YUNG: The Resilience Issue

THE RESILIENCE ISSUE

SOULJA

LENNY KRAVITZ

T H E WATC H M A K E R O F WATC H M A K E R S

CALIBRE 860

REVERSO

E H T E I L I S THIS IS YUNG

06-07

LETTER FROM THE FOUNDER

E R C N E E U S STAY RESILIENT, Welcome back to the dynamic world of YUNG, where each page unveils a new chapter in the extraordinary narrative of creativity. This issue transcends the idea of a mere magazine; it delves into the depths of my passion and emotions, a journey shared by every creative involved. This issue, The Resilience Issue, holds a special place in my heart.

Resilience, the unwavering determination to overcome challenges, defines the spirit of individuals and communities alike. In a region where obstacles are part of our daily life, there’s profound beauty in the strength that defines us. Amid the trials faced by the Middle East and Africa, I find no title more fitting—this is a tribute to the remarkable creatives and talents striving to leave their mark on the global stage. Reaching new heights, achieving your goals, despite all the hurdles you have to overcome, herein lies resilience, determination and grit.

This issue encapsulates the essence of our journey—every triumph over adversity, every creative endeavour, every pursuit is a testament to an unwavering determination to make things, or ourselves, better.

On our cover is Soulja, a star whose overcoming of challenges in pursuit of music and selfdiscovery is truly remarkable. As he takes the spotlight, Soulja’s story unfolds—a saga of personal growth and enduring strength culminating in the release of his music. His art is not just a creative expression but a lifeline, offering an anchor amid chaos and fostering connections in a fragmented world. In honouring Soulja on our cover, we celebrate not just an artist but a tenacious soul who has surmounted countless obstacles to find his authentic identity through the transformative power of music.

As you delve into the issue, you’ll encounter a diverse tapestry of artists. Hazem Harb weaves poetic art for Palestine, Samy Snoussi unveils a secret language through challenges caused by dyslexia, Luca Abdel-Nour dreams through dance, and Mazen Kerbaji narrates tales amid crisis. These creatives, among many others, inspire us to forge ahead, embrace our creativity, transcend the ordinary, and steadfastly champion our beliefs.

In many ways, the story of our region is Resilience. This issue is one of celebration, but a celebration of strength and determination, mental toughness and tenacity. We at YUNG felt the need to take this opportunity to help find new creatives from across our region and to give them a platform on which to showcase their talent. Meeting such gifted people from different fields and communities to curate an issue that will hopefully inspire others as much as it did us was heartwarming. Like many, we stand in support of those struggling in the world.

As you read, remember, these are all stories of power, and they come from people just like you.

YUNG Love,

founder and chief content officer SANDRA YEGHIAZARIAN

creative director SAIF HIDAYAH art director ATHINA SYMEONIDOU senior editor LOUIS PARKS junior fashion stylist NUJOUD OWEIS junior talent manager OMAIA JALLAD editorial producer LANA SHASH digital writer MENNA SHANAB ADVERTISING AND PARTNERSHIPS senior partnership manager NADINE ISMAIL nadine@thisisyung.com SUBMISSIONS AND INQUIRIES hello@thisisyung.com PRINTING AL GHURAIR PRINTING AND PUBLISHING LLC PUBLISHED BY THIS IS YUNG LLC Sharjah Media City hello@thisisyung.com www.thisisyung.com

All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. YUNG Magazine welcomes new contributors but can assume no responsibility for unsolicited photographs or illustrations. Every effort has been made to contact the copyright owners of the images and text in this issue.

THE RESILIENCE ISSUE

SOULJA SOULJA photography SAM RAWADI styling DANIELA CORREIA

THIS IS YUNG

10-11

CONTRIBUTORS

ADRIEN LHOMME / ALEX JOSE / ALEX WILSON / AMANDINE / CANDICE SHEPSTONE / CHARLOTTE SMURFIT / DANIELA CORREIA / DAAD ALDAHMI / FARES BEN M’BARKA / FARIDA / GAËLLE IBRAHIM / HUGO HODGSON / INES GHALIA / JADE BENAIM / JEMIMA CARRJONES / JOUD ALDABBAGH / JACK CHIPPER / KHOULOUD MATAR-KASAA / LANA SHASH / LARA ZANKOUL / MASASHI KONNO / MICHELE ANDRENUCCI / NICOLETA BURU / REMAH JAMMOUL / SAM RAWADI / SERENA ABOUSEFIAN / SHARBEL HASBANY / TALA SAKKA / TJ ALOSTOM / YASMINA KARAM / ZANA MOSES

CONTENTS

Letter From The Founder Masthead Contributors / Contents The Mood Into The Future A Time Of Elegance Soulja Fehdi Bendjima Pradasphere II Wild Bags Richard Mille Art Prize The Forbidden Colours Style Riot Jaeger-LeCoultre Finding Home Femme Audemars Piguet Miu Miu Drawing Trauma Concrete Freedom Visual Symphonies The Space

6-7 8-9 10-11 12-33 34-53 54-65 66-83 84-95 96-103 104-111 112-117 118-125 126-137 138-141 142-149 150-153 154-155 156-159 160-165 166-173 174-187 188-189

THIS IS YUNG

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THE MOOD

words OMAIA JALLAD

THIS IS YUNG

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THE MOOD

NOUR CHOUKEIR Whimsical Wonders Nour Choukeir, a Lebanese designer and multidisciplinary artist, has a creative spirit that mirrors Beirut’s vibrant energy.

Her artistic prowess transcends conventional boundaries, seamlessly blending academic excellence in interior design with a boundless passion for luxury fashion. Collaborating with prestigious brands and publications, Choukeir transforms each creation into a captivating narrative of Beirut’s essence. As she continues to push the boundaries of innovation, her work evolves into a dynamic exploration of design possibilities. In the heart of her artistic journey, Choukeir not only captures the beat of Beirut but orchestrates a symphony where creativity knows no limits.

You’re rooted in Beirut; how does the city’s vibrant and complex history influence the narratives you explore in your art and design?

The city’s rich history, marked by significant changes, fuels my creative exploration. Navigating through Beirut’s evolving landscape, I strive to bridge the gap between generations and capture the essence of heritage. My work revolves around the intriguing relationship between Time and Space, creating visual narratives that celebrate the past. By infusing historical elements with a modern and surrealistic twist, I aim to defy easy categorization, making my art a timeless experience. In other words, Beirut made me pursue a style where I craft scenarios suspended between the past and the future, resonating with a sense of belonging for all.

How do you unite interior design and multidisciplinary art, and what valuable insights do you gain from one discipline that enhance the other?

In uniting interior design with multidisciplinary art, I leverage a symbiotic relationship that elevates both fields. The synergy allows me to transcend conventional boundaries, sparking imaginative connections. For instance, inspired by art elements, I weave them into design language, transforming spaces into visually captivating narratives. Interior design’s spatial understanding becomes a canvas, merging functionality with aesthetic appeal. Analyzing shapes and historical eras through design fosters curiosity, enriching my perception of objects and spaces graphically. Multidisciplinary art, meanwhile, liberates me from design constraints, infusing fantasy into reality. This fusion becomes a perpetual catalyst, stimulating curiosity and engaging the senses, consistently pushing creative boundaries.

Can you elaborate on your process of seeking and finding inspiration, and how it evolves over time?

Initially, I find inspiration everywhere, even in chaos, by being an attentive observer. Childhood exposure to scientific and art history classes laid the foundation. As I matured, I

delved deeper into exploration, researching the wonders of the world, from nature to eclectic movies and philosophy.

This evolving journey involves asking the right questions and extracting inspiration from diverse sources, recognizing beauty in structured education environments and the profound complexities of the world. The process is a continuous refinement, fueled by curiosity and a broadening perspective.

How do you infuse your artistic vision into the luxury fashion realm, and what unique perspectives do you bring to these collaborations?

I infuse my artistic vision into narratives that transcend aesthetics. I aim for a mirror effect—leaving a lasting impact on the viewer’s memory. Garments seamlessly integrate into these stories, becoming pivotal elements. This approach, highlighting the harmony between imagination and memory, distinguishes my contributions in luxury fashion. Each collaboration transforms fashion into an evocative experience, leaving a visual journey imprinted in their memory.

Can you share a project where your surreal and dramatic touches left a strong impact, and the emotions or reactions you aimed to evoke in your audience?

“Cyclamen,” an artwork showcasing my surreal exploration of human transformation captured by Jon Bronxl, was exhibited at the Lynn Modallal Gallery in Beirut earlier this year. The exhibit prompted viewers to contemplate their environmental connections by challenging the boundaries between humans and nature. Vibrant colours and dreamlike scenes composed a poetic narrative, fostering introspection. The inclusion of a headpiece, inspired by the 1890s serpentine dance, seamlessly melds traditional sculpture techniques and digital collage.

This fusion underscores nature’s significance, resulting in an emotionally resonant and innovative piece that encourages reflection on our relationship with the natural world.

If you could time travel to any era, which period in history would you choose?

If I could time travel, the mid-’70s to mid-’80s would be my destination—an era defined by unparalleled exploration.

Electronic beats set the rhythm, accompanied by a visual explosion of curiosity and sci-fi in movies. Bold brutalism in architecture stands in defiance, embracing diverse design movements like postmodernism with Verner Panton, Ettore Sottsass. Futuristic visions from Ugo Della Pietra and the iconic Palais Bulle reshape landscapes. Artistic expressions of Luigi Serafini and fashion by Jean Paul Gaultier and Vivienne Westwood redefine norms.

photography SUPPLIED BY TALENT

When was it that you realised you wanted to pursue a career in the arts?

I chose to pursue a career in art because creativity has always been a significant part of my life. Growing up in a family of artists and architects, our activities revolved around drawing, crafting, and unleashing our imaginations. My decision to delve into the field wasn’t about art itself; it was a celebration of creativity in all its forms. It wasn’t a conscious decision but rather an instinct, cultivated in an environment where getting our hands dirty to craft something extraordinary was the norm.

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HAZEM HARB Ancestral Imprints Hailing from Gaza, Palestine, Hazem Harb, a visual artist, intricately weaves a profound exploration of Palestinian identity into his work. After studies in Illustration and Children’s Book Design in his homeland, Harb refined his craft in Rome. His art delves into themes of the diaspora, evolving borders, and displacement, guided by meticulous research. Harb artfully integrates historical elements, using old photographs and archived materials in his contemporary pieces, shedding light on the enduring existence of his people. Currently based in Rome and Dubai, he serves as a compelling bridge, harmonizing his Palestinian heritage with the global spaces he navigates, offering a captivating testament to the resilience and cultural richness of his identity.

