T qatar issue September October by Oryx Group of Magazines

Women’s Fashion September-October 2013

The Birth of a Qatari Brand

From the land of oil and gas comes QELA, a new luxury offering that plans to seize the fashion spotlight away from the West. By Debrina Aliyah. Photographs by Karl Moreto and Rob Altamirano.

This Is Rooney Mara

The Writer’s Room

Meet the actress who is aloof, icy, playful, curious, remote, opaque, funny, shy, distant, nice, impenetrable, guarded and unreadable. Photographs by David Sims. Styled by Joe McKenna. Text by David Amsden.

A view of Rome, a pristine computer screen, a photograph of Basquiat, an I.B.M. 196c typewriter, the ghost of another author. For these five writers — each of whom releases a new book this fall — all they need to inspire is within these walls. Photographs by John Spinks

84 Working Girl

Victoria Beckham wants to rule the world. By Sarah Lyall. Photographs by Juergen Teller.

102

Clockwise from top: Novelist Julian Barnes at his desk in North London; the moodboard at QELA; the fashion designer Victoria Beckham works on the floor of her offices in London.

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clockwise from top: John Spinks; KARL MORETO; jueRgen teller.

On the Cover: Photograph by Karl Moreto

Table of Contents

Lookout Sign of the Times

24 The Moment

There’s a twist on gender dressing taking hold of fashion, from the fullness of a skirt with brogues to a cluster of jewels on an oversize lapel. Photographs by Márton Perlaki. Styled by Natasha Royt. 28 This and That

Paola Navone’s new home line for Crate and Barrel; a velvety complexion in four steps; Yang Li’s first runway collection; and more. 34

Runway Report

The most artful idea in fashion right now is to ignore all the rules, mixing prints, colors and textures to create an abstract personal expression. Photographs by Charlie Engman. Styled by Catherine Newell-Hanson. 38 On Beauty

Lipstick is getting some face time again, but not the slick, vampy variety. This time around, it’s a subtle stain, like the lasting remnant of a summer strawberry. By Amanda Fortini. Photograph by Ben Hassett. 42 Take Two

Amy Schumer and Aerin Lauder test out earring cuffs, a snood and more. 44

Lookout Qatar Here and There

A writing instrument that reflects innovation; from the laps of the Islamic world; home furnishings from Now!; Anima Gallery presents Baal; and more.

Quality In Fashion

Fall’s sugary pastels — lavender, pistachio, pale rose, butter cream — are a romantic respite from so much hard-working black and white. Photographs by Paul Wetherell. Styled by Vanessa Traina. 57

46 In the Air

The British Library partners with Qatar Foundation for the Qatar National Library project. By Ayswarya Murthy. Photographs by Rob Altamirano.

Velvet has long been the calling card of the stylishly privileged. Now, it’s fashion’s turn to embrace the stuff of royals. By Carolina Irving, Miguel Flores-Vianna and Charlotte Di Carcaci.

On Archives

Quality Qatar Shining Bright

Gold prices have gone on a downhill journey this year, but devaluation of the precious metal has little bearing on its cultural and heritage significance and its growth in the Middle East. By Debrina Aliyah. 64 Objects

As luck would have it, the most alluring accessories of this season are also the easiest to wear. Photographs by Liz Collins. Styled by Kate Lanphear. 66

Clockwise from top left: Anya Hindmarch’s bespoke clutch in black crocodile skin, QR23,300 anyahindmarch.com. Louis Vuitton jacket, QR18,500, dress, QR16,000 and belt, price on request; louisvuitton.com.

Hermès vest, QR29,000; hermes .com. Albertus Swanepoel hat, QR1,500; barneys. com. Paola Navone Collection plate, QR55, and fork, QR75 for a set of 6; Crate and Barrel. Illustration by Konstantin Kakanias.

CLOCKWISE FROM TOP LEFT: courtesy of anya hindmarch; márton perlaki.

The fashion industry is broken in more ways than one: runway shows don’t match retail expectations; designers can’t keep up with demand; and customers can’t buy a coat in winter. So who’s to blame? By Suzy Menkes

Table of Contents Publisher & Editor-In-Chief

Yousuf Jassem Al Darwish Chief Executive

Sandeep Sehgal Executive Vice President

Alpana Roy

Vice President

Ravi Raman

Editorial Editor

Sindhu Nair Chief Fashion Correspondent

Debrina Aliyah

Senior Correspondents

Abigail Mathias Ayswarya Murthy Ezdihar Ibrahim Ali

Arena

Correspondent

Arena Qatar

Sabrina Christensen

art Senior Art Director

Tune In

From There to Here

Comeback Kid

Venkat Reddy

A trio of female-fronted bands are not so quietly making some of indie rock’s most innovative music. Photographs by Sebastian Kim. Styled by Michael Philouze. Text by Matt Diehl.

Parisian designer Stephane Rolland debuts his pret-a-porter collection in Abu Dhabi. By Debrina Aliayah.

Hanan Abu Saiam

A design dialogue that contemplates the need of design and the importance of context. By Sindhu Nair. Photographs by Rob Altamirano.

Haute Couture, the best bespoke handmade clothing, with dresses costing upwards of $100,000 is undergoing a metamorphosis to embrace its new clientele from Asia, Russia and the Middle East. This beast is not extinct. By Alexandra Kohut-Cole.

On the Road

Jason Wu has staked his reputation on designing polite, ladylike clothes for Hollywood good girls and the first lady. But he’s finally ready to show his wilder side. By Mickey Rapkin. Photographs by Jessica Haye and Clark Hsiao.

74 A Merged Experience

Deputy Art Director Assistant Art Director

Ayush Indrajith

Senior Graphic Designer

Maheshwar Reddy

Photography

Rob Altamirano

Marketing and Sales Senior Manager – Marketing

Zulfikar Jiffry

Assistant Manager – Marketing

Thomas Jose

Media Consultants

Hassan Rekkab Lydia Youssef

Marketing Research & Support Executive

Document

The artist Konstantin Kakanias takes in the haute couture shows in Paris. 108

Kanwal Baluch Accountant Pratap Chandran

Sr. Distribution Executive

Bikram Shrestha

Distribution Support

Arjun Timilsina Bhimal Rai Basanta P

T, The Style Magazine of The New York Times Editor in Chief

Deborah Needleman Patrick Li

Deputy Editor

Whitney Vargas Fashion Director at Large

Joe McKenna

Managing Editor

George Gustines Photography Director

Nadia Vellam

The New York Times News Services General Manager

Clockwise from top left: Toronto band Diana’s singer Carmen Elle, wearing Dries Van Noten coat, QR6000; the creative corridors of VCUQatar; the designer Jason Wu playing roulette at the Wynn in Las Vegas; from Stephane Rolland’s new pret-a--porter collection.

Michael Greenspon Vice President, Licensing and Syndication

Alice Ting

Vice President, Executive Editor The New York Times News Service & Syndicate

Nancy Lee

Published by

Licensed Editions Editorial Director

T, The New York Times Style Magazine, and the T logo are trademarks of The New York Times Co., NY, NY, USA, and are used under license by Oryx Media, Qatar. Content reproduced from T, The New York Times Style Magazine, copyright The New York Times Co. and/or its contributors 2013 all rights reserved. The views and opinions expressed within T-Qatar are not necessarily those of The New York Times Company or those of its contributors.

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George Gustines Coordinators

Gary Caesar Jessie Sandler

clockwise from top left:sebastian kim, rob altimirano; JESSICA HAYE AND CLARK HSIAO.

Creative Director

Lookou

Nothing is black and white A 1963 fashion photograph at the Paris Opera by William Klein.

Sign of the Times

Something Is Wrong Here

and hang out in downtown galleries, trawling for inspiration for his shows. But with the number of collections now doubled, there is no time to do much travel beyond the virtual kind. If we accept that the pace of fashion today was part of the problem behind the decline of John Galliano, the demise of Alexander McQueen and the cause of other well-known rehab cleanups, nonstop shows seem a high price to pay for the endless ‘‘newness’’ demanded of fashion now. The strain on both budgets and designers is heavy. And only the fat-cat corporations can really afford to put on two mega ready-towear shows a year, or four if you add two haute couture shows, or six if you count men’s wear. Resort and prefall push the number up to eight. A couple of promotional shows in Asia, Brazil, Dubai or Moscow can bring the count to 10. Ten shows a year! If you knock off the holiday season and the summer break, that means a show nearly every month. But who needs more fashion and is gagging for yet another show? And how can designers cope, given that even the prolific Picasso did not churn out work like factory-baked cookies? It is not just creatives who are under pressure. We editors might love, love, love! a fall collection, but before it is even delivered to American stores in August for our readers to savor, fashion is on to the next big thing. (Retail shipping dates vary in different international cities.) A round of resort shows starts during the early summer months, over a six-week period. There might be new

William Klein/Trunk Archive

I was chatting with the hot young London designer Jonathan Anderson, marveling at how in just three years he had matched his transgender frilly men’s wear with the addition of his intriguing women’s collections. ‘‘What’s that?’’ I asked, looking at a spread of drawings on the wall of his studio-cum-workroom in London’s down-at-the-heels Dalston neighborhood. (Think: East Village.) ‘‘Resort!’’ said the 28-year-old Northern Irishman whose label is known as J. W. Anderson. Resort? Already! This guy has been in business only five years and has just 12 people in his studio. Does he really have to join the fashion treadmill, churning out more than four collections a year? A treadmill it is, as Alber Elbaz of Lanvin said with a sigh recently, before his men’s-wear show: he used to go on exploratory trips

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Sign of the Times

in Moscow that she had taken a private plane to Cannes, in the South of France, to be the first in her country to get one of the designer’s ‘‘Ricky’’ alligator bags. With the world’s press gathering in New York for the spring 2014 season’s official September kickoff — followed by London, Milan, Paris and then shortly thereafter for prefall — who can define the purpose of these different shows? Do we take the current international spring and fall presentations as an expression of pure creative imagination, as opposed to the more commercial collections that customers are likely to buy? When I started my editor’s job, so many moons ago, haute couture had just stopped being a oneto-one with wealthy clients and had become a laboratory of ideas. That now seems to be the role of international ready-to-wear. Being a lover of fashion that stretches the outer limits of a designer’s imagination, I always favor powerful runway shows. But — full disclosure now — I don’t actually know or write much about the resort collections, other than when Karl Lagerfeld offered a midseason Chanel show at the Château de Versailles, or

ideas, simpler, more wearable styles or even a negation of what went before. But not to worry! The fall collection will be gone from the stores in approximately two months, with unsold pieces we had raved about hanging forlornly as markdowns. For all the promotional excitement attached to the international collections, it is the resort or prefall lines that are on the shelves for close to six months, while the so-called main line is in and out in about eight brief weeks. How to make sense of this endless rush for the new when there are no longer any simple markers, like seasons? During the summer, when you are looking for a breezy maxi dress, the fall wool coats are hanging on the rails. Come early November, they will have vanished in favor of resort, which used to be called cruise, as if everyone hopped on a boat to the Caribbean with the first autumn chill. Who are the crazy ones? The buying public demanding fashion now!, clicking online to buy during Burberry’s live-stream runway show months before the clothes are produced for the stores? The online shoppers hitting on special delivery pieces from Net-a-Porter that no one else will have — at least for the next two weeks? Or has fashion itself gone mad, gathering speed so ferociously that it seems as if the only true luxury today is the ability to buy new and exclusive clothes every microsecond? There is no doubt that online shopping has fed the craze for speed, because when you can’t touch the fabric or try on the outfit, the only emotion you experience is the excitement of the purchase and the thrill of beating everyone else to it. Then there is a further, phony current of desire and longing, stage-managed by e-tailers and stores. They whip up excitement with their so-called limited editions, with the waiting list to buy a bag or the mapping out of objects to specific countries. I will never forget an oligarch’s wife telling everyone at a Ralph Lauren event

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Dior was presented in Monaco. Since I already spend five weeks at a time hopping between fashion capitals, there is no way that I can spend an extra month in New York — even if that is where the majority of salable designer clothes are seen. Chief executives mutter privately about the high cost of maintaining ‘‘freshness,’’ yet they know that showing resort in New York has become a second and vital tool in worldwide promotion and that those sales can make up around three-quarters of a brand’s annual income. The story here is also about control, with the work of the big fashion houses increasingly unfiltered by journalistic critiques or magazine spreads. The clothes most worn by people are the clothes least commented on by the press. The images now go directly to customers via online shows with advertising campaigns as a backup. With the traditional six-month lead time on the delivery of international show content, designer collections can be outpaced by the so-called fast fashion chains. H&M, Topshop and Zara, or even Target and J. Crew, would have their versions for sale before the designer looks hit the stores. So the pace of high fashion had to become equally frenetic. Both the management and the creatives are under constant, year-round pressure, especially the European designers who are obliged to show in New York, bringing in their teams, chasing the best models and replaying the tension and drama of yet another runway show. And this additional pressure is not just for one extra season, but twice a year — after resort comes spring and after that prefall — in a whirligig that seems to be spinning out of control. Does this nonstop parade of what’s new have an upside? With global warming upsetting traditional summer and winter climates, and with a global market expecting clothes at once suitable to a warm and humid Singapore, the deep freeze of Russia and the upside-down seasons in Australia, all these fresh fashion shows each month could be seen as logical for customers. But whoever said that logic and fashion make a good fit? As the fashion carousel spins ever faster, the concern is that, while the stream of newness never runs out, there’s going to be a good deal more crash and burn among designers in the future.

from left: Yannis Vlamos/GoRunway; Gianni Pucci/GoRunway; Filippo Fior/GoRunway; Gianni Pucci/GoRunwaY; Filippo Fior/GoRunway.

Figments of imagination Runway looks from the fall collections that will be photographed by magazines but most likely never find their way to consumers, from far left: Gareth Pugh, Alexander McQueen, Dolce & Gabbana, Thom Browne, Versace.

Come early November, fall wool coats will have vanished from stores in favor of resort, which used to be called cruise, as if everyone hopped on a boat to the Caribbean with the first autumn chill.

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The Moment

Rogue Conservatism The primness of a bracelet over an undone cuff Ralph Lauren Collection top, QR7,272; ralphlauren.com. Cartier bracelet, QR212,921; cartier.us.

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Thereâ&#x20AC;&#x2122;s a twist on gender dressing taking hold of fashion, from the fullness of a skirt with brogues to a cluster of jewels on an oversize lapel. Photographs by mĂ rton perlaki STYLED BY natasha royt

Lookout

The Moment

The boyish cool of men’s lace-ups worn with a full skirt Lanvin jacket, QR17,907; Jeffrey, (212) 206-1272. Lanvin skirt, QR10,409; (646) 439-0380. Bottega Veneta bag, QR27,843; bottegaveneta.com. Hermès belt strap, QR1,601, and belt buckle, QR1,237; hermes.com. Christian Louboutin shoes, QR3,257; (212) 396-1884.

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The Moment

The grandmotherly charm of brooches on a lapel Donna Karan jacket, QR9,081; donnakaran.com. Albertus Swanepoel hat, QR1,819; albertusswanepoel.com. Clockwise from top: Harry Winston brooch, price on request; harrywinston .com. Tiffany & Company brooch, QR418,564; (800)â&#x20AC;&#x2030;843-3269. Oscar Heyman brooch, QR87,352; oscarheyman. com.

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This and That A Cultural Compendium

Seriously Sexy The politely blunt manicure has finally grown up. Now the nails of a midcentury screen siren — long and almondshaped in rosy red — feel dangerously modern. Chanel Le Vernis Nail Colour in Elixir, QR98; chanel.com. Right: the new nail, as shown at Valentino. illustrations by Konstantin Kakanias

Dining à la Carte The renowned Italian designer Paola Navone is known for her funky, colorful, East-meets-West style, which she has brought to her work for companies like Gervasoni and Driade. Now Crate and Barrel has asked her to envision an affordable home line with the prompt: ‘‘What would you do if you were having people over for dinner?’’ In response, Navone has designed all the components of her ideal dining room, from splotchy blue-and-white glazed plates to high-backed Windsor chairs to red steel hanging lights to a dining table with a tiled top and legs of reclaimed teak. — PILAR VILadas Como flat plate, QR54, and fork, QR72 for a set of six. crateandbarrel.com.

