Karen Wazen jets to New York for fashion week  

Karen Wazen jets to New York for fashion week  
Lebanese eyewear designer Karen Wazen attended the Ralph Lauren show at New York Fashion Week. (AFP)
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Updated 11 September 2023
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Karen Wazen jets to New York for fashion week  

Karen Wazen jets to New York for fashion week  

DUBAI: Stars from around the world — including Dubai-based Lebanese influencer Karen Wazen — flew in to New York to attend designer Ralph Lauren’s latest show at New York Fashion Week.  

Lauren took over Brooklyn with a sumptuous event that marked his return to NY Fashion Week after four years and brought out stars like Jennifer Lopez, Julianne Moore, Diane Keaton, Mindy Kaling, Gabrielle Union, James Marsden and many others. 

“NEW YORK with @ralphlauren,” Wazen shared in her simple caption on Instagram, alongside a carousel of photos in which she is wearing a sleek black, backless gown.  

After crossing the country last year to stage a lavish show at the grand Huntington Library in San Marino, California, Lauren returned to his home base of New York with the weekend show in a cavernous warehouse space at the Brooklyn Navy Yard, transformed into a reimagined artist’s loft. He decorated the space with rustic wood and draped canvases, and added glittering chandeliers above. 

None other than Christy Turlington closed out the runway show of Lauren’s Spring 2024 women's collection, the 53-year-old supermodel looking regal in a one-shouldered gown in shiny gold, the Associated Press reported.  As is Lauren’s way, he combined luxury and casual throughout, showing sleek metallic looks and lacy evening dresses along with his beloved denim, for example a long floral embellished denim skirt, or a jean jacket adorned with rhinestones, feathers and embroidery. 

Lauren addressed that variety in remarks emailed to The Associated Press, saying the woman he designs for “dresses for who she is on a particular day.” This collection, he said, was “inspired by her individuality — all the ways she can express herself through color, texture, contradictions." It was his Lauren's first NY Fashion Week show since 2019. 

Lopez, Moore, Keaton and Amanda Seyfried sat together in one row, Keaton grooving to the music. Nearby sat actors Keri Russell and Matthew Rhys, near Kaling. Other guests included Ariana DeBose, Rachel Brosnahan, Robin Wright and singer Sheryl Crow. Fellow designer Thom Browne was seated near Vogue editor Anna Wintour. 

After the fashion show, big wooden barn-like doors opened from the runway “artist’s loft” to a huge barnlike room — inspired by Lauren’s ranch in Colorado — with long tables laden with pink roses and candles, where guests dined on lobster salad, filet mignon and grilled branzino. 

Kaling said in an interview that she'd become a fan of the designer through her immigrant parents. “For them, if you wore Ralph Lauren, you had made it, you know, and so that became popularized in my house with Polo Ralph Lauren. So I love being here. It makes me feel really connected to my roots.” 


Meghan Markle filmed cooking with Afghan female refugees in US

Meghan Markle filmed cooking with Afghan female refugees in US
Updated 26 February 2024
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Meghan Markle filmed cooking with Afghan female refugees in US

Meghan Markle filmed cooking with Afghan female refugees in US
  • Footage released on Archewell Foundation website at ‘evening of cooking and storytelling’
  • Event held with Mina’s List, which helped evacuate over 2,000 Afghans to US after Taliban takeover

LONDON: Footage has emerged of Meghan Markle, duchess of Sussex, cooking with a group of Afghan female refugees in the US.

The video, published on the website of her Archewell Foundation, shows her making traditional Afghan cuisine, including dumplings, with the 15 women.

The meeting, described as an “evening of cooking and storytelling,” took place on Feb. 10 in partnership with the Southern California Welcome Project, set up by the duchess in 2023, and Mina’s List, a New York-based organization that has worked with female Afghan activists and politicians since 2014.

Archewell said in a press release that the women shared “their personal stories” and discussed “the support they find from this intergenerational group of women.”

It added that in 2021, Mina’s List helped secure the evacuation of more than 2,000 Afghan women and their families from the country after it fell to the Taliban.

Subsequently, Mina’s List and Archewell “joined forces to provide community and support to these remarkable women as they begin to rebuild their lives in the US.”

Archewell said the Southern California Welcome Project is “a safe haven and inclusive environment for women who have recently resettled in the US from Afghanistan.”

