Saudi poet and artist Hana Almilli: ‘After each piece, there’s some sort of conclusion’ 

Saudi poet and artist Hana Almilli: ‘After each piece, there’s some sort of conclusion’ 
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Updated 18 April 2024
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Saudi poet and artist Hana Almilli: ‘After each piece, there’s some sort of conclusion’ 

Saudi poet and artist Hana Almilli: ‘After each piece, there’s some sort of conclusion’ 

DUBAI: Saudi artist Hana Almilli and her two siblings grew up in a household where creativity and self-expression were actively encouraged. “My mom is a poet,” Almilli tells Arab News. “And my dad was very motivating in terms of doing photography.” Her two brothers, she adds, “are both talented in terms of music and art.” And with her Syrian maternal grandmother, Almilli shares a love of nature and of textiles. 

But aside from being one of the main inspirations behind her creative output, Almilli’s family are also the subject of most of it. Through her poetry, embroidery, weaving, dyeing and photography, she explores her own history and her diverse cultural identity (she has Saudi, Syrian, Turkish, Kurdish, and Palestinian ancestry).  




Detail from 'Memoirs 2,' which shows Almilli's maternal grandmother in Syria. (Supplied)

“It’s about me and my family history,” Almilli says of her work, which was most recently on display at Art Dubai in March. “It does really focus on heritage, history, personal narratives.  

“Being from all these different identities, it’s always been important to be a part of those cultures,” she continues. “They’re all very different. And sitting with each and every grandparent, which I’ve had the privilege of doing, you learn so much. Growing up I’d have Turkish lullabies from my Turkish grandma, Kurdish news on the televsion that my grandpa would translate. My memory’s not great, but those specific moments from my childhood still remain; I still write about them and I’m still inspired by them. And I still want to almost recreate them in my work.” 

Aside from her family history, the other major theme running through Almilli’s work is alienation or estrangement (as made clear in the title of her ongoing series “The Echoes of My Alienation”). That may seem odd in someone who talks so warmly of her close and nurturing family ties, but those same ties could, perhaps, have been one of the causes of her alienation. 




'A fragile dawn, a floating wish, a fleeting farewell' on display at SAMOCA. (Supplied)

It really began when she moved to the US to attend the California College of the Arts in 2014. Initially, she was studying architecture, but, “I just hated it. I couldn’t express myself in any way that I wanted to.” She shifted courses, eventually graduating with a focus on textiles and creative writing, the latter allowing her to build on her poetry writing, which began as a teenager with verses that were “hidden under the bed — ‘No one’s looking at this.’” 

It was towards the end of her college years that she began “The Echoes of My Alienation,” although the emotions it explores had surfaced almost as soon as she arrived in the States.  

“My first day in the US, there was an earthquake, and I’d never experienced an earthquake. So it was almost like the beginning of this trial of alienation,” Almilli says. “I was, like, ‘I don’t know if this is for me.’ So persevering, and staying there for five years, was an interesting experience. It grew that alienation. And I wouldn’t say it has dissipated. It still stays, because if it doesn’t then that curiosity about finding out where I come from is gone.” 

The series features a number of different works, including several self-portraits and images of family members embellished with embroidery. 

“You can see the pieces are obsessively embroidered with little maps. I was almost mapping myself out — those identities that have always been a part of my life but that, to some extent, I had lost as I travelled to the US and was far from home. My grandma had Alzheimer’s at the time, too, so that history was lost with her. My grandpa had passed away in the first year I was in the US as well, so there’s this aspect of rediscovering and recreating history through myself in self-portraits.” 




 'Languages Interlacing 2,' one of Almilli's self-portraits. (Supplied)

The “most emotional” section of the series, she says, is “Memoirs.” In “Memoirs 2” Almilli has embroidered delicate jasmine flowers over an image of her maternal grandmother in Syria, standing among trees.  

“It’s the same technique I use every time, but I intuitively highlight specific parts of an image, whether it’s to hide or accentuate,” Almilli explains. “My grandma and I have a great connection with flowers.” 

As she explored working with textiles, Almilli also developed her poetry skills. She has even published the poems that she once hid under her bed.  

“At art school, you don’t really have that fear of exposing yourself, because everyone is. So I found the courage to take part in this school publication that went around California as well. That really re-started everything in terms of writing and, ever since, every piece I make has been inspired by a written poem.  

