Sand Issue One

Sand Magazine | No 01

Ahd Kamel Dalma Malhas Nadine Kanso Safeya Binzagr Maha Fitahi

Editor-in-Cheif

Nada Abdul Ghaffar

Graphic Design and Creative Direction

Bayan Abdullateef

Contributing Illustrator Louise Clifford of Veriette Design

Beauty Editor Josie Chan

Contributing Photographers Reem Alrifae Rana Khogheer Silvia Drazdziulyte Farooq Salik Catharina Pavitschitz Catherine O’Hara Jakub Koziel Cristina Schek Nocera&Ferri

Contributing Writers Sara Serafi Marloes Hagenaars Layan Alkhouli Reem Joudi Lara Tlass Nour Serafi Fatima AlBanawi

On The Cover Safeya Binzagr Portrait by Reem Alrifae

8 . ‫المحتويات‬

THE RISK TAKERS AND CREATORS

14

Ahd

Kamel The filmmaker, actress, and yoga lover

24

Dalma Malhas The twenty-three year old show-stopping jumper

62

Maha Fitaihi The Board Member of the Khadija Bint Khowaylid Centre and Founder of Saudi Girl Guides

88

Nimah Nawwab The Sufi writer, poet, photographer, and activist

THE DESIGNERS

42

Nadine Kanso The Lebanese jewelry designer who is reviving the Arabic language

MERGING PAST AND PRESENT

50

Safeya Binzagr The heritage-loving historian and painter who built her own museum

108

Moja Majka The mother-daughtor duo behind the Turkish hand-stitched kaftans

118

Razan Alazzouni The sculptor turned fashion designer

150

Made In Arabia The clutches that are making waves in the fashion industry

‫المحتويات ‪9 .‬‬

10 . ‫رسالة المحررة‬

EDITOR-IN-CHIEF

Portrait is taken by Silvia Drazdziulyte

Saudi Arabia is a country of many contradictions. As a result, the modern Saudi woman has become somewhat of paradox. In just a few decades, she has come a long way, and now plays a vital role in all areas of society.

Social media, the Internet, and exposure to the rest of the world have fundamentally changed our perceptions, experiences and goals to the point of no return. It’s about time our remarkable achievements were documented in paper and ink.

This is where Sand comes in, a publication created by us and for us to showcase, celebrate and finally tell our stories ourselves, most being published for the first time ever. Through the candid conversations, the women featured give us powerful answers but also raise thought-provoking questions.

Visually, Sand aims to inspire, break the mold, and offer something refreshingly new. Far from the cliché, we photograph our women in the most honest way, letting their beauty and individuality shine through the pages. Classic meets contemporary as black and white imagery is presented alongside modern fashion illustration.

For the first issue, we speak to a renowned artist, a Sufi poet, an Olympic show jumper, a filmmaker and many other fascinating figures. No two women are the same. However, what they do have in common is their ambition, talent, and courage.

These untold tales may shift the way we’re seen by others globally, but I also believe it will shift the way we see each another and perhaps the way we see ourselves as Saudi and Middle Eastern women. I know it has done so for me in the process of putting this inaugural issue together. This is just the beginning.

To many more issues Insha’Allah.

NADA ABDUL GHAFFAR

11 . ‫على رفوفنا‬

On Our Bookshelves: Powerful Reads To Transport And Transform

Palace Walk

by Najib Mahfooz

Persepolis: The Story of a Childhood by Marjane Satrapi

Headscarves & Hymens

by Mona Eltahawy

In part one of Mahfooz’s masterpiece trilogy, he goes inside the home of an Egyptian family during the time of the British occupation after World War I, creating tension between the private and public sphere. The father Ahmad, a shopkeeper who adheres strictly to the Qur’an, forces his daughters and wife to observe the world through lattice windows. The characters are painted as vividly as the streets of Cairo.

Through the use of black and white graphics, Satrapi draws her autobiography, charting the period of her life between six and fourteen while documenting Iran as the Shah regime was overthrown and the Islamic Revolution took over. The rippling effects of the Iraq war are also illustrated. The daughter of a radical Marxist and great granddaughter of Iran’s last emperor, Satrapi has the ability to create a panel that can make readers laugh, with another next to it that can make them cry.

In this passionate and honest account, Mona Eltahawy reveals what it’s like to be a Muslim Arab feminist in the 21st century. Rather than sugarcoating the truth, Eltahawy reveals some of her personal internal and external struggles, and why the social uprisings in the Middle East desperately call out for a sexual revolution.

The Prophet

by Khalil Gibran

Classical Poems by Arab Women by Abdullah Al Udhari

Al-Muhhadithat

by Mohammed Akram Nadwi

Khalil Gibran’s most renowned book is compiled of 26 prose poetry essays written in English. The Lebanese artist, writer, and philosopher dives into universal topics such as marriage, children, work and pleasure and writes about them in a manner that is simple and timeless.

The passages come across as divine, yet they’re detached from all forms of dogma, power structures and metaphysics.

In this collection, poetry by Arab women is looked at from the Jahiliyya (pre-Islamic) period to the Andalusia period. The verses, a window into the women’s lives and inner emotions, are a celebration of their triumphs throughout time. They also reveal their tribulations in suppressive societies and act as a testimony of their strength.

Breaking stereotypes and challenging prejudices of Muslim women, Nadwi unravels the history of female Muslim scholars and their role in religion, education and society. In this 40-volume work, the Oxford scholar acknowledges over 8,000 female teachers dating from the 7th century to the present day.

‫المجازفات والصانعات ‪12 .‬‬

13 . ‫المجازفات والصانعات‬

PART ONE: THE RISK TAKERS AND CREATORS

14

38

Ahd

Aydeena

The filmmaker, actress, and yoga lover

Nour Serafi explains how Aydeena makes a difference, one handcrafted object at a time

Kamel 24

Dalma Malhas The twenty-three year old show-stopping jumper

34

Filwa Nazer The artist who creates through ommision

42

Nadine Kanso The Lebanese jewelry designer who is reviving the Arabic language

‫عهد كامل ‪14 .‬‬

15 . ‫عهد كامل‬

Ahd Kamel As Ahd Kamel takes a seat in front of me, two thoughts are going through my mind.

First, how odd it feels to sit across someone you’re used to seeing on a TV screen. Second, how Kamel’s demeanor is so different from the characters she’s played, whether it was Nedal in The Shoemaker, Areej in Sanctity, or Ms. Hussa in Wadjda. Her most recent role is playing Wafa in the psychological thriller Zinzana.

It’s clear, however, that Kamel is complex in the way she combines contradictions. She is both immensely strong yet vulnerable, confident yet humble, and serious when it comes to her craft without compromising her sense of humor. Kamel has won The Golden Gate Award for Best Actress in San Francisco, The Golden Alpha Award in Beirut, and was presented with the Cloeween Connection Award

by Spike Lee. I speak to Kamel about breaking stereotypes, the challenges she faced in her career, and how she’d like to see the Arab film culture evolve.

Words Nada Abdul Ghaffar Makeup Snowkei Lan Photography Silvia Drazdziulyte

‫عهد كامل ‪16 .‬‬

17 . ‫عهد كامل‬

Nada: You often say, “Filmmaking chose me,” can you elaborate on that?

Ahd: I thought I wanted to do law and went to New York to pursue it. After a semester, I transferred to art school and starting doing animation. Again, after four years, I hated what I was doing. I did this documentary for my thesis and, instead of doing 5 minutes of animation; I did 20 minutes of film that included animation. That’s how my relationship with the camera started. I decided to go to film school and that’s when I fell in love with it. That’s why I say it chose me. It’s not like I grew up thinking I wanted to be a filmmaker.

Looking back, I think I chose law because I watched a lot of courtroom drama in movies. I worked on my first film, The Kingdom, with Peter Berg while I was still in New York. I came back to Jeddah in 2011 when I got the grant from the National Cinema Fund in France. I was broke, going through a divorce, and someone gave me money to make a film so I figured I’d make it.

N: The Shoemaker and Sanctity are the two short films in which you produced, directed, and stared in. How did you juggle all those roles?

A: There’s no straight answer to that question. It meant doing anything to make it happen. It doesn’t mean that I’m good at any or all of those roles.

N: Was it also necessary to take on those roles yourself because of the lack of people in the Saudi film industry?

A: That too, definitely. We lack writers. We don’t have producers.

There’s no film culture. We watch movies but we know nothing about making them. That was definitely a challenge for me. It’s all part of the reason why I chose to do it. I think, in this line of work, you have to learn to listen, to collaborate and, at the same time, maintain your integrity.

N: Do you think being Saudi opened certain doors for you?

A: I think so. If anything, there’s always immediate curiosity. But I don’t think of it as the only way to define myself. As an artist, that attention makes you question your creative identity. I really want to be known for my work, the quality of it, rather than my nationality.

“I fell in love with Jeddah again. It was the spirit of Jeddah that I knew, the idea that people will do anything for their neighbors”

N: Were your family and friends supportive when it came to what you were doing?

A: They definitely questioned it a lot and thought I was crazy at first. My family isn’t standing in my way but they’re not clapping and cheering me on either, which is fine. I understand where they’re coming from. It’s hard for them to see something that hasn’t been done before and not be worried. Now they know it’s not a phase.

N: What surprised you in terms of what we do have to offer in Saudi?

A: A lot, the whole experience of making Sanctity. The fact that I filmed it all in Jeddah; I didn’t think that could happen. For a lot of my crewmembers, it was their first time on set. They gave it their all.

And the people of Hindawiyya, the community I worked with, blew me away with their generosity, their openness and their richness.

They really took care of us. Towards the end, we were family. They even acted in the film. We were living with them and their living conditions are very poor yet they had such a positive attitude. I fell in love with Jeddah again. It was the spirit of Jeddah that I knew, the idea that people will do anything for their neighbors.

N: How much of you is in your work?

A: I can’t detach myself completely. A lot of what I do is inspired by my experiences. It’s a part of me. Sometimes, with certain roles, it’s not like that part of you doesn’t exist. It’s just that you haven’t explored it yet.

“We watch movies but we know nothing about making them. That was definitely a challenge for me”

N: You shot Sanctity in seven days. I don’t know how you did it. Was that the most challenging part about making the film?

A: Yeah. I don’t know how either! It was necessary due to our budget.

We had a house that we rented and paid for.

N: I’m sure it makes you more organized.

A: It makes you more creative. I don’t know about organized! It definitely makes you think outside the box. It pushes you and everyone around you. As a crew, we had to stay up and work for 18 hours.

N: Besides that, what was the hardest experience you’ve had to deal with in your career?

A: I think inner struggles. Accepting what I’m doing and accepting myself. The biggest fight I had was the one inside me. It manifested outside, in my life, in my relationships, in my roles.

N: Is it important for you to raise awareness on underprivileged women in our society through your films?

A: It’s where the stories took place. Honestly, the stories were born out of my frustrations with the system, and I’m extremely privileged.

What I went through is nothing compared to other women. My experiences were there but I started hearing stories about other Saudi women. It’s about, not necessarily giving a voice to these women, but telling their story.

18 . ‫عهد كامل‬

“Sometimes, with certain roles, it’s not like that part of you doesn’t exist. It’s just that you haven’t explored it yet”

‫عهد كامل ‪19 .‬‬

‫عهد كامل ‪20 .‬‬

21 . ‫عهد كامل‬

“A lot of people were shocked to see that on screen.

You could see it in people’s eyes” N: Female strength is a reoccurring theme in a lot of your films and roles. Would you agree?

A: It’s something I always questioned and was challenged on personally. How is a woman strong? How do you measure it? All the women that I know are incredibly strong. Being from Saudi, you’re immediately labeled as a victim. With Sanctity, it was about exploring feminine strength, which is endurance. That’s a quality that should be honored. Sanctity explores the idea of what a woman is capable of doing when it comes to her child’s life and protecting it.

N: It’s quite a brave movie. Did it spark any backlash or was it mostly positive feedback that you received?

A: Mostly positive. Nobody said anything negative to my face but I think a lot of people were shocked to see that on screen. You could see it in people’s eyes.

N: If you’re pleasing everyone then you’re probably doing something wrong.

A: If I’m pleasing everyone then I’m an advertisement. You want people to think. You want to stir something up inside of people.

N: There was a point where it felt like it was everywhere, in the press, in the media.

A: Yeah. It was incredible. Waad, the little girl who is the star of the movie, is great. I really bonded with her on set. Most of my scenes were with her. Her family supported her. Her mother, Hanan, is fantastic. I really fell in love with her. She sees the talent in her daughter and wants her to go for it.

N: In a way, you’re paving the way for younger girls to participate in this industry.

A: I really hope so. I never want to be a first without helping others follow. Saudi women are ready. They’re hungry. They have so much energy and they’ve been held back for too long.

N: People are quick to critique the position of Saudi women in society but the changes that have taken place in women’s lives over the last few decades have been notable.

A: I completely agree. The change is not going to be something that just happens overnight but something we’ll look back on.

N: What was it like playing that character in Wadjda? You were pretty intimidating in that movie.

A: It was so much fun! For the first time, I got to be evil and I didn’t need to make excuses about it! Obviously, in the beginning, I wasn’t attracted to the character. I had to find the humanity and what got her there. Evil is not born; it’s created.

N: Did you have any preconceived notions about filmmaking before you started working?

A: Yeah, that I actually know anything! When you go into something thinking you know all there is to know, it’s really humbling to come out the other end and realize you don’t. If you have a big ego, you’re closed to possibilities. As a director, you have to always be open-minded.

N: What was it like being a part of that crew? The movie got so much recognition, both nationally and internationally.

A: It was amazing. I’m so happy for the success of the film. I knew something was happening but you can never predict the scale of it.

N: Do you ever feel scared after you put something out there?

A: Always. I’m a Scorpio. There’s always something that I want to improve. That’s what keeps the work alive though. If it’s all packaged and perfectly tied up then nobody remembers the film.

22 . ‫عهد كامل‬

N: How does your approach to acting differ from directing?

A: They’re not that different to me actually. The biggest difference is, as a director, you have to see the scene as a whole. As an actor, you have to see it from your point of view. I guess, with acting, you get to be more experimental. Directing is definitely fun; it’s just more encompassing. I’d definitely like to do more acting at this stage, work with other directors and grow from there.

N: Can you talk about the underground film scene in Saudi?

A: It’s in its infancy, but the number of people, the amount of knowledge they have and their passion and commitment amazes me. They come from all walks of life. I didn’t know much about other Saudis’ lives until the digital boom. It’s refreshing to see. When I did the Saudi film festival, which I consider part of the underground scene, I was impressed by the people who organized it, the submissions and the turnout. Competition is healthy for any industry.

N: What would you like to see change in five year’s time?

A: Support from the government. I don’t even know about movie theaters anymore. You can watch anything online nowadays. In five years, I hope we continue to nurture this field however we need to. If you want an industry, you have to back it up financially. You have to establish a system where people pay for creative content.

Otherwise, artists will be slaves to their sponsors and that creates an impact on the content. Film education is important too.

N: You were never drawn into Hollywood, were you?

A: Not to go and pursue myself there. I see myself as an independent artist. However, I’d definitely like to see my work shown universally.

My aim was never just regional.

N: What about music’s role in your work?

A: Music is a big inspiration for me. If I weren’t a filmmaker, I’d definitely be a musician. My favorite movie, Cinema Paradisio, an Italian movie, has the most remarkable score by Ennio Morricone.

I’m very influenced by Italian movies of the 60’s, 70’s, even recent periods. What I like about that era of cinema, especially with the Italian and French movement, is that they weren’t restricted by studios. They just made the film. It’s about capturing the reality of life rather than constructing one.

N: Kind of like what you’re doing now.

A: Yeah, exactly.

N: You’re working on a film now, aren’t you?

A: I am working on a film. I feel like the sky has opened up this year and things are beginning to happen. I’m doing my first feature film but I can’t talk about the details. I have a few acting things here and there too. I’d love to do a historical or fantasy based project, a departure from the realism films that I do.

N: What was the proudest moment of your career?

A: Getting into the Berlin Film Festival with Sanctity was a big moment for me. Another moment was when I was at the head of the jury for the Saudi Film Festival. Standing there, with all the men, was a very proud moment. Winning the awards. Alhamdli’Allah. I’ve been blessed. It paid off.

N: Where would you like to see yourself in the future?

A: Working and pursuing what I love. I’ve learned not to overthink or project. The universe has a lot more possibilities than I can think of. It’s already happening. Like I told you, I truly believe film chose me. I didn’t just find myself here accidentally. It’s something ingrained in me.

