ARAB HORSE COUTURE MAGAZINE - AUTUMN 2016

AUTUMN - 2016 ARAB HORSE COUTURE MAGAZINE - AHCM LJB PUBLICATIONS LLC Headquarters: 9300 NAPIER ROAD NORTHVILLE, MICHIGAN 48167 USA + 248.866.8756

LAURA J. BRODZIK

Owner, Founder & Publisher ARAB HORSE COUTURE MAGAZINE - AHCM lauraj@arabhorsecouture.com

RANDALL E. BRODZIK

CFO info@arabhorsecouture.com

LAUREN M. BRODZIK

Photography & Design info@arabhorsecouture.com

SUBSCRIBE TODAY! PRINT & DIGITAL

JENNIFER TEMPLIN

Business Manager/Advertising info@arabhorsecouture.com

+ 248.866.8756

BRITA BROOKES

Graphic Art & Design info@arabhorsecouture.com CONTRIBUTORS: Jean Paul Guerlain - PARIS, FRANCE; Hares Fayad, MD, Al Badia Magazine - DUBAI, UAE; Julie I. Fershtman - USA; Anette Varjonen - FINLAND; Judith Wich-Wenning - GERMANY; visionpure, Eva Reifler, Charlotte Perry, Amélie - FRANCE; Scott Trees - USA; Karina Peacemaker - USA; Dr. Brad Hill, DVM - USA; Aiisha Ramadan - UAE; Silvia Rizzo - ITALY; Loriece Boatright - USA; Veera Lammehno - FINLAND; Jennifer Malott Kotylo - USA ADVERTISING; E-NEWSLETTERS; MARKETING; PROMOTION; PRESS RELEASES: + 248.866.8756 info@arabhorsecouture.com EDITORIAL INQUIRIES: + 248.866.8756 info@arabhorsecouture.com SUBSCRIPTION HOTLINE: + 248.866.8756 info@arabhorsecouture.com WWW.ARABHORSECOUTURE.COM Arab Horse Couture Magazine custom logo design by: Marian Duncan; www.maduncan.com

©2016 ARAB HORSE COUTURE MAGAZINE - AHCM LJB Publicaions LLC - All Rights Reserved.

No portion of this publication may be reproduced by any mechanical, photographic, scanned or electronic process without prior written permission from the Publisher.

Background Photo Anette Varjonen; www.anettefotografik.fi 4

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COVER IMAGE: Scott Trees www.treesmedia.com

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Contents

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15 ANTIQUE ARABIAN HORSE SCULPTURES Written by Judith Wich-Wenning

CLASSICAL RIDING “Is Your Horse Listening To You While Riding?”

Written by Jean Paul Guerlain

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Photos by Anette Varjonen www.anettefotografik.fi

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THE ARABIAN HORSE PRODIGY...

“Equine Facilitated Human Development” Written by visionpure, Eva Reifler, Charlotte Perry, Amélie

ARABIAN HORSE SHOWS AROUND THE WORLD Photography by Anette Varjonen of Finland

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USA EQUINE LAW

COVER STORY: ARABIAN HORSE PHOTOGRAPHY

Written by Julie I. Fershtman, Attorney-at-Law

Written by Scott Trees

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Autumn 2016

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62 EQUINE HEALTH Written by Dr. Brad Hill, DVM

ARABIAN HORSE FINE ARTISTRY Featuring Karina Peacemaker

64 AIISHA RAMADAN: FASHION FEATURE Featuring Fashion Designer Aiisha Ramadan

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70 SILVIA RIZZO: EQUESTRIAN FASHIONISTA

EQUESTRIAN JEWELRY Featuring Loriece Boatwright

Featuring Grand Prix Dressage Rider and Fashion Designer Silvia Rizzo

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82 FITNESS IN THE SADDLE Written by Jennifer Malott Kotylo

A CINDERELLA STORY Written by Veera Lammenaho of Finland

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ARAB HORSE COUTURE MAGAZINE

Welcome

AHCM AUTUMN 2016

Dear Friends & Readers of Arab Horse Couture Magazine, As we move through the Autumn months of 2016, we are reminded of two upcoming prestigious shows in particular....the US Arabian & Half-Arabian National Championship Show and the World Arabian Championship Horse Show in Paris.

Arab Horse Couture Magazine is pleased to announce

distribution of print copies of the Autumn issue at both shows!

On the horizon is a brand new exclusive website for Arab Horse Couture Magazine set to launch the beginning of November 2016. Featured on the website are several categories where articles will be displayed as well as advertising and subscription information.

A new feature on the Arab Horse Couture website shall be the Arabian Stud Farm feature. Here, the magazine will display a feature article and images of an exclusive Arabian Stud Farm each month-in the US and globally. An enewsletter will be provided to promote each featured stud farm as well.

Please contact the magazine for further details.

As Publisher of the magazine, I would like to express my sincere gratitude to all of the contributors that make this August issue interesting, informative, and beautiful. I am constantly reminded of the amazing talent of so many indivduals in the equestrian world.

My personal passion for the Arabian horse has never wavered in the many years as a breeder of these magnificent animals.

Arab Horse Couture

Magazine is an outlet to share positive editorial content to all subscribers and Arabian horse enthusiasts. Please enjoy the Autumn 2016 issue!

Sincerely, Laura J. Brodzik Owner, Founder & Publisher Arab Horse Couture Magazine - AHCM LJB Publications LLC Established 2008

lauraj@arabhorsecouture.com

Artwork by Marian Duncan; www.maduncan.com All Rights Reserved ARAB HORSE COUTURE MAGAZINE - AHCM

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ARAB HORSE COUTURE MAGAZINE | An International Publication

Riding In The Classical Way On Your Beautiful Arabian Horse Written by Jean Paul Guerlain In the past, in addition to his role as master perfumer for the House of Guerlain, Jean Paul Guerlain also accumulated World Championships in Dressage and Carriage Driving.

Guerlain is a French perfume house, amongst the oldest in the world.

The House of Guerlain was founded in 1828, when Pierre-Francois Pascal Guerlain opened his perfume store in Paris. Jean Paul Guerlain is fourth generation Geurlain and the last family master perfumer. Jean Paul continues to travel the globe to develop new fragrances.

C

lassical riding works because it has stood the test of time. It works without fear or force and most definitely without gadgets. It is working with, never against, the horse. It is opening the lines of communication between horse and rider; listening to the horse, being aware of how every move you make means something to the horse and being able to ask yourself, “What did I do that made the horse respond in that manner?” When you do not get the response you were looking for, there is nothing about making him do it, the responsibility lies with you, the rider, to make things comfortable for the horse.

The results are achieved through cooperation not coercion. Classical Riding is foremost concerned with the acquisition of a classical seat; this is a balanced, deep and feeling seat. In this context “seat” includes the seat bones, pubic arch, thighs, lower back and very importantly—the abdominal muscles. Classical riders develop wonderfully light responsive horses because they ride from their center. The horse is ridden from the seat first,

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then the legs and into the hand. The hands receive what the legs put into them.

The emphasis is placed on you the rider to learn about your own body and how even slight variations in the way you hold yourself affect the way the horse moves beneath you.

How can you expect self-carriage of the horse when you are not in selfcarriage yourself?

When you think of Classical Riding, you think of the Spanish Riding School in Vienna, Austria or cadre Noir in Saumur, France. In fact, Classical Riding is correct riding. It is horsemanship, not just knowing how to ride. It includes all around knowledge of the horse as a species; its psychology and physiology.

Now you must find a good classical instructor who will understand the sensitivity and intelligence of the Arabian horse. The basics of a well-ridden and

ARAB HORSE COUTURE MAGAZINE | An International Publication

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trained horse are the same for the Arabian horse as for other horse breeds. Sadly, many times you see the Arabian horse being treated/ridden like another species.

The Arabian horse loves to be ridden (ridden correctly), to have a job to do to express themselves and to burn some energy.

Just a few basics….no matter what discipline you enjoy with your Arabian horse, you must make sure that he is ridden round, with the hindquarters underneath so the back is round not concave.

Otherwise, you could run into some back problems with your horse.

Let me give you a few names of classical riders who have written some wonderful books: Alois Podhajsky, who became the Director of the Spanish Riding School in 1939; Nuno Olivera, an outstanding Portuguese Dressage Rider; Egon Von Neindoff, author of “The Art of Classical Horsemanship”.

Also, reminding you all of the big responsibility you have in your life of owning an Arabian horse.

Be sensitive, loving, humble, understanding, patient and show empathy and humility.

They will become your best friend.

“Sometime, ask yourself the question, Do you deserve a beautiful Arabian horse in your life?” And please, if you must sell your Arabian horse, see that your loyal friend is going to a good loving home.

Wishing you all a wonderful Autumn season!

