Issue 18 January / February by MOJEH

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EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Publishing Director RADHIKA NATU

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Published under HS Media Group FZ LLC Registered at Dubai Media City Building 10, Office 345 P.O.Box 502333 Dubai, United Arab Emirates

Contributing Photographers Michael Schwartz Riccardo Vimercati Seiji Fujimori

Cover photographed by and courtesy of Patrick Demarchelier | Whole look, CHRISTIAN DIOR collection Haute Couture printemps-été 2008.

WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine, www.shopmojeh.com, info@shopmojeh.com MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation (January – June 2013): 13,144 copies. For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Jashanmal National Company LLC. Qatar: Dar Al Sharq. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessary those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the readers particular circumstances. The ownership of trademark is acknowledged, therefore reproduction in whole or in part without written permission is strictly prohibited. All credits are subjects to change. Copyright HS MEDIA GROUP FZ LLC 2011

Mojeh

Contents

SOCIETY

To Me, To you As the most loved-up day of the year approaches we think about gifts to give and getaways to enjoy.

Society’s Best For its latest Métiers d’Art collection Chanel took Dallas by storm. We bring you film, fashion and all the fun from the rodeo.

My Stylish Life

Founder and editor of My Fashion Diary, the ever-stylish Tala Samman shares her loves, all time favourites and can’t-live-withouts.

Woman in Society

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Haifaa Al Mansour is breaking new ground as the director of Saudi Arabia’s first Oscar contender. She spoke to us about life behind the lens and in front of it.

Elegance is an attitude Aishwarya Rai

Conquest Classic

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FASHION

52 Resort Edit

From colour to crochet, nipped-in waists to nautical, all you need to know about Resort’s key trends.

A Loveable Lensman

We’ve got Patrick! Demarchelier, of course. A look at the life of one of fashion’s most iconic talents.

Two by Two

Ashley and Mary-Kate Olsen have come a long way from silver screen beginnings. We speak to these formidable forces of fashion on going from teenyboppers to trendsetters.

2014’s Movers and Shakers

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An industry in which moving ‘house’ generates headlines, we take a look at the familiar faces and new names to watch in 2014.

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ACCESSORIES

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An Icon Among Icons

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Silvia Fendi, member of the famous Fendi family and Creative Director of Accessories and leather goods for the house talks to us about Karl Lagerfeld and her love for handbags.

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A Jewel in the Crown MOJEH speaks to Francois Graff, CEO of Graff Jewellery, on craftsmanship, a love for diamonds and keeping it in the family.

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MOJEH’s Valentine’s Day Wish List

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Who needs flowers and chocolates when there’s Ferragamo and Chanel? Our handy guide to help you pinpoint what your heart really desires this Valentine’s.

140 Most Desired

From baguette bags to baguette diamonds, we take you through the labels to lust over this issue.

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BEAUTY

149 The Beauty Pact

Get your dressing table in order with our tips on the must-keeps and get-rid-ofs for 2014.

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Treadmill Nemesis The phenomenon of the gym competitor and why the fight to be faster is a conflict you should skip this New Year.

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CULTURE

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Mickey Mouse Art

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We speak to artist Huda Beydoun about her work, her inspirations and why her signature is a mouse.

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174 The Diary

Home and away, our picks on where to be and what to see from Dubai to New York.

DUBAI MALL, DUBAI

CENTRIA MALL, RIYADH

OSCARDELARENTA.COM

Editor’s

Letter

Your Next Landscape

Eye of the Tiger, Photographed by Riccardo Vimercati

Welcome to a new year, a new start. A fresh canvas for you to paint in any colour that you decide. The next 12 months are yours for the taking - how will your vision take form? Be inspired by the exquisite Dior gracing our cover. Become encapsulated by the floral fantasy in a passionate palette of gold and turquoise, growing, blossoming, exploding across a rich blue canvas. Where will you plant your seeds and how will you allow your dreams to flourish? Our cover was shot by the legendary Patrick Demarchelier, a man who has continued to reinvent and change the face of fashion in much the same way that we are invited to reinvent and change our own landscapes with the beginning of a new year. Some may view these months as awkward moments for style, not quite Winter but not yet Spring. Instead, I find it one of the most inspiring and fruitful times of the year. The Resort collections are out in full bloom so use them to create the beginnings of your wardrobe, from the fresh and distinctive crisp white palette at Louis Vuitton and Givenchy to the power suit that will make quite the colour impact as seen at Lanvin and McQueen. The craftsmanship of these artisans builds an impressive prelude to the Summer collections and also answers the call of a woman who finds herself in warmer climes at the beginning of the year, a woman just like you and I. Throw a light Chanel coat nonchalantly over your shoulders in place of your heavy Winter knit and do not be afraid to play with lighter silks and sheers it is never too early in the year to show some glowing skin. Such is our dedication to starting with a clean and fresh palette that at MOJEH we have gone back to basics and are focusing on timeless attitudes in both Fashion and Beauty. The iconic Silvia Fendi joins us as we celebrate a brand that has built a flawless reputation upon the most primitive of fabrics and continues to use it in the most expressive and imaginative of ways. Then over in Beauty we unveil the only products you will need for a less-is-more look, while highlighting the hair finds that will take your locks back to their natural best – so you will be more than ready to take on the SS14 trends next month. Finally, from our monochromatic vision in black and white, as seen across our fashion shoots showcasing silhouettes and styles for the season, to a colour a little closer to our hearts - red. Whether in a luscious lip shade, an uncomplicated soft leather clutch or a truly fearless diamond encrusted necklace, Love has many guises so turn to our guide for the perfect pieces to accompany you through the Valentine’s Day celebrations in February. In love, life and style, take time to evaluate your current canvas - and then have a whole lot of fun adding colour. Inspired by the florals in full bloom on Demarchelier’s cover, we feel that 2014 is our year of growth and fulfilment. Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Mojeh Izadpanah Editor in Chief

Mojeh Izadpanah

Snapshots

Editor’s

A Fine Romance Orchestrate a sense of all things new by adopting a trans-seasonal trend of day-to-night dressing mixed with romantic musings. Allow your winter wardrobes to transcend from darkened tones to bronzed browns and dusky hues. Whether it’s Valentino’s polite pale pink skirt or Jonathan Saunders’ subtly soft slip dress, partner it with a brandishing of burnt brown for a less overtly feminine touch. 1. YSL, Youth Liberator Serum Foundation | 2. CHANEL | 3. Chopard | 4. MARC JACOBS @matchesfashion.com | 5. CARINE GILSON @ net-a-porter.com | 6. BULGARI | 7. NINA RICCI | 8. PIAGET | 9. DIOR | 10. JONATHAN SAUNDERS @stylebop.com | 11. Fendi | 12. STELLA MCCARTNEY @matchesfashion.com | 13. VALENTINO @stylebop.com

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Editorâ&#x20AC;&#x2122;s

Mojeh

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To Me, To You February 14 is looming, get your love bug on.

Beyond The Shores With Valentine’s Day mere weeks away we thought we’d give you some food for thought as you prepare for the ceremony of love. The day wouldn’t be complete without somewhere to escape to, far from the humdrum of everyday life. While most will find relief in the comfort of their own home we suggest you push the boat out and scurry away to a private island for a few days to really feel removed. The Parrot Cay resort by COMO in the Caribbean is one such escape and with its mile-long, pale white beach that breaks the waves of the clearest turquoise sea, you’re sure to find peace and solace for you and your beau. If the view doesn’t work, however, head over to the resort’s lagoon-facing spa, COMO Shambhala Retreat, which really is outstanding.

BvLGARI, Chrono watch

The Celebration What better preparation than deciding on the gifts to bestow upon your other half? Never failing to let us down, Bvlgari have come up trumps with a selection of both high-jewellery and watches perfect for the couples of this world. Gift your husband Bvlgari’s Chrono timepiece, where a jet-black face is cradled in steel for the height of urban sophistication. And while you’re at it, we suggest leaving this page open somewhere for him to see as their Diva necklace in white gold and diamonds will be the perfect partner, wrapping its way around your neck. From me to you and back again, a recipe for long-lasting love. BvLGARI, Diva Necklace

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Mojeh

society’s best It’s Fashion Y’all Back In Dallas, unconnected to the famous soap’s revival but packed full of drama nonetheless. This was Chanel’s Métiers d’Art collection and when it came to channeling the Lone Star State, Lagerfeld didn’t hold back. Dallas Fair Park played host to the evening’s festivities and in suitably Texan fashion was transformed into a drive thru movie theatre, popcorn and all. On four giant screens rolled The Return, Lagerfeld’s latest silver screen sensation charting Coco’s turbulent 1950s comeback. In front the fash pack and an assortment of celebs squeezed into 74 vintage cars as we played hillbilly for the night - albeit decked out in our glam finery. The show was one of three parts, so post our fill of corndogs – one was enough – we decamped to Centennial Hall in all its barn-themed glory. Chandeliers of Texan and French flags hung from the ceiling and hay littered the runway. But where usually cattle would be found, there was instead a who’s who of the modeling industry, strutting its stuff. Lindsey Wixson, Joan Smalls, Saskia de Brauw, Erin Wasson – pluck a name from the top model hat and you’ll be sure to find that it was there. Rodeo met Navajo with ponchos, tassels, ruffles and every detail that hollers Wild West in evidence, but this was still Chanel. Those same tassels tumbled from quilted bags, fringing eased its way into plaid and the Native American-inspired jewellery was interpreted in proportions that were more high-fashion than craft fair. With the appropriation of traditional dress as runway wear being something of a controversial topic, Lagerfeld approached his collection with fearlessness but also respect. The surroundings may have been pastiche, but the clothing was anything but. Always one to end with a bang – straight from the holster – Chanel ended the evening with an after party that encouraged even the most jaded fashionista to let her or his hair down because, in the end, what says Texas more than riding a mechanical bull?

Picture by Olivier Saillant

Mojeh

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The Influencers The Italian Mob

For the last year, we’ve witnessed the rise of the Russians on the fashion scene, but this year the Italians are coming to the fore. With their keen eye for clashing prints, fearless approach to colour and a tendency to look good in just about anything, they got us clicking away paparazzi-style outside the shows last season. Giovanna Battaglia, whose website is a veritable feast of fashion fodder, has a knack for looking put together but classically undone while Eleonora Carisi of joujouvilleroy.com is forever bold and always bright with her sartorial choices. Our chosen one to watch, however, has to be Elisa Nalin, an Italian-born but Paris-based stylist whose offbeat looks have gotten attention the world over. With a rare (for the fashion squad) but infectious smile, and a love of all things colourful and textured, she’s unexpected and a true breath of fresh air. We predict big things ladies, big things.

Elisa Nalin

Names To Know Rami Kadi Born in the US but raised in Lebanon, Rami Kadi is a gem just waiting to be discovered. With experience assisting Lebanese designers Rabih Kayrouz and Georges Chakra, he’s a young designer who has always known that this was the path for him. ‘By the time I graduated from high school I had already decided that my vocation was to pursue a career in the fashion field,’ he tells us. With his incredible attention to detail and stunning couture craftsmanship, Kadi’s customers are truly ensnared and he was selected by the Starch Foundation in 2008 to present both his first and second collections. Since then Kadi has gone on to open his own flagship boutique where breath-taking dresses across Couture and Ready-to-Wear can be found ‘for a woman living a normal life in today’s world, but who stands out with her elegance and grace.’ With a talent for producing floor-length gowns in mesmerizing grandeur complete with intricate embroidery and layer upon layer of rich, luxurious fabrics, Kadi is destined for great things.

Jardin de Camélias

DUBAI MALL +971 4 382 7100/06

Insider

Style

My Stylish Life

Tala Samman, founder and editor of Myfashdiary.

Photo taken at The Archive Cafe, Dubai. Photographed by Sarvenaz Hashtroudi. Tala wears Kage.

After setting up her blog in 2009, Syrian born but Dubai based Tala became something of a Middle Eastern fashion sweetheart as hundreds of style conscious girls tuned in regularly to check out her fashion and lifestyle must-haves. Four years later - with various regional and international style awards under her belt - Tala is now fronting campaigns for a number of luxury brands. From blogger to It girl in just a few short years, Tala helps set the scene for Middle Eastern style and shows no signs of slowing down.

