The Saudi 100 Brands exhibition features 80 female designers from the Kingdom.
“The Kingdom of Saudi Arabia has a rich culture shaped by the diversity of its people, traditions and heritage. Through Saudi 100 Brands we will honour artisan tradition, embrace technology, nurture creativity, and inspire the next generation of Saudi designers to share their talents with the world. We would like to express our gratitude to WHITE for creating ExpoWhite, a unique program that builds a bridge between fashion creatives and the international fashion community,” said Burak Cakmak, Chief Executive Officer of the Saudi Fashion Commission, in a released statement.
“We are excited to launch ExpoWhite and profile a new generation of designers and brands from diverse backgrounds on the global fashion stage. Saudi 100 brands will celebrate Saudi’s local fashion talents and showcase the Kingdom’s growing fashion industry to a new audience,” commented Brenda Bellei, Chief Executive Officer of WHITE.
Brands on show include Adelfes, Almuhaisen Jewellery, Atelier Hekayat, Bovenue - By Sadeem, Charmaleena, Dazluq, Dollybrand, Eman Joharjy, Kaf By Kaf, Khawla Al-Aiban, Lillian Ismail, Loomer Jewellery and Lurline.
The news comes after the Saudi 100 Brands initiative staged a show in New York this summer.
The designers were chosen from a pool of 1,500 and finalized into the top 100 based on their pieces.
Saudi style star Tamara Al-Gabbani on how to stand out at Paris Fashion Week
Influencer collaborated with Net-a-Porter for many looks during fashion week season
Al-Gabbani pulled off number of fashion-forward ensembles with help of stylist Wafa Nasser
Updated 06 October 2022
Shyama Krishna Kumar
DUBAI: Saudi designer and fashion influencer Tamara Al-Gabbani is back from her “manic and exhilarating” Paris Fashion Week trip and it was one for the books, she told Arab News.
“It’s like that feeling you get after doing CrossFit for 10 days and you can’t feel your legs anymore,” she said.
She attributed part of the intense nature of the trip to having her stylist and assistant both miss the trip for various reasons.
“The main challenge was definitely that I didn’t have my stylist and assistant with me. Unpacking alone took me six hours. The second challenge was that we didn’t predict that the weather would be cold and rainy. We didn’t really prepare for that,” she added.
What followed was an intense shopping exercise in Paris, while Al-Gabbani had her stylist Wafa Nasser go over all the choices with her on the phone.
“She was on the phone with me the whole time and we were selecting all the boots and everything we needed because of the change of weather conditions. And we were re-creating looks while I was in Paris and shopping right before the shoot, which was in a few hours and we had to do all this last minute over the phone,” Al-Gabbani said.
But even before she arrived in Paris, Al-Gabbani had her work cut out for her. Behind the glitz and the glamor of an influencer’s life is steady teamwork, rigorous attention to detail, and a lot of preparation.
“My stylist and I began our prep three weeks in advance. But because she was in Riyadh and I was in Dubai and then at New York Fashion week, we had to work virtually to put all my looks together. We worked online for five days straight to decide on all the looks. And this time, we collaborated with Net-a-Porter for most of the looks,” she added.
On her favorite styles from her Paris trip, Al-Gabbani picked out her Saint Laurent and Coperni outfits. The Coperni ensemble combined a yellow twisted cutout cady blazer with an eye-catching mint-green crochet skirt, all perfectly brought together with season-favorite Barbie pink Bottega Veneta heels.
The Saint Laurent look featured a more masculine silhouette with a single-breasted tailored blazer dress in denim. Al-Gabbani paired this with thigh-high white boots and chunky gold hoops.
Behind the scenes of ‘The Woman King’ with Hollywood superstar Viola Davis
Director Gina Prince-Bythewood, Viola Davis and other stars discuss their groundbreaking historical epic
The film is set to be released in Gulf cinemas on Oct. 6
Updated 06 October 2022
DUBAI: In the 26 years since she debuted on the screen, 57-year-old American actress Viola Davis has become the only Black American to win the Triple Crown of acting — an Oscar, an Emmy and a Tony, had her star included on the Hollywood Walk of Fame, and has even been named by the New York Times as one of the top 10 actors of the century. Never, though, has she been prouder of a film than she is of “The Woman King.”