-JPGAutumn 2016 . AHCM - ARABHORSECOUTURE.COM

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ARAB HORSE COUTURE MAGAZINE | An International Publication

Antique Arabian Horse Sculptures Written by Judith Wich-Wenning

Antique Arabian Horse Sculptures have an ever-growing circle of admirers and collectors around the world. Horse breeders as well as people with a sense for beauty, elegance and art were and are fascinated by the strong aura of these antique works. The 19th century saw a group of sculptors, the so-called “Animaliers”, who specialized in the realistic modelling of animals. As Orientalism and Arabian subjects were so much “en vogue” during this time, Arabian horses were a favourite motif.

The sculpture “Fauconnier à Cheval“ by Pierre-Jules Mène is one of the most impressive and dynamic Animalier sculptures.

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Antoine-Louis Barye 1796 – 1875

Before the year 1830 little attempt was made to produce bronzes of animals as such. Today many art historians give Antoine-Louis Barye a premier position in the field of animal bronzes. His reputation and influence was indeed enormous. Barye did not follow in the footsteps of other artists; he created a movement in art of his own.

One of the most impressive sculptures ever created: Antoine-Louis Barye’s work “Cheval Turc”

The beautiful bronze “Cheval attaqué par un lion” by Antoine-Louis Barye, ca. 1890

Antoine-Louis Barye was born in Paris in 1796, the son of a jeweller from Lyon. Barye began his career as a goldsmith, like many sculptors of the Romantic Period. At the beginning his father taught Barye the basics, but when he was around 14 years old, Barye started to work under the goldsmith of Napoleon. Later on he studied under the famous Orientalist and painter Baron Antoine-Jean Gros. A few years later he discovered his true passion and destination: Barye watched animals in the park Jardin des Plantes. The great botanical gardens in Paris provided Barye with the important practical knowledge of animals.

In 1831 he had his first important success at the well-known and influential competition “Salon”. His style was very true to nature, passionate, energetic, expressive and full of movement. This was in great contrast to the usual academic style. Barye’s works excelled in quality and technique. The Louvre owns today the most complete collection of his charming bronzes in smaller scale.

One of his most beautiful sculptures is called “Turkish Horse”. It shows an Arabian stallion with all characteristics of a fine Koheilan. He is full of power and strength with masculine expression, rounded forms and muscular hindquarters. This stallion has a very strong aura with his wind-swept mane, upright movement and opened mouth. This bronze was casted in four versions and different sizes due to its success. It is one of the icons of both Romantic and Animalier sculpture of the 19th century. Here Barye was certainly inspired by one of Theodore Gericault’s paintings of powerful, unrestrained horses.

Barye was a true perfectionist. He spent a great deal of time and energy to secure the correct patina on his bronzes. Barye was one of the rather few artists during that time who numbered the casts of his bronzes. As today we can be sure that many bronzes were destroyed, lost or damaged severely by time, a well-conserved bronze by Barye is a valuable and rare collector’s item. Barye passed away in 1875 at the age of 79 years after a very prolific life. Today the public “Square Barye” in the centre of Paris is named after the famous sculptor.

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ARAB HORSE COUTURE MAGAZINE | An International Publication

The impressive sculpture “Cavalier Arabe” was modeled by Alfred Barye and Emile Guillemin. Original 19th century bronze.

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Arthur Waagen 1869 – 1898

The magnificent bronze group “A Kabyle Returning from the Hunt” by Arthur Waagen is a true masterpiece. 19th century bronze. Photograph Courtesy of Sotheby’s, Inc. (C) 2013 Arthur Waagen belonged to a community of German artists of Baltic origin and was born in 1869 in the small Baltic port town of Memel. Rather little is known about this exceptional artist. Waagen was immensely fascinated with the Orient and therefore chose to live in France because he found many sources of inspiration there.

Waagen settled permanently in Paris. He was a sculptor specializing in oriental figures and animals. Arthur Waagen was a regular exhibitor of Animaliers and North African subjects at the Salon in Paris from 1861 to 1887.

Moreover he had a successful international career and participated at the 1876 and 1893 World Fairs held in the United States.

His masterpiece is unquestionably “A Kabyle Returning from the Hunt”. This bronze group is certainly one of the finest Orientalist sculptures ever. On oval base it unites an Arabian horseman and his stallion surrounded by three dogs. The rider’s outstretched hand holds up the head of a lion he has just captured. In his saddle he carries a live lamb, which he just rescued from the claws of the lion. The dogs seem to admire and praise the hunter’s success. This sculpture shows not only an expression of victory, the liberation of the lamb from its predator is also a gesture of the hunter’s kindness. This sculpture is of greatest technical mastery and secured Arthur Waagen a place in Animalier history. All details, as for example the reins of the horse, are executed in the most stunning refinement and precision. A cast of this exceptional work was exhibited at the 1876 World’s Fair in Philadelphia. The famous Rockefeller family, New York owned a cast of this sculpture. Another one is exhibited in the Dahesh Museum in New York. Arthur Waagen passed away in 1898.

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Jean-Francois-Théodore Gechter 1795 – 1844

A very detailed bronze by Gechter with beautifully colored patina.

From the collection of Judith Wich-Wenning.

We owe some of the most beautiful sculptures of Arabian horses to Jean-Francois-Théodore Gechter. He was born in Paris in 1795. Gechter was a student of Baron Bosio and the very influential Orientalist Baron Gros. Baron Bosio was a much honoured and patronized sculptor of the French School whose influence was very wide spread, although he was not an Animalier. Similar to Barye, another student of Bosio and Gros, Gechter turned to smaller sculptures and animal subjects.

Gechter first exhibited in 1824 in a show of classical and mythological subjects. Gechter’s prime occupation was first his portrait work. He was also very gifted in sculpting historical scenes. What made Gechter’s work unique was how he managed to infuse emotions into his sculptures. This exceptional ability brought him numerous public commissions. He created for example a marble relief of the Battle of Austerlitz for the Arc de Triomphe in Paris. Gechter was famous for his sculptures of kings, gladiators, historic persons, etc. In his later years, Gechter came under the influence of the Animalier movement. The equine sculptures that he modelled in this second phase of his career were remarkable. Unfortunately, Gechter passed away at only 49 years. Had he lived longer we can assume that he would have produced even more works in this genre. His equestrian groups demonstrate careful, sensitive modelling of the horses. Important museums as the Louvre in Paris show today his works.

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Pierre-Jules Mêne 1810 – 1871

One of the most well known bronzes by Pierre-Jules Mêne: “L’ Accolade”, 19th century bronze.

One of the most important artists of the Animaliers movement was certainly Pierre-Jules Mêne. He was born in Paris in 1810 as the son of a metal-turner. Mêne grew up in an apparently prosperous artisan family living in the hub of craftsmanship in Paris. His father was able to teach him not only the basics of metal foundry, he explained also the first steps regarding sculpting. Mêne was largely self-taught; he never attended any of the prestigious art schools. At the age of 22 years Mêne married and earned the living for his family by executing models for porcelain manufactures and small sculptures for the commercial market. In 1837 he opened his own foundry for the production of his casts.

Pierre-Jules Mêne was a very charming and outgoing man. Through his personality he attracted the best craftsmen to work for him in his foundry. Mêne had enormous success already during his lifetime. He won four medals at the Salons and at major exhibitions and received the Cross of the Légion d’Honneur in 1861. Mêne’s bronzes were cast with the highest quality and set a new standard of excellence, which other foundries tried to meet. He took personal care to ensure that everything involved in the casting process was kept in perfect condition. It was very important for Mêne that even the last bronze of an edition was just as sharp and precisely detailed as the first one that was produced.

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One of the finest examples of Pierre-Jules Mêne’s work: “Chasseur Africain” (“African Hunter”)

A charming sculpture by Pierre-Jules Mêne showing an Arabian Stallion being tied to a palm tree: “Cheval au Palmier”, 19th century bronze.

Similar to Barye, Mêne studied animals as closely as possible. His choice of subject ranged more widely: It included domestic animals such as dogs, cows and sheep as well as exotic jaguars, panthers and gazelles. Mêne’s favourite subjects however were horses, of which he is considered to be the master at portraying.

His equestrian sculptures are phenomenal. Mêne was widely influenced by the famous Arabian horse painter Carle Vernet and by the English artist Sir Edwin Landseer. Mêne produced a number of impressive Orientalist subjects featuring hunters and Arabian horses. One of the finest examples is his “Chasseur Africain” (“African hunter”). It was exhibited for the first time at the 1878 Salon in wax and again in bronze in the following year. It is a very well modelled, powerful sculpture of an African horseman, probably a slave, on a fine Arabian stallion. A small dead deer, the hunter’s trophy, compliments the group. This sculpture is typical for Pierre-Jules Mêne: It shows the very detailed work he was famous for and has a great aura.

Many of Pierre-Jules Mêne’s works are today housed at important museums as for example at the Petit Palais in Paris. Mêne managed to achieve huge commercial success as well as great critical acclaim. After his death in 1877, his son-in-law Auguste Cain continued his foundry. He continued to produce Mêne’s sculptures as well as his own works in the highest standard of quality.