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All images courtesy of: dpa/Corbis, Rabouan Jean-Baptiste/Corbis

Motto to live by: Balance is key - work hard, spend time with family and have fun | One piece of advice I would give to anyone: Never give up on the things you love | Lifelong Ambition: To be happy and never afraid of doing the things I love | Best childhood memory: Visiting Syria in the summers to see my two beautiful grandmothers | One thing I can’t live without: My iphone – but that’s a bad thing! | Most loved fairytale character: Tinkerbell, but everyone says I look like Princess Jasmine | One thing money can’t buy: Quality time with the people you love | Most treasured belonging: My Acne biker jacket, I’ve worn it to bits | Early bird or night owl: Depends on the day, but usually a night owl like my mum | Person I look up to: I look up to so many people in my family, they’re all so strong, smart and make for great entrepreneurs

Favourite book: Lean In by Sheryl Sandberg – my highlight of the year | Favourite Meal: Americanised Chinese food | Best home comfort: Homemade halloumi pasta and my feather filled bed | Website I can’t live without: My Fashion Diary, obviously! | Favourite restaurant: Sumosan in London, Teatro in Dubai and ABC Kitchen in New York | Favourite place in the world: Too many to choose…I love to travel | Favourite cities: New York and Dubai

Beauty Must-haves: Matte foundation from the Australian brand Becca, gel liner for the perfect cat eye from Bobbi Brown, Beauty Flash Balm from Clarins, Chanel Weekend and Kérastase dry shampoo | Signature scent: Blue Aguave and Cacao by Jo Malone | Top moisturiser: Pro-Radiance Illuminating Flash Balm by Elemis | Favourite hairstyle: Wavy with plenty of volume | Fresh faced or full glamour: Full glamour! | Bad hair day product: Maison de Joelle’s Elixer for the ends | Style Icon: Marianne Faithfull | Describe your style: Eclectic | Favourite designers: Currently Chanel, Ostwald Helgason and Madiyah Al Sharqi | Ultimate accessory: My Bionda Castana red Tala heels | Most treasured item: Hermès Birkin given to me on my 19th birthday | Fashion moment: I can’t think of one, but when I feel good it’s a fashion moment!

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Society

Celebrated Woman in Society

Haifaa Al Mansour As the prestigious Academy Awards near, MOJEH sits down with the woman behind Saudi Arabiaâ&#x20AC;&#x2122;s first contender, the groundbreaking filmmaker Haifaa Al Mansour. Here she talks about pushing boundaries to become the first female Saudi director and highlighting difficult and sensitive subjects via cinema. By Neeraj Khanna Haifaa Al â&#x20AC;&#x201C; Mansour on set of Wadjda

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his new year, we take inspiration from the region’s most acclaimed filmmaker of the moment, Haifaa Al Mansour, who took a chance on making a film that stood for her beliefs and views on female empowerment in conservative societies. Not only is she the first female Saudi filmmaker, but she shot her movie, Wadjda, entirely in her homeland, a place where there are no cinemas and films are not openly accepted in public, much less supported by any sort of film industry or infrastructure. Nevertheless, Haifaa overcame all odds and directed from the confines of a production van as women are not allowed to mix publicly with men inside the Kingdom. The end product has been more than well received at major film festivals across the world since its 2012 début, collecting awards at the Venice Film Festival, Dubai International Film Festival and Rotterdam International Film Festival, and has even been submitted as Saudi Arabia’s first contender for the Oscars. We spoke to this remarkable woman on paving the way for Saudi filmmakers as well as for women of the region generally, encouraging them to realise their dream - whether that be riding a green bicycle or directing an Oscar-nominated film. What did you hope to come from Wadjda? People are resistant to change all over the world but especially in a place like Saudi, which is very traditional and conservative. To change the mindset requires a lot of work, a lot of reaching out through education. Saudi Arabia is a huge country, and a lot of people are still closed on the subject of empowering women. I think it is changing gradually,

‘I think this is my way to contribute as an artist, to have a voice and say what I believe in and hopefully reach people in a way that is intimate.’

Saudi is opening up but it will take time, it won’t be overnight. I think this is my way to contribute as an artist, to have a voice and say what I believe in and hopefully reach people in a way that is intimate. I am not trying to preach, or be superior, or tell them what is right and wrong. I’ve told them a story from my own perspective. A touching story like Wadjda makes them re-think things. That is art’s role in society, to create an atmosphere in which change can happen, where people can question things and talk, and not just take things for granted. Why do you think films are good vehicles to inspire change? Films inspire change through entertainment, by telling a story that people then talk about, but I don’t think one film will alter the world. A lot of factors in society have to come together to produce a real, effective shift and it is a very gradual and continuous process. I don’t believe that change comes overnight. I think that it has to begin with the heart - when people change their attitudes, beliefs and mindsets, that’s when the real effects are felt. What does winning an Oscar mean to you personally and then to Saudi Arabia and its filmmaking industry? It’s such an honour to be Saudi’s first ever Oscar nominee and it shows how the country is opening up. It signals a great shift in how the arts are being received. For so long, they have been marginalized and people underestimated their power in the international arena. It will mean that a film in Saudi is now one of the most

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Stills from Wadjda

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recognised forms of art even though it is a form that is almost non-existent. Also, it will help to put an emphasis on our culture, and not just the economic and political sphere of the country. How did you come up with the idea behind Wadjda? The bicycle for me represents freedom of movement and that’s where I came up with the girl on a bicycle. I didn’t have anything else, everything was constructed later. I just wanted to have modernity and tradition next to each other, and come up with something a bit more indicative of how society is right now. The journey of Wadjda’s mother is very common in Saudi. A lot of women tread the same path where they try to satisfy society and do everything that it wants from them. They sacrifice a lot of freedom and never get rewarded, and that is so sad to see. I think it’s very important to have a character like Wadjda for people to take as a reference. It’s important to give these inspirational characters to girls growing up, not only in Saudi but all over the world because a lot of girls are afraid, they are trying to figure out what it means to be a woman. We need characters that pursue their dreams and have something to live for and are hard working and use the system to their advantage. What inspired you to shoot inside the Kingdom? I wanted to maintain the authenticity of the place. I wanted to make a film that feels real and is almost like a documentary. There isn’t any imagery

‘We need characters that pursue their dreams and have something to live for, and are hard working and use the system to their advantage.’

coming out of Saudi, but for me, it’s very important to care about this industry and not let it die. Has this movie had any impact on the empowerment of females in the Kingdom? A lot of people have reached out through Twitter, especially women, who talk about how they have cried and laughed throughout the film and how touched they have been. It’s so nice to get that sort of feedback. So many young female students, from all over the world, have watched the film and tweeted about it. There is also negative feedback, I have to be honest - a lot of people don’t want women to talk about themselves or their rights. But overall, I think a lot of people saw themselves in the film, and it’s really nice to see that. What do you hope to be the outcome from audiences watching your movie? I hope they enjoy it and they invest in this little girl’s journey, it’s a very tough one but it’s more about hope and believing in oneself and the power of dreaming. I hope that that is the message - that we shouldn’t give up, we should always try to change the situation to suit us, move ahead with life and never give in. What kind of movies can we expect from you next? I hope I can film in Saudi again. I want to try and move away from Wadjda and concentrate on new projects. I will write about young people though, because 70% of the population is below the age of 25 there, so I’m spending a lot of time with my nieces and nephews to get inspiration.

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Fashion

Whispered Wealth Mojeh looks at why the biggest statement of the moment is understatement and why, when it comes to luxury, we are saying No to show and Hello to subtlety.

ouis Vuitton luggage monogrammed to the hilt, bold trenches entirely in standout Burberry print and Chanel purses fashioned in patterns of interlocking Cs – every luxury label has an instantly recognizable, head turning logo. It’s led to the occasional case of more-is-more gone awry. We all know an over avid shopper who comes to the party dressed, seemingly, as a billboard even though the invitation mentioned nothing about fancy dress. As a result we’ve subconsciously drawn battle lines as to what is good versus what is gauche. A flash of Burberry tartan - gold star. Head to toe in the same print - too far. Yet the notion that modern luxury is about understatement has sometimes felt a traditionally European ideal. Here in the Middle East it hasn’t always been our strong suit. Our supermalls are cathedrals to brands and there’s no denying we have a penchant for glitz. We consume Louboutins for lunch, Dior for dinner and wash it all down with Chanel No.5. You could say the same for China, where a booming economy has made millionaires of many and consumption is conspicuous. All of that is changing however, as we shirk showy for

subtle and opt for labels stitched discreetly behind the neck as opposed to emblazoned on the chest for all to see. Style wise we’re getting political. Not by trying to solve global debt through dress, or climate change through clothes, but by voting in favour of First Lady fashion. Peng Liyuan? You might not have heard of her, but as the First Lady of China she’s gathered quite the following thanks to her label-free approach to dressing and her carefully sculpted image of restrained sophistication. She’s been credited with turning the tides on Chinese tastes. Labels like Bottega Veneta and Loewe are flourishing while shifting brand loyalties are causing a headache for others. As a nation famed for its appetite for luxury and for spending big on brands, it’s a dramatic turnaround as logos are declared ever-so passé and bling no longer the ‘in thing’. Names we do know are Carla Bruni, Michelle Obama, Queen Rania and Samantha ‘SamCam’ Cameron and not since Jackie Kennedy have the girls of government garnered so much attention from the style set. One well-chosen gown or daytime ensemble can generate an online storm. While different – see Cameron’s breeziness versus Rania’s primness – they do all have one thing in common - their commitment to a style that is all about effortless understatement with an affluent vibe. It’s a bandwagon we’re all jumping on because, simply, it speaks to an elegance lacking in the ‘more is more’ camp. We all want to emulate the woman of power, not the soap star. ‘The European fash pack of editors, celebrities and bloggers really know how to showcase understated luxury in its true form,’ explains Iman Hasan, one of the region’s leading fashion consultants and style writers. ‘If you look at the Chinese and other Far Eastern nationalities, they seemed to have really grasped the concept of ‘stealth wealth’ and have started dressing down. You see them even dress down couture, which is not an easy task!’ Even though underplaying is an ethos that can be difficult to quantify in style terms, for Hasan it’s

Love’s Understatement, photographed by Sébastien Jardini, MOJEH No.14

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Love’s Understatement, photographed by Sébastien Jardini, MOJEH No.14

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about an approach to dressing that is more liberal and an interpretation of luxury that is ultimately personal. ‘The last few seasons in fashion have returned to us the beauty of understated dressing, especially in Europe and some regions of the Middle East. It has created a new desirability among women. They are searching for a way to create their own identity through the way they dress rather than following the herd. Kuwaitis, Iranians and fashion forward Emiratis are a great example of this in the GCC. They are wonderfully put together, in brands we all know and love, yet still their style is discreet and unique.’ There’s an element of furtiveness, of course. The word recession has been bandied about so often in recent times that we’ve been tempted to decamp to a secluded island where the only currency is time. Yet economics have a dramatic impact on culture. When the world is counting out the change to keep the lights on, there’s something a little vulgar about draping oneself in logos that equal excess. No one likes a show-off. But what started as discretion in the face of a changing world has morphed into a more discerning appreciation of the merits of going low-key. Quality, provenance and basic wearability are the factors that now determine our wardrobe choices. We’ve become less seduced by a name for a name’s sake. After all it isn’t the Eighties anymore. We’re investing cash in pieces that endure and time in developing looks that are more about an expression of personal style. You can see it in the newfound acceptance of mixing high and low. From A-listers to editors, contemporary affluence presents itself in wardrobes that traverse high street to high fashion. It’s also a matter of taste. Mixing up pieces and piecing together a look as opposed to choosing a ‘head to toe’ that has stepped straight from the look book indicates a discriminating eye, even if you’ve had a little help from the stylist. ‘I don’t believe in head to toe designer dressing,’ says Hasan. ‘More and more we’re realizing that mixing brands, price points and pairing basics with something that makes them pop is the key to achieving a subtly

‘Quality, provenance and basic wearability are the factors that now determine our wardrobe choices.We’ve become less seduced by a name for a name’s sake.’

luxurious look.’ Natalie Kingham, Head of Fashion at MATCHESFASHION.COM, concurs. ‘As an international retailer we have a global view on the luxury consumer. For example in the Middle East our clients love accessories and the more special pieces from the collections, with designers such as Dolce & Gabbana, Alexander McQueen and Bottega Veneta being most popular. We’ve definitely seen a shift in our global consumer’s taste over the past few years, with clients increasingly opting for pieces that have a more understated luxury appeal. Brands like The Row and Jil Sander offer pieces that exude an air of low-fi luxe. This is all about investing in pieces that fit easily into your wardrobe while still feeling incredibly special.’ You could also say it’s about being in the know. The stealthily wealthy are creating a kind of club where access depends on one’s ability to determine a half million dollar, limited edition timepiece from something as inconspicuous as a slight colour distinction. Subtle and sometimes elusive details are now the signifiers of the über luxe and by investing in pieces that whisper instead of scream Exclusive, one makes it clear that one is dressing for the fashion cognoscenti and not the man or woman on the street. As tastes are changing, even the cosmopolitan Middle East, bastion of pizazz that it is, is shifting in line with global expectations and the flavour of the moment is understatement. So for now getting to destination luxe is easy, you just have to fly under the radar.