“For the first time in my career, I had agency — agency to be able to control the narrative for myself, to have a character that reflected me,” Davis tells Arab News. “It’s a story in which I don’t have to make my blackness disappear in order to make the role work. It meant freedom — that’s what it’s meant.”
Directed by Gina Prince-Bythewood (“Love & Basketball,” “The Secret Life of Bees”), “The Woman King” is the sort of film that many have called for for decades — a historical epic in the style of “Braveheart” or “Gladiator” that centers on the story of African leaders. It is set in the real-life West African kingdom of Dahomey in 1823 and focuses on General Nanisca (Davis), the woman who would become Dahomey’s ‘king.’
For Bythewood, it’s the film she had been dreaming of making all her career. “‘Braveheart’ is one of my favorite movies, and I’ve always wanted to make our ‘Braveheart.’ So when the script came, I thought this might be the chance to do it,” says Bythewood.
Getting it made, however, was anything but easy. Davis and her husband, Julius Tennon, fought for seven years, with Bythewood coming in during the last year to help assemble a cast that was worthy of such an ambitious project.
“To get from that desire to a green light is a lot. It’s a lot of fight. It’s a lot of moving parts. It’s a lot of casting. But I feel like it just happened at the right time. And certainly, I feel like all my work up until this point got me to a position to be able to do this story and tell it the right way,” Bythewood says.
The team assembled an all-star cast of up-and-coming talent, including Lashana Lynch (“Doctor Strange 2,” “No Time to Die”), John Boyega (the “Star Wars” sequel trilogy), and Thuso Mbedu (“The Underground Railroad”), each of whom took on different historical figures that showed the complicated nature of 19th-century Africa, in which prominent West African kingdoms worked with European slavers to sell those they defeated in battle, a practice they later rejected.
“I really had to learn about this history, and once I did I had a responsibility in portraying this man to not shy away from his conflicts, especially the conflicts that are quite negative,” Boyega says. “I had to be open to the reality of the wrong, for the sake of good portrayal.”
At the center of it all is Davis herself, giving perhaps the best performance of her career.
“This movie wouldn’t have gotten made without Viola. No one else can be Nanisca, and she’s everything she is off the screen as she is on the screen. She’s so powerful,” says Bythewood.
“She wants collaboration, and we had a great time building this character. She wasn’t familiar with fighting and stunts because she hadn’t done it before, but I have, so I brought my athlete mentality to her and let her know what it really feels like to be in a ring, to hit or be hit, to swing a weapon. Once we had that, we could really build her from there, and once we had Viola’s performance, we had our key ingredient,” Bythewood continues.
For Lynch, this was not just about telling the story of an African kingdom — it was the story of a Black woman-led society, one that has never been explored on screen before, and she and the crew felt a huge responsibility to do it correctly.
Lisbon museum showcases Arab influence on Portuguese cultural heritage
Updated 06 October 2022
MARBELLAA: One striking aspect of the Portuguese language is its historical link with the Arabic tongue. Along the country’s southern coast, for instance, one encounters small towns with names such as Almancil (meaning ‘the house’ in Arabic) in a region called Algarve, derived from ‘Al-gharb’ or ‘the West.’ In the 8th century, Moors from North Africa occupied Portugal for nearly 500 years, leaving a lasting effect on its culture.
That effect is clearly seen in the ceramic square tiles that pepper the streets of Lisbon. Tiles are locally known as ‘azulejos’ and to understand their history, a visit to the capital’s National Azulejo Museum, which opened in the 1960s is a must. It is housed in a former convent that was founded by Queen Eleanor of Viseu in the 1500s.
Home to more than 50,000 azulejos, the museum hosts a massive panel showing a panoramic view of ancient Lisbon; a gilded church; and a chapel studded with blue-and-white tiles, surprising visitors with its architectural splendor and diversity.
“When people come to the museum, the reactions are very good,” the museum’s director, Alexandre Pais, told Arab News. “They don’t know what to expect and we are trying to make each area different, to create a variety of experiences.”