For inquiries regarding the Arabian horse in art please contact: Judith Wich-Wenning, Germany, Tel.: +49 1707721739 or email: JudithWich@t-online.de

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Arab Horse Couture Photo Essay

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Photos by Anette Varjonen www.anettefotografik.fi

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"To many, the words love, hope, and dreams are synonymous with horses." ~ Oliver Wendell Holmes

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Photos by Anette Varjonen www.anettefotografik.fi

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The Horse. Man’s noblest companion. ~ Unknown

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Photos by Anette Varjonen www.anettefotografik.fi

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ARAB HORSE COUTURE MAGAZINE | An International Publication

The Arabian Horse:

A Prodigy in Equine Facilitated Human Development Written by visionpure: Eva Reifler, Charlotte Perry, Amélie

H

orses are experts at facilitating human development and the abilities of the Arabian horse are exceptional in this area of expertise. This is my conclusion after ten years of experience. But first, let me tell you about my work as an expert in Equine Facilitated Human Development and then give samples of our Arabian horse-personalities and their special qualities.

about the outside of a horse that is good for the inside of a man”. However, it’s more than that—much more! Horses offer us consistent and compassionate feedback, and throw a light on the limiting effects of our thoughts and actions, thus allowing us to develop a new perspective on our life.

Throughout the ages, horses have been invaluable collaborators with humans and trail-blazers for mankind. Today horses have become vital allies for anyone seeking personal growth. As Winston Churchill once emphasized: “there’s something

be made without starting to heal our emotional wounds”. This is the essence of our approach: working with horses in a specific way on the ground, thus giving our clients the opportunity to change their limiting beliefs, muster up the courage to seize new

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The well-known life coach Martha Beck reminds us: “an authentic connection, as faint as it may be, cannot

ARAB HORSE COUTURE MAGAZINE | An International Publication

The Arabian Horse: A Prodigy in Equine Facilitated Human Development

opportunities and help them heal trauma - the origin of which is often lost to conscious memory.

But why work with the horse in a program to facilitate personal development?

Horses have many qualities which make them unique teachers for increasing an individual’s selfempowerment and encouraging personal growth.

Horse Size

Four of these qualities are particularly pertinent to our work: their size, their social behavior, their sensitivity and their magic ability to make the invisible visible!

First of all, their size: horses are imposing; they are fascinating and elicit our respect. They are symbols of freedom, independent beings, emancipated.

Interacting with a horse requires accessing inner resources, which are sometimes unknown, however usually dormant. Horses are domesticated and conditioned, but they maintain a strong independence compared to most dogs for instance, since they live in a barn or in the fields and spend many hours away from their human handlers. This means that the effects of our actions, or lack thereof, will immediately become visible in their responses.

Social Behavior

The social behavior of horses is akin to that of humans: they have companions, a changing social ranking system and live in large herds of familial clans. They are nomads and conserve energy to escape from possible predators; their comfort- zone is clearly defined. Any activity which might impinge on the boundaries of this comfort-zone will elicit a reaction. The same goes for us, but we don’t usually realize it. Horses represent giant screens for psychological projections, which means they are amplifiers for our behaviors and emotions: any behavior we observe in the horse accurately reflects our (often unconscious) attitudes. Our projections

thus become apparent and therefore changeable.

Sensitivity

The sensitivity of horses is a prerequisite for their survival and makes them very attentive to the slightest changes taking place around them. The idea that horses can read our thoughts is an anthropomorphic viewpoint. In reality, the horse “reads” energetic reactions in our bodies resulting from our thoughts. The effect of our emotional state can be demonstrated: A person with negative emotions (fear, anger, etc.) or incongruent behavior has a heightened pulse and will elicit the same in a horse nearby. In this context the horse is like a lie detector (try it out next time you are near a horse, but please make sure he can get away!). On the other hand, a horse will remain calm and seek connection with someone, if this person’s actions and thoughts are congruent.

Through this we rediscover our true motivations and desires rather than merely responding to the needs and demands of the people around us.

Horse Magic

And finally, the seemingly “magic” powers of horses.

In seeking to find congruency, a horse will connect directly with our authenticity; and since, as we already learned, an authentic connection is not possible without beginning to heal our emotional wounds, the horse is able to take us directly to that genuine space within.

This deep connection frequently touches upon emotional wounds inflicted in infancy, way before a child develops language and is often difficult to access through other - verbal - forms of therapy.

These interactions, which allow a corrective emotional experience, are often difficult to put into words. They are very effective and seem to become engraved in some way on the cellular level. That is what we call “a horse’s magic”.

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ARAB HORSE COUTURE MAGAZINE | An International Publication

The Arabian Horse: A Prodigy in Equine Facilitated Human Development Putting this in anthropomorphic terms: a horse has no “personal interest” in “judging” or “manipulating”, he is always present and in the moment. Therefore, his reaction is appropriate, accurate and authentic.

Working with a horse offers us an extraordinary opportunity to reevaluate our convictions and adjust our behavior on many levels. Imagine this: You are in a desert in the full midday sun, despite the light everything seems flat. Taking the horse’s perspective is something like changing the sun’s angle, as if it were late afternoon: contours emerge and all of a sudden you can see the depth of what is there.

The horse is therefore much more than a mirror. With the help of a horse you can discover who you truly are and take appropriate action. Arabian horses are particularly skilled in connecting with others.

All horses are sensitive and have all the abovementioned skills and qualities. In my experience, however, Arabian horses are exceedingly sensitive and thus pre-destined for this work.

It is therefore not surprising that Ara Markash (Amal x Royal’s Kadila), our 31-year-old chestnut gelding and “Horse-Elder”– a purebred Arabian, enthralls everyone who meets him! Many of my clients call him “their best friend” because he is frequently the first horse that helps them open up the gates to self-knowledge and authenticity.

Markash is a marvelous being. He welcomes everyone upon arrival, going up to meet them at the parking lot and then escorting them to the practitioner.

Markash connects very quickly and knows immediately if he is welcome or not. A particular instance comes to mind. Unfortunately, it was in very sad circumstances. Our lead Paint mare died while giving birth. During the memorial gathering, Amélie, a long-time client, was unable to contain her tears and decided to retreat and give way to her feelings. So 34

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ARAB HORSE COUTURE MAGAZINE | An International Publication

Markash, who was right there in the midst of us, as usual, followed Amélie to her place of refuge and stayed with her until she regained her composure; then the two of them returned to the gathering. He thus provided the solace and comfort she had needed.

And then there is Zaki, (The Verdict/Thee Desperado x Haya/Imperial Imdal), a beautiful grey Arabian gelding, whom we lovingly call “our engineer”. He is a bottle-fed orphan, extremely curious, and open to all encounters and all discoveries. We call him engineer, because he loves running around the quad bike or sticking his muzzle close to the heating in the riding arena. An adorable horse, with an acute sensitivity to everything around him.

We frequently use Zaki when we select an exercise to promote the discovery of new tools and problemsolving skills in the client. But mostly clients are touched by feeling their hearts and their love in his presence. It is not uncommon that a lot of emotions well up when they are with him. He patiently acknowledges the pain and the joy through licking, chewing and yawning. A clear signal that emotional reprogramming is in progress and healing can occur.

How it works:

Our interactions frequently begin as follows: Together with the client, we discuss a current problem or an area of least satisfaction in his/her life. This may range from wanting a better connection with his/her horse, to not feeling understood in a relationship up to having difficulties being assertive with his/her coworker (the possibilities are endless). This discovery is followed by a “body scan”.

Through mindful listening to what is happening inside his or her body and feeling any sensations present – zones, which might be sore, heavy, hot, energized, pleasant or unpleasant, the client attempts to gather information without censoring or trying to change it.

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The Arabian Horse: A Prodigy in Equine Facilitated Human Development The body scan is useful before interacting with the horses in order to have an energetic, emotional and sensational baseline as a starting point to refer to later.

Once the issue of the session is identified and the baseline discovered, the moment to interact and connect with the horses has come. The practitioner therefore suggests an appropriate exercise usually on the ground, which requires no previous experience with horses. After the interaction, there is a closing conversation where the visionpure practitioner helps the client to formulate how the experience may help him/her address the previously addressed issue more effectively in daily life.

The setting, the methods and the interactions with the horses are conducive to overcoming difficulties, healing emotional wounds, learning to become assertive at work or at home, evaluating options, developing leadership skills, achieving a turning point, weaving a surprising relationship with a horse or just simply (re)discovering the joy in the connection with horses on the ground or on horseback; it helps to gain confidence in oneself and others, which unleashes the maximum potential of all concerned.

About visionpure

®

visionpure® was established by Eva Reifler in 2008.

She gained an advanced Eponaquest approved instructor’s certificate from Linda Kohanov (author of The Taos of Equus and founder of Eponaquest®) and a Martha Beck Life Coach diploma. She also has extensive training and experience as an analyst and pursuit strategist in the corporate world, working globally. visionpure® is a pioneering center for horse assisted personal and professional development, 45 minutes from Paris in France. Eva combines Eponaquest, Martha Beck and business skills. This unique combination allows her to quickly and precisely 36

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identify the client’s issues, thus making the sessions particularly effective.

