Designers inspired by wildlife and technology at Riyadh Fashion Week
Updated 21 October 2024
Rahaf Jambi
RIYADH: The third day of Riyadh Fashion Week (RFW) saw Saudi labels Mona Alshebil, Abadia, Razan Alazzouni, ArAm, and Kaf by Kaf present their latest collections, with designers exploring such themes as Saudi Arabia’s wildlife and the influence of technology on fashion.
A particular highlight was ArAm by Arwa Al-Ammari, whose fashion show was a celebration of Saudi Arabia's wildlife. The collection was inspired by the country’s rich natural heritage, focusing on animals that are seldom seen, such as the oryx, the Arabian leopard, the Arabian wolf, and the Arabian bustard. In addition to these creatures, the collection drew aesthetic influences from indigenous plants like sider (Ziziphus spina), arar (Juniper), arak (Salvadora Persica), sheh (Artemisia), sant (Acacia), gada (Haloxylon Persicum), and athoba (Senegalia Mellifera).
ArAm by Arwa Al-Ammari celebrated Saudi Arabia's wildlife. (AN Photo by Huda Bashatah)
These animals and plants hold significant cultural importance, often featuring in Arab poetry and idioms, serving as symbols of beauty and resilience deeply rooted in Saudi heritage.
A model shows off a look by ArAm by Arwa Al-Ammari. (AN Photo by Huda Bashatah)
Abdullah Al-Shehri, the only Saudi model on the runway at ArAm’s show, shared his experience, stating, “I represented the work of Arwa Al-Ammari today, and honestly, the show was spectacular. The collection was so creative, and I am really glad to be a part of this show at RFW for the second year in a row.”
A model shows off a look by ArAm by Arwa Al-Ammari. (AN Photo by Huda Bashatah)
Following the show, Kaf by Kaf took to the stage with a striking presentation of designer Kawthar Alhoraish’s Spring/Summer 2025 collection, aptly titled "Artificial Beauty." The collection explored the tension between technology and nature, delving into the contradictions that arise when organic forms collide with artificial constructs.
Kaf by Kaf took to the stage with a striking presentation of designer Kawthar Alhoraish’s Spring/Summer 2025 collection. (AN Photo by Huda Bashatah)
The collection was not only a showcase of fashion but also a commentary on the interplay between the organic and the synthetic.
Shouq, a prominent influencer who donned pieces from Kaf by Kaf, expressed her admiration for the collection. “When I first read the title 'Artificial Beauty,' I was intrigued. But when I saw the robot model strutting down the runway, everything clicked. The reflective skirts and the overall theme were executed brilliantly. I was truly wowed and found myself wanting every piece in the collection,” she told Arab News.
A robot model on the runway. (AN Photo by Huda Bashatah)
The use of a robot model was a bold choice, symbolizing the fusion of fashion and technology. It reinforced the theme of the collection, making a strong statement about the future of fashion. Kaf by Kaf’s exploration of artificial beauty challenges traditional notions and invites a conversation about the role of technology in our lives and how it shapes our understanding of aesthetics.
The collection featured dresses and co-ords. (AN Photo by Huda Bashatah)
As Riyadh Fashion Week continues to unfold, the diverse and thought-provoking presentations from designers like Aram and Kaf by Kaf highlight the vibrant creativity within Saudi fashion.
DUBAI: Clean beauty brand Kosas has officially entered the Saudi market, offering a range of skincare-focused makeup products.
Founded by Sheena Zadeh, Kosas, now available at Sephora Middle East, prioritizes skin-nourishing ingredients, a mission the founder feels deeply resonates with the Saudi market.
“Saudi Arabia is such a vibrant, emerging market with a rich beauty culture,” Zadeh told Arab News, adding that over the years, she has seen a growing demand from the Middle East for clean, high-performance beauty products. “Saudi Arabia is at the forefront of this trend,” she said.
“For us, it’s about more than just expansion; it’s about connecting with a culture that values authenticity, quality and a holistic approach to beauty,” Zadeh said.