THE MOOD

photography SUPPLIED BY TALENT

Take us back to the time when you first discovered comfort in the world of art.

I spent my youth in Gaza drawing and sketching everything that I encountered from the activities of the merchants in the market to the textures and tones of the fabrics my mum used to work with, she was an avid designer, and I think my first connection to the possibilities of creativity and art. Drawing and later painting formed a daily habit and obsession of mine that I wouldn’t lay to rest, eventually I received professional tutelage at the YMCA 1995 in Gaza.

How has your background and upbringing in Gaza influenced the themes and messages you convey through your art? How has your education journey from Gaza to Rome shaped your artistic perspective and enriched your work?

Guided by professors, I earned a residency in Paris in 2004, delving into analogue photography and video. Dr. Carla Pagano’s support secured me a scholarship to study in Rome in 2005, prompting my departure from Gaza for several years. In 2008, I was honoured as the one of the ‘Young Artists of the Year’ by the AM Qattan Foundation.

Despite staying in touch with Gaza, I grappled with a sense of abandonment and isolation, prompting me to seek Italian citizenship. In 2010, the loss of my mother and escalating tensions in Gaza heightened my longing to return home. These complex emotions and experiences continue to shape my artistic practice, reflecting the intricate journey of a Palestinian artist navigating between worlds.

During the transformative years from 2006 to 2009, I underwent a profound evolution in my artistic practice, departing from the intimacy of figurative works towards the realm of abstraction. A pivotal moment arrived with my inaugural solo exhibition, “Is this your first time in Gaza?” held at The Mosaic Rooms in London in 2010. This showcase featured a range of multidisciplinary works that delved into my experiences navigating checkpoints in my homeland, offering an exploration of the regulation of personal freedoms. The momentum continued with my participation in a residency alongside The Delfina Foundation and AM Qattan Foundation in London in 2011, marking a period where my art garnered attention from notable media outlets such as the BBC and Rolling Stone Magazine. This intense phase of artistic exploration coincided with personal challenges, notably my mother’s illness and the tumultuous situation in Gaza. These experiences propelled me into a profound state of mind that significantly influenced my artistic practice. In 2013, I made a decision to establish a permanent residence in Dubai, a city that I now consider my adopted home.

How does your art symbolise the enduring existence of Palestinian people?

Similar to my personal journey as an artist in exile, existing between worlds, cultures and communities, my art occupies the spaces in between, endeavouring to establish novel connections and dialogues among seemingly unrelated ideas and moments. By incorporating historical artefacts such as archival images, fragments of maps, coins, and pressed plants, my artwork forms a bridge between the past and present within a contemporary framework.

By bringing these materials to the forefront of the contemporary art sphere, I provide them with a fresh opportunity for interpretation, encouraging viewers to reconsider their significance. In the face of cultural erasure, my collages function as tangible evidence of Palestinian realities, merging diverse concepts that prompt inquiries emerging from a third space.

In your recent work, you moved from collage to charcoal abstraction. What influenced this shift, and why did you choose charcoal on paper for this collection?

As time unfolded, I cultivated my unique approach, delving into the realm of contemporary collage. This practice holds a significant role in my art, emphasising the remediation of archival objects as both an act of resistance and a poignant documentation of the Palestinian experience.

In the midst of profound pain resulting from the atrocities in Gaza, I find myself returning to charcoal on paper after more than a decade. This departure marks a significant shift from the somewhat clinical process of collage, detached from the direct touch of my hand, towards a more visceral approach. The gestural application of charcoal on canvas, a tactile and bodily act, becomes a means to encapsulate my inner sense of loss.

Is there an item showing your Palestinian heritage that you wish to carry with you throughout your life?

A set of keys from a Palestinian home. Every Palestinian in exile carries a set of keys with them, a symbol of their existence, and their will and hope to return to the land.

If you had to sum up your art in just one word, what would that word be?

Resist.

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THE MOOD

SAMY SNOUSSI Symbols in Harmony Samy Snoussi, the accomplished Moroccan painter and sculptor, delves into the intricate realms of identity and human connection through his art. His masterful use of diverse mediums such as acrylics, charcoal, resin and plaster defies conventional boundaries, inviting viewers into a world of nuanced perspectives. What sets Snoussi apart is his ingenious creation of a universal language, born from his discovery of his own dyslexia. The exquisite symbols of this language have become the focal point of his artworks, gracefully establishing a distinctive artistic identity, adorning the many mediums found within his work. In each piece, Snoussi weaves a narrative that goes beyond the visual, offering a profound exploration of the delicate threads that invisibly bind us together.

The innocent gaze of a child plays a role in your abstract compositions. How did this concept come about, and what significance does it hold for you?

I was having trouble in school, especially with writing. I naturally started drawing symbols and random lines on my notebooks. I later realised I had severe dyslexia. Today I understand that my hand created a language.

The creative adult is the child who survived after the world tried killing them, making them “grown up.” The creative adult is the child who survived the blandness of schooling, the unhelpful words of bad teachers, and the nay-saying ways of the world. The creative adult is in essence simply that, a child.

Your work is known for incorporating “secret language symbols.” Could you shed light on the inspiration behind these symbols and the significance they hold?

To align means, etymologically, “to get in line”. In this case that is, in the life of a system of graphic symbols - it means moving almost inexorably towards the line. We started from the lines and we come back to the lines. The 41 symbols that compose my UNIVERSAL LANGUAGE, really pushed me and my creativity in terms of inventing new pieces to make a whole.

I dived into to the concept of Semasiography (from Greek: σημασία (semasia) “signification, meaning”), “writing with signs”, a non-phonetic based technique to “communicate information without the necessary intercession of forms of speech.” It means written symbols and languages that are not based on spoken language.

Your symbols adorn different mediums, from books to humans, architecture, and jewellery. How do you ensure a consistent artistic style across these varied fields?

By using my symbols as a unifying common link in my works, I can adorn different mediums. I always need a new medium to extend the possibilities of my art. For example I carved my symbols into stones like they used to do in the past, in the old city of Ur, to communicate or calculate or like the hieroglyphs in Egypt.

Your work possesses a beautiful, spontaneous element.

How do you approach a concept or brief, considering the spontaneity inherent in your artistic process?

My work begins with mental sketches or images that outline a direction without having a clear idea of what the final result will be. I let my LANGUAGE develop intuitively, until the composition is harmonious. My hand decides what direction to take. This spontaneity is generally sprouted from my unconscious and inspiration, and also from the unexpected factors in my creation.

As a severe dyslexic, I think I’ve developed an emotional relationship with my own body. I float in a trance-like state, my hand unconsciously tracing lines. In a kind of energetic exorcism of my hand, which seeks to express itself outside my Consciousness.

What unique or unexpected location would you like to create art on or in?

As a graduate urban designer, I’d love to participate in a major urban scale project! I’d love to paint my symbols on the ground and be able to film it from a bird’s point of view, from high above. Or even paint an entire facade of a building.

photography SUPPLIED BY TALENT

Were you drawn to art from a young age, and what led to your decision to pursue it as a career?

From a young age, I have always used creativity as a means of escape. From building cabanas in my garden, to creating dresses for my little sister with used curtains or through photography, film and painting. I always managed to have my creative moments, without really knowing the purpose of my creations.

I also believe that it is one of the most reductive things to tell a child is that being creative will do you no good. As if one day we stopped growing. As if money was an end in itself, the one and only goal.

Although I dreamed about the artist’s life, we say, “You don’t choose the artist’s life, the artist’s life chooses you.”

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THE MOOD

MIRA MAKTABI Sculpting Silhouettes Lebanese designer Mira Maktabi is emerging as a dynamic force. Balancing tradition and avantgarde techniques, her artistry shines as she skillfully sculpts fabrics, embracing the female figure.

Full of vintage allure, her designs are a tactile exploration of silhouettes as she navigates the intricate terrain of female identity, skillfully highlighting the nuanced intersectionality of womanhood.

Take us back to when it all started; what is your earliest memory of fashion and how did that shape you?

I remember telling people I wanted to be a designer from the age of five or six, it was perceived as a cute, farfetched dream, some people said it doesn’t matter what I do with my career because anyways, a man would eventually provide for me.

photography NATHAN SINGH

The construction of vintage pieces inspires your work. Can you delve into how these influences manifest in your designs and the significance they hold for you?

My design approach consists of subverting polished ‘ladylike’ silhouettes to birth something new and powerful. I combine bias cuts and drapery reminiscent of the 30s and 40s, inspired by Madame Grs and Madeleine Vionnet, that delicately accentuate the female form, and juxtapose them with relaxed menswear silhouettes inspired by 80s Giorgio Armani. I take these references and re-imagine them in different materials and proportions to create a range of closet staples that can be transformed into an evening ensemble when styled with other pieces from the collection.

How does your approach to fashion serve as a means to showcase the intricate intersectionality within the experience of womanhood?

In my design process, I intuitively and organically drape and create on my body. I think about how women will walk and move in my garments, observing their subtle gestures. She isn’t too concerned with poise dictated by patriarchal and heteronormative norms of being a lady. She isn’t afraid to claim her space, slouch into her chair, or be outwardly funny. She doesn’t conform to a heteronormative standard in her behaviour and dress, and isn’t afraid to express her anger towards this.

My work serves as a way for women to take control of their narrative, move away from the western stereotypes surrounding Arab women, and create a space for women written by women,

within a cultural and socio-religious context where this community is erased and stigmatised.

How has your education at the London College of Fashion influenced your design approach, and what key lessons have you gleaned from that experience?

I graduated from Fashion Design and Development at the London College of Fashion in 2021, my time there helped me approach fashion with a keen eye for construction and detail, allowing me to design with functionality and wearability in mind.

At the end of the day, you need to design a viable, high quality product that will last in a woman’s wardrobe, and that can only be achieved when you consider all the elements of the making stage. I am now undergoing my MA in Fashion Womenswear at Central Saint Martins where I continue to explore my creative identity.

What challenges do you face when translating conceptual ideas into tangible garments, and how do you overcome them?

