62 Hatem Al Akeel Revolutionizing the thobe
26 The caftan. Forget Moroccan rooftops — this is for city streets.
36 get
The must-haves: humble espadrilles, sporty black watches and belts a-go-go.
10 contributors 13 remix
Styled to a T: Terrance Hayes, Penn Badgley and Lykke Li. Space out with Christopher Kane, the cast of ‘‘Ceremony,’’ bootmaking with Julian Imrie. The rise and fall of Yuri Gagarin, a Soviet hero and space pioneer. By Jamie Doran and Piers Bizony.
The New York Times Style Magazine Fashion Spring March-April 2011
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32 face
The Strokes play hair guitar. The Manity case: for the man who can’t live on soap alone.
40 Remix Qatar
Richard Sandoval brings zing to Pampano; Luxury unlimited at the Doha Jewellery and Watches Exhibition; Aigner opens at The Pearl Qatar; and Armani’s drops of compassion.
56 Talk Qatar
Stephane Rolland is haute couture's modern knight. By Vani Saraswathi. Hatem Al Akeel’s thobe twist. By Yousra Samir.
67 Letter perfect Dress by Marios Schwab
Copyright © 2011 The New York Times
42 DJWE LUXURY UNLIMITED
56 Stephane Rolland
68 THE real HOUSEWIFE OF PARIS
Just because she’s a whirlwind of glamour and work doesn’t mean Salma Hayek won’t cook dinner. Au contraire. The wife of PPR’s François-Henri Pinault is still the little woman. By Gaby Wood. Photographs by Cass Bird. Fashion editor: Vanessa Traina.
76 TRENDS
Stripes, board shorts, chambray and the new vintage: distressed, preworn and patched. Photographs by Matthew Brookes. Fashion editors: Bruce Pask and Jason Rider.
The New York Times Style Magazine Fashion Spring MARCH-April, 2011
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80 TIMELY
The musician Shilpa Ray. By Jacob Brown. Photograph by Cameron Krone.
On the cover with salma hayek
Photograph by Cass Bird. Balenciaga by Nicolas Ghesquière dress. Boucheron bracelet (worn as necklace).
Copyright © 2011 The New York Times
contributors
Bird
The New York-based photographer Cass Bird is drawn to subjects who are ‘‘irreverent or nontraditional.’’ So it was curious to pair her with a classic knockout, Salma Hayek, who turned 44 last September (Page 66). ‘‘We were looking at old French stills from the ’60s with Romy Schneider and Hitchcock images that were inspiring,’’ she said. ‘‘These women came back from a night out and were coming undone, fighting with lovers.’’ Bird’s first book, ‘‘Rewilding,’’ is to be published later this year.
Gaby
Wood Gaby Wood found her interview with Salma Hayek ‘‘weirdly moving,’’ mostly because the two exchanged knowing anecdotes about growing up in Mexico with mothers who swore by folk remedies. No stranger to celebrity profiles — she even wrote one on Hayek’s best friend, Penélope Cruz, for Vogue — Wood is also an authority on books. She is both the literary editor of The Daily Telegraph in London and a juror for the Man Booker prize, which requires her to read about 150 novels.
& editor- in- chief Yousuf Jassem Al Darwish Sandeep Sehgal executive vice president Alpana Roy vice president Ravi Raman
publisher
chief executive officer
managing editor Vani Saraswathi deputy editor Sindhu Nair assistant editor Mustafa Zeidan fashion & lifest yle correspondent Orna Ballout correspondent Rory Coen Pragati Shukla editorial coordinators Cassey Oliveira Izdihar Ali art director Venkat Reddy asst director – production Sujith Heenatigala assistant art director Hanan Abu Saiam senior graphic designers Ayush Indrajith Sampath Gunathilaka M D
managers – marketing Mohammed Sami Zulfikar Jiffry senior media consultant Chaturka Karandana media consultant Victoria Ferraris Hassan Rekkab
Brown Traina
Jacob & Vanessa
Each issue of T closes with ‘‘Timely,’’ which casts an eye on obscure young artists like the musician Shilpa Ray (Page 80). It is a pet project of T’s features director, Jacob Brown. ‘‘The back page is a nice place to find someone who’s relevant for their style but also important in an underground, cultural way,’’ he says. ‘‘Timely’’ is styled by Vanessa Traina, the fashion editor who dressed Salma Hayek for the cover. Her résumé includes names like Joseph Altuzarra and Marie-Amélie Sauvé.
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marketing research
& support
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sr. distribution executive
Amjeth Ali Pratap Chandran
Bikram Shrestha Arjun Timilsina Bhimal Rai
distribution support
Qatar
published by
Oryx Advertising Co WLL P.O. Box 3272; Doha-Qatar Tel: (+974) 44672139, 44550983, 44671173, 44667584 Fax: (+974) 44550982 Email: tqatar@omsqatar.com website: www.omsqatar.com
Patrick M c mullan; Matt Kaeli. IO Tillett Wright; Christopher Turner.
Cass
P H O T O GRA P H B Y d av i d a r m s t r o n g
remix styled to a t
The Trend
Rumpled Riviera redux. Salvatore Ferragamo, Hermès and Junya Watanabe all went Lartigue.
The Guy
Terrance Hayes, postmodern Pittsburgh poet and winner of the 2010 National Book Award for ‘‘Lighthead.’’
The Look
Dolce & Gabbana cabana striped polo paired with a wrinkled, boardwalk-bleached linen jacket.
dolce & gabbana jacket, QR4,362, and polo, QR 2,373. j. crew pants, QR431. go to jcrew.com. Fashion Editor: bruce pask.
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space explorer
bottega veneta lanvin
teva
Flip-Flopping
The Teva, that multistrapped mid-’80s fashion disaster beloved by Deadheads in dreads, is having a moment. Created to keep rubber flip flops on board while white-water river rafting, the sandal, formerly just functional, has achieved some fashion notoriety. The designer Richard Chai says its carefree attitude and eclectic fans have inspired his quirky urban version, which pairs patent leather with canvas in unusual colors like ultramarine and moss green. Lanvin’s take looks like Transformers, with straps crisscrossing every which way. And Tomas Maier at Bottega Veneta, took his jewel-toned leather Tevas on a trip, sporting gray dress socks for a high-luxe touristy look. I wouldn’t recommend giving those a dunk in the deep end. bruce pask
Saving Face
The Brooklyn-based jeweler A. Jason Ross is part Indiana Jones, part dandy. His latest venture, the Watch Transformation Project (starting at QR20,075), is a service for men who want to give some edge to underused timepieces. Clients supply their own watches — a Cartier, say — and Ross swaps the band for rugged straps and then bundles it in a stylish leather case that would look nice on a nightstand next to a fedora. EDWARd barsamian
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P o rtrait by ben t o ms
Kane: Styling by Robbie Spencer. grooming by tomo Jidai AT Streeters using Shu Uemura Art of Hair. watch: Jens Mortensen. runway: go runway (2).
Whether they’re nebulae, star formations, supernovae or planetary landscapes, images from space fascinate the designer Christopher Kane. ‘‘They’re breathtaking to look at,’’ he says, plus ‘‘they translate well on fabric using digital printing. These haven’t been tweaked.’’ The space-print shirt Kane wears here is part of his new men’s line. The basic pieces — T-shirts, tank tops, knits and hoodies — are adapted from the themes and fabrics of his main collection, though with an easier, sportier feel. Pretty much anyone can be a customer. ‘‘The oldest I know of is Ronnie Wood,’’ he says. ‘‘And the youngest is probably my 7-year-old nephew.’’ Jac o b Brow n
remix Master of ‘Ceremony’
Ocean’s five From left: Reece Thompson, Michael Angarano, Jake Johnson, Max Winkler and Matt Spicer, all in Band of Outsiders (Banana Republic trousers on Johnson).
sole mate
Try to phone the British-born bootmaker Julian Imrie and you’ll probably get his voice mail, which begins: ‘‘I’m in the jungle right now.’’ Actually, on a recent weekday, Imrie, 39, was aboard a sailboat anchored somewhere in the French West Indies, when he was prompted, via e-mail, to recount his life thus far — a life that has been so peripatetic, romantic and unlikely that it’s almost obnoxious. Imrie quit college to assist Bruce Weber, went The plum cobbler on to work on a horse farm in Montauk, NY, then moved to Julian Imrie in his Los Angeles workshop. Amish country, where he salvaged crumbling barns. Below: his Welsh He spent a year studying the New Testament (in Greek). ploughman’s boot. Then he biked from Los Angeles, his current home base, to Brazil. At one point, he decided to start Julian Boots, his stylish take on 19th-century footwear (from about QR2,555, at Barneys New York), but first he learned how to make molds in the English Midlands and to tan leather in a 250-year-old Swiss factory. Now he’s an amateur boot historian, able to slip easily into a disquisition on what a 19th-century Cornish miner might wear. What his boots share with their fuss-free forebears, Imrie says, is that ‘‘you can use them in your garden and then rub them off and go to a wedding.’’ stephen heyman 16
‘‘Ceremony’’: Photograph by Todd Cole. Fashion editor: Sara Moonves. grooming by Lesly m c menamin for the magnet agency. Imrie: Photographs by Maximilian Imrie; Grooming by Christina Guerra at Celestine Agency for M.A.C. Cosmetics and Redken.
‘‘It was like summer camp — we all lived together,’’ says the writer-director Max Winkler of the 25 days he spent making his first feature film, ‘‘Ceremony.’’ The script, which Winkler says is 65 percent autobiographical, is about Sam (Michael Angarano), a young man in love with a much older woman, Zoe (Uma Thurman), who is about to get married. ‘‘I thought the movie wasn’t going to happen’’ after Jesse Eisenberg dropped out to star in ‘‘The Social Network,’’ recalls Winkler (the son of Henry). Angarano, who originally had a supporting role, read for the part of Sam, and as clichéd as it may sound, the director cannot imagine making the movie, which opens April 8, with anyone else. ‘‘I couldn’t believe how good he was.’’ Winkler and his producing partner, Matt Spicer, also cast Reece Thompson as Sam’s sidekick (together they try to crash the wedding) and Jake Johnson as Zoe’s drunk brother. ‘‘The movie is very personal to me,’’ Winkler says. ‘‘It is an honest portrayal of what I went through. When I watch it, I feel nauseated, but I also think about it fondly.’’ sara moonves
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friends with benefits How Rodarte and Opening Ceremony got together. Chelsea Zalopany joins the party.
i
n 2007, when Laura and Kate Mulleavy collaborated with the Gap, after winning the CFDA/ Vogue Fashion Fund prize, disrobed mannequins were the only indication that their white smocks had ever made it through the door. Two years later, their line of blush-toned tulle lingerie dresses and quirky cute cardigans for Target sold out almost as soon as it hit the floor. This month, Rodarte for Opening Ceremony is taking the collaborative spirit one step further, granting every style freak (including the boys) a wish come true: drapey lace-up dresses, men’s floral-print shirts and accessories like tattoo tights and oxford heels, all starting at QR 365. It was an inevitable match, according to the sisters, who have known BROOKLYN BASH The artist jane moseley and friends PLAY DRESS UP IN RODARTE’s NEW COLLECTION FOR OPENING CEREMONY. Fashion Editor: Sara Moonves.
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P H O T O G R A P H S BY M A R K B O RT H W I C K
“ ”
Top: Mark borthwick (2). bottom FROM LEFT: Tony Cenicola/The New York Times (4); Liam Goodman/Vogue, 2010 © Condé Nast Publications; courtesy of levi’s; courtesy of keds.
When we started this, we were in a road-trip mode, travelling the landscape across California.
Humberto Leon and Carol Lim, co-founders of Opening Ceremony, since they were all students at the University of California, Berkeley. ‘‘We were a group of like-minded people that managed to find each other at a really magical time, and that’s what college is all about,’’ Laura Mulleavy says, over the phone from Rodarte’s studio in LA. ‘‘When we started this, we were in a
road-trip mode, traveling the landscape across California,’’ Laura explains of the inspiration for the 75-piece collection, a combination of leather and softer fabrics — be it cotton or gauze, small floral prints and things that look a little faded. Upon first glance, this installment is a departure for the Mulleavys, who are known for their fanciful designs. But the high-low subtext has that familiar detail of crochet and yarn fringe with hints of their spring offering of school-uniform plaids and jacquard embroidered outerwear, all in a warm oatmeal palette. And it is a throwback of surprises. Picture a very fashionable update of ‘‘On the Road,’’ circa 1998 with Kate, Laura, Humberto and Carol in a beat-up drop-top playing a game of round robin. ‘‘You know, everyone picks a song that’s
different, and you try to one-up each other,’’ says Laura, imagining them swapping Led Zeppelin and Leonard Cohen tracks before fast-forwarding to her and Kate’s favorite pieces in the collection — swing dresses and capes (‘‘tapestry immediately goes with road trips’’), a California-flag varsity sweater (‘‘you can wear that anywhere’’), Roy Orbison and Lost Boy sunglasses (‘‘they look good on everybody’’), belted satchel bags (‘‘they connote a certain era’’), Western pull-on boots (‘‘hence, dusty road trip’’), men’s faded buttondowns and cable cardigans (‘‘we’re not so into high fashion for men’’). But why a curled-brim country fedora? ‘‘We had to do a Tom Petty hat,’’ Laura says. ‘‘I mean, it’s embarrassing if you weren’t thinking of Tom Petty. He’s the coolest guy in the world.’’ n
Partners in Charm Rodarte and Opening Ceremony play well with others. Opening Ceremony
Rodarte Poster girls 2010’s golden anniversary for the film ‘‘Breathless’’ brought a poster and T-shirt.
Mass appeal The brand introduced a line for the retailer Target in 2009.
Native style Pendleton celebrated its centennial with a collection in 2009.
Mad plaid In 2007, the store lent Tretorn street cred for its kicks.
Denim therapy With Levi’s, Opening Ceremony elevated the workingman’s chambray.
Tread lightly This all-American favorite was given new stride with a 2009 partnership.
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P H O T O GRA P H B Y M at t h e w B r oo k e s
The Trend
Color pop. Kicking it in brightly colored tone-on-tone style, as seen in spring collections from Jil Sander and Kenzo.
Grooming by Souhi at De facto using redken for men.
The Guy
Penn Badgley — the one guy on ‘‘Gossip Girl’’ who is actually cool — plays a weekly soccer game with a downtown crew that includes the designer Robert Geller.
The Look
Bringing it to a sporty place with a dark green Louis Vuitton jacket over a lighter green Victorinox windbreaker, paired with rolled-up red jeans by Stone Island.
louis vuitton jacket, Qr 12,027. call (866) 884-8866. victorinox windbreaker, Qr566. call (800) 442-2706. stone island jeans, Qr1,077. GO TO STONEISLAND.COM. WALK-OVER SHOES, qr821. GO TO NEIMANMARCUS.COM. Fashion Editor: BRUCE PASK.
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‘‘The fantasy is in the fabrics,’’ says Sonya Park, creative director of Arts & Science, a seven-year-old Japanese label. Park provides the most basic of original clothing: smocks, work shirts and utilitarian coats that have an ineffably chic essence. The catch? Clothes this unironic and straightforward make the notion of young and cool a tough fit. That’s why we asked Alexander Wang, 27, the king of nonchalant, downtown T-shirt dressing (he recently opened his first store on Grand Street), to come in and give us a lesson in style. ‘‘It’s about taking what you know to the next level,’’ says Wang, who effortlessly scrunched a sleeve and rolled a pants leg, mixing in pieces from his own label. His most recent collection includes industrial draped apron dresses, parachute shorts and deconstructed carpenter’s jackets that give the high-fashion set street cred. ‘‘When I first saw the brand, I wanted to layer and play with the proportions and textures,’’ Wang says. So he strove for balance; pairing an A&S habitus tunic with a mesh knit dress that mapped the body. Adding a tough hardware clutch and clunky strap heels produced that sexy-without-trying look. ‘‘It’s an attitude and a pop of the unpredictable.’’ No one ever said it was going to be plain and simple. c. Z. Plain Jane Above: Alexander Wang with models wearing Arts & Science tunic and pants (left) and shirt and coat (center), with separates from Wang’s spring collection. Top right: models wearing A&S tunic, belt and shirtdress, with Wang shirt, leggings, shorts, booties, jeans and apron top (showpiece only). Center: Wang trench, pants, suede peacoat and bags with A&S jacket (worn as shirt), shirt, jodhpurs and belt. 22
P H O T O G R A P H s B Y Paul maffi
Arts & Science tunic (left), about QR 2,310, and jodhpurs (above), about QR 2,215.
Fashion editor: Vanessa Traina. Fashion assistant: Claudia Codron. Hair by Bok-Hee at Streeters using René Furterer. Makeup by Maud Laceppe using NARS cosmetics. Models: Milica Blagojevic and Kat Hessen. still lifes: jens mortensen.
BASIC TRAINING
remix styled to a t
Running with scissors. Slashed sides and a gashlike appliqué give complexity and personality to the standard sheath at Versace, Zac Posen and Max Mara.
The Girl
Lykke Li’s top-of-head bun became all the rage in Sweden after her first record topped the charts. With a new album, ‘‘Wounded Rhymes’’ (and new hair), she looks toward the States.
The Look
A skintight sheath by Altuzarra has razor-sharp shark teeth bites.
the look
Acid color blocking. A grown up palette to a young, hip holiday.
the girl
Chloe Moretz, age 13 and the breakout star in Kick Ass and Let Me In. Next up The Fields.
the details
altuzarra Brightly coupled khaki dress, QR 9165, and belt, QR 409. For Dress, and yellow Just Cavalli dress. go to barneys.com. Belt at kirna zabête. go to kirna zabete.com. bijules ring, QR 964. go to bijulesnyc.com.
Fashion Editor: vanessa traina.
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fashion assistant: claudia codron. hair by Fred Vandebunt at Art Department for Redken. makeup by beau m. nelson at the wall group for beauté cosmetics.
The Trend
P H O T O GRA P H B Y c a m e r o n k r o n e
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the caft an forget Moroccan rooftops. this is for city streets.
