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Reliving Legends

“Reliving Legends!” 8


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LETTER Writing my first editorial letter seems like yesterday, and yet here we are already celebrating our second year of IN. This is one birthday-issue that could not go unnoticed, and what better way to make a bang than by exclusively featuring Ms Haifa Wehbe on our cover. This much-anticipated shoot breathes life into this issue’s theme Reliving Legends, as we see Haifa paying homage to her all-time greats, Sophia Loren, Diana Ross and the iconic Marilyn Monroe. On December 3, 2011 at six pm sharp, Haifa arrived on set bright as a button decked out in her Sophia Loren garb; the resemblance was uncanny. Her opening line was: “Hi, Ana Sophia” (I’m Sophia), immediately breaking the ice and setting precedent for what was to be an energetic high-octane shoot, lasting until three am.The highlight was Haifa’s attitude of “the sky is the limit”; experimenting with black, red and blond hair, accentuating exquisite the gowns provided by the Furne One Amato Couture, Ezra and Michael Cinco. In the words of my dear friend Amato “we want to add drama, we love drama!”. This was echoed in a big way. A small black and white teaser image released online sent bloggers and news pages into a frenzy, inducing a ‘Haifa-does-a-Marilyn Mania’. IN Drama, all the way – and that is the way we love it. This issue sees our journey gain momentum in every area. Our beauty section welcomes the arrival of the much-celebrated beauty-guru Huda Kattan giving invaluable tips to the ladies out there. IN.Arts throws you into expression through the symbolic works of Hazem Harb and Mehrdad Mohebali. We also introduce the wonderful Nik Nejad, and give the the lowdown on Edge of Arabia’s ‘We Need to Talk’ exhibition in Jeddah. Journalistically we are diving into controversial affecting society today. Andy Warhol and Helen of Troy are just two of the many legends who inspired us while creating this issue, all of whom will be remembered indefinitely. And with that, we ask you to sit back and join us in Reliving Legends. Join us in living out your own inner legend, hand-in-hand with IN Magazine.

Ahmed R. Abou Naja














“Reliving Legends!”



IN.NEWS Dior’s

New Girl

Christian Dior is doing a fashion pas de deux with one of Hollywood’s hottest young talents. Black Swan star Mila Kunis has been named a new face of the French house, and will appear in its spring fashion campaign, shot by Mikael Jansson and slated to break this month in international editions of Elle, Vogue and Madame Figaro, starting with China on Jan. 15, followed by Italy, Russia and France. It is to debut in the U.S. in The New York Times on Jan. 29, followed by a range of American monthlies, including Vanity Fair and Harper’s Bazaar.

Law Professors

Back YSL in Louboutin Case

The battle of the red-soled shoes goes on and Yves Saint Laurent — which has been trading legal blows with Christian Louboutin on the issue since April — on Tuesday picked up the support of 11 law professors. 

The professors, who research, write and teach trademark law and related topics, filed an amicus brief with the Federal Court of Appeals for the Second Circuit and said Louboutin’s arguments to protect a single color in fashion “should be rejected in order to preserve freedom of innovation and competition.” The professors said Louboutin and its supporters are arguing against the doctrine of “aesthetic functionality” which prevents companies from using “trademark as a kind of back door to perpetual patentlike protection for attractive but non-novel product features.…[If] the relevant consumers want a product feature because it is especially attractive, then that feature is not a proper subject of monopolization by a single producer — unless it meets the demanding novelty requirement of design patent.”

 The professors noted: “A woman who buys red shoes is doing so for a reason — red shoes have a particular meaning to her, and to others, that cannot be supplied or even approximated by shoes of a different color. Given the substantial creativity involved in both fashion design and fashion consumption, courts should not lightly allow one particular competitor to monopolize particular fashion submarkets.”


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Rachel Weisz

is the new face of Jasmin Noir by Bvlgari Rachel Weisz is the star of the new advertising campaign for Jasmin Noir, the fragrance which embodies the essence of Bvlgari’s prestige and luxury and expresses its most sophisticated and refined nuances. An actress with an extraordinary film and theater career and the winner of an Oscar and Golden Globe, Rachel Weisz powerfully incarnates the style and personality of the Jasmin Noir woman and the seductive duality of a sophisticated yet profoundly sensual spirit. In a mysterious scenario captured by photographers Mert Alas & Marcus Piggot, intense colors alternate with brilliant hues in the enveloping atmosphere of an elegant boudoir featuring one of the most representative symbols of the Bvlgari style: the lion, once again an unmistakable emblem and an extraordinary combination of elegance and nobility. Rachel Weisz embodies the quintessential contemporary woman to whom this iconic Bvlgari fragrance is dedicated. Her beauty, caressed by soft, golden light, portrays simple yet extremely intriguing femininity. Her gaze is a combination of innocence and passion – a contrast of purity and deepness, light and shadow reflecting the enigmatic soul of her most precious secret: Jasmin Noir.

Roberto Cavalli

Relaunches Sunglasses

Roberto Cavalli is getting back to its roots. The Italian brand, which licenses its eyewear with The Marcolin Group, is relaunching sunglasses for both its namesake and diffusion collection Just Cavalli early next year. The new line marks a return to the fundamental aesthetics of the brand’s first eyewear collection, which was launched in 1999, said Marcolin style and licensing officer Maurizio Marcolin. “All the aesthetic codes of the brand — such as the animal prints, the snake inspiration and goldsmith’s art — are now a leitmotif across all styles,” he said. “The collection has been very well received in the market for the new and original contemporary shapes complementing the sophisticated appeal of the Roberto Cavalli brand.” According to Marcolin, fashion trends in 2005 changed the overall look of the Italian brand’s classic style, which includes embellishments and animal prints. Incorporating the same Italian fabrication and materials, the updated collection, which ranges in price from $360 to $450 at retail, marks a revival of those bold looks, but with a modern twist that includes contemporary shapes.

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IN.NEWS Benetton Unveils Unhate Dove Sculpture in Tripoli

After launching its Unhate Project in November, Benetton unveiled its first monument to peace through Colors Magazine on Saturday. The publication is donating a large dove sculpture to the city of Tripoli, which is celebrating Libyan Independence Day for the first time in 42 years. The Unhate Dove’s plumage is composed of shell cases recovered by war zone residents, symbolizing newfound peace and hope at the end of the Arab Revolution. “The presentation of the dove is the first both concrete and symbolic gesture of the Unhate Foundation,” stated Alessandro Benetton, executive vice president of the Benetton Group, adding that a primary focus of the foundation is “challenging the culture of hate.” Benetton does not shy away from provocation. Starting in the Eighties and Nineties, the company worked with photographer Oliviero Toscani, a founder of Colors Magazine, on campaigns that showed a man dying of AIDS, or a series of identical hearts labeled black, white and yellow as a protest against racism. Recently Benetton caused an outcry when it introduced the Unhate Project with a photo montage of kisses between world leaders.


XV Book

Published by Rizzoli with a foreword by fashion journalist Colin McDowell and introduction by Tamara Mellon OBE, JIMMY CHOO XV chronicles the 15 most memorable shoes from the company’s archives and reflects on what has made them hallmarks of the Jimmy Choo style and renown. Through captivating imagery shot by photographers such as Mario Testino and Terry Richardson, editorial from the world’s top fashion magazines, paparazzi shots from the red carpet, design studio sketches and behind the scenes photography, the reader is taken on a visual tour through an anthology of these iconic Jimmy Choo creations. The company will donate one hundred percent of its revenues from the sale of the book to the Jimmy Choo Foundation. JIMMY CHOO XV will be launched in Jimmy Choo stores worldwide as of November 2011 and in fine booksellers worldwide from February 2012.


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Marc Jacobs seems to have ruled himself out of the running for the Dior job once and for all. “I am at Vuitton, and I am very happy there,” said Jacobs. “I’ve been saying that for a long time. There have been on-and-off conversations about Dior. I don’t know; maybe someday in the future, maybe years from now, I may end up going someplace else, maybe Dior. But right now I am at Vuitton, and all that matters to me is that that’s where I am and I’m going to keep doing my thing. “The irony in all of this is that I don’t dream of doing anything else, or I didn’t. My greatest challenge is to do something better than we’ve done the season before. The idea of couture doesn’t hold that thing for me. It’s archaic - in my opinion. I mean, I am really interested in the craftsmanship behind couture. But I can explore all that in ready-to-wear. With couture, one dress each season is photographed by a couple of magazines; there’s no advertising; it reaches 20 customers. I don’t feel there is anything lacking in what we do. I get to work with these amazing craftsmen. Maybe not the same ateliers that would make a couture dress, but, again, we are not in a deficit for working with people who create beautiful things. I am not sure I ever looked at couture as this great opportunity.” And at Christmas time, when most people are celebrating with families, Jacobs has expressed his own views on togetherness. The designer has not seen his mother, brother or sister for 20 years. “I hate this idea that you have to love somebody because they are your family,” he told US Vogue. “Nobody can tell me what I’m supposed to feel and who I am supposed to feel it for. I don’t blame them, I don’t hate them, I just know that I don’t feel love for them. That’s all. And I am not going to make the call or try to stay in touch because society says, But it’s your mother. Oedipus, Schmoedipus.”



H&M is proud to announce a spring designer collaboration with the Italian brand Marni. Famed for its original prints and inventive spirit, Marni is one of fashion’s most-loved labels, and its Founder and Creative Director Consuelo Castiglioni has created for H&M a spring collection for both women and men which capture the essence of Marni. Available from March 8, 2012 in around 260 stores worldwide and online, the collection features both clothing and accessories all at H&M’s prices, meaning everyone will have the chance to enter Marni’s world.


DIAMOND YEAR As part of the celebrations this year to mark her 60 years on the British throne, Queen Elizabeth II is putting some of the monarchy’s most important jewels on display. A collection of the monarchy’s diamond jewelry and precious objects, called “Diamonds: A Jubilee Celebration,” will go on show at Buckingham Palace in August and aims to explore “the ways in which diamonds have been used and worn by British monarchs over the last two centuries,” the palace said. The show will include pieces such as a miniature diamond crown fashioned by R&S Garrard from 1,187 diamonds, which Queen Victoria wore for her official Diamond Jubilee portrait in 1897, alongside Queen Victoria’s Coronation necklace and earrings. The impressive necklace is crafted from 25 cushion-shaped, brilliant-cut diamonds, with a 22.48-carat diamond at its center. 

Also on show is the Williamson brooch, so called as it holds a rare 23.6-carat pink diamond that geologist Dr. J.T. Williamson discovered in 1947 in Tanzania, and then presented to Queen Elizabeth for her wedding the same year. Cartier later set the stone in a jonquil-shaped brooch with 200 smaller diamonds, which Williamson presented to the Queen in 1953. The opening date of the exhibition is yet to be confirmed.

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With the 2012 Presidential election cycle now in full swing, a sizeable contingent of fashion designers is working to sew up a victory for Barack Obama, under a new campaign initiative dubbed Runway to Win. As part of the push, the Obama-Biden campaign has partnered with 22 designers to create merchandise that will raise funds for the President’s reelection efforts, WWD has learned. The initiative has officially started with e-commerce site at will launch to sell products from participating designers, who include Marc Jacobs, Tory Burch, Diane von Furstenberg, Narciso Rodriguez, Jason Wu, Alexander Wang, Joseph Altuzarra, Rag & Bone, Rachel Roy and Tracy Reese. The designs include T-shirts, tote bags, scarves and wristlets, with all proceeds going to the Obama Victory Fund. Vogue Magazine was instrumental in assembling the Runway to Win designers, said sources. Vogue editor in chief Anna Wintour has been a highly public supporter of Obama and the Democratic Party, having co-hosted a string of fund-raisers for the President and the party in recent years. Wintour and actress Scarlett Johansson will co-host another fund-raising event in February, centered around Runway to Win, which is expected to draw the participating designers and a number of celebrities.


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Louis Vuitton slapped Warner Bros. Entertainment Inc. with a lawsuit late last week, claiming it used counterfeit bags in “The Hangover Part II.”

Louis Vuitton, a division of LVMH Moët Hennessy Louis Vuitton, said that the movie studio knowingly used fake luggage made by Diophy, a firm that the luxury goods maker is currently suing before the International Trade Commission. 

 Filed in the Southern District of New York, the lawsuit alleged that Warner Bros. ignored its pleas to not use fake bags in the film’s airport scene where Alan, played by comedian Zach Galifianakis, carries luggage emblazoned with “LVM,” and says to his costar: “Careful, that is a Louis Vuitton.” Even though part of the gag is that the eccentric and disheveled Alan would not likely be the owner of a genuine Louis Vuitton — the character even mispronounces the French company’s name — the luxe firm claims that the scene may cause “consumer confusion.”

 As a result, the plaintiff is seeking profits from the film, which grossed roughly $580 million, and triple damages. The company is also asking Warner Bros. to destroy all copies of “The Hangover Part II,” along with promotional materials that include the airport scene with the fake bag.

H&M Unveils

David Beckham’s Undies H&M has lifted the lid on David Beckham’s briefs. The Swedish high-street retailer unveiled the British soccer player’s first bodywear collection for H&M, which focuses on nine key products inspired by his style. The line will go on sale at 1,800 stores worldwide on Feb. 2.

 Unlike the underwear he has previously modeled for Emporio Armani, Beckham’s collection features minimal branding on the waistband. All feature the label “David Beckham Bodywear for H&M,” using a David Beckham logo.

Vera Wang

to Enter Men’s Wear Vera Wang is getting into the men’s formalwear business. The designer is expected to reveal today that she has signed a licensing deal for tuxedos with The Men’s Wearhouse Inc. In its third-quarter conference call last week, the men’s retailer said that it would be unveiling the details of “new licensing arrangement…with a well-known apparel brand, specifically designed for our tuxedo rental business.” Sources said the brand is Vera Wang. This would mark the first foray into men’s wear for Wang. The garments are expected to be produced by Flow Formalwear, which also manufactures tuxedos under license for Calvin Klein, Ralph Lauren, Joseph Abboud and Mike “The Situation” Sorrentino.  Entering the tuxedo business is a logical extension for Wang, who has made some bold moves into the more moderate end of the apparel business over the past several years. Last year, the designer inked a deal with David’s Bridal to produce a line of more moderately priced women’s wedding gowns under the Vera Wang White label. Men’s Wearhouse is the tuxedo rental partner of David’s Bridal. The White collection hit stores this spring.