The main challenge is the pressure to continuously reinvent the wheel, especially in this age of social media where there is a high turnover of ideas, images and brands, and very short attention spans. I ground myself by taking a break from the internet, and returning to the collection, trying on every piece throughout the design process and ultimately finding the answers when I simply evaluate how I feel wearing each look, and if I would actually wear it and why. I try to capture the attitude within subtle details in the pieces, I think my most successful pieces are when I drape intuitively without overthinking the outcome, and naturally you start to see the attitude and identity come through.

If you could give one piece of fashion advice to your younger self, what would it be?

Be specific, confident and don’t overthink it. Trust your taste and familiarise yourself with everything that inspires you and everything that informs your design world. Don’t wait for the perfect moment to make something, the more you create the clearer your communication will be.

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THE MOOD

HANA ALMILLI Threads of Identity Hana Almilli, a vibrant multimedia artist, textile designer, and poet, casts her creative spell from the heart of Riyadh, Saudi Arabia. Rooted in her Turkish, Syrian, Kurdish, and Saudi lineage, she grapples with questions of identity, sparking a profound exploration into the notion of recreating, affecting, and resurrecting identities through the material culture of textiles and assemblages. Almilli’s artistic ideology, born from a sense of perpetual alienation, crystallizes in her quest to understand and represent the term Al Ghorba, the essence of estrangement in a foreign land. Her visual narratives intricately weave together nostalgia, employing techniques such as weaving, dyeing, embroidering, and photography.

In your exploration of the term “Al Ghorba”, how does this concept manifest in your visual structures, particularly through weaving, dyeing, embroidering, and photography?

The concept of “Al Ghorba” is deeply ingrained in my work and manifests itself in various ways. As my practice is research-based, I constantly strive to either overcome or embrace the feeling of “Al Ghorba”. This may involve delving deeper into the histories of my ancestors to rediscover their identities, thereby embracing the sense of estrangement.

Alternatively, I confront moments of alienation by engaging in repetitive hand motions through weaving, dyeing, embroidering, and photography. These processes have a healing quality, allowing me to address and transcend the feeling of “Al Ghorba”. Through my visual structures, I aim to convey and evoke these emotions, creating a tangible representation of the concept.

Your poetry collection accompanies your visual work.

How do you see the relationship between your written and visual expressions, and how do they complement each other?

The relationship between my written and visual expressions is one of mutual complementarity. Each piece

of poetry I write serves as inspiration for an actual visual artwork. Together, they create a cohesive and immersive experience for the viewer. In recent works, I have also incorporated sound as an additional element, which further enhances the journey and overall experience. By combining written and visual elements, I aim to provide a complete and multi-dimensional encounter for the viewer.

The written expression adds depth and context to the visual representation, allowing the audience to engage with the artwork on different levels.

Nostalgia plays a significant role in your work. How do you navigate the balance between preserving the past and forging new narratives in your creations?

Nostalgia holds great importance in my creative process.

I am nostalgic for my ancestors, their stories, my homeland, and various aspects of my life. To preserve the past, I delve into the memories, practices, and histories of my ancestors. Through researching and incorporating their traditions and cultural elements, I ensure that their legacies are not forgotten. However, I also believe in forging new narratives and embracing contemporary practices. By combining traditional methods with modern techniques and infusing my own story and experiences, I create new narratives within my artwork.

How does the theme of resilience manifest in your art as you explore and preserve cultural identities?

Resilience is a recurring theme in my art, particularly as I explore and preserve cultural identities. It manifests in multiple ways throughout my creative process. Firstly, by delving into the concept of “Al Ghorba”, I confront and overcome the challenges of estrangement and alienation. This resilience is mirrored in the stories and experiences of my ancestors, which I uncover and learn from. Additionally, my work often revolves around the loss of loved ones, which connects to the idea of resilience in the face of adversity. Through weaving, embroidering, and textile assemblages, I emphasise the resilience found in these practices, as they have endured throughout history. By preserving and celebrating cultural identities, I aim to honour the resilience of the past while also inspiring resilience in the present and future.

Images COURTESY OF TABARI ARTSPACE AND THE ARTIST

Your background encompasses Turkish, Syrian, Kurdish, and Saudi heritage. How has this diverse lineage influenced your artistic perspective and the themes you explore in your work?

Growing up surrounded by family members from diverse backgrounds, I immersed myself in the traditions and cultural practices of each. This upbringing profoundly influenced my artistic perspective, fostering a deep connection to these varied heritages. Hearing stories about my ancestry from a young age further solidified this connection. Whether it was listening to Turkish lullabies or speaking with a Syrian accent at home, I always felt a strong bond to my roots, yet also sensed something missing.

This feeling of “Al Ghorba,” meaning estrangement in a foreign land in Arabic, became a generative force for me.

It ignited a yearning for a sense of belonging and a desire to explore and embrace my various identities through my artistic work and research-based practice. My journey began by uncovering patterns that connected these different countries, delving into archival photographs, and studying books about my ancestors.

LUCA ABDEL-NOUR

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THE MOOD

Dreams of Dance The journey of French-Egyptian ballet sensation, Luca Abdel-Nour, commenced at the tender age of 12, and is a passion that transcends borders. Leaving Cairo at 14 to nurture his craft abroad, he secured a scholarship at the Hungarian Dance Academy in 2017.

Abdel-Nour’s dance odyssey took him to the Zurich Dance Academy, culminating in the attainment of his Federal Certificate in Classical Dance. The pinnacle of his artistic achievements unfolded at the Prix de Lausanne 2021, where he claimed the second prize and earned accolades as the Web Audience Favourite and Best Swiss Candidate, marking a meteoric ascent in the ballet realm.

Can you describe a challenging moment in your career as a male Arab dancer and how you overcame it?

I think it was very early on when I realised that I needed to leave the country and pursue a full time ballet education abroad. That was my biggest challenge especially as a person who was born and and spent his entire life in Cairo. I think it was also especially challenging for my parents, to whom I’m eternally grateful that they gave me the chance to explore what I love doing and supported me in making my passion my career, as well. However, I do believe that other people around me maybe didn’t understand what I was pursuing because ballet is not widely considered as a career choice in Egypt and the greater MENA Region.

photography ALTIN KAFTIRA

How did the decision to pursue ballet training overseas at a young age impact your development as a dancer?

I actually think that that decision didn’t only impact my development as a dancer, but also as a human, being dropped off in a foreign country where you do not speak the language at the age of 14 all alone was very challenging for me. Of course the training became more rigorous and demanding. I went from three ballet classes a week to six classes a week, plus many more dance subjects as well. So in the training aspect it was really good for me, to get stronger and learn from great teachers. However, I also needed to quickly learn how to take care of myself, pay bills, get insurance, cook, clean, get groceries. All by myself at the age of 14, of course with other dancer friends and companions that you meet along the way.

What initially drew you to ballet, and how did you discover your passion for dance while growing up in Cairo?

Well I think I was always inclined to dancing in general, I could never sit still, always loved moving around. At L’école Oasis, we always put on these performances with dance, acting and music and I just always was fascinated by the art form. I only started dancing outside of school with Hip-Hop, because my sister was taking Hip-Hop classes. Then I started taking interest in contemporary, jazz, modern dancing and was told by many many dance teachers and my mother that I should enrol in ballet classes to get better technique, so I did. I’ve never looked back.

How does your cultural background influence your artistic expression, both on and off the stage?

I do believe that you can take a person out of Egypt but you cannot take Egypt out of the person. Growing up in such a vibrant, beautiful, history-rich culture really shaped my creative mind from a very young age. My father being a tourist guide, knowing a lot about ancient Egyptian history, I was introduced to that very early on, and always had a deep interest in ancient Egyptian history, and I cherish it till this day. There is something about growing up somewhere like Egypt that you cannot teach. The warmness of people, the beauty of ancient Egyptian history. The exoticism of an Egyptian belly dancer, they all build into your character whether you want it or not and maybe I didn’t realise it at first.

However, it becomes more apparent as I grow older and further venture into creating choreographic pieces and not just dance in them.

What are your aspirations for the future, and how do you see yourself contributing to the evolution of classical dance in the coming years?

Obviously grow as an artist, dancer, human being.

Surround myself with people that inspire me and feed each other good energies. Dance more things that I really like and get to see what I could create in a studio as a dancer. I really see myself choreographing in the future. I’ve always been interested in it.

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THE MOOD

photography ELLE WHITE

THIS IS YUNG

NOUR Resilient Rebellion Nour, a trailblazing Palestinian artist and fashion designer, fearlessly intertwines rebellion and emotional depth in a captivating artistic tapestry. With a unique vision that defies convention, Nour captures the intricacies of human emotions and the unyielding spirit of rebellion, crafting a visual language that resonates on a profound level. Each piece becomes a poignant testament to resilience, inviting audiences to delve into the rich expressions of personal and collective struggles.

Nour’s art becomes a bridge between the visceral and the ethereal, inviting viewers to engage with the raw authenticity embedded in every stroke and fabric. In this exploration of rebellion and emotional depth, Nour invites us to witness the power of art as a vessel for storytelling, fostering connections that transcend the boundaries of tradition and expectation.

What is your earliest memory involving arts, and how has it shaped your creative journey?

I think it started as early as I learned how to communicate. I don’t find comfort in using my words to communicate - and so art became the outlet. I didn’t feel embraced growing up when I spoke my mind. I had a lot to say as a kid, and I still do. I naturally had to learn how to express myself in a different language. The moment it became a third language for me, it became something I depend on for physical, mental, and emotional release.

Art is prayer. It is a chance to feel. ‘Being’ an artist isn’t really what I connect with, it’s more of an action. I’m breathing and expressing what it feels to be alive as myself. It is me saying, ‘thank you for giving me this vessel, I will use and take care of it the best I can, and share it with others for as long as I am here.’

How does your Palestinian heritage influence and manifest in your creative process and the themes you choose to explore in your work?

Moving around different homes, schools, and countries since I was six years old has taught me adaptability and how to create a home through my work. I am home when I am around my friends from all over the world, because being displaced means no where is home - yet I can adjust and make everywhere my home. I am home when I am in the studio, I feel like a scientist inside a lab. Home is a term I had to learn to redefine. Home is identity and the rituals I maintain in my creative process. I am home when I am expressing myself through music, painting, or design. The Palestinian experience is the closest thing to feeling alien. I feel alien when I walk this earth, and so it is not surprising that my work extends to subhuman forms. There is an extraterrestriality in everything I do.