In preparation for its Saudi debut, Kosas chose a range of products aligned with local beauty needs. “We curated our lineup with universal favorites and regional needs in mind,” Zadeh said.
This lineup includes bestsellers such as the Revealer Concealer, the Cloud Set Baked setting powder, and the BB Burst Tinted gel cream moisturizer.
This lineup includes bestsellers such as the Revealer Concealer. (Supplied)
“(The setting powder) helps achieve that lasting, natural matte finish ideal for the warm climate,” Zadeh said, adding that the tinted moisturizer is “perfect for those looking for lightweight hydration with coverage.”
Kosas also plans to connect with the Saudi community by staging workshops and events focused on clean beauty and skin health.
In preparation for its Saudi debut, Kosas chose a range of products aligned with local beauty needs. (Supplied)
“We’re very committed to education and empowerment in the beauty space … we believe that beauty should feel effortless and enjoyable, so our educational initiatives will focus on simple, effective ways to incorporate Kosas into daily routines. We’re really excited about this,” Zadeh said.
Zadeh said her own roots influenced Kosas’s mission: “I’m Middle Eastern myself and I’ve always felt deeply connected to the region’s beauty philosophy.
“At its core, Kosas has a holistic and layered approach that aligns with the depth and tradition of Middle Eastern beauty philosophies,” she added. “Kosas was born from a deep passion for clean beauty that’s effective, fun, and makes people feel good in their own skin. Our journey started with a desire to create makeup that doesn’t just sit on the skin but works with it.”
Lavish and Johara Global collaborate to celebrate Saudi Culture
Lavish founders Nada Altobaishi and Hala Alsharekh said in a statement: “Lavish Concept Store is more than just a destination for luxury and style; it is a platform where innovation, culture, and creativity thrive
Updated 23 November 2024
Arab News
LONDON: Lavish Concept Store and Johara Global on Thursday joined forces to host an event at the Lavish pop-up in The Music Room, Mayfair, London, celebrating the timeless beauty and rich traditions of Saudi culture.
Lavish Concept Store aims to foster creativity and innovation, while Johara Global is a platform to support female leaders and enable them to fulfil their potential.
In line with Saudi Vision 2030, the event offered an immersive cultural experience, spotlighting the heritage and artistry of Saudi Arabia through a blend of fashion, art and cuisine.
A fashion show featuring traditional Saudi costumes showed off the intricate craftsmanship and rich heritage of the region.
Lavish founders Nada Altobaishi and Hala Alsharekh said in a statement: “Lavish Concept Store is more than just a destination for luxury and style; it is a platform where innovation, culture, and creativity thrive.
“We are committed to curating exclusive, high-quality products while showcasing the work of emerging artists and artisans.
“Our vision is to redefine the retail experience by blending timeless elegance with cutting-edge trends, all while championing artistic expression and cultural diversity. At Lavish, we strive to inspire confidence and elevate everyday living through the fusion of luxury, culture, and innovation.”
Katie Partridge, founder and chairwoman of Johara Global, and Intisar Alyamani, CEO of Johara Global said in a statement: “Johara Global was set up with a mission to bridge the east-west gap and foster the leadership of women through our four main pillars. Collaborations like these create a lasting and powerful impact on the community. We are delighted to join forces to achieve this.”
ISLAMABAD: Pakistan’s first hand-drawn animated film, “The Glassworker,” has been named on the list of eligible films for the 97th Academy Awards in both the Animated Feature Film and International Feature Film categories, the Academy of Motion Picture Arts and Sciences announced this week.
Directed by young Pakistani animator Usman Riaz, the film was released in July and features 1,477 cuts and 2,500 individual drawings. The coming-of-age tale follows Vincent, a young apprentice at his father’s glass workshop, and Alliz, a talented violinist and the daughter of a military colonel.
Against the backdrop of a looming war, their relationships with their parents and each other are tested.