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Flying High With a new year comes a new start. Exude simple sophistication in sand tones and feminine shapes for your next career move. Opt for a Kenzo quilted skirt and a double-breasted Chloe blazer to create the allure of power dressing and then adorn this clean palette with an Ana Khouri intricate gold necklace.

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Setting Sail Boarding your yacht in the latest Cruise collections is a must for the get-away season. Keep to a two-tonal look in black and white for a statement of streamlined sensibility. If head-to-toe monochrome is challenging, add a masculine Tag Heuer watch and Jason Wu sandals for a novel note.

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Fashion

Resort Edit

Channel an easy-elegance and ultra-relaxed look when packing for the get-away season. Whether youâ&#x20AC;&#x2122;ll be gracing the plains of Africa, lounging in St. Tropez or catching rays in the Caribbean the burgeoning new trends of Resort 2014 will hold forefront throughout the forthcoming fashion months.

GIVENCHY

LOUIS VUITTON

CHLOE

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All White Shifting from fail-safe black to bright whites, minimal offerings came in every shape and form.

ALBERTA FERRETTI

OSMAN

CHANEL

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Crafty Crochet A bohemian rebirth with artisanal crochet and needlepoint designs was prevalent throughout the collections this season. Alexander McQueen and Burberry presented a paradox of sheer fabrics and a mixed palette.

CHLOE

BURBERRY PRORSUM

OSCAR DE LA RENTA

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Long and Lean Elongate the female form in simplistic floor-length dresses. Chloe oozed laid-back elegance with its offerings - all paired with no-nonsense flats.

CHLOE

ALBERTA FERRETTI

CHLOE

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Think Pink Powder, blush and sorbet shades are here to stay. An array of perfect pinks was paraded by Chanel, Michael Kors and Stella McCartney.

VERSACE

CHANEL

STELLA MCCARTNEY

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Fashion ELIE SAAB

MICHAEL KORS

OSCAR DE LA RENTA

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Suits You Masters in masculine tailoring, Dior, Lanvin and Alexander McQueen towered block colours in sartorial suits.

CHRISTIAN DIOR

ALEXANDER MCQUEEN

LANVIN

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Nautical by Nature One trend making waves this season was a modern Deauville-inspired take on the everpresent nautical look. Chanel intertwined its homage to a modern Ms. Coco Chanel with mariniĂ¨re stripes and classic cuts.

MARC JACOBS

CHLOE

VALENTINO

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Cool Coatings Summer coats were the latest line-ups from labels across the board. Each and every one captured the essence of casual coolness.

LOUIS VUITTON

CHANEL

BURBERRY PRORSUM

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Fashion CHLOE

MARC BY MARC JACOBS

STELLA MCCARTNEY

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Trailing Trousers Keeping with the theme of soft silhouettes, trousers were baggy, billowy and boxy. A firm staple was high-waisted options paired with a skinny belt.

CHRISTIAN DIOR

SONIA RYKIEL

CHLOE

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Extravagant Embellishment Small ripples of glitzy embellishment were showcased on coats to dresses. Lanvin dressed up simple necklines for an element of understated yet lavish luxury.

LANVIN

STELLA MCCARTNEY

BURBERRY PRORSUM

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Fashion

Great Gardenia Sculpted blooms, pretty petals and falling blossoms are a romantic fresh staple for an up-and-coming party. For a look fit for an evening of dancing in the moonlight at a Valentine’s Day soiree to an undemanding dress of simple taste such as Stella McCartney, look to this season’s Cruise collections. Then accessorise with a Dolce&Gabbana clutch for an understated take on garden-variety prints.

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8, 9. MATTHEW WILLIAMSON | 10. DOLCE & GABANNA @net-a-porter.com | 11. MOSCHINO @Stylebop.com | 12. CHRISTIAN LOUBOUTIN

BanquET

Fashion

Break With The City This Valentineâ&#x20AC;&#x2122;s Day, pack an iconic trench and head for the City of Lights. Your European adventure requires a Burberry leather pencil skirt and a Saint Laurent duffle bag in berry-red for a night or day feel. No trip is complete without some Cartier to adorn any outfit, any time of the day.

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8. BURBERRY PRORSUM @matchesfashion.com | 9. CARVEN @matchesfashion.com | 10. SONIA RYKIEL | 11. SAINT LAURENT | 12. STELLA MCCARTNEY @matchesfashion.com

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Mojeh

A Loveable Lensman

Patrick Demarchelier photographs the great and the good, but it is a long-standing love affair with fashion’s highest domaine that will be his lasting legacy. MOJEH takes an exclusive look at the life of a living legend. By Emma Bailey

A voyeur of the modern world, fashion photographer Patrick Demarchelier is known throughout the industry as a master of magic, seemingly transforming garments and stars of the screen into subjects of beauty and envy. Since turning his hand to the creative outlet at the age of 17, he’s conquered the world of lensmanship with an eye for real emotion and an energy that jumps from the page in a way only achieved by a perfected click of the shutter. His talent, devotion and renowned modern manner have seen him become one of the most sought after snappers of his generation. Born in 1943, Demarchelier was raised by his mother in the small French town of Le Havre, a stone’s throw from Paris where he would later learn the basics of his craft. With no formal qualifications, he has built his three-decade long career on the premise of trial and error as well as a stint at British Vogue alongside Grace Coddington whom he credits for the launch of his star. And what a star it has become. As well as Vogue, Demarchelier has worked with the foremost fashion magazines of our time, shooting everyone from Kate Moss and Claudia Schiffer through to the fresher faces of Alexa Chung and Emma Stone. It is perhaps his appointment by a British

royal, however, that Demarchelier will forever be remembered for. Becoming the personal photographer of Princess Diana in 1989 (who contacted him after seeing one of said Vogue covers) he is the first non-Englishman ever to photograph a member of the monarchy and he stayed with the Princess until her death in 1997 creating images that would later be labelled as iconoclastic. With his ability to catch his subjects unawares, appearing relaxed, playful and happy, Demarchelier rightfully belongs to the tiny club of fashion’s highest paid shutterbugs with a style that has seen designers the world over choose his energetic, versatile but decidedly elegant eye to represent their wares. The house of Christian Dior is perhaps his longest standing partnership to date. Creating a book with the brand in 2012, (Dior Couture showcases some of the most breathtaking pieces ever produced by the house) Demarchelier has since been the focus of a Shanghai based exhibition outlining the history and spirit of the brand as seen through his lens, which MOJEH was granted exclusive access to. With breathtaking imagery capturing some of Christian Dior’s most memorable designs, this is Demarchelier at his best.

All images courtesy of Patrick Demarchelier

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Interview

Designer

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Designer

Two By Two

From teeny boppers to trend-setters, on-screen darlings to off-screen successes, Mary-Kate and Ashley Olsen have achieved more than most could dream of - and they haven’t even turned 30 yet. MOJEH discovers why the designers behind luxury brand The Row are icons in the making. By Emma Bailey

Mary Kate and Ashley Olsen of The Row

t’s late September in New York and we’re experiencing an Indian summer. With the sun beating down in persistent rays and the allure of shade too much to resist, The Row’s SS14 presentation couldn’t have been a more welcome distraction. With a nomadic vibe prevailing and a sense of belonging to a world beyond the confines of a concrete jungle - imagine a woman who travels the globe in search of eclectic wares and trophies for her Upper East side realm – the show was a million miles away from the mediascrutinised, celebrity driven runways of the house’s competitors. With every seat offering a front row view, and the models walking in a languorous fashion akin to the Parisian couture catwalks of yore, the feeling was one of exclusivity, old-school charm and a return to the heart of the industry where a story is narrated by the nuances and details of the garments that come down the runway. ‘We were inspired by the idea of a woman and her environment,’ The Row design duo muse. ‘The beautiful fabrics and the perfect cuts are what is essential to this collection.’ This was a grown-up affair and The Row (named after the illustrious London shopping street Savile Row) depicts perfectly the coming-of-age story of the brand’s ultimate protagonists, the Olsen twins, a dual-power that summarises what it is to be understated, constructed and effortless all at once. With a mere 27 years under their belts, the sisters first came onto our radar at just nine months old, cast in the role of Michelle Tanner in the US sitcom Full House. Becoming household favourites, thanks to their cute-as-a-button faces paired with an irresistible mischievous charm, they made their very first foray into the fashion industry at the tender age of 12. Heading up a collection for Walmart, their own sartorial choices of the time were mirrored and re-created for their peers, drawing on knowledge they’d garnered from hours spent in wardrobe watching high-end wares (everything from Marc Jacobs to Chanel) cut down to fit their tiny frames. Citing their fans as the drivers behind this decision became a pattern that can be found throughout their subsequent fashion career - ‘We create our collections around our clients and what they want to wear’ MaryKate confirms - and it is the girls’ own wardrobes that have played the most integral role over the years.

Interview

Designer

Interview

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Becoming members of the Forbes celebrity millionaires list at just 18 - they took control of their company Dualstar when they came of age - the twins decided to take a step back in their quest for fashion domination by going back to school, relocating from California to Manhattan and enrolling at NYU to learn the bare bones of the industry. With Ashley interning at Zac Posen and Mary-Kate doing the same with illustrious photographer Annie Leibovitz, the twins found their proverbial footing in the only way they knew - by becoming style stars of the street (this time favouring a layered, grunge, baglady look complete with bug-eyed glasses) and once again becoming an inspiration to the millions of Olsen wannabes the world over. But despite being high on any street style bloggers hit list, it is a continual quest for anonymity that initially sparked the flame that would be the Olsen twins’ ultimate calling. Cleaning up their act, the girls founded The Row, based around the ultimate t-shirt which was then gradually adapted to form the basis of a first collection - leggings, a tank top, a dress, a blazer- that also happened to be the very items any woman needs for day to day living but doesn’t necessarily have the time to worry about. ‘The original idea for The Row was to create timeless pieces in the most beautiful way possible,’ the duo divulges. ‘Today we offer a bigger selection but we still follow the same approach to designing. It’s all about effortless luxury.’ And those pieces that every woman yearns for to make her morning routine that little bit easier form the basis of a basics inspired brand ‘The Row woman is accomplished and knows what she wants,’ Ashley admits. ‘She is confident in her choices and comes back every season because The Row is there to make her life easier.’ Having always embodied the essence of their brands, creating, as they do, the very design aesthetic they themselves choose to wear, the Olsen twins’ fashion career showcases their own style transformation. The Row’s AW13 collection in particular highlighted their metamorphosis and was rife with subtle signifiers of girls turning into women, of style refined and priorities realised. As the last model disappeared, a gaggle of girls could be heard giggling, as if hailing the return of Mummy in a sartorially savvy tale. ‘The Fall collection was about an ideal wardrobe,’ the pair summarized at the time. ‘The woman it was designed for can be a dandy, with an Edwardian inspired piece, or more casual with an over-sized sweater worn with oriental shirts.’ Pyjama inspired separates in the most ornate of creamy silks were shown in tandem with heavy outerwear clad in leather and fur for the ultimate protection. Elegant cuts, draped like molten lava over the skin, were further enhanced by the twins’ own luxurious fabrics that looked and felt like the riches of Kings. Minimal, chic, effortless and easy, this was a collection to live in rather than live for. ‘We wanted the collection to feel easy in the sense of comfort and simplicity,’ the Olsens assert, ‘but most of the time simplicity requires a lot of work. It can’t be seen, but it can be felt when you put on the pieces.’ And SS14 only further supports this. Whereas the inspiration for Fall was one of a lady nesting in luxury the Summer is set to bring a sense of exploration and worldly influences. From Arabian inspired veils to subtly protect from the heat and African prints in light-weight, aerated fabrics for jaunts across the dunes to a dense woollen coat for colder climes, The Row SS14 is built for a woman who is a nomad of the most opulent kind. And behind it all a sense of purpose and responsibility can be found, as this is a woman who knows where she’s going and, like the designers themselves, is prepared for every eventuality. With a career that started long before their first words were uttered, the Olsen sisters have come a long way. Admired by industry elites the world over - a 2012 CFDA win for Womenswear Designer of the Year need only be recalled - it is clear that they have tapped into something beyond the norm. Filling in the gaps, perfecting a look, offering women a solution to their basic needs in the most stylish way possible - it’s a tricky business and one that requires a couple of mavericks to achieve.