This also extends to the music I listen to, or the visuals in my mind, when I am researching or producing. This connects to the reason behind naming my debut SS23 design collection, ‘Apocalyptic Rebellion’. We are in an apocalyptic and dystopian reality, the only way through is rebellion.

Your creations often invite audiences to connect with you, personally. How do you navigate the fine line between personal expression and creating art that resonates universally?

I have no desire to create anything universally resonant, but it’s the most insane feeling hearing people say they feel connected and a sense of stimulation when immersed in my work. I am nothing without community, the support fuels me and reminds me of the limitlessness of human impact. I grew up in Amman, Jordan, as a kid that never saw myself represented. I never felt any sense of belonging to anything. As a result, I turned into a person who is comfortable in solitude. There’s not too many spaces where I feel safe - so when I cross paths with it, I hold so tight to it. Safety within human connection, community, and making art are all survival mechanisms. The art is cool, but I’m here to liberate.

How do your artworks, emphasizing resilience, contribute to narratives of personal and collective struggles, especially given your Palestinian identity?

Investing in my art meant resistance. I find myself heading deeper into analog techniques in a world so digitized, it is subconsciously connected to the importance of permanency in tangible objects. Things that exist on this earth because they were made by a human being, not a robot. I love technology. It is a part of me, but my mind is focused on human intelligence right now. I see it as a symbol of our generation, how it is split between the western and eastern worlds - one is digitally driven, the other is analogue. Resilience also means pushing towards a future that isn’t just located in the west. The future is the youth of Palestine, Lagos, Medellin, Morocco, Jordan, Cairo, Algeria and more.

We have so many stories and ideas from our regions, and a deep desire for growing in culture and collective liberation through our forms of expressions. Existence, expression, and human vandalism are my forms of resistance. I’m Palestinian, rebellion is in my DNA. Looking ahead, what themes or concepts do you aspire to explore in your future projects, and how do you envision the evolution of your artistic voice?

All I want to do is experiment and play. Maintain the fluidity within my creative output. Music, sonics, combining everything I’ve experimented with, extracting, enhancing, mixing, mastering through all tools in my reach. Most importantly I hope I remain human, there’s not many of us left in this dunya.

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THE MOOD

ISMAIL ZAIDY Poetic Visions

photography SUPPLIED BY TALENT

Ismail Zaidy, a self-taught photographer hailing from Morocco, captures emotion and familial connections in his vibrant and poetic imagery. His compositions often feature his sister and brother, their faces alternating between veiled and revealed, skillfully conveying the artist’s emotions. Zaidy’s creative process is intimately entwined with landscapes, diverse materials, fabrics, and pastel hues, crafting a world that is both personal and enchanting. This fusion shapes a narrative that unfolds the beauty and complexity of human connections in each frame. Through his lens, Zaidy navigates the delicate balance between personal stories and universal emotions, offering viewers a glimpse into the rich tapestry of life in Morocco.

How did your journey into photography begin?

Photography holds a special place in my heart as a family endeavour. In 2018, I initiated a project named ‘3aila,’ meaning ‘family’ in English, alongside my younger brother, Othmane, who shares my passion for creativity. Working in tandem with my sister Fatimazahra, we collectively contribute to shaping the concepts and ideas behind our visual narratives.

For me, photography serves as a powerful means of articulating my inner thoughts on topics that may elude expression through words alone. As someone who tends to be reserved in conversation, I’ve discovered that photography and imagery offer the most effective medium for conveying my sentiments. Through this visual art form, I find a voice that resonates with my perspective on various subjects.

Fabric plays a pivotal role in your art direction within your work. Why is that?

Fabrics mean things in my culture, and I grew up seeing women wearing it or use it for their daily life.

How do you ensure that your chosen colours contribute to the overall narrative and emotional impact of the photograph?

I have a deep affection for pastel colours, yet regrettably, they don’t feature prominently in our everyday experiences. In an effort to share my love for these hues, I strive to infuse my photos with their subtle charm. To me, manipulating colours and tones serves as a form of communication, conveying not only my family’s challenges but also the societal structures that surround us.

If you could freeze time for a day, capturing an unnoticed moment, what scene would you choose to photograph?

In the past month, a powerful image has crystallised in my mind, and I’m thrilled to share that it will soon be available online. The scene I envision is a photograph featuring numerous women gathered in a vast and empty space.

This image, to me, captures a moment that often goes unnoticed—the strength, resilience, and unspoken stories within a collective presence.

Are there specific cultural nuances or symbols from Moroccan traditions that you intentionally incorporate into your minimalist photography to convey deeper meanings?

During my childhood, I resided in a humble neighbourhood in Marrakech, where I observed the women gracefully donning their fabrics, embarking on hikes, and wearing djelabas in the streets. These women continue to be a profound source of inspiration for me. When embarking on a new project, I consistently aim to illuminate this aspect of my culture through my artistic endeavours. Commencing in 2017, my focus was primarily on capturing the diverse landscapes of Morocco that surrounded me. Gradually, as I evolved as an artist within a creative family, I believe it paved the way for the minimalist, abstract, and poetic style that characterises the images I capture today.

Looking ahead, what do you hope your photography contributes to the world, and what legacy do you aspire to leave through your visual storytelling?

I am deeply grateful to be where I am today, and I attribute much of my journey to photography as a privilege and a form of legacy attained at an early age, thanks to the blessings of God. While my personal achievements bring me a sense of fulfilment, my overarching dream is to contribute to the world by impacting young photographers. I aspire to be an inspiring figure for them, encouraging belief and passion in whatever they pursue— be it photography, other forms of art, or sports.

As a self-taught photographer, how do you stay inspired and continue to evolve creatively? Are there specific practices or rituals you follow?

Growing up in a modest area has been a unique advantage for me as a self-taught photographer. In such an environment, I’m surrounded by inspiring stories every day, and this constant exposure has significantly fueled my creative journey. The authenticity and richness of these everyday narratives serve as a wellspring of inspiration, allowing me to stay connected to my roots and continuously evolve creatively.

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THE MOOD

IVAN DEBS Illustrating Hope Ivan Debs seamlessly embodies the roles of artist, humanitarian, and activist, while being an unwavering champion for Beirut. Through his illustrations, Debs tells tales of hope that transcend the city’s challenges. Resilience emerges from the ashes, and beams of light pierce through the darkest moments. Every stroke of his brush becomes a reflection of the indomitable human spirit, capturing the essence of Beirut’s enduring hope in the face of adversity.

When was it that you discovered your artistic voice, how did it happen?

If I remember well, I was very young, three years old, and I started drawing all the animals I saw all the time. Then, later in my teenage years, living in Africa and during civil wars, I woke up very early to my need to express myself through art. This is when I discovered that I wanted to spread my message of humanity and life with my artworks.

When starting your sketches, what is your creative process, and where do you typically get inspiration for your artwork?

Inspiration for my artworks comes from life, from the world, from our human condition and feelings, from nature and from God. The darkness and the light around us touches me deeply and I feel the need to put them out, and the sketching process starts when I have something to express, the messages in my head burn and my hand and eye try sketching as long as I need to have a most efficient way to spread my idea, for children and [the] old to feel it.

Your illustrations embody hope and resilience. What inspires you to include these themes in your art, and how does visual storytelling contribute to the narrative of resilience?

I know the injustice and corruption of this world even in my own life, and I feel everything the people feel, and as hard as it is, there is always a flame inside me that wants to spread hope and resilience, refusing to give up, to elevate the spirit. Even in the darkest night, there will always be a light somewhere to break it. This is the hope in every child born.

How do you engage with the digital art community, and how has online collaboration impacted your creative journey?

Digital art allows me to send my messages as fast as I can, reacting to events on the spot, and it is also a way to be part of the evolution of art in society. Also, this online digital direction is so beautiful when we can connect and collaborate with people and artists around the world, enriching my own visions and ideas, a connection that can make my creative journey grow more.

Your artwork has a fantasy-like quality, often spreading hope. How do you envision the role of fantasy in conveying messages of optimism?

Fantasy has always been part of my visual inspiration, it is a way to talk about reality with a poetic dreamy touch, allowing the messages, sometimes tough, sometimes soft, to be understood in a smooth way, to talk to the imagination of everyone. I think it is mostly about symbolism in my art, using fantasy to put symbols that will send my message straight to the heart.

Looking forward, what aspirations do you have for your artistic and humanitarian endeavours, and how do you hope to continue making a positive impact through your work?

The only impact I can hope to have is to touch the heart and soul of the youth, children, even one child, to continue spread love and respect, and I will try to continue to send my visual artistic messages and poetry, if it can ease some, trigger some, and continue to fight darkness if I can. If my art can send some love to some people, then it is the impact I want.

artwork SUPPLIED BY TALENT

Your transition from Africa to Lebanon is a unique journey. How has this cultural shift influenced and contributed to your creative force as an artist?

The transition between Africa to Lebanon is a unique journey, yet some people share it, and many people nowadays can relate to it, being from nowhere, a stranger in both, yet being from everywhere, a child of the world. This cultural shift only made me grow in what brings us together more than what divides us, as humans, and made me fill my work with influences from both and talking to all.

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THE MOOD

YASMINA HILAL Crafting Curiosity Yasmina Hilal is a Lebanese fashion/mixed media photographer and experimental filmmaker. Her artistic journey is not just a mastery of her craft, but a daring exploration into uncharted territories. With an unwavering commitment to pushing beyond conventional boundaries, Hilal seamlessly weaves together diverse mediums and unconventional elements, creating a mesmerizing tapestry of imagery that sparks fascination and curiosity. In this enchanting odyssey of creativity, Hilal stands as a beacon, inviting audiences into a boundless universe where the spirit of innovation unfolds without restraint. Her artistry, marked by an ever-evolving palette, paints narratives that elicit fascination and beckon the curious mind.

How did you first come about your unique aesthetic?

My aesthetic dates back to 2002, a time when I would observe my mother immersing herself in the creative process on our balcony in Beirut. Her dedication and skill served as a powerful catalyst, sparking my own passion for working with mixed media. From that point forward, my artistic journey has been a continuous exploration of various techniques, marked by a spirit of experimentation and discovery.

