Issue no. 15 by IN Magazine

IN Magazine

EDITOR’S LETTER

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What the Punk? We punctuate our lives with pauses… question marks… commas… and sometimes (complete) full-stops. We punctuate our relationships with lots of exclamation marks… sometimes parentheses (required for those breaks)… and again, sometimes with (grinding) full-stops. Whatever we do, we must strive to do it like it’s never been done before. That is the true essence of Punk. Anti-establishment. Anti-conformity. Pro-individuality. Pro-free thought. Pro-equality. We must Punktuate through music, through visual art, through design, and through fashion. One such Punktuating pioneer is one of my dearest friends, mega fashion designer Furne Amato behind the high-end label Amato. Furne Amato is my fashion star, my muse and above all, my dearest and best friend. He has been a long-time supporter of IN Magazine, since its inception. One of our contributing editors this issue, Stacey Blanchet says of interviewing Amato that it was, “Like a hand reaching out of the magazine, he grabs you so you have to take notice of his masterpieces. He is a direct descendent of the Alexander McQueen school and has captured my heart and imagination as a designer, leaving me speechless. He is a master with beads and daggers.” IN Magazine welcomes SS15 by featuring the beautiful Heidi Klum of Germany’s Next Top Model and Project Runway on our front cover. Decked in Amato modern-Punk designs, Klum is the perfect epitomization of spring’s sensual mood that is about much more than sex appeal; it is about strength, passion and a confident Punk attitude. This issue, discover SS15’s most exciting new looks, as our fashion team picks the key IN trends and reveals the hero gadgets that will work for you this season and beyond. So as you navigate your summer… don’t forget to do so in a way only you know how. Give it your own Punktuation… speed up, slow down, take a surprising turn somewhere… Keep it Punk by keeping it original and free. This summer, take a cue from us and Punktuate to your heart’s content.

Ahmed R. Abou Naja

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IN.SIDE

IN.FASHION 24 BARE NECESSITIES 26 YOU CAN NEVER BE TOO SHIRT 28 BE THERE, OR BE SQUARE 30 FLOWER POWER 32 LACE ALL THE WAY

IN.TRENDS 34 BOOTS TO HERE 35 PLASTIC FANTASTIC 36 GEOX NEBULA

IN.FOCUS 38 LUXURY LABEL ROBERT WUN INTERPLAY OF NATURE AND ARTIFICIAL FORMS 46 TONI MATICEVSKI AUSTRALIA’S ANSWER TO HIGHEND FASHION DESIGN 50 OSMAN YOUSEFZADA ON HIS FASHION LABLE OSMAN TIMELESS, EFFORTLESS, BOLD AND MINIMAL 54 TIMUR KIM REINEVENTS DENIM FROM RUSSIA WITH LOVE

IN.SHOES 56 TEA PETROVIC’S ABSTRACT GEOMETRIC SHOE DESIGNS NEVER WALKED IN THESE SHOES

60 JULIAN HAKES’S MOJITO SHOE THE ARCHITECTURE OF SHOE DESIGN 62 PETER POPPS SHOES AVANT-GARDE, SPACE-AGE CHIC

IN.JEWELRY 66 ALEX SOLDIER JEWELRY SCULPTED FORMS WITH ETERNAL DETAIL 70 STEPHEN WEBSTER JEWELRY UNCOMPROMISING, BOLD AND EXQUISITE

IN.FEATURE 74 FUTURISTIC-TRIBAL PUNK WITH AN EDGE DESIGN HOUSE AMATO VENTURES INTO READY-TO-WEAR BY STACEY BLANCHET

IN.SHOOTS 90 9 WORDS FOR A BREAK BY REBECCA SCHWEINS 98 FACE IN MIRACLES BY REBECCA SCHWEINS 106 SIDE EFFECTS BY KATJA KAT 116 OCEAN’S LOOPHOLE BY CLARISSE G. ROSSO 124 VIRGIN DREAM BY KATJA KAT

IN.BEAUTY 130 FRANCK PROVOST 40 YEARS OF PASSION FOR HIAR 132 ICON DUNHILL’S NEW FRAGRANCE LIVES UP TO ITS’ NAME 134 NEW SPRING FRAGRANCES WE CAN’T STOP SPRAYING

IN.ART 138 SHUROOQ AMIN ON ART, CONTROVERSY AND INJUSTICE 146 NH7+47: SOUTHERN SOJOURN THE WORK OF SEVENTEEN CONTEMPORARY ARTISTS ACROSS INDIA

IN.DESIGN 150 BULGARI RESIDENCES ON JUMEIRA BAY ISLAND MERAAS BRINGS HIGH-END LUXURY BRAND DEVELOPMENT TO DUBAI

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IN.NEWS BOSS PARFUMS

SIGNS THEO JAMES Divergent actor Theo James is the newest face of Boss Parfums and brand ambassador for its new scent. James will appear in a new global advertising campaign and according to the company, the English actor personifies the modern Boss man. With two more films planned for the Divergent series, that Boss man might be a younger consumer, given the movie’s teen audience.

ELLEN DEGENERES

UNVEIL KALEIDOSCOPE INSTALLATION Galleria Vittorio Emanuele II hosted a new installation last month funded by tenants Versace, Prada and Feltrinelli, the three firms behind the 19th-century shopping arcade’s 13-month restoration.

COLLABORATES WITH GAP ON KIDS COLLECTION Ellen DeGeneres’s new lifestyle brand, ED, is simple and sophisticated, that along with her mass appeal has resulted in a partnership with GAPKids. The GapKids x ED apparel collection will launch in August for the back-to-school selling season. Gap described GapKids x ED as “an apparel collection and social movement…designed to help all girls realize they have the power to do extraordinary things.”

HOUSE OF HOLLAND

GapKids x ED will feature a full girls collection, with tops, bottoms and outerwear, as well as a small assortment for boys and adult. “I am thrilled that my lifestyle brand, ED, is partnering with Gap to encourage young girls to pursue their passion, whether it’s math, science, sports or the arts,” said DeGeneres. “Following my passion allowed me to be exactly who I am today – a talk show host with a vibrant side business as a party mime,” the star humorously quips.

Designer Henry Holland debuts the House of Holland men’s collection to launch on June 14 at London Collections: Men. The designer is bringing his pop, technicolor aesthetic to men’s wear to the collection, which will riff on youth cultures and tribal uniforms, drawing on “Teds, casuals, buffalo kids and ravers,” according to the designer, who will present the line in a London gallery space.

TO LAUNCH MEN’S LINE

Photographer Martin Parr, who’s known for his wry, observational images, will shoot the campaign for the collection in Holland’s native Ramsbottom, in the north of England. Parr’s campaign images will be on sale at the gallery space, and the photographer has collaborated on a capsule collection that’s part of Holland’s spring 2016 line. The new collection will hit stores including Selfridges in London, Opening Ceremony in the U.S. and Galeries Lafayette in Paris and Beijing to coincide with the presentation.

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PRADA, VERSACE AND FELTRINELLI

Called “Kaleidoscope,” the project’s main attraction is a mirrored octagon placed beneath the Galleria’s central dome. Stepping inside the octagon’s roughly 936-square-foot dark room, visitors viewed an LED montage of photographs and videos documenting the history of the Galleria and its restoration, free of charge. Four benches with binoculars were placed strategically around the arcade, allowing the visitors to zoom in on the ornate mosaics, balconies and assorted patriotic symbols that adorn the Galleria’s upper level. Versace chief executive officer Gian Giacomo Ferraris and Prada Group external relations director Francesco Longanesi Cattani joined Milanese mayor Giuliano Pisapia and other city officials at the ribbon-cutting ceremony. “Versace has an indissoluble connection to all that is beautiful, with art, with culture, and that’s why we jumped at the chance to work with the city, the superintendents [of cultural heritage], and in collaboration with Prada and Feltrinelli, companies that express the excellence of Made in Italy,” said Versace CEO Gian Giacomo, adding: “We are particularly pleased to have made a concrete contribution to return this historic architectural monument to the city of Milan and to all Italians, not only for Expo, but for all that follows.”

CONVERSE AND COMME DES GARÇONS COLLABORATION

Calling all sneakerheads and Rei Kawakubo worshippers: Converse and Comme des Garçons have collaborated once more on the fourth iteration of Comme des Garçons Play’s Converse Chuck Taylors. The latest collection, called Converse Chuck Taylor All Star 70 Play Comme des Garçons, features four new styles of Converse’s classic All Star Chuck 70 style, done in both high-top and low “ox” silhouettes. Converse and Comme des Garçons began their partnership in 2009, born out of Kawakubo’s affection for the Chuck Taylor All Star style originally produced in the Fifties for the U.S. Army. Done in black and white canvas options, the sneaker features heavy-grade canvas uppers and a smaller version of the brand’s signature rubber toebox. The sneaker features Comme des Garçons Play’s signature graphic heart logo, created by New York-based graphic artist Filip Pagowski.

KATE MOSS X LONGCHAMP Kate Moss and Longchamp form one of fashion’s most enduring partnerships that started back in 2006 and led to the launch of Kate Moss for Longchamp leather goods collection in 2010. This season Kate has chosen to focus her design efforts on the clutch. Although vastly different from the spacious Gloucester, in which she famously declared she could carry her whole life around. The clutch still retains a vintage vibe, a chunky buckle, a concern for practicality – that are indicative of Kate’s unique style. There are four variations on the clutch for Spring 2015. The first reflects her love of animal prints with a striking giraffe pattern in black, yellow and white on baby calf hair trimmed with black python-style calfskin. For the second, Kate took the same palette and transformed it into bold blocks of colour on python-style calfskin for a graphic look that nods to the sixties. With the other two designs, she indulged her rock ‘n’ roll sensibility with rows of black nickel-finish studs on soft suede calf in two of her signature shades: classic black and neutral taupe.

RALPH LAUREN LAUNCHING LUXE CONCEPT IN MILAN

Ralph Lauren’s going uber luxe in Milan, offering its VIP customers one-on-one treatment in a posh new concept occupying 11,840 square feet on Via San Barnaba. The new concept, which is set to open in September, will welcome guests by personal appointment during which they can opt for lunch or drinks on the terrace or in the salon of the Milan Palazzo, a former residence built in 1941. To make way for the new concept, the company is discontinuing the lease on its multibrand format store on Via Montenapoleone in June. The palazzo will offer exclusive trunk shows of Ralph Lauren’s collections shortly after they’re previewed by the press, and clients will be able to view specially curated capsules to meet their specific needs. The concept is seen as a place for celebrities and powerful shoppers who, when they’re not buying something in a rush, want to immerse themselves in the full Ralph Lauren experience. The unit will show off the brand’s women’s collection and men’s Purple Label looks, and services on offer will include customized accessories and tailoring for women and made-to-measure suits for men.

CAROLINA HERRERA

LAUNCHING HERRERA CONFIDENTIAL FRAGRANCE COLLECTION IN DUBAI Designer Carolina Herrera and her daughter, Carolina Herrera Baez collaborated on a six-fragrance collection, Herrera Confidential, which they launched in Dubai. “Dubai has a great appreciation for elegance and luxury — where craftsmanship and refinement in fashion or fragrance is understood and coveted, it’s the perfect global destination to launch my most premium fragrance collection,” noted Carolina Herrera. Herrera de Baez, who acts as fragrance creative director for the label, said she wanted to make a fragrance collection embodying the timeless sophistication and impeccable style of her mother.

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IN.FASHION

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BARE NECESSITIES

Unconventional cutouts were all the rage on this spring’s runways. Designers incorporated chic, skin-liberating cutouts — midriffs, décolletage and hipbones to unexpected silhouettes.

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YOU CAN NEVER BE TOO SHIRT

The shirt is re-invented this spring for a more feminine and flirty look. Designers use sheer fabrics, layering, appliquĂŠs and color-blocking to bring the shirt back to life. 2

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BE THERE, OR BE SQUARE Ginghams and checks are no longer just for picnic blankets or school uniforms. This spring, designers are using these patterns in youthful and unexpected colors and designs. They are fun, cheerful, and certainly not a table-cloth!

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FLOWER POWER

Designers stayed away from clichĂŠ florals, and took floral to an edgy level. From perforated floral patterns, to more contemporary and bold floral looks. 2

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IN.FASHION

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LACE ALL THE WAY Soft lace skirts paired with hard sporty, button-up shirts make for an unexpected pairing that is flooding fashion week runways.

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IN.TRENDS

BOOTS TO HERE

Designers were not afraid of going maximal this spring with knee-high and thihg-high boots and sandals. The maximalist approach continued with bold cutouts, loud prints, and embellished textures.

CASADEI

DIOR

CHANEL

FRANCESCO RUSSO

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ROGER VIVIER

PLASTIC FANTASTIC

Designers this spring are using plastic materials in playful ways. Gone are the days of the rain poncho, a plastic or PVC (polyvinyl chloride) skirt with a perforated flower pattern like that of Holly Fulton pairs perfectly with Donna Karanâ&#x20AC;&#x2122;s summer chunky sandals with plastic accents.