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Fashion

2014’s

Movers and Shakers By Gillian Brett

Each new year is a blank canvas for our wardrobes. Back in September, the stark white runways stretched out expectantly before the new collections poured out, drenching them in colour and texture. Instead of investigating the trends, MOJEH explores the changing faces of our favourite brands. As is the nature of fashion, collections share similar trends, themes or colour palettes, yet each is completely diverse. Like an artist’s unique brush strokes, a collection is like a fashion designer’s sartorial pastiche. The difference however, when it comes to fashion, is that designers can pack up their dress pins and move houses, in a way that painters cannot box up their easel and switch from being Monet to Matisse. Season after season we see these changes as designers bring their unique aesthetic to a completely different fashion house. In fact, it is almost more fascinating to observe these movements and their effects on a luxury maison’s timehonoured appearance, as it is to watch a designer consistently creating under the same label. In recent years, we have seen Hedi Slimane transform Yves Saint Laurent into Saint Laurent Paris. A label lauded for its classic cuts and elegant androgyny was suddenly jolted with the same rock n’ roll spirit seen all those years ago when Hedi helmed Dior Homme and invented an entirely new super-slim silhouette for the menswear market. Meanwhile, Raf Simons’ creativity flourished at Dior in a way we’d never seen at his previous spots. The clinically precise minimalism

and sparse colour palette that became his trademarks at Jil Sander butterflied into billowing jewel-toned gowns with cyber-silver foil bodices. It was like a Piet Mondrian suddenly exploding into a riotous Henri Matisse. In many ways, 2014’s story begins with Jil Sander who has announced that she is leaving her eponymous label. Again. For the third time, Sander is departing her namesake label, citing ‘personal reasons’ for the swift end to her three-season homecoming. The 70-year-old designer sold the majority share of the brand that bears her name in 2000 and ever since, whispers in the industry claim on-going disagreements with Prada CEO Patrizio Bertelli (Miuccia’s husband) as the cause of her discontent. Her final season before stepping down for what will doubtlessly be the last time was autumn/winter 2014. Was there a waft of finality? Whereas usually there is a discourse when a label changes hands - an expected disconnect that lingers for a few seasons - one suspects that to the untrained eye, it would be tricky to pinpoint exactly when Raf Simons exited and Sander returned. Yet, this collection was markedly different. There was an air of celebration and an unexpected femininity to the collection, as though the designer was

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Fashion Jil Sander SS14

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heralding the birth of a new Sander woman - vibrant painterly abstracts were splashed across Bermuda shorts. But it was the final look that certified a new beginning - an organza pinafore festooned in black and white ombre plumes, a dress destined to fly away. Though the sentiment was one of elation and hope for a bright future for Sander and her now fledgling label, feathers represented something considerably darker at Marc Jacobs’s final outing at Louis Vuitton. With cyclical melancholy, Jacobs presented a collection entirely in black, just like his first show for the label 17 years ago. Elaborate, ebony peacock feather headdresses topped off a collection that felt like a sartorial funeral while military jackets with grand feathered epaulettes evoked a sense of foreboding. Props from shows past popped up too - a carousel, escalators, a lift, a fountain and a large clock, which wound back after the show ended - all shrouded in blackness like sartorial catharsis. Dramatic, poignant, exquisite, the darkness was palpable and rumours circulated outside Parisian venue that Jacobs’s ending was not a happy one. Hope beckons for the brand’s future however as ex-Balenciaga legend Nicholas Ghesquière takes the helm, showing his first collection for Louis Vuitton in March. Ghesquière’s approach to design differs vastly from Jacobs’s trademark fantastical and playful approach - he is a cerebral soul who stands firmly at the artistic end of fashion’s Art vs. Commerce debate. In a now infamous interview with System Magazine, following his exit from Balenciaga, Ghesquière lamented the bureaucracy of Balenciaga, revealing how the label ‘gradually became more corporate, until it was no longer even linked to fashion.’ An expert in interpreting a heritage brand, it is intriguing to see what he will do with the time-honoured tapestry of Louis Vuitton, a brand that celebrates its 160th birthday this year. This year certainly saw a record number of movements and an eagerness to see what the future holds is bubbling throughout the fashion industry. Rising star J.W. Anderson was recently announced as the new creative director at Loewe. Known for his transgender clothes, using frills for men and tailoring for women, crossing

boundaries in silhouette, fabric and structure for the once-separated sexes, the young designer promises to shake things up at the sartorially stricter Loewe. Mr Anderson is apparently hoping to draw on his Catholic roots and blend this with the rich artistic heritage of the Spanish label. Another perfect pairing sees Moschino take on Los Angeles wunderkind Jeremy Scott as Creative Director, marking the end of Rossella Jardini’s long tenure at the house - which she has led since the death of its founder, Franco Moschino, in 1994. As both Scott and Moschino are revered for their attention-demanding, irreverent attitude this is sure to be a match made in heaven. Much less predictable pairings include Alessandro Dell’Acqua’s - founder of No. 21 - appointment as Creative Director of Rochas. Stepping down from Les Copains, Dell’Acqua replaces Marco Zanini, who breathed new life into the brand after Olivier Theyskens’ departure in 2008. Dell’Acqua is no up-and-comer, and the 50 year-old is tipped to bring an even fresher slant to the recharged label. No. 21 is a playful ready-to-wear label (named after his birthday December 21) seen almost as often on the front row as it is on the runway. Think ontrend sweaters, luxe tshirts and boyish tailoring – all the hallmarks of a young, modern brand and perhaps exactly what Rochas needs to continue its success. Zanini, meanwhile is reportedly heading to the recently revived house of Schiaparelli—and perhaps, considering the success he’s had at Rochas, he is just the man for the job. Last, but most certainly not least is Jason Wu, who has been appointed artistic director at Hugo Boss, responsible for the entire of womenswear from the German fashion house, right down to accessories. Wu’s appointment is one of the most hotly anticipated of all. Proving fresh talent and time-honoured fashion houses can, and do work together, Wu’s first outing for the brand in February is the personification of the exciting and ever-evolving world of fashion. Seeing these young stars take their place behind big brands is one of the most enjoyable aspects for us fashion consumers. So, with baited breath once again, we await the artful offerings from the class of 2014.

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Fashion Louis Vuitton SS14

Easy Does It Photographed by Michael Schwartz Styled by Maher Jridi

Dress and shoes, DIANE VON FURSTENBERG

Whole look, CELINE

Top and skirt, JASON WU Shoes, CELINE

Dress, 3.1 PHILLIP LIM

Dress and shoes, PROENZA SCHOULER Bracelets, A PEACE TREATY

Top, ALEXANDER WANG Trousers and belt, BELSTAFF

Dress, JASON WU Bracelets, A PEACE TREATY

Whole look, PRADA

Model: Laura Kampman at NY Models | Hair stylist: Roberto Di Cuia at L’Atelier NY | Make-up artist: Carolina Dali at See Management | Photographer’s assistant: Josh Ferguson | Casting and local production: Roger Inniss at Boom Productions | Production: Louis Agency

Jacket, Y-3 | Hockey jacket, CCM

E E of the

tiger Photographed by Riccardo Vimercati Styled by Michela Buratti

Both jumpers, ICEBERG | Trousers, MOSCHINO

Shirt, ANNE FONTAINE | Shorts, VPL | Socks and sandals, PRADA

Whole look, PRADA

Jacket, MONCLER GAMME ROUGE | Tee-shirt, LEVI’S

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Jumper, OEIRUS | Jacket, VICTORIA BECKHAM | Shorts, YIGAL AZROUEL | Watch, BABY G

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Top, DKNY | Both skirts, DKNY | Sandals, PRADA

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Swimsuit, TOMMY HILFIGER | Jacket, PHILOSOPHY by ALBERTA FERRETTI | Bracelet, PRADA | Sandals, VPL

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Jumpsuit and jacket, MOSCHINO | Sandals, VPL

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Model: Jana K at Ford | Hair stylist: Ted Gibson for Tedgibsonbeauty.com at Jedroot Make-up artist: Jodie Boland for CK One Color Cosmetics at See Management | Photographerâ&#x20AC;&#x2122;s assistant: Christopher Morel | Production: Louis Agency |

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Standing Tall Photographed by Seiji Fujimori Styled by Maher Jridi

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Jacket, MARNI | Skirt, ALEXANDER WANG

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Jacket and shorts, ANTHONY VACCARELLO

Dress, JIL SANDER | Shoes, STELLA MCCARTNEY

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Top and shorts, ALEXANDER WANG | Boots and necklace, CELINE

Dress and shoes, Prabal Gurung

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Top and trousers, JASON WU | Necklace, CELINE

Shirt and trousers, JASON WU

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Dress, Jay Ahr | Neclace, Celine

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Dress and jacket, CHRISTIAN DIOR

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hunter

Fashion

Escape to the Country More rural estate than real estate, country pursuits call for eschewing corporate formality in favour of enduring classics with a rustic feel. Heritage staples such as tweed, suede and rich brown leather evoke gentrified elegance, but for frosty fields and icy woodlands, durability is key. A classic pair of Wellington boots keep the elements at bay while an all-purpose satchel is perfect for stowing essentials while traversing the sprawling green.

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7. HUNTER @MrPorter.com | 8. TRUSSARDI @matchesfashion.com | 9. GUCCI | 10. BALLY | 11. ALEXANDER MCQUEEN @SaksFifthAvenue

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AprĂ¨s Ski Scale the style summit this snow season with pieces from the AW13 lines. Bold fur-detailing, quilting and sharp contemporary accessories evoke chalet fever over cabin fever while a playful print and flash of accent colour are perfect for post-slope downtime. As the mercury drops and the packed powder rises, spare a thought for practicality but invest in items that put a little cool in the chill factor.

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H cu ear he ten ts a ch w es nd tim arm ill s ar red ch e a a fe ele or er gr nd b e w ss i ite to bo sh at rig y al fo ht m s s tem ’s t l y r o dis ur pt oy ea ne pl a s r e i to ng . F ro da ys o w an ro un y b f s in d m d , t ut acc hi te t m ch ra hin for har ov , w dit k a in er e’ io cl gi e th ve nal ass ft is se i Fe le an c br cte d ua d ry .

Va D l ay e Font i r n H e’s im

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Interview

Mojeh

An Icon

Among Icons Since 1925, the fashion house that is Fendi has been synonymous with innovation, imagination and craftsmanship, offering women the world over heirloom pieces to last them a lifetime, clothing to keep them ahead of their game and accessories to express themselves with. In 1994, Silvia Fendi, daughter of Anna who was one of the five Fendi sisters, and granddaughter of Founders Edoardo and Adele Fendi, joined the house’s Artistic Director Karl Lagerfeld as Creative Director across accessories and leather goods. Twenty years later and Silvia still knows how to please her adoring clientèle, with daring and iconic pieces that seamlessly compliment the ready-to-wear lines. MOJEH met with the designer to talk about life as a child of Fendi, surprising Karl Lagerfeld and keeping her own imagination from running too wild.

Who is the Fendi woman today? She’s a strong woman with a strong personality who knows she’ll never go unnoticed and her style choices are ones that will make a statement. This is why she looks to Fendi, because she knows that she’s investing in something of high quality and good craftsmanship. Our pieces aren’t just seasonal, they’re timeless icons - the furs for instance are garments that you’ll continue to wear all your life and they’ll make an impact each time you put them on again. As you see at our shows, Fendi is for an artistic woman - someone who wants to perform in her clothes. The Fendi family has always been greatly affiliated with fashion design. How do you continue to move forward? Innovation is very dear to me and we’re always striving for the next best thing so we invest a lot in new research and technology. Perhaps it’s because we deal with fur, the most ancient and primitive material in clothing, but we really need to keep pushing it forward. We are also very interested in what we are as a house today - I know the Fendi archive by heart and Karl has been with us for years so we never need to go back too much. As a child you spent a lot of time in the workshops when your mother Anna and four aunts worked there - ‘the five fingers of a hand’ as Karl Lagerfeld called them. At what point did you realise Fendi was also the place for you? I used to do my homework in the ateliers, sitting among the designers, some of whom are still there. I would sweep the floors and find all sorts of treasures: left over beads, fur and bits of ripped fabric. Gradually I became more interested in playing with handbags than with dolls. There was this beautiful room where all the precious bags were kept and that became my playroom. At that age all of my school friends would wear normal coats, but I’d always have a fur coat and a fur blanket, which is the most comfortable thing to sleep in - it keeps your body at a natural temperature, never too hot and never too cold. Delicious! When you began your tenure as Creative Director of leather goods and accessories in 1994, what did you hope to say about the house through your designs? I wanted to keep the house codes alive first and foremost, but concentrating on the quality of the garments was also very important. Our clothes are made to

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be passed down from one generation to the next - my daughters, for example, still take my pieces and even my mother’s, who was their grandmother. I have a full range of Fendi archives at home to choose from and when I see them and the way they can be put together, I realise how beautiful they still are, even after so many years, so I wanted us to invest in finding news ways of keeping the quality alive for years after production. What words do you associate with the Fendi name? Lightness, which is the Fendi touch. Our fur is the lightest in the world and this is a must. There are some secrets - with our bags for example, the key is an element of surprise so sometimes the inside might be more interesting than the outside. In clothing we’re really about strength. You don’t go to Fendi just to buy a pair of black trousers, you go because you want something a little more interesting, something conceptual, artful but familiar at the same time. It’s all these concepts and words mixed together that make Fendi. You are involved in many aspects of the house, where does your real passion lie? I’m very happy when I’m in the workshop with the artisans and the technicians, finding new ways of making things. This is where the real magic happens. I