Feeling for

Deliberately Imperfect Last spring, the 25-year-old London-based designer Yang Li debuted his first runway collection, a line of reimagined street-wear staples with a gothic influence. For someone so young, Li has accomplished quite a lot: after dropping out of Central Saint Martins, he interned for Raf Simons, and by the tender age of 23 had already caught the eye of Michèle Montagne, the in-demand French publicist and stylist who helped shape the careers of Ann Demeulemeester and Haider Ackermann. Li’s clothes are made in Italy, and finished with absolute precision — except when they aren’t. He loves an element of spontaneity, like slashing the two front pockets of a slim-cut classic bouclé jacket. ‘‘Art is not all clean lines, but has a human touch,’’ he said. ‘‘Same with fashion.’’ — MALINA JOSEPH GILCHRIST 38

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clockwise from top left: Brad Bridgers; Courtesy of Chanel; Marcio Madeira/Zeppelin (3); CHARLES SIMON.

the find

credit here tk

Lookout

Face Time

Dries van Noten

Giorgio Armani

Chloe

Valentino

While the fashion world is often drawn to new and shiny hot spots like Omar’s or Acme, it’s Omen, a dark, unassuminglooking Japanese restaurant on a sleepy block in SoHo, that has served as the unspoken clubhouse of the city’s stylish sets since the early ’80s. And with the international fashion community descending on New York in the next few weeks, Omen (which recently changed its name to Omen A Zen) will be in full swing. At first glance, it’s difficult to see why big names flock there. Even the owner, Mikio Shinagawa, is mystified. ‘‘Why Omen?’’ he asks. ‘‘I would like to know why Omen is so charming.’’ But it’s precisely the haunt’s un-chicness — the homey décor, the menu of health-focused Kyoto cuisine that harks back to the days before the latest culinary revolution, the feeling of being a last vestige of SoHo’s

reign as a nucleus of the city’s creative scene — that has made it ‘‘an industry canteen,’’ as the creative director Doug Lloyd puts it. It’s a place where familiar faces — Patti Smith, Karl Lagerfeld, Rem Koolhaas, Terry Richardson — can blend into the background. ‘‘You will know everybody at each table, but you don’t feel you have to talk to them,’’ the artist Anh Duong says. Derek Lam calls it ‘‘a place to decompress.’’ Indeed, the restaurant seems barely affected by its starry clientele. Reservations are not hard to come by, and a famous regular might simply get a nod from the owner. ‘‘They don’t welcome you like you are their best guest,’’ Franca Sozzani, editor in chief of Italian Vogue, says. ‘‘It’s like, ‘What’s your name? O. K., you go sit over there.’ ’’ 113 Thompson Street — Alex Vadukul

The Velvet Complexion In a runway season that was dominated by a bold stained lip and a heavily lined eye, one couldn’t help but take notice of the velvety, void-of-blush face that served as a canvas for these trends. Linda Cantello, the Giorgio Armani makeup artist who designed one of the best versions of the look in Milan, explains how to create this new porcelain take on the matte complexion. — Malina Joseph Gilchrist 1. Apply lightweight moisturizer. 2. Spread a small amount of matte illuminating foundation with fingertips over the entire face. 3. With a light, nearly white, concealer pencil or wand, highlight cheekbones and the center of the nose, and blend. The light tone creates dimension on the face without the use of blush. 4. Finish with a loose powder delicately brushed over the T-zone.

‘‘Brown furniture’’ as decorators derisively refer to it, is ripe for reconsideration: the best of the old stuff is beautifully made and shockingly well priced. While working with Ilse Crawford on our new Madison Avenue store, we came up with the concept of a ‘‘mash up’’ of Georgian furniture to display our bespoke lines. Handmade and old-school like my made-to-order leather goods, it made me wonder if ‘‘proper’’ antique furniture could once again become fashionable? 795 Madison Avenue — Anya Hindmarch 40

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Clockwise from Bottom right: courtesy of anya hindmarch (2); Michele Morosi/Gorunway; Luca Cannonieri/Gorunway (2); Michele Morosi/Gorunway; illustration: konstantin kakanias.

Where Fashion Eats

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Runway Report

The Clash The most artful idea in fashion right now is to ignore all the rules, mixing prints, colors and textures to create an abstract personal expression. Photographs by Charlie Engman Styled by catherine newelL-hanson

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1. Louis Vuitton coat, dress, belt and bag, price on request; louisvuitton.com. Perrin Paris gloves, QR2,329; perrinparis. com. 2. Max Mara coat, QR6,879. Dries Van Noten top, QR1,510; bergdorfgoodman .com. LaCrasia gloves, QR1,455; lacrasiagloves .com. Gucci bag, QR8,698; gucci.com. 3. Rochas jacket, QR9,702; modaoperandi. com. Rochas top, QR4,660; net-a-porter. com. Rochas pants, QR3,367; ikram.com. Longchamp bag, QR673; longchamp .com. Reed Krakoff gloves, price on request.

1. Emporio Armani top, QR2,166; armani.com. Milly skirt, QR1,419. Sportmax bag, QR4,186. LaCrasia gloves, QR1,456. 2. Burberry top, QR6,534, skirt, QR14,542, and bag QR49,143. Carolina Amato gloves, QR2,912; e-mail sales@carolina amato.com. 3. Etro coat, QR33,435. Marc Jacobs dress, QR4,368; marcjacobs.com. Burberry gloves, QR3,094; burberry.com. Todâ&#x20AC;&#x2122;s bag, QR7,626; tods.com. 4. Alexander Wang top, QR10,920; alexanderwang .com. Diane von Furstenberg skirt, QR1,692, and pants, QR1,692. Bottega Veneta bag, QR63,340; bottegaveneta. com. 5. Salvatore Ferragamo top, QR3,021. CĂŠline skirt, QR4,368, and bag, QR14,925; bergdorfgoodman.com.

September-October 2013

Runway Report

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1. Miu Miu coat, QR66,443, skirt, QR4,714, belt, QR709, bag, QR6516, and socks, QR673; miumiu. com. Sermoneta gloves, QR251; sermonetagloves. com. 2. Balenciaga top, QR5,624, and pants, QR4,496. Balenciaga bag, price on request. Reed Krakoff gloves, price on request; reedkrakoff.com. 3. Proenza Schouler jacket, QR32,766, and skirt, QR34,587. Jimmy Choo bag, QR7,627; jimmychoo.com. Proenza Schouler gloves, showpiece only. 4. Prada top, QR2,257, skirt, QR8,865, and bag, QR9,083; prada .com. Burberry gloves, QR3,094. 5. Dior top, QR10,558, and skirt, QR6,371. Bally bag, QR6,535. LaCrasia gloves, QR1,638.

Model: Esmerelda/next models; Manicure: Angel Williams/kenbarboza.com.

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Take Two

Amy Schumer

Aerin Lauder

Stand-up sensation who made her name roasting Roseanne and Charlie Sheen on Comedy Central. Her unfiltered sketch series, ‘‘Inside Amy Schumer,’’ recently renewed for a second season, was a breakout hit this year.

Estée Lauder scion who has channeled her Upper East Side style into Aerin, a luxury lifestyle brand. Her first book, ‘‘Beauty at Home,’’ will be published this fall.

I still read National Geographic, so it appealed to me because it looked like something tribal — like, the highest honor is to wear these. I was just too intimidated to even put them on. I never wear jewelry. I’m barely a woman.

Earrings Repossi yellow gold Maure ear cuffs with diamonds (price on request; Opening Ceremony, New York).

TV Show

I’m a pervert. I like guilt attached to sex. I wind up dating a lot of Catholic guys who had, like, a really harsh upbringing, because I like someone to feel like they did something wrong after. This show is perfect for me.

Even in a book called ‘‘Ugly,’’ there wasn’t that much stuff that was ugly. I was eating a wrap, and I was like, ‘‘Oh, I better not eat while I look at this book, because it might make me sick.’’ But I made it through the whole wrap, no problem.

I’m not drinking right now because I blacked out at Bonnaroo. So I’m doing dry July. My friend drank it and said that it was light and delicious. She and her fiancé powered through the bottle pretty quick.

I tried it on a couple times, and I’m describing it as heaven on my head. It’s like getting a head hug. It has a very ‘‘Star Wars’’ feel; I feel like a sexy ‘‘Star Wars’’ character, like this mysterious princess.

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They’re really chic and beautiful. I was like, ‘‘If I wear them, will I look like Gaia Repossi?’’ I saw a picture of her from couture — she was in this cropped shirt — and I thought, ‘‘Will magic happen when I wear them?’’

‘‘Masters of Sex,’’ a new Showtime series about reallife sex research pioneers in the 1950s.

I saw the title and was like, ‘‘Oh gosh, O.K.’’ But actually when I watched it, I loved the setting. It kind of felt like ‘‘Mad Men’’ to me, but not as campy.

Book I didn’t really understand some of the choices of ugly. I work so much in beauty, and I actually find the beauty in everything.

‘‘Ugly: The Aesthetics of Everything,’’ a meditation on the relative nature of ugliness and beauty by the British design critic Stephen Bayley (QR145).

Wine Fire and Flood: Two Messengers Pinot Noir, a collaboration between two esteemed winemakers, one in Oregon and one in Burgundy (QR87; Le Dû’s Wines, New York).

Snood Alexander Wang mohair rib scarf and hood hybrid in Pumice (QR1,456; alexanderwang.com)

The concept behind it is interesting. I thought it was great. I have two teenage boys — it takes the edge off.

It’s kind of sporty, luxurious. You could say that you finally look like Audrey Hepburn, on the slopes, or walking around the city with sunglasses on. I definitely would wear it again.

Clockwise from top Left: Peter Yang/Comedy Central; Courtesy of repossi; Victoria Will; Courtesy of Alexander Wang; lucas zarebinski; The Overlook Press; Craig Blankenhorn/SHOWTIME.

A dual review of what’s new.

Lookout Qatar

A Writing Instrument

Timely Precision A half-century after its dramatic arrival on the motorracing scene, the iconic Carrera, the first sports chronograph designed specifically for professional drivers and sportscar enthusiasts, remains the standard-bearer of Tag Heuer’s unrivaled motorsports pedigree — a synergy that began with Time of Trip (1911), the first car dashboard chronograph, and continues to this day through the brand’s ongoing partnerships with the celebrities and teams in driving disciplines around the world. British Formula One’s Jenson Button is currently signed on to the watch brand as well as McLaren. AM

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From the Islamic World A narrow sword of the Indian ruler Tipu Sultan, with a captured English blade from the 18th century, and a Mughal jade, gold and gem-set diamond and ruby dagger were just two of the rare pieces that could be viewed at Sotheby’s “Arts of the Islamic World” exhibition from September 12–14 at Katara Cultural Village. This exhibition preceded the auction to be held in London on October 9. “I have the privilege of handling some of the rarest and most exquisite objects, many of which now reside in international museums or in the most prestigious private collections and will, in many cases, never appear on the market again,” claims, Benedict Carter, head of auction sales – Islamic Art, at Sotheby’s. This is the second time an exhibition of this nature has been held in Doha. Carter traces the history of art pieces from around the world and measures their worth. These can fetch prices starting at QR54,624 ($15,000) and going upto QR436,995 ($120,000) (for the Sultan’s sword). Two Mamluk-style mosque lamps made by Philippe-Joseph Brocard also featured in the Doha exhibition. Brocard was a celebrated French glassmaker working in Paris at the end of the 19th century. Particularly influenced by glass made in the Islamic world, and notably Mamluk enameled and gilt glass, he modeled many of his creations on original Mamluk glass pieces, most famously mosque lamps. “For example,” says Carter, “one of the Brocard mosque lamps in the sale (Lot 125) appears to be, based on the inscription that reads perfectly, directly influenced from an original earlier piece which is now at the Islamic Museum in Cairo. This

PRECIOUS from top: Benedict Carter, head of auction sales – Islamic Art, Sotheby’s; the narrow sword of Tipu Sultan and a Mughal dagger; one of the Mamluk-style mosque lamps made by Philippe-Joseph Brocard

revived interest coincided with a period in France in which orientalist fashion reached its peak, inspiring painters, interior decorators and glass makers.” The Mughals are renowned for their patronage of artists, painters, scholars, writers and calligraphers. It is known that the Emperor Jahangir (reigned 1605-27) accorded the same reverence to the craftsmen who produced his weapons as he did to the other artists working for him. Swords and daggers formed an important part of the royal Mughal treasuries. This particular dagger would probably have been a royal commission, possibly for an important court gathering such as a festival, wedding or royal birthday. Jade was particularly popular during the rule of Shah Jahan (reigned 1627-58), and this hilt is enriched with gemstones set in the ‘kundan’ technique, by which the stones were set into highly-purified gold that was hammered into foil, folded and fired several times until it achieved a malleability enabling the craftsman to create complex designs. ABIGAIL MATHIAS

Photo credit(from top, clockwise): Alfred Dunhill, Sotheby’s and Tah Heuer.

The tapered edge at the bottom of the barrel echoes the aerodynamic shape of the jet’s slim aesthetic, with the clip design directly referencing the shape of the propeller. If you thought we were talking of a fighter jet or another high-flying instrument, you are mistaken. It is the might of the writing instrument that we are talking about, and reflecting the brand’s legacy of innovation in luxury is Alfred Dunhill with the black resin Fighter Provenance Pen. The Fighter Pen is available exclusively at Alfred Dunhill Boutiques in the Middle East for the first six months in either rollerball or ballpoint, and is directly inspired by the iconic British fighter planes of the 30s and 40s. A barrel brush embellisher has been intricately applied in the Alfred Dunhill logo, whilst a subtle AD vintage logo sits on the tip of the clip. Sleek and masculine, the Fighter Pen is adorned with brass and palladium and hand-finished in black resin. AM

Lookout Qatar

Now in Style One of the challenges of home furnishing is keeping the look both classic and contemporary. Hulsta’s now! is a clever concept that leaves plenty of scope for individual ideas. More than 60 units and six different finishes allow expressive combinations; wood and lacquer versions add exciting accents. Each piece of furniture delivers a particular advantage: glass cabinets, for instance, feature integrated rear wall lighting that sets striking accents. ABIGAIL MATHIAS

Sound Matters Compact aesthetics and outstanding acoustic innovation to deliver the thrill of high-end surround performance without filling up the home with boxy black speakers. That is what Bang & Olufsen’s latest range promises. They have launched their BeoLab 14 sound system which can be used with all TV brands. With its quality audio, refined design, endlessly flexible placement options and acoustic pedigree, the home cinema experience is taken to a new level. The system fits in visually as it stands out acoustically. According to Bang & Olufsen, CEO Tue Mantoni, BeoLab 14 was designed for consumers who want to add quality surround sound to their home viewing experiences, but still have demanding expectations about their interior design. “The launch of an all-in-one surround speaker system is an important new step for us and it builds on our core approach that sound matters in everything that we do.” The Beolab 14 is available at the Bang & Olufsen store at Lagoona Mall. AM

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When it comes to protecting our oceans, there is a great deal to be done. One of the front runners in the fight to retain their vitality is Omega. Since it developed the first dive watch in 1932, and by backing an acclaimed environmental film, Omega’s connection to the sea has become a deeply-rooted and defining element. In 2005, The GoodPlanet Foundation was set up to inspire everyone to adopt lifestyles that respect a shared environment. The organization promotes optimistic solutions for sustainable development and wholeheartedly encourages each individual to act for the planet. Omega and GoodPlanet partnered in 2011, and together, they aim to raise awareness of the beauty and majesty of the oceans, the dangers they face, and the importance of preserving and appreciating these natural resources. The Seamaster Planet Ocean 600M GoodPlanet is a tribute to the rewarding partnership and the organization’s achievements in environmental conservation. With its bright orange GMT scale on the bezel ring and central GMT hand, it can track two separate time zones -- ideal for frequent travelers. Inspired by the diverse and captivating colors of the ocean, this timepiece is available with a classic stainless steel bracelet or a sporty blue rubber strap. The model was designed with extreme adventures in mind and is water resistant to 60 bar (600 metres / 2000 feet). It comes with a four-year warranty. Omega has committed a portion of the proceeds from its sale of the watch to fully funding a project to preserve mangroves and seagrasses in Southeast Asia and educating the local population about the conservation of these important natural resources that are such a critical part of a balanced ecosystem. AM

Photo credit: (from top, clockwise): now!, Bang & Olufsen, Omega

Salvation for the Seas

Lookout Qatar

Artist in Metamorphosis Like many of the Lebanese people who grew up during the civil war, Mohamad-Said Baalbaki, also known as Baal, witnessed the horrors of war and the tragic consequence of destruction and fear – displacement.

MATHIAS

Baalbaki’s solo exhibition entitled “Once upon a butterfly” is on display at the Anima Gallery, The Pearl from September 15 to November 15. DISPLACED: Work from Baalbaki’s earlier solo exhibition “Sense of Ending”.