Photographs by sharif HAMZA Fashion editor: ethel park.
arm candy bold shapes beg for big bangles. CĂŠline caftan, QR9,125. go to barneys.com. vhernier earrings,QR17,885, and rings, Qr23,725 and QR21,535. cĂŠline necklace, QR1,132. at Jeffrey new york. alexis bittar bangles, QR913 and QR785, and bracelet, QR1807. go to alexisbittar.com.
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the big tent extreme architecture makes a girl feel skinny. CALVIN KLEIN collection caftan, QR3632. ALEXIS BITTAR BRACELET, price on request. REED KRAKOFF BRACELETs, QR1,077 each. GIVENCHY by riccardo tisci BRACELET, QR2062. go to ELYSEWALKER.com. CLARKS SHOES, QR365. GO TO CLARKSUSA COM.
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FIRST MAN UP He was a Soviet hero, a space pioneer (and a bit of a boozehound) who risked it all to save a doomed comrade. The rise and fall of Yuri Gagarin. By Jamie Doran and Piers Bizony
A
April 12, 1961: 108 Minutes
n hour before the launch, the chief Soviet spacecraft designer Sergei Korolev came on the link. ‘‘Yuri Alexeyevich, how are you hearing me? I need to tell you something.’’ ‘‘Receiving you loud and clear.’’ ‘‘I just want to remind you that after the one-minute readiness is announced, there’ll be about six minutes before you actually take off, so don’t worry about it.’’ ‘‘I read you. I’m absolutely not worried.’’ ‘‘There’ll be six minutes for all sorts of things, you know.’’ He meant that a minor instrument problem had created a six-minute delay in the launch sequence. Then the cosmonaut Pavel Popovich came on the line. ‘‘Hey, can you guess who’s this talking to you?’’
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‘‘Sure, it’s ‘Lily of the Valley!’ ’’ ‘‘Yuri, are you getting bored in there?’’ ‘‘If there was some music, I could stand it a little better.’’ Concerned for every last detail of the flight, Korolev took care of this personally, ordering his technicians to find some tapes or records and set something up straight away. ‘‘Haven’t they given you some music yet?’’ he asked a few minutes later. ‘‘Nothing so far.’’ ‘‘Damned musicians. They dither about and the whole thing is sooner said than done.’’ ‘‘Oh, now they’ve done it. They’ve put on a love song.’’ ‘‘Good choice, I’d say.’’ 8:41 a.m. Gagarin felt the shudder of distant valves slamming shut, the rocket swaying as the fuel lines were pulled away. ‘‘Yuri, we’re going down to the control bunker now.’’ 8:51 a.m. The music stopped. Korolev’s deep, stern voice on the link, all seriousness now. ‘‘Yuri, the 15-minute mark.’’ This was the signal for Gagarin
Final frontiersman ‘‘Starman,’’ never before published in the United States, coincides with the 50th anniversary of Yuri Gagarin’s historic spaceflight.
to seal his gloves and swing down the transparent visor on his helmet. In these last minutes before liftoff there was no NASA-style 5–4–3–2–1 ‘‘countdown’’ on the public-address system (and no public-address system). The rocket would be fired at the appointed instant: 9:06 am, Moscow time. ‘‘Launch key to ‘go’ position.’’ ‘‘Air purging.’’ ‘‘Idle run.’’ ‘‘Ignition.’’ All kinds of vibrations now, high whinings and low rumbles. At some point Gagarin knew he must have lifted off, but the exact moment was elusive, identified with precision only by the electrical relays of the gantry’s hold-down arms as they moved aside, the four clamps disconnecting from the rocket’s flanks within a single hundredth of a second of each other. Gagarin lay rigid in his seat and tensed his muscles. At any moment something could go wrong with the booster, the hatch above his head might fly away, and his ejection charges would punch him out into the morning sky like a bullet. This ‘‘life-saving’’ jolt might kill him — crunch his spine; snap his neck like a chicken’s; the hatchway’s rim might snag his knees and tear them right off. He had to be prepared. The G-load climbing. No emergency ejection yet. . . . He didn’t remember it later, but they told him he shouted out, ‘‘Poyekhali!’’ ‘‘Let’s go!’’ ‘‘T-plus 70.’’ ‘‘I read you, 70. I feel excellent. Continuing the flight. G-load increasing. All is well.’’ ‘‘T-plus 100. How do you feel?’’ ‘‘I feel fine. How about you?’’ Two minutes into the flight Gagarin was finding it a little hard to speak into his radio microphone. The G-forces were pulling at his face muscles. There was a strange moment when all the weight lifted and he was thrown violently forward against his straps. A shudder told him that the rocket’s four side-slung boosters were falling away. It paused in its acceleration, as if taking a big breath before the final spurt. Then the central core picked up the pace and the sensation of great weight returned. Five minutes up. Another jolt as the exhausted central core was dropped. Millions of rubles’ worth of complex machinery was tossed aside without a second thought, like a spent match flicked to the ground. Nine minutes after he had left the pad, Gagarin was in orbit. The vibrations ceased, yet there was no particular sensation of silence. Only those who have never traveled into orbit are in the habit of describing ‘‘the eerie silence of outer space.’’ The ship was noisy with air fans, ventilators, pumps and valves for the life-support system. Through a porthole Gagarin saw a sudden shock of blue, a blue more intense than he had ever seen. The earth passed across one porthole and drifted upward out of sight, then reappeared in another porthole on the other side of the ball before drifting downward out of sight. The sky was intensely black now. Gagarin tried to see the stars, but the television lamp in the cabin was glaring directly into his eyes. Suddenly the sun appeared in one of the portholes, blindingly bright. Then the earth again — the horizon not straight but curving like a big ball’s, with its layer of atmospheric haze so incredibly thin. Traveling eastward, ever eastward, flying at eight kilometers per second, the dials indicated: 28,000 kmph, although Gagarin would not have experienced any sense of speed.
‘‘How are you feeling?’’ ‘‘The flight continues well. The machine is functioning normally. Reception excellent. Am carrying out observations of the earth. Visibility good. I can see the clouds. I can see everything. It’s beautiful!’’
C
Stratospheric The 1961 launch of Vostok I turned Gagarin, once a farm boy, into an instant icon.
September 1961: A Bad Landing
rimea is almost an island. It juts out into the Black Sea, connected to Ukraine by two peninsulas as delicate as veins. The northernmost territories of the island are pleasant but dull. The south is a different matter. There are beautiful mountains, sun-dappled forests, sheltered beaches speckled with palms. The weather is still fine in October, and the almond trees are back in bloom by February. In its 1960s heyday, the Kissely dacha at Foros was a luxury sanitarium complex designed to accommodate only the most privileged group bookings. Warm seas, fresh meat and fruit, fine wines, perhaps a certain freedom from everyday restraints: all of these pleasures were available, and more. Call her ‘‘Anna’’; perhaps there were two Annas. Anna Rumanseyeva, a young nurse, was on duty at Kissely on Sept. 14, 1961, when Gagarin and his cosmonaut comrades came to stay. She speaks with intimate knowledge of another nurse called Anna, also working at Foros when Gagarin came to stay. Maybe the two Annas are one and the same person? It is not important. ‘‘There are some people in life, especially men, who are constantly looking for adventure,’’ she says. ‘‘I would say Yuri Alexeyevich Gagarin was this kind of person.’’ Yuri and his wife, Valentina, arrived at the sanitarium with their second daughter, Galya, 6 months old and still in need of her mother’s constant attention. Gagarin seemed desperate for distraction. In the second week, he took some of his companions out to sea in a small motorboat. The Foros staff pleaded with him: it was against the rules, he did not know the local conditions, the wind was offshore, the weather could be difficult, he should not go. But he went anyway, taking the boat far from shore and driving it recklessly, making tight turns to splash his passengers with spray. The swell picked up, just as he had been warned. The boat was carried over the horizon and out of sight of the shore, and a larger motorboat had to be sent out to make a rescue. When they hauled him back ashore, Gagarin went to the medical station for assistance. In the rough conditions he had turned the boat’s steering wheel so hard that his hands were bloodied and cracked. But the pain, and the unpleasantness of his foolish adventure, did not entirely divert his attention from the pretty blond-haired nurse who attended to his blisters. Anna Rumanseyeva recalls a party held the next day, in which Gagarin, his wife and the other ‘‘Anna’’ were present: ‘‘ ‘Anna’ said she went into a room and sat on a sofa. Yuri Alexeyevich — I don’t know what was on his mind. He was drunk. Perhaps he wanted to talk? I don’t think he had any other thoughts. Anyway, he went into the room. He closed the door but didn’t lock it with a key. Valentina 29
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Ivanovna went into the room immediately after him.’’ ‘‘You know, his wife Valentina was quite a complicated woman,’’ says the Soviet space journalist Yaroslav Golovanov. ‘‘She protected Yuri from every kind of temptation which came as a result of his position. . . . Anyway, Valentina discovered that the First Cosmonaut had disappeared, and
“ ”
He showed genuine nobility and jumped out of a window on the second floor. she decided to find out where he was, and he showed the true colors of goodness and of a gentleman. He showed genuine nobility and jumped out of a window on the second floor.’’ Both women leaned over the balcony’s edge to take a look and saw Gagarin sprawled on the ground, motionless. ‘‘At that time, there were wild grapes growing on the balconies,’’ Anna Rumanseyeva explains. ‘‘They may have caught him as he jumped. He hit a curbstone with his forehead. It was not a good landing. On his return from space he landed successfully. Here, unsuccessfully.’’ Then they took him inside, where the doctors applied local anesthetic to his brow. Some of the bone in his forehead was chipped. When the surgeons arrived, they cleared out the fragments, effected temporary repairs and stitched the wound. Gagarin held someone’s hand throughout. He made no sound whatsoever, but his nails left livid marks, so tight was his grip. The enormity of Gagarin’s blunder seemed to catch up with him. He looked up at the nurse Anna for a moment, and she remembers him asking her just one question. ‘‘Will I fly again?’’
B
april 1967: Falling to Earth
y the spring of 1967, development of the Soyuz spacecraft, which was intended to eventually put a Soviet man on the moon, was moving toward that crucial first flight. On April 22, the Soviet propaganda departments felt confident enough to let slip some rumors to the international press agency UPI. ‘‘The upcoming mission will include the most spectacular Soviet space venture in history — an attempted in-flight hookup between two ships and a transfer of crews.’’ The cosmonaut Alexei Leonov says, ‘‘The first manned test of the Soyuz was assigned to Vladimir Komarov, with Yuri Gagarin as the backup, and another Soyuz spacecraft was being prepared for Yuri to fly at a later date.’’ Komarov’s launch was supposed to be followed a day later by another Soyuz with three more crewmen aboard. It seems likely that the Brezhnev administration wanted the docking to take place on or around May Day. The year 1967 had a special significance in the Communist calendar; it was the 50th anniversary of the 1917 revolution. The concept of making a ‘‘union’’ between two spaceships collaborating in orbit was highly symbolic, especially for a ruling government obsessed with symbols. But as the deadline for the mission drew near, technicians
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Happier times Gagarin with his wife, Valentina, and their daughters in 1965.
knew of 203 separate faults in the spacecraft that still required attention. Yuri Gagarin was closely involved in this assessment. By March 9, 1967, he and his closest cosmonaut colleagues had produced a formal 10-page document, with the help of the engineers, in which all the problems were outlined in detail. The trouble was, no one knew what to do with it. Within Soviet society, bad news always reflected badly on the messenger. As many as 50 senior engineers knew about the report, but none of them felt sufficiently confident to go into the Kremlin and do what had to be done: request that Leonid Brezhnev play down the symbolism of the pending launch, so as to allow a decent delay for technical improvements. The cosmonauts and bureaucrats eventually adopted an age-old technique. They recruited a nonpartisan messenger from outside the Soyuz program to deliver the document for them: Yuri Gagarin’s K.G.B. friend Venyamin Russayev. ‘‘Komarov invited me and my wife to visit his family,’’ says Russayev. ‘‘Afterward, as he was seeing us off, ‘Komarov said straight out, ‘I’m not going to make it back from this flight.’ As I knew the state of affairs, I asked him, ‘If you’re so convinced you’re going to die, then why don’t you refuse the mission?’ He answered, ‘If I don’t make this flight, they’ll send the backup pilot instead. That’s Yura, and he’ll die instead of me. We’ve got to take care of him.’ . . . Komarov said he knew what he was talking about, and he burst into such bitter tears.’’ Russayev could not be of much help on his own. Back at his desk in the Lubyanka the next morning, after a sleepless night, he decided to ask advice from one of his K.G.B. seniors, Major-General Konstantin Makharov, a man he respected. ‘‘I went to Makharov’s office and told him there was a serious problem with the rocket. He listened to me very carefully, and then he said, ‘I’m going to do something. In the meantime don’t leave your desk today. Not even for one second.’ I kept my promise, and I’d only been back at my desk for a short while when he sent for me again. He gave me a letter, prepared by a team mobilized by Yuri Gagarin. Most of the cosmonauts took part in the research. Makharov told me
to take the letter upstairs and see Ivan Fadyekin, head of Department Three.’’ This ‘‘letter’’ consisted of a 10-page document describing all 203 problems in the Soyuz hardware. As soon as he saw it, Fadyekin dodged the responsibility straight away. ‘‘I don’t have the expertise for this.’’ He redirected Russayev to a much more dangerous man in the Lubyanka: Georgi Tsinev. Tsinev was a close personal friend of Leonid Brezhnev; in fact, he was related by marriage, and they had fought alongside each other in the war. If anyone could deliver an important message straight into the hands of the First Secretary, Tsinev could. Unfortunately for Russayev, things were not quite that simple. Tsinev was rising fast within the K.G.B., helped along by his powerful patron in the Kremlin. He was not going to allow any irritations to disturb that cozy relationship. ‘‘While reading the letter, Tsinev looked at me, gauging my reactions to see if I’d read it or not,’’ Russayev explains. ‘‘He was glaring at me very intently, watching me like a hawk, and suddenly he asked, ‘How would you like a promotion up to my department?’ He even offered me a better office.’’ Tsinev kept hold of the document, and it was never seen again. Within weeks, Fadyekin was transferred to a junior consular office in Iran, merely for the crime of glancing
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If I don’t make this flight, they’ll send the backup pilot. That’s Yura, and he’ll die instead of me. through it. Makharov was fired immediately, without a pension, and Tsinev took over as chief of an entire counterintelligence department. Russayev was stripped of any responsibility for space affairs and transferred to an insignificant staff training department outside Moscow, well away from the Lubyanka. ‘‘I kept my head down like a hermit for the next 10 years,’’ he says.
E
ria novosti/science photo library
April 23, 1967: Crash and Burn
arly on the morning of April 23, 1967, the Soyuz was propped up against the gantry at the Soviet launch facility in Baikonur, Kazakhstan, according to the original schedule. The journalist Golovanov noticed Gagarin behaving very strangely. ‘‘He demanded to be put into the protective spacesuit. It was already clear that Komarov was perfectly fit to fly, and there were only three or four hours remaining until liftoff time, but he suddenly burst out and started demanding this and that. It was a sudden caprice.’’ Russayev and others insist that Gagarin was trying to elbow his way onto the flight in order to save Komarov from almost certain death. Rumors about the dialogue between Komarov and ground control have circulated for many years, based on reports from the National Security Agency staff monitoring the radio signals from an Air Force facility near Istanbul. In August 1972 a former NSA analyst, interviewed under the name Winslow Peck (real name Perry Fellwock), gave a very moving account of the interception: ‘‘[The Soviet
How it ends Vladimir Komarov’s charred remains were displayed at his state funeral on April 26, 1967.
premier Alexei] Kosygin called Komarov personally. They had a videophone conversation, and Kosygin was crying. He told him he was a hero. . . . The guy’s wife got on too. He told her how to handle their affairs and what to do with the kids.’’ As he began his descent into the atmosphere, Komarov knew he was in terrible trouble. The radio outposts in Turkey picked up his cries of rage as he plunged to his death, cursing the people who had put him inside a botched spaceship. The parachutes did not deploy properly. A small drogue canopy came out but failed to pull the bigger canopy from its storage bay. A backup parachute was released, only to become entangled with the first drogue. Komarov slammed onto the steppe near Orenburg with all the force of an unrestrained 2.8-ton meteorite. The capsule was utterly flattened, and the buffer retro rockets in its base blew up on impact, burning what little wreckage was left. Recovery troops picked up handfuls of soil to try and dampen the flames. Their radio messages back to base were garbled and distressed: something about the cosmonaut ‘‘requiring urgent medical attention.’’ Russayev says a heel bone was found among the ashes. Three weeks after Komarov’s death, Gagarin met Russayev at his family apartment but refused to speak in any of the rooms because he was worried about bugs. The lifts and lobby areas were not safe, either, so the two men trudged up and down the apartment block’s echoing stairwells. The Gagarin of 1967 was very different from the carefree young man of 1961. Komarov’s death had placed an enormous burden of guilt on his shoulders. At one point Gagarin said, ‘‘I must go to see the main man [Brezhnev] personally.’’ He was profoundly depressed that he hadn’t been able to persuade Brezhnev to cancel Komarov’s launch. Shortly before Gagarin left, the intensity of his anger became obvious. ‘‘I’ll get through to him [Brezhnev] somehow, and if I ever find out he knew about the situation and still let everything happen, then I know exactly what I’m going to do.’’ Russayev goes on, ‘‘I don’t know exactly what Yuri had in mind. Maybe a good punch in the face.’ ’’ Russayev warned Gagarin to be cautious as far as Brezhnev was concerned. ‘‘I told him, ‘Talk to me first before you do anything. I warn you, be very careful.’ ’’ One story has it that Gagarin caught up with Brezhnev eventually and threw a drink in his face. n Adapted from ‘‘Starman: The Truth Behind the Legend of Yuri Gagarin,’’ to be published in April by Walker & Company. 31
face
Julian Casablancas in a Burberry prorsum jacket, $5,495. Go to burberry.com. A.P.C. t-shirt, $85. Go to apc.fr. fashion editor: sara moonves.