BETSEY JOHNSON

HOLLY FULTON

MARK CROSS

MARIA KE FISHERMAN

PETER PILOTTO FOR NICHOLAS KIRKWOOD

FENDI

DONNA KARAN

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IN.TRENDS

GEOX NEBULA

The Geox Nebula features technology that ensures lightness and breathability, offering superior body temperature regulation. Itâ&#x20AC;&#x2122;s like walking on a cloud. The secret is all new 3D Breathing Engineering, Nebula is an evolution of the traditional concept of breathability. It makes use of innovative technology that ensures exceptional breathability for the entire foot, in every direction.

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IN.FOCUS

LUXURY LABEL ROBERT WUN

INTERPLAY OF NATURE AND ARTIFICIAL FORMS Words by Nagmani

Hong Kong-born, London-based designer Robert Wun is the mastermind behind the luxury fashion label by the same name. Wun is adept at incorporating elements stemming from two extreme spheres of life: nature and the artificial world. In an exclusive interview with IN Magazine, Wun allows us a peek into the folds of his exquisitely draped fashion world. “I’ve always been fond of nature and art since I was 2 years old,” professes the designer, “my interest in fashion materialized at the age of 13 when I met a student of fashion design.” This coincidence proved to be an eye-opener for Wun. “For me, fashion is a perfect combination and balance of my interest in the organic nature and design aesthetic. Since then, I never looked back because I knew that’s the path I wanted to go to,” he says. “I feel it’s a perfect balance when it comes to putting together the idea of original art and the commercial values.”

“IT’S MORE THAN JUST A BEAUTIFUL PIECE. IT SHOULD BE AESTHETICALLY ORIGINAL FROM EVERY SINGLE VISUAL IMAGE TO THE REAL GARMENT ITSELF.” To hone his skills, Wun enrolled at London College of Fashion. “After graduating in 2012, I felt I was technically geared and equipped with knowledge to make my mark. After all, this is the key to building a profound foundation towards the road to real creativity,” he suggests. His stunning dresses are sought-after by celebrities like Lady Gaga (who wore white platform shoes with horned toes from his “Burnt” 2012 collection on The Ellen DeGeneres Show in 2013) because of two major factors that he considers vital to his creative process: the attitude and the brand’s artistic aesthetic. “It’s more than just a beautiful piece,” says Wun. “It should be aesthetically original from every single visual image to the real garment itself.”

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So what other celebrities does he dream of seeing in his designs? “Tilda Swinton is someone very special to me. She is the one I want to dress,” he admits. Women’s relationship to fashion is a complex one that every designer must have a full grasp of, “Seeing themselves in clothes and looking for satisfaction not just on the appearance level but also from the viewpoint of personality and identity is the ultimate goal,” explains Wun of this relationship, “it depends from person to person, but there is always something intriguingly deep that reflects on an individual’s apparel. That is what makes fashion interesting.”

“BUT THE CORE IS TO BUILD AND FORM ART ON TOP OF A WOMAN’S FIGURE. CURVES, I WOULD SAY, IS ONE SUCH ELEMENT, WHICH IS TECHNICALLY CHALLENGING BUT ALSO CONCEPTUALLY INSPIRING.” It does matter to him how he visualizes a woman’s figure before he designs his creations. “This whole visual stuff depends on the idea of the collection. But the core is to build and form art on top of a woman’s figure. Curves, I would say, is one such element, which is technically challenging but also conceptually inspiring. Nonetheless, nature only has the power to create curves. You don’t.”

Being lauded as a highly recognized luxury label in a short span of time, the label Robert Wun today caters to a particular group of women. “They are always looking for originality and quality not just in fashion, but also in art and lifestyle. They are confident and geared to take on life with their unique taste in fashion,” he says. The SS/15 “PELT” collection concept was first triggered by the serial killer character Buffalo Bill from the classic thriller movie The Silence of the Lambs. “He is shown trying to fashion a woman-suit made out of real skin extracted from his female victims,” says Wun. “This psychotic behavior arose from his desire to become a woman after his unsuccessful sex-change operation.” Wun leaned on this uncanny character from the movie to explore the actual meaning of fashion by questioning what it stands for. “I think of fashion as a desire to change and be whatever one craves,” he says. The other inspiration for the collection came from a photography book titled Farm by photographer Jackie Nickerson, which showcases beautiful portraits and apparels of African farmers. “They wrapped cotton shirts and linen jackets around their body to protect their skin from the sun,” he says. “These two inspirations were simply based on the ideas of skin but each with a different approach of identity and motives. With this collection, I tried to shift my attention to finding out the fascinating relationships of fashion, selfidentity and desires,” he says. Even the materials used in the making of the collection are environment-friendly.

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They are based on organic premium cottons, linen and Jade stones, with different woven techniques, manufacturing details and abstract combinations all aimed at forming a modern yet futuristic look based on organic casual materials relevant to the African farmers’ lifestyle.

“WITH THIS COLLECTION, I TRIED TO SHIFT MY ATTENTION TO FINDING OUT THE FASCINATING RELATIONSHIPS OF FASHION, SELF-IDENTITY AND DESIRES.” The Soleus platform shoe was ispired by the Soleus muscle of the lower leg and transformed into exaggerated curves. The Skin Cell Dress was draped by nylon tapes that mimic the cell shells, and flocked beads that mimic the cell’s core. “The chaotic interplay between nature and artificial forms is the centre of the brand ethos,” says Wun of his philosophy, “combining the novelty of nature with the revolutionary forms of the artificial world. My label brings a new dimension to the luxury market by harmoniously uniting cutting edge manufacturing with an uncompromising attention to traditional values.”

“THE CHAOTIC INTERPLAY BETWEEN NATURE AND ARTIFICIAL FORMS IS THE CENTRE OF THE BRAND ETHOS, COMBINING THE NOVELTY OF NATURE WITH THE REVOLUTIONARY FORMS OF THE ARTIFICIAL WORLD.” Determined to take his brand globally, his plans include expanding its reach with the help of sponsorships and awards, and also by having his first showcase at London Fashion Week. As to what’s in the pipeline for the future, the Middle East market is one of the many buzzing hotspots he is keen on exploring. “The Number 4 concept store in Kuwait carry Robert Wun designs, we’re looking forward to bringing the label to Dubai too,” he says. Owing much of who he is to his base city, Wun leaves us with an ode to London, “This is where London has given me so much to be proud of which goes somewhat like this: Better be original and bold then quick success will follow on its own,” he says. IN

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IN.FOCUS

TONI MATICEVSKI AUSTRALIA’S ANSWER TO HIGH-END FASHION DESIGN Words by Nagmani

The Australian fashion scene is quickly climbing up the high-end fashion world ladder. Pushing the envelope in this direction is renowned Australian designer Toni Maticevski, with his hawk-eyed attention to detail in dressing the female body. In an exclusive interview with IN Magazine, he talks to us about what drew him to fashion, about how vibrant the fashion industry in Australia is, and much more. Maticevski received a Bachelor of Fashion Design (Honors) degree from the Royal Melbourne Institute of Technology (RMIT). According to him, this place prepared him for the road ahead just as he anticipated. “The tutors were always very supportive, so when it came time to embark on international travel and create my collections, I always knew I had the support of RMIT behind me,” he says.

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A move to New York earned him an opportunity to work with fashion label Donna Karan there. He then made a move to Paris to work at Cerruti women’s wear for two seasons before returning to Melbourne for good in 1999 when he finally launched his eponymous label Maticevski. It was a big turnaround for Maticevski from here on as he put his heart and soul into developing his unique design philosophy. His collections speak to today’s woman because in their diversity and cutting-edge innovation.

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There is definitely a strong architectural element to Maticevski’s work. “I think it’s important to always reinvent the wheel but to also have the balance of staying true to the brands signature and identity. I always work to keep it modern, feminine and always unexpected,” he says.

“I KNOW AND UNDERSTAND THE AREAS THAT WOMEN WANT TO HIDE AND THE AREAS THEY WANT TO HIGHLIGHT WITH GRACE AND PRIDE.” “I know and understand the areas that women want to hide and the areas they want to highlight with grace and pride. But when it comes to visualizing a woman even before the designs are drawn, it’s not something I sit down and specifically do so till I start designing a collection,” explains Maticevski. “It’s a process that always starts with ideas which happen naturally and then it’s always… how to make it new?” Besides, there is another raison d’être why women applaud him. He always prefers to design for all women and never ever focuses on celebrities and fashion personalities. “I can never pinpoint any type of woman to whom my collections are designed for. I’ve seen such a broad range of customers who love and buy my collections. However, I feel quite humbled to know that my designed creations are so much soughtafter amongst a group of high-profile celebs whom I admire,” he says. “The same look can be worn by a woman in her early 20’s as well as a by a woman in her late 40’s… Both beautiful; styled differently but always relevant. This dramatic aspect, I believe, is most inspiring to me,” he proclaims.

“THE SAME LOOK CAN BE WORN BY A WOMAN IN HER EARLY 20’S AS WELL AS A BY A WOMAN IN HER LATE 40’S… BOTH BEAUTIFUL; STYLED DIFFERENTLY BUT ALWAYS RELEVANT.” Maticevski’s inspirations can be drawn from a number of places, with art being one of them. “It’s never anything specific which I draw inspiration from.

I’m aware of my surroundings and can also be inspired by different fabrics and the development of innovative techniques. I also find that working with many clients I’m constantly amazed and inspired with how they interpret my designs which can always lead and play a part in the process.” This time, nature has been the benchmark of Maticevski’s SS15 collection with a slightly robotic, botanical element to it. “It transformed during its process but the main inspiration was the natural beauty portrayed in a mechanical form,” he says. He is a genius when it comes to experimenting with fabrics and colors to give a highly influential weight to his otherwise very cool and edgy collections. It’s no wonder that he loves working with many different fabrics for different things and he loves the clashing of fabrics. He uses neoprene to create sculpture-like contours, silk blends for tailoring, but he particularly loves developing beading and working this back with mechanical mesh. So when it comes to what colors he favors for his designs, he says, “I love to keep the color palette neutral and fresh and don’t like to work with too many colors in one range…but in saying that I worked with an incredible fluro orange for resort 15, which came as a big surprise for me.”

“I LOVE TO KEEP THE COLOR PALETTE NEUTRAL AND FRESH AND DON’T LIKE TO WORK WITH TOO MANY COLORS IN ONE RANGE.” Australia already has a world-class infrastructure in place to nurture highly creative fashion designers, “We have a strong design industry in Australia and our customers really support designers in our local market which I believe is so important. Australia is small and very far away from all the other markets in the world so it’s truly amazing to see Australian designers pioneering and becoming leaders in the fashion industry both at home and abroad,” he says. So has it all sunk in yet? “I don’t know. I still feel like the little kid who gets to play around with his mum’s dresses and be surrounded by beauty and magic. To be regarded as a pioneer is very flattering. I have been working hard for so many years so I’m very thankful and humbled to be referred to in this way. But at the end of the day I just love my work and that’s what I find most rewarding.” IN

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OSMAN YOUSEFZADA ON HIS FASHION LABLE OSMAN TIMELESS, EFFORTLESS, BOLD AND MINIMAL Words by Nagmani

London Fashion Week is the best platform for emerging fashion designers to showcase their talent for a chance to launch their career with a bang. It’s where creative geniuses of fashion are discovered and admired by both fashion enthusiasts and the world media. British-born fashion designer of Afghan descent Osman Yousefzada was one such designer who emerged unto the fashion scene eight years ago with the launch of his own eponymous label Osman. It’s no wonder today his flattering dresses highlighted by their structural vibe often find their way to celebrity wardrobes. In an exclusive interview with IN Magazine, the designer opens up about what triggered his interest in fashion and much more. Yousefzada grew up in a Birmingham atelier out of which his mother ran her own dressmaking business. “A constant stream of women came to visit her, bringing in their own fabrics, buying some of my mum’s short lengths, clutching torn pages from a pile of magazines scattered on the table and asking my mum to make them something similar. My favorite errand as a kid was running to the haberdashery for her,” he recalls. What he really found interesting was how clothes could transform these women–when they tried on the finished piece, they became a better version of themselves, in his eyes. He learnt early on that clothes had the power to transform one’s standing in society and draw attention to them in a second. The entire experience served as an invaluable lesson for him as he explains, “My mum worked blindly on fabrics and without too many patterns, just a block. She had the confidence to cut straight into fabrics without ever making a prototype. The finished garment was something I had seen progress from a flat piece of material and had helped to develop, working alongside her. I suppose I started off in a craft and artisanal way and that foundation still remains in my clothes today, with lots of hand-finishes.” Though he was well familiar with the nitty-gritty of tailoring, it wasn’t enough. At this stage, he needed to find a fashion academy where he could acquire a technical education. Yousefzada graduated from Central Saint Martins in 2002 with a MA in Fashion Design. Being a part of this great institution helped him understand how one builds an image and develops a look accordingly.