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Pink Crusade The fight against cancer usually comes to the forefront in the month of October. Ralph Lauren’s worldwide initiative in this arena has been through the launch of the Pink Pony. Lauren is long recognized for his early leadership in the fight against breast cancer. More than 20 years ago, he made a personal and corporate commitment to finding a cure for this disease. He helped establish the Nina Hyde Center for Breast Cancer Research at Georgetown University Medical Center, and designed the first “target” logo for the Council of Fashion Designers of America’s successful “Fashion Targets Breast Cancer” campaign for international awareness. Launched on September 15, 2000 at the Ralph Lauren Spring 2001 Collection Fashion Show, models were sent down the runway for their final walk with Pink Pony t-shirts. This coincided with a gift from the Ralph Lauren Corporation to establish the Ralph Lauren Center for Cancer Care and Prevention, a hospital-based cancer treatment facility in Harlem that provides comprehensive education, screening and diagnostic services for breast and other cancers, tailored to meet the specific needs of the Harlem community. Beginning in October, Pink Pony products with the classic pink icon will be available in Ralph Lauren stores across the UAE. Contributions generated by the sale of Pink Pony products go to programs dedicated to reducing disparities in cancer treatment and increasing access to quality care. 25 percent of the sales are directed to raise funds for the Pink Caravan – the Pan-UAE breast cancer awareness trek – brainchild of the ‘Friends of Cancer Patients’ charitable society. AM

photo credits: (from top, clockwise) Ralph Lauren, Anima Gallery

These have left a lasting impression on the artist. To his despair, when Baalbaki left for Berlin to continue his studies, he witnessed yet another form of destruction and displacement. The theme of the exhibition dwells largely on transition. The beautiful yet fragile butterfly symbolizes the metamorphosis of the human soul. Spiritual evolution is traced from childhood (the caterpillar) to adulthood (the butterfly). It symbolizes new life. It reflects change and transformation, evolution and adaptation. Baalbaki’s paintings tell the story of the migrating butterfly. Since his early childhood, with the civil war in Lebanon, Said has lived with suitcases. Memories of evacuation, of migration and of eventual immigration to Berlin have been a part of his life story. His suitcases share the butterfly’s destiny. They travel the same journey. Baalbaki’s personal experiences of war, flight and dislocation take up a important place in most of his works. Born in Lebanon in 1974, Baal now lives in Berlin. He first studied painting at the Institut des Beaux-Arts, Beirut (1998), followed by the Marwan Summer Academy at the Darat al-Funun in Amman (2001). He later attended the University of the Arts, Berlin and the master classes of Burkhard Held in 2005. In his earlier solo exhibition “Sense of Ending”, piles of suitcases, radios, toys and other possessions – sometimes abandoned, sometimes nearly collected – are reminders of loss and the missing owners. With his palette of colors, Baal delicately depicts impressions of an interrupted childhood haunted by instability, reflecting the fragility of the human condition during war. ABIGAIL

Lookout Qatar

By Passion

Evening at the Museum You’re not a true fan until you’ve submerged yourself in the Ferrari culture by visiting Maranello.

For a Ferrari owner, aficionado or devotee, the Museo Ferrari in Maranello, in northern Italy, is like Shangri-La and Willy Wonka’s Chocolate Factory rolled into one. It is filled with the passion and iconic cars that have driven Ferrari and its prancing horse emblem to global renown. The Museo, or Galleria as it was originally titled, saw a major refurbishment this June, bringing the total area to 3,500 square meters. The enlarged space offers greater scope for staging more than one themed exhibition at a time. One such is “Ferrari Supercar, Technology Design Legend”, an exhibition focusing on fifty years of limited-production supercars, from the 250 GTO to the latest offering, the LaFerrari. The exhibition also features a number of the limited-production models that were forerunners to the evolution of the supercar series. The main

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feature is a gallery dedicated to the development of the LaFerrari, offering visitors a unique opportunity to see the development models and sketches that led to the final production version. Another temporary exhibition, “From Cinecitta to Hollywood: Ferraris in the movies”, features cars that are associated with the cinema in some way. There is the 275 GTB/4 that was owned and driven by Steve McQueen when he was making the film Bullitt, and it may be recalled that he used a 275 GTS/4 NART Spyder in the film The Thomas Crown Affair, released in 1968. There is also the P540 Superfast Aperta, which was inspired by the re-bodied 330 LM Berlinetta that appeared in the film Tre Passi Nel Delirio (English title: Spirits of the Dead), and a Mondial T

Photo courtesy: Ferrari

BY ARR Reem

SHOP AT THE FERRARI STORE Browsing at the Ferrari Store in Maranello is a dangerous pastime. Jackets, watches, laptops, phones, books, shoes, sunglasses – the list of Ferrari goodies is endless. However, for young enthusiasts the Ferrari F430 6V ride-on car could be the ultimate supertoy. Equipped with a six-volt electric battery motor, it has an accelerator pedal and an electric brake, as well as a gearbox for first and reverse. Also look out for the Art Collectibles, a series of six box sets with photographic prints of historically-significant scenes for Ferrari in motorsport.

“Mulotipos and Adventures” exhibition is a fascinating display of development cars from recent years.

ALL ABOUT WINNING (clockwise from top) Hall of Victories, with wining cars and their coveted trophies; the iconic Ferrari 275 GTB4, with a 12V engine; Ferrari’s 250 GT, Berlinetta “The breadvan”; project F150, 1:1 scale model of one of the first design concepts.

Cabriolet as used by Al Pacino in Scent of a Woman. The walls of the exhibition area are decorated with numerous images of Ferraris in films, artistically displayed in rolling film strips, while the adjacent cinema area runs clips from a number of films featuring Ferraris. The “Ferraris From Another World: Mulotipos and Adventures” exhibition is a fascinating display of development cars from recent years, together with four of the “Tour” cars: the F355 World Tour, two 612 Scagliettis from the China and India Tours, and a 599 GTB Fiorano from the Panamerican Tour. Visitors are shown the rigorous pre-production testing that takes place, as well as the post-production endurance testing undergone by the “Tour” cars over a wide variety of frequently inhospitable terrains. The “Mulotipos” offer a rare chance to see five prototype development cars in the raw, as this is the first time they have been on public display. The Museum also invites visitors to experience the thrill of being a Formula 1 driver, in an extremely realistic simulator. You take on one of the most challenging and exciting tracks of all – Monza – and relive what the drivers face in a Formula 1 single-seater. The simulator mimics real-life conditions so you can feel the track, extraordinary acceleration and braking of the mighty machine

September-October 2013

Lookout Qatar

HISTORY ONLINE: (clockwise from top) Manuscript from the Description and Uses of Animals; Item from Archimedes Book on the Construction of Water Clocks; ; maps of the pearl fishing beds commissioned by the British; Oliver Urquhart-Irvine, Head of the British Library-Qatar Foundation Partnership; a page from a Mamluk manual on horsemanship, military arts and technology by Muhammad ibn Isa ibn IsmaĎil al-Hanafi al-Aqsara

On Archives

In a 10-year effort, over 3 million documents related to the Gulf – will be conserved, digitized, catalogued and made freely available to the public through an online portal of the Qatar National Library. By Ayswarya Murthy PhotOGRAPH by Rob Altimirano

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TRAVEL DOCUMENT: (Clockwise from left) Sir Lewis Pelly’s Passport”; in this 1929 communication, a Lincoln Ford Fordson dealer in Bahrain explains, with illustrations, the flag being flown by the ruler of Qatar.

Images courtesy of the British Library

From the Pages of History

”Request and require in the name of Her Majesty, all those whom it may concern to allow Major-General Sir Louis (sic) Pelly (British subject)...accompanied by Lady Pelly with her maid servant, to pass freely without let or hindrance, and to afford him every assistance and protection of which he may stand in need.” Thus goes the passport that Lewis Pelly, the famous British civil servant, carried on his person as he traveled through the region. This is just one slice of history, buried deep within the Gulf British Library archives, which will shortly be available online, “transforming and enhancing our understanding of the past”, according to Oliver Urquhart-Irvine, Head of the British Library-Qatar Foundation Partnership. In a 10-year effort, over 3 million documents related to the Gulf – maps, photographs, correspondence, manuscripts, government records, paintings, multimedia content, all thoughtfully hoarded by the library through the course of Britain’s long presence in the region – will be conserved, digitized, catalogued and made freely available to the public through an online portal. “These will place the history of Qatar in context to the Gulf and the world. It is also a fantastic opportunity for the new Qatar National Library to make a sizable digital acquisition when it’s ready to open next year, by which time we expect to have digitized over 350,000 pages,” says Urquhart-Irvine. Perhaps what researches and young students will find most interesting are the documents relating to the understanding of the sciences in the Arab world. “British Library has an internationally significant collection of medieval Arabic books and documents on science – original works and translations of ancient Greek texts – which trace the story of the intellectual flowering in Baghdad, Cairo and Damascus and their impact on Western sciences and the Renaissance.” He brings up a few manuscript pages on his iPad. An early manuscript on chivalry and horsemanship, colorfully illustrated and detailed in beautiful calligraphy; a volume on natural history; a translation of Euclid’s commentary on Pythagoras with the Arab mathematician al-Tusi adding some of his own insights along the margins; and countless more works of medicine, astronomy, geography being unearthed and newly-discovered. Some of these manuscripts are from as long ago as 900 AD. While Britain’s interest in the region was in the beginning limited to trade concerns, the country had begun to keep its finger on the political pulse of the Arab states from the early 1800s. “Initially the British were just observing the climate, corresponding with the chiefs (there is a wealth of communication between the government and the Al Thani family, for example), reporting back to London, writing to their counterparts in India and negotiating trade,” Urquhart-Irvine says. “Meticulous efforts were being made, especially in a pre-photograph era, in recording and keeping accounts, resulting in a wealth of information concerning Qatar. In 1851 a trade treaty was signed between the British and the Al Thani, one of the earliest documents recognizing Qatar as a separate political state. Except Qatar was spelt with a G, probably the result of a government employee who learnt Arabic at London College transliterating the sound. There are drawings of the flag of Qatar along with cloth samples, explaining the significance of it, from as early as 1840. Further records from 1868 detail terms of a treaty and the way the negotiations were conducted with the royal family. Then there is an account of Jassim bin Mohammed Al Thani (who is said to be the founder of modern Qatar) meeting with Lewis Pelly.” These little glimpses into history provide a tantalizing taste of daily life and personal stories from the day up to the 1950s. “There are sketches of the old views of Doha, notes on what life was like here in the past and random pieces of information on literacy and how long it took to cross the Empty Quarter [of the Arabian Peninsula].” “This is not just a regional resource,” he says. With British interests spanning the globe, these snatches from the past can’t help but contain little hints of new technological advancement and goings-on from the globe affecting the British Empire. “There is a letter here exchanging views on the laying of telegraph lines in the region. There are discussions pertaining to pilgrimages to the region, the flourishing trade with South Asia and the earliest mention of American shipping in the Gulf. We get a wonderful insight into the minds of the British officers who are discussing American

MAPPED: (left) Trigonometrical survey of Core Alladeid on the Arabian side of the Gulf

FLAGGING OFF: (Right) This is an official request from the German Embassy in London in 1931 to share information on the arms and flags of Bahrain, Qatar, Asir and Yemen, with promises to refund any expenses incurred.

privateers just immediately after they lost the war of independence in America and are not entirely sure how to describe or deal with them. Some of them talk about the boastful nature of American pamphlets which describe their perfect systems,” Urquhart-Irvine laughs. A few of these personal narratives being unearthed help bring into focus the underlying human element of history that goes beyond maps, treaties and government memos. “There is a mention of the Sheikh of Sharjah playing blaring broadcasts of German propaganda during the 1949s to annoy the officers in the British camp. Letters from Pelly talking about playing badminton with Rudyard Kipling’s mother in India, discussing the great and good everywhere with his friends half way across the globe.” “The scale and quality of this project is unique,” Urquhart-Irvine says. An interdisciplinary team of over 40 archivists, conservation experts, curators, Arabic bibliographers, imaging staff and engineers are working together to shape this collection into a valuable resource for the generations to come. We are not just cataloguing the documents but adding about 2.5 million words’ worth of metadata containing contextual information and translations both in Arabic and English. The printed words will be text-searchable and at some point we’re looking to do this for manuscripts as well.” Since many of these contain rich illustrations, the high-resolution images add another dimension to this repository of historic knowledge. “The quality is incredibly high - you can see the fibres in the paper, the cracks in the ink,” he says. “For us, it’s a privileged opportunity to explore these pages, bringing alive the history contained in them.”

September-October 2013

Lookout Qatar

On Record

Immortalizing a Muse BY ayswarya murthy

The British-Moroccan artist, Hassan Hajjaj, designer and photographer says he is a child of the Sixties. And it is that period’s style and energy that are reflected in his pop-art portraits. Bursting with color and quirkiness, these pictures are entirely in the service of their subjects. “They are instruments to document, protect and highlight the time and the people – my rock stars, my friends, those who are a constant source of inspiration to me,” says Hajjaj, “These are musicians, boxers, henna artists, fashion designers, the unsung heroes who are just about surviving, doing what they believe in and haven’t sold out to mainstream thought.” The epitome of passion and endurance, these artists become the muse in this series of photographs. Almost every element of the studio-style photographs is either designed by Hajjaj or is an exciting find of his from local markets, from clothes to backdrops and from props to furniture. While they all come together to give the picture an air of careless spontaneity, in reality he says they take three to four weeks of design and two hours of shooting. “There is a lot of detail that goes into location, composition and what my rock stars are wearing. Once that is sorted, pop-up studios are erected — in this case, on the streets of Morocco, London, Paris and Kuwait — to capture the subjects and the locales that have shaped them,” he says. But Hajjaj’s vision and style spills over 60

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“These are musicians, boxers, henna artists...the unsung heroes who continue to do what they believe in. They are a constant source of inspiration to me.”

beyond the boundaries of the photograph and into the frames, which are hand-crafted and distinctive. Repetitive patterns of fizzy drink cans (CocaCola seems to be by far his favorite), Spam cans, spelling blocks, mosaics or other iconic, everyday objects that invoke Sixties nostalgia are not uncommon to see bordering his bright pictures. “Sometimes the frames reference the subject (canned beef for men) and other times it’s purely based on color coordination,” he says. Another signature element in his photos is the abundant use of brands. In one portrait, his rock star is sporting a Louis Vuitton branded niqab and in another she is brandishing a counterfeit Gucci bag. “I grew up surrounded by these brands. Often they were unattainable and we had to make do with what we had or get knock-offs. And these brands have always been an easy way to communicate with people. The first things people notice in my photos are the designer brands. It establishes an instant connection,” he says. “Rock Stars is a lifelong project,” Hajjaj says. “I have shot about 500-700 pictures since 1998. I keep meeting so many interesting, inspirational people and I have such fun designing the elements of the picture – it gives me the opportunity to incorporate my lifestyle within my work.” Twenty-five of these photographs will be on display till October 23 at VCUQatar Gallery

pictures courtesy of the VCUQatar

For his solo exhibition at the Virginia Commonwealth University in Qatar, Hassan Hajjaj puts on display a few photographs from his ambitious ongoing project, My Rock Stars.

In Fashion

Light Motif

Fall’s sugary pastels — lavender, pistachio, pale rose, butter cream — are a romantic respite from so much hard-working black and white.

cool mint Emilio Pucci coat, QR17,436. LaCrasia gloves, QR546 and QR1,092 (as belt). Verdura necklace, QR18,200; verdura.com. Proenza Schouler bag, QR14,287.

photographs by paul wetherell styled by vanessa traina

September-October 2013

Quality

In Fashion

baby blue Mugler hood, jacket and skirt, price on request; opening ceremony.us. Tiffany & Co. earrings, QR3,640; tiffany. com. Sermoneta gloves, QR1,820; sermoneta glovesusa.com. Bulgari watch, QR8,190; bulgari. com. Reed Krakoff bag, price on request. Proenza Schouler shoes, QR2,457. 62

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Butter Cream Bottega Veneta coat, QR10,010; bottegaveneta.com. CĂŠline top, QR3,276; barneys.com. Mikimoto necklaces, QR200,209 (top) and QR232,971. LaCrasia gloves, QR546. Stephen Russell vintage Cartier watch, QR87,364; stephenrussell.com. Louis Vuitton bag, about QR27,301; louisvuitton.com.

September-October 2013

Quality

In Fashion

Faded lilac Proenza Schouler coat, QR109,205, and skirt, QR37,311. Seaman Schepps earrings, QR28,029. Salvatore Ferragamo bag, price on request. LaCrasia gloves, QR1,092.

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Model: Sigrid Agren/ the Society. Makeup by Pep Gay at Streeters using Chanel. Hair by Esther Langham at Art + Commerce.

