DUBAI: US actress Amber Heard strutted her stuff during Paris Fashion Week, walking the runway during the Le Defile L’Oreal Paris show at the foot of the Eiffel tower. The “Aquaman” star joined her fellow L’Oreal ambassadors Bollywood actress Aishwarya Rai Bachchan and US-Cuban singer Camila Cabello, who all wore their glittering best as they hit the catwalk to raise awareness about the brand’s training program, “Stand Up Against Street Harassment.”
For the occasion, L’Oreal collaborated with iconic fashion houses such as Balmain, Elie Saab, Mugler, and Issey Miyake to offer up looks for their ambassadors to show off on stage.
Heard opted for a designer from our neck of the woods, turning heads in a plunging jumpsuit from Lebanese couturier Elie Saab.
The pastel pink jumpsuit featured split sleeves and dramatic feather details at the shoulders and was plucked from the Beirut-born designer’s Fall 2021 ready-to-wear show.
“Feels good to be back on that runway with my L’Oréal sisters,” wrote Heard on Instagram, alongside a video of her marching down the runway.
Other global stars to grace the catwalk were Dame Helen Mirren, Aja Naomi King, Noemie Lenoir, Nikolaj Coster-Waldau and Isabeli Fontana, who also took to the runway wearing an Elie Saab look.
The cosmetics brand also took the opportunity to celebrate the 50th anniversary of its famous tagline “Because You’re Worth It.”
Ahead of the Paris Fashion Week show, Delphine Viguier-Hovasse, L’Oréal Paris’s global brand president, said in a statement: “This year’s ‘Le Defile’ will be a remarkable platform for women’s empowerment, conveying a strong message of self-worth and disrupting the conventions of typical runway shows by inviting the public to join the Stand Up Against Street Harassment program. Celebrating our feminine and feminist vision, the show will be a rallying cry for all women — and also men — who share these convictions.”
Meanwhile, Saab presented his eponymous label’s Spring 2022 ready-to-wear collection during Paris Fashion Week in the form of a 12-minute video staged in the grounds of Paris’s Hotel Potocki, a former residence of Polish nobility.
For Spring 2022, the couturier unveiled a new monogram — supersized, interlocking lowercase E’s for his first name — on tailored trousers, skirts and dresses.
Lace sundresses, shirt and short sets and tailored separates made up the casual and sophisticated offering.
Of course, no Elie Saab collection is complete without eveningwear. Standout red carpet options included a red plisse gown and glimmering, floor-length dresses in midnight blue.
For her jewelry, Harris, who started her career by appearing in the 1987 TV series “Simon and the Witch,” opted for sparkly Swarovski hoop earrings and a simple glitzy bracelet.
Her dark hair was styled in raven braids, and the actress kept her makeup simple with a neutral lip and blushed cheeks.
Ward’s clientele list includes Chrissy Teigen, Lori Harvey, Sharon Stone, Bella Thorne Naomi Campbell, who wear the designer’s pieces to events such as the Oscars, the Grammy and the Critics Choice Awards.
In May, Ward dressed a number of stars on the red carpet of the Cannes Film Festival, including Indian actress Urvashi Rautela, US-Indian actress and social media star Liza Koshy, Danish model Josephine Skriver, US model Jasmine Tookes, German blogger Leonie Hanne, US-Somali actress Sabrina Dhowre Elba, Belgian model Rose Bertram and TikTok star Jessica Wang.
Last week, US singer and songwriter Mary J. Blige wore a two-piece white gown by the part-Arab designer to the BET awards in Los Angeles.
The couturier, who has worked with such high-profile designers as Gianfranco Ferre for Dior and the late Karl Lagerfeld for Chloe, will unveil its fall/winter 2023 collection during Paris Haute Couture Week on July 4.
NYU Abu Dhabi Gallery to host first-of-its-kind show on Gulf modern art
Updated 02 July 2022
DUBAI: The NYU Abu Dhabi Art Gallery is set to stage an exhibition documenting modern art movements in the Arabian Peninsula in September.
Widely regarded as a first-of-its-kind show, the exhibition is titled “Khaleej Modern: Pioneers and Collectives in the Arabian Peninsula, 1941-2008” and will run from Sept. 6-Dec. 11.