She uses these skills to facilitate private sessions, group workshops and train-the-trainer programs (visionpure® practitioner). She also provides customized programs for businesses and CEO’s, which can focus on many aspects of leadership and management, including leadership assessment and training for successful businesswomen in the corporate world. Where appropriate, she cooperates with other professionals to provide the best possible expertise.

Eva is dedicated to providing a high level of safety, quality, respect and experience. She speaks English, German and French fluently and works with horses and people throughout the world. visionpure 20 rue des vieilles vignes F-95830 Frémécourt France +33 (0) 6 99 19 02 95 info@visionpure.fr, Webpage: www.visionpure.fr Facebook : « le cheval, guerisseur de l’homme » Twitter: @visionpure_95

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ARAB HORSE COUTURE | USA EQUINE LAW

TRAINER LIABILITIES FOR HORSES IN THEIR CARE

And How Trainers & Horse Owners Can Protect Themselves

by Julie I. Fershtman, Attorney at Law Dan hired a trainer, Sarah, to train his horse and haul it to a few shows during the year. While under Sarah’s care, however, Dan’s horse coliced, and a veterinarian had to put the horse down. Should Sarah, the trainer, be responsible for paying for the loss of Dan’s horse and his vet bills?

What the Law Expects of a Trainer’s Services When a person, such as Dan, leaves a horse with a trainer for care, keeping, and training, the law generally requires the trainer to use “reasonable care” in carrying out these tasks. This means that the trainer must use the degree of care that a prudent and careful trainer would use in similar circumstances.

Difficulties and Complexities of Suing Horse Trainers The loss of a horse is unfortunate, but courts will expect Dan to do far more than merely point to the loss of his horse and blame the trainer. Proving that the trainer is legally responsible for the loss can be a complicated process for a few reasons: • Even with very good care, horses can develop colic.

• Dan’s horse might have harbored a condition that made it more likely to colic, having nothing to do with the quality of care that Sarah and her staff gave the horse.

• To prove that improper care caused his horse’s demise, Dan may need to retain an expert witness veterinarian. That expert would evaluate the evidence, such as necropsy information, veterinary records, surgical records, evaluation of the horse (if it is alive), and all other documents.

The expert might also need to conduct further tests on the horse. Afterwards, Dan would hope that the expert will support his case that improper care led to the horse’s demise, to a reasonable degree of veterinary certainty.

• Dan might expect people at the stable, who witnessed first-hand the care and attention the trainer gave Dan’s horse, to testify against the trainer. That might not happen. They might not want to be involved. Even if Dan’s lawyer serves 40

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subpoenas on everyone and they testify at a deposition or trial, their testimony could be unpredictable.

What the Trainer Stands to Lose State laws will determine what Dan can collect if he wins his case against the trainer. Depending on the applicable law, he might collect the horse’s value immediately before its death; or, if his horse lives, he might collect the decrease in the horse’s value that he attributes to the trainer’s improper care. His case might also try to recover expenses he incurred while trying to bring his horse back to health, such as veterinary bills, equine hospitalization costs, and hauling fees. Depending on the circumstances and law, he might also seek to recover the value of any lost foals or lost net earnings from races, shows, or stud fees. Under prevailing law in most states, Dan cannot expect to recover losses from his “pain and suffering.”

Damage Control for Trainers and Horse Owners Through careful advance planning, horse trainers and owners can try to protect themselves from problems before they occur.

Trainers • Liability Insurance. Liability insurance will not prevent problems from happening, but it could spare trainers the burden of hiring a lawyer or settling disputes using their own funds. For equine businesses, the typical insurance is Commercial General Liability Insurance and/ or Equine Professional Liability Insurance, but trainers may need more. Because these types of liability insurance policies may not protect trainers against claims involving horses that are injured or die from the trainer’s negligence while the horse is in the trainer’s care, custody, and control, trainers should consider purchasing an extra coverage endorsement known as “Care, Custody, and Control” insurance (some companies call it “care custody, or control” insurance or a “bailee coverage legal liability” policy). Keep in mind that

a trainer’s Care, Custody, and Control insurance coverage potentially covers, up to certain policy limits, situations where the trainer was negligent in caring for the horse – this is not a mortality insurance policy. Discuss appropriate coverages and policy limits with a knowledgeable insurance agent.

• Liability releases.

Courts in most states have enforced liability releases as long as the documents are properly worded and signed.

Trainers can consider including properly-worded liability releases within their training contracts (where allowed by law).

Owners • Equine insurance. Horse owners can purchase mortality, major medical, and/or loss of use insurance. These coverages are designed to compensate horse owners for the loss of a horse and for expenses associated with the horse’s veterinary care. Trainers should keep in mind that after insurers pay mortality claims, they almost always have the right to bring legal action against parties believed to be responsible for causing the loss. This legal concept is called “subrogation,” and equine insurers might pursue it against trainers. Discuss this coverage with an equine insurance agent.

This article does not constitute legal advice. When questions arise based on specific situations, direct them to a knowledgeable attorney.

About the Author Julie Fershtman is one of the nation’s most experienced Equine Law practitioners.

A Shareholder with Foster Swift Collins & Smith, PC, based in Michigan, she has successfully handled equine cases in 17 jurisdictions nationwide and tried equine cases in 4 states. She has drafted thousands of equine industry contracts and is a Fellow of the American College of Equine Attorneys. Her speaking engagements span 29 states. For more information, please, visit: www.equinelaw.net and www.equinelawblog.com

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EATURE

STORY

Early one morning, shooting for Al Aryam Arabians in Abu Dhabi we turned this stallion Baccarat loose on a beach.

He was having a great time running and playing which made for some great photographs.

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REFLECTIONS ON PHOTOGRAPHING

ARABIAN HORSES STORY AND PHOTOGRAPHY BY RENOWNED PHOTOGRAPHER SCOTT TREES

In my life, there has never been a period of time when horses have not been a presence in one fashion or another. I grew up in the horse industry. My Mother had World Champion Saddlebreds, my brother showed American Quarter Horses.

The Arabian horse came into my life when I was 13. I had been riding open jumping horses; however, my mother and stepfather had a common bond with a love of the Arabian horse and that gradually became the main direction of their program. My mother had an eye for good Arabian horses and vision as a breeder. Together, they bred some great horses with a Polish and Crabbet bloodline cross long before it was popular. They were best known for a cross between *Serafix and *Muskatella producing four stallions: Muskateer, Cavaleer, Travaleer, and Buccaneer. These four brothers had impressive show records and their bloodlines can be found in some of the great show horses of today.

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Scott Trees

My interest in photography began in college and once the photography bug bit me, all I wanted to do was take pictures.

I was actually a psychology major, but knew that if there was any way possible, I wanted to make my living with a camera. I didn’t start out with a goal of photographing horses. When I started taking photographs, it was a film based medium. Film and processing were not cheap and early on in the game I figured I had to make photography a business if I wanted to take photographs on a regular basis. As a result, I did all kinds of sessions. I started a business shooting parties at fraternities and sororities that paid for college. I also shot college sporting events, portraits, commercial work, anything that would give me experience. I really enjoyed photographing architecture, and would eventually be able to fulfill that desire while living in the Middle East.

However, early in my photographic experimentation, I started photographing sale horses for my Mother and gradually began to understand that I had talent in that area. I also knew that a specialization in any photographic venue would offer a better likelihood of making it a career. I think it is fair to say that I really started photography as a business first and the artistic aspects developed as I gained more experience and confidence within my photographic ability.

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ARAB HORSE COUTURE MAGAZINE | An International Publication

At the age of 24, I accepted a horse show referral from noted equine photographer Polly Knoll. Little did I know that accepting that show would be the beginning of a fourdecade-plus career that would literally take me around the world several times.

I think it is important to share that my approach to photographing horses started from an advertising and promotional standpoint. This influence started at the beginning of my career when I did ABOVE: Mares in Fog (Front View) I was shooting a series of mares standing next to each other with studio lighting and fog machines. This is the front angle of the mares I was shooting, less one mare.

commercial based photographic assignments.

Working with art directors, I learned the importance of a unique image for getting attention in advertising. That simple fact still holds true today.

This approach allowed me to bring my artistic vision and talent to my sessions.

When I began, the most common advertising image of a horse was a conformational side body shot. Equestrian breed publications had page after page of them. Essentially the same pose, just a different colored horse. They required a lot of skill to do properly, but I wanted to do something different, something outside the box. In my opinion, an Arabian horse is the high fashion model of the industry. For this reason, Arabians lend themselves to a more exotic type of session and this suited my desires perfectly.

ABOVE: Dune Mare I scouted locations for two days, looking for the right dune and the proper background. Waiting for the light to get just right, we turned this mare loose, Estashama, and I knew that she would come back to her barn buddy that was just out of frame. It made for a beautiful setting.

In the early stages of my career with Arabians, that “different” approach began with liberty shots; horses just respond differently when they aren’t fettered to a human being. For me, it offered a much better opportunity to capture expression from a horse.

The freedom of movement allowed the horses to manifest their full personality via body language and expression.

