Model Imaan Hammam walks for Ralph Lauren in New York
Updated 30 April 2024
DUBAI: Dutch Moroccan Egyptian model Imaan Hammam hit the runway in New York City on Monday at the Ralph Lauren Fall/Holiday 2024 show.
Hammam graced the catwalk in a soft, ethereal button-down silk dress in a radiant metallic cream hue. Her ensemble also featured a beige cardigan that was buttoned at the center.
Completing her look, a matching purse was draped over her shoulder and she flaunted shoulder-grazing dangling earrings.
The show, which was minimal in Ralph Lauren terms, was inspired by Lauren’s first women’s fashion show in 1972, where he displayed his wares to editors and friends in his own office.
In front of a typically starry front row that included actors Glenn Close, Jessica Chastain, Kerry Washington, Rebecca Hall and Jodie Turner-Smith, Lauren opened his show on a note of timelessness — his longtime ethos — with the appearance of muse and supermodel Christy Turlington, now 55, in a sleek beige wool coat.
The collection featured a series of designs in soothing neutral tones — tans, browns, grays, black and metallics. The soft palette characterized both daytime garments like tailored jackets and sweaters with trousers, and evening wear like slinky, sequined gowns. There were roomy sweaters, lots of boots and wide leather belts with “RL” buckles.
There were Lauren’s familiar Western accents, like long fringes on coats and jacket sleeves. And especially the occasional cowboy hat, which accompanied not only casual ensembles but, to close out the show with a memorable look, a backless gown dress in sparkly gold.
Lauren, 84, appeared briefly at the end, in well-worn jeans, to cheers from the crowd.
Close wore a white Lauren pantsuit. “This is a very, very special suit,” the actor said at the event. “It was made especially for me. Custom. Five years ago. I won a SAG award in it. So here I am. It looks just as beautiful. It’s a shame to wear something like this only once.”
Close added that growing up in New England, “the mentality was, you buy something that has great quality and then you wear it until it wears out. That’s how I was brought up.”
Georgina Rodriguez steals the spotlight at Dubai event
Updated 28 December 2024
Arab News
DUBAI: Argentine model Georgina Rodriguez made a head-turning appearance this week at the Globe Soccer Dubai Awards 2024, held as part of the Dubai International Sports Conference 2024.
She attended the event alongside her longtime partner, Cristiano Ronaldo, who was honored with two awards: Best Middle East Player 2024 and All-Time Top Goal Scorer.
Rodriguez turned heads in a fitted black dress featuring a sweetheart neckline and lace-detailed sleeves. She completed her look with black pointed-toe heels and carried a matching black purse.
The couple was joined by Ronaldo’s eldest son, Cristiano Jr., making it a family affair at one of the year’s most celebrated sports events.
Upon accepting the award, Ronaldo, who plays for Saudi Arabia’s Al-Nassr FC, expressed his gratitude on stage, saying: “For me, it is a big pleasure to win this trophy. It is very different than the other ones. It is a pleasure to be in this gala. (There are) a lot of champions here, young generations and old generations.”
He continued: “I have to say thank you to my own family, my kids. They are all here in Dubai. My oldest son is there. My wife is here. She’s my lovely support all the time to carry on to play. In one month I’m gonna be 40 years old but I’m not finished yet. I will continue because I want to win titles, I want to be a champion.”
After the event, Ronaldo shared pictures with his 646 million Instagram followers, captioning the post: “A great way to end the year. Thank you to my teammates, staff, to everyone who has supported me along the way, and especially to my family. There is still more to come.”
The couple were later spotted at Nobu Dubai in Atlantis the Palm, where there was also Brazilian football player Neymar and former Italian footballer Alessandro Del Piero.
The couple shared glimpses of their activities on Instagram, including an in-house dinner with their children, sledding adventures, ice baths and more, giving fans a peek into their holiday moments.
Mohammed Al-Saleem: Saudi Arabia’s best-selling artist dominates art auctions
Al-Saleem’s works fetched the highest prices for Saudi artists at both Christies and Sotheby’s this year
Updated 28 December 2024
Adam Grundey
DUBAI: The late Mohammed Al-Saleem was once again the Kingdom’s stand-out performer at art auctions this year, topping the price list for a single work by a Saudi artist at both Christie’s and Sotheby’s.
