Celebrity-loved Indian designer Manish Malhotra explores a new ‘globalized aesthetic’ at Dubai showcase
Updated 15 February 2025
Hanadi Merchant-Habib
DUBAI: Manish Malhotra is a name synonymous with opulence, craftsmanship and Bollywood glamour. As one of India’s most celebrated designers, Malhotra revolutionized South Asian couture and has dressed some of the biggest stars in the international entertainment industry.
From Bollywood royalty, including crossover star Priyanka Chopra, to Hollywood’s Kim Kardashian and Jennifer Anniston, Malhotra’s clothes have been seen on A-listers globally.
The designer closed out the latest edition of Dubai Fashion Week in February. (Supplied)
While his influence has extended outside India for some time now, Malhotra took it one step further by establishing a permanent foothold in the UAE. After opening his first international flagship store in Dubai in December 2023, he closed out the latest edition of Dubai Fashion Week in February.
Marking his first-ever international runway presentation, the lineup was everything loyal clients would expect and more. Titled “The World Collection: Dubai,” the clothes were a celebration of traditional Indian craftsmanship reinterpreted with global appeal.
His signature sequins adorned most of the clothes. (Supplied)
“I wanted to explore a more globalized aesthetic while staying true to the essence of Indian couture,” Malhotra told Arab News. “The silhouettes are bold yet effortless, tailored yet free flowing, designed to complement the modern woman’s dynamic lifestyle.”
His signature sequins adorned most of the clothes, and a metallic silver gown and a rainbow-colored gown with a fabric draping the model’s head stood out. Elsewhere, suits dominated the runway – but not the corporate kinds – more couture-esque with fluid cuts making them comfortable to move around in. The suits came with exquisite pearl embellishments, a nod to the region’s pearl diving heritage. Others were sequinned from head to toe, an ode to maximalism. “Suits, for me, have always been a powerful expression of confidence and individuality. With this collection, I wanted to explore tailoring in a way that felt both bold and glamorous while staying true to the essence of craftsmanship,” he explained.
Malhotra’s kaftans and abaya-like silhouettes were elegant and versatile. (Supplied)
Handwoven brocade came in the form of structured, button-down blazers with matching voluminous midi skirts, further spotlighting the craftsmanship Malhotra is known for. “I worked with master craftsmen to create handwoven brocades, intricate pearl embellishments and signature sequins, but the silhouettes were envisioned with an international sensibility.”
Suits dominated the runway – but not the corporate kinds, more couture-esque. (Supplied)
With sahoor and iftar gatherings just around the corner, Malhotra’s kaftans and abaya-like silhouettes were elegant and versatile. “This collection reflects a shift toward a more universal language of fashion – where heritage meets innovation, and tradition finds expression in modern, statement-making forms,” he said.
DUBAI: With Eid Al-Fitr on the horizon, you may be planning to host friends and family to mark the festivities.
Nahel Selo, creative director at Sedar Global, shares his décor tips.
Tip 1: Make a good first impression
Spruce up your entrance to set the mood. Start with a prop style chair or bench with festive cushions and add a console table with a metal tray loaded with dates. Adding a diffuser or incense burner and floor lanterns will create a festive atmosphere.
Tip 2: Ramadan tents and majlis-style seating
You can craft a simple tepee in your garden using sheer or linen curtains or, if budget allows, add a pergola or awning installation. Create communal areas using low seating arrangements such as ottomans or poufs teamed with floor cushions laid over a rug.
Tip 3: Add Arabesque touches
Options include temporary décor such as Arabic calligraphy-inspired style brass accessories, mirrored objects or even geometric print fabrics.
Mix up interiors with traditional flashes of gold or brass contrasted with trending palettes of turquoise, royal blues or dusky pinks. Selo commented: “Adding metallics, specifically gold and brass, is not only a nod to tradition but also essential to create a festive mood. For 2025 worn brass and golds give an earthy and contemporary finish.”