“Usually, my works are unique pieces representing a story, or a dream, or someone,” she continues. “It’s interesting, because nowadays, with contemporary art, you’re meant to look at it and make your own sense of it. But, to me, it’s important to know the story of what happened. Being able to write, as an artist, is very important for me because it gives context to my work — what it represents, what it feels like.” She cites her piece on display at the Saudi Arabia Museum of Contemporary Art — “A fragile dawn, a floating wish, a fleeting farewell.” “That was initially a long poem that got turned into an embroidered piece that has the poetry within it,” she explains. 

With so many different outlets for her creativity, her mind must be constantly churning with ideas, which seems like it could get exhausting, I suggest. But Almilli, who returned to Saudi Arabia in 2019, explains that she’ll often take a lengthy break after finishing a piece or a series. 

“After each piece, there’s some sort of conclusion,” she says. “For example, the piece I just spoke about talks about how, in my dreams, I meet people I’ve loved, but they’re forever drowning in my dreams. Like, my grandma had Alzheimer’s for a few years and we couldn’t get her to Saudi. It’s almost like the only connection I had with her was when she showed up in my dreams. And to be able to write that and grasp it, and put it into something that is physical… it’s very difficult, in the beginning, because you’re facing the idea of that loss in the future, but after that comes a conclusion of sorts: ‘Now I understand these emotions.’ I try to think about what I wrote when I’m making each piece, and — if it’s a difficult piece — to try and heal from it in the process. That difficult feeling becomes something you can bear, whatever it might be.” 

And even though her pieces are so personal, Almilli has found her work connects with people on a very emotional level.  

“As much as my stories are about my personal history, and my family’s oral history and heritage, at the end of the day there are a lot of people that feel an alienation, or a craving after the loss of a person for that person. So they are stories that people can relate to,” she says.  

“I cherish my pieces so much. It’s very difficult for me to let go of them, but I’ve grown to understand that it’s really about being able to share that story with people and show them that there are others going through that,” she continues. “It’s beautiful too, because I hear stories from others that they’ve never spoken about. It’s important, because it shows them that you can embrace multiple aspects of yourself, and that’s OK.”  


Jean Paul Gaultier names Ameni Esseibi first regional ambassador for fragrance line

Jean Paul Gaultier names Ameni Esseibi first regional ambassador for fragrance line
Updated 21 May 2024
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Jean Paul Gaultier names Ameni Esseibi first regional ambassador for fragrance line

Jean Paul Gaultier names Ameni Esseibi first regional ambassador for fragrance line

DUBAI: French luxury brand Jean Paul Gaultier has announced that Tunisian model Ameni Esseibi has been appointed as the first-ever regional ambassador for its fragrance line.

Esseibi, considered the first plus-size model in the Middle East, showcased the brand’s iconic Scandal perfume in the campaign images, donning a variety of ensembles.

Among them was a form-fitting blue dress adorned with pink floral designs. In another shot, she wore a jumpsuit in the same hue, featuring vibrant geometric prints in yellow, orange, purple and pink.

She also rocked a black gown, and a sheer beige and gold top layered elegantly over a simple black base.

Esseibi showcased the brand’s iconic Scandal perfume in the campaign images. (Supplied)

“Jean Paul Gaultier is more than just a brand to me,” Esseibi said in a statement. “It feels like family. Its identity embodies everything I stand for: Rebellion, strength, boldness, fearlessness, sensuality, and a touch of scandal.” 

“Growing up, Jean Paul Gaultier was my mother’s favorite fragrance, making it a cherished part of my life. I am deeply honored to make history as their first Arab ambassador in the region, and this brand will continue to be an enduring part of my career,” she added.

Esseibi made her international debut in September 2022 by walking for French label Victor Weinsanto at Paris Fashion Week.  

She then went on to work with a number of esteemed brands, including H&M, and has featured in the pages of multiple publications. 

In 2022, the Arab Fashion Council, a non-profit organization representing the fashion industry in the Middle East and North Africa, named the Dubai-based model as its ambassador.