In your process of collaging with different mediums, how do you decide which elements to combine, and what emotions or messages are you aiming to convey through this mix?

Embracing a trial-and-error approach, my artistic process involves spontaneous tests and finding beauty in mistakes. Without preplanning, the creative flow guides me through the creation of my work. The willingness to embrace surprises in my artistic process mirrors the essence of living in Lebanon, a place where adaptability and resilience in the face of the unexpected are intrinsic to daily life.

photography SUPPLIED BY TALENT

Is there a particular object that surprised you in its visual or emotional impact within your work?

I’ve recently been working with resin and it has really opened up doors for me when it comes to sculptural work.

Does your Lebanese background shape the themes in your work, and how do you navigate the balance between local and international influences in your photography and filmmaking?

Living in Lebanon serves as my primary source of inspiration, and while international artists like Nan Goldin and Dante Rossetti influence my work, I find more inspiration closer to home in Lebanese artists such as Laure Ghourayeb [readers should check out our interview with Mazen Kerbaj, Ghourayeb’s son, elsewhere in this issue - ed.] and Akram Zaatari.

The people of Lebanon and its streets stand as my foremost inspiration. The incredible sense of community we share, coupled with the powerful stories born from our collective experiences and traumas is what serves my creativity.

How do personal stories of your family influence your artwork’s themes, and what aspects of your family history are most compelling to express creatively?

My creative journey is profoundly shaped by my mother and grandmother, both influential figures who ignited my artistic passions. My mother, a photographer and collage artist, introduced me to the world of visual expression by gifting me my first camera at the age of 15. Meanwhile, my grandmother, who owned a clothing store in Lebanon named Beverly Hills, instilled in me a deep appreciation for fashion, becoming a driving force behind my love for this art form. Their combined influence has become my craft.

As an experimental filmmaker, how does your approach to storytelling differ in film compared to photography, and what challenges and opportunities does the cinematic medium offer you?

My primary focus in college was experimental film, and although moving images were much more challenging than photography, it unexpectedly paved the way for advanced techniques in my collage work. The laborious process of animating on 16mm film, frame by frame, taught me patience and emphasized the importance of the process rather than the final product. The fusion of photography and film serves as the feature that sets my work apart, giving viewers a unique perspective and inviting them to engage with the artwork in an immersive way.

Which music genre would set the tone in your art studio, and is there a specific song that conveys the atmosphere of your creative space?

I mainly listen to Indie Soul, Tarab or atmospheric music.

But my top two bands would be Cocteau Twins and Massive Attack.

As an artist, how do you cultivate resilience, especially during times of creative blocks or external challenges?

Being born and raised in Lebanon, a country that has faced various challenges and hardships, has played a significant role in shaping my creative process. Adversity often becomes a powerful source of inspiration for many of us artists here, fueling artistic expression, resilience, and a unique perspective on life. ■

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Step INTO THE FUTURE, where models embody diverse characters in a utopian realm, showcasing a harmonious coexistence of personalities, free from any earthly concerns. photography JACK CHIPPER styling SAIF HIDAYAH

full look, GIVENCHY

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INTO THE FUTURE

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glasses, GENTLE MONSTER. dress, HERMÉS. earrings, STYLIST’S OWN

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INTO THE FUTURE

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dress, gloves, GUCCI. earrings, BEGÜM KHAN

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jacket, jeans, shoes, GIVENCHY. necklace, BEGÜM KHAN

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INTO THE FUTURE

dress, VALENTINO. glasses, KAREN WAZEN. heels, PIFERI

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coat, top, skirt, TOD’S. glasses, GENTLE MONSTER. heels, STYLIST’S OWN

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INTO THE FUTURE

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makeup ZANA MOSES; hair MASASHI KONNO; photographer assistant ALEX WILSON, ALEX JOSE; styling assistant INES GHALIA; models Charlotte CHARLOTTE SMURFIT, CANDICE SHEPSTONE at PREMIER MODELS, HUGO HODGSON, FARES BEN M’BARKA at SUPA MODEL MANAGEMENT; producer LANA SHASH; production assistant JEMIMA CARR-JONES

THIS IS YUNG INTO THE FUTURE

full look, BALENCIAGA

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AC A TIME OF ELEGANCE

words LOUIS PARKS

A TIME OF ELEGANCE

Come discover some of the finest watches in the world, from limited editions to technological marvels and stunning statement pieces.

E C

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The Art of Concealed Luxury Van Cleef & Arpels’ timepieces turn every second into a secret.

Late last year, Parisian Maison Van Cleef & Arpels created the stunning exhibition, “The Poetry of Time” - an entrée into the heart of French elegance and imaginative artistry. The exhibition was a journey into the heart of Van Cleef & Arpels, where the magic of its poetic collections are brought to life.

At the core of the House’s offerings lies the fusion of high jewellery and timekeeping, specifically their High Jewelry watches—a collection where the passage of time is marked in mesmerizing jewels. The À Cheval collection was a fantastic example of this marriage, where the flexible and scintillating mountings highlight the beauty of diamonds and coloured gems, presenting time in a garb of opulence.

Yet, the true pièce de résistance is the Ludo Secret collection, a masterclass in the art of concealed luxury. Van Cleef & Arpels revealed two new novelties and the timepieces, at a casual glance, masquerade as bracelets. But nestled within their intricate designs lies a secret – a watch face, waiting to be revealed. This clever design is a tribute to the Maison’s heritage of mystery and understated glamour. The latest additions to this collection are a dialogue between past and present—rose gold meeting diamonds or pink sapphires in a harmonious union, reminiscent of the daring style of the 1930s. The meshwork of these pieces recalls a belt’s flexibility, assembled meticulously by hand to ensure flawless articulation.

The Maison also showcased a unique new creation inspired by the 1941 Ludo Hexagone Macaron secret watch. The dial is hidden behind a motif adorned with Mystery Set emeralds, remarkable for its intense colour effect and the complexity of its creation. This technique requires extreme precision and skill and uses golden rails to hold up precious gems carefully paired for colour and meticulously cut for the creations. Once in position, the stones fit entirely over the setting, lending the surface a clear brilliance.

Van Cleef & Arpels’s diverse range of collections each embodies a unique universe. From the romantic narratives of the Love Stories collection, notably the Pont des Amoureux, to the whimsical charm of the Poetic Astronomy, Ballerinas and Fairies, and Enchanting Nature collections, each piece speaks to the Maison’s ability to capture the grace and enchantment of time.

Automotive Inspirations Aston Martin and Girard-Perregaux collaborate to redefine horological design.

The Girard-Perregaux Neo Bridges Aston Martin Edition, a groundbreaking timepiece born from the partnership between luxury brands Aston Martin and Girard-Perregaux, represents nothing less than the marriage of precision engineering, impeccable watchmaking and automotive aesthetics.

In a stunning coming together, the two brands have created this gorgeous timepiece that re-imagines the age-old mechanical signature in watchmaking - ‘the bridge’. This extraordinary addition to the renowned Bridges collection boldly exposes functional components usually hidden, drawing inspiration from Aston Martin’s cutting-edge sports cars, particularly the iconic DB12 Super Tourer, with its sculpted contours and sharp lines leaving an indelible mark on the design.

Announced in 2021 as the Official Watch Partner of Aston Martin, Girard-Perregaux brings forth this remarkable creation, driven by the mutual passion of both brands to elevate design and watchmaking expertise to new heights. Seamlessly blending beauty and engineering, this contemporary timepiece boasts a lightweight 45mm titanium case adorned in black DLC, creating an elegant backdrop that allows both static and dynamic movement components to shine. The watch pays homage to performance, this is evident in the design of the barrel and micro-rotor bridges, which are inspired by the brakes visible behind Aston Martin DB12’s spoked wheels.

The use of colour in the Neo Bridges Aston Martin Edition becomes a powerful tool to accentuate shapes and evoke emotion. Brushed greys, vibrant rubies, brooding blacks, and silver-coloured wheels come together to impart time while stirring the soul. The Aston Martin Green Neo Bridges, in particular, reveals varying tones as they interact with light, adding an extra layer of dynamism.

Aston Martin and Girard-Perregaux share a common language of luxury, emphasizing consistent design coupled with a drive for innovation. The Neo Bridges Aston Martin Edition continues this legacy, offering a fresh-faced appearance with considered details. Forgoing a conventional dial, it unveils its inverted movement, the Calibre GP08400-2164, bringing rear components to the forefront. The bridges not only contribute to the overall visual allure, but also provide structural support to the gear train and balance, inviting the wearer to witness the intricate dance of various parts working together seamlessly.

In upholding Girard-Perregaux’s tradition, the arrangement of movement components ensures symmetry, delivering a harmonious appearance that exemplifies the spirit of the Bridges collection. This incredible piece stands as a testament to the shared commitment of two of the world’s finest luxury brands to evoke intense emotions through meticulous craftsmanship and design innovation and in that, it has succeeded.

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A TIME OF ELEGANCE

Ulysse Nardin: Crafting the Future with the Freak ONE OPS A timepiece that not only celebrates the past, but also heralds the future of luxury watchmaking.

When it comes to latest releases, Ulysee Nardin stands out from the crowd thanks to the introduction of the Freak ONE OPS. Jean-Christophe Sabatier, Chief Product Officer at Ulysse Nardin, shared his excitement, “This timepiece is a variation of the Freak One that was presented at Watches & Wonders 2023, this same piece was just awarded at the Grand Prix de l’Horlogerie de Geneve in a prestigious product category: Iconic Timepieces.”

The Freak, first launched in 2001, revolutionized Swiss fine watchmaking by discarding traditional watch elements like hands, a dial, and a crown, setting a new paradigm with its unconventional design and advanced mechanical movement. Today, the Freak remains a cornerstone of high-end contemporary watchmaking, particularly noted for its use of silicon, a material that has since become a standard in the industry.

Ulysse Nardin continues this story with the Freak ONE OPS, it’s a bold embodiment of the independent, free-spirited thinking that has always defined the Freak, and Ulysse Nardin. “This timepiece pays tribute to the spirit of exploration and adventure that we share at Ulysse Nardin. It’s a very cool design with a casual khaki green colour and new material combinations of rubber, titanium, and composite materials upcycled from the aerospace industry,” said Sabatier.

