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CONTENTS Women’s Style & Fashion 2010

T 35 Get 6 Contributors

The must-haves: a sheep-chic coat, the gold standard in jewelry and fur in unlikely places.

9 Remix

41 STRIP

It’s all about a fanciful peek into Phoebe Philo’s closet, stepping up at Ferragamo, dry shampoos being the new shine, blondes vs. brunettes, Anish Kapoor for Bulgari, Waking up to reality TV, by Daphne Merkin and a scent of a man. 28 Women in Black. 30 Peeking into a treasure.

32 To bid or not to bid

Copyright © 2010 The New York Times

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Behold the new power dressing. Photographs by KT Auleta

47 Talk

The most reclusive perfumer lets the genie out of the bottle. The extremes of anti-aging treatments. Paper swoon. In Damascus, shopping is an art. By Liesl Schillinger. Bibliophile. By Holly Brubach.

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CONTENTS Women’s Style & Fashion 2010

& editor- in- chief Yousuf Jassem Al Darwish Sandeep Sehgal executive vice president Alpana Roy vice president Ravi Raman

publisher

chief executive officer

managing editor

Vani Saraswathi Sindhu Nair assistant editors Ahmad Lotfy Ali John Hunt editorial coordinator Cassey Oliveira deputy editor

art director Venkat Reddy – production Sujith Heenatigala assistant art director Hanan Abu Saiam senior graphic designers Ayush Indrajith Sampath Gunathilaka M D

asst director

managers – marketing Mohammed Sami

Zulfikar Jiffry senior media consultant Chaturka Karandana

media consultant Victoria Ferraris

Hassan Rekkab

marketing research

& support

execut i v e

accounta n t

Amjeth Ali Pratap Chandran

sr. distribution executive Bikram Shrestha distribution suppo rt Arjun Timilsina

Bhimal Rai

61 Well

Fresh paint. Artwork by Viktor & Rolf. Photograph by Nick Knight.

62 The look is street-smart with a French twist. Hit the ground shopping. Photographs

by Hans Feurer. 70 With two controversial new roles and a candor to match her beauty, the ‘’Slumdog’’ star Freida Pinto completes her passage from India. By Horacio Silva.

Photographs by Ryan McGinley. 74 She may be an ingénue, but at 5-foot-10, Rebecca Hall has legs. By Lynn Hirschberg. Photographs by Raymond Meier.

78 Place

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published by

Oryx Advertising Co WLL P.O. Box 3272; Doha-Qatar Tel: (+974) 44672139, 44550983, 44671173, 44667584 Fax: (+974) 44550982 Email: tqatar@omsqatar.com website: www.omsqatar.com

A towering design statement.

80 Seen

DTFF – Scripting an Art.

86 Riad Makdessi

The shifting sands of regional cinema.

On the cover • Photograph by Ryan McGinley. Fashion editor: Anne Christensen. The actress Freida Pinto wears a Lanvin dress. Graff earrings.

Fashion assistants: Alexa Lanza and Yuri Chong. Hair by Duffy for Tommy Guns NY. Makeup by James Kaliardos for L’Oreal Paris. Manicure by Roseann Singleton for Chanel at Art Department. Set design by Matthew Mazzucca.

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Copyright © 2010 The New York Times

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eponymous line of jewelry — mostly gold animal silhouettes, like the diamond-eyed zebra pendant at far left. He says his inspiration is mood-based, and he’s been feeling for Georges de la Tour of late. ‘‘Inspiration is the hard part,’’ Alary says. ‘‘Execution is less difficult.’’

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HANS FEURER Famous for his work in French and British Vogue in the 1970s, like the shot at far right, Hans Feurer photographs women as if they’re wild animals: from a safe distance, with a telephoto lens. ‘‘It crystallizes the style that those girls have,’’ says Feurer, a Swiss photo JIM LEWIS JIM legend. ‘‘And it projects a dream of a way to wear clothes, and to live.’’ He shot theLEWIS 1974 Jim Lewis journalist, aa screenwriter (he wrote with Clark Jimnotorious Lewis is is aaPirelli journalist, screenwriter (hesoft-core wrote ‘‘Kids,’’ ‘‘Kids,’’ with aLarry Larry Clark and and edition of the calendar (it’s basically porn with high-fashion Harmony Korine, in art critic and frequent TT contributor.

But he most Harmony Korine, in 1995), 1995), an anis art andinaathe frequent contributor.

Butcalendar he cares careswent most pedigree; a relatively tame example atcritic center) Seychelles, before the about novels.

The latest, ‘‘The Dead,’’ was published by in 2003. about his his novels.

Thewas latest, ‘‘The King King Is Ishe Dead,’’ was published

by Knopf Knopf 2003. on a 10-year hiatus. ‘‘That an adventure,’’ says of the island romp.

Here,in Feurer ‘‘Everything else did it’s fun — II needed the he else II chic did because because it’s of funAvenue — or or because because needed the money,’’ money,’’ he says. says. zooms in‘‘Everything on some sharply evocations Montaigne, all Ferragamo capes and That mean Lewis hasn’t been moved by his forays, like the he That doesn’t doesn’t Lewis hasn’t been moved his nonfiction nonfiction forays, the time time he HEYMAN ANDlike SARAH LEON Hermès collarsmean (‘‘Two for the Rue,’’ Page 180). bySTEPHEN traveled traveled to to the the Democratic Democratic Republic Republic of of Congo Congo for for aa GQ GQ story story on on child child soldiers. soldiers. ‘‘It ‘‘It was was eye-opening, eye-opening, and and it it was was heartbreaking heartbreaking and and beautiful,’’ beautiful,’’ he he says says of of the the country. country. (A (A snapshot snapshot from from that that ‘‘completely ‘‘completely transformative’’ transformative’’ trip trip is is at at far far right.) right.) On On aa more more recent recent journey, journey, Lewis, Lewis, who who lives lives in in Austin, Austin, Tex., Tex., sniffed sniffed out out the the natural natural perfumer perfumer Dominique Dominique Dubranaamong amongthe thehills hillsof ofItaly Italy(‘‘Smellbound,’’ (‘‘Smellbound,’’Page Page144).

54).

Dubrana

RYAN McGINLEY ‘‘I like to keep things a bit weird and unpredictable,’’ says Ryan McGinley, 32 (near left), who had the ‘‘Slumdog Millionaire’’ star Freida Pinto hurl a glass of wine at him for our cover story (‘‘Out on a Limb,’’ Page 188). At 25, McGinley was the youngest artist to have a solo exhibition at the Whitney Museum of American Art. (A more recent example of his work is at center.) He began taking pictures as a teenager, capturing the skaters and call girls he once lived with at a ‘‘flophouse apartment on Bleecker Street.’’ And he still seeks danger inLiesl his work, often shooting young, androgynous and very nude models ‘‘guerrilla style’’ — in Schillinger the street, withoutitpermits.

McGinley now cites ‘‘bizarre YouTube videos’’ among his ‘‘I like to say I was born in Champagne,’’ Liesl Schillinger says. ‘‘But actually was inspirations, and his latest video project (‘‘Entrance Romance,’’ far left) — in which a hairy Champaign, Ill.’’ Still, as a writer and a traveler, Schillinger got around: from adolescent licks theinlips of the Estée Lauder model Carolyn Murphy — is just begging to go viral. summers spent in a French farmhouse (‘‘I had to learn how to eatdog Roquefort; America,

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we had barely discovered cheddar’’) to covering Moscow during the freewheeling days after the Soviet Union collapsed (‘‘It was like ‘Cabaret,’ but without Nazis’’). Here she loots Damascus in search of, among other things, an aghabani tablecloth (‘‘Confessions of a Soukaholic,’’ Page 48). A literary critic — her byline pops up frequently in The New York HANSabout FEURER Times Book Review — Schillinger is considering writing a memoir her trips Famous for hisAfrica, work in British Vogue in the 1970s, like the shot at far right, through in French the veinand of Graham Greene’s 1936 classic, ‘‘Journey Without Maps.’’

Hans Feurer photographs women as if they’re wild animals: from a safe distance, with a telephoto lens. ‘‘It crystallizes the style that those girls have,’’ says Feurer, a Swiss photo legend. ‘‘And it projects a dream of a way to wear clothes, and to live.’’ He shot the 1974 edition of the notorious Pirelli calendar (it’s basically soft-core porn with a high-fashion pedigree; a relatively tame example is at center) in the Seychelles, before the calendar went on a 10-year hiatus. ‘‘That was an adventure,’’ he says of the island romp. Here, Feurer Viktor &capes Rolfand zooms in on some sharply chic evocations of Avenue Montaigne, all Ferragamo What wild things have the Dutch designers Viktor Horsting and Rolf Snoeren done AND SARAH LEON Hermès collars (‘‘Two for the Rue,’’ Page 180). STEPHEN HEYMAN with makeup? For their controversial ‘‘Black Hole’’ show in 2001 (left), they covered their models — and themselves — in black. And in 2003, they commissioned the makeup maestro Peter Philips to paint a patchwork of past collections onto a naked Maggie Rizer — a kind of retrospective en maquillage. Now, given the chance to riff on our logo, they had the makeup artist Val Garland slap a giant ‘‘T’’ on the face of the golden blond model Jessica Stam, whom the megawatt photographer Nick Knight then photographed (‘‘Fresh Paint,’’ Page 61). As with most of the duo’s creative decision-making, coming up with this concept was a case of tea — or make that T — for two. ‘‘We are control freaks,’’ Snoeren says. ‘‘Everything we decide together, in harmony.’’

From Top, from left: keenan, courtesy of artist commissions, courtesy of team gallery, sharif hamza, mitch epstein, from liesl schillinger, wendelin daan FROM TOP, AFP/getty FROM LEFT:images, NO CREDIT; GIVENCHY HAUTE COUTURE BY RICCARDO TISCI FALL/WINTER 2010; WILLY VANDERPERRE FOR RAF SIM FROM TOP, FROM LEFT: NO CREDIT; GIVENCHY HAUTE COUTURE BY RICCARDO TISCI FALL/WINTER 2010; WILLY VANDERPERRE FORHAMZA; RAF SIMONS; ALARY (2); SHARIF MITCHMARC EPSTEIN; KEENAN; COURTESY OF ARTIST COMMISSIONS; COURTESY OF TEAM GALLERY; LEVI MANDEL; 1974 PIRELLI SHARIF HAMZA; MITCH EPSTEIN; KEENAN; COURTESY OF ARTIST COMMISSIONS; COURTESY OF TEAM GALLERY; LEVI MANDEL; 1974 PIRELLI CALENDAR; FRENCH VOGUE DECEMBER 1977.

Jim Lewis is a journalist, a screenwriter (he wrote ‘‘Kids,’’ with Larry Clark and Harmony Korine, in 1995), an art critic and a frequent T contributor. But he cares most about his novels. The latest, ‘‘The King Is Dead,’’ was published by Knopf in 2003. ‘‘Everything else I did because it’s fun — or because I needed the money,’’ he says.

That doesn’t mean Lewis hasn’t been moved by his nonfiction forays, like the time he WILLY VANDERPERRE traveled to the Democratic Republic of Congo for a GQ story on child soldiers. ‘‘It was If you can’t shake the sight of Laetitia Casta as Brigitte Bardot (‘‘Retrofitted,’’ Page 208), eye-opening, and it was heartbreaking and beautiful,’’ he says of the country. (A blame the Belgian photographer Willy Vanderperre, whose work regularly appears in snapshot from that ‘‘completely transformative’’ trip is at far right.) On a more recent magazines like L’Uomo Vogue, V and Self Service. (His ad for Raf Simons is at far right.)

CONTRIBUTORS journey, Lewis, who lives in Austin, Tex., sniffed out the natural perfumer Dominique ‘‘What was nice about Bardot is that she kept a certain insecurity,’’ Vandeperre Dubrana among the hills of Italy (‘‘Smellbound,’’ Page 144). says. ‘‘Laetitia is the same. There is, in that strong woman, a certain vulnerability that is really beautiful.’’ Givenchy’s Riccardo Tisci recently commissioned Vanderperre to shoot portraits of decked-out models within the gilded confines of the Place Vendôme (center) in lieu of a traditional couture show. ‘‘We wanted to achieve something confrontational, direct and not directly couture,’’ Vanderperre says. ‘‘It was all about the cGINLEY RYAN Ginley Ryan Mtheir presence of the women and their attitude, focus.’’ ‘‘I like to keep things a bit weird and unpredictable,’’ says Ryan McGinley, 32 (near left), who had the ‘‘Slumdog Millionaire’’ star Freida Pinto hurl a glass of wine at him for our cover story (‘‘Out on a Limb,’’ Page 188).

At25, 25,McGinley McGinleywas wasthe theyoungest youngestartist artistto tohave haveaa 70). At solo exhibition at the Whitney Museum of American Art. (A more recent example of his work isMARC at center.)

He began taking pictures as a teenager, capturing the skaters and call girls ALARY heMarc onceAlary livediswith at a ‘‘flophouse on Bleecker Street.’’

Andof heour still‘‘Samurai seeks danger the illustrator whoseapartment creative silhouettes keep the face inShopper’’ his work, shrouded often shooting young,(See androgynous and118.) veryAfter nudegrowing models up ‘‘guerrilla style’’ — in in secrecy. how on Page in Toulouse, the street,attending without permits.

McGinley cites ‘‘bizarre YouTube videos’’ hisin 2003, France, art school in Paris now and touring Europe, Alary moved to among New York inspirations, and his latest video project (‘‘Entrance Romance,’’ far left) — in which a hairy where he has found success illustrating for magazines (BlackBook, InStyle, Cookie) while dog licks the lips of the Lauder model CarolynDKNY Murphy —Vans. is justAlary begging doing design work for Estée Marc Jacobs, Louis Vuitton, and also to hasgoanviral.

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It s All About . . .

The shoemaker . . . Soapy effect . . . Scent Notes . . . Tressing Up . . . Store With Love.

Bleu de Chanel breathes masculinity in its fragnance.

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Lip Shtick

At first glance, Vincent Olinet’s mixed-media sculptures of pretty, frilly things like pastel layer cakes, four-poster fairy beds and glossy lipsticks are seductive, but upon closer inspection they reveal a subversive side. The cakes have collapsed in a gooey mess on their plates, the beds have been left outside to rot in the rain, and the lipsticks have rough edges and are sloppily varnished. ‘‘I like to make shiny, colorful art pieces that appeal to our dreams and urges but actually deal with decay or disillusion,’’ says the Brussels-based Olinet. Apply with caution. An exhibit of his work is at Galerie Laurent Godin in Paris through May 15. Go to laurentgodin.com. SANDRA BALLENTINE

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scent notes • chandler burr

Among the clognoscenti, a visit with the Portland, Ore.-based Clogmaster, a k a Cecilia Tidlund, is the stuff of legend. Not only can you custom-design clogs from candy-colored, patent and metallic leathers, you’ll also receive a custom fitting — maybe even a customized dressing-down about your appalling footwear habits. (Silly me, I wore flip-flops.) Tidlund, a native of Sweden and the founder, in 1976, of one of America’s first bespoke clog companies, is an orthopedic-wellness militant à la the Soup Nazi. Which is why, when I phoned Tidlund to solicit her (withering, I was certain) take on one of spring’s big trends — the befeathered, begrommeted, open-toed, high-heeled clog (see Miu Miu, below left; Louis Vuitton, below right; and Chanel) — I was surprised that she wasn’t entirely negative.

First she reminded me that ‘‘we’ve seen them before.’’ Then she added, ‘‘I’d rather people get into a bad fashion clog than a ballet flat or flip-flop. Flimsy shoes are ruining people’s feet. I’ve seen 12-year-olds with bunions.’’ Heidi Julavits

1. L’Eau d’Issey Fleur de Bois, Issey Miyake: In the early 1990s,

Issey Miyake asked Jacques Cavallier to create l’Eau d’Issey, a scent that smelled ‘‘of water.’’ This latest adds Virginia cedar.

2. L’Eau d’Hiver, by Jean-Claude Ellena for Editions de Parfums Frédéric Malle: A sheer bergamot dissolved in warm Turkish

seawater, diffusing in utter silence. Stunning.

3. StellaNude, Stella McCartney: Like Cavallier’s original perfume for McCartney, StellaNude feels like it never quite coalesces on the skin but rather stays atomized in the air, a cloud of ambery, vanillic light.

4. Tom Ford Japon Noir: David Apel has created a fragrance that pretends to shroud you in modesty with fir trees, dark citrus and vetiver. Then, almost imperceptibly, Japon Noir clarifies, like a blackcurrant kir settling to reveal the glassy water of an aquifer.

5. Vivara, Emilio Pucci: A modern chypre created by François

Demachy that deftly avoids ‘‘floral’’ or ‘‘green’’ (or ‘‘chypre,’’ for that matter) and instead smells of summer.

6. Prada Infusion d’Iris: Unlike the gorgeous, purplish, overtly crushed-velvet sensuality of Prada’s original scent, Infusion d’Iris is a silk-smooth, colorless luxury, weighted with the beauty of iris root.

from Top: From Galerie Laurent Godin, Paris; from the Companies (6); Jens Mortensen (2).

Clog Posting

Unlike the old masterpieces, which cloaked the wearer in scent, new fragrances are lighter and more transparent, engineered to show you off. Some of the best. . . .

Select brands available at 51 East, Blue Salon, Faces, Merch, Sephora and Salam stores

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Cinderella man Clockwise from top: Massimiliano Giornetti; a 1936 wedge; Greta Garbo was a loyal customer; men’s-wearcollection.

A shoe in

Massimiliano Giornetti steps up his game at Ferragamo.

That isn’t to say his years of precise tailoring and attention to detail didn’t aid in his new endeavor. In keeping with the Ferragamo tradition, Giornetti prides himself on quality and innovation. ‘‘Salvatore was a pioneer,’’ he says of the brand’s patriarch, who started out in Hollywood and became known as ‘‘the shoemaker to the stars.’’ ‘‘He perfected his craft by using materials that he had around him, and that’s where his invention came from.’’ In one legendary footnote, Salvatore improvised the ‘‘cork

wedge’’ shoe in 1936 when trade restrictions inhibited the use of leather. So far, Giornetti’s adopted family seems to approve of his direction. ‘‘The other day Mrs. Ferragamo [Salvatore’s widow, Wanda, who took over the company in 1960 after her husband’s death and is now honorary chairwoman] called to talk about the new collection while I was working on fabric. We talked about what kind of woman she is.’’ Let’s hope Giornetti had a relaxing vacation; a lot is expected from him. Christopher Bollen

Now Prescribing • mood-altering scarves

Julien David apprenticed with Narciso Rodriguez and Ralph Lauren in New York, but when the 31-year-old French designer ventured out on his own, he went back to Square 1: the scarf. His collection, which he started in Tokyo in 2007, uses the finest Japanese silks and cashmere — to wildly irreverent effect. Artificial growth, for example, is his theme for this fall. This plays itself out in something as unusual as a pill motif, which the designer blows up into a giant two-toned capsule (left), whose colorful geometry drapes around the neck. ‘‘I tend to like gigantism,’’ David says. ‘‘I thought I could make the silk scarves look very different and interesting [by] changing prints and proportions.’’ This September, David will add coats and bags to the mix. Artificial growth? More likely, natural progression. Amy Thomas

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Shoe: From Salvatore Ferragamo; AFP (3); Bottom: Antoine Wagner.

Massimiliano Giornetti planned to spend his summer vacation in Puglia, a popular Italian getaway several hours from his home in Florence. ‘‘I’m not entirely a free spirit on holiday,’’ says the 38-year-old designer, who was recently named Ferragamo’s creative director. ‘‘I like some structure, with a little room to be adventurous.’’ A perfect metaphor for his design mantra at Ferragamo, where he has helmed the men’s-wear divison for the last decade. Any question as to whether Giornetti could translate his masculine sensibilities to the more mercurial closets of women was answered in his much lauded fall collection.

He managed to channel the independent spirit of Salvatore Ferragamo’s devoted customer, Greta Garbo, while creating sharp, assertive glamour: fur-lined capes, cuffed leather shorts, thick cable knits and a three-piece pinstriped suit that seemed like a 21st-century version of ‘‘Annie Hall.’’ ‘‘I don’t believe in fashion as provocation.

I’m not interested in the ‘wow’ effect,’’ he says. ‘‘I’m more concerned with beauty and decoration. Fashion is not a primary necessity in life. The point of fashion is to make your daily life more special.’’ Surprisingly, the designer felt no timidity tackling women’s wear. ‘‘Doing men’s wear was actually more of a shock to me,’’ he says. ‘‘Women are braver about fashion. There is much more freedom in what you can attempt.’’

P o rtrait by T ina T yrell

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closet case

We can’t really see Philo wearing Martin Margiela’s see-through number; her take on the full-nude look for spring 2010 is easier to pull off.

Who you calling a minimalist?

This patterned sweater from pre-fall 2010 appears to be an homage to the maximalist master Kansai Yamamoto.

Tress Test

shape shifters

Before there was HGTV, there was Gaetano Pesce, the legendary Italian architect and designer who once espoused the joys of D.I.Y. in a column for French Elle and actually made good on it. His 1972 Golgotha chair, part of the permanent collection at MoMA, was the first of his many forays into the world of mass customization: its Dacron-filled seat assumed different shapes depending on who sat on it. Now, another clever bit of personalization: Pesce’s new shoe for the Brazilian company Melissa — an ankle bootie composed of interconnected PVC circles, whose form can change at the whim of its owner with a swift slice of the scissors. Cut once, and the boot becomes a bootie; cut again, and it’s a ballet flat, a peep toe, a sandal or even a flip-flop. ‘‘This is the future of mass production,’’ Pesce says. ‘‘With the technology we have today, we can give people something that is half done and ask them to finish it.’’ Go to melissashoes.com.br JILL SINGER

Would Catherine Deneuve have made as convincing an ice maiden had she been a brunette? That question gets explored in depth in ‘‘Brune/Blonde,’’ an exhibition

by Alain Bergala opening this October at the Cinémathèque Française in Paris.

Blondes, as it turns out, were most often cast as housewives until the 1930s, when flaxen-haired women became typecast as sultry and dangerous. A book of the same name will be released concurrently and include essays by film and cultural historians like Michelle Perrot, Dominique Païni and Stéphane Guéguan, along with an interview with Deneuve herself.

And to get to the root (pun intended) of the issue, ‘‘Brune/Blonde’’ looks beyond cinema to the significance of women’s hair color in art (Alphonse Mucha, Francesca Woodman) and mythology. Somehow we already knew Rapunzel couldn’t have pulled off a Louise Brooks. Holly Siegel Hair raising ‘‘The Naked Kiss,’’ Samuel Fuller, 1964.

This functional, uncluttered look for fall 2010 makes us wonder if she doesn’t have a dress or two by the ’60s modernist André Courrèges lurking in her closet.

Top, foreground: from Celine (4); background: afp; Yamamoto: Philadelphia Museum of Art: Gift of Hess’s Department Store, Allentown, 1974; Courrèges: Australian Wool Innovation Ltd. and London College of Fashion; Left: From Melissa; Right: ‘‘The Naked Kiss,’’ Samuel Fuller, 1964, Wild Side Films.

If the clothes Phoebe Philo wears shape the clothes that she designs — ‘‘I’ve always had a sense,’’ she said in a recent interview, ‘‘that if I can’t wear it, what’s the point?’’ — then what pieces from her personal wardrobe has she drawn from for Céline?

Here, an imaginary peek into the designer’s drawers. ALEX HAWGOOD

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tommy’s tunes

lady thriller

Arnold Scaasi’s mostly over-the-top creations have adorned everyone from Mamie Eisenhower to Louise Nevelson, from glittering trophy wives flush with 1980s money to an order of nuns in Pennsylvania. ‘‘Scaasi: American Couturier,’’ a survey opening Sept. 25 at the Museum of Fine Arts, Boston, showcases his designs for four of his most loyal clients: the actresses Arlene Francis and Barbra Streisand, and the socialites Joetta Norban and Gayfryd Steinberg. Sitting beneath a late Picasso in his Manhattan living room, with a view of ships sailing leisurely along the East River in the background, the couturier (born Arnold Isaacs in 1930) talked to Leslie Camhi about his half century of making a very select group of women feel special.

The Rolling Stones ‘‘Sympathy for the Devil’’ Pink Floyd ‘‘Shine On You Crazy Diamond’’ Kings of Leon ‘‘Use Somebody’’ Katy Perry ‘‘California Gurls’’ Vampire Weekend ‘‘Taxi Cab’’ David Bowie ‘‘The Man Who Sold the World’’ The Who ‘‘Love, Reign O’er Me’’ The Doors ‘‘L.A. Woman’’ Blondie ‘‘One Way or Another’’

Guns N’ Roses ‘‘Sweet Child O’Mine’’ Green Day ‘‘Welcome to Paradise’’ Mary J. Blige ‘‘The One’’ No Doubt ‘‘Just a Girl’’ Lenny Kravitz ‘‘American Woman’’ Red Hot Chili Peppers ‘‘Californication’’ Snoop Dogg/Pharrell ‘‘Drop It Like It’s Hot’’ MGMT ‘‘Time to Pretend’’ Beyoncé ‘‘Crazy in Love’’ The Black Eyed Peas ‘‘Rock That Body’’

Do you still follow fashion?

I read Women’s Wear Daily every day.

What do you think of stores like H&M, which sell clothes meant to be disposable?

I think it’s healthy. And I don’t think the clothes are disposable at all. I’ve never known a woman to throw a dress out, unless it fell apart.

Your career really took off again in the ’80s, during this very flush period.

Do you have any sense of the role of fashion in leaner times?

No, I don’t. Isn’t that strange?

It’s honest. Did you ever take inspiration from what people were wearing on the street?

No. I took my inspiration from my mother, who was dressed beautifully, and my aunt, who had lived in Europe and wore Chanel and Schiaparelli. And I had a very beautiful sister who loved getting dressed up.

Tell me about the nuns.

It was a very interesting experience. First of all, I’m Jewish. And second, I had never thought about doing a nun’s habit. So when they came to me, I was very excited. And after I designed it, one of the young sisters came back and showed me how it looked. And it looked great.