In the 80’s, the Arabian horse industry had a huge upswing. It was perfectly timed for me as I had come into my own as an artistic photographer and the market was very receptive to my ideas

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ARAB HORSE COUTURE MAGAZINE | An International Publication

ABOVE: Best Friends One of the more incredible experiences shooting was when we turned loose these two stallions, Danton & Bakkaratt in a protected inlet. From a previous effort I knew they would be OK together, they were good buds, even though mature stallions.

I was hoping for a shot of them running out of the water together. I got that shot and a lot more! They ended up cavorting in the water and beach together for well over an hour! It was beautiful to see and experience.

for unique types of images. It was amazing really.

Anything I could visualize to shoot, there was a client that would want it done.

Thus began my direction of looking for a more artistic approach using exotic locations, studios, anything that would be different from what everyone else was showing in a magazine. My goal was to take something people see every day and show it to them in a way they had not seen it before.

Thus began a hallmark of my style. Whenever possible, I look for the unusual--I combine my deep understanding of horse behavior and an artistic approach with my lighting and composition.

A common remark I hear about my images is they look back at you, drawing a viewer into the shot. They also seem to evoke a strong emotional response.

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This isn’t something I do consciously, rather it’s an innate response I have to what is in front of my lens regardless of the subject matter. More often than not I am creating an image for an advertisement of some sort. Essentially, I consider myself an advertising photographer that happens to specialize in horses. As such, I am constantly considering the market I am shooting for, which is female, and looking for shots that will capture attention and convey emotion.

Throughout the years, I have been fortunate to have opportunities that allowed me to create a large quantity of iconic images in the Arabian Industry. If I do say so myself, early in my career I had a significant impact on how the Arabian horse is photographed today. I was the first in many categories to do something different when it came to photographing the Arabian horse. For that reason, I am often brought in to try and create a defining image of an Arabian horse, usually a breeding stallion.

“

HORSE ICOUTURE Working withARAB art directors learned theMAGAZINE | An International Publication importance of a unique image for getting attention in advertising. That simple fact still holds true today. This approach allowed me to bring my artistic vision and talent to my sessions.

�

TOP: Another desert setting with the wind adding to the mood of the photo.

BOTTOM: Warrior Mare In the office of the Imperial Egyptian Stud, I noticed this halter hanging on the wall. We grabbed a broodmare out of the pasture that I thought would be right for the shot and angle, lit the set, and brought in the mare. This was shot on film and is shown exactly as shot.

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ARAB HORSE COUTURE MAGAZINE | An International Publication Early in my career, a photograph that put me on the map was a studio series done of the stallion *Gokart. I rented a commercial studio near Santa Barbara, California, lined the floor with rubber mats and brought *Gokart into the studio. He was a very laid back stallion and was not the least bit concerned about what I was trying to do. Six studio strobes were used to light the set and he tolerated all of the lighting tests and setups with great dignity.

other side. When he saw me, his eyes got bigger and this was the first shot I took in the series.

I had a tease horse waiting outside the studio with a door open, and when he unexpectedly turned to see the tease horse for the first time, I immediately saw this angle and took the shot. This was in the film era, and there were only two frames taken. But I knew when I took it that it was going to be a special shot. The final image generated a tremendous buzz in the Arabian industry when the ad ran, and the artistic career began!

Another iconic shot long used by the Arabian Horse Association in the United States, is a shot of a little girl kissing her favorite mare. We were actually prepping the mare for an ad shot. The little girl arrived with her grandmother to watch, got out of the golf cart and walked directly over to see her favorite horse. I thought to myself, “that’s cute” and I took one shot. Looking at this image from a compositional aspect, I find all kinds of faults.

But the emotional connection of this little girl and horse overpowers any compositional flaws. The photograph says a lot about the Arabian horse and its connection to people and has probably been one of the most popular images I ever took.

Working with the great breeder Sheila Varian provided a different sort of photographic opportunity.

Sheila had many great horses and photographs of them, so her desire was for something different.

After scouting potential locations, we went out to a field next to her main barn and I experimented with a blur effect. Again, shooting on film, I had no idea if it would be effective. I talked up the idea but in all honesty, I was not exactly certain just how to do it! I remember thinking, ”If this doesn’t work, your career is over!”. When I saw the proofs, I was ecstatic.

This turned out to be one of Varian Arabians’ most popular and enduring advertising images.

I can’t talk about photographs that helped boost my career without talking about the image of Barbary++/. He was an incredible English horse, and once again, I wanted to find a different approach.

The set was actually in their hay barn, with studio strobes, and again, shooting film, I had to shoot the image as I wanted the final shot to appear. I set up my lighting, used fog machines, put a red filter over one of the lights and the first time he came through the fog, he really could not see what was on the 50

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It became “The” shot that was used on a cover and took the industry by storm. In today’s digital age, I need to point out this photograph is exactly as was shot. There were no post production effects added.

Fast forward many years later when I was doing a lot of work in the Middle East. I had the opportunity to photograph Escape Ibn Navarrone-D. Several days earlier, I found the desert location I wanted and from scouting, knew when the light would be right. Escape Ibn Navarrone-D is a very dynamic and territorial stallion. Knowing that, I used another stallion for teasing, and when confronted, Escape Ibn Navarrone-D let out a bellow and challenged what he considered an adversary. This photograph turned out to be one of Escape’s defining images and certainly brought me a lot of worldwide awareness. I chuckle to myself and think that when I die, they will say, “You know, he’s the photographer that took that desert shot of Escape Ibn Navarrone-D!”.

The challenge with a horse is there is only so much that can be done, safely. Horses are probably one of the most difficult subjects to photograph.

ARAB HORSE COUTURE MAGAZINE | An International Publication

TOP: Stallion in a Dream This was shot during the same session as the Mares in the Fog series. This was the first pass the stallion made through the fog.

The sun in the background was actually one of the lights for the set.

LEFT: Barbary++/ When he saw me, his eyes got bigger and this was the first shot I took in the series. It became “The” shot that was used on a cover and took the industry by storm.

BOTTOM: The photograph says a lot about the Arabian horse and its connection to people and has probably been one of the most popular images I ever took.

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ABOVE LEFT: Escape Ibn Navarrone-D This photograph turned out to be one of Escape’s defining images and certainly brought me a lot of worldwide awareness.

ABOVE RIGHT OPPOSITE PAGE: Again on another shoot for Albidayer Stud, we turned this mare loose in an ocean inlet. I was standing chest deep in the water, Dawn swam the mare further out, turned her around to face the beach and let her loose. I got the shot on the second attempt. A couple of weeks later when we were discussing the shot with some friends, they informed us that that area was known for having sharks!

ABOVE: *Gokart in the studio.

ABOVE: Sheila Varian and Desperado V in motion.

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ARAB HORSE COUTURE MAGAZINE | An International Publication

The only predictable thing about a horse is their unpredictability. Acquiring the types of shots that I create is a team effort. It requires the desire of the owner and the cooperation of the trainer, assistants, grooms and photographic assistants to make them happen. I must admit that when a shoot comes together and I see the final result, I still get as excited as I did when I first started taking pictures.

I mentioned earlier that I started photography more as a business than as an art form. Fortunately, over the years, time and circumstance allowed me to become an artist as well. Today, my time is divided between photographic sessions, speaking, and selling my work to equestrian enthusiasts and collectors. I love taking photographs and while there is also a strong video side to my business endeavors, photography is and will always be my one true passion.

I always share with my friends, “You will know I am dead when you wave a camera under my nose and I don’t quiver!”

Scott Trees has been one of the leading International Arabian Horse Photographers for over four decades. When not traveling, he resides with his wife in Fort Worth, Texas. Scott has traveled the world shooting commissions and assignments.

He also teaches a variety of photographic workshops where he openly shares his knowledge and experience. In recent years, he has become a sought after motivational and inspirational speaker. To view his work, order Scott’s teaching DVD’s, prints and gifts, or contact Scott, please visit www.treesmedia.com.

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RTS FEATURE

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Arabian Horse Fine Artistry Featuring KARINA PEACEMAKER

For as long as she can remember, Karina Peacemaker has been drawing horses. As a child, she taught herself to draw by filling reams of copier paper with sketches of horses, mostly Arabians.

Growing up on her family’s farm, PCF Arabians, Karina experienced firsthand the appeal of the breed. She still plays an active role in the breeding, showing and management of the farm. Her close, daily interaction with Arabians is reflected in her artwork. On each and every canvas she strives to capture their beauty and charisma, while giving special attention to expression, movement and realism.

In 2005, at the age of 17, Karina began to experiment with oil painting. She now works predominately in oils but has experience in a variety of artistic media, such as pencil, pen & ink, watercolor, wood burn art, scratchboard and acrylics.

LEFT IMAGE: “The Herd Sire” by Karina Peacemaker Autumn 2016 . AHCM - ARABHORSECOUTURE.COM

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ABOVE IMAGE: “Stallions of PCF Arabians”

by Karina Peacemaker Karina Peacemaker’s artwork is internationally collected, with original paintings and prints residing worldwide.