September-October 2013

Fashion assistant: Alexa Lanza. Manicure by Kiyo Okada at Garren NY using Dior Vernis. Set design by Andy Harman at the Wall group.

blush Rose Dior jackets, QR14,196 and QR16,380. Graff earrings and necklace (top), price on request; graffdiamonds .com. Tiffany & Co. necklace, QR72,803. Giorgio Armani bag, QR9,082; armani. com. Nina Ricci gloves, QR2,002; barneys.com. Bottega Veneta shoes, QR2,402.

Quality

In the Air

International Velvet The rich textile has long been the calling card of the stylishly privileged. Now, it’s fashion’s turn to embrace the stuff of royals.

high drama left: Pauline de Rothschild’s library at Château Mouton Rothschild in Pauillac, France, photographed by Horst in 1963.

The Fall Ready-to-wear collections were shot through with velvets, deep-hued and in rich jewel colors, redolent of the apparel worn by Pre-Raphaelite damsels and the more sinister queens of Westeros from ‘‘Game of Thrones.’’ The look was opulent and historical: Marios Schwab was influenced by the work of the 15thcentury Flemish painter Petrus Christus. Dolce & Gabbana showed velvet Mary Janes perched on mosaic wedges nearly as high as the chopines worn by 16th-century Venetian courtesans to protect their elaborate gowns from the filth of the streets. Since the Middle Ages, when wearing the textured fabric became a perk of only the highborn, velvet has been synonymous with luxury. Artisans of the Italian Renaissance were the first to master complicated double-pile weaving techniques that created plain, voided and figured velvets, often incorporating JudeoChristian and Islamic motifs like pomegranates and carnations. Sometimes the cloth was interlaced with loops of gold metal thread so that it glinted like fireflies. Soon, the textile was exported to the rest of Europe and the Ottoman Empire, where it clothed kings, curtained beds of state and velveted chambers in great displays of conspicuous and easily transportable riches. Contemporary interiors, too, have benefited from the use of velvet. Pauline de Rothschild covered the vast seating areas in her hugely influential library at Château Mouton Rothschild in a rich azure. And the Milanese interior design firm Studio Peregalli, renowned for its take on modern day historicism, frequently uses the fabric to bring a heightened sense of sumptuous grandeur to any room. Really, what could be more inviting?

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Blue period Clockwise from above centrer: Christopher Kane’s navy cutaway dress; Alberta Ferretti’s purple long-sleeve gown; Richard Sackville, the velvet Augustus table, designed by Alidad and Thomas Messel, available at alidad.com; Third Earl of Dorset, painted by Isaac Oliver in 1616 (regarded as one of the biggest gamblers and wastrels of the 17th century, he financed his extravagant wardrobe by selling family land and property); the furniture designer Hervé Van der Straeten’s drawing room in Paris.

Clockwise from Top Left: Horst/Vogue © Condé Nast; courtesy of Alberta Ferretti; James McDonald © Victoria and Albert Museum, London; John Everett Millais/Google Art Project; Simon Watson; Courtesy of Christopher Kane.

By carolina irving, miguel flores-vianna and Charlotte di carcaci

Clockwise from Top Left: Marianne Haas; Paul Barker; © 2013 Bata Shoe Museum, Toronto; Simon Watson; © Victoria and Albert Museum, London; Dolce & Gabbana; El Greco/The Yorck Project; Courtesy of Marios Schwab; shootdigital; Selznick/MGM/Kobal/Art Resource.

verdant fields Clockwise from top left: the antiques dealer Alain Demachy’s dining room in Paris with green velvet walls, photographed in the 1990s; the green velvet state bed at Houghton Hall, designed in 1732 by William Kent for England’s first prime minister, Sir Robert Walpole; Italian velvet chopines, circa 1600, embellished with lace and tassels (meant to be worn indoors by a woman of the upper class); Vivien Leigh as Scarlett O’Hara on the set of the 1939 film ‘‘Gone With the Wind.’’

soft to the touch Near right: Marios Schwab’s burgundy paneled dress.

splash of splendor Clockwise from above: the designer Roberto Peregalli’s salon in Tangier; a late-15thcentury panel of voided satin velvet, brocaded with gold, depicting carnations and pomegranates; Dolce & Gabbana’s Mary Jane; Pope Pius V, by El Greco, circa 1605.

September-October 2013

Quality Qatar

Glitter Rules

Shining Bright Gold prices have gone on a downhill journey this year, but devaluation of the precious metal has little bearing on its cultural significance and its growth in the Middle East. By DEBRINA ALIYAH

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Detail of Cai Guo-Qiang’s installation, Ninety-Nine Horses, Mathaf: Arab Museum of Modern Art, Doha, 2011. Commissioned by Mathaf as part of Saraab exhibition last year in the museum, the artist was inspired by the number ninety-nine, because it represents infinity in the Chinese culture and the ninety-nine names of Allah in Islam. Horses are drawn with gunpowder exploded onto paper while gold-leafed horses are hung from the ceiling and seen galloping into space. Art discussions have theorized that the gold was used by the artist to reinforce the artwork’s reference to the universal, historical and spiritual.

24 Karat Gold Embroidered Couture Dress by Rami Kadi : The Lebanese couture designer Rami Kadi made headlines in the regional press when he dressed celebrity Myriam Fares in a custom couture gown embroidered in 24-karat gold. Fares, a big supporter of Kadi, wore the gown to appear on a local talk show. Kadi is one of the rising couture designers in the Middle East who favor the use of golden elements in his designs.

Lion Bracelet in Gold, Ziwiye, Iran.( 8th - 7th century). (Louvre Abu Dhabi/Thierry Ollivier) This bracelet is rightly considered to be one of the major masterpieces of Iranian gold work. The body of the bracelet is made of a thick curved bulrush. At the centre of the curve the edges widen to form a lozenge, on which are placed two symmetrical pairs of high-relief hieratic lion cubs lying down on either side of the central area. But most remarkable are the two full-round sculpted bristling adult lion heads with open mouths, placed at each end of the bracelet. The opposition of the two figures, a classic arrangement in the ensemble into a real animal scene, in the purest Iranian tradition.

Photo credits : Lin Yi, courtesy Cai Studio; Rami kadi, lama hourani’s gold earrings, thierry ollivier.

When prices of gold peaked at almost impossible levels during the 2008 financial crisis and hovered comfortably at the apex, for a few years, global retail gold sales stagnated. The speculative nature of the price of gold also means the more discerning clients can afford to wait; there is always a better time to purchase gold. And the time is now. As gold prices began to normalize this year to pre-crisis levels, gold is quickly regaining its status as the precious metal of choice in the Middle East. The spending behavior of the nouveau riche is well documented these days, and gold seems to be at the center of it all. Indulge in a QR200,000 gold leaf cupcake, style the iPad with a QR10,000 24-karat gold cover, and, if you wish, you can even pimp up your washroom adventures with a QR1,600 24-karat pill that will turn your waste shimmering bright gold! The Arabs have long had a unique love-hate relationship with this precious metal. Strictly according to the teachings of Islam, gold is forbidden for Muslim men and was often only used in jewelry for their womenfolk. The Prophet Muhammad disapproved of gold jewelry for men and instead encouraged silverware. But the traditional livelihood of Bedouin Arabs that revolved around traversing the desert required their assets to be protected from the harsh weather of the region. Gold, as compared to silver, is much more resistant to the environment, and many heirloom jewelry passed down from mothers to daughters have survived till this day. Gold jewelry became the ultimate status and social symbol for Arab women, forming the main part of a woman’s dowry. A Bedouin bride carried her entire wealth on her in the form of adornments and more gold was bestowed when she became a mother. Arab men, realizing the value and durability of the metal, began adorning their swords and personal estate with gold, something that was permissible in the religion as long as it was not jewelry. The movement gave birth to a highly profitable industry prevalent across the Gulf practised by the modern-day, skilled goldsmith with polished techniques passed down through generations. Gold souqs form an integral part of old cities and are the preferred marketplace for locals when it comes to buying gold. Paving its way towards modernity, Qatar’s new Gold Souq opened last year in Souq Waqif and is a tourist attraction while attracting locals too to this market.

Gold Pendant with Quran verses by Dibaj Oman Oman is rich in traditions and jewelry culture cultivated through its unique geographical location at the meeting of South Asia with the Middle East. Traditionally Omani women would be heard before they were seen, as they would wear heavy gold jewelry that produced sounds when they moved. The practice of wearing gold jewelry with inscriptions of Quran verses serves to protect and ward off evil.

Gold Mosque, Katara Cultural Village, Qatar. The highlight architectureal piece of the cultural village is the Gold Mosque, a structure tiled completely in gold mosaics and designed with Ottoman influences. The mosque glistens in glittering gold in sunlight and features a distinctive golden minaret. The mosque was built as part of the Katara Cultural Village project that was launched in October 2011.

September-October 2013

PHOTO CREDITS: DIBAJ OMAN, ROB ALTAMIRANO, CARRERA Y CARRERA, ROB ALTAMIRANO.

Gold Souq, Souq Waqif, Qatar. The new Gold Souq that opened in 2012 was an initiative by the Qatar Chamber to refresh the gold trade in the country. The new gold market retains old architecture and gold traders from the previous souq. The souq is one of the biggest tourist attractions in the city.

Ecuestre Drop Earrings in Yellow Gold, Amethyst and Diamonds. Carrera y Carrera pays homage to the majestic Andalusian horse in its latest bespoke collection. The horse, a much revered symbol in Arabian culture, was a form of livelihood for the Arabs and in modern times,is part of the equestrian hobby.

Quality

Objects

Happy Coincidences As luck would have it, the most alluring accessories of this season are also the easiest to wear. Photographs by liz collins styled by kate lanphear

Slate gray bags From left: Alexander McQueen bag, price on request. Balenciaga bag, QR5,260; Edon Manor. Alexander Wang top, QR4,732, skirt, price on request, and snood (on all), QR1,456; alexanderwang. com. ChloĂŠ bag, QR8,354; barneys.com. Alexander Wang top, QR4,732. Sportmax skirt, QR3,621. Salvatore Ferragamo bag, QR6,152. Alexander Wang top,QR3,258, and pants, QR2,530.

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Low-heel spectator boots From left: Giorgio Armani shoes, QR2,530; armani.com. Chanel shoes, QR4,641. Valentino Garavani shoes, QR3,549. Roger Vivier shoes, QR3,185. Wolford tights (on all), QR283; wolford.com.

September-October 2013

Quality

Objects

PavĂŠ-diamond chains Clockwise from top: Verdura bracelet, QR1,365,111; verdura.com. Diane von Furstenberg by H. Stern bracelet, QR1,180,548; hstern.net. Pomellato bracelet, QR388,965; pomellato.com. Ralph Lauren Fine Jewelry bracelet, QR266,469; ralphlaurenjewelry.com. Ivanka Trump bracelet, QR149,252; ivankatrumpcollection.com. Proenza Schouler dress,QR49,872.

T Qatar: The New York Times Style Magazine

Tune In

Front and Center A trio of female-fronted bands are not so quietly making some of indie rockâ&#x20AC;&#x2122;s most innovative music. By matt diehl Photographs by sebastian kim styled by michael philouze

From top: on Izzy: Marc by Marc Jacobs dress, QR1,448. Tiffany & Company ring, QR2,821; tiffany.com. On Raphaelle: The Elder Statesman sweater, QR4,834; barneys.com. Louis Vuitton dress, about QR14,561; louisvuitton.com. Tiffany & Company earrings, QR491. Pomellato ring, QR21,113. On Carmen: Saint Laurent by Hedi Slimane top, QR5,642. Julien David pants; QR2,388; juliendavid.com.

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Tune In

Raphaelle Standell-Preston Braids The allure of Braids hinges on a tension between contrasts. On their new album, ‘‘Flourish/Perish’’ (Arbutus), minimalist soundscapes shimmer underneath the confessional storm clouds of the 23-yearold frontwoman Raphaelle StandellPreston’s lyrics. ‘‘Our music is thoughtful and deconstructive,’’ she explains. ‘‘Sonically, we value restraint. The words, however, are very immediate. I don’t hide behind anything — they express exactly how I’m feeling.’’ The emotional core of the band pivots on Standell-Preston’s otherworldly vocals, whose idiosyncrasy she attributes to her love of Björk. ‘‘Trying to sing like Björk is how I found my voice,’’ she says. ‘‘She’s so true to herself.’’

The Row top; QR6,152; Jamie, Nashville.

The urgency of Hunters’ self-titled debut (Mom + Pop) proves to be no accident. ‘‘We recorded everything in five days,’’ the singer Izzy Almeida explains. ‘‘I like working fast, though — you can’t overthink anything. We wanted our record to have energy, and feel real.’’ That rawness complements the Brooklyn-based band’s sound: classic punk upended by Almeida’s expressive howl and the guitarist Derek Watson’s spiky chords. Their combination of aggression and romantic frisson draws comparisons to Sonic Youth, whose founding members, like Almeida, 28, and Watson, 30, were a musician couple. ‘‘A certain passion comes out when lovers are in the same band,’’ Almeida says. ‘‘Sometimes our songs are like listening to a therapy session.’’

Dries Van Noten coat, QR6,061; barneys.com.

Carmen Elle Diana

Sportmax sweater, QR2,530. Carolina Herrera dress, QR15,616. On right hand: Tiffany & Company rings, QR2,821 (ring finger) and QR1,547 (index finger). On left hand: Ippolita ring, QR910; ippolita.com.

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The Toronto band Diana’s buzz stems from its compelling debut, ‘‘Perpetual Surrender’’ (Jagjaguwar). Pulsing with drum machines and hazy synthesizers, its songs are dreamlike, floating between nostalgia and futurism. It’s an ideal backdrop for the stunning voice of the singer and guitarist Carmen Elle, which simultaneously embodies the icy emotion of Annie Lennox and the lush uplift of the Cocteau Twins’ Elizabeth Fraser. For Elle, existing between musical expectations is the band’s raison d’être. ‘‘Genreless is the way to be,’’ the 24-year-old says. ‘‘When you exist outside genre, what remains is the songs — not your image, or the scene you’re part of.’’

makeup by Stevie Huynh at D+V Management; Hair by tamara McNaughton using Leonor Greyl; Set Design by Lisa Gwilliam for Jed Root Inc; Couch: Lobel Modern NY, www.lobelmodern.com; manicure by Casey Herman at Kate Ryan Inc for Essie; concert photos: Almeida, Bill Ellison; standell-Preston, Andrew St. Clair; Elle, Tiana Feng.

Izzy Almeida Hunters

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kicking back Jason Wu (right) and his partner, Gustavo Rangel, lounging at the Wynn’s ‘‘European Pool’’ before a day of gambling and massages.

On the Road

Vegas or Bust Jason Wu has staked his reputation on designing polite, ladylike clothes for Hollywood good girls and the first lady. But he’s finally ready to show his wilder side. By mickey rapkin Photographs by jessica haye and clark hsiao

The sun is barely up, and already Las Vegas is steaming hot.

