des Garçons; Dries van Noten; Versace

ARTSY INFLUENCES From pop art to comics via Surrealism, art has inspired looks from Dior to Dries for spring/summer 2018

Art has inspired fashion always, but it seems like for this season, in particular, more obvious references and artist collaborations have taken place. Dior’s Maria Grazia Chiuri used the colourful illustrations and iconography of French artist Niki de Saint Phalle, also borrowing accents from the artist’s own style to weave into the collection ’70s denim, beret and Breton stripes. Donatella Versace paid tribute to her late brother Gianni’s 1991 runway collection, sending models down the runway in the same Pop Art prints, now available as part of the Tribute collection. Prada

went with a comic book print on retro-inspired coats, while references to Surrealism showed up in the form of Salvador Dali’s lips at Undercover and Dries Van Noten.

One of fashion’s true artists, Rei Kawakubo of Comme des Garçons, proved above everyone else that fashion has a place in the art world. Showing a collection of 15 exceptional pieces that demonstrated her unique vision of off-the-scale, real-life fashion montages, drenched in Photoshop flowers and digital prints of the 16th Century artist Arcimboldo, in a collection she described "multidimensional graffiti."

ROYALTY APPROVED THE NEW

As a relatively new designer, Richard Quinn has been making waves in all the right places, earning him the inaugural Queen Elizabeth II Award for British Design in recognition for his contribution to fashion.

His autumn/winter 2018 collection made headline news during London Fashion Week last month as Her Majesty Queen Elizabeth II showed up on the front row sitting next to fashion's own royalty, Anna Wintour.

Quinn uses couture skill with which to create unique garments artfully thrown together with clashing prints and textures. With a likeness to the late, great Alexander McQueen, his star is set to shine ever brighter. A platform renowned for support emerging brands, his debut collection is now available at Matches Fashion. Matchesfashion.com

KRISTINA FIDELSKAYA “The collection is called Anima. Anima, the Italian word for ‘soul’, embraces the balance of fragility and strength in women,” says Dubai-based designer Kristina Fidelskaya of her spring/summer 2018 collection. The Madonna-directed movie W. E provided the main style inspiration, with the two lead female roles acting as Kristina’s muses. “We presented the strong female personalities from the film and poetically dressed them with muted, earthy tones including mercury, rose quartz and dry tobacco, and complemented them with delicate glimpses of silk twill, linen toile and organza," says Kristina, which has resulted in an elegant, wearable collection perfectly suited to the "vibrant metropolitan woman" she designs for. Available at Kristina Fidelskaya in Wafi Mall

70

ART AND LITERATURE

THE INSPIRATION

Continuing its tradition of creative collaborations, this season sees Loewe partner with Japanese artist Fumiko Imano and Steven Meisel

Loewe's affiliation with art continues this season, peers down at them from a staircase. In another, the championed by Jonathan Anderson and supported by three hold quintessential Parisian baguettes: De Brauw The Loewe Foundation, which was established in 1988 to mimics playing the flute with hers, and Imano and her promote creativity and safeguard heritage in the fields twin hold theirs like violins, with large bread knives of dance, poetry, art and craft. aiding the pantomime. All of this surrealism mimics Each season, the brand collaborates with a new artist on the unusualness of Jonathan's approach to the fashion a dedicated publication that brings together Jonathan's pieces that star in them. new collection under the influence of, and in collaboration The playful photographs give a new dimension to the with the artist's vision. Collaborators have included Spanish label’s spring/summer 2018 collection, and photographers Duane Michals, who shot Publication only 1,200 copies of the book have been printed. Loewe No.18 FW18 Men, Pablo Curto and Jamie Hawksworth, produces seasonal hardcovers with creatives in the field, and have featured models Laetitia Casta, Nora Attal and and in an era where brands are focusing on the digital Binx Walton among others. For spring/summer 2018, realm, this revival of the tangible book is refreshing, Publication No.17 Women makes its debut. The 27-page to say the least. But, with Jonathan Anderson at the tome is this time in collaboration with Japanese artist helm of the label, it’s to be expected, since, time and Fumiko Imano. again, he vocalises his appreciation Imano specialises in selffor craft, culture and art. It’s why “I wished, I wanted to portraiture, the methodology he pushed so passionately for the stems from her childhood: she have have someone else brand to launch its annual Loewe was brought up in Brazil before Craft Prize, to seek out artisans to be cheerful with, so moving to Japan, and never who are pushing the boundaries I started making these felt like she quite fit into either of art while preserving traditional craftsmanship techniques. society. To combat the loneliness, twins. Like a butterfly she started pasting her portraits Since being appointed creative collector; pinning.” director at Loewe, Anderson has on top of printed photographs Fumiko Imano enlisted American photographer of herself, creating a collageSteven Meisel to shoot many of like depiction of an imaginary twin. “I wished, I wanted to have have someone else to the brand’s projects — last year, the two conceptualised be cheerful with, so I started making these twins. Like the spring/summer 2018 advertising campaign, which a butterfly collector; pinning,” she says. features fruit as art, with Italian model Vittoria In Publication No.17 Women, she’s superimposed onto Ceretti, now immortalised in another limited edition photographs of her and Dutch model Saskia de Brauw, new release Eye/LOEWE/You, a 96-page large format shot on the grounds of the Maison de l’Unesco in Paris. tome displaying Meisel's images, as well as a selection The visuals tell an exploratory story as the two — or from the previous collaborations between artists and three rather, frolic around the French site in Loewe the brand. spring/summer18, amidst a background of spectacular Loewe collaborations after all, are never just pretty architecture. In one image, De Brauw wears a trench pictures for the sake of flaunting fashion. Whether its with cut-outs at the armholes, and Imano Is decked out surrealism, consumerism or escapism, an abstract in a pink maxi dress fitted with a peplum, as her twin message usually lies at the heart of every Loewe image.

Photography: Courtesy of Loewe. Words: Hafsa Lodi

Below, from top: Models backstage at Loewe, shot by Kevin Tachman; A large-scale tapestry by artist Mo Jupp sits centre stage at the Loewe S/S18 show; a look from Loewe S/S18

From top: Loewe's spring/summer 2018 advertising campaign featuring Vittoria Ceretti shot by Steven Meisel; Two images of artist Fumiko Imano and model Saskia de Brauw wearing Loewe S/S18 in Publication No.17

72

CARTE BLANCHE

THE HIGHLIGHTS

Casual shoes begone! Welcome in a sleeker style for spring in minmalist, streamline and sculptural shapes and dangerously white finish. Level Shoes has the best of the bunch, introducing Victoria Beckham, Prada and Gabriela Hearst to its online edit for the new season. Levelshoes.com

Behind-the-scenes of the Coach S/S18 campaign

Victoria Beckham

KEITH HARING X COACH In New York during the 1980s, street and graffiti art was having its heyday, epitomised by the iconography of Keith Haring’s colourful, graphic illustrations found all over the city subways.

Haring passed away in 1990, but his legacy lives on in The Keith Haring Foundation and now, for spring/summer 2018, in the latest collection for Coach.

Creative director Stuart Vevers has looked to Haring’s bold graphics to add personality — and, cleverly, a certain Instagram-friendly quality — to his collection of eclectic ready-to-wear and leather accessories that are the brand’s bread and butter.

Capturing the youthful, creative flair of the '80s New York party scene of which Haring was a staple, Vever's collection serves up silk and embellished slip dresses in unexpected girly '30s style, Americana accents in suede cowboy shirts and boots, varsity sweaters and metallic bomber jackets, many of which displayed the recognisable cartoon graffiti art of Haring's, sewn through them in sequins or appliquéd onto leather.

“The further extension into ready-to-wear this season has been very much inspired by our Coach girl gang – the way that they wear, party and live in our clothes,” says Vevers. “I love that sort of undone, unprecious glamour and sensuality – it feels very true to the house.” Key bags are the Camera and the Mailbox – an updated version of the style first introduced in 1972.

Victoria Beckham

Prada

Gabriela Hearst

Bag and cover, Chanel

Bag and cover, Balenciaga

CHIC RAINWEAR While we’ve been lucky not to have experienced much rain yet this year — if you’re in the Middle East that is — in the event it does turn, we’ll be doing our rain dance in some high fashion, protective PVC. Trust the luxury brands — namely Chanel and Balenciaga — to cash in on global warming's increased annual rainfall by producing rainwear we can’t live without — even for accessories (or small dogs, maybe?).

Chanel S/S18

Puma x Shantell Martin

STREET ART If it's art and athleisure that floats your sartorial boat, then look to Puma's collaboration with British-born, New York-based visual artist Shantell Martin. Revered for her drawings and light projections, she lends her illustrative talents to the sportswear line that will make its debut in two drops — the next arriving in April. "It was cool being able to apply my artistic DNA to iconic Puma silhouettes, but what I particularly loved about the project was hiding little messages throughout the product offering to make something truly unique," she says. Available at Puma stores

74

FASHION IN FOCUS

9 1 2 8 POWERFULLY PINK From blush and rose, to fuchsia and magenta, a full spectrum of pink is championed across the catwalks.

Characteristically feminine, for S/S18 pink is given edge through structured silhouettes and modern designs.

3

1. ERMANNO SCERVINO | 2. MADIYAH AL SHARQI | 3. MSGM at MATCHESFASHION | 4. COLIAC at THE MODIST | 5. BVLGARI | 6. FENDI | 7. MARCO DE VINCENZO at STYLEBOP | 8. CALVIN KLEIN 205W39NYC at STYLEBOP | 9. OSCAR DE LA RENTA

5 4 6

Compiled by Sophie Pasztor

7

1 8

7 BETWEEN THE LINES Stripes abandon their nautical connotations to make way for a tougher, more contemporary, statement. Look to durable leather in tapered trousers and motorcycle jackets with the flash of a racing stripe for true boss girl appeal.

2

1. SAINT LAURENT | 2. MUGLER at NET-A-PORTER | 3. TIBI | 4. TOMASINI at THE MODIST | 5. DIOR | 6. SAM EDELMAN at SHOPBOP | 7. MARNI at THE MODIST | 8. FENDI

4

3

5

6

76

8

1

2 7 WATERCOLOUR FLORALS The S/S18 runways took cues from the world of art, where florals are reworked into watercolour prints. Sun-bleached shades offer a softer attitude to former saturated styles, while retro influences provide a complementary approach to the trend.

1. MIU MIU | ZIMMERMANN | 3. OSCAR DE LA RENTA at MATCHESFASHION | 4. FENDI | 5. MAX MARA | 6.

GUCCI | 7 & 8. IN THE MOOD FOR LOVE at OUNASS

4 3

6 5

1 8

7 BLANK CANVAS All-white everything is this season’s formula for minimal dressing. A style staple for the sunnier months and the key to relaxed resort wear, look to jackets, trousers and shoes in

2

pristine whites for supreme spring elegance.

1. BALENCIAGA | 2. JIL SANDER at NET-A-PORTER | 3. CHRISTIAN LOUBOUTIN | 4. BLUMARINE | 5.

MARQUES’ALMEIDA at MATCHESFASHION | 6.

CÉLINE | 7. CHLOÉ | 8. MATICEVSKI

4

3

5

6

78

MOJEH WOMEN

“

Once I completed my education, I realised I can have a voice back home to nurture artists, tell their stories and give them a platform on which to be heard.

Maliha Tabari

Maliha wears Fendi coat and Christian Louboutin shoes.

She is photographed in ArtSpace gallery next to an artwork by Mohamed Joha

EXPRESS YOURSELF

We ask some of the art and design world’s most influential women about the importance of creative expression in their style Words by Kate Wills

MALIHA TABARI

Photography: Borna Ahadi.

Palestinian, managing director and owner of Tabari Artspace

In her role at the forefront of the Middle Eastern art scene, Maliha Tabari has built up a reputation for supporting new artists in the region. “When I started Tabari Artspace (formerly Artspace Dubai) in 2003, there was no platform or place for Middle Eastern artists to grow and to be seen,” she explains. “My aim is to push artists, to give them a voice, to expand into the international market.”

This global perspective is no doubt informed by her background — born in Palestine, Tabari grew up in Saudi, was educated in the US and has lived in Dubai for 17 years. “Once I completed my education, I realised I can have a voice back home to nurture artists, tell their stories and give them a platform on which to be heard,” she says.

Maliha, who is also a painter and sculptor, is passionate about art in all its forms, including fashion. “For me, fashion is a form of self-expression, a spirit, an extension of one’s self through clothing,” she explains. “I actually went to university thinking I was going to study fashion and after four months I realised I’m not a fashion designer because I don’t have patience to cut and sew and put things together. Fashion to me is creativity. For me, waking up in the morning and dressing is a way to express myself. If I’m down I tend to put on more make-up, dress a little bit more colourfully to keep my mood up. The days I’m very happy, I tend to dress more minimally I would say. For me, fashion is a canvas.”

Dressing to fit her mood means that her style changes daily. “Right now I’m going through a ’70s and ’80s phase,” she says. “I’d say that I’m a combination of elegant, minimal with a dash of theatrical on occasion. I like clothes that channel an era or a period in time.” Her go-to designers are Fendi, Balmain, Gucci and Dolce & Gabbana because “it feeds my theatrical side,” as well as Attico and Rixo London.

“I like silk and airy clothes. I tend to wear a lot of floral, paisley prints. Alessandra Rich and Halpern for party dresses; Tibi for work, and I’m Prada-obsessed.”

Malita’s appreciation for fashion finery feeds into her role at the upper echelons of the art world — she also holds the regional distribution license for high-end publishers Taschen and Assouline. “The business of selling luxury suits my personality,” she says. “I understand that market.” But that’s not to say she’s high-maintenance — at one point in our shoot she even does her own make-up in the reflection of the gallery window.

Next up, she has plans to create an app that connects artists and buyers, and says she “would love to one day see art in the streets.” Either way, all her energy goes towards the same thing: “I just want to help support the art agenda in the region in any way I can.”

80

ISABEL PINTADO

British-Spanish, managing director of Wilson Associates MEA

As senior vice president and managing director of the architectural interiors firm Wilson’s Associates MEA, Isabel Pintado’s recent projects have included the refurbishment of Vida Downtown, Dubai, and new hotels for Marriott International in Doha and Morocco. “I hope that the spaces that me and the team create inspire people, provoke people and allow them to have fun,” she says. “It’s about giving people a great experience.”

Perhaps surprisingly, Isabel says her dream project would be a hairdressing salon.

“It might sound incredibly naff but I’d love to do a really different hairdressers mixed with a bar,” she says. “That would be exciting!” And she admits that her creative process and eclectic taste don’t always convince everyone. “One of my colleagues Julie, she’s been with us for six months, there was a time when she thought I might be colour-blind,” she laughs.

“She only confessed when we finished the office and she saw the project was coming together quite well! Looking at my office you can see the randomness of things that maybe shouldn’t work together, but they gel in the end.”

Fashion has the It’s a playful aesthetic which is borne out in her own style. speed to turn “I mix and match. I dress to reflect how I feel — one day I might be in trainers, a long dress. Another day I’ll be in a suit with around concepts... incredibly high heels. I like clothes that have patterns and It’s a creative way interesting textures. One day I could be slightly punk, another of expressing things I can look like a librarian.” that you can very Whatever day you catch her on, Isabel says that fashion is “fundamental” to the world of design. “Unlike interiors which can quickly see come be a lengthy process, fashion has the speed to turn around concepts to life. into a physical product. It’s a creative way of expressing things Isabel Pintado that you can very quickly see come to life.” Her dream wardrobe would be full of Céline, Mulberry and Tom Ford. “I admire any designer who takes the essence of a particular influence and then makes it their own,” she explains. “Céline for me is strong, it is powerful, it doesn’t follow any particular rules. I love what Mulberry are doing under their new designer — taking the British essence and giving it an attitude. I love Tom Ford’s suggestiveness and the structuring of his evening gowns. As with design, I think the best fashion designers are the ones who go one step further and come up with things that are unique, that make you feel a particular way.”

Isabel says that age has allowed her to take more risks with her style. “Being in my 40s has given me the freedom of not really caring so much about what people think about what I wear, or whether it’s more or less flattering,” she says. “With interiors you have to curate things carefully, but with fashion I can express myself 100 per cent.”

“

Isabel wears top, waistcoat, skirt and shoes, CĂŠline

82

Asmaa wears Alexander McQueen infront of Maliheh Afnan, Ecriture I, pencil on paper, (1982)

ASMAA AL-SHABIBI

British-Iraqi, director and founder of Lawrie Shabibi

She trained as a solicitor, but Asmaa Al-Shabibi found her calling in 2007 when she became managing director of Art Dubai. In 2011, she opened the Lawrie Shabibi gallery, which became known for pushing the boundaries of Middle Eastern art. “We wanted to showcase artists who were different from what was on offer,” she explains. “We were one of the first galleries to show installations and videos.” The gallery’s success has been international. “We sold a Nabil Nahas artwork to the Tate Modern, we sold Nadia Kaabi-Linke to the Guggenheim show in New York two years ago and it was the centrepiece of the exhibition.

These things give us a lot of pleasure.”

When it comes to the crossover between fashion and art, Asmaa singles out the masterful Alexander McQueen. “I like the way that he always had these historical references in his shows and a lot of artists do that as well,” she explains. “If you look at his shows and read about what his motivations were, they were really curated in a conceptual way. I’m not sure how many other fashion designers necessarily achieve that in quite the same way.”

Fashion links you Fashion can also function as a political metaphor. “One of our to people and it artists, Farhad Ahrarnia, uses thread and needles to stitch into his canvases and I think he’s inspired by textile-making and connects you to patterns and the instruments of making fashion. He did a series people. When I see recently looking at ‘Egyptian Mania’ that took place in the ’20s someone who is and ’30s and those artworks have Western women dressed in dressed stylishly Egyptian-style clothing, then he stitched his work on top of them.

I think he sees fashion as a cultural reference as to what they I want to get to were wearing and how they were eroticising the Middle East.” know them.

Asmaa describes her life as “pretty full on” and her wardrobe Asmaa Al-Shabibi needs to work just as hard. “I’m so busy with the day job, sometimes I don’t want to curate anything outside of it. But if there’s a show opening or I’m going to art fairs I do think about my wardrobe and how it’s going to work against the backdrop of the artworks.

I like clothes that are comfortable and casual at the same time. I love Boutique 1, they have such a diverse range of designers and there’s always something new.

I do love Stella McCartney. I love her shoes and her bags, her clothes are really cool. I like Rag & Bone, J Brand, Isabel Marant, A.L.C. and Maje.”

And when it comes to networking, it pays to dress well. “Fashion links you to people and it connects you to people. When I see someone who is dressed stylishly I want to get to know them.” But for Asmaa, the real art of getting dressed lies in curating different brands. “I’m not talking about the latest item like a Valentino bag. I love people who know how to put clothes together.”

“

84

HALA KHAYAT

Syrian, director of Modern and Contemporary Art at Christie’s Middle East

Even as a child daydreaming in class, Hala Khayat had her mind on the visual form. “I grew up in Damascus, which is a very beautiful old city,” she says.

“Even at school, you’d be looking at ceilings that were so old and embellished and beautiful so it creates a lot of appreciation that you don’t realise until you’re much older. I used to stare at the ceiling and doodle really intricate motifs during class.”

She went on to study fine art in Damascus, as well as a master’s at Central St Martins and summer courses at the Louvre, before moving to Dubai in 2002.

Since 2007, she has specialised in Arab, Iranian and Turkish art for Christie’s, travelling all over the world to evaluate works. “In 10 years we’ve documented some 3,500 artworks that are not yet found in any books or publications,” she says.

Middle Eastern art is booming and it’s strong women who are at the forefront of the industry in this region. “I feel that in the Arab world we’re very lucky as there is a lot of respect for women.

There are a lot of female specialists, art curators… I feel like the pace of the art world here is a lot slower which suits women who In the Arab world want to have a family.” we’re very lucky Hala believes fashion is indisputably an art form in its own right. as there is a lot of “It’s only when you look at the trajectory of really great designers that you understand they are really creative. Today we call it respect for women. installation art, mural art and sculpture.” So she loves it when There are a lot of art and fashion come together. “Dior recently collaborated with female specialists, 20 or so artists for the Lady Dior Art at Basel Miami and I’d like art curators.” to see more collaborations between big brands and Arab and Iranian artists. I recall one collaboration between Louis Vuitton Hala Khayat and Iranian artist Farhad Moshiri. They had his images in the store’s windows. To me, this connection is more about the artists themselves becoming brands, it’s very intriguing.”

As an intensely visual person, Hala says that her own style is important to her career, particularly when she’s making a big sale. “We’re meeting so many of our clients and it’s nice to look good and to play that role,” she says. “I like statement shoes and bags. I love the new Gucci collection. I don’t necessarily always buy into them, but it does inspire me to get more inventive with fashion. I loved Dior’s Cruise 2018 collection. I am quite feminine. I can’t pull off the streetwear look, the sneakers. I struggle to wear that. I’m more stilettos by Zannotti, Manolo Blahnik, and Jimmy Choo.” When she’s not travelling the world evaluating artwork or building sales, Hala is trawling vintage markets. “I love Spitalfields in London — they have some great pieces.”