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Hair Guitar The Strokes show off their many layers. By Sandra Ballentine P H OTO GRA P H B Y R i c h a r d B u r b r i d g e
richard Burbridge; grooming for Fraiture, hammond and valensi by dennis lanni at art department for redken and francelle for nars cosmetics. grooming for casablancas and moretti by james mooney for redken.
face
What is it about rock stars and their hair? Since the Strokes burst onto the scene in 2001, reinvigorating rock ’n’ roll with an injection of garage rawness, they’ve spawned as many imitators of their style as of their sound. (Their new album, ‘‘Angles,’’ is a welcome return to their signature muddy riffs and aloof vocals.) And even more than their perfect leather
jackets and smoking hot girlfriends, their artfully undone manes scream rock hero status. Virtual hairdo deities, the band has no doubt inspired more than a few makeovers in its time. As evidenced by the photographs here, the five musicians have very different relationships with scissors. But all share the same D.I.Y. (or don’t do much at all) attitude. There was
clockwise from top left: on Nick Valensi: a Burberry prorsum jacket, QR 10,202. His own shirt. on Albert Hammond Jr.: Burberry prorsum jacket, QR 9472. Dior Homme shirt, QR 2,117 Go to diorhomme.com. on Nikolai Fraiture: Burberry jacket, QR 8742. Gant t-shirt, QR 237. Go to gant.com. on Fabrizio Moretti: Burberry jacket, QR 3997. His own shirt. Burberry & Dior are at villaggio.
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face no primping on set. In fact, they barely looked at themselves. ‘‘I don’t cut it. I don’t wash it,’’ says Nick Valensi, one of the band’s guitarists, about his sexy shag. ‘‘It looks weird when it’s clean, so I only shampoo it about 10 times a year.’’ Instead, he squeezes fresh lemons onto his scalp. ‘‘I like to think it helps with the pH balance.’’ This is typical rock-star hair behavior, according to April Barton, who tends to the tresses of Bono, Elvis Costello and Rufus Wainwright at Suite 303, her buzzy salon in Manhattan’s Chelsea Hotel. ‘‘The very purpose of rock hair is to be low maintenance,’’ she says. ‘‘The minute my guys leave me, they can go on tour for four months and not
Manity case
For the man who can’t live on soap and deodorant alone, a product for every occasion. Edward Barsamian lathers up.
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Rock hair is meant to defy convention, free you from the 9 to 5.
still life by spencer higgins; prop styling by olivia sammons.
think about it.’’ Barton, who considers herself the master of the rock cut, has been doing it for 25 years. ‘‘I have a philosophy about it,’’ she says. ‘‘It all comes from somewhere. Look, the Stones had that great, greasy texture everyone still tries to copy because they were jamming, having sex, doing drugs and sweating for five days straight.’’ Nowadays, most guys get that livedin look with product, she says. Her go-to goop is Davines BIO_O Invisible Paste Soft Hold. She tells clients not to ‘‘style’’ their hair. They need only rub a pearl-size amount of paste into their hands until it disappears, and apply it to towel-dried hair. ‘‘Don’t even look in the mirror,’’ she says. ‘‘Just work it into every strand and then pat down any mistakes or weird spots.’’ Of course, if even minimal maintenance is too much for those who aspire to rock hair, there’s the example of the Strokes’ drummer, Fabrizio Moretti, who recently lopped off his wild curls in favor of a close crop. This is very fresh, according to Barton. ‘‘I’ve been doing a lot of classic ’50s cuts with tailored-out backs and deep side parts,’’ she says. ‘‘Rock hair is meant to defy convention, free you from the 9 to 5. You can’t follow any one riff.’’n 34
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At Barneys New York. McBride Beauty Instant Rescue Balm, QR95. At Miomia. Lab Series Moisturizing After-Shave Soothing Spray, QR110. Go to labseries.com. THIRD BASE Dominica Bay Rum Herbal Soap, QR20. Go to westcoastshaving.com. Santa Maria Novella Toscano soap, QR110. Go to lafco.com. The Art of Shaving Power Shave Collection Power Brush, QR639. Go to theartofshaving.com. Ursa Major Stellar Shave Cream, QR77. Go to woodleyandbunny.com. Geo. F. Trumper Extract of West Indian Limes Skin Food, QR128. Sisleÿum for Men Anti-Age Global Revitalizer. QR967. Go to bergdorfgoodman.com. Malin + Goetz Eucalyptus Deodorant, QR66. Go to malinandgoetz.com. Swedish Skincare System Everyday Soft Foaming Cleanser, QR164. Go to woodleyandbunny.com. John Allan’s Tough Fortifying Styling Paste, QR66. Go to johnallans. com. The Art of Shaving Classic Horn and Nickel razor, QR639. MenScience Eye Gel Mask, QR51. Go to shopmiomia.com. Braun Series 7 electric shaver, from QR836. Go to braun.com.
get at ease, Sailor
New civvies for the weekend warrior.
Photographs by KT Auleta Fashion editor: BRUCE PASK.
Red rover Chukka boot style from ndc made by hand, QR949. go to ndcmadebyhand.com.
operation Desert Boot casTAĂąer, QR621. go to net-a-porter.com.
Mock moc hermès Moccasin espadrille, QR1,588.
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tone def a two-toned variation by mymu, QR577. go to mymuworld.com.
rubber sole kenneth cole new york, QR321. go to kennethcole.com.
STill lifes by jens mortensen.
you know the drill the humble espadrille, a favorite of basque fisherman and mediterranean dandies, gets an Urban makeover, Like these suede puppies by tom ford, $460. go to tom ford.com. richard chai shirt, QR1,186. go to odinnewyork. com. marc jacobs tank, QR949. ck one jeans,QR292 go to macys.com.
the new black sporty, all-black watches are of the moment, like movado's master watch with rubber strap, $3,495. call (888) 466-8236. tom ford jacket, $3,590, and henley, $890.
nano seconds tw steel’s chronograph watch , QR3,103. go to twsteel.com.
silicon valley swatch with silicon band, QR237. go to store.swatch.com.
strong armed raymond weil’s titanium variation, QR19,893. go to raymond-weil.com.
not a dent hublot’s scratch-resistant timepiece, QR54,385.
svelte bomber bell & ross replicates cockpit design. 20,075. go to bellross.com.
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get
fashion plait orciani, QR894. go to neimanmarcus.com.
pale rider dolce & gabbana, QR1,259.
italian twist brunello cucinelli, QR1,442.
tightly wound tommy hilfiger, QR164. go to macys.com.
inside skinny gucci belt, $385, jacket, $2,650, sweater, $980, pants, $535, and scarf, $295. go to gucci.com. chocolate swirl etro, QR1,497. go to etro.com.
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Hair by Wesley O’Meara at The Wall Group. Model: Wes Phillips.
remix qatar
Richard Sandoval Give, take and mucho zing! By Rory Coen
Pampano A pan-latin sea food Restaurant. Get it Right!
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Z
Of his chain of 26 restaurants, four of engo is Japanese for them have an Asian-Latin theme. the ability “to take Sandoval’s expertise lies in Mexican back and forth” or cuisine, but he also has a penchant for “give and take”, a Asian food and he was keen to integrate concept which has them. Both foods have spicy and helped chefs evolve explosive properties, so it was only culinary techniques, practices and cuisines for centuries. It’s natural to see if they could work together. such a wholesome quality - which everyone isn’t blessed with - but it’s one “I hired a chef, who I met on a trip to Singapore a few years ago, and I that Richard Sandoval has in spades.
brought him to Denver to work with me towards a specific goal,” says Sandoval. “I’d give him a Mexican dish, and he’d ‘asianize’ it; he’d give me an Asian dish and I’d ‘latinize’ it. Two chefs - from two different cultures - interchanging ideas, ingredients and cuisines. The idea went down well, so we aptly named the restaurant Zengo. I have four Asian-Latin restaurants now, in Los Angeles, DC, New York and in Denver.” It was an incredible, gutsy business venture and one which could have easily flopped. As he pointed out, 80% of new restaurants close down before they gain any kind of foothold in the market. In 20 years of business, Sandoval has only closed two restaurants for underperforming figures, and he is currently negotiating three ten-year leases for restaurants which have been operating for 10-15 years already. Richard Sandoval was born in 1967, grew up in Mexico, and attended the Culinary Institute of America, in New York, when he was 18. “I actually wanted to be a professional tennis player, as I had played it competitively in high-school, college and in Europe, but I soon realized it wasn’t an achievable goal. My real passion was food and cooking, so I went to work in my father’s kitchens in Acapulco, Mexico, after graduation,” he says. Four years later, he was ready for his first venture. He went back to New York with grand ambitions and opened ‘Savann’ on the upper West side. He quickly gained the attention of culinary enthusiasts and restaurateurs in the city, and opened up his first Mexican restaurant, ‘Maya’, in New York in 1997. “Mexican food is in my blood as I grew up there, obviously. It’s a very unique cuisine, with bold flavors and exciting ingredients. It has become ubiquitous, what with globalization, as chefs are now able to get their hands on all types of ingredients. They are moving away from the traditional, stable flavors and going for bold, exotic and explosive. People want balance and they are becoming more accustomed and partial to sharing food now, and Latin foods are well adapted to that I think.” Sandoval was in Doha in March to
WEAPONS OF MASS DESTRUCTION DON’T STAND A CHANCE AGAINST THESE HEAT-SEEKING GETUPS. PHOTOGRAPHS BY MATTHIAS VRIENS
Qatar
DESERT FOX
check on his restaurant at the Pearl. Pampano – he stresses – is a ‘pan-latin seafood restaurant’ after seeing some inaccurate online descriptions, ranging from ‘Tropical Modern Mexican’ to ‘Modern Mexican Seafood Fusion with a Japanese/French Presentation’. He also has restaurants in Dubai and a plethora spread across the US and Mexico, which means he’s travelling a lot, and not able to cook as much as he would like to. However, he stresses that his indelible print is on the menu in all his restaurants. “I have a responsibility to my customers and brand to maintain a certain level of service and quality. People have an expectation when they come to one of my restaurants, for certain flavor profiles and ingredients. I try to sit down with my chefs at least twice a year to discuss their suggestions and ideas, but ultimately every item on the menu goes through my hands.” Sandoval is obviously very serious about maintaining the grand reputation of his chain, which took many years to construct. The culinary industry is an intense one, to put it mildly, and if you ever saw Hell’s Kitchen – with Gordon Ramsay - on television, you’d understand what I mean. “Hell’s Kitchen is a show, built for entertainment,” said Sandoval. “It’s certainly not practical; there’s no way you could run a successful business like that. Yeah, sure, I lose my temper sometimes, when I see things that aren’t appropriate, or when attention to detail isn’t observed, but ultimately, you’re only as strong as your weakest link. If you treated employees like that, they’d be running out the back door. It’s a fun show for the viewer though, obviously”. On the other hand, there are more sedate culinary television shows on offer, ones which promote cooking as an enjoyable and fulfilling past-time, with pleasant dialogues and “These types of show are great; they’ve opened up people’s eyes to what our job is really about. They now understand different ingredients and how they influence flavor. We’re trying to provide for sustainable seafood and organic ingredients, so it’s important that people understand what these are, for us to keep doing what we do.” Sandoval’s efforts haven’t gone unnoticed, as he is on the short-list for Restaurateur of the Year 2011 – one of the blue ribbon gong at the annual James Beard Foundation Awards – which will be announced in May, but he is humble enough to understand how he gained this recognition. “It’s a great honor; these are like the Oscars in my industry. They proclaim who and what are the best and recognize people doing outstanding and innovative things. But to be honest, I’ve seen some of my employees going from being dishwashers to very good chefs under my tutelage, so this is worth more to me than any personal achievement. I’m happy to see my restaurants do well, and to see my chefs improving to reach their goals.” Zengo! – there you have it. Sandoval blends the ‘give’ with the ‘take’ to create an atmosphere of symbiosis. His chefs are keen to learn from his skill and expertise in the kitchen, and he’s happy to impart these to promote and sustain a better product.
where style lives.
PAINT IT BLACK TOM FORD BLACK JACKET, $ 2,780, AND GRAY PAJAMA SHIRT, $1,990 (SOLD AS A SET). GO TO BERGDORFGOODMAN.COM. PREVIOUS SPREAD: SAME OUTFIT, ALONG WITH Y’S BLACK DRAWSTRING PANTS, $ 800. GO TO YOHJIYAMAMOTO.CO.JP. FASHION ASSOCIATE: BIFEN XU. GROOMING BY NATHALIE NOBS AT ARTLIST. SET DESIGN BY JEAN-HUGUES DE CHATILLON. FASHION EDITOR: BRUCE PASK.
BORN TO THE PURPLE LANVIN DRESS, $ 3,563. GO TO BERGDORFGOODMAN.COM. OPPOSITE: MIU MIU DRESS, $1,790. GO TO MIUMIU.COM. CHANEL SHOES, $795. GO TO BERGDORFGOODMAN.COM. FASHION ASSISTANT: BRITT MARIE KITTELSON. HAIR BY DIDIER MALIGE FOR FRÉDÉRIC FEKK AI. MAKEUP BY FULVIA FAROLFI FOR CHANEL. MANICURE BY ROZA ISRAEL FOR BOBBI BROWN. SET DESIGN BY ANDREA STANLEY AT THE WALL GROUP. COLE & SON WALLPAPER FROM LEEJOFA.COM.
If you want your preferred customers or guests to receive VIP copies, join our “Preferred Destination Program” email: tqatar@omsqatar.com or call Patricia on +974-44550983 41
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Arnold and Son The TE8 collection presented by Arnold & Son during DJWE boasts of sophistication and precision to the very core. This collection is a combination of classic English styling and cutting-edge Swiss tourbillon technology. “Our collection imitates elegance and accuracy that would not be understood by many. Therefore we have designed it for the people who actually can appreciate its worth and the hard work involved.” – Philippe Boven, Executive Vice President. Arnold and Son is represented by Ali Bin Ali.
معرض دبي للمجوهرات والساعات
فخامــة بــال حــــدود
DJWE
LUXURY UNLIMITED
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Arnold and Son �أرنولد واالبن التي قدمها �أرنولد واالبن خالل معر�ض دبيTE8 تعترب جمموعة حالة يجب �أن يفتخر بها مقدموهاDJWE للمجوهرات وال�ساعات فهي مزيج من الت�صميم.من حيث التطور والدقة العميقة حتى النخاع يقول.الكال�سيكي الإجنليزي وتقنية توربيون ال�سوي�سرية املتطورة " لدينا جمموعة حتاكي:فيليب بوفن نائب الرئي�س التنفيذي لل�شركة الأناقة مع الدقة بال�صورة التي لن تكون مفهومة والي�ستطيع الكثريون يقدروا ّ ولذلك قمنا بت�صميمها للنا�س الذين ميكنهم �أن.ا�ستيعابها ."قيمتها وقيمة العمل ال�شاق املبذول فيها . جمموعة �أرنولد واالبنAli Bin Ali »ومتثل م�ؤ�س�سة «علي بن علي
Avakian �أفاكيان الرئي�س التنفيذي،يقول �إدمون �أفاكيان "�إن م�صدر:ملجموعة �شركات �أفاكيان القوة من جمموعاتنا ال يكمن يف الرتكيز ال�شديد على ت�صميم وا�ستخدام �أف�ضل الأحجار وح�سب بل هناك روح فريدة م�ستقاة من الأماكن التي قد �سافرت لتلهمني ما عك�سته يف ."الت�صاميم "ي�شكل اللون عن�صرا �أ�سا�سيا:م�ضيفا ."يف جمموعة جموهراتنا Ali Bin »ومتثل م�ؤ�س�سة «علي بن علي . �أفاكيانAli
Audemars Piguet �أودميار�س بيجيه
و�سعت �أودميار�س بيجيه «يف هذا املو�سم جميع ّ لي�شمل.اخلطوط املهمة لتمتد نحو العام املقبل وميلينريي وجول�س، رويال �أوك �أوف�شور،رويال �أوك .�أودميار�س رئي�س منطقة ال�شرق، ويقول نيكوال�س جارزوزي "�سوف ي�صادف:الأو�سط ل�شركة �أودميار�س بيجيه العام املقبل الذكرى الأربعني لبداية اخلط الأكرث و هو عبارة عن،»جناحاً لدينا وامل�سمى «رويال �أوك ."ت�صميم مبدع يف �صناعة ال�ساعات »نحن معروفون مبا نقدمه من مزيج:م�ضيفا الت�صميمات التقليدية التي تظل معا�صرة مع كثري من االبتكارات التقنية يف كل ال�ساعات التي .»نقدمها Ali Bin Ali »ومتثل م�ؤ�س�سة «علي بن علي منتجات �أودميار�س بيجيه
Audemars Piguet “This season, Audemars Piguet has extended all its important lines to the next year. This includes the Royal Oak, the Royal Oak Offshore, Millenary and Jules Audemars. Next year marks the 40th anniversary of our most successful line - the Royal Oak - an iconic design in the watch business. We are known to blend traditional yet contemporary designs with technical innovations in all our timepieces.” – Nicolas Garzouzi, Middle East Chairman. Audemars Piguet is represented by Ali Bin Ali.
Avakian: “The strength of our collections is the design and extreme emphasis on the use of only the finest among the stones. The unique ethos of places that I have travelled inspires and is reflected in our designs. Color forms an essential component in our jewelry collection.” – Edmond Avakian, CEO, Avakian Group of Companies.
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Baume & Mercier Baume & Mercier envisages a relaxed seaside living within the loving circle of family and friends. The vision reflected in the lifestyle at The Hamptons - a natural seaside resort area of Long Island, New York. Between the earth and sea, the art of living and personal luxury, this magical place has inspired the wisdom expressed in Baume & Mercier’s new dictum: ‘Life is about & moments’. A Baume Mercier watch is also a memory-keeper, an everlasting reminder of life’s most cherished moments: weddings, births, anniversaries, graduations, family reunions. The memory remains immortalized forever by the timepiece. Baume & Mercier is represented by Alfardan Jewelry.