Particularly at the Wynn’s ‘‘European Pool,’’ a topless watering hole with a blackjack table and full bar. It’s an unlikely spot to meet Jason Wu, a favorite designer of Michelle Obama, Michelle Williams and other Michelles with disposable incomes and good taste. Nevertheless, there he is, sipping piña coladas at 10 a.m., delivered by a handsome waiter named Dallas. Reclining poolside, Wu, dressed only in roulette-red Dsquared trunks, chuckles at the high frequency of barbed-wire tattoos passing by. ‘‘I’m not as polite as people think I am,’’ he says. It’s mid-June, and Wu and his partner, Gustavo Rangel (also his company’s C.F.O.), have come to Vegas to relax before a three-week European business trip — what will be their longest stretch away from the office, and also Wu’s first official tour of duty as the artistic director of Boss, Hugo Boss’s women’s-wear collection. The trip started slowly. A misread sign at the airport led to a wrong exit; they were forced to take a crowded shuttle bus back to the terminal to collect their luggage. There was Wu, sardined into a dusty van,

clutching his oversize creamy leather carry-on. ‘‘I don’t mind slumming sometimes,’’ he says, later. ‘‘I just wanted to get there.’’ Of course, it helps to know his destination is a 3,500-square-foot two-bedroom suite. Wu counts Mrs. Wynn as a client, and friendship has its privileges. A bottle of Veuve Clicquot is on ice. Massages are scheduled. As for the afternoon, a visit to the casino is planned. At the pool, Rangel, sipping a Bloody Mary, recalls teaching Wu to play blackjack. It was a $50 buy-in. ‘‘And Jason hit on 17!’’ Rangel says, horrified. Wu had committed a notorious rookie move, yet somehow he still won that hand — and several others. By nightfall, he’d amassed enough chips to pay cash for a $2,400 Dior bag he’d seen hanging in one of the resort’s shop windows. ‘‘It was luck,’’ Rangel insists. ‘‘Was it luck?’’ Wu asks. ‘‘Or was it trusting your gut?’’ Intuition has served Wu well. What most people know about the 30-year-old designer centers largely around his association with the first lady; she wore him to both inaugurations, two unlikely coups chronicled extensively by the press. The first time because Wu was just 26 years old, an upstart so green he celebrated his

September-October 2013

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On the Road

breakthrough moment by ordering Domino’s Pizza. The second time because, well, there was a second time. ‘‘I knew the dress was going to be red,’’ Wu says. ‘‘We didn’t talk about it — me and the first lady. It just felt right.’’ The P.R. value of that moment cannot be underestimated. Yet Wu appears to know that for every Arnold Scaasi (a household name who dressed Mamie Eisenhower and Laura Bush), there is another Sarah Phillips (Hillary Clinton). And he’s determined to make his collaboration with Obama a shiny data point in a very varied and very rich career. If there’s a criticism levied against Wu, it’s that he collaborates too often. He’s the James Franco of fashion, making candles for Nest, faucets for Brizo and a line of furniture for Canvas, among other offshoots. (His rebuttal: He’s curating his world.) This month, his first effort for Lancôme hits department stores — a signature makeup collection featuring an eye shadow palette called ‘‘Excuse My Beauty.’’ The name is inspired by a quote from an episode of RuPaul’s ‘‘Drag Race,’’ the cult drag queen pageant show, and one of Wu’s favorites. The producers recently offered him a guest judge slot, but he reluctantly turned it down. ‘‘It felt off-brand,’’ he says. ‘‘I made a rule not to be on reality shows. But I really wanted to do it.’’ It’s hard to imagine Wu appearing on a program whose tag line is ‘‘Lip-sync for your life.’’ In interviews with, say, Anderson Cooper or in the recent documentary ‘‘Scatter My Ashes at Bergdorf’s,’’ he cuts a refined figure, befitting a designer celebrated for exquisite ladylike tailoring, one who’s often cited as a likely successor to the Oscar de la Rentas and Carolina Herreras of New York fashion. He acknowledges he’s been complicit in molding his public image. ‘‘I make very proper clothes,’’ he says. ‘‘But I was never that person. For a long time, I thought that was the image I needed to have for my brand. And I thought that’s the person that I needed to be. Because it gave me a distinct image that no one can deny. Everyone — whether you liked it or not — knew what I was about and the kind of clothes I made. I was on message.’’ But even the most expensive garment can start to chafe if it doesn’t fit properly. In the face of startling success, Wu had self-doubts: ‘‘Young designers were expected to be edgier and more downtown and way cool. The kind of clothes I make don’t speak to that. And I doubted myself for a long time.’’ Anyone who still thinks Wu’s clothing is safe hasn’t been paying attention. His 2009 collection may have been inspired by ‘‘fairy tales,’’ but his spring 2013 line was ripped from an entirely different book. It was a ‘‘Fifty Shades of Grey’’-Helmut Newton mash-up, complete with Carolyn Murphy in a black leather sheath. ‘‘The collection was really about the body and sensuality,’’ Wu says, ‘‘with a lot of bondage references. It’s one of my favorite collections. It was something that really spoke to who I am. I’m a bit of a thrill seeker.’’ His most recent 2014 resort collection wasn’t as sexually aggressive, but it was sophisticated with a wink. Like his silk denim tees, which are an immigrant’s sly joke on Americana. ‘‘I’m an American designer,’’ he says. ‘‘It’s important to riff on that. I remember, when my mom and I first came to the states, she was so shocked that everyone was so dressed down in sandals and shorts. It’s not quite like that in Asia. To give that a superluxurious makeover? For me to make street wear? It’s sort of chic to do it.’’ Every story about the Taiwanese-born Wu trots out the same

‘I make very proper clothes,’ Wu says. ‘But I was never that person. For a long time, I thought that was the image I needed to have for my brand.’

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star power Clockwise from top: Wu arriving at the Wynn in a complimentary limo. ‘‘We didn’t ask for it,’’ he says; Wu in the pool cabana; the designer and friends taking in the Bellagio’s water show; dining on honey glazed walnut prawns and Kung Pao chicken at Red 8, one of Wu’s favorite Chinese restaurants.

anecdotes about how his mother moved him and his brother to Vancouver when Wu was 9, to give him a chance at a creative life. How she boldly bought him his first sewing machine when he was 10. His bio reads like a Harvard case study on opportunity, complete with sitcom-ready anecdotes about his foreign-born parents. Even after he became a household name, Wu’s dad (a successful businessman) would take complimentary dopp kits from Delta Airlines and ask his son: ‘‘Do you want this?’’ Since dropping out of Parsons a few months shy of graduation to start his own line in 2006, Wu saw annual sales top $4 million dollars in just three years. And his name-brand recognition has trickled way down. His 2012 collaboration for Target is credited with helping individual store sales spike 7 percent year-over-year. Elsewhere, his diffusion line, Miss Wu, is now in its second season at Nordstrom. Hugo Boss certainly upped its profile by hiring Wu, putting a boldface name to its previously faceless women’s-wear collection. It also seems they’ve given him enough license (and distance) to make his mark. As part of the deal, Wu insisted his German employers open a design studio in New York. ‘‘I could spend time on a plane,’’ he told them, ‘‘or I could spend my time working.’’ Some industry watchers have speculated that Hugo Boss isn’t just a job for Wu, but rather an audition for the top slot at a more prestigious luxury house. It’s 9 p.m. and Wu is holding court at the Comme Ça restaurant in the Cosmopolitan hotel, dressed in a slim black blazer and T-shirt. With its low lighting and dark wood veneer, the place aims for subtlety, though the effect is dwarfed by the towering electronic billboard outside the window; it’s basically a giant Lite-Brite advertising an Australian all-male revue called Thunder From Down Under. Inside, a bachelorette party is guzzling drinks at a nearby table. Wu orders an espresso martini with Grey Goose. He’s still recovering from a late night earlier this week; after hosting a benefit in New York, he and Diane Kruger went dancing until 4:30 a.m. Plates of food emerge from the kitchen like at an Indian wedding. Chilled squid salad. Haricots verts. Skuna Bay salmon. Crème brûlée. Martinis. More martinis. Wu is prone to overordering. One gets the sense that this is the in-charge Jason Wu that clients see in fittings. Wu’s commanding presence — both professional, and personal — can be traced, in part, to the women in his life. ‘‘I dress some of the most successful women in the world, and meeting these women rubs off on you,’’ he says. ‘‘A few years ago, the woman was someone I imagined in my head. Now they’re real. It’s important my work evolve along with me and that I show more facets of myself.’’ But around Rangel, the two feel more like a modern-day Ozzie and Harriet. We’re finishing dinner, a few floors up from Sin City’s first ‘‘pop-up’’ chapel. Had the two thought about getting hitched? Apparently, they’d discussed it previously, and had even settled on a tentative date. ‘‘Then Gus sent me a calendar request!’’ Wu says. Rangel nearly spits out his drink, explaining the seemingly unromantic gesture: ‘‘You have to put everything in his calendar!’’ As dinner winds down, the two, along with a girlfriend from New York, decamp to the Cosmopolitan’s three-tiered bar, called the Chandelier bar after the millions of hanging crystals, for a drink. There’s talk of heading out to Share, a gay nightclub, to go dancing. But first, a waitress brings a round of Verbena lemon-drop cocktails, garnished with a Szechuan button flower that stings the tongue and supposedly enhances the drink’s flavors. Wu bites the forbidden fruit and smiles.

Wu’s bio reads like a Harvard case study on opportunity, complete with sitcom-ready anecdotes about his foreign-born parents.

life in the fast lane From top: tempura and many cocktails at Mizumi; beating Rangel at roulette in a high-roller suite at the Wynn; with Vegas showgirls, who required a tip for their picture, on the Strip.

September-October 2013

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French Connection

From There to Here Parisian designer Stephane Rolland debuts his pret-a-porter collection in Abu Dhabi. By DEBRINA ALIYAH

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he late Arab visionary Sheikh Zayed bin Sultan Al Nahyan, who founded the United Arab Emirates, left an imprint on Stephane Rolland when he was just a child. The Emir of Abu Dhabi, who was also the first president of the UAE, shaped the country into one of the world’s powerhouses and captivated the aspiring dreams of a young Rolland. When the first offer to house Rolland’s inaugural pret-a-porter boutique in Abu Dhabi landed on the designer’s desk, he was startled by the strange twist of fate. For years he had been intrigued by the nation built by Sheikh Zayed, and now he had been given a chance to shine in that very city. “It was a simple decision,” says Rolland as the Middle East region had always been his most lucrative market, and the rising luxury capital of Abu Dhabi offered the niche that the almost-tired Dubai could not. “Abu Dhabi is elegant. It is discreet and private, and it is more appropriate for the vision I have. This first boutique has to be emblematic of my image, and as a tribute to the Middle East, I wanted it to be here before Paris,” Rolland says. Beyond just pure adoration for Sheikh Zayed, the decision was cemented by the fact that Rolland has been making dresses for the who’s who of the Emirates for the past decade. He may not have had the opportunity to meet the ruler himself, but he was wildly excited when he met many of Sheikh Zayed’s family members. He recalls a chance encounter with a client from Abu Dhabi in his couture atelier, where he was effortlessly praising the Arab ruler as he showed her the portrait of Sheikh Zayed hanging in his office. The woman then

HAUTE COUTURE: (right): Rolland’s latest couture collection presented in Paris, (bottom): the finale bridal gown at the haute couture show.

revealed that she was a daughter of the late emir. “I was shocked, and unbelievably elated. I deeply revere the man for his pragmatic work in the region,” he says. The world’s first Stephane Rolland pret-a-porter boutique now sits at the entrance of Etihad Towers, a collective of luxury offices, apartments and retail space. One of the towers in the development is the tallest building on Abu Dhabi Island, a reflection of the newest and latest that is rapidly turning the emirate into the next retail playground after Dubai. But while fashion has turned style makers into celebrities all around the world, in the Middle East, sophisticated buyers of fashion still remain anonymous, not only to the world, but sometimes even to the people who are selling them the season’s latest picks. “It is a very interesting phenomenon and it is very unique to this region. Clients will call the boutique to have the latest look books sent to them. They take their time to pick the pieces and will come back with their measurements and payment details. The buying takes place at home, with most of them, never even stepping into the boutique,” Rolland explains. Odd as it may seem, this has allowed for a more

personalized and intimate way of serving clients for Rolland and his team. Relationships are built over time, and the singular focus on constructions of clothing strips away prejudices and assumptions about regional clienteles. Attention is brought back to the basics of making the perfect piece for individual women. Inside the boutique, it is easy to mistake the space for a French atelier, for the DNA of the preta-porter collection is strongly reminiscent of Rolland’s haute couture work, and the interior gives a luxurious picture of a Parisian apartment on a warm summer day. Designed by Thierry Lemaire, it is a minimalist vision of space marrying both the elements of warm and cold. Heavy carpets set off by metal finishes with wood and marble giving life to the boutique. “I want people to be comfortable where you can lounge, have a drink, read books and have great conversations. Unfortunately smoking is frowned upon these days, but if I could, I would,” he says. The first pret-a-porter collection was released just before Ramadan this year, with a heavy focus on kaftans and sculpturally strong and simple dresses. It drew raves and praise from regional clients and press, many ecstatic that the collection

September-October 2013

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French Connection

ART IN DESIGN: (far left): The interiors of Rolland’s boutique in Abu Dhabi, designed by Thierry Lemaire, (right): glimpses from Rolland’s preta-porter collection.

“I don’t see why I should be producing distinct spring and autumn collections,” says Rolland, “My clients are from all over the world, and they travel all the time.” women who want tacky dresses and they will go to tacky brands!” Rolland quips. This year’s foray into the cut-throat world of prét-a-porter has been a long homecoming plan in Rolland’s blueprint for his eponymous label. The designer is a self-professed purist, someone who references the likes of Cristobal Balenciaga and Christian Dior, design legends of the past, as models for his own ventures. Following the footsteps of these titans, Rolland wanted the world to see his signature and his sartorial message in his couture work before developing off-the-rack options. From a business perspective, luxury wear and haute couture will only become more coveted in times of economic crisis as Rolland feels quality trumps all when decadence is not an option. The French designer has been at the forefront of the wave of fashion labels who have responded aptly to the changing world economy, turning their keen creative eyes to the cities of Hong Kong, Moscow and Dubai and away from established traditional European markets. And yet, one must remember that the surge of demand from new economies is to emulate the great Old World symbols of luxury, namely

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Parisian haute couture. Rolland, who is a member of the Chambre Syndicale de la Haute Couture, the trade union of haute couture designers in Paris, is fiercely protective of the savoir faire ( a term he assures me has no adequate English translation) of the Parisian dressmaking techniques. The world might think haute couture to be increasingly irrelevant, but Rolland knows, that with education and knowledge, clients will always revert to Paris. “We are going through a cycle of life and economy. Haute couture collections now are going back to the founding eras where cut and volume is king. Emphasis on femininity and body shape is more important than elaborate tailoring or embellishments,” Rolland says. In this new world where fast fashion and nondescript gossip seem to flourish, the credibility and fortitude of Rolland’s principles are deeply gripping. The art of persuading a Saudi princess to pick a tuxedo over a fairytale ball gown and the seduction of Carmen Dell’Orefice on his couture runway to represent timeless beauty remains a realm only a true Parisian couturier can enter

Pics: Courtesy Stephane Rolland

is an extension of his couture pieces, rather than a diffusion line that has not proved to be a popular strategy with die-hard fans for some luxury brands. And, taking things into a completely different direction alltogether, Rolland is shying away from the seasonal fashion calendar. The fromwill see up to ten capsule collections yearly, with no clear distinctions between spring and autumn. Understanding this strategy requires an insight into his core clientele, affluent jet-setters who travel all year-long. “I don’t see why I should do that (producing distinct spring and autumn collections). My clients are from all over the world, and they travel all the time. They need cashmere and linen at the same time as they trot all over the globe. And realistically, world weathers are becoming more temperate and unpredictable,” Rolland explains. The mystique behind Rolland’s popularity in the region defies the stereotype of the typical Khaleeji woman. In a land where Anna Dello Russo’s “more is more” philosophy rings even truer than Italian Rococo influences, Rolland’s clean and sleek silhouettes seem a world apart. For a designer whose deepest impression of the ultimate sex bomb is the tuxedo-wearing woman of the Yves Saint Laurent era, it would have been an unlikely formula to work in the Middle East. And yet, the women of the Gulf surprise. “The Stephane Rolland woman is an intellectual who understands my sartorial language and my philosophy. Of course, I have observed that buying has changed in recent years for the better. They now have a better knowledge and know what they want, but there will always be

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By Design

A Merged Experience The new designers from the VCUQatar campus inhabit an area between disciplines, say their mentors, as they delve deep into the philosophy behind the need for design – a dialogue that is all about context. By sindhu nair Photographs by ROB ALTIMIRANO

Waiting for the professors at Virginia Commonwealth University in Qatar (VCUQatar), my senses were alert, picking up details, the white board completely camouflaged by yellow stick-on scribbled notes (part of a student project that touched on memories and history); clothes scattered or bunched up and a desk with blots of paint on it; and camel hair (another project) rolled into a heap in another corner. The room had a certain air about it, although there were no “wow” elements visible, no creative pieces on display; it had an air of anticipation of great things to happen, traces of previously finished projects, products which might have attained greatness, all in stages of disarray. And this disorderly look seemed to be apt for the room. Not much of a surprise, as it was the meeting room at the VCUQatar (their corridors are equally creative). The topic of discussion seemed to fit into the scheme of things, the Masters of Fine Art in Design Studies (MFA), which the professors claimed “explored, questioned and broke barriers within design”.