You seem an odd choice for the job, given that you were known for ultraluxurious and glamorous evening wear.

I don’t know. They’re women. And they like to look as good as they can.

Now showing • mixed-up media

MoMA’s ‘‘New Photography 2010’’ series opening next month focuses on hippersnappers like Alex Prager (‘‘Desiree,’’ above), who get their material from magazines, television and movies. Alix browNe

Clockwise from top left: From Ernestine Carter Collection/Fashion Museum - Bath and North East Somerset Council/ Museum of Fine Arts, Boston; Tommy Hilfiger ARCHIVES; Alex Prager, courtesy of Yancey Richardson Gallery.

One of the perks of being a famous fashion designer is getting to hang out with the Rolling Stones or Britney Spears and cast David Bowie in your ad campaigns. And it’s true that when it comes to his musical inspirations, Tommy Hilfiger doesn’t just talk the talk — he rocks the rock. A new book from Assouline, celebrating Hilfiger’s 25th anniversary, covers these greatest-hit moments and more. (You may not be invited to the anniversary bash, but you can tune in with his playlist, below.) Here is Hilfiger, in a photo from the book, with his wife, Dee, on their way to Kid Rock’s wedding.

Shine on you crazy diamond, indeed! Alix Browne

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MUST-HAVES • Hippie Chic

Bottega Veneta bag, QR28,650* ($7,850). Go to bottegaveneta.com. ilan rubin

The artist Anish Kapoor is known for his large-scale, often highly polished and mind-bending sculptures, many of which are currently on view at the Guggenheim Museum Bilbao, where he is having a major solo exhibition. The ring he recently designed for Bulgari would make the ultimate souvenir. The concave stainless-steel band capped in pink gold is like one of the artist’s works — pocket size rather than park size — and will serve as the inspiration for a larger piece to be auctioned off later this year to benefit Save the Children’s Rewrite the Future program. ALIX BROWNE

going to the matte

Dry shampoos are the new shine.

Hair powder was so common in late-18th-century England that a parliamentary tax was placed on it.

Are you listening, Congress? This spring sees the debut of iterations by Oribe, Kevin.Murphy, Alterna, Umberto Beverly Hills and Tresemmé. While some are branded as dry shampoo and others as hair powder, all provide matte texture and body. And you’ll need them well past the lank days of summer: backstage at the fall 2010 shows, hair powder was no longer a secret oil-absorbing weapon but rather a key component of the look, especially the season’s two most prominent trends, naturally undone and ‘‘Mad Men’’-inspired glamour. ‘‘I like hairstyles that look like there’s no product in the hair,’’ says Orlando Pita, who flanks his dry shampoo with a dry conditioner. ‘‘Shine products have run their course.’’ HOLLY SIEGEL Taking a powder From left: Kevin.Murphy Fresh.Hair; Bumble and Bumble Hair Powder; Oribe Dry Texturizing Spray; Orlando Pita T3 Refresh Volumizing Dry Shampoo; Psssssst Instant Spray Shampoo; Umberto Beverly Hills Dry Clean Dry Shampoo.

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fashion editor: melissa ventosa martin. set styling by anna levak. Top: from Bulgari; Bottom: illustration by shawn kuruneru; Jens MOrtensen (6).

Ring Around the Rosy

*Prices are indicative

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Ads

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samurai shopper: s. S. Fair

Raising the Bar It’s time to lather up! Irrespective of what you’ve heard, soap is not a dirty word.

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nyone out there remember soap? The Samurai Shopper does, and admits a sentimental affection for soap’s plain-Jane properties.

Soap may not be the most voluptuous product you’ve ever used, but it is efficient, disposable, a marvel of minimalism. I, like many others, traded up to fancy-pants facial gels, foams and creams that smell expensive — and are. But washing with emulsions of Meyer lemon or fig makes me think: what do figs smell like anyway, and should I smell like one?

The Samurai Shopper won’t revert to gratuitous, self-mortifying austerities even now, but a bar of soap seems tempting, especially when packing for a trip. Watch me clumsily funnel product into teeny bottles, cursing those who’ve made air travel liquid-lite. And I share the melancholy in my native land: people pining for their what-me-worry past when beauty began and ended at the bathroom sink. Grab soap, wash face, pat dry, move on. It’s a Doris Day movie.

Of course, soap, along with hygiene, had barbarous beginnings and is still possessed of a crude alchemy: fatty acids — melted-down animal fat, usually beef — treated with sodium salts extracted from lye. (That’s sodium tallowate in mass-market parlance.) Cheap soaps do banish dirt; the trouble is they mess up the skin’s pH (acid/alkali) balance, which keeps skin supple.

We’ve bought the propaganda that all soap is bad from the neck up, but that’s a crock.

Fine soaps use plant-based oils that have less detergent and are less drying. My face likes olive-oil-based soaps from Castile in Spain and Marseille in France that have been around for centuries. They’re mostly fragrance-, preservative- and animal-fat-free. They also have history and provenance. Whole Foods has

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a bevy of modern bars made the old-fashioned way that clean, exfoliate, brighten and moisturize with pure oils and butters, plus the occasional shot of milk, vitamins and herbal essences.

Mountain Ocean’s Skin Trip — under QR60* ($5) — is ridiculously good for face, hair and body; use it and save up for the higher-priced spreads that stay on your face all day and night.

Though I can’t claim any Nubian Heritage, that brand’s Carrot & Pomegranate and Coconut & Papaya Soap With Vanilla Beans (both QR15* /$3.80) are superfatty, supergentle. One With Nature’s Almond Soap — under QR20* ($5) — is invigorating. Ditto Alaffia’s Shea Butter & Goat’s Milk Daily Toning Facial Soap at about QR15* ($4) — in travel-friendly three ounces.

Unless you have serious dermatological issues, dry-skin panic is just that. After washing your face, you know the drill: apply serums and emollient creams, and you’ll seal in moisture and replenish oils. And if you don’t do this, why not? New Yorkers with supersensitive skin

and a 21st-century conscience can support local business with a perfect soap from 3Lab, based in Englewood, N.J. It’s called One Perfect Soap QR60*($15), and it is. The Brooklyn-based McBride Beauty gets respect for its Soy & Coconut Cleansing Bar QR45*($12), with six elementary ingredients.

Less-than-perfect soaps can leave a film that doesn’t wash off readily in hard water, ergo the dreaded ‘‘soap scum.’’ But whatever your water’s texture, Erno Laszlo’s devotees can work it. Laszlo’s iconic Sea-Mud soap QR150*($39) has ruled the roost since Garbo, the Duchess of Windsor and Marilyn Monroe were clients. Washing with Laszlo soaps means following his splashing technique: 20 rinses with soapy water (formerly 30), plus 10 in clear water.

A tad boot-camp-ish but not silly, since rinsing well removes soap scum and rinsing some more adds insurance.

Animal-righters are missing a real gem in Lanolin Agg-Tval Eggwhite Soap from Sweden.

A single bar from New London Pharmacy QR20* ($4.50) used with Jane Iredale’s Magic Mitt QR60* ($15) will astound. The Magic Mitt removes makeup without cleansers — hence, magic — but I’d rather lather Agg-Tval, then circle with the Mitt to loosen any embedded debris.

Clinique’s Facial Soap QR40* ($11) is a staple in its lineup, but I’m not a believer.

Clarins’s QR55* ($15) soap is unremarkable, too, but both are bargains compared with Sisley Paris’s Phyto-Pâte Moussante Soapless Gentle Foaming Cleanser, at QR400* ($105).

In between are lush, handmade, triple-milled possibilities that raise the bar on soaps of yesteryear. So come clean. Admit it: A soap bar is easy, and the only thing it strips away is the fussiness of skin care n

*All Prices are indicative

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Dream Girl

Adrift in fantasy, Daphne Merkin wakes up to reality . . . TV.

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uch as we might rag on it, the awful truth must be looked at head-on: Reality TV, that fiction of verisimilitude, is, even for people who read W. G. Sebald and enjoy grim Scottish films with subtitles, supernally addictive. Not always and (let’s hope!) not forever, but in the right now of it. Sure, sometimes one is simply not in the mood for all that virtual id, the jawing and bitching, the glaring white teeth and the faux familiarity. And it is possible to envision a day in the not-too-far-off future when one might return to an old-fashioned pastime, like doing one’s nails, over the vicarious pleasures of comparing and contrasting the suntans and blown-out blondness that beset the Real Housewives of Orange County. Meanwhile, though, one stays tuned, fascinated by the mindless commotion, caught on the hook of the souped-up dramas that barge into every episode, unsure whether one is watching a version of oneself or a counter-version or perhaps an alternate version. Which brings me to the question: Who might one be if one were to be played by a reality-show star? Who might one want to be?

First, indulge me in a bit of scene setting. Think New York City, a tony Italian restaurant on the Upper East Side, lunchtime on a gray Monday afternoon in early March. Cut to me, played by myself, wearing a radically unchic down jacket and floppy corduroy pants, rushing up the stairs of the restaurant, tardy to the party as usual. At a choice corner table overlooking 86th Street, a trio — a man and two women — awaits me. I was expecting only one person, but hey, when you’re this famous, you can’t be expected to sit alone. Or is it that you can’t afford to be seen sitting alone, can’t afford to be stuck in the clumsy quotidian reality of being on your own, unattended by others?

At any rate, here she is. Jill Zarin, she of the bright auburn hair and unmistakable Five Towns affect. For those of you who remember the original Clairol ad, I submit: If I’ve only one life to live, let me live it as Jill Zarin. I, too, want a passive, overly generous husband; I want lots of designer clothes (one thing all the Housewives are indubitably about is fashion) and lots of oversize accessories and a snappish teacup dog named Ginger; I want a big house in the Hamptons, even if I have to sell it and rent it back; I want a mother who thinks I walk on water; I want, most of all, to be a happy JAP — to wake up in the morning adoring myself and believing in my own capacious, largely untested abilities.

Or so, at least, I have imagined to myself while watching ‘‘The Real Housewives of New York.’’ Zarin suggests that it is possible to live an authentically unexamined life without moral repercussion. It’s not that she doesn’t think about things so much as that her mind seems mostly filled with unessential bric-a-brac. Still, she’s a very busy gal, what with selfpromotion and keeping up with all the other reality shows, which she watches diligently. She tries to be a great friend, but the will to gossip

animates Zarin the way some people are animated by the wish to paint, or to do good; it is her aqua vitae.

Zarin is accompanied by her doting assistant, Darren Bettencourt, who used to be a mere fan, and by a P.R. person from Bravo. In person she is pretty and lively, just like she is on TV: the correlation is satisfying, somehow. She is full of opinions — it bothers her that Simon, the über-controlling, soon-to-be-divorced husband on ‘‘Orange County’’ blogged about his marital problems — and is fond of issuing pronouncements on her own celebrity status: ‘‘I like being in an ensemble. It’s very lonely at the top. It’s much more fun getting there.’’ Although one would think the Kardashian sisters had strafed the market in branding potential, Zarin has her own CAA agent and is a spokeswoman for Kodak; she also has a bedding line in development and ‘‘gets paid,’’ as she puts it, ‘‘to show up. I do a lot of J.C.C.’s all over the place.’’ Indeed, she feels sorry for actors because ‘‘we’re taking their jobs.’’ This month, she has a book coming out called ‘‘Secrets of a Jewish Mother,’’ which she wrote with her sister and her mother.

Talking to her makes you realize that the meek don’t stand a chance at inheriting anything and that blind chutzpah is the way to go: ‘‘Oprah’s leaving, so maybe there’s an open spot.’’

David Shields, in his provocatively outsourced book, ‘‘Reality Hunger,’’ argues that the success of the reality-show genre ‘‘reflects our lust for emotional meaning. We really do want to feel, even if that means indulging in someone else’s joy or woe.’’ To which I say: As if. I watch reality shows to escape from meaning, to watch someone else’s marriage break up or a friendship collapse with no more investment than I have in a Toyota commercial. I don’t feel their pain — which, bombarded as we are with calamitous information, is sort of the whole point, isn’t it? n

illustrati o n by maren esdar

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QATAR

The Scent of a Man

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Scorsese tells the Bleu de Chanel story

he House of Chanel has roped in acclaimed filmmaker Martin Scorsese to present the story of its latest fragrance Bleu de Chanel. The story of a man, brought to life by a fragrance. Of how he was born from a Cedar accord, with a fragrant breath of Vetiver and Frankincense, and hints of Moss. Of how he became a hero through the grace of a fragrance. And set off to conquer the world...

This stunning woody-aromatic fragrance conjures up nature in the same way as it interprets masculinity: freely.

Bleu de Chanel is written between the lines, in the present, entrenched in adventure. The language may change over time, but the spirit of the story remains. Unexpected, yet with a distinct identity, it is new to the house of Chanel’s existing fragrances for men.

Chanel gave a free hand to Academy Award winning filmmaker Scorsese to direct the film.

And as the hero of the film and the Fragrance line, French actor and rising international star, Gaspard Ulliel, was cast.

The film is about a captivating, young actor whose artistic talent, rebelliousness and luck have recently catapulted him into the public eye.

Though he’s refused to bow to conformity throughout his career, today he finds himself pushed into a lifestyle he has yet to fully embrace.

He’s trapped; struggling to find satisfaction of spirit in an industry that is non-spiritual, where he will always be in danger of being corrupted – but one that will allow him the freedom to tap into an endless well of inspiration and do what he does best.

There’s a loneliness about this man. With his latest film’s release, life as he’s known it is about to end – but he isn’t ready to turn his back on his old life quite yet.

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Qatar

where ART lives.

Blue de Chanel Martin Scorsese presents the story of a man, brought to life by a fragrance.

He is a man out of time, stuck in the past… stuck on a girl: Sofi, his first love who for years supplied him with the passion and turmoil he felt he needed to fuel his work. When publicly confronted with Sofi after a long break, he’s unsure if he still loves her, or if he’s merely trying to possess the romanticized version of her that never existed.

He’s forced to make a decision. In the end, as emotionally conflicting as it may be, he will overcome his self-doubt, embrace his new life and find a way to continue doing what he does best : the unexpected.

Scorsese was born in 1942 in New York City, and was raised in the neighborhood of Little Italy, which later provided the inspiration for several of his films.

Scorsese’s first feature film was in 1968, entitled Who’s That Knocking At My Door?

Since then he has made several critically acclaimed films including Taxi Driver, and most recently Shutter Island.

Gaspard was born in 1984 in Neuilly-surSeine, France, and has always lived in Paris.

Most of his schooling took place in a bilingual school. He was drawn to the arts, particularly drawing and painting, from a very young age and dreamed of becoming an architect. But destiny carved a different path for him.

Following a chance meeting with a movie agent, he landed the role in a made-for-TV movie while still in middle school.

Bleu de Chanel is being launched in September. n

If you want your preferred customers or guests to receive VIP copies, join our “Preferred Destination Program” email: tqatar@omsqatar.com or call Patricia on +974-44550983 23

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QATAR

Longines expands in Dubai

With its more than 175 years of history, Swiss watch brand Longines opens its second boutique in Dubai at Mirdiff City Centre, expanding its franchise to three stores across the Middle East.

The Longines brand is furthering its establishment into the Middle Eastern region as it marks its expansion with the opening of its newest franchise in the market, appealing more and more to region’s clientele.

Longines is available in Doha at Alfardan Jewelry.

Love is in the air...

Literally speaking – at the Love Moschino store in Pearl Qatar’s Porto Arabia. Heart-shaped light fittings dangle from the ceiling! To add to the atmosphere, a bright red velvet couch covered in appliquéd hearts occupies pride of place in the store.

The Pre-Fall 2010 collection at the store reflects an inspiration from the Eighties and from the Moschino archives that have been given a contemporary twist.

Franco Moschino’s inspiration for creating fashion was based on surrealism, irony, humor and a quirky ability to dress women elegantly while simultaneously satirising life. It’s a message the house has tried to maintain since his death in 1994.

The women’s Pre-Fall collection features sleek silhouettes, which include skinny pants, leggings and dresses. Jackets have less outrageous shoulder pads than those of the eighties.

The Black and White collection features an all-over print inspired by the Queen of Hearts from playing cards. Notable are the short dress in the all-over black flock print on white and a matching coat.

LBDs in this collection have a nice white stitch detail. Black platform wedges, T-bar black shoes with gigantic buttons, high heels with 3 black hearts, red shoes with hearts all accessorize this collection perfectly.

The more vibrant colored collection is the one with the animal print in bright royal blue. It features a

velvet jacket and skinny jeans apart from knits and t-shirts. This is also available in a black and white version.

All the collections have t-shirts with places prints typical of the label’s eclectic, irreverent signature.

Inspired by eighties cartoons and pop art. The placed prints have appliqués and jacquard patterns.

The Rock legend tee in red, a red polo with puffed sleeves and “let it roll” print on the front and a black dress with chains at the neck are the ones that stand out.

Clutches with rosettes in red, and nude are musthaves! Moschino logo bags with scarves attached in black, nude and black are quite chic. You can always count on Moschino to deliver sleek bags that keep you on the edge of fashion.

The Men’s collections were similar in the sense, each comprised of basic woven plain shirts with huge appliqué embroideries on the back shoulder, basic long sleeves polo t-shirts, some hooded tees, t-shirts with large prints on front, chinos and jeans in classic washes.

One particular collection stands out with navy and red stripes down the length on one side of the front of shirts and t-shirts in black or white. The jeans had matching embroidery on the back pocket; jackets and polos in this collection had the same stripes.

Head to the store to get your fix of this edgy brand with the quirky touch.

Reviewed by Sonali Raman

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sevenfold tie in fine silk

POCHETTE in soft leather with antique gold-plated hardware

Bulgari

Fall Winter must-have accessories for him and her

blue scarf in silk chiffon Black metal sunglasses with serpenti motiv

Purse pen in sterling silver.

Cufflinks in white gold with black onyx.

Black carry bag

*Select items available at The Bulgari store, Villaggio Mall

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Bleisure lifestyle

Bleisure Lifestyle Louis Vuitton’s collection captivates with its perfect blend of business and leisure.

A mix of formaility and comfort Vienna’s Wiener Werkstätte in the early 20th century attracted a community of artists including Franz Kafka and Egon Schiele with their own creative way of mixing business and leisure style. For Louis Vuitton’s Fall-Winter 2010-2011 collection, Men’s Studio Director Paul Helbers, under the Artistic Direction of Marc Jacobs, is inspired by this “Bleisure” lifestyle, a mix of formality and comfort inspired by Vienna’s “artist wardrobe”.

“Kafka and Schiele favored very tailored, waisted clothes with short jackets and long coats,” says Helbers. “This collection is built on layering, but it is a precise interlocking.

Each piece belongs to the whole and you can add or subtract to be more casual or representational. Fabrics are bonded to do without linings and coats unzip at the yoke to layer under other pieces. This suits travel and that is always a focus at Louis Vuitton, but also today’s laptop workplace which has

blurred the boundaries between tailoring and casual pieces.”

Accessories for the “Bleisure” lifestyle combine a certain rusticity with techno details and elegant design. Army boot clogs are strapped, layered and studded while sleek patent laceups feature a new metallic wedge sole.

Inspired by the 50s

A manifesto for beautiful, ladylike dressing, Marc Jacobs’ Fall/Winter 2010-2011 collection for Louis Vuitton, with its variations on a single Fifties-inspired silhouette, threw the spotlight on detail. Detail in the form of a graceful drape or an intricately constructed corset. Detail in the form of a carefully chosen accessory or matching shoe. Detail, above all, in the show’s dazzling reinterpretations of the iconic Speedy handbag, which showcased Louis Vuitton’s extraordinary combination of creativity and craftsmanship.

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Louis Vuitton Boutique is at villaggio mall

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Purple Label

Ralph Lauren’s Purple Label continues with its indelible appeal.

The RL Fall Winter Collection “This Fall, I’m inspired by a woman who has a bohemian spirit. She’s a romantic at heart—bold and artistic, with a beauty that is timeless, enduring and always personal,” says Ralph Lauren

Ralph Lauren Boutique is at villaggio mall

Estée Lauder introduces Blue Dahlia The colour of beauty is ‘blue’

Estee Lauder’s Creative Makeup Director Tom Pecheux says, “The blue in the collection is an iconic color for autumn and winter. I like to give women choices in the way that they look.

From a neutral to a smoky to a fashionable, strong look, the blue can be used with them all.”

The Blue Dahlia Pure Color Collection is for smoldering eyes, shimmering lips and bold nails. At the “Myth of the West” themed show, Tom created a strong, intensely energetic look that perfectly tied together the design and fantasy of the clothing. The complete makeup collection includes two distinct looks as well as two complementary lip products that create a visionary, avant-garde look with a touch of whimsical glamour.

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QATAR

Women in Black

Is the Abaya a question of identity? Sonali Raman answers.

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he Abaya is more than a cover to me. It’s a cultural identity,” says Noor Jassim Al-Thani a young fashion designer in Doha.

The traditional black robe that Muslim women don over their clothes in public, in a way, is a convenient solution to everyday wardrobe issues.

Talk to the modern young Qatari women and they will tell you that the Abaya, for them, is their shield from the world... It’s a part of them, their everyday lives, apart from being a part of their culture and tradition. Most of them would feel uncomfortable going out without wearing one and it does make them stand out from the rest of the world. Noor Hamad Al-Thani another young designer working on luxury fashion, calls it “The mystery of Arabian fashion, the signature of the Arabian Gulf women, the Abaya is the ambassador of hidden femininity…”

The women seem so well put together when wearing the Abaya and Shayla (the head scarf ) – there is no question of color coordination or any major fit issues. Hawa Stwodah, an American Muslim who lived in Doha for a few years working with fashion graduates and teaching fashion design students at the Virginia Commonwealth University, Qatar, feels that the purpose of the Abaya is to cover, to protect and also liberate the wearer while allowing anonymity and freedom to move with ease in their society. “When I came back to the States, I decided to wear an Abaya to a formal event – I received more complements on the outfit than ever before and it was the quickest I’ve ever gotten ready. I didn’t have to worry about wearing constricting undergarments, or the

neckline or hemline being inappropriate. I felt modest while still being fashionable.”

Islamic feminism A symbol of Islamic feminism, beauty, modesty and culture – there isn’t much that is traditional about the modern day Abaya apart from the use of the color black!

In the past, women used to get their abayat made-to-measure. They would enter the Abaya store, choose the fabric, the motif they want to use for embellishment and the style – loose or fitted etc. Some of the more popular stores in Doha are Al Motahajiba and My First Lady, apart from the Souqs. Some women still prefer to get their abayat specifically tailored while others have gravitated towards the designer

branded or ready-to-wear abayat.

Fashion from the region “I would get my evening abayat from Saudi because I want something unique,” says Hend Zainal, a Qatari graphic designer. The beautiful hand embroidered and patchwork Abayat, mostly from Saudi, are classy and tastefully made.

Bahrain, known for using a lot of Zari embroidery, excels in this craft. Abayat from the UAE use chiffons and silks, appliqués and oversized crystals for embellishments. Their surface details are big and colorful, often from head to toe. Additions of bright colors as patches are once again a specialty of the UAE. Some are transparent and their styling is more

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Abaya The black robe potrays a cultural identity for Muslim women.

modern. Qatar and Kuwait were known to follow trends in abayat from their neighbors; however Qatar, today, has its own specialized Abaya stores and designers – the brand ‘Noblesse Oblige’ that also sold in Harrods last year, ‘Artistic Abaya’, and several individual designers like Nawal Al-Kuwari, who make small collections for friends and family while setting their own trends.

Typical and current Abayat trends include jersey abayat (made from knitted jersey fabric), the robe Abaya (an open Abaya that looks like a robe and shows off that lustful designer footwear). Tribal patterns and embroidery (cross stitch) is very in right now and the very latest is the Abaya that comes with a matching legging or pants! The Bisht style of silhouette and embroidery which is traditionally a man’s garment (a transparent open robe in black worn over the thobe on ceremonial occasions), is now being used in abayat as a two-layer garment: one opaque layer in black which is plain and the sheer layer is embellished with the Bisht technique of embroidery.

One has seen the rise and fall of the jeweled, crystallized abayat – flashy and shiny adorned on the front, sleeves and back, coming to end, while subtle intricate details are becoming more trendy. The embroideries are concentrated at the neckline and sleeve, and they are more intense now. The sleeves are even fully covered in embroidery, which has a timeless appeal. The cut of the Abaya has changed too – the body has become slimmer in fit while the sleeves are becoming more full and bell shaped. The ‘butterfly’ shaped Abaya seems very popular and flattering to any figure, turn-up cuffs on sleeves that reveal some embellishment or contrast colors, raglan sleeves are also currently in.

Brand appeal Reem and Hind Beljafla started to innovate with abayat designs as some

of their clients who wear international designer brand accessories, wanted to have their abayat match the shoes and bags with similar motifs.

Thus was born the Abaya with quirky branding sporting Chanel, D&G, and Fendi logos. The duo from UAE has recently launched their ‘Das’ collection of abayat at Harrods.

Amal Murad, another designer from the UAE has collaborated with the renowned jewelry brand Van Cleef and Arpels and was also a judge on the MBC ‘Arwa Abaya’ contest.

Brands known for their quality and workmanship are Labasa, Hanayen, and Wings Abayas – all from the UAE. Top European fashion labels like Blumarine, Galliano, Alberta Ferretti, Jitrois and Nina Ricci amongst others, sent models sashaying down the runway wearing designer abayat in an exclusive show held at the George V Hotel in Paris, last year. This show was commissioned

by Saks Fifth Avenue of Saudi and ironically was held four days after Nicolas Sarkozy, the French President struck a nerve in the Muslim world by declaring that full-body veils such as the burqa are ‘not welcome’ in France. The designer abayat worth €4000-8000 were to be gifted to Saks’ most faithful Saudi clients.

Ready-to-wear versions of the same were sold at Saks in Saudi, Bahrain and Dubai later, for much less.