“

Make-up: Sisters Beauty Lounge

Hala wears Tibi dress from BySymphony and Valentino shoes

86

MOJEH INTERVIEW

Dice Kayek’s Istanbul Contrast collection won the V&A Jameel Prize 3 in 2013

CURATING STYLE The designers behind Turkish fashion label Dice Kayek are blurring the line between art and fashion. Here, they discuss film, fine art and the future

Photography: Courtesy of the Victoria and Albert Museum. Portrait courtesy of Serdar Bilgili

Words by Aimee Dawson

“We are accidental artists,” laughs Ayşe Ege, one half of Tabassum from Dhaka. The finalists’ works will go the Turkish power duo behind the Parisian fashion label on show at the V&A from June 28 until November 25, Dice Kayek. Her sister and partner designer, Ece Ege with the winner being announced the night before the nostalgically smiles alongside her as the two reminisce exhibition opening. on their sudden breakthrough into the art world. In 2013, For their Jameel Prize entry, Ayşe and Ece entered three the pair were nominated and — to their total surprise — dresses inspired by their home city — Istanbul. “We went on to win the Victoria and Albert Museum’s (V&A) prepared a collection that was an artistic ode to the city third Jameel Prize. “We were of Istanbul, which is a place so sure we wouldn’t win it that inspires us constantly,” that we had made dinner says Ayşe. Named after cultural inspirations in the plans with friends who were city, Caftan, Dome, and waiting outside,” says Ayşe.

The biennial Dhs130,000 Hagia Sophia were acquired Jameel Prize is an by the V&A. The exaggerated international award for sleeves, sculptural skirts and contemporary art and design, heavy embroidery reflect the given to artists for work city’s Islamic architecture and lavish decoration. The inspired by Islamic heritage and tradition. Previous works capture the key design nominees have hailed from elements that have come to diverse cultural fields, epitomise the Dice Kayek including contemporary art, brand: architectural structure and luxurious embellishment. craft, design, architecture and fashion. Ayşe and Ece Back in 2009, the collection were the first — and thus far started out as any other but the only — fashion designers it soon attracted attention Ece Ege (left) and Ayşe Ege, founders of Dice Kayek to win the prize. internationally from But this year’s eight nominees were announced in museums, first exhibiting at Paris’ Le Musée des Arts February, and among the artists is the Bahraini fashion Décoratifs in 2010, followed by a show at Istanbul designer Hala Kaiksow, who uses traditional craft Modern and the Amsterdam Museum. After winning and handiwork in her thoroughly modern garments. the Jameel prize, the collection travelled to Russia, Other artists include the Iraqi artist Hayv Kahraman; Sharjah and Singapore. “Each time there was a different the Jordanian Naqsh collective, founded by sisters scenography so it was interesting. In Istanbul, we Nisreen and Nermeen Abudail; and the architect Marina collaborated with [the Israeli artist and designer] Arik

88

DICE KAYEK S/S18

“

I think everyone is bored of fashion shows… there are more fun and artistic ways to show your collection nowadays. It’s a digital age.

Photography: Courtesy of Charlotte Navio

Ayşe Ege

Levy and he created a very interesting environment that looked like a contemporary forest. In Amsterdam, the dresses were shown alongside the Dutch Old Masters,” says Ayşe.

So what’s happening with the collection now? “We have tremendous demand from people who want to wear them but it’s a bit difficult – some of them weigh 20 kilograms!” laughs Ayşe, noting how cleverly hidden the heavy construction is. “There are still museum projects planned – let’s see what happens.”

This foray into the art world has also inspired other creative projects for Dice Kayek. Ece has long been a champion of fashion films and has been collaborating with filmmakers since 2013. “In films, you have all the forms of arts and creativity — music, literature, fashion, architecture. It’s fantastic,” says Ece, who dreamed of studying film and becoming a director when she was at high school. Their main collaborator is the London-based filmmaker Marie Schuller, who works with SHOWstudio, an online platform dedicated to films about fashion.

The films Noir (2013) and Pearl (2013) were both released at the Grand Palais’ cinema as part of Paris Fashion Week. One a classic, dark film-noir and the other a bright, contemporary video with pulsing music, the diversity of Dice Kayek’s cinematic style was clear from the start. Jokes (2016) is a tongue-in-cheek short where the models tell awkward one-liners (whilst looking devastatingly cool in the Dice Kayek spring/ summer 2016 collection), which is meant to capture the surreal process of creating fashion imagery. One of their most recent films, the spooky My Name is Eva and I am a Witch (2017), marks a departure into a more Hollywood style, set on location with a clear narrative, dialogue and model-actors.

This genre of film is gaining popularity in the industry, with the addition of a special fashion section at the prestigious Venice Film Festival this year, and specialised fashion film festivals opening in Milan, London and Berlin, where Dice Kayek regularly participates. “We love doing films and I think everyone is bored of fashion shows – they don’t go anywhere and it’s a huge amount of investment,” says Ayşe. “I think there are more fun and artistic ways to show your collection nowadays. It’s a digital age.”

Last year, Dice Kayek celebrated its 25-year anniversary, giving Ayşe and Ece a chance to reflect on their work. “If you really squeeze our style down to just two words I would describe it as ‘sober glamour’: very clean, not showy, but with a grace in the line. You become graceful,” say the pair when pressed to define their style. And it’s clearly popular – the brand is now stocked in over 100 boutiques and department stores internationally and is a favourite with stars including the Bollywood actress Sonam Kapoor, and songstresses Rita Ora and Celine Dion.

Dice Kayek is particularly growing in Dubai, where they now have five outlets including Galeries Lafayette Dubai, Robinsons Dubai and Opera. “We are really popular in the Middle East and maybe that’s because we are neither East nor West. I think it shows in the collection,” says Ece. The fashion house is also planning an art project in the emirate, which is yet to be announced.

When I ask the duo about their milestone moments, Ece talks about being accepted by the Fédération de la Haute Couture et de la Mode, the elite guild for Parisian designers. But for Ayşe, it’s still the moment when the late former-director of the V&A, Martin Roth, announced them as the Jameel Prize 3 winners. “It was the turning point of our career,” she says. “I’ll never forget it.”

90

The Kate Moss hologram shown at Alexander McQueen’s autumn/winter 2006 show, reappeared in the V&A’s exhibition Savage Beauty, in 2015

Photography: Courtesy of Randy Brooke/Getty

TALKING POINT

?

IS FASHION

ART Fashion designers are increasingly looking to artists as potential catalysts for the next big trend. We examine some of the most successful collaborations to date

Words by Anny Shaw

Clockwise from top left: Jeff Koons holding a bag from Louis Vuitton’s Masters 2 collection; Agyness Deyn attends Louis Vuitton’s tribute party for the late artist Stephen Spouse; Takashi Murakami’s collaboration with the brand lasted 13 years; Louis Vuitton teamed up with Jake & Dinos Chapman for the A/W13 collection; Richard Prince redesigns Louis Vuitton iconic emblem;a window collaboration with Japanese artist Yayoi Kusama

Photography: Courtesy of Cecil Beaton/Getty and Rob Loud/Getty

92

I

n 1937, the maverick Surrealist artist Salvador Dalí The Chapmans’ rebellious spirits were not always a quality and the grande dame of couture Elsa Schiaparelli embraced by Louis Vuitton. That change came in 2001 irrevocably altered the course of art and fashion. when the late New York designer and artist Stephen Together, they created the now legendary Lobster dress, Sprouse was approached by Marc Jacobs, then the artistic a silk summer gown featuring a large print of the crustacean director at Louis Vuitton, to form a pairing that would set that the American socialite Wallis Simpson wore for the tone for the millennium. At Jacob’s behest, Sprouse a photoshoot with Cecil Beaton. tagged the label’s iconic monogram in neon-coloured spray Back then, the dress caused a stir, not least because paint, a daring move for a logo so steeped in history — it a forward-thinking Simpson was preparing to divorce was designed by Georges Vuitton in 1896 in memory of for a second time and was engaged to Edward VIII, who his late father. abdicated the British throne to marry her.

In a sign of the increasingly blurred lines between fashion Fast forward 80 years and it seems every fashion house and art, blockbuster exhibitions devoted to clothing is scrambling to work with an artist in a bid to lend design are more popular than ever. In New York, the a certain cachet to their brand and reach audiences beyond Metropolitan Museum of Art’s Costume Institute has been the runways. Calvin Klein has snagged unprecedented much lauded for its exhibitions on Comme des Garçons access to the Andy Warhol Foundation in a multi-year and the late Alexander McQueen, while last year the partnership, Dior undertook 60 trials to perfect its Lee Bul city’s Museum of Modern Art hosted Items: Is Fashion handbag bedecked with dozens of sharp Plexiglas mirrors Modern? — only the second exhibition in the museum’s and Cindy Sherman’s selfhistory devoted to fashion.

Savage Beauty, the 2015 portraits pepper Undercover’s Wallis Simpson modelled Schiaparelli Lobster spring/summer 2018 collection. retrospective of Mcqueen’s work, dress in 1937 Louis Vuitton, part of the was the most popular show ever billionaire art collector staged at the Victoria & Albert Bernard Arnault’s empire, has Museum (V&A) in London. To been at the vanguard of artist meet demand during the final collaborations for almost 20 two weeks, V&A chiefs opened years, working with dozens the museum overnight for the of big-ticket names including first time for an exhibition; more Olafur Eliasson, Takashi than 480,000 tickets were sold Murakami, Richard Prince in total. and Yayoi Kusama.

Perhaps more than most Add to that list Jake and designers, Alexander’s creations Dinos Chapman, the enfants often spilled over into the realm terrible of the British art world, prone to defacing etchings of art. One early piece saw the designer sandwiching by the Spanish Old Master Francisco Goya. Their second tapeworms against models’ flesh under transparent plastic collaboration with the fashion giant, unveiled last summer, bodices, earning him comparison with the corporeal and features caricature-like drawings of Africa’s best known visceral works of the collective, Young British Artists, which wild animals — rhinos, elephants, leopards, lions and included artist Damien Hirst. It was a shared preoccupation giraffes — printed onto luggage, leather goods and fabrics. with skulls that ultimately saw Hirst and McQueen team The project was a collaboration with the recently departed up in 2013. Damien gave the fashion house’s skull scarf Kim Jones, who first met the Chapmans through Kate Moss a limited-edition overhaul, creating 30 variations of the around 15 years ago. iconic design 10 years after it was first produced.

The artists’ intentionally naive and humorous drawings For Alexander his shows appeared as important as the clothes. could be read as a subversion of the fashion industry, but In 2001 he staged a show titled Voss, in which models wearing Jake is adamant that was not their aim. “It wasn’t like that hospital headbands strutted down a runway made to look like at all,” he stresses. So did the project relate in any way to a padded cell, while the audience peered at them through their defacing of Goya’s prints? “No because Goya didn’t a one-way mirror. The show cost more than Dhs358,000 do handbags,” Chapman quips. to produce and involved 200 specialist technicians.

Clockwise from top left: Schiaparelli’s reimagination of the brand’s iconic Lobster dress, showcased at its Haute Couture S/S17 show; Coach’s Keith Haring-inspired S/S18 collection; Cindy Sherman’s self-portraits feature at Undercover S/S18; Andy Warhol prints at Calvin Klein S/S18; The Dior Lady Art Project includes a Plexiglas-mirrored bag designed by sculptor Lee Bul; Alexander McQueen’s Savage Beauty exhibition at Victoria & Albert Museum in 2015

Photography: Courtesy of Mike Marsland/Getty. Opposite: © Musée Yves Saint Laurent Paris / Guy Marineau

94

If such bombast was characteristic of McQueen, other designers throughout history have taken a more austere approach. In 1965, Yves Saint Laurent designed a collection based on the works of Modern painters including Serge Poliakoff, Kazimir Malevich and Piet Mondrian. The collection included six shift dresses inspired by a typically pared-back geometric Mondrian painting that Saint Laurent owned (he and Pierre Bergé amassed a huge art collection over the course of 40 years, considered one of the finest in the world). The dresses, which appeared on magazine covers, won praise from the worlds of art and fashion alike, and the collection was dubbed the Mondrian collection.

Historical artists have also provided welcome fodder for designers. Vivienne Westwood’s autumn/winter 2016 collection was inspired, she says, by the Renaissance artists El Greco and Donatello. “Voluminous silhouettes and puff sleeves; cropped, draped and wrapped” were partly based on the drapery in Donatello’s sculpture, Westwood says in a statement.

The collection, she adds, “contains a strong historical discourse. There are nods to history and modernity, striking a balance between the past and the future”.

Louis Vuitton’s latest collaboration with Jeff Koons features imagery from the US artist’s Gazing Ball series of paintings — large-scale handpainted reproductions of Old Master paintings — transposed onto the Speedy, Keepall and Neverfull bags. Leonardo da Vinci’s Mona Lisa, Vincent Van Gogh’s Wheatfield and Peter Paul Rubens’ Tiger, Lion and the Leopard Hunt are among the works to have been recreated by Koons, a notorious appropriation artist known for turning kitsch images and objects into art. The collection has been panned and praised in equal measure. The Guardian’s art critic Jonathan Jones described the accessories as “heartfelt homages to great art”. Koons, he believes, “is turning great art back into popular culture”.

When Liam Gillick collaborated with Pringle of Scotland in 2011, he made a conscious decision “to construct something

rather than decorate something,” he says. Alistair Carr, the brand’s then creative director, suggested they create a series of bags — a first for the fashion label known for its cashmere knitwear.

“I wanted to make bags, which were primarily aimed at women,” Gillick explains. “They are like fantasy places, it’s a private thing. Then they are this extra object that you carry with you, that fascinated me.”

Unlike other collaborations, the artist was very much involved in the production of the collection, which was unveiled at Art Basel in Miami Beach — an increasingly attractive platform for fashion brands eager to woo the art elite. “I didn’t just want to put a logo on something or make an ironic art gesture. I wanted to learn about the process and work with the technical people at Pringle,” Gillick says. The resulting Saint Laurent’s pieces, featuring blocks of bright Mondrian collection colours and geometric patterns, on the catwalk in 1965 were a “true collaboration”, he says.

Some artists have gone a step further and established their own fashion labels. Ben Eine, a London-based street artist who gained international fame in 2010 when David Cameron gave one of his paintings to Barack Obama, launched his line during London Fashion Week Men’s in January.

The savvy street artist offered a free screen print to the first 100 customers and within 24 minutes his website had received 1,000 orders.

The debut collection consists of around 40 menswear pieces, created by two fashion designers using the street artist’s paintings and graphics. “I’m not a fashion designer. But they know my look. The designers are making garments based on what I wear and what I look like,” says Eine.

The collaboration is a marker of how far street art has come, but, for Eine, it is an effortlessly natural fit. “I’m often asked: ‘How do you feel about collaborating with a luxury brand?’, but I am the luxury brand,” he says. “I’m not some skateboarding kid sticking up some stickers, this is my profession.”

So does he ever feel like he’s sold out? “50 Cent said it really well when he said: ‘Do you know what sold out is?

When you walk into HMV and you can’t buy my CD.’ And that’s exactly how I feel,” he says.

Photography: Christopher Polk/Getty

96 TALKING POINT

DOUBLE STANDARDS Hollywood-driven culture treats men and women differently when it comes to fashion, but we shouldn’t let it define who we are Words by Annie Darling

I

n January, when actresses showed up to the Golden been ongoing for years. In 2014, Cate Blanchett made Globes wearing all black as a sign of solidarity headlines when she called out E!’s film crew for ogling for the Time’s Up and #MeToo movements, it her body while she walked the red carpet for that year’s set the tone for 2018’s awards season. Over the past Screen Actors Guild Awards (SAG Awards). As the lens two months, we’ve heard powerful speeches, read snaked to her waist, she crouched down and asked the inspirational stories, and seen political accessories camera operator: “Do you do this to the guys?” twinkle on the red carpet, including pins and symbolic The actress’ comment relit an international debate white flowers, all of which have been worn in a stance about the uncomfortable level of scrutiny with which against sexual harassment and gender inequality in we judge the appearances of women. Not long after, Hollywood. And with the biggest and most glamorous the #AskHerMore campaign was born, spearheaded personalities preparing for this month’s star-studded by The Representation Project, which urged reporters Oscars, there is no doubt that the upcoming night’s to focus more on women’s accomplishments and less on fashion will similarly address how they look. Saana Azzam is the inequality movement that’s the founder of MENA Speakers, “To be judged on sweeping the film industry. and is an expert in helping women position themselves It would seem that we’ve come superficial factors as a long way; it’s not difficult as an authority in their chosen opposed to merit and to remember a time when field. “It has certainly given competence creates so post-award show coverage momentum and voice to the much loss for was dominated by headlines gender equality movement in brimming with ridiculously a way that I’ve not seen before,” our society” gendered questions. “Who are she says, when asked about Saana Azzam the Time’s Up and #MeToo you wearing?” is, of course, a popular (and overused) line of movements. “The ripple effect inquiry, as is the go-to interrogation about how it’s is there, but we still need to discuss the implications possible for a successful woman to enjoy a healthy of discrimination, and we need to speak up until that’s work-life balance: “Just how do you do it all?” not the norm anymore.”

“In only a couple of months, Time’s Up has mobilised This year’s awards season certainly signifies a group of very passionate women and men across change, with eight highly-accomplished women industries to join forces to end harassment and accompanying numerous Hollywood stars, including inequality,” a representative says when asked about the Michelle Williams, Emma Stone, and Meryl Streep, organisation’s efforts. “We are committed to changing to the Golden Globes, in an effort to highlight gender the culture of harassment and power imbalance across inequality. It would seem that women are finally being all industries.” Discussions about the additional heard for what they have to say, rather than for which challenges women face on a daily basis, particularly designer they’re wearing. “To be judged on superficial surrounding those in the public spotlight, is one that’s factors as opposed to merit and competence creates so

98

much loss for our society,” argues Saana, but is asking women about their outfits inherently sexist? Unless it’s a question solely posed to women, and that’s the only topic that’s covered during an interview, probably not.

And if there’s ever a time and place to obsess about couture gowns and high jewellery, it’s undoubtedly on the red carpet. After all, people who are interested in fashion want to know which designers their role models are championing and, for many, the Oscars aren’t so much about filmmaking as they are about Hollywood glamour.

Because whether they like it or not, when a public figure steps in front of the camera, she is instantly vulnerable to the inspection of millions, who have gathered to admire the sparkling craftsmanship hanging from her shoulders, wrists and neck. And history does show that questions about fashion are regularly posed to women, as well as that if they’re asked anything else, the conversation tends to veer towards the superficial.

Jennifer Aniston, Julianne Moore, and Reese Witherspoon have all famously refused to put their hands in E!’s famous mani-cam, with Elizabeth Moss

going as far as to switch it off in an act of defiance. Nicole Kidman once refused to answer Ryan Seacrest when he asked her who she was wearing at the Grammys, and pretended not to understand his question, replying: “I don’t know what to say.” And while women are regularly filmed answering questions about how long it took for them to get ready, men are asked about the films they’ve starred in and the challenges they’ve overcome.

There are, however, benefits to dressing well, with many actresses securing lucrative endorsement deals with the designers who style them. Cate Blanchett may have confronted the lecherous camera that panned across her body, but saying, “I’m wearing Armani”, isn’t a statement that insults her. She was reportedly paid Dhs3.6 million for her fragrance campaign with Giorgio Armani. “In my work, we discuss subliminal messaging of clothes,” explains Saana, which are often used to empower the wearer. Melania Trump, Queen Rania of Jordan, and Michelle Obama, for example, have all used their influence to publicly support diversity and creativity within the fashion industry,

Neque porro quisquam Photography: Joe Scarnici/Getty est qui dolorem and Venturelli/Getty

Clockwise from top left: Activist Tarana Burke, actresses Natalie Portman, Michelle Williams, America Ferrera, Jessica Chastain, Amy Poehler, Meryl Streep, activists Saru Jayaraman and Ai-Jen Poo attend the Golden Globes post-party at The Beverly Hilton Hotel

with the latter wearing the Maria Pinto, Jason Wu, Prabal Gurung, Tracey Reese and Christian Siriano.

“This is a way to signal that engagement is important to them, and that they care about their audience,” reveals Saana, before adding that: “As much as I recognise that clothes can be used to convey important messages I still fundamentally believe that the day everyone wakes up and does whatever makes them feel great with no regard to what others think, then that is a win for all of us.” And despite the former first lady’s interest in emerging designers, Michelle Obama has also spoken about the disparity between her and her husband’s experience at red carpet events, arguing she’s been subjected to more style scrutiny. “People take pictures of the shoes I wear, the bracelets, the necklace – they didn’t comment that for eight years he [Barack Obama] wore the same tux, same shoes,” she commented during an appearance at Apple’s Worldwide Developers Conference.

During the presidential election campaign, Hillary Clinton was constantly judged on her penchant for pantsuits, so much so that political adversary Sarah Palin came to her defence, telling the Chicago Tribune: “Do you remember the conversations that took place about her [Hillary Clinton], say superficial things that they don’t talk about with men, her wardrobe and her hairstyle, all of that? That’s a bit of that double standard.” And while Barack Obama’s post-presidential style has been praised, from the wraparound shades he wore to go kitesurfing with Richard Branson to his open-necked shirts, his physical transformation has been largely linked to his emotional happiness.

Meanwhile his wife’s physique and style is ruthlessly compared to other female figures such as Melania Trump and Amal Clooney, and women across the world continue to struggle to be taken seriously unless they dress a certain way.

In the 21st Century, many professional women continue to feel forced to conform to the predetermined white male power ideal: suits, straight hair and minimal make-up, while women who wear the hijab are frequently branded as oppressed by those who often have very little factual knowledge about its context.

The importance here is not on what we wear, but whether or not what we’re wearing is being worn by choice. When Emma Watson posed in a barely-there Burberry cape for a Vanity Fair shoot photographed

by Tim Walker last year, she was fiercely criticised.

Broadcaster Julia Hartley-Brewer condemned the actress for her hypocrisy in campaigning against page three (a newspaper feature containing photographs of glamour models in the British tabloid newspaper, The Sun) while simultaneously bearing all in what she described as a “posh magazine”. It is, of course, understandable why many women are still frustrated with what they perceive as overt objectification of

Emma Watson (right) attended the Golden Globes with women’s group leader Marai Larasi.