CREATIVITY CAPTURED (Top): VCUQatar and its rooms where creativity is commonplace; Below: Super Heroes’ concept suit aimed for Qatar’s migrant work population, designed by Alia Khairat

We started with the very basic question of design and what it meant to each one of them and the program they were part of, a topic that would, as I rightly assumed, be the ice breaker. Thomas Modeen, Assistant Professor of Graduate Studies,who also has a Qatar-and London-based architectural and R&D practice says: “In the context of this department, what we do is practice interdisciplinary design. We spend hours and hours discussing what this type of design should entail. All of us come from different backgrounds, though in some way or other what we do is always affiliated to design.” There is extended debate within the faculty, between design and art and what essentially is the difference and distinction between the two and the program (MFA) is but an extension of this debate. “The boundaries are blurred and even idiosyncratic to some degree. What distinguishes design is that beyond the conceptual exercise it needs to be functional,” says Modeen. Modeen says there is no defined definition of design, and the

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By Design

‘Design is romantic – though we design things to make them function efficiently, the first step is an idealized view of the current reality and how it can be better’

From far left (clockwise): The corridors of VCUQatar in the process of being mapped creatively, glimpses of Aisha Nasser Al-Suwaidi’s work in a quest of creating objects to find history.

course is therefore more “practice-and experience-based”. “Design in our context,” he says, “is inevitably going to be openended as it is always in the process of being redesigned based on precedents that can reinterpreted into a new context.” Well, if that confuses you, it is meant to, as Michael Wirtz, Head of Research and Library Technology, says that this is the same question with which they surprise their new students and “inevitably trigger the thinking cells of our students when they join the course”. “They come into the program after finishing a Bachelor’s degree in certain aspects of design, and they seem to know their area of specialization, like fashion design or graphic design,” he says, “But we break down the boundaries of what those specializations are by nature and begin to ask — what is art, what is design, where it fits together, where one stops and the other begins? Where craft comes in and so on. It becomes a very big question and sometimes there are no definite or easy answers.” To MFA student Al Hussein Wanas, who comes from a graphic design background, design means three things: “It is primitive — just like we need to drink water, eat food, breath oxygen, find shelter and seek abundance, we also need to do all these things with less effort and more comfort; design is romantic — though we design things to make them function efficiently, the first step of that process is an idealized view of the current reality and how it may become better; and it is political — if you design something as simple as a spoon, you still have to understand the limitations and requirements of the manufacturer, the cultural context of the consumer need, and the competitive advantage for the stakeholders.” The answer seems to be the last piece into the jigsaw puzzle that points to the designer from VCUQatar’s MFA — motivated and selfdriven, with a personal approach to design. “We are not asking them to build the course language but asking them to explore and find their own approach and their own justification of what design should be,” says Modeen. If the students’ work were to define what MFA is all about, it would

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make us all contemplate the form of design explored. But as their mentors’ have visualized, the work straddles different aspects of design and comfortably links them together for the end product. There is the Super Heroes’ concept suit aimed at Qatar’s migrant worker population, which according to student Alia Khairat “uses fashion to trigger ideas and materials and illustration to articulate the concept”; a multidisciplinary workshop for undergraduate students, in the process of which Amin Matni had to “question how higher education can engage strategically with the 2030 vision of the

DESIGN DIALOGUE clockwise From far left: camel hair as upholstry; Professors of VCUQatar MFA program (clockwise from left: Pornprapha Phatanateacha, associate director of graduate studies, Michael Wirtz, head of research and library technology, Diane Derr, assistant professor and media technology coordinator and Richard Lombord, materials curator) discuss design, Thomas Modeen, assistant professor of graduate studies, VCUQatar ; camel hair is put to use.

‘The biggest advantage is the freedom to do everything on your own and formulate your own ideas without adhering to a strict pedagogical framework’

country”; and the sustainable project of finding creative ways of using camel hair, which set Corby Jayne Elford asking questions about “products and where they come from”. So how would they describe themselves? Multi-designers, perhaps, since they touch on all aspects of designs. Pornprapha Phatanateacha, Associate Director of Graduate Studies says the students are mature in their desired discipline and understand how to implement their knowledge. Diane Derr, Assistant Professor and Media Technology Coordinator takes the example of Aisha Nasser Al-Suwaidi, a student who created objects to find history, to illustrate how design undergraduates and graduates interpret design principles. “The primary component that differentiates her work from an undergraduate student is her development of a theoretical framework from which she created objects and then the rigor with which she was engaged in her project. She looked at nostalgia specifically with Qatar and its culture.” For Al Hussein the meaning of design remains the same, (even after his MFA course) though his understanding of its complications became deeper. “The biggest advantage is the freedom to do everything on your own and formulate your own ideas without adhering to a strict pedagogical framework,” he says. According to Phatanateacha, Aisha Al-Suwaidi, with a graphic design background could push herself to develop programs and

experiment without any limitations. “Her work led other students to be able to develop new applications that are not specific to any discipline, but the language itself is uniquely embedded with questions that provoke awareness,” she says. The ability for students to map out their own territorial investigations is another factor that distinguishes them from the rest. Undergraduate design, according to Wirtz, is about how it gets done while the graduate student thinks about the emotional motivation, the history behind the need for design. In Alia Khairat’s thesis, “The Super Hero Concept”, where she interviewed close to 700 workers, and conducted extensive research with a scientist on the ‘nano’ material used and finally even dabbled in human physiology, flirts with the concept of social status; she delves into many philosophies to get the desired outcome. With a goal of advancing design studies, designers from THE MFA program who have a huge responsibility and experts who “don’t really know all the answers, but will help find the solutions and expand the students’ discovery process”, VCUQatar is where creativity meets contextual implementation. For students like Al Hussein, there is no “pursuit of design”. He is not interested in using design in a traditional way that follows current market conventions, trends and gimmicks. He says, “My work is intended to create more questions, rather than answering existing ones.”

September-October 2013

A model presents a creation by Alexis Mabille during the Haute Couture Fall-Winter 2013/2014 collection shows, on July 1, 2013 in Paris.

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On the Radar

It has outlived repeated attacks on its reputation, its powers of endurance and its very state of being. Haute couture, the best bespoke handmade clothing, with dresses costing upwards of QR300,000, is undergoing a metamorphosis to embrace its new clientele from Asia, Russia and the Middle East. This beast is not extinct. By Alexandra Kohut-Cole

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AFP PHOTO/PATRICK KOVARIK

Comeback Kid

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There has been a lot of debate over whether haute couture

CLASSIC COUTURE: Clockwise from right: A creation by Christian Lacroix for Elsa Schiaparelli for Haute Couture Fall-Winter 2013/2014 collection; a Giambattista Valli presentation during the Haute Couture FallWinter 2013/2014 collection, Georges Chakra’s Haute Couture Collection on January 25, 2011; a creation for Giorgio Armani Prive during the Haute Couture Fall-Winter 2012-2013

powerful marketing tool. Even though the couture runs at a loss economically, in real terms it is worth every last penny. Time was, in the 90s, when the headlines screamed couture was in its death throes. The industry was running scared with the sale in 1999 of Yves Saint Laurent to Gucci Group, even though Saint Laurent retained the rights to create two haute couture collections a year. “Fin de couture?” screamed The Independent in January 1993 of an earlier takeover. “The sale of Yves Saint Laurent looks nothing less than a death sentence.” And on Saint Laurent’s retirement from an illustrious career spanning nearly 50 years at the pinnacle of the industry, The Economist crowed “Out of fashion” on the eve of his final couture collection in 2002. That same year, even Saint Laurent’s long-time partner and business manager Pierre Bergé pronounced couture utterly dead: “High fashion is finished. We are in an era of marketing, not creativity.” But then an extraordinary thing happened and the headlines executed an about-turn in 2009 when, rather than declaring the industry dead, they RAISED ITS STATUS to that of struggling uncertainty. “Chanel battles to keep couture alive”, declared The Guardian that year

September-October 2013

(from top clock wise ) AFP PHOTO/FRANCOIS GUILLOT , AFP PHOTO/MIGUEL MEDINA, AFP PHOTO/Bertrand Guay, AFP PHOTO / MARTIN BUREAU

will survive, or indeed whether it even should. And that’s just since its inception in the middle of the 19th century, when the English “father of couture” Charles Frederick Worth produced garments in Paris. But haute couture has survived. It has demonstrated strength of character in adversity and overcome traumatic life events that could have seen it all go up in a puff of toile to the grand couturier in the sky. And yet the art remains, although its relevance is repeatedly queried. The golden age of haute couture can be dated from 1947 when Christian Dior unveiled his New Look and couture prospered, until 1968, when the house of Cristobal Balenciaga closed down, indicating that change was afoot. Those were the days of a glittering and affluent couture clientele whose lifestyle warranted grand dresses. The hallowed couturiers back then were Dior, Givenchy, Balmain and Yves Saint Laurent, and their cherished clients were the likes of Grace Kelly, Audrey Hepburn and Lee Radziwill. So what’s the big deal? “Haute couture is something very specific: a garment that is completely custom-made, from impeccable lining to hand-stitched hem. Not only is the dress bespoke, the fabrics and embellishments are of the highest quality, and the tailors, seamstresses, embroiderers, lace makers and other craftspeople who spend hundreds of hours assembling these pieces are the most skilled in the world,” explained Forbes magazine in 2006. In fact the label of haute couture is a legally controlled term granted by the Chambre Syndicale de la Haute Couture, which was formed in 1868 and is helmed today by elected president Didier Grumbach. The criteria required in order for a fashion house to claim its position as an esteemed maison of haute couture are that each garment must be hand-stitched, exclusively tailored for an individual customer, and that it can only be made by an officially elected couture house. The official list of haute couturiers is reviewed each year. This is serious stuff. The kudos this designation grants a fashion house is immense in terms of the mystique and glamor that subsequently shrouds it via the inevitable editorial column inches. This in turn translates directly into massive sales of perfume and lipstick. There could not be a more

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Subthe On Section Radar prompting fighting riposte by Chanel’s President of Fashion, Bruno Pavlovsky, “Haute couture is for everyone. Couture exists to keep our customers dreaming.” By 2010 it was “Bonjour Couture” according to Vogue, “Top Parisian labels, including Chanel, Dior and Jean Paul Gaultier, have revealed a marked increase in both sales and demand.” And Sidney Toledano, Dior CEO, couldn’t contain his delight, “We have received so many orders, we are not sure we can deliver them.” In 2012 the rise of haute couture sales was big news, “Return of haute couture,” shouted the Wall Street Journal; “Paris says merci as haute couture sales rise,” said the Guardian. Giorgio Armani and Valentino couture sales were up on the previous year. Women’s Wear Daily revealed in 2013 that Christian Dior Couture sales had risen 24 percent for the year on the appointment of Raf Simons as creative director. Designers have been flocking back to the couture schedule. Donatella Versace returned to Paris in 2012 after an eight year absence, Dutch design duo Viktor & Rolf followed in July 2013 after 13 years and Azzedine Alaia returned in 2011 after an eight-year hiatus. At its last count for the Spring/ Summer 2012 season, the haute couture club consisted of ten official members, five correspondent members and six guest members. In July of this year, at Les Arts Decoratifs in Paris, Christian Lacroix exhibited a capsule haute couture collection for the revived house of Schiaparelli, paying homage to legendary designer Elsa Schiaparelli who had always inspired his work. The house has not yet announced its new creative director but when it does Schiaparelli will also be boarding the couture train once again. So why is there still a demand? Couture is evolving to embrace its new Middle Eastern, Asian and Russian clients. “The rise has been credited to an influx of orders from China, the Middle East and Russia,” explains the Wall Street Journal. This new niche market is being expertly tapped into. In their turn, the new clients have embraced new designers. Middle Eastern clients have particularly supported the fresh new wave of Lebanese designers including Elie Saab and Bouchra Jarrar. Taking the process one step further, new client Goga Ashkenazi from Kazakhstan has bought the house of Vionnet and appointed herself not only chairwoman but creative director too. Which brings us to the upcoming French Haute Couture Week due to take place this coming October at the Marina Bay Sands resort in Singapore. Organised by Fide Fashion Weeks, this will be the third such event — which goes to prove its success so far. The French heritage and tradition of the art is celebrated and yet also exhibited to recently-discovered glamorous and wealthy potential customers. Designers Christophe Josse, Alexis Mabille and Gustavo Lins, are returning to Singapore this year, having already showcased for the previous two years. The line-up for this October’s event has yet to be announced. Maurizio Galante, Bouchra Jarrar, Julien Fournié, On Aura Tout Vu and Yiqing Yin have all shown previously in Singapore, and all the designers are haute couturiers or invited members of the Chambre Syndicale de la Haute Couture. The Business of Fashion commented early this year, “Why should others not follow, especially in emerging markets? We are told that Asia, and especially China, has a longing for couture. Why shouldn’t it sponsor its own couture houses with talents from Paris — initially at least? “ So for now, haute couture finds itself back where it belongs in the consciousness of its adoring public who are willing it not just to survive, but to reinvent itself for its new audience and clientele. And long may it continue

ON THE RUNWAY: From top: A model presents a creation for Christian Dior 2013-2014 fall/winter collection, Creations by French fashion designer Christian Lacroix for Elsa Schiaparelli, a creation for Christian Dior during the Haute Couture Fall-Winter 2013/2014 collection

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AFP PHOTO/FRANCOIS GUILLO.

Middle Eastern clients have particularly supported the fresh new wave of Lebanese designers including Elie Saab and Bouchra Jarrar.

CREDITS: DAVID SIMS, JOHN SPINKS, KARL MORETO

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Coat: Double faced cashmere coat with cape in black colour. Price on request. Skirt: Silk organza skirt with goat suede fringe in black colour. Price on request. Lulu clutch: Clutch in mat Crocodile Qatar Burgundy colour. QAR 66000. Faried boots: Cigh ankle boots with a 13.5 cm Wave heel and 3 cm platform in black Haras leather. QAR 5100.

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the birth of A qatari brand From the land of oil and gas comes QELA, A new luxury offering that tries to seize the fashion spotlight away from the West. TEXT By DEBRINA ALIYAH photographs by karl moreto AND rob altamirano (SPECIAL TO TQATAR)

September-October 2013

INTERIORSThe boutique occupies two floors at The Pearl-Qatar.

here are a million and one ways to jump-start a luxury brand. Reviving the “heritage” of posthumous fashion legends seems to be the preferred choice. While we delve deep into appreciation for the archived works of Schiaparelli and Halston, the reality of contemporary brands taking after storied legendary names is often more aligned to marketing objectives than design visions. Is there really no room in the industry, to move forward and to put the focus on cultivating of new visions, and in turn creating new legacies for the generations after?

The answer lies in the workshops that form the backbone of QELA, a homegrown Qatari luxury brand that has been thoroughly researched and constructed over the past three years. In the workshops, craftsmen with impressive experience and skills speak with much enthusiasm and energy about this rare opportunity to truly create something original. To be part of such an exceptional initiative, these craftsmen had no qualms in leaving the comforts of the established couture industry in Europe to come to Qatar. And in these local workshops, the magic begins in crafting products where quality is foremost and the birth of a new

brand — imminent. QELA comes from the name “Kahilah”, given to a breed of Arabic horses known for their beautiful eyes that have the appearance of wearing kohl. With such a strong Arabic identity to its name, it is easy to assume that QELA would steer towards a traditional design brief, but the collection is surprisingly contemporary and subtle. Adopting a couture approach in delivering the final pieces to the client, the inaugural collection presents wearable pieces that women from all over the world could identify with. This design accessibility is precisely the focus that QELA is founded on as part of its quest to emerge as the

COMING TOGETHER: Al-Nasr (far right), works closely with the artisans of the workshops to develop the final design brief for QELA.

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next big global luxury brand. “It embodies an international style married with understated Arab influences and so it represents straightforward, modern elegance with a sense of modesty and intimacy,” explains Haya Al-Nasr, vice-chairperson and managing director of Qatar Luxury Group (QLG), the institution behind QELA. There is a strong camaraderie among the design team that works to make this DNA shine through. QELA eschews the fashionable trend of presenting a single creative director as the face of the brand; rather focusing on the synergy between the design studio and the workshop expertise to produce final collections. In keeping with the cultural mix of the country Qatar itself, there are talents from all around the world in the workshops thus making the creative process a unique experience. On the walls of the workshops, translations of couture terms across several languages are posted to assist with communication. “The workshops, are indeed a special place,” says Al Nasr, “The environment we have created in our studio and workshops, where we have brought together some of the world’s most talented craftsmen and provided them with the time and resources to create pieces of the highest standard, is highly conducive to creativity. Our designers come from all over the world, and there is an intimate relationship between the

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products and their craftsmanship.” With all the right expertise in place, it is no surprise then that every item in the collection, from a couture dress to a pair of calf leather sandals, stands testament to quality workmanship. Only materials of fine standards sourced from around the world, including handpicked crocodile skins, and gemstones from non-conflict zones, are used. All special orders, exotic leather pieces, jewelry and couture garments are produced right here in Qatar, a true mark of luxury in today’s mass factory production. To let the products speak for themselves, there are no emblazoned logos on any of the items, only a small personalized engraving plate is placed inside the leather goods if requested. The letter ‘Q’ is etched inside all QELA diamond jewelry to certify that it has been handcrafted according to timehonored traditions of cutting and setting. Beyond just the making of products, the building of legacy and heritage is the inherent process that is happening behind-the-scenes of QELA. Artisans like Didier Larue, a jeweler who has spent 25 years at Van Cleef & Arpels, couturier Gil Picard, who has worked with the biggest French houses; leather goods expert Guillaume Bernard de Bayser, who is a member of the Compagnons du Tour de France; and shoe specialist Aram Khajadourian, form the core group of technical

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Jacket: Leather Mashrabiya lambskin jacket, price on request, Skirt: Wool skirt with front pleat, price on request, Top: Silk Draped neck top, price on request, Elyah handbag in young bull leather,QR16,200, Fatien sandals with rings, QR3660.

