Saudi Fashion Commission CEO Burak Cakmak unveils plans for the future

Burak Cakmak had been appointed to lead Saudi Arabia’s Fashion Commission. File/Getty Images
Burak Cakmak had been appointed to lead Saudi Arabia’s Fashion Commission. File/Getty Images
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Updated 27 February 2021

Saudi Fashion Commission CEO Burak Cakmak unveils plans for the future

Burak Cakmak had been appointed to lead Saudi Arabia’s Fashion Commission. File/Getty Images

DUBAI: Last week it was announced by Saudi Arabia’s Ministry of Culture that Burak Cakmak had been appointed to lead the Kingdom’s Fashion Commission, one of the 11 bodies under the Kingdom’s Ministry of Culture, to help develop the country’s burgeoning fashion industry.

“I was honored to have a chance to join the team at the Fashion Commission to lead the implementation of an ambitious strategy to build a robust fashion industry in Saudi Arabia,” said Cakmak, a former Dean of Fashion at the Parsons School of Design in New York, to Arab News. 

“Saudi Arabia has all the key elements for building a successful fashion industry today. With traditions and heritage to inspire, its creative community keen to build new businesses and a fashion conscious young population engaged in retail and social media with fashion. Saudi (Arabia) is in a great place to become a key influencer in the region and globally,” he added.

In his new role as the CEO of the Fashion Commission, Cakmak will be responsible for a string of tasks, including supporting and empowering talent, professionals and entrepreneurs in the local fashion industry, developing and regulating the fashion sector as well as encouraging finance and investment.

“One of my main focus areas is to identify opportunities for Saudi to create fashion solutions that are innovative, technology driven, sustainable and aligned with the expectations of the 21st century global consumer,” said Cakmak of some of the changes he would like to implement in his new role. 

“As we are building and growing a relatively new industry in the country, we need to ensure we don't repeat the mistakes of the West from the past century.  This means that we need to focus on building new business models that are able to manage social and environmental impacts, (and that are) transparent and innovative in the way they engage the consumer.”

In addition to managing and developing the fashion sector in Saudi Arabia, Cakmak also hopes to shine a positive spotlight on the Kingdom’s burgeoning fashion scene. 

 “At the moment there is not enough information available about the creativity coming out of the Kingdom to the rest of the world,” he noted. “The richness of the country’s heritage and crafts, as well as its designers, with both traditional and modern takes on Saudi fashion, is a great starting point for us to start shaping perceptions around the Saudi creative industry.”

In the past two years alone, Saudi Arabia has rolled out a series of changes that can be attributed to Vision 2030, a plan that focuses on modernizing Saudi culture, diversifying its economy away from oil, attracting new global investments, and supporting small local businesses. One of the areas that is showing real potential is the country’s fashion sector.

“Recent initiatives around tourism and a deeper focus on diversifying local economic sectors have been a great catalyst in stimulating the fashion industry,” Cakmak said.  




Models backstage ahead of the Arwa al Banawi show at Fashion Forward October 2017. Getty Images

Indeed, the country’s fashion sector is rapidly on the ascent. In the last couple of years, the country hosted its first-ever Fashion Week in Riyadh in 2018, the Dubai-based Arab Fashion Council opened up an office in Riyadh and Saudi fashion designers are getting more recognition than ever as they lay the groundwork for a real, thriving fashion industry.

“Mohammed Khoja’s brand, Hindamme, produced a jacket embroidered with the words ‘24 June 2018’ – the date women in Saudi started driving, which was acquired by the Victoria & Albert Museum in London as part of their permanent fashion collection. Meanwhile at the end of last year, the brand of Saudi sisters – Sarah and Siham Albinali – Lurline, was declared joint second runner-up in the Vogue Arabia Fashion Prize.  And one of Mohammed Ashi’s creations was worn on the red carpet by Oscar-nominated director and screenwriter Ava DuVernay at the Academy Awards in 2017,” recalled Cakmak, highlighting some of the many success stories from Saudi Arabia.




Jory Al Maiman and Lujain wearing the Hindamme embroidered jacket. Photographed by Ekleel Al Fares

But despite growing interest and support from events like Arab Fashion Week, a lot of brands struggle with a lack of access to capital and resources necessary in a functioning fashion ecosystem. Cakmak hopes to change that in his new role.