It added that there are currently 11 Welcome Projects operating across the US, “designed to foster a sense of belonging through activities including sewing, art, hiking, swimming, photography, storytelling, and cooking.”

The foundation added: “By facilitating women-based programming, The Welcome Project also brings access to critical resources and opportunities that not only supports the women participating in The Welcome Project, but also improves the lives of those around them — their families and their communities.”


Film Independent Spirit Awards sees Arab wins, Mideast fashion on the red carpet

Film Independent Spirit Awards sees Arab wins, Mideast fashion on the red carpet
Updated 26 February 2024
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Film Independent Spirit Awards sees Arab wins, Mideast fashion on the red carpet

Film Independent Spirit Awards sees Arab wins, Mideast fashion on the red carpet

DUBAI: US director A.V. Rockwell hit the Film Independent Spirit Awards’ red carpet in a look by Lebanese designer Elie Saab as she scooped up the award for best first feature for her movie “A Thousand and One.”

Rockwell’s green-hued gown hailed from the fashion label’s Resort 2024 collection and featured a dark-to-light green gradient color palette, a plunging neckline and a cape that was attached at the shoulders.

US director A.V. Rockwell hit the Film Independent Spirit Awards’ red carpet in a look by Lebanese designer Elie Saab. (Getty Images)

Rockwell’s film stars Teyana Taylor as a mother who kidnaps her six-year-old son, Terry, from the foster care system. The film had its world premiere at the 2023 Sundance Film Festival and won the Grand Jury Prize.

Meanwhile, Celine Song’s quiet romance “Past Lives” won two of the biggest awards at the Film Independent Spirit Awards, including best feature and best director. Other big winners were Cord Jefferson’s comedic satire “American Fiction,” with Jeffrey Wright winning for lead performer; and Alexander Payne’s “The Holdovers,” which won prizes for Da'Vine Joy Randolph and Dominic Sessa, the Associated Press reported.

The 39th edition of the show was held Sunday in a beachside tent in Santa Monica, California, and streamed live on IMDb and Film Independent’s YouTube channels and X accounts.

“Thank you so much for letting me share what it feels like to be human, to love and be loved, and thank you for loving our film," Song said in accepting the directing prize, according to the Associated Press.

Her film was among the top nominated at the show, alongside “May December,” which won only one award (for Samy Burch's first screenplay) and “American Fiction,” which fared better.

Wright won for playing a frustrated author who becomes wildly successful by writing something he hates in “American Fiction.”

The Spirit Awards sit firmly within the larger Hollywood awards season, which culminates with the Oscars on March 10. But with a budget cap of $20 million for nominees, the show celebrates films that sometimes go unheralded, or at least under-nominated, at the bigger shows.

Last year, “Everything Everywhere All At Once” swept the Spirit Awards before going on to do the same at the Oscars. But this year, many top Oscar contenders — including “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” — would not have qualified.

Kaouther Ben Hania’s film “Four Daughters,” which is nominated for the corresponding Oscar, won best documentary. And Justine Triet’s “Anatomy of a Fall,” also nominated for best picture at the Oscars, won best international feature over “The Zone of Interest.”


Charlotte Church denies antisemitism claims after singing pro-Palestinian song at concert

Charlotte Church denies antisemitism claims after singing pro-Palestinian song at concert
Updated 26 February 2024
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Charlotte Church denies antisemitism claims after singing pro-Palestinian song at concert

Charlotte Church denies antisemitism claims after singing pro-Palestinian song at concert
  • Welsh singer-songwriter led a 100-strong choir singing “From the River to the Sea” during a pro-Palestine fundraising concert in Caerphilly, South Wales, on Saturday
  • Critics say the song calls for the destruction of Israel but pro-Palestine campaigners say it asserts “the right of all Palestinians to freedom, equality and justice”

LONDON: Welsh singer-songwriter Charlotte Church on Monday denied allegations of antisemitism after she was criticized for leading a choir singing “From the River to the Sea.”

Church led the 100-strong choir during a pro-Palestine fundraising concert at a village hall in Caerphilly, South Wales, on Saturday. The song refers to the land between the River Jordan, bordering the occupied West Bank and Israel in the east, to the Mediterranean Sea in the west.

The Campaign Against Antisemitism has labeled the song and its central message “antisemitic,” saying it calls for the destruction of the state of Israel.