September-October 2013

HANDMADE: Clockwise from top, The couture clothing workshop where custom orders are made, 1796: Crocodile leather clutches bearing the signature clasp of QELA, the moodboard in QELA.

â&#x20AC;&#x153;Our designers come from all over the world, and there is an intimate relationship between the products and their craftsmanshipâ&#x20AC;?

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WORKMANSHIP: clockwise from top, a haven of fine leathers in the workshops, Qatar-based fashion designer Selina Farooqui is one of the team members in the clothing workshop, all special orders, exotic leather pieces and prototypes are made here, workshops provide an opportunity for Qatari talents to develop their technical skills,QELA secured its own leather cuttingmachine and Gil Picard is head of the couture clothing workshop and brings more than five decades of experience working with various couture houses.

September-October 2013

DETAILS : Clockwise from left, Didier Larue, a jeweler who has spent 25 years at Van Cleef & Arpels, is the head of the jewelry workshop, Guillaume Bernard de Bayser, a member of the Compagnons du Tour de France, heads the leather making workshop, members of the Compagnons du Tour de France working in QELA as part of their training.

masters who are passing on their art to the new budding new talents of the QELA team. Education and sustainability form a big vision for the brand and so is providing the platform to nurture and cultivate the next generation of artisans. “We don’t want the invaluable craftsmanship that is now an integral part of QELA to fade away,” says

Al-Nasr, “Our vision is to accommodate highly talented designers, and to support the development of Qatari talent.” From a sustainability perspective, Qatar, being a desert country is no stranger to careful management of natural resources, something that has been incorporated into the brand’s operations.

UNIQUE Clockwise from top, The letter ‘Q’ is etched inside all QELA diamond jewelry to certify that it has been handcrafted according to time-honored traditions of cutting and setting, de Bayser shows the crocodile leather and its quality.

The first QELA boutique opened its doors this month at the prestigious The Pearl-Qatar. Staying true to its signature, the facade is exquisitely discreet, covered in a mashrabiya wall feature with just two small signs of the name “QELA” in both Arabic and Roman letters to the side of the entrance. The boutique, set in deep colors, is spacious and designed to emulate the home of an art lover. Lounging sets with ottomans and side tables with reading lamps further reinforce the welcoming nature of the space like the hospitality of a Qatari home. The finishing stroke of design identity is the paintings of renowned Qatari artist Ali Hassan that hang on the walls of the store. This is symbolic of QELA’s emphasis on its association with art as an international language understood by all. With this first establishment, the brand wants to communicate to the world its design vision and to share the experience of a new legacy. The location of Qatar at the crossroads of East and West gives QLG a geographical advantage in identifying emerging fashion trends and new markets. Brand awareness will be the main 94

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objective and when that is achieved, the label is confident that its quality offerings will create a loyal fan base. “The second boutique will be in Paris. The first collection embodies these values as part of a multicultural brand. We are confident that we are highly relevant to a discerning international clientele who are very interested in what we have to offer, regardless of their geographical location or nationality,” says Al-Nasr. With strong, yet realistic ambitions, QELA seem to have found its groove for now by setting the wheel in motion with strong foundations. The creation of the workshops, establishing high benchmarks and a clear process of creation for its products is truly admirable and may just be the formula for the building blocks of a successful global luxury brand. If anything, perhaps, Qatar has created an opportunity for its budding designers, as a learning post, and give them hope that their design dreams and careers will not, like many, be just a one-season wonder.

Céline top, QR20,021. Comme des Garçons Comme des Garçons shorts, QR1,164.

Aloof, icy, playful, curious, remote, opaque, funny, shy, distant, nice, impenetrable, guarded, unreadable. T â&#x20AC;&#x160; his is Rooney Mara. Photographs by DAVID SIMS Styled by Joe M c KENNA text by david amsden

Mara may not win people over in the way of Jennifer Lawrence, who never fails to come across as an irrepressible dervish of Kentucky Fried Fun, but she also doesn't risk exhausting us with the robotic eagerness to please of an Anne Hathaway.

Calvin Klein Collection dress and jacket, price on request. Opposite: HermĂ¨s cape, QR27,302; hermes. com. Dries Van Noten sweater, QR2,530; Opening Ceremony. Limi Feu pants, QR1,062; lagarconne. com.

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during which she got to showcase her chameleon-like ability to mold herself into a variety of disparate characters while collaborating with a fantasy list of directors. First there was ‘‘Side Effects,’’ Steven Soderbergh’s Hitchcockian thriller about the pharmaceutical industry, in which Mara turned in a nuanced performance as the manipulative, pseudo-depressive wife of a fallen banker. Right after that wrapped she made her way to the Los Angeles set of ‘‘Her,’’ Spike Jonze’s take on sci-fi scheduled to come out in November, in which she portrays the ex-wife of a writer who falls in love with his computer’s operating system. Then she was off to shoot two films in Texas: the just-released ‘‘Ain’t Them Bodies Saints,’’ by the newcomer David Lowery, and Terrence Malick’s still-untitled meditation on love and obsession set against the backdrop of Austin’s music scene. Even before she had a career, Mara, who keeps a secret list of characters she’d like to play and people she hopes to work with, had a precociously clear idea of how she wanted to be seen in the industry. She became interested in acting at a young age, when her mother took her and her sister, Kate, to Broadway musicals and introduced the two to classic movies. ‘‘My sister started acting when she was young,’’ Mara says of the elder Kate, who’s currently starring in the Netflix political thriller ‘‘House of Cards.’’ ‘‘But I just knew I didn’t want to be a child actor. I knew I wanted to go to school and wanted to start when I was older, so I would be taken seriously.’’ The topic of her family, however, is one that retriggers Mara’s desire to keep certain facets of her life hidden behind veils. ‘‘I hate it when people ask me about my family — my football family,’’ Mara says of the clan known in sports circles as the founding and current owners of the Pittsburgh Steelers (on her mother’s side) and the New York Giants (on her father’s), an N.F.L. legacy from which she is eager to extricate herself. ‘‘It has no relevance to acting.’’ Mara’s latest decision — to stop working for a while when she is in her prime of what can be a maddeningly narrow window for women in film — is further evidence of how the 28-year-old actress values the idea of staying shrouded in a bit of mystery. ‘‘I haven’t worked since last Thanksgiving and I have no plans on working anytime soon,’’ she tells me. ‘‘After a movie I always feel a little lost. While you’re doing it you feel like you’re having some sort of revelation, like it’s real, and then its over and you’re like, ‘That was not real.’ ’’ Mara acknowledges that this hiatus is something of a gamble but to talk to those close to her is to learn that her ambition is tempered by her instincts toward selfpreservation. ‘‘She doesn’t operate from a place of fear,’’ Jonze says. ‘‘She’s looking at the whole picture, and wants to figure out how to live her life.’’ These days that means leaving Los Angeles to spend time in New York. Talking about the possibilities of a summer spent unemployed, Mara becomes downright giddy, far from the frosty creature she’s typically portrayed as. ‘‘What’s something I could learn? What’s a new skill I could acquire?’’ she wonders aloud, before launching into a to-do list of achievements she hopes to rack up by summer’s end: learning a new language, probably French or Spanish; getting a sewing machine and teaching herself how to quilt; maybe dabbling in embroidery; finishing a novel she’s been struggling to get through. But more than anything, she tells me, she has become fixated on the idea of learning ballroom dance. She explains that, like acting, dancing would force her to shed her naturally reticent husk. ‘‘I have hidden rhythm — like, I’m a crazy dancer when I’m alone — but I’m a little too shy to let it come out in public.’’ Mara pauses, and then adds, ‘‘But, let me tell you, it’s going to come out.’’

location scout: john hutchinson; tailor: lars nord; photo assistants: Nathan Jenkins, edward mulvahill, sam Rock; postproduction: SKN; location: Hudson Highlands State Park, nysparks.com; Hair Assistant: Keisuke Terada; Makeup assistant: Susie Sobol.

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ooney Mara is not known for giving off the warmest of first impressions. Standoffish, aloof, icy, remote, guarded, distant, opaque, steely, impenetrable, unreadable: such tend to be the words used by journalists to describe their encounters with the actress, a less than inviting list of adjectives that I decide to lob at her the moment we meet in Manhattan. I figure my little ignoble stunt will put Mara on the defensive, stir up some deep-seated insecurities, maybe even provoke a flash of anger, all in the name of exposing some new, hidden dimension of the actress to the world. ‘‘Yeah,’’ Mara says when I finish. ‘‘I kind of have a bad reputation, don’t I?’’ Her tone is so unruffled that she may as well be remarking on the weather in a city she doesn’t care to visit. And from there? Silence. Mara fixes me with the same unblinking, glacier-eyed stare she deploys so penetratingly on screen — most notably in her breakout role, as the cyberpunk Lisbeth Salander, in David Fincher’s 2011 adaptation of ‘‘The Girl With the Dragon Tattoo.’’ Finally, sensing victory in my discomfort, a sly grin springs up on Mara’s elfin, alabaster face. ‘‘Isn’t mystique and the unknown,’’ she asks, ‘‘part of what keeps you drawn to someone?’’ Well, yes. Then again, in our confessional age the desire to conceal has been largely eclipsed by the urge to reveal. Today, the sort of actors who once complained about the tabloids now take to Twitter and Instagram to produce their own self-centric versions, carefully curating their personas, forever setting the record straight, always ensuring that we are fed a steady and quasiintimate diet of everything from their eating habits to handbag preferences to what they look like (gasp!) without makeup. Mara, in this landscape, represents a disarming and refreshing outlier: she may not win people over in the way of Jennifer Lawrence, who never fails to come across as an irrepressible dervish of Kentucky Fried Fun, but she also doesn’t risk exhausting us with the robotic eagerness to please of an Anne Hathaway. Should I or anyone else choose to reinforce the chilly stereotypes of Mara already laid out for public consumption — well, go right ahead, is her attitude, one she began honing long before she became famous. ‘‘In high school, people thought I was stuck-up because I didn’t talk to anyone,’’ she says of growing up in Bedford, N.Y., a bucolic suburb of the city. ‘‘It was just because I was shy and scared, but I think because I’m super-self-possessed that it doesn’t come across as scared so much as stuck-up. I would hear what people thought and be like, ‘No! I’m actually nice!’ ’’ She laughs, rolls her eyes. ‘‘But now people can think whatever they want.’’ Indeed, in person Mara is quite friendly, punctuating many sentences with laughter and exuding an eager curiosity about subjects ranging from Philip Roth’s novels to her newfound addiction of binge watching the Swedish pop star Robyn’s latest music video. ‘‘She doesn’t take any interactions for granted, and she won’t hide it if something isn’t worth her time,’’ Fincher says. ‘‘But once you get to know her you realize she’s a playful girl, very funny, with a biting wit.’’ True, yet Mara seems to prefer that you don’t know this about her, recognizing that so long as people get her wrong it means that, as an actress, she is doing something right: remaining a slate so blank that just about any idea can be convincingly projected onto her. Her much-documented transformation for ‘‘Dragon Tattoo’’ (the motorcycle riding! the pierced nipple!) justly earned her a Best Actress Oscar nomination, and in the wake of that success Mara spent the better part of last year shooting four films back to back, a dizzying run

The topic of her family is one that retriggers Mara’s desire to keep certain facets of her life hidden. ‘I hate it when people ask me about my family — my football family.’

Jil Sander sweater, QR6,334. Haider Ackermann shorts, QR11,430; mytheresa. com. Alexander Wang headband (on neck), QR1,456 v(sold as twopiece set with snood); alexanderwang .com. Hair by Paul Hanlon at Julian Watson Agency. Makeup by Diane Kendal for Marc Jacobs Beauty. Manicure by Megumi Yamamoto for Chanel Beauté. Stylist assistants: Carlos Nazario and Allegra Versace.

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WoRKing GiRl Victoria Beckham wants to rule the world.

By sarah lyall Photographs by juergen teller

Past the closed-circuit cameras, past

the nondisclosure-agreement-wielding security guard, past the Damien Hirst pictures, past the hyperorganized assistant and the bold monochrome walls and the sumptuous gray sofas and the three giant orchids — past all the accouterments of the celebrity household — a toddler sat on the floor, playing with her nanny. The toddler was plump and adorable, her hair in a little bun that just then was being decorated with a chain made of tiny flowers. The nanny, a minute, seemingly nondescript person in a careless ponytail, was doing the decorating. She looked up. ‘‘I’m sorry — I’ll be looking after her while we do this,’’ she said, a remark that prompted a moment of severe cognitive dissonance, because this was not the nanny at all, but Victoria Beckham herself, barefoot, T-shirted, skin glowing, so tiny as to appear to be in danger of dissolving into the furniture. She wore baggy, oversize boyfriend-y jeans suspended above her super-slim hips by little more than a casual canvas belt and a prayer, and she was surprisingly smiley. ‘‘Harper and I went to the park this morning and picked daisies, but she didn’t quite understand that to make daisy chains you need to leave some of the stem on,’’ she explained, gesturing to the pile of teeny flowers on the floor. Harper, 2, is Beckham’s daughter, but of course we know that already. We know it just as we already know the names of Beckham’s three sons (Brooklyn, Romeo and Cruz), the name of her husband (David, who, tragically, was not at

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home), her Spice Girls handle (Posh Spice), and many other interesting Beckham-related facts, both important and trivial. Beckham seized fame by the collar in 1996, when the Spice Girls emerged to become, briefly, the biggest thing in girl bands since the Supremes; fame in turn grabbed her by the throat when she married David, then a dishy Manchester United midfielder with mercurial hair, boundless talent and a yen for the limelight. They were more than the sum of their parts; he, one of the world’s most famous soccer players, with a deadly free kick; she, the impossibly thin, impossibly high-heeled quintessential wife, followed everywhere, photographed everywhere, even her most banal utterances repeated and dissected. But in the last few years, a new kind of renown has been creeping up on Victoria Beckham, an unfamiliar phenomenon in a Kardashian world where people are famous for just being famous. This is the renown that comes from having a serious job and being seriously good at it. Five years after she shocked the blasé New York fashion world by unveiling a collection of beautifully made, elegant dresses that were chic and understated and ultraflattering, Beckham has established herself as a powerful force in the industry, proving again and again that she is far more than another celebrity slapping her name onto someone else’s product. She knows her product intimately — she often says she designs clothes that she herself fantasizes about wearing — and they reflect her tastes: nothing busy, very few prints, color used sparing-

ly, lots of calm clean grays, creams, navys, blacks. Her first collection evoked the work of Roland Mouret, one of whose dresses she made famous when she wore it to David’s official introduction ceremony with the Los Angeles Galaxy, but she has gradually acquired a new boldness, the confidence to find her own style. Her current collection for fall is widely considered one of the standouts of the season, with masculine-influenced coats, long hemlines and skirts and trousers that skim the body rather than cling to it. Beckham’s ready-to-wear collection is still purposely small, but she is thinking big. She has branched out into sunglasses, handbags and denim. She has started a younger, less expensive line, Victoria, Victoria Beckham, which features clothes that are less tailored, more casual, more colorful. She has taken her brand global and is expanding most rapidly in the Asian markets, particularly China. Her company, based in Battersea, south London, already employs 90 workers, and is due to expand its office space soon. It recently started an e-commerce site, and there is talk of opening the first Victoria Beckham stand-alone store, in central London. Here she is at the center of all this, a tiny dynamo in skyscraper heels who gives off an aura of calm — how real it is is anyone’s guess — while everything spins around her. Her ambition is endless. ‘‘I want to reach as many women throughout the world as I can,’’ she said. ‘‘There are more categories that I want to enter into. I have five categories at the moment. But at some point I would love to do shoes, I would love to do fragrance, I would love to do makeup, I would like to do underwear. There are so many things I want to do.’’ At the moment, though, it was time to eat lunch. (Yes, she eats, though on the other hand she spends a large chunk of time each day doing a Tracy Anderson workout with a personal trainer.) We moved to the table. On one wall was a huge collage-y Julian Schnabel; on another, a David Beckham original: a blown-up black-andwhite photograph of the four children bouncing together on a bed. The house is a rental, and Beckham said she missed Los Angeles, where the family lived most recently — the climate, the openness, the work ethic. ‘‘I am very career minded, and I think my personality is more suited to America,’’ she said. ‘‘I am a working mum.’’ She is also a perfectionist involved in every aspect of her company, from the smallest detail on a cuff, to the type of cushions on the spectators’ chairs at her fashion shows, to the largest strategic decision about where she wants the company to go, to a celebrity’s request to borrow a piece for a party (yes to the query from Naomi Watts, she said into the phone at one point during the afternoon). From the beginning, Beckham said, she realized that her work was ‘‘not just turning up on the red carpet wearing my dresses.’’ She has in the last few seasons begun doing proper runway shows, but wisely started out doing small presentations, making a point of introducing each collection personally, walking the buyers

ALL BUSINESS Beckham, in her own Balenciaga jacket, at her offices in Battersea, south London.