‫عهد كامل ‪23 .‬‬

‫دلما ملحس ‪24 .‬‬

25 . ‫دلما ملحس‬

Dalma Malhas She made headlines during the 2012 London Olympics when she was declared the first Saudi female equestrienne who would ever compete. Soon after the announcement was made, the Olympic federation stated that she was no longer part of the Saudi team due to unforeseen circumstances. The controversial headlines that ensued framed the headlines in a political light, accusing Saudi Arabia of continuing to prevent women from participating in sports, and therefore diverting focus from Dalma Malhas’s accomplishments as an athlete. Fast forward three years and Malhas is still working hard to outdo herself. Despite a busy schedule, she finds the time to talk to me about success, failure, women in sports, and above all, her affection for her horses.

Words Reem Joudi Photography Catherine O’Hara

26 . ‫دلما ملحس‬

Fresh off a competition in France, a few showjumping appearances, and getting ill in between, I ask Malhas how she manages to balance it all. “I’ve been doing this my whole life,” she says matter-of-factly. “I’m the type of person who works better under pressure, otherwise I get bored. Having a lot on my plate keeps things interesting.” ‘A lot’ constitutes international competitions, intense training sessions, and university. Malhas, who is proficient in English, Italian, French and, of course, her native language Arabic, finished school at 17 and took a year off for the Youth Olympics. “I always had my horses; it’s always been what I want to do. I wanted to compete, jump and win this and that,” she says. “But show jumping is not something you learn in books, you just go out there and do it.” She then completed her bachelor’s degree at the School of Oriental and African Studies in London (SOAS), majoring in Middle Eastern Studies, and is now pursuing a part-time masters degree in International Management with a focus on the Middle East. “Now that my undergraduate studies are done, it’s a bit easier to balance things. At the time [of my bachelors] I had two of the best horses I ever had, and was always going to competitions. I honestly have no idea how I managed,” she explains.

In 2010, Malhas became the first Saudi woman who competed in the Youth Olympics in Singapore, where she worked tremendously hard and pushed herself to win bronze. Jordanian Princess Haya Al Hussein presented Malhas with the medal. When the two hugged, it was heartfelt, as Al Hussein was the first female equestrienne to represent her country several years ago. “I’ve always looked up to her, and we had a little moment on the podium. It was very rewarding to say the least,” says Malhas. “I knew that medal stood for more. It took me a while to process everything. I was overwhelmed in the best way possible and, of course, extremely grateful.” Malhas’s victory was on the cover of newspapers across Saudi Arabia and the Gulf.

Malhas’s drive to succeed involves serious preparation for herself as well as her horses. This is where her hypersensitivity is key; she pays attentiveness to her horses as each one has particular strengths and weaknesses. “We train them at home, always take them out because it’s unnatural to keep them in a box, and I make sure they’re ridden once or twice a day to get them fit and attuned to me.” Malhas’s routine requires both physical and psychological preparation to make sure she’s fully present at competitions. For the former, she mentions that a strong core is essential for riding, especially for someone with her petite frame. “I go to the gym but it’s never really fixed. You can see how my schedule is all over the place, but I try to stick to two to four times a week. In terms of riding, I have a lot of young horses at home but I don’t show them in competitions. I take them on when they reach a minimum of six years old. I jump with the older horses as well.”

Listening to her speak about her grueling training regimen, I can’t help but wonder what the mental ramifications are. “It must be incredibly stressful, no?” I ask. “I’m very moody. Some days I’ll give training 110 percent, while other days I’m really not into it,” she says candidly. “I always try and follow this philosophy: make your worst day your best. For the past few years I’ve been lucky to work with a sports psychologist, like a mental motivator, and I see a huge difference in my performance and day-to-day life.” Intrigued by the role of the psychologist in her life, I ask her to further explain. “It teaches you how to put everything aside emotionally, how to switch on and off, and really be in the zone.” The type of exercises? “Well, they’re basically written exercises. It’s you working with yourself, and my coach helps me with that. It’s different for each person, but the end results are amazing. It changed my life.”

‫دلما ملحس ‪27 .‬‬

‫دلما ملحس ‪28 .‬‬

‫دلما ملحس ‪29 .‬‬

30 . ‫دلما ملحس‬

“I used to be a little afraid of failure, but I realized that it’s a part of the process for everyone” Her career ups and downs are not only reflected by wins and losses, but also by the amplified media attention she receives. Malhas was set to compete in the 2012 Olympics but was pulled out at the last minute. The press, critical of the reasons behind the turn of events, retaliated against the rider and the Saudi Federation. When I ask her about it, she is upfront about the incident. “My horse got injured a month into the qualification period. I tried to continue with my other horse but he wasn’t up to standard. That was the most difficult thing to get over.” In the spirit of ‘getting over’ things, I ask Malhas about the most useful piece of advice she’s received. “One key phrase I tell myself is: repetition is the master of any skill. It’s my mantra. I think of it in crucial moments, when I’m competing or in my everyday life, and it keeps me going. Another is to make the most out of situations. I used to get upset very easily, whereas now I worry much less. You’re much more productive when you realize that things eventually do work out. My mental coach always says to me, ‘trust yourself’. I used to be a little afraid of failure, but I realized that it’s a part of the process for everyone. It’s not an end.”

When times get frustrating, Malhas credits her family as her greatest support system. “This would not have been possible without them,” she gushes, “and my team of course.” I ask her what she enjoys most about riding and I instantly hear the smile in her voice as she describes it. “Well, what I love most is the competition. But that also means seeing myself improving and becoming in sync with the horse. It’s a very complicated sport. Once you manage to simplify it - it’s the greatest feeling. You feel invincible,” she laughs, “It’s deceiving, of course, but incredible.” She speaks with focus and determination, and it’s not surprising that she has been this successful in her career. Her recipe for success, so to speak? “I can’t really say. Success is subjective. It’s achieving a goal whatever that is. It’s very personal. In my opinion, it’s essential to know what you want. You’re already halfway there when you know that. The second half is working towards said goal without getting disheartened. I’m a huge believer in changing approaches and trying, even when it gets tough.” She pauses a moment, then says, “Especially when it gets tough.”

In a way, Malhas was born into the world of horseback riding, a prestigious sport that wasn’t always accessible to women in Saudi Arabia. Malhas’s mother, Arwa Muttabagani, a respected horseback rider in her own right, noticed that there weren’t many places that were up to standard within the country at the time. This inspired her to open her very own facility in Jeddah, Trio Ranch. “My mother worked 24/7 and I was always around, so it was easy for me to discover my passion for riding.” It was an epiphany that emerged at the tender age of four, when Malhas told her mother she would officially like to pursue the sport, beginning her pony lessons right away. It’s easy to mistake Malhas’s determination for a byproduct of her mother’s insistence and influence, but that’s not the case. “My mother never pushed me to do it,” she says. “When I was eight years old, she gave me the option to have my own pony. She told me that if I wanted to continue with the sport seriously, I could get one, but she also warned me that it’s a huge responsibility. I couldn’t just ride it once in a blue moon.” By that time, four years of training had instilled in Malhas a love for the sport and she was ready to take on the responsibility with her Dutch-bred, Palomino pony Maradona. Taking the trip down memory lane shows how far the athlete has come in her as an equestrienne, though this is sometimes overshadowed by other factors, namely being a Saudi woman in sports.

“Once you manage to simplify it - it’s the greatest feeling. You feel invincible” A Saudi woman competing in athletics will inevitably get people talking, especially since the country is often highly criticized regarding its treatment of women and the restrictions around them. When I ask her about the opportunities and challenges for Saudi women in sport, Malhas takes a moment to reflect before responding. “The changes in Saudi Arabia have been huge,” she begins. “There are more females involved in riding. I see it when I go back home, in events and amongst family and friends who want to compete. When I was twelve, I remember it was very difficult to compete abroad with my pony. Now, when I go to international competitions, I see other Saudi girls riding. There’s been a huge progress, even if others don’t recognize it.”

‫دلما ملحس ‪31 .‬‬

‫دلما ملحس ‪32 .‬‬

33 . ‫دلما ملحس‬

“When you’re in the warm-up arena and you put on your green [Saudi] jacket, it does feel amazing. It gives you purpose” That being said, Malhas is aware that certain steps need to be taken to encourage more Saudi women to pursue athletics. “I would hope to see sports and training incorporated into everyday life and in schools. What would follow are facilities to support that, of course.” Although Malhas was born in Ohio and raised in Europe, she’s still Saudi, and has broken many boundaries despite her nationality. “For me it feels fantastic do this [as a Saudi woman].

It shows everyone that we can do it too, that we are equal in our abilities, especially since showjumping is the only sports where males and females compete against each other.” Malhas is one of a handful of females publicly stepping out of cultural and societal norms in the Arab world in order to reach her goals. However, she does not let that faze her. “When I’m in the ring, I focus solely on the competition and not on my country so I don’t have that extra pressure. But when you’re in the warm-up arena and you put on your green [Saudi] jacket, it does feel amazing. It gives you purpose.” With her experience in a competitive sport and the many challenges she overcame, I ask her what she would pass on to other aspiring equestriennes, particularly in Saudi Arabia. “Always believe in yourself. You control what you do; there is no such thing as you can’t. Push yourself. I think it’s very important not to allow anyone or let anything put you down.”

When you look at Malhas, with her green eyes, fair skin, and chestnut-colored hair, you are faced with features that are not typically associated with Saudi women. “It surprises people, yes,” she says, adding, “It raises more questions. At times, there’s a backlash that I’m not representative of the country. No matter what you do, people will have opinions. I have selective hearing, which my mother sometimes complains about”, she laughs. Then continues, “I choose what motivates me.”

If it isn’t her looks that are debated upon, it’s her privileged circumstances that are emphasized, hinting that Malhas did little to earn her achievements. “I’m very lucky and grateful for everything Alhamdli’Allah. If it weren’t for my family’s support, I wouldn’t be where I am, but I also worked hard for it. Nothing comes easy. I’ve had to sacrifice a lot and make compromises. Having horses is an immense responsibility. I do this for myself because I adore the sport and I want to improve. For me, it’s about enjoying the ride.”

Finally, I ask Malhas about her forthcoming plans, a question she doesn’t typically like to answer. “I don’t like planning too much or too far ahead, because you never know what happens, especially with horses. That’s my mom’s strength, to be honest. She’s the planner.” She pauses for a moment to ponder. “I would like to grow as a rider, I want to get back up there in the ranks and become better at competitions. I have good horses now and I’m planning to work on them because they haven’t reached their full potential yet.

What matters is that you have a direction.” Direction is definitely not something Malhas lacks. At 23, her remarkable achievements are triumphs for other female athletes, both in Saudi Arabia and across the Middle East. There’s no doubt about it; Malhas is just warming up.

‫فلوة ناظر ‪34 .‬‬

35 . ‫فلوة ناظر‬

Filwa Nazer Opening up a portal to her family’s past, Filwa Nazer has captivated art enthusiasts with her distinctive and controversial work. She put aside ten years in fashion design to unleash the artist within her. “It was never enough for me,” she says. In an exclusive interview with Nazer, we discover her love for experimenting with multidisciplinary art and her optimism for a more prosperous art scene in Saudi Arabia.

Text Layan Y. AlKhouli Artwork by Filwa Nazer

36 . ‫فلوة ناظر‬

Nazer was born in 1972. She has lived in Italy, the United Kingdom, and Saudi Arabia since. With an unyielding energy to educate herself in the arts, Nazer worked on commissions in graphic design, illustration, and contributed to the London-based Tatler magazine, all while pursuing fashion design. It was after a decade in the industry that she decided to pursue art more meaningfully.

Nazer joined the Safeya Binzagr Center for Arts in Jeddah, where she trained for two years in drawing and traditional painting. To further enhance her skills, she completed several courses at three prestigious art schools in London.

Growing up in between a Saudi culture and a Western one, Nazer found herself time and time again reflecting on herself, her family and society as a whole. She is free-spirited in nature and, as she puts it, her mind is “wired in a way that is interested in psychology, humanities and in how humans evolve.”

Nazer’s core belief is that art functions not only as a powerful tool of survival and self-expression, but also as an educational platform to raise awareness on various issues. “Art is a big part of culture and should be given more attention by educational institutions,” she says. She further deems that a great artist is one who is constantly aware of all surroundings. To her, the ultimate achievement for any artist is to develop a language derived from those surroundings and be able to communicate it to everyone else. “The best art is on the pulse of what is happening around you,” she says.

“The best art is on the pulse of what is happening around you”

Her thought-provoking black and white collage series had its debut in the exhibition Anonymous Was A Woman, a group retrospective held by Hafez Gallery that shed light on the depiction of Saudi women in art as portrayed by twenty female artists across generations. It was held by Hafez Gallery in Jeddah and took place in March 2015. She then showcased her work at the Shara Exhibition, held again by Hafez Gallery in June 2015. Nazer has also recently displayed her work at the Start Art Fair at the Saatchi Gallery in London, reaching out to an even wider, more international audience.

In her series, Nazer depicts old pictures of her family members and scenes of domestic intimacy. By publically displaying such pictures, Nazer defies norms of Saudi culture. She aims to reflect, in the artwork, how Saudi society has changed over time. The negative space, a comic book approach, tells its own compelling story and invites the viewer to use their imagination and fill in the gaps. She touches on issues of censorship and taboos by obscuring these photographs with abstract collage. Nazer generally employs a method of dissecting and reassembling visual imagery, as it is consistent with the way she had formerly worked as a designer.

“By publically displaying such pictures, Nazer defies norms of Saudi culture” When asked about her opinion on the current art scene in Saudi Arabia, Nazer expresses her admiration of the many emerging visionaries and looks forward to an even more vibrant art scene in the coming years. As for what to expect from her, Nazer reveals that she intends to keep experimenting with new mediums to contribute to society with more provocative works. After all, she says, “I want to continue to ask questions. And I want people to continue to ask questions too.”

37 . ‫فلوة ناظر‬

Artist Filwa Nazer is represented by Hafez Gallery, Jeddah, Saudi Arabia.

38 . ‫أيدينا‬

Words Nour Serafi

Photography Rana Khogheer

Aydeena

Sociologist Rowaida Alfadl established Aydeena in Jeddah as a non-profit organization in 2010 to help underprivileged women and produce local handcrafted objects. Her daughter, Nour Serafi, is currently managing the organization since her mother passed away. Serafi tells SAND about her mother’s vision and the impact she left behind.

About us and What We Do

About the Founder

The name, Aydeena, symbolizes the power that lies in the human hand. We create exquisite artistry through incorporating concepts that pertain to authentic Saudi culture and heritage. Our philosophy, deeply rooted in its commitment to preserve authentic Saudi craftsmanship, works within the realm of craftwork, needlework, crochet and handmade artwork. It enables a process of collective empowerment where both the area of traditional Saudi arts & crafts and local female artisans are given a platform for preservation and growth.

Aydeena’s main aim is to generate job opportunities for local female artisans in Saudi Arabia, and provide them with various inputs that would enable them to produce quality-based products in the market. The organization provides support of various forms to achieve this aim, including training sessions in professional sewing and pottery work. The end result is a fusion of traditional taste and fashionable modernity. Innovation and ways to differentiate our products from what is available in the market is a constant motivation.

Some of our most popular creations were our range of Omrah and Toiletry bags. Moreover, we are always working toward increasing the exposure and display of our goods, whether it is in our store or through participating in events.

My mother, Rowidah Alfadl (may she rest in peace), established a vision of empowering local female artisans through an efficient income generating method with what many local female artisans do best: traditional handmade artwork. Her initial drive was to help impoverished women and alleviate poverty.

In addition, Aydeena focuses on quality and execution. The organization encourages novelty and enforces strict quality control procedures to ensure the products are reached with the highest quality to the end consumer. Furthermore, our products are tagged with the name of the female artisan who worked on developing the product for the consumer to know who the proceeds go to. Given that all of Aydeena’s products are handmade, the unit prices are higher compared to mass production products.

“Her initial drive was to help impoverished women and alleviate poverty” During her years of leadership, my mother worked deliberately towards fulfilling every requirement that would enable the organization to effectively achieve its goal. She turned into an inspirational source of information and motivation through her course of seeking all knowledge necessary to help her benefit the organization. She gained qualifications in a variety of areas including information technology, personal development, leadership skills, managerial skills specifically pertaining to NPOs, and many other business development and female development related topics.