Curated by Aisha Stoby, who helmed the inaugural Oman Pavilion at this year’s Venice Biennale, the show is a historical survey of twentieth century modern art movements across the Arabian Peninsula, collectively known in Arabic as the “Khaleej.”
The show will introduce modern audiences to the collectives that sprang up in the 20th and 21st centuries, including Kuwait’s Al-Mubarakiya School, which has been active since 1941, and Saudi artists Mohammed Racim (1911-1974), Mounirah Mosly, Safeya Binzagr, Abdulhalim Al-Radwi and Abdullah Al-Shaikh. The show also features work by Mohammed Al-Saleem and Abdulrahman Alsoliman from The Saudi House of Fine Arts in Riyadh.
By the 1950s, Bahrainʼs Manama Group had formed, with the following two decades seeing the emergence of Qatar’s The Three Friends collective and the UAE’s Group of Five, in addition to pioneering solo artists — all of which will be represented during the upcoming showcase.
“An exhibition like this is quite rare, a kind of opening salvo and call to action, offering new vistas on art history and art practice in this region Executive Director of The NYUAD Art Gallery Maya Allison said in a released statement. “Rather than a definitive survey, this project sets us on a journey to explore the under-studied — and, for some people, unknown — emergence of modern art in the Arabian Peninsula over the last century. It is a profound honor that Dr. Stoby will present her original research with us, in this exhibition that was many years in the making. I thank her for partnering with us for this crucial, pathbreaking project.”
For her part, curator Stoby noted that “many of the works in this exhibition will be on view for the first time in decades… enhanced by the presence of rare and archival material, ‘Khaleej Modern’ creates a space and offers resources for learning and re-understanding our own histories. More broadly, we hope the exhibition will contribute to wider regional and global understandings of modern visual art.”
What We Are Reading Today: Anna Karenina by Leo Tolstoy
Updated 01 July 2022
“Anna Karenina” by Leo Tolstoy is widely regarded as one of history’s greatest works of literature.
The novel, first published as a complete work in 1878, is centered around a love affair between Anna and Vronsky, a Russian military officer, with the book’s characters highlighting the conflict between socially accepted norms and human desire.
Despite being married to Alexie Karenin, Anna has a scandalous affair with Vronsky and moves to Moscow with him. There they live together as a married couple.
When he finds out about the affair, Anna’s husband gives her an ultimatum: Leave Vronsky and keep the family’s reputation intact — or never see her son again.
Tolstoy is still revered as one of history’s greatest authors.
Born to an aristocratic Russian family in 1828, he was a master of realist fiction, and produced plays, essays and short stories.
His most famous works include “War and Peace,” “Resurrection,” “The Death of Ivan Ilyich” and “The Kingdom of God is Within You.”
Tolstoy received nominations for the Nobel Prize in Literature every year from 1902 to 1906, and for the Nobel Peace Prize in 1901, 1902, and 1909.
Award-winning filmmaker Ali El-Arabi finds his voice through film
The award-winning Egyptian filmmaker on his moving refugee doc ‘Captains of Zaatari’ and future plans
Updated 01 July 2022
DUBAI: Nearly 10 years ago, Egyptian filmmaker Ali El-Arabi, the award-winning documentarian behind “Captains of Zaatari,” which hits Netflix this month, made a promise. He was in the Zaatari refugee camp in Jordan, the largest temporary settlement of displaced Syrians in the world, and a teenaged boy he had just met named Fawzi Qatleesh asked if he could speak his truth to the camera.
“On the first day I arrived, he asked me, ‘Ali, can you film me? I want to say something to the people outside of this camp.’ The second he started to talk, I said to myself, ‘This boy is my hero,’” El-Arabi tells Arab News.
Qatleesh had dreams. He wanted to become a professional footballer. More importantly, he wanted the people outside those fences to know the truth of the refugee experience. He didn’t want pity, he told El-Arabi, he only wanted opportunity.
As the film hits Netflix this month in the Middle East, El-Arabi is overjoyed. Finally, after seven years of filming and a years-long global festival tour, his promise is fulfilled.
“I lost a lot of money, to be honest, because I refused to sell the film to a smaller platform that might limit its reach. That was for Fawzi — because of that promise I made him on the first day. I told him to say what was in his heart, and I would tell everyone in the world his story. That has been my mission ever since,” says El-Arabi.