Several familiar names and shows in the Arabian horse industry, like Arabian Horse Global, Arabian Horse Futures, the Arabian U.S. Open and of course, PCF Arabians, commissioned their logo artwork from Karina.

A rare, non-equine drawing of Karina’s was awarded Adult Division Grand Champion in the 2009 Red Vines Drawing Contest and was printed inside many movie theater boxes of licorice across the United States.

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Each year, with its inception in 2011, Karina has donated a painting to the Arabian Horse Association of Arizona for the Arabian National Breeder Finals Show.

During the show, to date, her artwork has raised at auction well over $60,000 in prize money for the Arabian weanling classes held at this show. Karina’s paintings are also featured during the prestigious Scottsdale Arabian & HalfArabian Horse Show as the official show poster and program cover since 2014.

In addition to painting freestyle, Karina enjoys equine portraiture. She loves the challenge of capturing not only the

ABOVE IMAGE: “West Winds”

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subject’s likeness, but personality as well. Karina has created portraits of many highly acclaimed Arabian horses including: Magnum Chall HVP, Bey Ambition, Magnum Psyche and PCF Vision.

Karina believes there is no greater subject or inspiration for art than the magnificent Arabian horse.

ABOVE IMAGE: “Desert In Bloom”

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More of Karina Peacemaker’s works can be seen at www.artbykarina.com.

Prints and original art are also available for purchase at Karina’s Etsy shop: ArtByKarina www.etsy.com/people/ karinapeacemaker.

For inquiries regarding commissioned paintings and/or comments, please contact the artist directly at karina@artbykarina.com.

ABOVE IMAGE: “FIrst Moment”

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Equine Health: Understanding Suspensory Ligament Injuries Written by Dr. Brad Hill, DVM of Equine Athlete Veterinary Services

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uspensory ligament injuries are one of the most common soft tissue injuries to plague today’s equine athlete. Deriving from the proximal cannon bone, it extends distally down the back of the cannon bone and branches at the distal 1/3 of the cannon bone and ties in on the medial and lateral sesamoid of the fetlock. See figure 1.

FIGURE 2

2. Fatigue.

FIGURE 1

Essentially, the suspensory ligament is the horses’ “shock absorber.” Suspensory ligament injuries are typically related to one of three scenarios:

1. Conformation.

Horses with a long, low pastern angle are more predisposed to overloading of the suspensory and chronic repetitive stress, which causes degeneration of the suspensory ligament over time. In the hind limb, this long, low pastern angle can be further exacerbated by a straight hock conformation, putting further stress on the suspensory ligament of the hind limb. See figure 2.

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As the muscles supporting the leg become fatigued, the leg relies more heavily on the suspensory ligament to keep the fetlock from dropping completely to the ground. Remember, the role of the suspensory is to help keep the fetlock suspended in the air.

3. Taking a “bad step.”

No different than playing a game and “rolling” your ankle, this same thing can happen in horses. One clumsy step can lead to weeks or even months of rehabilitation.

Understanding what leads to these injuries can go a long way toward preventing them from occurring.

When buying a performance horse, I always recommend having a pre-purchase examination performed with an experienced veterinarian,

ARAB HORSE COUTURE MAGAZINE | An International Publication

preferably specializing in sports medicine. This will not only help get you reliable insight as to your prospective horse’s capability, but they will also be able to identify any faults the horse may have in relationship to your overall goals, if it is manageable, and to what degree.

Subtle suspensory issues can be difficult to detect and take the experience of a skilled practitioner to diagnose. The right kind of veterinarian will utilize many resources when tasked with conducting a thorough pre-purchase examination – i.e. connecting with professional horse trainers, farriers, etc. Together, they may be able to detect subtle symptoms that show a horse may have a preexisting condition or conformation that may lend itself to possible future suspensory problems or other orthopedic issues.

horses’ workout so they can regain their wind and get oxygen to their muscles. A slow cool down is just as important after a hard exercise. If your horse has had a length of time off, you will need to implement a 60 - 90 day plan for increasing your horses’ fitness, and the same goes for training young horses. Keep in mind the amount of time could easily increase depending on the reason for the time off. Essentially, before asking these animals to perform at their peak, you must build a solid foundation of physical fitness or your horse will injure itself – this is especially true in older horses.

Good horsemanship is truly the backbone of preventing musculoskeletal issues and injuries in your horse. I believe this is worth mentioning, as this concept can oftentimes be taken for granted.

As an extra level of precaution, when horses are training at a high level, in peak condition, I strongly recommend icing suspensories for at least 20 minutes after working – this will help subside any inflammation that may have occurred. There are also support wraps and bandages available that can be used during work to help prevent hyperextension of the fetlock.

Having a skilled farrier is very important, as is having farrier work done on a consistent basis.

Regular trimming and shoeing is a fundamental key to preventing orthopedic injuries in your horse, as many orthopedic issues occur when horses are long in their shoeing interval.

As long time horse owners know, horses seem to have a knack for getting into trouble and having problems. This is a list of some basic things horse owners can do to minimize suspensory injuries in their horse. I believe this can be summarized in one word - horsemanship.

Nutrition is also something that should never be overlooked, as it is directly related to your horses’ musculoskeletal health. Understandably, good nutrition helps prevent GI problems, however making sure your horse has good nutrition helps to ensure that they have the energy and nutrients necessary to support strong musculature of their limbs while performing at a high level.

Make excellent horsemanship a lifelong goal and your horse will be the one that benefits!

Last, but certainly not least, training. When you or I go to the gym and work out, especially the older we get, we need a warm up period with stretching before we are ready to go at full speed. Horses are the exact same. This warm up will be different for different types of horses, however it involves a slow build up in work at the beginning before building up to more intense work. Breaks are important in a

Brad Hill, DVM University of Missouri, College of Veterinary Medicine, 2003 Dr. Hill’s experience includes a sports medicine internship and subsequent associate position with Merritt and Associates Equine Hospital between 2003-2007. Since 2007, Dr. Hill has been based in Lansing, Michigan and operates Equine Athlete, formerly Performance Equine. He travels to equine training facilities across the country helping to diagnose, treat, and consult on the medical issues facing today’s equine athlete.

He is also a partner in Michigan Equine Surgical Associates.

To contac t Brad Hill, DVM pleas e email him v ia Brad@EquineAthlete.Pro. Autumn 2016 . AHCM - ARABHORSECOUTURE.COM

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ASHION FEATURE

AIISH RAMADAN REVIVING THE ART OF COUTURE IN A CONTEMPORARY WORLD

AIISHA fashion brand is the epitome of modern, beautifully made designs that speak to women across the world. Behind the brand is Lebanese fashion designer, Aiisha Ramadan, who started the company in the UAE in 2007.

She has won a number of prestigious awards and have collaborated with international brands in the beauty and technology fields, making her one of the most influential women in the Middle East.

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quality construction methods, AIISHA succeeds in awakening the femininity of those who choose the brand as their own. What makes AIISHA unique is the ability to maintain all of these traditional elements of design at desirable prices.

By the use of intricate handmade details, fine embroidery, and the careful selection of the most luxurious fabrics and high

AIISHA also embraces and celebrates diversity. Each and every design is thoughtfully crafted with this concept in mind. The brand appeals to cosmopolitan women across different age groups, nationalities and personalities and is proven by the likes of those who have worn AIISHA in the past.

he brand was passionately founded on the core of the fashion industry itself, Couture. Ramadan sought to revive the art of couture in a contemporary world by cherishing the design process and defying the current trend of fast fashion - only producing two collections per year for all her lines including ready-to-wear, couture, and bridal.

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Celebrities such as Charlize Theron,

The mission of AIISHA is to resurrect the

Jennifer Lopez, Aishwarya Rai and Ariana

art of couture to cosmopolitan women

Grande have adopted the label, which in

leading busy lifestyles by offering them

result-has gained international popularity

hand-crafted designs at bridge and

for its elegant, yet sensual look.

designer price points.

In a world filled with competition, be different.

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AIISHA OFFERS SEVERAL LINES OF WOMENS FASHION TO CHOOSE FROM READY TO WEAR AIISHA RTW line is created bi-annually to empower women from different backgrounds, tastes and needs. Its designs can be worn on their own or easily mixed and matched with other separates due to their clean silhouettes, timeless approach and elegant feel embracing details, such as piping, light embroideries, pleats and a combination of different textures.

AIISHA RTW is made with high quality materials, yet is affordable to every woman who appreciates beauty. Made in different colors and sizes, this is the ultimate choice of the AIISHA woman.

PRE-COUTURE AIISHA pre-couture is the brand’s best selling line presenting ready-to-wear designs with hand-made details for women with a passion for couture.

Each part is hand-made using luxurious textiles giving its wearer a taste of couture 68

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at designer price points. Available in different colors and sizes, AIISHA demicouture awakens the dormant femininity within every woman.

COUTURE AIISHA Couture crafts intricate techniques with its embroideries, finest European fabrics and details, all in the aim of creating a unique vision of art that crowns its wearer. Custom-made to the client’s measurements, colors suiting her own complexion, tailored to her special occasion; AIISHA couture is a dream to many realized by a few.