بوم �آند مر�سييه Baume & Mercier بوم �آند مر�سييه يتوخى ت�صوير احلياة عند �شاطيء البحر حيث اال�سرتخاء والعي�ش و�سط دائرة من نحبهم من �أع�ضاء العائلة والأ�صدقاء .وتعك�س هذه الر�ؤية منط احلياة يف �ضاحية «هامبتونز» ،وهي عبارة عن منتجع طبيعي يف منطقة لوجن �آيالند يف نيويورك .وبني الأر�ض والبحر ،جند فن احلياة بكل مافيها من عنا�صر رفاهية الفرد .لقد �ألهم هذا هم يف احلياة هو حلظات بعينها»� .إن �ساعات املكان ال�سحري �صانعي ابتكارات بوم �آند مر�سييه و� ّأمدهم باحلكمة التي يعبرّ عنها يف القول امل�أثور عن بوم �آند مر�سييه�« :إن ما ُي ّ بوم �آند مر�سييه هي �أي�ضا مبثابة حار�س الذاكرة ،الذي يعمل على تذكرينا بلحظات احلياة العزيزة جداً لدينا ،مثل حفالت الزفاف ،والدة طفل جديد ،الأعياد واملنا�سبات، والتخرج من اجلامعةّ ،مل �شمل الأ�سرة والتقاء �أبنائها .وال تزال هذه الذكريات خالدة يف الذاكرة �إىل الأبد مع ال�ساعة التي تلب�سها وقتها. �ستجد بوم �آند مر�سييه يف «جموهرات الفردان».
�شوميه Chaumet ترتكز جمموعة �شوميه امل�سماة «جوزيفني» على التاج الذي يتحول �إىل حلقة و�إىل تيجان حتيط بالأ�صبع� .إثنا ع�شر حلقة فريدة ومميزة من البالتني تزينها جمموعة متنوعة من الأ�ساليب والطرازات وتقطيعات املا�س الداخلة فيها .وهنا يجري الرتكيز وت�سليط ال�ضوء على �أ�شكال مذهلة تتميز بلونها الأ�صفر وباملا�س املقطوع على �شكل كمرثى والتي تبلغ قيمتها ( 1،2 )4.37 QRمليون دوالر. وميثل �شوميه «جموهرات الفردان».
Chaumet Chaumet’s Josephine collection is centered on the tiara which turns into a ring and crowns the finger. Twelve unique platinum rings adorn the collection with a variety of styles and diamond cuts incorporated in it. The highlight is a spectacular tiara featuring a yellow, )pear-shaped diamond, worth $1.2(QR4.37 million. Chaumet is represented by Alfardan Jewelry.
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David Morris “The response here has been overwhelming. We do not make exclusive designs for the region, because people are looking for international designs and patterns which are classy and timeless. And we are presenting the same to them.” –Jeremy Morris, Managing Director. David Morris is represented by Ali Bin Ali.
David Morris ديفيد موري�س نحن ال ن�صنع. «�إن اال�ستجابة هنا هي بالفعل �ساحقة ومزلزلة: املدير التنفيذي لل�شركة،يقول جريميي موري�س وذلك لأن النا�س يبحثون عن ت�صاميم و�أمناط عاملية تكون هي غاية الرقي،ت�صاميم ح�صرية لهذه املنطقة . ونحن نعمل على تقدمي هذا بال�ضبط لهم.والأناقة وال�سمو .Ali Bin Ali »وميثل ديفيد موري�س م�ؤ�س�سة «علي بن علي
DeWitt “There are three factors that make DeWitt a class apart. Firstly, we employ machines from the 18th and 19th century. Secondly, we manufacture everything in house. Thirdly, while other brands plan on reducing prices to attract more people, we want to remain in the niche of high-end, exclusive watches in limited editions.”- Thibaud Jaouen, International Sales Director. DeWitt is represented by Ali Bin Ali.
DeWitt ديويت ، �أو ًال.(هناك ثالثة عوامل جتعل ديويت فئة م�ستقلة بذاتها: يقول ثيبو جاووين مدير املبيعات الدولية ل�شركة ديويت ّ نحن نحن نقوم بت�صنيع كل �شيء يف البيت ب�شكل،ً ثانيا. – وهذا �شيء فريد19 و18 نوظف �آالت من القرن ثالثاً يف حني �أن غرينا من ال�شركات ذات العالمات التجارية ت�ضع عرو�ضا لتخفي�ض الأ�سعار وجذب.ًمنزيل جدا ن�سخ ٍ نحن نريد �أن نبقى يف املكانة واملنزلة الراقية حيث نقوم ب�صناعة ال�ساعات احل�صرية يف،املزيد من النا�س .) حمدودة .Ali Bin Ali »وميثل ديويت م�ؤ�س�سة «علي بن علي
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Garrard “Garrard has earned a reputation of not only producing quality jewelry but also beautiful designs of splendor, opulence and craftsmanship. What makes us stand apart from the rest is that we have a combination of lavish jewelry decorated with valuable stones,” – Eric Deardorff, CEO, Garrard. Garrard is represented by Ali Bin Ali.
Garrard جريارد (لقد: الرئي�س التنفيذي ل�شركة جريارد،يقول �إريك ديردروف اكت�سب «جريارد» �سمعة هائلة لي�س فقط لأنه ينتج جموهرات فائقة ولكنه �أي�ضاً يقدم الت�صاميم اجلميلة التي متثل الرفاهية والروعة،اجلودة �إن الذي يجعلنا نقف يف م�صاف.مع الرباعة يف حرفية الت�صنيع ما لدينا من جمموعة املجوهرات- وب�صرف النظر عن الباقني- الكبار .)الفخمة جداً واملزينة بالأحجار الثمينة .Ali Bin Ali »وميثل جريارد م�ؤ�س�سة «علي بن علي
GRAHAM- London The collection Chronofighter fortress which was presented by Graham-London at DJWE is a tribute to the stopwatches worn by the aircrews of RAF Bomber Command. These were in fact large pocket watches which were strapped over the bomber jackets and were known for their reliability and exactness. GRAHAM- London is represented by Ali Bin Ali.
GRAHAM - London جراهام لندن التي قدمها جراهام لندن يف معر�ضChronofighter Fortress �إن جمموعة كرونوفايرت فورتر�س التيStopwatches كانت مبثابة تكرمي لل�ساعات التوقيفيةDJWE(( دبي للمجوهرات وال�ساعات وهي عبارة عن �ساعات جيب.كان يرتديها �أفراد الأطقم اجلوية لقاذفات �سالح اجلو امللكي الربيطاين . وهذه ال�ساعات معروفة مبوثوقيتها ودقتها ال�شديدة. ومربوطة فوق �سرتة قائد الطائرة املقاتلة،كبرية .Ali Bin Ali »وميثل جراهام لندن م�ؤ�س�سة «علي بن علي 46
Jaeger-LeCoultre “The timepieces of our brand are a symbol of reliability and integrity. Having been around for the last 126 years, and having a reputation for producing long lasting and trustworthy products, our brand has become an icon in its own right. Our pieces are not mere watches but jewels for those who buy them.” – Jerome Favier, JLC Sales & Marketing Director. Jaeger-LeCoultre is represented by Al Majed.
Kern كرين امل�سئول عن،يقول �ستيفان كرين :املبيعات والت�سويق ب�شركة كرين "�إن الت�صميم اخلا�ص واالتقان ،»يف الت�صنيع هو ما مييز «كرين وهي ال�شركة التي تخ�ص�صت يف �صناعة املجوهرات وال�ساعات «على املدى.الرائعة لل�سيدات البعيد ا�صبح لدينا ن�سخ حمدودة من ال�ساعات غاية يف الأنوثة والتي لها مذاق،الكال�سيكية �إنها ع�صرية م�شبعة.املو�ضة املميزة "بلم�سة كال�سيكية وميثل «كرين» م�ؤ�س�سة «علي بن .Ali Bin Ali »علي
Jaeger-LeCoultre جايجر يل كووتر "ال�ساعات اخلا�صة بعالمتنا التجارية: مدير املبيعات والت�سويق ل�شركة جايغر يل كووتر،يقول جريوم فافيري ومبا �أننا نت�سم ب�سمعة، �سنة حتي الآن126 ولأن �ساعاتنا يعود تاريخها لـ.هي رمز للموثوقية والنزاهة والقيمة لذا �أ�صبحت عالمتنا التجارية رمزا يف حد،�إنتاج املنتجات طويلة العمر التي تدوم المد طويل وجديرة بالثقة " ولكنها تعترب جموهرات بالن�سبة لأولئك الذين ي�شرتونها، فقطعنا الفنية لي�ست جمرد �ساعات.ذاتها ."وميثل جايجر يل كووتر �شركة "املاجد
Kern: Exclusive design and quality workmanship differentiate Kern, specializing in exquisite ladies jeweler watches. “Our upper end, limited edition time pieces are very feminine, classical and yet with a taste of fashion. They are with the times yet impregnated with a classical touch” – Stefan Kern, currently fuelling Kern’s Sales and Marketing division. Kern is represented by Ali Bin Ali.
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Messika Messika were on show with sumptuous, elegant, easy to wear and trendy “Move” and “Butterfly” Collections. “Our designs are very universal and to see them being accepted by people in every part of the world is in itself a great achievement. We are still trying to gauge the tastes of region, to produce some special designs next year.” – Aurelie Darmon, Brand Development and Supply Chain Director. Messika is represented by Ali Bin Ali.
Messika مي�سيكا "تطرح مي�سيكا: مدير تطوير العالمة التجارية و�سل�سلة التوريد ل�شركة مي�سيكا،يقول �أوريلي دارمون »عنا�صر جتمع بني الفخامة واالناقة و�سهولة االرتداء وحتمل �سمات ع�صرية يف جمموعتي «حركة .")Butterfly( ") و"الفرا�شةMove( وميثل اقبال النا�س عليها من خمتلف �أنحاء العامل �إجنازا عظيما، "ت�صاميم يف منتهى العاملية:ًم�ضيفا لكي ن�ستطيع �إنتاج بع�ض، ما زلنا نحاول قيا�س الأذواق يف املنطقة والتع ُّرف عليها.يف حد ذاته "الت�صاميم اخلا�صة يف العام املقبل .Ali Bin Ali "وميثل مي�سيكا م�ؤ�س�سة "علي بن علي
Mikimoto ميكيموتو : مدير املبيعات لأوروبا وال�شرق الأو�سط ب�شركة ميكيموتو،يقول جريميي بريبانك�س قام كويت�شي ميكيموتو م�ؤ�س�س �شركة «ميكيموتو» بزراعة �أول ل�ؤل�ؤة،1893 «يف عام ولقد �صارت عالمتنا التجارية الآن حمل كل التبجيل واالحرتام حيث،يف اليابان نحن نتعامل مع جميع �أنواع الل�ؤل�ؤ،»�أنها حتمل ا�سم «من�شئ الل�ؤل�ؤ ال�صناعي الأول .كالطبيعي ول�ؤل�ؤ �آكويا والياباين و�أي�ضاً الل�ؤل�ؤ التاهيتي الأ�سود والذهبي الأندوني�سي .» وخا�ص ًة الياقوت الوردي،كما نقدم قطع الأحجار الكرمية اخلال�صة .Ali Bin Ali »وميثل ميكيموتو م�ؤ�س�سة «علي بن علي
Mikimoto “In 1893, Mikimoto founder Kokichi Mikimoto cultured the first pearl in Japan, and now our brand is revered as the ‘originators of cultured pearls’. We deal with all kinds of pearls – natural, Japanese Akoya pearls, Tahitian black pearls and Indonesian Golden pearls. We also offer exclusive gemstone pieces mainly pink sapphire.” – Jeremy Burbanks, European and Middle East Sales Manager, Mikimoto. Mikimoto is represented by Ali Bin Ali.
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Mouawad “The breathtaking creation is a unique masterpiece. Not only is it one of a kind but it is also world’s most valuable, intensifying its power to enchant those who have a privilege of wearing it.” – Fred Mouawad.
معو�ض Mouawad يقول فريد معو�ض�(:إن الإبداعات التي ت�أخذ بالألباب وتخطف حتف فريدة من نوعها .لي�س فقط لأنها الأنفا�س التي نقدمها هي ٌ متف ِّردة وفريدة من نوعها ،ولكنها �أي�ضا الأكرث قيمة يف العامل .نحن نعمل على تكثيف �سعينا لإ�سعاد �أولئك الذين لديهم �شرف ارتداء منتجاتنا ).
Officine Panerai Officine Panerai watches, once crafted exclusively for the Royal Italian Navy, are now available to all its royal customers. “The time-pieces are huge and masculine with a luminescent ‘sandwich’ dial. This ensures greater visibility at night. Our brand has a superior mix of Swiss technology with Italian design and authenticity.” – Milvin George, Managing Director, Officine Panerai. Officine Panerai is represented by Ali Bin Ali.
�أوفي�سني بانرياي Officine Panerai يقول جورج ميلفني ،املدير التنفيذي ل�شركة �أوفي�سني بانرياي�(:صنعت �ساعات «�أوفي�سني بانرياي» لأول مرة ب�شكل خا�ص وح�صري لقوات البحرية االيطالية امللكية ،ثم �أ�صبحت الآن متاحة جلميع عمالئها ذوي اجلاللة امللكية"�" .إنها �ساعات كبرية ورجالية �إىل �أبعد حد ،مع �إطار خارجي م�ضئ ي�شبه ال�ساندويت�ش.مما ي�ضمن لها قدراً �أكرب من الو�ضوح ليالً .هذه العالمة التجارية متثل مزيج من التكنولوجيا ال�سوي�سرية املتفوقة مع الت�صميم الإيطايل اجلميل والأ�صالة الالمتناهية). وميثل �أوفي�سني بانرياي م�ؤ�س�سة «علي بن علي» .Ali Bin Ali 49
Picchiotti “Picchiotti is not for everybody – it is for a connoisseur; for a lady who knows a lot about jeweler and what she wants to buy. For DJWE we are presenting the Irish collection – it’s fresh, flexible and has a touch of both classic and contemporary design that has been modified to the taste of the region.” – Umberto Picchiotti, Vice President. Picchiotti is represented by Ali Bin Ali.
Picchiotti بيك�شيوتتي نائب رئي�س �شركة بيك�شيوتتي،يقول �أمربتو بيك�شيوتتي �إنها للرجل،"�إن بيك�شيوتتي لي�ست للجميع: Picchiotti الذواق واملتذوق للجمال؛ ولل�سيدة التي تعرف الكثري عن نحن نقدم ملعر�ض.املجوهرات والتي مت ّيز ما تريد �أن ت�شرتيه The Irish »دبي لل�ساعات واملجوهرات «املجموعة الأيرلندية وحتتوى يف نف�س، �إنها جمموعة جديدة ومرنة- Collection ،الوقت على مل�سة من الت�صميم الكال�سيكي واملعا�صر يف �آنٍ واحد .."وهي التي مت حتويرها لتتنا�سب مع �أذواق هذه املنطقة .Ali Bin Ali »وميثل بيك�شيوتتي م�ؤ�س�سة «علي بن علي
Ralph Lauren This year Ralph Lauren presents its three new iconic watch collections. The Ralph Lauren Sporting Collection makes a bold statement with wooden dials bordered by a stainless steel ring. The Ralph Lauren Slim Classique introduces a composition of concentric squares from its case shape to the linear dial markings. Inspired by the equestrian heritage of Polo Ralph Lauren, the Ralph Lauren Stirrup Collection impresses with a uniquely shaped silhouette. Ralph Lauren is represented by Ali Bin Ali.
Ralph Lauren رالف لورين رالف. يقدم لنا رالف لورين ثالث جمموعات جديدة من ال�ساعات املبتكرة واملبدعة،هذا العام لورين �صاحب جمموعة �سبورتينغ الريا�ضية يقدم لكم جمموعة جريئة لها وجوه خ�شبية حتدها حلقة ال�سمك الكال�سيكية املظهر ُ رالف لورين هو املبدع للمجموعات الرقيقة.من الفوالذ املقاوم لل�صد�أ �إنها.ذات التكوينات التي على �شكل املربعات املتحدة املركز ذات الإطار املميز مع العالمات اخلطية » ودائماً ما تبهر �إبداعات «رالف لورين،»�ساعات م�ستوحاة من تراث الفرو�سية من «بولو رالف لورين . ذات الأختام التي حتمل �أ�شكا ًال فريدةStirrup »جماهريها مبجموعة «�سترياب .Ali Bin Ali »وميثل رالف لورين م�ؤ�س�سة «علي بن علي 50
�شرايرن Schreine (جمموعة املجوهرات املميزة التي يقدمها «�شرايرن» لعام 2011م�ستوحاة يف ت�صميمها من عنا�صر حية من الطبيعة� ،أى من املياه والأر�ض والنار� .إن اللون ِّ ي�شكل نقطة حمورية يف املجوهرات لدينا .ويف هذه املجموعة نرى ا�ستخدام الذهب الوردي الذي هو رائج ومنت�شر يف الوقت الراهن .وتن�سجم هذه الت�صميمات ان�سجاماً هائ ًال مع اجتاهات املو�ضة املتغرية كما ت�أتي بها عوا�صم املو�ضة يف العامل؛ لندن وباري�س وميالنو ونيويورك ،مما يعطي لت�صميمات �شرايرن مكانتها الرائدة) .هكذا يحدثنا �شرايرن غريهارد ،رئي�س �شرايرن للمجوهرات الراقية. وميثل �شرايرن م�ؤ�س�سة «علي بن علي» .Ali Bin Ali Schreiner: “The 2011 fine jeweler collection is inspired by the vivid elements of nature - water, earth and fire, in its design. Color forms the focal point in our jeweler. This collection sees the use of pink gold which is in vogue currently. The designs are in tune with the changing fashion trends as projected by the fashion capitals of the world, London, Paris, Milan and New York; giving us a leading edge.” – Gerhard Schreiner, President of Schreiner Fine Jewellery. Schreiner is represented by Ali Bin Ali.
Al Zain Al Zain’s latest bridal line is a dazzling display of huge diamonds, ruby, emerald and pearl sets. “Our jewelry is designed by the Arabs for the Arabs. Eighty percent of our clients are Arabs who love the designs - all ”custom-made - that we create. – Yousif Al-Ghawas, Brand Manager.