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IN.LEGENDS After showing early artistic talent, Warhol attended the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania and studied commercial art. At the age of 21, he moved to New York City and began a career in magazine illustration and advertising. His first moment of fame was his whimsical ink drawings of shoe advertisements. He was then hired to design album covers and promotional material at RCA records. Warhol started his art exhibitions in the 50s and his major solo exhibition was in 1962 where he showcased pop art posters and designs of Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. It was then when Warhol began making paintings of iconic American products such as Campbell’s Soup Cans and Coca-Cola bottlers, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor as well as newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. During that period, he also founded a studio “The Factory”, where he gathered around himself a wide range of artists, writers, musicians, and underground celebrities. Warhol also “groomed” some bohemian eccentrics and made them part of his entourage bestowing upon them the designation of “Superstars”. His work became popular and controversial. Throughout the 60s, it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift. The controversy of his work was partly due to his eccentric character but also a result of his unconventional methods.

Andy Warhol Pop Art is for Everyone Words by Haneen Joudiyeh To Andy Warhol, the most important phase of his life was when he was bed-ridden during most of his childhood years. As a young child, Warhol suffered from Chorea, the nervous system disease that causes involuntary movements of the extremities. As a result, he was confined to his room and spent his time in bed drawing, listening to the radio and collecting posters and pictures of famous stars. This was essential in the development of his personality, skills and preferences. In other words, he was experimenting with an art that would be eternally marked under his name. This phase also drew him closer to his mother who looked after him during his sickness. Andy Warhol (originally born as Andrew Warhola) comes from Slovakian heritage. His parents left Slovakia during the war and moved to America and specifically to Pittsburg, Pennsylvania where Andy was born on August 6th, 1928. Andy was the third of four boys. ABOVE Edie Sedgewick’s dramatic look became iconic in its own right. BELOW LEFT Andy Warhol at Studio 54 with Liza Minelli and Bianca Jagger BELOW RIGHT Andy Warhol pictured with muse Edie Sedgewick


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Andy Warhol might have been best known for his pop art paintings and photographers, but his activities were also broadened to the filmmaking, music and publishing realms. In 1963 he began to make films, and created many classics of avant-garde cinema over a five-year period, including Sleep, Empire, Kiss, and The Chelsea Girls. Warhol made about 600 films from 1963 until 1976. He also created a travelling multimedia show called The Exploding Plastic Inevitable, which featured the rock and roll band The Velvet Underground. The Velvet Underground went on to become one of the most influential rock bands in history. Warhol’s first mass-produced book, Andy Warhol’s Index (Book), was published in 1967. He later published the book a, A novel, another called Blue Movie, and The Philosophy of Andy Warhol, POPism, Exposures, Children’s Book and America. His last two books were Party Book, and The Diaries of Andy Warhol were published posthumously, with the latter becoming a scandalous best-seller. Many suggested that Andy Warhol might have had Asperger Syndrome which is a type of autism often associated with artistic genius. His obsession, social awkwardness and search for patterns seem to fit this profile. More importantly, Warhol’s out-of-this-world methods had a lot to say about his condition. The most prominent method would be the oxidation painting method; sometimes referred to as Warhol’s Piss Paintings. The canvas would be prepared with copper paint that was then oxidized with urine; Warhol had 2 “ghost pissers” apparently who would come to the factory and actually urinate on some painting! One of the artists who were part of “The Factory” and had a special relationship with Warhol was Edie Sedgwick. In March 1965, Sedgwick met Warhol at Lester Persky’s apartment. She began going to The Factory regularly. During one of those visits, Warhol was filming Vinyl, his interpretation of the novel A Clockwork Orange. Despite Vinyl’s all-male cast, Warhol put Sedgwick in the movie. She also made a small cameo appearance in another Warhol film, Horse, when she entered towards the end of the film. Although Sedgwick’s appearances in both films were brief, they generated so much interest that Warhol decided to create a vehicle in which she could star. Andy Warhol was often blamed for Edie Sedgwick’s descent into drug addiction and mental illness. However, before meeting Warhol, Edie had been in mental hospitals twice and came from a family with a history of mental illness. She was only close to Warhol for about a year, from approximately March 1965 to February 1966. Another fallacy was that Warhol ditched Edie after using her up whereas the truth was that it was Edie’s decision to leave the Factory, lured by promises of stardom by Bob Dylan and his manager, leaving Andy feeling slightly betrayed.

During his life, Warhol was very private about his moral and religious views, as he was about almost all aspects of his personal life. After his death, it became gradually known and accepted that Warhol was a practicing Ruthenian Rite Catholic. It is also generally accepted that Warhol was homosexual. The question of how Warhol’s sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist. Throughout his career, Warhol produced erotic photography and drawings of male nudes and the first works that he submitted to a fine art gallery, homoerotic drawings of male nudes, were rejected for being too openly gay. Andy Warhol was not only a designer or a painter, he was fully rounded artist. He might have been too eccentric for many, but by the time of his death on February 22nd, 1987due to a gall bladder infection, he was one of the most prolific and well-known artists the world had ever seen. IN

In the future,
everyone will be world-famous for
fifteen minutes – Andy Warhol

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“Reliving Legends!” Arguably the Arab World’s most controversial pop singer, Haifa Wehbe stars on the cover of IN Magazine’s ‘Reliving Legends’ issue. Here she gives an intimate portrayal on how against any odds, Haifa herself is fast becoming a legend in her own right.

Creative Directors AHMED ABOU NAJA & MOUSTAFA KAYED Stylist RACHA ABOU NAJA Photographer & Art Director MITCH DOUEIHY Creative Consultant CHARLY SAMRA Assistants AHMAD ZARIF & DANIELLA RAHME


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Dress EZRA

Her unique brand of feminine allure has catapulted this buxom belle to the heights of regional and international fame. Born to a Lebanese father and Egyptian mother, Haifa Wehbe forever changed the face of the Arab region music industry when she debuted her unique brand of Arabic pop in 2002 with the release of her first album Houwa El Zaman. Recognized worldwide for her beauty, style, curvaceous figure, and coquettish ways, Haifa is a force majeur in the world of entertainment, often giving her peers in the music scene a run for their money!

is shared with many women who’s beauty may overshadow their actual talents. It was also in the beginning of her career that Haifa crossed paths with people who tried to hold her back for the commotion she caused in the music scene, “The idea of a pop star wasn’t still understood a few years ago by the industry and some audiences and that’s why I raised havoc,” she says, “but nevertheless, I was embraced and welcome and encouraged by so many and that has gotten me to where I am today,” Haifa continues.

Some may argue that it was hits like Ana Haifa and Ya Hayat Albi that put this star on the map, but Haifa contends that more than one song is responsible for her rise to stardom, “every single played a certain role,” she says. “My debut Agoul Ahwak raised all the attention, Ya Hayat Albi presented my style in Arabic pop and Ana Haifa became my signature mark and set the tone that people would expect a certain sound, lyric and performance that is [exclusive] to Haifa only,” continues the star.

“Performing at Cavalli is always fun. Roberto Cavalli is one of my good friends and we always manage to [hold] the most successful events when we join forces.”

IN Magazine features this glamorous siren on its pages and has the opportunity to chitchat with her. Somehow the conversation culminated into a cohesive interview, something that was a bit of a feat considering the pure electric effect Haifa has over anyone sitting just a meter away from her. Starting out wasn’t an easy road. Although blessed with physical beauty, her appearance may have hindered her at the beginning. What challenged her the most was “Probably proving there is more behind what meets the eye, and there is a story and a depth once you look past the ‘gorgeous/ beautiful/stunning’ face as people would say,” she recounts. She feels her challenge

2011 was a busy year for Haifa, “I’ve been working on some final tweaks for my new album, which is titled Maleket Jamal Al Koon and is slated for release early Spring 2012,” she tells us, “I’ve been in Italy where I shot my video for Bokra Bfarjik and working on the whole album project,” she adds. The busy songstress has also been making various appearances and performances until New Year’s Eve around the region. One who admittedly enjoys photo shoots because they afford her the chance to play dress-up with different looks and styles; Haifa particularly enjoyed the IN Magazine shoot, “it’s always a thrill to see [what] I’m going to look like after transforming to one of the icons and revisiting their looks and styles, but à la Haifa,” she says.

“If I’d observed all the rules I’d never have got anywhere.” – MARILYN MONROE

Corset EZRA JAN - FEB - MAR 2012




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Recently the international phenomenon of Cirque du Soir called on Haifa to lend her name by endorsing its’ debut in the Middle East region. “I’ve been to Cirque du Soir in London before and the concept of circus games while clubbing has been generally applied by other clubs,” she explains. Not at all oblivious to the responsibilities that come with attaching your celebrity name to a product, Haifa was particularly proud to have been the only celebrity singled out from the region to host the launch of Cirque du Soir. Only a week after the circus escapades, Haifa was invited by Italian designer Roberto Cavalli to perform at Layali Cavalli in Dubai. “Performing at Cavalli is always fun. Roberto Cavalli is one of my good friends and we always manage to [hold] the most successful events when we join forces,” she tells us. And the fact that the event was in Dubai is even better for Haifa who has a special relationship with the city she loves. That’s not the only international name that can count themselves among Haifa’s good friends, who else you say? “I’d probably say the D&G guys, they are absolutely sweet and always accompany me whenever I’m in Italy, and Naomi [Campbell]. I have good relations with a lot of people.” An unsurprising fact given how magnetic Haifa’s personality is in person.

“I see alot of my younger self in you [Haifa] but with your own uniqueness and beauty. You represent a timeless dream”

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“I’m happy that in a relatively short period of about 8 years since I started singing, I managed to achieve so much and become a household name. I owe it all to audiences and fans who embraced me and grew with me.�


Proud of her international recognition and collaborations, Haifa names a single factor that was key in acquiring her international status: “Staying true to my brand,” she confidently asserts. Haifa goes on to explain, “A lot of artists tend to fall victim to changing so much about their identity and music in the hope of catching foreign attention, and they fail. I don’t change anything about my brand image and artistic persona, but actually only develop it to evolve [while staying] authentic and one of a kind.” It was this strong brand that made a duet with Snoop Dog possible, something she is currently filming the video for in LA, and it is this strong brand that made other international collaborations possible. Collaborations like the one with David Vendetta on Yama Layali, and a duet performance with 50 Cent. Haifa has also covered songs by the legendary Lebanese icon Fayruz, and released a children’s album. Now working on her first TV series, it seems there is nothing this powerhouse entertainer can’t do. That is what makes Haifa stand out from among hundreds of Arab recording artists; her unique approach to her career. “My approach to music and style and all together the way I handle the business,”

is what the singer admittedly says sets her apart, “I’m happy that in a relatively short period of about 8 years since I started singing, I managed to achieve so much and become a household name. I owe it all to audiences and fans who embraced me and grew with me,” she concedes emotionally. A self-proclaimed “Tweetaholic”, Haifa had registered her twitter name about two years ago, but it wasn’t until recently that she decided to become personally active on Twitter. The payoff of her decision was massive, “The feedback to me using Twitter has been overwhelming. The fans couldn’t be happier and I do really enjoy my day to day interaction with them. My Twitparty never ends when I start tweeting, and I do the tweeting with my own style, which is why it has been sighted by others, and as usual, everybody and their mama followed to create their Twitter accounts and tweet just like Haifa,” she joyfully explains. When she’s not busy tweeting, Haifa like to keep her ears open for what’s new in music worldwide, “Whatever sounds good will catch my attention. I’d say a lot of pop, jazz, dance, and RnB. Surprisingly, I recently started getting into hip-hop,” she says.

“My travels led me to where I am today. Sometimes these steps have felt painful, difficult, but led me to greater happiness and opportunities.”


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As busy as Haifa is, she’s not all about work. A lover of all forms of art, Haifa fervently explains, “I have a passion for everything that has history and a story behind it. [I have] a flair for antiques, old classic art tableaus, and all things retro. I make it a point whenever I’m in Europe to visit the museums and old auction houses because they have timeless gems.” Haifa is impressed by the new Arab generation who she says is, “very receptive towards all kinds of arts from all over the world. A lot of young talents in all genres are taking steps forward and creating something that’s cosmopolitan yet with an eastern character to fit the culture and I think that’s so refreshing and brilliant. We should pay more attention and provide support for those talents,” she asserts.