Rami Kadi, Zuhair Murad designs shine on ‘The Apprentice' red carpet at Cannes

Rami Kadi, Zuhair Murad designs shine on ‘The Apprentice' red carpet at Cannes
Updated 21 May 2024
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Rami Kadi, Zuhair Murad designs shine on ‘The Apprentice' red carpet at Cannes

Rami Kadi, Zuhair Murad designs shine on ‘The Apprentice' red carpet at Cannes

DUBAI: Lebanese designers Rami Kadi and Zuhair Murad put on a show on the red carpet at the Cannes Film Festival — their creations were worn by two Brazilian models during the highly anticipated premiere of “The Apprentice,” directed by Ali Abbasi.

Fashion influencer Maria Braz showcased a custom-made kaftan-style gown by Rami Kadi, cinched at the waist and adorned with sequins and feathers.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by MARIA BRAZ (@mariabbraz)

“Like an angel for Cannes Film Festival,” the blogger wrote on Instagram.

She accessorized her look with a diamond necklace and matching earrings from the Italian label Damiani.

On the same red carpet, Brazilian fashion model Thayna Soares wore a draped silk dress featuring an embroidered high-neck bodice and a thigh-high slit from Zuhair Murad’s Spring 2024 collection.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by MARIA BRAZ (@mariabbraz)

While Donald Trump’s hush money trial entered its sixth week in New York, an origin story for the Republican presidential candidate premiered at the festival on Monday, unveiling a scathing portrait of the former president in the 1980s.

“The Apprentice” stars Sebastian Stan as Trump. The central relationship of the movie is between Trump and Roy Cohn (Jeremy Strong), the defense attorney who was chief counsel to Joseph McCarthy’s 1950s Senate investigations.

Cohn is depicted as a longtime mentor to Trump, coaching him in the ruthlessness of New York City politics and business. Early on, Cohn aided the Trump Organization when it was being sued by the federal government for racial discrimination in housing.

“The Apprentice,” which is labeled as inspired by true events, portrays Trump’s dealings with Cohn as a Faustian bargain that guided his rise as a businessman and, later, as a politician. Stan’s Trump is initially a more naive real-estate striver, soon transformed by Cohn’s education, The Associated Press reported.

According to AP, “The Apprentice” a potentially explosive big-screen drama in the midst of the US presidential election. The film is for sale in Cannes, so it does not yet have a release date.


‘Material Woman’ exhibition in London creates synergy of Arab women’s fashion and art

‘Material Woman’ exhibition in London creates synergy of Arab women’s fashion and art
Updated 21 May 2024
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‘Material Woman’ exhibition in London creates synergy of Arab women’s fashion and art

‘Material Woman’ exhibition in London creates synergy of Arab women’s fashion and art
  • Curation tells a “story about how women use their hands to craft their destinies,” Shoucair says

LONDON: The worlds of fashion and art from Arab female creatives converged this week at the “Material Woman” exhibition in London.

The exhibition, held from May 17 to May 19 at Soho Revue, is the brainchild of the art collective Hayaty Diaries, in collaboration with the fashion platform and pop-up series 3eib.

"The Warmth of My Bed" (2023) and "Thulathia" (2024) by Lebanese artist Yasmina Hilal. (Supplied)

Featuring an eclectic mix of sculptural art, mixed media, projection installations, fashion and jewelry, the exhibition explored craftsmanship and materiality.

“Each element came together to tell a cohesive and beautiful story about how women use their hands to craft their destinies and honor their heritages through both creative worlds of art and fashion,” Lebanese curator and Hayaty Diaries co-founder, Christina Shoucair, told Arab News. 

The curatorial process began with the pairing of artists and designers, creating a harmony between the works. 

"Communion" (2023) and "Wound" (2023) by Bahraini artist Zayn Qahtani

Bahraini artist Zayn Qahtani’s shrine-like objects, featuring delicate ethereal drawings on date paper, explore themes of venerative mourning. These are paired alongside a series of rustic sculptures and draped garments by Egyptian designer Nadine Mos.

Lebanese artist Yasmina Hilal’s photo sculptures, which incorporate her distinctivve metalwork and soldering technique, are complemented by a curated display of contemporary silver and gold accessories by Celine Dagher, a Lebanese jewelry designer.

Meanwhile, Egyptian artist Hanya Elghamry examines the process of remembering by graphically recreating various details and narratives in her installation “Abandoned Projection.” Set as a backdrop against her floating “Tampered Redux” series, along with Moroccan designer Hanan Sharifa’s mesh and delicate dresses, the space offers visitors an immersive experience.