Tip 4: Creative tablescapes
Take your Eid Al-Fitr meal to the next level by sprucing up the dining table with creative tablescaping. From incorporating metallic, intricate arabesque or lunar pattern accents through cutlery, napkin rings and dinnerware sets, to jute placements, table runners, mini lanterns and dry or fresh florals, thoughtful accents can transform your table.
“Atmospheric lighting is key,” Selo added. “Battery-operated fairy lights, tall lanterns and tea lights … are a cost-effective décor touch to set the mood.”
Lyna Khoudri spotted at TV series festival in Lille
Updated 23 March 2025
Arab News
DUBAI: French Algerian actress Lyna Khoudri made an appearance at Series Mania 2025 this weekend in Lille, France.
Also known as the International TV Series Festival, Khoudri and her castmates were on hand to promote Apple TV+ show “Careme.”
“An ambitious, young chef uses his seductive charm to work as a spy so he can save his father — and make his name,” the official logline of the period drama reads. The series is set to land on Apple TV+ on April 30.
It is a biographical series about Antonin Careme, who rose from humble beginnings to become known as the world's first celebrity chef during the Napoleonic era. Careme is played by Cesar Award-winner Benjamin Voisin, who is joined by Cesar Award-winner Khoudri, César Award nominee Jérémie Renier (“My Way,” “Saint Laurent”),”) and Alice Da Luz (“Hanami,” “And the Party Goes On”).
The Cesar Awards are France’s reply to Hollywood’s Academy Awards.
“Careme” is directed by filmmaker Martin Bourboulon, who also directed Khoudri in Afghanistan evacuation drama “13 Days, 13 Nights,”
The drama, the full title of which is “In The Hell Of Kabul: 13 Days, 13 Nights,” stars Khoudri alongside Danish BAFTA-winning “Borgen” star Sidse Babett Knudsen, Roschdy Zem (“Chocolat,” “Oh Mercy!”), and theater actor Christophe Montenez.
Set against US troops’ withdrawal from Afghanistan in August 2021, as the Taliban marches on Kabul, the film recounts the true story of French Commander Mohamed Bida who oversaw security at the French embassy, which was the last Western mission to remain open.
The film marks a change for Bourboulon after period dramas “The Three Musketeers – Part II: Milady,” “The Three Musketeers – Part I: D’Artagnan” and “Eiffel.”
Khoudri, 32, first rose to prominence in her role as Nedjma in Mounia Meddour’s critically acclaimed drama “Papicha.” For her work in the film, she won the Orizzonti Award for best actress at the 74th Venice Film Festival, and she was nominated in the Cesar Awards’ most promising actress category.
Khoudri also starred in the 2019 mini-series “Les Sauvages” and in 2016’s “Blood on the Docks.”
Notably, she was cast in Wes Anderson’s 2021 comedy “The French Dispatch” alongside Timothee Chalamet, Bill Murray, Tilda Swinton, and Owen Wilson.
DUBAI: Actress and activist Jameela Jamil is set to lend her voice to the Pixar animated film, “Elio.”
Jamil will be voicing the character of Ambassador Questa.
The news broke when Jamil took to her Instagram story this week to share her enthusiasm about the project. Posting the official poster for the film, she captioned it: “It happening.” In a follow-up story, she pointed at the animated character and wrote: “It’s me.”
Instagram/ @JameelaJamil
Besides the poster, Pixar also released the trailer this week.
“Elio,” set to be released on June 20, follows an 11-year-old boy named Elio, who accidentally becomes the ambassador for Earth after being transported across the galaxy.
The movie also features the voices of Yonas Kibreab as Elio, Remy Edgerly as his alien best friend Glordon, Academy Award winner Zoe Saldana as Elio’s Aunt Olga, Brad Garrett as Lord Grigon, and Shirley Henderson as OOOOO.
Directed by Madeline Sharafian, Domee Shi and Adrian Molina, the film is produced by Mary Alice Drumm.
Instagram/ @JameelaJamil
Jamil is known for her breakthrough role as Tahani Al-Jamil on NBC’s “The Good Place” and her advocacy work around body positivity and social justice.
Jamil is also starring in “Hysterical” — a new feminist dramedy from Olivia Lee semi-inspired by controversial figure Andrew Tate.