“The feedback to me using Twitter has been overwhelming. The fans couldn’t be happier and I do really enjoy my day to day interaction with them.” As for her next album, Haifa tells us we can expect, “Diversity in style, sounds, ideas and pushing Arabic pop to a place it’s never been,” she beams as she proclaims, “I’m very excited about this album.” Nothing is going to slow down this triple threat of a performer. She’s got the beauty, the brains, and the talent to give her longevity in her career. “With every successful step I achieve, I realize more and more how of an influence I have,” Haifa proudly states. Although the star sees herself with a family in the next ten years, she does not plan on settling down, she plans to further her career by, “venturing into other aspects of the entertainment and fashion businesses to sustain my brand as a household name,” she says. As if featuring this glamorous star wasn’t enough of a treat, she takes time to send the readers of IN Magazine a special personal message: “You are good as the last best thing you’ve done. Push yourselves to the extreme and compete with no one but you, and you will reach far beyond your expectations,” oh and of course, “always be ‘IN’.” Well said Haifa! IN


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HELEN OF TROY Words by Suzanne El Wattar

Good looking women turn heads… Gorgeous women stop traffic… But only one “launched a thousand ships…” Helen of Troy, the woman that gods praised and protected heroes died and killed for, and that other women hated and envied. Despite of all the bloodshed and grief she caused in both Greece and Troy, Helen of Troy is forever associated with divine beauty, sexual seduction, and mortal charm. As much as the mysteries of ancient cultures intrigue us, they also frustrate us with the inability to prove a tale told. One can only wish for a clear image to compare Helen’s true beauty with the images starring in fantasies and tales told. Homer, a Greek epic poet, was the first to mention Helen in his epic poems, The Odyssey and Iliad. The Cypria (postHomeric epic), which is one of the “Epic Cycle” or “Trojan Cycle”, also mentioned Helen’s life, and so did multiple writers, poets, historians, and artists, each in his own melody. HELEN’S BIRTH Perhaps the reason behind Helen’s beauty was her peculiar birth and conceiving. Her birth story varies from different tales. They all claim that her father was the king of Gods, Zeus. One tale claims that Leda, the wife of Tyndareus (the king of Sparta), was raped by Zeus who was disguised in the form of a swan. That same night Tyndareus made love to his wife as well. Leda produced two eggs. Helen and Polydeuces (Pollux) hatched out of the first egg (fertilized by Zeus), while Castor and Clytemnestra hatched out of the second egg (fertilized by Tyndareus). Another account claims that Leda was not Helen’s mother, but Nemesis (Goddess of vengeance). In attempt of escaping Zeus’s sexual advances on her, Nemesis transformed into a goose, but failed. Zeus himself turned into a goose and mated


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with Nemesis. According to Cyrpia, a Sheppard found the egg produced by Nemesis and brought her to Leda. Other sources related a similar story except that Nemesis and Zeus transformed into swans instead of geese. Helen, a torch, a moon, a shinning one, was born. She soon became the definition of blind desire, and destructive love. Ignoring the fact that Helen might have not been their daughter; both Tyndareus and Leda, raised the graceful princess as their own flesh and blood. THE YOUNG SEDUCTRESS Sextus Propertuis (a Latin elegiac poet) describes Helen in his book, The Elegies: “[...] or like Helen, on the sands of Eurotas, between Castor and Pollux, one to be victor in boxing, the other with horses: with naked breasts she carried weapons, they say, and did not blush with her divine brothers there.”

Despite the fact that Helen was too young to marry, Theseus couldn’t wait to satisfy his aroused needs, to touch her pale skin, and to lie inside her naked virgin body. Those perfect “naked breasts” ornamenting a pale fair skin, glowing against her long copper hair, flattering her bare body, were catalysts for men’s dangerous sexual desires. Helen’s fairness was a bitter bless. She was constantly in danger and never safe from men’s insatiable lusts. Theseus, the son of Poseidon (God of the Sea), was no exception. Despite the fact that Helen was too young to marry, Theseus couldn’t wait to satisfy his aroused needs, to touch her pale skin, and to lie inside her naked virgin body. He abducted Helen when she was 10 years

old (some argue she was 7, and others say she was 12), then took her to his mother Aethra in Athens. He believed that he earned the right of marrying the fairest daughter of Zeus, since he was a son of Gods. Pollux and Castor hasted to save their beloved sister. They invaded Athens and captured Aethra in revenge. THE BEGINNING OF THE END When Helen’s age became legitimate for marriage, kings, princes, and heroes, competed for her hand. Suitors for Helen brought their most precious riches of gold, land, and gifts to her step father, the decision maker, Tyndareus. The priciest gifts belonged to Menelaus and then did Helen. Before the decision was made, and in order to avoid danger against Helen and her future husband, Tyndareus commanded that all suitors must swear the most solemn oath to protect Helen and her chosen husband, whoever he is, from any danger against them, and so they did. Helen and Menelaus married and later became queen and king of Sparta. They conceived a daughter named Iphigenia and lived happily for some years until Helen’s infamous beauty marked the end of heroes and the begging of the Trojan War. THE LOVE AND HATE OF HELEN Paris (a young Trojan prince) was driven by his manhood instincts. When Aphrodite (the Goddess of Love) promised him the most beautiful woman in the world, after he proclaimed her the fairest Goddess, he traveled to Sparta to seek his gift. Paris and Helen fled to Troy, while Menelaus was away on a trip. Some authors say she fled willingly unable to resist Paris’ charms, while others claim she was abducted and raped by Paris. When Menelaus returned to his empty home, he gathered all the men under oath to protect Helen, and set sail to Troy. Stesichours, Herodotus, and Euripides, (Greek authors) denied that Helen was in Troy. They claim that she was sent to Egypt by the gods for protection.

However, according to Propertius, Paris’ lust for Helen was his utmost concern even during the war: “[...]Passion was dearer to Paris … While the Danaans conquered, while savage Hector held them, he fought a nobler war in her lap. I’ll always be fighting with you, or a rival for you: you at peace will never satisfy me.” Helen now, was hated by both Trojans and Greeks; she was the woman they loved to hate. Homer believed that Helen was lonely, and filled with self-distaste and regret after what happened to Troy. When Hector (Paris’ brother) died, she mourned him, proclaiming him as one of the only two men that were kind to her in Troy. She even had harsh words to say to Paris comparing the two brothers: “…Howbeit, seeing the gods thus ordained these ills, would that I had been wife to a better man… since above all others has trouble encompassed thy heart because of shameless me, and the folly of Alexander (Paris).” Greek and Trojan warriors died, including the brave Hector and the lustful Paris. After their death, Helen married Deiphobus (Paris’ younger brother). After Menelaus killed Deiphobus, he finally found his adulterer wife. As he raised his sword to slay the unfaithful beauty, Helen dropped her robe from her shoulders; the sword stopped at the vision of the beauty’s nude body. THE UNCERTAIN FATE Helen’s fate is uncertain amongst authors of her tale. One story says she was sent to Olympus after Menelaus’ return, another claims that she went back to Sparta and lived with Menelaus after the destruction of Troy. Another account claims that Helen went to Rhodes Island where she was hosted by queen Polyxo. She was the widow of Tlepolemus (a Greek hero that was killed during the Trojan War). In order to avenge her husband’s death, Polyxo seized Helen and hanged her on a tree. Hence, the Rhodium sanctuary, “Helen of the Tree”. The fact is that no one knew her real story. No one knew her true character, ideas, desires… She was only known as Helen: The sex symbol…The woman that sailed a thousand ships…The unfaithful wife…The Vegetation goddess…The most beautiful woman on Earth. IN


IN for Eternity

Fashion Icons: an authentic print in the fashion realm Words by Salma I. Fouad

Throughout history, humanity has witnessed an infinite number of remarkable fashion trends for women, but among all of the salient vogues, there always existed exceptionally alluring women who –no matter how much time goes by- always happen to stand out. Some of these women existed before modern day media and television; others go even further back in history during the time of great ancient civilizations that are thousands of years old. While others are contemporary women from the 20th century. One fact has brought them all together despite their different eras and cultures: their sense of fashion was always trailblazing trends and making history. Trends evolve, but no one could argue that these women will always remain fashion icons.

MARIE ANTOINETTE (1755-1793) Dressing like royalty has always been




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associated with Marie Antoinette’s extraordinary dresses, the French Queen’s sense of fashion is widely known all over the world. Marie Antoinette seemed to escape the burdens of her regular periodic life by dressing up with the finest materials and boosted designs. The queen of course had her own royal clothiers and couturiers who were in charge of creating and cutting out her garments, and they were all quite familiar with her own unique sense of fashion and knew what she exactly desired. The dresses were carefully designed and cut out that it took the tailors several months of intensive work to finish only one dress. It is very hard to find a painting for the queen without her wearing an incredibly big dress with all the pretty laces, bows and amazing fabric that just transforms a very simple painting from the eighteenth century into a real live image of the world’s most magnificent fashion trends. White was her favorite color and it just made every dress she wore a masterpiece on its own with the bell sleeves, big bows and beautifully fabricated laces. Not only her dresses were quite huge and puffy, but her hairdo was of a quite recognizable height as well. Queen Marie used to style her hair three feet up and decorated it with several sophisticated and glamorous ornaments. It is of course of no wonder that Marie Antoinette’s dresses and fashion trends were quite famous during her time and long after. Many of the queens of neighboring lands and countries imitated her fashion sense and dress designs, after all, who at that time could afford such luxury other than royalty anyway?

QUEEN NEFERTITI (1370 BC-1330 BC) She was not just a regular pharaoh queen but even her name carried a marvelous meaning within- “Nefertiti” meaning “beauty has finally arrived”. Perhaps the most ancient model for female beauty man has ever known. Rising from a great civilization that is over 5,000 years old, Nefertiti has definitely given us great insight into the meaning of true radiant Egyptian beauty. The famous Nefertiti Bust brings to light extraordinary beauty that is a mixture of her own natural artistry as well as her choice of jewelry – a spectacular necklace and headdress. TThe ancient Egyptians were innovative in making makeup products, Nefertiti knew how to apply makeup that highlights her main facial assets, she did focus much on bringing out that gaze in her eyes by drawing a thick and well-defined eye line as well as bringing attention to her fully lustrous lips by applying color to them that was a mixture of lettuce-seed oil and berry fondant. The queen’s magical charm lies in using natural minerals, aroma liquids and sea salt in order to bring out such mighty strength and magnetic wit from her own natural looks. What attracts us the most about the Nefertiti Bust is the fact that Nefertiti preferred to completely hide her hair and substitute it with a dark blue cone-shaped headdress that was decorated with thin layers of gold and colored patterns. As a compliment to her long and ravishing neck, the queen wore a thick necklace which hung over her chest. The necklace was made out of very thick layers of gold in addition to precious gemstones and colorful jewels. oday, the world’s best plastic surgeons try to imitate Qeen Nefertiti’s facial proportions and the form of her lips, nose and eyes.



The Grande Mademoiselle of the fashion industry happens to be one of the most inspiring designers of the twentieth century, with her very memorable saying, “In order to be irreplaceable, one must always be different.” That is definitely true, Coco Chanel refashioned the whole clothing industry with her elegant and practical designs, and most of her clothes were in fact of her very own creation. Her outfits were quite simple yet extremely alluring, all of which mainly revolve around short and loose fitting jersey dresses. Coco Chanel’s creations were inspired by the surrounding events at that time; World War I – the practicality and simplicity in her designs were somewhat inspired by the soldiers’ costumes. Chanel pioneered her own very unique trends. She is credited with the invention of the two piece suit for women, which had not existed before, as well as sailor tops and


When we think pants we think the Great Kate! Katherine Hepburn single-handedly broke with conventional women’s fashion of the time. She did not conform to fashion stereotypes, but rather preferred to create her own fashion flair. She preferred to wear pants and very little makeup, which created her own style of tomboyish glamor and sexiness. Perhaps the greatest thing about Katherine is that she always spoke her mind, and that was entirely reflected on her choice of wardrobe which tended to be a little bit masculine at that time. Wide-legged pants, a classic blouse with a tailored jacket and a bun hairdo were Katherine Hepburn’s signature style. Even though at the beginning for her journey she faced lots of criticism regarding her boyish looks and choice of outfits, Hepburn has proved by time to be one of the fashion world’s most iconic and remarkable figures. For Katherine Hepburn simplicity was indeed a virtue.


straight skirts. Her aim was to free women from the traditional dresses, paddings and corsets which were quite popular during the nineteenth century, and change a whole social concept and perception about how women “should” be dressed. Her genius lay in using very simple and low cost material such as jersey. During that time, jersey was only used in men’s underwear. She created comfortable and practical designs using jersey, but her designs remained elegant and sophisticated. The transition from huge lacy and padded dresses to a much more masculine look for women was a revolutionizing pattern of change at that period of time. It is of no doubt that Coco Chanel was a very unique designer who was light years ahead of her time, she brought great insight into the fashion world, and introduced social concepts –such as women’s freedom and empowerment-to creative practical and classy designs.

GRACE KELLY (1929-1982) One of Hollywood’s most fashionable stars, she always turned heads in anything she wore. Grace Kelly was a symbol of beauty, class and charm with her simple and understated elegant style. For any woman who desires to dress like this fashion symbol, all she has to think is simple, divine and elegant. With a combination of simple jewelry and high quality wardrobe pieces, Kelly knew how to bring out her natural sophisticated beauty without any exaggerations. A chic pearl necklace seemed to match with almost everything Grace Kelly chose to wear, and that was just her signature style.

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Marilyn Monroe (1926-1962) You hear a white flowy dress and the first image that pops into your mind is that of the very popular American sex symbol, Marilyn Monroe. With her own legendary style, Marilyn Monroe stands as one of the leading fashion figures of all time. Her trademark was her golden blonde hair and deep red lips combined with an ultrasexy choice of garments. Monroe’s key piece of clothing was the halter neck dress in white, as in the very popular scene from her movie The Seven Year Itch where the air blowing from a subway drafts her skirt up in the air. Other essentials from Marilyn’s wardrobe were pencil skirts which came in almost every color and with their own matching sweaters, a white fur wrap that goes with almost every dress there is as well as strapless dresses. Even though Marilyn Monroe’s lifetime was a relatively short one, her glamour and femininity left a remarkable print in the history of fashion for years gone and for years to come.

Princess Diana (1961-1997)


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The cameras just loved her! A royal icon in the modern history of fashion. Princess Diana had her own chic and elegant royal style in her choice of wardrobe, and the more she matured the more elegant and charming she became. Before her engagement to Prince Charles, she used to go for a much simpler look with rarely any makeup on, and afterwards she slowly learned the diplomatic fashion styles. However, the Princess’s style has dramatically evolved after her divorce, and by then she had developed her own sense of style and fashion becoming one of the world’s most recognizable fashion symbols. During the last two years of her life, Princess Diana chose her wardrobe from several international designers such as Ungaro, Versace and Valentino rather than just Britain’s top fashion designers. What was more important than what the Princess actually wore was how she wore it, her fashion attitude and own personality contributed largely to her style and craze. Some of Lady Diana’s most magnificent dresses were sold at an auction and raised more than $6 million, which all went for several charities. Princess Diana’s style not only served her being a royal icon, but it has also aided others a lot and she had become an idol in every way for many young people. Her charm certainly does remain influential until today. IN


Fall 2012 Trend Soft Focus

Richly textured and softly constructed tailored outerwear assumes an air of romanticism, as sophisticated tweeds and herringbones mix with light, velvety cashmeres. A look ahead to Fall 2012 from Milan Fashion Week.