Both wore black to show solidarity with the victims of harassment and assault

the female form, with many wishing for women to be recognised for their minds, rather than their bodies, but there’s no denying that we have both.

“Feminism is about giving women choice,” Emma, who attended this year’s Golden Globes with women’s group leader Marai Larasi, told Reuters after online commentary claimed that the photographs made her a ‘bad feminist’. “Feminism is not a stick with which to beat other women, it’s about freedom, it’s about liberation, it’s about equality.” And as such, surely to omit all mentions of fashion, particularly on the red carpet, would be unprincipled, not to mention unfair to the designers. Fashion is an incredibly powerful tool which we can use to express ourselves, and its potential definitely shouldn’t be overlooked within feminism.

But the only way to implement change is to point out the flaws in the system. Refusing to objectify women, while simultaneously admiring them, empowers our uniqueness and difference. And so what if she doesn’t want to answer: “Who are you wearing?” We should all be okay with her refusal to do so.

100

SEASONAL STYLE

SALVATORE FERRAGAMO

Let your artistic side run wild with watercolour patterns and bohemian tie-dye.

Soft prints offer a subtle wash of colour, embodying the carefree and effortless nature of spring.

Look to designers like Fendi and Prada who are spearheading the trend.

Compiled by Sophie Pasztor

WORKS OF ART

1

4

2

3

5

6

1. RACHEL COMEY at SHOPBOP | 2.

FRANCESCO RUSSO at MATCHESFASHION | 3.

LEMAIRE at NET-A-PORTER | 4. ESTEBAN CORTÁZAR at THE MODIST | 5. CÉLINE | 6. PROENZA SCHOULER at THE MODIST | 7.

CHARLOTTE OLYMPIA | 8. CHANEL

7

8

102

DELPOZO

OFF THE SCALE Voluminous silhouettes and exaggerated proportions become a focal point for designers like Maticevski and Poca & Poca. Think sculptural jumpers with architectural ruffles, amplified trousers, and larger-than-life proportions, worn with eccentric footwear.

1

4/5

2

3

6

7

1. FENDI | 2. CÉLINE | 3.

MATICEVSKI | 4. POCA & POCA | 5. MOSCHINO at SHOPBOP | 6. M2MALLETIER | 7. MARNI at THE MODIST | 8. YUUL YIE| 9. RACHEL COMEY at SHOPBOP

8

9

104

FASHION TRENDS

FA SHI ON The fashion trends we can’t get enough of, with styling tips to help you successfully pull off each look

Words: Sophie Pasztor

MARY KATRANTZOU

106 3

1

2

4

5

6

7

1. ALBERTA FERRETTI | 2.

MAISON MARGIELA | 3.

NINA RICCI | 4. RODARTE | 5. PROENZA | 6. PAMELLA ROLAND | 7. SAINT LAURENT

FEELING FEATHERS Feathered mini-dresses, sleeves and gowns usher in new season joy. Playful skin-baring silhouettes in soft pastels are both flirty and feminine, but for a real rock ‘n’ roll aesthetic lean towards more modest black.

108 1

4

5

6

2

3

TACKLING TASSELS Fringing adds movement, through tassle-bedecked hems, flapper-style skirts and crochet dresses. Monochrome works best for understated cool, while caramel, chocolate and moss separates keep things retro.

7

8

10

9

11

1. ANNE SOFIE MADSEN | 2. JIL SANDER | 3. MARY KATRANTZOU | 4. ELIE SAAB | 5. GIAMBATTISTA VALLI | 6.

BALMAIN | 7. MONSE | 8. NINA RICCI | 9. CHRISTOPHER KANE | 10. CALVIN KLEIN | 11. PACO RABANNE | 12.

SALVATORE FERRAGAMO

12

110 1

2

3

4

5

1. ALTUZARRA | 2. BOTTEGA VENETA | 3. MAX MARA | 4. N°21 | 5. HERMĂˆS

PENCILLED IN A nine-to-five classic, the pencil skirt is reimagined for out-of-office hours.

Look to racy side-splits, cool gingham prints or decorative embellishments for femininity and variety. Patterns and prints are counterbalanced with blockcoloured separates.

112 1

2

3

4

COMING UP SHORT This season, shorts are worn with trainers or ankle boots to keep things sporty or understated, while loose-fitting options can look whimsical and pretty when worked with sandals. Stay modest on top to keep the overall aesthetic sophisticated.

1. DIOR | 2. CHLOÉ | 3. COACH | 4.

ISABEL MARANT | 5. LOUIS VUITTON | 6. VALENTINO | 7. PACO RABANNE | 8. SAINT LAURENT

5

6

7

8

114 1

ASIAN PERSUASION Oriental motifs, kimono jackets, Obi belts and origami-esque silhouettes welcome back Eastern elegance. Key pieces are jackets baring Chinese knot buttons and floral silk dresses with oversized belts that resemble kimonos. Accessories are kept uncomplicated to avoid too much commotion.

2

3

1. BLUMARINE | 2. GUCCI | 3. JIL SANDER | 4. PETER PILOTTO

4

116 3

1

2

4

5

6

7

1. ALEXANDER MCQUEEN | 2. CÉLINE | 3. MAISON MARGIELA | 4. MAX MARA | 5. 3.1 PHILLIP LIM | 6. PRADA | 7. VALENTINO

TRENCH TALK Outerwear is deconstructed, exposing unexpected pattern panels and modern dresses that depict a sophisticated sense of urbanity. Bold Perspex jewellery in fearless hues such as red inject attitude, while soft pinks keep things collected.

118 1

4

5

6

2

3

OVEREXPOSED Fragility is highlighted through soft layers of tulle and silk, alongside fanciful forms. Relaxed varieties recall scenes of coastal bliss, while sleek and contemporary styles emit cuttingedge confidence that’ll carry through from day to night.

7

8

10

9

11

1. ELISABETTA FRANCHI | 2.

DIOR | 3. EMILIA WICKSTEAD | 4. FENDI | 5. JIL SANDER | 6. SONIA RYKIEL | 7. MIU MIU | 8. N°21 | 9. PACO RABANNE | 10. PRINGLE OF SCOTLAND | 11. MISSONI | 12. Y PROJECT

12

120 1

2

3

4

5

1. ALTUZARRA | 2. BLUMARINE | 3. COACH | 4. OSCAR DE LA RENTA | 5. PREEN BY THORNTON BREGAZZI

UPDATED SLIP Last season’s sleek slip dress is updated with embellishments, from glitzy sequins to intricate lace. Move away from minimal dressing and into one of maximal style, complete with sheer socks and dainty sandals for girly allure.

122 1

2

3

4

DENIM DAZE Denim isn’t going anywhere, with head-to-toe looks matched with metallic footwear.

This season, clever pairings and well-tailored silhouettes pack a real punch, while paint splatters and lace trim assists in lifting ensembles to understated but powerfully-fitted heights.

1. ALEXANDER MCQUEEN | 2. DIOR | 3. MAX MARA | 4. MUGLER | 5. OSCAR DE LA RENTA | 6. TOM FORD | 7. TIBI | 8. ZADIG & VOLTAIRE

5

6

7

8

124 3

1

2

4

5

6

7

1. ANYA HINDMARCH | 2. BALMAIN | 3. CHANEL | 4.

J.W. ANDERSON | 5. PRADA | 6. TOGA | 7. VALENTINO

PLASTIC FANTASTIC This season’s trend for transparency has seen the resurgence of plastic in the form of capes, jumpers and boots. Coats are proving particularly popular as they are practical, while designers have also been layering translucency, which is definitely worth the effort.

126 1

4

5

6

2

3

RISE OF RUCHING Lace-up details are swapped for ruching, which helps define shape.

Figure-hugging designs and off-the-shoulder necklines add an ethereal element, and shades are contrasted to achieve unconventional unions that intrigue and inspire.

7

8

10

9

11

1. ACNE STUDIOS | 2. ISABEL MARANT | 3. LANVIN | 4. CARVEN | 5. DOLCE & GABBANA | 6. ANREALAGE | 7. PETER PILOTTO | 8. PREEN

BY THORNTON BREGAZZI | 9. N°21 | 10. ROKSANDA | 11. TOM FORD | 12. Y PROJECT

12

128

COLOUR TRENDS

Colour and Print

Words: Sophie Pasztor

From polka dots to lavender, tie-dye to pastels, vibrant colour is spring/summer 2018’s mainstay

MARNI

130 1

2

3

1. A.W.A.K.E. | 2. BYBLOS | 3. BLUMARINE | 4. CAROLINA HERRERA | 5. JASON WU | 6. RODARTE | 7. VALENTINO | 8. MARY KATRANTZOU

4

SHOW YOUR SPOTS Dainty polka dots are sprinkled across feminine dresses and dynamic circles dominate monochrome ensembles. Mixed prints, bolts of block colour, and sheer fabric brings a fresh twist to the classic print.

5

6

7

8

132 1

2

3

THE MASH-UP More is more, with contrasting prints worn together as one. Opposing patterns are loudly merged, and include psychedelic florals and oversized gingham prints clashed against each other to create one of the season’s most statement aesthetics.

4

6

5

1. CHRISTOPHER KANE | 2. FENDI | 3. MARY KATRANTZOU | 4. MARNI | 5. PETER PILOTTO | 6. VALENTINO

134 1

ARTISTIC NOTION Pop art is a main point of reference for S/S18, seen at Versace and Prada, paintbrush-heeled pumps accessorised paint-splattered looks at Oscar de la Renta, while artistic embellishment, comic book prints and artist’s works made an appearances at Dior, Coach and Calvin Klein.

2

3

4

1. DIOR | 2. CAROLINA HERRERA | 3. MISSONI | 4. OSCAR DE LA RENTA

136 1

2

3

4

5

6

LONGING FOR LAVENDER This year’s Pantone hue is saturating the runways in looks that are worn head-to-toe. Ultra violet, lavender and soft pastel purples are layered in barely-there silk and chiffon, reaching more intense tones in shiny satin or even luxe suede and leather.

7

8

9

10

11

12

1. CHRISTOPHER KANE | 2. BAJA EAST | 3. BOTTEGA VENETA | 4. NINA RICCI | 5. MICHAEL KORS | 6. EMPORIO ARMANI | 7. ROBERTO CAVALLI | 8. ROLAND MOURET | 9. TIBI | 10. TOM FORD | 11. VICTORIA BECKHAM | 12. VALENTINO

138 1

2

3

1. CHANEL | 2. MARCO DE VINCENZO | 3. CALVIN KLEIN | 4. MOSCHINO | 5. SALVATORE FERRAGAMO | 6. TOM FORD | 7. TOGA | 8. ZADIG & VOLTAIRE

4

RIDE OR DYE Bohemia is championed with entrancing tie-dye prints. Sequins smother sharp-shouldered dresses while sumptuous satin provides a glamorous alternative, finally making this longstanding effect ideal for an evening setting.

5

6

7

8

140 1

2

3

PUSHING PASTELS Sherbet shades signify summer. Worn in a head-to-toe wash of colour or blended with likeminded shades of mint, custard and mauve. Eggshell-soft hues complement sleek neutral separates coming together in a contemporary-cool aesthetic.

4

6

5

1. DELPOZO | 2. NINA RICCI | 3. PREEN

BY THORNTON BREGAZZI | 4. LOEWE | 5. VICTORIA BECKHAM | 6. PREEN BY THORNTON BREGAZZI

142 1

BLOCK COLOUR Exude confidence through sunshine yellow, moss green and ruby red.

When worn as a complete look, primary colours make a stand-alone statement – pair with block or two-toned shoes.

2

3

4

1. CAROLINA HERRERA | 2. GIVENCHY | 3. PASKAL | 4. TOM FORD

144

MARCO DE VINCENZO

Words: Sophie Pasztor

ACCESSORIES

ACCESSORY TRENDS

MOJEH's essential accessories edit for spring/summer 2018 shows the best in hats, bags, and shoes with some eccentric accents

146

CRYSTAL CLEAR

1

2

3 1. MAISON MARGIELA | 2. CHANEL | 3. GIORGIO ARMANI | 4. VALENTINO | 5. TIBI

Unconventional materials lend themselves to new season accessories, where the concept of oversharing is embraced.

From Chanel’s waterproof boots to Valentino’s clear clutch, being overexposed is encouraged.

5

4

Florals for spring may not be groundbreaking, but the warm weather staple is always welcome. This season we see designers such as Naeem Khan and Dolce & Gabbana weaving them through hair and into dresses in elaborate designs that sing of summer.

2

FLOWER CHILD

1

1. DOLCE & GABBANA | 2. MOSCHINO | 3. NAEEM KHAN | 4. THE BLONDS | 5. ALEXIS MABILLE

3

4

5

148 This ladylike accessory is having a rebirth, thanks to names like Chanel, Elisabetta Franchi and Bora Aksu. Look to transparent varieties or feminine lace, for a touch of eccentricity.

GLOVE LOVE

1. CHANEL | 2. ELISABETTA FRANCHI | 3. BORA AKSU | 4. ELISABETTA FRANCHI | 5. CRISTIANO BURANI

1

2

3

5

4

HANDS OFF

2

1

3 1. GUCCI | 2. CIVIDINI | 3. HOUSE OF HOLLAND | 4. SALVATORE FERRAGAMO | 5. ZIMMERMANN

4

5

Whether worn around the waist, slung over the shoulder or strapped across your body, belt bags are one of the season’s most coveted accessories. Fusing functionality with practicality, resulting in effortless ease.

150 1

HAT HAIR

2

3 1. CREATURES OF COMFORT | 2. DOLCE & GABBANA | 3. ELIE SAAB | 4. GUCCI | 5. MISSONI

The runways have made it clear that hats are for everyone. Designers provide a myriad of options to suit every personallity and occassion.

Our pick: Wide-brimmed varieties that will have you dreaming of days by the sea.

5

4

If size matters, then the season's larger-than-life carryall bags are sure to satisfy.

Spacious interiors make them a practical choice over last season’s micro-minis, allowing for statement style that works as hard as you do.

2

1. CÉLINE | 2. FENDI | 3. MAX MARA | 4. SALVATORE FERRAGAMO | 5. CHANEL

KITCHEN SINK BAGS

1

3

4

5

152 From asymmetrical designs at Zimmermann to sculptural masterpieces at Y Project, heavily embellished and architectural earrings prove to be just as important as ready-to-wear. Embrace large, dynamic designs for spring.

LOADED LOBES

1. STELLA MCCARTNEY | 2. SPORTMAX | 3. Y PROJECT | 4. ZIMMERMANN | 5. ETRO

1

2

3

5

4

PATTERN PUSHERS

2

1

3 1. BOTTEGA VENETA | 2. GIORGIO ARMANI | 3. CÉLINE | 4. MARNI | 5. PRADA

4

5

Ladylike bags are updated in animated florals, striking plaid and graphic prints, emblazoned across box clutches and minaudières, to over-the-shoulder totes and carry-alls, adding life to the every day accessory.

154 1

SOCK IT

2

3 1. ALBERTO ZAMBELLI | 2. ANTONIO MARRAS | 3. ANNA SUI | 4. MISSONI | 5. BORA AKSU

The humble sock gets a high-fashion makeover with an array of delicately sheer and brightly-hued styles popping up everywhere.

5

4

Sneaker freaks rejoice as athleisure stays around for another season. Step it up a notch with thick rubber soles, oversized tongues and wonderfully wacky silhouettes.

2

1. JUNYA WATANABE | 2. LOUIS VUITTON | 3. VALENTINO | 4. SIES MARJAN | 5. LOEWE

STATEMENT SNEAKERS

1

3

4

5

156 The trend for tiny shades continues for spring, retro and futuristic at the same time, inject some colour with brightly tinted lenses, as seen at Prabal Gurung, or give a nod to The Matrix in blackout styles from Prada or MSGM.

TINY SHADES

1. ANYA HINDMARCH | 2. MSGM | 3. PRADA | 4. SONIA RYKIEL | 5. PRABAL GURUNG

1

2

3

5

4

2

ON POINT

1

3 1. ANTONIO MARRAS | 2. TOM FORD | 3. ELISABETTA FRANCHI | 4. ELIE SAAB | 5. FENDI

4

5

The point is back, reworked this season in everything from bright pink satin at Tom Ford, pretty plaid at Fendi and classic leather in myriad colours everywhere else, maintaining its status in fashion as a timeless classic.

A PARISIAN LOVE STORY Old couture meets new-world artistry in a collision of conventional codes. Consider mini-dresses, toughly-tailored tweeds or satin gowns in princess pinks Photographed by Chantelle Dosser Styled by Anna Klein

Purple, pink and black long tweed dress, CHANEL HAUTE COUTURE

Black layered lace dress, CHANEL HAUTE COUTURE

Black tunic and dress with feathers, CHANEL HAUTE COUTURE

162

Tweed coat flared at the bottom, CHANEL HAUTE COUTURE

164

Little black tweed dress with pockets, CHANEL HAUTE COUTURE

Pink duchess satin dress with ruffles and bows on the shoulders, CHANEL HAUTE COUTURE

Black layered lace dress (as before), CHANEL HAUTE COUTURE

168

Black chiffon pleated top and skirt with ruffles, CHANEL HAUTE COUTURE

Dress in red and black poppy patterns, pleated in silk tulle, CHANEL HAUTE COUTURE

Beige and pink tweed double-breasted coat and matching dress, CHANEL HAUTE COUTURE

172

Transparent corsage jumpsuit with light embroideries, CHANEL HAUTE COUTURE

Model: Yulia Musieichuk at Supreme Make-up artist: Ania Grzeszczuk at Calliste Hair stylist: Josefin Gligic at Link Details Photography assistants: Olivier Colairo and Gaultier Picrel

Floral embroidered pink bustier dress, CHANEL HAUTE COUTURE

Infinite Expressionism Floral prints, light dustings of embellishment and painterly hues set the tone for a soft approach to summer. Movement remains enchanting and emotional while iridescence is melded with creams and blues for gentle juxtapositions

Photographed by Aurelia Le Styled by Ina Lekiewicz

Dress, VALENTINO

176

Dress, MASSCOB

Dress, GUCCI

178

Dress, VILSHENKO | Shoes, PRADA

Top, CHRISTOPHER KANE | Skirt, ISABEL MARANT at Matches Fashion

180

Dress, VALENTINO | Top, MAGDA BUTRYM

Dress, MULBERRY

182

Top, CHRISTOPHER KANE | Skirt, ISABEL MARANT at Matches Fashion

Clothing, GUCCI

184

Dress, MGSM at MyTheresa

Clothing, MIU MIU

186

Dress, VALENTINO

Model: Marta Placzek Hair and make-up artist: Marita Politou Styling assistant: Karolina Jarosz

188

Eyes: Ombre Premier in Nuage Bleu; Lips: Rouge Coco Gloss in Sibylla, CHANEL

Fantasyland Fashion calls for theatrics as bold prints, primary hues and inflamed silhouettes impassion the season. Floral prints move from whimsical and soft, to graphic and blatant, and beauty remains colourful but precise

Photographed by Thanassis Krikis Styled by Marilena Karagianni

Dress, BLUMARINE

Clothing, CHANEL

Clothing, DELPOZO

Jumpsuit, DOLCE & GABBANA

Top; Skirt, MARY KATRANTZOU

Clothing, DIOR

Clothing, MARNI

Shirt; Shorts; Jacket, LOUIS VUITTON

200

Clothing, BALENCIAGA

Complexion: Diorskin Forever Undercover | Eyes: 5 Couleurs Palette in Electrify, Inflame and Expose, DIOR

Model: Romana at D Models Hair and make-up artist: Hara Papanikolaou Photography assistants: Marios Gavogiannis and Katerina Goritsa Styling assistants: Georgia Kleisoura and Vassiliki Pappa Videographer (live on MOJEH.com): Iliana Menti Production: Local Production

202

Clothing, OSCAR DE LA RENTA

The Stillness of Summer Style codes for spring are found in heady embellishments, sumptuous fabrics and opulent shapes. Think oversized sleeves, plenty of taffeta and silks, and lavish brocade and jewels. Blue tones offer an anchor and even the classic tweed feels reimagined with silver trimmings

Photographed by Alexandre Felix Styled by Kelly Baldwin

204

Clothing, CHANEL

Clothing, LOUIS VUITTON

206

Left, MARNI | Right, VALENTINO

208

Clothing, SAINT LAURENT

Models: Wiktoria and Patricia at Art Factory Management Make-up artist: Marisol Steward Hair stylist: Manuel Losada Videographer (live on MOJEH.com): Jullz Bek Location: Special thanks to Al Barari, Dubai, and their team

Clothing, SAINT LAURENT

RIOT Functionality remains key with silhouettes that evoke freedom and movement while bold colour and print choices clash in surprisingly striking ways.

Pack a punch with eclectic pieces, pushing styling to extremes

Photographed by Dimitri Hyacinthe Styled by Julie Brooke Williams

Dress, earrings and belt, SAINT LAURENT | Shirt, CARVEN | Jacket, BOTTEGA VENETA

Dress, BALMAIN | Earring, JOANNA LAURA CONSTANTINE

Top and trousers, MARNI | Earrings, CASTLECLIFF NYC | Choker, JOANNA LAURA CONSTANTINE

Coat, top, skirt and boots, ALEXANDER MCQUEEN | Earrings, WENDY FAYE

Top and trousers, LOUIS VUITTON | Shoes, MARNI | Hat, CHANEL | Earrings, SYD + PIA NYC

Top, CÉLINE | Bandeau, ROBERTO CAVALLI

Tops, skirt and gloves, CALVIN KLEIN | Earrings, CASTLECLIFF NYC

Top, skirt, jacket and shoes, GUCCI | Socks, FALKE | Ring, CASTLECLIFF NYC

Dresses, MARY KATRANTZOU | Shoes, MARNI

Clothing, THOM BROWNE

Top and dress, CHANEL | Dress (worn underneath), PETER PILOTTO | Boots, CHANEL | Socks, FALKE

Shirt, top and skirt, DRIES VAN NOTEN | Shoes, GUCCI | Choker, JOANNA LAURA CONSTANTINE

Clothing, BALENCIAGA

Dress, VALENTINO | Jacket, VIVIENNE WESTWOOD | Shoes, MARNI

Model: Daga Ziober at The Society Management Make-up artist: Colleen Runne Hair stylist: Kiyo Igarashi Manicurist: Nic Kang Videographer (live on MOJEH.com): Olimpia Vallifassi Local production: MAD Production

MOJEH.COM Our carefully curated digital platform delivers engaging, inspiring and timely content with exclusive access to the industry’s most influential players.