The term ‘azulejo’ comes from the Arabic word ‘zellig,’ a patterned type of mosaic tile work found in North Africa and Andalusia, Spain. “It started with the Arabs,” explained Pais. “We received azulejos in the beginning from Andalusia. The Arab heritage in Portuguese azulejos can be seen today in several aspects, including technique. For instance, we have the tradition of cutting the azulejos, which is very Arabic in terms of work.”
Originally depicting scenes from the bible, mythology and everyday life, azulejos — which were also influenced by Dutch and Chinese porcelain — were a status symbol and reserved for private spaces, such as churches. They were only externalized to the facades of buildings by the bourgeoisie in the mid-19th century, becoming a national symbol.
“The city became like a theatrical set,” said Pais. “Azulejos have a story of more than 500 years and it’s always changing. . . If you look at azulejos, you can understand the Portuguese, not just as a society but part of our soul — what it means to be Portuguese.”
“Ever since I joined the fashion community, I wanted to collaborate with people I can truly grow with, to join a family that I value as much as it values me. It’s been a long journey but I can confidently say I’ve found my home! The ME Dior team you have been so incredible. An extra special thank you to @sandrasawaya for believing in me and making this happen. This is the start of a wonderful collaboration. I cannot wait to embody the timeless creations of @mariagraziachiuri,” she added, referring to Dior’s creative director Maria Grazia Chiuri and the Head of PR & Communications Middle East for Christian Dior Couture Sandra Sawaya Nehme.
Jammal most recently starred in blockbuster Netflix series “The Sandman,” based on the legendary graphic novels written by award-winning British author Neil Gaiman.
Misk Art Institute’s ‘Tales of Nostalgia’ opened at the Prince Faisal bin Fahd Fine Arts Hall on Oct. 2 to showcase conceptual artworks by creators from Europe and the Middle East
‘Cold Flux’ by London-based Ben Cullen Williams, explores the effects of global warming on the Larsen-B ice shelf, which splintered and almost entirely collapsed 20 years ago
Updated 05 October 2022
RIYADH: A Riyadh art gallery has opened an exhibition exploring time, the mind and the changing world through installations by a dozen local and international artists.
Misk Art Institute’s “Tales of Nostalgia” opened at the Prince Faisal bin Fahd Fine Arts Hall on Oct. 2 to showcase conceptual artworks by creators from Europe and the Middle East.
“Cold Flux” by London-based Ben Cullen Williams, explores the effects of global warming on the Larsen-B ice shelf, which splintered and almost entirely collapsed 20 years ago. The artist’s installation uses video taken during his own trip to Antarctica, and comparisons with later satellite imagery.
His footage was passed through an AI algorithm that distorts and morphs the images as the shelf changes and disappears over time.
“I thought it’d be interesting to kind of potentially rebuild these landscapes through the use of technology, a thing that kind of destroyed it,” Williams told Arab News. “Fundamentally, it talks about our changing planet, how our planet is constantly moving and morphing. But it also kind of brings the question, is technology the solution to our current problems?”
“Novae”, an audio-visuel work by the French art collective Lab212, uses a recreated star field to explore the constellations and the history of astronomy, while sounds of nature and a poem by Prince Badr bin Abdulmohsen, “Khouf wa Sikat,” plays.
Saudi artist Abeer Sultan’s work, “An Imagined Perpetual Past” focuses on Medini marital traditions, and the bride’s anonymity and the extravagance of her clothing.
Daniah Alsaleh’s “Rewind, Play, Glitch” explores nostalgia and the distortion of memory by time through the use of digital photos on a living room wall that change and morph.
The MAI also exhibits various works from artists Muhannad Shono, Ayman Zedani, Asma Belhamar, Sultan bin Fahad, Zimoun, Fuse, Katie Paterson, and Laurent Grasso.
Nawaf Al-Harbi, MAI’s acting strategy & development director, told Arab News that he hoped the exhibition could also be used as a platform for cultural exchange opportunities.
“The aim is to continue the conversations, to get artists, especially the international ones, to run some workshops and master classes, so it's also part of the connection,”
The exhibition runs until January 15, and is open to the public from 4 pm to 10 pm.