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Dolce & Gabbana As muses go, it’s fair to say Giuseppe Verdi doesn’t top many a designer’s list, but then Domenico Dolce and Stefano Gabbana are in something of a nostalgic — and patriotic — mood. They called their fall collection a “hymn to Italy,” and one of its initial inspirations was a dramatic old cape that belonged to Dolce’s father. Models walked briskly down the catwalk to recordings of Luciano Pavarotti blasting out Verdi arias, including “La donna e’ mobile” from “Rigoletto.” It was enough to put the audience in a mood for high drama, which is just what this charming — if at times overwrought — collection delivered. Jackets and coats came with velvet lapels and buttons; voluminous cape coats swooshed around models’ legs, and gold braiding and filigree embroidery wove their way onto trousers, capes, shearling jackets, and coats. Dandyish silk foulards were tied in a bow at the neck, and printed silk pajama trousers swooshed from under gray overcoats. The gold and flourish recalled the duo’s Napoleon-inspired collection from fall 2006. There was a counterpoint to all the sparkle: The duo also sent out jackets with distressed, rough edges, coats that were artfully rumpled, and worn-looking bits of velvet on jackets for a cozy, lived-in vibe that is proving a major trend for fall.

Burberry Prorsum The leading men of “Downton Abbey” and the BBC’s “Sherlock” — a stylish, contemporary take on the adventures of Sherlock Holmes — are captivating TV viewers, and influencing Milan’s runways. The dapper gentleman is all the rage with his closetful of natty patterns, tailored suits and, in the case of Burberry Prorsum, his umbrella with a hand-painted, owl-head handle. For his latest outing, chief creative officer Christopher Bailey said he wanted to marry British city and country dressing for a “polite and charming” collection that felt traditional, but also approachable and familiar. The collection, with quirky charms, hit the spot. Bailey sent out a surfeit of form-fitting tailored suits — some of which came in plum, olive or teal velvet — and others made from herringbone or tweed wool. He also worked velvet collars onto tweed trenches and topcoats, giving them a formal, Old-World feel. The collection was equally smart when it moved to the great outdoors. Bailey revisited classics such as the fishing vest — tossing a neat quilted version over a suit jacket — and crafted shooting jackets from leather or suede. Chunky sweaters worked double-time as outerwear: Among the standouts was a periwinkle cardigan with a fur-lined collar. IN

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Jil Sander The show set — a black rubber runway and a graffiti-stained door — foreshadowed that Raf Simons would once again explore darker fashion territory. This nocturnal collection — with undercurrents of danger and kink reminiscent of “The Night Porter” — featured acres of black leather and other industrialage fabrics glistening like car headlights on wet asphalt. It was another tour de force of tailoring for the Belgian designer, one of men’s wear’s most intrepid innovators, and still tipped as the front-runner to become the next couturier at Christian Dior in Paris. Simons said backstage he was keen to explore archetypal male clichés: the businessman, the father, the office nerd. Their wardrobes hinged on more formal fare: handsome greatcoats, sculpted suits with intricately seamed backs, and pristine shirts and ties. Simons made a convincing case for a variety of proportions, from pencil slim to voluminous and flaring. Longer line coats, either tightly cinched or hanging straight, were a major statement — and his loose leather pea coats and parkas were terrific. Asking if there was a bit too much black leather is like asking if The Village People liked disco. Only lunch-bag-shaped leather goods and sailor-suit flaps printed with child-like motifs of whales, fishes and dinosaurs added some levity. But Simons ignited the Milan men’s season with an exciting, directional show, and set the bar high for all that is to come. Asked about those Dior rumors, the designer replied with a smile: “Nothing to say.”

Ermenegildo Zegna Self-indulgent rather than show-off luxury was how Anna Zegna, one of the family triumvirate that runs Ermenegildo Zegna, described this collection, which was fashioned from a cozy combination of tactile and patterned fabrics. “We didn’t want it to shout or even look too new,” said Zegna. “And we want it to embrace winter, sport, and town wear.” Slim, three-piece suits and sport jackets were fashioned from cashmere fabrics woven into checks, chevrons, and Glen plaids giving the collection a preppy twist. For its younger, more streetwise customers, Zegna also showed off tailored suits made from pressed and pleated denim. Outerwear was a lesson in luxury, too, with voluminous puffer jackets covered in cashmere, lined in silk, and stuffed with tufts of un-spun cashmere. Leather jackets and coats had a softly quilted effect, thanks to thermo-embossing rather than weaving. Coats and trousers with a fuzzy texture and boucle jackets were all made from Spazzolino, a high-end brushed alpaca fabric introduced by the Italian mill Agnona, which Zegna now owns, in the Seventies, and updated for this season’s collection.

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IN.FASHION Putting Fashion On Exhibit! When Fashion Becomes The Show

A view of the Costume Institute’s “Alexander McQueen-Savage Beauty” exhibit - Photo by Kyle Ericksen

A view of the Costume Institute’s “Alexander McQueen - Savage Beauty” exhibit Photo by Kyle Ericksen

“‘Alexander McQueen: Savage Beauty’ show at The Metropolitan Museum of Art… drew in a staggering 661,509 visitors, inaugurating the show into the top 10 most visited exhibitions at the Met.”

Dress by Karl Lagerfeld from the 1990 FW HC collection at the Culture Chanel exhibit - Photo by Jackson Lowen

You would guess that intrinsic to Fashion is posturing, and exhibitionism, whether literally speaking on the runways, or metaphorically speaking as an industry. But that was not the case, until recently that is. Now Fashion and shows go hand in hand: not fashion shows, that’s a given, but shows about fashion. Case in point, this spring’s ‘Alexander McQueen: Savage Beauty’ show at The Metropolitan Museum of Art, in New York. The show drew in a staggering 661,509 visitors, inaugurating the show into the top 10 most visited exhibitions at the Met. Harold Koda, curator in charge of The Costume Institute at The Metropolitan Museum of Art said, “Clearly the critical as well as popular success of the McQueen


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show suggests that fashion design has a more secure place in the precincts of an art museum.” He goes on to explain, “What is endlessly fascinating about fashion is that it can be approached and interpreted from so many different angles. In the end it is about the object: its transformational originality, its details of unequaled technical virtuosity and its incomparably compelling aesthetic.”

 Across the pond at Les Arts Décoratifs in Paris, the hit show Hussein Chalayan retrospective was extended. “There’s a loyal following — besides the fact that fashion is fashionable,” said Pamela Golbin, chief curator at Les Arts Décoratifs in Paris. “There’s something very intimate about clothes.” According to Hussein Chalayan,

A view of the Jean Paul Gaultier exhibit in Dallas - Photo by Nan Coulter

exhibitions are the exception to what is often perceived as an “isolated” fashion world. “It reemphasizes the fact that fashion is a part of culture, and a lot of us forget this,” he said. “It reaches people who are not just interested in fashion. It adds a lot of value to what we do.” Chalayan also said, “you can share a lot more in a museum. You can show your drawings, your films. Usually, we as designers determine how long someone spends looking at your collection, whether the show is 10 or 15 minutes. With a museum, you can look at clothes as long as you like.”

Although typically curators always saw archives as a burden to fashion houses, that popular view wasn’t changed until the Eighties, when Diana Vreeland, then a special consultant to the Costume Institute, thought to do an exhibition on Yves Saint Laurent, which was a grand success. According to Koda, “Since then, many design houses have begun to keep and actively seek past examples of their most important works. This is helpful in preserving objects which had not been especially valued after they had passed their moment of fashionability,” he explained.

“Because exhibitions afford designers a chance to display their work in many forms such as sketches, films, etc., many labels are increasing the investments in their own archives…”

A slew of exhibitions similar to the McQueen show this past year have proven just how popular fashion is as a showcase. ‘The Art of the Automobile: Masterpieces of the Ralph Lauren Collection’ attracted 152,000 visitors over its recent four-month run at Les Arts Décoratifs. Around 250,000 visitors rushed to the ‘Inspiration Dior’ show at the Pushkin Museum in Moscow earlier this year to view the 120 couture dresses on display side by side with priceless artworks. The ‘Culture Chanel’ expo at the Museum of Contemporary Art in Shanghai racked up 70,000 visitors. The show then moved on to Beijing’s National Art Museum of China. During its initial run at the Montreal Museum of Fine Art , ‘The Jean Paul Gaultier retrospective’ attracted more that 173,000 visitors. It was the museum’s second most visited exhibition in the past five years after ‘The Warrior Emperor and China Terracotta Army.’

Les Arts Décoratifs is now preparing for the opening of ‘Marc Jacobs Louis Vuitton’, on March 9 th. Given the fact that Mark Jacobs has been in the news recently for withdrawing from negotiations to become the new couturier at Christian Dior and is instead staying with Louis Vuitton, where he’s been artistic director since 1997, Golbin expects the show to generate a lot of interest.

In November, the show moved to the Dallas Museum of Art. At Moscow’s State Historical Museum, Max Mara’s ‘Coats!’ was on display until early 2012. The show had attracted more than 90,000 visitors as it visited Berlin, Tokyo and Beijing. Not to mention the exhibition showcasing Azzedine Alaïa at the Groninger Museum in the Netherlands and the Walter van Beirendonck retrospective at the Fashion Museum in Antwerp, both running into 2012. The new trend of fashion exhibitions is only getting started. The Fortuny Museum in Venice will unveil a show showcasing Diana Vreeland in March. Also in March, the Design Museum in London opens its Christian Louboutin retrospective. In April, The Barbican in London will open its show called ‘Fifty Years of James Bond Style,’ with pieces from Giorgio Armani, Prada, Oscar de la Renta and other designers. May will see the opening of the Victoria & Albert Museum’s ‘Ballgowns: British Glamour Since 1950,’ with designs by the likes of Zandra Rhodes, Norman Hartnell, Catherine Walker, Alexander McQueen, Erdem and Gareth Pugh.

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Last but certainly not least, The Costume Institute’s upcoming show ‘Elsa Schiaparelli and Miuccia Prada on Fashion,’ which many are suspecting will replicate the success of the McQueen show. Because exhibitions afford designers a chance to display their work in many forms such as sketches, films, etc., many labels are increasing the investments in their own archives and patrimony, recognizing it as a rich asset for present — and future — creative directors. Archives also represent a key tool for recounting a brand’s story. Like Balmain for example: the label plans to put on an exhibition in Beijing next year, and already counts some 1,100 dresses and more than 22,000 sketches in its archives, in addition to photographs and even original press releases. One of the gems in the archives is a striking drawing from 1942, when Pierre Balmain was working with Christian Dior at Paris couture house Lucien Lelong. It telegraphs Balmain’s background studying architecture, and foreshadows the strong shoulders that catapulted the brand in recent years. “We always have to remember where we came from, and we owe so much to our founder,” stressed Alain Hivelin, Balmain’s chief executive officer and majority owner. “Marketing is fantastic, but marketing would not be possible if you did not have something real to recount.”

“During its initial run at the Montreal Museum of Fine Art, ‘The Jean Paul Gaultier retrospective’ attracted more that 173,000 visitors.”

A view of “Inspiration Dior” at the Pushkin Museum - Photo by Max Avdeev


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The label Chloé hired an archivist in the summer of 2011, charging her with gathering treasures from its warehouse designed by Karl Lagerfeld, purchasing portfolios of runway images from the seventies and collecting drawings, videos and vintage garments, restoring them when necessary. All these items will be needed when the brand celebrates its 60th anniversary next year with a retrospective exhibition. But the main idea behind this long-term project, according to Chloé, is to reconnect the brand with its heritage and confirm its place in Parisian fashion history as an innovator in creating luxury ready-to-wear.

A view of the Costume Institute’s “Alexander McQueen - Savage Beauty” exhibit - Photo by Kyle Ericksen

Now brands are investing in permanent museums with traveling exhibitions. At the end of Milan Fashion week last September, the new Gucci Museo in Florence celebrated its launch. The Museo sits on Piazza della Signoria, across which eight million people transit every year. Patrizio di Marco, president and CEO of Gucci, said the site is already often at capacity on weekends. “The café restaurant is fully booked for most of the main meal times, and the bookstore is attracting a lot of interest, probably because Florence does not really have another location like it,” he says. “We are very proud of our heritage and traditions, which include a passion for innovation. I think the museum provides a place for us to showcase those attributes and values — values which are more important than ever in a world where our customers are placing a greater and greater emphasis on quality and integrity.” IN A view of the Hussein Chalayan exhibition - Photo by Dominique Maitre

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Dress ZARA Leather Gloves MANGO

Waistcoat ZARA


V-Neck Shift Dress BOUTIQUE 1




Emporio Cruise



The chic in-between season is here, and our fashion editor, Racha Abou Naja has picked her favorite items and looks from the collections.

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GIORGIO ARMANI In 1981, while Giorgio Armani was rewriting fashion’s rule book, he dressed fellow maverick Grace Jones for the cover of her epochal album Nightclubbing. Her jacket—broad of shoulder, nipped of waist—reappears three decades later in Armani’s new Resort collection. It’s the sort of gesture he’s been prone to of late—gentle reminders of the shifts in sensibility he’s initiated over the years. And maybe that was also the impetus behind the collection’s orientalism, something else that has been part of the designer’s vocabulary since the early days. Here, it was obvious in details like mandarin collars; frog closings; shades of jade, celadon, and lapis; the obi belt on a jersey jacket; and the jewelry, influenced by Imperial China.


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Armani’s professed theme for Resort was actually Urbanity, so whatever else was going on was a subtext to a sleek, effortless sophistication. “A woman needs to dress and go,” he said. But the emphasis was most definitely on “dress,” as in clothes that projected a subtle opulence. Armani made it easy with fabrics that shone, like the satin in an evening column, or leather that was lacquered. He also used sheer fabrics for added translucence. The effect was a little like a celluloid shimmer, but maybe that impression was simply because Armani’s mid-calf lengths and asymmetric fichus echoed his beloved thirties movies. In that sense, his fierce Nightclubbing jacket wasn’t so much retro as timeless.

ALEXANDER MCQUEEN “Romantic Utility” may have been the idea that motivated Sarah Burton for McQueen’s resort collection, but those two words inspired the extraordinary image of an Englishwoman caught up in the turmoil of a faraway war at the same time as she was ensnared by the alien beauty of the local culture. Empire of the Sun, in other words. You could wonder if that was some kind of metaphor for Burton’s own situation after weathering the media storm of a royal wedding, but there was a distinct period feel in the nipped-waist jackets and mid-calf skirts with a kick pleat, or the jacket and skirt inspired by the lace of a Victorian tablecloth. The utilitarian side of the collection was embodied by cotton drill, pieced together in different military greens.