BRIDAL Every woman dreams of the day she will fall in love and be swept away into matrimony. When that special day arrives, AIISHA Bridal is there to make the dream into a reality. Combining all the elements of the brand identity, AIISHA Bridal crafts beautiful gowns utilizing the most luxurious fabrics and intricate details suited for a bride’s walk down the aisle to her happily ever after.

THE DESIGNER Behind AIISHA is Lebanese fashion designer, Aiisha Ramadan, who started the company in the UAE in 2007. Even before graduating from the American University in Dubai majoring in Fashion Design, Ramadan had won a number of prestigious awards such as Young Designer of the Year by Swarovski and the Al Ghurair Center Award.

Fast forward a few years, Ramadan was named one of 30 Most Awesome Women in the Arab World in 2009 by Arabian Woman Magazine and was awarded The Gr8! Women Achiever Awards in 2011.

Surrounded by an influential male community, Aiisha took solace in the power of femininity through her designs.

She has developed the ability to look at a woman not only through a feminine perspective but also relate with the masculine interpretation of the life, body, and silhouette of women in each collection.

Ramadan’s character dictates her love for complexity and consequently, her designs have adopted the characteristics of their maker. AIISHA truly values the design process and defies fast fashion trends of today in favor for creating classic and long lasting pieces.

Through meticulously detailed embroidery and intricate hand-made beading, AIISHA has flourished with an identity rooted in couture at desirable designer prices making the brand an accessible luxury.

The AIISHA woman truly becomes a chameleon in her designs and diversity is a valued asset embraced by Ramadan.

No matter the age, body shape,

personality nor nationality of her clients, an AIISHA woman will show off her strength and embrace her individuality with confidence. You can call her fearless.

As an influential woman, Ramadan places emphasis on individuality, freedom of expression, self-acceptance and celebration expressed through the designs she creates for AIISHA as well as her CSR initiatives that she sincerely supports.

AIISHA MAIN OFFICE UAE Corset Fashions Ground Floor, Nasser Center Jamal Abdul Naser Street P.O. Box 45994 Sharjah, United Arab Emirates Tel: +971 50 3500 400 www.aiisha.com Autumn 2016 . AHCM - ARABHORSECOUTURE.COM

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Arab Horse Couture

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ASHION FEATURE

SILVIA RIZZO GRAND PRIX DRESSAGE RIDER & EQUESTRIAN FASHIONISTA Italian Grand Prix rider Silvia Rizzo, well renowned rider in the dressage world, developed a passion for horses in her teens and has now grown into an ambitious dressage rider.

She was proclaimed Italian Owner of the Year at the 2009 Italian Horse Owners’ Gala Ball hosted by APICE (Associazione Proprietari Italiani Cavalli da Equitazione) on Feb. 8, 2010. APICE bestowed this honor for Silvia’s ownership of the Westphalian gelding, Blickpunkt, who won the Bundeschampionate and became the bronze medalist at the 2009 and 2010 World Young Horse Championships in Verden, Germany.

In 2013, Silvia was invited to compete in the World Dressage Masters in Palm Beach, Florida and also received an invitation to compete at Al Shaqab CDI4* in Doha, Qatar, with her Oldenburg stallion Donnerbube 2.

While at the World Dressage Masters in the U.S., she amassed a huge fan club and found herself signing autographs and posing for photos. She fell in love with Florida and decided to spend the entire 2014 winter show season in Wellington with her new star, Sal, a Lusitano stallion.

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In Florida, Silvia embraced a variety of experiences from trying her hand at reining and cutting to tossing the coin at the International Polo Club Palm Beach. Back in Europe, she was invited to compete in the Royal Windsor Horse Show in the United Kingdom and was greeted by applause and admiration there as well. Wherever she goes, Silvia attracts attention and she is quick to acknowledge her fans and her sponsors.

Silvia is also a well-known Equestrian Fashionista and writes an immensely popular column for psdressage.com. In early 2014, she created her own Hof Marabunta Fashion Line called “Stylish Rider” and also launched the line with her own trendy designs of polo shirts and breeches.

Silvia explains, “All the breeches are made with high quality materials. The great innovation and

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characteristic of our brand is the “Silicone Grip” that replaces the outdone leather grip.

The new silicone will give you extra support for your position in the saddle. High quality materials and comfort are the characteristics of these breeches!”

In both 2015 and 2016, Silvia was proclaimed ambassador during the International Helmet Awareness Day. Together with KEP ITALIA, a premier safety standard equestrian helmet manufacturer, clients are able to combine unique ideas for helmets by creating their own style. The company has a large selection of colors, materials and designs to choose from.

Silvia happens to be admired by Fashion King, Valentino. He is one of the fans of her own unique helmet created through KEP ITALIA. When the topic of Valentino comes up, Silvia gets a glow on her face and begins to smile.

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She says, “I could not believe that I was invited to the VIP area of the Sultan, where Valentino was sitting. He was attracted by my elegance and called me divine! You can understand why I was elated!”

In 2015 she was awarded for her sense of style with the Chi E’ Chi Award, during the Milan Fashion Week, in the Sport Category, for being Italy’s brightest ambassador of elegance and style in the international sports world.

In early 2016, Silvia was proclaimed the third “Chicest Rider” in the world by the popular English magazine, The Derby Post. She was also proclaimed “Equestrian Fashion Queen” by the World Dressage Master.

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Hof Marabunta Fashion Line provides international shipping for all of its breeches and polo shirts.

For inquiries, please visit www.hofmarabunta.com or contact designer Silvia Rizzo via email at info@hofmarabunta.com.

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Designs by Loriece

Loriece Boatright graduated from George Brown College in 1978 with a degree in Jewelry Arts. She developed her skills as a goldsmith working for a local jewelry store. This apprenticeship prepared Loriece to follow her dream and open a custom jewelry business.

Loriece had always been fascinated by horses.

When she was invited by her friends to join their riding lessons, she jumped at the opportunity.

Loriece also visited the Royal Agricultural Winter Fair in Toronto later that year in search of jewelry that celebrated the horse and equestrian lifestyle; however, surprisingly, it lacked representation.

She then shifted her entire focus, finding inspiration in all things horse from her morning hacks, working in the arena and tending the barn. Loriece literally carved, sculpted and cast these experiences into her art - pieces of fine gold and sterling silver that articulated the special relationship between the riders and their horses.

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Loriece’s work has always been about creating authenticity through detail. When she is in her studio working, she is in her zone—all inspirations and skills combine as one. Loriece says, “It is comparable to riding; being collected and engaging all elements to create a light and powerful flow of movement and beauty. At that very moment, the horse and rider are one.”

The various disciplines of horsemanship offer Loriece an unlimited resource to create from; however, it is the custom orders that feed her creative soul. From the very first riding lesson, Loriece states, “I became a transitive medium, capturing the customer’s imagination to create an artistic piece of jewelry that will tell their story and leave a lasting impression for generations to pass down.”

All of Loriece Boatright’s Jewelry Pieces are “Made by a Rider for a Rider”

ARAB HORSE COUTURE MAGAZINE | An International Publication

The Spirit Horse I was inspired to create this pendant after visiting Sedona, Arizona.

Hidden in the mane of the horse, is an Eagles’ wing.

This symbol represents courage in Native American culture.

Wear this in the spirit of the horse – be courageous!

The Spirit Horse Protection Pendant For centuries, turquoise has been recognized as possessing the power to protect riders.

Historically, soldiers would attach turquoise to their horses’ bridles for protection against injury due to falls.

(Genuine turquoise from New Mexico & Sterling Silver)

Please visit Designs by Loriece at www.loriece.com for contact information and to view her beautiful equestrian jewelry collection.

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The Arabian Horse

Cinderella Story “

I asked her to take the filly to the arena and show me her movement.

The filly was bucking, rearing and was quite insane. I asked my coach, who happened to be at the stable, “Would I be crazy to buy this filly?”

She responded, “Why not, I think this filly would be perfect for you.”

Title page photo by Jouni Martikainen 78

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”

Samarah Written by Veera Lammenaho of Finland | Photos by Anette Varjonen, www.anettefotografik.fi

O

n Friday the 22nd of February 2013, my phone rang in the middle of a business meeting, “ Would you like to come and see a horse? You like Arabians and there is an Arabian filly desperately looking for a home.” I was not actually going to buy a horse, but I promised to go look at this filly after work. I also decided to take my Mother with me as she loves Arabians as well.

When we arrived at the stable, there stood a very tiny two year old filly. She was not as I had envisioned; anticipating a noble purebred Arabian. Her coat was tangled and dirty, she obviously had worms and her mane was cut short.

The stable owner was at the location when we arrived and the only information she could tell us was the name of the horse--Samarah. The filly was not registered and had no papers. When I asked about the dam, the stable owner showed me the box next to Samarah’s--there was a skinny black mare. No one knew anything about the sire so we decided to come back the next day.

On Saturday there was a young girl at the stable. She owned both the mare and the filly. I asked her to take the filly to the arena and show me her movement.