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“Fundamentally, it’s the design, cut and workmanship of the clothes that make the real difference at the end of the day. This has been the crux of my design ever since,” he says.

“ULTIMATELY, I MAKE SURE YOU SEE THE WOMAN FIRST, BEFORE YOU SEE THE DRESS. I WANT TO EMPOWER WOMEN AND GIVE THEM THE CONFIDENCE TO KNOW THAT THEY CAN TAKE ON ANYTHING IN OSMAN.” His designs are a hot item, sought-after by highly influential celebrities like Lady Gaga, Gwyneth Paltrow, Emily Blunt, Cate Blanchett, Emma Watson, Taylor Schilling, Allison Williams, Selena Gomez, Charlize Theron, Katie Perry and Alexa Chung to name a few. Who can forget the now iconic image of Beyoncé in the color-blocked Osman jumpsuit at the 2013 Grammy’s. The secret behind that lies in his prime focus on flattering the female form and enhancing it subtly. As he puts it, “Ultimately, I make sure you see the woman first, before you see the dress. I want to empower women and give them the confidence to know that they can take on anything in Osman from day to dusk, and it’s from there that different clientele are attracted to what I do.” He achieves this finesse with his love for exoticism, opulence and the idea of far flung places, which is balanced with design and purity of line. “It’s that constant tension that I love – like a Corbusier house which is jeweled inside,” he says. “A bold pattern, for example, can be contained in a streamlined garment which acts as a frame. Embroidery can also have an architectural feel. I feel it’s important not to go down the road of anything too ‘froufrou’ – clean lines help keep that important balance.” Not one to succumb to fashion myths, Yousefzada plays by no rules. “I tend not to be swayed by generalizations in terms of the pieces which do or don’t work for women of different body shapes,” he says. “It’s a myth that pear shapes can’t wear pencil skirts, or that women with big bosoms don’t look good in high necks. It’s always, always about proportions and cut.”

“IT’S A MYTH THAT PEAR SHAPES CAN’T WEAR PENCIL SKIRTS, OR THAT WOMEN WITH BIG BOSOMS DON’T LOOK GOOD IN HIGH NECKS. IT’S ALWAYS, ALWAYS ABOUT PROPORTIONS AND CUT.” “The Osman woman naturally commands attention,” he contends, “yet she is the most effortlessly dressed person in the room. Never trying too hard, she’s equally not afraid to wear a statement piece. She has a personal style which is easy, unforced and innate,” says Osman.

Nurturing ideas is an infinite phenomenon. They can come from anywhere. So is the case with Osman. “I am constantly being inspired – either by someone on the street, an image, a fabric or a print. From there, I build a mood board and develop the key ideas of the collection. This is honed and fine-tuned again and again, until the key message is distilled,” he says. “London is home to an amazing diaspora - a melting pot of so many cultures, layered one on top of another,” he says of the inspiring city. “There’s a great energy in the city; things move along at lightning speed and things really happen, which, I think, is key to blossoming creativity. People in London don’t easily conform; they really think out of the box and do something different. It’s a place where nonconformity is appreciated and celebrated. I can’t help but feel inspired here.” The Osman SS15 collection is sumptuous and bohemian, but still minimal and contemporary. Yousefzada was inspired by the eclectic and exotic and was drawn to a dreamscape, a pearled world of whimsical, sophisticated youth. Each collection falls into the next - it’s all about building a wardrobe.

“PEOPLE IN LONDON DON’T EASILY CONFORM; THEY REALLY THINK OUT OF THE BOX AND DO SOMETHING DIFFERENT. IT’S A PLACE WHERE NONCONFORMITY IS APPRECIATED AND CELEBRATED.” Quality is always a key to his designs. So he loves to work with the best fabrics – luxurious textiles such as brocade and techno-crepe are his favorites. However, any kind of cloth is a canvas and a new direction for experimentation for Osman. Color is another essential element to his designs. For SS15, Yousefzada was drawn to a vibrant color palette, with brights from indigo, bluebell, lime green and canary yellow to more gentle blush pinks, pale lemons and optic white. Accents of orange and metallic highlights are also prevalent throughout the collection. Can he ever imagine living his life without fashion? “I don’t think I’d want to live without beautiful things. In many ways, fashion is self-expression –something I certainly couldn’t live without.” Yousefzada is strongly drawn to the world of Art, something he feels is inextricable from the world of fashion. “I’m really drawn to this world and enjoy spending time at exhibitions and galleries and engaging in dialogue with artists, curators etc,” he says. “I don’t try to mix fashion and art too strongly, although I do dress the woman who inhabits the art world, amongst others.” As part of his business expansion, he hopes to see the line continue to grow and develop internationally. “Our own retail stores certainly form part of that because the future seems very bright. It’s just how I feel,” he says. IN

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IN.FOCUS

TIMUR KIM REINEVENTS DENIM

FROM RUSSIA WITH LOVE Words by Nagmani

Russia’s influence on global fashion is making massive strides thanks to a new generation of fashion designers who are determined to elevate the country’s style index. One such creative talent is Russian-born, London-based designer Timur Kim, a fashion prodigy who showed his first collection on the catwalk at the age of 16 at St. Petersburg Fashion Week. Since then, Kim has won a number of awards including the esteemed Chloe award in 2011 and the Thomas Pringle Award twice in 2010 and 2011. He has also collaborated with high profile brands including Pringle of Scotland and Oliver Sweeney.

“NOW FULLY WELL PLACED AS A LUXURY READY-TO-WEAR LABEL, KIM HAS PIONEERED A WHOLE NEW CONCEPT BY REWORKING DENIM AND THE USE OF REINVIGORATED PATCHWORK.” But it was in 2012 that Kim finally launched his eponymous line and captivated the fashion industry with his pioneering designs. Now fully well placed as a luxury ready-to-wear label, Kim has pioneered a whole new concept by reworking Denim and the use of reinvigorated patchwork. It was an amalgamation of diverse inspirations that bred Kim’s design aesthetic, anything from outer space, geometry and biology, to pop culture of the 60s, modernist ideologies and beauties and 20th century icons like Emiliano Zapata, and Halston. Each collection of his tends to form a full wardrobe encompassing casual wear with a feminine spin and melodramatic statement pieces.

In 2006, Kim moved to London to study at Central Saint Martins. After completing his BA in Fashion Design, he went on to acquire a MA in Fashion under Professor Louise Wilson, culminating in his ground-breaking graduate collection appearing on the MA Catwalk at London Fashion Week. The collection was acclaimed for its color-blocked denim and velvet looks, catapulting him onto the international stage.

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“EACH COLLECTION OF HIS TENDS TO FORM A FULL WARDROBE ENCOMPASSING CASUAL WEAR WITH A FEMININE SPIN AND MELODRAMATIC STATEMENT PIECES.” Kim fondly takes an atelier approach to design, often crafting garments from start to finish by hand resulting in effortless sophistication for a modern woman. IN

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IN.SHOES

NEVER WALKED IN THESE SHOES

TEA PETROVIC’S ABSTRACT GEOMETRIC SHOE DESIGNS Words by Nagmani Petrovic graduated from the Academy of Fine Arts as product designer. Strangely, she didn’t have to go to any specialized school to learn the craft of shoe design. Her passion for it was enough, and her point-of-view unmistakeable,“Shoe as a sculpture, as constructed architectural form is a base concept behind my ‘Extended Ego’ collection. These shoes have a certain recognizable aesthetic, a new concept of high heels, and a certain appeal which triggers a positive response in the observer's eye.” The body of the shoe, especially the heel, are constructed by the principle of rotation and multiplication of basic geometric forms. Influence of architecture is present in the collection, and it’s especially obvious in symmetry, balance, construction, details, repetition, and proportion as well as mass-to-size ratio. “Being white and ornament free, these shoes are focused on the very form which is by and large their only decorative element. Every model in the collection represents the concept of experimenting with the high heel. Shapes are very clean and elegant, powerful and feminine at the same time,” says Petrovic.

“SHOE AS A SCULPTURE, AS CONSTRUCTED ARCHITECTURAL FORM IS A BASE CONCEPT BEHIND MY ‘EXTENDED EGO’ COLLECTION.” While her collection is monochrome, she does think color plays a huge role. “Color is always important in my opinion. The lack of it in my designs is a statement. It emphasizes the very form to make the shoes look like sculptures,” she feels. Tea Petrovic is a shoe designer on the rise hailing from Sarajevo. Her fearless approach to design is highly experimentational, the result: post-modern abstract pieces that could do well sitting on a shelf as they could do on your feet. In an exclusive interview with IN Magazine, Petrovic takes us into her world of form and architecture to explore her creations, and more. “I fell in love with shoes during my college days, when I redesigned an old pair for a project at the Academy of Fine Arts in Sarajevo,” recalls Petrovic, “I really enjoyed designing and making them. They looked really unusual, some kind of flip flop/boots, and I wore them for a couple of years only.”. Interestingly, she still has them in her closet, although they aren’t for walking anymore. This design became a turning point in her career path, “After this experience I only wanted to explore the countless possibilities by creating these desirable objects. High-heeled shoes are pieces of art and have always been my eternal inspiration.”

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Defining one’s work isn’t like conceptualizing it perhaps, it’s much more complicated. But Petrovic attempts to do so none-the-less, “My work has a dose of artistic approach and sensibility. The organic and geometric silhouettes that I have put in certainly require new technological techniques in order to be made as wearable shoes, but they were conceived as a piece of art,” she says. Even then, there are still many takers of her valued creations who truly see them as some kind of stunning artwork. “My shoes are aimed at all art lovers, people who indulge themselves in appreciating the beauty of details, the power of clean, natural forms which at their core are simple. Shapes of the shoes are distinctive, very specific, and they exude a vibe of a new form as I have been told,” she says. Her shoes have traveled through Europe, Asia and USA as part of numerous exhibitions. Where ever they went, her designs made waves, including places like the Brooklyn

Museum in New York, Museum at Fit in New York, Kunsthaus Wien Museum Hundertwasserhaus in Austria, Saarlandischen Künstlerhaus in Germany, Museum Villa Rot in Germany, Grassi Museum in Germany, Art Gallery of Bosnia and Herzegovina in Sarajevo, Collegium Artisticum in Sarajevo, a couple of exhibitions in malls in Dubai, Shanghai expo in China, some exhibitions around her home country, and more.

“MY SHOES ARE AIMED AT ALL ART LOVERS, PEOPLE WHO INDULGE THEMSELVES IN APPRECIATING THE BEAUTY OF DETAILS, THE POWER OF CLEAN, NATURAL FORMS WHICH AT THEIR CORE ARE SIMPLE.” She couldn’t have asked for more when people started to look at her shoes with so much interest. “Visitors are usually charmed by the appearance of the shoes, almost hypnotized. They make a strong impact on the viewer, and they evoke people's urge to touch them, which isn't usually allowed. I feel very touched by it,” says Petrovic. Petrovic crafts the shoes by herself using plastic sheets. Hand making and modeling emphasizes their artistic value, since they were all made as artistic forms, prototypes of a shoe which, in the future, could be adjusted to possible production. For now, they are just unique sculptures made not for fashion trends, but to represent a shoe as a form, rich in freedom and artistic expression. This flair for art came from studying the subject her whole adult life. Before attending the Academy, Petrovic went to the High School of Applied Arts, so her influences come from various art schools

and philosophies. “The collection is inspired by sculptures of Naum Gabo and the architecture of Santiago Calatrava. A fusion of these two artists combined with organic shapes is what made my idea come to life,” she says. Despite the mastery of her craft, Petrovic doesn’t like being called a fashion designer. This is because her work doesn’t succumb to the limitations set by the mainstream fashion world. “I am just a curious designer who has affection for shoes. Mine is not a mainstream shoe collection, therefore I don't see it fitting into the mainstream world of fashion, however, haute couture has always been my minion,” she says. Because the shoes were never produced in wearable versions, nobody has had a chance to walk in them, which she finds very unfortunate. Petrovic is yet to find somebody to produce her shoes. Yet there are always curious inquiries from fans of her work, including some celebrities.