“Thirty-one features are eligible for consideration in the Animated Feature Film category for the 97th Academy Awards,” the Academy said on its website, with “The Glassworker” among them.
“Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture,” it added. “Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.”
Five films from the list will be shortlisted for nominations in the Animated Feature Film category, with the ultimate winner announced at the Oscars ceremony scheduled for March 3, 2025.
A team of 250 national and international cast and crew members worked on the film, which was produced by Riaz’s Karachi-based Mano Animation Studios.
The film became Pakistan’s first-ever animated feature to be nominated for Oscars consideration in September.
“Usman and Mano’s work has demonstrated exceptional storytelling and artistry while breaking new ground for animation in Pakistan,” the Academy Selection Committee of Pakistan said earlier while lauding the project. “This achievement will be remembered in our cinematic history.”
Riaz described his effort as a result of “a decade of passion and perseverance” when the film was nominated for Oscars from Pakistan.
“I am deeply humbled by the selection and hope this story resonates with audiences everywhere, showcasing the talent and creativity Pakistan has to offer,” he added.
Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia
The CEO and head of design at the Egyptian jewelry house their mother founded discuss their new flagship store in Riyadh
‘Every time she goes, she has a strong connection there,’ the head of design said of Azza Fahmy’s trips to Saudi Arabia
Updated 22 November 2024
Hams Saleh
DUBAI: Egyptian entrepreneur and jewelry designer Azza Fahmy is celebrated for crafting pieces that weave cultural stories into wearable art, resonating with those who appreciate depth and meaning in every design.
Fahmy’s signature gold-and-silver pieces have long been embraced by Egypt’s top entertainers, including the late actress and singer Soad Hosny and celebrated actress Yousra.
Her jewelry has also garnered an impressive international following, including A-list stars like actors Julia Roberts, Shailene Woodley, Naomi Watts, and Vanessa Hudgens, and singers Joss Stone and Rihanna.
Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)
The brand has also forged a particularly strong connection with Saudi customers, who value the blend of tradition and modernity it offers. It recently expanded its reach with the opening of a flagship store in Riyadh, catering to a growing Saudi clientele.
Fahmy’s daughters — CEO Fatma Ghaly and head of design Amina Ghaly — say the new outlet is the result of years spent cultivating relationships with Saudi clients.
“The opening of our flagship store in Riyadh marks a significant milestone for Azza Fahmy,” Fatma tells Arab News. “Throughout the years, we’ve had the privilege of cultivating meaningful relationships with our Saudi clientele, connecting through online platforms, exhibitions, and pop-ups, all while experiencing a growing demand for our jewelry.”
Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)
For Amina, the store is a continuation of her mother’s decades-long connection to Saudi Arabia, where she has often been inspired by the culture, architecture and landscapes.
“Every time she goes, she has a strong connection there,” Amina says. “There is the architectural aspect that we have drawn inspiration from, (but also the culture): for our collection ‘Ahla Ma Ghanaho Al-Arab,’ we were inspired by (Saudi singer and composer) Abdul Majeed Abdullah, so it’s really varied over the years.
“We draw inspiration not from one thing or the other. It is a question of how the inspiration serves the collection, and I feel like, with Saudi Arabia, the more we keep going there, the more we will continue to be inspired,” she adds.
Crescent Filigree Earrings. (Supplied)
Fatma explains that this made opening a permanent store in Saudi Arabia feel like the right move, especially as the Kingdom’s luxury market shows a growing interest in heritage-inspired brands.
“Our new store is a testament to our commitment to the Saudi market, offering a space that showcases our craftsmanship and invites visitors to explore the beauty and stories behind our pieces,” she says.
According to Fatma, Saudi Arabia’s luxury market has transformed in recent years. Clients increasingly seek brands that emphasize authenticity, cultural stories and craftsmanship.
“The Saudi consumer has long been sophisticated and well-traveled, but in recent years Saudi Arabia’s luxury market has experienced remarkable growth and evolution, especially for heritage-driven brands like Azza Fahmy. There has been a significant shift towards valuing craftsmanship, cultural narratives, and authenticity in luxury goods,” she explains.