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love finding solutions to things that may seem impossible, because nothing is impossible, it’s just a case of exploring until we can make it happen. The social part of the industry is one that interests me less, I’m happier when I’m at work. What’s your usual inspiration process when designing? Anything and everything. The Bag Bugs for instance came after a trip to Brazil last Christmas - the collection of birds there was incredible, so many colours, they were a real inspiration. This brought me to the AW13 collection, which was a lot about metamorphosis with a heavy punk attitude - the girls had mohawks and heavy make-up, so they looked like big girl versions of the little monsters. How do you and Karl Lagerfeld work together, what’s your creative process? There’s no rule. I take ideas from him, he takes idea from me, it’s like osmosis. He’s based in Paris and I’m in Milan, so often Karl will offer his ideas and then I’ll work each day to build on his references. I understand him very well now, so I know how to surprise him each time - to see the reaction in his eyes is something I’ve been trained to find. When he comes to Rome we only have a couple of days to pull everything together and make final selections, so we normally work through the nights and undoubtedly things will continue to change up until moments before the show. When I was a little girl I remember the same thing happening with my mother Anna - Karl always had the most incredible references and inspirations and everyone would work on perfecting them until the very last moment. How do you condense his ideas into a collection? When something is good its good and the way we work together is very free and creative. We never know what will be in the show until the very last second because we change our minds every minute but fashion needs to be like that. It has to be constantly evolving. Everyone enters our shows knowing they’ll find something different, maybe a surprise, maybe a secret. Even we are surprised when we enter. Accessories have always been made very innovative and unpredictable. Is that how you encourage women to be? I think fashion should be a means of expression, so there’s always a human touch at Fendi because we don’t like to take things too seriously. We may be a traditional company with a big history, but we’ve always been about taking risks. We want our audience to find something new, so you’ll never go to a Fendi show and find a white room - instead we’re very lavish in the way we express our ideas and the meanings behind each collection. Fur has always been treated as a very traditional garment so we were the first to destroy this concept and use it in the same way that we would another fabric. This idea attracts a new generation, people who like to have fun with things and ignore the seriousness in life. Like you’ve said, Fendi is very much about iconic pieces that continue to evolve and remain relevant for generation after generation. Two of your most iconic pieces were the Baguette in 1997, and the Peekaboo in 2009. Do you remember the moments that you bought these to life? Yes, of course! The Baguette was really a bag to surprise everyone, it was so different to everything else at the time of its conception – bags were very functional and boring in a sense, they’d become very separate from the otherwise explosive fashion system. There was a freedom that came with the Baguette - I could focus on something that wasn’t on the market and cater to

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the needs of women who wanted to be more personal in their choices. The Peekaboo was then really a counter-reaction to the changes felt after the Baguette, which started a trend for very decorative accessories. Everyone started producing thousands of decorative bags, but not all of them were beautiful, so for the Peekaboo, I said ‘Let’s go back to a classic, something that’s a real leather bag built from the rules only known by good leather makers’. And so the Peekaboo became one of those bags that marked a significant moment, not just for Fendi but for everyone else as well, saying ‘Let’s go back to a real bag, the old rules.’ SS14 is just around the corner, what was the inspiration behind this? There are so many inspirations. There’s a lot of graphic, digital inspiration. The collection is also very light and sheer which I really wanted to carry through into the bags so I used block colours and silver leather to create reflection. Karl was very interested in water at the time of design, as we’d just been working on an exhibition based around falling water, so there are plenty of light colours and shades of blue. There are of course still touches of fur everywhere, like on the little rings - they’re as light as a feather but you still feel like you’re wearing a fur coat. I love the challenge of bringing everything to life.

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interview

Mojeh

A Jewel in the Cr wn ‘Home to the most fabulous jewels in the world’, Graff is renowned for its combination of decadence and design. MOJEH speaks to Francois Graff, CEO, on the company, craftsmanship and keeping it in the family.

The Constellation – Round brilliant cut, D Internally Flawless, 102.79 cts

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What do you think it is about diamonds and other precious stones that has such enduring appeal? I think it brings a lot of pleasure to a lot of people. Buying luxury products is very fulfilling and it gives people something to aspire to, which is wonderful. The fact is that diamonds are a category of jewellery that is fairly unique in that there is an intrinsic value. People get raw value, which is very important, and they don’t degrade. They’ll last forever or certainly a lot longer than all of us! They get passed down through generations. So the proposition of buying jewellery and diamonds as investment is something I wish more and more people would embrace because not only is it a celebration, it’s a great store of wealth. What sets Graff apart? Quality, quality, quality – that’s what really sets us apart. We have had an ethos throughout the company since its inception that we sell the very best of the best. That’s what we’re known for, it’s what we have a worldwide reputation for and that’s what we try to uphold every day. Trying to maintain that position is probably the hardest job we have but it encompasses everything, from the jewellery to the advertising and PR, to the shop construction and locations. We try to ensure that the customer has the best possible experience. We also offer the best products, which is really what it’s all about and we never compromise on quality. How important is it for you to retain the sense of Graff being a family label? It means we can maintain control of every aspect of the business where possible. As the business grows and gets bigger it gets harder to do that. It’s impossible to be in 14 locations at once but being a family controlled business allows us to be in touch with all of our people on a daily basis and to have a foothold in every aspect of the company - from the production to the design to the retail. Seeing as the company bears your name, how would you describe your attachment to it on a more emotive level? I think the attachment is unbreakable. It’s an impossible thing to detach oneself from the business. I was up at one in the morning sending

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emails last night and up this morning to do the same. It’s part of my life, it really is. It’s part of my father’s life, my cousin’s, my uncle’s and I’m very happy to be able to say that, for a lot of people who work for the business, it’s part of their life too. I see the commitment they put into it and the hard work. It’s like one big family, it works very well and we’re blessed to be able to have this beautiful business to run. Do you think it still comes as a surprise to some people that Graff is a British company? It’s funny you say that because since day one no one has really understood that we have this British connection. I think the name, firstly, is not particularly British and I think what we have put out to the public hasn’t been particularly British, whether it’s the advertising or the type of jewellery. It’s very glamorous and perhaps not as understated as another British company would be, or the expectation of how it would be. Is there a particular piece or stone that you feel is very defining of Graff? At one time or another there is always a particular stone that defines us. It depends when you catch us and over our 50-year history there’s always been an important piece, or a series of pieces, that define the company. Most recently, for me at least, we were defined by the Graff Pink, which was the most important diamond ever purchased at public auction and a very significant stone. We had to pay a large sum to buy it - over $46 million - and we understood the full value of that stone and of course added value. We cut it, we made it perfect, we made it flawless and made it into a very beautiful piece of jewellery. Now one of our clients has probably the rarest pink diamond in the world. So at any moment in time there are pieces that define us, there always have been and there always will be, because we deal in such treasure. Have you got a favourite? Among all of them it’s like asking which is your favourite child! They’re all fabulous. Of course at any one moment there’s one that stands out for an hour or a day or a week but they’re all fantastic. Can you talk to us about the story of a Graff diamond?

interview

Mojeh

A very crucial part of our business is the production of the diamond – the raw material itself. We have production facilities in Botswana and in South Africa. We polish anywhere up to 20,000 carats of rough diamonds into cut diamonds every month, so we are tied to the ‘story’ of the process of production. That leads to the jewellery design and manufacturing - which is all done in house - and then through to the process of retailing, where we have our retail network through which we sell the bulk of the jewellery. The story in itself is a fantastic one. We don’t have to invent anything, it’s all there in black and white. I think today with the transmission of information and the ease of access of information around the world, it’s very difficult to pull wool over anyone’s eyes, least of all very well informed high-end clients, be they in Europe, the Middle East, China or wherever they are in the world. So the heritage of the company and the ethos of the company is very easily understood. That’s what allows us to be a superior brand, because we have a superior story. How important is the Middle Eastern market to Graff? Historically the Middle Eastern market has always been important. There has traditionally been a willingness to buy very fine jewellery and there’s also an understanding of it. It’s part of the culture. What has also happened over the last few years is that there has been an explosion of wealth in different parts of the world. In Eastern Europe, China and East Asia generally they also share this culture and have an affinity with, and love of, precious stones and gold. So the Middle East has always been important but the growth in these other regions has balanced it out if you like. Dubai has really become an incredible city and is one of those places around the globe that has become somewhere that people want to go. It’s a fabulous place. We have other stores in the region and we’re planning to open in Riyadh, which should be open by February or March next year. Do you try to cater to these individual regions? It’s a big world out there so what we do, we do for the whole globe. We don’t design jewellery specifically for the Middle East. We don’t design jewellery specifically for any market. We are driven by a vertical integration and the production of the stones. They dictate what we do with them. They have a mind of their own if you like and we have to

design jewellery with those stones in mind. That jewellery is not destination specific. It works all over the world. There’s a generic taste for jewellery when it’s very expensive and very valuable and there’s a certain classicism that permeates the whole jewellery arena. Most of the clients insist on the gems being central to the pieces and the design, not being secondary, but certainly of no more importance than the stones themselves. Can you tell us about what you think is the most exceptional aspect of the process here at Graff versus other fine jewellery companies? I don’t really think you can focus on one thing without looking at all the rest. The entire process is so intertwined that the whole story from A to Z is what really defines the company and what we do. What makes us completely unique is that we are sourcing the diamonds and cutting the diamonds ourselves. Certainly there isn’t really a company at the uber luxury end of the retail spectrum that is also doing that. So that really defines us. It defines what we’re selling and it defines our product range. That differentiates us massively and it also gives consumers the ability to come in and see an incredible cross section of stones that they otherwise might not see. So finally what would you say is, or will be, the legacy of Graff? Eventually we’d like to be the go-to company for a particularly exquisite class of fine jewellery but I think perhaps the most important thing is not what we’ve bought, not what we’ve sold, but looking at the final result of all of that and our brand perception. If a man or woman in Shanghai or London or New York has a perception when they hear the name Graff as a fabulous, high-end jewellery company with an impeccable and untarnished image for the best, then we’ve achieved our ultimate goal. It’s very difficult to really define what a brand means but it’s in the feeling people get when they see the company, hear about it or read about it. Knowing that people have positive feelings and not a blank reaction is really the greatest pleasure of all.

Dragonfly, white and yellow diamonds

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Photographed by Yoichiro Sato

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Special

Valentine’s

2 MOJEH’s Valentine’s Day Wish List

Forget flowers and chocolates, wish for something truly, madly, deeply special this Valentine’s Day. From one of a kind rose gold rings and delicately laced lingerie to floral scented fragrances, allow your other half to lavish you with extravagant gifts from our enviable wish list. 1. CHANEL, Collier Spirale | 2. CHLOE | 3. CHANEl | 4. LOUIS VUITTON | 5. HARRY WINSTON

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‘A little glow, a little blush, a little love in a gentle way for an elegant woman.’

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‘For the lady who loves the traditional Valentine’s spirit in pure pink.’

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Desired

Most

Atelier Vingt-Deux Making the Grade

Add a touch of statement-making effect to any ensemble and induce everyday envy in a pair of these shades. A recent addition to the market from Antwerp, Belgium, this titanium-focused brand is Ăźber cool and their classic range of designs allows them to be fast-tracked to perennially chic status. Manufactured in Europe by forward thinking artisans, the glasses enjoy the ultimate mirrored lens made of grade-five titanium - the highest grade attainable today. This â&#x20AC;&#x2DC;metal with memoryâ&#x20AC;&#x2122; is used throughout the aviation industry for its indestructible qualities. With several options to pick from with gradient stand-out blues to in-your-face pinks, there is an individual pair for everyone. Their clean designs (no diamonds, jewels or brash logos involved) call out to be worn by a woman who practices minimal and sharp dressing and will look perfectly placed on the V-neck of any plain white tee or nestled atop a head of poker straight, shiny hair. Convenience rules: these innovative designs will never bend or lose form and shape, distinctive marks of quality and durability. The perfect pick for the city slicker who oozes insouciance.