The show stars Naomie Harris and Romesh Ranganathan. Harris plays Leonora, a therapist who spirals into a world of toxic masculinity after her daughter is assaulted.
She learns the boy responsible is a fan of Tommy T, an influencer known for spreading harmful advice among young men. During a weekly “rage release” session with friends, Leonora, fueled by anger and alcohol, convinces the group to act and bring him down.
The plot is inspired by events surrounding Andrew Tate, a former kickboxer with more than 10 million followers who once stated that women should “bear responsibility” for sexual assault.
“UMMMM A comedy series about female rage? Sign me up!” Jamil, who is British Pakistani, wrote on Instagram in October when the show was announced.
“Hysterical” is being produced by Ranganathan’s company, Ranga Bee Productions. Ranganathan and Lee executive produce the show alongside Michelle Farr and Benjamin Green. It has not yet been announced when it will be televised.
Saudi Arabia to debut at Triennale Milano’s International Exhibition with Al-Ahsa pavilion
Updated 21 March 2025
Arab News
DAMMAM: Saudi Arabia’s Ministry of Culture has announced the Kingdom’s inaugural participation at the 24th International Exhibition at the Triennale Milano design museum in Italy later this year, with a pavilion dedicated to the agricultural oasis of Al-Ahsa.
Curated by Lulu Almana and Sara Al-Omran, with Alejandro Stein as creative director, the exhibition is hosted by the Architecture and Design Commission and will be titled “Maghras: A Farm for Experimentation.” It will run from May 13 - Nov. 9.
It will explore the intersection of farming traditions, ecological shifts and cultural memory within a rapidly transforming landscape. The exhibition draws from research, artistic interventions and community-driven programs cultivated at Maghras, a farm and interdisciplinary space in Al-Ahsa.
Al-Ahsa, located in the Eastern Province, has been historically defined by its abundant water sources. It has undergone significant environmental and social transformations, mirroring broader changes in agrarian communities worldwide. The area has been farmed since the third millennium BCE.
The pavilion takes the form of a transplanted maghras — a traditional unit of land defined by four palm trees. Through videos, sound installations and participatory programs, the exhibition invites audiences to engage with Al-Ahsa’s evolving agricultural ecosystems.
In the lead-up to the exhibition, artists, architects, and researchers collaborated with Al-Ahsa’s farming communities, gathering firsthand insights into the region’s shifting landscape. This knowledge exchange was further explored through performances, film screenings and local workshops examining the deep connections between culture and agriculture.
Muhannad Shono: ‘This work is fragile. It is not here forever’
The Saudi artist is the sole representative from the Middle East at this year’s Desert X in California
Updated 22 March 2025
Jasmine Bager
RIYADH: Saudi contemporary artist Muhannad Shono is the sole representative of the Middle East at this year’s Desert X — the site-specific international art exhibition in California’s Coachella Valley — which runs until May 11.
Shono’s piece, entitled “What Remains,” consists of 60 long strips of locally-sourced synthetic fabric infused with native sand.
“The fabric strips, orientated to align with the prevailing winds, follow the contours of the ground, fibrillating just above its surface,” a description of the work on the Desert X website reads. “As the wind direction shifts, the natural process of aeolian transportation that forms dunes is interrupted, causing the fabric to tangle and form chaotic bundles. In this way, the ground itself becomes mutable — a restlessly changing relic or memory.”
Desert X 2025 installation view of Muhannad Shono, What Remains. (Photo by Lance Gerber, courtesy Desert X)
This isn’t the first time Shono has created a large-scale installation in the desert. At Desert X AlUla in 2020, he presented “The Lost Path,” composed of 65,000 black plastic tubes snaking through the Saudi desert — a work exploring themes of transformation, memory and impermanence. And while “What Remains” is an entirely separate piece of art, it also delves into those topics, as has much of Shono’s work over the past decade.