With great determination and a commitment towards serving the local female labor market and preserving the art of traditional domestic craftsmanship, she devoted many years of her life to channel both these areas into growing a system of collective empowerment. She started by seeking local female artisans in impoverished neighborhoods in Jeddah, and by 2010, she managed to establish an effectively functional network of local gifted collaborators. Today, they make up the team that we consider the foundation stone of Aydeena.

39 . ‫أيدينا‬

“It enables a process of collective empowerment where both the area of traditional Saudi arts and crafts and local female artisans are given a platform for preservation and growth”

40 . ‫أيدينا‬

“To me, this store represents my mother’s legacy, her strength, her wisdom and her determination in creating such a difficult yet noble concept where traditional handmade artwork is turned into a source of income generation for women”

The Abaya that Nour is wearing is made by Aydeena

41 . ‫أيدينا‬

My mother, who took great pride in showcasing the work of Aydeena, constantly called for the encouragement of the organization’s network of local female artisans and their efforts to seek a career path through their handwork production.

Our Products Aydeena produces a variety of products that include: - A wide range of bags - Bread baskets - Water, tea and coffee holders - Soft dolls made of fabric and traditional embroidered textiles - Bathrobes and Towels - Abayas - Traditional Saudi garments - Tablecloths - Prayer mats and covers - Qur’an covers - Rosary beads - Embroidered pillows

Ongoing Objectives Throughout Aydeena’s existence, we have been able to achieve and continue to do the following: - Develop Aydeena into a brand name - Create original products using traditions materials and expand the market with more handmade items - Participate in several local fairs - Distribute Aydeena products in other stores Support and provide job opportunities for a large number of local female artisans - Create a steady monthly Income for impoverished individuals - Help alleviate poverty - Enhance and train local female artisan skills by offering training courses and other skills and necessary knowledge - Encourage local female artisans to improve their lives and empower themselves on a financial and moral level

Current leadership The organization is currently run with the joint efforts of family members and myself. Therefore, we collectively rein on each other’s strengths in order to enhance Aydeena’s efficiency and productivity.

More than just a store, it carries the message and the purpose of which my mother deliberately worked towards. Many consider it a concept store, where female empowerment, knowledge sharing, social responsibility, and above all, kindness towards humanity come together. My mother is the face of these concepts and as her daughter, I have made it my mission to carry and continue with her vision.

Quotes Relating to Artisans & Affiliated Parties Maryam, who is thirty-five and single, is a sewing artisan and currently supports three family members. “We were the first group of girls at Aydeena. We started with sewing projects and later developed our skills and created hand-made products such as bags, breadbaskets & coffee holders. Aydeena taught me to transfer designs I like from a computer to a sewing machine and provided me with all the tools to do so. Alfadl used to give us great ideas on how to create new products. We all had a great connection with her and her passion was inspiring.”

Noura, who is twenty-nine and single, works with pottery to supports her mother. “Aydeena registered me in a local pottery workshop and covered my education and travel expenses. I was able to work alongside professionals in the field and truly learn from them to create the products. I am very proud of my newly gained skill and hope to progress one day to have my own pottery workshop.”

Umm Assam, forty-six, is a widow and a prayer garment artisan.

She supports five family members. “I met with Alfadl and she asked me to show her some of my samples. I mainly make prayer garments and together we incorporated traditional designs. Aydeena then marketed my developed products and helped increase sales. This allowed me to better support my family and has made me an active member in my community.”

Faizah, forty-one, is a divorcee and a shop assistant. She now supports 2 children. “I met Alfadl at a social conference and she asked me to work with her. At first I thought it was just a regular shop, but later I came to know more about the vision. I love her [Alfadl’s] dream, which became Aydeena, and I want to be a part of it as it continues to progress.”

Future Plans Aydeena seeks to expand its artisan network and train local female artisans in a wider variety of areas including woodwork, which is one of the most demanded handcrafts in Saudi. The organization is also open to establishing collaborations with private and public entities in order to reach a wider audience. Aydeena’s ultimate achievement is to be a recognized brand name associated with its cause.

To me, this store represents my mother’s legacy, her strength, her wisdom and her determination in creating such a difficult yet noble concept where traditional handmade artwork is turned into a source of income generation for women. She dedicated her life towards realizing the goals of Aydeena, and through her achievements she was able to change the lives of a large number of females and their families and provide them with means of financial and moral support.

‫نادين كانسو ‪42 .‬‬

43 . ‫نادين كانسو‬

Nadine Kanso Jewelry is often loaded with meaning, whether it’s a ring band that symbolizes your commitment to someone, a sentimental diamond necklace you inherited from your grandmother, or a gold bracelet you brought yourself as a personal indulgence. There is a language when it comes to jewelry that is at once both subtle and significant. In an exclusive interview with Nadine Kanso, the jewelry designer behind Bil Arabi talks about challenging the signifier and the signified when it comes to adorning oneself.

Intro Nada Abdul Ghaffar Interview Lara Tlass Photography Farooq Salik

44 . ‫نادين كانسو‬

Lara: You’re originally from Beirut but you currently live in Dubai.

How are the two cultures different?

Nadine: I do miss Beirut on so many levels but Dubai is home now.

I’ve been here for 15 years. Beirut is not only where I come from but it also has a lot to do with my work today. They are two different cultures. In the Gulf, it’s a totally different way of life. Each has its charm. Dubai is a place where you can be ambitious, move forward and you can see your dreams coming to life.

L: You’ve also lived in places like Canada and Prague, how has living in different parts of the world helped you as a designer?

N: I think living in different parts of the world not only benefits you as a designer but as a human being. It broadens your horizons, pushes you creatively and provides you with stories. It becomes a part of your work and who you are.

L: You’re known for your exquisite line of jewelry, Bil Arabi.

However, before that, you pursued photography amongst other art forms. How does one inform the other?

N: I’m still doing photography, but it’s not as publicized as the jewelry, and as Bil Arabi. Bil Arabi has become a day-to-day involvement of mine. Photography is a totally different process. They both go hand-in-hand. I am, after all, the same artist that pursues both. They both come from the same source. They influence each other quite a lot. If you see the collages, they’re always translated in certain collections that I do for Bil Arabi.

“We should be proud of our language, we should be proud of our identity; it’s something we should never let go of”

“It’s something that we’re losing, along with the things we’re losing on a cultural level” L: Were you always creatively hands on, even as a child?

N: No actually, I don’t think I was. I’ve always been interested in design but it wasn’t something I was thinking of practicing. I did Graphic Design in university and Communication Arts in radio, TV, and film. When I was a child, I never thought this would be the direction that I will go on.

L: Talk to us about the drive behind launching Bil Arabi.

N: Bil Arabi was launched eight years ago. It was all about the Arab identity and how proud we should be, especially after the events of 9/11. We were perceived as extremists. Even today, this is the case, unfortunately. It was a message for the West and even for Arabs.

We should be proud of our language, we should be proud of our identity; it’s something we should never let go of. When I look at my kids, they speak Arabic, but they haven’t mastered the language.

It’s something that we’re losing, along with the things we’re losing on a cultural level, such as our heritage. I think we need to, not only protect the Arabic language and hold it close, but keep it alive.

L: What’s the symbolic message underlying the Arabic words?

N: It goes back to identity and who we are. It also reflects my life and expresses how I felt when Bil Arabi was created. At the time, Bil Arabi started with one letter, showcasing how beautiful Arabic is. The language is captivating and the calligraphy itself is stunning.

Even if you don’t speak the language, you can relate to this art form.

L: Do you think there’s a lot of nostalgia in your work?

N: Not in Bil Arabi per se. When you look at my work in photography, you will see a huge body of work that I’ve done on Beirut as a city.

There are also underlying political messages in those works. That’s where the nostalgia lies. Each artist has that in them. It’s an emotion that brings the best in you. I hope it does with me.

L: If you can live in any time period in history, what would it be and why?

N: I’m very happy with where I am in my life and what I had growing up. I’m not the kind of person who regrets. I move forward. I’m not sure I want to live in a different world. I think the period that I was born in, the late 60’s, stirred up a lot of changes in technology and media. Seeing both worlds is interesting. My kids are of a different generation. My grandparents and parents are of a totally different generation. I’m in between, which is quite interesting and challenging.

L: Are there places in the Middle East that you really want to visit?

N: Yeah. I’d like to go to Iraq, Palestine of course. There’s a lot of culture. People, in both Iraq and Palestine, were the most innovative in my opinion.

L: You’ve participated in various exhibits around the world. Do you have a favorite? And does being involved in that world help you approach design in a different way?

N: I did participate in photography and jewelry exhibitions. I participated in an exhibition in the Victoria and Albert museum entitled Arabize Me. It was the first major push, the first step, to everything I’ve done so far. I would say Design Miami was really cool because I connected with another audience and, when it comes to design, people are more open even if what you’re producing is in Arabic.

‫نادين كانسو ‪45 .‬‬

‫نادين كانسو ‪46 .‬‬

47 . ‫نادين كانسو‬

“Even if you don’t speak the language, you can relate to this art form” One of the interesting exhibits that took place recently is Salone del Mobile, Design Week Milan, which I participated in. I displayed a collection entitled Diya, which means light, and it was another line in Arabic. It was also featured in Wallpaper* magazine, which is a big thing for me. It’s interesting to see people wanting to know more about the Middle East and how we, as artists and designers, portray it. A lot of things can come out of our work. It’s important to prove that we’re just as good as other designers around the world.

This is a significant achievement.

L: How do you feel about the current state of fashion and art in the Middle East?

N: A lot of designers are emerging in this part of the world. We’ll see even better designers a few years from now. They’re, now, starting to get on the right track. It takes a few years to become who you are as a designer. I think there should be a lot of monitoring and regulating. Young designers should really think about what they want to do and how their own identity will come across. They can’t copy other designers and think that they’ve achieved something. This is something I always say and abide by. If you want to do something, even if it’s close to something else, it needs to have your DNA, your personal print, your ideas, your history, whatever you want to call it. You need to research, think about it and nurture it. If you have money, you can do great things, and you’ll be known. But at the end of the day, it will not last. What will last is the actual design. There should be more schools in design and art. We now have the Design and Fashion Council, which is under the Dubai Design District. I hope these entities will push everyone forward and challenge us to become better. It’s important to handpick and find the right ten designers. We don’t need a hundred. This is what they’re doing. I’m working now on a big project with Stylearabia.com and FarFetch.

They’re picking up the designers that they’re going to invest in.

L: What’s the most valuable piece of jewelry that you own?

N: I don’t own much. I have a beautiful diamond that my mom gave me for my graduation. That’s one of the pieces that I really love because I’ve always seen her wearing it and then she gave it to me so it means a lot.

L: You’ve met an array of fascinating individuals – any encounters that were particularly memorable?

N: Yes I did! I encountered a lot of remarkable designers, especially through events. The best thing about meeting people you admire is finding out how accessible, human and down to earth they are.

You see them in magazines, then you talk to them and you find out that they’re genuine. Rick Owens is an example.

L: Are there any other mediums you’d like to explore?

N: Yes. I think I will eventually. Photography and jewelry for now but I’m tapping into design and taking jewelry to a new form. I have an exhibition coming up and there’s a particular theme, so when I work on a bangle or a ring or a necklace, it has to be design-oriented.

They still need to be wearable but they will not resemble my typical Bil Arabi work. They are influenced by who I am and what I do. I would like to work with wood eventually. I just need the time.

L: Any exciting plans or projects for the future?

N: Yes. I’m launching a new line under Kanso. It has nothing to do with Arabic. It’s more architectural. I’ve launched the men’s collection not long ago, which was exciting. I have a lot of up-and-coming projects but nothing that’s confirmed.

‫دمج الماضي والحاضر ‪48 .‬‬

49 . ‫دمج الماضي والحاضر‬

PART TWO: MERGING PAST AND PRESENT

50

76

Safeya Binzagr

Faded but Not Forgotten

The heritage-loving historian and painter who built her own museum

Sara Serafi Reminiscing About Jeddah’s Past

60

A Sounding Experience with the Qur’an Fatima AlBanawi contemplates on the power of listening

62

Maha Fitaihi The Board Member of the Khadija Bint Khowaylid Centre and Founder of Saudi Girl Guides

70

Malak Fakeih The illustrator who is fueled by nostalgia

80

Reem Bawazeer The graphic designer turned photojournalist

88

Nimah Nawwab The Sufi writer, poet, photographer, and activist

96

Hanging By A Thread Fashion

‫صفية بن زقر ‪50 .‬‬

51 . ‫صفية بن زقر‬

Safeya Binzagr Now I understand why artist Safeya Binzagr decided to stop selling her work. Take one painting out of the artist’s archive and it’s like ripping a page from the middle of a book, a page that speaks volumes. Every completed canvas is a lesson in Saudi history. Collectively, they make up a puzzle that nobody else has assembled. We meet in her museum to discuss the decades she dedicated to social documentation, her treasured archive of fashion garments, and how each piece contains more than what meets the eye.

Words Nada Abdul Ghaffar Photography Reem Alrifae

52 . ‫صفية بن زقر‬

We meet on a sizzling summer day in her museum, a space she has established for herself and opened up to the public. Inside, it’s peaceful, except for the chirping of birds and a parrot. As I go upstairs, I’m met with an oasis of plants and flowers, with streaming light coming from the translucent dome ceiling. We sit in her library where we’re surrounded by infinite bookshelves. She greets me with her hair in wrapped up in a towel turban, although I can see a glimpse of her fiery Henna-tinted roots.

Binzagr was born in 1940 to a known merchant family who lived in the Sham district of Jeddah. She left to go live in Cairo, Egypt at around eight years old, and then went on to complete her school years in England. She then complemented that with a two-year Art course at Central Saint Martins in London. Studying abroad was a bold step for any Saudi at the time, be it a man or a woman. While she was there, she continued to refine her skills at drawing and painting, one that she acquired at an early age.

Binzagr’s work isn’t limited to what took place outside. “The series representing daily life is also considered an important series,” she explains, “A lot of what I depict in my work happens inside homes within closed doors.” The artist’s close attention to detail helps her find gaps that others don’t see, similar to a blind spot that only she can detect. When focusing on depicting kitchens, the artist found that the way kitchens are formed in relation to the rest of the house depends on the region. “The kitchen differs from North to South to Najd. The way they’re designed differs. Even the dough that’s made in the kitchen varies. I’m studying everything inside the painting, from the furniture to the carpet to the objects in the house and what surrounds it. “There are little things that I incorporate in my pieces that may even compromise the aesthetics. It’s like cooking a dish and making sure you have all the ingredients and spices.” She is aware that, had she decided to pursue contemporary art, she would not be limited in the same way nor obliged to follow any guidelines.

“I still want people to feel like they’re looking at a work of art,” she says. “However, the knowledge is academic.”

About two decades later, Binzagr returned to Saudi, only to find that the oil boom turned it into a different country than the one she I found myself lingering in the room of wedding traditions and was familiar with. With expansion came changes in education and reflecting on how they’ve changed. The collection, which consists in the workplace. Family dynamics were transformed as big families of eleven paintings, portrays nuptial customs dating back to a hunsplit up into smaller ones. Whether they travelled or not, children dred years. Several years were spent collecting the information and parted ways with their relatives and lived in other districts. Foreigners authenticating their historical resources. One painting depicts the migrated to Saudi and they created families together. Furthermore, shaving ceremony the groom receives before the wedding day as international scholarships gave more Saudis the opportunity to female family members clutching musical instruments dance around study abroad. Changes in laws, structures, governmental bodies him. Another painting illustrates the procession of carrying the bride’s and ministries were underway. Within small communities, major clothes and jewelry to her new home, with Jeddah’s traditional shifts were taking place, along with society as a whole. “Everything structures in the background. A third painting represents a highly changed in the past decades,” Binzagr tells me, a fact that makes ornate and decorated bride next to a woman who supposedly took her paintings more extraordinary and valuable. “Even our taste in care of beautifying and escorting the wife-to-be to her new home. food changed,” she says, adding, “You can restore an old home The disparity between life in Saudi today and the one illustrated but you cannot make families go back to the way they used to live.” through Binzagr’s vivid characters gives the artwork a fictitious layer.