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Astley Clarke

The Butterfly Effect Our fascination with the butterfly kingdom has spanned centuries. Their fragile and free beauty is such a rarity that it can’t help but render us speechless in awe. Within Astley Clarke’s Fao collection the sense of movement, fluttering wings and butterfly-inspired patterns is prevalent. The inspiration behind her fine jewellery parallels the metamorphosis of a butterfly – Clarke looked to the legacy left behind in life by her grandfather. ‘My grandparents have always been a great source of inspiration and Cyril’s butterfly collections form an intrinsic part of the Astley Clarke DNA. The Fao collection gave me the opportunity to celebrate his incredible work.’ In 1977 Clarke’s Grandfather, geneticist Sir Cyril Astley Clarke, discovered the preventative treatment of rhesus haemolytic disease through researching genetic wing patterns of butterflies. ‘Designed in-house by our creative director, the tiny wing patterns soon evolved to form the undulating molten pave diamond that surrounds each exquisite gemstone. The elegant shapes of the gemstones were designed to reflect the beauty of movement.’ Each morganite and Rose de France gemstone was hand-cut in a rose-cut style and set in 18ct rose gold and the delicate simplicity of the pieces allows them to be worn everyday, no matter the occasion.

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Burberry Petal Bag Pick a Pretty Petal

An English Rose is quintessentially elegant, ethereal and always a rare beauty. She is never flamboyant with her choices, but exudes a soft tender nature and Christopher Bailey captures this softness for spring perfectly. Gentle shades of pink, unsaturated pastels and pistachio were prevalent throughout his wistfully romantic bag designs. Desiring something soft and kind, he brought to the forefront a modern rose and created a mood, not a theme, in bloom. Soft and elongated clutches in a mix of lavender, mint and jewel tones are grasped with the effect of a rolled newspaper in hand on a lazy Saturday morning while an array of textures allow for a day or night approach to dressing. Meanwhile, even materials are whimsical and sweet to the touch, ranging from embossed heritage grain and deerskin to translucent rubber, alligator and shearling topped with 3D flowers for an extra loving element. Paired with neutral tones like the porcelain complexion of an English rose, these dreamy sugary-hued signature pieces will transcend the seasons, and are an exercise in Baileyâ&#x20AC;&#x2122;s methods of reinventing. And where Burberry leads, others follow.

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Dolce & Gabbana Your Heart’s Desires

She is always strong, confident and knows herself. A cosmopolitan woman with a ‘Go On, I Dare You’ attitude. But don’t be fooled, she also has her softer side and that’s what makes a Dolce & Gabbana woman. Through their fine jewellery collection in particular, the design duo creates unexpected and somewhat fragile pieces to cater to this gentle alter ego. Soft, subtle and simplistic in their message, pieces are crafted from the finest gold, diamonds and gemstones and sit seamlessly on the Dolce & Gabbana woman’s skin. Ease into your softer side in a pair of prettily perfect earrings in 18-carat yellow gold with pink tourmalines - gracefully dreamy and, paired with an 18-carat yellow gold ring with a red rhodolite garnet encased by pink sapphires, speaks of your love for that special someone. Or opt for a strand of multiple gold heart-shaped lockets with loving inscriptions written on each one. This hard/soft contrast is a Dolce & Gabbana signature and allows for easy wearing from day-to-day as well as being the perfect warm-up for spring before summer’s ultrabrash embellished accessories. This Valentine’s Day express your love through your style.

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Beauty Picks

Editor’s

3 Slick Of Paint

In The

‘Tom Ford is a maestro when it comes to colour and it seems he’s even a dab hand when creating non-colours too like my shade-of-the-moment varnish in Toasted Sugar. It’s so achingly chic I feel I must warn you: you’ll be addicted in a second.’

Nude

MOJEH’s Editor in Chief starts the New Year off with a bang by going back to basics. Find out what bases, shades and coverage she swears by for that natural, just-rolled-outof-bed-looking-perfect vibe.

2 By George, It Works! ‘My eyebrows are always a tricky business and for daytime I don’t like them to stand out from the crowd. By applying a quick slick of this eyebrow mascara in Highlight Blond, I can keep them in check without looking too much like a diva.’

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Editor’s

The Perfect Pair ‘If you buy just one thing when going nude, make it La Prairie’s Skin Caviar Concealer and Foundation, a dime of a purchase that will save both time and space. Providing enough coverage to deter any unwanted attention, it also protects the skin - I look healthier the moment it’s applied.’

Pat-a-Cake, Pat-a-Cake ‘For a quick freshen-up this Sisley marvel is fully adept at rejuvenating my skin in a matter of minutes. With a red and white clay base to soak up all excess sebum, it’s perfect for a day when makeup just seems a little too much like hard work.’

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Beauty

Lift Me UP

Rolling back the dreaded ageing clock can appear impossible, but sometimes a little lift is all you need. Chanel’s Le Lift Crème aims to help your skin bolster its resilience and maintain its suppleness and elasticity.

he woman who wants to take control of her own beauty will find solace in this intuitive cream. Combining your own DNA with miRs it provides your skin with the means to restore its own natural balance, in its own time and in its own way. And it’s simple: apply the soft, creamy, melt-away textured balm morning and evening for the desired effect. Research has long concluded that plants, when manipulated by science, have an extremely potent effect on the body and in this instance, the inclusion of the Edulis plant (rarely featured in cosmetics) has allowed for a new extraction technology, which delivers overall action against ageing. For the first time in cosmetics, the Kano method has been deployed, allowing Le Lift Crème to respond to each woman’s individual skin needs, furthering the effectiveness of the anti-ageing process. Sometimes a little lift makes more than a little difference.

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Vision

Beauty

The

Beauty

Pact

2014 is upon us, and there’s no better time to re-shuffle the dressing table and throw away old habits that don’t seem fitting for the New Year. To aid you in this quest, we’ve compiled a little list of the things to hold on to, from a lip shade set to take SS14 by storm to a look suitable for the lazy girl within us all. Prepare yourself for the year ahead.

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Polished, Not Perfect Au naturel, as the Parisians would call it, is forever teetering on the periphery of our trend-setting ways but this January it’s back in full force as the look to channel if you just don’t feel like making too much of an effort. With a luminescent base as your staple, layer over a light, long-lasting foundation such as Clarin’s Extra-Comfort Foundation and gently sweep a slash of mascara across the lashes. The trick is to look put together but not overdone and in this case less is certainly more.

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Straight Talking It’s a look long associated with school but it was the go-to style for many a designer on the AW13 runways and its popularity is set to continue well into spring. Part the hair precisely right down the middle, then take to the straighteners to ensure hair is poker straight and silky. For added oomph it’s best to protect the hair both before and after heat application, with Kevin Murphy’s Born Again treatment, which is a must if the style becomes a favourite. Finish off with a little shine serum and you’re good to go - but if you don’t resemble your 13-year-old self at the end, wash and start again.

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Smokescreen We’ve seen a much tamer smoky eye in recent months, where the smudge is controlled within the confines of the socket and liner is front, right and centre. Continue to mimic this style as Valentine’s Day approaches but play with softer hues in shades of heliotrope, burnt umber and highlights of gold for a less aggressive outcome. Dior’s 5 Couleurs eye palette in Constellation provides you with everything you need but remember, the tidier you are the better, so don’t get carried away with the blend.

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Jewelled Tones Lips have been bright and bold for a couple of seasons now, but we’re pretty sure that they’ll continue to be a firm favourite as the buds begin to bloom. For the New Year, however, be sure to opt for jewelled toned bullets of colour where the sharpness of amethyst or the depth of emerald draw just the right amount of attention when paired with the shimmering accessories of the season. If in doubt, head to YSL’s Rouge Volupte Shine collection and ask for the brightest thing on the market.

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Beauty

Bare Necessities The SS14 runway was bare. From Chloe and Alessandra Rich’s simple, young girl partings to shiny and sleek at Jason Wu, back to basics is the motto for the season ahead. January is the ideal month to take a moment and amplify your hair’s natural shine by starting off the year with a hair detox. Think in baby waves like Alberta Ferretti, cropped back at Burberry or out-of-your-face, clean and fresh like Carolina Herrera. We’ve got the products to achieve these looks and get your hair back to its roots.

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interview

Mojeh

The Perfume, The Person

We spoke to Roja Dove, one of the world’s most famous perfumers, about the personalities of perfume and why every fragrance speaks a thousand words.

itting down with Roja Dove is like reconnecting with an old friend. Vibrant, open and immediately chatty in person, it’s easy to see why Dove’s fragrances are imbued with such character. His boutique at Paris Galleries is more than a mere perfume store, it’s a luxe playground for the senses. Whether a powerful slam from something robust or an evocative feminine caress, his fragrances demand attention. Very simply, he doesn’t do mediocrity. ‘They are unapologetic,’ he states. And it is a statement, because his very raison d’être is to create scents that inspire. This isn’t perfume designed by committee, but the impassioned work of a perfumer who has made olfaction his life’s work. ‘I don’t mind if you hate one, I love it if you love one, but what would break my heart is if someone thought one was ‘quite nice.’ It

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would mean it’s banal.’ While the bottles and sleek sanctuaries of scent – all glossy surfaces and black leather – bear his name, it’s obvious that Dove’s attachment extends beyond the name. Every fragrance has a carefully sculpted personality. With Dove there’s a return to the romanticism of perfumery that reminds us all why we continue to descend on the counters come Valentine’s Day. ‘It is after all one of the most intimate things you can give to someone,’ he muses. ‘It’s more intimate than lingerie or jewellery because it actually becomes a part of the skin as opposed to something you put on it. Presumably someone will have put a lot of thought into whether a fragrance is right for the person they’re giving it to and so, in that sense, they are really making a statement about how they perceive that person.’

interview

‘Take Fetish for women,’ one of Dove’s more incendiary titles. ‘There’s a very famous Helmut Newton photo of Catherine Deneuve. It’s a black and white picture on the streets of Paris and she’s wearing the Yves Saint Laurent Smoking. You believe that she’s naked underneath. So it’s about a woman who is very selfconfident. Perhaps some men are even a little frightened by her but many other men will find her even more attractive. So I took a lot of masculine materials like wood, leather, mosses and my idea was that – just like Catherine Deneuve – the masculinity highlights her femininity.’ Danger, he explains, is dangerous not for the woman wearing it but for the man smelling it, while Reckless is the only name he didn’t conjure up himself. ‘I read in a book, ‘Reckless maybe, foolish never’, and I thought, ‘Wonderful, I know this woman’. So I had this idea of someone who always got what she wanted but never took stupid risks. She’d follow her heart but never do anything to damage herself.’ Our sense of smell is undeniably our most evocative sense. Just a whiff of something familiar paints a picture. It’s why Dove believes so inherently in the connection between a perfect fragrance and the person wearing it. ‘Interestingly we don’t smell with our nose, we smell with the most primitive part of our brains, the limbic system. When we are born we have no preconception of smell at all. We build up our olfactory fingerprint in the first 12 or 14 years of our life and at the same time your personality is forming. So there is a direct correlation between you as a human being and the kinds of smells you react to. We have these scent associations that run to the very core of our beings.’ It puts choosing that signature scent somewhat in perspective and is a reminder that, more than personal preference, we’re also saying something about ourselves when we press down on the nozzle every morning. ‘You give a gift when you wear a perfume, a gift of memory,’ he says. ‘You’re giving a subliminal souvenir. It’s one of the driving forces of my work as a perfumer. Anything else that can be made - a leather bag, a pair of shoes – will wear out, but anything I make becomes not just a part of your life, but it becomes integral to the lives of all the people who know you.’ So whether a gift for a loved one on Valentine’s or simply for yourself, give a little extra thought the next time you pick up a bottle. Dangerous, reckless or enigmatic, if wearing a perfume is the gift of memory, make it memorable.

Mojeh

Settling into the conversation it is clear that our meeting is going to be as much an education as conversation. The sheer depth of Dove’s knowledge erupts forth in the form of hard fact wrapped around witty anecdote and all delivered with the panache of someone who clearly loves what he does and isn’t afraid to show it. As one of the world’s most famous noses, a whimsical term for a perfumer, what better teacher? ‘Feminine fragrances can be broken down into three categories’, Dove explains as we probe him on which characters are most suited to various scents. ‘Florals, Chypres and Orientals. With florals, think of a bouquet of flowers, it’s a very straightforward gift and something we all understand, so as people ‘Florals’ are happy go lucky and relaxed. Chypre comes from the French word for Cyprus, the home of Aphrodite who was believed to have slept on a bed of moss, so they’re based around blends of mosses and woods. People who like them are very self-assured. They never shout for attention, you feel their presence. Then there are the Orientals, these are based around vanilla notes, a rare gum resin called Benzoin and a material called Orris, which comes from the Iris plant. It’s possibly the richest and softest family. They love a sense of theatre. You could say we’re all driven by luxury, but they love it everywhere!’ It’s understandable that a perfumer would have a better handle on the nuance of fragrance than us. How many of us have not been seduced by a beautifully shot ad campaign featuring a taught faced model staring into the camera? No spritzing required, we’re already sold. ‘If you ask your friends what they’re wearing, most people’s answer will be the name of the company,’ Dove explains. ‘I always say back, ‘You must be very strong to wear an entire company. It must be terribly heavy!’ Often we’re made to believe that something smells different than it actually does. The proof of that is in the amount of abandoned bottles in bathrooms.’ Dove, who prefers to offer concoctions for the more discerning, is ultimately a storyteller. His inspirations go deep and behind every accord and fragrance name lies a wealth of complexity. More than marketing or brand, he prefers to seduce by appealing to our instincts, even our wit. ‘I have this little line, ‘Please don’t take me seriously because I don’t’, and so with perfumes I choose the names to be a little tongue in cheek. They’re meant to be provocative, a little funny but always embody what the scent is about.’