(Supplied)
For many Saudi clients, jewelry that reflects their identity and holds personal meaning is highly sought after, making Azza Fahmy’s storytelling-focused designs especially appealing.
Fatma and Amina are both enthusiastic about connecting with Saudi’s younger generation, who are attracted to brands that combine tradition with innovation.
“Our designs resonate with this dynamic audience by blending contemporary aesthetics with traditional motifs,” Fatma says. “We embrace innovation in our processes and materials, ensuring that our jewelry appeals to a modern sensibility while remaining rooted in cultural heritage.
Inside Azza Fahmy's workshop. (Getty)
“This approach not only attracts younger consumers but also fosters a deeper connection to their identity, allowing them to wear pieces that are both stylish and meaningful,” she continues.
Amina says that today’s luxury market is increasingly global, shaped more by shared interests than regional preferences. “As brands, we should not segment by region but rather by character,” she says. “The internet and social media has made the world a very small place. So, you find women in Saudi who, for instance, are very interested in travel and seek brands they can connect with on a personal level. Someone in London, someone in Japan, someone in Brazil could have the same interest. These are character traits, more than regional traits.”
However, Amina notes that there is a unique regional connection when it comes to Arabic calligraphy and poetry.
Amina Ghali is the head designer. (Supplied)
“I feel that women from the Arab region are very drawn towards the Arabic language, because rather than me translating it for them and trying to give them the gist of what it means, they can read and recognize it and connect with it themselves,” she says.
Beyond the Middle East, Azza Fahmy’s collections with Arabic calligraphy have found success in places including the UK, where clients often appreciate the aesthetic and personal significance of the script.
“When we were approaching the British market, we were under the false impression — from whatever market survey that we did at the time — of ‘They do not understand it, and they will not understand it, so they will not be able to connect.’ We were very happily surprised to learn that our number one-performing collection, in our Burlington Arcade boutique in London, is the calligraphy collection,” Amina says. “It’s because they are carrying it as their own little secret. The client comes and picks up something like, for instance, the eternity ring inspired by Umm Kalthoum, and she takes it as ‘I’m the only one that understands what it says.’”
The Riyadh store stocks many of the brand’s high jewelry pieces. Among Amina’s personal favorites, she says, is the “Scripts of Love” bangle, adorned with emeralds and calligraphy.
“The combination of stones, poetry, and calligraphy creates a piece that captures attention without overshadowing any element,” she says.
She also highlighted the delicate “Crescent Filigree” earrings with tanzanite — a design that showcases the brand’s expertise in filigree craftsmanship.
Azza Fahmy’s commitment to the empowerment of women is also in line with Saudi Arabia’s Vision 2030, which encourages increased female participation in the workforce and leadership roles.
Fatma explains that the brand’s jewelry aims to reflect individuality and heritage — resonating with modern Saudi women who appreciate both cultural pride and self-expression.
“As a company led by women — with women in key roles across all levels of management — empowering women is simply part of our DNA,” she says. “It is not something we ‘strive for.’ It comes naturally to us.”
From struggles to innovation: How Saudi calligrapher Abdulaziz Al-Rashedi revolutionized Arabic script
‘I feel there is a holy light within the letters,’ says Abdulaziz Al-Rashedi
Updated 22 November 2024
Rawaa Talass
DUBAI: Saudi calligrapher and arts instructor Abdulaziz Al-Rashedi’s first love was the pen. His fascination with writing began in elementary school in the Eighties in his hometown of Madinah.
Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. In the eyes of the calligrapher, writing is an artistic act, like a dance, that has its own kind of magic.
“What I loved about the pen was the way the ink was flowing out of it,” he tells Arab News. “The pen led me to my love of writing Arabic calligraphy.”
Al-Rashedi talks about holding a pen in the same way a musician might discuss holding their instrument. (Supplied)
But there were challenges imposed by the conservative social environment of the Kingdom in the Eighties and Nineties.