الزين Al-Zain يتمثل اخلط الأحدث ل�شركة «الزين» ملجوهرات الزفاف يف ذلك العر�ض املبهر ملجموعة من �أحجار املا�س والياقوت والزمرد والل�ؤل�ؤ ال�ضخمة .ويقول يو�سف الغ ّوا�ص ،مدير العالمة التجارية ل�شركة الزين« :لقد مت ت�صميم جموهراتنا بوا�سطة م�صممني عرب من �أجل اجلمهور العربي� .إن ٪80من زبائننا عرب ممن يع�شقون هذه الت�صاميم ،وجميعها يتم ت�صنيعها ح�سب الطلب». 51
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ففتي ون است يزين معرض دبي للمجوهرات والساعات
، له الف�ضل الكبري،) بيت الفخامة والرفاهية51East( يعترب ففتي ون ا�ست ويقدم ففتي ون،وال�سبق يف �إدخال مفهوم املاركات الراقية يف قطر احلدث الأبرز يفDJWE ا�ست خالل معر�ض دبي للمجوهرات وال�ساعات جمموعات ح�رصية من �أ�شهر ماركات املجوهرات وال�ساعات،املنطقة �أرماند،Boucheron بو�رشون،Rolex العاملية املرموقة مثل رولك�س ،Guy Larche غاي الرو�ش،Tudor تيودور،Armand Nicolet نيكوليه .Feraud and Victor Mayor وفريود وفيكتور ماير �إال �أن الرتكيز،وبالرغم من تعدد املاركات التي تتوفر لدى ففتي ون ا�ست .ان�صب على ماركتي رولك�س وبو�رشون �أتيحت للزوار فر�صة ال مثيل لها يف العامل لالحتفال بالفخامة متمثلة يف زينت بلوحات نادرة من الأحجار،قطع فريدة ومتطورة من املجوهرات اختريت خ�صي�صا ومت عر�ضها يف املعر�ض بوا�سطة بو�رشون،امللونة .والذي يعد واحد من �أعظم �ص ّناع وجتار املجوهرات يف العامل كما �سجلت ماركة رولك�س ح�ضور قوي من خالل العر�ض احل�رصي ،Submariner Emerald و،Submariner Date :لل�ساعات التالية Datejust Lady و،Explorerو ، جند �ساعة مثالية للغوا�صنيSubmariner Date مع �صامباريرن ديت .ت�أتي يف �شكل ال�صلب القوي مع العديد من امليزات اجلديدة فهي جتمع ما بني براعةSubmariner Emerald �أما �صامباريرن امريلد .العمل و�إتقان ال�صناعة وال�شعور بالن�شوة واجلر�أة واحل�سا�سية جت�سد دقة املثابرة ِّ التي تقدمها رولك�سExplorer بينما ال تزال �إك�سبلورر .واخلربة والإبداع يف جمال فريدDatejust Ladyوجتمع �ساعة ال�سيدات دات ج�ست ليدي .ونادر ما بني الأ�صفر والأبي�ض يف جمال �أنثوي مميز
Where luxury homes in Fifty one East, that has a history of introducing the concept of luxury brands in Qatar, presented exclusive jewelries and watches from some of the most coveted brands such as Rolex, Boucheron, Armand Nicolet, Tudor, Guy Larche, Feraud and Victor Mayor during the grand event of DJWE. However special preference was given to the brands Rolex and Boucheron. From the House of Boucheron, visitors were provided with an opportunity to celebrate the unmatched world of luxury. The unique and sophisticated pieces of jewelry that were displayed at the show were specially picked up by the Master jewelers and sparkled with a palette of rarely found colorful stones. Rolex was on the show with the following exclusive timepieces: the Submariner Date, the Submariner Emerald, the Explorer and the Datejust Lady. The Submariner is a quintessential divers’ watch that comes in a steel version with many new features. The Submariner Emerald collection brilliantly combines action, sensuousness, boldness and sensitivity in its watches. While the Rolex Explorer continues to precisely embody the perseverance, experience and creativity, the Datejust Lady Collection in yellow, white and Everose Rolsor is gracefully feminine. 52
P H O T O G R A P H s B Y Paul maffi
Sardinian Spring
كينزو تقدم مختارات ربيع سردينيا Sardinian Spring تربزجمموعة الربيع وال�صيف من بيت املو�ضة الباري�سي ُف�ضل كينزو Kenzoجمال الربيع يف خطوة �أقدامك من خالل امل ّ مناذج م�ستوحاة من جمال الطبيعة اخل�رضاء احلاملة بجزيرة �رسدينيا ،التي ت�شبه �إىل حد كبري جمال الطبيعة اليابانية، ففي كال البلدين تكون الطبيعة هي امللكة املتوجة ،جتملها ال�صخور واملياه املنجرفة ،كما �أن فروع الأ�شجار املنحنية يف �رسدينيا ت�شبه �أ�شجار البون�ساي اليابانية. ولذلك حتر�ص كينزو على تقدمي خمتارات وا�سعة من مالب�س �رسدينيا الغنية ،املرتفة ،والتي متتاز بالب�ساطة والر�صانة يف الوقت نف�سه ،لتحتفي بذوي الأذواق الراقية ،وتقدم الكيمونو، ذلك اللبا�س التقليدي الياباين. وجند يف جمموعة �رسدينيا الألوان املتنا�سقة التي تتكون من �صدى النغمات لتن�سجم مع الأ�شكال الأكرث �إ�رشاق ًا من الي�شم، واملرجان والبنف�سجي الذي ين�ضح حيوية ليعطي �شعورا غام�ضا متميزا. وابتكرت كينزو جمموعة جتمع مابني ال�شيفون الرملي sandy chiffonsوالكتان وال�صوف اجلاكار ،jacquardsمتتاز ب�أمناط حية تفي�ض حيوية ب�إ�شارات ور�سومات مماثلة للكيمونو، برموزه البيانية و�أ�شكاله امل�ستوحاة من املناظر الطبيعية اجلميلة اخلالبة. فهي متزج مابني روعة الألوان والطباعة وخامات القما�ش املزخرفة التي تعطي �إح�سا�س الن�سيم املنع�ش ،الذي يدفعك �إىل امتالك هذه املجموعة اجلديدة. 53
The refreshing Spring/Summer collection from Parisian favorite, Kenzo, is sure to put a spring in your step. The range is inspired by the lush surroundings of Sardinia, a country that shares many similarities with Japan. In both countries, nature is the king, the rocks and water are idolized, and even the curved branches of the trees in Sardinia look similar to the bonsai. Sardinian clothing is rich, sumptuous and layered, yet is also simple and sober, just like the kimono, the traditional Japanese dress. The color palette consisting of rusty tones fused with brighter hues of coral, jade and vibrant purples exudes a mysterious feel. Luxurious materials feature throughout including sandy chiffons, rustic linen and wool jacquards. Patterns are lively with reference to sketches, kimono, graphic symbols and beautiful landscape patterns. The colors, prints, textures and decorative elements inject a breath of fresh air and emphasize the must-have-now feel of the range.
Aigner at The Pearl Qatar The fine craft of bag making
Doha has yet another brand on its luxury list with the opening of the new Aigner store at The Pearl Qatar. Aigner is a luxury and lifestyle brand synonymous with quality craftsmanship and its iconic horseshoe logo. The ceremony was attended by many of Doha’s VIPs who were keen to grab a look at the coveted brand’s latest offerings, and specialized Aigner bag master, Christina Buettner was on hand to inaugurate the chic new boutique. The brand maintains a successful position in all the major fashion capitals across the globe and its placement in Qatar’s most prestigious development is a fitting choice. A key highlight from its collection is the famous leather saddle bag - the ultimate tribute to traditional leather and saddle work. The saddle bag model constantly reappears in new collections reflecting timelessness of the carefully crafted design. A range of beautiful bags, wallets, belts and stylish clothing is available from the new store. The Spring/Summer 2011 collection is inspired by the idea of mother nature meeting technology; matt confronts gloss while tradition mixes with innovation. The color palette comprises a range of versatile and contrasting elements; while luxury new leathers have been used including soft crocodile, lizard and python.
The event was inaugurated by (left to right) Mrs. Sibylle Schon, CEO of Aigner, Mr. Ashraf Abu Issa, Blue Salon Chairman-CEO,Mr. Fawaz Idrisi, Blue Salon - Chief Executive Officer, Mr. Martin Zeil, The State Minister of Bavaria and Mrs. Ruth Herkes, Ambassador of Germany.
أيجنير في اللؤلؤة قطر مزيج رائع بني التقليد واالبتكار يف �صناعة احلقائب
Aigner Bag master, Christina Buettner, demonstrating the skill of Aigner craftsmanship.
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،ماركة �أخرى جديدة بالدوحة تن�ضم �إىل قائمة ماركاتها العاملية الراقية وقد ح�رض حفل االفتتاح عدد،بعد افتتاح حمل �أيجنري اجلديد يف الل�ؤل�ؤة قطر من كبار ال�شخ�صيات بالدوحة حيث قاموا بجولة يف املحل للوقوف على �أحدث منتجات هذه املاركة بح�ضور �أخ�صائية حقائب �إيجنري كري�ستينا . بويتنري والتي حر�صت على ح�ضور هذه املنا�سبة تعترب �إيجنري كلمة مرادفة للماركة الراقية ومنط احلياة املتميز مع جودة حتتل هذه،يف احلرفية ب�شعارها ال�شهري واملتمثل يف �شكل حدوة احل�صان كما حر�صت،املاركة مركزا ناجحا يف معظم عوا�صم املو�ضة العاملية على التواجد يف قطر التي ت�شهد تطورا ملحوظا يعترب اختيارا منا�سبا وا�شتملت اختياراتها الراقية على العديد من احلقائب ال�رسجية،للماركة امل�شهورة امل�صنعة من اجللد والتي تدل على الأ�صالة للجلود التقليدية �إن منوذج حقائب ال�رسج يظهر ب�شكل م�ستمر يف جمموعات،و�أعمال ال�رسج وكما تتوفر به جمموعة من،جديدة تعك�س اخللود والعناية يف الت�صميم وتنبثق جمموعة،احلقائب اجلميلة واملحافظ والأحزمة واملالب�س الأنيقة م من فكرة التكنولوجيا التي تتنا�سب2011 ال�صيف ل�سنة/عرو�ض الربيع وت�أتي هذه املجموعة،وطبيعة الأم يف مزيج رائع بني التقليد واالبتكار م�ستخدمة جلود طبيعية فاخرة حديثة وجلود لينة،ب�ألوان متنا�سقة متعددة .كجلود التم�ساح وال�سحلية والثعبان
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funds in the United States for positive intervention in areas of the world where the lack of water poses a grave problem that affects children above all. This year I decided to continue along this route, but I wished to contribute more, by becoming involved in a more extensive campaign working in partnership with UNICEF in the United States and Green Cross International, which operates throughout the rest of the world. This is an outstanding initiative that I very much hope will stimulate much greater public awareness.
Why did you choose water, rather than another issue? Providing universal access to water definitely constitutes one of the greatest challenges of the 21st century. Such access is essential for sustainable development, and it is only when such access is guaranteed that countries can implement practical solutions in the field of development and education. Why are you particularly concerned about the threat to children? Because they are always the first victims of water shortage and pollution. Because they are more vulnerable, and because the future of the world rest on their shoulders.
The Water Effect Armani’s drops of compassion
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orld Water Day is marked on March 22, since 1992, when it was created after the Rio Summit on the initiative of the United Nations General Assembly. On this day, the Member States are invited to devote this day to implementing United Nations recommendations and concrete actions. Armani commits itself to promoting access to drinking water and raising awareness of the issue through two fragrances. Giorgio Armani speaks of this initiative and what it means to him personally. Is this the first time that you are undertaking a campaign of this type and significance? I am always very aware of problems connected to the environment and in particular to water, an element I love very much, since it is regenerative, precious, and essential to life. On this account, last year I committed myself to the Tap Project campaign: an important project focused on raising
Why did you choose to link the perfumes ‘Acqua di GiÚ’ and ‘Acqua di Gioia’ to this project? Of all the fragrances I have created, these two are the most closely connected with a perception of nature’s bounty. Freshness and environmental harmony. These are the values they convey, values that seem to me to be perfectly compatible with the principles and the initiatives launched by Green Cross. How long have you known about Green Cross? Why did you choose this organization in particular? I have been following the work of Green Cross for a number of years. I have always admired the way it projects itself: as a Red Cross working on behalf of the environment. This organization’s seriousness and integrity, as well as the results it achieves, make it a natural partner of first choice. How did you envisage the web campaign and what are you expecting from it? With the launch of Acqua for Life, we intended to capture maximum public attention. There was an obvious need to develop a specific web strategy using the most popular social network sites. The digital revolution offers opportunities which we must take full advantage of. On a personal level, what does this sort of commitment involve? What does it signify to the Giorgio Armani Group, and how have your staff responded? For me personally, this is a responsibility that I cannot ignore, and I am convinced that my company should be a force for Joining the cause progress. I share this From March 22nd, World Water Day, a special Acqua For Life edition of Acqua di view with all my fellow workers, who Gio and Acqua di Gioia will be available exclusively at Debenhams and VaVaVoom have been intensely in the Middle East. Every bottle sold enthusiastic about will generate a donation of 100 liters of the project since the drinking water per year to children and very outset. their communities. 55
Stephane Rolland
haute couture's modern knight Vani Saraswathi
text by
Couturier in the city Stephane Rolland in Doha, the city he loves and has been frequenting since 1998. His very first visit was for a fitting with HH Sheikha Mozah 56
w
ith their architectural
structures, contemporary cuts and exceptional purity, Stephane Rolland's creations have become as iconic as the women who wear them. He can’t recall ever wanting to do anything but fashion design. After all he drew his very first sketch when he was just four years old. “Obviously, I didn’t realize back then that it would become my profession; it was simply a desire to beautify my vision of life... through drawings of impeccably dressed women,” says Rolland, in an exclusive interview to T Qatar. In putting pen to paper, is it the look on the ramp that brings out the first stroke? Or is it perhaps the vision of seeing it on the red carpet or at a state visit? I never picture a woman in a specific context. My hand is unconsciously guided by my emotions, provided by arts and music, always seeking new volumes that can manifest as interesting movements. I’ll take an inspirational peek at the dazzling work of Zaha Hadid or at Ron Arad’s sculptures - they’re riveting. The design process then leads me to patch together varying notions: strength and fragility, androgyny and glamour, extreme rigor and sexiness. Do you ever have a muse? I don’t like the idea of depending on a muse since my creations are necessarily frontier-less. The androgynous Cate Blanchett, the sensitive and mysterious Fairuz, the glamorous but fragile Ava Gardner, and the spicy Maria Felix are the women who match my aesthetic vision, the way I feel and who I am. From royalty to rock stars, you’ve dressed a broad spectrum of women. Is the primary style distinction based on their personality or their role? I believe the first thing that matters is the strength of their personality. This brings credibility to their role. It allows them to become leaders.
talk qatar You have a decade-long design history with Her Highness Sheikha Mozah bint Nasser Al-Missned? What does that mean to you? Her Highness has one of the most whole personalities I’ve ever seen. She combines glamour, generosity, allure, diplomatic sense, lucidity and gumption. It’s not just admiration I have for her, it’s so much more. Regarding our decade-long association, I would only say that it is one of the most beautiful and unexpected I’ve ever had. The grey dress you created for Sheikha Mozah, which she wore during her UK visit, headlined across the world. How did that piece come about? It was Her Highness’s wish to wear an elegant but voluptuous ‘50s-look dress. I loved the idea. I put my distinctive and rather arty pebble-mosaic embroidery together with a glamorous grey cashmere gown. The outcome was spectacularly chic. What is the trick to combining European haute couture with Arab sensibilities and culture? Having no secrets. I am totally candid in expressing my personality and emotions, believing in them, no matter the cultural sources involved. In fact, my receptivity to Arabic culture injects a little more mystery and sensuality into my very Parisian style than it otherwise might have. Which celebrity in your opinion gets it right style-wise, every time? And who rarely does? The most naturally elegant are Jessica Biel, the French actress Melanie Thierry, the iconic Bianca Jagger, Marella Agnelli, in tribute of whom I designed The Marella clutch, Daphne Guinness, Sean Connery, the famous Spanish model Nieves Alvarez, the French actor Vincent Cassel. These are just a handful and their style-savvy goes hand in hand with their interesting personalities. I’m afraid I will not mention any tasteless ones. It’s not my place to do so. Queen Rania was recently photographed with your Marella clutch, and you’ve dressed her on several occasions. What stands out most about her style? As with HH Sheikha Mozah, Her Majesty Queen Rania is very conscious of the significance of the impact her worldwide image has. It is fulfilling to collaborate with a woman so aware of her style. She immediately sets her heart on certain dresses I have designed for her, generally favoring minimalism and fluidity. The result is that she truly embodies a new genre of modernity in monarchies worldwide. When you start work on a season, how do you decide on the tone, theme and color? Generally speaking, the theme of the collection is a work in progress throughout the development period, meaning it evolves as the weeks pass. The tone is normally inherited from the previous season but with a new-born energy. Tell us a bit about your SS11 line? This season we have a multitude of input. Edward Weston’s photography with his light and dark hints and the way he captures nature determined the curves and the reliefs of my metallic embroideries. Running deeper into the spiritual, we have the key notions of energy, generosity and light that you find flowing within tantric forces and from the Mandala, the meditation circle. Gandhi was also running around in my mind! I draped the crÍpe, the jersey and the gazard in the same way the Mahatma was draped in his dhoti. I worked on the warm and light effects of an Indian summer’s shades of color. And then, of course, we have pure gold melted within hand-blown glass ornaments reflecting light and striking out in a
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blaze to punctuate the fluidity. They highlight the feminine waist, the nape of the neck, and the lower back, zones of ethereal sensuality. What is your favorite fabric and detailing? I adore strong gazard. It adds strength to a drape. I also like the simplicity and fluidity of silk crÍpe, and the lightness and fragility of organza. Are there any favorite designers you like to work with for jewelry and accessories? I don’t collaborate with designers but with artists and craftsmen, such as the woman who created the hand-blown glass ornament pieces that adorned many of the dresses in my new collection. So in fact, all the accessories are designed within my studio. What is your stand on the fashion ramp size debate? Is it really an issue? Anorexia is definitely a very serious threat that I would never deny. Yet, I know that most models I am in contact with do not suffer from this disease. These girls are skinny mainly because of their youth. I have to admit that a lean body is the perfect canvas to present design on the catwalk. That design can then be adapted The ones you admire... to different body shapes, but A peer: Tom Ford. for original samples and new A heritage design house: Cristobal ideas, I prefer presenting Balenciaga, Pierre Cardin, and Yves Saint them by means of these Laurent. A young designer with promise: Haider animated proportions that Ackermann. tall, thin girls have.