Inspiration from the west has affected the style, cut and embellishment of the Abaya in many ways. A few seasons ago, purple was the color of the moment on the runways in Europe, and you saw a lot of abayat with purple patches

and borders, contrasting the black. Appliquéd flowers that look like Valentino’s huge roses, structured cuts similar to Balenciaga’s dresses, jersey abayat with silhouettes like Body Amr, pearls and flowers a la Chanel, embellishments that look like Ed Hardy’s tattoos, animal prints after Cavalli – you name it and you have it! It seems the Abaya fashion market is quite often guided by the western luxury brands and their trends. Abayat are also an outlet for the women in the gulf to show off their wealth and social status and therefore sky’s the limit.

Two years ago, the Virginia Commonwealth University held a project as collaboration between their two campuses in Richmond (USA) and Doha. The fashion students in Richmond had to design abayat while their counterparts in Doha – swimwear. It helped the students understand a lot about each other’s culture and traditions and some interesting work emerged from this maiden attempt at collaboration.

Expatriates looking to find a reasonably priced Abaya with some embroidery or embellishment can trawl the Souqs, especially Souq Wakif and you can find a nice one between QR350 -750. It would make a particularly nice evening dress or something to take home as a souvenir. Although some expatriates wearing an Abaya tend to attract far more attention than usual, don’t let that deter you from wearing a comfortable and feminine garment. As Pegah Simi, an Australian expatriate and fashion designer, says “…it is often described as a sexy and mysterious garment by expats who watch women walk by with flowing fabric fluttering behind them.”

Wouldn’t you agree with Lejla Niksic, an Arab expat designer, who says: “It’s the only clothing item in the world that makes us feel regal… without wearing a crown.” n

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QATAR

Toujouri brainchild Designer Lama El Moatessem

Bedazzled

Peek into a treasure chest. Cassey Oliveira shares a glimpse.

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ama El Moatessem has always had a creative eye for fashion. During her childhood days, while the rest of the girls turned up in similar color and style of tutu for a ballet show, Lama was the only dancer whose tutu appeared ‘bedazzled’ with extra ‎ribbons, crystals, beads and accessories.‎The very same dazzle is restored in her luxurious fashion label ‘Toujouri’.

In Arabic, Toujouri translates to treasure chest. Her designs with their intricate hand embroidery and bejeweled with Swarovski crystals, are no less treasures themselves. Toujouri’s use of rich colors, plush embellishment, ethereal ‎fabrics and exclusively designed printed ‎textiles reflects a mosaic of traditional value, yet modern and independent.

Balancing culture and fashion For a Middle Easterner to pursue fashion as a career would have been tricky, but support from her family made it smooth sailing for Lama. “My family was a bit skeptical at the beginning, but once they realized it was my ‎passion, they gave their full support. Without their support I would not be ‎able to be where I am now. They gave me the confidence and the freedom to ‎pursue my dreams and have the courage at the age of 24 to go out and start ‎building Toujouri,” she says.

Even so, Lama claims that balancing cultures does need time. “Although we moved to London during my teens, my family was very ‎aware of holding onto our Middle Eastern values and traditions. Fusing these ‎very contrasting lifestyles was quite an adjustment at the beginning, but it’s a ‎matter of growth and developing your own identity.” The designer believes that her philosophy of balancing implies to the brand’s aesthetic as well whereby the love of color ‎and opulent textiles are preserved and combined with sleek lines and ‎contemporary styles.

The impact of cultural influences seems unlikely with Lama’s collection. Despite having a traditional feel, her designs boast of an international appeal. “Our range is growing to become quite cohesive and varied. ‎Alongside the billowing kaftans are sleek cocktail dresses and separates which ‎were the styles picked up

by Baycrew’s Group in Japan. Even in the West, the more ‘Middle Eastern’ of the styles, fall into ‎the exotic and individual look. Although in the Middle East a kaftan may ‎work during Ramadan or special occasions, in Europe it can be taken to the beach, ‎on a yacht or a summer garden party,” says Lama.‎ Toujouri – the brand A graduate of the London College of Fashion and Central St. ‎Martins School of ‎Fashion, Lama was clear about the path ahead of her.

Her passion for designing during her childhood was intensified further through college.

According to Lama, a real understanding of the

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Treasured creations From left to right Tribal beading drape sleeve dress, Armour beading cocktail dress, Torqouise neckline.

fashion process was got during her stints at Chloe and Matthew Williamson fashion houses. “Both fashion houses had different experiences. At Chloe, I got insight into the design side of the business, whereas in Matthew Williamson I ‎learned about the commercial side. I would say that the ‎combination of these experiences has armed me with the tools to ‎build a commercially viable brand.”

Commenting on her brand’s success, she says, “In two seasons we have definitely achieved a huge success, but we still have a ‎long way to go to realize all the plans we have in mind for Toujouri. As in ‎every business there are ups and downs along the way, but my passion and ‎belief in Toujouri drives me to dream of bigger and better things.”

Toujouri’s growth has witnessed several milestones. With the label expanding into the iconic London fashion emporium Harrods and UAE’s uber-trendy fashion retailer Sauce this autumn season, there is no stopping Lama.

Toujouri is also set to participate in the Vendome Luxury ‎Trade show during Paris Fashion Week this year.‎ While Toujouri continues with its conquests, Qatar is not far behind. “We will be opening our flagship boutique at The Pearl with our AW10 ready-to-wear ‎collection and a few limited edition pieces we are doing in collaboration with ‎Swarovski which will be exclusive to the store. We are also very excited to ‎have Peter Marino design the boutique for us,” says Lama. “There is definitely a growing interest and progress in the Qatari fashion scene. Many international brands are opening mono-‎brand boutiques in the city, and a huge segment of the younger generation are ‎growing with an appreciation of the fashion world.”

While Toujouri’s success can be accredited to Lama, the designer owes it to her mother.

“My mother encouraged me to experiment and be confident in ‎developing my own personal style. This is something which remains an important part of who I am in my profession and ‎personal style.” n ‎

Toujouri Autumn/Winter 2010 collection True to its literal meaning, Toujouri’s latest collection

screams royalty all over. The ‎predominant fabrics in the collection are silk georgette, crepe de chine, silk twill, ‎sand washed silk satin. Rich hues of raspberry, ‎coral, royal blue and grey are combined with oversized paisley pattern. The collection is detailed with jeweled cuffs, cutwork, and ‎statement beaded necklines, and the silhouettes range from billowing kaftan shapes ‎to figure flattering cocktail dresses and separates.‎

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QATAR

To Bid Or Not To Bid?

“Buying art and luxury desirables through the auction process is still a relatively new concept in the Middle East,” feels Lord Poltimore.

S

o, the auction season is upon us again with the international houses preparing treasures and delights for collectors, the curious and the enthusiastic from across the globe to view, discover and, potentially, purchase.

Of particular interest to the region will be the sales of Islamic Arts, contemporary Arab & Iranian Art, Royal Gems and jewelry, watches, treasured furniture and iconic design. Ending the year will be a ‘first time’ auction highlight with ‘Hurouf: The Art of the Word’, a comprehensive sale of calligraphic works, from ancient to contemporary and modern, being held by Sotheby’s in Doha on December 15, 2010.

Art and cultural enthusiasts may well have experienced the thrill of purchasing at auction already. Or felt the buzz sitting in a packed sale floor, alive with phone bidding, internet additions and paddles waving while the auctioneer works magical mastery to close lots at the highest prices. Or watched and participated online. Buying premium quality work at real market value, whether it be snatching a deal or beating off competition to seize an iconic work in a fast paced, adrenalin charged battle of nerve, timing and finance, setting new records not only builds collections, at the same time it reinforces the stature of an artist, defines taste and, in new markets in particular, contributes to the developing face of culture.

Interested? To Bid or not to bid? Perhaps, ‘How’ is the question? Buying art and luxury desirables through the auction process is still a relatively new concept in the Middle East, although it has been in existence many hundreds of years. Contrary to haggling a price which may remain undeclared once agreed, taking ownership immediately, at auction the items to be sold are displayed freely for some months prior to the event and then, publically, there is the process of bidding for the lot at a set time lasting only a few minutes, managed by the auctioneer, starting low and working to the highest figure that interested parties will pay.

And the final price is public – but importantly,

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the bidder is as anonymous as they wish to be.

Trust is key to the auction houses and clients.

Here are some quick tips and pointers that might help clarify the process and build confidence of those looking at the season of auctions with interest for the first time, whether it be to acquire valuable assets or indulge in a passion: • Check out the sale calendars and catalogs, either on line or by contacting the auction houses for hard copies – the history (provenance) of pieces may have an impact on the final price. They are also very informative works in themselves.

• Do seek advice from an expert or a client manager if you are drawn to an artist or to a work. Similarly a particular stone or timepiece, whatever the sale features. It may not be back on the market for a long time, and there may be other items the auction house could source for you.

• Think Global. It is not necessary to be physically in the room to place a bid. These can be placed by completing an absentee bidder’s form in advance of the sale, by

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bidding personally or through a third party by telephone ‘live’ at the sale (again prearranged) or by bidding through the internet.

Shipping can be arranged separately post-sale.

Remember bidding is confidential. Who places bids does not have to be known, even though the final price paid for a successful lot will be published: Who secured it is only stated if specifically requested by the buyer.

Client confidentiality is key across the auction business.

Be sure of maximum limits. Particularly if placing an absentee bid. If missing your desired work by $1,000 would be galling, then make sure the bid is live.

First time registration may seem personal but it is confidential, one-off and necessary for auction houses to protect their business, their seller and to clear strict compliance. It is possible to pay by credit card.

Register interest in advance. Don’t leave it too late, which it will be when the sale has already started.

Do visit previews and register interest. See the work first hand either at travelling exhibitions or at the pre-sale shows at their sale location. For example, highlights of Islamic Arts from a single owner collection is in Doha September 20-21, 2010 prior to Sotheby’s October sale in London.

Registering interest or requesting specific areas of interest enables better service.

Remember additional charges. On top of the final price of a successful bid will be added the buyer’s premium, a percentage of the price for which the piece sells in the saleroom, charged by the auctioneer and other fees that might be relevant to the market, such as living artist’s tax. These charges can be checked in advance.

• Enjoy the performance and show support.

Auctioneering is a skill and an art form in itself. If possible, when happening in town, do attend the events and bring friends. Ask about private tours or meetings as these can be easily arranged. The art scene here is in development stages and support and education will be key to its continued success. n

The writer is Deputy Chairman Sotheby’s Europe and Sotheby’s auctioneer.

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Color makes a comeback with the latest collection.

Latest Offerings From Ice Iceberg at Salam Stores & Ice Iceberg Boutique at The Pearl

Luxurious and trendy, the collection is an instant hit with the fashionistas Special feature

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Sheep chic

Stand out from the fashion flock. Photographs by Ilan Rubin

3.1 Phillip Lim coat, QR11,000* ($2,950). At 3.1 Phillip Lim, 115 Mercer Street. Fashion editor: Melissa Ventosa Martin.

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gold standard

The prettiest hedge against inflation.

1. Bulgari bracelet. (Boutique at Villaggio Mall). 2. Cartier bracelet. (Boutiques at Villaggio Mall & Royal Plaza). 3., 5.

Van Cleef & Arpels bracelets, available at Ali Bin Ali showroom, Royal Plaza. 4. Harry Winston watch, available at Alfardan Jewelry. 6. Ca & Lou ring. Go to thewebstermiami.com. 7. Van Cleef & Arpels rings. 8. Ca & Lou ring.

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Hair dos

Shoes, bags, even a watch — fur in the unlikeliest of places.

1. Marc Jacobs bag. 2. Celine shoe. 3. Reed Krakoff shoe. 4.

Piaget watch, select models available at Alfardan Jewelry.

5. Louis Vuitton bracelet, (Boutique at Villaggio Mall).

6. Dior minaudière, (Boutique at Villaggio Mall).

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RisquĂŠ business

Behold the new power dressing. Photographs by KT Auleta

From left: 1. Araks jacket, QR3,500* ($895), and skirt, Qr1,800* ($495). Marais USA boots (worn throughout). 2. Alexander Wang jacket, QR2,400* ($650), and skirt, QR2,000* ($550). 3. Acne jacket, QR1,600* ($439). Club Monaco trousers, QR550* ($149). 4. Alexander Wang vest, QR1,500* ($395). Tom Scott skirt, QR2,200* ($600).

Fashion editor: Melissa Ventosa Martin.

*All Prices are indicative

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From left: 1. Jenni Kayne jacket, QR2,500* ($695), vest, QR2,200* ($595), and shorts, QR3,500* ($950). Reece Hudson clutch. 2. Apiece Apart jacket, QR1,800* ($485), and pants, QR1,000* ($260). Tory Burch clutch. 3. Gap jacket, QR450* ($118), and pants, QR220* ($60), store at Villaggio Mall. Sang A clutch.

From left: 1. Gary Graham jacket,QR13,800* ( $3,775), and skirt, QR2,000* ($525). Fogal stockings. 2. Calvin Klein jacket, QR470* ($129), and shorts, QR150* ($39) store at The Mall. Wayne cape. Marni socks. 3. Kenneth Cole jacket, QR850* ($229), and scarf. D&G skirt , QR4,300* ($1,165) Boutique at Villaggio Mall. Marni socks. 4. Elie Tahari coat, QR2,800* ($748), skirt, QR750* ($198), and belt. Tse top, QR820* ($225). Sang A clutch. Fogal socks. 5. Patrik Ervell jacket and pants. A.P.C. shirt. Marni scarf.

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From left: 1. Rag & Bone jacket, QR2,200* ($595), and skirt, QR85* ($23). Uniqlo top, QR300* ($80). J茅r么me Dreyfuss bag. 2. Boss Orange sweater, QR1,100* ($295) store at The Mall. Uniqlo top, QR300* ($80). Richard Chai Love skirt, QR1,000* ($265). 3. Banana Republic jacket, QR550* ($150) store at Villaggio Mall. DKNY turtleneck, $125.

Richard Chai Love skirt, QR1,000* ($265). Alexander Wang clutch.

From left: 1. Theory jacket, QR1,700* ($445). Mulberry skirt, QR2,100* ($550), and handbag. 2. Ralph Lauren Blue Label jacket, QR2,200* ($598) Boutique at Villaggio Mall. Opening Ceremony skirt, QR1,850* ($495). 3. Organic by John Patrick jacket, QR2,300* ($895). G-Star skirt, price on request. Raoul clutch.

*All Prices are indicative

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From left: 1. Zero + Maria Cornejo sweater. Calvin Klein T-shirt. A.P.C. pants. 2. Karen Walker jacket, QR1,700* ($452), and pants, QR1,300* ($350). 3. Tory Burch jacket, QR1,750* ($475), and skirt, QR1,300* ($350). Alexander Wang bag. 4. Equipment shirt, QR850* ($228). Alexa Chung for Madewell shorts, QR350* ($88). Alexander Wang vest, price on request, and backpack.

Fashion assistants: Alexa Lanza and Sarah Bray. Makeup by Stevie Huynh at the Wall Group. Hair by Holli Smith at Community.NYC and Redken.

Set design by Matt Mazzucca. Models: Ylonka Verheul, Sedene Blake, Jana K, Jeneil Williams and Brian Blank.

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*All Prices are indicative

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First responders

/ (furst ri span’ ders)/ n. / Travelers who rush to former danger zones or rougue states, like Colombia or Syria, thereby anointing these spots as cuttingedge destinations, as in,

“When it comes to shopping, she’s always a first responder. She just spent a week on her own scavenging the souks of Damascus.”

philogyny

/ (fi läj´ə nē) /n. / Admiration for women; moth-eaten academic jargon that has come out of the closet to emerge as fashion rhetoric in a season in which designers worshiped at the altar of womanly curves, e.g.,

‘‘The Bardot-inspired collection was philogyny incarnate — Marc Jacobs couldn’t have proclaimed his love of women any louder had he jumped on Oprah’s couch and screamed it.’’

Obscure

/(uhb-skyoor)/ adj. / Used for a person marked by an indistinct or vague style or expression, e.g.,

‘‘She’s the perfect obscure object of desire. She’s exactly what I wish I saw when I look out the back window of my house in Manhattan.”

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Confessions of a Soukaholic

D

In Damascus, shopping is an art. Liesl Schillinger takes to the streets.

on’t be like me. Don’t fly to Damascus; book a room in one of the exquisitely restored Ottoman-era boutique hotels in the Old City, wheedle an address from a local for the best place to buy embroidered aghabani tablecloths, push through the labyrinth of the Souk al-Hamidiyeh and beyond to find said naperer (Abdalla and Dubbane) . . . and then fail to buy your mother the most perfect aghabani on earth, because you’ve been marathon shopping for three days and are too whipped to hunt down an A.T.M. Know that you may never see that tablecloth again — all 14 feet of cream-colored cotton, filigreed with scrolling garlands stitched by seamstresses in a molten shade of amber, 16 napkins included, for 9,000 Syrian pounds (about QR700).

I should have realized that this purchase was not optional when I ran into a group of women at Abdalla and Dubbane who’d traveled from Jordan to stock up on new patterns. Their ringleader was Alma Lou Annab, a grandma in gold Nike sneakers and a purple tracksuit, who’d met her husband — a Jordanian — at Arizona State University in Tempe. ‘‘One day I walked across the street and saw those dark eyes and that gorgeous black mustache, and I said to my girlfriend, ‘Get a load of that!’

And then a day or two later, ‘Get a load of that’ walked into the campus coffee shop!’’ A year later, she married him, and eventually they moved to Amman. ‘‘Everyone in Jordan knows that this is the place to come for tablecloths,’’ Annab said. She offered a lesson in bargaining. ‘‘Never insult the product, just say you can’t afford it and act regretful,’’ she said. ‘‘When the salesman asks, ‘What could you pay?’ offer a price 25 to 50 percent less than you’re willing to pay, and if he says no, sigh and leave.

If he wants to sell it, he’ll come after you — you hope.’’

The first time I visited Damascus, in 2005, I had no idea about the shopping. In those days, Syria was better known in the West as a popular destination for war refugees, not for thrill-seeking, bargain-hunting tourists. I’d traveled there on impulse and on tenterhooks. Two expat friends of mine had bumped into one another in Damascus, learned they had me in common and urged me to visit. For a while, I waffled.

It was two years into the Iraq war, and the fact that Syria shared a border with Iraq unnerved me. Also, I worried that Americans might not feel welcome in Damascus, given that the Bush administration had recalled Market rate Locals shop for everyday items in the Old City’s Souk al-Hamidiyeh.

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anastasia taylor-lind

Let’s make a deal Clockwise from right: dried flowers at Souk al-Bzourieh stall; Amer Naji, the owner of the DanMas shop.

the United States ambassador earlier that year. Still, I booked a ticket, with a strict goal of not offending any Syrian citizen in any way.

To that end, before leaving New York, I asked a Middle Eastern friend to teach me how to say, ‘‘I like the people of Syria’’ in Arabic, as an ingratiating ice breaker. But I hadn’t listened well enough, and on the last day of my visit, I learned from an amused cabdriver that what I’d been telling Damascene shopkeepers as I giddily snapped up copper trays, brocade runners, kilims, ouds, camel leather purses and other bounty, was: ‘‘I like young Syrian men.’’ It’s possible that this phrase, misleading though it was, may have generated a fair amount of international goodwill. Still, by the end of that trip, I realized that my pre-journey jitters had been unnecessary. Damascus has been a metropolis for millennia, not to mention a hub of trade on the old Silk Road, and Damascenes have had plenty of time to get used to foreign visitors.

At the heart of the Syrian capital is the walled Old City, and within it, the Umayyad Mosque — with a vast marble courtyard that shines like water, reflecting the mosque’s cloisters. Many people enter the Old City through the bustling, shop-lined street known as the Souk alHamidiyeh. Newcomers to Damascus have often heard about Souk al-Hamidiyeh but don’t understand that it’s only one of many souks in the Old City. Locals shop here for household goods, while the choicer offerings lurk in the labyrinth beyond al-Hamidiyeh. Walking those ancient streets, you feel as if you were in a medieval French village, until you come upon a towering Roman column or arch, a reminder of those who came to Damascus before, and left. Besides the impressive columns, the Romans left behind the Via Recta (‘‘Straight Street’’), which Damascenes call Medhat Pasha. The street cuts through the Old City like a plumb line and is a useful orienting tool for non-Arabicspeaking visitors.

This spring, when I returned to Damascus, I was curious about the touristic renaissance that has recently overtaken the city with the opening of some magnificent hotels like Beit Al Mamlouka and blue-chip properties like the Four Seasons. Some Damascenes consider this newfound popularity a mixed blessing. They complain of a supposed decline in craftsmanship and influx of cheap imports. Like the parents of a shy, gifted child who suddenly blossoms and turns

into a prom queen, they seem wary — suspicious of their city’s newly broad appeal and resistant to overpraise. But to an outsider, the charges are slanderous.

At the Seher al-Sharck mother-of-pearl workshop well outside the Old City, where few tourists venture, I had the privilege of watching a team of men adorn a suite of Louis XV-style chairs with shimmering shell. One man carefully chiseled a floral pattern into a walnut chair back, following a paper pattern; another carved out the hollows in the chiseled piece where shell or camel bone would later go; others sanded chips of shell and bone and glued them into the hollows; others smoothed out the finished piece, then oiled it to make it shine. Finally, the chair would be upholstered in Damascene silk brocade.

But I hadn’t come to Damascus for chairs; I’d come to Damascus for remedial shopping. I operate under the assumption that you can’t get what you want if you don’t know what you want, and the first time I came here I’d been unprepared. This time I knew what to covet — like an aghabani tablecloth. With my priorities in order, I stopped by the opening of a new upscale minimall on Medhat Pasha called the Khan on my first evening. I found myself in a fancy galleria, with a throng of foreign ambassadors, Syrian socialites and television reporters, all of them sipping fruit juices and nibbling petits fours. The Khan’s boutiques offered (in addition to Dolce & Gabbana, Ralph Lauren and the like) lace and silk bras with beaded pearl straps that doubled as necklaces; clutch handbags silk-screened with images of the Egyptian singer Umm Kulthum; and even a mother-of-pearl-inlaid foosball table. There were also traditional shops: a handmade-soap boutique and a brocade room dominated by an antique 7,200-needle loom. Throughout the evening, an elderly weaver patiently worked the treadle. ‘‘Rich Syrians who come here will have never seen such a thing,’’ observed Amjad Malki, one of the owners. Is this the future of the Damascus souk? Well, it’s certainly not the past.

This was definitely a new Damascus, but I craved the rough-andtumble shopping experience I’d stumbled upon five years earlier. I needed expert guidance, though, and this can be tricky as Damascenes, like Parisians, have a cultivated, contrarian spirit and enjoy disparaging one another’s recommendations. I sought the advice of two locals: Jacques Montluçon, a French-born engineer and specialist in antiquities

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restoration (he once led a team that preserved relics from the Titanic), and Sameer Hamsho, the owner of the rug shop Old City. As we sat in the back room of Hamsho’s store, the two men argued about whether the continuing conversion of Old City beits (private homes) into chic hotels and restaurants was a good or a bad thing and debated which of the thousands of surrounding shops most deserved a visit. ‘‘Think of Damascus as a giant department store, only instead of aisles there are streets,’’ said Montluçon, who handed me a sheaf of papers containing his top picks. In one ‘‘aisle’’ you’ll find hammered copper and brass trays and coffeepots (Souk Medhat Pasha); in another, barrels of spices and candies (Souk alBzourieh); in others, mother-of-pearl-inlaid furniture and Bohemian-glass hookahs (Bab Sharqi and Hanania Street). ‘‘Anything you want, you can get in Damascus,’’ Montluçon told me. ‘‘But first you must know where to get it.’’

The Souk al-Hamidiyeh, the main shopping drag of the Old City, mostly sells everyday wares, but Middle Eastern women know to go there for red-hot lingerie. From a cluster of storefronts, middle-aged merchants (men) sell bras and panties in gumdrop colors, trimmed with net, feathers, paillettes or Muppet plush. At these stalls, you will see Iranian matriarchs, dressed in black robes and veils, un-self-consciously fingering purple sequined bras. My friend Pauline took me on a naughty knickers tour and persuaded a merchant to show us his most elaborate line of string bikinis, which are battery-operated and work by remote control. One had a rubber tongue set into the crotch. When he pressed a button, the tongue started to writhe; we shrieked and ran away, as if we were 12.

Over the next few days, whenever I ran my compiled choices by opinionated Damascenes, they would rwaise their eyebrows and offer their picks instead. Ultimately I decided that my own unassisted eye was as good a guide as any. Outsiders must retain the strength of will when shopping in Damascus to beg tips from local cognoscenti; to ignore the cognoscenti and trust their own taste if they see something they like; and to pay cash if the Visa machines won’t work. (They often won’t.) There may be no place on the planet where so many beautiful things are concentrated in a few square cobblestoned miles. It’s worth the effort. And whatever you end up choosing, no matter how connoisseurs may judge it, no matter how well or how badly you bargained for it, it will always retain this indestructible value: You had to go to Damascus to get it. n

Qatar

where style lives.

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essentials • Damascus

Hotels Beit Al Mamlouka Tastefully designed boutique hotel with a lovely courtyard. +963-11-543-04-456;

If you want your preferred customers or guests to receive VIP copies, join our “Preferred Destination Program” email: tqatar@omsqatar.com or call Patricia on +974-44550983

almamlouka.com; doubles from about QR600. Beit Zaman Hotel An elegant restored beit conveniently located on Medhat Pasha. +963-11-543-538-088; beit-zaman.com; doubles from about QR750.

Four Seasons Hotel Damascus Luxury property just outside the Old City.

Avenue Shukri Al Quatli; +963-11-339-1000; fourseasons.com/damascus; doubles from QR1400.