Although she didn’t witness the fast-paced cultural revolution that took place with her own eyes, she devoted her life to preserving Binzagr’s archive also contains a valuable collection of old garJeddah’s essence that was quickly evaporating. ments, which helps her produce accurate portrayals of different eras in her work. A large room stores dresses that are over two hundred years old. Some are beaded, others embellished and a few are made entirely of tulle. “When I paint clothes, my eyes need to see the fabric to take it all in. I might not create an exact replica of the garment, I’m not a fashion designer myself, but I’m illustrating the essence of the garment,” she says. “This is why I spent time looking at clothes, visiting different people who own them to have a better understanding of the lives they led, and then acquiring If you are lucky enough to visit Binzagr’s vast museum, you will them.” Cupboards are devoted to pieces made out of silver such find that there is almost no aspect of Saudi heritage that she didn’t as aroma cases, traditional slippers, makeup boxes and accessories pay homage to. Entire rooms are devoted to areas such as fishing, decorated in traditional Bedwin-style craftsmanship. When people hunting, and folklore such as popular children’s games, which showdonate clothes, Binzagr makes sure they’re credited. In the case of cases old pastimes that were played both indoors and outdoors the museum’s dissolution, not her death, the piece goes back to with accompanying rhythmic songs. Although many of these games its owner. Such is the value of these ancient garments. are universal, with variations to their names and content, they have become a faded memory.

“You can restore an old home but you cannot make families go back to the way they used to live”

“A lot of what I depict in my work happens inside homes within closed doors”

Architecture is looked at in a precise method as Binzagr traces the disparity between the different regions and their style of buildings. Islamic features such as spacious rooms, high ceilings, and rawashin-adorned windows and doors characterize houses in the If a painting incorporates fashion, the research behind it can Western region. Houses in the central, Eastern, and Northern parts take significantly longer than the production of the painting itself. of the region were made out of unbaked mud and commonly had “I have to be precise. I don’t decide on the hue of the watercolor small windows and geometric doors. Houses in the Southern part, I’m going to use until six individuals concur, five alone on the gartypically made of hard stone, were smaller and suggested a comment’s silhouette. When I produced the painting of the bride, I met pletely different layout of rooms.

53 . ‫صفية بن زقر‬

an older woman who showed me the clothes that brides used to wear and how she would help them put it on.” She says, breaking into a shy smile. “You know how people play dress up? That’s what we did. This is what became of my paintings, my work, my library, my collection.”

When it comes to those who helped her string along the scattered beads of knowledge, Binzagr credits her family first. “My sister Thuraya, God rest her soul, was a marvelous source because she loved Saudi heritage and she had a lot of knowledge,” she says longingly. “I go to all kinds of people when I need other kinds of information. I used to go to various galleries that had traditional clothing and I used to take a lot of photographs. However, I didn’t use them all in my work because, at times, I didn’t see cohesiveness in some of outfits. I saw a divide between the clothes and the headpieces and I felt that they were not entirely authentic. This becomes easier to detect when you study tribes and the difference between them, specifically Bedouin tribes. However, to study the clothes of Bedouins requires years because each tribe dresses differently.

Now, it’s hard to find people who have that kind of knowledge.”

“My sister Thuraya, God rest her soul, was a marvelous source because she loved Saudi heritage and she had a lot of knowledge”

“The sources are becoming obsolete. I became the source for many” I tell her that, although I can’t quite put my finger on it, there is a strong visual characteristic underlying all of her works. It’s a rawness that suits the era that she portrays. One can see hidden traces of impressionist, post-impressionist and realist influences. The variety of mediums also enriches her work as she experiments with brushes, knives, oil, chalk, dyes, and incorporates paper, wood and even fabric. “Nobody can, no matter how hard they try, imitate or replicate the way I paint. There’s homogeny between the subject and the aesthetic outcome. I sketch it out first in detail. When I start painting, there’s a dialogue between the canvas and myself. I give it my own characteristics. When people see it, they know it’s my work, that’s how I feel.” A room dedicated to rough sketches illustrates Binzagr’s attention to fine lines and shadows. You begin to understand that each chaotic painting is a struggle to reach the closest thing to perfection.

As I wander back downstairs, I stumble upon tables of overflowing awards, recognitions, certificates and photographs with royals who visited the space she imagined and built herself. In a way, this contradicts the woman in the library upstairs, who is simple, softspoken, with a humble yet mischievous laugh that interrupts her own train of thought.

I can’t help but wonder if she faced any challenges in establishing It’s clear that Binzagr feels more pride when a researcher recognizes the historical significance of her work as opposed to the herself as an artist in Saudi Arabia, specifically as a woman. “No. I passerby who compliments her on the aesthetics alone. “They know never felt like I had to readjust to living in Saudi. I did everything I the information is accurate and very precise”, she tells me firmly. set out to do. There were no restrictions,” she explains confidently.

“This is why the number of works I produce is relatively limited. With “I like to do everything on my own. I put together my own exhibitions. the works that focus on traditional professions, I chose significant I built my own museum. I was even working with the carpenters, the ones that existed, they are engraved in customs but have evolved designers and the electricians to bring my vision to life. Whether I as society changed.” As a storyteller, Binzagr looks at all professions, exhibit in my own museum or elsewhere, locally or internationally, from the jeweler, to the Bedwins collecting water around the well, it’s always with my involvement and direction. I never rely on others to the artisanal igal-maker in old souqs. “Take the konafa-maker, to do these things for me, unless they were formal invitations from for example, who worked with his bare hands. This has advanced Aramco or the Royal family.” with technology. Now, he uses machines.” It’s that fusion of history, She devoted her life to nostalgia and is in a constant affair with folklore, and art that has made Binzagr a pioneer in the Saudi art movement as well as a distinguished artist on an international level. the past, but Binzagr is fixated on what she’s painting in the present. She continues to paint almost everyday and tells me she feels When she reflects on how her artistic journey led her to this incomplete without a paintbrush in her hand. “I’m now working on path, she believes that it was the response she received from her a series of eight paintings, I already completed one, and I have yet first exhibition. “Older people would stop and reminisce about their to work on the other seven. I don’t know when I’ll finish. It’s a big lives, younger generations would learn about how life once was. mural; each one is about two meters wide. I’m going to depict the I stopped and thought, ‘Why don’t I take this subject on?’ For an whole Kingdom.” She goes on tell me about another concept for artist, the first show, and how it is perceived by viewers, determines a series she intends to complete, which will illustrate old-fashioned regional dances of Saudi. Instantly, I begin to imagine them in my whether they’ll continue on a particular direction or another.” head. It’s almost as though she has read my mind because she Unlike other artists who detach themselves from the outside says, “Nobody has seen these yet. I’m still working on them on world, Binzagr has opened up her museum and library for research- paper.” It seems as though Binzagr has already started writing the ers, students, and has offered art classes to children and established next chapter of her book. artists. On the walls near her office, next to Binzagr’s personal works and press clippings, one can find the quirky doodles of past students drawn in clashing crayon. Today, her work is considered more relevant than ever, as the heritage on the walls can feel foreign to most Saudis. “The sources are becoming obsolete. I became the source for many. A lot of the people who write about these topics use my paintings, whether they ask for my permission or not.”

‫صفية بن زقر ‪54 .‬‬

‫صفية بن زقر ‪55 .‬‬

‫صفية بن زقر ‪56 .‬‬

57 . ‫صفية بن زقر‬

Top Left: Algees (1981) - ‫القيس‬ Bottom Left: Wash Day (1972) - ‫يوم الغسيل‬ Right: Morning Talk (1986) - ‫هرجة الصباح‬

‫صفية بن زقر ‪58 .‬‬

‫الزبون ‪Zaboun (1969) -‬‬

59 . ‫صفية بن زقر‬

Top: Alzuggayta (1984) - ‫الزقيطة‬

Bottom: Mushat (1981) - ‫المشاط‬

Words Fatima AlBanawi

60 .60 ‫القرآن‬ ‫أصوات‬ . ‫بالنك‬

A Sounding Experience with the Qu’ran Fatima AlBanawi just completed her Masters in Theological Studies from Harvard University with a focus on Women, Gender and Islamic Studies. While there, she also worked as a teaching fellow for Intermediate Classical Arabic. Prior to her move to the U.S., AlBanawi worked as a Psychological and Social Caseworker fighting violence and domestic abuse at the Family Protection Society in her hometown of Jeddah, Saudi Arabia. In this reflective piece, AlBanawi explores how the Qur’an penetrates one’s consciousness through the power of sound.

There are as many melodies to the Qur’an as there are reciters.

Yes, the Qur’an’s 600 pages and 114 chapters have specific rules that maintained a unified pronunciation of syllables and rhythm throughout time, under the Science of Tajweed. Its melody, on the other hand, has always depended solely on the improvisation of the reciter. Kristina Nelson, who is originally a music student, was captured by the sound of Qur’anic recitations and the melodies she heard during her work in Cairo. In the documentary, Koran by Heart, Nelson describes the impact of these melodies as almost trancelike and euphonic.

Certainly, sound has been a crucial element of Islam. The word Qur’an in Arabic means Recitation, and the first Qur’anic teaching is a call to: “recite,” but is that it? This call for recitation is directly linked to human conception, as the verse depicts: “Recite…Recite in the name of your lord who created…From an embryo created the human” (Qur’an 1:96). The relationship between this oral nature and the symbolic representation of an embryo kindles two ideas.

The first is linked to the beginning of the message of Islam that is sent to the Prophet with this very word, and thus, marking its birth.

However, the second is perhaps a declaration of the newborn cry.

After hours of labor, the newborn’s instinctive cry remains the mark of a new life, mandating and inviting others to listen. This act of listening is thus foundational to realization, pondering and consequential to action.

I am not a musician, nor am I a professional reciter, but I have an ear and heart for sound. When I was nine years old, my stepfather, an imam who had lost his sense of sight at the age of two, used to recite to me Qur’anic verses in different tones and melodies. He did that so I would tell him the emotions each tone kindled. I assisted him in this process, as he prepared for Ramadan’s taraweeh prayers.

It involved the repetition of certain verses using a variety of melodies from his side, and the selection of the evoked sensation from mine.

As a child, this allowed me to understand, or at least to reflect, on sound as an agent to the arousal of feelings and thus of action. As a blind man, his sensitivity to sound captured me. As I grew and listened to more reciters, I became interested in understanding the relationship between the content of a verse and the melody an imam chooses for it. Hence asking, why would an imam choose to stimulate fear in a verse about the day of resurrection rather than stimulating awe, or to evoke warning and threat instead of sympathy, mercy, or forgiveness, in a verse about the ethics of war?

Putting aside (but still not too far) the contextual and sociopolitical language that many had relied on to understand the Qur’anic text, I wanted to appreciate its sounds and rhythms as if I were a non-Arabic speaker. I wanted it to affect me as if I were a child who does not have the tools for understanding the complexities of language. I wanted to appreciate the fact that I could listen to a single verse in countless different melodies, and it would thus affect

“As I grew and listened to more reciters, I became interested in understanding the relationship between the content of a verse and the melody an imam chooses for it”

61 . ‫بالنك‬

me in countless different ways. I wanted to grow in the silent pauses between verses, because silence is also a sound. I wanted to reach the voice in the words, the sound structures and the meanings and sentiments that stem from the relationship between them. This is specifically articulated in The Qur’anic Presentation of the Joseph Story. In that, Johns explains a fluid and unrestricted relationship with the text that goes beyond the exterior text to the interiority of the mind, as he explains: “An appreciation of the character of dialogue and direct speech in the Qur’an, then, needs to go beyond an understanding of the words as they appear on the printed page. The challenge is to hear them in the mind’s ear, to listen to the various ways in which they could have been uttered. Above all else, it is necessary to listen.”1 Believing in the power of sound that is composed of melody, but also of voice, I decided to take part in my university’s Noon Service for the first time; one of the enriching experiences I had during my time at Harvard. Every Wednesday, a denomination or a non-denomination group would lead the circle, and it was the Muslim Council’s turn. I read several verses, of which one was Al-Asr, a favorite of mine. To my surprise, one of my Muslim colleagues stated that it was his first time listening to a woman’s voice reciting the Qur’an. It made him relate to the verses, despite his familiarity with them, as if he were listening to them for the first time.

1 Johns, A. H. “The Qur’anic Presentation of the Joseph Story: Naturalistic or Formulaic Language,” Approaches to the Qur’an (G. R. Hawting & A.-K. A. Shareef, Eds.).

London and New York: Routledge, 1993. p. 41-42.

“I wanted to appreciate its sounds and rhythms as if I were a non-Arabic speaker” There is a fear of a contemporary presentation of the Qur’an, which often stems from a fear to deviate from traditionally received opinions. This perceived fear can impact the development of Muslim scholarship and it’s precisely this risk that I believe is inevitable today. I think it must be undertaken, though with both sincerity and perception. And perhaps listening to sound would bring about a sounding experience with the Qur’an’s text and its communities.

I would like to introduce you to Anne Rasmussen, an ethnographer who said about her experience working with female reciters in Indonesia: “I learned about the world through its noises.” To keep this conversation going, I suggest engaging with these questions: How did you learn about your own world? What were the prevailing sounds, voices and melodies? And how did they contribute to your understanding of the world?

‫مها فتيحي ‪62 .‬‬

63 . ‫مها فتيحي‬

Maha Fitaihi Maha Fitaihi welcomes you into her history the way she welcomes you into her home.

Much like her, the house exudes warmth with corners that hold decades of stories. You know the cliché; behind every man is a great woman.

That surely applies to Fitaihi, who is married to Adel Fakeih, Saudi Arabia’s Minister of Economy and Planning. However, she is also renowned for her own achievements. I speak to Fitaihi about the lessons she learned growing up, her lifelong mission to empower Saudi women, and founding an organization on the example of Khadija Bint Khowaylid, Prophet Mohammed’s first wife, who acts as its guiding light.

Words Nada Abdul Ghaffar Photography Rana Khogeer

64 . ‫مها فتيحي‬

“Let me give you some background information first. I would say that the Khadija Bint Khowaylid center was a result. In the 1980s, the way society looked at women in the country and the programs available were very narrow. I remember, with King Faisal, there was an ambitious vision for Saudi women, her place in education, the workplace, social development, and economic development. But after the events of Makkah in 1979, the Grand Mosque Seizure, everything became more restricted for women.” In my conversation with Fitaihi, it becomes clear to me that, in every step she takes, her past is engraved in her as deeply as her optimistic view of the future.

Today Fitahi is happily married to Adel Fakeih, a former engineer who held positions such as Mayor of Jeddah, Minister of Labor, and Minister of Health. Together they have four daughters and a son.

The shift that took place in Saudi due to the events of ’79 was apparent to Fitaihi when she was transitioning from high school to college. “I went to school in Dar-al-Hanan, where they offered a lot of activities for girls, whether it was sports, trips, girls scouts, bazaars, galleries, charities and research projects. They helped build girls’ personalities. When I was in college, I already had two daughters, and I saw that my college was not offering much.” Fitaihi goes on to explain that all the activities available had a religious bend to them. “We didn’t have sports, arts or theatre. I decided to take it upon myself to create the first volleyball team. There was a deserted area behind our college that we used. This created issues with our college and we fought back and forth.” Fitaihi recounts these tales and, whether she’s aware of it or not, they act as testimonies to one of her deeply embedded characteristics. If something hasn’t been done before because it was new, challenging, or required too much effort, she will take it upon herself to do it.

Upon graduating from college, Fitaihi went on to work with the Faisalia Group, specifically in its education sector. The association supported orphans, divorcees, widows and underprivileged families.

English and IT were some of the subjects that she taught. “I was really taken aback by the amount of women who applied to study English. It was so overwhelming that we couldn’t keep up,” she says, astonished. “It meant that there was a thirst for knowledge. I then realized that it was important to create a space for women to work on their skills, their capabilities and to get to know themselves.” However, when Fitaihi tried to introduce new activities, restrictions became tighter and more complicated. This was the end of the ‘90s; around the same time her daughters were becoming teenagers, and their transition made her think of what the country had to offer. “I tried to create a platform for teenage girls within the association but the idea wasn’t received well because we were a charitable organization and they didn’t understand why we wanted to focus on young girls.”

Fitaihi’s solution? Simple. Turn her own house into a girls day club for her daughters, their friends and their friends’ friends, many of who look back at those memories with great fondness.

Fitaihi held initiatives like these close to her heart and they made her realize their importance in the larger scale. “It made me shift my focus to women. The only way women will know themselves is if they work and have their own income,” she says. “At the time, I was a member of the Social Development Center of Makkah with Prince Abdulmajeed. It was comprised of ten men and five women.

The Prince talked about the working male youth demographic, but the other women and I asked, ‘what about young working women?’”