He didn’t quite match the record-breaking levels of the 1986 piece sold by Sotheby’s last year, which made him the first Saudi artist in history to fetch more than $1 million for an auctioned work, but this year Al-Saleem’s 1990 work “Bi nur al-iman, nara al-s'adah” (In the light of faith, we see happiness) realized well over twice its highest estimated price for Christie’s, eventually selling for £630,000 (around $788,285), while, at Sotheby’s, an untitled Al-Saleem piece from 1960 went for £84,000.
Seen together, the two pieces clearly demonstrate Al-Saleem’s evolution as an artist over the three decades separating the pieces. But the earlier piece also shows just how well-defined Al-Saleem’s aesthetic sense was even at the start of his artistic journey.
Mohammed Al Saleem, 'Untitled,' 1960. (Supplied)
As Sotheby’s head of sale for 20th Century Art/Middle East, Alexandra Roy, says of the untitled painting, “It’s a work that’s finding its own language. And they you see him really evolve, which I think is always a sign of a great artist — they really find their own language that you can recognize immediately. Even if you only know his later works, you can immediately infer that this was done by Mohammed Al-Saleem.
“You can see he is starting to think a lot about the visual culture around him,” she continues. “And what I love is that he is super-interested in the landscape around him, abstract art, calligraphy, the Qu’ran… and this work combines a bit of all of that: it has the abstract, the calligraphy, and that important element of the landscape around him with the figures in the painting, which are actually camels.
“It’s actually super-rare to find a work from the 1960s and really amazing to see the development — how he goes on from this,” she continues. “There’s something traditional and yet very avant-garde about this work. For me, it looks like an Arab flag. So, immediately, my associations go to those early pan-Arab artistic movements. It’s also very textured — he’s really creating something with depth and movement. And visually it has all of these elements which kind of harken back to the Islamic world, to Saudi Arabia’s landscape, to popular motifs, but done in a very original way.”
Mohammed Al-Saleem. (Supplied)
Ridah Moumni, Christie’s chairman, Middle East and Africa, also stresses the fact that Al-Saleem had a very clear aesthetic identity — one which, by the time he came to paint “Bi nur al-iman, nara al-s'adah” — had become clearly defined.
“It’s more than the technique. It’s really the composition,” Moumni says. “He creates very abstract layers of colors, in which we see a sort of geometry that we can sometimes identify as human forms, or calligraphy, or animal forms. It’s very interesting. Sometimes people would say this is a Saudi style — I don’t think it is; it’s the style of Mohammed Al-Saleem. He’s an excellent painter in the way he uses the colors to create these abstractions.”
This particular work is unusual in the way that Al-Saleem used a painted frame to divide the canvas into quarters.
“This is a really special work. You won’t see two of them. It’s a rare composition and I think the collectors who saw this work saw its exceptional quality,” says Moumni. “I find this piece extremely beautiful. I love it because it’s an abstract piece, with spectacular composition, but it’s also a piece that is absolutely optimistic and shows extraordinary creativity. In the Nineties, the artist was really struggling financially. Then he paints this beautiful message — ‘In the light of faith, we see happiness.’
“I think the Arab world is full of talent, of resilience, of creativity, of richness. And I think the artists of the Arab world have so much to give, not only regionally, but also from a global perspective,” he continues. “So when I see this work, I see also the optimism and the generosity of the art scenes of the region. The Arab world has so much to give, and we have so much to learn from its artists.”
Mytheresa CEO on personalization, culture, Saudi Arabia’s luxury boom
Updated 28 December 2024
Hanadi Merchant Habib
DUBAI: As Saudi Arabia cements its position as a global centre for luxury, the Kingdom’s burgeoning fashion market is capturing the attention of high-end retailers worldwide.
Mytheresa, one of the leading luxury e-commerce platforms, is at the forefront of this shift, catering to a growing and increasingly discerning Saudi clientele.
Michael Kliger, CEO of Mytheresa, revealed how the brand is evolving alongside the Kingdom’s dynamic landscape, with a focus on personalization and cultural connection.
“We’re witnessing incredible changes in the Saudi market,” Kliger said. “More Saudis are staying in the region, with some even moving back permanently, which has created a significant increase in local demand for luxury fashion.
“Events like weddings and receptions have always been important here, but now, with cinemas and fine dining experiences becoming more common, there are even more occasions for people to dress up.”
While Mytheresa does not yet have a physical presence in Saudi Arabia, its strategy focuses on creating meaningful connections with local clients.
“We host a variety of events to engage directly with our Saudi customers,” Kliger said. “Recently, we had a dinner at Hia Hub in Riyadh with the designers of Oscar de la Renta, and in Jeddah, one of our clients hosted 100 of her friends for us at a hotel. These gatherings, along with style suites where customers can try curated collections, allow us to bring the Mytheresa experience to them in a personal and exclusive way.”