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‘ When you’re in a position to be paparazzi-ed just walking down the street, you’d look a little daft if you were smiling all the time.’

FASHION MOMENT Beckham isn’t nearly as controlling of her office environment as she is of her public image.

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Makeup: Lotten Holmqvist at Julian Watson Agency using M.A.C.; hair: Tina Outen at streeters. Clockwise from Top: Stephen Sweet/Rex USA; FameFlynet Pictures; David Fisher/Rex USA; courtesy of Victoria Beckham (3).

and editors and sales reps through every aspect of every piece, dazzling them with her command of her product. She frequently schedules in-store events in which she talks to customers trying on her clothes in the dressing room, advising them even as they advise her right back. ‘‘I’m involved in everything,’’ she said. Lunch — corn soup followed by a salad of greens and fruit for Beckham; sushi for Beckham’s assistant and me; and a fruit platter for everyone — was prepared and served by a chef. ‘‘You are going to think this is real — this is what I get every day!’’ Beckham said. But it is not, apparently. ‘‘Chris’’ — that is the chef — ‘‘comes in a couple of days a week and might make a giant lasagna so I can put it in the freezer and then do it myself,’’ Beckham said. ‘‘David does the cooking.’’ David does the cooking? ‘‘Yes, he’s really good,’’ his wife said. When David was playing soccer in Italy a few years ago, she explained, the family was living in L.A., and he was left alone on his days off. ‘‘So he decided to go to culinary school.’’ She says he is a hands-on father, just as she is a hands-on mother. The nanny apparently works just a few days a week, too, and so Harper sat with us at lunch, trying on my shoes, wandering off with pieces of fruit, and at one point grabbing a piece of paper, covering it with Post-it notes and announcing that she was going to her office. If they can, either Victoria or David always drives the children to school — three boys, three different schools — and collects them. At least one of them, she said, is at every parents’ meeting, every play, every sports event. Beckham said that she has never missed a birthday, and that it is important to her to keep the children grounded and unspoiled. Both she and David come from close, hard-working families: David’s father was a gas-company engineer, and hers was an electrical wholesaler. She contrasted her attitude toward that of some of their friends in L.A. ‘‘We have what I consider to be normal birthday parties,’’ she said. ‘‘I’ve been to parties in L.A. that are mind-blowing. I mean, quite literally mind-blowing. People get cellphones in the party bag, that sort of thing. Fabulous, fabulous parties. Ours aren’t like that. They are normal kids’ parties. We’ll have a bouncy castle, a face painter.’’ After lunch, Beckham put Harper down for her nap, the nanny having materialized; sat for hair and makeup; and changed into her work outfit, all in black: slouchy Isabel Marant trousers, a skimpy sleeveless silk top, a Balenciaga leather jacket and a

MODERN FAMILY Clockwise from top left: the Spice Girls, with Beckham, a k a Posh, in the middle, in 1996; the Beckhams with daughter Harper earlier this summer at a son’s sports event; with their boys in 2012. Bottom left: looks from the designer’s fall runway collection.

pair of towering leopard-print stilettos. The ordered taxi failed to show up, so an operative from the on-site Beckham security detail drove us to Beckham Ventures Ltd., where the various teams — the handbag group, the denim group, the financial group — all work in a big open-plan space, and where Beckham was due to have her photograph taken by Juergen Teller. Teller has shot Beckham before. He was responsible for the witty 2008 Marc Jacobs ads in which, among other things, she lay inside a shopping bag, with only her splayed legs visible — and she appreciates his no-fuss approach. ‘‘Normally in a fashion shoot you’d be plastered in makeup, in amazing clothes,’’ she said. ‘‘I find it embarrassing when you don’t look like yourself, when you’ve had tons of retouching.’’ At the same time, Beckham is incredibly controlling of her image. Even in supposedly candid photographs, she is invariably shown posing as if she were on the red carpet: one leg in front of the other, body leaning back so that her hips jut forward and emphasize the slenderness of her form. She never smiles — it is almost as if someone once told her that she looks better scowling — and instead affects a mien of distant hauteur that can come across as snobbishness but in person reads more like shyness and insecurity. ‘‘I dunno,’’ she said, when asked about the no-smiling phenomenon. ‘‘I smile in family pictures.’’ Perhaps, she mused, the reputation she got for being moody during the Spice era stuck. Also, she said, ‘‘When you’re in a position to be paparazzi-ed just walking down the street, you’d look a little daft if you were smiling all the time.’’ (Apparently, the eternally sunny-seeming Kate Middleton never got that particular memo). She says she is relaxed about how she looks in pictures. ‘‘I don’t want to be made to look like I’m 25,’’ she said. ‘‘I’m 39. I don’t have any issues with my age.’’ That is what she said, at least. But she fretted a bit before the session, and as Teller prepared to take her

picture she asked — jokingly, but not — that he go easy on her wrinkles (not that she has any noticeable ones). For the shoot, Beckham reclined on her office floor, surrounded by fashion chaos: swatches of fabric, soda cans, sketches. She declined the suggestion to include a plate of grapes or some such in the picture. ‘‘We don’t want anyone to know I eat,’’ she said. ‘‘Why ruin that?’’ David, who spoke on the phone to his wife several times during the afternoon but, alas, never appeared in the flesh, is no slouch in the fashion department, either. ‘‘He might sometimes ask advice if he’s going to be late — ‘What should I wear?’ — but generally speaking, he has a really good sense of what works on him,’’ Beckham said. ‘‘I think he looks great whatever he does. He literally always looks really, really good.’’ They work well together, she said, and then began talking without irony about the brand — the brand she and David have fashioned together, along with Simon Fuller, creator of ‘‘American Idol’’— as if being part of a brand was the most normal thing in the world, as if that is simply what people do. ‘‘You know, we don’t look at it as a big brand,’’ she said. ‘‘It is, but it happened very, very naturally. It seems that now everybody wants to make a brand; everybody wants to build a brand. Ours happened very organically.’’ And then she said: ‘‘The most important thing is each other and the children.’’ The Beckham brand is one thing; the Victoria Beckham brand is another. ‘‘I just wanted to create beautiful clothes, good quality clothes I wanted to wear myself,’’ she said. ‘‘And then I wanted to create handbags, because I couldn’t find the right handbag that I wanted to carry. Then I couldn’t find the right sunglasses, so I decided to make my own sunglasses.’’ There is no stopping her. ‘‘I want to get bigger and bigger,’’ she said. ‘‘I absolutely want an empire.’’

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The WRiTeR’s A view of Rome, a pristine computer screen, a photograph of Basquiat, an I.B.M. 196c typewriter, the ghost of another author. For these five writers — each of whom releases a new book this fall — all they need to inspire is within these walls.

Photographs by john spinks

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e s

jonathan lethem

The study at the author's summer house in Blue Hill, Me., where he is a co-owner of the used-book store Red Gap.

I’ve written portions of six or seven books in this study, but it doesn’t really belong to me. The alcove in which the desk is set, the field and tree line through the windows, the surrounding acres, all of these are borrowed from another writer, named Esther Wood, whose grandfather built this farmhouse. She lived and wrote in this house for many years, and then for a long time after she’d lost her eyesight she went on living here, until she, at age 97, died in the bedroom upstairs, as had her father and grandfather, in all likelihood. Her books have titles like ‘‘Deep Roots: A Maine Legacy’’ and ‘‘Saltwater Seasons.’’ For decades a columnist for The Ellsworth American, Wood was a descendant of this town’s 18th-century founders, and the local historian; really, a living emblem of the town’s relationship to its own history, which remains fierce. In our neighborhood Wood is a more famous writer

Lethem’s than I could ever possibly ‘‘Dissident Gardens’’ be. I’ve long since learned (Doubleday) tells that if I want a plumber the epic family saga or electrician to visit the of three generations place, or simply in of radical lefties explaining where I live in New York City. to someone local, it’s best to cut to the chase and say ‘‘Esther Wood’s house.’’ We’ve altered the house as little as possible. I commissioned the built-in bookshelves, which were carpentered to keep to the look of the molding; the room seemed to have been waiting for them. While sitting here writing my mostly urban books I’ve watched deer, fox and bobcats cross our field, which must be some sort of forest freeway. I always figure the creatures are auditioning for a cameo in Esther Wood’s latest book or column. They’ve got the wrong writer. September-October 2013

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julian barnes

The North London desk where the novelist has written numerous books, including ‘‘The Sense of an Ending,’’ winner of the 2011 Man Booker Prize.

Barnes paints a portrait of grief five years after the death of his wife, the literary agent Pat Kavanagh, in ‘‘Levels of Life’’ (Knopf).

I have worked in this room for 30 years. It is on the first floor, overlooking the tops of two prunus trees, which flower before they leaf, so that in a lucky year there can be both snow and pink blossoms on bare branches. The room itself has always been painted the same color, a bright, almost Chinese, yellow, giving the effect of sunlight even on the darkest day. I began working here on a small desk with a table set at right angles to it; then I had a desk built to cover the same floor plan but with the triangular hole filled in; later, I had it expanded to take a computer and more drawers, so that it is now almost horseshoe in shape. My old (and late) friend the novelist

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Brian Moore once spent a fortnight working here, and remarked afterwards that it made him feel like a TV newscaster: he kept expecting, when he turned, to see a female colleague at his elbow waiting to take up the next news story. I use the computer for e-mail and shopping; the I.B.M. 196c — 30 years old itself — for writing (or rather, second drafting: nowadays I generally first draft by hand). It is getting increasingly difficult to find ribbons and lift-off tape, but I shall use the machine until it drops. It hums quietly, as if urging me on — whereas the computer is inert, silent, indifferent. The room is usually very untidy: like many writers, I aspire to be a clean-desk person, but admit the daily reality is very dirty. So I have to walk carefully as I enter my study; but am always happy to be here.

jhumpa lahiri

The Pulitzer Prize-winning author's apartment in Rome, where she moved from Brooklyn last year.

In spite of the chandelier the room feels quite plain. It’s brightest in the mornings, when I tend to write. The desk belonged to the cardiologist of a former pope. The stones and shells along the windowsill are from Puglia. Two of the postcards are images of female figures from Mycenae. The third is a portion of a fresco by an unknown artist in the Villa Farnesina, in Rome. It depicts a balcony overlooking a city. An alternate version of what I see. I sit at the desk to type. Otherwise I sit on the sofa, to write by hand or read. When I read and write in Italian various items surround me: dictionaries, a pen, notebooks in which I jot down unfamiliar words and constructions. In ‘‘The Lowland’’ The desk faces (Knopf), Lahiri offers the Alban Hills, a sweeping and the Apennines. poignant tale of two The terrace, just brothers separated by beyond the doors, geography and gives onto a sweep ideology. of time and space,

from the Forum and the Palatine all the way to EUR, a neighborhood that Mussolini conceived. I see the Gasometro in Ostiense, the crooked ruins of the Baths of Caracalla, Jesus and the saints on the basilica of San Giovanni in Laterano. When we were shown the apartment, the room was used for dining. But I knew right away that I wanted to work here. On occasion, in the afternoons, when the sun begins to set, I move out onto the terrace, where there is a bench and a small plaque etched with a line from Dante, to read over some pages. But I need to be inside the room to write. For many years I had a map of ancient Rome hanging in assorted apartments in Boston, where I wrote most of the stories in my first book. This was nearly 20 years ago, when I’d only read and heard about Italy, before I’d ever come to Rome. Now I live here, with the city spread before me. It still feels unreal. When I’m working, I’m more aware of the sky than of the city. I look at clouds, at seagulls. It’s almost like being at sea. September-October 2013

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edwidge danticat

The Haitian-born author in her Miami work space, with her daughters, Leila (left) and Mira.

daughter, he took a picture I like looking at faces of us and later enlarged while I work. Not actual Danticat’s ‘‘Claire of it and put it in one faces, but paintings and the Sea Light’’ (Knopf) of his signature frames. photographs. I keep a pile digs deep into the I like to keep those of pictures, intriguing intertwining lives of the things nearby because faces torn from residents of a small they remind me of the newspaper or magazine town where a young girl indispensable generosity pages, from which I might goes missing. of my immediate and borrow distinctive larger artist community. features and gestures for However, the picture my characters. that has been with me the longest is a The paintings and prints around my desk photograph of Jean-Michel Basquiat, which I’ve are mostly gifts from friends and sometimes had since moving into my first solo apartment total strangers. I live between Miami’s Design in my mid-20s. A friend who knew how much District and Little Haiti neighborhoods, which I love Basquiat gave me that picture, and fearing means there are always amazing things to look that writer-type notoriety might go to my head, at around me. wrote on the card that accompanied it, ‘‘Don’t I was sitting in a neighborhood deli once ever believe your own hype.’’ I’ve had that having lunch with my daughters and trying to picture on all my desks, at eye level, ever since. do a bit of work at the same time. Sitting next Sometimes when I’m stuck and can’t write, I to us was Dr. Ferdie Pacheco, Muhammad Ali’s just sit there and stare at Basquiat. Or I sit under former physician and a well-known artist. my desk and stare into space. Either way, I know At the end of the meal, he handed me a drawing that when I’m ready to get back to work, there that he had just dashed off on a napkin. Once will be all these faces there to greet me, silent when I went to visit my friend Edouard Duval witnesses to my days of both agony and joy. Carrié in his Little Haiti studio with my oldest 110

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richard dawkins

Well, I don’t write only here. My untidy habits drive me to follow the slash-and-burn (or Mad Hatter) principle. Work on a virgin table until the mess becomes unbearable, then move on to a clean table in a clean room — or, on a beautiful summer day like this, one of the five tables dotted around the garden. Trash that table and move on again. Actually, in the case of the massive 8-footsquare, 6-inch-thick, rough-hewn In ‘‘An Appetite for stone table (Purbeck Jurassic Wonder’’ (Ecco), limestone), ‘‘dotted’’ is hardly the Dawkins gives readers word. insight into his But there’s more to be said own evolution as a about the mess. There’s a weird man and a thinker. sense in which I relish the contrast between the paper compost heap and the order and clarity of what’s inside the laptop computer lurching aslant it. I’m pretty obsessive and a perfectionist about what I write.

The Oxford University fellow and author in his cluttered home office near the university.

Each page is read over, several dozens of times, and it changes every time, for the better I hope, by a sort of winnowing process that resembles natural selection — Darwinnowing I suppose we could call it. I find it hard to believe how writers managed in precomputer days. Only my first book, ‘‘The Selfish Gene,’’ was written on a typewriter and every page was a phantasmagoria of crossings out and Scotchtaped inserts. When eventually a clean copy came back from the professional typist, it was as if the sun had come out. The contrast between the Scotch-taped mess and the elegant typescript now comes to mind when I compare the deep litter on my desk to the permanently pristine page on the computer screen. I was actually writing this very piece at the Jurassic table in the garden when the New York Times photographers arrived. But they obstinately refused to take their camera outside, preferring the chaos of my room. September-October 2013

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A Front-Row Seat The Greek-born artist Konstantin Kakanias is known for his drawings of eccentric characters, the most enduring of whom is a big-haired, beak-nosed, fashion-crazed woman-of-a-certain-age named Mrs. Tependris. This summer, at T’s invitation, Kakanias took Mrs. Tependris to the couture shows in Paris, where she was scandalized by latex-clad, masked models at Maison Martin Margiela, seated amid an audience of Qatari princesses at Armani

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Privé and encased in one of the artist Marina Abramovic’s space-age jumpsuits for Net-a-Porter at the Palais de Tokyo. Mrs. Tependris, who last attended the Paris shows in the mid-’90s, has kept herself busy with a different type of global affair in the intervening years. ‘‘She had to join a lot of revolutions, do a lot of political acts,’’ Kakanias said. ‘‘She just couldn’t do couture for a while.’’ — JULIA FELSENTHAL

illustrations by konstantin kakanias

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