Boutiques Abdalla and Dubbane The best source for embroidered aghabani tablecloths. On Ibn Khaldoun

Street, near the Souk al-Hamidiyeh; +963-11-221-8748. Alkhayat Antiques Three side-by-side shops that offer a wide selection of hand-blown glassware, kilims, Berber rugs and textiles. At the end of Medhat Pasha, right inside Bab Sharqi (the Old City’s east gate); +963-11-544-5574. Anat Offering exquisitely embroidered wall hangings, abayas, purses and tablecloths. The shop employs craftswomen from Syrian villages and refugee camps. On Medhat Pasha, near the Bab Sharqi gate, next to the Armenian Orthodox Church; +963-11-542-7878; anat-sy.org. Antiquo A wide selection of tablecloths. On Medhat Pasha, near the giant Roman arch; +963-11-541-3750. DanMas The owner designs most of the products, from towels to dog beds. On Qeimariyeh Street, near Al Nawfara coffee shop; +963-933-319-180. George Dabdoub A one-stopshop with carpets, kilims, icons, brocade, jewelry, mother-of-pearl-inlaid furniture and more.

Right next to the Azem Palace; +963-11-221-6988. Ghraoui Damascenes come here for delicious chocolates, candies and jams. On Port Said Street, west of the Old City; +963-11-231-1323; ghraouichocolate.com. The Khan New minimall in the Old City with high-end fashion and design boutiques. On Medhat Pasha, near the Maktab Anbar house; +963-11-544-993-40; thekhan-sy.com. Kozah Art Gallery The husband-and-wife owners design silver jewelry and also sell paintings and sculptures. On Medhat Pasha, near the Roman arch; +963-11-543-4599. Old City Rug shop with Syrian kilims and antique Persian and Turkish carpets. Next to Al Nawfara cafe; +963-11-544-3861. Yana Kilims Offering beautifully preserved Bedouin salt bags as well as one-of-a-kind kilims. In the Old City, across from Al Nawfara coffee shop; +963-11-542-3229.

Qatar Airways flies daily to Damascus.

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biblio file: holly brubach

Their Better Half

child. Rumors to the contrary, which had f, nearly 15 years after her death, made the rounds for years, finally reached Lady Caroline Blackwood Ivana after Blackwood’s death. The prime is remembered as a kind of suspects were two old flames to whom intellectual’s Pamela Harriman, Blackwood had turned when her marriage better known for the men she to Citkowitz was disintegrating: Ivan married than for the books she wrote, Moffat, a screenwriter, and Robert that’s no reflection on the quality of her Silvers, a founding editor of the New York writing. It would be hard for anyone’s Review of Books. Each was convinced work to eclipse the combined output of that he was Ivana’s father, as Blackwood Lucian Freud and Robert Lowell. (The had led them each to believe. trio of husbands was rounded out by Israel A paternity test confirms that it’s Citkowitz, a composer and protégé of Moffat, a revelation that raises an Aaron Copland.) even bigger question than the one it Never mind that Blackwood possessed answers. Why did Blackwood deceive an effortlessly elegant, highly original Silvers? Apparently not to elicit his voice. Or that she produced 10 volumes of support or involvement. Ivana tells us that fiction and reporting over a span of 22 he periodically sent checks, which years, the first of them published in 1973, Blackwood never cashed, and made when she was 42 and married to Lowell. repeated attempts to spend more time There is a density to Blackwood’s fiction, with Ivana, which Blackwood rebuffed. as if she had spent the first Maybe she thought that a girl could two thirds of her life stockpiling material never have too many fathers, having lost and the remainder finding ways to spend her own when she was 13. ‘‘How will I it. When ‘‘Great Granny Webster’’ (New know that you are all right?’’ Blackwood, York Review Books Classics), a novel dying of cancer and trying to imagine her whose title character bears a distinct own extinction, asked Ivana. Maternal resemblance to the author’s own instinct routinely spills over into anxiety, tyrannical great-grandmother, was and in Blackwood’s case the anxiety short-listed for the Booker Prize, Philip Slumber party Lucian Freud’s ‘‘Girl in Bed,’’ a portrait of Blackwood. seems to have been justified. Not even Larkin cast the deciding vote against it on three fathers — four, if you count Silvers pills and urges her to take them. She escapes. the grounds that it was too — turned out to be sufficient as a hedge against The reader comes away not so much relieved as autobiographical. calamity. When Ivana was 6, a pot of boiling perplexed. The lack of resolution would Born into a titled Anglo-Irish family (her water overturned and scalded 70 percent of great-grandfather, the first Marquess of Dufferin be typical of her writing — and of her life. her body, leaving her near death.

Most of what we have known about and Ava, was appointed Viceroy ‘‘Burns Unit’’ is Blackwood’s account of Blackwood comes from her own writing and of India by Queen Victoria) and raised at the special hospital where Ivana was treated, from Nancy Schoenberger’s excellent Clandeboye, their estate near Belfast, Caroline undergoing a series of skin grafts. Nowhere does was the eldest of three children. Her mother was biography, ‘‘Dangerous Muse: The Life of Lady Blackwood’s trademark style — the scrupulous a Guinness, one of three glamorous sisters who Caroline Blackwood’’ (Da Capo Press). Now, took London society by storm. with ‘‘Why Not Say What Happened?’’ (Alfred A. observation, the adamant refusal to traffic in sentimentality — serve her better than in this Scenes from Blackwood’s childhood in Knopf ), by Ivana Lowell, her daughter, brief recollection. Of the mothers, who were the Ireland, later showcased in a series of short we see her from a third angle. The title is taken only visitors admitted to the sterile section, she reminiscences, laid the groundwork for a dark from a poem by Ivana’s stepfather. It was her writes: ‘‘Into this impersonal and functional outlook and a deep skepticism. The sinister mother who urged her to take his name. sealed-off world of science they brought their groom who teaches Blackwood to ride in Here is Blackwood at close range — devoted, total uselessness; they brought personal panic, ‘‘Never Breathe a Word’’ lures her to a clearing fun, affectionate, struggling to make sense anguish and hysteria, and most dreaded of all in the woods late at night with the promise of of her own life, often drunk. Also, as it turns they brought squeamishness secret pills that will make her a better out, duplicitous. Ivana frames her story as a and germs. With their undesirable qualities equestrian. She goes not because she believes whodunit, setting out at age 30 to ascertain the him but to be polite. The reader dreads what’s identity of her father. Born while Blackwood was oozing from every pore, the mothers would go flitting around the unpolluted passages with about to happen: he’s going to molest her. But still married to Citkowitz, she had grown up their deranged eyes peering over their masks then . . . he doesn’t. He actually brings a vial of believing that, like her two sisters, she was his

coursesy of Lucian Freud Archive

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A brilliant writer, Caroline Blackwood is now better known as a muse.

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Tony Cenicola/the new york times (4)

as they tried to get some kind of a prognosis from hospital personnel passing by, who very much resented being waylaid and pestered because they were all passing with some vital purpose.’’ She was, of course, one of those mothers, witnessing the futility of her own hysteria. Encouraged to go to a motel and get some sleep, Blackwood and Lowell refused, sleeping on the floor outside Ivana’s door.

In ‘‘Dangerous Muse,’’ Blackwood and Lowell come off as so involved in themselves and each other that the children are relegated to their peripheral vision — an impression that Ivana at least partially refutes. She calls Lowell ‘‘the gentlest, coziest man possible’’ and remembers her surprise attacks, running and jumping with her dog onto his bed, where he liked to work, and sending his papers flying.

Together, they read aloud his translation of ‘‘Phaedra,’’ pausing as he made revisions.

Meanwhile, what Blackwood called her ‘‘main marriage’’ was falling apart. Some things love couldn’t conquer. Lowell’s recurrent bouts of mania and depression, during which he grew increasingly deranged, alarmed her. Her abusive, drunken tirades, culminating in a suicide attempt, frightened him. In 1977, Lowell returned to New York, to Elizabeth Hardwick, whom he had abandoned for Blackwood some seven years before.

And yet. In their summer house in Maine, he pinned a photo of Blackwood to the wall of his study. She sent entreating letters. Still torn, he tried one last time to make it work, to no avail. Resigned, he flew back. When the taxi from the airport arrived at his door and the driver was unable to rouse him, Hardwick was summoned. She found him dead of a heart attack in the back seat, clutching ‘‘Girl in Bed,’’ Lucian Freud’s portrait of Blackwood.

Natalya, Blackwood’s eldest daughter, who was addicted to heroin, died a year later. ‘‘The Stepdaughter,’’ Blackwood’s brilliant first novel, was presumed when it was published in 1976 to be modeled on their volatile relationship. Andrew Harvey, who shared Blackwood’s life for a few years after Natalya’s death, says she saw it ‘‘as a suicide she had caused.’’ Schoenberger says it was then that Blackwood came to appreciate her own capacity for cruelty.

She continued to drink too much. How much? When she opened a bottle of vodka, she threw away the cap. But through it all, she continued to write, and the writing, astonishingly, continued to tackle complex subjects with patience and precision. For all its grace and vivid imagery, her writing is

stunningly devoid of flourishes. Blackwood never strives for effect. Effect comes of its own accord, like spontaneous combustion set off by ordinary words in felicitous juxtaposition.

If she wrote fiction in the deceptively straightforward voice of a reporter, she brought to reporting the virtuosity of a novelist. In ‘‘On the Perimeter,’’ a masterpiece of first-person journalism, published in 1984, Blackwood tours the camps occupied by women protesters along the edge of a military base housing a nuclear weapon, the first American cruise missile on British soil. She documents the abject conditions — mud everywhere, no water, no shelter — in which the women live and the seemingly innocuous ways in which they register their dissent, like darning the chainlink fence with bright-colored yarn, which infuriates the soldiers. The truth-to-power

passengers in their cars, first to crash, and then to go into a period of Tribulation which would end with Armageddon.’’ That’s quintessential Blackwood, lingering for a moment to play out the un-Christian passengers’ fate, the pileups on the motorway and at major intersections.

If you subscribe to the theory that people are basically good, reading Blackwood will do nothing to confirm your faith in human nature. What it will do is put you in mind of the appalling savagery that often underlies even the most civilized exchanges. ‘‘The Last of the Duchess,’’ published in 1995, the year before Blackwood’s death, is, improbably, a book about her failed attempt to secure an interview with the Duchess of Windsor in the final years of her life. Piecing together whatever information she can garner,

Shelf life Blackwood’s 1977 novel, ‘‘Great Granny Webster,’’ was reissued in 2002; ‘‘Dangerous Muse,’’ by Nancy Schoenberger, is a 2002 bio of Blackwood; ‘‘The Last of the Duchess’’ (1995) was Blackwood’s last book; ‘‘Why Not Say What Happened?,’’ a memoir by her daughter Ivana Lowell, is due in October.

scenario exposes the government’s impotence, as it alternates between petty attempts to make the women uncomfortable, confiscating their firewood and tea bags, and displays of force, deploying 400 police to displace 30 protesters.

Every so often, Blackwood interrupts an extended passage of exposition or dialogue with a device that, over multiple books, becomes a trademark: a flight of inspired extrapolation that takes as its point of departure some offhand remark or stock-intrade notion, the kind of thing that other writers whiz right by. The protesters’ sense of apocalyptic doom is compounded by Jerry Falwell’s claim that Ronald Reagan is a born-again Christian and Falwell’s reassurance that born-again Christians need not worry about nuclear war because they would all go up in ‘‘rapture’’ before it occurred. ‘‘They would be driving their automobiles and they would hear the trumpet sound and up they would go to Jesus, leaving all the un-Christian

Blackwood assembles a disconcerting and controversial dual portrait of Maître Suzanne Blum, the lawyer who served as the duchess’s self-appointed protector, and her notorious client, confined to her bed in her mansion in the Bois de Boulogne. A despotic provincial Frenchwoman with the hagiographic impulses of a love-struck groupie, Maître Blum is ghoulish and contemptible, denying the duchess all calls and visitors, keeping her alive by artificial means, selling off the duke’s snuff boxes. Until finally, remarkably, Maître Blum becomes pathetic, the victim of her own vanity. The duchess is of course pathetic at the outset, a frail hostage, isolated, intubated, until she, too, in a parallel reversal brought on by glimpses of her former life, becomes contemptible, a stingy, crass, coldhearted clotheshorse bent on her own amusement.

And both women — this is Blackwood’s achievement — are comprehensible. We’re all monsters in the end, and all to be pitied. n 53

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Smellbound Captivated by scent, the world’s most reclusive perfumer lets the genie out of the bottle.

Jim Lewis takes a whiff.

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Natural-born sniffer Dominique Dubrana keeps the formulas for his otherworldly perfumes top-secret.

budget. He invents his own stuff, bottles it and sells it only online, relying on word of mouth to spread his name. For another, he’s a character: in person he’s both modest and proud, stubborn and mystic: he smiles often, laughs easily and bears the faint air of impish alchemy, like a magician who can’t help working a few tricks into every conversation.

And like a magician, he keeps his secrets.

About his own life, he will say very little.

He was born in France and spent close to a decade traveling through Africa, the Middle East, Afghanistan and Pakistan; along the way he found Sufism and studied the religion with a master, but perfumery he taught himself. Sometime in the 1990s he came to Monte Colombo, in Rimini, to visit some friends; he wound up staying, and there he lives, with his wife and their two daughters,

and his wonderful olfactorium, which he presides over like a Saracen Willy Wonka.

About perfume, on the other hand, he is voluble, insistent, amusing, obsessive.

His Web site, where he writes under the nom de parfum AbdesSalaam Attar, carries not just the few dozen fragrances he’s invented but page after page of manifesto and pronouncement, quasi-scientific talk of pheromones, pleas for scent education in school (why, he asked me, are children taught what color you get when you mix yellow and blue, but not what smell you get when you mix tuberose and carrot seed?), potted histories and theological meditations and lectures on aromatherapy. ‘‘Smells talk to people in three ways,’’ he said to me.

“First through personal experiences, which are mostly from childhood. The smell of your

photo credit: domingo milella

ne overcast afternoon last May I sat in a small atelier in a tiny town in the hills of Rimini, Italy. Across from me sat a man in royal blue robes and a matching blue turban, with a long gray beard and kohl-rimmed eyes; on his desk, and on the shelves behind him, in a cabinet by the door — all over the room — there were small amber-tinted glass bottles, scores of them, and as we spoke he would take one up, open the top, hand it to me and invite me to smell the contents. This went on for hours. It was why I’d come: to meet Dominique Dubrana, a 54-yearold Frenchman living in Italy, a Sufi convert, a grand eccentric and a genius of sorts.

In the bottles there were essences, extracts, tinctures and oils, pure scents and all natural: familiar florals like rose, jasmine and lavender; arcane botanicals like labdanum, Gaiac wood and agarwood; and unexpected notes like hay and seaweed. Most uncommon of all was a series of strange and counterintuitive animal extracts: ambergris, a curiously sweet-smelling tincture made from a waxy substance that occasionally washes up on distant shores, and which is, in fact, digestive material regurgitated by sperm whales; castoreum, which is made from sacs found in a beaver’s groin and smells like crotch sweat; civet paste, which is extracted from the perineal glands of an Ethiopian catlike creature and smells fecal in large doses and, bizarrely, flowery in small ones. It was a long day and hard on the senses, but as edifying as any experience I’ve ever had of art. Dubrana is a perfumer, and there is no one quite like him working anywhere in the world today.

For one thing, he has no store — and no corporation to answer to and no marketing

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vacations, for example — if you went to a pine forest, say. Then through culture: the smell of tobacco, the smell of cumin for Arabs. And then there are genetic memories, like the smell of civet, archetypal smells that affect all people: the smell of burning wood, the smell of the sea, the smell of hay. They affect even people who have never smelled them before.’’

More important, he uses all natural ingredients, an ancient craft in the modern world, where synthetic molecules make up as much as 90 percent of most commercial perfumes and where some familiar notes — most musks, for example — are almost impossible to find in their natural state. For most of us, of course, the phrase ‘‘natural perfumery’’ calls to mind college girls doused in cheap patchouli: making a complicated fragrance without artificial chemicals is intensely difficult and something of a lost art. Synthetic scents are cheaper and last longer: they’re simple, they’re easy to control, and they allow the best houses to make perfumes as sharply delineated and reproducible as text from a printing press. But certain fragrances — Mysore sandalwood, for example — are thus far impossible to duplicate in a laboratory. Dubrana uses the real thing: it’s

on his Web site, profumo.it, along with many of the ingredients he uses. The finished perfumes start at about QR150 for a small bottle, QR400 for a larger one. He sells nowhere else, though he’s allowed theperfumedcourt.com, in the United States, to offer small samples.

And for about QR1,000, he will let you choose your own favorite notes from a list of some 70 that you can find on his Web site, and send you back a bespoke fragrance that’s yours alone.

Dubrana has new scent out, called Mecca Balsam, a light and resinous thing, inspired by his own hajj and the scents he encountered along the way: labdanum, benzoin, frankincense, tonka, along with tuberose and Damask rose. It smells a little like wood polish, a little like vanilla, a little like a linen closet that’s been shut all summer. If the reaction it’s getting on the perfume blogs is any indication, it may be his first commercial hit; if my experience with him is any guide, he won’t really care. He’ll simply sit back down in his little workshop, there in the cool green hills above the Adriatic, and concoct another little masterpiece, and then another, and then another, until Allah tells him his work here — making the earthly kingdom a little sweeter smelling — is done. n

fantastically rare and expensive, but the difference between it and the note you find in your average perfume is the difference between drinking freshly squeezed orange juice and gulping down some Tang. Still, it all sounds slightly precious. The finest ingredients, a master’s intuition: these are nice concepts, but how does it smell?

Gorgeous. Dubrana has a very light touch with heavy scents, a flair for unexpected combinations (tobacco and roses, for example) and a gift for a kind of fragrant profundity that circumvents the usual categories of perfume (candy and flowers, musk and souk, greenery, spice rack) while somehow encompassing them all. Luca Turin, the author of ‘‘Perfumes: the Guide,’’ a visiting scientist at M.I.T. and the capo of perfume critics, says: ‘‘He’s one of these very rare examples of a natural-born perfumer. He seems to be incredibly surefooted, in a way which reminds me of François Coty. There are dozens of all-natural perfumers; I don’t pay much attention to them, because every time I do I get a bunch of hideous crap. But I love his fragrances.

I don’t think anyone can touch him in the field of natural perfumery.’’

All of Dubrana’s scents can be bought

scent notes • Of all the qualities perfumes possess, one of the most wonderful is the ability to surprise. So, for Madam’s delectation, a few revelations.

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1. Eau Claire des Merveilles, by Hermès Jean-Claude Ellena, Hermès’ perfumer, has created a startling shape shifter. Where Eau des Merveilles is a marvelous filigree of citrus, Claire atomizes it with the milky scent of an infant’s breath. Available next mont.

2. Womanity, by Thierry Mugler Like Angel, Womanity surprises no one in its defiance. Its power is clear; its character — opium

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smoke, heated granite, crushed flowers, the ozone before a storm — is not. QR300 for 100 milliliters.

3. Essence, by Narciso Rodriguez For Her smelled like a sweet midnight in summer. Essence is still summer — warm dry skin, talcum powder and irises. But here we are drenched in bright day.

QR300 for 100 milliliters.

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4. Bliss, by Bliss An olfactory translation of the spa experience: the pomegranate in the scrub, the moisture on your skin, the scented caress of the cleansing cream and the tang of lemon floating in ice water. QR200.

5. Infusion d’Iris EDT, by Prada Whereas Chanel No. 19 maximizes the deep, voluminous luxury of iris root, Infusion presents it in minimalist form, the scent’s depth

chandler burr

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derived from its purity. QR320 for 100 milliliters.

6. Beauty, by Calvin Klein Obsession was a woman wearing her strength on the outside; cK One startled with its crystal-clear ambiguity. Beauty is Calvin’s velvet revolution, a feminine feminine: unblended flowers, soft curves and a straightforward golden glow.

Available in department stores in October; QR320 for 100 milliliters.

Select brands available at 51 East, Blue Salon, Faces, Merch, Sephora and Salam Stores

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Am I Young Yet?

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Anti-aging can be taken to horrifying extremes. Just ask Elizabeth Hayt.

recognize his specialty? Not if he o celebrate the start of the could prevent the buttons from football season, I’m flying volunteering to take one off the back of my skirts whenever for the team — no, for all I sat down. teams, major and minor Dr. X, 30-something based on — by coming clean about my doping. his boyish looks, was full of beans.

Throughout the fall and winter of 2009, I He explained that after 30, the gave myself daily shots of somatropin, the production of growth hormone by manufactured form of human growth the pituitary gland (necessary for hormone, or H.G.H., which is believed to the growth of healthy bones and build muscle and rev up the recovery time organs) gradually declines and the from injuries. Hence the drug’s allure to clinical signs of aging appear, which professional athletes. In my case, I had a include everything from weight torn ankle tendon that required surgery, gain to cardiovascular disease. But, and at 48, I began to wonder whether my he assured me, if you put back post-op rebound might benefit from the enough growth hormone to reach supposed boost of H.G.H. juice? the body’s optimal level — say, at ‘‘It’s worth a try,’’ confirmed my doctor, age 30 to 35 — you can halt the an anti-aging specialist. ‘‘H.G.H. should advance of aging and even reverse also help you lose weight, and you’ll love it. And, best of all, he said, ‘‘It’s safe, the way it will make your skin look with almost no side effects.’’ younger.’’

My head instantly filled with the Did I hear that right? Weight loss and rhapsodic sound of ocean waves younger skin? Could H.G.H. be as I fantasized about a time-lapsed my double dream come true? version of myself basking on As a compulsive pursuer of youth, an the French Riviera, nude but for always unattainable and therefore About face H.G.H. turned out to be the opposite of a youth serum. a monokini, regressing back to the delusional quest, I have chased all But last winter, I found myself in the grip pulchritude of my prime: 34 and manner of facial-rejuvenating and of more than just vanity. I was also battling shimmering like a pink pearl on a half shell. appearance-enhancing agents, from a hypothyroidism, an endocrine upheaval, With three weeks to go before my surgery, cornucopia of creams to chemical peels to throwing my metabolism into slo-mo and I started giving myself daily injections. wrinkle-erasing and skin-plumping injections saddling me with symptoms like weight gain, Although injecting my thigh was pretty to aesthetic laser treatments and even a exhaustion, irregularity, dry skin, lateral painless, it conjured a mixture of shame and surgical procedure or two. I go so far as to eyebrow loss (weird but true) and more. When creepiness about using a drug that required establish first-name relationships with plastic it first struck, I inexplicably started to swell, a set of works. But it also made me feel gutsy surgeons and dermatologists, their private bursting out of my clothes, my bloated thighs and cutting-edge, undeterred by the F.D.A.’s cellphone numbers the only ones I keep on splitting the inner seams of my best Chloé lack of approval for H.G.H.’s use as an antimy auto-dial. trousers. By the spring, I had reached the stage aging drug. After all, I got my first shot This is not unusual for sufferers of Dorian where three strangers — a manicurist, of Botox in 1997, way before the lethal Gray Syndrome, a little-known psychological a doorman and a hairdresser — all asked the botulinum toxin became a mass movement and disorder first identified in 2000 by a cabal just-chloroform-me-now question ‘‘When five years before Saddam Hussein’s favorite of staff shrinks at Germany’s Justus-Liebigare you due?’’ biological weapon got the F.D.A.’s thumbs up University, Giessen. The doctors appropriated After nearly two years of failed treatment for removing frown lines.

Oscar Wilde’s novel to describe patients

by Manhattan’s marquee endocrinologists, For 10 weeks post-op, my foot was exhibiting an obsessive preoccupation I lucked out and landed a rare appointment imprisoned in a cast. Because I mostly with physical attractiveness and eternal youth, remained in place, with my leg propped up, and a narcissistic fixation with ‘‘lifestyle drugs’’ with a California anti-aging doctor who has treated stubborn cases like mine. Did I care I wound up conserving rather than burning (medications for hair restoration, weight loss and the like) as well as cosmetic procedures and that the American Medical Association and the calories, and thus failed to shed my extra American Board of Medical Specialties didn’t layer of fat. Meanwhile, a whole other gonzo products. The doctors were describing me.

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phenomenon began happening to my face. It was sprouting mutant life forms: solid, raised bumps, ranging from isolated little brown mounds to pimply red pocks to pale-yellowish beads resembling whiteheads. However, when I tried squeezing them, no clogged debris could be released. Granted, I might have exceeded rational expectations when I believed H.G.H. would bathe my complexion in a pre-Retin-A dewiness, but how to fathom this dramatically opposite fate? Skin lesions common to the faces of old people? Were the tiny toggles tagging my face a cutaneous case of Benjamin Button’s aging in reverse?

The prospect put me in a panic. What if other cells — atypical and beyond my eyes’ merciless scrutiny — were also replicating rapidly? How would I even know?

I entrusted this disaster to Dr. Roy Geronemus, the director of the Laser and Skin Surgery Center of New York. He decided that the hyfrecator, a small electrode that uses heat to destroy skin lesions, offered the best precision for the task. Sparing you the gory details, I’ll go straight to Dr. Geronemus’s casualty count: 5 or 6 nevi, or moles, measuring the size of baby peas; approximately 25 sebaceous hyperplasia, or enlarged oil glands, appearing as the yellow bumps, the majority flecking my forehead; and at least 50 angiofibromas, or the small reddish pocks, clustering around my nose.

Were the tiny

toggles tagging my face

a cutaneous case of Benjamin Button’s aging in reverse?

There is little doubt that H.G.H. was the fertilizer for my face’s errant growths, which constituted a ‘‘true adverse effect,’’ in the words of Dr. Mary Lee Vance, a professor of medicine and neurosurgery at the University of Virginia Health System in Charlottesville who specializes in pituitary disorders in adults. She confirmed that growth hormone used for anti-aging purposes can lead to an overload of the hormone in the body, thus stimulating skin changes, including the development of skin tags, moles, a coarsening of the skin’s texture, enlarged pores and excess sebum production in the oil glands, along with sweat.

‘‘There is no doubt that growth hormone stimulates the entire body, and too much can be very harmful,’’ she said. ‘‘If you have an undiagnosed cancer, there is the possibility of promoting growth of the tumor. In the world of endocrinology, we give hormones to replace what’s appropriate for a person’s age, not to give them the same levels as when they were 30. People taking growth hormone for anti-aging are playing with fire.’’