The filly was bucking, rearing and was quite

insane. I asked my coach, who happened to be at the stable, “Would I be crazy to buy this filly?” She responded, “Why not, I think this filly would be perfect for you.”

My Horse Turned to Cat Samarah began to feel at home quite rapidly. For her cat-like movements, we named her Kissa (the Cat).

We began to train her by longeing, first with one rein and then with two reins. We even harnessed her and drove her with a buggy. Next, we began to find out about the origin of the filly as we wanted to register her. My Mother, who had just retired, took the time to handle this time consuming project. Little by little we found information and each detail was fascinating.

Frozen Foal The dam of the filly, RS Sahira AT, was taken to Denmark to be sold there. At the same stable was another Finnish purebred Arabian stallion named Pelennor.

One night, a construction worker had loaned some electricity from the plug used for the pasture fence.

Unluckily, he had forgotten to plug the fence back in.

The next morning the mare and the stallion were in the same pasture. The mare had not been the easiest one to breed and as such she was regularly in heat after this, nobody thought that she would become pregnant.

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Later in Autumn the mare moved back to Finland.

The owner of the mare left her to a small country stable. In early winter, the stable owner began to wonder why the mare was getting fatter and fatter, but the owner of the mare just told her to feed the mare less.

On February 3rd, 2011 the stable worker noticed that a foal was born in a snowdrift. It was –10 degrees Celsius, so it was a matter of minutes or the filly would have been killed by the frost. The mare and the filly were taken quickly inside to get warm and dry. The owner of the mare was informed about what had happened; however, because she didn’t want the foal, she didn’t want to pay the owner of the sire (stud fees, etc.). For a short moment, they thought that it would be better for the filly to let her pass away, as no one wanted her.

Luckily, one woman with her daughter visited the stable often, and they really loved these two unwanted horses. The woman bought both of them, and they were moved to another stable. Quite soon they ran out of luck….the woman and her husband passed away suddenly. The mare and the filly were left for the minor daughter.

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This is the point of the story where my phone rang and I met the filly for the first time.

Surprise in the Show Ring Finaly we were able to register the filly. She had completely changed, a wonderful look and manners.

I started to dream about taking her to the horse show.

In August 2014 in Metsäkylä, Hamina at the stable that was owned by the same person who owned the sire of my filly, was a show for all horses. I had been at a horse show only once, so I was quite unaware of what would happen there. I checked a couple of YouTube videos, trained a little bit and bought a pretty show halter. On the show day, we were amazed by the filly’s behavior and we were even more amazed when she won her class and was Reserve Champion.

Her sire was the Unanimous Gold Champion.

Thrilled by the success, we started to practice for next year’s Kotham International Arabian Horse Show, ECAHO C-Show, that would be at the same location as our first show. We even went to Minttu Pihl’s show course and were more prepared for our first real show. The show was better than we could have imagined. My Arabian horse won her class, mares 4-7 years old, and was chosen as the Silver Champion Mare at the end of the day.

After the show we were more surprised when we noticed there was a story about the show on the pages of Arab Horse Couture Magazine that included our photo! We could never have imaged anything like this, even in our wildest dreams.

We celebrated this with glasses of champagne with my Mother. It was unbelievable to see a photo of our little unregistered, unwanted surprise filly, on the pages of this fancy foreign magazine.

Charmed Halter Not so long after this, my Mother was hospitalized and only two weeks after this we received sad news-she had passed away. These were hard times for the entire family and I could not think about anything regarding any horse shows or Arabian horse items.

We began to train basic riding skills, and every day we went to the stables with my daughter, Laura, and usually my Father was also with us to take good care of our little mare.

Only a few weeks before this year’s show, Thousand Lakes International Arabian Horse Show, ECAHO C-Show in Forssa, the owner of the sire of my mare asked if we were coming to the show. I told him we were not prepared at all, we had only ridden the mare. Somehow she talked me into sending in the entry form, only a few hours before the entry deadline.

I thought we might need some extra luck so I made

the show halter decorated with my Mother’s necklace.

The show day was very lucky for us, again we won our class, 4-7 year old mares and were chosen as Silver Champion Mare. Our mare was even chosen to be the best mare born in Finland and was awarded with a Falcon Trophy.

Golden Heart The story of Samarah has been a real Cinderella-story.

The Arabian horse that should not have even existed and should not have become anything happened to be more than we could ever have dreamed of. Her sire has been awarded with the WAHO-Trophy, the internationally shown gorgeous stallion Pelennor (Monograf DE x Penelope by Pomar SE) and her dam is the black mare, awarded with Gold Points at International Horse Shows in Finland, RS Sahira AT (Madallan by Madheen DE x Sara IV DE by Ghazlan DE).

Only time will tell where we will go next. We are planning to participate in Arabian horse shows as Samarah seems to enjoy showing herself to people.

Myself, I would like to see her in ridden competitions, she has wonderful gaits to be a dressage horse, she also likes to jump.

I think the best part of this mare is her heart that is pure gold.

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F.I.T.S. -1 (Fitness In The Saddle)

Release Your Hamstrings

By Jennifer Malott Kotylo

I am a stickler about proper pelvic position.

Without your pelvis in the proper position (both top to bottom and side to side) you lose your ability to balance around your horse and to follow his motion.

one side or the other. Congratulations if they are parallel. If they are sloping, slowly shift your weight from one foot to the other until your hips are even.

Do you feel a pull or a cramp? This is just your body telling you that it is out of balance muscularly.

Slowly stand up.

Most of us (riders and non-riders alike) walk around with misaligned pelvises and do not realize it. But when you look in the mirror, are your shoulders uneven? Have you been told that you have one leg longer than the other? Do you have back and/or neck stiffness? Can you tum your head more easily in one direction than the other? If you answered “yes” to any of these questions, the culprit may be your pelvis.

Many different muscle groups can impact your pelvis’ alignment. Here we are going to focus on just one - the dreaded hamstrings. One of the most effective ways I have found to get my hamstrings to let go is by working with a Yamana Body Rolling Ball or Franklin Ball (you do not have to have an authentic Yamana or Franklin ball. Any ball approximately 10 inches in diameter, which is strong enough to sit on and hard enough to exert some pressure on your muscles, will work).

So, how do you know if your pelvis may not be in the best alignment? I am going to give you a simple test that only takes you and a fulllength mirror. Stand facing away from the mirror approximately five to six feet with your feet hip distance apart (please make sure that your feet are facing straight forward, which means that your first toe - not your big toe – is pointing towards the wall in front of you and that you are balanced equally between the ball of your foot and your heel). Slowly bend forward from your waist and look between your legs. You should now be looking at your backside in the mirror. Look at the top of your hips.

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Before you begin working your hamstrings, sit or lay on the floor with your legs stretched out in front of you. Take a moment to feel the sensation of your legs on the floor and to see if one leg appears longer than the other.

Start by placing one seat bone or the other on the ball. (Fig. 1) Use your feet and hands to stabilize yourself (you will feel a bit like a crab). Begin to “massage” your seat bone with the ball by gently rolling back and forth in both linear and circular patterns for two to three minutes (depending on how tight you are; this may be a bit uncomfortable.

ARAB HORSE COUTURE MAGAZINE | An International Publication

Figure 1

If it is too uncomfortable, try taking some of your weight off of the ball by supporting yourself more with your hands and feet). Once you have worked the muscular connections around your seat bone, slowly begin to work the ball down the back of your leg using circular and linear patterns. (Fig. 2) Work the ball down to just above your knee and then back up to your seat bone.

Slowly slide off the ball and test your leg length and the feel in your leg again. If you are like most people, your “worked” leg will seem longer and more in touch with the ground. Your hamstrings and their connections to your seat bone and knee have been released. Proceed with your other leg, starting at your seat bone and working your way down to your knee to even yourself out. Check out your leg length and how they feel on the floor.

Next, take the mirror test again. Hopefully your hips will be much more in alignment (please note that if your hips were very unleveled and/or your “leg length” was significantly different, do three sets of rolling - first with the “shorter” leg, then the longer and then the shorter again. Know that it is extremely rare that legs are actually of different length. What appear as differing lengths is usually a pelvis torque).

This simple release will help you sit more evenly on your seat bones and allow your legs to hang in a

Figure 2

more natural way around your horse helping you to attain better balance and communication with your equine partner.

I want to hear from you! Your health and fitness is just as important as the health and fitness of your horse so email me with any questions or challenges you are facing!

Jennifer developed a passion for body awareness and biomechanics while pursuing her lifelong quest of international level dressage riding. She is a certified Core Dynamics Pilates Instructor, certified Equilates teacher and certified Balimo practitioner.

Jennifer is also the creator of the DVD program “Improve Your Riding Through Movement.”

No matter what style of riding you are into – no matter what your experience level is and no matter what your age may be, these DVDs will help you create a body that is more flexible, safer in the saddle and one that can enjoy riding for years and years to come. Jennifer is also a national speaker on both health and wellness topics.

To contact Jennifer, please visit her website at: www.jenniferkotylo.com. © Jennifer Malott Kotylo - 2016

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