Additionally, the e-tailer frequently collaborates with local creatives to create authentic connections with their customers. Kliger said that understanding the timing of local events and traditions, such as Ramadan and other festive gatherings, is essential. He highlighted the importance of working with local influencers and ambassadors to ensure the brand’s messaging feels genuine and accessible, making it easier for Saudi customers to engage with Mytheresa.
Michael Kliger. (Supplied)
Personalization too, is at the heart of Mytheresa’s approach. “It’s not about catering to a ‘Saudi style,’ but understanding each individual client,” Kliger said. “For example, one of our clients in Riyadh loves Yamamoto and Sacai. It’s about identifying those preferences and curating options that resonate with their personal taste. That’s what makes our service unique.”
Kliger also touched on the recent acquisition of Net-a-Porter by Mytheresa’s parent company, YNAP, and its implications for the Saudi market.
“Net-a-Porter complements what we do at Mytheresa,” he said. “They’re strong in discovery and editorial, while we focus on highly curated, established luxury brands. Together, we can cater to different corners of the luxury market without diluting our individual strengths.”
As Saudi Arabia’s young, tech-savvy population drives the growth of e-commerce, Kliger emphasized the importance of adapting to the Kingdom’s digital preferences. “Social media usage here is unique, with platforms like TikTok and Snapchat playing a major role in how people interact and shop. Understanding these behaviors is key to connecting with this market,” he said.
With a focus on personalization, community engagement, and digital strategy, Mytheresa is poised to strengthen its position in Saudi Arabia’s thriving luxury landscape. “The Saudi market is one of the most dynamic regions for us,” Kliger said.
Sound judgement: The best Arab alternative albums of 2024
Bojan Preradovic’s pick of records released by indie artists from the Arab world this year
Updated 27 December 2024
Bojan Preradovic
Tayar
‘Kol Shi Sar’
Tayar consists of Amman-based songwriters Ahmad Farah and Bader Helalat, who is also a producer and filmmaker. Since 2020, the pair have released a string of singles and EPs, often using their music as a means of processing life in a region immersed in grave injustice and trauma. Their first LP is a genre-defying record that oscillates effortlessly between indie rock, earworm electronica, and delectable, quartertone-laced neo-psychedelia. Between gorgeous, piano-driven interludes, Farah and Helalat snake their way through a sonic canvas of exquisite vocal harmonies, irresistibly danceable beats, synth-soaked laments, and lusciously arranged instrumentals narrated by the likes of double bass, oud, and trumpet.
Vancouver-born, Jeddah-raised artist Nadine Lingawi’s evolution as a songwriter since signing with Saudi Arabia’s Wall of Sound in 2020 has been remarkable, culminating in this month’s ‘ground:from,’ an enlightened exploration of brooding indie pop and instantly iconic electronica. Collaborating with Abdulmajeed Alwazna and Husam Al-Sayed — Saudi duo Input/Output — Lingawi employs her lyrical prowess to convey deep, existential ruminations on themes such as death and rebirth. While watery, delay-drenched guitars drive tracks such as opener ‘the burn’ and ‘decompose’, and memorable synth melodies are an indelible feature of ‘letter #9’ and ‘marigold’, it’s Lingawi’s soulful vocal delivery and tasteful harmonies that power the album’s allure. An immensely talented up-and-comer to watch out for.
Tamara Qaddoumi
‘Sorry Signal’
The Kuwaiti-born singer-songwriter moves on from her dalliance with trip-hop into the glacial embrace of profound, reliably infectious cold pop. “Sorry Signal” sees Qaddoumi bristle with brilliance, as she reflects on lost innocence and the insidious, shape-shifting nature of grief. From the crystalline harmonies elegantly wrapped around disquieting introspections of “Cold In The Mourning” to the heaving torrents of synths and rhythmic beats of the title track, Qaddoumi weaves the threads of seemingly insurmountable desolation into a compellingly hopeful requiem that looks to a brighter tomorrow.
The Syrian producer, songwriter, and multi-instrumentalist Samer Eldahr has audaciously pushed the boundaries of the very foundation of traditional Arabic music for the past decade. With his third LP, he has fully alchemized his own brand of electro-tarab, sharpening any rough edges into a well-rounded, unmistakably unique sound. The album features illustrious guest appearances, including former Mashrou’ Leila frontman Hamed Sinno, and DJ, producer, and singer Anas Maghrebi (formerly of Khebez Dawle), whose vocals grace the feverish beats and synths of the album opener, “Katha Altawq.” “Cipher” is a towering addition to Hello Psychaleppo’s already impressive catalogue.