And there was exotica in the ocelot print on a blouse and a full-skirted cocktail dress, or the embroidery that brought together Africa and India in shelled, beaded, and mirrored clusters of decoration.The introduction of cotton to the McQueen vocabulary was exactly the kind of user-friendly addition we can expect now that Burton’s in charge. That what we see is a constant face-off between reality and fantasy which feels like quintessential, paradoxical McQueen.

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That Balenciaga’s Nicolas Ghesquière can cut a lean, mean pair of trousers is indisputable; girls go into a frenzy over his leg-extending, rear-end-enhancing narrow pants. Lately, though, Ghesquière has been more interested in playing with that hallmark of his progenitor Cristobal’s work, volume—see the below-theknee tropical-print skirts from his Fall collection in Paris. For Resort, the designer has dubbed his substantial A-line numbers “umbrella skirts,” and they do have some of the fullness of a brolly. (Just as poufy were shorts inspired by Mona von Bismarck, a top client


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back in the day who wore hers in the garden.) Shirts resembled inverted triangles with short sleeves tucked into the shoulders. If that silhouette was somewhat challenging, Ghesquière won us over with his prints and fabrics. On many pieces a graphic herringbone pattern merged with an archival brick print dating to one of Cristobal’s sixties shows. It was most striking in neon pink and brown on a slightly cocoon-shaped coat. What’s more, Ghesquière didn’t let his pants lovers down. Among the collection’s coolest looks: a pair of trousers with bold but delicate silver Indian embroidery on the front, paired with a bat-sleeve top.


The Hitchcock blondes have exited the frame. After Fall’s trip back to the sixties, Bottega Veneta’s Tomas Maier is in a forward-thinking state of mind for Resort. It doesn’t get much fresher than a hot pink silk shirtgown cinched with a corset that looks like it could double as a parachute belt, unless, that is, you’re talking about an equally weightless, imminently packable shift in multiple layers of color-blocked chiffon. Ease was an important theme here, as it usually is in Maier’s Cruise collections. The man lives part-time in Palm Beach, so he has a good feel for the kind of clothes women want in hot climates, but he juxtaposed

softness with city-ready structure. A pair of corseted and boned body-con dresses stood out even though the designer played it cool by teaming them with understated little leather jackets. Another pair of opposites: neutrals and hyper-saturated colors. A simple taupe shift was embellished with turquoise chiffon down its front, and a trim, tan leather coat came accessorized with a red nappa leather tote. Speaking of accessories, the new bags have a lived-in feel. Foil, for example, is inserted between two layers of nappa leather to give the materials a memory. Stiff and lifeless aren’t part of Maier’s Resort equation.





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IN.FASHION SWAROVSKI ELEMENTS SENSE OF TWO Unique event featuring avant-garde and crystal fused designs from regional designers Swarovski Elements brought a new design experience to the Middle East, showcasing important designers from the UAE, KSA, Kuwait and Bahrain. Sense of Two is an artistic theme based on evoking designers’ dual creative sides. This year the show uniquely challenged its design partners to create two fashion-forward garments incorporating Swarovski Elements and expressing the theme of two contrasting sides of their inner selves. For the very first time, these designers exhibited their design concepts side by side on the runway in a fashion event that is certain to have amazed and inspired. Swarovski Elements presented Sense of Two at the prestigious Armani Hotel in Dubai, UAE, on November 30th, 2011. The Armani Ballroom hosted not only the spectacular fashion show, but also exhibition areas highlighting the various segments: traditional, interiors, eveningwear and menswear, alongside an array of stunning jewelry and accessory pieces made with Swarovski Elements. SWAROVSKI ELEMENTS has invited eleven of its Branding Partners to contribute a total of twentytwo different garments; Hassan Mardash Couture, Sohad Acouri, Ezra, Arushi Design Team, Shady ZeinEldine Couture, Amato Couture by Furne One, Michael Cinco, Dar Sara High Fashion by Joumana Al Hayek, Nariman Zeidan by Nariman Fashion, Jeanine Haute Couture by Jeanine ElNachef Mourad and Houida Haute Couture by Houida AlBaridi have graciously accepted the challenge. Each of the design partners has excelled in pushing forward the boundaries of design thought with challengingly original concepts that are sure to delight and captivate fashion’s devotees and guests. With Sense of Two, Swarovski Elements and the participating partners have created an event destined to spark debate with pre-existing notions of design while offering a sumptuous feast for the eyes in an ambience of sophisticated luxury.


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EZRA It is lonely to be just one.. but it initially takes one to make it two.. only to know it is better for the two to become one… Sense of Two surprisingly gave me a sense of fulfillment that I am better able to tap into my personality and understand its nuances. Like my choice in transparency and solidity speaks of my vulnerability and strength as a person. Somehow it translates into seeing me as I am, per se, strip of pretensions and worldliness. You see joy when I am happy… you see sadness when I am desolate. There is that part of me that you can see through, that is transparent. And on the other hand, there is the impenetrable part of me, something that no one can see or feel and yet know that it is there. And that it is solid…

Michael Cinco A sense of two is a plethora of emotions… it is either an excess or an inadequacy, depending on how one perceives things… but it essentially requires an absolute completion in one to achieve a perfect balance in two, and yet not necessarily for the two to become one but be distinctly one in two..

Amato by Furne One Sense of Two is a manifestation of me, meaning it shows the two sides of me, my character, attitude, and me as a designer. Despite how challenging this event is, it helped me realize some things about me; the deeper side of me.

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THE LIGHTNESS OF BEING Giorgio Armani is pleased to unveil their new Spring/Summer advertising campaign. Photographed by Mert Alas & Marcus Piggott under the creative direction of Giorgio Armani, the campaign features models Milou Van Groesen and Simon Nessman. The advertising campaign will debut around the world in fashion and lifestyle magazines starting from February issues.


TAPS JACK PIERSON Bottega Veneta tapped contemporary artist and photographer Jack Pierson for its spring ad campaign, set to hit fashion magazines worldwide in February. Expressing long-standing admiration for Pierson’s work, Bottega Veneta creative director Tomas Maier praised the new campaign images, noting they “capture the complexity as well as the joy of the collection,” which embraces intensely bright colors and intricate textures. One image shows model Karmen Pedaru posing by the gently sparkling ocean in a lush dress with a pleated skirt and bodice top, delicate green triangles dangling from her ears. Shot in Coconut Grove, Fla., the campaign is the latest in a series of collaborations between the Italian brand and a diverse array of photographers including, most recently, Mona Kuhn, Robert Polidori and Alex Prager. A video documenting Pierson’s photo shoot will be available online when the campaign launches.


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A TRENCH NEVER LOOKED SO HOT Model Cara Delevingne is joined by British actor and current star of My Week with Marilyn Eddie Redmayne in the Burberry Spring/Summer 2012 campaign. Shot by Mario Testino, the full campaign launches on 4th January with new images introduced each month throughout the season. “We wanted to capture a moment in the lives of two exciting and inspiring British actors who have been part of the Burberry family for several years. The images reflect the mood of the collection through Eddie’s and Cara’s energy, playfulness and effortless elegance and I have such huge admiration for them both.” – Burberry Chief Creative Officer, Christopher Bailey. “I am a huge fan of Christopher Bailey. He is a brilliant designer and a brilliant man. The fashion world can be a tad intimidating but Christopher remains a kind, grounded gem of a man. I have worked with Burberry before and its always a fantastic experience. Christopher wanted something playful from the shoot and so Cara and I had a genius couple of days fooling around. Hopefully the enjoyment we had is reflected in the campaign.” – Eddie Redmayne

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INSTIGATES CAT FIGHT Jimmy Choo unveils a series of bold images for Spring Summer, shot by renowned fashion photographer Terry Richardson, to be featured in a global advertising campaign set to debut in February2012. Inspired by the Mediterranean glamour of seventies cinematic icons, the images explore the complexity of the passionate feminine psyche, juxtaposing allegiance and rivalry. Richardson lenses the tempestuous relationship between models Magdalena Fracowiaka and Jamie Bochert in the opulent grounds of a continental country estate with his ever sensual tone. The images are vibrant, focusing on bright colour with a decidedly sporty edge.


GETS HAPPY After a series of high-gloss ads this past fall shot by Mert Alas and Marcus Piggott, Tom Ford took the camera back into his own hands for his spring campaign. The designer photographed models Mirte Maas and Mathias Bergh inside a Palm Springs, Calif., private residence in the new ads. The playful, upbeat images have the models laughing and smiling broadly as they romp together — one shot even has Bergh teasingly biting Maas’ ankle. Ford has shot a number of his own campaigns over the years, alternating seasons with outside photographers such as Terry Richardson, Sølve Sundsbø and Marilyn Minter. The campaign breaks in March magazines. The company declined to comment on the total media budget. In 2011, Ford spent $835,000 on advertising in the first quarter, $812,000 in the second quarter and $2.3 million in the third quarter, according to Kantar Media figures.


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ON THE ROAD The house of John Galliano for the first time has collaborated with photographer Sebastian Kim for its spring ad campaign. The ad, scheduled to break in the March issues of a range of fashion glossies worldwide, features models Constance Jablonski and Benjamin Eidem. The campaign depicts a road trip to Las Vegas and shows Jablonski, sporting a tropical-print dress, and Eidem, in a colorful printed shirt, lounging in the back of an electric blue Cadillac convertible. The campaign was shot under the direction of Bill Gaytten, John Galliano’s creative director. Kim, who is represented by Jed Root, started his career working with Richard Avedon, followed by Steven Meisel.


Brings Gothic to the Beach

Riccardo Tisci headed to the beach for Givenchy’s spring-summer ad campaign. But trust the Gothic designer to bring a dark twist to the proceedings: Gisele Bündchen, Mariacarla Boscono, Chris Moore and Simone Nobili are shown posing with black surfboards against darkening skies. The designer described the atmosphere as “the expression of a love story between a surfer and a mermaid.” Lensed by Mert Alas and Marcus Piggott, with hair by Luigi Murenu, makeup by Lucia Pieroni and layout by M/M, the campaign will break in February issues of Vogue, W and other magazines.

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125 YEARS OF ITALIAN MAGNIFICENCE “You can’t simply live on past glories, that’s foolish. To be successful, you have to combine the worlds of the past, present and future. That is the challenge, and there are so many horizons.” – Nicola Bvlgari

In today’s celebrity infused world, Bvlgari is a name synonymous with redcarpets beauties. From Jennifer Aniston, Jessica Alba, Gwenyth Paltrow, Rachel Weiss and many, many more. Hollywood starlets have shined under the masterful creations of Bvlgari. Who could forget the timeless fine-art inspired Bvlgari campaign featuring Julianne Moore? In the past, the exquisite hand of Bvlgari also touched silver-screen goddesses like Elizabeth Taylor and Sophia Loren, as well as Her Royal Highness Princess Grace of Monaco. Known for an unmatched aesthetic, Bvlgari jewelry is as timeless as the gems they feature themselves. Bvlgari’s beginnings however, were not about the glitz and the glamour, but about subtle beauty heavily ingrained in fine craftsmanship, and that is why Bvlgari’s longevity is as unbreakable as a diamond. Bvlgari style story started in Greece at the end of the nineteenth century. Sotirio Bvlgari, founder of the firm, was a skilled Greek silversmith originally from Epirus, a region in the north west of Greece. He left his natal land for Corfu, Naples, then to Rome where he founded the firm in 1884. In 1910 his sons Georgio and Costantino joined the business. During the last quarter of the 19th century until the beginning of the 20th century father and sons created silver artifacts in Neo-Hellenic style, shape and materials. Sotirio Bvlgari, 1910


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Snake braceletwatch in gold and polychrome enamel, ca 1965. Rome, 1962. Elizabeth Taylor poses on the set of the film “Cleopatra” at Cinecitta Studio. She wears a “snake” braceletwatch in gold with diamonds and two eemeralds, ca 1962.

1920s - 1940s: Platinum & Diamonds The flapper girl era called on women to liberate their bodies from the constraints of bodices and corsets as waist seams were taken out and hems were getting shorter. It was during this time that Bvlgari celebrated the free-spirited beauty of women by creating some of the most flamboyant pieces calling immediate attention to the wearer. From the ‘20s to the late ‘30s, Bvlgari became famous for its taste and use of exceptional precious stones. The jewels of the ‘30s are distinctive for their imposing dimensions and marked geometric motifs in diamonds of different cuts or diamond combined with a colored gem gemstone, such as a sapphire or ruby. Also fashionable during these years were the convertible jewels: necklaces may be divided making it possible to wear the different elements separately as bracelets, clips, or brooches. Celebrating the multi-facets of a woman, and the different roles she can take on in society while still maintaining beauty, elegance, and sophistication. During the ‘40s a radical change took place in the creation of jewelry: no longer in platinum encrusted with diamonds, but in gold with a parsimonious use of precious gemstones. These factors were determined above all by the restrictions caused by the World War II. The rigid geometric design became softer and more naturalistic, celebrating humility and a desire to return to a more peaceful and idyllic time. 1950s & 1960s: La Dolce Vita After WWII had ended, there was a yearning and a desire to return to opulence and grandeur, to put the devastation in the past, and look to the future to thrive and embrace life. The post-war economic boom led to a return to jewels mounted in precious white metal and profusely covered with precious gemstones, in particular diamonds which, as in the ‘30s, reigned supreme as the most fashionable stones. High jewelry was still of a Parisian stamp, but with more sinuous motifs and softer lines than those of the pre-war period.

1970s: Eclectic Creativity When the flamboyant 70s rolled around, the third Bvlgari generation took over the running of the firm and the fresh input was soon evident in the creative exuberance of that period. The 70s were all about flashy exuberance, glitz and yellow gold, and Bvlgari managed to accomplish that with its signature sophistication. There were years of experimentation, provocation and hope, and in some way this is to be found in the great variety of motifs in the Bvlgari designs. These range from the elegant ones inspired by fireworks to those of oriental inspiration or even of optical or pop art, to then arrive at the Stars and Stripes Jewel.