By Royal Appointment HH Sheikha Mozah is the epitome of grace and style in a grey cashmere embroidered dress by Stepane Rolland Haute Couture at a reception to mark the opening of the Quranic Garden Exhibition at Kew Royal Botanic Gardens in Surrey, April 2010.
الطلة امللكية من، من ت�صميم امل�صمم ا�ستيفن رونالد،�صاحبة ال�سمو ال�شيخة موزا بنت نا�رص ترتدي ف�ستانا �أنيقا ب�أ�سلوب اخلم�سينات 2010 يف اململكة املتحدة �أثناء افتتاح معر�ض احلديقة القر�آنية �أبريل،الك�شمري الرمادي الأنيق بتطريز فني مميز 58
What are the essentials every woman should have in her wardrobe? A black tuxedo, a small and simple black dress, a white blouse and a very chic pair of stilettos: these are the basics of any wardrobe. Then it is just down to playing with your accessories, hair and makeup. What’s your personal style mantra? What do you wear? For me, ‘less is always more’. I enjoy dressing other people far more than myself. You will only find navy and black suits with white shirts in my wardrobe. How much time each day do you spend putting your own look together? Such a chore gives me headache each and every morning. Perhaps ten minutes to think, five to dress, and the rest of the day to put the results to the test! n
جمموعة خمتارة من �أعلى الي�سار ف�ستان �أحمر ق�صري من�سدل: من اخللف من قما�ش الغازارد )؛2009 م�ستوحاة من (�صيف الكيمون ثوب طويل من الغازارد )؛2011 م�ستوحاة من (�صيف ف�ستان �أ�سود طويل من الغازارد )؛2011 م�ستوحاة من (�شتاء ف�ستان من ال�ساتان واحلرير والأورجانزا م�ستوحاة مـــن ) 2010 ( �صيف
Sketch to Catwalk Clockwise from top left: Red gazar short dress with oversized Watteau-inspired cape (Summer 2009); Draped cumin lacquered gazar long dress (Summer 2011); Long black gazar bustier dress (Winter 2011); Plum silk satin and organza draped gown (Summer 2010).
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هل لديك م�صدر وحي معني؟
ال �أحب فكرة االعتماد على �أية م�صدر للوحي لأن �إبداعاتي ال حدود لها .فكيت بالن�شيت امل�سرتجلة ،وفريوز احل�سا�سة والغام�ضة ،و�آفا غاردنر اله�شة والرباقة، وفيليك�س ماريا احلارة ،جميعهن ن�ساء يتوافقن مع ر�ؤيتي اجلمالية ،وم�شاعري، و�شخ�صيتي.
لقد ارتدت �إبداعاتك جمموعة وا�سعة من الن�ساء ابتداء من �سيدات العائالت احلاكمة وانتهاء بنجمات مو�سيقى الروك .هل يرتكز االختالف بالأ�سلوب على �شخ�صيتهن �أم دورهن؟
�أعتقد �أن �أهم �شيء هو قوة �شخ�صيتهن لأنها تزيد من م�صداقية دورهن وتتيح لهن �أن ي�صبحن قائدات .
لديك تاريخ يف الت�صميم ميتد لعقد من الزمان مع �صاحبة ال�سمو ال�شيخة موزا؟ ماذا يعني ذلك بالن�سبة لك؟
�إن �صاحبة ال�سمو من �أكرث ال�شخ�صيات التي ر�أيتها كماال على الإطالق .فهي جتمع بني ال�سحر ،والكرم ،واجلاذبية ،والدبلوما�سية ،والو�ضوح ,والنباهة .و�شعوري جتاهها يتجاوز جمرد الإعجاب .وفيما يتعلق بعملي معها خالل عقد من الزمان� ،أود �أن �أقول �إ ن هذه الفرتة كانت من �أجمل فرتات حياتي التي مل �أكن �أتوقعها.
ت�ص ّدر الف�ستان الرمادي الذي �صممته لل�شيخة موزا والذي ارتدته �أثناء زيارتها للمملكة املتحدة عناوين ال�صحف يف خمتلف �أنحاء العامل. متكنت من �إبداع هذا الف�ستان؟ كيف َ
لقد كانت رغبة �صاحبة ال�سمو �أن ترتدي ف�ستانا �أنيقا ب�أ�سلوب اخلم�سينات ،وقد فزينت الثوب الرمادي الأنيق من الك�شمري الرباق بتطريزي املميز أحببت هذه الفكرة، ُ � ُ والفني ،فتج�سدت الفكرة يف ف�ستان �أنيق� ،أعجب به كل من راءه .
ما هو ال�رس يف املزج بني الأزياء الأوروبية والثقافة العربية و�أحا�سي�سها؟
لي�س هناك �أ�رسار ف�أنا �رصيح متاما يف التعبري عن �شخ�صيتي وعواطفي ،و�أ�ؤمن بها ب�رصف النظر عن الثقافات .ويف الواقع �أقوم من خالل مفهومي للثقافة العربية ب�إ�ضفاء م�سحة من الغمو�ض والأحا�سي�س �إىل �أ�سلوبي الباري�سي.
بر�أيك �أي من امل�شاهري الذين يتميزون دائما بالأناقة؟ و�أيهم الذي نادرا ما يهتم ب�أناقته؟
من امل�شاهري الذين يتميزون بالأناقة الطبيعية جي�سيكا بيال ،واملمثلة الفرن�سية �صممت ف�ستان ماريال كالت�ش ميالين تريي وبيانكا جاجر ،وماريال انييلي التي ُ تكرميا لها ،ودافني غيني�س ،و�شون كونري ،وعار�ضة الأزياء اال�سبانية ال�شهرية نيفي�س الفاريز ،واملمثل الفرن�سي فن�سنت كا�سل .ومل �أذكر هنا �إال القليل من امل�شاهري الذين يتما�شى حر�صهم على �أناقتهم مع �شخ�صياتهم املثرية لالهتمام. لكن لي�س بو�سعي �أن �أذكر �أيا من الفنانني الذين ال يهتمون ب�أناقتهم لأن هذا ال يعنيني.
�شوهدت امللكة رانيا م�ؤخرا وهي ترتدي ف�ستانا من �إبداعاتك حيث لقد ْ عملت معها لفرتة طويلة .ما هو �أبرز �شيء يف �أ�سلوبها؟ كنت قد َ َ
كما هي حال �سمو ال�شيخة موزا ،تتميز جاللة امللكة رانيا ب�أنها واعية جدا لأهمية ت�أثري �صورتها العاملية .ومن الرائع �أن �أتعاون مع �سيدة تعي �أ�سلوبها ب�صورة كبرية. أحب ْت جاللتها على الفور بع�ض الف�ساتني التي �صممتها لها وهي عادة تف�ضل وقد � ّ الب�ساطة واالن�سيابية .والنتيجة هي �أن جاللتها جت�سد نوعا جديدا من احلداثة بني العائالت املالكة يف جميع �أنحاء العامل.
عندما تبد�أ العمل ب�أي مو�سم ،كيف تقرر مو�ضوعه و�ألوانه و�أ�سلوبه؟
ب�صفة عامة ،ي�أتي مو�ضوع �أية جمموعة نتيجة للعمل طوال فرتة التطوير ،مما يعني
من يثري �إعجابك... �أحد الزمالء :توم فورد. دار ت�صميم عريقة :كري�ستوبال بالينكياغا ،وبيري كاردان ،و�إيف �سان لوران. م�صمم �شاب واعد :حيدر �أكرمان.
�أنه يتطور مع مرور الأ�سابيع .وي�أتي الأ�سلوب عادة من املو�سم ال�سابق لكنه يتميز بطاقة جديدة.
هال �أخربتنا قليال عن خطك اخلا�ص �إ�س �إ�س )SS11 (11؟
لقد كان لدينا يف هذا املو�سم عدد من املدخالت .فمن خالل طريقة �إدوارد وي�ستون يف ت�صوير الطبيعة حددت املنحنيات والظالل والنور ُ ونقو�ش مطرزاتي املعدنية .وتعمقنا بالنواحي الروحية حتى ح�صلنا على املفاهيم الأ�سا�سية من الكرم والطاقة وال�ضوء التي تتدفق من خالل تعاليم التانرتا Tantraودائرة الت�أمل (املانداال )Mandalaحيث كنت �أفكر بغاندي ا�ستخدمت قما�ش الكريب ،واجلري�سي ،والغازارد gazard �أثناء ت�صميمي لها! وقد ُ عملت وقد ). dhoti (الدوتي ثوبها بها ترتدي املهامتا كان بنف�س الطريقة التي ُ على الت�أثريات ال�ضوئية ودفء ظالل و�ألوان ال�صيف الهندي .ومن ثم ،ا�ستخدمنا الذهب اخلال�ص لتزيني احللي الزجاجية املنفوخة يدويا التي تعك�س ال�ضوء بطريقة ان�سيابية .فهي تربز اخل�رص الأنثوي ،وم�ؤخرة العنق ،و�أ�سفل الظهر بطريقة مثرية و�أثريية.
ما هو نوع القما�ش املف�ضل لديك؟
�أع�شق قما�ش الغازارد gazardالقوي لأنه ي�ضفي القوة على ثنيات الثوب .و�أحب ب�ساطة و�سيولة الكريب احلريري ،وخفة وه�شا�شة الأورغانزا.
هل هناك �أي من امل�صممني املف�ضلني لديك والذين حتب العمل معهم من �أجل املجوهرات والإك�س�سوارات؟
�أنا ال �أتعاون مع م�صممني و�إمنا مع فنانني وحرفيني كاملر�أة التي �أبدعت احللي الزجاجية املنفوخة يدويا التي تزين العديد من الثياب يف جمموعتي اجلديدة .لذا ف�إن جميع الإك�س�سوارات يتم ت�صميمها داخل الأ�ستوديو اخلا�ص بي.
ما هو موقفك من اجلدل ب�ش�أن عار�ضات الأزياء النحيالت؟
�إن فقدان ال�شهية هو بالت�أكيد مر�ض ال ميكنني �أن �أنكر خطره .غري �أنني �أعلم �أن معظم عار�ضات الأزياء اللواتي �أتعامل معهن ال يعانني من هذا املر�ض .فه�ؤالء الفتيات هن نحيالت لأنهن �شابات �أ�سا�سا .وينبغي �أن نعرتف ب�أن اجل�سم النحيل هو اجل�سم املثايل لتقدمي ت�صاميم الأزياء على من�صة عر�ض الأزياء ،ومن ثم ميكن بعد ذلك �أن يتم تكييف الت�صميم بح�سب �أ�شكال اجل�سم املختلفة .لكن من �أجل العينات الأ�صلية والأفكار اجلديدة� ،أف�ضل تقدميها من خالل فتيات نحيالت وطويالت.
ما هو ال�شيء الأ�سا�سي الذي يجب �أن يتواجد يف خزانة مالب�س كل امر�أة؟ بذلة �سوداء ،وثوب �أ�سود �صغري وب�سيط ،وبلوزة بي�ضاء ،وحذاء �أنيق :هذه هي الأ�سا�سيات يف �أية خزانة مالب�س .ومن ثم ميكن التالعب بت�رسيحة ال�شعر والإك�س�سوارات واملاكياج.
ما هو �شعارك بالن�سبة ملالب�سك ال�شخ�صية؟ ماذا تلب�س؟
بالن�سبة يل “القليل يكفي” ف�أنا �أ�ستمتع بت�صميم املالب�س للنا�س �أكرث منها لنف�سي. و�سوف لن جتدي يف خزانة مالب�سي �سوى البذالت الكحلية وال�سوداء مع قم�صان بي�ضاء.
كم مت�ضي من الوقت كل يوم و�أنت حت�ضرّ نف�سك للخروج؟
�إن مثل هذا العمل الرتيب ي�سبب يل ال�صداع كل �صباح� .أحتاج رمبا �إىل ع�رش دقائق للتفكري ،وخم�س كي �أرتدي مالب�سي ،وبقية اليوم الختبار النتائج! 60
�ستيفان روالند يف الدوحة امل�صمم �ستيفان روالند يف الدوحة ،املدينة التي �أحبها وع�شقها منذ عام ، 1998زيارته الأوىل للت�صميم ل�سعادة ال�شيخة موزا بنت نا�رص
ستيفـان روالند الذوق واإلحساس المرهف في التصميم بقلم :فاني ساراسواثي
لقـد
�أ�صبح الذوق والإح�سا�س املرهف اللذين تتميز بهما ف�ساتينه �صفة مميزة لها كالن�ساء الالتي يرتدين �إبداعاته ،وهو ال يتذكر �أنه �أراد يف �أية مرحلة من حياته �أن يقوم ب�أي عمل �سوى ت�صميم الأزياء ،فقد ر�سم �أول ف�ستان له قبل �أن يتجاوز عمره الأربع �سنوات. ويقول �ستيفان روالن ،يف مقابلة ح�رصية مع تي قطر“ :من الوا�ضح �أنني مل �أكن �أدرك �أن ت�صميم الأزياء مهنة ،فقد كانت عندي جمرد رغبة يف جتميل ر�ؤيتي للحياة ...من خالل املر�أة”.
عندما تبد�أ بو�ضع �أفكارك على الورق ما الذي يتبادر �إىل ذهنك للوهلة الأوىل؟ هل تتخيل �إبداعاتك وهي على جنمة من جنوم ال�سينما يف حفل توزيع جوائز الأو�سكار �أم على �سيدة من عائلة حاكمة تقوم بزيارة دولة؟ ال �أت�صور �أبدا �صورة امر�أة وهي يف �شكل حمدد ،فيداي ت�سرت�شدان دون وعي مني بعواطفي التي تتغذى على الفنون واملو�سيقى. ف�أنا �أ�ستلهم من الأعمال املبهرة و امللهمة لـ "زها حديد" �أو منحوتات "رون �أراد" .ومن ثم يقودين الت�صميم �إىل الربط بني خمتلف املفاهيم املتناق�ضة كالقوة وال�ضعف ،والذكورة والأنوثة ،واخل�شونة والنعومة.
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Toby Hatem is one of his creations
B
efore Saudi designer and entrepreneur Hatem Al Akeel took the bold and daring step of creating Toby, the Khaleeji male had few options beyond the white thobe. Hatem has stepped up what started off as a hobby – experimenting with the form and design of the thobe, the light, long sleeved and ankle-reaching gown-like garment worn by the majority of Gulf men – and ended up with Toby, an East-meets-West line of modern and contemporary thobes and kandouras. But the creativity and innovation of Al Akeel has meant that this sea of white has been injected with the odd pop of lively color and contemporary design. Hatem, who spent his early years growing up between his Saudi Arabia (his home), Europe and the United States, first opened the doors to the contemporary and fresh interiors of his Toby boutique in the modern coastal city of Jeddah in 2007. The line’s beginnings all started when Hatem – who could easily be mistaken for a model himself with his sleek looks and well-honed physique – played around and experimented with thobes ‘just for fun’. Then his friends wanted some of his custom made thobes and soon, with the magic of word-of-mouth the hobby transitioned to a full-fledged fashion line. Toby is a variation of “Thoby” which means “my thobe” in Arabic. Hatem did away with the H to give it a western sound to symbolize the fusion concept – a concept which Hatem has been applauded for by two of the biggest names in the international fashion industry – designers Tom Ford and Jil Sander. In the three or so years since the birth of Toby, the response to the line and Hatem’s success has been tremendous. In his debut during Dubai Fashion Week in March 2008, the front row rewarded him with an almost deafening applause. Both Hatem and Toby have a legion of faithful clients, not just in the region, but stretching as far as the United States, Europe, South Africa and the Far East. International fashion stylist Derek Khan and Chinese actor Andy Wong are just a couple of high profile names spotted gracing the red carpet in original Toby designs. But how does the mastermind behind it all feel about his success? “It is an honor when people tell you that your designs are an eye opening introduction
Hatem Al Akeel Revolutionizing the thobe Toby by Hatem Al Akeel is a fashion line giving men new options when it comes to the traditional Khaleeji robe By Yousra Samir 62
talk to Middle Eastern culture, while simultaneously incorporating the East-West fusion that has made the world of fashion take note of the classic, elegant thobe and consider it an item to be include in their wardrobes,” he says. If you think about it, what Hatem has achieved is no mean feat. For men from the United States to consider the thobe a wearable item, the same region famous for its Hollywood portrayals of dark men wearing tent-like kandouras, cheap bishts, black ghutras and ridiculous fake beards to play the stereotype part of filthy rich Arabs, what Hatem has done is something quite extraordinary. Unfortunately not everyone has been as supportive of Toby thobes. A few have proclaimed that what he is doing is wrong, that the classic white thobe is an untouchable piece which should be left in its original form. They have also expressed dislike for the way Toby thobes are paired with Western accessories like sneakers, ties and sweaters - gasp! But Hatem is unfazed. “When one goes shopping, besides looking for articles of quality, doesn’t one also wish for variety and innovation? The answer is a pure and simple YES,” he explains. “Today’s modern gentleman does not want to wear the same style every day, everywhere he goes. He very rightfully demands and expects options, variety and new concepts.” Hatem is meeting a niche demand - while scores of Middle Eastern designers are challenging the concept of the black abaya and providing women with new options and ways to wear the robe, Hatem Al Akeel is the sole designer to provide options for the men. In his words, Toby allows you to become a “Tobyista fashionisto” (the male equivalent of a fashionista), that is, a fashionable thobe wearer. “The young Arab man from the Gulf is modern, sophisticated and fashion conscious and expects style, innovation and fine tailoring,” says Hatem. “I am a designer who loves the thobe. I want to share our beautiful
heritage internationally. It’s my duty every season to challenge myself and introduce new concepts on how the wonderful thobe can be translated into different languages and worn not only by Arab men and boys but by fashion forward males all over the globe!” There is certainly no lack of ideas. There is the Bohemian line which incorporates art house-inspired embroidery, such as Andy Warhol motifs, which have proved popular with European customers. Then there is the Sporty line, a popular line with younger customers, casual thobes with polo shirt collars and embroidered with football motifs and lucky number sevens. The trend line integrates the latest global trends into the thobe, perfect for fashion devotees. While the Professional line is a re-adaptation of the classic office shirt into the thobe, fit for the office and a board room meeting. Needles to say, the fabric is the best on offer -luxurious Italian cotton and Thai silk. And according to Hatem’s personal experience, when it comes to footwear, his thobes can be worn with anything, from loafers to classic brogues and from sneakers to the traditional madas or na’aal leather sandal. Toby by Hatem Al Akeel will also soon be available at Saks 5th Avenue in Dubai and Bahrain. Al Akeel counts the late and sorely missed British designer Alexander McQueen as his fashion icon, and the French shoe designer Christian Louboutin as a great friend and mentor. He also looks to Justin Timberlake and Sheikh Rashid bin Mohammed bin Rashid Al Maktoum for inspiration. With the ever growing Toby by Hatem Al success of Toby, Akeel is available at: Boutique One, Dubai there is little doubt Toby boutique, Prince Sultan Street, that one of his Jeddah muses will be New Toby boutique opening soon on sporting a Toby Rowdah Street, Jeddah Online at www.urtoby.com thobe soon!