“I AM JUST A CURIOUS DESIGNER WHO HAS AFFECTION FOR SHOES. MINE IS NOT A MAINSTREAM SHOE COLLECTION, THEREFORE I DON’T SEE IT FITTING INTO THE MAINSTREAM WORLD OF FASHION.” Not ready to give up, Petrovic has plans in the pipeline, “I need to find some sort of enthusiastic producer, or a shoemaker, who could make my designs a reality. That would be the beginning of a magical journey of new age, breathtaking shoes,” she says. IN

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IN.SHOES

THE ARCHITECTURE OF SHOE DESIGN

JULIAN HAKES’S MOJITO SHOE Words by Nagmani The lines between art and fashion are continuously overlapping; each borrows from the other whether in form, structure, texture, color, or subtle inspiration. Case in point: the cross breeding of fashion and architecture in award-winning British architect Julian Hakes’s first ever shoe collection The Mojito, an endeavor two years in the making. In an exclusive interview with IN Magazine, Hakes gives us insight into the unlikely transition from architecture to shoe design. With an architecture degree from Cambridge University and a MPhil in Environmental Design, Hakes began his career working for some well-known architecture firms before setting up his own firm with his wife in 2000. After having designed structures all over the world, from Moscow to LA and Boston for almost 15 years, Hakes was looking for a fresh challenge. Inspired to do something innovative with shoe design, Hakes has been sketching shoes since 2006. “I had had enough of sketching and needed to do the actual thing. I often asked myself what a simple sandal would look like if it was invented and designed today. To my surprise, I looked around and found nothing new so I thought I would have a go and try myself,” he says. Hakes began thinking about the natural foot shape, and how a footprint in the sand can illustrate how the body loads are distributed. Then he came to realize that when the heel is elevated, the print will look very different and there will be no load in the middle under the foot. “So I tested it and the theory proved to be correct all the way. Then, I made a test sample and that’s when the idea really took off,” he says.

“WE USE THE SAME PROCESSES THAT ARE USED TO CREATE HIGHEND SKI GEAR, SNOWBOARDS AND BINDINGS.” He didn’t need to dive into a whole new territory of savoir-faire when it came to designing these shoes. With his cutting-edge know-how in architecture and engineering, he made a move towards applying the same technology to a different industry

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and the experiment showed astounding results, and so the Mojito shoe was born. “We use the same processes that are used to create high-end ski gear, snowboards and bindings.” The structure of the shoe is elegant and fluid, it has been made using a single ribbon of materials, which perfectly holds the steel, easily wraps over the foot under the forepart and back over the toes.

“WE HAVE A STRONG ARCHITECTURAL AESTHETIC AND DIRECTION BASED ON A DEEP UNDERSTANDING OF MATERIAL NATURE, PERFORMANCE, FORM AND LINE.” Being distinctive is at the core of his shoe design and that’s what sets his designs apart from the rest, “We have a strong architectural aesthetic and direction based on a deep understanding of material nature, performance, form and line.” Hakes came up with the collection name while sipping on a Mojito. “The Mojito is very comfortable as it’s based on the shape a footprint leaves behind in the sand. The heel isn’t that high and with such a natural wide foot bed it actually feels a lot lower,” says Hakes. “That’s where I win the bet.” They are a special kind of shoe. Anything with a higher heel is, in his view, not suitable for day-to-day wear. “I’m amazed by the wide age range and backgrounds of people who madly love the Mojito. It’s something a young woman can wear and an older woman can also wear–the main difference lies in color choice and what it’s worn with. Some people even buy the shoes just to look at and put on the shelf as a piece of wearable art,” he says. “I just want to make them feel feminine, strong, empowered and beautiful while walking in my shoes.” The color combinations of the collection exude edginess, boldness, and breaking with convention. “I seek dual colors for my Mojito as they really show off the 3D nature of the shoe in depth,” he says. Curves are difficult to work with since they need to be explicitly patterned. But it’s not impossible. “It has its challenges. Sometimes a pattern can distort so I don’t like to see things which are rigid such as pin stripes,” he says.

Hakes has had celebrities such as Gwenyth Paltrow endorse his shoes. “I’m always amazed when new celebrities discover my shoes. We do not do any gifting as other brands do so this means if someone wears the shoes it is because they buy them. Sometimes I will get a call from a friend to say they saw the Mojitos on TV or in film or a music video and that’s always a great surprise,” smiles Hakes.

“I’M ALWAYS AMAZED WHEN NEW CELEBRITIES DISCOVER MY SHOES. WE DO NOT DO ANY GIFTING AS OTHER BRANDS DO SO THIS MEANS IF SOMEONE WEARS THE SHOES IT IS BECAUSE THEY BUY THEM.”

Hakes’s designs have been exhibited in top galleries and museums in Holland, New York, Germany, and London. “Our work was recently selected as part of the permanent collection at the V&A, London which was a great honor. I was quite over the moon when I heard this news,” he says. Hakes is not one to be dictated by mainstream fashion trends. “I don’t tend to follow the fashion. I’m at my most happy to create my own direction and design from my own experience and outlook because I believe the problem and brief drives the solutions and that’s what ultimately creates the aesthetic.” Next for Hakes on the drawing table is the SS16 collection, “I’m very excited about SS16 as I have been working on a full collection including a whole new range of styles. So just watch out.” IN

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IN.SHOES

PETER POPPS SHOES AVANT-GARDE, SPACE-AGE CHIC Words by Nagmani

Dutch shoe designer Peter Popps, one of the world’s most innovative designers today has created iconic pieces that transcend the traditional culture of shoe design. His unbridled design aesthetic and his inexorable ascent into the unreal has garnered him a massive cult following among celebrities, collectors, and shoe aficionados. In an exclusive interview with IN Magazine, we catch but a fleeting glimpse into his extraordinary world.

“THE DESIGNS I DEVELOPED RECENTLY SUCH AS CUBE, SWING, CONE, RING, SPHERE, ETC. ARE ALL BASED ON THE IDEA OF WHAT COULD WE POSSIBLY PERCEIVE OURSELVES TO BE WEARING IN THE FUTURE.” Before launching his own footwear brand in 2003, Popps worked for several top brands like Bronx, and Dr. Martens designing commercial shoes which had an edgy feel to some degree but not as much as he liked. Today, Popps is bound by no limitations; inspired by 60’s spaceage chic, comics, and Sci-fi movies, his designs are viewed as sculptural objets d’arts. His most recent creations stem from a personal outlook on the future. “The designs I developed recently such as Cube, Swing, Cone, Ring, Sphere, etc. are all based on the idea of what could we possibly perceive ourselves to be wearing in the future.”

“MY DESIGNS CAN’T BE WORN ON A DAYTO-DAY BASIS. I DON’T WANT THEM TO BE. IT’S NEVER MY INTENTION.”

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Not one to follow trends, Popps forecasts his own predictions, “I very much believe in this quote by Diana Vreeland in which she said, ‘Give ‘em what they never knew they wanted’. That’s something different where innovation actually lies.” Extraordinary design comes at a cost, Popps’s shoes are not beacons of comfort, he believes artwork isn’t designed to be comfortable, but as they are all made on the principle of an Italian shoe, he can assure the wearer that they fit perfectly! “My designs can’t be worn on a day-to-day basis. I don’t want them to be. It’s never my intention,” he argues. “I think of my work more as an art in its purest form with a wink to what should be available in the future.” Without a doubt, no ordinary woman would dare drag her feet down the street in his gothic designs. They are simply for the woman who understands and knows when, where and how to wear them to make the right statement at the right time.

It is Popps’s imagination at the helm of his design process, churning out one flamboyant avant-garde design after the next. Despite their exuberance, the shoes are indeed wearable. “The shoes are totally made of leather to keep them comfortable. The sole-construction material isn’t interesting though... that I use out of pure love,” he says. Working on curves, which are explicitly patterned, isn’t easy. It’s quite an intricate process. According to Popps, the challenge lies in building the structure of the design itself, which takes months. The result however is a work of art unmatched by that of any other designer, something that clearly emerged from the labyrinthine depths of a genius designer’s intriguing mind. IN

“I VERY MUCH BELIEVE IN THIS QUOTE BY DIANA VREELAND IN WHICH SHE SAID, ‘GIVE ‘EM WHAT THEY NEVER KNEW THEY WANTED’…”

Shoes “THE SWING” BY PETER POPPS Photography & Make-up HELENE JASPERS STUDIOHJ Dress ISSEY MIYAKE BY REFLECTION Model SACHIKO YUSURA FUKAI

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Shoes “THE CUBIC” & “THE SPHERE” BY PETER POPPS Photography TOM TEN SELDAM Hair & Make-up MIKE NUNES Graphic Art PEDRO NEVES Dress MPHVS COLLECTION "CONTRA • DICTIONS" BY MARTIJN VAN STRIEN Model SIPPORA JACK IN 64 | SPRING/SUMMER 2015

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IN.JEWELRY

ALEX SOLDIER JEWELRY

SCULPTED FORMS WITH ETERNAL DETAIL Words by Nagmani

New York-based jewelry designer Alex Soldier quickly made a name for himself with his unique brand of technique and aesthetic. His sculpted pieces take form and structure to new heights. In an exclusive interview with IN Magazine, Soldier shares what jewelry designing means to him and why his designs always strike a chord with women seeking the extraordinary.

“MY CLIENTS LOOK FOR JEWELRY THAT IS AS TIMELESS AS STYLE AND DOESN’T SUCCUMB TO THE FLEETING MOMENT OF ANY PARTICULAR TRENDS.” Soldier’s progression as an artist and sculptor began in his childhood, he made his first wooden sculpture when he was only 14-years-old. It was a television documentary about the Land of the Incas that prompted him to create his own version of a tribal warrior. “I took apart my mom’s costume jewelry and set it into my wooden creation,” he recalls fondly, “my mom was very proud of it until she noticed that the shape and the color of the center stone looked too familiar. She got over it eventually.”

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A self-taught jewelry maker and designer, Soldier never had formal training. He had abundant faith in himself to create a global brand based on his personal know how. “I believe that we all have our own destiny, and accordingly we’re all equipped to make the most of it. That being said, I think that patience forms an indispensable benchmark of any creative process,” he asserts. Soldier’s designs are exquisitely engraved using techniques that transcend the boundaries of traditional craftsmanship. But it all stems from his so-called inherent artistic aesthetic, “My clients look for jewelry that is as timeless as style and doesn’t succumb to the fleeting moment of any particular trends. They choose substance over surface, making their buying decisions on quality, and design value. Individuality is the most important feature to my clients,” he says. “They are not looking for jewelry only for fashion’s sake; but for the soul, that which stays with them forever, like a favorite work of art.”

“I INVENTED A SPECIAL STRUCTURE WHERE EACH CREATION CONSISTS OF SEVERAL COMPONENTS, EACH BEARING ITS UNIQUE METALWORK FOR WHICH I INVENTED MY OWN TOOLS.” Soldier is inspired by the female form ahead of sculpting his pieces, “I always visualize a woman’s figure in my mind when creating new pieces. It is imperative to do so in order to create the right proportion of shape, color and metal weight that would not only complement a woman’s figure and highlight her beauty, but also would be comfortable to wear.” The women drawn to Soldier’s creations are as complex and multi-faceted as the jewelry itself, “They must be powerful and fearless but deep down they are gracious and captivating too,” he says. “I say so because I want to make them look synonymous with the versatile beauty where all these traits merge so well and speak volumes about who they are.”

Soldier’s work pays equal attention to structure, texture, form, light and color. “[The pieces] are made of so many components that one often needs a magnifying glass to be able to see all of them without a hitch,” he says. “I feel inspired when my clients tell me how their jewelry or sculptures that they own continue to fascinate them after years, as they keep discovering new details in them.” Soldier’s work has found a home with many an avid collector, he takes particular note of Arab women, “Arab women love color and splendor, they’re not afraid to wear grand, colorful, statement jewelry. Western women prefer smaller, more casual pieces that they can wear every day.” IN

All of his work adheres to three cardinal promises: quality, content and character. His design philosophy is all in the intricacies of each piece, “Detail is an imperative part of my vision. Ever since I made my first sculpture at 14, detail has been embedded into my DNA. In order to increase the amount of detail, I invented a special structure where each creation consists of several components, each bearing its unique metalwork for which I invented my own tools. These techniques are really groundbreaking, as no one before had paid so much attention to detail, structure and texture in the world of jewelry or precious miniatures.”

“ARAB WOMEN LOVE COLOR AND SPLENDOR, THEY’RE NOT AFRAID TO WEAR GRAND, COLORFUL, STATEMENT JEWELRY.” He uses the same for his decorative finishes and metalwork that he applies to his pieces. “I still remember my avant-garde collection debut in 1996 at the Jewelers of America Show in New York, where buyers looked at me as if I had two heads when I was showing my collection with all the versatile metal finishes,” he says.

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IN.JEWELRY

STEPHEN WEBSTER JEWELRY

UNCOMPROMISING, BOLD AND EXQUISITE Words by Nagmani “I’M FORTUNATE THAT I HAVE SELFISHLY PURSUED TOPICS AND INSPIRATIONS FROM MY LIFE’S EXPERIENCES AND TRANSLATED THEM INTO OUR MANY COLLECTIONS.” Celebs the likes of Lady Gaga and Sienna Miller among many others have donned Webster’s creations. “I can’t help but praise these influential stars whenever they have worn my label. Celebrity association has been a key component to the communication of our brand. Our pieces have been worn by Elizabeth Taylor, Madonna, Jennifer Lopez, Beyoncé, Elton John and Jay Z amongst others,” he says. The originality, timelessness, and unreserved boldness of his designs have captured the imaginations of fans the world over. “It has always been my passion to cultivate jewelry collections that push all creative boundaries. All of my work is a reflection of my personality. I’m fortunate that I have selfishly pursued topics and inspirations from my life’s experiences and translated them into our many collections,” he says happily. “Within all of them, there is an unmitigated flow of vibrancy.”