Housed in a 44mm black DLC titanium case, the Freak ONE OPS features a unique sunray-patterned barrel cover and an integrated rubber strap in khaki green. The bezel, crafted from Carbonium®, boasts an exceptional strength-to-lightness ratio and a unique marbled finish. The watch’s calibre UN-240 Manufacture movement is clearly visible due to the absence of a dial, with its flying carousel relaying the minutes and a blue silicon oscillator enhancing its aesthetic appeal.

Since its inception, the Freak has continuously reset the boundaries of watch design and engineering. From the original Freak in 2001 to the latest Freak ONE, each iteration has contributed to the legacy of this iconic collection, blending traditional watchmaking with technical creativity.

With the Freak ONE OPS, Ulysse Nardin not only honours its legacy, but also propels it into the future, reaffirming its status as a leader in the world of luxury watchmaking. This is an exceptional piece, the artistry of which entrances all who see it.

The Freak ONE OPS is certainly a unique concept, celebrating the past and heralding the future.

Art and Precision RESERVOIR and Abdulla Lutfi combine to create a limited edition full of local charm.

Swiss brand RESERVOIR has partnered with acclaimed Emirati artist Abdulla Lutfi to unveil an exclusive timepiece, blending modern artistry with traditional Swiss horology. This limited-edition creation, available only at Ahmed Seddiqi & Sons boutiques across the Middle East, is not just a watch; it’s a canvas of whimsy and precision.

The watch is a fun-filled homage to the UAE and is sure to catch the eye whenever it’s seen on the wrist. Clearly, and uniquely, inspired by local culture, it speaks to the power of international luxury and the draw of local charm. Simple metallic and grey lines allow the eye to fall naturally upon the fun figure in the dial.

The watch’s dial immediately captivates with a vibrant blue background, portraying a playful urban scene reminiscent of Dubai’s bustling cityscape. Symbolic skyscrapers form a dynamic backdrop, interspersed with recurring patterns in windows and antennae, showcasing the essence of the international city.

Shades of blue create depth and perspective, while a joyful figure in traditional dress adds energy, running merrily along and symbolizingthe rhythm of city life.

Abdulla Lutfi, an artist on the spectrum, brings a unique perspective to his creations, driven by exceptional memory, attention to detail, and spontaneous expression. Art, for him, is a bridge connecting his soul to the world, and through this collaboration, he offers a glimpse into his inner universe.

Beyond its visual allure, the watch embodies impeccable Swiss craftsmanship. The retrograde minute hand glides gracefully, and the jumping hour provides an innovative approach to time reading. The stainless-steel casing reflects light, giving it a premium appearance, while the RESERVOIR calibre RSV-240 powers

the watch with a self-winding mechanical movement and a patented 113-piece module. The sleek case complements the leather strap, emphasizing attention to detail with embroidered strap edges.

Lutfi shared his perspective on the collaboration, stating, “I believe art is the language of the soul, and through my collaboration with Reservoir and Ahmed Seddiqi & Sons, I’ve found a way to express my art. In creating the dial of this watch, I hope to share a glimpse of my inner universe with the world.”

“I am very proud of our collaboration with Abdulla Lutfi and Seddiqi & Sons with this limited edition. Abdulla is a very gifted and inspired artist with a huge talent and powerful vision. This special watch serie embeds his incredible unique style inspired by the Emirates lifestyle and culture. Is it an honor to develop this creation with Seddiqi & Sons who have been extremely supportive and enthusiastic about this collaboration,” said François Moreau, Founder and CEO, RESERVOIR watch.

The reverse side of the watch unveils the inner mechanics through an exposed movement, showcasing gears and components within the brushed stainless-steel case. The playful character extends to the back, adding whimsy to the technological facets. Limited to 25 pieces, each watch is engraved with “1 of 25,” emphasizing its exclusivity. The accompanying box features an urban skyline illustration, the dancing figure, Abdulla Lutfi’s signature, and the Ahmed Seddiqi & Sons stamp. A special touch is the embroidery inside the box, featuring an original Abdullah Lutfi drawing. Local, stunning, Swiss, this is a piece to treasure.

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A TIME OF ELEGANCE

Chanel’s Love Affair with Haute Horology Limited in number but boundless in imagination.

French luxury Maison CHANEL never fails to spark the imagination and drive your curiosity and their latest watches blend haute horlogerie with high fashion in a dance of precision and panache.

The core of CHANEL’s horological philosophy is encapsulated by Arnaud Chastaingt’s leadership at the Watch Creation Studio. Here, a vision that intertwines audacity with femininity flourishes under the banner of total creative freedom, giving life to timepieces with a unique character.

“Blending boundless creativity, technical brilliance, and exceptional materials, the CHANEL Watch Creation Studio imagines pieces that go beyond simply measuring time to enhance the allure of women,” the studio said in a statement that perfectly encapsulates CHANEL’s ethos.

Inspired by the realms of science fiction and space, the collection marked a bold departure into a universe where time and fantasy converge. The standout piece, a flying tourbillon movement with a solitaire diamond, epitomized the fusion of technical prowess and aesthetic splendour, a hallmark of CHANEL’s watchmaking philosophy.

At the heart of the showcase was the Mademoiselle Privé Pique-Aiguilles collection, a tribute to Gabrielle Chanel’s essential dressmaking tools. Here, Chastaingt transforms the functional pincushion into a symbol of timeless elegance. Each watch in the collection tells a unique story – from the intricate lacework of camellias to the boldness of black tweed.

A highlight of the collection, the Pearls Motif watch, limited to 20 pieces, is a masterpiece of intricacy and opulence. Encased in 18K yellow gold and adorned with over 200 brilliant-cut diamonds, its black tweed-effect dial is a canvas for hand-sculpted jewels, creating a tableau of luxury that transcends timekeeping.

Similarly, the Lace Motif watch, a marvel of ‘Grand Feu’ enamel and delicate engraving, showcases CHANEL’s mastery over material and form, marrying the delicacy of lace with the durability of precious metals.

Beyond the Pique-Aiguilles, CHANEL’s Métiers d’Art collection unveiled the Mademoiselle Privé Lion series, an homage to Gabrielle Chanel’s star sign, Leo. The collection, through its sculpted lions and diamond-studded dials, opens a window into the private world of Gabrielle Chanel, reflecting her personal symbols and cherished objects. Limited editions of 20 and 555 pieces, these watches are more than timekeepers; they are storytellers, encapsulating Mademoiselle Chanel’s essence in every detail.

CHANEL’s horological story continues to unfold, weaving together the threads of haute couture, audacious design, and technical mastery.

Each creation, limited in number but boundless in imagination, offers a glimpse into a world where time is not just measured, but is celebrated as an art form.

Breitling Revisits the Avenger Collection Aviation-inspired timekeeping hits the heights.

For over two decades, Breitling’s Avenger has soared, admired as a classic series, now it takes a bold leap into the future. The newly redesigned Avenger Collection is a testament to strength, full-throttle functionality, and a commitment to modern explorers.

The Avenger, an icon of aviation elegance, has undergone a transformation, embracing sleek aviation detailing, wear-resistant materials, and the powerful Breitling Manufacture Caliber 01. The collection pays homage to the brand’s deep-rooted connection to aviation, dating back to the 1930s, with founder Willy Breitling’s dedication to precision aircraft instruments.

The new Avenger series offers three distinct formats: a 44 mm chronograph, a 44 mm automatic GMT, and a trimmer 42 mm automatic. Each piece comes with a choice of a military leather strap or stainless-steel bracelet, showcasing easy-grip functionality and corrosion-resistant construction.

The new Avenger chronograph is powered by the Breitling Manufacture Caliber 01, which offers approximately 70 hours of power. The new pieces show off their interior with the addition of an open sapphire-crystal caseback. The core models feature coloured dials and rotating 60-minute bezels in stainless steel and the Avenger Night Mission, features scratch-resistant ceramic construction and a vibrant yellow or carbon black dial.

The Avenger Automatic GMT 44 is perfect for pilots and frequent flyers, the model features a red GMT hand for Zulu time along with a 24-hour rotating bezel.

With a steel case and a choice of black or naval-blue dials, it blends functionality with style.

Finally, the Avenger Automatic 42 is well-balanced watch which offers robustness in a trimmer 42 mm diameter. With a steel construction and a choice of dial colours, it’s COSC-certified Breitling Caliber 17, delivers up to 38 hours of power.

The new additions take the Avenger series to another level, presenting fresh new styles and cementing Breitling’s connection to the world of aviation.

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A TIME OF ELEGANCE

Hublot’s Artistic Revolution: The Big Bang Tourbillon SR_A Elevating timepieces through art and innovation.

Art, innovation, and precision converge in the world of horology, where the Big Bang Tourbillon SR_A by Samuel Ross and Hublot stands as a testament to creativity and masterful craftsmanship. Dr. Samuel Ross, a distinguished artist and designer, has woven his unique perspective into the very fabric of Hublot’s latest timepieces, representing a new approach to watchmaking.

Dr. Ross’s journey through art, from painting and sculpture to furniture, industrial design, and fashion, has culminated in the creation of A-Cold-Wall* and SR_A, both companies that have left an indelible mark on the design landscape.

Notably, Ross has

forged influential design partnerships with renowned brands such as Beats, Nike, Timberland, Converse, Dr. Martens, and many more. Among these, the collaboration with Hublot has been a standout, resulting in the remarkable Big Bang Tourbillon SR_A. Applying Samuel Ross’s artistic language to watchmaking, the Big Bang Tourbillon SR_A encapsulates materials striking, industrial shapes. The piece is made from shiny micro-blasted titanium, including an element on the strap in the form of a rough laser engraving of the Hublot logo.

The crown is overmolded in grey rubber and the tourbillion bridge is a clear, neutral shade that allows the watch to be paired with the three strap options.

The overall result is a harmonious blend, capturing the very essence of Hublot’s four-decade journey, artfully weaving materials into sleek, aerodynamic forms, adorned with the imprints of nature’s sacred geometry. Just like a perfectly symmetrical hexagonal pattern, Ross seamlessly melds the hyper-technical with traditional elements, aligning flawlessly with Hublot’s visionary Art of Fusion.

Ross ventures into the world of the Big Bang tourbillon, where transparency and structural intricacies come to life.

A nod to the origins of Fusion, he masterfully merges rubber with meticulously crafted metal,

resulting in a mesmerizing interplay of contrasting materials.