“A brand can only succeed if they are able to couple creativity with a sound business strategy,” he explained, adding “I am working closely with the Fashion Commission team and the Ministry of Culture to ensure we are creating the right infrastructure to develop the industry. First and foremost, we want to support fashion entrepreneurs with the right regulatory frameworks relevant to the fashion industry. As we assess the local fashion ecosystem, we are identifying areas for new job opportunities and fashion businesses that can be created locally to support a growing fashion industry in Saudi Arabia.”

Cakmak received a bachelor’s degree at the Middle East Technical University in Turkey in 1997. 

His career in the fashion industry began in 2000, serving as Gap Inc.’s senior manager of social responsibility. After eight years, he relocated to London and was hired by European conglomerate Kering to lead sustainability strategies for the luxury group’s brands — including Gucci, Saint Laurent and Balenciaga — as its first director of corporate sustainability. 




In January, Saudi designer Ahmed Alwohaibi staged the kingdom's first-ever independant fashion show in Riyadh. Supplied

He was appointed as dean of fashion at Parsons School of Design in 2016, where he made it his mission to educate the next generation of fashion creatives about the importance of environmental and social responsibility.

With his 15-year-strong background in sustainability, Cakmak hopes to make the topic a key focus in his new role in Saudi. 

“As the Fashion Commission, we are keen to bring the latest tools for measuring and reporting on the sustainability impact to local brands and share knowledge on how to build more sustainable business models for the fashion industry,” he shared. 

“Made in KSA will be a key focus to create short supply chains where we can encourage on-demand production and mass customization to minimize returns and left-over inventory for the industry,” he added of his strategy to minimize the impact of the fashion supply chain in the Kingdom.

As for his long-term goals for Saudi’s fashion sector, Cakmak just wants to position the country as a key player in the global fashion industry.

“In collaboration with the Fashion Commission team, Ministry of Culture and all other relevant government entities, I hope to put in place the incentive and infrastructure to achieve this goal,” he said.

“I have worked with fashion businesses all across the globe and have a good understanding of the opportunities and challenges they face. I also have a good view on the latest developments in the industry, and access to a global network of experts who we can tap into to shape the future of fashion in the Kingdom. I am really excited to be a catalyst to bring such positive change to the country.”


What We Are Buying Today: Taleed

What We Are Buying Today: Taleed
Updated 53 min 43 sec ago

What We Are Buying Today: Taleed

What We Are Buying Today: Taleed
  • Nada Hameed

Taleed is a Saudi brand of natural healing soaps. Its products are free of chemicals and harmful additives.
Inspired by a love of nature, Taleed is an Arabic name that means “inherited from ancestors,” which reflects the concept of the brand.
The company produces 30 soaps made of natural and organic ingredients including herbs, oils, petals, seeds, and grains that are free of artificial coloring.
Body soaps by Taleed are suitable for all skin types, as they are vegan-friendly and an ideal option for people with sensitive skin. 
They also can be used for the face and hair, and are safe for children and pregnant women.
Each soap has a specific natural element, and customers can pick soaps that suit them best. 
One of the most interesting options is the black musk soap, it has a powdery, musky natural note that will make you feel fresh and clean, removing unwanted bacteria on your skin.
Unlike other soaps on the market, the brand makes sure to apply pure glycerin that is free of alcohol, fragrances, or other chemical ingredients that could irritate sensitive skin.
Taleed offers delivery services for all regions of Saudi Arabia. For more information visit Instagram @_taleed.


New app reconstructs the ancient glory of Baalbak’s Roman ruins in Lebanon

New app reconstructs the ancient glory of Baalbak’s Roman ruins in Lebanon
Updated 22 April 2021

New app reconstructs the ancient glory of Baalbak’s Roman ruins in Lebanon

New app reconstructs the ancient glory of Baalbak’s Roman ruins in Lebanon

DUBAI: In 1898, an unlikely royal visit was made to the 10,000-year-old city of Baalbek, a jewel in the crown of Lebanon’s archeological history. As part of his grand tour of the Orient — an expedition that involved 100 coaches, 230 tents and 10 guides — the last emperor of Germany, Kaiser Wilhelm II, and his wife Augusta Victoria were awestruck by Baalbek’s famed Roman ruins. Although the Emperor spent just a few waking hours in the ‘City of the Sun’ — his last stop before heading back to Potsdam via the Port of Beirut – he was so captivated by what he witnessed that he decided to commission German expeditions to excavate the site.