London-based jewelry designer Stephen Webster creates exquisite, timeless pieces through his own modern take on traditional craftsmanship. In an exclusive interview with IN Magazine, we learn more about his highly coveted creations and about his journey thus far. Webster’s foray into jewelry design was an act of serendiptiy, “I was going to study fashion design at the Medway College in Kent and by chance walked into a jewelry design class rather than the fashion design room. The flames, noise, chemicals and shiny objects were instantly appealing and right up my alley than fashion design. I guess it was a good choice as 39 years later I’m still at it,” he says. Very soon after his apprenticeship, Webster took a job designing and making jewelry for a store in Canada, “The owner was a kind of Indiana Jones of the gem world,” he says. This shop owner spent his time in mining areas in far-flung regions across Afghanistan, Pakistan, Brazil, Namibia, etc. “He would then return to my workshop with piles of big fat gems which is exactly where I would take over,” recalls Webster. “Inspired by the colors and the exotic places from which they came, from that time on my jewelry was always going to be big, bold and colorful.”

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A maximalist in his aesthetic, Webster’s non-compromising design is a direct translation of his passion for his craft. “Even now, when I’m getting excited about a gem it will instantly translate into the design of a collection. Music is a strong influence for me as is the view of the sea from my house in St. Margaret’s Bay overlooking the White Cliffs of Dover. For something like my Jewels Verne collection I looked into the ocean and saw more jewels. The ocean is a very authentic reference for me.” Women expect a lot from their jewelry of choice, “A woman should be prepared for any occasion with her jewelry. Sometimes, the jewelry itself comes prepared. We always include in our collections earrings which can be shortened, lengthened or indeed converted and these are hugely popular.”

“WE ALWAYS INCLUDE IN OUR COLLECTIONS EARRINGS WHICH CAN BE SHORTENED, LENGTHENED OR INDEED CONVERTED AND THESE ARE HUGELY POPULAR.” His unbridled designs appeal to the young as well as the mature alike, “Our customer surprises even the very experienced retailers such as Neiman Marcus who have labeled us the “18 – 80” brand. I have no problem with this. I just love seeing women and men of all ages, shapes and sizes wearing our pieces with confidence and pleasure,” he smiles. “Someone with character will always be my choice over just beauty but I am happy with both.” Webster’s preferred stones to work with are Tanzanite from Tanzania, Fire Opal from Mexico and Tourmalines from Brazil. Webster’s creations have found their way to the Middle East as well, with an expanding fan base there. The designer’s expert knowledge of this market may have a little to do with that. “Middle Eastern shoppers are very brand conscious and well-traveled. With our global presence we greet many Middle Eastern clients in our flagships stores in London and Beverly Hills and of course home territory of Saudi Arabia, Dubai and Lebanon,” he says.

“I ALWAYS LOOK FORWARD TO SPECIAL COMMISSIONS FROM THE MIDDLE EAST - THEY ARE NEVER DULL. RATHER, THEY ARE VERY SPECIAL.” “Generally, one of the main distinctions between different countries is the color combinations requested,” he admits. “We sell a lot of green hues in Asia, reds in Russia and purples in America. But I always look forward to special commissions from the Middle East - they are never dull. Rather, they are very special.” Looking to the future, Webster is eager to expand on his brand power and venture into new territory. “I’m planning to develop new categories such as sunglasses, accessories, watches as well as new jewelry collections,” he says. “I wait for new projects each week to keep alive the patina of my brand. You know, variety is the spice of life.” IN

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IN.FEATURE

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FUTURISTIC-TRIBAL PUNK WITH AN EDGE

DESIGN HOUSE AMATO VENTURES INTO READY-TO-WEAR

Words by Stacey Blanchet

Photography TINA PATNI Hair & Make-up JOJO DANTES-PADUA, TEAM ANIA PONIATOWSKA AND DARWIN PEREZ Design Set ANDRO DEL ROSARIO Clothes AMATO COUTURE BY FURNE ONE Models ASJA & VARISA - GERMANYS NEXT TOP MODEL CYCLE 10, MAGDA & ZUZANA - MMG MODELS AND EMILIA - WILHELMINA MODELS

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What is the value of an imagination? Most would say priceless! Does life imitate art or does art imitate life? How do you have your imagination come to life by creating something breathtaking for the world to see? Like a hand reaching out of the magazine, he grabs you so you have to take notice of his masterpiece. He is a direct descendent of the Alexander McQueen school and has captured my heart and imagination as a designer, leaving me speechless. He is a master with beads and daggers. The fabric he uses adapts to his will as he takes his orchestra to the grand finale. Design house Amato is helmed by Filipino designer Furne One. Based in Dubai, it is internationally recognized. Furne’s masterpieces have graced fashionistas such as Beyoncé, Lady Gaga, Katy Perry, Heidi Klum, Jennifer Lopez, Tyra Banks and Shakira. IN Magazine reconnected with the designer to learn more about Amato and the label's latest ventures. When we last spoke, you told me that you decided to be a designer from the time you were a child while watching your mother and grandmother get ready. Can you tell us why that act had such an impact on you? Do your remembrances effect your collections? I guess I just saw how wearing their beautiful dresses transformed them from ordinary women into elegant queens. I’d like to think that this early memory that I have of these women’s sense of style has influenced me in creating my collections that exude confidence, power, beauty and grace. How was growing up with the dream of wanting to be a fashion designer? To be honest, it wasn’t that difficult. As a boy, I would keep to myself and spend most of my time alone with my imagination, sketching away dresses. As I grew older, I became a little rebellious. In time, I grew out of that phase and started focusing on my career and became a successful designer. What in your childhood/adulthood inspired you and still inspires you? Besides my mother and grandmother, as a child I would always look towards movies, magazines and MTV for inspiration. It was then that I was opened up to how fashion plays a huge part in our society. What is your favorite part of the design process? I find the entire creative process very fulfilling as it is exciting. From conceptualizing ideas and sketching the design, to the sewing and finishing, it still amazes me how a simple imagination can come to life. Being able to create a dress that people appreciate is the most rewarding experience for any designer.

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When did you move to Dubai and why do you call it home for Amato? Shortly after working for Josie Natori in New York, I decided to visit a friend of mine. It was around 1998 when I first came to the city (Dubai) and discovered the endless possibilities it held for a young designer like me back then. Dubai was so lavish and extravagant and held so much promise of progress. Till this day, I find Dubai to be enchanting and mysterious – things that are synonymous with the vision of Amato.

“TILL THIS DAY, I FIND DUBAI TO BE ENCHANTING AND MYSTERIOUS – THINGS THAT ARE SYNONYMOUS WITH THE VISION OF AMATO.”

What advice would you give young designers just starting out? A lot of young designers think that the fashion industry is just about pretty dresses fabulous parties and being famous. They often forget about the responsibilities that go along with it. The truth is, it’s all about having a clear vision of your aesthetic, good business acumen, hard work and perseverance. You have always been Haute Couture, why did you decide to pursue Ready to Wear? We wanted to be able to cater to all of our followers, not just the socialites and royalties but also to the everyday woman/ girl who wants to try being bold and edgy. Our ready to wear line will consist of basic pieces (t-shirts, sundresses, shorts etc.) but with an Amato twist, of course! The goal is to create something that is plain and simple into something equally intricate and opulent as an Amato Haute Couture gown – but for a lower cost.

“OUR READY TO WEAR LINE WILL CONSIST OF BASIC PIECES (T-SHIRTS, SUNDRESSES, SHORTS ETC.) BUT WITH AN AMATO TWIST, OF COURSE!” Where is Amato going to be in 5 years? Amato intends to grow and expand from a singular brand into a global fashion empire. It sounds ambitious, I know, but I do not doubt the possibility. That little boy watching his mother and grandmother getting dressed has brought them alive on the runways and in the magazines around the globe. He is a true testament to the importance of a nurtured imagination. What is to stop him? Each season he takes us on another journey that leaves us breathless. Furne One is clearly soaring among the greats. IN

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IN.SHOOTS

9 WORDS FOR A BREAK

Photography REBECCA SCHWEINS Creative Direction & Stylist MICKAEL CARPIN Hair ALEXANDRINE PIEL FOR FRANCK PROVOST Make-up FRED MÉCÈNE FOR COULEUR CARAMEL Model DARIA AVDIENKO - OUIMANAGEMENT PARIS POST - PRODUCTION & GRAPHICS STRANGEROUS ARTWORKS PARIS Location PLATINE HOTEL

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Sunglasses LANVIN Broche DSQUARED2 Necklace MAWI Left Earring NACH Right Earring MAWI SPRING/SUMMER 2015

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Swimsuit AGENT PROVOCATEUR Jacket NACO Paris Heels CHRISTIAN LOUBOUTIN Bag VERSACE Earrings ISABELLE MICHEL

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Jacket MARINA YACHTING Swimsuit AGENT PROVOCATEUR Hat MOODWOOT Bag MAWI Necklace NACH Earrings VERSACE Right Hand Bracelets CAROLINE BAGGI Left Hand Bracelets LE LACET PARISIEN by Ursul Paris Ring NACH SPRING/SUMMER 2015

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Swimsuit THAPELO PARIS Scarf MEESHA Clutch DSQUARED2 Heels BURAK UYAN Broche DSQUARED2 Bracelet & Ring NACH Cuff URSUL PARIS Earrings NACH IN 94 | SPRING/SUMMER 2015

Bodysuit GRETA CONSTANTINE Jacket BURBERRY PRORSUM Belt ELISABETTA FRANCHI Earrings & Bracelet HÉLÈNE ZUBELDIA Cuff NACH Ring VERSACE Éventail DUVELLEROY SPRING/SUMMER 2015

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Cap MURMURE BY SPIRIT Plastron VIVEKA BERGSTRÖM Clutch SYLVIA TOLEDANO Earring ANNA PELLISSARI Ring VERSACE IN 96 | SPRING/SUMMER 2015

Tank Top GUISEPPE ZANOTTI Parka MARINA YACHTING Heels BURAK UYAN Earring & Necklace NACH Bracelet URSUL Paris Jewerly BLISS LAU Scarf used as a belt Y/PROJECT

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FACE IN MIRACLES

Photography REBECCA SCHWEINS Creative Direction & Stylist MICKAEL CARPIN Hair ALEXANDRINE PIEL FOR FRANCK PROVOST Make-up FRED MÉCÈNE FOR COULEUR CARAMEL POST-PRODUCTION & GRAPHICS STRANGEROUS ARTWORKS PARIS Model DIANA RADAN - IMG MODELS PARIS

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Dress & Cap MANISH ARORA Watch NINA RICCI SPRING/SUMMER 2015

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Jacket SERKAN CURA COUTURE Watch H1 ICEBERG Rings H-STERN SPRING/SUMMER 2015

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Dress CACHAREL Necklace MESSIKA Watch A LANGE & SÖHNE Bracelets & Rings PASQUALE BRUNI Glasses HISTOIRE DE VOIR at CARLOTTI STORE PARIS IN 102 | SPRING/SUMMER 2015

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Pull-over PAUL & JOE Watch BAUME et MERCIER Bracelet MESSIKA Earring DJULA Sunglasses CACHAREL IN 104 | SPRING/SUMMER 2015

Dress YVES SAINT LAURENT Vintage Bracelets, Rings & Earrings CHOPARD Watch H1 ICEBERG SPRING/SUMMER 2015

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SIDE EFFECTS Photography KATJA KAT Fashion Editor MICKAEL CARPIN Make-up STEPHANE DUSSART Hair CYRIL NANINO USING SEBASTIAN PROFESSIONAL Model THOR - NEW MADISON PARIS Mixed Media Artist MAXWELL N.BURNSTEIN (BYMAXWELL)

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Shirt VERSUS VERSACE Necklace VERSACE Bowtie DE FURSAC SPRING/SUMMER 2015

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Tuxedo VERSACE Necklaces SERGE THORAVAL Bracelets THOMAS SABO Rings THOMAS V IN 108 | SPRING/SUMMER 2015

Jacket JEAN PAUL GAULTIER Necklaces THOMAS SABO SPRING/SUMMER 2015

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Jacket JITROIS Short Necklace VERSUS VERSACE Long Necklace THOMAS V Scarf MEESHA SPRING/SUMMER 2015

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Pull-over BOTTEGA VENETA Rings & Necklaces THOMAS V IN 114 | SPRING/SUMMER 2015

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OCEAN'S LOOPHOLE

Creative/Art Direction, Production & Photography CLARISSE G. ROSSO Retoucher PABLO ÁLVAREZ Stylist & Grooming ALEXANDRA YUS Set Designer & Scenography JUDITH ALCUBIERRE Assistance & Making-of EDUARDO ALCUBIERRE Hair & Make-up PALOMA LANGA Models LOURDES HOMEDES & DANIEL CANO Thanks to CUBO ESTUDIO

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Vest & Pants ALMARAVI Helmet & Shoulder Pad ANILLARTE Dress MARÍA BARAZA SPRING/SUMMER 2015

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Pants LLOYD´S Dress ANILLARTE Shoes GOJANE IN 118 | SPRING/SUMMER 2015

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Pants ALMARAVI Dress BIBIAN BLUE Brazalet LEYRE VALIENTE

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Pants ALMARAVI Dress MELANIA MOYA Brazalet MARÍA BARAZA

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Corset MAYA HANSEN Necklace PAPIROGA IN 122 | SPRING/SUMMER 2015

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VIRGIN DREAM Photography KATJA KAT Fashion Editor MICKAEL CARPIN Hair & Make-up STEPHANE DUSSART Model MEDHI DOUACHE - 16MEN

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Shirt DSQUARED2 Jeans ALLSAINTS Bag BOTTEGA VENETA Bracelet SERGE THORAVAL SPRING/SUMMER 2015

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T-Shirt JITROIS IN 126 | SPRING/SUMMER 2015

Hat MOODWOOT Jacket SMALTO Polo RALPH LAUREN Jeans ZADIG & VOLTAIRE Bracelets THOMAS V SPRING/SUMMER 2015

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Jacket JEAN PAUL GAULTIER Sweat DSQUARED2 Jeans SAINT LAURENT Necklace DINH VAN Ring THOMAS SABO SPRING/SUMMER 2015

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IN.BEAUTY

FRANCK PROVOST

40 YEARS OF PASSION FOR HIAR Words by Annabelle Baudin and I followed his advice.” Upon arriving in Paris, Provost worked in several salons. The first was Place de Clichy. The clientele was mostly made up of neighborhood girls working in the clubs at night. “My clients were quite nice girls with me, but they did not go away really well coiffed. It was at that moment that I realized I did not know how to work.” Provost then sought new work in a more traditional setting to gain the necessary experience and the fundamentals of the business.