JEWELLERY EDIT

“

Legendary transformable necklace, CHANEL FINE JEWELLERY

Photography: Courtesy of Chanel Fine Jewellery

Chunky structures and enormous gemstones depict the big cat in a warm palette of sunshine-yellow, orange and caramel-brown.

A LION’S ROAR Gabrielle Chanel, a steadfast Leo through and through, utilised

with imperial topazes, beryls, sapphires and diamonds. Chunky

her sun sign, the mightly lion, on everything from buttons to

structures and enormous gemstones depict the big cat in

clasps — in fact, a magnificent bronze sculpture of one sits

a warm palette of sunshine-yellow, orange and caramel-brown.

on the mantlepiece at her Rue Cambon apartment. Now the

MOJEH’s favourite: The transformable necklace, Legendary,

maison has, once again, revived the emblem with its latest high

in 18-karat white and yellow gold set with more than 1,200

jewellery collection, L’Esprit du Lion. The 53-piece line is a pride

diamonds and one cushion-cut fancy intense yellow diamond

of multi-chain necklaces, chokers, cuffs, earrings, and rings, set

that weighs an impressive 30.19 carats.

232 LEADING THE WAY “Social media today empowers people and gives people the opportunity to lend a voice to subjects they feel passionate about and that they feel the need to bring attention to,” says Aishwarya Rai, when MOJEH asks about her opinion on the current Time’s Up and #MeToo campaigns, which are taking a stand against gender inequality. We meet during the Bollywood star’s latest visit to Dubai, during which she kicked off the international racing season at Meydan Racecourse on behalf of luxury watch company Longines, for which she is an ambassador. “I think it’s wonderful that people are using this platform effectively and positively,” she furthers.

“It’s nice to know it’s not just about hope anymore, it’s about conviction. Oprah said it beautifully when she said: ‘A new day is on the horizon.’”

Aishwarya encourages the wider community to get involved in the movement. “Everybody would like to see fruition to that belief [gender equality] and whatever be the reasons, I think it has empowered people. Not just women, but the people. They recognise the strength and the potential of a collective voice, and it would be nice to see that more and more.” Aishwarya adds that it’s important to her that she represents a company which has collaborated with strong female role models. “[Longines is] a brand that has been endorsed by incredible personalities including Audrey Hepburn,” she smiles.

Earrings, SWAROVSKI

Sport Classic Lady, EBEL

DIAMONDS ARE FOREVER

GOING FOR GOLD

Bold silhouettes and impeccable craftsmanship define

Unveiling an updated new look – in both form and function

Swarovski’s spring/summer 2018 Crystal Rainbow collection,

– Ebel’s 18-karat gold version of the 1977 Ebel Sport Classic

which celebrates the brand’s most distinctive attributes:

is introduced exclusively in quartz. Its inimitable bracelet

colour expertise, glamour, and multifaceted femininity.

and fully integrated case guarantees instant recognition.

Photography: Courtesy of Longines

Longines ambassador Aishwarya Rai speaks to MOJEH about the importance of feminism

The Art Jewel Coral Earrings, CINDY CHAO

THE AQUATIC COLLECTION In the exclusive world of high jewellery there are very few contemporary artists who have risen to international fame as prominently as Cindy Chao, whose latest line of diamond-studded jewellery, which has been named The Aquatic Collection, was first conceptualised during the creative’s first snorkeling experience.

Vivid and vibrant colours are beautifully merged with intricate, albeit rugged, structures that will breathe life into any luxurious ensemble. The Art Jewel Coral Earrings are painstakingly composed around hundreds of baguette-cut diamonds, which combine artistry with exceptional craftsmanship, thus achieving the maison’s signature undulating surface that’s skillfully paved in melting layers of colour diamonds. Wear with the brand’s matching Coral Bangle to achieve the ultimate in sculptural fluidity and complex construction.

Model wears Lorraine Schwartz at Moda Operandi

MODERN COLLECTORS With awards season well and truly upon us, leading jewellery expert Marion Fasel curates the season’s most red carpet-worthy pieces on behalf of online luxury retailer Moda Operandi. Expect the most spectacular.

Available at ModaOperandi.com

Ring, MUNNU THE GEM PALACE | OneOf-A-Kind Mughal Red Carpet Earrings, HANUT SINGH

234

MOJEH JEWELLERY

WHEN DIAMONDS DANCE Precious gemstones merge with haute couture in a collaboration between master jeweller Boghossian and French couturier StĂŠphane Rolland

Boghossian Jewels has announced a creative partnership with French couturier Stéphane Rolland

“

You can really tell there is a will to break free from the rules and take his designs to the borders of creativity.

Photography: Courtesy of Boghossian Jewels. Words by Annie Darling

Albert Boghossian

There has never been a love affair as romantic or poetic as the one between haute couture and haute joaillerie. Both have gilded roots steeped in age-old decadence and timeworn glamour; a faultless union, they complement each other while remaining individual and extraordinary. And now, Boghossian, which has long gone beyond traditional boundaries, has cast a floodlight on this irresistible craftsmanship, having worked closely with French couturier Stéphane Rolland for his latest haute couture show, which was held in the plush Opéra Comique in Paris.

Stéphane explains that, while exceptional, finding the balance between these two creative mediums is as delicate as it is exquisite. “Each of them should respect one another,” he says. Simplicity is key: “a neckpiece can be ruined by an overloaded dress. In my opinion, there is no greater elegance or strength than a pure line, like an ink stroke, suddenly broken by a majestic shine of a diamond piece.”

The jeweller’s chief executive, Albert Boghossian, reveals that Stéphane’s soft and sumptuous designs thoroughly capture the essence of Boghossian. “You can really tell there is a will to break free from the rules and take his designs to the borders of creativity,” he says about the fashion designer’s aesthetic. “What I love about Stéphane and his style is this structured side of his cuts, combined with

fantasy and creative freedom.”

Stéphane Rolland’s haute couture spring/summer 2018 collection was certainly sensational; the runway awash with seamlessly sculptural creations in pearl-grey and soft-cream, each of which drenched in dazzling diamonds created in collaboration with Boghossian. “It’s the reflection of our own story,” says Albert about the collection. “Built on one hand from the Middle East, with its softness, the attention they give to details, and a part of opulence and, on the other hand, from the West with its contemporary audacity and its technology.” He adds: “Our pieces [Boghossian] are a natural fusion of this reflection.”

Stéphane agrees. “I recognise my ‘minimalistic orientalism’ in the Boghossian family as well as their maison’s DNA,” he reveals with fondness. “Albert, through his designs, combines the present and the past, classics to avant-garde. Like a modern-day wanderer… he wisely blends different cultures and influences.” This is especially evident in the jeweller’s ‘Kissing Diamonds’ technique, which meticulously merges two contrasting stones, giving the illusion of one floating over the other.

Subsequently, each precious gemstone’s brilliant colour, unique shape and structural proportion blends harmoniously in an astonishing display of innovation.

Having gained a reputation for achieving the unachievable, Albert admits that he’s been asked to produce some truly

sensational jewellery creations. “The most incredible request came from the wish of a young princess from the Gulf,” he shares. “She wanted, for her wedding, a sleeve covered in diamonds instead of the traditional neckpiece.” He explains that “it was an amazing challenge designwise,” and that is was difficult to “maintain flexibility in the jewellery piece so it would follow the body’s curves.” He admits, however, that he’s most proud of the latest collection Les Merveilles, which utilises a new technique that focuses on a diamond’s light reflection. Precious stones are arranged alongside one another, as if they are floating, which enhances the piece’s overall brightness. The technique took over four years of research and experimentation to complete. “It’s as if we were painting with light,” describes Albert, before adding that pieces from the collection were added to two of Stéphane’s sleek and elegant haute couture gowns.

236

MOJEH INTERVIEW

VICE IN VERSAILLES Victoire de Castellane talks about her eclectic background, as well as her latest high jewellery collection as head of design at Dior Joaillerie

Words by Annie Darling

Victoire de Castellane is undeniably Parisian. She speaks at Fendi. “During my years at Chanel, I learned how to create with a Camembert-thick French accent, and wears her while using the identities of a brand,” says Victoire, when asked strawberry-kissed hair long and sharply sliced just above about the 14 years she spent working alongside Karl. her arched eyebrows. Over the years, the audacious artisan “When I started in the business, the jeweller’s Palace Vendôme has gained a fearsome reputation for being the epitome had a rather classic, not very creative, style. I wanted to make of chic. Approachable, innovative, and the definition of new proposals to rekindle the magic of jewellery, and make it contemporary, she simultaneously emits a blue-blooded more feminine.” Victoire has no formal training in jewellery, sophistication that’s irresistibly magnetic. but grew up around precious gemstones. Her family are Victoire’s career first began in 1984, when a friend asked quintessential French aristocrats, and she can retrace her her to help work on costume jewellery for Chanel, but it was at lineage back to the 10th Century. For Victoire, her interest Christian Dior, which she joined in 1998, where the creative in the craft began when she was a child. “At the age of five, truly made a name for herself within the industry as a master I dismantled a pair of earrings that my mother had offered me of wearable art. Her trendsetting because I liked them better like that,” vision even attracted an invitation by she recalls. “At 12, I had my religious “At the age of five, the Gagosian Gallery to exhibit her medals, which were on a charm bracelet designs in London and New York, and made ‘with love’ by my mother, melted I dismantled a pair of her quirky aesthetic has largely defined earrings that my mother down so that I could make my first ring.” the House of Dior’s artistic direction.

It’s important to Victoire that her had offered me because pieces “mix femininity, realism, and Having first joined the maison two fantasy,” who explains that, despite years into the reign of John Galliano I liked them better who, at the time, was abandoning the numerous personalities that make like that” Dior’s then sober and classic designs up the De Castellane family tree, her Victoire de Castellane in favour of a more modern trajectory, Spanish grandmother is who inspires Victoire’s appointment as founding her the most. “She wore jewels that designer of Dior Joaillerie signified substantial change for matched her outfits, and could change them up to three times the French couture house. Her flamboyant style (outlined by a day,” she smiles. “She was impeccable – lipstick and nail her extravagant rings that bulge with sumptuous jewels in polish forever on her hands and feet. She was a true vision kaleidoscopic colours), although popular, symbolised a sharp of loveliness and she was fascinating.”

As is to be expected from a creative as quirky as Victoire, break from Dior’s strait-laced past.

Victoire was raised at the very epicentre of French fashion. the jeweller’s muse wasn’t conventional. “She wasn’t She grew up with her uncle Gilles Dufour who, with his a grandmother in the classic sense of the term,” she winks. coiffed silver hair and sleek suits, is as commanding a figure “She was a bit like a Hollywood heroine.” A close friend as Victoire. Like his niece, Gilles also worked at Chanel, of American debutante and heiress Barbara Hutton, who and assisted Karl Lagerfeld in the early-Eighties, having was married to Cary Grant, Victoire’s grandmother would previously worked with the creative director when he was tell stories about Barbara’s penchant for emerald tiaras,

Photography: Frederick Helwig. Courtesy of Dior

Victoire de Castellane, head of design at Dior Joaillerie

238

Vanite Emeraude necklace, DIOR JOAILLERIE

Vanite Indigolite Ring, DIOR JOAILLERIE

Volupte Diamant Jaune ring, DIOR JOAILLERIE

Intimite Tanzanite earrings, DIOR JOAILLERIE

which Victoire says she would wear on a daily basis, while relaxing in her Moroccan palace.

Despite her affluent upbringing, Victoire doesn’t wear jewellery to broadcast her status or wealth. “Jewels are, to me, like friends who protect me,” she reveals, before furthering: “When I wear a piece of jewellery that my great-great-grandmother wore, I feel her presence. She continues to live through me.” This spiritual significance, argues Victoire, outlives the wearer. “In 4,000 years, if an asteroid has not wiped out the Earth, jewellery will still be here.”

Her fantastical designs often venture into the realm of contemporary art, with each piece’s theatrical structure adding an otherworldly dynamic that Victoire hopes will be of use to the wearer. “I would like my jewels to give women the power to escape from reality,” she explains; a desire that’s certainly evident in her floral-inspired Belladone Island collection, which was shown at the Musée de l’Orangerie in 2007. Wildly imaginative, spellbinding blooms-as-brooches in yellow gold twinkle with crowns of diamonds and cultured pearls, which twist and turn in an explosion of yellow tourmalines, rubellite and lacquer.

“It’s a bit of eternity,” says Victoire about the jewellery she conceptualises for Dior, adding that opal is her favourite stone to work with. “Because of its fires, it seems to be alive,” she asserts, comparing it to French Impressionist Claude Monet’s oil painting, Water Lilies. “It possesses every colour as if a genie was living inside of it.” A romantic at heart, Victoire shares Christian Dior’s interest in the legendary tales and extravagance of the Palace of Versailles, which has provided inspiration for the house ever since its founder presented his first haute couture collection in 1947.

“In the sumptuousness of its décor, and the creative discipline of its architecture and landscapes, Christian Dior found a symbolic lexicon for the French art of living, which he was intent on reinstating when he opened his house in 1947,” explains Victoire. This long-running love affair with the royal château has proved significant for Victoire, who has used its opulent interiors and manicured gardens to develop the house’s major jewellery themes, which have been inspired by: the flowers found at Christian Dior’s Granville family home in Milly-la-Forêt; France’s courtly grand balls; and the elegance of couture.

“The themes that inspire my collections are just a starting point. I mix them with my own inspirations.” Inspirations that include art, film, photography, what she describes as “the female world,” and romance — the latter has largely determined the direction of Victoire’s latest high jewellery collection, Dior à Versailles, Pièces Secrètes, which succeeds two other lines that also pay homage to Versailles’ hidden treasures. But while these consist largely of optimistic creations that celebrate

Beneath the Vanité Diamant necklace’s central diamond, a delicate skull motif is surrounded by gray spinels and diamonds

the palace’s extravagant court etiquette and opulent lifestyle, King Louis XIV’s espionage techniques and passionate the third instalment of Victoire’s Versailles-inspired collection affairs (including one with his brother’s wife, Henrietta), depicts its secret passages and concealed compartments. are well documented, and cast a shadow of dark decadence “I am very closely involved in the entire process of the over the palace’s lavish elegance. “After Versailles by Night, manufacturing and, to start with, I have the image of the in all its magnified detail in 2016, followed by the radiant finished jewel in my head,” the creative says about her Versailles and its Gardens last year, I now imagined the secret work. “I explain the different ideas to the studio who, at Versailles composed of private passageways and clandestine the end, is able to produce a gouache drawing.” This sketch boudoirs,” reveals Victoire, before describing the palace as, converts Victoire’s jewel into real“an inexhaustible source of inspiration life scale, which is then submitted to for the House of Dior.”

“I now imagined the Dior’s ateliers based in Paris. “Since Azure-blue spinels, soft-pink sapphires the beginning, I have selected the best and rare lilac tanzanite are framed by secret Versailles craftsmen and Parisian workshops vintage borders of old-cut diamonds, in composed of private for their savoir-faire and great references to antique mirrors and eerie passageways and diversity of techniques, transmitted apparitions. Hidden sunburst patterns by generations of craftsmen who reference the omniscient Sun King [King clandestine boudoirs” constitute our heritage,” she reveals.

Louis XIV] and showcase Victoire’s Victoire de Castellane And for Dior à Versailles, Pièces incredible attention to detail.

Secrètes, the extraordinary effort The talented designer certainly knows that’s involved in each beautiful and intricate creation what her clients want, as well as what they appreciate, so is breathtaking. Pendants swing aside to expose detailed it’s important that Victoire is involved in every collection’s engravings, while skull motifs representing the ghosts of creation from start to finish. Victoire describes the Versailles are seamlessly merged with blooms, feathers and process as, “challenging and rewarding at the same time.” ribbons (the latter is, of course, a discreet nod to Dior’s couture Which isn’t surprising, when one considers that each codes). Rotating stones, hidden drawers and miniature piece takes between 18 to 24 months to finish. But it’s chests are tucked away in oversized rings, which add to the worth it, insists Victoire. Seeing, wearing, and admiring collection’s scandalous narrative of lies and deceit. the final product is undeniably “an exceptional moment.”

240

La D de Dior watch, DIOR TIMEPIECES | My Dior bracelet; Archi bracelet; Rose Dior Bagatelle rings; Archi earrings, DIOR FINE JEWELLERY

A FINE UPRISING Break away from traditional style codes in flamboyant layers of fine jewellery, worn with a high fashion attitude

Photographed by Vivienne Balla Styled by Kelly Baldwin

242

Milly Carnivora earrings, DIOR FINE JEWELLERY

My Dior bracelet; rings (from top): Rose Dior Pré Catelan ring, Archi ring, Rose Dior Bagatelle ring, DIOR FINE JEWELLERY | La D de Dior Satine Tressée watch, DIOR TIMEPIECES

244

Archi earrings; rings (from left): Incroyables et Merveilleuses ring, Milly Carnivora ring, DIOR FINE JEWELLERY

My Dior cuff; rings (from left): My Dior ring, Rose Dior Pré Catelan ring, My Dior ring, DIOR FINE JEWELLERY

246

Earrings (from top): Archi earrings, Milly Carnivora earrings, DIOR FINE JEWELLERY

Model: Nicole at MMG Models Hair and make-up artist: Manuel Losada Nails: Bedashing Beauty Lounge Videographer (live on MOJEH.com): Tamas Sabo

248

JEWELLERY FEATURE

The making of Métiers d’Art Les Aérostiers, VACHERON CONSTANTIN

PERPETUATING THE SPLENDOUR OF

MÉTIERS D’ART An introduction to haute horlogerie decorative arts Words by Victoria Townsend

W

atching the relative ease with which a master artisan manoeuvres her burin to engrave, paint the feather of a bird with a brush no thicker than a human hair, or manually guide an engine-turning machine to design a guilloché sunburst pattern, all on a fragile surface often no larger than 40 millimetres in diametre, and sometimes less, can be misleading. Does it really take weeks, months, and sometimes even more to complete a decorated timepiece? It’s when you try for yourself that you realise how much talent, dexterity, skill and years of practice are required to delicately craft precious materials into tiny objets d’art created solely for our wearing and visual pleasure.

Centuries-old for the most part, millenary for some, and historically-centred in the Swiss watchmaking hub of Geneva, many of these métiers d’art were nearly forgotten during the ‘quartz crisis’ of the ’60s and ’70s that threatened the very existence of traditional mechanical watches. Happily they have been slowly revived in recent years by a handful of haute horlogerie houses, mostly in Switzerland and, to a lesser extent, Germany, with training programmes and dedicated facilities to perpetuate the crafting of unique timepieces to the delight of collectors and connoisseurs.

“

Cartier’s creativity has gone even farther with the Révélation d’une Panthère watch and the invention of a totally new craft.

Révélation d’une Panthère watches, CARTIER

WHAT ARE THE DIFFERENT MÉTIERS D’ART?

Extremely Lady, PIAGET

While all handcrafts are rare, the spotlight is more often shone upon engraving, guillochage, miniature painting and enamelling, and gem-setting.

Perhaps less well-known but equally spectacular are stone carving, marquetry of wood, stone or mother-of-pearl, and feather collage. Piaget has a long history with all of these, and this year focuses on stone dials with six new variations of Extremely Lady. Colourful dials of lapis lazuli, heart of ruby opal, turquoise, and pearly tints of mother-of-pearl or ice-blue opal are surrounded by 18-karat white or pink gold cases with diamond-set bezels, complemented by matching gold textured gold bracelets that resemble fur, frost or wood.

The millennia-old decorative technique of granulation was revived by Cartier in 2012. It consists of creating tiny balls from threads of gold that are cut, heated over a flame, assembled one by one on a gold dial then fused to create a relièf pattern.

In that instance it was a panther’s face on the Rotonde 42-millimetre Panther with granulation. This year, Cartier’s creativity has gone even farther with the Révélation d’une Panthère watch and the invention of a totally new craft. It brings the panther to life by means of an exclusive adhesive technique that positions tiny gold beads on the surface of the dial to trace the outline of the panther’s head, only to disappear and reappear with a flick of your wrist. It comes in a 37-millimetre 18-karat pink gold case with diamond-set bezel, a winding crown set with a diamond, emerald or ruby, and black, green or red lacquer dial with matching alligator strap. Not a traditional metier d’art, it deserves a special mention for its innovation based upon modern materials.

250

Engraving on Métiers d’Art Les Aérostiers, VACHERON CONSTANTIN

ENGRAVING At high watchmaking level, engraving is entirely performed by hand. The motif is first outlined by the master engraver, who then chisels with a burin to create a design with depth or volume on the watch dial, case or movement components, seen through a microscope. The biggest difficulty, apart from the obvious necessity to follow the lines and forms of the motif, is to apply the correct pressure and guide the instrument with a measured flow of movement.