65 . ‫مها فتيحي‬

“This center pushed things forward in terms of stirring still waters. By that, I mean changing the way society looks at women and changing the way women look at themselves”

66 . ‫مها فتيحي‬

“You can’t wait for society to alter its views on women when women haven’t altered their views on themselves”

67 . ‫مها فتيحي‬

As a result, a committee of thirty women was created that would transfer concerns regarding working female youth in Saudi Arabia.

Women were individually trained in areas such as public speaking so they would be competent when presenting their concerns to executives. “The Prince then ordered us to create a female division in the Chamber of Commerce, a place where, previously, woman were not allowed access to.”

Princess Adela AlSaud, daughter of former King Abdullah, was the head of the committee. Together, she and Fitaihi worked with the board of trustees over the course of eight months to push for legislative changes that allowed more women to work. “We raised all our concerns to the board of directors but soon realized that they were not taking us seriously or taking action. They just gave us a space to voice our opinions.” Not long after, Fitaihi’s husband acquired the presidency of the group. “The first thing he did was give women a whole floor rather than a room,” she says proudly, “He incorporated women effectively in the Chamber of Commerce and the KBK Centre was then created with its own board of trustees.”

“Islam encourages women to have an active role. It respects women, gives them powerful positions, and quite a lot of responsibility”

Fitahi worked with the members along with the CEO, Dr Basmah Omair, to overcome obstacles that held women back from taking an active role in the country’s national development and social participation. Together, they started sending letters and contacting ministries to implement necessary changes. Under their leadership, the center reformed eight laws relating to women across the Kingdom of Saudi Arabia. In 2007, Fitaihi took the helm from princess Adela and became head of the center. “This center pushed things forward in terms of stirring still waters. By that, I mean changing the way society looks at women and changing the way women look at themselves. Women started, from the first forum, to understand how they can build the Kingdom hand-in-hand with men.”

In 2010, the second forum was held, with the same goal of highlighting the realities of women’s limited participation in the workplace. Not only did it have a bigger turnout, it also coincided with the launch of the Girls’ Scout Association in Saudi Arabia, which Fitaihi was in charge of. Because of the difference it made in her life as a young girl, she was keen to provide such an outlet in society. “Since I was eight years old, I was a Daisy in school, and I represented Saudi Arabia in 1978 with a Saudi delegation,” she says. “It was a moment that taught me the importance of volunteer work. I didn’t truly realize how significant it was until we created a senior committee in my high school and I saw that, in the committee of eighteen girls, sixteen were girls’ scouts in their youth. That’s when I realized the common thread in us and that it was necessary to bring it back to life.” Eight months later, Prince Faisal, who was a boy’s scout himself in his youth, was designated as Minister of Education. Fitaihi took it upon herself to send him a formal letter requesting that this initiative would be launched for girls across the whole country and that she, along with other women, would ensure establishing all the internal regulations and necessary structure for the project. Three months later, she got full approval from the government. “We were able to release the first cohort of female girls scout in May of 2010. At the time, we had eighty-six Daisies and Scouts, eleven Guides. Today, in 2015, we have 770 Daisies and Scouts, and 120 Guides.”

When it comes to the KBK center, the name created the vision. “We didn’t choose Khadija haphazardly. We chose that particular name so that we could use her as a role model. She was a strong liberated woman in a patriarchal society. She’s the first businesswoman in Islam,” explains Fitaihi. Passionate about taking the story of Khadija Bint Khowaylid from the Qur’an and implementing it into our modern day lives, Fitaihi speaks about the iconic figure whose actions remain remarkable today. “The role of Khadija alongside the Prophet Mohammed PBUH is significant.

She was drawn to him because of his characteristics and morals, she proposed to him and they married. She said, ‘I know you are the prophet of this nation.’ Her reaction strengthened her as well as the Prophet and he was able to carry on his message. She was his rock. She raised their children, she spent her money on her family and she endured the siege with him for three years. Keep in mind that she was one of the richest and most esteemed women in Makkah. When she died, it was the ‘year of sadness’ for our Prophet because of her loss. This is an example of a true role model,” she says. The moral of the story? “Islam encourages women to have an active role. It respects women, gives them powerful positions, and quite a lot of responsibility.”

68 . ‫مها فتيحي‬

“Everything I did in my life, to help women, was inspired by my daughters” She may not boast about it, but Fitaihi is one of the exceptional pioneering female figures that changed the way Saudi women are perceived. “You can’t wait for society to alter its views on women when women haven’t altered their views on themselves,” she says firmly. “When women start to appear as active, responsible, charitable role models in society, they will create the most significant change. Women will demand respect.” It’s no longer surprising to read about Fitaihi’s activism in local newspapers or watch her speak on TV. She refers to the media as a powerful platform and proof of the change in women’s position in the country. “It was very challenging for women to appear in Saudi media. They labeled us as oppressed, old-fashioned and conservative. I decided, along with seven other women, to discuss this matter on CNN. They were surprised to see that we had a presence and force.”

Her character, she believes, is a result of her upbringing and the values that were instilled in her at an early age. “When it comes to the role I play as a wife, I have to thank my mother and father, for they taught me everything through their marriage when raising me. My father always said, ‘a smart woman is one who knows how to play all the roles: a wife, sister, friend, daughter, lover, manager, and mother’. I always tell my daughters, ‘you raise generations and make men’. In Arabic, the word mother, Um, is a term also used for universities. Makkah is called “Um AlQura” because it unites all human beings.”

Today, Saudi Arabia sends a significant number of young women abroad yearly on scholarships. However, Fitaihi still holds certain reservations about too much change in a short period of time. “The true understanding of moving forward is necessary as opposed to either gawking over the West or stubbornly resisting developments and contemporary ways of life and communication. I think women should read about the Prophet (PBUH), about his life, his wives, his companions and his manners. The Saudi woman must balance and fully understand how to deal with both sides while forming her own unique identity.”

For those who are more traditional in their mindset and believe that women should prioritize their domestic roles in favor of pursuing their vocations, Maha Fitaihi is an example that a woman can do both exceptionally well. In fact, it’s doing both, and allowing one area of her life to inform the other, that helped Fitaihi thrive.

“I always wanted to have girls because I didn’t have sisters growing up. My sister was born when I had my third daughter,” she tells me.

“I prayed to God that I would have a lot of daughters. When I had my first daughter, I was so happy. When I had my second daughter, I was glad that my first daughter had a sister. When I had my third daughter, I was ecstatic. When I had my fourth daughter, I knew that it was a message. I was sure I had a mission. I realized I had to focus my energy on raising women. This message came to me through my daughters. Everything I did in my life to help women was influenced by my daughters. Everything I do, I do for them before anyone else.”

‫مها فتيحي ‪69 .‬‬

‫ملك فقيه ‪70 .‬‬

71 . ‫ملك فقيه‬

Malak Fakeih For Malak Fakeih, nostalgia is what fuels her urge to create, but is it a longing for something she knows, something she wishes she had experienced, or both? I sit down with the Jeddah-born visual artist over a hot cup of tea to understand how the concept of memory is illustrated in her work.

Words Nada Abdul Ghaffar Photography Silvia Drazdziulyte

72 . ‫ملك فقيه‬

“Nowadays, most Arab children go through identity issues, especially with globalization. I want to, even in the smallest of ways, help bring youth back to their roots by reminding them of all the beautiful traditions in our culture, like spending time with grandparents, eating on the same table, preparing for Ramadan’s groceries, and gathering to watch TV after Maghreb prayer together.” Seeing the connection between the power of nostalgic branding and how closely she holds her own childhood memories, Fakeih saw the potential in her approach. “What I found most amazing is that, when a person feels nostalgic, they automatically feel happier,” she says.

Fakeih is in her twenties, petite with a larger-than-life personality and an endearing childlike quality that comes across in her manner and the characters she makes up. She finds joy in spending countless hours watching home videos, noticing how she changed over the years, but also how she hasn’t. “I would like to bring back the best part of my own childhood through my work. I guess what I would like to instill most of all is the value of communication and human interaction. Some things can’t be taught in a classroom and this is one of them. In addition to that element in my work is a taste of our Arab culture. Nothing makes a child feel more loved than a sense of belonging.” One thing’s for certain, when it comes to doodling, Fakeih has not changed.

If you accidentally leave paper napkins and pens near her, you’ll find that she has illustrated the café she’s in, a stranger sitting next to her, or conjured up a character from her imagination with a name and a detailed backstory. “I remember always doodling on tissue boxes and my mom would know where I was by the traces of drawings I left behind.”

“Sometimes it takes war to recreate patriotism. People only realize the value of something when they are in fear of losing it” The artist is positive that, someday, Arabs will cherish their customs rather than reach out to Western influences. “The country should hold more cultural events that celebrate the old remnants of the developing city, ones entire families can go visit together so that grandparents can bond with their grandkids. That way children will take more pride knowing the part their descendants played in the community. There aren’t many events like that taking place – especially ones women can attend.” I tell Fakeih that, from my point of view, it has recently become trendy to be influenced by Arabic culture in graphic design and visual communication. “I do too, and I’ve noticed that it started to happen in 2010 with the start of the Arab spring,” she says. “Sometimes it takes war to recreate patriotism. People only realize the value of something when they are in fear of losing it.” Fakeih will cross oceans to learn more about where she comes from and to study areas such as Islamic Art. “Visiting Granada in Spain was a life-changing experience,” she reveals, “My whole perception of Islamic art has been altered.

There is so much soul and depth into every repeat and pattern.”

Fakeih has recently recreated posters of classic black and white Egyptian movies, which you’ll find in the following pages, and reinterpreted them in her own way.

73 . ‫ملك فقيه‬

“I want to, even in the smallest of ways, help bring youth back to their roots by reminding them of all the beautiful traditions in our culture”

‫ملك فقيه ‪74 .‬‬

‫ملك فقيه ‪75 .‬‬

Words Sara Serafi

76 . ‫ممحي وليس منسي‬

Artwork Bayan Abdullateef

Faded But Not Forgotten Like a distant desert mirage, Saudi Arabia’s surface image is deceiving, as it can come across as a petrol-infused and recently industrialized land. However, brush off the sand and you may just uncover hidden stories waiting to be retold. Sara Serafi takes us on a journey to the past and invites us to rebuild the region of Hijaz, one landmark at a time.

The region of Saudi Arabia has immense historical and religious sites dating back from the pre-Islamic ages, the Prophet’s times and the Ottoman Empire to our present day. The need to acknowledge, protect and hold on to our rich heritage is a pressing matter and vital necessity. With the eminent danger of being easily swept away in the currents of our increasingly fast-paced, consumer-driven, and technologically dominated lives, that urgency has proven its timely relevance in today’s world.

I began to grasp the true sense and value of preserving heritage; the one lived and breathed by my grandparents and their parents, not the one represented by mere dates in history books. When speaking about conservation, we shouldn’t only aim to protect and acknowledge the tangible elements such as ancient structures or monuments but equally the intangible; the life created around those concrete structures such as music, dance and stories passed down orally through generations.

Looking at the bigger picture, the true understanding of heritage relates to so many important underlying notions. Issues such as identity, community, attachment, and a sense of belonging are some of the deeply embedded layers associated with that meaning.

Another striking observation I made during my time abroad was through stumbling upon several museums with permanent exhibitions dedicated to historical Middle Eastern and Islamic art.

Walking through the vast halls and looking at how thoughtfully and respectfully our culture is presented prompted me to wonder why galleries, especially ones focused on our own culture, aren’t as widely available in our own countries. This epiphany made me realize the importance of having local control over how our culture is represented in order to protect it from misinterpretation or misrepresentation by exterior forces.

“I began to grasp the true sense and value of preserving heritage; the one lived and breathed by my grandparents and their parents, not the one represented by mere dates Sweeping Sand Dunes in history books” My first-hand experience with this issue emanated while I was pursuing my MSc degree in Sustainable Heritage at UCL, London.

As soon as I began the course, I was bombarded with questions from extremely eager colleagues and professors yearning to learn about Saudi customs, traditions and architecture. To them, Saudi Arabia was this mysterious and intriguing far-away Saharan Kingdom. To me, it was simply home. Yet my inability to fully answer all their queries proved how little I actually knew about the history of my own country, and only then did the gravity of this issue hit me hard.

Since the discovery of oil in 1938, Saudi Arabia has witnessed a massive boom in development, rapidly moving forward, focusing on the future without stopping for a second to look back. While no one can deny the importance of a country’s growth, those factors should not be prioritized at the expense of disregarding the country’s cultural background; an element that should in fact act as a reference point.

Today, Saudi’s heritage sector is faced with a number of threats and challenges. While globalization and rapid urbanization are two of the most prominent risks, other obstacles such as lack of local expertise, resources and knowledge also stand in the way of allowing our country’s identity to be accurately represented by its local inhabitants; consequently, giving outsiders control on how our story is told.

77 . ‫ممحي وليس منسي‬

“People moved out of the old area of AlBalad in favor of more modern lifestyles in newly developed districts”

“Another important issue we face in Saudi is heritage detachment,” says Rana Al-Kadi, an architect and PhD student specializing in Restoration and Conservation Studies. “During my studies abroad, I saw that heritage was a part of everyone’s daily lives; from the doorman to the university scholar. They were all aware of their culture and extremely proud of it. Unfortunately, this is something we lack in Saudi; our backstory is still merely viewed by many as abandoned homes that were left exposed and prone to damage. dates in history books that are memorized to pass school exams The neglect that came afterwards harmed the area’s chances of becoming a well-preserved historic city center. This affected not and then forgotten not long after that.” only the area’s physical urban structure but also the social dynamics and sense of community that exuded warmth. Neighborhoods with outdoor courtyards that acted as meeting points for families were substituted with isolated houses hidden behind gated concrete walls. Walking through Al-Balad today, the past image of a lively district filled with market stalls and rawashin-adorned houses is replaced by a deserted slum-like neighborhood marked by tracks Thankfully, there’s positive awareness and recognition revolving of time. Houses are covered in cracks, almost like an old man’s around Saudi heritage today. “This could be an opportunity to turn wrinkled face. The once picturesque alleyways have turned into things around,” says Alkadi. “One way of doing so is to introduce unpaved broken roads and wholesale outlets have taken over the heritage in school activities. Museum trips and interactive history past’s dynamic market scenes. classes will make the younger generations feel involved and instill a sense of pride in their culture and history from a young age.”

Fortunately, during the past few years, the area has witnessed a

“Today, Saudi’s heritage sector is faced with a number of threats and challenges”

An Old Soul: Al-Balad The city of Jeddah is considered one of Saudi’s most prominent and touristic cities. Tucked away in its center is ‘Al-Balad’, the city’s historic area, a cultural treasure and an integral part of Jeddah’s identity. Dating back to more than four centuries, it’s known by many as the “Heart of Jeddah”. Characterized by its narrow alley ways and distinct Hijazi architecture, the area of Al-Balad provides a mesmerizing sensory experience with the captivating market spice aromas, scenes of shaded courtyards filled with friendly chatter, children running around laughing and playing football, and the sounds of prayer calls playing with one’s heart strings. Today, it is merely an echo of what it used to be.

Due to Jeddah’s rapid urban development over previous decades, people moved out of the old area of Al-Balad in favor of more modern lifestyles in newly developed districts, leaving behind

notable increase in the recognition geared towards it. People have become fond of its charm and rejuvenation plans are underway in the hopes that it will regain its former glory. Efforts included the physical aspect of restoring houses as well as revitalizing it socially.

Several festivals that take place during Ramadan and Eid seasons, such as ‘Kunna Kida’ that translates to ‘the way we were’, aim to recreate the Hijazi lifestyle in the area through different attractions.

Those initiatives, attracting around a million locals, proved to be successful in re-engaging the public with the area and showing them firsthand how previous generations lived. Al-Kadi also adds that, “we now have to start dealing with Al-Balad as a historic site, not just a touristic destination, and should start thinking of how to add an educational aspect to the visiting experience.” Al-Balad’s recent addition to UNESCO’s list of World Heritage Sites is a testimony to its value and only adds to the responsibility of tending to the area’s well being. “Potential in the area is very high”, says Rana, “and with all these positive changes taking place today, Jeddah and Al-Balad have started a heritage recognition boom that will hopefully catch on in other cities around Saudi.”