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حول الكيفية التي ميكن �أن ُيرتجم بها الثوب العربي الرائع �إىل لغات خمتلفة ،حتى ال يرتديه فقط ال�شباب والرجال العرب ،ولكن كل ال�شباب وكل الرجال ولي�صري مو�ضة الأزياء يف جميع �أنحاء العامل!».
�أفالم هوليوود ،حيث يظهر الرجال ال�سود يرتدون الأحذية و�أ�شياء «توبي» من امل�صمم «حامت العقيل» ت�شبه اخليمة والب�شت الرخي�صة والغطرات ال�سوداء وي�ضعون اللحى املزيفة ال�سخيفة لإعطاء جزء من ال�صورة النمطية ال�سائدة عن العرب يتوافر يف العنوان التايل : املنغم�سني يف الرثاء الفاح�ش .لذا تعترب �أعمال حامت وما قام به هو بوتيك واحد ،Boutique Oneدبي �شيء ا�ستثنائي وغري معتاد عليه. بوتيك توبي ،Toby Boutique �شارع الأمري �سلطان ،جدة اخلروج عن امل�ألوف بالتنوع والإبداع بوتيك توبيToby Boutique للأ�سف ،مل يذهب اجلميع باجتاه ت�أييد الأثواب التي يقدمها م�رشوع «توبي» .فهناك عدد قليل من النا�س يعتربون �أن ما يفعله «حامت» اجلديد �سيتم افتتاحه قريبا هو هو خط�أ من وجهة نظرهم ،ويرون �أن الثوب الأبي�ض الكال�سيكي يف �شارع الرو�ضة ،جدة دمج اخلطوط العاملية قطعة ثابتة �أ�سا�سية ال يجب امل�سا�س بها وينبغي �أن ُترتك يف �شكلها �صفحة االنرتنتwww.urtoby.com : يف ثوب عربي الأ�صلي .ولقد �أعربت هذه الأ�صوات �أي�ضا عن كرهها للطريقة التي تقرتن بها مع «توبي» االك�س�سوارات وامللبو�سات الغربية مثل رابطات رغم وجود العديد من خطوط املو�ضة العاملية مثل اخلط البوهيمي الذي يت�ضمن التطريز امل�ستوحي من الفن ،مثل الزخارف التي يقدمها العنق والأحذية الريا�ضية وال�سويرتات .لكن هذا الكالم ال يزعجه �آندي وارهول ،lohraW ydnAذات ال�شعبية الوا�سعة مع العمالء فيقول« :عندما يذهب املرء للت�سوق ،ف�إنه بالإ�ضافة �إىل البحث عن املواد ذات اجلودة� ،سي�س�أل نف�سه� :أال �أرغب �أي�ضا يف العثور على �شيء الأوروبيني .واخلط الريا�ضي ،وهو اخلط ال�شعبي الذي يتوافق مع الزبائن الأ�صغر �سناً ،والثياب العادية مع ياقات قمي�ص البولو من التنوع واالبتكار؟ �إن اجلواب هو بب�ساطة وو�ضوح :نعم� ..أريد املطرز بزخارف �سباعيات ،اال ان خط اجتاه املو�ضة لدى «حامت» ذلك!». خمتلف فهو يدمج �أحدث االجتاهات العاملية يف �أثوابه التي يقدمها، وي�ضيف حامت قائالً�« :إن الرجل احلديث اىلوم ال يريد ارتداء نف�س مما مي ّثل قمة الكمال ملحبي الأزياء وع�شاقها .ويف ذات الوقت ،يظل حمق النمط من املالب�س يف كل يوم ،ويف كل مكان يذهب �إليه ،وهو ّ يف البحث عن غايات ومطالب جديدة وتوقع خيارات خمتلفة وال�سعي اخلط الر�سمي لدى حامت قائم ًا يظهر يف �إعادة تكييف قمي�ص املكتب الكال�سيكي ب�إطار الثوب العربي ،ب�شكل يجعله الئق ًا الرتدائه يف �إىل التنوع و�إيجاد ر�ؤى جديدة». املكتب �أو يف قاعة اجتماعات �أو ملجل�س الإدارة .وال حاجة للقول ثوب عربي بلغات خمتلفة هنا �أن القما�ش �أو الن�سيج الذي ي�ستخدمه حامت يف «توبي» هو �أف�ضل ي�سعى الع�رشات من امل�صممني يف منطقة ال�رشق الأو�سط بت�صميم ما يوجد يف ال�سوق على الإطالق .في�ستخدم اخلامة االيطالية الفاخرة ا�شكال جديدة من العباءة ال�سوداء للن�ساء ،حماولني توفري خيارات من القطن مع احلرير التايالندي. جديدة لهن ،ف�إن «حامت العقيل» يعترب امل�صمم الوحيد الذي تتميز �أثواب حامت ب�إمكانية ارتدا�ؤها وتوافقها مع �أي �شيء من ي�سعى لتوفري خيارات للرجال يف هذا الإطار .ويف كلماته يقول: الأحذية اخلفيفة �إيل البوجي�س seugorbالكال�سيكية او الأحذية الريا�ضية وكذلك «املدا�س» التقليدي �أو «النعل» �أو �أي �صندل من «�إن «توبي» ي�سمح لك �أن ت�صبح توبي�ستا فا�شيوني�ستو atsiyboT اجللد. ( otsinoihsafمرتدي ع�رصي ملو�ضة الثوب) �أي ما يعادل مفهوم و�ست�صبح جمموعة «توبي» التي يقدمها «حامت العقيل» متوفرة قريبا الفا�شيون�ستا atsinoihsafعند الن�ساء” .ويقول حامت �أن “ال�شاب العربي يف اخلليج هو �شاب حديث ومتطور فيتحرك ويت�رصف بطريقة يف �ساك�س skaSيف الفيفث �آفينيو يف دبي والبحرين. ويعترب العقيل �أن ا مل�صمم الربيطاين «�ألك�سندر ماكوين» قدوة يف واعية بالأمناط واملو�ضات ،وهو يتوقع وينتظر �أن نقدم له املو�ضة الت�صميم ،وم�صمم الأحذية الفرن�سي كري�ستيان لوبوتان �صديقا واالبتكار والتف�صيلة الدقيقة املميزة ملالب�سه» .م�ضيفاً�« :أنا م�صمم يحب الثوب� .أريد �أن انقل للعامل تراثنا اجلميل و�أجعله عاملياً� .إن من ومعلم ًا � .أما جو�ستني تيمربليك وال�شيخ را�شد بن حممد بن را�شد �آل مكتوم فهما م�صادر للإلهام. واجبي يف كل مو�سم �أن �أحتدى نف�سي و�أقوم ب�إدخال مفاهيم جديدة 64
(توبي) �أحد ت�صميمات امل�صمم حامت العقيل اجلريئة
قبل
�أن يقوم امل�صمم ال�سعودي ورجل الأعمال «حامت العقيل» باتخاذ تلك اخلطوة اجلريئة والقوية لطرح ت�صميمات «توبي» اخلا�صة به ،كان لدى الرجل اخلليجي خيارات حمدودة وحمددة بخالف الثوب �صعد «حامت» الأبي�ض التقليدي املعروف .وعندها ّ �إىل م�ستوى عال من االحرتاف خمتلف واالبتكار يف �شكل وت�صميم الثوب ،والتعامل مع النوع اخلفيف طويل الأكمام الذي ي�صل �إيل كاحل القدم ،ذلك «الثوب» الذي يرتديه غالبية الرجال يف اخلليج و�صو ًال ملجموعة «توبي» التي جتمع بني ال�رشق والغرب يف خط جتتمع فيه مزايا الأثواب احلديثة واملعا�رصة مع الأحذية امل�صاحبة لها .هذا الطرح اجلديد الذي يقدمه «العقيل» يعني �أن الإبداع واالبتكار ميكنه �أن يطعم هذا املوروث الأبي�ض من قما�ش الثوب اخلليجي ببع�ض مل�سات البوب الغريب واحلديث ذو اللون احلي والت�صميم املعا�رص. �أم�ضى حامت �سنواته الأوىل نا�شئ ًا و�سط الرتحال ما بني اململكة العربية ال�سعودية (بلده الأ�صلي) و�أوروبا والواليات املتحدة ،فهو من �أول من افتتح الأبواب �أمام التيار املعا�رص واجلديد يف بوتيك «توبي» مبدينة جدة ال�ساحلية عام 2007التي مثلت التعرف عليه وتظن �أنه موديل نقطة انطالق امل�صمم «حامت» الذي ميكن �أن تخطئ يف ّ �أو عار�ض للأزياء نظراً ملظهره الأنيق ولياقته البدنية. حتول حامت من التالعب بالثوب والتجريب بدافع «املتعة والهواية « �إىل االحرتاف وتقدمي خط �أزياء كامل بعد �أن طلب بع�ض �أ�صدقائه تف�صيل ثوب خا�ص على ذوقه اخلا�ص. وتوبي هو اللفظ العامي ال�سعودي واخلليجي لكلمة «ثوبي» فلم يذهب حامت بعيدا ،بل اجته لإعطاء الكلمة �صوتها اخلا�ص لتكون قريبة من اللهجة العامة طبق ًا لر�ؤيته. ح�صل حامت على �شهادة ثناء عاملية من اثنان من �أكرب الأ�سماء يف �صناعة الأزياء يف العامل هما امل�صممان «توم فورد» و«جيل �ساندر». ومنذ والدة م�رشوع «توبي» حظى على النجاح والتقدم ب�صورة هائلة .ويف �أول ظهور له خالل �أ�سبوع املو�ضة بدبي يف مار�س ،2008قدم له اجلال�سون بال�صف الأمامي مكاف�أته بت�صفيق يكاد ي�سد الآذان .و�أ�صبح حلامت و«توبي» ح�شد غفري من العمالء والزبائن الدائمني ،لي�س فقط يف منطقة اخلليج ،ولكن امتد عمالئه �إىل الواليات املتحدة و�أوروبا حتى جنوب �أفريقيا وال�رشق الأق�صى .ومن عمالئه م�صمم الأزياء العاملي ديريك خان ،واملمثل ال�صيني �آندي وونغ كبع�ض من �أ�سماء بارزة و�ضعت ال�سجادة احلمراء يف طريق ت�صاميم «توبي» الأ�صلية.
ثوبي ر�ؤية عاملية للثوب العربي
يقول حامت� « :إنه ل�رشف عندما يقول يل النا�س �أن ت�صميماتك اخلا�صة مهدت لفتح العيون على ثقافة منطقة ال�رشق الأو�سط ،فت�صميماتي متثل االندماج بني ال�رشق والغرب ،وجعلت الثوب العربي الكال�سيكي والأنيق جزءاً من املو�ضة العاملية يود النا�س يف كل مكان �أن يقتنوه». �إن ما حققه «حامت» لي�س عمال عاديا� ،إذ �إنك عندما جتعل الرجال من الواليات تصميمات «توبي» (ثوبي) التي يقدمها «حاتم العقيل» عبارة عن خط املتحدة يتجهون للنظر �إىل «الثوب» على �أنه عن�رص أزياء للرجال يعطي خيارات جديدة عندما يتعلق األمر بالرداء الخليجي ميكن ارتدا�ؤه ،مما مي ّثل حتو ًال هائ ًال بالن�سبة لتلك ّ التقليدي .تقرير كتبتهُ :يسرا سمير املنطقة ال�شهرية يف ت�صوير
حاتم العقيل والثورة في «الثوب» الخليجي
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The New York Times Style Magazine
PHOToGRAPH BY Andrew Bettles. Fashion editor: Ethel Park. Model: Angele.
WOMEN’S FASHION SPRING 2011
letter perfect DRESS by Marios Schwab
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The Real Housewife of Paris Just because she’s a whirlwind of glamour and work doesn’t mean Salma Hayek won’t cook dinner. Au contraire. The wife of PPR’s FrançoisHenri Pinault is every bit the little woman. text by Gaby Wood photographs by Cass Bird fashion editor: Vanessa traina.
menu planning the actress salma hayek in a gucci dress, QR8,395. go to gucci.com. sergio rossi cuff, QR2,519.
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alma Hayek is getting down
to business. She has just arrived at our photo shoot in Paris, makeupfree, hair bundled up into a Rasta-like knitted cap, and now she’s sitting next to the photographer on the couch, going through pictures they’re using as reference points. The Xeroxed photos are provocatively sexy — Romy Schneider looking pained and delirious, Catherine Deneuve pulling her camisole down for Helmut Newton, a bare-bottomed model leaning over a fur coat on a balcony — but this seems to bother Hayek not at all. She examines them almost as if she were the producer of the shoot rather than the subject. There is (as is customary) a slight nervousness in the room about what she will turn out to be like to work with, what she will or won’t agree to. First of all, she apologizes: most of these images are of women with cigarettes dangling from their lips, but she has a rule about not smoking in pictures. Fine; a lit match is decided upon instead. With all eyes on her, she continues to leaf through until she gets to the naked backside. She stops, and briskly slaps the pile of pictures down on her lap. ‘‘O.K.,’’ she says, keeping an entirely straight face, ‘‘what I can do is put a cigarette in my ass. I don’t think that sets a bad example, do you?’’ Inevitably, everyone is in stitches, and it’s apparent straightaway that this is Hayek’s gift: she’s funny and rude and can win over all manner of people in record time. Sometimes her laughter, which comes easily, is low and breathy, like a throwback to girlhood, and yet her speech has a grown-up, rugged quality to it, a combination of warmth and skepticism that draws you in quickly — as if to say, before anything is even in question: You and me, we’re not going to fall for any bull, are we? A few arrondissements away is a place she now calls home. Hayek has devoted herself with extreme focus to what amounts to several careers: Mexican soap star, Hollywood movie star, producer, Oscar nominee,
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red-carpet glamazon, outspoken activist. Yet by far the most significant roles in her life are not even on that list: the role of wife to FrançoisHenri Pinault, C.E.O. of the luxury conglomerate PPR, and mother to their 3-year-old daughter, Valentina. Two years ago, Hayek and Pinault got married — twice. Once privately, on Valentine’s Day, and then later in Venice, in a lavish, star-studded ceremony for which she wore a Grace Kelly-esque dress designed by Nicolas Ghesquière. But things had been quite publicly un-straightforward between them before that. The couple lived on two different continents, they had a child, they were engaged and then the engagement was called off. ‘‘I can’t tell you about that in detail,’’ she says when I ask her. She is in the bathroom at the shoot, having her hair done. ‘‘All I can tell you is that it worked for the best, because . . . we never fight. The only time we had a problem was during this period of time. We separated, and then — this happens a lot — when you get back together, you do it completely sure that this is what you want, and completely in appreciation of what you have. So in our case, it was the best thing that could have happened to us, as much as it was painful.’’ The pair met five years ago, in circumstances she prefers to keep to herself, and, she says, he proposed early. ‘‘We kept it a secret. Because it was like: how are we gonna do it? The first thing I panicked about was moving. I got scared. I said: ‘I’m not moving to Paris to be a housewife.’ And he said: ‘fine, we’ll be different.’ It’s sort of exciting to have a different kind of marriage.’’ Hayek shifts into a gravelly voice. ‘‘He knew I was going to end up here, but he said the right thing! Before I knew it I was spending most of my time here, and I love it.’’ Nevertheless, I suggest, she has hardly just moved to Paris and become a housewife. There’s a pause. Hayek turns to me with quiet indignation. ‘‘No, you’re wrong,’’ she says. ‘‘I am a housewife. Do you cook every night for your husband? I do. I am most definitely a housewife. And a good one, I must say!’’ Pinault, she explains, doesn’t like to have a lot of people in the house. ‘‘He’s very low key. Our life is great and glamorous in many ways, and in many ways — in the good ways — it’s very homey.’’ I ask, rather naïvely, if she feels she’s left her wild days behind, and I get one of her signature raised eyebrows by way of reply. ‘‘Define ‘wild,’ ’’ she says. A bit of background: their New Year was spent in St. Barths, finally accepting an oft-repeated invitation from their good friend the venture capitalist Vivi Nevo to come and stay. The three of them went, spent the evening with Valentina (Hayek showed me pictures Valentina took on Hayek’s iPhone of Pinault with Hayek in her pajamas), then hit the parties: Roman Abramovich’s, Paul Allen’s. They hung out with her good friends Demi Moore and Ashton Kutcher. ‘‘It was crazy,’’ she says, ‘‘so many people, so many parties. I’m so glad we did it, but I like to relax. Next holiday it’s back to the private beach.’’ Though low key, Pinault does expect three courses at dinner. Hayek rolls her eyes. ‘‘He’s a spoilt brat, my husband, when it comes to food.’’ Every other week, she cooks for his two kids from a previous marriage, who are 13 and nearly 9; often they bring friends, and their weekend home outside Paris — a family chateau with a world-class art collection, though of course she doesn’t call it that — is full of cousins. ‘‘I love it when the other kids are in the house,’’ she says. ‘‘Sometimes it’s like: wait a minute, how many kids are eating here today? 12? O.K. . . .’’ Possibly as part of her new, self-imposed marital duties, Hayek has begun to appear in the front row of shows whose designers work for
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some days I say: ‘o.k., I’m not that good at any of this and today I’m on strike. deal with it, guys.’ PPR: she wears Stella McCartney at Stella McCartney, YSL at YSL, Balenciaga at Balenciaga, and so on. This apparent ambassadorship has been much remarked upon, but Hayek says she doesn’t feel she has to be the group’s spokeswoman at all. She simply hates to shop, and knowing the designers makes life a whole lot easier. ‘‘Let’s be honest, they’re great clothes,’’ she says. ‘‘And for events, if you have McQueen, Balenciaga, Stella McCartney, YSL, Bottega Veneta — and you have relationships with the designers, of course I do it. But if I didn’t like the clothes, you would not catch me dead in them.’’ Essentially, Hayek has married the world’s best wardrobe. It’s safe to say that it’s been some time since she woke up and thought, I have nothing to wear. Still, dressing for the man who owns that wardrobe presents some problems: ‘‘I want to come down the stairs and have him go, ‘Wow,’ and not, ‘Oh yeah, I saw that in the office.’ Or: ‘It looked better on the model.’ ’’ So she mixes things up. She likes Lanvin and Giambattista Valli; she thinks Roland Mouret is great for curvy women, and she adores Alaïa, ‘‘who, by the way, spoils me to death — François sometimes gets jealous, except that he loves me in his clothes too!’’ Once upon a time, Salma Hayek was flat-chested. I suppose that’s true of everyone, but she claims to have been a late developer. A few years ago she told David Letterman that as a preteen she had gone into a church with her mother, dipped her hands in holy water, crossed them over her chest and prayed for breasts. ‘‘And,’’ she concluded innocently, ‘‘he gave them to me.’’ She hasn’t tended to hide those assets since, yet they’re not typical of the runways. It’s the reason why she likes designers like Alaïa, who ‘‘understand a woman’s body.’’ Stella McCartney, who first dressed Hayek long before she and Pinault became an item, clearly recalls the initial encounter in Hayek’s hotel. ‘‘We had a bit of a challenge, as Salma needs quite a bit of structure in her clothes,’’ she tells me, ‘‘and she knows exactly what she wants and needs, which is a delight and quite rare. The first thing that struck me was her personality — she had such strength, she seemed like such a contained lady physically, yet so expressive and full of energy!’’ Nicolas Ghesquière characterizes her as ‘‘an imaginative partner,’’ and remembers that when he was designing her wedding dress, Hayek came ‘‘with her own ideas, but at the same time dared to receive new ideas.’’ Hayek has taken on the project of impressing Pinault, a man who she says has a ‘‘magnificent eye,’’ as fixedly as she has dedicated herself to other pursuits. ‘‘Having someone who appreciates fashion makes you excited about getting dressed,’’ she says. ‘‘I think that if I was with someone else I wouldn’t enjoy it as much. It’s a challenge.’’ She smiles mischievously. ‘‘You have to be good. And I don’t like to have a stylist. Because if he likes it, I want him to be proud of me and not think, The stylist did a good job. That’s not sexy!’’ Toward the end of the shoot, Valentina is dropped off by her nanny. All day, Hayek has been telling stories about how her daughter has a going horizontal bottega veneta jumpsuit, QR4,672. bottegaveneta is situated at the Villaggio mall.