“Baalbek Reborn: Temples” provides a 38-minute guided tour with an audio track available in English, Arabic, French and German. (Supplied)

Commemorating the centenary of the Kaiser’s consequential stay in Baalbek, a local museum was inaugurated in 1998 by the Lebanese General Department of Antiquities (DGA) and the German Archaeological Institute (DAI) to display a collection of pre-Hellenistic, Roman and Byzantine artifacts. The Lebanese-German cultural relationship continues to grow to this day. In fact, thanks to a collaboration between the DGA, the DAI and the US-based virtual-tourism company Flyover Zone, a new smartphone and tablet app has now been developed that lets users view Baalbek virtually.

Advanced and impressive as such ‘travel’ may be, however, the app’s project manager Henning Burwitz is aware that it is a very different experience to actually going somewhere. (Supplied

“Baalbek Reborn: Temples” allows you to see this UNESCO World Heritage Site — known as Heliopolis in Roman times — as it was in the past and as it is now. It provides a 38-minute guided tour with an audio track available in English, Arabic, French and German. It includes a map with 38 individual stops — some of which are inaccessible in reality — that can be ‘visited’ in panoramic, up-close, and satellite views. Highlights include the iconic six columns of the Temple of Jupiter and the Temple of Baachus, considered by experts as one of the world’s best-preserved examples of Roman-era temples.

The app, released in late March, is another example of how the COVID-19 pandemic has changed tourism and travel. Since global lockdowns began a year ago, there has been increasing interest in the use of advanced technology and virtual reality to allow people to explore the world.

Advanced and impressive as such ‘travel’ may be, however, the app’s project manager Henning Burwitz is aware that it is a very different experience to actually going somewhere.

In modern times, Baalbek has been a major artistic hotspot in the Arab region, hosting high-profile performers including Ella Fitzgerald, Miles Davis, Fayrouz and Umm Kulthum at the open-air Baalbeck International Festival. (Supplied)

“This was never intended to replace an actual visit,” Burwitz told Arab News. “To learn about a World Heritage Site in a book, in an app, is great. But to be there is a different thing. We (see) this as a way to encourage people to learn about it, to get people to go there, or to maybe even hear about it for the first time.”

Burwitz recalled the first time he laid eyes on Baalbek back in 2002: “When you go there once, you want come back a lot of times. The size and the impression it leaves on you… It is anything but modest.”

The graphics of “Baalbek Reborn” were originally based on 20th-century German archaeologist Theodore Wiegand’s book documenting his findings at Baalbek. (Supplied)

In modern times, Baalbek has been a major artistic hotspot in the Arab region, hosting high-profile performers including Ella Fitzgerald, Miles Davis, Fayrouz and Umm Kulthum at the open-air Baalbeck International Festival. During the 1950s and 1960s, Baalbek’s temples were prominently featured in tourism and aviation posters. So aside from its historical importance, what is it about Baalbek that creates such a lasting impression on people?

“The fact that Baalbek and its sites are still preserved as they are today, after the civil war, after a lot of bad (times) this beautiful country has seen, is due to the people,” Burwitz said. “They love their site and they do this because it’s their life, it’s their wellbeing.”

Time-traveling has always been the passion of American digital archaeologist and professor Bernard Frischer. (Supplied)

Time-traveling has always been the passion of American digital archaeologist and professor Bernard Frischer, who was involved in the development of the app. Through his company, Flyover Zone, his team has virtually recreated the entire city of Ancient Rome and upcoming plans include sites in Egypt and Mexico. “The cultural mission of what we’re doing — of bridging time and space — is to help bridge people and show people each other’s cultures, starting from when they’re children,” Frischer said. “We have to show young people that there are many great monuments around the world and we have to make them easily accessible.”

“Baalbek Reborn: Temples” includes a map with 38 individual stops — some of which are inaccessible in reality — that can be ‘visited’ in panoramic, up-close, and satellite views. (Supplied)

The graphics of “Baalbek Reborn” were originally based on 20th-century German archaeologist Theodore Wiegand’s book documenting his findings at Baalbek. A 3D-model was developed and minor details that make the research more scientifically viable and accurate were later added, along with touches that gave the images of Baalbek, captured via drone, a richer look and feel.

According to Burwitz and Frischer, the app has been positively received in the region and abroad, with around 9,000 downloads within a few days of its launch.

The project also supports a crowdfunding campaign to raise funds for the Lebanese non-governmental organization, Arc en Ciel. This initiative will offer restoration training for 100 artisans and workmen in Lebanon, in an effort to rehabilitate Beirut’s heritage homes damaged in the August port explosion.