So mine is a story of getting burned, except I’ll never really know whether the accelerant, H.G.H., reached its original, intended target: my ankle tendon. In January, when I went off the drug, I also returned to normal footwear and began physical therapy, surprising myself and everyone else with my bounce-back. Was it because H.G.H. had actually helped along the way? ‘‘Hard to say,’’ said Lee Rosenzweig, a physical therapist at New York’s Hospital for Special Surgery. ‘‘Your recovery is better than average. A lot has to do with the condition you were in before the surgery. The only way you’d know is to have the exact same surgery on the right ankle without any H.G.H.’’ Hypothetically, I could sacrifice myself for the advancement of ankle surgeons everywhere. But to go through all that for those guys? No way. They’re not my team. I’m with the beauty players. And I still believe in doing whatever it takes to stay in the game. n

anti-age spot Serums are the workhorses of the skin-care world. Best applied under moisturizer, serums are said to penetrate more deeply than creams, delivering ingredients that promise anti-aging benefits, like brighter complexions and renewed volume. Among the multitudes, here are our new favorites. holly siegel Sisleÿa Sérum Global Fermeté This product attempts to maintain the ‘‘architecture’’ of the face with luxury ingredients like tiger nut extract. QR1,800.

Clé de Peau Beauté Intensive Facial Contour Serum It promises to prevent loss of elasticity by bolstering the skin on the cellular level.

QR600.

Fresh Soy Face Serum The amino acids will reportedly increase cell respiration, and the peptides and fruity extracts are meant to prevent inflammation and soften fine lines.

QR170.

Guerlain Abielle Royale Based on the idea that microtrauma to the skin requires the healing power of royal jelly, it claims to energize the cells that make collagen.

QR520.

Sunday Riley This new trio of ‘‘stimulant serums’’ battles wrinkles, redness and age spots. Stimulant I purports to diminish wrinkles in 90 seconds. QR1,100.

Clinique Repairwear Laser Focus Wrinkle & UV Damage Corrector A brightening formula developed to mimic the effects of a dermatologist’s laser.

QR170.

Nude Advanced Cellular Renewal Serum This natural formula employs probiotics and bioactive peptides derived from milk for cellular renewal. QR340.

Laboratoire Remède 360 Cellular Concentré With stem cells from the European White Nymphaea flower, this serum promises to boost oxygen and collagen synthesis. QR475.

*All Prices are indicative

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Paper Swoon If you happened by Jeffrey New York earlier this year, it was impossible not to have noticed the dramatic paper wigs that crowned the mannequins wearing Yves Saint Laurent and the like. The designers, Nikki Salk and Amy Flurry, of Paper Cut Project in Atlanta, say they were inspired by Gidget, the Supremes and Billie Holiday. The partners have also created a collection of textured paper masks that look a bit like what Oscar Wilde would have worn to a masquerade ball. Which is not to say they have no modern applications: ‘‘A bride in Japan wanted us to create a mask in a vintage Paris-meetsmanga theme!’’ Flurry says. And the bride isn’t alone: ‘‘We’re currently working on an exclusive collection for Hermès and are very interested in designing a more elaborate series of masks and headwear for the runway.’’ Are you listening, John Galliano? Holly Siegel

backlot beauties

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On a recent Friday morning, lit white by the California sun, Nigel Dare was sitting in his shop, fielding calls from a movie set. ‘‘Is that a Japanese line?’’ he asked the makeup artist on the other end. ‘‘Never heard of it. But you’ll have it by Monday.’’ Dare is the ultimate Hollywood candy man — a warm, personable guy who can procure Fria, an Italian makeup remover, if that’s what you need, or Collyre Bleu (1) for the hungover actor with bloodshot eyes. Nigel’s Beauty Emporium, along with Naimie’s Beauty Center and Frends Beauty Supply, is perhaps the San Fernando Valley’s best-kept secret: a treasure trove of rarefied cosmetics brands where Hollywood makeup artists go to keep the likes of Sandra Bullock, Megan Fox and George Clooney powdered and buffed. Here they can scour hundreds of global brands, including ones you don’t see everywhere (Embryolisse (2), La Peau (3) ) and the Japanese lines much beloved by the pros (KohGenDo, Kanebo). Here they can ask for and get Kate (5), the ultrathin Kanebo eyeliner that is barely detectable on the eye. Or the French — and much stronger — version of Anthelios, the sunscreen by La Roche-Posay. Or, for that matter, Labello lip balm (4), from Germany. Frends is the granddaddy of the bunch: founded in 1940, it catered to makeup artists who were stuck on a set for 18 hours straight and running on empty. Today all three stores are about turnaround, finding products anywhere they can and even picking them up at a competitor’s if they have to — which, for the right client, they will. Susan Campos

Runway: Guy Marineau/Christian Dior; Wig: From Paper Cut Project; Still Life Photographs: Jens Mortensen.

vain glorious • Matchy matchy

With his latest line for Dior Beauty, Tyen, the company’s creative makeup director, takes the concept of matching your lipstick to your dress to a whole new level. Each color in his new 32-shade Rouge Dior Lipcolor range (QR100 each at Dior counters) was inspired by the hues of haute couture ensembles from the atelier’s archives. ‘‘I tried to find shades that brighten life and make sadness disappear,’’ Tyen says. The formula is an haute concept, too, containing hyaluronic microspheres that promise to soften, replenish and plump lips into a perfect pucker. Sandra Ballentine

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Two for the rue

the look is Street smart with a french twist. hit the ground shopping. hans feurer Photographs by

Pas de deux from left: Tommy hilfiger trench coat, QR750. DEREK LAM DRESS, QR5,800. CĂŠLINE BAG. gIANVITO ROSSI FOR ALTUZARRA BOOTS. CHOPARD BRACELET (alfardan jewelry). michael kors coat, QR8,400, and skirt, QR3,700. lyn devon top, QR3,000. jason wu for tse shirt (underneath), price on request. louis vuitton bag. givenchy by riccardo tisci boots. verdura brooch. fashion editor: melissa ventosa martin. *All Prices are indicative

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Side affects gucci jacket, QR41,00*, pants, QR3,500*, and bag. jason wu for tse shirt, price on request. ivanka trump fine jewelry ring. opposite, from left: Hermès fur COLLAR, price on request. (hermes Boutique is at the pearl qatar). akris vest (underneath), QR3,700*. reed krakoff skirt, QR7,200*, and boots. ivanka trump fine jewelry earrings. van cleef & arpels bracelet (available at Ali Bin Ali showroom). Hermès coat. tommy hilfiger skirt, qr2,500*. GIANVITO ROSSI BOOTS. DOONEY & BOURKE BAG.

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Walk this way maxmara jacket, qr3,800*, and skirt, qr1,700*. dior vest, qr8,000* (Boutique at Villaggio Mall ) philosophy di alberta ferretti collar, qr750. jimmy choo bag. reed krakoff boots. vintage cartier earrings by a. cipullo. verdura bracelet. ivanka trump fine jewelry bracelet. opposite, FROM LEFT: céline top, qr5,300*, and skirt, qr6,400*. salvatore ferragamo belt. Hermès bag (Boutique at the pearl qatar). cartier ring. ralph lauren collection coat, qr14,250*, vest, qr3,700*, and bag. ralph lauren blue label shirt, qr900*.

(Boutique at Villaggio Mall ) cartier earrings (Boutiques at Villaggio Mall & Royal Plaza).

*All Prices are indicative

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A swing in your step salvatore ferragamo cape, qr17,000*. cole haan bag. gianvito rossi boots. vintage cartier earrings by a. cipullo. opposite, from left: yves saint laurent top, qr6,200*, and skirt, qr5,400*. fendi fur collar (in hand), qr30,000*. carolina amato gloves. philosophy di alberta ferretti boots. gucci necklace. david yurman necklace. j. crew vest, qr3,000*. derek lam jacket (underneath), qr7,250*, and belt. banana republic top, qr250* (store at Villaggio Mall). gap pants, qr250* (store at Villaggio Mall). bottega veneta bag.

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fashion associate: lindsey gathright. hair by maxime macĂŠ at calliste. makeup by georgina graham at clm using m.a.c. cosmetics. manicure by elsa durrens at artlist. models: ieva laguna and marlena szoka.

*All Prices are indicative

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OUT ON A LIMB

WITH TWO CONTROVERSIAL NEW ROLES AND A CANDOR TO MATCH HER BEAUTY, THE ‘SLUMDOG’ STAR FREIDA PINTO COMPLETES HER PASSAGE FROM INDIA. HORACIO SILVA ryan Mcginley TEXT BY

Photographs by

F

reida Pinto is not one to shy away from a grand gesture. ‘‘As my friends and family are quick to remind me, I have always been a big drama queen,’’ Pinto, 26, recalls over breakfast in a Midtown hotel suite. ‘‘As a child, I would stand in front of the mirror and pretend I was this or that person from television. All I needed to do was realize it and recognize what I wanted to do.’’

For Pinto, the epiphany came at 11, when India’s Sushmita Sen won the 1994 Miss Universe competition. ‘‘The country was really proud of her, and I was like, One day, I want to do the same,’’ Pinto says in her clipped, slightly accented English, which betrays her middle-class upbringing in the suburbs of Mumbai. ‘‘It wasn’t just the glamour of it all because I think at 11, I could hardly

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understand what glamour was. I really wanted to be like her — appreciated and a source of inspiration. I think that’s what made me go into acting.’’

Fortunately, Pinto’s genetic gifts meant that having a career inspired by a beauty queen was a possibility.

(Before her crossover success as Latika, the female lead in the 2008 hit ‘‘Slumdog Millionaire,’’ Pinto was a model and the host of a television travel show.)

And although she is an eloquent interview subject, her responses occasionally sound like the platitudes you might hear from a contestant being grilled in a beauty pageant.

But Pinto is ever the good sport. After it is pointed out to her that she has a habit of answering in eveningwear-competition oratory, she checks herself a couple of times and allows, ‘‘There I go again, sounding like a Miss Universe contestant.’’ It’s a candor that is also evident when she is asked about her appearance in Woody Allen’s latest London-based ensemble film, ‘‘You Will Meet a Tall Dark Stranger,’’ to be released next month. In a case of art imitating life, Pinto’s character, Dia, a gorgeously exotic musicologist — is there any other kind? — leaves her fiancé for another man. (In January 2009, Pinto called off her engagement to Rohan Antao and started dating her ‘‘Slumdog Millionaire’’ co-star Dev Patel.) ‘‘I feel what I did was right,’’ she says of her real-life breakup. ‘‘There were no two ways about it. But when I walked into Woody’s office and read the scene in the nursery, where Dia confesses for the first time that she has doubts about what she is getting into, I was like, Has someone been reading the gossip magazines to Woody?’’

The gossip magazines certainly had a field day with Pinto’s personal life, after Antao gave an interview to a British tabloid about their relationship and Indian newspapers claimed the two had in fact been secretly married. ‘‘Everyone is going to write you off for one thing or another, but you know what?’’ Pinto continues. ‘‘It’s my life, and if I didn’t go through it, I wouldn’t be the person I am today, sitting here talking about what happened back then and being a little more knowledgeable about what happens in relationships.’’

toast master BALMAIN DRESS, (available at 51 east) GAIA REPOSSI AND EUGENIE NIARCHOS FOR REPOSSI EARRINGS. PREVIOUS SPREAD: MARC JACOBS DRESS. FASHION ASSISTANTS: ALEXA LANZA AND YURI CHONG. HAIR

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BY MATTHEW MAZZUCCA. FASHION EDITOR: ANNE CHRISTENSEN.

“ ”

For me, it’s not only an excellent opportunity to prove myself as a serious actor, but also to make a difference in the world.

Not having appeared in any Hindi-language films, Pinto admits that she has a way to go before she convinces the doubters back home in India, who know her only as a professional beauty and for her role in ‘‘Slumdog Millionaire,’’ that she has the acting chops to match her cheekbones. And although she holds her own in ‘‘You Will Meet a Tall Dark Stranger,’’ alongside a cast that includes Josh Brolin, Naomi Watts and Anthony Hopkins, Pinto’s character is little more than imported wallpaper. Ask Woody. ‘‘She’s the perfect obscure object of desire,’’ Allen said via e-mail. ‘‘She’s exactly what I wish I saw when I look out the back window of my house in Manhattan.’’

Pinto’s desire not to be reduced to the subject of a gaze or to paparazzi bait may be realized with the December release of Julian Schnabel’s film ‘‘Miral,’’ based on Rula Jebreal’s novel, which follows an orphan (played by Pinto) as she falls in love with a Palestinian activist during the first intifada. Not that Pinto is worried about the difference of opinion the movie is likely to generate. ‘‘I knew it was going to be one of those stories that will create a lot of controversy,’’ she says. ‘‘But there are stories that need to be told, and if you’re always going to live in fear of what’s going to happen, you’re really not being truthful to yourself.

For me, it’s not only an excellent opportunity to prove myself as a serious actor, but also to make a difference in the world.’’ She smiles, knowing that Miss Universe could not have put it better. n FACE TIME WATCH T’s LATEST ‘‘SCREEN TEST,’’ a video interVIEW WITH FREIDA PINTO, AT nytimes.com/tmagazine.

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Screen giant she may be an ingĂŠnue, but at 5-FOOT-10, rebecca hall has legs. interview by Lynn hirschberg Photographs by raymond meier

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‘‘Gloria’’ days ann demeulemeester coat, qr6,400*, waistcoat, qr2,500*, top, qr1,250*, headpiece, and necklace. yohji yamamoto pants, qr2,250. bess boots. opposite: yohji yamamoto shirt, qr11,700*, and skirt, qr10,800*. WHAT GOES AROUND COMES AROUND vintage SLIP, qr750*. delfina delettrez necklace. britt marie headband.

FASHION EDITOR: TIINA LAAKKONEN.

*All Prices are indicative

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Hall Monitor rag & bone parka, $695. go to rag-bone.com. double rl vest, $498. go to ralphlauren.com. calvin klein collection shirt, $550, and pants, $395. call (212) 292-9000.

3.1 phillip lim belt.

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BY MAKKY AT STREETERS for DIOR BEAUTY. MANICURE BY ROZA ISRAEL AT BOBBI BROWN. SET DESIGN BY CHARLIE WELCH AT JED ROOT.

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In america

you are best known for being the Vicky in Woody Allen’s ‘‘Vicky Cristina Barcelona.’’

Were you surprised that he cast you?

Shocked! I quizzed him about it one day on set. I was like, ‘‘What did you see in me that persuaded you to take this strange risk in giving me this really amazing part?’’ He said, ‘‘I don’t know.’’ [Laughs] Woody was incredibly vague about it, so who knows if he ever saw me onstage or anywhere else. It could have just been a whim.

What was the audition like?

Woody Allen is famous for his very, very short auditions, and mine was no exception. It was a really cold day in January. I had on a lot of scarves and hats and winter paraphernalia, and he didn’t even let me in the doorway. I was trying to gracefully unwrap myself and he said, ‘‘Oh. Hi. Can you do an American accent?’’ And I went, ‘‘Yeah.’’ And he said, ‘‘O.K. Bye.’’ And that was it.

Although you grew up in England, your mother is the American opera soprano Maria Ewing and your father is the brilliant, legendary theater director Sir Peter Hall. In a theatrical house like yours, was it assumed that you would become an actress?

No, they didn’t show me off or push me, although my mom loved Judy Garland and used to make me sing ‘‘The Boy Next Door’’ at dinner parties when I was very small. I still do quite a good Judy Garland impression, but that’s only when I’ve had a couple of drinks. I’m not so naïve as to think that my upbringing wasn’t eccentric or idiosyncratic.

I grew up in an environment where everyone was talking about the theater. And for a good chunk of my childhood, I spent evenings watching my mom as Salome, singing love songs to the decapitated head of John the Baptist. After that, she was crushed to death by spears.

You started acting at a very young age — at 10 your father directed you in a four-part miniseries, ‘‘The Camomile Lawn,’’ for British TV. I was 8 when I got cast. My father had no intention of casting me.

He and the producers had looked at over 300 little girls, and one day I was waiting for them to finish a casting session and the producers walked past and went, ‘‘You look perfect. Are you auditioning?’’ I was very professional about it and said to my dad, ‘‘Obviously, I want to act. That’s what I’ve always wanted to do.’’ After that film, I got an agent and I suppose I could have done the child-acting thing, but the people that I idolized when I was 10 were grown-up actresses like Bette Davis. I was always, always so impatient to grow up and be an adult. I wanted to be a serious actress. So I went to Cambridge and got an education.

You didn’t go to drama school. Was that helpful or not?

That made directors nervous. When I was 20, I auditioned for a bunch of stuff and I could not get close to a job. I kept getting sort of down to the last two and then was told it was too much of a risk because I hadn’t gone to drama school and I wasn’t a name yet — my name comes with all sorts of stuff attached that’s complicated. Finally, my father asked me to read ‘‘Mrs. Warren’s Profession’’ [by George Bernard Shaw], which he was directing, and that was my first job out of college. Initially, I said, ‘‘I’d rather eat my own feet than do my first job with my father directing me onstage.’’ I would be judgmental of me if I was looking at it from the outside — it was nepotism. [Laughs] But I decided it would be silly not to take the opportunity.

It was a success and quelled a lot of fears about your ability. Did anyone ever tell you that you were too tall to be an actress? Most actors are surprisingly short.

Oh, yes. And I was 5 feet 10 from when I was 14. I never liked being tall. In truth, I like to watch people, but it’s very difficult to disappear into the wallpaper. When I was starting out, I was pretty much vetoed on account of being 5 feet 10.

I’ve become adept at seeming shorter. Seeming shorter — now, that’s acting. [Laughs] In your latest movie, ‘‘Please Give,’’ directed

by Nicole Holofcener, you play a woman who is dating a much shorter man.

Nicole doesn’t like people to be attractive in her films. Before we began, she asked me if I could be unglamorous, so I cut off my hair. I went into a barber and said, ‘‘Just cut it.’’ I was trying to achieve the effect that Nicole wants. Nicole likes to present very small scenarios where very little happens and where it’s all very, very quiet and you, as an audience member, have to draw your own conclusions. There is a scene in her movie ‘‘Lovely and Amazing’’ where the actress Emily Mortimer stands naked and asks the guy she’s just slept with to tell her all the faults about her body. And he does. It’s brutal. I was interested in that dynamic: the quiet and the brutal.

You have a different sort of tension in ‘‘The Town,’’ which opens in the fall. You play a woman who’s having a romantic liaison with both Jon Hamm and Ben Affleck.

And they are both giants! I could wear heels all the time! [Laughs] n

CATCH T’S ‘‘SCREEN TEST,’’ LYNN HIRSCHBERG’S VIDEO INTERVIEW with the actress Rebecca HALL, at nytimes.com/tmagazine.

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A towering design statement

For Italian designer, Giampiero Peia, design is all about the right balance of function and creativity, and he has blended both in precise proportions for his latest creation, the Kempinski Residences & Suites.

By Sindhu Nair elegance of The Oyster – Pearl-Qatar’s marketing office.

For the Italian designer, the whole project started with a brief demanding ’a clean balanced approach, a design that straddles contemporary and classic, though avoiding the typical compromise’.

And it ended just as the designer envisaged, the towering Arab silhouette, leading to a lobby that gives a local flavor, shimmering columns with a geometric pattern and Islamic art on the walls.

No compromise here, just straightforward Arab hospitality.

“The lobby had to represent the identity of the place, like the perfect balance between European and Arab culture, which hints at the fruitful deal between the property and the operator – Kempinski and Al Fardan Group.”

The special patterns on the column and the many details that form a theme was part of an extensive

design brainstorming process. The detailing was brought to perfection through laser-cut machines, says Peia.

“The modern Mujarabia design is spread across in many details: the perforated column lamps, decorated ceiling at the lift lobby, inlay marble flooring, the pattern serigraphy on the glass partitions or backlit glass at the reception desks.”

Inside Out One moment you are in the lobby and the next, with a slide of a mirror you are in the restaurant side of the property – a surprise feature or an eerie one, difficult to decide.

“That feature,” explains the designer, “is to maintain the privacy of those using the residences from those visiting the restaurants.”

Move on to the restaurant area, only to be greeted

Photographs by Bosco Menzes

I

magine lying in a tub of bubbling bath, looking down at all the towers in West Bay and then gazing up to stare right into an approaching Qatar Airways plane. No, this is not a dream but if you are one of the guests residing on the topmost floor of Sky Villas of Kempinski Residences & Suites, this could be just part of your routine. You JUST can’t get higher than this in Doha, because you are in the tallest tower in the city. Period.

Sky Villas are enormous penthouses on the top two floors of the property, part of the 62-floor service apartment. For a tallest tower what would you expect the interiors to be? Flamboyant, for sure, going with the general trend of hospitality design (or overdesign) in the Middle East (Think Atlantis and the horrendously decorated golden pillars in the lobby).

But the interior of Kempinski takes you by surprise.

A design that doesn’t overpower the senses, created

by Giampiero Peia, the man who us the sophisticated

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Photographs by Bosco Menzes

by the contemporary style, clean lines and cosy interiors. Minimal yet not understated. Countering that statement, the designer says that though basic in looks, the design procedure wasn’t as effortless.

“The plan was to persist and maintain the idea of unified yet differentiated space. We used the concept of random positioning and variation in sizes of square wooden frames and boxes. This helped to achieve privacy while it also gave the feeling of open space. The geometrical frames are a simple decoration on the ceiling, with indirect and direct dramatic dimmable lights. These decorations have another role to play, to reduce the noise waves in this small space. The golden meshes and lights behind the boxes give a dynamic mood to the room. The metal curtains and filtering layers provide privacy without obstructing the spatial perspective. This sensation is emphasized by high mirrors and LED lighting (specially designed by me and produced by Martini).“ The ’open kitchen’ and backlit marble bar are the main ’stages’ between tables and ’architectural boxes’, almost like the setting of a modern ’opera’ theatre.

The spa had to be relaxing, the gym young and energetic, the swimming pool dynamic and ’liquid’, the restaurants cosy, grand and sophisticated, says the designer. And the design fitted each requirement to the hilt.

The public areas, feels the designer, must be strong in terms of identity and character while the interiors of the apartments and suites should have a more

’private’ sense with a classic mood and a common modern sense of beauty.

“The richness is in the culture and the design, not just because of the materials or the brands.”

A small detail that makes you feel good about this luxury giant was the environmentally conscious design detail, an energy saving technique, of dimming the lights when the visitor moves away from the space.

The designer in profile The Italian designer is no stranger to both Doha and the Al Fardan Group. It wouldn’t be far off the mark to call Giampiero, the Group’s inhouse designer, as he has designed various projects for them, from the iconic Pearl marketing office with its awe-inspiring interiors to the earlier UDC office premises. But Giampiero’s fascination with Arab culture and his association with this genre of design began long back.

“I have been fascinated with the Arabic culture since I was student. I even won a competition for the design of Alhambra extensions in Granada just after University. That was a turning point for me. I then started studying the richness of the Arabic architecture. Six years ago, Doha gave me opportunities to apply my practice in the region. My deep respect for the local roots is an essential part of my inspiration for the projects here. “ Giampiero goes a step ahead to understand the end-user of his project and he narrates his designing process for Aida concept store – one of the fashion

outlets for Al Mana in Al Fardan Towers, where he set out to first understand the youth of the region.

“The young must enjoy the new, but should always be conscious of their roots, wherever they might be.

Here, learning from Dubai’s mistakes, is still more necessary.”

Though the designer doesn’t elaborate, what he implies is explicit.

As a footnote, the designer compares the architect to a director.

Both direct a range of materials to form innovative patterns and designs that as a whole, tell the story of the space used, in as interesting a manner as possible. n

Designs Galore The interiors of Kempinski Residences & Suites flaunt a classic and contemporary style.

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S Executive Director Amanda Palmer and actor/director Elia Suleiman speak onstage during ‘DOHA TALKS: Fabulous Picture Show: Elia Suleiman Masterclass: Screening with Q&A’ at the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

C redit: A ndrew H . Walker /G etty I mages

Actress Hiam Abbass, Amanda Palmer and director Najwa Najjar speak onstage at the DTFF Closing Night Ceremony at the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

C redit: M ichael Buckner /G etty I mages

Filmmaker Scandar Copti and Amanda Palmer speak onstage at the DTFF Closing Night Ceremony during the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

Amanda Palmer & Sir Ben Kingsley

C redit: M ichael Buckner /G etty I mages

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Scripting an art

Filmmaking in focus, as Doha ups its initiatives

By Vani Saraswathi

W

hen Tribeca came calling, Doha was quick to respond. After the thumping success of the first edition of the Doha Tribeca Film Festival (DTFF)in 2009, the art of filmmaking received further impetus with the setting up of the Doha Film Institute (DFI).

Inspired by that success and using the glamorous platform of Cannes, H.E. Sheikha Al Mayassa officially launched the institute as an umbrella organization that will bring together all of the country’s film initiatives.

“The Doha Film Institute’s goal is to build a sustainable film industry in Qatar with strong links to the international film community. Film can do more than just entertain; it can educate, inspire and unite communities and we want to nurture and support filmmakers as we continue to grow Qatar as a cultural hub for film,” said H.E. Sheikha Al Mayassa Bint Hamad Bin Khalifa Al-Thani, founder and board chair of DFI. The institute not only addresses all the challenges of building a film industry, but it also seeks to provide the right tools to do so.

DFI provides funding for film production, year-round education programs, and celebrates existing cultural partnerships with Martin Scorsese’s World Cinema Foundation, Mira Nair’s Maisha, and New York’s Tribeca Enterprises.

The scope of what DFI has set out to do is so vast, Amanda Palmer says that this year at least, she doesn’t expect everyone to understand everything DFI does. “We take the whole process very seriously. We

know it cannot be created overnight.”

As the executive director of both the DFI and DTFF, Amanda’s job is not an easy one, but it has been a gratifying task. “As an organization, I would say our rewards have been the films by people who wouldn’t have otherwise set out to make them, the education process and the immense public support for the film festival. It is this that will help us plan and build an institute.”