To create the correct depth, a single line must be repeatedly cut without jerking or notching, and of course if there is one mistake the entire element, usually gold, must be discarded as it cannot be erased or corrected.

Vacheron Constantin takes engraving to another level this year with its Métiers d’Art: Les Aérostiers, a collection of five watches in a 40-millimetre 18-karat white gold that pay tribute to hot air balloons that took flight in France between 1783 and 1785. Master engravers have created hand-engraved and microsculpted gold hot air balloons on the dial with the pounced ornament technique that consists of removing material to fashion a rounded effect. After carving out the curves of the balloon, basket and lines of the ropes, smaller details of human figures and animals are crafted using small stones, brushes, papers and files.

In the background, a translucent plique-à-jour enamel sky (in a choice of five colours) provides a glimpse of the gear trains and discs of the Calibre 2460 G4/1 that runs the hours, minutes, day of the week and date, displayed by four dragging or jumping discs in apertures on the dial.

Métiers d’Art Les Aérostiers, VACHERON CONSTANTIN

Royal Oak Offshore, AUDEMARS PIGUET

GUILLOCHÉ Engine-turning machines to create guilloché patterns were first used between 1500 and 1600 on soft materials such as ivory and wood; it was not until the 18th Century that they were applied to gold and silver to adorn watch cases, dials and movements. A very precise technique with a repetitive pattern that is mechanically engraved into a rotating metal surface with stationary cutting tools, it is, again, a manual technique that requires a steady hand; the lines are etched into the surface by means of a hand-operated lathe, in straight lines or circles made by, respectively, a straight-line engine or a rose engine. Hobnail, sunburst, or barleycorn are among the best-known motifs, but individual patterns are also created, such as the signature Petite and Grande Tapisserie dials from the Audemars Piguet Royal Oak and Royal Oak Offshore collections.

A very feminine example is from this year’s A. Lange & Söhne collection that includes three new versions of the Little Lange 1. Guilloched gold dials are purple or grey in a 36.8-millimetre white gold case, or brown in a pink-gold version. Alligator leather straps are colour-coordinated.

252

GRAND FEU ENAMELING Enamel is coloured glass that is ground into a very fine powder with a mortar and pestle, mixed with a liquid, normally water to purify it and hold it together, then applied to a metal base — a gold watch dial for example — with which it will fusion in a kiln, ‘fired’ at temperatures hovering between 750 and 1,000 degrees heat. Once cooled, more liquid enamel is applied, and the process is repeated, three, four or five times, to obtain the rich, deep colours of Grand Feu enamel. It is very important to remove the plate from the kiln at the precise moment the enamel bonds, normally after about one minute, to avoid burning the colours. Each new firing carries the risk of developing cracks, air bubbles or undesired colour, in which case the dial must be abandoned.

Several methods can be used to design the image on the dial before starting the enamelling process.

The cloisonné method consists of fixing a (generally gold) metal wire no thicker than a hair on the gold dial to partition tiny separate areas that are filled with different colours of liquid enamel before each firing; with the cloisonné invisible’ technique, the partitioning wires are removed just before firing, resulting in a swirl of colours. Champlevé is achieved by carving troughs or cavities into the dial surface to have distinct different levels, then depositing various colours of liquid enamel into the carved areas before each firing. Plique-à-jour is made of translucent enamel with no backing, to create a sheer, stained-glass effect.

Amadeo Fleurier 39 Fan, BOVET 1822

“

Each new firing carries the risk of developing cracks, air bubbles or undesired colour, in which case the dial must be abandoned.

Lady Arpels Planétarium Poetic Complications, VAN CLEEF & ARPELS

GEM-SETTING This decorative art is probably the one we know best; most of us have pieces of jewellery that show off gem-setting techniques. For those interested to know all the methods, the Van Cleef & Arpels School in Dubai and Paris proposes interesting courses on this and other crafts.

In watchmaking, we often hear of a ‘diamond-set bezel’, but in theory, any part of the watch can be set: the case, crown, hands, bridges, plates or the dial.

Among the techniques preferred by watchmakers is the Channel setting with stones set between two parallel grooves and no visible space between them: Snow-setting with diamonds of different diametres set randomly, invented by Jaeger-LeCoultre in 2002; Mystery setting by Cartier which became the Invisible setting from Van Cleef & Arpels, Illusion Head setting that holds the stone in place with prongs; and the Baguette setting, which consists of preparing a ‘seat’ for the stone, creating a burr along the length of the stone by use of a burin to keep the stone in place, then hammering the metal to flatten it against the stone.

This year Van Cleef & Arpels presents the 38-millimetre Lady Arpels Planétarium Poetic Complications watch to show us just how original stone-setting can be. On an aventurine dial that offers us the sky, Mercury in pink mother-of-pearl, Venus in green enamel, Earth in Turquoise and Moon in diamond move at actual speed, orbiting around the central Sun in pink gold in 88 days for Mercury, 224 days for Venus and 365 days for Earth. The Moon also rotates around the Earth in 29.5 days.

The 38-millimetre Lady Arpels case in white gold is set with diamonds on the bezel and case sides and houses a new self-winding movement. Time is indicated by a shooting star in rhodium-plated gold, while on the back of the watch two apertures display the day, month and year. This piece comes with a blue glitter alligator strap with diamond-set white gold pin buckle or a white gold bracelet set with diamonds.

Each new year brings more and more outstanding examples of Métiers d’Art, proof we hope that they are now definitely here to stay.

Earrings, DE GRISOGONO

Photography: Elena Lukyanchuk at The Factory ME. Styling: Sophie Pasztor

254 HIGH NOTES

7 1

6

SAINT LAURENT

5

2

3

4

Formation Statement shapes, definitive structures and a monochromatic finish creates a sophisticated form of expression for fine jewellery

1. ADLER at ISTANA JEWELLERS | 2. GRAFF | 3. GOLD NEILSON | 4. DE PAZ JEWELLERY at HARVEY NICHOLS – DUBAI | 5. CARTIER | 6. DE GRISOGONO | 7. CHANEL

256

Ring and bracelet, ROBERTO COIN at DAMAS JEWELLERY

Art Deco 1

Jewellery revisits the 1920s in elaborate designs that showcase the era’s emphasis on structure and geometry

7

1. ROBERTO COIN | 2. CHANEL | 3. YEPREM at BLOOMINGDALE’S | 4. MARLI at OUNASS | 5. VERSACE at HARVEY NICHOLS – DUBAI | 6. BUCCELLATI at HARVEY NICHOLS - DUBAI | 7. DAVID YURMAN at BLOOMINGDALE’S

TEMPERLEY LONDON

6 2 3

5 4

258

HAIR & BEAUTY TRENDS

HAIR & BEAUTY From ’60s lashes to punk accents, here’s your definitive guide to new season beauty in all its game-changing glory

Words: Sophie Pasztor

NAEEM KHAN

260 The runways demonstrated a clumpy lash revolution, where excessive application of mascara creates a familiar statement. Less retro, more modern, emphasis is most definitely on the eyes.

1 TWIGGY LASHES

1. AQUILANO RIMONDI | 2. DIOR | 3. CUSHNIE ET OCHS | 4. KATTY XIOMARA

3

2 4

Sparkle is added with playful glitter sprinkled over nails and dusted around the eyes. Different techniques, textures and products are experimented with, to find the right look for individual shapes and styles.

1

2 4

GLITTER GLAMOUR

1. ANNA SUI | 2. DRIES VAN NOTEN | 3. FRANCESCO SCOGNAMIGLIO | 4. JEREMY SCOTT

3

262

2

PUNK BEAUTY

1

4

3

White shadows and dramatically dark lipstick perfect this season’s most striking looks. Clashing colours and metallic shades are key, with a single facial feature focused on to avoid overthe-top anarchy.

1. ASHISH | 2. CGDS | 3. NAEEM KHAN | 4. MSGM

1

Hair is tousled with styling cream for fuss-free up-dos with edge, worked with mousse to create slicked-back looks.

Strands are separated and left loose to frame the face for modern, polished sophistication.

1. ALBERTA FERRETTI | 2. EMILIO PUCCI | 3. TOGA | 4. JASON WU

WET LOOK

3

2

4

264 Monotone nail colours are swapped for something fun and quirky. Jewels, shimmer and lettering is carefully constructed in monochrome and loud pops of colour, with long lengths and dramatic shapes taking centre stage.

1

NAILED IT

1. PHILIPP PLEIN | 2. CHRISTIAN SIRIANO | 3. MIGUEL VIEIRA | 4. CGDS

3

2 4

A cult classic, red lips are back again.

Cherry-stained pouts are at once fierce and feminine. Pastel colours offer a modern update for warmer months, but eyes are kept pared-back.

1

2 4

CHERRY LIPS

1. ANDREW GN | 2. BLUMARINE | 3. NAEEM KHAN | 4. ERMANNO SCERVINO

3

266

2

BRAID RUNNER

1

4

3

From New York to Paris, designers ditched air-dried waves for tightly woven braids.

Sleek cornrows and intricate fishtails ensure hair is firmly positioned with minimal flyaways to ensure a uniform and manicured look.

1. CHRISTIAN F. PUGLISI | 2. HAKAN AKKAYA | 3. LACOSTE | 4. JIL SANDER

1

Electric blue, turquoise and zesty orange captures this season’s playful mood. One shade is championed and applied using bold strokes of colour across the lids of the eyes or lower lash. Sharp cerulean wings are a must-try.

1. BYBLOS | 2. HOUSE OF HOLLAND | 3. MARNI | 4. MISSONI

BRIGHT SIDE

3

2

4

268 It’s all about the eyes, and a flick of liquid liner never goes out of style, with exaggerated and subtle silhouettes evoking drama when partnered with a dewy complexion and hint of blush.

1 OUTSIDE THE LINES

1. EUDON CHOI | 2. FENDI | 3. MARC JACOBS | 4. ROCHAS

3

2 4

Intense shades from aquamarine, pomegranate red and fiery copper are dominating runways. Tinted chalks offer a gentle introduction while sharply-sliced hair injects a dose of offbeat character.

1

2 4

JUST ADD COLOUR

1. FENDI | 2. AIGNER | 3. ZADIG & VOLTAIRE | 4. BYBLOS

3

270

BEAUTY NEWS

BEAUTY NEWS

From regional skincare and new season scents, to luxury spa treatments, this is all you need to know in beauty this March

Original Coffee Scrub, FRANK BODY | Coffee Scrub, BEAN BODY | 100% Organic & Natural Recipe - Coconut, THE COFFEE SCRUB

BEAUTY PICK-ME-UP Trade in your morning brew for a caffeine hit administered by Basic Instinct, photographed by Anthony Arquier, MOJEH Issue 38

HOMEGROWN SKINCARE “When I was young, my grandmother’s garage was filled to the brim with Oil of Olay, Cover Girl and Max Factor products. I would sit for

energising body scrubs such as Bean Body’s Coffee Scrub. This miracle ingredient works to increase blood flow, reducing the appearance of cellulite and helping to provide a more even skin tone.

Frankbody.com; Beanbodycare.com; Thecoffeescrub.com

Left to Right: Nigella Circulation Body Oil, Mirage Milky Facial Cleanser and Khol Cleansing Facial Balm, HAMMAMII

hours mixing formulas, making concoctions and coming up with new ideas,” says Shawna Morneau, the Canadian founder and managing director of Dubai-born, natural beauty line Hammamii.

Made with locally-sourced ingredients and housed in recyclable packaging, Hammamii skincare is inspired by the traditions of hammam, where plants and herbs are used in ancient bathing rituals. “Here in the UAE we’re sitting on a land that is abundant and rich in natural resources,” says Shawna. “Our collections are made using small batch production methods, so we are able to ensure the freshest products to our end user,” she continues. absorbing Cacti Facial Elixir (due to launch in May 2018) is at the top of her list of must-haves. “It’s a facial blend of the very precious Prickly Pear oil, which we combine with antioxidant-rich pomegranate oil and a blend of essentials beneficial for mature to dry skin,” she explains.

The Hammamii Skincare range is available at Hammamii.com

Words: Sophie Pasztor

When asked about her favourite products, Shawna reveals that the quick

Exfoliating Shower Gel, Anti-Cellulite Gel and Body Scrub, ANNE SÉMONIN

ANNE SÉMONIN ARRIVES IN THE UAE The French have built a reputation as one of the leaders in beauty thanks to homegrown brands such as Anne Sémonin, who have an image synonymous with luxury. The decades-old skincare brand, whose mission is to prescribe tailor-made products to complement each woman’s individual beauty requirements, has arrived in the UAE. Widely considered the haute couture of skincare, the luxurious line blends the highest quality natural essential oils, minerals and marine ingredients, to soothe and replenish skin. Available at Harvey Nichols-Dubai

FLAWLESS FILTER “Since Magic Cream, no product has been so under wraps. I have had to guard this formula for years! My secret recipe has been used to give a filter to celebrity complexions on the red carpet before the camera for over 25 years. It’s real life, superstar-lit, J-Lo skin.

Introducing a brand new category in makeup, my Hollywood Flawless Filter!”

Charlotte Tilbury

Poolside, photographed

by Riccardo Vimercati, MOJEH Issue 18

THE DESERT REVIVER TREATMENT Rich traditions, deeply rooted throughout the region, inspire The Desert Reviver treatment at the spa of the Ritz-Carlton DIFC, which is aimed at restoring one’s balance. The comprehensive experience begins with a full body sand exfoliation that is designed to rejuvenate the skin by removing dead cells. Precious oils are then used to replenish and enrich the skin’s surface. The treatment utilises the familiarity of Dubai’s warm desert heat through the inclusion of an impressive hot stone massage, which relaxes the muscles, before a refreshing and revitalising cooling balm is applied to the body, which slowly reawakens the mind and soul.

The facility’s just as luxurious as the treatment itself, with a fitness centre and separate steam rooms for both ladies and gentlemen, making the entire spa a sanctuary for indulgence. Ritzcarlton.com

Hollywood Flawless Filter, CHARLOTTE TILBURY

272 REDEFINING A CLASSIC One of Chanel’s most iconic scents, Coco Mademoiselle, is reimagined for 2018. The new Coco Mademoiselle Eau de Parfum Intense is a stronger version of the original, fit for today’s outspoken woman. “I wanted to remain close to the original formula, while giving it a whole new dimension,” explains Olivier Polge, perfumercreator for the House of Chanel. This specially-designed formula is strengthened by a powerful dose of patchouli and amber accord, combining tonka bean and vanilla for an irresistible allure. Divine.

MIRACLE IN A BOTTLE La Prairie makes an evening routine that bit more special with the addition of a decadent new Platinum Rare Cellular Night Elixir. A sumptuous blend of the brand’s Advanced Platinum Complex and Exclusive Cellular Complex is overflowing with benefits that support and boost our skin’s nightly rejuvenation process. The enriched formula assists in skin detoxification, cell renewal and boosts immunity, all while you sleep, resulting in a brighter, tighter, smoother and more even complexion.

LINDA MEREDITH LAUNCHES IN THE UAE “My interest in beauty probably first began at the age of 14 when my parents sent me to modelling school where we learned how to apply make-up and look after our skin,” recalls Linda Meredith, founder of Linda Meredith Skincare. Linda’s skincare range hydrates the skin and removes toxins that are commonly added into the products of other bigger-named brands. “My aim is to change the path of the beauty industry… being a fairly new company, starting about 10 years ago with only five products, gives me the opportunity to develop each product to address more than one issue, creating products relevant to deal with current problems which can affect our skin today, the biggest being dehydration,” she explains. “Our skin changes constantly, yet most women use the same cream year in and year out. To me that is like eating the same meal for your breakfast, lunch and dinner for years... my philosophy for skincare is to feed the skin with essential nutrients to rebuild it.” Products from the Linda Meredith line have been developed to work in harmony to combat individual skin issues, each formulated to target specific areas of concern, when used together, she says, the effectiveness is increased.

Available at Emirates Palace Hotel, Abu Dhabi

LOUIS VUITTON’S FRAGRANCE TRAIL Louis Vuitton welcomes a new scent to its fragrance family with the introduction of Le Jour Se Lève, marking the maison’s second-ever fragrance drop following the debut of the its collection of seven scents in 2016 entitled Les Parfums Louis Vuitton. The new fragrance, dreamt up by master perfumer Jacques Cavallier Belletrud, is a fresh juxtaposition of floral and citrus notes created to emulate “the rays that warm the horizon and illuminate the sky with pastel hues.” Protect your collection and take it with you wherever you go in a chic monogram Fragrance Travel Case.

Photograpghy: Elena Lukyanchuk. Stylist: Sophie Pasztor

Available at select Louis Vuitton stores and at Louisvuitton.com

274

BEAUTY NOTE

The House of Dior celebrates its 70th anniversary with the J’adore Exceptional Edition fragrance, exclusively formulated by François Demachy with a romantic blend of Grand Crus Grasse flowers, May rose and jasmine grandiflorum, and housed in an incredible mouthblown, Baccarat crystal bottle, topped with a gold bouquet. Priced at Dhs73,500 each, there are only 70 pieces available in the world, each with their edition number engraved on the base. Edition #7 is available in the Dior Beauty boutique in City Walk 2, Dubai.

Words: Sophie Pasztor

LUXURIOUS ALLURE

HELMUT LANG

Words: Sophie Pasztor

NEW SEASON, NEW RULES The spring/summer 2018 shows inspire a new look for summer, MOJEH breaks down the newest products to add to your make-up bag

276

BEAUTY NOTE

ALEXANDER WANG

Photograpghy: Elena Lukyanchuk. Stylist: Sophie Pasztor

Clockwise from top left: Capture Youth Glow Booster Age Delay Illuminating Serum, DIOR | Clear Mega-Hydrating Cream, SHISEIDO | Ultimate Regeneration and Restoring Cream, CHANEL | Brightening Youth Glow Primer, CHARLOTTE TILBURY | Lucent Facial Concentrate, AÄ’SOP

SKIN PREP The importance of a clean canvas has never been so critical. Invest in innovative products that boast youth-enhancing results with which to nurture your skin in preparation for a perfectly flawless finish.

278

ROCHAS

Photograpghy: Elena Lukyanchuk. Stylist: Sophie Pasztor

Clockwise from top: Diorshow Pro Liner in 092 Pro Black, DIOR | Couture Liquid Eyeliner in 07 Argent Maximal Irisé, YVES SAINT LAURENT | Eyes To Kill Proliner in 1 Obsidian Black, GIORGIO ARMANI | Mascara Volume Effet Faux Cils Waterproof in 01 Charcoal Black, YVES SAINT LAURENT

EASY ON THE EYES Eyes border on the theatrical with striking precision and dramatic designs. Whether taking cues from Fendi’s feline flick or the graphic eyes at Rochas, daring abstract liner is the season’s most experimental beauty trend to try.

280

TANYA TAYLOR

NAILED IT Bright pops of colour in innovative designs ensure statement tips. Follow Helmut Lang’s lead with logomania or, alternatively, remain fuss-free by opting for a single bright hue. Either way, standout nails are essential for spring.

Clockwise from top left: La Lacque Couture Nail Polish in 84 Catch Me Fuchsia, YVES SAINT LAURENT | Long Lasting Shine & Color Nail Polish in 1975 Bleu, LANCÔME | Le Vernis in 626 Exquisite Pink, CHANEL | Vernis À Ongles Nail Colour in Mula Lisa, CHRISTIAN LOUBOUTIN | The Nail Laquer in 230 Candy, DOLCE & GABBANA | Vernici in Ophelia Vert, FEDUA

282

MISSONI

SHOW ME COLOUR The brighter the better with a wide spectrum of electro-pop make-up ranging from citrus to aquamarine. Designers such as House of Holland and Missoni offer extreme shadows, while Valentino chooses highly-pigmented blushes.

Clockwise from top left: Rouge Dior Double Rouge in 288 Miss Crush - Light Pink Contour & Sand Ment Heart, DIOR | 7 Lights Powder Illuminator, SHISEIDO | Off Limits Photogloss in Easy Lover, NARS | Cream Eye Colour in 75 Royal Green, DOLCE & GABBANA | Lip Colour’ink in L101 Adventurous, GUERLAIN

284

BEAUTY FEATURE

VIRTUAL VANITY If you thought microblading your eyebrows made you both tech- and beauty-savvy, think again. Discover the augmented reality technologies and advanced at-home beauty gadgets that are in store for 2018 Words by Hafsa Lodi

Photography: Folio ID - Mierswa-Kluska/Trunk Archive

B

eautifying oneself has taken a high-tech turn, images can be transformed from day-to-night looks, and from assessing skincare needs to purchasing can also be emailed to each user. new cosmetics. Though driverless cars and drones These AR-powered devices are more than just glitzy that deliver coffee may be the headlining stories in the displays of grandeur — they provide answers to dilemmas realm of tech, new beauty innovations, many of which were long endured by beauty shoppers. One such issue that introduced at the Consumer Electronics Show (CES) in Las women often face is finding the correct foundation shade Vegas earlier this year, involve revolutionary concepts for their skin. Sephora stores worldwide have collaborated such as measuring your UV exposure through wearable with colour tool company Pantone to create Color Profile: tech, and getting tailored skincare advice from your a system that helps women find matches for their skin bathroom mirror. tones, from the various brands available at Sephora. In Numerous new beauty-meets-tech regional stores, this range covers over 300 different products. “It’s launches are aimed at improving “Foundations can come in the overall cosmetics shopping important to know that foundations experience. Dropping by a beauty yellow, red, beige, peach, can come in yellow, red, beige, peach, counter at a department store, and pink base undertones, because and pink... getting this having a face-to-face conversation these colour elements are within wrong in your foundation skin tones making us warm or with a professional make-up can make it appear grey artist and sampling the product cool, so getting this wrong in your before leaving with a purchase, and ashy if it’s too light.” foundation can make it appear grey is a shopping process officially and ashy if it’s too light, or orange Elodie Weisbein consigned to the past. Today, if it’s too dark,” explains Elodie Weisbein, marketing director of technologies like Modiface make it possible for shoppers to view products on themselves in Sephora retail services. “Studies show that women used real-time on a screen that incorporates augmented reality to try at least seven different foundations and colours (AR) with photo-realistic make-up and hair simulation. before finding the right one. Color Profile is time and Modiface has begun developing apps and in-store screens money saving. It is really an innovative service.” for brands like Estée Lauder, MAC Cosmetics and Sephora. Perhaps even more in-demand than intelligent shopping In many Charlotte Tilbury stores, customers can use her assistants, are at-home beauty devices that can address Magic Mirror, an AR invention that shows the make-up anti-ageing concerns. For instance, the SkinScanner, artist’s 10 signature looks on their own faces when they produced by Neutrogena in collaboration with FitSkin, is peer into the virtual mirror. With the click of a button, the a tool which, when affixed to your smartphone, can capture

286

detailed images of your skin, while recording wrinkles, pore size and moisture levels.