However, the Palestinian Solidarity Campaign and other activists say the phrase “from the river to the sea, Palestine will be free” refers to “the right of all Palestinians to freedom, equality and justice.”

Church addressed what she described as the “alarmist” reports about Saturday’s event live on Instagram on Monday, in a message in which she explained she was “fighting for the liberation of all people.”

She said: “Just to clarify my intentions there, I am in no way antisemitic. I am fighting for the liberation of all people. I have a deep heart for all religions and all difference.

“It was a beautiful, beautiful event. But unfortunately the powers that be can’t have that. (They) can’t have such a powerful symbol of resistance as what we worked towards on Saturday.”

Church confirmed the event ended with a chant of the phrase “from the river to the sea, Palestine will be free.”

She said: “Clearly, if you know the history of it all, (it is) not an antisemitic chant calling for the obliteration of Israel. It is not that in any way, shape or form. It is calling for the peaceful coexistence of Israelis and Palestinians.”

Church added that “lots of other beautiful songs … of liberation and freedom” were performed during the event, including Arabic songs, Welsh songs and South African songs associated with the anti-Apartheid movement, “the lyrics of which were adapted to the situation in Palestine.”

In video footage from the concert, Church is seen standing behind a banner that reads “Let Palestine Live.” She and the members of the choir are wearing keffiyeh scarves, a symbol of solidarity among supporters of Palestine.

In November, Church posted a video message on Instagram in which she expressed support for the Palestinian cause. She urged her followers to watch footage from Gaza and the West Bank, and to amplify Palestinian voices during “this genocide that is happening in front of all of our eyes.”

The 37-year-old singer told her fans, “Do not look away,” and expressed concern about the children “caught in this geopolitical insanity.”

In the same video she said that starting on Nov. 20 she would be offering weekly singing sessions “for the liberation of Palestine and the liberation of the Palestinian people.”


‘The future of culture is local,’ RCU’s Vice President of Culture Jason Harborow writes during AlUla Future Culture Summit

‘The future of culture is local,’ RCU’s Vice President of Culture Jason Harborow writes during AlUla Future Culture Summit
Updated 26 February 2024
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‘The future of culture is local,’ RCU’s Vice President of Culture Jason Harborow writes during AlUla Future Culture Summit

‘The future of culture is local,’ RCU’s Vice President of Culture Jason Harborow writes during AlUla Future Culture Summit
  • The AlUla Future Culture Summit from Feb. 25 to 27 is part of attempts to develop an authentic local offering that also contributes to the nation’s economy, writes Jason Harborow, vice president of culture for the Royal Commission for AlUla

ALULA: There is an inherent tension in culture-sector development between global and local dynamics. In Saudi Arabia, we are in the midst of an unprecedented renaissance in the culture sector — with significant investment in arts, music, film, heritage and other areas to showcase the Kingdom’s history and identity to the region and the world. As we develop this culture offer, there is a need to understand global best-practice by engaging with leading cultural institutions with a longer history of this type of development and promotion. Whilst this engagement is important, there can be a temptation to become overly reliant on these leading — and often Western — organizations and to confuse Saudi Arabia’s culture development with importation and/or adopting an external interpretation.

The culture leaders of today must manage external engagement wisely — ensuring that we deliver world-class experiences that are true to local community values, traditions and heritage. At the Royal Commission for AlUla, we have found a way through this challenge by focusing our global culture engagement and partnerships on knowledge exchange and learning. Like others, the RCU is engaged with leading museums, conservation organizations and archives based in China, France, Italy and the UK to help us deliver a world-class culture offer. Our global partners play an important role in sharing learnings and knowledge, serving as a thinking partner and helping us to develop local, distinctive cultural assets that are true to the AlUla community.

Beyond cultural asset development, the RCU also works with international partners to develop our people. Global culture partnerships have helped us to deliver job and skills creation locally — ensuring that Saudi Arabia’s talent has access to the best trainers, accelerator programs and other learning mechanisms to learn about archaeology, exhibition management, acquisition, and other core culture competencies. At the RCU, we are proud to be building a strong, skilled generation of domestic talent that understand the global cultural landscape and is using this knowledge to build a progressive and original local cultural offering.