The result is a delicate equilibrium between the organic and the industrial, all forged through the crucible of innovation.

The Big Bang Tourbillon Samuel Ross represents the epitome of collaboration, where two worlds merge while honouring their distinctive visions. Ross’s influence on Hublot’s timepieces is evident in the aesthetics, functionality, and purpose of the watch. This collaboration highlights the continuous pursuit of creativity and engineering, pushing boundaries to enhance the world of watchmaking.

Horological Machine Nº11: An Architect of Time Innovation meets architectural audacity.

In the late 1960s, a wave of experimental architecture swept the globe, departing from the rectilinear norms of the past. MB&F’s founder, Maximilian Büsser, was captivated by the organic, humanistic designs emerging from this movement. The question arose: What if one of these avant-garde houses became a watch? Thus, HM11 Architect was conceived.

Turn the HM11 to access its different rooms, each serving a distinct purpose. A 90° rotation between rooms offers versatility in display orientation and energy efficiency with the tactile click accompanying each rotation delivering 72 minutes of power directly to the barrel, granting the HM11 a remarkable autonomy of 96 hours. The rooms include the time room, where rod-mounted orbs indicate hours and minutes, the power reserve room displaying the remaining autonomy, and a unique thermometer room, a rarity in horology. The transparent fourth room functions as the time-setting crown, an ingenious blend of design and functionality.

“An incredibly complex kinetic sculpture which takes its inspiration in late 1960’s innovative architecture. HM11 is a miniature house powered by a central flying tourbillon which sends different horological and meteorological information into four rooms at each corner. It took five years to engineer from design to launch,” said Büsser in an exclusive interview with YUNG.

The HM11 case, meticulously crafted from Grade-5 titanium and sapphire crystal, mirrors the fluidity of those iconic ‘bubble houses’ from the mid- to late-20th century. A see-through crown, a technical feat, provides an unimpeded view into the movement. The sapphire crystal roof covers the central atrium, allowing light to illuminate the in-house engine.

In the realm where time meets design, this horological machine redefines the boundaries of watchmaking. Drawing inspiration from the visionary Swiss architect Le Corbusier, the HM11 blurs the lines between a timepiece and a work of art.

At the heart of this architectural timepiece is a central flying tourbillon, symbolizing the nucleus of the house. The quatrefoil-shaped upper bridge echoes the design of revered temples and the miracle of life itself.

The structure unfolds into four symmetrical volumes, housing the essential components of timekeeping.

In the world of HM11 Architect, every detail is a testament to the fusion of architectural brilliance and horological innovation and these limited edition red gold and blue dial marvels are each limited to 25 pieces.

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A TIME OF ELEGANCE

BULGARI and the Dreams of Divas A symphony of feathers and craftsmanship.

BULGARI, the epitome of luxury and innovation, continues to redefine elegance with its incredible series — the Divas’ Dream Peacock Marquetry Collection. This exquisite collection pays homage to the enchanting peacock, a symbol of beauty and confidence, through the artistry of marquetry.

The Divas’ Dream Peacock takes its place among the ‘Animali Fantastici’ in BULGARI’s bestiary. While the ‘Serpenti’ – the company’s legendary icon – captivates with mysterious allure, the ‘Pavone’ (peacock) unfolds its majestic feathers, creating a mesmerizing wheel of arabesques—a nod to the mosaic designs in the Baths of Caracalla. The latest additions to the Divas’ Dream Peacock collection showcase BULGARI’s mastery of marquetry. The Divas’ Dream Peacock Feather Marquetry, Mother-of-Pearl Marquetry, and Precious Marquetry with Jumping Hours and Retrograde Minutes are true works of art.

Speaking of the first two pieces, Antoine Pin, Bulgari Watches Managing Director, highlighted the incredible techniques employed to create these stunning pieces, said, “We have the marquetery of feathers, where we are taking no less than 12 different feathers that are cut, glued, polished in order to give all the luster to the feathers and assembled by hand. It really gives the impression that the dial is made out of feathers. The last one is a complete marquetery of mother of pearl, different components and paintings, it takes one week to make one dial so more than 50 hours of work per dial by one of our two artisans who can do it.”

Divas’ Dream Peacock Feather Marquetry is a celebration of nature’s colours. This timepiece pays homage to the peacock’s luxurious blue plumage. Twelve vibrantly hued feathers, symbolizing wisdom, are meticulously inlaid on the dial using

a technique dating back to Renaissance Italy. The result is a mosaic shimmering with silky reflections, capturing the essence of nature’s beauty.

The Divas’ Dream Peacock Mother-of-Pearl Marquetry features a regal peacock silhouette in gold and mother-of-pearl, this masterpiece evokes ideals of wealth, protection, and wisdom. The delicate mother-of-pearl marquetry requires finesse, with each element intricately cut and set into the dial. The organic iridescence of mother-of-pearl, outlined in rose gold, adds a touch of ethereal elegance.

Finally, the Divas’ Dream Peacock Precious Marquetry is the perfect symphony of craftsmanship. This exceptional timepiece merges horological and jewelry craftsmanship. The three-dimensional marquetry brings the peacock to life, adorned with rose gold, snow-set diamonds, aventurine, and malachite. The unique watchmaking mechanism, based on the BVL 262 Manufacture movement, showcases jumping hours and retrograde minutes—a true testament to BULGARI’s commitment to excellence.

The Shimmering Debut of the Oris ProPilot X Calibre 400 Laser in Dubai Innovative lasering in Oris’s ProPilot X Calibre 400 Laser sets a new watchmaking standard.

Renowned independent Swiss watchmaker, Oris is making waves across the industry with its new releases: the ProPilot X Calibre 400 Laser and the Divers Sixty-Five Date, Cotton Candy Sepia.

The ProPilot X Calibre 400 Laser is a canvas of technological artistry.

The piece features a remarkable dial, the first of its kind, created using a cutting-edge lasering technique developed in partnership with a research lab affiliated with ETH Zürich. The result is a dial with a unique colour that shifts from blue to green, achieved without using a single drop of pigment.

This innovative approach to colouration, inspired by biomimicry and optical interference, allows for a spectacular display of shifting hues reminiscent of beetle wings.

The watch, encased in a 39mm multi-piece titanium case and topped with dome-shaped sapphire crystals on the front and back, is not just about aesthetics. The Oris Calibre 400 powering it ensures exceptional performance with a five-day power reserve, superb anti-magnetism, and a host of other fea-

tures that underscore its technical prowess.

Additionally, the watch’s logo, indexes, and other elements are crafted using a unique laser process that creates a three-dimensional effect, enhancing its visual appeal.

This beautiful piece highlights the brand’s ability to innovate and honour tradition simultaneously.

At the heart of Oris’s philosophy is an independent streak that allows the brand to make bold decisions and explore new avenues in watchmaking.

Oris continues to push the boundaries of what’s possible in watchmaking while remaining true to its core values. According to Rolf Studer, co-CEO of Oris, the company’s independence gives them a rare position in the industry, “[it] means we’re free to make our own choices and pursue ideas that make sense to us and to our customers. It’s what drives our initiatives in sustainability, it’s led us to new collaborations. Often with partners in conservation or community action. Other times, it’s behind-the-scenes.

We’re proud to work with some of the most pioneering labs and engineering firms to push high-quality mechanical watches that make sense.” ■

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THE HUMBLE KING OF SUDANESE RAP

THE HUM BLE KING OF SUDA NESE RAP

Sitting at the top of the game, Soulja doesn’t want a throne.

He doesn’t want to reign supreme. He just wants to earn the love and respect of those who connect with his music.

photography SAM RAWADI styling DANIELA CORREIA words MENNA SHANAB

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top, PRADA

– in spite of all the wars. I am where I am today because of Beirut.” ■

THE HUMBLE KING OF SUDANESE RAP

“Your life experiences forge your true character, which in turn, will forge your musical identity. Both of these characters or identities intertwine to grow and evolve in parallel.”

Three years in the making, a war and three countries later, Sudanese rap heavyweight Soulja’s album “Déjà vu” is on the cusp of its much-anticipated release. The excitement encircling this album is palpable, electric. Amid a whirlwind of anticipation, with hundreds of eager fans fervently flooding his comments section, clamouring for its release, the arrival of this album marks a significant milestone in Soulja’s burgeoning career.

With his inimitable charm, effortless wit and prodigious talent, Soulja navigated his way to the top of the industry at an astonishing pace. His ascent has been nothing short of meteoritic – despite being a relatively new player in the game, he has cultivated a dedicated fan base and clinched collaborations with some of the most influential names in the scene. Over the past three years, Soulja’s journey can only be described as a creative whirlwind. He has rolled out a consistent stream of hit singles that warp, bend and play with the Sudanese dialect, introducing it to new grooves, pockets and beats, creating a hybrid fusion sound that’s both familiar and novel.

A lot has happened in those three years. Things that were under his control and things that were not. The creation of “Déjà vu” was a journey in itself. “The album came together from a diversity of experiences over the last three years, full of fluctuations, challenges, and both highs and lows,” Soulja reflects. “In 2021, when I left Sudan to work on my album, I was brimming with excitement about the new paths music would lead me on. The track ‘Déjà vu’ was born on my flight to Egypt, encapsulating the feeling of revisiting and reliving the experiences that each song represents. Lately, when I listen to the album, I really do get this feeling of Déjà vu with each track.”

This sense of revisiting past experiences is rooted deeply in Soulja’s earlier life. He remembers his teenage years as a time of intense emotional turmoil and isolation. “It was a period marked by bottomless sadness, frantic energy, and communication struggles. I felt isolated and misunderstood, which led me to find solace in rap and hiphop. The genre’s intense beats, drum patterns and basslines echoed the chaos I felt inside, becoming an outlet for my expression,” he says.

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“Upon returning after my travels, I felt a disconnection, as if the river [the Nile] no longer recognized me.

It reflected the changes I had undergone, both as a person and as an artist.”

THE HUMBLE KING OF SUDANESE RAP

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THE HUMBLE KING OF SUDANESE RAP

“I’m still in the war. I’m still in survival mode. The war stripped away the semblance of normalcy I had. My life has been reduced to a suitcase as I moved from country to country, perpetually in a state of flux.”

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THE HUMBLE KING OF SUDANESE RAP

“The war took away my small comfort zone that I created for myself, something I’ve almost forgotten.