Some of these gadgets simply analyse and record data found on the skin. Others have reparative capabilities and can target the personalised needs of a user. One of the most talked-about launches at CES was a futuristic face mask, conceptualised by Swedish beauty company Foreo. The new Foreo UFO puts traditional sheet masks to shame, providing a facial treatment from its handheld device in only 90 seconds. Paul Peros, the brand’s CEO, poses the question: “Face masks are the guilty pleasure of millions, but is lying under cold, wet sheets of paper the best we can do for 2018?” The Foreo UFO uses thermo-therapy to open the pores, T-sonic pulsations to allow for the absorption of the formulas and cryotherapy to seal them into the skin.

LED light therapy can be used in three different colour settings: red to target anti-ageing, green to brighten the skin and blue to fight acne.

There’s also the Trinity Facial Toning Device by NuFace, famously used by Australian model Miranda Kerr. The tool uses microcurrent technology to help achieve the same effects as a face-lift and has extra attachments that can be used to target the lips and eyes. “It’s an award-winning skincare device designed to stimulate the facial muscles for a more youthful appearance,” explains Nora Al Ramadhan, a founding partner at Kuwait-based beauty boutique Apotheca Beauty. She lists NuFace at the top of her favourite beauty tech products.

“As beauty entrepreneurs it is extremely important to always be up-to-date with the latest beauty trends and technological advances. It is a part of our jobs to be the first tryers and experimenters in the industry,” she says.

At the new Apotheca Beauty boutique, Nora, along with her sisters Sarah and Dana, stock premium beauty brands,

and at the back of the store, there is a skincare room equipped with a high-tech face scanner that measures red areas, brown spots, UV spots, wrinkles, texture, pores and porphyrins. “It’s called a VISIA face scanner, and it determines the person’s overall skin condition and age, providing a revolutionary new metric to guide the selection of skincare products and treatment options,” she explains. “We first discovered this face scanner in the Sarah Chapman clinic in London and then at Dr. Lancer’s clinic in Beverly Hills. Our first experience was nothing more than eye-opening and we knew we had to introduce this to our customers as well.”

A much more simplified, portable version of this scanner is the HiMirror, which you can prop up on your vanity table or stick to your bathroom mirror. It promises to analyse your skin, provide skincare advice, order suggested products and track the results of your products. The newest version, which debuted at CES, is integrated

Photography: Folio ID - Mierswa-Kluska/Trunk Archive

HiMirror available at Himirror.com

with Amazon’s intelligent personal assistant, Alexa. whether that’s at home or in a clinic. Secondly, it can It’s safe to say that traditionalists may shy away from these be a very dangerous thing to use if the person isn’t very new tech advances. Nora admits that while most customers knowledgeable. Certain skin types cannot tolerate at Apotheca Beauty are keen to try the face scanner, others laser hair reduction, and people can cause themselves remain hesitant. But, technology’s influence on skincare severe burns.” and cosmetics is hardly avoidable. Dubai-based beauty Health and safety are of the utmost importance when it expert Haneen Odeh has tried out high-tech beauty devices comes do dabbling with beauty tech. And although many from brands like Dior, Espada and Foreo, and explains that of this year’s beauty innovations may seem like bulky her generation has a thirst for new innovations. “I think and costly investments, targeting affluent individuals growing up right at the cusp of where the internet age consumed by vanity, other launches are miniscule, and meets the analog age, allowed me to accept tech advances affordable by comparison, with a focus on wellbeing over faster. We are a generation that glamour. L’Oreal for instance, has seamlessly transitioned between brilliantly unveiled a UV sensor that “I fully believe that sticks onto a wearer’s fingernail, and landlines to mobile phones, clunky tracks their sun exposure. The NFCtelevisions to flat screens, and utilising technology in reading paper maps to using GPS enabled sensor can be scanned with our daily life shouldn’t on our iPhones,” she points out. the user’s phone, where data will sync be limited to just While buying cosmetics was to its accompanying app, UV Sense, previously a personal affair, to tell the user if they’re spending communication and requiring you to experience hazardous amounts of time out in the transport” products first-hand before opening sun. Set to release this summer, it will Haneen Al Ramadhan your wallet, millennials these days reportedly cost less than Dhs200. will put their faith in computerised “I fully believe that utilising machines, or beauty bloggers and vloggers with millions technology in our daily life shouldn’t be limited to just of followers. All it will take is a positive (though potentially communication and transport,” says Haneen. “Mascara paid-for) review on Instagram to convince consumers to at some point was a game-changing technology when buy into the latest beauty-tech trends. But it’s important to it was launched by Maybelline, and look at how many see through the hype, as Haneen warns that some devices women use mascara today. Everything takes time to fully are not nearly as efficient, or safe, as they promise to be. penetrate the market, but seeing the millennial consumer “I’m personally not a fan of at-home laser removal devices,” and their behaviour makes me believe that it’ll be easier she says. “First off, laser won’t get rid of hair completely, and easier to embrace the innovations coming our way.”

THE TECH EDIT

Left to right: Neutrogena Skin360™, NEUTROGENA available at Neutrogena.com | Trinity Facial Toning Device, NUFACE available at Beautysolutions-me.com | UFO, FOREO available at SEPHORA

288

MOJEH TRAVEL

Amsterdam is known for its luxurious canal houses and gabled façades, which are best explored on bike

DUTCH MASTERS With world-class museums, a thriving contemporary scene and picture-perfect canals, Amsterdam is an art-lover’s paradise, discovers Kate Wills

TRAVEL EDIT

Photography: Courtesy of I amsterdam Mediabank, Van Gogh Museum, The Dylan Amsterdam, Hotel Pulitzer Amsterdam and Rijksmuseum Amsterdam

A

t first glance, I think it must be a 17th Century Dutch still-life oil painting of a bouquet of flowers.

But on closer inspection, it’s actually a photograph.

The flower petals are not daubs of paint, but bits of recycled plastic cutlery. Nearby is a chair fashioned from giant golden hands — palms facing the ceiling in prayer. And I’ve already fallen in love with the porcelain sculpture of a pug dog painted neon-yellow.

But this isn’t an eclectic art gallery or the living room of a private collector. This is the lobby of the Pulitzer Amsterdam, a five-star hotel spread across 25 houses on the Prince’s Canal, which doesn’t just offer sumptuous dining, cloud-comfy beds and Le Labo toiletries in the bathrooms. It also boasts an enviable art collection, which makes staying here feel like spending a night at a museum.

One could easily spend all day marvelling at the works on the Pulitzer’s walls while snacking on delicious salmon on brioche or lobster risotto from the impeccable hotel restaurant Jansz, or enjoying the Nic Jonk bronze statues in the gardens. But with some of the finest art in the world on show in Amsterdam, I decide I ought to get out and explore. Although the city has trams, a metro and is very walkable, the only way to travel here is to make like a local and get on two wheels. The bike rental shop MacBike has patient staff, locations across the city and daily tours if you don’t fancy riding solo.

As I glide along the cycle-paths, gawping at the wooden, painted, gabled ‘dancing houses’ lining the water, it’s a miracle I manage not to get too distracted and career into a canal. I’m headed for the Museumplein or Museum Quarter — this patch of greenery probably has more masterpieces per square foot than anywhere on the planet, and most of them are in the Rijksmuseum.

The national museum of the Netherlands reopened in 2013, after a 10-year restoration project costing Dhs1.7 billion that revived it to its original splendour.

Even without the 8,000 objects on display here, the terrazzo floors, frescoed walls and stained glass windows are a work of art in their own right. Although seeing crowd-pleasers such as Rembrandt’s giant masterpiece The Night’s Watch or Vermeer’s Milkmaid up close is thrilling, it’s the smaller pieces that catch my eye. The gallery of elaborate 17th Century dolls’ houses that inspired Jessie Burton’s novel The Miniaturist are a must-see. As is the cabinet of ‘Prayer Nuts’ which functioned like 16thCentury Rolexes, displaying the wearer’s wealth and taste.

In any other city, the Rijksmuseum would be the main

Restaurant Jansz in Hotel Pulitzer Amsterdam

The city’s Bloemenmarkt is the world’s only floating flower market

Brasserie OCCO in The Dylan Amsterdam

290 ADDRESS BOOK Hotel Pulitzer, Pulitzeramsterdam.com MacBike, Macbike.nl The Rijksmuseum, Rijksmuseum.nl The Van Gogh Museum, Vangoghmuseum.nl The Stedelijk, Stedelijk.nl Oude Kerk, Oudekerk.nl Brasserie OCCO, Occo.nl Senses, Senserestaurant.nl Droog, Droog.com

Hotel Pulitzer Amsterdam’s ‘Art Collector’s’ suite allows guests to sleep among giant golden hand chairs and modern masterpieces

The historic Hotel Pulitzer Amsterdam is one of the city’s most famous and beautiful

attraction, but in Amsterdam it’s just the first pitstop on an embarrassment of cultural riches. I walk across the park to the Van Gogh Museum, where Vincent’s famously fiery brushstrokes are given a new lease of life, thanks to interactive exhibits which show how luminous his colours would’ve looked when he first painted them, or microscopes which zoom in on the flecks of sand in the swirling oils from his beach scenes. It may only be a few metres walk, but it’s quite a leap through art history to the Stedelijk’s modern and contemporary art collection, including pop artist Roy Lichtenstein and some compelling Picassos.

After lunch on the light-filled terrace of Brasserie OCCO — a hidden-away gem inside the Dylan Hotel — I get back on my bike and wend my way to the Jordaan neighbourhood, where it’s impossible to walk a few steps without bumping into a contemporary art gallery. Annet Gelink and Galerie Fons Welters are known for fostering emerging talent and are well worth a browse. Meanwhile, in the lively,

cosmopolitan De Pijp district, Upstream is known for its experimental exhibitions and rebellious artists, and from here I walk to Grimm, which features leading international artists such as Charles Avery and Daniel Richter. During Amsterdam Art Weekend and the Amsterdam Light Festival — both held every winter — the whole city fills up with artists, buyers and industry experts.

But nowhere encapsulates the Amsterdam art scene’s blend of old and new better than Oude Kerk. The oldest building in Amsterdam remains, in many ways, just as Rembrandt would have seen it, with the largest medieval wooden vaulted roof in Europe. But since 2015 this 800-year-old church has also hosted special exhibitions at the cutting edge of contemporary art. Currently on display is the work of French Conceptual artist Christian Boltanski, which involves visitors taking a seat in a confessional booth to whisper a name, becoming part of the soundscape of the installation itself.

This cutting edge flair continues over dinner at Senses, where the ‘food art’ created by chef Lars Bertelsen in the open kitchen takes me — and my taste buds — on a 7-course odyssey. Mini hot-dogs crafted from meringues, ice-cream cones filled with whipped mackerel paté and eggs filled with mushrooms were just some of the creative riffs on taste, texture and presentation.

The next morning I seek out some contemporary Dutch design at the flagship store of conceptual design company Droog. Here, beauty, fashion and homeware combine with a chic one-room hotel and hip coffee shop. This is just the place to pick up a doorbell made out of inverted glasses or a lamp made out of clothes-hangers. Then I mosey along Nine Streets, the series of interconnected alleyways with boutiques and quirky gift shops and pick up something to display on my own walls at home. A couple of Delftware tiles — the famous blue and white Dutch china — will be the perfect reminder of my trip.

Back at my Art Collector’s suite at the Pulitzer, a two-room apartment so dense with modern art that the indigo walls beneath are barely visible, I sit and stare at the hotel’s most prized piece. Thierry Bruet’s subversive take of Leonardo Da Vinci’s The Last Supper, where the disciples eat burgers and lean over laptops. But perhaps the most aesthetically-pleasing work in my room comes in a different kind of frame. It’s the view of the twinkly-lit canal from my window. It may have a wealth of cultural treasures — from the Old Masters to today’s multimedia artists — but Amsterdam itself is picture perfect.

Vincent van Gogh, Self-portrait with a Straw Hat, 1887, oil on canvas

Conservatorium Hotel Amsterdam

AMSTERDAM IN BLOOM Tulip season in Holland is the most spectacular time of the year.

Beginning in March until May, the country comes alive with vibrant coloured tulips. To celebrate, the Conservatorium Hotel is offering a Tulips in Bloom package, which includes a helicopter flight with extensive views over the vast multi-coloured flower parks and Dutch coast, a private driver for an exclusive journey across the grounds of a tulip farm for a unique introduction to art tulip cultivation, and entrance tickets to Keukenhof, the Netherland’s celebrated flower garden that boasts seven million bulbs and 800 varieties of tulips.

Conservatoriumhotel.com

292

MOJEH TRAVEL

Enough To Last The Winter, photographed by Federico De Angelis, MOJEH Issue 16

Welcome to

St Moritz Some places on earth are simply unlike anywhere else.

Any talk of St Moritz and this alpine resort instantly conjures up decadent images of style, class and elegance. Yet a big part of this Alpine town’s beauty is in the purely magical scenery that surrounds it. Blue lakes, dramatic mountains and emerald-green forests dominate the skyline, and nestled deep within it all, perched on top of a hill overlooking the St Moritz lake, the exquisite Carlton Hotel exceeds all expectations.

The luxurious chateau is situated slightly away from the busy glitz and glamour of the resort’s big-name designer boutiques, and is just a short walk down a

snow-covered path. If you prefer, a Bentley and driver can be organised through the hotel, which is ideal if you’re planning on doing some holiday shopping on the legendary Via Serlas.

Of course, the real riches lie outdoors among the meandering hiking trails and sprightly mineral springs — the latter were first discovered around 3,000 years ago. Having hosted the Winter Olympics twice, St Moritz’s snowy slopes remain the best for winter sports, and have long offered a change in scenery for the world’s jet set, thanks to its famed hangouts of the rich and famous.

Photography: Courtesy of Carlton Hotel

Switzerland’s original winter wonderland, complete with emerald forests and luxury accommodation, has attracted royals and celebrities for decades

Carlton Hotel’s Penthouse Suite

THE SUITE LIFE Located on a sun-soaked plateau, Carlton Hotel spans over seven floors and offers picturesque village views for all of its 60 suites, turning its back to the snow-covered hillside behind it. Originally intended as the summer residence of Russia’s tsars, not only does every floor open up to either a balcony or sun-terrace, both of which make the most of the valley’s pleasant weather, but each is also designed to ensure every room has direct views of the town and hotel’s natural surroundings.

Each suite boasts bold interior design by Carlo Rampazzi, a Swiss architect known for his extraordinary mix of textures and colours. The Penthouse Suite encompasses the entire top floor, and acts as a private luxury chalet in the sky. Heavy beams, a cosy fireplace, luxurious bathrooms and spacious bedrooms await, as well as a dining room, large living room, relaxation room and stylish kitchen that’s perfect for entertaining guests.

Exclusive privacy awaits, as well as an imposing view of the mountain landscape

OUTDOOR EXPERIENCES Snowshoes firmly strapped to feet, Carlton Hotel’s outdoor butlers know the vast region’s scenery like the back of their hand, and will assist adventurers with the utmost care and finest detail. The valley’s winter wonderland landscape looks as though it could be taken straight from a fairytale. Venture up snow-covered mountain ranges, enjoy helicopter rides, ride sledges down slopes and embark on torch-lit evening walks — it can all be arranged. Even a horse-drawn carriage draped in sheepskins and woolly blankets is available, or hop into a bobsleigh and explore one of the last man-made bobsleigh runs in the world.

The spa is designed to relax and rejuvenate

TAILOR-MADE TREATMENTS Discover a sense of wellness for your body, mind and soul, and top it off with incomparable views of the St Moritz panorama.

Carlton Hotel’s spa is completely hidden underneath the hotel and is spaciously spread over three full floors — offering separate ladies-only saunas and private massage rooms, which can be booked for the entire day if the hotel’s given prior notice. The facility’s large outdoor sundeck, next to the pool, is the perfect place to relax after a soothing massage. Therapists use luxury products during each treatment, including Cellcosmet and Cellmen and The Biosthétique Paris. Luxuriously appointed amenities feature a sports pool, fitness centre with Technogym machines and six individual treatment rooms. The Swiss Revitalising Anti-Age Cell Facial, based on cellular therapy that achieves a well-defined facial contour and youthful glow, is our standout favourite. After an afternoon relaxing in the sun, head to the hair salon for a blow-dry or professional manicure.

294

Enough To Last The Winter, photographed by Federico De Angelis, MOJEH Issue 16

DIVINE DELICACIES

Guests can enjoy Carlton Hotel’s opulent afternoon tea

The majestic Carlton Hotel welcomes guests with thick, arched wood-framed doors and solid stone steps. Near to the entrance, the sophisticated Da Vittorio Restaurant serves up haute cuisine by celebrated chefs Enrico and Roberto Cerea, whose restaurant in Brusaporto, Italy, has been awarded three Michelin stars. Refined dishes are also set to entice guests at Restaurant Romanoff, which focuses on fine authentic Swiss specialities that make use of fresh local ingredients from the Engadine region. The floor immediately above Da Vittorio is known as the Bel Etage, and houses two enormous stone fireplaces that set the perfect setting for an afternoon tea surrounded by plush leather sofas and ruby-red drapes. A pianist plays elegant tunes, and views span across the frozen waters of St Moritz.

ST MORITZ 2018: WHAT’S GOING ON ENGADIN SKI MARATHON, MARCH 11 The 50th edition of the open cross-country ski race Engadin-skimarathon.ch JAZZ FESTIVAL, JULY 5 - AUGUST 5 Internationally beloved musicians are set to perform at the fair Festivaldajazz.ch SAILING CHAMPIONS LEAGUE, AUGUST 31 - SEPTEMBER 2 Europe’s best sailors compete to qualify for the grand finale Sailing-championsleague.com

Dine outside at one of the hotel’s picturesque restaurants

CULTURE EDIT ART DUBAI, UNCOVERED

Photography: Courtesy of Art Dubai. Words: Nicola Rafi

Ethnographic Abstractions, Jesús ‘Bubu’ Negrón, 2016, acrylic on canvas, courtesy of Henrique Faria

ART SEASON IS HERE Art Dubai has become one of the most highly-anticipated premier art fairs in the region. The 12th edition returns, promising to be grander than ever, from March 21-24 at Madinat Jumeirah, playing host to 105 galleries from 48 countries while satiating the appetite of art aficionados. The preeminent melting pot will witness the crème de la crème of the art world, showcasing contemporary art forms (including newcomers from Iceland, Ethiopia and Kazakhstan), Art Modern – the region’s sole commercial platform comprising museum-quality works by Middle Eastern, African and South Asian talent, and numerous workshops, lectures and exhibitions. Feast your eyes on geometric, conceptual creations such as this acrylic on canvas, displayed with an artisan Ponce Vejigante mask, titled Ethnographic Abstractions.

296

THE ARTWORK

BRIDGING NATIONS A London-based and Pakistani-born artist, Rasheed Araeen is the mastermind behind this vibrant symmetrical creation, Rainbow on the Ground Surrounding the Black. Political Minimalism with open, linear forms are distinct themes and traits of this artist’s style, and are noticeable in his sculptures, paintings, works on paper and photography. This year, Middle Eastern talent is a core focus at Art Dubai with designers Rainbow on the Ground Surrounding the Black, Rasheed Araeen, 2016, courtesy of Aicon Gallery

arriving from Syria, Iran, and other neighbouring countries.

Construction, Simone Fattal, 2013, courtesy of the artist and Galerie Tanit

BUILDING BLOCKS Green Art Gallery has been a favoured fixture within the UAE’s art scene. Conceptualised in Homs, Syria, in the Eighties, the gallery soon opened its doors in Dubai with a programme highlighting Arab Modernism. A few year later, in 2010, the gallery relaunched as a contemporary art space for a multi-generational mix of artists. On display at this year’s fair are sculptures from Chaouki Choukini. Each piece offers a glimpse into the artist’s childhood, taking viewers back to the landscape of south Lebanon. Blocks are piled on top of each other, resembling mountainous regions while unveiling abstract faces. Choukini has received accolades including the Prix de la Jeune Sculpture in 1978, followed by the Taylor Foundation Prize in 2010 and, most recently, the Prix de la Fondation Pierre Gianadda. Simone Fattal, who was born in Damascus, produces artwork that boasts a similar aesthetic.

The duo highlight their homeland’s significant influence upon modern art and its creators.

Tour, Chaouki Choukini, 2016, courtesy of the artist and Green Art Gallery

Küchenuhr, Alicja Kwade, 2017, courtesy of the artist and i8 Gallery

ILLUSIONARY MEDIA Küchenuhr brings to light mixed-media practices that manipulate mental perception and physical experiences of how the body dwells in space and time. One of the artist’s more recent installations, Durchbruch durch Schwäche (Breakthrough Through Weakness), utilises over 300 clock weights, and is based entirely on the closing sequence of Inception.