Arab cinema hasn’t received the kind of universal audience that Asian cinema has. But for Amanda the encouraging thing is that interest in it is certainly growing. “People in business see this as an emerging market with immense potential. Also, we don’t know enough about who is watching Arab cinema. There isn’t enough data – actual data is very hard to come by. We are still finding out who our audiences are. But we do know that the growth is enormous and regional cinema is finding a new audience.”

DFI will help in this regard for many reasons. The audience support for DTFF shows a true appetite for good films. It was an educational process for not just audiences, but for distributors, film owners, financers, etc.

Apart from the festival, DFI has to do a million things at the same time moving forward, says Amanda.

“There is no one way to build the industry. We have to do it across many ways. That is through helping small films, financing, festivals – a multitude of initiatives. That’s what DFI does.”

While the film industry is both a creative outlet and an employment generator in the countries where it is established, in the GCC it may not be the first career choice. Now building from scratch, what does DFI hope to accomplish?

Amanda is confident of building an industry in a very short time.

“Romania, Korea and New Zealand all have domestic film industries that were built in less than a decade.”

But to begin with, what’s of interest to her is that people will have a greater understanding of what the filmmaking process is. “It shows

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S

QATAR

people that there are technical, creative, challenging processes and career options available. In DFI we have people doing many, many different jobs. The interesting thing for us is to have the people recognize that hundreds and hundreds of people have to collaborate to produce a film.”

For Amanda, to be a part of things that contributed to the community is what has guided her through her career growth.

“I wanted to involved in something I find interesting, that educated me, opened my mind, contributed to other people’s lives as well…,” all of which she finds in her current role.

“Personally, in terms of DTFF, the challenge was creating a film fest that would be a fantastic experience that would educate. DFI is an extension of that. I love seeing young filmmakers. Last night I saw the productions of first-time filmmakers. You’d be surprised by the quality of films.”

She promises that the Arab film competition will show some fantastic films – “incredible surprises”.

What Amanda looks for in a film, while assessing, is authenticity of story.

“I am always bound to that. It doesn’t have to be perfect. I’m forgiving on the craft. I look for strength of the story. There are genuine stories that haven’t been told and are waiting to be told. What really captures us all is authenticity.”

The immediate next step for DFI? “The immediate and the long term plan is to create a skilled labor force. Import some of it, even. And they in turn will train others. After that there are thousands of next steps. We have to just keep going, keep building on what we do. We have to help finance films – which we started this year.”

Meanwhile, DFI has entered into partnerships with figures of note.

Martin Scorsese’s World Cinema Foundation has signed a three year cultural partnership with DFI to restore and preserve international films

Amanda Palmer with Kosovan actress Arta Dobroshi.

of cultural significance.

The Doha Tribeca Film Festival (DTFF) itself is a cultural partnership between Doha’s DFI and New York’s Tribeca Enterprises.

DFI has also extended a cultural partnership with renowned director Mira Nair’s Maisha Film Lab, with Qatari residents now taking part in this cross-cultural exchange with filmmakers and students from East Africa and South Asia to access professional training and production resources.

To identify and foster new talent, DFI’s educational team, headed by Oscar-nominated Palestinian director Scandar Copti, has an ambitious 12-month calendar of workshops both in Qatar and as far away as Africa and the US, aimed at inspiring and empowering the next generation of Qatari, regional and international filmmakers.

“Whether writing, shooting and scoring their own original short films here in Doha or working on productions from Uganda to New York, an unprecedented number of people in Doha are learning how to create films, which is critical to the long-term sustainability of a film industry in Qatar and the wider Middle East,” says Copti. n

Jury call Internationally-acclaimed

Palestinian filmmaker Hany Abu-Assad has been appointed President of the Jury for the 2010 Doha Tribeca Film Festival (DTFF) which runs 26-30 October 2010.

Abu-Assad will be the first Jury President of the festival which held its inaugural event last year and will preside over DTFF’s Arab Film Competition awarding prizes for Best Arab Film and Best Arab Filmmaker.

Director Hany Abu-Assad speaks during ‘Doha Talks: One Big World: Producing & Distributing Independent & International Films in the Global Market’ at the Four Seasons Doha during the 2009 Doha Tribeca Film Festival on October 31, 2009 in Doha, Qatar. (Photo by Michael Buckner/Getty Images for Doha Tribeca Film Festival)

His 2006 film Paradise Now, about two Palestinian men preparing for a suicide attack in Tel Aviv, won the Golden Globe for Best Foreign language film in 2006, won the Golden Calf for best Dutch film, and was nominated for an Academy Award for Best Foreign Language Film.

Born in Nazareth, Palestine in 1961, AbuAssad studied technical engineering and worked as an airplane engineer in Europe before becoming a filmmaker.

He then entered the world of cinema as a producer and produced the feature film Curfew, directed by Rashid Masharawi, in 1994, and in 1998 he directed his first film, The Fourteenth Chick, from a script by writer Arnon Grunberg. Following this, Abu-Assad produced two documentaries, Nazareth 2000 and Ford Transit, in addition to a second feature film, Rana’s Wedding.

yourself: politics, existing social justice, moral judgement, love. I also hope the films allow an audience to experience a culture or life that they, themselves, do not live. Overall, I hope the films really stick in my head and keep me on the edge of my seat.

What is the one thing in favour of Arab cinema today, and what is the one issue that holds it back?

I think that Arab cinema is unique because of the underlying frustration of Arab society. It is this attribute that is both the greatest thing in favor as well the one issue that holds it back – frustration can be both a source of inspiration and a drive for better understanding or it can also act as an oppressive force, causing one to bathe in self pity.

Do you think Arab cinema has scope to go global? That the stories it can tell will have an appeal across cultures?

It’s not the stories of Arab cinema that will make it appeal across cultures, but rather the way they tell them or their cinematic language. The danger for Arab cinema, is that the Arabic audience is used to a very specific cinematic language, which does not communicate to other cultures on a global level. The key to make Arab cinema cross-cultural, is to find a way to tell stories so that they impact and inspire both an Arabic audience as well as a global audience – this is not easy, but it can be done and must be done.

What is the one thing you wish you knew or had before you made your first film?

That making movies is a painful process – had I known this before, I would never have started.

Who are your greatest influences in the world of films?

Abbas Kiarostami.

Your favourite director and film, in commercial, indie and offbeat?

He grabs time off to answer a few questions for T Qatar.

Commercial: Francis Ford Coppola & Michael Mann; The Godfather & Heat

What kind of films do you hope to assess this year?

Indie: Cristian Mungiu – 4 Months, 3 Weeks, & 2 Days

I always hope to see films that inspire and make you question the world and

Offbeat: Jim Jarmusch – Stranger Than Paradise

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‫ل‬

‫محة من قطر‬

‫"�إنني دائما ملتزمة بذلك �إذ لي�س من ال�ضروري �أن تكون الق�صة مثالية لأن �صناعة‬ ‫ال�سينما مت�سامحة‪ ،‬لكنني �أتطلع لقوة الق�صة‪ .‬وهناك ق�ص�ص حقيقية لم يتم ق�صها بعد‬ ‫وهي تنتظر من يعر�ضها‪ .‬فما يجذبنا جميعا هو �أ�صالة الق�صة"‪.‬‬ ‫لكنماهيالخطوةالتاليةالمبا�شرةلمعهدالدوحةال�سينمائي؟تجيب�أماندا‪�":‬إنالخطوة‬ ‫التالية الفورية طويلة الأمد هي ت�أ�سي�س قوة عاملة ماهرة حتى ولو قمنا با�ستيراد بع�ضها‬ ‫لأنها �سوف تقوم بدورها بتدريب الآخرين‪ .‬بعد ذلك هنالك الآالف من الخطوات التالية‪.‬‬ ‫وعلينا �أن نوا�صل م�سيرتنا و�أن ن�ستفيد مما نقوم به وعلينا �أن ن�ساعد في تمويل الأفالم‪،‬‬ ‫وهو ما بد�أناه هذا العام"‪.‬‬ ‫وقد�أقاممعهدالدوحةال�سينمائي�أي�ضا�شراكاتمعم�ؤ�س�ساتهامةفقدوقعتم�ؤ�س�سة‬

‫ال�سينما العالمية التابعة للمخرج مارتن �سكور�سيزي �شراكة ثقافية لمدة ثالث �سنوات مع‬ ‫معهد الدوحة ال�سينمائي ال�ستعادة والحفاظ على الأفالم العالمية ذات الأهمية الثقافية‪.‬‬ ‫ومهرجانالدوحةتريبيكاال�سينمائينف�سههوعبارةعن�شراكةثقافيةبينمعهدالدوحة‬ ‫ال�سينمائي وم�ؤ�س�سة "تريبيكا �سينماط في نيويورك‪.‬‬ ‫وقد�أقاممعهدالدوحةال�سينمائي�أي�ضا�شراكةثقافيةمعمختبرماي�شاال�سينمائيالتابع‬ ‫للمخرجة ال�شهيرة ميرا ناير‪ ،‬كما بد�أ الآن القطريون بالم�شاركة في هذا التبادل الثقافي‬ ‫مع �صناع الأفالم والطالب من �شرق �أفريقيا وجنوب �آ�سيا للح�صول على التدريب المهني‬ ‫والموارد الإنتاجية‪.‬‬ ‫وقد و�ضع فريق العمل التعليمي في معهد الدوحة ال�سينمائي الذي ير�أ�سه المخرج‬ ‫الفل�سطينيالمر�شحلجائزةالأو�سكار�إ�سكندرقبطيجدوالزمنياطموحامدته‪�12‬شهرا‬ ‫ي�ضم ور�ش العمل في كل من قطر والواليات المتحدة ودول في �أفريقيا بهدف ت�شجيع‬ ‫المواهب الجديدة و�إلهام وتمكين الجيل المقبل من �صانعي الأفالم القطريين والإقليميين‬ ‫والدوليين‪.‬‬ ‫ويقول �إ�سكندر قبطي‪" :‬يقوم حاليا عدد غير م�سبوق من النا�س في الدوحة بتعلم كيفية‬ ‫�صناعة الأف�لام ال�سينمائية �سواء كان من حيث كتابة �أو ت�صوير �أو ت�سجيل �أفالمهم‬ ‫الق�صيرة الأ�صلية هنا في الدوحة �أو من خالل العمل على �إنتاج الأفالم من �أوغندا حتى‬ ‫نيويورك‪ ،‬وهذا �أمر حيوي لتحقيق ا�ستدامة طويلة الأجل في �صناعة ال�سينما في قطر‬ ‫وال�شرق الأو�سط"‪.‬‬

‫رئا�سة هيئة التحكيم‬ ‫ت��م تعيين ال�م�خ��رج الفل�سطيني ال�شهير‬ ‫دوليا هاني �أبو �أ�سعد رئي�سا للجنة تحكيم‬ ‫مهرجانالدوحةتريبيكاال�سينمائي‪2010‬‬ ‫ال��ذي �سيقام ف��ي الفترة ‪� 30-26‬أكتوبر‬ ‫‪.2010‬‬ ‫و�سوف يكون �أبو �أ�سعد �أول رئي�س للجنة‬ ‫تحكيم ال�م�ه��رج��ان ال ��ذي �أق�ي�م��ت ن�سخته‬ ‫الأول� ��ى ف��ي ال �ع��ام ال�م��ا��ض��ي ح�ي��ث �سوف‬ ‫يتر�أ�س م�سابقة الفيلم العربي في مهرجان‬ ‫الدوحةتريبيكاال�سينمائيلتقديمجوائز‬ ‫لأف�ضل فيلم عربي و�أف�ضل مخرج عربي‪.‬‬ ‫وقد فاز فيلمه "الجنة الآن" الذي �أخرجه‬ ‫عام ‪ 2006‬ويتحدث عن رجلين فل�سطينيين‬ ‫ي�ستعدان للقيام بهجوم انتحاري في تل‬ ‫�أبيب بجائزة الكرة الذهبية عن �أف�ضل فيلم بلغة �أجنبية في عام ‪ ،2006‬وفاز بجائزة العجل‬ ‫الذهبي لأف�ضل فيلم هولندي‪ ،‬كما ُر�شح لجائزة الأو�سكار لأف�ضل فيلم بلغة �أجنبية‪.‬‬ ‫وقد ولد �أبو �أ�سعد في النا�صرة بفل�سطين عام ‪ 1961،‬ودر�س الهند�سة التقنية‪ ،‬وعمل‬ ‫مهند�س طائرات في �أوروبا قبل �أن ي�صبح مخرجا �سينمائيا‪ .‬ثم دخل بعد ذلك عالم‬ ‫ال�سينما كمنتج ف�أنتج فيلم "حظر التجول" الذي �أخرجه المخرج ر�شيد م�شهراوي في‬ ‫عام ‪ ،1994‬وفي عام ‪� 1998‬أخرج فيلمه الروائي االول "الفرخ الرابع ع�شر" عن ن�ص‬ ‫لأرنون جرونبرج‪ .‬وبعد ذلك �أنتج �أبو �أ�سعد فيلمين وثائقيين هما "النا�صرة ‪"2000‬‬ ‫و"فورد ترانزيت"‪ ،‬بالإ�ضافة �إلى فيلمه الروائي الثاني "عر�س رنا"‪.‬‬

‫ما هو ال�شيء الذي يعتبر ل�صالح ال�سينما العربية اليوم‪ ،‬وما هي الق�ضية التي‬ ‫تعيقها؟‬ ‫�أعتقد �أن ال�سينما العربية فريدة من نوعها ب�سبب الإحباط الذي يعاني منه المجتمع‬ ‫العربي‪ .‬هذه ال�سمة هي �أكثر ما يخدم ال�سينما و�أبرز معوقاتها في الوقت نف�سه‪.‬‬ ‫فالإحباط قد ي�شكل م�صدر �إلهام وباعثا على مزيد من الفهم ويعمل �أي�ضا كقوة قمعية‬ ‫ت�ضع الإن�سان تحت وط�أة رثاء الذات‪.‬‬ ‫هل تعتقد �أن �أمام ال�سينما العربية طريق طويل للتحول �إلى العالمية؟ وهل‬ ‫تروق الق�ص�ص العربية لمختلف الثقافات؟‬ ‫ق�ص�ص ال�سينما العربية لن تروق لمختلف الثقافات و�إنما الطريقة التي �ست�سردها بها �أو‬ ‫اللغة ال�سينمائية‪.‬‬ ‫والخطر الذي يواجه ال�سينما العربية هو �أن الجمهور العربي معتاد على لغة �سينمائية‬ ‫خا�صة جدا ال تروق للثقافات الأخرى على الم�ستوى العالمي‪ .‬والمفتاح لمنح ال�سينما‬ ‫العربية القبول الكوني هو الو�صول �إلى طريقة ل�سرد الق�ص�ص ت�ؤثر على كل من الجمهور‬ ‫العربي والعالمي وتحفز الإل�ه��ام في نفو�سهم ولي�س لي�س �سهال‪ ،‬لكنه ممكن ويجب‬ ‫تحقيقه‪.‬‬ ‫ما ال�شيئ الذي تمنيت لو عرفته قبل �إخراج فيلمك الأول؟‬ ‫�إخراج الأفالم عملية م�ؤلمة‪ ،‬ولو علمت بذلك من قبل لما فعلت‪.‬‬ ‫�أكبر �شخ�صية ت�أثرت بها في عالم ال�سينما؟‬ ‫عبا�س كيارو�ستامي‪.‬‬

‫وقد منحنا هاني �أبو �أ�سعد بع�ضا من وقته للإجابة على الأ�سئلة التي طرحتها عليه تي مخرجك وفيلمك المف�ضالن في مجال الأفالم التجارية والم�ستقلة والفنية؟‬ ‫الأف�ل�ام التجارية‪ :‬فران�سي�س ف ��ورد ك��وب��وال وم��اي�ك��ل م ��ان‪ ،‬وفيلما ال �ع��راب‬ ‫قطر‪.‬‬ ‫‪ Godfather‬والحرارة ‪.Heat‬‬ ‫�أي نوع من الأفالم تتمنى تقييمها هذا العام؟‬ ‫�آميل دائما لم�شاهدة الأفالم التي تلهم الإن�سان وتجعله يت�ساءل حول نف�سه والعالم من الأفالم الم�ستقلة‪ :‬كري�ستيان مونجيو‪ ،‬وفيلم ‪� 4‬أ�شهر‪� 3 ،‬أ�سابيع‪ ،‬ويومان ‪Months, 4‬‬ ‫حيث ال�سيا�سة والحب والعدالة االجتماعية و�إ�صدار الأحكام الأخالقية‪ .‬و�آمل �أي�ضا �أن ‪.3 Weeks, & 2 Days‬‬ ‫ت�سمح الأفالم للجمهور اختبار ثقافة �أو حياة ال يعي�شون فيها هم �أنف�سهم‪ .‬وب�شكل عام‬ ‫الأفالم الفنية‪ :‬جيم �شارمو�ش‪ ،‬وفيلم �أغرب من الجنة ‪.Stranger Than Paradise‬‬ ‫�آمل �أن ت�شدني هذه الأفالم و�أن تجذب انتباهي‪.‬‬

‫‪The‬‬

‫‪83‬‬ ‫‪9/15/10 5:15 PM‬‬

‫‪T September Arbic Final 3.indd 83‬‬

Executive Director Amanda Palmer and actor/director Elia Suleiman speak onstage during ‘DOHA TALKS: Fabulous Picture Show: Elia Suleiman Masterclass: Screening with Q&A’ at the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

Credit: Andrew H. Walker/Getty Images

Actress Hiam Abbass, Amanda Palmer and director Najwa Najjar speak onstage at the DTFF Closing Night Ceremony at the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

Credit: Michael Buckner/Getty Images

Filmmaker Scandar Copti and Amanda Palmer speak onstage at the DTFF Closing Night Ceremony during the 2009 Doha Tribeca Film Festival on November 1, 2009 in Doha, Qatar.

Credit: Michael Buckner/Getty Images

Amanda Palmer & Sir Ben Kingsley

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‫ل‬

‫محة من قطر‬

‫�إعادة اكت�شاف ال�سينما العربية‬ ‫�صناعة الفيلم تحت ال�ضوء‬ ‫كتبت‪ :‬فاني �سارا�سواثي‬

‫النجاح ال�ساحق الذي حققته الن�سخة الأولى من مهرجان الدوحة‬ ‫تريبيكا ال�سينمائي في عام ‪ ،2009‬حظي فن �صناعة الأفالم مزيدا‬ ‫من الزخم مع �إن�شاء معهد الدوحة ال�سينمائي‪.‬‬ ‫وبوحي من هذا النجاح �أطلقت �سعادة ال�شيخة الميا�سة ر�سميا‬ ‫المعهد كمظلة تجمع بين جميع المبادرات ال�سينمائية في البالد‪.‬‬ ‫وقالت �سعادة ال�شيخة الميا�سة بنت حمد بن خليفة �آل ثاني‪ ،‬م�ؤ�س�س ورئي�س مجل�س �إدارة‬ ‫معهدالدوحةال�سينمائي‪�":‬إنالهدفمنمعهدالدوحةال�سينمائيهوبناء�صناعة�سينما‬ ‫م�ستدامة في قطر ذات عالقات قوية مع المجتمع ال�سينمائي الدولي‪ .‬فمهمة الفيلم لي�س‬ ‫مجرد ترفيه و�إنما ي�ستطيع �أن يعلم ويلهم ويوحد المجتمعات‪ .‬ونريد رعاية ودعم �صانعي‬ ‫الأفالم مع موا�صلة قطر نموها كمركز ثقافي �إقليمي للأفالم ال�سينمائية"‪.‬‬

‫عقب‬

‫واليت�صدىالمعهدلجميعالتحدياتالتيتواجهبناء�صناعةال�سينمافح�سبو�إنماي�سعى‬ ‫�أي�ضا �إلى توفير الأدوات المنا�سبة للقيام بذلك‪.‬‬ ‫ويوفر معهد الدوحة ال�سينمائي التمويل الالزم لإنتاج الأفالم والبرامج التعليمية على‬ ‫مدار العام‪ ،‬ويحتفي بال�شراكات الثقافية القائمة مع م�ؤ�س�سة ال�سينما العالمية التابعة‬ ‫للمخرج م��ارت��ن �سكور�سيزي‪ ،‬ومختبر ماي�شا ال�سينمائي ال��ذي �أ�س�سته ميرا نير‪،‬‬ ‫وم�ؤ�س�سة تريبيكا �سينما في نيويورك‪.‬‬ ‫ونطاق عمل معهد الدوحة ال�سينمائي وا�سع جدا‪ ...‬هذا ما قالته �أماندا بالمر هذا العام‬ ‫على الأقل الفتة �إلى �أنها ال تتوقع �أن يفهم الجميع ما يقوم به معهد الدوحة ال�سينمائي‪.‬‬ ‫و�أ�ضافت‪�" :‬إننا ن�أخذ العملية برمتها على محمل الجد‪ ،‬فنحن نعلم �أنه ال يمكن �إن�شاء‬ ‫المعهد بين ليلة و�ضحاها"‪.‬‬ ‫ومهمة�أمانداكمديرتنفيذيلكلمنمعهدالدوحةال�سينمائيومهرجانالدوحةتريبيكا‬ ‫ال�سينمائي لي�ست بالأمر ال�سهل‪ ،‬لكنها مهمة ت�ستحق الثناء �إذ تقول‪�" :‬أود �أن �أقول �أن‬ ‫الجائزة التي ح�صلنا عليها كم�ؤ�س�سة كانت �إنجاز الأفالم التي لم يكن ب�إمكان �صنّاعها‬ ‫القيام بها لوالنا‪ ،‬وعملية التعليم‪ ،‬والدعم الهائل الذي حظي به المهرجان ال�سينمائي‪.‬‬ ‫وهذا ما �سوف ي�ساعدنا على �إن�شاء المعهد"‪.‬‬ ‫و�صحيح �أن ال�سينما العربية لم تحظ بالجمهور العالمي من النوع الذي تتمتع به ال�سينما‬ ‫الآ�سيوية‪� ،‬إال �أن ال�شيء الم�شجع بالن�سبة لأماندا هو االهتمام المتزايد بها حيث قالت‪:‬‬ ‫"�أولئك الذين يعملون في هذا المجال يرون هذه ال�سوق النا�شئة تتمتع ب�إمكانات هائلة‪.‬‬ ‫عالوة على ذلك‪ ،‬ال نعرف بما فيه الكفاية م�شاهدي ي�شاهد ال�سينما العربية �إذ ال توجد‬ ‫بيانات كافية بهذا ال�صدد لأنه من ال�صعب جدا الح�صول على البيانات الفعلية‪ .‬فنحن‬ ‫ما زلنا نكت�شف جماهيرنا لكننا نعرف �أن النمو هائل و�أن ال�سينما الإقليمية تجد حاليا‬

‫جمهورا جديدا"‪.‬‬ ‫و�سوف يقدم معهد الدوحة ال�سينمائي العون في هذا ال�صدد لأ�سباب كثيرة‪ .‬فدعم‬ ‫الجمهور لمهرجان الدوحة تريبيكا ال�سينمائي يظهر �أن لديه �شهية حقيقية للأفالم‬ ‫الجيدة‪� .‬إنها لي�ست عملية تعليمية للجمهور فح�سب و�إنما �أي�ضا للموزعين‪ ،‬و�أ�صحاب‬ ‫الأفالم‪ ،‬والممولين‪ ،‬وما �إلى ذلك‪ .‬وعالوة على المهرجان ف�إن معهد الدوحة ال�سينمائي‬ ‫�سيقوم بالكثير من الأمور في الوقت نف�سه للم�ضي لتطوير �صناعة ال�سينما‪.‬‬ ‫تقول�أماندا‪":‬التوجدطريقةواحدةلبناءهذهال�صناعة�إذعلينا�أننقومبذلكعبرالعديد‬ ‫من الطرق وذك من خالل م�ساعدة الأفالم ال�صغيرة والتمويل والمهرجانات والكثير من‬ ‫المبادرات‪ .‬وهذا ما يقوم به معهد الدوحة ال�سينمائي"‪.‬‬ ‫وعلى الرغم من �أن �صناعة ال�سينما هي منفذ خالق وموجد لفر�ص العمل في الدول التي‬ ‫تزدهر في هذا المجال �إال �أنها قد ال يكون الخيار الوظيفي الأول في دول مجل�س التعاون‬ ‫الخليجي‪ .‬لذا يجري حاليا بنا�ؤها من نقطة ال�صفر‪ .‬لكن ما الذي ي�أمل معهد الدوحة‬ ‫ال�سينمائي من تحقيقه؟‬ ‫�إن �أماندا واثقة من �إمكانية بناء هذه ال�صناعة في وقت ق�صير جدا �إذ تقول‪" :‬لدى‬ ‫رومانيا وكوريا ونيوزيلندا �صناعات �أفالم �سينمائية محلية ت�أ�س�ست في �أقل من عقد‬ ‫من الزمن"‪.‬‬ ‫لكن ما يهمها قبل كل �شيء هو �أن يفهم النا�س عملية �صناعة الأف�لام‪ .‬وهي تقول بهذا‬ ‫ال�صدد‪" :‬من خالل هذا الفهم �سوف يعرف النا�س �أن هنالك العديد من الخيارات‬ ‫الوظيفيةالفنيةوالإبداعيةالمتاحة‪.‬ففيمعهدالدوحةال�سينمائييقومموظفونابوظائف‬ ‫عديدة ومختلفة‪ .‬وال�شيء المثير لالهتمام بالن�سبة لنا هو �أن يدرك النا�س �أنه ينبغي على‬ ‫المئات والمئات من النا�س التعاون في �إنتاج �أي فيلم"‪.‬‬ ‫وجهها خالل حياتها المهنية هو �أن تكون جزءا من الأمور التي‬ ‫وبالن�سبة لأماندا ف�إن ما ّ‬ ‫ت�ساهم في نه�ضة المجتمع حيث تقول‪�" :‬أردت �أن �أ�شارك في الأمور التي تثير اهتمامي‪،‬‬ ‫وجدت كل ذلك في‬ ‫والتي تع ّلمني‪ ،‬وتفتّح ذهني‪ ،‬وت�ساهم في حياة الآخرين كذلك"‪ ،‬وقد‬ ‫ْ‬ ‫دورها الحالي‪.‬‬ ‫وت�ضيف قائلة‪" :‬وبالن�سبة لمهرجان الدوحة تريبيكا ال�سينمائي ف�إن التحدي الذي‬ ‫يواجهني كان تنظيم مهرجان �سينمائي من �ش�أنه �أن ي�شكل تجربة رائعة وفر�صة للتثقيف‪.‬‬ ‫ومعهد الدوحة ال�سينمائي هو امتداد لذلك‪ .‬ف�أنا �أحب ر�ؤية المخرجين ال�شباب‪ ،‬وقد‬ ‫�شاهدت ليلة الأم�س باكورة �إنتاج بع�ض المخرجين وتفاج� ُأت بنوعية هذه الأفالم"‪.‬‬ ‫ُ‬ ‫وقد قطعت �أماندا على نف�سها وعدا ب�أن تعر�ض م�سابقة الأفالم العربية بع�ض الأفالم‬ ‫الرائعة و�أن تحمل "مفاج�آت ال ت�صدق"‪.‬‬ ‫أكدت ذلك بقولها‪:‬‬ ‫وما تبحث عنه �أماندا في �أي فيلم عند تقييمه هو �أ�صالة الق�صة‪ .‬وقد � ْ‬

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QATAR Storyteller Riad Makdessi feels that, Egypt aside, Arabic cinema is very much selling itself short in terms of reach and output

I want to tell you a story

Riad Makdessi feels regional film is a missing voice in communicating local tales. His debut featurette Flu aims to break the silence, inspire others to create, and showcase the shifting sands of cinema in the region and beyond. John Hunt meets the budding auteur.