Sautoir in yellow gold with emeralds, rubies and diamonds 1970.

Always setting trends and breaking with conformity, at the end of the ‘50s, Bvlgari’s preference for smooth outlines rather than the spiky ones that were fashionable in the that period became clear. As well as its more insistent use of important cabochon cut gemstones (polished but not facetted), both distinguishing features of the nascent Bvlgari style.

“Among the jewelers who successfully reintroduced the serpent motif in the 20th century, Bvlgari was the first to adapt it to the wristwatch” Between the ‘50s and ‘60s Giorgio Bvlgari acquired a remarkable number of diamonds of diverse shapes and colors ranging from golden yellow to cognac, from pink to lilac, and from blue to green. This acquisition led to the creation of a series of extraordinary flower-spray brooches known as Tremblant due to their special spring settings. The Serpenti collection plays on the variety of forms suggested by the snake, transforming its sinuous body into wrap-around bracelets, rings and jewelwatches. Among the jewelers who successfully reintroduced the serpent motif in the 20th century, Bvlgari was the first to adapt it to the wristwatch. Indeed, from the late 1940s onward, its serpent form bracelet-watches became a Bvlgari signature. Tubogas revives a method that developed in the second half of the 19th century that consists of creating a tubular band of metal without soldering.

One already notes a predilection for yellow gold in the creations of these years independently of the value of the gemstones employed. In so doing, Bvlgari allowed every jewel, even the richest, to be worn in a more informal manner: traditionally, yellow gold was destined for daytime jewels while platinum and white gold was meant for the more important jewels of the evening. The two characteristics of this period, which subsequently became an unmistakable trademark of the firm, were the use of an oval element mounted with a cabochon gemstone surrounded by gold and diamonds, and the thick gold chain of filed curb linking known as gourmette. The most popular and distinctive objects of this period were the long necklaces known as sautoirs that so well suited the ‘maxi’ fashion of the time.

“Parentesi jewels were easily recognizable as a Bvlgari creation, a characteristic that easily turned them into a symbol”

Yellow gold “Chandra” bracelets with Porcelain, ca 1990


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The use of coins in the jewels is a tradition that dates back to the late roman era, and which remained in fashion until the 7th century AD. In the following centuries it appeared sporadically, but was not until the 19th century that it returned, thanks to the famous Roman jeweler Castellani, who revived it for a certain period of time. The first Bvlgari jewels with coins date from the ‘60s, the pieces are known as Monete.

“Parentisi” neclace in gold, mother of pearl and sapphires, ca 1982

“The jewels of the ‘30s are distinctive for their imposing dimensions and marked geometric motifs in diamonds of different cuts or diamond combined with a colored gem gemstone” The 1980s: refined, Stylish,and Colorful The 1980s were all about color, exaggeration, structured clothing, and putting high-end materials together with materials of lesser value. “I think your jewelry is the ’80s. Everybody’s trying to copy this look”, said the famous artist Andy Warhol while interviewing Nicola Bvlgari. It was during this decade that the Bvlgari design, which had been forming throughout the years, crystallized into a recognizable image: yellow gold, volume, striking colors, clean shapes, stylized decorative motifs. In order to obtain interesting chromatic effects, precious gemstones were combined with other of minor value. The jewel became less conventional, very refined, at times even more precious, but always suitable for any occasion: this was the secret of “wearability” according to Bvlgari. The typically structured clothes of the ’80s were well suited to a jewel of this type in which the fusion in between decorative element and structure was by now quite clear. The necklace was the most representative object of the production of these years. It was during the ’80s, that Bvlgari developed its first line of modular jewelry Parentesi. It became an icon of high Jewelry pieces. Parentesi jewels were easily recognizable as a Bvlgari creation, a characteristic that easily turned them into a symbol. This design met the needs of the ‘80s woman who was looking for modern, wearable jewels to replace the conventional formality of High jewelry.

“Always setting trends and breaking with conformity, at the end of the ‘50s, Bvlgari’s preference for smooth outlines rather than the spiky ones that were fashionable in the that period became clear” The 1990s: Opulence The jewels of the ‘90s took on more subtle chromatic combinations and motifs compared to those of the ‘80s. In particular necklaces became less structured: fringes of diamonds fan out in sunbursts at the base of the neck instead of the rigid collars of the ‘80s. Yellow gold continued to be the preferred metal. During these years, collections were created that were inspired by nature: Naturalia, by history: Celtaura, and by material: Chandra; the latter, in fact made use of an unusual material for jewelry: white porcelain. Modeled with gold and brightly colored precious gemstones to create a variety of jewel. IN

Stars and Stripes earrings in yellow gold with coral, lapis and diamonds, ca 1975



Studio Harcourt Paris Esmod Dubai, the only French institute fully dedicated to fashion in the region, contributed to the ever-flourishing fashion scene in Dubai by holding a Harcourt Paris photography exhibition at Wafi Mall.


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The prestigious photography studio was founded in Paris in 1934 by Cosette Harcourt together with the media magnates Lacroix brothers and Robert Ricci, son of Nina Ricci. The inauguration ceremony was attended by a host of dignitaries and VIP guests including H.E. Mr. Eric Giraud-Telme, Consul General of France in Dubai and the Northern Emirates. The exhibition ran from December 1, 2011 until January 8, 2012, and featured the Studio’s most emblematic works, including fashion portraits of Sir Karl Lagerfeld and other renowned fashion personalities and movie stars. Studio Harcourt Paris took its inspiration in the enchanting roots of black & white cinema and quickly became a required stop for the Parisian elite. Applying the same lighting effects used in black & white films, their portraits were highly acclaimed for placing complete focus on the subject’s inner side, while drawing out depth and three-dimensionality. Famous actors from yesteryear including Marlene Dietrich, Clarck Gable, Edith Piaf, Jean Cocteau, Jean Marais, Brigitte Bardot, Alain Delon have visited the Studio to be photographed, as did most prominent members of Parisian high society, and also the Egyptian actor Omar Sharif and the legendary Bollywood actor Amitabh Bachchan.

opportunity for the people to enjoy the very best of Studio Harcourt Paris. In Esmod Dubai and Wafi mall we found the perfect partners to make our foray here and create the impact we desired.” Tamara Hostal, Director and Founder, Esmod Dubai, said, “Ever since our inception in Dubai we have been committed to making significant contributions to raising the region’s fashion profile and also promoting various forms of art such as photography. Inviting the legendary Studio Harcourt Paris to Esmod Dubai is very much in line with this commitment, which we share with Wafi mall.” The iconic images showcased over the next few pages take us back in time and shed light on the history of the legendary Studio Harcourt Paris.

Deriving inspiration from black and white films, Harcourt’s unique expression have been passed into modern times, along with mythology. It is the pictorial memory of the major artistic, cultural and political figures of the 20th century. Francis Dagnan, Chairman, Studio Harcourt Paris, said, “With Dubai’s growing prominence in the global art and fashion landscape, we were keen on venturing into this high potential market, while giving an


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Brigitte BARDOT Amitabh BACHAN


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Steps... To Finding Your

Career Passion Words by Salma I. Fouad

When you decide to embark on a specific career path, it is usually the case that you have certain criteria and targets in mind, such as financial ones. You might start strongly and successfully on this path, but what if you are achieving success in something you have no passion for? It is then only inevitable that you will no longer have time to pursue your won personal interests. If that is the case, then you are in the wrong place, and your talents are most likely being wasted. The perfect job might already be out there for you and you do not even know it simply because you lack the drive to do what it takes to follow your passion. Are you fed up with your daily routine and work tasks? Do you no longer find any excitement in what you do? Do you feel alienated from the final product of your company? Does your week end after five identical days? If the answer to any of these questions is yes, then this guide is for you. Through the following very simple yet effective methods you will be able to reconcile your passions and talents with your career choices, and in the process, discover what you can do best.


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Each and every one of us has his own talent(s), the key is to know what these talents are and find the best ways through which you can fully use your special gifts. Some have the passion for arts, others have the passion for numbers and many others just find their creative selves in business development and management. You might get busy with the day-to-day responsibilities which you have to the extent that you cannot name your passion, and you eventually lose identity of what it is, but there are still these small moments in which we become inspired and feel a bit of enjoyment. It is crucial for you to identify these single moments and try to figure out from them what is it that truly inspires you, what is it that you enjoy doing more than anything else. Intuition, change and experience will all guide you to your passion.




Be your own Guinea Pig! You might not be able to find out your career passion right away, so you might as well try a few things until you get there. Do not fear experimenting new ideas or activities, after all, a new idea which you have never thought of implementing before might have the key answer for all your work problems. Try out several plans, engage in part-time jobs or internships, or take new classes. If not now, then when?



You have not found your passion yet? If you cannot identify what it is that you have passion for, then you can at least identify things which you do not enjoy doing at all. Start by making a list of all the career paths which you never intend to take, eliminate jobs that you find no interest in. That way you will narrow down your career choices and it will be much easier for you to make a wise decision.



You already have a stable job which guarantees you a fixed monthly income and job security, however, if you are not convinced with what you are currently doing and if you have no sense of selffulfillment out of it; how long do you think you will be able to hold up in such a career? If you take the decision to make a career shift towards something which you have passion for you might have to start from scratch, yet, every day for you will be a self-challenge. The inner feeling of job satisfaction is a very important aspect which you have to put into high consideration when making your career –related choices. Most of the employers now look for target individuals who seem to possess certain skills and criteria the most important of which is their inner passion for what they do and their enthusiasm about it.



Once you identify your desired type of work according to your talents, you should then start developing yourself to becoming competent. Get on with the research and find out what the market for this particular job needs, and go even beyond that by striving to excel among others through building a unique set of skills that is hard to compete with. You can attend workshops, study for postgraduate degree programs, and become certified in your field of preference or all these together.



Making a living out of your passion does not happen overnight. You have to understand that you need to keep learning and developing yourself all the time in order to achieve your goals. Patience and hard work are very crucial here; you have to know that it is worth it. When your passion becomes your career, your career will no longer feel like an obligation.




Find what you are good at the most, what interests you and what drives you to think outside the box. Have big dreams but also think about ways of getting there. Motivate yourself continuously and always have vision for the big picture in your head. Do not only strive to be the best, make sure you believe it too. IN

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JESSICA CHUDASAMA DUBAI’S IT GIRL Its four fifteen and I am running late for my interview with a certain Dubai-based supermodel. I regularly see her on the social pages of the glossies, and look on as she works the runway for the world’s biggest names in fashion. This was not the intro I had in mind. Ten minutes later I finally run into Lime Tree Cafe a little flustered and scan the room. Suddenly I am greeted by a dazzling smile and warm hug and Dubai’s very own IT Girl. My apprehension was incorrect. Jessica Chudasama proves to be a sweet, down to Earth and fun loving beauty with the world at her feet.

So you were discovered at the tender age of 14 at Lakme Fashion Week in India, has it always been an ambition of yours to become a model?

I never thought modelling was a possibility, until the subject was raised after finishing my studies I believed I could do it and so threw myself into it. It really has become my passion.

What was it like to work as a model in India before you made the move to Dubai?

Working in India was a great experience for me; I learnt how to become a model and it gave me confidence needed to be a professional model. I was exposed to the fashion industry for the first time in my life and I realised how much I wanted to be a part of it.

How would you describe the fashion scene in India today compared to what it was when you were first discovered? Mumbai is fast becoming a recognised fashion capital – it has established itself further and it is becoming more international. The industry I believe is always developing itself and its creativity in hair styles, makeup and clothing. Indians love their heritage and yet like to be modern and experiment simultaneously, which I feel helps them to be different and stand out. I believe Indian designers are becoming more recognized also.

You have appeared in several campaigns and shows including Christian Dior, Valentino, Escada, and Roberto Cavalli, among many others. What has been your best experience so far in fashion?

MY DREAM IS TO BECOME A VICTORIA’S SECRET ANGEL Which designers inspire you the most?

I love any designer that pushes the boundary and makes you look beautiful – I think a perfect example of that is a Dubai based designer called Furne One & his brand Amato.

What has the fashion scene in Dubai done for your career?

The fashion scene in Dubai has given me priceless experience and knowledge & the opportunity to meet & work with some incredibly talented and lovely people from all over the world.

How do you reconcile your Indian heritage, one seeped in conservative

cultural tradition, where you are expected to marry and become a mother, and a global modelling career?

I am lucky that my family supports me in my career and they help guide me with the decisions I take. I always keep respect for my culture and traditions, which are important to me.

What is your ultimate career ambition?

My dream is to become a Victoria’s Secret Angel. If that doesn’t come to pass then I really enjoy backstage management and as I am currently doing a degree in History I have other doors open to me such as becoming a teacher. IN

For me its just being able to be a part of these shows with these incredible designers – its always an honour and privilege.

Why make the move to Dubai to further your modeling career, and not to London, a European fashion hub, seeing as you were born and raised in the UK? Dubai is close to India and I felt I needed more experience which I could gain from Dubai, as it is such a melting pot of cultures and fashion, before being ready for the European scene. When I started working in Dubai I discovered my look worked well so I decided to stay.

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IN.TALKS Courrèges & evian

A Historic Collaboration Of The Unconventional and The Pure Known for his ultra modern designs, André Courrèges is a French fashion designer who was credited with inventing the miniskirt. With an engineering degree, Courrèges moved on to studying fashion and textile design. He worked for Balenciaga for ten years, and then in 1961 started his own label. The House of Courrèges is known for innovation and nonconventional designs, like the angular mini-dress, trouser suits, cutout mid-riffs and backs, all key trends pioneered by the label. The evian bottle by Courrèges celebrated its launch in conjunction with Fashion’s Night Out this past September. IN Magazine was able to acquire some insight into this historic collaboration by speaking to the House of Courrèges.

How did the collaboration with evian come about? When you think about the connection of these two brands, Courrèges and evian, it seems very clear and evident. They share a lot of common values such as purity, elegance, style, and youth. The result is this bottle, which is at the same time totally evian and totally Courrèges: very modern, very fresh, full of optimism!