78 . ‫ممحي وليس منسي‬

“The real challenge with Makkah’s is the attempt to balance the need to carry out new development projects to accommodate increasing annual visitors vs. the need to protect important historic sites from being demolished”

79 . ‫ممحي وليس منسي‬

A Holy Safe Haven: Makkah

Coming to Light

For centuries, Muslims from around the world have visited this sacred land, one of Islam’s Holy sites. It is the birthplace of Islam, the Prophet Mohammed, and the place of his first interaction with the Quran. The city, which is inhabited by over 2 million people, is considered a melting pot of different cultures coming together to attain the same divine purpose. The number triples during Hajj by those fulfilling pilgrimage duties.

Lately, the country has shown an increased concern towards the heritage sector, with many emerging organizations such as the Saudi Heritage Preservation Society, the Saudi Commission for Tourism & National Heritage, and others dedicating their efforts towards revitalizing Saudi’s lustrous history and culture.

Makkah’s status as a religious sanctuary gives it the added significance of not only representing Saudi’s heritage but Islam as a whole; making preserving the city’s image, identity, and cultural fabric a huge responsibility and necessity. Receiving millions of visitors throughout the year, the real challenge with Makkah has proven to be the attempt to balance the need to carry out new development projects to accommodate increasing annual visitors vs. the need to protect important historic sites from being demolished. More importantly, protecting its true essence, the intangible spiritual factor that all those visitors covet to experience, is key. Today, Makkah is a pulsating heart that is beating for billions, and the ever-changing face of the Ka’aba is at its core.

The past modest structure of the Holy Mosque and the Ka’aba was surrounded by proportionally-sized buildings, market stalls, and a natural mountainous landscape. Today, it is completely replaced with massive skyscrapers, global franchises, and huge shopping malls with fluorescent international brand signs that are seen from miles away.

With the Holy Mosque acting as the city’s focal point, Makkah’s development over the years has been directly linked to the Mosque’s expansion phases. Saudi Arabia is devoted to giving more Muslims the chance to perform Hajj. It has recently began its fourth expansion plan for the Grand Mosque, the greatest ever in the mosque’s history, which will provide the needed space two million worshippers. Unfortunately, to meet expansion needs, important historical sites such as the Prophet’s wife’s home and structures dating back to Ottoman times were demolished. The projects that took place and the dramatic changes noticed in Makkah’s appearance over a short period of time prompted resistance and emotional reactions from many. It is almost paradoxical, Islam continues to grow as a religion, but we continue to obliterate its physical traces.

Dr. Sami Angawi, an Architect and founder of the Hajj Research Center, dedicated his Masters, PhD studies and many work projects to the topic of Makkah and its preservation. He suggests that, “the way to preserve that spiritual aspect is for the Ka’aba to act as the scale reference point when carrying out any development projects.”

Now, while no one can deny the importance of development in Makkah with the pressing need to accommodate more visitors, people should understand that development does not necessarily have to mean demolishment. Dr. Angawi admits that, “yes, we have to live with the times. However, we must not forget our roots while doing so,” adding, “Can a tree live without its roots?”

There is definitely immense potential in the country that requires direction, guidance and the rebuilding of ruins, both literally and figuratively. With that said, it is our responsibility and obligation to help ensure reaching that potential and protecting our own culture.

Having local control is the way to ensure our legacy’s longevity. For that to be achieved, we need local talents, expertise, knowledge and resources in addition to the participation of younger generations. Our past should not overshadow the present, but act as a light directing us to the future.

Finally, to end with some food for thought, why should we go abroad to attain knowledge on issues relating to our own culture and history? What will it take for us to realize the urgency of protecting and having control over our own heritage? What can we do to rejuvenate it? And lastly, as we are all part of this moving notion of time, is this all we want to leave for future generations to come?

‫‪80‬‬ ‫باوزير‪80. .‬‬ ‫ريمباوزير‬ ‫ريم‬

81. .‫باوزير‬ ‫ريمباوزير‬ ‫ريم‬ 81

REEM BAWAZEER From a Wide-Eyed Lens: Jeddah is the visual narrative by the photographer and graphic designer Reem Bawazeer. She takes her viewers on a journey to some of the city’s hidden gems that have formed its culture and made it what it is today. Districts like AlBangala and AlHindawiyya are explored from a new perspective.

Buy the book and discover the stickers and stencils at the back that will allow you to interactively engage with these places.

‫ريم باوزير ‪82 .‬‬

‫ريم باوزير ‪83 .‬‬

‫ريم باوزير ‪84 .‬‬

‫ريم باوزير ‪85 .‬‬

‫ريم باوزير ‪86 .‬‬

‫ريم باوزير ‪87 .‬‬

Intro Nada Abdul Ghaffar

ّ 88 . ‫نعمة نواب‬

Photograph Bahi Mashat

The poems you are about to dive into are by the Saudi-Malaysian artist Nimah Nawwab, a Mecca-born poet, writer, editor and photographer. Nawwab, who hails from a line of Meccan scholars, has been nominated for Young Global Leader and has been ranked No.6 among the Most Extraordinary 100 Muslim Women Past and Present.

Her best-selling book, The Unfurling, in which we give a glimpse of here, has sold over 7000 copies worldwide. It is the first poetry volume by a Saudi writer to be published in the United States and to have a book signing of it’s kind in the Kingdom. This has led to another noteworthy book signing in Washington D.C, a tour of lectures from East to West, and another best-selling book, Canvas of the Soul.

Nawwab has participated in numerous exhibits such as Hajj Through Art Exhibit, held jointly with the British Museum. On occasions, Nawwab preforms her poetry live with a group of musicians, as she did recently during the Rumi Forum in Spain.

Through her written and spoken words, Nawwab has been able to shift perceptions on Islam and the Middle East, stimulate imaginations and stir something inside of those who come across them. Always soft spoken, Nawwab delves into women’s rights, cultural heritage, diversity, peace and spiritual faith.

Her interactive lectures cover topics such as economy, leadership and education reform. Her hands-on approach to nurturing creativity has led her to be a judge on panels and mentor an array of artists including photographers, writers, musicians, calligraphers, and filmmakers. She has passionately taught them how to weave together the different art forms, as she does.

Nawwab lives in Dharhan, Saudi Arabia, with her husband and two children, Aminah and Ibrahim.

NIMAH NAWWAB

‫ّ‬ ‫نعمة نواب ‪89 .‬‬

ّ 90 . ‫نعمة نواب‬

FIERY EMBRACE

Small slender wisps unfurl, Flames flicker, Fire soon follows, The blaze spreads, Fiery deluge feeds, consumes, devours, Time and fire, fire and time Speed on, and on and on...

Wails arise with the breaking news, Denial, Shock, Immobility, Panic, Slow movement, Jerky, hasty movement, The stampede begins.

The lucky first racing onto the street, Crying out for help, Crying in relief, Assistance arrives, Finally, oh deliverance at last.

Shouts ring out enflamed with rage, “No, go back, go back, your abayas, How can you leave uncovered, Unshielded from male eyes?”

Fanatical figures shove them back, Back into the inferno, Back to burning halls of learning.

Girls screaming, Teachers shouting, Frenzy reigns, Classes running amok, In the Holy City’s school.

“Your abayas, Cover up, How dare you?

Go back,” they bellow Rough hands, Dark visages, Raised voices do their work, Relentless in their self-appointed, protective mission.

Corridors fill up, staifways too, Tempestuous fire surges, girls surge on, The race is lost, Pile ups begin, Bodies jamming, Colliding, Toppling over, Falling, Running figures tread over the fallen.

Cowering young girls, Dragging their feet, Retreat, To the grisly scene.

Gazes turn inward bid farewell to hope, One last outward, backward glance, Bidding farewell to the clean air, busy street, Bidding farewell to their family, future Bidding farewell to their very lives.

ّ 91 . ‫نعمة نواب‬

THE HIDDEN LAYERS

Some think I am hiding Underneath my long black cloak, With little narrow slits for my eyes, Cloaked in mystery, medieval modesty, Wondering, what is going on behind the mask?

Comfortable with their own tunnel vision, Construing their own scenarios, Little knowing that I am proud, Proud of my identity, Proud of my femininity, Proud of my spirit, My faith, My mind, not just my body, Proud of my heritage, culture, long-entrenched traditions.

But modest in my dress, Modest in my demeanor, Modest in my expectations, Viewing the world with sharp eyes, Viewing all with curiosity and a thirst to learn.

Does my cloak, my masked visage, Long viewed by outsiders with pity, Barricade me from the world?

Or does it open up vistas of wonder, Open up doors for exploration into the unseen, Open up the world through a different hidden sharp lens?

My world is my oyster, as it is for my unveiled sisters.

Their choices are made as are mine.

I remain cloaked, they remain uncloaked.

All united by unbreakable bonds of sisterhood.

ّ 92 . ‫نعمة نواب‬

THE REVERED WORD

We reside in the land of words and letters where letters burst forth with every drop of water poured forth with floods of rain where letters were birthed with the birthing of humanity as every word became an island to live on every word became a wave racing along the coasts a haven in the scorching heat a balm under shielding palm trees As uncharted history unfolded its pages in reams of forgotten ages and the world of words rose, amassed, coalesced through poems and celebrated songs perfuming the very air with revered resonance As the blade of the mighty, magnificent pen sliced through to conquered reason carrying forth the message, the Amanah, the Trusted Messenger bore forth the ultimate of ultimates In words beyond the ken, unsurpassed eloquence mighty wisdom in savored, solid passages for mankind to live and be lived. *Amanah: trust

ّ 93 . ‫نعمة نواب‬

THE UNFURLING

Peeking out, Shyly striding into the light of day, A sliver of radiant hope Finally dares to step out.

The emotional tides Sweeping her inner core, Bombarding her relentlessly, Till the stifling walls in her harden, Harden, harden, harden and crack, Ominously.

Emerging a woman strong, Proud, Confident, Unafraid of her limitations, Wise beyond her years, Taming the tides, Gracefully and skillfully, Strong and ready To take on the coming storms of life.

The sliver fans out, Spreads into a radiant shining Circle of Light.

ّ 94 . ‫نعمة نواب‬

RIPPING THE VEIL The aim of my search What search? is ever present on arising and falling asleep As paths converge and time descends with merciless claws I sink deeper into questioning deeper into visions deeper into prayers rejecting sleep, rejecting inhibitions heanbeat raised, voice hushed, tears a constant companion till each hitched breath is a willing sacrifice given freely, joyously For my passing without Your Love without a glimpse of Your Beauty without the feel of Your Grace without the touch of Your Curing Presence is not the search it is the goal unbound, unveiled The Unseen World is but an open doorway to You, to You, to You as the veil is finally torn aside The shoreline of Hope is glimpsed and time surrenders, melts away as your Names of Power shine forth taking on solidity and shape A sparkling, potent web of Eternal Love embraces all, embraces all.

‫ّ‬ ‫نعمة نواب ‪95 .‬‬

96 . ‫موضة‬

The top with fringe detailing is by Gayeon Lee, the skirt is by Apu Jan

Photography Nocera&Ferri Styling Nada Abdul Ghaffar Makeup Samanta Falcone

97 . ‫موضة‬

Hair Kirsten Klontz Model Grace At Established Studio 69 Drops Studio

HANGING BY A THREAD From fuzzy wool, faux fur, and unraveling knitwear, we play dress up with winter’s softest textures

The faux fur lined jumper and maxi skirt with the enlarged pockets are both by MING Right: The monochrome sequin and leather jumper and pinstripe and wool pants are by Jamie Wei Huang and the boots are by Maison Martin Margiela for H&M

98 . ‫موضة‬

‫موضة ‪99 .‬‬

‫موضة ‪100 .‬‬

101 . ‫موضة‬

The knit sweater is by Shao Yen and the leather sandals are by COS

102 . ‫موضة‬

The leather top, sheer sleeveless coat and pants are by Shuan Harris Right: The matching sweater and skirt are by MING and the white sneakers are by H&M

‫موضة ‪103 .‬‬

104 . ‫موضة‬

The faux fur jumper and pants are by Jamie Wei Huang and the brogues with gold metallic detailing are by Sandro Right: The wool top with the buckle straps is by MING

‫موضة ‪105 .‬‬

‫ّ‬ ‫المصممات ‪106 .‬‬

ّ 107 . ‫المصممات‬

PART THREE: THE DESIGNERS

108

144

Moja Majka

In Her Shadow

The mother-daughter duo behind the Turkish hand-stitched kaftans

Beauty

118

Razan Alazzouni The sculptor turned fashion designer

128

The New Generation

150

Made In Arabia The clutches that are making waves in the fashion industry

156

It’s All In The Details Fashion

Fashion

140

Deena Aljuhani Abdulaziz D’NA boutique’s founder and head buyer

166

Reem’s Kitchen Eastern recipes meet Western delicacies

108 . ‫مويا مايكا‬

The Making of Moja Majka Each Moja Majka kaftan is a testimony of the pure love, dedication, and attention to detail that the founders and the artisans involved emanate. Every fringe is considered, every patchwork has a story, and every inch is made entirely by hand. I get to know Sarah and Surreya Barli Basaad, the mother and daughter duo behind Moja Majka, which aptly means “My Mother” in Montenegrin.

Words Nada Abdul Ghaffar Photography (Founders) Rana Khogeer

‫مويا مايكا ‪109 .‬‬

110 . ‫مويا مايكا‬

Nada: Tell me more about how Moja Majka was born?

Sarah: It goes way back to when my grandmother passed away.

When she died, my mother started making rosaries to distract herself from the pain. My grandmother always collected antiques.

We were coming back from Turkey to Saudi Arabia and it was the same year that Amy Winehouse passed away. We were listening to the song Back to Black on the plane. However, we didn’t want to go back to black anymore in terms of abayas. One day, my mom decided to make herself an abaya that wasn’t black, a kaftan, and she used my grandmother’s patch. Someone liked it and that’s how it grew. We started to collect valuable antique pieces from around Turkey. Even our logo, which is Elibelinde in Turkish, means hands on the hips. It is a sign of fertility and femininity. It’s all about the details with our brand.

N: Was your grandmother also artistic?

S: Yes! Because of the war in Bosnia, she moved to Turkey, and she started doing block prints, crochets and embroidery. That’s why we began our block print series. We want to keep my grandmother’s traditions alive.

“It’s all about the details with our brand” N: Is the kaftan entirely handmade?

S: Yes, everything is handmade. The fabrics are woven. We manufacture the linens. They’re all organic. Even our prints are vegetable prints. For the latest collection, we started weaving thinner fabrics that are more organic and authentic. It’s all made by women in Turkey.

N: Why is it important for you that it’s made by women?

S: I think it grew from my grandmother. There’s meaning in everything we do. There are a lot of women who are not working and we want to help and support them.

Surreya: Sometimes the patches feel like Picasso paintings. They put their happiness, obsession, hopes, dreams and everything else in them.

S: Mom always says, ‘I wonder what they were feeling, thinking or going through when they did this.’ It’s a piece of art. Nowadays, everything is manufactured to sell. There are no emotions. These patches, as mom said, are full of emotions, hopes, dreams, and sadness.

N: Do you ever consider working with women in Saudi Arabia?

S: One of our long-term plans is so reach out to Saudi women who can also do hand embroidery.

Surreya: In Turkey, our government actually supports these kinds of artists. They get teachers to teach the housewives and they give them small funds to start their own businesses. They encourage them to pursue institutional work at the same time. The government in Saudi Arabia should do the same thing.

S: What’s sad is that a lot of women here spend most of their time at home. They can do a lot from home and they can produce many things by hand.

Surreya: I’ve been here for 33 years. I’ve seen a lot of change. But there’s a need for vocational schools and institutions that teach crafts such as tailoring and pattern cutting.

N: Moja Majka came at the right time, when women started to open their minds about colored abayas and fashion.

S: Yeah. We’ve been doing this for three years but it boomed in the passed year with social media.

Surreya: We have to give ourselves credit because we’re the first ones to do something like this with color. Now it’s super popular.

S: I don’t really like calling them abayas because they’re more than that. They’re multiuse; you can use them abroad and even on the beach. With Moja Majka, only one of each is made. A kaftan abroad is a luxury, but here, it’s a necessity.

N: I like how it can appeal to all age groups. Do you think you’ll branch out into other products?

S: Yes, we want to branch out into home furniture. Furniture lives long.

That’s the point of our kaftans. We want them to live long. They age nicely. Even if you wear them a lot, you can always get them fixed and use your own antique patches. Nothing lasts long nowadays.

We also have some high-profile male clients who we custom-make kaftans for. We take baby steps. We don’t rush into things.

Surreya: We get there slowly but surely.