“MY FATHER, WHO HAS ALWAYS BEEN A STEP AHEAD OF THE TIMES, DROVE ME TO SETTLE IN PARIS. HE WAS AMBITIOUS FOR HIS CHILDREN, AND I FOLLOWED HIS ADVICE.” A group of young hairdressers introduced him to the ‘The Circle of Arts and Techniques,’ a club where he participated in many workshops at night to work on his technical skill, his speed and creativity. “I discovered the spirit of competition. I really liked to measure myself against the other, fight to win the contests. In short, be the first. This is where my love of hair was triggered.”

Franck Provos

Franck Provost welcomes us at rue du Faubourg Saint Honoré in his vast office. It is sober and refined, revealing a taste for contemporary art. The bright room has a minimalist elegance. He gets up and invites us to sit down with an almost solemn courtesy. Provost is neither extravagant in his words or in his environment. This year Provost is celebrating 40 years in the career of professional photography. Provost admits he did not notice the time passing. Deeply epicurean, he loathes any questions about his age. “It is perhaps the only question which destabilizes me, in fact I should not tell you this,” he confides with malice. The tone is set. The intelligence of this formidable human and his intuition has no doubt been inherited from his father. “He was a visionary who listened. Besides, I do not support those who cannot listen to others.” It was Provost’s who had always guided him in his choices. “He was a soldier and a war veteran who was incapacitated. So I was a ward of the nation.” The young teenager had the option of integrating the Historical Institute of Prytanée into a career in the army. “I was not thrilled with the idea. I was a fairly ingenuous teenager and military school requires a high school level. It was not really for me.” “I started working as a novice hairdresser in a salon in La Fleche, but I was pretty clueless,” says Provost of his 17 year-old self. “My father, who has always been a step ahead of the times, drove me to settle in Paris. He was ambitious for his children,

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At 20, Provost could not escape the military service. In the army, he was assigned to cutting the hair of his comrades. But imagine for a moment that the ambitious young man was going to be confined to such repetitive tasks. He soon became aware of the power offered by his job. He then proposed to his superiors to open a women’s hairdressing salon in the military school for the female staff of the army. “The colonel was ok because I did the hair of his wife and when we do the hair of the colonel’s wife, we are untouchable,” he recalls amused. “This is also my belief, that if we can exploit this business we should take risks when the odds are waiting for us. “ At this time, the office door opens. His son, Fabien Provost, Artistic Director of the group appears without warning, probably in search of his Labrador comfortably nestled at the feet of his father. Passion for hair thus appears to be a family affair. This is also the case with his wife Natasha whom he met at a seasonal job at a major hairdresser named Alpe-d ‘Huez. In April 75, they inaugurated their first exhibition together in Saint Germain en Laye, Yvelines, near Paris. So what advice does Provost have for the youth of today looking to follow in his path? “We must reflect on the opportunities offered by the digital universe. Thanks to new information and communication technology it is quite possible to conquer the international even before the local.” In 1976 Provost won the title of Champion of France and a year later the World Champion of the hairstyle. When we win awards of this scale, large enterprises appear. Thus, L’Oreal offered Provost to hold hair shows around the world to promote its products. “It allowed me to refine my skills but I soon realized that the press would not come to see me unless I was in a Paris suburb salon. It was essential that I moved to Paris.”

Four years later, Provost’s success afforded him the glamorous move to Paris at 61 Avenue Franklin Roosevelt. This space marked the flagship venue of the brand, in the 8th arrondissement. “I hesitated to sell the first location because it was difficult.” At that point Provost had neither the fame nor the finances to afford advertising campaigns necessary for his salon’s advertising. The competition in Paris was quite severe as well. “Looking back, I feel that it was almost difficult to open a second salon.” “One day, a client who was assistant producer Gérard Louvin asked me during his weekly hair brushing, to work with Jean-Pierre Foucault who hosted the TV show Sacred Evening.” Provost immediately accepted although it was not paid. This offered his brand national visibility without spending a penny of advertising. It was also during this period that Provost opened twenty more salons, mainly in Paris and the inner suburbs. By 1990, Provost had a real hairdresser studio team in place to meet the demands of various channels and production houses. Provost’s team continues to expand year after year. “The key to my success is that I wanted to make a collective history. I train my staff, I give them the tools. If you want others to follow you, you must believe in yourself.”

THE KEY TO MY SUCCESS IS THAT I WANTED TO MAKE A COLLECTIVE HISTORY. I TRAIN MY STAFF, I GIVE THEM THE TOOLS. IF YOU WANT OTHERS TO FOLLOW YOU, YOU MUST BELIEVE IN YOURSELF. In 1995, he decided to conquer the international scene through franchising. “Starting a franchise requires a lot of involvement. This is why access to the franchise is not given to non-hairdressers.” So hairdressers are selected and not investors, and they are trained by Provost’s academy. Then in the 2000s came the successive acquisition of small retailers. Growth accelerated from that point onwards thanks to the merger with the Regis Group, which had already invested in European competing brands such as Jean Louis David. Provost sees this merger as his “greatest achievement”, it allowed the company to structure its’ development in Europe and Asia. Provost is grateful for choosing a career in a protected field, which does not suffer from competition that would challenge the label of ‘Paris’ as an established leader in the field, or from e-commerce and which escapes any threat of relocation. “Life is eternal, there is always something to do, to build, to buy.” Provost gets easily bored without ambition driving him. In April 2007 he created the group Provalliance. An entity that encompasses all Franck Provost group activities as well as Régis Europe activities. In 2008 he was awarded a Legion d’Honneur that he soberly wears on her black jacket. “You know, I believe that only in the dictionary the word success comes before work.”

“LIFE IS ETERNAL, THERE IS ALWAYS SOMETHING TO DO, TO BUILD, TO BUY.” I asked him what that word “success” evokes in him, he said, “Success is a way to pay tribute to those who believed in you.” Provost is not so keen on ranks, despite that, he is the number 1 hairdressing brand in Europe, and number 2 worldwide. With 650 salons in more than 20 countries, and 6000 employees, Provost has almost 7 million customers annually. IN

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ICON DUNHILL’S NEW FRAGRANCE LIVES UP TO ITS’ NAME

ICON, the signature masculine scent marks the beginning of a new and exciting era for dunhill’s fragrance category. Taking inspiration from the evocative world of British motoring design the fragrance is designed with a new generation of global consumers in mind. ICON is positioned to have an integrally refined style that reflects the dunhill ethos of a self-assured, sophisticated urban gentleman.

“TO TRANSLATE DUNHILL’S TIMELESS AND LUXURIOUS HERITAGE I USED CLASSIC AND NOBLE INGREDIENTS SUCH AS VETIVER AND NEROLI AS WELL AS THE ORRIS-LEATHER ACCORD” A future classic, ICON has been conceptualized by Master Perfumer, Carlos Benaim. “To translate dunhill’s timeless and luxurious heritage I used classic and noble ingredients such as Vetiver and Neroli as well as the Orris-Leather accord,” says Benaim. “To express dunhill’s classic yet modern heritage, I contrasted the rich elegance, depth and warm texture of the background with the exhilarating and bold energy of the top notes.”

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Ingredients gathered from the travels of the dunhill man, a worldly sophisticated traveler, and the smell exotic and distinctive. ICON opens with the ultimate blend of rare and expensive ingredients. Sleek top notes of Italian Bergamot and Neroli Absolute intertwine with a racy black pepper, fusing the mid-notes of cardamom and Lavender de Provence to add a unique twist of masculinity and originality. At the base, revel in the beguiling warmth of smoky Oud wood, and an Oris leather accord, alluring in depth blended with earthy Vetiver and a hint of oak moss melding, into an Iconic signature scent. The arrival in 2012 of Creative Director, John Ray, marked a renewed sense of creativity for the heritage brand. “The heritage and the archive of the dunhill brand are a great inspiration in the development of new products but, it is the spirit of Alfred Dunhill, the man, the entrepreneur, that I want to capture... his innovation, charm, wit, self-assurance and determination in the challenging but stimulating search for outstanding quality, first in the saddlery business, then the enthralling Motorities era to what the brand is currently. To be present and involved in this today really excites me, and to be able to show our work globally is inspiring.” Says Ray. dunhill as a whole, right through to this fragrance centers around ‘The dunhill Man’ who proffers.

THE DUNHILL MAN EMBODIES CLASSIC MASCULINITY WITH A WITTY AND ENERGETIC APPROACH TO LIFE. HE IS INFORMAL, INTELLIGENT, A POWERFUL LEADER WITH AN INTEREST IN INTERNATIONAL EVENTS AND AFFAIRS. The dunhill man embodies classic masculinity with a witty and energetic approach to life. He is informal, intelligent, a powerful leader with an interest in international events and affairs. His powerful presence encapsulates his way of living, charting his own course regardless of the destination, driving is his constant; an act he finds infinitely pleasurable and synonymous with escape. He exudes confidence without arrogance, appeal without ego. He is practical in a way that unintentionally reveals true character. He is self-aware and a habitual traveler of the world. Active yet balanced, self-assured and in control, he carries his life experiences with him. He is the ultimate modern urban gentleman.

“DUNHILL ICON IS THE PERFECT EXPRESSION OF EFFORTLESS SOPHISTICATION, COMBINING DUNHILL’S LUXURIOUS AND CLASSIC HERITAGE WITH A MODERN EDGE” In line with dunhill’s iconic accessories the bottle; conceptualized by renowned designer Mark Eisen, carries the brand’s DNA through its signature engine-turned pattern, a functional and decorative technique in which a very precise, intricate repetitive pattern is engraved into an underlying material. ICON epitomizes the attention to detail and unparalleled skills of engineering found throughout dunhill. The design was first integrated into dunhill’s hard product accessories in 1924 and it is still widely used throughout the house in items such as Sentryman pen, cufflinks, and accessories. A signature dunhill design for the new signature dunhill scent. “A fragrance bottle should first be an amazing object-an object of desire-a mix of functional and decorative art,” says Eisen. Eisen’s signature mix of art, timeless style, technical advancement, nature, and beauty has been seamlessly integrated into his industrial design and glass collections and collaborations.

“MY DREAM IS TO CREATE A BOTTLE OF TIMELESS STYLE-A PERFECT MIX OF HISTORY AND MODERNITY AND TASTE. IT MUST REPRESENT THE DNA AND EMOTION OF THE BRAND.” “My dream is to create a bottle of timeless style-a perfect mix of history and modernity and taste. It must represent the DNA and emotion of the brand. A bottle, like so many of dunhill’s collection, should appeal and be very relevant for over 100 years,” concludes Eisen. IN

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5 NEW SPRING FRAGRANCES WE CAN’T STOP SPRAYING

It turns out that the old saying, “April showers bring May flowers” rings true for things other than the weather, too. We’ve been spraying and testing all the new spring fragrances to bring you the best of the fresh, flora and fruity.