mind of her own, giving the impression that she has bred a miniature iconoclast, and it seems only fitting that she should have. Despite the disorienting atmosphere of large-scale lighting equipment and miscellaneous strangers, Valentina — who speaks Spanish, French and English (because English is the language her parents speak to each other in) — settles into a chair opposite her mother and pulls each of Hayek’s toes. ‘‘It popped!’’ she cries gleefully when one of them clicks. Hayek changes into her last outfit of the day — a black McQueen pantsuit with a short skirt attached and a lace body. ‘‘I’m so glad you came,’’ she tells Valentina in Spanish as she puts on the clothes. ‘‘I was beginning to miss you. I’ve been thinking of you all day. Have you been thinking of me?’’ Valentina considers this. ‘‘No,’’ she says amiably. ‘‘But I did think of you when I was falling asleep.’’ A few days later we meet f o r c o ffee in the C af é
de Flore on Boulevard Saint-Germain. The philosopher Bernard-Henri Lévy is pontificating in a corner by the door. Hayek enters discreetly — her 5-foot-2 frame must occasionally come in handy — in a bottle green Balenciaga sweater, black jeans and black boots. Her hair is combed back in a loose braid and she wears gold earrings that hoop round in an interrupted swirl. Although she keeps a house in Los Angeles, she’s barely there anymore. She spends at least six months of the year in Paris, and another four accompanying her husband on business trips. She takes Valentina everywhere, and reasons that home is wherever your family is. The arrangement does mean that although she is in talks to star in a Hollywood comedy, she mostly looks for work that keeps her close by. And so she is making more films in Europe. Right now, she’s shooting one in Paris, and there’s another shoot coming up in Spain later this year. ‘‘There’s something very romantic about doing independent films,’’ she reflects, ‘‘about doing a little movie with a little trailer and little time and little money, but sometimes not such little subject matters.’’ If there are no second acts in American lives, evidently there are at least 10 in the lives of Mexicans who are half-Lebanese. It’s almost dizzying to think back: having studied international relations, Hayek became the eponymous star of a popular Mexican soap opera, then threw in that particular towel in order to start all over again in Hollywood. She became Robert Rodriguez’s semiclad protégée, and the curvaceous half of a celebrity couple when she dated Edward Norton. She then produced and starred in ‘‘Frida,’’ pulling off a passionate project of hers that many had failed at. She went on to produce the TV series ‘‘Ugly Betty,’’ and now has a production deal with ABC to make the small screen version of ‘‘Wicked.’’ Oh, and she’s putting together an animated film of Kahlil Gibran’s global best seller ‘‘The Prophet.’’ ‘‘It’s exhausting!’’ she sighs. ‘‘It’s exhausting to be a woman in the 21st century.’’ Well, what advice does she have to offer? ‘‘Nothing. I want someone to give me advice. I just take it one day at a time. And some days I say: ‘O.K., I’m not that good at any of this and today I’m on strike. Deal with it, guys.’ ’’ Hayek does, however, have one womankind-saving trick up her sleeve. Next year, she’ll unveil her own beauty line, Nuance. It’s been a 73
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I don’t like to have a stylist. I want my husband to be proud of me and not think, the stylist did a good job. that’s not sexy! secret project for six or seven years, and, she says, this is the first time she’s spoken about it. ‘‘I always wanted to do this,’’ Hayek says, ‘‘because my grandmother, who was a beauty, she died at 96 with no wrinkles. And you should see my mother! We have some family secrets. . . . Have you heard of tepezcohuite?’’ A brief pause to supply information about your humble reporter. My mother is Mexican too, and I have spent my life laughing every time she suggested one of these remedies, invariably some kind of cactus or tree bark with a complicated Aztec name, or, memorably, using a particular seashell to make freckles evaporate. But of course now even I use tepezcohuite to heal burns — because it really does work — and it’s my children’s turn to laugh at me. So it’s somewhat surreal to be sitting opposite a movie star in the Café de Flore in Paris, listening to her tell me about things that take me back to my Mexican childhood, and even prompting her on what the next ingredient in the battle for healthy hair or wrinkle prevention might be. ‘‘You know how if you burn the stone of the mamey fruit and rub it on your eyelashes it makes them grow?’’ Hayek says. I nod. Are you using concha nacar? I ask. ‘‘Concha nacar — of course! As a lightening cream — that’s our next step.’’ She leans across the table in conspiratorial excitement: ‘‘And we’re not even claiming some of the things I know this stuff can do!’’ The logical leap Hayek has made is that if, for instance, tepezcohuite regenerates skin so fast that it’s used in hospital burn units, why isn’t it used in moisturizer? All the secrets passed down from her grandmother involve ingredients that are natural, cheap and readily available in Mexico. The whole project says a good deal about her character: First, take zany-sounding, family-heirloom beauty tips. Then put in a lot of research work over several years. And finally, reject any ingredient that raises the price point too high. Hayek could have produced the most exclusive range imaginable — a whole new PPR brand to herself, say — but she wanted the most democratic, so the company she chose to team up with is the American drugstore chain CVS. A couple of years ago, Hayek made headlines by breastfeeding a baby in Sierra Leone, live on TV. She has long been something of a crusader, running through city streets in a wedding dress to campaign against domestic violence, for instance, and I ask her if motherhood has led her to concentrate on child-related issues. ‘‘No,’’ she replies. ‘‘To be very honest, since I’ve been a mother I’ve done a lot less, because I have too much going on. Maybe they’re more public things, but I’ve done them my whole life. You cannot imagine the things I’ve done. But a lot of the work was real work, not necessarily trying to promote awareness. So, just volunteering, for example. It means sometimes you . . . you really want to know? You’re cleaning people who are dying from dysentery. Work no one wants to do.’’ To some extent her sense of empathy comes from the fact that — as she puts it with a tiny laugh — ‘‘I’ve always been a little bit different.’’ For one thing, as a Mexican in the United States, she’s often been subject to racist remarks, but, she suggests, ‘‘it’s never hurt me. It makes me feel a little bit embarrassed for the person — like: Whoa, you’re stupid!
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But yes,’’ she concedes, ‘‘a lot of times I didn’t get movies because of my accent, or because I’m Mexican. Many times the idiots are in power. What are you gonna do?’’ I t ’ s time t o pick up Valentina fr o m nursery. H ayek’ s
driver helps us into her S.U.V. and takes us a few blocks away, where we watch Valentina playing with her ‘‘boyfriend,’’ a boy called Cruz who has lived in Argentina most of his life. They squeal with excitement as Hayek chats with Cruz’s mother, Cecile. At a certain moment the question of whether it’s too late to have more children crops up. Hayek tells Cecile that she’s 44. Cecile is floored. She looks at me. I knew she was 44, I say, but that’s because I’m writing an article about her. It’s true: she has the skin of a 25-year-old. Cecile remains confused. ‘‘So you must not drink wine?’’ she suggests. Hayek gives her an are-you-crazy look. ‘‘Chica,’’ she says, ‘‘I didn’t marry a Frenchman for nothing!’’ Now that we’re all in the car and they’re on their way home, Hayek invites me in, mainly to take a look at her mother, who is visiting. We stop at a wall not far from the Seine, and two vast doors in it open electronically. Behind them is a courtyard, from which the house, which is palatial, looks rather modest and unassuming. Inside, its 19th-century bones are decorated with sleek 20th-century furniture. Hayek’s mother comes down the stairs, wearing a traditional Mexican huipil. Her skin is indeed inhumanly beautiful. The dogs — Elvis and Lolita, the latter named by Valentina and given to her by their friend Johnny Hallyday — jump all over us, and above the kerfuffle Hayek and her mother debate timings for dinner (tonight’s menu: pata negra to start. Huachinango a la Veracruzana. Rice, tomato salad): François will be home at 7:30, earlier than Mondays, when he plays tennis, or last night, when he’d been in Geneva. Valentina is breathily squealing snippets of an aria her grandmother — who used to be an opera singer — taught her that morning. It’s a perfect picture of what Hayek described: the way you build and bring your home with you, wherever you are in the world. Mere geography can’t really explain it; in true Latin American fashion, it’s more magical or symbolic than that. ‘‘You know, it’s funny,’’ Hayek reflects, ‘‘when I was doing ‘Frida,’ we had to double Mexico for Paris, and now I’m doing this French movie and the other day we had to double Paris for Mexico.’’ Overall, she says she doesn’t feel like a fish out of water very much. Then she throws me one of her sly smiles and says in that make-no-mistake tone of voice: ‘‘I’m makin’ my own water.’’ n
mommy track hayek with her daughter, valentina. alexander m c queen top and pants, price on request. alexandermcqueen store is at the Pearl Qatar. Fashion assistant: Guillaume Harrison. hair by Laurent Philippon for Bumble and Bumble. makeup by mary-jane frost at the wall group. manicure by Christina Conrad for Callisté using M.A.C. cosmetics.
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trends
Distressed signals . . . surf shorts . . . denim light.
gangs of new york fashion warriors come out to play.
Photographs by Matthew Brookes. Fashion editors: Bruce Pask and jason rider.
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uniformly cool the staff at café gitane in the jane hotel gets horizontal. on nick perrotta: kenzo by antonio marras jacket, about $1,600, and t-shirt, about $425. go to kenzo.com. gilded age jeans, $228. At Atrium. on justin james hampton: nigel cabourn jacket, $900, and shirt, $600. Go to cabourn. com. kenzo by Antonio Marras pants, about $410. on michael laidley: junya watanabe Man comme des garçons jacket, $1,330. penny stock tank top, $38. At American Rag. go to amrag.com. kenzo by Antonio Marras pants, about $410. on andrew baumgartner: kenzo by Antonio Marras t-shirt, about $410. trussardi 1911 tank top, $310. Go to trussardi1911.com. n. hoolywood jeans, price on request. go to n-hoolywood.com. agnès b. hat, $75. go to agnesb.com.
board shorts surfers
surfer duds outside mollusk surf shop in williamsburg, brooklyn, with the store’s friends and family. from left: on johnny knapp: penny stock sweatshirt, QR358. burkman bros. tank top, Qr347. Go to barneys.com. brioni trunks, QR1,643. go to brioni.com. havaianas shoes, QR139. go to us.havaianas.com. tom ford bracelet, QR21,535. on tyler healy: guess shirt, QR252. go to guess.com. burkman bros. tank top, qr292. Go to bergdorf goodman.com. orlebar brown trunks,qr785. go to orlebarbrown.com. MISSONI FOR CONVERSE CHUCK TAYlor all star shoes, qr767. on ty williams: burkman bros. shirt, qr577. sundek by neil barrett trunks,qr639. go to bloomingdales.com. band of outsiders for sperry top-sider shoes,
qr712. Go to bandof outsiders.com. on connor brogan: missoni vest,QR2,373. perry ellis trunks, qr183. go to perryellis.com. generic surplus shoes, qr219 go to thegenericman.com. on joe falcone: sunny sports shirt, qr730. go to openingceremony.us. original penguin trunks, qr237. go to original penguin.com. maians shoes, qr475. go to maians.es. gucci necklace, qr6534. go to guccitimeless.com. tateossian leather bracelets, qr949 and qr548. go to tateossian. com. topman wood bracelet, price on request. go to topman. com. on zack see: riviera club shirt, qr621. Go to openingceremony.us. alexander wang tank top, QR17,885. go to alexanderwang.com. diesel trunks, QR365. go to diesel.com. miansai bracelet, QR602. go to miansai.com. generic surplus shoes, 263.
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trends
chambray set designers
workingman’s blues Three with great eye, hand and wardrobe coordination. on steven vega: sunny sports jacket, QR1,059. go to openingceremony. us. burkman bros. shirt, QR694. go to odinnewyork .com. band of outsiders pants, QR1,186. go to bandofoutsiders.com. on david flinn: gap jacket and vest. go to gap.com for similar pieces. penny stock shirt, QR263. At American Rag. go to amrag.com. closed pants, qr690. go to closed.com. the hill-side tie, qr303. go to hickorees.com. marc jacobs belt,qr1077. go to marcjacobs.com. on paul dally: loden dager shirt, qr1,169. go to lodendager.com. nigel cabourn pants with suspenders, qr2,190. Go to cabourn.com. vintage scarf from mister freedom. esquivel boots, qr3,285. go to esquivelshoes.com.
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old but new barbers
Barbershop quartet The clothes may be distressed, preworn and patched, but they’ve got harmony. on jeff laub, co-owner of the blind barber: neil barrett jacket, about $1,000. go to bergdorf goodman.com. rag & bone shirt, qr712. go to barneys.com. nicolas andreas taralis pants, qr1,445. go to nicolasandreas taralis.com. brunello cucinelli pocket square, qr438. o’keeffe shoes, about qr2,208. go to hostem.co.uk. on tim nolan, stylist at tommy guns Salon: puredkny jacket, qr1,551. kris van assche shirt, about qr1,132. go to krisvan assche.com. grown & sewn pants, qr1,259. go to grownandsewn.com. santoni shoes, qr2,227.
go to santonishoes. com. on david ball, freelance barber: Diesel black gold jacket, qr2,555, and shirt, qr1,168. dockers pants, qr347. Go to dockers.com. vintage belt from j. crew. esquivel shoes, qr2,920. go to esquivelshoes. com. on rich bresson, barber at frank’s chop shop: dries van noten sweater, qr1,953, go to bergdorf goodman.com. guess shirt, qr288. levi’s xx jeans, price on request. Go to levisxx.com. church’s shoes, qr4,143. fashion assistants: jennifer correa, alexa lanza and laura randaccio. grooming by souhi at de facto using redken for men. production: the custom family.
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timely
Shilpa Ray
Good Time Girl
The harmonium’s undulating sound is mostly associated with the music of the Indian subcontinent, and less so with rock ’n’ roll. Except, that is, when it’s in the hands of Shilpa Ray, a first-generation American of Indian descent. Since escaping her conservative parents (her father banned Western music in their home) and moving to New York about nine years ago, she has hauled the unusual instrument to gigs to accompany her honey-toned wail of a voice. The sound is Patti Smith meets Nick Cave, both of whom she’s played with. And with a big tour (with her band, Her Happy Hookers) kicking off in March, there’s plenty of hard-core bellows-pumping ahead. 80
P H O T O G R A P H B Y C amer o n K r o ne . fashi o n edit o r : vanessa traina .
Tao comme des garçons skirt, $960. call (212) 604-9200. acne jeans, $230. go to acneSTUDIOS.com. the elder statesman hat, $400. go to barneys.com. chanel necklace, $2,450. call (800) 550-0005. manolo blahnik shoes, $575. call (212) 582-3007. fashion assistant: claudia codron. hair by Enrico Mariotti at See Management. MAKEUP BY BEAU M. NELSON at THE WALL GROUP/BEAUTE COSMETICS.
B Y j a c ob b r ow n