A 3D-model was developed and minor details that make the research more scientifically viable and accurate were later added. (Supplied)

With the situation in Lebanon so desperate — with political turmoil, an economic meltdown, increased migration and the collective trauma caused by last year’s Beirut blast all exacerbating the issues caused by the ongoing pandemic — Burwitz and his team hope that this project, reconstructing a beloved architectural gem in remarkable detail, might provide the Lebanese people with something to smile about.

“We are all hoping for a light at the end of the tunnel and this might be the little torch trying to guide the people,” said Burwitz.

“We want them to feel that this is good news, which will make them happy and give them some hope,” added Frischer. “It should also give them a special sense of pride that they live in a country that was able to achieve the monumentality of a site like Baalbek.”


Saad Kamel’s daughter discusses late artist’s Egyptian folklore

Saad Kamel’s daughter discusses late artist’s Egyptian folklore
Updated 22 April 2021

Saad Kamel’s daughter discusses late artist’s Egyptian folklore

Saad Kamel’s daughter discusses late artist’s Egyptian folklore
  • The late artist’s daughter discusses the latest exhibition of her father’s work

LONDON: “My father enjoyed delving into Egyptian folklore. He studied folk tales and was intrigued by the painted motifs that adorned the walls of houses — including the murals painted by pilgrims upon their return from Mecca,” said Amany Kamel, daughter of the late contemporary Egyptian artist Saad Kamel, of an exhibition in Cairo last month featuring a rare collection of her father’s work.

“Folklore Tales” was held at Mashrabia Gallery of Fine Art, founded by Saad Kamel in the Eighties. It promised to take visitors on “a unique journey of fairy tales; the exciting world of Saad Kamel's imaginations, inspired by our Egyptian folklore heritage, enriched by his genius creativity, sensual details, and diverse, innovative techniques.”

“He used to travel across Egypt and collect these folk tales, drawings and myths that have been passed from one generation to the other, then reinterpret them using his own imagination,” said Amany, an architect and designer who co-manages the gallery with her brother, Ayman.

“Folklore Tales” was held at Mashrabia Gallery of Fine Art, founded by Saad Kamel in the Eighties. (Supplied)

Among the folkloric and historic figures incorporated by Saad Kamel into his work were the famed moulid sugar dolls, the 11th-century Arab leader and warrior Abu Zeid al-Hilali, and the pre-Islamic poet al-Zir Salem.

One epic narrative of which he was particularly fond was that of al-Shater Hassan, the humble fisherman who fell in love with a beautiful girl he saw daily at the seashore, whom he later realized was a princess. When the princess suddenly disappears, Hassan keeps going back to the seashore where they first met, until he stumbles upon one of her guards who asks Hassan to accompany him to the palace. There, Hassan finds out that the princess has fallen ill, and that the only cure was visiting the sea. He decides to take her out to sea, where they remain until she fully recovers. When the princess returns to the palace and expresses her wish to marry Hassan, the reluctant king sets Hassan the seemingly impossible task of procuring a huge diamond. Hassan grows hopelessly depressed, but one day discovers a diamond inside one of his freshly caught fish. Hassan is able to marry the princess, and the couple lives happily ever after.

Among the folkloric and historic figures incorporated by Saad Kamel into his work were the famed moulid sugar dolls, the 11th-century Arab leader and warrior Abu Zeid al-Hilali, and the pre-Islamic poet al-Zir Salem. (Supplied)

“He was infatuated with these examples of popular imagination and eventually amassed a huge collection of works traversing popular culture, as well as Islamic and Coptic heritage,” Amany said.

Beyond having manifold influences, Kamel was also a versatile artist, having mastered a number of printmaking techniques. He experimented with batik design, engraving, and painted kilim, among other methods.

“Some of his works are very rare,” Amany said. “There is only one copy of his depiction of Sitt al-hosn (the ‘lady of beauty’ whose hair hung down from the window of a tower) for example. As far as we know, he didn’t make any copies of it, and only he knew the technique [used], so there’s no way we could replicate it.”

There is only one copy of his depiction of  “Sitt al-hosn.” (Supplied)

It is this singularity of Kamel’s work — not just his technical experimentation but the fact that, among the current generation of Egyptian artists at least, national folklore is an uncommon theme — that continues to inspire Amany to celebrate her father’s legacy, including staging an exhibition of his work every year on his birthday.

“There is an entire generation of artists who are not familiar with Saad Kamel and his work. In that sense, it becomes important to remind them of his oeuvre, and perhaps encourage them to borrow some aspects of his work in their own art,” Amany said.