Julia Sabra — frontwoman of Lebanese dream-pop outfit Postcards — has a long history with producer Fadi Tabbal — who has shepherded countless indie artists in his Beirut-based Tunefork Studios. Their sophomore album as Snakeskin perfects the distinctive formula of Sabra’s ethereal, instantly recognizable vocals and Tabbal’s visionary production and electronic experimentation. The pair are at their most imperious on tracks like “Bodies,” which rattles off a machine-gun beat as a scene-setter for Sabra, who vocalizes with both fragility and poise to the aqueous, hypnotic soundscapes of synths engineered by Tabbal. This is a mournful, beautiful record, to be listened to with headphones in the twilight of a dying day, or just before the dawn of a new one.
Garwasha
‘Garwasha’
Saudi Arabia isn’t known for its jazz, but Riyadh-based, alternative fusion band Garwasha aim to change that with their debut album — a dexterous combo of jazz, rock, and experimental instrumentation, with nods to elements of traditional Arabic music. The LP is brimming with musicianship, as the four-piece storm through vibrant, frequently playful tracks. The eight-minute “Consolacao” is a mélange of jazzy progressions, funky breakdowns, and showcases of virtuosity. Meanwhile, song titles such as “Dancing Delicately Along the Dichotomies of Reverse Orientalism” follow a curious naming convention often deployed by post-rock bands that, like Garwasha, communicate their message effectively solely through the strength of their music.
Seera
‘Al Mojallad Al Awal’
All-female Saudi foursome Seera’s debut LP is an amalgam of psychedelic and indie rock that employs nuances of traditional Arabic music, stylishly ornamented by cathartic guitar parts, keyboard passages reminiscent of The Doors and the artistic exuberance of the late Sixties, and tinges of everything from blues to electronica. With an anonymous drummer who goes only by ‘Thing’ and wears a mask symbolizing Saudi heritage, Seera’s rise embodies the ongoing cultural change within the Kingdom, the blossoming spirit of creative freedom, and female empowerment.
In Bollywood-obsessed India, art-house film wins accolades, audiences
Audiences in India are raised on a staple diet of Bollywood and other mainstream films, complete with song-and-dance routines, violence and melodrama
With more than $2 million in box office sales globally, ‘All We Imagine as Light’ also has entries to the Academy Awards for best picture and best director
Updated 27 December 2024
Reuters
MUMBAI: Indian cinema is best known for Bollywood extravaganzas, but an art-house film about three women navigating loneliness and love in a metropolis is gaining viewers and earning international recognition, including nominations to the Golden Globe awards.
“All We Imagine as Light,” a multi-language film set in Mumbai, the country’s financial capital, has won several international awards this year, including the Grand Prix at Cannes, and is the first Indian film to be nominated in the Best Director category at the Golden Globes, which will be presented on Jan. 5.
It has also been nominated in the Best Picture category for non-English movies.
For director Payal Kapadia, the response to her debut film in her home country is an added bonus to the accolades it has earned abroad.
“It’s very difficult for independent films to get screens in India. I am very happy with the response. Now, I want to show the film in places in the country where it has not been shown so far, the smaller cities,” Kapadia told Reuters in an interview.
Independent, art-house films don’t find too many takers in India, where audiences are raised on a staple diet of Bollywood and other mainstream films, complete with song-and-dance routines, violence and melodrama, although more serious content on streaming platforms is slowly changing tastes.
With more than $2 million in box office sales globally, “All We Imagine as Light” also has entries to the Academy Awards for best picture, best director and best original screenplay, said a representative from Sideshow and Janus Films, which own the distribution rights in the US
But it was not India’s official submission to the Best Foreign Film category at the Oscars.
Kapadia, 38, said she thought of the idea of the film in a hospital waiting room. Initially conceived as a short film, it took eight years to make.
Former US President Barack Obama picked it as one of his favorite films of the year, in a list he shared on social media.
The story revolves around the friendship and love lives of three immigrant women who live and work in Mumbai, the congested metropolis of more than 12 million people, an important leitmotif in her film.
“Mumbai is a city of many contradictions. While life can be tough here, it gives people a sense of freedom as well. We tried capturing that in the film too,” Kapadia said.