“People didn’t regard art as something important. During that time, people thought that art couldn’t generate money. For them, it was a waste of time,” he says. “In such a depressing environment, I was suffering from people’s lack of interest. They were saying that the writing would distract me from my studies. But actually, it encouraged me to study.”
Not everyone disregarded his interest in pursuing calligraphy, however. Al-Rashedi’s late father was always a supporter.
3punt 2. (Supplied)
“He was a believer in writing, and conserving it,” Al-Rashedi says. “He thought I was doing something important with my life, even though others thought it wasn’t important. They likened it to making scribbles. I was literally making art on my own. None of my friends shared this interest with me and there were no calligraphy institutes to encourage this talent. The situation was very difficult.”
But in 1993, Al-Rashedi learned there was, in fact, a master Saudi calligrapher living in Madinah: Ahmad Dia. He kindly agreed to teach Al-Rashedi the basics of Arabic calligraphy. And, perhaps just as importantly, to do so in his home, which Al-Rashedi compares to a school and a museum, as well as a meeting place for calligraphers.
“I was young, but he treated me like a man,” the artist recalls. “For us calligraphers, he was like a spiritual father figure, who planted a seed of determination in us. He always encouraged us and never told us off if our writing wasn’t on point.”
3punt 4. (Supplied)
Al-Rashedi remained in contact with his tutor until Dia’s death in 2022 during the COVID pandemic. “When he died, it felt as if the light went off,” Al-Rashedi says.
Al-Rashedi also trained himself by copying the work of another important figure: Hashem Al-Baghdadi, the influential Iraqi calligrapher and educator who published books on the rules of Arabic calligraphy. Al-Rashedi describes the pre-social media era as a “truly dark period” when there were no opportunities to host exhibitions or share his work with others.
“People weren’t communicating with each other. It was a period that lacked (opportunity) and even good materials, such as pens and paper,” he recalls.
But with the advent of social media, most notably Facebook, and the opening of a few art galleries, including Jeddah’s Athr Gallery in 2009, things improved drastically. Today, Al-Rashedi is able to share his work on Instagram and other platforms, displaying the skills he has honed over three decades of practice.
His fascination with writing began in elementary school in the Eighties in his hometown of Madinah. (Supplied)
Arabic calligraphy is an internationally respected art form that has existed for thousands of years, exercised in Islamic texts and found on monuments around the world. So, what is its long-lasting secret?
“I often ask myself why the curves of Arabic calligraphy have bewitched people for so long, and I believe it inevitably has something to do with its holiness,” he says. “Allah has been an inspiration for calligraphers and their innovation of writing. I feel there is a holy light within the letters of Arabic calligraphy.”
But Al-Rashedi also believes that, for many years, calligraphy has been stuck in a rut, untouched by modern innovation or creativity.
3punt 6. (Supplied)
“Many calligraphers have literally said that Arabic calligraphy has reached its end and no one could add anything new to it,” he says. “Such an idea is incorrect.”
Indeed, Al-Rashedi has invented his own form of Arabic calligraphy, which he calls “3punt.” (He says the name refers to the size of the letters, which are written using three different pens.)
“It depends on the idea of lessening the thickness of the letter. Usually, one pen is used in Arabic calligraphy. But I discovered that the original bulkiness of Arabic scripture and the usage of just one pen prevents Arabic calligraphy from having new forms of writing being added to its system.”
Based on a strict set of rules, Al-Rashedi’s 3punt calligraphy contains 55 “subtypes of writing,” he says. It has its own lightness and elegance, with carefully choreographed flowing lines of slender Arabic script.
Ultimately, Al-Rashedi believes that Arabic calligraphy is about connections.
“If we look at Latin or Chinese scripture, on letters like ‘n,’ ‘e,’ or ‘r,’ they are based on separate components. But with Arabic calligraphy, you can connect six or seven letters in one go,” he says. “Without a doubt, Arabic writing — as an art form — is superior to other types of writing.”