Mirror images, repetition and flawed doubling are key characteristics in Alicja Kwade’s art, with everyday materials such as coins, metal pipes, glass, lights and even bicycles utilised — distorted to create sensory illusions. This piece, showcased at Art Dubai, offers a mix of epoxy resin, glass and brass.

298

THE RESIDENTS

Right to left: Dance, Jennifer İpekel, 2017, mixed media on paper, courtesy of the artist; Jennifer İpekel

HOME IS WHERE THE HEART IS “Turkey is going through a period of rapid and unpredictable social, cultural and political change, however this hasn’t reduced the power and quality of the local art scene,” says Jennifer Ipekel, the Turkish artist showcasing for the first time at Art Dubai. Based in Istanbul, her paintings offer

“

the dominant state of feelings through which she creates a mystical reality. “I probe into everyday

My aim is to show the ever-changing womanhood, purifying her from materialism and hereby revealing the intellectual power.

life experiences, differences between reality and fantasy, an experienced situation, or an image

Jennifer Ipekel

a “riotous narrative” where notions of power, gender and colour are reimagined. “My aim is to show the ever-changing womanhood, purifying her from materialism and hereby revealing the intellectual power,” she says. Materialism and consumerism are also exposed in great lengths.

KRISTINA ALISAUSKAITE Kristina Alisauskaite’s initial visit to Art Dubai in 2015 left an “unforgettable impression”. This year, the artist returns with the only gallery from Lithuania. For Kristina, painting is a way of rendering

seen in a dream.” Intricate details reveal the presence of a person, even if not overtly portrayed, while inspiration stems from her surroundings, emotional state and everything in between.

Right to left: Potential Realities, Kristina Alisauskaite, 2017, oil on canvas, courtesy of The Rooster Gallery; Kristina Alisauskaite

NEW THIS YEAR...

Art Dubai has launched ‘The Residents’ programme, a space dedicated to solo presentations from selected galleries that travel to the region from across the globe. Artists are encouraged to immerse themselves in the local art scene, and to create a piece that merges the region’s surroundings with their own aesthetic and artistic form. 11 solo gallery presentations of mixed media will be available for viewing, after which the galleries will be presented at a unique exhibition between the two contemporary gallery halls. The aim is to inspire and influence each artist during their stay in the UAE. MOJEH recommends that you admire works from Farshad Farzankia, in particular his pink-blushed Atlas #2, Iabadiou Piko’s abstract creation, Figur Sunyi Diantara Riuh, and Zohra Opoku’s, One of me I. The latter uses photography and screen print, which she transfers onto bed sheets and table cloth, which is then dyed with acrylic paint.

From top left (anti-clockwise): Figur Sunyi Diantara Riuh, Iabadiou Piko, 2016, courtesy of Galerie Michael Janssen, Berlin, and Orbital Dago, Bandung; Atlas #2, Farshad Farzankia, 2017, courtesy of Galerie Kornfeld; Reverse of Volume RG, Yasuaki Onishi, 2012; One of me I, Zohra Opoku, 2017, courtesy of Mariane Ibrahim Gallery; Shopping, Poonam Jain, 2016, courtesy of 1x1 Art Gallery

300

THE HIGHLIGHTS FOOD FOR THOUGHT Art Dubai offers more than just a culture fix. This year, artists have been selected for The Abraaj Group Art Prize, giving them the resources required to develop their practice. The Global Art Forum 2018 will focus on “power, paranoia and potentials of automation,” having been named ‘I Am Not a Robot.’ This will be presented by the Dubai Culture and Arts Authority (Dubai Culture) and is supported by Dubai Design District (d3).

Another must-see this year, and one visitors should definitely look forward to, is The Room: a large-scale interactive installation where guests can fully immerse themselves Art Dubai’s Contemporary Gallery

in an art experience. This year’s edition, titled Good Morning GCC, will re-create a live TV show onsite, including daily lifestyle segments. Dinner guests will be able to interact with the props, furniture and scenography, while watching celebrity wedding singer and TV chef Suliman Al Qassar in action (on the opening night).

The Room

“

I’m excited to see Philip Mueller’s portrait cabinet come together, he will have a focus section within our booth.

Nadine Knotzer

NADINE KNOTZER, DIRECTOR AT CARBON 12 Why is Carbon 12 showcasing at Art Dubai?

Art Dubai is our local fair and the leading art fair in the Middle East.

It has grown together with the local galleries over the past 12 years.

We have been participating for nine years, ever since the gallery was founded, as it is important for us to support the strong art scene.

Which standout artworks are you looking forward to seeing?

Anahita Razmi’s floor installation Breaking #1. It took over a year to produce the work and we will show it for the first time at Art Dubai.

I’m excited to see Philip Mueller’s portrait cabinet come together, he will have a focus section within our booth.

Nadine Knotzer, director of the art gallery Carbon 12

Where will you be hanging out during Art Dubai?

Between Alserkal Avenue and Mina Salam.

THE DESIGNER All jewellery, PIAGET

“

I have designed Summer Muse, that will be showcased in the Piaget lounge during this year’s edition of Art Dubai.

Jawaher Al Khayyal

LOCAL TALENT Piaget has long-established its resolute devotion towards Art Dubai. The leading luxury jewellery and watchmaking brand has formed a collaboration between The Culture Office of Her Highness Sheikha Manal bint Mohammed bin Rashid Al Maktoum and Piaget, reflecting their joint vision and commitment towards supporting UAE-based artists. “We encourage them to contribute to the growing art scene, while bringing their creations to the international forefront. In collaboration with a global creative brand like Piaget, an event such as Art Dubai contributes to Dubai’s positioning as a global hub for art and culture,” says Jawaher Alkhayyal, an Emirati interior designer, who has been appointed to create this year’s interactive art installation.

The Swiss brand will be displaying a piece inspired by Piaget’s Sunny Side of Life collection. “I have designed

Photography: Borna Ahadi. Location: KOA Head Office

Summer Muse, that will be showcased in the Piaget lounge during this year’s edition of Art Dubai,” says Jawaher with enthusiasm. “This commission offered me an opportunity as an Emirati designer to work closely with an international brand that boasts a strong history and savoir-faire, inspiring me to aim bigger.” Being an artist, Jawaher is naturally observant and inquisitive, with everything from history to travel being a source of inspiration.

“I believe professional practice and constant observation of my surroundings has enriched my sense of creativity significantly.” Talking about Art Dubai and the significance of the platform, she says, “it is considerably one of the most noteworthy annual art events in the region.”

302

MOJEH CULTURE

WHEN TECHNOLOGY AND ART COLLIDE Usually known for age-old techniques and traditions steeped in rich cultural practices, Middle Eastern artists are now taking their influence from technology Words by Laura Beaney

Photography: Courtesy of Art Dubai

This whole time there were no land mines, Lawrence Abu Hamdan, 2017, courtesy of Maureen Paley, London

Continuous Life and Death at the Now of Eternity, teamLab, 2017, courtesy of Ikkan Art Gallery, Martin Browne Contemporary and Pace Art +Technology

T

he Middle East is often regarded as a region of paradox its head. The topic at this year’s Global Art Forum, coinciding and this association subsequently spills over into its with Art Dubai, is ‘I am not a robot’, which takes into question creativity. At the moment, Abu Dhabi is striving to be the power, paranoia, and potentials of automation. This known as the ‘capital of culture’, with the recent opening of the consideration runs through all elements of our lives and Louvre and its new prize piece, the record-breaking Salvator inevitably into the arts. Known for its age-old practices and Mundi by Leonardo da Vinci, as well as the forthcoming deep-rooted heritage, the Middle East, perhaps more so than opening of its own branch of the Guggenheim. And down other regions, has experienced a seismic jolt in its creative the road, Dubai is busying itself with Art Dubai, an annual outputs. art fair that seeks to position the city as an international The term, Middle Eastern art, of course becomes very destination of culture, drawing in general given the region’s geographic the international eye and acting as spread that covers the spaces between “We must not forget, a springboard for local talent who the Mediterranean and Iran, and the might dream of one day becoming one subsequent vast cultural diversity. that technology They do, however, say that art is an of the ‘trendy’ Middle Eastern artists (most famously the expression of a society’s culture and lapped up by buyers in New York or internet) influences London. But in recent years we’ve also in the Middle East, a region home to experienced Syria and Iraq’s UNESCO a largely Muslim population, Islam is our lives in sites, museums, mosques, and churches not only a religion but often a way of every way.” become the targets of ISIS militants life. The Muslim faith has been pivotal Marlies Wirth using hammers, axes, and bombs to in informing a large part of Middle destroy their storied past. A devastating Eastern art for thousands of years. byproduct of the ongoing civil war. These conflicting realities But Islamic art is also a very broad term. It doesn’t refer to highlight not only that creative progression is not always a particular branch of Islam nor a time, place, or specific straightforward in countries of turmoil but also that art is medium like paint. In its loosest sense, ‘Islamic art’ describes still of great value and importance to those in the Middle artworks created specifically to service the Muslim faith like East, a tool to grab headlines for the right and wrong reasons. an ornate mosque, but it also includes architecture produced This polarisation has also recently become evident in the in Muslim regions, works of art created for Muslim patrons extremities of today’s Middle Eastern art-making techniques, or made by Muslim artists. Often using the human touch to thanks to recent technological advancements that have turned produce intricate strokes of paint or to delicately place tiles, the art world’s previously rigid structures and processes on plant-based designs, geometry, and Arabic calligraphy typify

304

Contra Diction (speech against itself), Lawrence Abu Hamdan, 2015, courtesy of Maureen Paley, London

Islamic designs. An example of Islamic art’s latest incarnation One challenge that might be driving the shift towards newness can be seen in the works of young Saudi-based self-taught is that, in light of these advancements, artists today will find graphic designer Basmah Felemban. Her elaborate research- it increasingly challenging to present innovative ideas and driven artworks are on display at this year’s Art Dubai and standout, but others maintain that it’s a progressive pairing. range from UV digital print on acrylic to mixed media “The development of ‘new media’ art sits alongside the many installations retaining a focus on Islamic art and calligraphy. existing traditional artforms — painting, drawing, sculpture Outside of Islamic art, themes that dominate the modern — and the more recent ones such as photography and video. and contemporary Middle Eastern art scene tend to revolve All are about allowing us to create new ways of seeing our around conflict, social commentary, and female oppression, worlds,” says Martin Browne who participated in Art Dubai and until recently have typically encompassed painting, last year with teamLab, a collective of ultratechnologists drawing, architecture, textiles, jewellery, and sculpture. that include artists, programmers, engineers, computer Upholding conventional techniques, London-based Dia animators, mathematicians and architects. The collaboration Al-Azzawi is another Art Dubai exhibitor, known as one of aims to propel and explore a new relationship between humans the pioneers of modern Iraqi art. Dia, who finds himself in and nature through art. Their exhibition included concepts exile, meticulously works with ink, wax, and paint on canvas like Universe of Water Particles a gold virtual waterfall as well as sketches to create arresting works that examine created in a virtual 3-D space and Flowers and People Dark, Iraqi and Arabic cultures from afar. Created in response to an artwork rendered in real time by a computer program. the massacre of Palestinian refugees in Beirut, his famed Martin found that Dubai’s openness to technology set it Sabra and Shatila Massacre 1982-3 is an enormous, detailed apart as a leader in the art-tech melting pot and sees the abstract drawing made mostly from Dia’s imagination. adoption of new techniques as a positive step for the region.

In recent years the modern and contemporary Middle Eastern “Viewers were excited to see teamLab’s presentation of how art market has experienced exponential growth with 20th artistic expression can be explored through the latest in 21st Century Arab and Iranian Art, in Century technology,” says Martin. “And particular, becoming a trend, attracting at the same time teamLab’s timeless “‘New media’ art sits interest globally. But increasingly subject matter – the natural world, the alongside the many the art fair space dedicated to impermanence of life and the changing hand-produced works like those of of seasons – struck a chord with the existing traditional Basmah and Dia is shrinking, making deeply poetic Arab soul.” artforms...

All are about way for the video installations, VR, There’s no question that the Middle East allowing us to create and AI concepts, that are becoming is amid a dynamic period of change with increasingly common. Iranian artist intense focus upon its creative outputs. new ways of seeing in exile, Shirin Neshat, has reached As the new era of artists emerge they our worlds.” worldwide acclaim with her allegorical find themselves at a cross-road between Martin Browne films commenting on fundamentalist tradition and technology — an exciting Islam after the Iranian Revolution while and unprecedented place to be. And Lebanese contemporary artist, Lawrence Abu Hamdan, uses with the impressive array of innovative new materials voice recordings and sound technology to shed light upon available for artists to work with, the goal posts for creativity human rights issues. So far digital technology has had the have started to shift. “It seems that with all things digital on greatest impact upon painting and drawing. Historically, the rise, people – and especially artists and designers – reflect much of the Middle East’s art depended on an artist’s skill back on their very own AI (artificial intelligence): artistic in working with traditional tools like charcoal, crayons, intelligence or even artisanal intelligence,” says Marlies, brushes, or pencils. But artists today can operate at the who is also keen to highlight that screens cannot eradicate click of a button using digital colours and rendering tools to the human need for first-hand experience. “In an increasingly speed up processes and add minute definition to results. Some virtual world, where most communication takes place online, programs and tools can almost flawlessly mimic the result and social media image feeds show us the world around us of traditional techniques but the creative process is a world in binary code 24/7 it is exciting, almost relieving, to enter a away from Dia’s celebrated sketches and paint strokes. When museum or exhibition and confront one’s own physical body it comes to the region’s longstanding artistic outputs, are we with ‘real’ things, works of art, material, technique, details,” in danger of losing out? “We must not forget, that technology she continues. (most famously the internet) influences our lives in every way At one end of the scale Islamic art is seeing a new incarnation as – even if an artist does work in a traditional medium such as technology offers up irresistible digital options for fine tuning painting or sculpture, that does not mean there is no reference works, and at the other there are endless horizons for artists to technology in one way or another,” says Marlies Wirth, looking to express themselves and strike out in unprecedented curator of Digital Culture & Design Collection at the MAK, ways. A place of paradox at a tipping point. We wonder what Vienna, and co-director of Art Dubai’s Global Art Forum. visual legacy the Middle Eastern artists of today will create.

306

MOJEH WOMEN

IN HER OWN

WORDS With 2018’s edition of the Emirates Airline Festival of Literature taking place this month, March 2 - 10, three of its female authors put pen to paper, as they discuss their past, present and future

ARE WOMEN WRITERS BURDENED WITH SOCIETAL NORMS AND LIMITS? I never think of myself as female or male when it comes to my work. I grew up as a tomboy with a handful of brothers, I went to a very male university — the ratio was seven men to one woman at my Oxford college — and I was the first woman to be employed in corporate finance by my investment bank.

But being female did ignite my career as a writer. When I couldn’t find a financial thriller with a heroine at its centre (rather than as a love interest) I wrote one. No-one was writing financial thrillers at the time. Investment banking was a closed world to outsiders so I was lucky.

The publishing industry jumped at this new genre, written with a female eye. For my entire seven-year career as an investment banker, I’d had to kick down doors. This time, as an author, I tapped and the door flew open.

Nest of Vipers must have struck a chord because it went on to be published in 30 territories around the world, sell millions of copies and has been optioned four times by the film and TV world, currently by the wonderful Anne Thomen of Athom Entertainment.

I’ve gone on to write 12 more books, for adults and for children,

and all the central characters are female. From the big-wave surfing meteorologist, Dr Gwen Boudain in Ark Storm, to 15-year-old Merry Owen in Longbow Girl the first female archer in 30 generations of longbow men, all my heroines are action women and girls.

This is no accident. My own upbringing made it so. My father, Glyn Davies, had fought in the Second World War in the Royal Dragoons. He believed that you needed to raise children able to look after themselves, armed with the knowledge and physical abilities to get themselves out of trouble, and to fight if absolutely necessary. My father was an early feminist, though he would never have used the term. An equalitist is maybe a better reflection of who he was. So he taught my three older brothers and then he taught me. He made no allowances for the fact that I was female. He expected me to be just as proficient as my brothers and I shall always thank him for that.

Some of his best and most memorable lessons were: 1. How to make a fist so that you don’t get your thumb broken if you punch someone.

2. Always memorise the way out of any building you enter so that if there is a fire or a power cut you can find your way out in pitch dark or thick smoke.

3. Always be able to carry your own body weight. This means that you could carry someone and help them escape if need be, or be able to haul yourself up a dangling rope to escape.

These were useful lessons and I liked looking at the world from a perspective where I was expected to be able to take care of myself. I think that philosophy helped sow the seeds of being a writer by firing up my imagination, and teaching me to see the world from multiple angles.

It also explains my long-term fascination with powerful heroines as opposed to the all too common and profoundly disempowering portrayal of women as victims.

Gwen Boudain in Ark Storm rides 30-feet waves for kicks.

Big wave surfing has always been a male domain, and I loved crafting a heroine, six-foot tall and muscled, who takes on the boys at their own game, both in the sea, and in the world of high finance and ultimately, counter-terrorism. She is a kind of female James Bond.

Merry Owen’s physicality and courage are integral to the story of Longbow Girl. As well as being a strong and skilled archer, Merry is also a skilled horsewoman. Roaming the Welsh hills on her Welsh Section B pony Jacintha, she makes an incredible discovery, which, if she has the courage to act on it, will change her life forever and echo down the generations past and future. She also gets to ride a jet black Arab stallion!

And she must swim along a treacherous underwater channel in the river of time…

I wanted to get Merry out of the confines and comforts of her room, into the physical world, leading an active as opposed to a passive life.

Now I have a soon-to-be 14-year-old daughter I feel even more strongly about the need for powerful, positive role models for girls. Not girls who are in peril, who need rescuing from danger, but dangerous action girls who are fighters, whether in a specific literal or metaphysical battle or in forging their own path through life.

This philosophy does away with concepts of either victimhood or entitlement, both of which are damaging and hindering in creating a happy, successful and useful life. Identity is sparked and owned by taking action, by developing hobbies and skills, by inhabiting our physical bodies, strengthening and using them rather than primping and preening them.

But where are the inspirations for our girls in literature and film? Katniss Everdeen (The Hunger Games) has done our teens a huge favour by being a strong, powerful role model.

She is not anyone’s accessory, draped provocatively in music videos or taking vicarious power from a stronger male. She is a skilled and brave fighter. A leader of a revolution. A supremely dangerous woman. But she’s still an exception.

As a novelist, I don’t have a political agenda. I’m a story

teller. I write to entertain. To keep you up all night. But my passions and fascinations do more than seep through. They are powerful inspirations.

I pen adventures with women and girls at the centre because to inhabit their various worlds is the very best of fun, both for me, and I hope for my readers. Female and male.

Linda Davies is the author of Nest of Vipers (November 2015), Longbow Girl (September 2015), and Ark Storm (August 2014). She has lived in Peru and Dubai, and currently resides with her family in the English countryside

“

As a novelist, I don’t have a political agenda.

I’m a storyteller. I write to entertain. To keep you up all night.

Linda Davies

DOES THE USE OF A PEN NAME HELP A FEMALE AUTHOR GET NOTICED? I am a writer; a woman who writes, but I have chosen not to hide behind an acronym such as J.K. Rowling or E.L. James.

My job, like any other writer, is to tell stories that portray a wide range of people, something that I believe men and women are equally capable of doing.

This wasn’t always my view. As a naive 18-year-old, newly arrived in London, I had one of my first real literary awakenings when I read Leo Tolstoy’s Anna Karenina. As I sped through the thumbed, second-hand copy from a quaint little antique shop, I was in awe of Tolstoy’s craft, especially how he, as a ‘male writer’, managed to portray Anna’s struggles and emotions so well.

308

It was only later, as I begun to write myself, that I realised how judgmental my thinking had been. Why shouldn’t he write well from a female perspective? As an author, you’re required to get under other people’s skin regardless of their gender. That’s the fun of it: you get to explore someone who is completely different from you. It’s a learning process.

In my debut novel, When I Wake Up, a psychological thriller about a popular teacher who is beaten and left in a coma, the story is told from five different perspectives — two females and three males. This was not intentional; it was simply how the story unfolded. My novels are not autobiographical, which meant I had to research all five characters. I needed to intimately understand their thoughts and actions in order to differentiate their voices.

As a writer, you’re often asked how much of yourself you inject into a book. People want to know ‘What is real?’ Although I might be inspired by real people or events, that’s as far as it goes. Everything is fiction. At times, I might borrow emotions from my own life, or those close to me, but I always have to twist them so that they suit my characters. At the end of the day, I’m not my characters and they’re not me.

In my upcoming novel What Did I Do? one of the main protagonists has experienced a miscarriage. Even though I directly understand this loss and know how it feels, due to her personality and her circumstances she doesn’t deal with her loss the way I did. She feels a sense of relief, which is grounded in her lack of confidence: she doesn’t believe she would be a good mother.

As a woman, am I judging her for this? No. As an author, am I judging her? No. As a reader, will you judge her? Perhaps.

But as a writer, it’s my job to establish her as a character and that means including the good as well as the bad. I can’t allow myself to be afraid that the reader will mix me up with my characters. The psychology behind their decisions is what drives me. Why do people act the way they do?

Does being a woman influence my writing? I don’t believe that it does. I think the perception people have of male versus female writers is what’s dictating such a debate, and quite frankly, it shouldn’t. I’m sure no one ever asks Stephen King what it’s like to be a ‘male’ writer. He simply likes to tell stories, and does this brilliantly from both male and female perspectives.

So where did the concept of ‘women’s fiction’ come from?