The Kingdom has welcomed 150 of the world’s cultural leaders, artists, tech entrepreneurs and policymakers for the inaugural AlUla Future Culture Summit that is running from Feb. 25 to 27. Given AlUla’s position as a leading entity driving the Kingdom’s cultural development, it is a great honor for us to host this summit, in partnership with the Kingdom’s Ministry of Culture. The summit aims to convene a high-level conversation about the future of culture in the Kingdom and beyond, looking at trends and opportunities to help the community to drive forward world-class sector development. The AlUla Future Culture Summit has been hosting a series of panel discussions, immersive performances, workshops, and guided explorations of AlUla’s outstanding cultural and natural landscapes.

The discussions will focus on several key themes that are important in the discourse on culture, both within the Kingdom and globally — one of which is the need to balance global and local dynamics. The growth of the culture sector is not just a social opportunity, it is also an economic one. Research shows that Saudi Arabia’s culture and arts sector has the potential to contribute up to 5 percent to the nation’s gross domestic product. In Saudi Arabia, the sector only contributed 1.7 percent to the country’s GDP in 2022, representing substantial opportunity for growth.

The RCU was founded in 2017 to drive the development of AlUla County and we have learned many lessons over the last seven years of operations, development and governance. Whilst the RCU has experimented with different approaches to, and profiles of, cultural activations during this period, we have remained laser-focused in our work to understand, cultivate, and celebrate authentic, local culture and to build the offering and visitor experience around it. Our Winter at Tantora, the AlUla Arts Festival, and the recent launch of Design Space AlUla are just a few examples of how we are delivering a culture sector anchored in our local community.

We are proud of our achievements at the RCU, but we can do more if we collaborate across the culture sector more closely. There is an opportunity for more of the Kingdom’s cultural institutions to work together more closely to share learnings, deliver more training, capacity building and skills to our people; while also thinking about how we can help the Kingdom to be an exporter to the world of the rich cultural assets that we are building.


Review: ‘Mario vs. Donkey Kong’ is an expensive remake of 2004 puzzler

Review: ‘Mario vs. Donkey Kong’ is an expensive remake of 2004 puzzler
Updated 26 February 2024
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Review: ‘Mario vs. Donkey Kong’ is an expensive remake of 2004 puzzler

Review: ‘Mario vs. Donkey Kong’ is an expensive remake of 2004 puzzler

LONDON: Almost two decades after “Mario vs. Donkey Kong” originally landed on the Gameboy Advance, comes a more polished – but almost full priced – remake of the action/puzzle title for the Nintendo Switch.

Widely considered a classic at the time, much has changed in those two decades but for the enmity between Nintendo’s superstar Mario and Donkey Kong. In this instance, Donkey Kong has stolen a bunch of suitable cute “Mini-Mario toys” and has done a runner leaving our erstwhile plumber hero to save the day by setting them free.

To do this, Mario, along with the usual assortment of allies from his gaming universe, must conquer 130 levels of puzzle fun across a variety of worlds. These range from dark volcanic arenas, spooky haunted houses, slippery ice lands, dangerous jungles and more, all presented in the polished colorful graphics you’d expect from a Nintendo platform.

The game advertises itself as suitable for gamers aged three and above but has a choice of “casual” or “classic” style to guide you into a choice of difficulty.

“Observe and act,” advises the game’s marketing team as each puzzle challenges you to think about which switches to hit at the right time to be successful. A generous timer counts down in the top right corner, but it doesn’t feel like there is a huge amount of pressure on you to rush through the arenas. Indeed, when you add in the languid jazzy background music, you get a sense of the game trying to operate at a more relaxed pace than other Mario titles. A nice feature of moving throughout the game is Mario’s gymnastic skills; backflips and walking on his hands to avoid falling hazards from above.

In addition to finding mini-Marios, the game has another nice feature whereby you have to shepherd a gaggle of the tiny red and blue fellows around hazards to get to their toybox. This brings back memories of the famous Lemmings game although far more bite-sized in nature.

Where the game is significantly different from the original is the addition of a two-player local co-op mode. This has been done with considerably thought encouraging genuine challenge for a pair of gamers as opposed to offering the same puzzles with double the human capacity to overcome them.

The format of the game is strong and offers the warm blanket familiarity of iconic characters along with their familiar phrases. There is plenty of quality family fun to be had here, although the cost of the game feels somewhat steep for what is largely a remake rather than a genuinely original.