“My father’s dream was to disseminate art, and he specifically wanted to showcase Egyptian art to the world. That’s why he founded Mashrabia gallery back in the Eighties,” she continued. “So as his children, the least we can do is showcase and celebrate his own art in this gallery he founded.”


REVIEW: Riz Ahmed-starring ‘Sound of Metal’ makes all the right noises

REVIEW: Riz Ahmed-starring ‘Sound of Metal’ makes all the right noises
Updated 22 April 2021

REVIEW: Riz Ahmed-starring ‘Sound of Metal’ makes all the right noises

REVIEW: Riz Ahmed-starring ‘Sound of Metal’ makes all the right noises
  • Delayed Oscar-nominated drama proves worth waiting for

LONDON: In a peculiar twist of pandemic-related fate, it’s been almost two years since “Sound of Metal” premiered at the Toronto Film Festival — and two years of whisperings (from those lucky enough to have seen it) that director Darius Marder and star Riz Ahmed had made a film that was very special indeed.

Those rumblings were only heightened when the movie was nominated for six Oscars ahead of this month’s ceremony, and now, with Amazon Prime finally bringing the film to audiences around the world, it’s possible to say whether or not it lives up to the hype.

“Sound of Metal” premiered at the Toronto Film Festival. (Supplied)

It’s a resounding yes. Marder (co-writer of “The Place Beyond the Pines”) has made a movie that is sometimes abrasive, sometimes shocking, and sometimes heartwarming. At the center of these contradictory moods is Ahmed, who plays drummer Ruben Stone with a sense of practiced nihilism (yet rough-around-the-edges decency) upon which the whole story relies.

Ruben and his girlfriend Lou (Olivia Cooke) are a metal duo called Blackgammon. As they gig round the US in their RV, Ruben’s hearing suddenly drops out before a show. Worried that he might relapse (due to a history of addiction), Lou takes him to a deaf shelter run by Joe (Paul Raci), who tries to show Ruben that his outlook isn’t quite as catastrophic as he fears.

Marder and his sound team (who quite rightly received one of the movie’s six Oscar nods) put us right there with Ruben, as the audio flits from vibrant and busy to muffled and indistinct. It’s a discombobulating experience, but one that relies on Ahmed’s spectacular performance as a musician struggling to find any positives after his world changes overnight.

Ahmed (who learned sign language and drumming for the part) displays a sensitivity and an awareness that Ruben can only dream of at the start of the movie. He is utterly captivating as the beating heart of the film. Cooke and Raci deserve credit for the richness they bring to complex characters, but it is Ahmed who brings “Sound of Metal” to life — a movie that deserves all the plaudits surely heading its way.


Saudi tenor Marwan Fagi kicks off Abu Dhabi Festival’s Ramadan series

Saudi tenor Marwan Fagi kicks off Abu Dhabi Festival’s Ramadan series
Updated 21 April 2021

Saudi tenor Marwan Fagi kicks off Abu Dhabi Festival’s Ramadan series

Saudi tenor Marwan Fagi kicks off Abu Dhabi Festival’s Ramadan series

DUBAI: The 18th edition of the Abu Dhabi Festival (ADF), themed “The Future Starts Now,” kicked off on Tuesday, and to celebrate the launch of its Ramadan series, Saudi singer Marwan Fagi opened up the event with a virtual performance. 

The singer, who hails from Makkah, performed “Ateehu Fika” (Lost in You), a song he composed based on a poem by Lebanese poet Nada El-Hage, with music by Saudi musician Rami Basahih.

Composer, soprano and academic Hiba Al-Kawas produced and conducted the show and mentored Fagi, weaving together the singer’s natural high tones and soothing low tones. 

Fagi was accompanied by members of the Lebanese Philharmonic Orchestra. The performance was streamed online on ADF’s digital platforms.

Members of the orchestra recorded the melody in the National Museum of Lebanon in Beirut, while Fagi recorded his voice in Al-Tayebat International City of Science and Knowledge, an Islamic heritage museum in Jeddah.

Fagi said in a released statement: “Being part of Abu Dhabi Festival is a great opportunity for me, given its cultural status on local, regional and global levels and its unique multicultural message of acceptance and openness, which positively serves the music industry in the Arab world. My current experience with ADF is unique and special because it is liberating from all traditional musical restrictions.”

The Ramadan series, titled “Human Fraternity: Dignity and Hope,” includes digital performances of over 25 songs and chants by Arab vocalists and creators, written by 11 poets and writers and performed by eight chanters and singers who are accompanied by 60 musicians.