BVLGARI MAN IN BLACK Bvlgari celebrates 130 years of existence and launches new fragrance Bvlgari Man In Black, as a flanker of the original Bvlgari Man from 2010. The fragrance is announced as bold and charismatic, inspired by the myth of the birth of Vulcan, the god of the earth, interpreted in a way that suits the modern man. WHAT IT IS: Bvlgari Man In Black is an intense composition of amber, leather, spices and woods. It opens with accords of natural rum and luminous spices. Tuberose, iris absolut and leather form the core of the perfume, placed on the base of benzoin, tonka bean and guaiac wood. It is available as 30, 60 and 100 ml Eau de Parfum. HOW IT LOOKS/FEELS: IN Magazine tested the fragrance to rave reviews. The matte black bottle combined with gold letterings brings out the classy boldness of this luxury perfume brand. (Note: Men with oily fingers must be careful not to stain the black sheath with your fingerprints.) WHY WE LIKE IT: The fragrance opens up quite spicy - almost smelling as if it is a classy beast out to grab someone. After an hour or two the dry down reveals a smooth fruity vibe, still having the spice hit but more clean and tropical - got a good seven hours. You also must try the Bvlgari Man In Black shampoo and shower gel - you will be very delighted to have the same scent in your bathroom too.

Valentina Pink BY Valentino Valentina Pink is a new floral-fruity-gourmand scent launching this year. The latest addition to the Valentina family joins her siblings, a collection that includes the original Valentina from 2011, Valentina Assoluto from 2012, Valentina Acqua Floreale from 2013, Valentina Oud Assoluto from 2013 and Valentina Rosa Assoluto from 2014. WHAT IT IS Valentina Pink is a cheerful and energetic scent that opens with fruity accords of strawberry and blackberry musk. The heart is dominated by rose: May rose, Centifolia rose, rose buds and peony. The base is composed of cashmere, amber and pralines. The composition is signed by Daphne Bugey and Fabrice Pellegrin. HOW IT LOOKS/FEELS Valentina Pink opens similar to synthetic strawberry bubblegum, but it improves over time. With the addition of rose and blackberry after about 30 minutes, the fragrance is no longer plain sugary, but instead, there’s a fruity tartness starting to balance the sweetness, and it settles into a delicious rose-berry jam. The bottle is a sophisticated milky-pink, reminiscent of youthful feminine appeal. WHY WE LIKE IT The silage is moderate and the longevity is around 10 hours. Valentina Pink is a straightforward gourmand rose-berry fragrance, as pretty and girly as the pink bottle suggests. To occasionally indulge oneself in a pink dream, Valentina Pink is quite efficient.

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SEE BY CHLOÉ SI BELLE

Eternity Summer for Him and Her By Calvin Klein

Fragrance addicts as we are, we couldn’t wait for this new See by Chloé fragrance to arrive. We love the range a lot so we were very curious about the notes of this new release and as it turns out, this is the most heavenly one so far.

Calvin Klein’s new Eternity Summer perfume collection for 2015 pulls its’ creativity from the bright harmony of the beach. WHAT IT IS: The limited edition range is loyal to its seasonal releases and the fans of the series will surely remember the past years’ editions with most recent Eternity Summer 2014 and Eternity Summer 2013. HOW IT LOOKS/FEELS: Calvin Klein Eternity Summer 2015 for her, a summery floral aquatic perfume presents the peacefulness and calmness of a day at the beach, where the waves lap smoothly on the sea sand while the water surface shimmers gently. The scent starts with sparkling notes of fruity pear. The sunny-floral bouquet of the heart features peony while gentle sandalwood in the dry down delivers pure sensuality. Calvin Klein Eternity Summer 2015 for him, a fresh summer fragrance reflects a relaxing day on the seaside.

WHAT IT IS: This fragrance is charming and romantic as ever – floral freshness with a defined urban edge. Given the name Si Belle, which is French for So Beautiful, and coming in such a delicate, lovely bottle again, this sets high expectations. HOW IT LOOKS/FEELS: The scent is created by Louise Turner and Nathalie GraciaCetto, the amazing duo behind the best-selling Love by Chloé. Si Belle opens with accords of neroli and birch leaf, an unusual but terrific combination. Its’ heart is dominated by gardenia, mixed with orange blossom and laid on a base of white musk.

WHY WE LIKE IT: The classic bottles of Eternity Summer for men and women has been updated in a specialized finish for this limited summer edition. The upper part and shoulders of the bottles look like they were shaped by the forces of the sea itself, rounded off corners down the side while a contrast of the bright clear upper part with the colored base of the bottles exuding a vivid violet hue for the ladies and aqua green for the men's version.

WHY WE LIKE IT: At the beginning it reminds us of Jo Malone’s White Jasmin & Mint, we hold the orange blossom responsible, and afterwards it turns into a lovely veil of romance that stays with you during the day. This is a favorite for us at IN Magazine.

Roberto Cavalli Nero Assoluto In August 2015 we will have the pleasure of testing the latest fragrance of the Roberto Cavalli collection, which builds on the edition Roberto Cavalli EDP from 2012, the beautiful Roberto Cavalli Oud Edition from 2013, as well as the turquoise blue Cavalli Acqua from 2013. The new flacon is Cavalli Nero Assoluto. WHAT IT IS: Colored in trendy black with gold color embellishments and filled with the scent signed by the perfumer of Roberto Cavalli Eau de Parfum, Louis Turner. The fragrance was created in collaboration with Coty. HOW IT LOOKS/FEELS: The new version offered by Cavalli is perfect for evening and announced as very elegant and sophisticated. The composition is based on floral and woody notes warmed by the strength of vanilla. The perfume opens with floral accords of orchid, warmed in the heart by black vanilla, supported by a strong woody note of ebony in the base. WHY WE LIKE IT: On first sniff, we were enchanted, and it made us feel slightly unhinged it was so delightfully ambrosial. It opens with a strong blast of intensely creamy orchid. As it settles, it becomes much darker, more edgy-spice, mixed with dark wood. It is intensely sexual. IN SPRING/SUMMER 2015

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IN.ART

SHUROOQ AMIN ON ART, CONTROVERSY, AND INJUSTICE Words by Nagmani

Amin has a strong belief in the power of art to address the deeply entrenched social ailments plaguing Arab society. She it is a firm believer that art can play a massive role in breaking taboos, especially socio-political art like hers. After all, history proves that people are always resistant to change, but that the visionary mind prevails eventually and the community does come around, with time. “Not every artist can be, or has to be, an activist but certainly for artists like me–whose primary purpose is to send a message across in the hope of instigating positive change in a decaying society – then we can do a bit of our role by being socially responsible and advocating justice,” she says. Amin’s inspirations are directly linked to her own personal experiences; experiences of people close to her; the unstoppable flow of breaking news, any act of injustice that occurs to which she is privy, “and there are plenty of those,” she whispers.

Shurooq Amin is a 47-year old artist of Kuwaiti and Syrian descent. Dubbed by many in the regional art world as “controversial”, Amin is a master of provocation, her paintings often brimming with candid innuendo, all part of a passion to break free of misogyny and gender inequality. In an exclusive interview with IN Magazine, Amin shares her ideals and passions, and gives us insight into her life. Art came naturally to Amin as a child, “It was something that was innate. My father noticed that I was gifted and subsequently supported that intuition by buying me equipment and praising me. I was known as ‘The Little Artist’ in my family amongst all my relatives. So I guess you could say it was an organic evolution,” she says. Now a full fledged artist, Amin sees her art as more than a gift or a passion, “It has become a serious social responsibility.”

“I BECAME MORE DETERMINED WHEN I REALIZED THERE IS A LOT OF STIGMA ATTACHED TO BEING A MUSLIM SINGLE MOTHER WHO WAS OUTSPOKEN AND NONCONFORMIST.” A pivotal point in her artistic journey was a very personal event: her divorce. “I started a dialogue about very complicated issues facing people in the Arab world after my divorce. I became more determined when I realized there is a lot of stigma attached to being a Muslim single mother who was outspoken and nonconformist,” says Amin. “So I rebelled against that stereotyping with my art and I responded to the injustice around me with my art.”

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Her most inflammatory work titled ‘It’s a Man’s World’ which came out in 2012 was banned in Kuwait as it was deemed sacrilegious. But in 2013 another new work of hers titled ‘Popocornographic’ resulted from this interdiction. This project addressed female-related grievances such as child marriages to the art of tattoos on the Arab skin. When it comes to who her role models are, she has only words of praise for those that rise against all odds. “I admire and look up to women, men and even children who have gone against the grain in the name of justice and love and peace and light,” she says. “I’m a warrior at heart, but my weapon of choice is art. I love beauty and I strive to make my art as much beautiful as possible considering the harsh messages it sends.” For Amin, poetry is another love that she interweaves in her artwork with her knowledge in Ekphrasis (the connection between art and poetry) in which she has a PhD. “It’s another form of art or just another vehicle that I am extremely fond of cherishing and thereby always ready to apply it to send out the same messages to society,” she says. Over her 20-year career, Amin’s paintings have been exhibited at group shows, art fairs, and biennales, as well as have been sold at auctions too. Amin has received many accolades at home and abroad for her work. After receiving the title of ‘Artist of the Year’ by the Arab Woman Awards in 2013, she became the first Kuwaiti to have her paintings on auction at Christie’s. “As far as solo exhibitions are concerned, I’ve had 12 solo exhibitions between Kuwait, Dubai, and London,” she says. While there is a lot of outcry against her artwork, young people in Kuwait or anywhere else in the world tend to love her work. As Amin puts it, “Many of my fans are young people in their teens or twenties. And they aren’t shy to express their admiration.

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The fact that these kids can relate to me - a single forty-something mother - is a wonderful thing, proving that my work is universal and can appeal to the masses.” As a matter of fact, there are men and women in their eighties who just adore her paintings for what they stand for. “I constantly receive emails from these people and this is what makes a real difference,” she says.

MANY OF MY FANS ARE YOUNG PEOPLE IN THEIR TEENS OR TWENTIES…. THE FACT THAT THESE KIDS CAN RELATE TO ME - A SINGLE FORTY-SOMETHING MOTHER IS A WONDERFUL THING Whatever Shurooq has been able to achieve in life so far, there is no doubt that it’s very noteworthy. Nevertheless, her success is largely indebted to her parents who guided her talent prolifically in the beginning. On one hand, it’s her father who noticed her gifted talent and encouraged and supported her when she was still a child. He used to dabble in oils and would take her with him to his friend’s studio, a well-established local Kuwaiti artist, and she would watch them paint and she would paint too. He also opened her up to unforgettable experiences such as flamenco dancing in Madrid, museum and bookshop hopping in London, ballet concerts in Moscow, etc. On the other hand, her mother’s role is more of an unintentional sort. By her very act of refusing to send her to study art in the UK at the young age of 16 (after she graduated from the New English School in Kuwait), she opened the door for Amin to be raw, pure, experimental and fearless in her painting because she didn’t have to be tutored. “I just mixed things up and tried crazy things in my studio. Whatever worked became a technique, and whatever didn’t work became a learning experience. It made me find my own personal voice without the conformist influences of a rigid art education,” she says. “Experimenting in the studio wasn’t about whether I could draw a perfect perspective, or a perfect human face or body, or shadows and light. That was easy for me. Absolutely not! Experimenting in the studio was actually about discovery, exploration and personal revolution for me, to a certain extent.”

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Nevertheless, Amin’s work has ironically directed a sort of injustice towards her and her family, she has been threatened on several occasions, called names, and her children bullied. Blogs have attacked her, other local artists have reprimanded her and even people in the media have said very hurtful things about her. Yet Amin takes it all in stride, “New changes never succeed without facing obstacles in one way or the other. They are bound to raise eyebrows. You can’t expect to make a difference in the world and get upset when you face resistance. I understand - as history proves - that people will resist change and will resist the voice of a woman who cannot be stereotyped, cannot be made to shut up, cannot be controlled. That scares them. It intimidates them especially if that woman is an Arab Muslim woman.” “I believe they will all come around one day, even if that day is long after I’m dead: they will eventually see the light and realize that what I am trying to do is open minds, open a dialogue, and instigate positive changes in society by breaking taboos and stereotypes and allowing a transparency that will make us move forward and progress,” she says.

“I JUST MIXED THINGS UP AND TRIED CRAZY THINGS IN MY STUDIO. WHATEVER WORKED BECAME A TECHNIQUE, AND WHATEVER DIDN’T WORK BECAME A LEARNING EXPERIENCE.” Despite that, Amin and her children call Kuwait their home, “I will never uproot them unless absolutely necessary. And it hasn’t come to that stage yet.” Amin dreams of a peaceful, loving, charitable society. She feels sad that we are not that kind of civilization right now despite the fact that Islam is a religion of peace, love and forgiveness. “One of the ways to relieve this disease, in my opinion, is for artists and other creative people to gather the courage to expose this hypocrisy and injustice and start a movement of positive change by influencing the community.” IN

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NH7+47: SOUTHERN SOJOURN THE WORK OF SEVENTEEN CONTEMPORARY ARTISTS ACROSS INDIA Words by Mukta Ahluwalia Bedi In an Eat, Pray, Love-like journey of self discovery and rediscovery of roots, art curator Mukta Ahluwalia Bedi connected with some exciting contemporary artists working away from the four main art centers of India: Mumbai, Vadodra, Delhi and Kolkata. The Singapore based curator took a road trip through India to explore artistic trajectories at the margins. The idea of a road emerged out of another project on Singaporean art, where Bedi considers artists’ critical response to Singapore’s inherent urban condition. This research into urban based art led a question: isn’t urban the inherent condition for all artistic production? With the 24/7 Internet connectivity, are non-urban artists (not necessarily rural; as the urban-sprawl and urban-corridors often blur the city boundary) also ensconced in the ‘urban’? Are ‘urban’ and ‘non-urban’ still relevant categories in a globalized- capitalist economy intensified by information-age? Singapore is a city-state that does not have rural areas. However, looking at the Indian art coming from the main city centers, with complete absorption of the contemporary, Western artistic practices and strategies, were there other possibilities in the peripheral art centers?

horse) he traces the images of the horse itself by appropriating images - from the miniature painting to the Mobil logo and the made-in-China plastic toys found in abundance. He juxtaposes these visuals like overlaid montages, in the process, creating a visual langue very much his own.