“I’m first-generation Saudi,” Shono tells Arab News. “A year after I was born, I was given the nationality. For half of my life, I didn’t feel Saudi. I’d say Saudi was an authentic space that had specific motifs and cultural narratives that we were very disconnected from as a family. Why? Because we’re immigrants; my father is not Saudi, and my mom is not Saudi.
“But now I think the narrative of what is ‘Saudi’ is changing,” he continues. “And it feels like it’s part of this correction.”
Desert X 2025 installation view of Muhannad Shono, What Remains. (Photo by Lance Gerber, courtesy Desert X)
A feeling of not belonging was apparent in Shono’s early artistic endeavors. He loved comic books and wanted to create his own because he couldn’t find a true representation of himself in them.
“Saudis expect you to produce a figure they can relate to — with Saudi features or skin color — but I didn’t think they could relate to me,” he says. “I was more referencing myself, and what I thought ‘home’ looked like, or the ‘hero’ looked like, so there was a disconnect there.”
That disconnect continues to manifest in his work. “You can see it in Desert X and in a lot of my other projects tapping into materiality. I realized I couldn’t really fully connect with the materiality of the narrative of being Saudi.
“An interesting psychological thing that I haven’t really come to grips with is that I’m more comfortable doing work in Saudi because I’m responding to this natural source material,” he continues. “I’m disrupting — I’m offering divergence, narratives that can spill out from that experience of the work. I’m invested in the narrative of what’s happening (in Saudi). I think it’s the closest I’ve felt to being ‘at home.’ Something that I was missing in the beginning was being connected to the narrative of the place, because if you engage with that narrative, you can call it home.
Desert X 2025 installation view of Muhannad Shono, What Remains. (Photo by Lance Gerber, courtesy Desert X)
“When I go to California, I miss the landscape (of Saudi) that I’m contrasting. In California, it’s not juxtaposed against the experience of growing up. I’m still figuring out how to take these feelings and be able to show work overseas, because my backdrop is missing — the backdrop of Saudi.”
His early interest in comic books, he says, was partly down to “being able to create the world, the space, the setting for the story.” That was also a reason he decided to study architecture at university.
“I felt like it was creative problem solving,” he says. “A lot of my projects that I did in college were in ‘world making.’ My graduation project ended up being the creation of a whole city, and how it would grow on a random landscape. I got kind of caught up in the urban planning of it — the streets, and the rivers flowing through it. I never really got to the architectural part of designing a building.”
But that willingness to explore ideas in ways others might not has made Shono one of the Kingdom’s most compelling contemporary artists. “I’ve created my own kind of material palette, or language, or library, that I use,” he says.
In his current work, “The land is holding the narrative on this adventure within the seemingly barren landscape,” he explains. “These land fabrics become this idea of being able to roll up, carry and unroll ideas of belonging: What is home? How do we carry home?”
Desert X AlUla 2020 installation view of Muhannad Shono, The Lost Path. (Photo by Lance Gerber, courtesy the artist, RCU, and Desert X)
Shono and the team who helped him install “What Remains” had to “constantly adapt expectations” based on understanding the land and the environmental conditions, he says. It took them around a month, working seven or eight hours a day, to put it in place — flattening, aligning, and flipping fabric under Shono’s direction. His vision was clear, but he also allowed instinct to guide him.
“This work is fragile,” he says. “It’s an expression that is not here forever… that will change. And my ideas will change, the way I think about stories and concepts through my work. It’s important to change.”
With “What Remains,” he is offering that same opportunity to viewers. He wonders: “What portals will you pass through, through this unrolling of the earth in front of you?”
And change is a vital part of the work itself. “They’re always different,” Shono says of the fabric strips. “At some points, they’re opaque and earth-like — almost like a rock. But when the wind picks up, they become lightweight — like sails — and they animate and come to life. And when the light hits as they move through the sky, they reveal their translucency and there’s this projection of the trees and bushes and nature that they’re almost wrapped around or sailing past.”
Although the “What Remains” seen by Desert X visitors on any particular day will not be the same “What Remains” seen by visitors on any other day, or even any other hour, one part of it, at least, is constant.
“The work is a self-portrait,” Shono says. “Always.”