Garments designed by Nadine Mos on display at "Material Woman" in London. (Jules Foad)

“Christina and Kinzy presented the vision for The Material Woman and I loved the idea of blending the worlds of fashion and art together and utilizing the theme of materiality as a vehicle of creative empowerment and liberation,” 3eib founder, Dania Arafeh, told Arab News. 

Hayaty Diaries, which focuses on celebrating the artwork of Arab women, marked its debut last December with its inaugural exhibition, “Through Their Eyes: Perspectives Unveiled,” in the British capital. 

“Our Hayaty Diaries journey has been incredible. We’ve had the privilege of meeting many creatives from the region and have felt the warmth and support of the community. We are immensely grateful for all the encouragement we have received along the way,” Egyptian-Saudi curator and Hayaty Diaries cofounder Kinzy Diab told Arab News.

The London-based collective is now preparing for its exhibition “Levitate,” which will run from June 6 to June 16 and center around themes of fantasy and imagination.
 


Ithra celebrates Saudi Arabia’s ‘creative voices’ at Cannes Film Festival

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
Updated 21 May 2024
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Ithra celebrates Saudi Arabia’s ‘creative voices’ at Cannes Film Festival

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved.
  • Panel discussion was held within the Saudi pavilion of the Film Commission, with attendees from the global cinematic industry
  • Panelists discussed the 15 projects that won support from the Ithra Film Production Program

RIYADH: Ithra organized a panel discussion entitled “Creative Voices” to shed light on young Saudi cinematic talents on the sidelines of the 77th Cannes Film Festival.

It was held within the Saudi pavilion of the Film Commission, with attendees from the global cinematic industry.

The panelists discussed the 15 projects that won support from the Ithra Film Production Program, including 11 short films and four feature-length films.

According to film director Hamza Jamjoom, the present opportunities for Saudi directors have greatly improved compared to previous years, allowing them to showcase local stories through cinematic works that reflect the Saudi culture internationally. 

Raneem Al-Muhandis, the director who debuted her film “Swing” in 2022 with support from Ithra, said Saudi Arabia boasts a rich pool of narratives ripe for cinematic exploration with worldwide appeal.   

Ithra cinema coordinator Mansour Al-Badran said that this program has taken local filmmaking to a new level.

“We produced the film ‘Hajjan’ within IFPP which has so far won nine awards in local and regional film festivals and was chosen to be the opening or closing film in prestigious festivals,” he said.

Al-Badran added that “Hajjan” is a prime example of the cinematic projects Ithra is working on.

He highlighted that Ithra is interested in stories that draw inspiration from the rich Saudi culture and aims to raise the standards of filmmaking in the local community through workshops and seminars.

Additionally, he highlighted Ithra’s collaboration with the Cinema Society to host the Saudi Film Festival, which is as a major platform for showcasing up-and-coming talents in the film industry. 

The Ithra event at the Saudi pavilion featured a luncheon bringing together representatives of organizations that support filmmakers in Saudi Arabia. The aim was to strengthen relationships and promote the exchange of cinematic experiences between industry professionals and enthusiasts. 


Dubai Fashion Week announces Spring/Summer 2025 edition dates

Dubai Fashion Week announces Spring/Summer 2025 edition dates
Updated 21 May 2024
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Dubai Fashion Week announces Spring/Summer 2025 edition dates

Dubai Fashion Week announces Spring/Summer 2025 edition dates

DUBAI: Dubai Fashion Week (DFW) has announced its Spring/Summer 2025 dates, with international labels set to hit the runway from Sept. 1-5, 2024.

 “By positioning it ahead of the fashion weeks of New York, London, Milan and Paris, DFW provides an opportunity for participating designers to set the season’s trends and capture the attention of buyers,” organizing bodies the Arab Fashion council and Dubai Design District said in a released statement.  

 

 

Previous iterations of DFW saw New York-based label Carolina Herrera as the guest of honor last October with a presentation by the brand’s Creative Director Wes Gordon; supermodel Naomi Campbell closing the October edition by walking for Rizman Ruzaini; and Moroccan designer Maison Sara Chraibi making her DFW debut in February after presenting her collection at Paris Haute Couture Week.