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health

Mojeh

Treadmill Nemesis

Bike battles and weight wars, the phenomenon of the gym competitor and why the fight to be faster is a conflict you should skip this New Year.

here are several noticeable differences about a trip to the gym and say, the Olympic games. When you take to the rowing machine you do so with the sound knowledge that the Great British rowing team are not sweeping up behind you. When you step onto the treadmill you are unlikely to be engaged in an epic battle of speed with Usain Bolt. And when you perch on the bicycle machine, it isn’t under the bright lights of a velodrome in the gaze of an expectant audience. Alas, not everyone got the memo that going to the gym is not a competitive sport.

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There’s always that person who seems intent on pitting him or herself against you at every squat. They pound the rubber that little bit harder while running alongside you and when you reach for the free weight, they instinctively make a beeline for the heavier version, sideglancing your way as they do so. They are the gym nemesis. They are the workout companion you never asked for and yet, there they are, challenging you every step of the way. Whereas for you the gym is most probably an insular affair – with your hair scraped back and your ‘more-fitness-than-fashion’ gear on – there are those that thrive on having opposition. At best it’s irritating, at worst it’s enough to induce performance anxiety and send you scurrying back to the changing rooms feeling defeated. ‘I think gym rivalry is an entirely natural process,’ says Matt Towers, a performance coach with U Energy in Dubai. ‘Some people need it and some people don’t. Naturally someone who joins for health reasons isn’t going to be as interested in blasting someone away on the treadmill. Most of the rivalry comes from people naturally inclined to participating in competitive sports or who feel the need to enhance their physical appearance.’ It’s little comfort to think that that person

health

Mojeh

who is driven by one-upping you is motivated by vanity. Health considerations aside, everyone who goes to the gym has at least a moderate interest in how they look and, let’s be honest, unless you’re Gisele no one looks their best in Lycra. ‘For me unspoken power dynamics are frequently in play, whether you acknowledge it or not,’ says Dr. Caren Diehl, a sports psychologist at the Up and Running Integrated Medical Centre. ‘This problem of power is even stronger and more severe in women, as women are a lot more self-conscious and self-critical.’ As the first sports psychologist taken on by the Dubai Sports Council and having worked with some of the UAE’s leading sportswomen, Diehl is something of an expert in competitive behavior. ‘The truth is that the person who is trying to ‘one-up you’ has low self-esteem,’ she explains. ‘Basically all they are trying to do is impress you.’ It’s an interesting analysis, yet we find it difficult to imagine that the yummy mummy with the cutthroat attitude and the washboard abs is really that in need of our admiration. ‘You see the problem is that most people don’t think they are in the position of power,’ Diehl continues. ‘The person at the gym one-upping you thinks you are higher on the social ladder,

and you think they are in power because they are putting you down.’ So it would seem there’s a deeper reason that that person is hell bent on competing with you. As annoying as it can be, the key is not to let it impact on your own workout routine. A quick tally of the MOJEH team found that most of us have pushed ourselves that little bit too hard in the face of a challenge. ‘It was like she was throwing down the gauntlet,’ said one sales exec, known for possessing the kind of drive usually relegated to supercars. ‘Every time she shot a look my way and increased the speed of the treadmill, brow arched, I felt the need to do the same. The next day my legs were so sore I had to stow the Manolos and opt for flats. Not a good scenario for a woman who lives in 6 inches.’ For Towers it’s how such competition can escalate that is most concerning. ‘I’ve seen rivalries escalate into full-blown assault! I’ve heard of cars being vandalised and people being knocked in the face with a dumbbell while lying down on the bench press. I helped separate two fights in my first two years as a trainer. It’s a jungle out there.’ When it comes to gym wars and battles of the bods perhaps it really is better to, well, turn the other Lycra clad cheek. But as for being less competitive - woe betide anyone who forces us out of our heels.

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Poolside Photographed by Riccardo Vimercati Styled by Katharina Trappe

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Eyes, Lumières Facette 537 Quadrille, Le Blush crème de CHANEL 69 Intonation, Illusion d’Ombre 92 Diapason, Crayon Kôhl n°61 Noir, Mascara Le Volume de CHANEL n°10 Noir | Lips, Lèvres scintillantes 164 Plaisir all CHANEL BEAUTY

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Eyes, Lumières Facette 537 Quadrille and Illusion d’Ombre 92 Diapason | Lips, Rouge Allure 138 Fougueuse | Nails, Le Vernis 605 Tapage all CHANEL BEAUTY

Eyes, Le Blush crème de CHANEL used here as eye shadow, 69 Intonation | Lips, Rouge Coco, 59 Dédicace | Nails, Le Vernis 603 Charivari all CHANEL BEAUTY

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Eyes, Lumières Facette 537 Quadrille, Illusion d’Ombre, 92 Diapason, Ligne Graphique de CHANEL n°10 Noir-Noir, Mascara Le Volume de CHANEL n°10 Noir | Lips, Rouge Allure, 136 Mélodieuse all CHANEL BEAUTY

Eyes, Lines traced with grey lavender color from Lumières Facette, 537 Quadrille eye shadow, covered by a violet plum shimmering eye shadow, Illusion d’Ombre, 92 Diapason | Lips, Hydrating creme lip colour, Rouge Coco 60 Triomphe | Face, Natural finish pressed powder 160 Préface all CHANEL BEAUTY

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Eyes, Illusion d’Ombre 92 Diapason and 93 Impulsion | Lips, Le crayon lèvres 70 Sonic Pink, Rouge Allure Velvet 44 La Diva & Lèvres scintillantes 178 Sonate all CHANEL BEAUTY

Model: Natalia Bonifacci at Ford Models | Hair Stylist: Giovanni Giuliano at Atelier Managament | Make-up artist: Diane da Silva at Atelier Management | Photographerâ&#x20AC;&#x2122;s assistant: Manolo Rodriguez | Stylistâ&#x20AC;&#x2122;s assistant: Vincent Ciarlariello | Digital technician: Phil Sanchez | Local producer: Yusuf Yagci | Production: Louis Agency

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In Residence

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Mickey Mouse Art

From cartoon to camouflage, artist Huda Beydoun mixes graphic appeal with social statement. We speak to the artist about her work, her inspirations and why her signature is a mouse.

here’s more to Huda Beydoun’s work than spots and ears. A first glance at this Saudi artist’s pieces raise a wry smile, but it quickly turns to a pensively furrowed brow. For an artist who plays with the whimsical, she’s not afraid to go deep. Beneath Mickey and Minnie, lie the intentionally faceless, the undocumented immigrants of her homeland. For most of us the simple graphic arches of these Disney staples symbolize an innate quaintness – in her own words they are ‘figures of joy and happiness’. It’s a potent contrast and one that nods to the subtle conventions of Saudi art and the addressing of issues from an oblique angle. ‘It’s an asymmetrical reflection of the interaction, or lack of, between some undocumented immigrants and I,’ she explains. ‘It was challenging to take their pictures during street life exploration in Jeddah since a lot of undocumented immigrants are being deported. Masking their faces with a Mickey or Minnie Mouse silhouette is a manner of hiding their true identity and an element that stamps most of my work.’ It’s something we’ve seen before of course. From street art to satire, the Mickey and Minnie symbols are more loaded than a tour bus to Disneyland. In their use, Beydoun

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is imprinting her message, leaving little room for ambiguity and at the same time opening it up to layers of interpretation. Are they a wink at the ‘hidden Mickey’ phenomenon, disguising their subjects but doing so in plain view? A commentary on Saudi Arabia’s undocumented from a woman who keeps her ears to the ground on social issues? ‘I’ve been getting a lot of positive feedback regarding Documenting The Undocumented as I took a path that is new and different from my previous work,’ says Beydoun. ‘But the photo of a woman wearing a burqa with a Minnie Mouse silhouette did garner a little negative feedback from some, but I feel the people who criticized and felt offended really did not understand the concept behind the piece before expressing their opinion.’ Whether possessed of understanding or not, critique and even controversy is part and parcel of the nature and the business of art, particularly if it’s done well. In many ways it is a testament to Beydoun’s creative process that her pieces can sometimes prove divisive. In stirring up opinion she’s evidencing her work as more than just banal decoration. As she says herself, ‘I believe artists should play an influential

In Residence

Artist Tagged and Undocumented, 2013, Huda Beydoun, from the series Documenting the Undocumented

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In Residence

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Tagged and Undocumented, 2013, Huda Beydoun, from the series Documenting the Undocumented

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In Residence

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role in society by capitalizing on current issues and trends that are taking place where they live.’ Born and raised in Jeddah, Beydoun’s roots in Saudi Arabia have blossomed into purposeful work. A country abundant in heritage that still exudes a certain enigma, at least from the outside, her homeland is a rich canvas on which to build her thoughts. By default she has found herself part of a school of art that continues to gather momentum. We look to the work trickling out of the Kingdom as a creative outlet that addresses regionally resonant issues, if not global ones. ‘Living in a country such as Saudi Arabia gave me the inspiration to speak out through my artwork,’ says Beydoun. ‘My artistic influences often stem from the world around me - the things that play with my mood and thoughts. I’m interested in the way people live their lives and their stories fascinate me.’ Selling her first painting at 18, Beydoun’s own story is one riddled with surprises. It’s hardly shocking that she studied graphic design and photography – her bold aesthetic forgoes the traditional calligraphic style we sometimes associate with Saudi Arabia, yet has designer written all over it. More unexpected is her foray into the world of teaching. With a degree in Special Education (majoring in Autism Spectrum Disorders) Beydoun has previously worked as a behaviour therapist and an art teacher. It might seem something of a stretch to suggest it’s had an impact on her work and yet it’s a continuing source of inspiration. ‘Working with elementary students was a remarkable experience,’ she says, casting her mind back. ‘I’ve always been fascinated with how they view and work with art. It’s refreshing to see what they draw, almost an augmented reality that provides me with new sources of inspiration. It’s an artistic goldmine!’ Yet Beydoun’s intent is far from child’s play. ‘I would like to give back to the artistic community and explore a view which

might not have been explored before, a new reflection,’ she explains. ‘I’ve dabbled with different mediums such as drawing, painting, mixed media and photography. Sometimes, depending on my experimentation with either one, they end up steering into a solid subject-motif.’ Her graphic style unquestionably lends itself to developing motifs that have, or will, become hallmarks of her work. A Mickey Mouse silhouette overlayed on a snapshot of Saudi life? ‘That’s a Huda Beydoun.’ But even with a splash of the fanciful, her manifesto doesn’t include funny. On whether it’s meaningful to bring a sense of the lighthearted to the art world – ‘I wouldn’t say it’s important.’ With Shadi Ghadirian and Mohammad Kheirkhah listed as some of her greatest inspirations (she describes them as ‘simple, inspirational and bold’), Beydoun’s reference points become clearer. We see parallels with Ghadirian’s use of iconography and her knack for adroitly layering symbolism upon symbolism. Kheirkhah’s ability to create a focal point manifests itself in Beydoun’s uncluttered compositions and her use of colour. From the naïve sketches of children to the work of eminent photographers who explore duality and contradiction, she devours and then produces them in her own inimitable style. Just seven years since she sold her first work, Beydoun’s artistic trajectory is still uncertain but there’s an excitement about what comes next. With Documenting The Undocumented she has positioned herself as an artist with a decisive point of view, referential but not derivative. While she won’t be drawn on what she feels are the most pertinent issues of the day, it’s safe to say that she will continue to imbue her work with the topical and present us with pieces that are as much social allegory as personal perspective. Ultimately that’s her job. As she says herself - ‘an artist is someone who can bring ideas to life.’

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the Diary go, see, do

The Star Behind the lense With a name as recognizable as the icons that he snaps, David Bailey is one of the most distinguished photographers of our times. His latest exhibition at the National Portrait Gallery features over 250 personally selected examples of his work and is testament to the sheer scope of his career. From models to musicians, filmmakers to artists, Bailey’s Stardust is a showcase of photography at its finest and a collection that demonstrates why Bailey is no less than a modern master.