Describe to us the process in creating the evian bottle design. We have a secret weapon here at Courrèges, which is our internal creative department. An artistic team of three people has thought a lot of the proximity of the two brands, after the brief from evian, which stated: “Tell us how you see evian”. The team made a few proposals but together with evian, quickly chose the design of an iconic Courrèges flower invented by André Courrèges in 1967. It was then a discussion and improvement between the two brands on colors and techniques to achieve at the end these beautiful white and pink flowers that embody very clearly the shared values of the two brands.

What was the inspiration behind this design? The inspiration behind this design is all the fantastic patrimony of Courrèges symbols, which tell us about the poetic imagery of this brand. This stylish flower with its simple design represents the eternal and timeless modernity of Courrèges.


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“The inspiration behind this design is all the fantastic patrimony of Courrèges symbols, which tell us about the poetic imagery of this brand.”

to do something for the earth. That’s why she decided to build prototypes of electric cars, improving technologies, and making a real work of R&D. Today, there are 5 prototypes, all very efficient. The idea is now to produce a short series of cars to prove that it can work! We are currently meeting some industrial partners, battery manufacturers, and automotive actors to achieve this goal.

What elements of the Courrèges design aesthetic can we find in your evian bottle design?

Jacques Bungert, President of evian also spoke to IN Magazine of this historic collaboration, he said,

There are numerous references to the Courrèges design aesthetic: first of all the white, which is clearly linked to André Courrèges, who was the first couturier to introduce white in women’s wardrobe. His aim was to let light enter clothes. He worked a lot on white to obtain one as clear and pure as possible that it even has a name at Courrèges: it is “optical” white. Then there is the geometry of shapes: the flower is very stylish, and refers to a clean and structured universe. And at the end the glimpse: a slight touch of bright color, which in this case is pink, referring to happiness, joy and optimism.a

“Courrèges and evian share a lot of common values such as purity, elegance, style, and youth.” Why was it important to Courrèges to collaborate with evian? It was important for us to collaborate with evian as it is a very beautiful brand, well known worldwide with plenty of shared values such as youth, elegance and purity.

“Courrèges and evian both share a restless optimism and the belief that “youth is more a matter of attitude than a matter of age”. Both brands have anticonformism, style and boldness in their DNA. In the 60’s, Courrèges had freed the woman from classical fashion conventions: no more hats, no more heels, that is how the Courrèges Fashion House refined women’s wardrobe. Its innovative designs and clothes: modern, iconic and optimistic, inspired the 2012 evian Limited Edition.” IN

“Courrèges and evian both share a restless optimism and the belief that “youth is more a matter of attitude than a matter of age.” What is the drive behind Courrèges designing electric cars? The drive behind designing electric cars is clearly a consciousness of the world where we are living. Courrèges presented for the 1st time in 1968 a mockup of a little battery powered car, just to say maybe it is time to do something and change of energy, which was already visionary at this time. But 30 years later, Coqueline Courrèges realized that nothing has been done and that it was urgent

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The Others

Bearing WITNESS An introduction to the art of Mehrdad Mohebali and Hazem Harb Words by Jareh Das To bear witness means quite simply, giving evidence. It can also be viewed as a way to declare, state emphatically and authoritatively. Throughout history, artists bear witness to the conditions of everyday life, which at times are hard to articulate due to censorships and conflicts. Today, in a rapidly globalising world, it is at times difficult to articulate these continually evolving changes in society. The artist becomes a storyteller and through art, bears witness to these events. Iranian artist Mehrdad Mohebali is a painter of modern day life. Akin to genre paintings popular in the seventeenth century, the artist focuses mainly on capturing scenes of everyday life of his immediate surroundings in his native Iran. Mohebali has been depicting these


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scenes for over twenty years as he feels it is important for an artist to document the world he lives in, to bear witness and through art share these experiences. For Mohebali, the canvas becomes a means of recording and documenting the world for generations to come. Mohebali’s beginnings as a painter, started at a young age. He observed cultural conflicts of Western and traditional values which, as a young child became difficult to articulate and understand, which he began to document through drawing and sketching. In his early twenties, Mohebali had a powerful dream, which cemented his future career as an artist, as he was instructed to become the voice of the people and a voice for modern Iran.

The Last Supper

The Curtain

Mohebali is a firm believer in ‘telling the truth’ through art. He makes works that are imbued in telling things as they are, in other words, he documents his immediate context of Iran. Consider Mehrdad Mohebali’s The Last Supper (2011), similar in style to historic master painters, who depicted the iconic image of Christ at his last supper with his disciples.

Mehrdad Mohebali | BIO Born in Tehran, Iran in 1960 where Mehrdad Mohebali currently lives and works. He studied painting at The University of Tehran and is a member of The Society of Iranian Painters. Mohebali has exhibited in numerous group and solo exhibitions for the over thirty years in Iran, Japan, Canada and USA.

The diptych, is a contemporary interpretation of this familiar biblical scene. In this case Mohebali takes centre place, like Christ in the historical version, the difference being that none of the other characters are looking at him. The artist appears a serene figure, whilst most of the characters are reading books, which are a predominant feature of the painting. Their gaze is directed away from the central figure and they are all oblivious to each other, as if entranced by the books and whatever subject they are reading and taking in.

Mehrdad Mohebali’s figurative paintings tell stories about human interaction and the mundane nature of daily life, which he captures in a

timeless manner, similar to Dutch master paintings. He explores a variety of topics, a common depiction places Iranian prime minister Mossadegh, a figure seen by many as progressive and someone who implemented social reforms for the country. Mohebali’s revered piece The Last Supper I, a contemporary interpretation of the biblical scene was presented and sold at Christies Modern and Contemporary Arab, Iranian and Turkish Art auction sale in Dubai in 2011.

There are two characters in the picture that don’t conform to the melancholic and apathetic manner, the figure who is lying down, half undressed and seemingly uninterested in the people reading and the artist, who is a central figure, with crossed arms and lost in a distant gaze. The Last Supper I could be interpreted as a commentary on today’s individual versus collective identity. Its as if, these two characters are breaking away from the norm, focusing on their own interests. Behind the curtain (2011), is set in a hospital ward, there are a several characters in a familiar setting, an examination room. There is a physical examination taking place of a female, and another of an undressed female behind a curtain. In this work, Mohebali is presenting a scene that really is about a hospital examination room, but due to our cultural conditioning, we immediately view this scene as having sexual connotations. Mohebali’s Shadowy Life, 2011, depicts a scene where there are a group of women, with their gaze directed away from the viewer. There is a shadow that runs across half of the picture and the women are standing behind it. Mohebali describes them as living in shadows with no connection to each other, a result of living in a state of fear and mistrust. This painting is a symbolic representation of the condition of repressed individuals. When a person has a lack of freedom to express themselves, they soon adapt a suppressed or passive state, as characterised by every individual in this image. The man in the painting, is asleep, representing sleep as one’s only option in such a situation. Mehrdad Mohebali’s artistic career can be summarised as a documentation of the conditions of living in current Tehran. Through his art, he is able to articulate the on going issues of traditional versus modern, young versus old, West versus East and the effects these conflicting views have on the individual. These conflicts, in his opinion are a result of internal politics of a place, in this case, Iran.

Shadowy Life

Don’t Worry About - The Oath of the Horatii

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HAZEM HARB | BIO Born in 1980 in Gaza City, Palestinian artist Hazem Harb currently lives and works in Rome, Italy. In 2004, Harb enrolled at the Academy of Fine Arts in Rome, Italy and graduated from The European Institute of Design in the city in 2009.   Harb’s work has been exhibited internationally in group and solo exhibitions in the UK, USA, Italy, Palestine and Jordan. His  first solo exhibition in London, Is this your first time in Gaza? had the central poignant message highlighting the checkpoint and suffering it inflicts


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on Palestinian travellers. In 2011, Harb was awarded a residency at The Delfina Foundation, which was also supported by A. M. Qattan Foundation. Harb has won numerous awards, including being selected as of one ten artists for A. M. Qattan Foundation Young Artist of the Year 2008. While using a variety of techniques, Hazem Harb deals with a number of core themes including war, loss, trauma, human vulnerability and global instability. He continues to explore his own brand of multimedia, conceptual art using all the tools at his disposal.

Hazem Harb comments on the world today in a different way to Mohebali, through film and photography. As a young man, he witnessed conflicts in his native Gaza and as a result, his art is a first hand account of this on going conflict, which seems to have no feasible resolution in sight. Harb is not interested in just representing or depicting ‘the spoils of war’ he focuses on the human suffering and conditions as a direct result of this conflict. His photographs reveal, or rather, ask questions about this condition. Questions such as: What is it like to live in a land occupied by others? What is the experience of passing through checkpoints? The interrogation, search, aggression and harsh language used by authorial figures are captured in his piece, Is this your first time in Gaza? This film piece explores the conditions of a checkpoint and the control mechanisms implemented to keep ‘criminals, undesirables and the

unwanted (this could be people, goods and illegal substances) out. In Gaza and beyond, borders are a means of keeping people confined to a place, often dictated by powers above. The decision about whether they can leave of stay is not in their control, regardless of if they have valid reasons for wanting to move across the border. An earlier body of work titled Roundtrip, 2010, deals with a different type of migration across borders. Here, Harb, takes a migratory route from Rome to Barcelona popularly used by North African migrants, documenting through photographs and conversations. Since 1998, there have been thousands of fatalities and retributions due to illegal migration across the Mediterranean sea, from North Africa to Europe. Some favouring the longer trip to Spain via Italy, perhaps due to the difficulties now faced with crossing the Gibraltar Strait.

The boats used for this crossing by the artist, measured a little more than ten meters and exceeded the recommended number of passengers. Migrants of different nationalities like Libya, Egypt, and Morocco are alone at sea, exposed to the elements with no supplies, hoping for a better future. They are also at the mercy of human traffickers and the immigration authorities once they get across to the other side. Many start off and few succeed in this treacherous plight. Harb’s idea for this series was inspired by this important issue and documenting first hand by taking the journey as well. Mohebali and Harb through their very different practices bear witness and document the conditions people are faced with in the world today. They both comment on the loss of humanity and conditions that people have to live in and make sense of the world today. Their art raises important questions about the present and allude to what sort of future lies ahead in such an uncertain and continually changing world we cannot control. IN

Mehrdad Mohebali, Mr. Passive opens on 19th January 2012 and Hazem Harb, I Can Imagine You Without Your Home opens on 20th February 2012 and runs through 14th March 2012 at Gallery Etemad in Dubai.

Š Images courtesy of the artists and Gallery Etemad in Dubai

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WE NEED TO TALK success with Following its recent hibition of the first Pan-Arab ex e Future of ‘Th contemporary art e Biennale nic Ve the at ’ a Promise y all renowned 2011, the internation Arabia will be of arts initiative Edge nificant survey sig st mo launching the ry art ever held of Saudi contempora udi Arabia in Sa in the Kingdom of ge of Arabia Ed ar: ye January next Mohammed Jeddah. Curated by ed by Edge of A. Hafiz and co-curat en Stapleton, ph Ste r Arabia Founde ah will be housed Edge of Arabia Jedd meter space in in a stunning 1000sq rusia Marina, Fu Al the newly opened velopment on a magnificent new de e overlooking the Jeddah Cornich the Red Sea. ture works The exhibition will fea udi artists: Sa from the following Ahmed Angawi, m, are Gh Abdulnasser n Yossri, Eyad Ahmed Mater, Ayma mra, Hala Ali, Maghazel, Faisal Sa Abu Mismar, im ah Ibr Hamza Serafi, nal Al-Dowayan, Jowhara AlSaud, Ma i, Mohammed Mohammed AlGhamd ha AlShareef, No h, llu Farea, Maha Ma mi Al-Turki, Sarah Nasser AlSalem, Sa iq Wassil, and Abu Abdullah, Sedd Shadia Alem.

Curator M oha “This exhib mmed A. Hafiz say s: ition will b e a true homecom ing for Ed ge geared to wards enc of Arabia and is ouraging discussion constructi and dialog ve ue betwee contempo n Saudi rary artists and the lo communit cal y. A react to ou ll participating artis ts will r working title ‘We N within the eed to Talk three cate ’ gories: the Present, a Past, the nd opportunit the Future. This is a y for us all great to think ab we can po out how sitively sh ape and in world arou fluence th nd us”. e To accom pany the e xhibition, E Arabia will dge of deliver an ambitious programm education e aimed a te school an d universit ngaging local y students programm . The e will inclu de a histo day semin ric onear to be h eld at Dar University, Al-H a dedicate d 100 sq m ekma education eter room with in the exh with works ibition, hop, pres entation a research fa nd cilities for visitors; g tours of th uided e exhibitio n and pra workshop ctical s with part icipating a local Scho rtists for ol and Un iversity gro internship up; an programm e for local and a seri students, es of three edu developed by the cura cational films, tors in part with local teachers, to be show nership the exhibit n within ion. IN Edge of A ra on 19th Ja bia, We Need to Talk n o February 2 uary and runs throu pens gh to 18th 012, from Tuesday to at Al Furusi S a www.edgro Mall & Marina, Jed unday dah. m

Faisal Samra HATRED



Maha Malluh HAND IN HAND


Ahmad Mater COWBOY CODE Manal Al Dowayan I AM AN EDUCATOR

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IN.BEAUTY Rimmel Glam’Eyes HD

Eyeshadow Basking in winter sun? Dining at dusk? Or clubbing at midnight? Whatever the light, you want all eyes on you! Now, eyes can look gorgeously glam in all light conditions. Glam’Eyes HD takes fashion-forward eyelooks into 21st century high definition. Whether it’s day or night, bright or dim, your eyeshadow looks beautifully bold, vibrant and luminous, all the time enhancing your natural eye colour. The cutting-edge Glam’Eyes HD collection offers eight unique palettes of stand-out shades to discover – and you can’t go wrong! Each perfect palette features four multi-tonal vibrant hues that have been expertly coordinated to work in sequence, giving a perfectly complementary effect in any light. Take your eye-look to the next level with new Glam’Eyes HD. For eyecatching eyes that look spectacular in any light.

REVLON Grow Luscious Plumping Mascara

Grow Luscious Lash Liner

Imagine lashes so dangerously plumped that a bat of the eye could knock your object of affection to his knees. Revlon introduces their newest weapon in fighting limp lashes – Revlon Grow Luscious Plumping Mascara – which plumps lashes up to 200%* instantly for maximum volume, and will be sure to leave an impact.