N: What are some of the challenges you faced and overcame in creating this business?

S: It all came together naturally. The main challenge is producing in Turkey and bringing it here. We would like to have a base in Saudi but it’s impossible because we don’t produce here. Everything is raw in Turkey so it’s much easier to produce there.

Another challenge is knockoffs. It bothered us to see people doing similar things but our customers know us, the identity of the brand, and the story behind it.

N: What advice would you give young Saudi entrepreneurs wanting to work in fashion?

S: You know, I studied fashion in Florence, and I was a fashion tutor for three years in MITM in Jeddah. The students came from all over Saudi Arabia to study fashion. I worked in Turkey in different fields and I worked as a buyer in Jeddah. When I taught fashion, I saw that they were very passionate. There is potential. However, like I said, people here are very money-oriented. They want to get famous. I recommend finding your passion first, whatever it is. That’s what mom taught me. She taught me to nurture my passions.

N: You were probably the only Saudi girl in Florence at the time.

S: Yeah I was. I was afraid because, at the time, there weren’t many who graduated with a degree in fashion design so there wasn’t much to do in Saudi. I’m a perfectionist. I wanted to wait until the right thing came along. But my mom wanted me to work and my dad told me I should start my own business. I didn’t feel confident with the country or with Jeddah. Suddenly, everyone was a fashion designer. I didn’t want to use that label because it felt like everyone else was, even though that’s what I studied. I like to call myself a creative director instead.

“A kaftan abroad is a luxury, but here, it’s a necessity”

111 . ‫مويا مايكا‬

“There are a lot of women who are not working and we want to help and support them” N: How are your individual roles different in the business?

S: We split things in half. We work and design together. It depends on our mood. We turn the music on and we just work in a peaceful state of mind. We know that we need beige kaftans and black ones. We were against doing black at first but women want that as well. We have two lines. We provide casual kaftans and couture-like ones, which are all hand-stitched, embroidered and embellished.

N: Where do you see the label in five year’s time?

S: I would like to expand into more stores in other countries. We sell our things in Abbot Kinny in LA. I was just walking down the street and someone from the store stopped me to ask where my kaftan was from, and I said it’s my design! She then asked me if I would like to sell it in the boutique. I don’t want to franchise Moja Majka. My dream is to have my own boutiques in different cities around the world, places like Mykonos and Sardinia, a physical space where I can put my spirit in.

‫مويا مايكا ‪112 .‬‬

‫مويا مايكا ‪113 .‬‬

‫مويا مايكا ‪114 .‬‬

‫مويا مايكا ‪115 .‬‬

‫مويا مايكا ‪116 .‬‬

‫مويا مايكا ‪117 .‬‬

‫ّ‬ ‫رزان العزوني ‪118 .‬‬

ّ 119 . ‫رزان العزوني‬

Razan Alazzouni It only took designer Razan Alazzouni a couple of years to launch a fashion label with her sisters, one that is known today for its graceful designs and signature artisanal touch.

Established in 2009, Alazzouni has become one of Saudi Arabia’s most successful fashion designers, noticed by the likes of Vogue Italia’s Franca Sozzani at the talent showcase for the Vogue Fashion Dubai Experience and worn by celebrities such as Whitney Port, Taylor Swift, and Emma Roberts.

Words Marloes Hagenaars Photography Silvia Drazdziulyte

ّ 120 . ‫رزان العزوني‬

For her latest spring summer 2016 collection, fine embroidery is sewn on playful shapes to create elaborate textures, while the beading is constructed using unexpected materials. “We always try to push the boundaries when it comes to creating new techniques,” says the designer while revealing some of her latest pieces. Skirts, dresses, tops and blazers are displayed on black swede hangers in a decadent showroom with a high ceiling and Victorian style furniture.

In the middle of the room, a marble table showcases fine pieces of jewellery in gold, grey and silver, encrusted with white pearls.

As is the case with many fashion designers, she reveals that her mother was one of the key influencers in her decision to become a designer. “As a child I used to watch my mother as she got dressed for an event and it was so fascinating, I think she’s one of the most stylish women I know today,” says Alazzouni smiling. At the early age of eleven, Alazzouni discovered her talent for design when her mother bought her a small sketchbook. “I started drawing fashion gowns, skirts, tops and I never stopped,” she says.

Charming, passionate and poised, Alazzouni is dressed today in a crisp white top from her previous collection, combined with black trousers from Zara and embroidered shoes from her latest collection. “I like to mix my own designs with other items because this is how I imagine the brand to be worn. I always create a lot of separates for women to mix them with their pieces so that they can make it their own. When you go to work, this blazer can be worn with trousers, or this skirt can be worn with a timeless white blouse,” says Alazzouni while enthusiastically pulling out some of the designs from the rack.

Born and raised in Al Khobar, Saudi Arabia, Alazzouni was surrounded by everything from the eccentric abayas to form-fitted evening gowns. “Saudi women are the most fashionable in the world. Fashion has always been such a big part of the Saudi culture and the women are very avant-garde. We have so many evening occasions like dinners, gala’s, Eid, and weddings and these women are always able express themselves through fashion, even when they wear the abaya,” says Alazzouni. However, she felt that the environment was not very conducive to artistic creativity. “Back in the day, there were hardly any art galleries since artists weren’t supported. But everything has changed now, especially with the Internet. There are loads of talented, emerging Saudi artists today.”

When the Alazzouni family moved to Boston, the designer was determined to apply to The School of Museum of Fine Arts and TUFTS University in Boston, where she ended up spending her college years. She concentrated on sculpture, screen-printing and papermaking, but when she graduated, Alazzouni was drawn to fashion. “I immediately started drawing again after I left university and this time I was very determined to create my own fashion line.”

When her sisters Salwa and Raya came on board, the company launched its first collection under the brand’s name in 2009 and has grown steadily ever since. “I’ve learned so much from starting my own business. Figuring out the budgeting, marketing, design and realising that about seventy percent of the brand is about business and only thirty is about the design. I’m very lucky to work with my sisters because I’m constantly surrounded by people who love and understand me. We work really well together since we each have our own departments, my sister Raya does the marketing and Salwa the finances, so we don’t step on each other’s toes,” says Alazzouni.

“Figuring out the budgeting, marketing, design and realising that about seventy percent of the brand is about business and only thirty is about the design” As the company grew, Alazzouni became known for a strong signature look. It’s a spirit of playful elegance combined with handcrafted intricacies and Middle Eastern tradition, which is visible in her latest spring summer collection. “My inspiration came from the luscious prints and rich textures of Persian rugs and we were able to translate that into the embellishment and beading,” says Alazzouni while pointing at the fine threads of stitching on a white top that resemble the fringes at the end of a rug. “I wanted this collection to be warm but with a fresh summer feel, so there are a lot of nudes, whites, blue, gold and hints of orange.” As she takes me through her collection, the tweed, tulle, organza and mesh balance each other surprisingly well. Not only does she have an eye for detail but also clearly enjoys the process of searching for the right materials to work with. “This is a very special piece,” says Alazzouni while pulling out a long hand-embroidered evening gown. “The fabric is metallic mesh and, as you can feel, it’s very light-weight. If you wear it, you can easily run in it.”

“My inspiration came from the luscious prints and rich textures of Persian rugs and we were able to translate that into the embellishment and beading” The a-symmetrical cuts make it a very youthful collection while the three-dimensional quality clearly shows Alazzouni’s background as a sculptor. “When I design, I’m playing with light and layering since it creates reflections and gives dimension and depth to the clothing. Customers often find the price point pleasing for the amount of work that is put in. Our aim is to create ready-to-wear couture since the garments should be wearable pieces during the day and evening. This is not something you will see at other fashion houses. This season it was the fringe, a really challenging thing to work with but we kept pushing it and I feel that it complements the collection really well,” says Alazzouni.

With more attention from women, both Saudi and international, and the fashion industry itself, Razan Alazzouni has grown into a successful brand, and the designer as a renowned style ambassador that represents her country and region. It was time for an expansion with jewellery, accessories and shoes. “I’m actually wearing the shoes from the latest collection today and just can’t stop talking about how comfortable they are, and I’m not just saying that because I designed them,” says Alazzouni elatedly while showing off her light-blue hand embroidered shoes. “This is a new field for us and it’s totally different from designing clothes, but it’s something I’m really loving.” When proposing the idea to launch a shoe collection next year, Alazzouni beams and her eyes light up. “We’re actually in the process of designing high heels at the moment, so maybe there will be a shoe collection within a year.”

Photography Silvia Drazdziulyte Styling Nada Abdul Ghaffar Hair Tomoko Oda Makeup Polly Mann

ّ 121 . ‫رزان العزوني‬

Studio Park Royal Studios Model Simone at Bookings All Clothes by Razan Alazzouni Shoes by River Island

‫ّ‬ ‫رزان العزوني ‪122 .‬‬

‫ّ‬ ‫رزان العزوني ‪123 .‬‬

‫ّ‬ ‫رزان العزوني ‪124 .‬‬

‫ّ‬ ‫رزان العزوني ‪125 .‬‬

‫ّ‬ ‫رزان العزوني ‪126 .‬‬

‫ّ‬ ‫رزان العزوني ‪127 .‬‬

Photography Nocera&Ferri Styling Nada Abdul Ghaffar Makeup Snowkei Lan

128 . ‫موضة‬

Hair Tomoko Oda Model Jebediah at MILK Studio 69 Drops Studio

THE NEW GENERATION London, a city like no other, is a creative incubator for young designers like Sadie Williams, Danielle Romeril, and Minki Cheng, who are celebrated on the following pages

129 . ‫موضة‬

The hand-painted top is a collaboration between surface textile designer Camila Lopes and womenswear designer Catherine Wang

‫موضة ‪130 .‬‬

131 . ‫موضة‬

The quilted leather dress is by Danielle Romeril Left: The satin top is by Martine Jarlgaard

132 . ‫موضة‬

The soft knit top is by Helen Lawrence, the wool and leather skirt is

by Steven Tai, the white leather sneakers are by COS

‫موضة ‪133 .‬‬

134 . ‫موضة‬

The mixed plaid and leather top is by Danielle Romeril Right: The cropped leather jacket, top, and skirt are by Martine Jarlgaard

‫موضة ‪135 .‬‬

‫موضة ‪136 .‬‬

137 . ‫موضة‬

The geometric rubber and satin top and skirt are by Minki Cheng Left: The hand-painted top is a collaboration between surface textile designer Camila Lopes and womenswear designer Catherine Wang

138 . ‫موضة‬

The black wool and knit jacket and high-waisted skirt are by Minki Cheng Right: The metallic printed top and pants are by Sadie Williams

‫موضة ‪139 .‬‬

‫دينا الجهني عبدالعزيز ‪140 .‬‬

141 . ‫دينا الجهني عبدالعزيز‬

l A juhan a n e e iA D

bd

az

ul

iz

It wasn’t easy to get a hold of D’NA’s boutique owner and fashion buyer, Deena Aljuhani Abdulaziz. She’s been traveling around the world for over a month attending the shows of her favorite designers and discovering new ones.

Talent scouting is a flair she has nurtured into a lucrative business with a tailored-to-fit approach to retail. Today, Abdulaziz overlooks two exclusive stores in Doha and Riyadh. Despite being part of the international fashion scene and making it on the Business of Fashion’s list of the 500 Most Influential People Shaping The Global Fashion Industry, Abdulaziz remains an enigma, one with an encyclopedic knowledge of fashion and a wardrobe to match.

Words Nada Abdul Ghaffar Artwork Louise Clifford

142 . ‫دينا الجهني عبدالعزيز‬

Nada: How was fashion month for you? Any highlights?

Deena: It tends to be a hectic period for me as I’m juggling both shows and buying appointments but it’s important to go to both as it exposes you to new talent. Visiting showrooms is an opportunity to discover designers, and although I love New York and Milan, Paris will always be, in my mind, the center of fashion creativity because it attracts designers from all over the world.

This is where Ellery shows, an Australian designer with a unique sense for detail, materials and unusual proportions. Among the new labels I’ve picked up this season is the Russian label, A.W.A.K.E.

by Natalia Alaverdian. She plays with volume and textures in ways that look fresh and modern, and I love her take on longer lengths.

N: It’s known that you’re a fan of Azzedine Alaïa. What is it about him as a creator that appeals to you? Are there any other designers that you admire in the same way?

D: I always tell people I’m lucky that my introduction to the fashion world was through Azzedine Alaïa, who designed my wedding dress.

He’s not simply a designer but a couturier in the traditional sense of the word. He not only has an understanding of fashion history but also tailoring, construction and a deep knowledge of materials.

He truly is the last living couturier today and the master of them all.

When one looks back in history there are always certain designers who managed to make us look at fashion in a fresh way and push things forward. What links Helmut Lang, Azzedine Alaïa, Miuccia Prada, Saint Laurent, and Nicolas Ghesquière while at Balenciaga is that they each marched to their own drumbeat and had a distinct point of view.

N: You’re always referencing significant moments in fashion history on your popular Instagram account. Are their specific decades that continue to influence you?

D: I have always been fascinated by fashion and its history long before the advent of Google. I not only searched for information through fashion publications but I would seek out books to learn more. At the time I didn’t realize it, but that process trained my eye and informed the way I would approach dressing and fashion buying. But more than anything, it was the 1990s that really shaped my sense of style, as it was the most exciting time in fashion for me.

I always felt I had a good eye when it came to recalling iconic images and moments in fashion history. When I was very young, I used to cut images out of magazines and rearrange them to create mood boards on my bedroom walls. Even today I find myself doing the same think with Instagram; creating a series of images with related themes that touch on moments in fashion history.

You can’t innovate and move forward if you don’t understand what came before, and although fashion has grown as an industry and became more democratic, you find fewer people in the business today with a concrete knowledge of fashion history. It’s important to look at the past because there are lessons to be learned and that’s what gives depth to the work we do. I think the smartest designers don’t look to history to simply copy, but use it as a springboard for innovation. A perfect example is Karl Lagerfeld at Chanel, who has a deep knowledge of fashion history, yet is able to capture the zeitgeist in his collections each season.

N: How do you think fashion in the Middle East is evolving and what do you find most exciting? Do you think brands are catering to Arab women more so than before?

D: It’s an interesting question, because unlike China, India, Russia and Brazil, the Gulf region in particular has been home to luxury consumers since the late ‘50s, yet it’s only recently that the fashion world has taken notice of it. There was a time when there were only a handful of stores selling designer goods. Today, it seems like every label has a flagship from Riyadh to Dubai. In this context, it’s hard to think of the Middle East as an emerging market since it is home to several generations of luxury consumers who are very informed about what’s going on in fashion today.

I think the conversation about fashion in the Middle East shouldn’t simply be about how it’s evolving, but how it’s changing perceptions about the region. In the West, there’s a perception that women in the Middle East dress differently from their counterparts in other countries, which isn’t the case. There’s also a tendency to assume that Arab women will dress in an over-the-top way or prefer flashy designs.

In reality, women in the Gulf are very informed and sophisticated in their approach to dressing. It’s often overlooked that women in the region have been wearing couture since the ‘60s, so they know quality and workmanship when they see it. They will look at the kind of fabrics and finishing in a design before deciding to purchase it.

“When I was very young, I used to cut images out of magazines and rearrange them to create mood boards on my bedroom walls”

143 . ‫دينا الجهني عبدالعزيز‬

“I’m proud to say D’NA was one of the first retailers in the world to carry the likes of Jason Wu, Prabal Gurung, Proenza Schouler, Rodarte and Juan Carlos Obando”

We’ve also, in the last couple of years, begun seeing the emergence of local designers who are doing their part to change perceptions about the region. From the Gulf, I love the Saudi label RK Designs

by Reem Al Kanhal as well as the Doha based designer Wadha Al Hajri. They have a talent for translating traditional Arabian influences into thoroughly modern pieces.

N: You’re skilled at spotting fashion talent early on for DN’A. What’s the secret to knowing when to invest in a particular designer?

D: When I first started, the biggest challenge I faced was convincing designers to allow D’NA to carry them when I hadn’t opened the store yet. Most labels are looking for stores with at least six years of retail history, so I was asking them to take a risk with me, which paid off in the end. Now that we’ve established our reputation, the challenge is to not rest on our laurels and constantly look for new designers who represent the future of fashion.

D’NA has always been about creating a unique point of view when it comes to fashion. I often describe it as a walk-in magazine with inspiring editorials blending fashion, art and design. Since opening the first D’NA store in 2006, it has become a platform for emerging talent and part of what makes my job exciting is the thrill of discovering new designers and introducing them to my region.