R

iad Makdessi’s ‘day job’ and the one that pays the bills (for now at least), is advertising. His 15 years in this discipline have seen him direct numerous commercials, which means that the shift into filmmaking is not a huge stretch, but his immersion in the world of selling things gives his creativity a technical edge.

That is to say, Riad doesn’t see himself as some sort of 21st Century poet, struggling against insurmountable odds with an enormous victim complex and ego to match.

He simply wants to tell us a story; but for him it seems to be as much about ‘effective message transmission’ as it is about the desire to be recognised as a Kubrick or a Leone. He seems quite an egalitarian fellow, talking more about the bigger picture (no pun intended) and the future for

filmmaking in the region than lionising his own work.

We do start with Flu however. The 33-minute film – which debuted in August, and has been submitted for the 2010 Doha Tribeca Film Festival – is described as a ‘dot comedy’ by Riad. This is not the place to find a review of Flu – I have yet to see the film for one thing – but it does beg several questions about where Riad wants to go with a direction plotted out since he studied at the New York Film Academy in Abu Dhabi. “We had a nice story to tell and it’s something I waited a long time to do,” Riad says. “After 15 years in advertising, now is the right time!”

“I want to introduce myself as a producer/ director and we will be submitting the film to as many festivals as possible. And connect with other producers and film people around the world,” he says. But the promotion of Flu, as already mentioned, is part of a grander scheme: the husbandry of Arab cinema and an enhancement in its reach, both regionally and globally. “We don’t see enough Arabic films – we want to change that both here and worldwide. Film is a medium of communication and we want to speak to the world about who we are,” says Riad, a 30-something Syrian.

“With the exception of Egypt, which is flourishing, Arab cinema is very small,” he says (roughly three-quarters of short and feature films in Arabic ever made have come from Egypt) “...but there are so many stories from all over the region to be told – and no real channel to tell them.” It’s not as if Riad is short on audience. There are close to 380 million Arabs worldwide, 90 percent of whom reside in the region.

He concedes that there is no chance of Arab cinema reaching the same levels of popularity worldwide as European or American cinema (some might see that as a blessing, given some of the appalling rubbish churned out by Hollywood) but in terms of finding a niche, one only needs to look to India’s Bollywood, which has transcended Indian culture and has carved out a market worldwide.

“Arab cinema has never been more popular,” says Riad. “It proves that people need and want to see ‘their stories’. What strikes me as puzzling is that as a conservative region, we

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“... as a conservative region, we seem more accepting of drama concepts produced elsewhere rather than at home. We need to reverse that and tell our own stories.” seem more accepting of drama concepts produced elsewhere rather than at home. We need to reverse that and tell our own stories – after all, who better to tell a story than the person who has lived it?

“Telling our own stories is important, it can make a difference to people’s lives. When you leave the cinema you should take something with you. I like to question our situation in life, put it in front of the audience and hope that they take something from the experience.”

Digital Cinema (the means of distributing and projecting movies without actual ‘film’ needing to be in place at the venue, i.e. using hard disks, optical drives) makes the process of getting the film to the audience far more flexible yet simultaneously bespoke, and it’s comparatively cheap. Flu is to be distributed in this fashion and Riad points out that this technology will aid the proliferation of all ‘budget’ cinema, opening the door to more projects from the Arab world.

“Digital Cinema is cheaper and easier now than ever before, in terms of getting your film on screen. It’s an avenue we must exploit if we are to increase our output,” he says.

If ever there was an industry which was controlled by money, then it would have to be the movies. Whether your opus comes in at $50,000 or $50 million, you need finance. Film as high-concept fluff, such as Avatar and Transformers: Revenge of the Fallen is merely a money-making enterprise; there is more latitude with film as art, expression, education but people will not throw good money after bad indefinitely. “We have to use our commercial expertise to make Flu a profitable venture,” says

A fishy tale Riad Makdessi directs the actors and organises shots on the set of Flu.

Riad. “If we can show at least some profit on the bottom line then it’s going to be easier to make more films, easier to get people to sign on to your ‘vision’ in terms of backing if you can point to previous successes. Syria makes three films a year if we’re lucky; yet, television output there is prodigious. Why is that? It’s because there is no ‘umbrella’ for filmmakers, no way to make it pay.

“I really think we have a good chance of getting more films made, as the backing in GCC countries in terms of funds and support is rising.

Here in Qatar – where Flu was produced – the Doha Film Institute (DFI) is seriously backing local filmmakers by way of workshops, training,

development and finance.

“Historically, it has been very hard for an Arab student to find film schooling. DFI is now beginning to educate people, the filmmakers and storytellers of the future. In 10 to 15 years we will hopefully have two things: an audience more receptive to regional cinema and the nurtured talent to tell the story well. It’s not at all fanciful to suggest that the level of DFI backing could lead to the production of 10 films a year in this country before too long,” Riad says.

In a region where certain subjects are taboo, the issue of censorship is relevant, especially to anyone who enjoys films with what can best be termed ‘mature themes’. Orbit Showtime

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QATAR

“There is plenty to say and plenty of stories to be told that don’t involve contentious material.”

Network screen Eyes Wide Shut and A Clockwork Orange regularly, both directed by the aforementioned Stanley Kubrick. Perhaps it’s just as well that the famously exacting lensman is no longer with us as he would doubtless be thrown into a fury by the incompetent and amateur way these films have been censored for television transmission, to such an extent that both films become meaningless and virtually unwatchable. What, then, if a governmentfunded film should throw up something really controversial? “If there is a ‘red line’ for certain issues, then I would honestly say these are limited,” Riad says.

“There is plenty to say and plenty of stories to be told that don’t involve contentious material.

It’s a long journey but you would be surprised how ready we are in this part of the world to be challenged. We should tell the less contentious stories first though, let’s not run before we can walk!” he adds, laughing.

“What I think is more dangerous is,” Riad continues, “the idea of self-censorship.

Unconscious self-censorship is a dangerous thing. The more ideas we have on the table, the less dangerous things become.

“Film has a mission to entertain, sometimes people forget that. I am trying to make something in-between art and populism, that’s where I am aiming. Cinema is becoming more fragmented. One day there will be a product tailored for every person on the planet! Custommade! But the cinema experience will never change as much as how people watch television.

When I really want to see a film, I see it in the cinema. It goes without saying that it is a completely different experience to watching it on TV at home. People will always seek out the cinema experience – the number of people that go to the cinema bears this out. Cinema is a legacy product – and it can create a legacy too,” he said.

It has long been the case that non-English

Hat’ll do nicely One resource the Arab world has, that is ripe for cinematic exploitation, is an array of attractive settings.

Language films which have been successful in their own markets have been cherry-picked by Hollywood and remade. The results have often been risible (the remakes of Luc Besson’s Nikita and the Argentinian masterpiece Nueve Reinas spring to mind here) and it seems that Stieg Larsson’s wildly popular (in print and film) Millennium Trilogy is next in line for the Hollywood treatment.

Bearing in mind his previously-stated opinion that the storyteller should have some involvement (direct or otherwise) with the story, how would Riad view a potential approach from a major foreign studio? “If they were faithful to the original, then why not?”

he says. That, I believe, is known as ‘having your cake and eating it’...

And what of the future? “I think there is some real talent in Qatar. DFI is helping to create an infrastructure that, if properly developed, will allow us to get films made and be the platform for a new generation of Qatari filmmakers. I do believe there is an audience for Arabian stories outside Arabia. Genuine stories, original stories,” he says.

Arabian cinema as the next Bollywood?

Time will tell, but first you’re going to need a snappy name for the genre. I’ll throw my hat in the ring with ‘Sandalwood’, and get my coat at the same time.

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‫ل‬

‫محة من قطر‬

‫«هناك الكثير مما يمكننا‬ ‫قوله والكثير من الق�ص�ص‬ ‫التي يمكن ق�صها والتي‬ ‫ال تحوي �أية مواد مثيرة‬ ‫للجدل»‪.‬‬ ‫‪ 15‬عاما ن�أمل �أن ي�صبح لدينا �أمرين هما‪ :‬جمهور‬ ‫�أكثر تقبال لل�سينما الإقليمية وم��واه��ب تم رعايتها‬ ‫ب�صورة جيدة كي تروي الق�ص�ص الجيدة‪ .‬ولي�س‬ ‫من �ضرب الخيال �أن ن�ؤكد �أننا �سنتمكن بف�ضل‬ ‫م�ستوى الدعم الذي يقدمه معهد الدوحة لل�سينما‬ ‫من �إنتاج ع�شرة �أفالم في ال�سنة في هذا البلد خالل‬ ‫فترة لي�ست بالطويلة”‪.‬‬ ‫وفي هذه المنطقة التي تعتبر فيها بع�ض الموا�ضيع‬ ‫من المحرمات ت�أخذ الرقابة دورا محوريا وال�سيما‬ ‫بالن�سبة ل�م��ن ي�ح��ب الأف�ل�ام ذات ال�م��وا��ض�ي��ع التي‬ ‫ت���س�م��ى “للكبار فقط”‪ .‬ف�ق�ن��ات��ا �أورب� ��ت و��ش��وت��اي��م‬ ‫تبثان بانتظام فيلمي ‪ Eyes Wide Shut‬و ‪A‬‬ ‫‪ ،Clockwork Orange‬وك�لاه�م��ا م��ن إ�خ��راج‬ ‫�ستانلي كوبريك الذي تم ذكره �آنفا‪ .‬لكن البد �أن هذا‬ ‫المخرج المبدع �سي�شعر بالغ�ضب ال�شديد للرقابة‬ ‫غير الكف�ؤة والتي ال تت�سم بالحرفية التي يتعر�ض‬ ‫لهما ه��ذان الفيلمان م��ن أ�ج��ل بثهما تلفزيونيا هنا‬ ‫إ�ل��ى درج��ة تجعلهما لي�سا ذا معنى وي �ك��ادا يكونا‬ ‫من غير الممكن م�شاهدتهما‪� .‬إذن‪ ،‬ماذا لو كانت‬ ‫ق�صة الفيلم الذي تموله الحكومة مثيرة للجدل حقا؟‬ ‫يجيب ريا�ض قائال‪�“ :‬إذا كانت هناك خطوط حمراء‬ ‫بالن�سبة لق�ضايا معينة ف�إنني �أق��ول ب�صراحة �إنها‬ ‫محدودة‪ .‬وهناك الكثير مما يمكننا قوله والكثير‬ ‫من الق�ص�ص التي يمكن ق�صها والتي ال تحوي �أية‬ ‫مواد مثيرة للجدل‪� .‬إنها رحلة طويلة لكنك �ستنده�ش‬ ‫�إذا علمت مدى جاهزيتنا في هذا الجزء من العالم‬ ‫للتحدي‪ .‬لكن ينبغي �أن نق�ص الق�ص�ص التي هي‬ ‫�أقل �إثارة للجدل �أوال”‪ ،‬وي�ضيف �ضاحكا‪“ :‬يجب‬ ‫�أال نرك�ض قبل �أن نتمكن من الم�شي!”‪.‬‬

‫العالم العربي غني بالمواقع الجذابة التي ت�ستطيع �أن تمنحه ال�صدارة في عالم‬ ‫الت�صوير ال�سينمائي‬

‫الأم� � ��ور أ�ق� ��ل خ� �ط ��ورة‪� .‬إن ل�ل�ف�ي�ل��م ر� �س��ال��ة ي�ن�ب�غ��ي‬ ‫�إي�صالها‪ ،‬و�أحيانا ين�سى النا�س ذلك‪ .‬و أ�ن��ا �أحاول‬ ‫�أن أ�ق��دم �شيئا هو بين الفن وال�شعبية‪ ،‬وه��ذا هو‬ ‫�أطمح له‪ .‬لقد �أم�ست ال�سينما �أكثر تجزيئا‪ .‬ويوما‬ ‫ما �ستكون هناك منتجات م�صممة لكل �شخ�ص على‬ ‫وج��ه الأر���ض وح�سب الطلب! لكن تجربة ال�سينما‬ ‫ال يمكن �أن تتغير كتغير �أ�سلوب م�شاهدة النا�س‬ ‫للتلفزيون‪ .‬فعندما �أود �أن �أ�شاهد فيلما ف�إنني �أذهب‬ ‫�إل��ى ال�سينما‪ .‬وغني عن القول �إنها تجربة مختلفة‬ ‫ت�م��ام��ا ع��ن م���ش��اه��دت��ه ع�ل��ى ��ش��ا��ش��ة ال�ت�ل�ف��زي��ون في‬ ‫المنزل‪ .‬فالنا�س �سوف ي�سعون دائما للتمتع بتجربة‬ ‫ال�سينما‪ ،‬وعدد النا�س الذين يذهبون لدور ال�سينما‬ ‫ي�شهد على ذلك‪ .‬فال�سينما هي نتاج �إرث‪ ،‬وب�إمكانها‬ ‫�أن تنتج �إرثا كذلك”‪.‬‬ ‫لطالما ا�ستفادت هوليود من الأف�لام الناطقة بغير‬ ‫الإنجليزية التي نجحت في �أ�سواقها وقامت ب�إعادة‬ ‫إ�ن �ت��اج �ه��ا‪ ،‬وك��ان��ت ال �ن �ت��ائ��ج ف��ي ك�ث�ي��ر م��ن الأح �ي��ان‬ ‫م�ضحكة (و أ�ه��م الأمثلة التي تتبادر إ�ل��ى الذهن هنا‬ ‫إ�ع ��ادة إ�ن�ت��اج فيلم ‪ Nikita‬للمخرج ل��وك بي�سون‬ ‫والتحفة الفنية الأرجنتينية ‪� .)Nueve Reinas‬إذن‬ ‫يبدو �أن للمخرج ت�أثير على الق�صة (ب�صورة مبا�شرة‬ ‫�أو غير مبا�شرة)‪ .‬فكيف يرى ريا�ض احتمال قيام‬ ‫المنتجين الكبار الأج��ان��ب اقتبا�س أ�ف�لام��ه؟ يجيب‪:‬‬ ‫“�إذا بقوا �أوفياء للن�ص الأ�صلي‪ ،‬فلم ال؟”‪.‬‬ ‫النحو ال�صحيح‪.‬‬

‫وماذا عن الم�ستقبل؟ يقول‪�“ :‬أعتقد �أن هناك بع�ض "�أعتقد �أنه يوجد جمهور للق�ص�ص العربية الحقيقية‬ ‫المواهب الحقيقية في قطر‪ .‬فمعهد الدوحة لل�سينما والأ�صلية خارج العالم العربي”‪.‬‬ ‫ويتابع ريا�ض‪�“ :‬أعتقد �أن ما هو �أكثر خطورة هو ي�ساعد على �إن�شاء البنية التحتية التي �سوف تتيح‬ ‫فكرة الرقابة الذاتية غير الواعية‪ -‬هي �أمر خطير‪ .‬لنا الح�صول على �أفالم و�ست�شكل منبرا لجيل جديد لكن هل �ست�صبح ال�سينما العربية بوليوود الجديدة؟‬ ‫فكلما ك��ان��ت ل��دي�ن��ا �أف �ك��ار ع�ل��ى ال�ط��اول��ة �أ�صبحت من �صناع ال�سينما القطرية �إذا ما تم تطويرها على الزمن وحده كفيل بالإجابة على هذا ال�س�ؤال‪..‬‬

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‫ويعترف ريا�ض أ�ن��ه لي�ست هنالك أ�ي��ه فر�صة �أم��ام‬ ‫ال�سينما العربية للو�صول إ�ل��ى نف�س الم�ستويات‬ ‫ال�شعبية التي و�صلت �إليها ال�سينما الأوروب�ي��ة �أو‬ ‫الأمريكية (غير �أن البع�ض قد يرى ذلك نعمة ويعطي‬ ‫مثال على ذل��ك أ�ف�لام ه��ول�ي��وود المبتذلة)‪ .‬لكن �إذا‬ ‫تحدثنا عن المكانة ف�إن الإن�سان ال يحتاج �إال �إلى‬ ‫التفكير ببوليوود في الهند التي تجاوزت الثقافة‬ ‫الهندية و�أوجدت لها �سوقا في �أنحاء العالم‪.‬‬ ‫ويقول ريا�ض‪“ :‬لم تكن ال�سينما العربية �أبدا �أكثر‬ ‫�شعبية‪ ،‬وهذا يثبت �أن النا�س بحاجة �إلى �أن ي�شاهدوا‬ ‫ق�ص�صهم‪ .‬لكن م��ا يحيرني ه��و أ�ن��ه على ال��رغ��م من‬ ‫�أن المنطقة منطقة محافظة �إال �أننا نبدو �أكثر تقبال‬ ‫للمفاهيم الدرامية المنتجة في �أي مكان �آخر ما عدا‬ ‫الوطن‪ .‬ونحن بحاجة �إلى �أن نعك�س الآية و�أن نروي‬ ‫ق�ص�صنا الخا�صة بنا‪ .‬ففي النهاية من أ�ق��در على‬ ‫رواية ق�صة ما من ال�شخ�ص الذي يعي�شها؟ �إن ق�ص‬ ‫ق�ص�ص منطقتنا هو المهم وبمقدوره �أن يغير حياة‬ ‫النا�س‪ .‬فعند مغادرة �صالة ال�سينما يجب �أن ي�أخذ‬ ‫الإن�سان �شيئا معه‪ .‬ل��ذا �أود �أن أ�ط��رح �أ�سئلة حول‬ ‫و�ضعنا ف��ي ال�ح�ي��اة‪ ،‬و�أن �أ�ضعها أ�م��ام الجمهور‪،‬‬ ‫و�آمل �أن ي�ستفيدوا �شيئا من هذه التجربة”‪.‬‬

‫�إن ال�سينما الرقمية (وه��ي و�سيلة ت��وزي��ع الأف�لام‬ ‫وعر�ضها بدون “الأفالم” الفعلية‪� ،‬أي با�ستخدام‬ ‫الأق��را���ص ال�صلبة �أو الأق��را���ص ال���ض��وئ�ي��ة) تجعل‬ ‫ع�م�ل�ي��ة �إي �� �ص��ال ال�ف�ي�ل��م ل�ل�ج�م�ه��ور �أك �ث��ر م��رون��ة كما‬ ‫�أن �ه��ا رخ �ي �� �ص��ة ن���س�ب�ي��ا‪ .‬و� �س��وف ي �ت��م ت��وزي��ع فيلم‬ ‫“�أنفلونزا” بهذه الطريقة‪ ،‬وي�ؤكد ريا�ض �أن هذه‬ ‫التقنية �سوف ت�ساعد على انت�شار ال�سينما ذات‬ ‫الميزانية المنخف�ضة و�ستفتح الباب �أمام المزيد من‬ ‫الم�شاريع من العالم العربي‪ ،‬م�ضيفا‪�“ :‬إن ال�سينما‬ ‫الرقمية �أرخ�ص و�أ�سهل من ال�سينما التقليدية من‬ ‫حيث �إي�صال فيلمك �إلى ال�شا�شة‪� .‬إنها و�سيلة علينا‬ ‫�أن ن�ستغلها �إذا ما �أردنا زيادة �إنتاجنا”‪.‬‬ ‫و�إذا كانت هنالك أ�ي��ة �صناعة ي�سيطر عليها المال‬ ‫ف� إ�ن�ه��ا �صناعة ال�سينما دون م�ن��ازع �إذ ��س��واء كان‬ ‫الفيلم يكلف ‪� 50‬أل��ف دوالر �أو ‪ 50‬م�ل�ي��ون دوالر‬ ‫ف ��إن��ك ب�ح��اج��ة إ�ل��ى ت�م��وي��ل‪ .‬فبع�ض الأف�ل�ام ال�ضخمة‬ ‫مثل ‪ Avatar‬و ‪Transformers: Revenge‬‬ ‫‪ of the Fallen‬ه��ي ع�ب��ارة ع��ن م�شاريع مربحة‪.‬‬ ‫ف�صحيح �أنه هناك حرية في فكرة الفيلم و�إبداعه‬ ‫ومو�ضوعه لكن الممولين لن ي�ضيعون �أموالهم على‬

‫�أفالم �سيئة‪ .‬وعن ذلك يقول‪“ :‬ا�ستفدنا من خبراتنا‬ ‫التجارية لجعل فيلم “�أنفلونزا” م�شروعا مربحا‪.‬‬ ‫ف� ��إذا تمكنا م��ن ال�ح���ص��ول ع�ل��ى بع�ض الأرب ��اح على‬ ‫الأقل ف�إن ذلك �سوف ي�سهل علينا تقديم المزيد من‬ ‫تمكنت‬ ‫الأفالم‪ ،‬وي�سهل جعل النا�س يدعمونك �إذا‬ ‫َ‬ ‫م��ن تحقيق ن�ج��اح��ات ��س��اب�ق��ة‪ .‬ف���س��وري��ا ت�ن�ت��ج ثالثة‬ ‫�أفالم في ال�سنة �إذا كنا محظوظين‪ ،‬غير �أن الإنتاج‬ ‫التلفزيوني هناك م�ه��ول‪ .‬ل�م��اذا؟ �إن ذل��ك يعود �إل��ى‬ ‫عدم وجود دعم ل�صانعي الأفالم ال�سينمائية ب�سبب‬ ‫عدم �إمكانية جعلها مربحة”‪.‬‬ ‫وم�ضى قائال‪�“ :‬أعتقد �أنه لدينا فر�صة جيدة لإنتاج‬ ‫المزيد من الأفالم من خالل الدعم والأموال التي‬ ‫تقدمها دول مجل�س التعاون الخليجي‪ .‬فهنا في قطر‬ ‫التي تم فيها �إنتاج فيلم �أنفلونزا يقوم معهد الدوحة‬ ‫لل�سينما ب��دع��م ال�سينمائيين المحليين ب�صورة‬ ‫جادة من خالل ور�ش العمل والتدريب والتطوير‬ ‫والتمويل”‪.‬‬ ‫“ففي ال�سابق كان من ال�صعب جدا للطالب العربي‬ ‫�أن يجد التعليم ال�سينمائي‪ .‬لكن معهد الدوحة‬ ‫لل�سينما قد بد�أ الآن بتثقيف النا�س‪ ،‬وهم �صناع‬ ‫الأفالم ورواة الق�ص�ص في الم�ستقبل‪ .‬فخالل ‪-10‬‬ ‫‪90‬‬

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‫ل‬

‫محة من قطر‬ ‫يعتبر ريا�ض المقد�سي �أنه با�ستثناء ال�سينما الم�صرية‪ ،‬ف�إن �صناعة الأفالم العربية‬ ‫قا�صرة عن �إنتاج ما يتقبله العالم‬