What exactly is it, and is there such a thing as ‘men’s fiction’?

According to Wikipedia, women’s fiction is ‘an umbrella term for women-centered books that focus on women’s life experience that are marketed to female readers’. I cannot find an equivalent for men.

The truth is, neither one should exist. Female writers, just like female designers or female artists, shouldn’t be put into

a box. There should be no need to gender-neutralise your name when promoting your work. Authors should simply be recognised for what they are: storytellers.

As an author you invariably face challenges, no matter who you are. For me, it was finding the time to write. If my husband had pursued this line of work, he would have struggled the same way I did. At the time of writing my first novel, we had three children and busy day jobs, and I had to squeeze in writing time wherever I could, bearing in mind that there was no promise of being published at the end of it.

But when you are passionate about something and you look at this quest as an amazing opportunity to follow your dream, your perspectives change. It means there is no longer any other alternative but to pursue your writing until that coveted publishing deal happens.

To any aspiring authors, I would advise you to simply write without overthinking it. Key the words in and watch the sentences multiply. Then delete most of them and write some more. Know in which direction the story is going and put the time into getting there. It’s a painful, but mostly enjoyable, process that allows you to see the world through someone else’s eyes. You can allow yourself to step into the shoes of an alien, a monster, a murderer, a victim, a conman or a hero.

In other words, it’s highly liberating, whether you’re a male or female writer.

Jessica Jarlvi is the author of When I Wake Up (June, 2017) and What Did I Do? (due out in May 2018). When I Wake Up has featured on bestseller lists in both America and Australia

“

Female writers, just like female designers or female artists, shouldn’t be put into a box.

Jessica Jarlvi

HOW DOES AN AUTHOR’S LIFE INFLUENCE HER LITERARY WORKS? “We see the face that should be doesn’t smile, the sliver of sun between dead tree branches. Time passes differently through a woman’s body. We are haunted by all the hours of yesterday and teased by a few moments of tomorrow. That is how we live — torn between what has already happened and what is yet to come.” – A House Without Windows.

The mechanical assembly of words into phrases and phrases into plot is not a gendered task. And yet I distinctly perform this task as a woman.

I bring to my craft a catalogue of experiences — a man telling me what kind of doctor a woman should not become, feeling the first flutter of movement in a pregnancy, and the conversation with a salesman who insisted on speaking to my husband so that he could make a financial decision for our household. I know what it is to have my actions judged differently. I know what it is to have my aspirations be met with skepticism. I know what it is to hear my daughter call me pretty.

Thus, I write as a woman.

Admittedly, my stories are pedestals upon which I recreate the women I admire – the brave-hearted politician, the ever-patient mother, and the rebellious girl child roughhousing with boys.

My plots are ripped from global headlines. I’ve written about an adolescent boy and his family passing through Europe as refugees. I’ve written about the parliament of contemporary Afghanistan and a woman who served as a guard for King Amanullah’s harem. I’ve written about the tyranny of warlords, the strangle-hold of opium, and a fallible judicial system.

I have been called a feminist writer, perhaps because my women characters are bold and heroic and don’t wait on a male saviour. To be clear, I do not write about glowing and flawless female characters. In my stories, as in my world, there is room for all of us to live in harmony even while we struggle in conflict and imperfection.

Perhaps it is because I insist, through the stories I weave, on spotlighting the exceptional role in our world that my books have been tagged as ‘women’s fiction’. And what is women’s fiction? It is not fiction written only by women. Rather, it is loosely defined as books targeted for women readers.

It is fiction that explores the life experiences of women.

Interestingly, men’s fiction doesn’t exist as a genre but I’ll leave the mystery of why to the reader to ponder.

I can accept the categorisation of my work as women’s fiction so long as the label is not a bottom shelf. I can accept that

“

To be a woman writer is to find sanctuary and enlightenment in words and sisterhood in readers.

Nadia Hashimi

men are capable of writing women’s fiction so long as we understand that women are capable of writing anything and writing with authority. I can accept women’s fiction so long as we reserve space for the conversation around the challenges of writing as a woman. Let us acknowledge that fiction written by women is not given the benefit of a respected review as often as fiction written by men. Too often packaged with covers that imply a narrow, emotional story while covers designed for male literary authors are more symbolic, implying the narratives contained within reveal abstract truths about our world as opposed to the truths of one singular character.

Here is the message being sent: Men explain the complexities of our world through characters. Women write about characters making their way through a complex world.

And in this complex world, I will continue to write as a woman of colour, as the daughter of immigrants, as a woman of science and history. I write as a woman who has nursed a newborn in the moonlight and as a physician who has cared for a child taking her final breaths. I write because my voice adds perspective and dimension to the global library and encourages conversation between estranged family members and curious neighbors.

To be a woman writer is to find sanctuary and enlightenment in words and sisterhood in readers. To write as a woman is to write with power.

Nadia Hashimi is the author of A House Without Windows (August 2016). An internationally bestselling writer, she is of Afghan descent and is an advocate for women’s rights

310

AND THE REST...

Dior’s latest tome celebrates haute couture, Burberry shows its appreciation for the arts, and the latest restaurants to try this March BEHIND THE CAMERA A celebration of the collaboration between Dior and leading fashion photographer Paolo Roversi, Dior Images Paolo Roversi gives fashion lovers a rare insight into the maison’s spectacular haute couture creations. A series of iconic photographs feature models such as Naomi Campbell, Natalia Vodianova and Laetitia Casta, all of whom are captured in beautifully striking, but natural, poses wearing Dior haute couture collections. Roversi’s use of Polaroid film lends the images a nostalgic aesthetic that creates fragile portraits, which exude grace and vulnerability that is his signature. Rizzoli

Lemon Tree, Eileen Cooper, 2017, oil on canvas, courtesy of the artist

Naomi Campbell wears Shalimar dress from Dior’s autumn/winter 1996 haute couture collection by Gianfranco Ferré. Photography: Paolo Roversi. Stylist: Alice Gentilucci. Make-up artist: Pat McGrath. Hair: Julien d’Ys

OIL ON CANVAS “My first visit to Beirut was a whirlwind trip, it was only on my return that I began to consider this experience and the possibility of painting about it,” Eileen Cooper tells MOJEH, when explaining the inspiration behind her No Title, Farah Salem,

ATTRACTIONS ARE MANY

latest exhibition at the Letitia Gallery in Lebanon. “I see art as a personal journey,” she continues, “making sense of the world, yet also as a means of communication and an exchange of ideas.” When asked which artistic

Alliance Française Dubai presents photographer Farah Salem’s collection of photos

themes dominate her artwork, she replies: “Female

shot over a five-year journey spent exploring the colourful streets of Kuwait City. “I

identity, relationships, motherhood, family, creativity

aim to allow people to see that there is more to Kuwait City’s urban life,” explains the

and the natural world.” Eileen Cooper: Under the Same

creative. In-Between the Skyline of Kuwait City by Farah Salem, until February 10

Moon at Letitia Gallery in Beirut, until April 1

Singer Tom Odell performs at Burberry’s autumn/winter 2013 womenswear show

PAYING TRIBUTE Since first joining Burberry in 2001, Christopher Bailey has placed enormous importance on fashion’s collaboration with musicians. “Music has influenced me profoundly from a very young age and has always been an emotive companion in my life.” To mark his departure from the brand, Burberry is celebrating its long-standing appreciation for music with a dedicated playlist, entitled 17 Years of Soundtracks.

Over 200 tracks include the likes of Adele, Elton John and The Cure, and recorded interviews with notable collaborators such as Tom Odell, James Bay and Paloma Faith are also featured. “This patchwork of tracks is a musical tribute to Burberry’s past, present and future,” concludes Christopher.

Available at Apple Music

Crab Market, DIFC

Toro + Ko, City Walk

DINING EXPERIENCES A backdrop of Dubai’s financial district and the iconic Burj Khalifa awaits guests at Crab Market, the latest seafood restaurant due to open in DIFC this month, alongside the highly anticipated openings of Flavio Briatore’s Crazy Fish from Monte Carlo and Beefbar. For beachside snacking head to La Mer which welcomes the city’s first Latin American fruit bar, Hola where you can choose from a selection of exotic, fruit-based delicacies. For a heightened sense of sophistication, on March 8, Virgilio Martinez of Lima Dubai, Jess and Chris Galvin of Galvin Dubai, and Jamie Bissonnette and Ken Originger of Toro + Ko will welcome guests to an exclusive dinner, called The Urban Jungle. Peruvian, Mediterranean and Spanish cuisine will be served alongside multiple live installations but hurry, there’s limited places available.

312

CONTEMPORARY: Ab-Anbar, Tehran · Addis Fine Art, Addis Ababa / London · Agial Art Gallery, Beirut · Aicon Gallery, New York · Artside Gallery, Seoul · Artwin Gallery, Moscow · Aspan Gallery, Almaty · Piero Atchugarry Gallery, Pueblo Garzón · ATHR, Jeddah · Ayyam Gallery, Dubai / Beirut · bäckerstrasse4, Vienna · Galería Elba Benítez, Madrid · Marianne Boesky Gallery, New York / Aspen · Galleri Brandstrup, Oslo · Martin Browne Contemporary, Sydney · Canvas Gallery, Karachi · Carbon 12, Dubai · Galleria Continua, San Gimignano / Beijing / Les Moulins / La Habana · Custot Gallery, Dubai · Dastan’s Basement, Tehran · Elmarsa, Tunis / Dubai · Espacio Valverde, Madrid · Experimenter, Kolkata · Gallery Isabelle van den Eynde, Dubai · Galerie Imane Farès, Paris · Selma Feriani Gallery, Tunis / London · Saskia Fernando Gallery, Colombo · Galerist, Istanbul · Gallery 1957, Accra · Gazelli Art House, Baku / London · Green Art Gallery, Dubai · Grosvenor Gallery, London · Gypsum Gallery, Cairo · Hafez, Jeddah · Leila Heller Gallery, New York / Dubai · Kristin Hjellegjerde Gallery, London · i8 Gallery, Reykjavik · Ikkan Art Gallery, Singapore · Inda Gallery, Budapest · Kalfayan Galleries, Athens / Thessaloniki · Galerie Dorothea van der Koelen, Mainz / Venice · Galerie Krinzinger, Vienna · Lawrie Shabibi, Dubai · Galerie Lelong & Co., Paris / New York · John Martin Gallery, London · Meem Gallery, Dubai · Victoria Miro, London/ Venice · Galerie Mitterrand, Paris · Mohsen Gallery, Tehran · Galleria Franco Noero, Turin · Gallery Wendi Norris, San Francisco · Officine dell’Immagine, Milan · Gallery One, Ramallah · Ota Fine Arts, Tokyo / Singapore / Shanghai · Pace Art + Technology, Menlo Park · Giorgio Persano, Turin · Plutschow Gallery, Zurich · Galerie Polaris, Paris · Project ArtBeat, Tbilisi · Katharina Maria Raab, Berlin · Revolver Galería, Lima / Buenos Aires · Rosenfeld Porcini, London · Sanat Gallery, Karachi · SANATORIUM, Istanbul · Sfeir-Semler Gallery, Hamburg / Beirut · Sophia Contemporary, London · Galerie Michael Sturm, Stuttgart · TAFETA, London · Galerie Tanit, Munich / Beirut · TEMPLON, Paris / Brussels · The Third Line, Dubai · Vermelho, Sao Paulo · VOICE Gallery, Marrakech · x-ist, Istanbul · Zawyeh Gallery, Ramallah · Zidoun-Bossuyt Gallery, Luxembourg · Zilberman Gallery, Istanbul / Berlin MODERN: Agial Art Gallery, Beirut · Akara Art, Mumbai · Albareh Art Gallery, Manama · Aria Gallery, Tehran · Le Violon Bleu, Tunis · DAG, New Delhi / Mumbai / New York · Elmarsa, Tunis / Dubai · Grosvenor Gallery, London · Hafez Gallery, Jeddah · Karim Francis Gallery, Cairo · Mark Hachem, New York / Paris / Beirut · Gallery One, Ramallah · Perve Galeria, Lisbon · Sanchit Art, New Delhi · Ubuntu Art Gallery, Cairo · Wadi Finan Art Gallery, Amman RESIDENTS: 1x1 Art Gallery, Dubai [Poonam Jain] · Erti Gallery, Tbilisi [Tato Akhalkatsishvili] · Mariane Ibrahim Gallery, Seattle [Zohra Opoku] · Galerie Kornfeld, Berlin [Farshad Farzankia] · Lakum Artspace, Riyadh [Faris Alosaimi] · The Mine, Dubai [Yasuaki Onishi] · Öktem&Aykut, Istanbul [Jennifer İpekel] · Orbital Dago, Bandung [Iabadiou Piko] · ROBERTO PARADISE, San Juan [José Lerma] · The Rooster Gallery, Vilnius [Kristina Alisauskaite] · Tyburn Gallery, London [Victor Ehikhamenor]

Dana wears dress by Valentino. She’s pictured with a painting (left) by Saria McLaren, corner installation

by Ernesto Neto, light sculpture by Olafur Eliasson, and painting (right) by Matt Connors

Life & Style Collector, curator and cultural entrepreneur, Dana Farouki reveals how her love of art has shaped her Sunset Beach-front home Words by Aimee Dawson

Photography: Borna Ahadi

I

t is the curse of the creative that it’s impossible to leave your work in the office — once immersed in the world of art, it seeps into every aspect of your being. Such is the life of the 37-year-old self-proclaimed “cultural entrepreneur” Dana Farouki.

A Brown-educated art historian, curator, collector, board member to several arts organisations and founder of the online design start-up Bilbareed.com, Dana can’t help but apply her creative eye to her home and fashion choices, too. “I have always been one to care about aesthetics in all parts of my life. I think that fashion and lifestyle are definitely linked to the arts,” she says.

The dream of beach-front living had Dana and her family

escaping to Dubai from New York seven-years ago. Their sleek, white Miami-esque home on Jumeirah’s Sunset Beach is crammed full of quirky art and design — a reflection of Dana’s high-flying career in the art world and a demonstration of her passion for collecting – she has acquired such a desirable collection that she has loaned some artworks to New York’s Museum of Modern Art. “I definitely care about creating a home environment that reflects our tastes,” she says. “My husband and I love design and we have fun adding pieces to our home — so in that way, it’s not like we finished our home and that was it. It changes as time goes on and as we find things we love. It is an ongoing project.”

At the top of her current art wishlist (which she admits

314 Top: Dana wears jumper by Mary Katrantzou. A fashion enthusiast, her favourite brands include Vilshenko, Céline, Mary Katrantzou, Marc Jacobs, Stella McCartney and Valentino Below: Dana’s book by photographer and author Peter Beard showcases his iconographic works and striking images that document his life in Africa

is very long) are works by Laura Owens, Hassan Sharif and a table designed by Rokni + Ramin Haerizadeh and Hessam Rahman.

For Dana, art is a family affair. This stems from a love of making art and visiting museums with her mother growing up. “She likes to say that I gave her a hard time about everything other than accompanying her to see art,” she reminisces. Now Dana’s two children, Tammer, 8, and Gigi, 5, are growing up around the museum-quality works that she has collected over the years. Do they appreciate the art in the same way she did as a child? “They feel very comfortable around art and are also great museum and gallery goers.

I truly believe it’s important for them to be exposed to art as much as possible, because we are a product of everything we see and experience,” she says. “They behave very well around art — no touching, no running — they know the etiquette!” It’s just as well, with pieces by international art world stars like Ernesto Neto and Matt Connors hanging on the walls. Even the lamp in the living room is a work of art crafted by popular Danish-Icelandic artist Olafur Eliasson, and a nearby stool is the handiwork of the Swedish-Chilean artist and designer Anton Alvarez.

No one in the house escapes the art-bug. Although her Lebanese husband doesn’t work in the art world he is always up for admiring a piece. He also knows that art is the way to his wife’s heart and a work in the couple’s bedroom is particularly sentimental.

A big lover of wandering around New York, he started noticing the graffiti tag ‘Love Me’ in Downtown Manhattan, and then even outside of New York, and began photographing them. “The series became really big and he framed and hung them up for me on Valentine’s Day one year,” says Dana. Since the project, the artist behind the graffiti, Curtis Kulig, has become well-known and has done a number of collaborations with brands including Nike, DKNY and Issey Miyake.

Of course, fashion doesn’t escape Dana’s discerning eye. “I do love clothes,” she confesses. “I love shopping

“

My husband and I love design and we have fun adding pieces to our home — so in that way, it’s not like we finished our home and that was it.

Dana Farouki

This page (anti-clockwise from top): Dana’s two children are growing up around the museum-quality works that she has collected over the years. “They feel very comfortable around art and are also great museum and gallery goers”; This stool by Anton Alvarez is made using the artist’s Thread Wrapping Machine, which binds different types of material with a glue-coated thread; Artsy accents pepper Dana’s home, collected on her extensive travels

316 This page (from top): Artist Ryan McGuire designed the photo-painting that decorates Dana’s cabinet, she wears jumpsuit by Stella McCartney; Numerous coffee table tomes and books by the likes of Chanel can be found thoughout her home

and browsing!” Describing her personal style as fun and bold, Dana names Vilshenko, Céline, Mary Katrantzou, Marc Jacobs, Stella McCartney and Valentino among her favourites. An element of the curator’s professional practicality sneaks into her fashion choices. Birkenstocks sit comfortably alongside her Saint Laurent platforms and choosing outfits is an activity of pre-planning — perfect for quick packing, an important skill for Dana’s frequent trips to London, New York, or the family vacation home in Aspen, Colorado.

But most recently, Dana has been busying herself with developing her start-up, Bilbareed. The e-vite and e-card company features designs by local artists that can be personalised and easily shared at the click of a button. The website, which has been live for over a year now, is planning to launch a blog with ideas for entertaining and people will soon be able to order customised cards and invitations in print, too. But building a business from scratch has been a challenge for Dana. “I think about work every hour that I’m awake... and when I’m sleeping sometimes, too,” she smiles. “When you start your own business, you have to be all in. I do have to learn not to internalise every bump in the road — I’m working on it!”

With Art Dubai just around the corner, Dana is looking forward to “the reunion of the creative community” as the international art crowd descends upon the emirate (she is also on the board of patrons for the art fair).

This year is particularly big for Dana, as the Abraaj Group Art Prize that she chairs celebrates its ten-year anniversary. This year’s winner, and one of the young artists that Dana is currently particularly excited about, is Lawrence Abu Hamdan. “He is an artist truly pushing the boundaries of media and ideas. He makes important work that elucidates the audience on essential truths,” she says. “As much as I love beautiful objects, a piece will only really resonate with me if it’s conceptually-rooted as well. The ultimate artist makes work that is smart and visually strong.”

“

When you start your own business, you have to be all in.

I do have to learn not to internalise every bump in the road — I’m working on it!

Dana Farouki

This page (anti-clockwise from top): Dana’s white Miami-esque home on Jumeirah’s Sunset Beach is crammed full of quirky art; Her impressive shoe collection features pieces by Saint Laurent, Charlotte Olympia and Fendi; Dana describes her personal style as fun and bold, which is evident by her Sies Marjan shirt. Love print by Robert Indiana

318

FINAL NOTE

The

Message With gender inequality currently taking centre stage, Myrna Ayad, the director of Art Dubai, shines a spotlight on the role of women in the Middle East’s art world

Manal Bint Mohammed Bin Rashid Al Maktoum created the Dubai Women Establishment and runs the Little Artist Programme at Art Dubai; Antonia Carver, my predecessor, now runs Art Jameel. The majority of Dubai’s galleries are run by women too.

As for Art Dubai, women dominate the fair! Aside from our CEO and founder Ben Floyd, and artistic director Pablo del Val, the rest of the team is comprised of women. Why do women orientate towards the arts? I think every woman has a different objective and mission. I began my career in the arts as a writer and editor, working across Why do women newspapers, magazines orientate towards and books for 15 years before I joined Art Dubai. the arts? I think Personally, I feel compelled every woman has to promote the language a different objective of art and I really believe and mission. in its ability to foster greater understanding and Myrna Ayad tolerance. Having lived in Dubai for 37 years and having had access to a multitude of cultures, I also had the privilege of witnessing not only the city, but the arts scene develop and feel a duty to defend art from and about the Middle East, North Africa and South Asia. Working in the arts requires thick skin, passion and curiosity — the same could be said about working in other industries, but remember: the art world is all about stories and I believe that we feel responsible to share them.

“

Photography: Courtesy of Art Dubai. As told to Annie Darling

W

omen working in the arts and culture sector is not new to the Middle East and Arab world. We’ve had a lot of pioneering women predecessors to learn from and who continue to serve as examples for us to follow. Some of those who have paved the way include HRH Princess Wijdan Al Ali, who established the Jordan National Gallery of Fine Arts in 1979; the Sultan family, who founded the Sultan Gallery in Kuwait in 1969 and which Myrna Ayad, director of Art Dubai continues to promote Arab art; HRH Princess Jawaher Bint Majid Bin Abdelaziz Al Saud, who formed the Al Mansouria Foundation in 1988 to support Arab and Saudi artists and now heads the Saudi Art Council, which stages the annual 21,39 cultural initiative in Jeddah.

Looking at the local cultural landscape today, women dominate the scene. In Abu Dhabi, Sheikha Salama Bint Hamdan Al Nahyan established her namesake foundation that acts as commissioner of the UAE Pavilion at the Venice Biennale; the Sharjah Art Foundation that puts on the ambitious Sharjah Biennial and other notable exhibitions is run

by Sheikha Hoor Al Qasimi (and her team of many women); Sheikha Lateefa Bint Mohammed Bin Rashid Al Maktoum is Vice President of Dubai Culture; Sheikha Lateefa Bint Maktoum established Tashkeel; Sheikha