I’m proud to say D’NA was one of the first retailers in the world to carry the likes of Jason Wu, Prabal Gurung, Proenza Schouler, Rodarte and Juan Carlos Obando. As a small-specialized retailer I can take risks on emerging talent and help nurture a following for them amongst my clients.

N: Have you been able to develope a deep understanding of your clientele over time?

D: What’s unique about the retail scene in Riyadh is that most of our customers are Saudi. Unlike other large metropolitan cities where retailers and department stores rely on foreigners and out of town visitors, which means we are buying with a specific local customer in mind.

The women who shop at D’NA tend to be very well read and traveled, so they are in search of something unique that also fits into their lifestyles. They tend to know about international trends and follow the major publications, but they aren’t necessarily looking for the latest styles. In Saudi we tend to wear long skirts and palazzo pants, so I will often order pieces from a designer’s collection in long, which we will then mix with items from other designers in the store to create a total look.

N: Who are some of the most influential women in fashion for you and why?

D: When I decided to open my store, I wanted to follow in the footsteps of pioneering women retailers such as Joan Weinstein of Ultimo, Carla Sozzani of 10 Corso Como, Maria Louisa and Linda Dresner. All these women had a unique take on style that in turn was reflected in their stores. It wasn’t simply about presenting the latest trends to customers, but offering a unique approach to dressing.

That philosophy informs the way I approach my own store today, so much so that I only wear the designers that I carry, as I firmly believe in standing behind any label I support.

Amongst fashion editors, I was always very inspired by the work the late Liz Tilberis did while editor-in-chief of American Harper’s Bazaar in the ‘90s. She transformed the magazine into a jewel box of ideas and imagery that still resonates with me today. I still own every issue of the magazine under her tenure, and they are as fresh and relevant as they were twenty years ago.

“I wanted to follow in the footsteps of pioneering women retailers such as Joan Weinstein of Ultimo, Carla Sozzani of 10 Corso Como, Maria Louisa and Linda Dresner” Whether it’s Daisy Fellowes in the 1930s, Bianca Jagger in the ‘70s or Tina Chow in the ‘80s, I’ve always been influenced by strong women with unique personalities who defined the era in which they lived.

N: Finally, what was the last exhibition you’ve visited?

D: I have to say the exhibition I’m looking forward to the most is the one devoted to Jacqueline de Ribes’s wardrobe this fall at the Met’s Costume institute. Harold Koda, the Costume Institute’s curator, spent six months combing through 1,000 pieces of de Ribes’s haute couture collection and her own designs. She was the epitome of Parisian elegance and was among the “Swans” photographed

by Richard Avedon. When she first landed on Eleanor Lambert’s Best-Dressed List in 1956, she only had a handful of couture dresses.

By 1962, she was inducted into the International Best-Dressed List Hall of Fame. Amongst the exhibition’s highlights will be the ball gowns she wore to the Proust Ball and the historic Beistegui Ball in Venice in 1951.

144 . ‫بالنك‬

IN HER SHADOW Experiment and learn how to incorporate the demure and the daring hues to your eyeshadow palette and everyday routine

Photography Jakub Koziel Creative Direction Nada Abdul Ghaffar Makeup Josie Chan Hair Karl Tong

145 . ‫بالنك‬

Barefaced Find a beauty routine that suits you, your skin, and your lifestyle. Combine that with a healthy diet and confidence and show your true self. Here, I have used Resveratol Lotion and Olive Leaf Milk from DHS Skincare.

146 . ‫بالنك‬

Pearl White Dab a small amount of MAC eyeshadow in Frost on the corner and center of the eyelids to reflect the light and enhance your eyes. Contrast that with Matte Velvet lipstick in Plum from A La Carte London.

147 . ‫بالنك‬

Bronze Brown and sepia work in harmony to flatter eyes of any shade. Smudge the earthy toneson the lids. The secret is to blend. Skip the eyeliner and use the shadow to define the eyes on the upper and lower lashline. The model is wearing Matte Eye Define in Sable and Lips Moisture Plus Lipstick in Bubblegum all from A La Carte London.

148 . ‫بالنك‬

Light Prasinous Create your own vibrant peacock-inspired look by mixing a light green with a metallic shadow. Here, I combined MAC’s Electric Eel with NAR’S Malacca Shimmer Eyeshadow. Keep everything else understated and warm to flatter the icy lids.

149 . ‫بالنك‬

Midnight For a dramatic and captivating look, use dark liner, eyeshadow in grey and black, and mascara in a slightly imperfect way. Let the eyes take center stage by opting for a nude lips and flushed cheeks. The model is wearing NAR’s Night Series eyeshadow in Club Breed blended with MAC’s eyeshadow in Knight Divine and Illamasqua lipstick in Bare.

Words Nada Abdul Ghaffar

150 . ‫صنع في الشرق األوسط‬

Artwork Louise Clifford

MADE IN ARABIA

The Middle Eastern Accessory Designers Who Are Breaking The Mold

L’AFSHAR Lillian Afshar is the designer behind those famous insect-adorned Perspex clutches. Surprisingly, the line started when the ESMOD graduate created one to accompany her senior thesis in Handcrafting and Fashion Design. Afshar, who has ancestors from Iran, resides in Dubai. She has also lived in places such as London, Vancouver, and Marbella. Much like her, the insects on her clutches are one of a kind, as she combined a scarab beetle with a dragonfly to merge East with West. The trademark logo, Afshar says, represents transformation, growth, and strength. After having previously collaborated with designers Madiyah Al-Sharqi and Lei van Kash on exclusive clutches, L’Afshar is taking customization to a whole new level for Spring/Summer 2015, by offering a range of birthstone shades in an exquisite marble finish.

‫صنع في الشرق األوسط ‪151 .‬‬

‫صنع في الشرق األوسط ‪152 .‬‬

153 . ‫صنع في الشرق األوسط‬

SARAH’S BAG For Sarah Beydon, it was social causes first, fashion second, although she didn’t compromise one for the other. Beydoun, who’s the brand’s founder, creative director, and sole owner, studied sociology as opposed to design. Upon completing her master’s thesis and working with ex-convicts and prostitutes, Beydoun realized she could not put the life-changing experience behind her. With the Dar Al Amal organization, she started to teach prisoners new handcraft skills. Beydoun struck gold when she decided to paint a canvas, pay a prisoner to bead it, and transformed that beading into a clutch. This benefited the female prisons, who got paid regardless of whether the clutch sold or not. However, everything sold, and what began as a $200 investment is now a business that has 50 points of sale in 22 countries. Retail companies such as Matches and Net-a-Porter also took notice and began stocking Beydon’s one-of-a-kind creations. When the women left prison, they were financially stable, equipped with artisanal skills, and could set up ateliers of their own. The designer’s pool of inspiration ranges from legendary Middle Eastern songstress Um Khulthum to Roy Lichtenstein’s Pop Art. Today, Beydon is helping ex-prisoners deal with social stigma, one beaded bag at a time.

154 . ‫صنع في الشرق األوسط‬

NATHALIE TRAD Besides growing up in a creative household, Nathalie Trad has a BA in Accessories Design from Paris’s ESMOND, as well as a degree in Fashion Design and Management from New York’s Parson’s New School for Design. Combine that with a one-year internship at Proenza Schouler’s accessories and handbag department and it’s no wonder that Trad is so skilled at crafting covetable clutches. When it comes to creating her architectural pieces, Beirut-born Trad approaches it the same way an artist goes about making a sculpture. Only after it takes form does she implement function. Think of her as the Zaha Hadid of handbags. The designer is heavily influenced by sacred geometry, scientific sequences in nature and the golden ratio. A single clutch can take up to two weeks to complete by artisans as shells are sourced from the Philippines. They are then treated, cut and combined with other non-conventional materials. Today, the pieces are carried by the likes of Caroline Issa, Laura Bailey, and Leandra Medine and stocked in twenty-one places across the world.

‫صنع في الشرق األوسط ‪155 .‬‬

Photography Catharina Pavitschitz Styling Nada Abdul Ghaffar Hair Mattie White

156 . ‫موضة‬

Makeup Phoebe Walters Model Iulia at FM Studio Light Studios London

IT’ S ALL IN THE DETAILS Today, luxury is not about obvious branding but something more discreet like the feel of a fabric, a laser cut garment, or an intricate neckpiece

‫موضة ‪157 .‬‬

‫موضة ‪158 .‬‬

159 . ‫موضة‬

The dress with the intricate plastic neckpiece attached to it is by Lieu Le Left: The jacket with a pop of Yves Klein blue and high-waisted skirt are by Lieu Le

160 . ‫موضة‬

The elaborate bodysuit and fringe dress is by REIN

‫موضة ‪161 .‬‬

162 . ‫موضة‬

Left: The magnetic wraparound berry top and black skirt are by Laura Fisher.

Right: The dress with the intricate plastic neckpiece attached to it is by Lieu Le.

The matching grey wool sweater and skirt are by Laura Fisher163 . ‫موضة‬ Left: The magnetic wraparound berry top and black skirt are

by Laura Fisher

‫موضة ‪164 .‬‬

The feather-stuffed neckpiece, worn as a top, and the mis-proportioned pants are by Laura Fisher Left: The laser-cut sweater is by REIN

165 . ‫موضة‬

166 . ‫مطبخ ريم‬

REEM’ S KITCHEN Photography Cristina Schek

PISTACHIO AND ROSEWATER SPONGECAKE

CARDAMOM-INFUSED CHOCOLATE TRUFFLES

Pistachios and Rosewater are key ingredients in many Middle Eastern desserts. Because these sweets are usually very strong in flavor, infusing them in a sponge cake creates the perfect balance between the intensity of the tang and a lighter creation. Pistachio has one of the lowest calorie intakes among nuts.

Hence, making it less burdensome for weightwatchers. Combined with aromatic mint tea, it is a very basic recipe that is delightful for breakfasts and afternoon teas.

Indulging over truffles makes on appreciate the world of chocolatiers. Moreover, indulging on homemade ones opens up a whole new world of pleasure. Due to the fact that tempering chocolate requires experience and skill, I chose to share my easy-to-do dark chocolate cardamom truffles. Of course, you can choose a different flavor by infusing it with cream as seen on the following page. Cardamom, the world’s third’s most expensive spice, is often added to rice and other bland savory dishes. Combining it with chocolate adds an unexpected yet familiar touch and creates a charming combination. Treat yourself to a few over a brewing mug of Turkish coffee.

DATE AND WALNUT TART This heavenly creation resembles a culinary fusion that is becoming very popular. Dates are considered very traditional, and saccharine dishes made out of date usually take the form of cakes or Ma’moul. They are often paired with nuts in order to balance out the sweetness of certain types of dates. This date and walnut tart brings about two culinary cultures in one scrumptious dish. Enjoy a slice with a fragrant cup of Arabic coffee.

167 . ‫مطبخ ريم‬

PISTACHIO AND ROSEWATER SPONGECAKE Ingredients: - 226 gr butter, softened - 200 gr caste sugar - 150 gr eggs - 200 gr ground pistachio - 2 gr of salt - 1 lemon zest - 10 ml rosewater - 65 gr flour - Rose petals - Granulated sugar - Egg whites - Confectioner’s sugar - Ground pistachio

Instructions: 1. Preheat oven to 350 F. Lightly brush a 9-inch round baking pan with melted butter and dust with flour.

2. In a stand mixer, cream butter and sugar until light and fluffy, which takes about 5 minutes.

Wait until mixture is creamy yellow.

3. In a separate bowl, break the eggs by lightly beating them and gradually add to the creamed mixture in 3 inclusions.

4. In a separate bowl, place flour, salt and pistachios. With a spatula, fold gently into wet ingredients until dry ingredients are fully incorporated.

5. Transfer the batter into the cake pan and bake for 45 minutes or until a toothpick comes out clean. Don’t worry about evenness when pouring the mixture in the prepared pan as the butter evens out in the oven.

6. Once done, leave to cool for 10-15 minutes and then transfer to a wire rack to complete cooling phase.

7. To add a touch of elegance, with a small paintbrush, brush the petals with egg white and dip in sugar. Leave to firm up before placing over the cake. When cake is cooled completely, sprinkle with icing sugar and place the petals randomly on top. Lastly, sprinkle a dash of ground pistachios to add a contrast of colour.

168 . ‫مطبخ ريم‬

CARDAMOM-INFUSED CHOCOLATE TRUFFLES Ingredients: - 200 ml Double cream - 200 g Dark chocolate - 2 heaped tsp of freshly ground cardamom Instructions: 1. Melt chocolate over bain-marie on low heat.

2. When chocolate is liquefied, in a separate saucepan, warm the cream and cardamom until steaming (do not boil).

3. Mix cream into melted chocolate in 3-4 inclusions until glossy and smooth.

4. Spread the ganache on a tray and leave to cool for 10 minutes.

5. Take out of the fridge; redistribute the temperature by mixing the ganache and spreading it again.

6. Leave to cool for another 5 minutes (Ganache should be thick enough to hold itself by then).

7. Prepare a tray lined with parchment paper and a tray covered with powdered chocolate.

8. Using your hands, shape balls (size as desired) with the ganache and roll them on the powdered chocolate. Once all covered in chocolate leave them for 5 -10 minutes.

9. After shaping and rolling, leave to cool for a minimum of 2 hours, although I prefer mine to chill for at least 8 hours.

169 . ‫مطبخ ريم‬

DATE AND WALNUT TART For the tart base, you can simply buy a short crust pastry from the supermarket or appreciate the freshly baked ones at home. For the latter, you’ll need the following.

3. Place on station and knead for 1 minute to smooth it out.

Ingredients: - 125 gr butter, softened - 50 gr medium egg - 200 gr all purpose flour - 2 gr of salt - 5 gr of sugar - 10 ml water

5. On a flour-covered surface, roll out into a slightly larger size than the 36 x 12cm rectangular tart case / 20cm round tart case.

4. Wrap in cling film and leave to cool for a minimum of 45 minutes.

6. Line the tart case with the dough and gently push the sides to the edges with the tips of your finger.

7. Leave to cool until filling is ready.

Instructions: 1. Preheat oven 350F/175 C. 2. Mix ingredients together in kitchen aid or stand mixer until it turns into rough dough.

Ingredients for filling: - 125 gr roughly chopped walnuts - 200 gr pitted & chopped dates

-

340 gr honey 50 gr caste sugar 2 gr salt 100 gr eggs at room temperature Pitted and halved dates Whole walnuts

Instructions: 1. Place all ingredients, except for the last two, in a blender or food processor and pulse.

2. When turned into paste, fill in ¾ of the tart base.

3. Align the halved dates and walnuts in two columns on top of the tart.

4. Bake for 50 minutes until it takes form.

170 . ‫ساند‬

Stockist:

C

A

Apu Jan apujan.com

B

Bil Arabi bilarabi.ae

Camila Lopes showtime.arts.ac.uk/camilalopes

Catherine Wang showtime.arts.ac.uk/catherinewang92 D

Danielle Romeril danielleromeril.com G

Gayeon Lee gayeonlee.com

H

Helen Lawrence helen-lawrence.co.uk

J

Jamie Wei Huang jamieweihuang.com L

L’ashfar lafshar.com

Laura Fisher showtime.arts.ac.uk/laurafisher Lieu Le showtime.arts.ac.uk/lieule M

Maison Martin Margiela maisonmargiela.com Martine Jarlgaard martinejarlgaard.com MING ming-studio.com Minki Cheng minkicheng.com/wp/ N R

Nathalie Trad nathalietrad.com/en Razan Alazzouni razanalazzouni.com REIN reinlondon.com/new-page-1/

S

Sadie Williams sadiewilliams.co.uk Sandro sandro-paris.com Sarah’s Bag sarahsbag.com Steven Tai steventai.co.uk

Shuan Harris shaunharrisdesign.co.uk

‫ّ‬ ‫نعمة نواب ‪171 .‬‬

‫عهد كامل‬ ‫دلما ملحس‬ ‫فلوة ناظر‬ ‫نادين كانسو‬ ‫مها فتيحي‬ ‫ملك فقيه‬ ‫صفية بن زقر‬ ‫ريم باوزير‬ ‫ّ‬ ‫نعمة نواب‬ ‫ثريا بارلي باسعد‬ ‫سارة باسعد‬ ‫ّ‬ ‫رزان العزوني‬ ‫دينا الجهني عبدالعزيز‬