‫ه��ذا يعني �أن مقد�سي ال ي��رى نف�سه ك�شاعر من‬ ‫��ش�ع��راء ال �ق��رن ال �ح��ادي وال�ع���ش��ري��ن ال��ذي��ن يقفون‬ ‫في وجه الواقع الأليم ويت�صفون بعقدة ال�ضحية‬ ‫والغرور‪.‬‬ ‫�إن ��ه ب�ب���س��اط��ة ي��ري��د �أن ي�ح�ك��ي ق�ص�صه وي �ق��وم بـ‬ ‫« إ�ي ���ص��ال ر��س��ال��ة بطريقة ذات ف��اع�ل�ي��ة» م��ع الرغبة‬ ‫بال�شهرة ك�شهرة كوبريك �أو ليون‪ .‬ويبدو �أنه ال يقل‬ ‫عنهما عندما يتحدث عن ال�صورة الأكبر وم�ستقبل‬ ‫�صناعة الأفالم في المنطقة‪.‬‬ ‫غير �أننا �سنبد أ� بفيلم “�أنفلونزا”‪ ،‬وهو فيلم مدته‬ ‫ُدم‬ ‫‪ 33‬دقيقه‪ ،‬ظهر �إلى الوجود في �أغ�سط�س‪ ،‬وق ِّ‬ ‫�إلى مهرجان الدوحة تريبيكا ال�سينمائي ‪.2010‬‬ ‫ولن نقوم با�ستعرا�ض الفيلم لأنني لم �أ�شاهده بعد‬ ‫لكنه يثير عدة ت�سا�ؤالت حول المنحى الذي يود‬ ‫ريا�ض �سلوكه والذي ر�سم معالمه منذ �أن در�س في‬ ‫�أكاديمية نيويورك لل�سينما في �أبو ظبي‪ .‬ويتحدث‬ ‫ريا�ض عن الفيلم قائال‪“ :‬كانت لدينا ق�صة لطيفة‬ ‫نود �أن نق�صها وقد انتظرت وقتا طويال للقيام بها‪.‬‬ ‫فبعد ‪ 15‬عاما في مجال الإعالن �أ�شعر �أنه قد حان‬ ‫الآن الوقت المنا�سب!”‪.‬‬ ‫و ي���ض�ي��ف ر ي��ا ���ض‪ ،‬و ه ��و � �س��وري ي�ب�ل��غ م��ن ا ل�ع�م��ر‬ ‫ف��وق الثالثين‪� “ :‬أريد �أن �أ ق��دم نف�سي كمنتج‬ ‫ومخرج و�سوف نقدم الفيلم لأكبر عدد ممكن‬ ‫من المهرجانات للتوا�صل مع المنتجين ا لآخرين‬ ‫وا ل �م �ه �ت �م �ي��ن ب �ع��ا ل��م ا ل �� �س �ي �ن �م��ا ف ��ي ج �م �ي��ع �أ ن �ح ��اء‬ ‫العالم”‪ .‬ل�ك��ن ا ل�ت��رو ي��ج لفيلم “ �أنفلونزا”‪ ،‬كما‬ ‫ذ ك��ر ن��ا � �س��ا ب �ق��ا‪ ،‬ه��و ج ��زء م��ن م�خ�ط��ط أ� � �ض �خ��م �أال‬ ‫و ه��و ر ع��ا ي��ة ا ل���س�ي�ن�م��ا ا ل�ع��ر ب�ي��ة و ت�ع��ز ي��ز ح���ض��ور ه��ا‬ ‫�إقليميا وعالميا‪ .‬وعن ذلك يقول‪� “ :‬إننا ال ن�شاهد‬ ‫ما يكفي من ا لأفالم العربية‪ ،‬لذا نريد تغيير ذلك‬ ‫�سواء هنا �أو في جميع �أنحاء العالم‪ .‬فالفيلم هو‬ ‫و�سيلة للتوا�صل‪ ،‬ونحن نريد التحدث �إلى العالم‬ ‫عن �أنف�سنا‪ .‬فبا�ستثناء م�صر التي ت�شهد ازدهارا‬ ‫ي�شعر ريا�ض مقد�سي �أن �سينما المنطقة العربية تنزوي عن الحكايات المحلية‪ .‬في مجال ال�سينما‪ُ ،‬تعتبر ال�سينما العربية قليله‬ ‫ويهدف من خالل فيلمه الأول «�أنفلونزا» �إلى ك�سر حاجز ال�صمت‪ ،‬ونثر الإلهام جدا مع �أنه هناك ق�ص�ص كثيرة من جميع �أنحاء‬ ‫وت�سليط ال�ضوء على التغيرات التي تطر�أ على و�سائل �إعالم المنطقة والعالم‪.‬‬ ‫ا ل�م�ن�ط�ق��ة ت�ستحق �أن ت��روى ل�م��ن ال ت��و ج��د ق�ن��اة‬ ‫مرا�سلنا جون هانت التقى هذا الفنان النا�شئ‬ ‫حقيقية للقيام بذلك “ ( م��ا يقرب من ثالثة �أر ب��اع‬ ‫ا لأفالم الق�صيرة وا لأفالم الروائية العربية هي من‬ ‫العمل النهاري لريا�ض مقد�سي هو الإعالن‪ .‬فخالل �سنوات عمله التي تمتد ‪ 15‬عاما في هذا المجال قام م�صر)‪ .‬وال يبدو �أن ريا�ض يفتقر �إلى الجمهور‬ ‫ب�إخراج العديد من الإعالنات التجارية‪ ،‬ما يعني �أن هذا التحول �إلى �صناعة الأفالم ال ي�شكل نقلة كبيرة‪� ..‬إذ هناك ما يقرب من ‪ 380‬مليون عربي في جميع‬ ‫�أنحاء العالم‪ ٪90 ،‬منهم يقيمون في المنطقة‪.‬‬ ‫لكن االنغما�س في عالم بيع الأ�شياء �أعطى �إبداعه ميزة فنية‪.‬‬

‫�أريد �أن �أحكي ق�صة‪..‬‬

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‫كنوال الكواري‪.‬‬ ‫ومن االتجاهات الحالية لأزي��اء العباءات عباءات جير�سي‬ ‫(وهي م�صنوعة من قما�ش جير�سي المحبوك)‪ ،‬والعباءة‬ ‫الرداء (وهي عباءة مفتوحة تبدو كرداء تظهر الحذاء الذي‬ ‫ترتديه ال�سيدة)‪ .‬ومن الت�صاميم ال�شائعة حاليا الأ�شكال‬ ‫والتطريز القبلي (الغرزة المت�صالبة)‪ ،‬كما �أن هناك من‬ ‫العباءات الحديثة ما ي�أتي مع بنطلون ينا�سبها! وي�ستخدم‬ ‫�أي�ضا في العباءات ب�شت ي�شابه ب�شت الرجال التقليدي‬ ‫(وه��و رداء �أ�سود �شفاف ومفتوح ُيلب�س فوق الثوب في‬ ‫المنا�سبات االحتفالية) يكون من طبقتين‪� :‬إحداهما �سوداء‬ ‫�شفافة بدون تطريز والأخرى مزينة بتطريز م�شابه لتطريز‬ ‫الب�شت التقليدي‪.‬‬ ‫وقد �شهدنا �أي�ضا �صعود و�أفول نجم العباءات المر�صعة‬ ‫بحبات الكري�ستال البراقة والالمعة التي تزين مقدمتها‬ ‫و�أكمامها وظهرها‪ .‬و�أ�صبحت �أي�ضا التفا�صيل المعقدة‬ ‫ع�صرية حيث تتركز التطريزات عند حافة العباءة حول‬ ‫العنق والأك �م��ام‪ .‬ويمكن حتى تغطية الأك �م��ام بالكامل‬ ‫بالتطريز لت�صبح ذات جاذبية �أزلية‪ .‬وقد تغير تف�صيل‬ ‫العباءة للغاية �أي�ضا حيث �أ�صبح ج�سمها �ضيقا �أكثر وباتت‬ ‫الأكمام كاملة وعلى �شكل جر�س‪ .‬كما �أم�ست العباءة التي‬ ‫على �شكل "فرا�شة" �شعبية جدا لأنها تنا�سب قوام جميع‬ ‫ال�سيدات‪.‬‬ ‫جاذبية العالمة التجارية‬ ‫بد�أت ريم وهند بالجافله من الإم��ارات باالبتكار في‬ ‫ت�صاميم العباءات لأن بع�ض عميالتهما اللواتي يرتدين‬ ‫الإك�س�سوارات ذات العالمات التجارية الدولية �أردن‬ ‫�أن تتنا�سب تطريزات عباءاتهن مع �أحذيتهن وحقائبهن‪.‬‬ ‫وهكذا ولدت العباءة ذات العالمات التجارية المنا�سبة‬ ‫ل�شانيل‪ ،‬ودي �أند جي‪ ،‬وفندي‪ .‬وقد �أطلق هذا الثنائي‬ ‫م�ؤخرا مجموعة عباءات "دا�س" في محالت هارودز‪.‬‬ ‫و�أم� ��ل م ��راد ه��ي �أي �� �ض��ا م���ص�م�م��ة �أخ� ��رى م��ن الإم� ��ارات‬ ‫تعاونت مع العالمة التجارية ال�شهيرة للمجوهرات فان‬ ‫ْ‬ ‫كليف �أندر �آربيلز‪ ،‬وكانت �أي�ضا �ضمن لجنة التحكيم في‬ ‫م�سابقة "عباءة �أروى" على قناة �إم بي �سي‪.‬‬ ‫وم��ن العالمات التجارية الم�شهورة بجودتها و�إتقانها‬ ‫"لبا�سه"‪ ،‬و"حناين"‪ ،‬وعباءات الأجنحة‪ ،‬وجميعها من‬ ‫دولة الإمارات‪.‬‬ ‫وق��د �أر�سلت كبرى العالمات التجارية الأوروب�ي��ة في‬ ‫عالم الأزياء مثل بلومارين‪ ،‬وجاليانو‪ ،‬و�ألبرتا فيريتي‪،‬‬ ‫وجيتوري�س‪ ،‬ونينا ريت�شي‪ ،‬وغيرها ع��ار��ض��ات �أزي��اء‬ ‫لتعر�ض ال�ع�ب��اءات ف��ي ع��ر���ض �أزي ��اء خ��ا���ص أ�ق�ي��م العام‬ ‫الما�ضي في فندق جورج الخام�س بباري�س من تنظيم‬ ‫العالمة التجارية ال�سعودية �ساك�س‪ .‬وم��ن المفارقات‬ ‫�إقامة العر�ض بعد �أربعة �أيام من �إثارة الرئي�س الفرن�سي‬ ‫نيكوال ��س��ارك��وزي حفيظة ال�ع��ال��م الإ��س�لام��ي م��ن خالل‬ ‫الإعالن �أن البرقع غير مرحب به في فرن�سا‪ .‬وقد تراوح‬ ‫�سعر هذه العباءات بين ‪ 4‬و‪� 8‬آالف ي��ورو لكنها ُو ِّزع��ت‬ ‫هدايا على عمالء �ساك�س الأوفياء في ال�سعودية‪ .‬وبيعت‬ ‫في وقت الحق ن�سخ جاهزة من تلك العباءات ب�أ�سعار �أقل‬ ‫من ذلك بكثير في منافذ �ساك�س في ال�سعودية والبحرين‬

‫ودبي‪.‬‬ ‫وقد أ� ّثر الإلهام الم�ستمد من الغرب على �أ�سلوب وت�صميم‬ ‫وتزيين العباءة من نواح كثيرة‪ .‬فقبل عدة موا�سم كان‬ ‫ال�ل��ون الأرج��وان��ي ل��ون المو�ضة ف��ي �أوروب ��ا‪ ،‬ل��ذا فقد‬ ‫ر�أينا انت�شار الكثير من العباءات المزينة ببقع وحواف‬ ‫�أرجوانية تتباين مع ال�سواد‪ .‬وقد ا�ستخدمت تطريزات‬ ‫زهور ت�شبه ورود فالنتينو ال�ضخمة‪ ،‬وتف�صيالت تماثل‬ ‫ف�ساتين بالينكياجا‪ ،‬وعباءات جير�سي تماثل بودي �آمر‪،‬‬ ‫ول�ؤل�ؤ وزهور �شبيهة بت�صاميم �شانيل‪ ،‬وتزيينات ت�شبه‬ ‫و�شم �إد هاردي‪ ،‬ور�سوم حيوانات تماثل كافالي‪ ،‬وغير‬ ‫ذلك الكثير‪ .‬لذا يبدو �أن �سوق العباءات ت�ستر�شد في‬ ‫كثير من الأح�ي��ان بالعالمات التجارية الفاخرة الغربية‬ ‫واتجاهاتها‪ .‬وتعتبر العباءات �أي�ضا متنف�سا للمر�أة في‬ ‫الخليج لإظهار ثروتها ومركزها االجتماعي‪ ،‬وبالتالي‬ ‫ف�إنهالحدودللتطويراتوالتعديالتالتييمكن�أنتدخل‬ ‫عليها‪.‬‬ ‫وقبل عامين نظمت جامعة فرجينيا كومنولث م�شروعا‬ ‫بالتعاون بين فرعيها في ريت�شموند (الواليات المتحدة)‬ ‫والدوحة‪ .‬وقد ُطلب من طالب الأزياء في ريت�شموند‬ ‫ت�صميم العباءات بينما قام نظرائهم في الدوحة بت�صميم‬ ‫مالب�س ال�سباحة‪ .‬وقد �ساعد ذلك الطالب على فهم الكثير‬ ‫�رزت بع�ض الأعمال‬ ‫حول ثقافة وتقاليد كل منهما‪ ،‬وب� ْ‬ ‫المثيرة لالهتمام من محاولة التعاون الأولى هذه‪.‬‬ ‫وب��إم�ك��ان المقيمات اللواتي يبحثن ع��ن ع�ب��اءات مطرزة‬ ‫�أو مزخرفة ب�أ�سعار معقولة �أن يتوجهن �إل��ى الأ��س��واق‬

‫ال�شعبية وال�سيما �سوق واق��ف حيث يمكن �إيجاد عباءة‬ ‫لطيفة ب�أ�سعار تتراوح بين ‪ 750- 350‬ريال ت�صلح لأن‬ ‫تكون ثوب �سهرة لطيف �أو لأخذها للوطن كتذكار‪ .‬وعلى‬ ‫الرغم من �أن بع�ض المقيمات اللواتي يرتدين العباءة‬ ‫يجذبن االن�ت�ب��اه �أك�ث��ر بكثير م��ن المعتاد لكن يجب �أال‬ ‫يمنعهن ذلك عن ارتداء المالب�س الأنثوية المريحة‪ .‬فكما‬ ‫قالت بيجا �سيمي‪ ،‬وهي مقيمة ا�سترالية وم�صممة �أزياء‪:‬‬ ‫"‪ ...‬كثيرا ما تو�صف العباءة ب�أنها ثوب مثير وغام�ض‬ ‫وال�سيما م��ن قبل المقيمين ال��ذي��ن ي�شاهدون الن�ساء‬ ‫اللواتي ي�سرن وه��ي تهفهف وت��رف��رف خلفهن"‪� .‬أل�سنا‬ ‫نتفق مع ليلى نيك�سيك‪ ،‬وهي م�صممة �أزياء مقيمة‪ ،‬التي‬ ‫تقول ‪�" :‬إنها المالب�س الوحيدة في العالم التي تجعلنا‬ ‫ن�شعر ب�أننا ملكات دون �أن ن�ضع على ر�ؤو�سنا تاجا"؟‬ ‫‪92‬‬

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‫ر‬

‫يمك�س قطر‬

‫�آل ثاني‪ ،‬م�صممة الأزي��اء ال�شابة المتخ�ص�صة في الأزي��اء‬ ‫الترفية‪" :‬العباءة هي �سر الأزي��اء العربية‪ ،‬وهوية ن�ساء‬ ‫الخليج العربي و�سفيرة الأنوثة ال�سحرية"‪.‬‬ ‫وت�شعرالن�ساءبراحةعندمايرتدينالعباءةوال�شيلة(غطاء‬ ‫الر�أ�س) لأنها ال ت�سبب �أية م�شكلة في التن�سيق �أو اللون �أو‬ ‫�أية ق�ضايا رئي�سية تتعلق بالمقا�س‪ .‬وبر�أي هوى �ستوداه‪،‬‬ ‫وهي م�سلمة �أمريكية عملت في الدوحة لب�ضع �سنوات مع‬ ‫الطالب والخريجين في مجال ت�صميم الأزي��اء في جامعة‬ ‫فرجينيا كومنولث بقطر‪ ،‬ف ��إن ال�غ��ر���ض م��ن ال�ع�ب��اءة هو‬ ‫التغطية والحماية �إ�ضافة لتحرير المر�أة وال�سماح لها بعدم‬ ‫الك�شف عن هويتها والتحرك بحرية و�سهولة في مجتمعها‪.‬‬ ‫عدت�إلىالوالياتالمتحدة‬ ‫وبهذاال�صددتقول‪":‬عندما ُ‬ ‫قررت �أن �أرت��دي العباءة في حدث ر�سمي فالقى ذلك‬ ‫ُ‬ ‫ا�ستح�سانا كثيرا‪ .‬فالعباءة تجعلني ال �أكترث ب�ش�أن ارتداء‬ ‫�أثواب �ضيقة �أو عدم مالءمة حافة الثوب حول العنق �أو‬ ‫حافته ال�سفلى‪� .‬إنني �أ�شعر فيها بالتوا�ضع مع الأناقة"‪.‬‬

‫ُ�سمرة العباءة العربية‪..‬‬ ‫�أ�سلوب حياة وهوية!‬

‫ور جا�سم �آل ثاني‪ ،‬م�صممة الأزياء ال�شابة تقول‬ ‫�إن العباءة �أكثر من غطاء للج�سم‪� ..‬إنها �أ�سلوب حياة‬ ‫و�شعار هوية ثقافية"‪ .‬بقلم �سونالي رامان‬ ‫والعباءة ال�سوداء التقليدية هي الرداء الذي ترتديه الن�ساء الم�سلمات فوق مالب�سهن في الأماكن العامة كما �أنها‬ ‫ب�صورة �أو ب�أخرى حل منا�سب لم�شاكل اختيار المالب�س يوميا‪.‬‬ ‫و�إذا ما تحدثنا �إلى المر�أة القطرية ال�شابة الحديثة ف�سوف تخبرنا ب�أن العباءة هي بالن�سبة لها بمثابة الدرع الذي‬ ‫يحميها من العالم‪� ...‬إنها جزء منها ومن حياتها اليومية‪ ،‬ف�ضال عن كونها جزءا من ثقافتها وتقاليدها‪ .‬فمعظم‬ ‫الن�ساء القطريات ي�شعرن بعدم الراحة في حال الخروج بدونها لأنها تميزهن عن بقية العالم‪ .‬وبح�سب نور حمد‬

‫�أنوثة ترعى التقاليد‬ ‫تعتبر العباءة رمزا للأنوثة والجمال والتوا�ضع والثقافة‬ ‫الإ�سالميةلكنلي�سهناك�شيءتقليديفيالعباءةالحديثة‬ ‫�إال كونها �سوداء اللون!‬ ‫ففي الما�ضي كانت المر�أة تف�صل العباءة بح�سب مقا�س‬ ‫ج�سمها‪ .‬لذا كانت تدخل متجر العباءات فتختار القما�ش‬ ‫والت�صميم والأ��س�ل��وب (�أي كونها ف�ضفا�ضة �أم �ضيقة)‬ ‫�إلخ‪ .‬ومن �أ�شهر متاجر العباءات في الدوحة "المتحجبة"‬ ‫و"�سيدتي الأولى"بالإ�ضافة �إلى الأ�سواق التقليدية‪ .‬وما‬ ‫زال ��ت بع�ض ال�ن���س��اء يف�ضلن تف�صيل ع �ب��اءات خ�صي�صا‬ ‫لهن في حين �أن الأخريات ينجذبن �إلى عباءات العالمات‬ ‫التجارية �أو الجاهزة‪.‬‬ ‫�أزياء المنطقة‬ ‫تقول هند زينل‪ ،‬وه��ي م�صمم جرافيك قطرية‪�" :‬إنني‬ ‫�أ�شتري عباءات ال�سهرة من ال�سعودية لأنني �أريد �شيئا‬ ‫فريدا"‪ .‬فالعباءات المطرزة يدويا ب�أ�شكال جميلة التي‬ ‫ت�أتي بمعظمها من ال�سعودية تتميز بالأناقة والذوق العالي‪.‬‬ ‫وك��ذل��ك الأم��ر ف ��إن البحرين الم�شهورة بتطريز "زري"‬ ‫الفريد تتفوق في هذه الحرفة‪ .‬و�أما العباءات الإماراتية‬ ‫فت�ستخدم ال�شيفون والحرير المزين ببلورات كري�ستالية‬ ‫�ضخمة ور�سوم ملونة كبيرة وكثيرة التفا�صيل تمتد غالبا‬ ‫من الر�أ�س حتى القدمين‪ .‬ويمكن �أي�ضا �إ�ضافة رقع ذات‬ ‫�ألوان زاهية قد تكون �شفافة وذات ت�صاميم �أكثر حداثة‬ ‫ت�شتهر بها الإمارات كذلك‪ .‬و ُيع َرف عن قطر والكويت �أنهما‬ ‫تتبعان اتجاهات مو�ضة العباءات عند جيرانهما غير �أن قطر‬ ‫اليوم �صار لديها متاجرها وم�صمموها المتخ�ص�صين في‬ ‫مجال العباءات مثل "فن العباءة"والعديد من الم�صممات‬

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‫مجموعة رالف لورين‬ ‫للخريف وال�شتاء‬ ‫يقول رالف لورين‪" :‬ا�ستوحيت ت�صاميم‬ ‫هذا الخريف من امر�أة ذات روح بوهيمية‪،‬‬ ‫رومان�سية‬ ‫في ال�صميم‪ ،‬وجريئة‪ ،‬وفنانة وتتمتع بجمال‬ ‫�أبدي"‪.‬‬

‫بيربل ليبل‬ ‫يتوا�صل �سحر وجاذبية رالف لورين من خالل بيربل ليبل‪.‬‬

‫�إ�ستي لودر تقدم بلو داليا‬ ‫يقول مدير الماكياج الإبداعي في �إ�ستي لودر‪ ،‬توم بي�شو‪�" :‬إن اللون‬ ‫الأزرق في المجموعة هو لون يع ّبر عن الخريف وال�شتاء‪ .‬و�أنا �أريد �أن‬ ‫�أعطي المر�أة خيارات في الطريقة التي تبدو عليها �إذ يمكن ا�ستخدام‬ ‫اللون الأزرق لإك�ساب المر�أة المظهر المحايد‪ ،‬مرورا بالمظهر‬ ‫الغام�ض‪ ،‬والمظهر الأنيق‪ ،‬وانتهاء بالمظهر القوي"‪.‬‬ ‫ومجموعة بلو داليا بيور كولور مخ�ص�صة للعيون ال�ساحرة‪ ،‬وال�شفاه‬ ‫المغرية‪ ،‬والأظافر الجريئة‪ .‬وقد قدم توم في عر�ض الأزياء الذي نُظم‬ ‫تحت عنوان "�أ�سطورة الغرب" مظهر المر�أة القوي المفعم بالحيوية‬ ‫والمرتبط ارتباطا وثيقا ب�سحر وت�صميم المالب�س‪ .‬وت�شتمل مجموعة‬ ‫الماكياج الكاملة على مظهرين متميزين ف�ضال عن منتجين من منتجات‬ ‫ال�شفاه لإبداع مظهر حالم ومتطور مع لم�سة من �سحر فريد‪.‬‬ ‫‪94‬‬ ‫‪9/15/10 5:16 PM‬‬

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‫ر‬

‫يمك�س قطر‬

‫نمط الحياة "بليجر"‬

‫جذبت فينر فيرك�ستات في فيينا في �أوائل القرن الع�شرين‬ ‫مجموعة من الفنانين من �ضمنهم فرانز كافكا و�إيجون‬ ‫�شيل من خالل طريقتهم الخالقة في المزج بين العمل‬ ‫والترفيه‪ .‬ومن وحي نمط الحياة "بليجر ‪" Bleisure‬‬ ‫التي تمزج بين الراحة والر�سمية ا�ستلهم لوي�س فويتون‬ ‫مجموعة المالب�س الرجالية لخريف و�شتاء ‪ 2010‬في‬ ‫�شتاء ‪ 2011-2010‬من ت�صميم م�صمم �أ�ستوديو الرجال‬ ‫بول هيلبير�س والمخرج الفني مارك جاكوب�س‪.‬‬ ‫ويقول هلبير�س‪" :‬يحبذ كافكا و�شيل المالب�س المف�صلة‬ ‫ذات الخ�صر مع الق�صيرة والمعاطف الطويلة‪ .‬وقد‬ ‫خيطت هذه المجموعة في طبقات مت�شابكة ودقيقة‬ ‫حيث تنتمي كل قطعة �إلى الكل‪ ،‬وب�إمكانك �إ�ضافة �أو‬ ‫حذف قطع لت�صبح غير ر�سمية �أكثر �أو ر�سمية �أكثر‪.‬‬ ‫ومن ال�سهل �أي�ضا فك بع�ض �أجزاء قطع المجموعة‬ ‫كالبطانة وا�ستخدامها في قطع �أخرى‪ .‬وت�ستطيع هذه‬ ‫البذالت ال�سفر عبر الحدود وهذا هو ال�شيء الذي يركز‬ ‫عليه لوي�س فويتون دائما‪ .‬ففي �أماكن العمل اليوم لم‬ ‫تعد الحدود الفا�صلة بين ما هو غير ر�سمي ور�سمي‬ ‫وا�ضحة"‪.‬‬ ‫وتجمع �إك�س�سوارات نمط حياة بليجر بين الب�ساطة‬ ‫والت�صميم الأنيق‪.‬‬

‫‪Bleisure Lifestyle‬‬ ‫‪Louis Vuitton’s‬‬ ‫‪collection‬‬ ‫‪captivates with‬‬ ‫‪its perfect blend‬‬ ‫‪of business and‬‬ ‫‪leisure.‬‬

‫وحي الخم�سينات‬ ‫ا�ستُوحيت مجموعة مالب�س مارك جاكوب�س للخريف وال�شتاء ‪ 2011-2010‬من الخم�سينات‬ ‫وهي م�صممة لل�سيدة الجميلة والأنيقة‪ .‬وقد ُ�سلط ال�ضوء على هذه المجموعة م�ؤخرا وهي ت�ضم‬ ‫ُدمت �أي�ضا في‬ ‫ف�ساتين من الجوخ وم�شدات و�إك�س�سوارات و�أحذية منا�سبة مختارة بعناية‪ .‬وق ّ‬ ‫عر�ض الأزياء ن�سخ معاد تف�سيرها من حقيبة اليد ال�شهيرة �سبيدي التي تو�ضح ما تتميز به‬ ‫لوي�س فويتون من �إبداع وبراعة في التنفيذ غير عاديين‪.‬‬

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timeless

Swan Song Alexander McQueen left this earth with a slice of heaven.

When fashion editors were given an intimate viewing of Alexander McQueen’s final collection in Paris this past spring, this dress was not part of it. Perhaps the last piece touched by the designer’s hands, it was made by McQueen especially for his longtime friend Annabelle Neilson, and its only outing has been to Elton John’s White Tie and Tiara Ball in June. Neilson was notorious for wearing McQueen’s clothes and she did so with a fierceness befitting her status as his muse. A sheer black jumpsuit from 2006, a mere figment of McQueen’s imagination that left nothing to anyone else’s, generated reams of chatter and flaunted the designer’s devilish streak. Indeed he was often heralded as fashion’s enfant terrible No. 1. But in this simply elegant silk charmeuse gown with its collar of silvered feathers, Neilson appeared as the vision of an angel. Alexander McQueen Boutique is at The Pearl Qatar Alix browne

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ph o t o graph by james day

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