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Bailey’s Stardust, February 6 to June 1, sponsored by Hugo Boss, National Portrait Gallery, London

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London detail of a roundel with a musician, ÂŠ The Courtauld Gallery, London

Bag, Mosul, Northern Iraq, 1300-1330, ÂŠ The Courtauld Gallery, London

In The Bag As this exhibition demonstrates, our preoccupation with the It bag stretches way back. Made in Northern Iraq in around 1300, the centerpiece of Court and Craft: A Masterpiece from Northern Iraq, is one of the finest examples of Islamic inlaid metalwork in existence and a unique display of early luxury craftsmanship. On show from February 20, the exhibition explores the cultural context of the piece, as well as its origins and function, and is a rare opportunity to get up close and personal with an accessory more exclusive than even the most limited edition Birkin. Court and Craft: A Masterpiece from Northern Iraq, February 20 to May 18 2014, The Courtauld Gallery, London

In Retrospect In 2008 Alexander McQueen commissioned photographer Nick Waplington to chart the creation of his AW09 collection. It was to be his last. The collection itself saw McQueen revisiting his 15-year archive of work in a manner that takes on a new poignancy following his death. From inception to runway, this previously unreleased tome charts what is now a pivotal period in fashion history and shines a spotlight on the creative process of a designer who remains an enigma to many. Alexander McQueen: Working Progress by Nick Waplington, Damiani, available February 2014

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new york

Sculpture and the City Constantin Brancusi’s relationship with New York was almost as palpable as his relationship with his work. The great urban sprawl in which his career unfolded still bears the hallmarks of his impact. In Brancusi New York: 1913 – 2013, we see a century of the fruitful association between man and metropolis and explore the timeless sculpture that helped define modern art. Brancusi New York: 1913 – 2013, Assouline, out now, available at www.assouline.com

Bastille Night British indie band Bastille take on the Big Apple for an evening at Webster Hall in January. Expect the same mix of synth, rock and pop that has seen them garner worldwide success and top the charts in their native UK. Bastille, January 22, Webster Hall, New York City

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High Fashion Renowned for his work on the fashion pages, Mario Testino explores new territory in Alta Moda. Documenting the festive dress of the residents of one of the highest regions in Peru, the exhibition sees Testino in ethnographic mode as he offers us a glimpse of traditional dress at its most vibrant. Under the chairmanship of Oscar de la Renta, the Queen Sofia Spanish Institute will be the first American venue to host the exhibition and will also offer an exclusive accompanying catalogue with essays by Testino and Hamish Bowles. Alta Moda by Mario Testino, November 20 2013 to March 29 2014, Queen Sofia Spanish Institute, New York City

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Got Attitude As a label that exudes youthful energy it’s easy to forget that Chloé is 60 years old. Chloé: Attitudes charts six decades of a style institution and opens the book on the brand’s early days and lasting impacts. Featuring archive images from its first ever show and an array of advertisements and sketches that map out the design process, the tome offers an exquisite peek through the windows of a fashion house that seems to defy age. Chloé: Attitudes, Rizzoli, out now

Self Portrait in a Velvet Dress, 1926, Frida Khalo, courtesy Musée d’Orsay et de l’Orangerie

The Person I Know Best Much like her famous brow, Frida Kahlo’s relationship with Diego Rivera was one of her defining features. Presenting their works side by side, the Musée de l’Orangerie explores two artists who in their own ways forever shaped the artistic landscape – one by challenging our perceptions of beauty and the other by solidifying the Mexican Mural Movement. Although wildly different, the exhibit intimately highlights the complimentary nature of their styles and helps emphasize the common threads, from revolution and religion to their shared love for their homeland. Frida Kahlo / Diego Rivera. Art in Fusion, October 9 2013 to January 13 2014, Musée de l’Orangerie, Paris

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Mama Shelter image courtesey of Francis Amiand

Mama Shelter, 20th Arrondissement

Hotel Verneuil, 7th Arrondissement

Hotel Thérése, 1st Arrondissement

Some might think a boutique hotel would be the perfect example of less is more, but Mama Shelter – designed by Philippe Starck – proves there’s still room for the wow factor. A hipster haven where rooms come complete with wall mounted Macs and the hotel’s boho restaurant throngs with creative types, this is Paris for the traveller who enjoys a happening vibe as much as a good view.

Widely acknowledged as the most aristocratic district of Paris, the 7th is a hub of rich culture and home to some of the city’s most famous landmarks - Eiffel Tower anyone? – so it’s to be expected that Hotel Verneuil would have an air of bijou luxury. Each one of the 26 rooms packs a meticulously designed punch and the discreet exterior only adds to the exclusive allure.

A favourite with visiting fashionistas when the collections roll around, Hotel Thérése sits close to the PalaisRoyal and a stretch of shopping heaven that includes Christian Louboutin and Marc Jacobs. Its Jean Louis Deniot designed interior is an exercise in French sophistication and the suitably elegant lounge is the ideal venue for business meetings and brunch meetings alike.

www.mamashelter.com

www.hotel-verneuil-saint-germain.com

www.hoteltherese.com

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The Best of Boutique

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Paris

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Home

The Chef’s Workshop

All Mine A burgeoning hub of grassroots creativity, Al Quoz is rapidly becoming Dubai’s go-to neighbourhood for art and design with an edge. The latest talking-point destination, The Mine is a combination of retail venue and show space - a place where unique lifestyle products sit alongside curated exhibitions and where industry professionals and regional creatives can network in the spirit of collaboration. www.themine.ae

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Atelier M, the newest chef driven restaurant from Mohammed Islam of Chateau Marmont and The Mercer fame, is a sprawling homage to Art Deco. Situated in Dubai Marina’s Pier 7, diners take in a sweeping 180-degree view whilst tucking into a menu that includes oxtail ravioli and braised veal cheek. Created over three floors, it also plays host to a prohibition style bar with a dramatic mirrored interior and an open air rooftop lounge where DJs entertain the city’s nightowls into the wee hours. www.atelierm.ae

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Road to Switzerland More often associated with F1, the Yas Viceroy Abu Dhabi is dipping its toe into the art world with a series of exhibits entitled Crossroads. Now in its 14th presentation, the works from two of Switzerland’s most enticing artistic exports – Daniela Vincenz and Suzanne Ledergerber - are showcased in ‘Softness versus Dynamism’. Organised by Swiss Art Gate UAE, the exhibit explores the contrasting approaches to expression adopted by both artists and all works are available to purchase. Crossroads #14 – Softness versus Dynamism, until January 11, organized by Swiss Art UAE, Yas Viceroy, Abu Dhabi

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Truly Scrumptious Sweets are back with a vengeance, and they look suspiciously like the treats we devoured as children. Here MOJEH charts the rise of retro candy and asks why a trip down memory lane is the newest way to entertain this season.

ou’d have had to been living in a cave not to notice the recent resurgence in our childhood sweet treats, a slow invasion of the bonbon, miniature armies of pink shrimps alongside combats of Parma Violets. From front row at fashion week to festive dinner party favours, the retro sweet – encompassing everything from the smell, taste, look and feel we all remember so fondly – is the newest food trend to hit the market. A casual look at the numbers shows that consumers are ripe for the picking too with adults over the age of 18 making up 65% of all sweet eaters (surprising given a child’s supposed fascination with such things) whilst in the US alone the confectionary industry contributes over $33 billion a year to the economy. Producers of these tasty morsels are hot on their heels. UK based manufacturer Simpkins, who have been producing traditional candy since 1921, reported a 45% increase in sales in 2009 and just a cursory search through Google brings up site after site offering everything from Sherbert Fountains and Black Jacks to chocolate limes and gobstoppers, all dressed in the packaging we remember lusting after so vividly in our tweens. We campaigned for the Wispa to return, Wagon Wheels resurfaced in their original get-up and store after store can be found offering quaint replicas of tuck shop fodder in old- school jars and paper bags. It really is like we’re back in 1979. Why a sudden penchant for these classics? To start with we have to study them in their basic form. Sweets, as a food substance, are programmed into us as something we must have - deriving from our biological makeup we have a basic human need for sugar. As leading UK psychologist Dr David Holmes states, ‘Our brains reward us for finding high calorie substances to eat,’ meaning our desire for sugar, of which 120 million tons is consumed each year according to Sugar Knowledge International, really isn’t our fault. Ironically, some of the earliest records of sweet manufacturing were actually used for medicines with the Ancient Indians developing confections for new mothers and invalids whilst Persian monks learnt to refine raw sugar by boiling it with lime water and bullock’s blood to use as a base for remedies. Christopher Columbus can be touted as the man who brought sugar to the masses and when you fast forward a few centuries, his efforts to transport sugarcane to the Caribbean back in 1502 lay the groundwork for what is now one of the biggest economies of the modern world. On a more basic level the return of our corner-shop favourites lies in fundamental nostalgia, with memories of childhood flooding back with every packet torn open and every waft of sugary goodness that comes our way. The tinkling of the post office door, the excitement of spending change you allotted for this sacred weekly outing, the jars and jars of colour hued treats that rise upwards out of the floor as though never-ending. It’s a ritual we all remember so well and a quick poll around the MOJEH office cites everything from strawberry laces to Drumstick lollies and Love Hearts (60 years old this year) as the treat that takes us back. Even our favourite childhood films, from Chitty Chitty Bang Bang and Charlie and

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the Chocolate Factory, play with the idea that sweets are magical with the latter being remade time and time again and adored by generations both old and new. The emotional response we feel now as adults when we come across these gems is born of these experiences. ‘By recalling sweets of the time, we are adding unique nostalgia to these events,’ says Dr Holmes. ‘The memories based firmly in childhood are almost always an escape from our responsibility-laden lives in the present to the world of eternal sunshine outside the sweetshop.’ Happy memories are the key to our fascination and self-named candy expert Dr Samira Kawash, whose book, Candy: A Century of Panic and Pleasure, is out this October, has first hand experience with those craving a nugget of the past. ‘I get so many queries on my website from people wondering where they can find some candy they remember so fondly from their childhood,’ she says, and it is precisely this nostalgia that has led so many to cash in on the rising need for a taste of youth. The Gobstopper, (thegobstopper.co.uk) in England’s Cheshire is one such example. Founded in 2011 by husband and wife duo Lisa and Mark it manifested itself from their own innate love of the sweet stuff. ‘When I was a little girl my grandmother lived next to a small shop that had shelves filled with jars of sweets, I loved that shop,’ remembers Lisa Oakes, the creative mind behind this endeavour. ‘I remember the smell, the colours and the excitement of choosing which I would buy and I wanted to recreate that lost sensation, not just for my own children but for all the adults too.’ Hitting on a key aspect of this connection, the minutiae of the sweets we ate as youngsters are as important as their existence in the first place. ‘The association of childhood rewards and freedom is fairly specific to the exact smell, taste and appearance of our childhood favourites,’ states Dr Holmes. Meaning everything from the design of the wrapper to the recipe used to make them has to be exact to spike an interest. ‘The packaging is very important,’ elaborates Lisa, ‘as memories can be triggered from seeing a particular logo or brand. This is why the majority of retro favourites have tried to alter as little as possible.’ Their smell, however, hits a little deeper. Being one of the earliest senses to develop, a particular smell has a heady power that we are often unaware of. ‘Our memory for unique ‘smell-scapes’ is powerful and a quick sniff can catapult us back to the very moment we first experienced it,’ informs Dr Holmes. ‘The feelings and emotions of that moment are re-experienced and the unique aroma of the oldfashioned sweet shop is often a high spot in our smell history. The happiness felt as you entered the sweetshop many years ago is suddenly alive helping to rejuvenate your adult self.’ A fact most likely tapped into by the noses behind the Jelly Belly fragrances that had a rather niche appeal but nonetheless one that resonated with its customers. The most alluring point made here, however, is the constant referral to the contentment we felt as children and our need to revisit it. ‘Candy recalls a more simple, innocent time,’ Dr Kawash expands. ‘The bright colours and sweet flavours offer a bit of optimism in a world that sometimes seems so dark. They are a vacation from worry.’ And one that has been needed more and more in recent years as the world around us becomes less certain. The result? A new contender set to rival the cupcake as the party favour favourite. From their bright, eye-popping colours and unique shapes to their ability to transport us away from current turmoil to a time of liberty and glee, their appeal to us grown-ups far exceeds that represented by any baked good. And if you thought the fear of gaining weight or rotting teeth should put you off then a nugget of advice from Lisa might come in handy; ‘A little bit of everything is good for you. We are a generation of guilt, be it guilt for working too much, spending too much or eating too much. We all need to learn to relax a little and how can something that makes you feel so young again be bad for you?’ For a treat we thought we left behind in our youth the retro sweet has made an unprecedented come back, appealing to everyone from the Werther’s Original generation to the whipper snappers of today. Whether it be a Wham bar or a Refresher, Rainbow Drops or the much loved Curly Wurly take a trip down memory lane and remember that life is always sweeter with a little bit of sugar.

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Photographed by Federico De Angelis

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