El-Arabi knew what it felt like to have a message that people needed to hear. He was himself once an athlete, a dedicated and successful martial artist, even winning Egypt’s national kickboxing championship. During the Egyptian revolution, however, El-Arabi abandoned any future he might have in sport, instead turning towards filmmaking.
“I started to feel I had something to say, but I couldn’t say it with my voice,” he says. “I realized filmmaking was the way I could say it. I started making small documentaries about what was happening and screening them in the street. One day, the police came and I took my film and I ran. That made me realize the power of what I could say with a camera.”
El-Arabi left Egypt, partnering with the ZDF TV channel to film documentaries in war zones including Iraq, Syria, Kurdistan and Afghanistan. War reporting, however, was unfulfilling, as it so often stripped away the humanity of those caught in its horrors.
“Refugees and the victims in the war were all just numbers. It was the news, and the news just wanted statistics,” El-Arabi says. “I couldn’t process it that way. These were people, and I knew there was more going on than the news could report.”
After meeting Qatleesh and his friend Mahmoud Dagher — the two boys he would ultimately follow from the refugee camp in Jordan all the way to an elite soccer program in the Gulf — El-Arabi filmed them for seven years before whittling their story down to a scant 75 minutes, resulting in a story that showed their incredible journey while also refusing to gloss over the realities of refugee life.
Nonetheless, the film is bursting with hope, and El-Arabi’s proudest moments have come showing the film not to the outside world, as he originally intended, but to those in similar circumstances to Dagher and Qatleesh when he first found them.
“We screened it at a refugee camp in Lebanon, and person after person came up to me to tell me that, for the first time, they could think about the future. They said the film showed them that they could not only have dreams, they could achieve them. I will never forget that,” El-Arabi says.
Since its limited release in 2021, the film has already transformed the lives of both young men whose story it follows.
“They’re stars now. They feel it. Even some football clubs have watched the film and want to give them opportunities,” El-Arabi says. “The government of Jordan and the leaders in the camps respect them. Children in the camps are looking to them as role models. I speak to them all the time, and it’s wonderful to watch, even though they also feel the pressure from their families that they need to start delivering on their promise as soon as possible, and transforming their situation too.”
While he may be done telling their story, El-Arabi has been hard at work over the last few years on another — “Ashish’s Journey” — about the upcoming FIFA World Cup. It is inspired by a man who approached him in Qatar as he filmed “Captains of Zaatari.”
“An Indian man came to me one day and asked if he could take a picture with me. He thought I was a soccer player, and he told me he wanted to send the picture back to his family,” El-Arabi explains. “He told me, ‘I came here to watch the World Cup. But I didn’t have money to come, so I came here to work now, so that I could meet the famous players one day. I thought you were one of them.’”
The more time El-Arabi spent with the man, the more his innocent aspirations intrigued him, leading him to not only film Ashish in Qatar, but to follow him and his family back to India, even adding fictional elements (with Ashish playing himself) inspired by the classic French satirical novella “Candide” to the docu-film.
While El-Arabi knows that he will finish filming later this year at the World Cup, chronicling Ashish’s adventures during the games, he does not plan to rush the film out in the immediate aftermath of the event.
“I want to savor the material. I don’t want to rush it for a big festival. I love working on this film. I don’t want to kill the process — kill everything I’ve put into this — just to have something done fast,” he says.
El-Arabi has other projects in the works as well. He’s currently producing a film about Algeria and discussing producing an upcoming project with his best friend Mohamed Diab, the director of Marvel’s “Moon Knight.” Closest to his heart, though, is the fiction film he has in the works between Los Angeles and Egypt, inspired by both his own history in boxing and his relationship with his father.
“We’re talking to major international stars (about) it,” he says. “It’s a story that takes a lot from my own experiences with my family, and nearly every time I pitch it to people they cry. One person I work closely with, as soon as I finished, said they had to leave room to call their father.”
While telling Arab stories will remain a key part of El-Arabi’s career moving forward, ultimately what drives him is not capturing his identity — it’s capturing his soul.
“I will tell Arab stories, but I don’t think a lot about telling stories about the Arab world,” he says. “I think about humans. That’s all I’m interested in.”