Revlon revolutionizes eye liner with Grow Luscious Lash Liner. This specially formulated eye liner provides rich, silky color while supporting healthy lash growth.

Revlon Grow Luscious Plumping Mascara uses a thickening formula that paired with the innovative precision tapered brush grabs and coats every lash individually for plumped perfection. The volumizing mascara also contains the award-winning Revlon Grow Luscious Mascara technology, including a lash enhancing phyto-peptide formula that conditions and strengthens eyelashes to compliment their natural growth cycle. The result is lashes so plump, healthy and strong that you might be accused of having unnatural lash enhancements. Don’t be afraid to go big this summer and make an entrance they won’t forget with Revlon Grow Luscious Plumping Mascara.


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Revlon’s Grow Luscious Lash Liner glides on smoothly in one stroke and effortlessly coats the base of lashes, helping them to appear lusciously longer and fuller. The conditioning formula, containing rich botanicals and aloe, nourishes and hydrates the eye area to support healthy lashes. Use Grow Luscious Lash Liner with Revlon’s Grow Luscious Plumping Mascara to add drama, volume and glamour to any look with high-impact lashes. Long, healthy lashes will be your most fashionable feature.

Alessandro Gassman

IN.BEAUTY Lancôme Adds Fuel to Its Fire

As part of its ongoing rejuvenation strategy, blockbuster brand Lancôme is set to launch a new line of lipsticks and nail polishes, called Rouge in Love and Vernis in Love, in mid-February worldwide.Emma Watson is the face of the Rouge in Love lipstick line, too. She was photographed by Mario Testino for its ads coming in single and double pages. The digital campaign will begin worldwide on Feb. 13.

L’Eau de


L’Eau de Chloé, the fresh women’s scent due out starting in February, is meant to add further muscle to Chloé’s already powerful fragrance franchise.L’Eau de Chloé’s introduction will be backed by a TV spot. It stars French actress and model Camille Rowe-Pourcheresse — one of the two most recent faces of the original Chloé Eau de Parfum — frolicking outdoors. The video ad, directed by Mario Sorrenti and coming in numerous lengths, is set to Lissy Trullie singing a cover of Hot Chip’s “Ready for the Floor.”


 L’Eau de Chloé’s juice, like Chloé Eau de Parfum’s, was conceived by Robertet’s Michel Almairac and is built around a rose note.

Dolce & Gabbana The One Sport After the original The One for Men from 2008 and The One Gentlemen from 2010, Dolce Gabbana launches the third fragrance from The One masculine line, lighter and fresher The One Sport. As its name suggests, The One Sport is designed for active sportsmen and dynamic “modern gladiators” who enjoy unrestrained freedom and the excitement of outdoor activities. This fragrance also represents the first sporty fragrance of the house. Stefano Gabanna described the inspiration for this creation: “We have friends that go to the gym. They are each very different from one another, but they all enjoy going to the gym for themselves, to feel good about themselves. As the Latins said, ‘Mens sana in corpore sano (or a sound mind in a healthy body, in English).’ ” The composition retains some characteristics of the original, refreshed by aromatic and aquatic tones that give a certain dynamics to the fragrance. It opens with aquatic notes and rosemary, combined with the heart of cardamom and Sequoia wood. Patchouli and musk form the base. The bottle retains the simple form of its predecessors. The design is intended to be lighter and more sporty, but still luxurious and elegant. The face of the fragrance is a model Adam Senn. The advertising was shot by Mariano Vivanco.


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by LancasteR

Discover all the effectiveness of RETINOLOGY, captured in a cream that delivers intensive nourishing care. With Retinology Rich Cream, Lancaster has taken a resolutely innovative approach. This new product goes beyond complete anti-aging skincare and further reinforces the status of Lancaster as a specialist in beauty care that fights the signs of aging. The Retinology Rich Cream formula is designed to target the 4 main signs of aging – wrinkles, loss of firmness, dark spots and a dull complexion – while also intensely nourishing dry skin, to provide instant comfort and long-lasting hydration.



MIDNIGHT ROSE A delicious fragrance like a candied rose of love is the latest fragrance by the house of Lancome, Trésor Midnight Rose is announced as a seductive edition, successor to last year’s edition Tresor In Love in a purple flacon. A new dose of Parisian romance provides a fragrant story beginning with passionate accords of raspberry and rich rose nuance. Love at first sight which happened between gentle rose petals and red fruit zest of raspberry continues with a hint of peony and jasmine, in an elegant and sophisticated way. Insolence felt in a heart comes from pink pepper and a dose of gentleness from currant buds. Base notes provide tranquility and comfort– composed of warm and soft vanilla, woody nuances of Virginian cedar and sensual musky veil.


ATTIMO POUR HOMME For a man, who fully savours every instant of life with passion and style, because a man’s life is thrilling. A masculine and elegant man in a beautiful and refined context which emphasizes the beginning of a special moment. Attimo pour Homme carries the intensity of life’s decisive moments with the impeccable all Italian style of Salvatore Ferragamo. An irresistible first impression of fusing freshness opens the fragrance combining aromatic notes of Marjoram, effervescent Cardamom and sparkling Mandarin. In the heart notes a comforting spiciness of Saffron conveys intensity together with a modern touch of Pimento.

Love, chloé Eau intense Today, Love, Chloé opens a new chapter in its history. Sensual echo to the first creation, Love, Chloé eau intense expresses a new powdery facet. Just as one dares to wear gold and sequins, Love, Chloé has been enriched with an oriental facet. An essential accord in perfumery that fuses with the original delicate powdery notes. With the same grace as the eau de parfum, Love, Chloé eau intense reveals new coppery highlights. The perfume’s original flesh tone now flirts with the depth of amber. The fragrance expands with fullness and gradually resonates on the skin like a sensual, irresistible vibration. An incredibly elegant, unspoken game of seduction.

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IN.ARCHITECTURE The Geometry Of Exquisiteness

Bvlgari and Zaha Hadid Architects

“As a platform for modern and contemporary art and design, Abu Dhabi Art is the perfect occasion to share the impactful creativity of our high jewellery pieces: they have been designed and executed to convey a sense of perfect, unquestionable and timeless beauty, like a work of art. We are very reverent of the past, but we translate it into something that is today and even tomorrow. The pieces on display represent the quintessence of a brand’s design that in 127 years contributed in writing the history of jewellery by a strongly innovative approach. They are also magnificent expressions of the Made in Italy’s expertise and savoir faire.” – Nicola Bvlgari


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Guests of Abu Dhabi Art 2011 were privileged to witness the historical collaboration between two design giants, Zaha Hadid and Bvlgari. Hadid lent her architectural genius to create an installation that housed Bvlgari’s masterpieces: truly art within art. The geometrical structures and brilliance of Bvlgari’s jewelry was translated with ingenuity, artistry and mastery in the installation created by worldrenowned architect Hadid. At Abu Dhabi Art 2011 Bvlgari exhibited a unique and irreplaceable collection of historical pieces, pieces from the 1930’s all the way to the 1990’s. While Bvlgari’s signature sophisticated luxurious designs captured the awe of visitors, the installation captured their wonderment and reverence.

“The serpent, seen as an emblem of life, wisdom and eternity, is historically associated with Bvlgari’s fine creations.” Inspired by the serpent, which has always been a fixture in Bvlgari’s repertoire, the installation ties together the past with the future through the modern geometric interpretation of the winding serpent figure. Hadid has once again created a masterpiece that is unmistakably hers, crafting a pattern in a way that establishes continuity with the past while imbuing each module with modernity.

The serpent, seen as an emblem of life, wisdom and eternity, is historically associated with Bvlgari’s fine creations. It is a cornerstone of history, symbolic in all cultures of the world, as well as being the cornerstone of the history of Bvlgari. Today, the expressive power of this ancient symbol has returned, speaking a contemporary creative language that offers a new interpretation of an ancient tradition that connects it seamlessly to the Bvlgari heritage.

“Hadid has once again created a masterpiece that is unmistakably hers, crafting a pattern in a way that establishes continuity with the past while imbuing each module with modernity.”

“The geometrical structures and brilliance of Bvlgari’s jewelry was translated with ingenuity, artistry and mastery in the installation created by world-renowned architect Zaha Hadid.” The rhythmic, asymmetrical design translates the flawless continuity of the Tubogas bracelets in a dynamic arrangement that envelops each visitor to the exhibition; a signature gesture that is unmistakably Hadid. Volumetric and crystalline, the faceted display cases are integrated within this formal composition, suspending each piece to reveal the intricate precision and unrivalled craftsmanship of Bvlgari’s celebrated collection. IN

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By Demarchelier

TOP - Haute Couture collection fall-winter 2004 BOTTOM - Corset from Haute Couture collection fall-winter 2005 France dress, Haute Couture collection fall-winter 2005 Corset from Haute Couture collection fall-winter 2004 NEXT PAGE - Haute Couture collection fall-winter 2010


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Couture — the highly-specialized form of dressmaking, governed by France’s Chambre Syndicale de la Haute Couture, in which garments are executed to order for extremely wealthy customers — is a slowly dying art form. A new book looks back at the glory days. Dior Couture, which features stunning photographs by Patrick Demarchelier, pays tribute to Christian Dior, one of the most legendary couturiers of time. Dior revolutionized the world of haute couture with his 1947 collection, dubbed the “New Look” for its then-groundbreaking hour-glass silhouettes. Although he would die 10 years later at age 52, Dior had cemented his name, inspiring Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, and John Galliano.   “The delicate stitches of Christian Dior’s couture are reminiscent of a spider’s web, mirroring nature, and these photographs capture the silhouettes like flower buds about to bloom,” Jeff Koons writes in the book’s foreword.

TOP - Haute Couture collection spring-summer 2008 BOTTOM - Aventure suit, Haute Couture collection spring-summer 1948 (Envol line)

Demarchelier — a veteran fashion photographer who has shot editorials for the likes of Vogue and Harper’s Bazaar, along with campaigns for Dior, Yves Saint Laurent, and Chanel — captured gowns from the entire span of Christian Dior haute

couture, from Dior himself to Galliano. Beautiful locations — like a Beijing movie studio, New York’s Times Square, and Paris’s Opéra Garnier — serve as the backdrop for the billowing pieces, worn by models including Gemma Ward, Karlie Kloss, and Natalia Vodianova. Ingrid Sischy, international editor for Vanity Fair’s European editions and former Interview magazine editor, provides the text. Patrick Demarchelier may have taken pictures of the world’s most beautiful women, but he says you don’t have to look like Gisele to be photogenic. “Beauty is in the character of a person, it’s about having an interesting face and about what’s inside. Anyone can take a good picture.” Talking at the signing of his new book - Dior Couture, Demarchelier spent a year taking pictures of stars - from Gisele to Charlize Theron - in making the tome. Dior Couture is like art - they are the art pieces of a fashion house,” he said. “Each piece is unique and made by hand. We shot the book in so many different places - New York, London and Paris. I wanted to put couture in interesting situations and set different moods for each picture. That’s why I chose such a wide range of models - the book is made by so many different things; different places, different make-up artists, different models.” IN

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IN.MOVIES Angelina Jolie is considered to be a serious actor whose carefully chosen roles always shed light on one or many aspects of being a woman, whether it be a mentally unstable girl in Girl Interrupted, or a Russian spy in Salt. Jolie makes sure that her roles are always women with a message. She is also a humanitarian, a women’s rights activist, and now a writer/director. In Jolie’s directorial debut In the Land of Blood and Honey, she explores the Bosnian War that occurred between 1992 and 1995 through the relationship of the two lead protagonists Ajla, (played by Zana Marjanovic), and Danijel, (played by Goran Kostic). Jolie, who also wrote the film, “wanted to explore and understand the Bosnian War,” she says, “It was the deadliest war in Europe since World War II, but sometimes people forget the terrible violence that happened in our time, in our generation, to our generation,” she continues. Ajla is a Bosniak, a Slavic minority group, and Danijel is a Bosnian Serb and the son of a prominent general. During the Bosnian War, warlords used the idea of nationalism and ethnic purity to gain territory in the chaos following the fall of Yugoslavia. Ajla and Danijel thus by default become enemies, symbolic of the Bosniaks and Serbs. However, Ajla and Danijel, “two people from the same side, who are then told that they are different and that they cannot be together,” she explains.

Angelina Jolie’s



The film explores the physical as well as emotional prisons the two would be lovers are locked into, Kostic, a Bosnian-Serb actor says of the film that, “it is one story of many, but in that story it’s fairly accurate.” Because his father is a Bosnian Serb general, Danijel feels a duty towards his people and his family, and yet for him Ajla is an escape from the reality of war as well as a way for him to rebel against what his father

stands for, and against the war and the killing. For Ajla, Danijel is her best chance at survival. So what could’ve been a pure love otherwise became a perverse sort of love against the backdrop of an atrocious war. “Love becomes very important [in conflict],” Kostic says about his character. The War finds its way between Ajla and Danijel in the form of rape and betrayal. The film shows the rape camps were tens of thousands of women were taken and locked up for sexual sport and torture. Many critics have deemed Jolie to be very brave for depicting very graphic rape scenes. Hana another camp victim, is played by Alma Terzic, who has a real life war story. As a child, Bosnian soldiers came to her house and took her father to a prison camp because he refused to fight for them. For a year, her family assumed that he was dead. They heard rumors from neighbors that he had been killed in a prison camp. But, miraculously, one day he just showed up at their house. Because Jolie insisted on using local actors to achieve realism, all of the actors in the film have first hand experiences from the war. Of the local actors is Ermin Sijamija, who actually fought in the war as a Bosnian government soldier, and the great Rade Šerbedžija, who was a peace activist at the time, Jolie also filmed both a Bosnian and an English version. “The choice to make a film about this area and set in this time in history was also to remind people of what happened not so long ago and to give attention to the survivors of the war,” says Jolie of the film. “The film is specific to the Bosnian War, but it’s also universal. I wanted to tell a story of how human relationships and behavior are deeply affected by living inside a war”.



Issue no. 8  

The Bold Fashion Magazine from the Middle East.