MASURAM RAVIKANT EXPLORES HOW WE MAKE MEANING WITH THE OVERLAPPING VISUAL IMAGERY FROM TRADITIONAL AS WELL CONTEMPORARY LIFE. IN HIS SERIES, ‘SPANDOLIKA’.

To answer this question, the curator decided to organize over next two years, Road trips to artists’ studios away from the four mega-cities. The first Road trip through the three southern states culminated in an exhibition that aims to present a survey of the artistic production south of the Deccan plateau. India Art Landscape The exhibition presents 17 artists with about 50 artworks. It covers a wide breath of artistic practices – from the conventional oil paintings to contemporary mediums like digital photography. It aims to introduce to the Middle-East audience some of the rising stars of Indian art.

THE EXHIBITION PRESENTS 17 ARTISTS WITH ABOUT 50 ARTWORKS. IT COVERS A WIDE BREATH OF ARTISTIC PRACTICES – FROM THE CONVENTIONAL OIL PAINTINGS TO CONTEMPORARY MEDIUMS LIKE DIGITAL PHOTOGRAPHY. Through the works one gets to see vignettes of the artists’ everyday lives – living away from the megacities. Ramachandran Nagasamy’s mixed media work reflects the overwhelming visual world around him that he finds challenging and addictive to decode, as meaning-making in the visual world is in a constant flux. His work titled ‘@7’ is made of 49 wooden compartments with doors. The doors on the outside are covered with laser-cut images from mass-media culture. On opening each door, a plethora of everyday objects is found, from gunghroo (tiny metal bells worn by traditional dancers), to plastic-toy cars, traditional handcrafts and even more mass-media images. Masuram Ravikant explores how we make meaning with the overlapping visual imagery from traditional as well contemporary life. In his series, ‘Spandolika’, (a traditional wooden rocking-

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Masuram Ravikant

Anamika Vijayveeraraghvan also creates her unique visual language by appropriating methods and mediums from the traditional art of tanjore paintings. She uses the same synthetic gold leaf that the traditional craftsmen use to create a contemporary work titled ‘Golden Surface’ that is then dotted with regional newspaper cut-outs. The dots are placed along a rigid grid, offering her the same contemplative experience that rituals or meditative chanting does. Other artist like Laxman Aelay, Sayam Bharath, Vijay Pichumani and Sebastian Varghese acclaim the rural lifestyle in a modem day globalized world. Aelay’s ‘Song of the Village series’ recreates in pen, ink and acrylic the village scene of folks gathered around groups sitting around idly with slight apprehension; seemingly suspended in an unfamiliar world. Bharath on the other hand, stays deeply connected to his community of Yadavs (traditional cowherds). In ‘Angadi’, he celebrates the glorious the annual Asian water buffalo festival in Telangan, India.

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Kumaresan Sevaraj

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The cradle has not only Freudian implications but also cradle of humanity and art is referred to. Working on the symbolism of a space for nurturing, Janarthana Rudhramoorthy in his work on ‘Nest’ series represents the human body with nest-like structure nurturing the soul within. Srinivas Reddy’s work ‘Swayambhu, (self-manifest) also builds on the idea of origins symbolized by the egg - the source of the universe and his own creative impulses. The basic egg-form metamorphoses into a multiplicity of forms with imagery incised as distinct identities evolve from the basic form.

THE BASIC EGG-FORM METAMORPHOSES INTO A MULTIPLICITY OF FORMS WITH IMAGERY INCISED AS DISTINCT IDENTITIES EVOLVE FROM THE BASIC FORM.

Anamika Vijayveeraraghvan

Among the women artists, Rohini Reddy, Priti Samyukta and Gouri Vemula, it is the self-identity and an internal introspection that is brought forth; each one using the line to draw their self-reflections. While they keep away from larger social-political debates about identify, their explorations are wholly subjective, creating an intense psychological works and meanderings of thought.

The majesty of the otherwise non-alluring beast is captured in this monumental work. Pichumani and Varghese use unconventional techniques on large-scale to create abiding images of their rural life. On the other hand Kumaresan Sevaraj uses unusual mediums to celebrate the colloquial culture by using materials like sandalwood and turmeric powders along with ashes. These are part of the ritual adornment of the deities. His language though is abstract rather than figurative. Sarvana Parasuraman also experiments with medium by using stainless steel balls to create installations of organic forms found in nature. To complement his installations, Parasuraman creates a series of graphite drawings ‘Manuscript’ that follow surrealist automatism – that is, drawing automatically without much deliberation. Sarvana Parasuraman and Yuvan Bothisathuvar have used the language of abstraction, though for expressing subjective experiences.

PARASURAMAN CREATES A SERIES OF GRAPHITE DRAWINGS ‘MANUSCRIPT’ THAT FOLLOW SURREALIST AUTOMATISM – THAT IS, DRAWING AUTOMATICALLY WITHOUT MUCH DELIBERATION. Bothisathuvar became a successful billboard painter at the height of India’s political-film banner culture. However, with increased digitalization he found himself without much work and enrolled into the local fine art college. This trajectory lead him to change his language from one of large-scale hyper-realism to that of abstraction using found materials like print-press waste. In his work ‘Illusion’ he uses print paper on plywood in highly precise craftlike quality. It is the immediacy of the subjective experience and the materials that mobilizes his art-making in an internal dialogue. Sridhar Iyer creates large-scale personal shamanistic experiences. In his series ‘Jatra’ (journey), he captures the dance of life. On a similar note and scale, Madhu Venugopal brings his spiritual philosophy into his art. In ‘Caves of Compassion’ the simplicity of his imagery betrays the underlying complexities of symbolism.

Saravanan Parasuraman

The survey gives a wide overview of the art practices in the region. The key drifts seem to be scale, variety of mediums and exploration of rural subjects and a conscious approach of keeping away from the issues occupying the international art discourse popular in urban art centers of India. It is this that makes the art from the region so refreshing with many exciting possibilities. It also helped the curator find links to roots by relating to the imagery presented in the artworks.

AMONG THE WOMEN ARTIST, ROHINI REDDY, PRITI SAMYUKTA AND GOURI VEMULA, IT IS THE SELF-IDENTITY AND AN INTERNAL INTROSPECTION THAT IS BROUGHT FORTH. Nh7+47: Sothern Sojourn is jointly presented by Mukta Ahluwalia Bedi and Art*ry Dubai from 14th May to 13th June 2015. IN

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BULGARI RESIDENCES ON JUMEIRA BAY ISLAND

MERAAS BRINGS HIGH-END LUXURY BRAND DEVELOPMENT TO DUBAI Meraas, the Dubai-based holding company, has teamed up with international luxury brand Bulgari and are set to launch Bulgari Residences Dubai as part of the 1.7 million square feet Bulgari Resort and Residences that is taking shape on the private Jumeira Bay Island.

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Italian architectural firm Antonio Citterio Patricia Viel and Partners has designed what will be the first-of-its-kind master development in scale and magnitude. Comprising 165 apartments, eight penthouses and 15 mansions, every unit at the development will offer magnificent views. While the apartments range from one to four bedrooms within six free-standing buildings, the mansions offer a variation of three to six bedrooms. In addition to common areas such as private landscaped gardens, swimming pools and gymnasiums. Residents can enjoy a host of dining and sporting options on site, including the 50 berths Marina and Bulgari Yacht Club and benefit from the unmatched service standard of the adjacent Bulgari Resort.

ITALIAN ARCHITECTURAL FIRM ANTONIO CITTERIO PATRICIA VIEL AND PARTNERS HAS DESIGNED WHAT WILL BE THE FIRST-OF-ITS-KIND MASTER DEVELOPMENT IN SCALE AND MAGNITUDE. The Bulgari Residences Dubai will offer efficient living spaces with the brand’s signature style evident in every detail – whether inside the home, in the common areas or within the wider community. Cherif Hosny, Chief Hospitality Officer, Meraas, Silvio Ursini, Executive Vice President – Bulgari, and the world famous architect Antonio Citterio of Antonio Citterio Patricia Viel and Partners headlined a press conference were the announcement was made. As a preview, a 12m x 8m model of the project was unveiled for the benefit of the invited audience at the media briefing. “Bulgari Residences Dubai is not a regular development with branded elements,” says Hosni, “it is truly the first of its kind created from pre-concept, with the intention of translating the visions of both the primary stakeholders – Bulgari and Meraas – into an extraordinary man-made marvel.” Cherif Hosni, stated the merits of the UAE and more particularly of Dubai having “proven to be exceptionally attractive for major luxury brands to set up and showcase themselves to the region’s potential customer base.”

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THE BULGARI RESIDENCES DUBAI WILL OFFER EFFICIENT LIVING SPACES WITH THE BRAND’S SIGNATURE STYLE EVIDENT IN EVERY DETAIL. “Dubai has demonstrated a strong track record for constantly and continuously being the first in the region to introduce new and appealing high-end, superlative developments. Demand for prime property will continue to rise – and as the market matures, expectations will rise for qualitative, detail-focused and refined finished products. As that demand grows, investment in such developments will also surge,” adds Hosni. Silvio Ursini, echoes Hosni’s sentiments and says, “We are proud of the partnership with Meraas in bringing the Bulgari brand signature contemporary Italian style to Dubai, where we see great demand for such high-quality developments. In 2017, upon completion of the project, the resort and residences will serve our international niche audience looking for the most exclusive experience.” Antonio Citterio, the internationally famous Italian architect, has handled the architectural and interior design aspects of all the Bulgari Hotels worldwide including, the Bulgari Resort and Residences Dubai. His close attention to the smallest detail has helped translate the luxury of the Bulgari brand along with the high quality of a Meraas development.

“DUBAI HAS DEMONSTRATED A STRONG TRACK RECORD FOR CONSTANTLY AND CONTINUOUSLY BEING THE FIRST IN THE REGION TO INTRODUCE NEW AND APPEALING HIGH-END, SUPERLATIVE DEVELOPMENTS.” “I am honored to work with such great brands that are recognizable on both the international and regional level,” says Citterio. “Our seamless collaboration with the two esteemed groups has allowed us to perfect all aspects of the design, to transform both visions into reality and I am proud to present to you a glimpse of what is to come.”

The launch of the Bulgari Residences Dubai complements the earlier announcement of the Bulgari Resort Dubai as part of the agreement signed in May 2014 by His Excellency, Abdulla Al Habbai, Group Chairman of Meraas, and Jean-Christophe Babin, Chief Executive Officer of Bulgari Group. The partnership to bring the luxury hospitality brand to Dubai was signed in Rome at Bulgari’s historic flagship store dating back to 1905. The Bulgari Resort Dubai at Jumeira Bay Island, the fifth Bulgari Hotels and Resorts property in the world, will comprise 101 rooms and suites in the main hotel buildings, as well as 20 hotel villas and a full range of luxury hotel facilities. The resort, also designed by Antonio Citterio, will offer a mix of traditional and modern themes through the juxtaposition of new and conventional architecture, aptly reflecting the design and style of the surrounding area.

THE BULGARI RESORT DUBAI AT JUMEIRA BAY ISLAND, THE FIFTH BULGARI HOTELS AND RESORTS PROPERTY IN THE WORLD, WILL COMPRISE 101 ROOMS AND SUITES IN THE MAIN HOTEL BUILDINGS, AS WELL AS 20 HOTEL VILLAS. Characterized by its efforts to create perfect harmony with nature through its unique architectural style, the Bulgari Resort and Residences Dubai aims to seamlessly integrate the physical elements present on the Jumeira Bay Island. For instance, while the ubiquitous use of limestone is reminiscent of the golden sands of the desert, it also harks back to the timeless sculpted architecture of Southern Italy. Limestone has also been generously used in the boundary walls of the development, while the podiums are similarly clad in golden limestone. In addition, the lava stone and basalt paving create a sophisticated graphic contrast for public space - that in architectural terms makes up the ‘inner’ urban environment. The master development, Bulgari Resort and Residences Dubai, is scheduled for completion in 2017. IN

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