Music has been a part of my survival, a lifeline evolving just as I have, in response to the circumstances.”

Soulja’s musical style has been sculpted by his diverse cultural experiences, having lived in Sudan, Malaysia, Saudi Arabia, and Egypt. “Your life experiences forge your true character, which in turn, will forge your musical identity. Both of these characters or identities intertwine to grow and evolve in parallel,” he shares. He believes that these experiences have been crucial in forging the unique sound he puts out today, saying, “Every place I’ve lived has contributed to my artistic development. Each culture has its own unique musical identity and approach, leaving a distinct imprint on my music.”

Then chaos broke out in Sudan. “I woke up one day and everything was gone. Until this moment right now, I’m still in survival mode.

My life has been reduced to a suitcase as I moved from country to country.” The turmoil not only disrupted his life, but also changed his approach to music. “The war took away my small comfort zone that I created for myself, something I’ve almost forgotten. Music has been a part of my survival, a lifeline evolving just as I have, in response to the circumstances,” he says.

It also severed his personal relationship with the Nile. The mighty river flowed near his home in Sudan and has always held a special place in his heart, “The Nile has always symbolised peace and love in Sudan. It’s been a constant companion for me over the years. It was my sanctuary, a place where I would sit, ponder, and write. Yet, upon returning after my travels, I felt a disconnection, as if the river no longer recognized me. It reflected the changes I had undergone, both as a person and as an artist,” he says wistfully.

Despite the upheaval, Soulja’s connection to his Sudanese roots remains a cornerstone of his music. “I resonate with the Sudanese youth because I am one of them. Understanding and representing the Sudanese youth is intrinsic to my music,” he asserts. “It’s a reflection of who I am, and it’s something I deeply value and aim to preserve.” This deep-rooted connection has allowed his music to resonate powerfully on the streets of Sudan and beyond into Egypt, Saudi Arabia and the UAE, following the dispersion of the Sudanese diaspora following the outbreak of war.

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THE HUMBLE KING OF SUDANESE RAP

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“The Nile has always symbolised peace and love in Sudan. It’s been a constant companion for me over the years- a place where I would sit, ponder, and write.”

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THE HUMBLE KING OF SUDANESE RAP

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THE HUMBLE KING OF SUDANESE RAP

“I saw the potential for music, particularly rap, to grow into a full-fledged industry. And it happened.

We’ve managed to build a rap presence and cultivate a thriving music scene in Sudan. As I grew, we all grew.”

Soulja’s impact on the Sudanese music scene has been nothing short of transformative. Upon his return to Sudan in 2019, he arrived to find a music scene that was far from professional and that was full of creators who saw music as a hobby. He knew he could change the largely recreational status of rap in Sudan. “I saw the potential for music, particularly rap, to grow into a full-fledged industry, that I could bring rap to the mainstream media—commercials, TV and billboards. And it happened. We all grew together. We’ve managed to build a rap presence and cultivate a thriving music scene in Sudan.

As I grew, we all grew,” he says.

His journey from a hobbyist to a professional is a story of dedication, community and grit. “It feels great to tell my family I’m ‘going to work’ when I’m heading to the studio,” he says. He couldn’t have done it alone though, saying that it’s all, “... thanks to the support of my team, my audience, and the wider music community, my pursuit has evolved from a hobby into a career. It’s rewarding to see my family recognize my music equipment as professional tools, not just ‘Osama’s toys.’”

“I don’t want a throne. My aim isn’t to reign supreme, but to earn the love and respect of those who find connection in my music. I used to talk about reaching the top in my music without truly understanding what that meant,” he reflects. Soulja’s perspective on success has matured over time, “Initially, my idea of success was about reaching the pinnacle of the music industry, but I’ve come to understand it differently. True success for me is about forging a genuine connection with my audience’s hearts. The evolving music scene excites me, and I’m particularly thrilled about playing a role in nurturing the next generation of musicians.”

He credits his mother, Maria, with providing him the most valuable piece of advice that has guided him through his journey. “She taught me not to fear fear itself. This mantra has been instrumental in calming my anxieties and keeping me grounded, especially in moments of overwhelming stress.”

When asked about his future plans, Soulja’s response is marked by a philosophy of openness and adaptability. He embraces the unknown, saying that, “Predicting what lies ahead, even a month from now, is a challenge. I’ve learned to live without rigid expectations and to let life unfold as it will.”

Soulja’s story, so far culminating in the release of “Déjà vu,” is a saga of personal growth and enduring strength in the face of tremendous turmoil and upheaval. As the album prepares to make its mark in the world, it stands as witness to Soulja’s journey through trials and tribulations, a celebration of survival, and hope for the unifying power of music. As he navigates the intricacies of fame and the complexities of diaspora life, his music has emerged as a lifeline for him, it becomes his steadying force, a source of resilience and connection. ■

creative director SAIF HIDAYAH; makeup DAAD ALDAHMI; hair FARIDA; styling assistant JOUD ALDABBAGH; production LANA SHASH; production coordinator TALA SAKKA; local production MY AGENT CO; studio REAL STUDIOS

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INEXHAUSTIBLE

INE XHA USTI BLE

photography KHOULOUD MATAR-KASAA styling GAËLLE IBRAHIM words OMAIA JALLAD

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Meet Fehdi Bendjima, the rising star who’s making waves in French cinema. From stealing the show as Samir in Claude Zidi Jr’s “Ténor” to lighting up the small screen as Djamil in “Une si longue nuit” on TF1, Bendjima’s charisma is undeniable. With a lot on his plate for 2024, the actor’s journey has so far been a rollercoaster of excitement and passion. His childhood in Lyon was challenging and “sadly magical”, but it was also when his passion for cinema emerged during weekly family outings to the movie theatre that ignited a desire to evoke emotions in others. Today, seeing each character as a different life lived, Bendjima reflects on his journey and acknowledges life’s beauty, despite occasional waves of melancholy and nostalgia.

Can you share a specific movie or moment that deeply influenced your decision to pursue a career in cinema?

Every wednesday, when I was a kid, my mum and aunt would take me and my cousins to the movies. And to see those people that I don’t know made me feel something through this big screen… I was like “that’s what i want to do with my life,” make people escape their life for the duration of the movie, make them feel things, make them travel like I did”. The movie that did it for me was Super 8.

Growing up in Lyon and later moving to Paris, how have these different environments influenced your personality and outlook on life?

My life in Lyon was totally different, it’s like I didn’t even know what was happening elsewhere and when i came to Paris, i felt the difference. Big city, different from my hood, I had access to more things. In lyon, nobody really believed in me, so it gave me the drive to move to Paris and become more confident, to make it happen for myself.

How do you draw inspiration from your Algerian background in your acting, and are there specific aspects of your cultural heritage that you intentionally incorporate into your roles?

Seeing how my family is down to earth keeps me grounded and focused. And that’s where I would say my cultural heritage lies - through my family. I’m aware of where I have to go for them. It makes me want to push for more, always- it makes me focused.

Could you mention a specific movie from your family’s Wednesday film nights that had a lasting impact on your love for cinema?

Super 8, by J.J. Abrams. I was a kid and it was the first time I went with my dad. I was seeing those kids, it made me feel things through this screen, it was intense and I loved the movie even more because in it, those kids are recording a movie, writing a script. I was like, I want to do that, just like them.

Congratulations on your recent film with Bryan Marciano. Can you share your experience working on this project and any memorable moments from the set?

This movie was kind of hard for me to understand and star in because it talks about young people who are suffering from what they are, and I didn’t feel legitimate to talk about their story. Then Bryan told me to come with him to the shelter to meet those young people, after that I was like I have to talk about them and talk about what they experience, feel and see. The movie was shot during summer and we were wearing winter coats, gloves and blankets because we were playing a Christmas scene so in December! It was so hot with the lights, the set up, and other things, and we were doing a lot of dinner scenes and I remember, at the end of the day, we couldn’t say a thing anymore because of the heat and the exhaustion. We were laughing for thirty minutes to an hour and Bryan wanted to kill us because we were kind of late. I’m sorry Bryan, but it was so fun to see him going red and screaming “Fehdi stop laughing!”

Can you elaborate on a character you played that had a profound impact on you personally?

I will say Karim in l’Arche de Noe from Bryan Marciano because it made me understand things that I didn’t know existed, and it made me more empathetic towards myself and the people around me. Humans are who they are, we can’t judge people for what they have, their reality. If this world was just more tolerant, life would be much more peaceful.

What aspects of a script attract you, prompting you to decide to take on a role?

If the story tells something different that we can see and if the character has a different range of emotions throughout the movie, I will do my best to get the role.

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French cinema has a rich history. Are there specific filmmakers or actors from the past that inspire or influence your work today?

I would say that the cinema that inspires me is the current and emerging one, the one happening now. I’m inspired by myself, Fehdi Bendjima and by people that helped me build this confidence and who surround me. I’m just doing myself, and being inspired by my generation, the ones in whom I see myself in too, like Samir Decazza, Frankie Wallach, Ilies Kadri, all of these people as actors and humans inspire me a lot.

How do you prepare for a scene? Could you provide some examples of your preparation process?

I just create a good environment around myself and I try to create a past, a present and a future for the character that I’m gonna portray. With that, I can learn more specific things about him. I love creating a background that is not specifically written or planned in the script. This way, I can propose more things to the director.

In moments of self-reflection, what aspects of your journey as an actor bring you the most fulfillment?

Sometimes I realize where I was and how I prayed to have what I have now and that it’s just wonderful because I made my dream come true, becoming an actor. I continue to work on myself but yeah it feels good to leave a mark on history in a certain way. I would say though that observing the people around me and learning from them brings me fulfillment as well.

Outside of acting, what are your hobbies or passions that people might not know about?

I will say family and friends are my other hobbies, making them laugh and taking care of them is a big pleasure for me and I love to do it. I also had the opportunity to play in a friend’s film, “Habitués” by Moha Mmz, where we did a lot of stunts and jumped on top of the tube, I loved to do that. I developed a passion for stunts and adrenaline. But when you take real pleasure in doing things, and when you go for it with this energy of having fun, everything can be a hobbie. I love dancing, I love singing, I love jumping, screaming, being in love, being alive, trying to be universal and spread this energy, that’s my principal hobby; living life.

jacket, scarf, SAINT LAURENT. jewellery, TIFFANY & CO.

INEXHAUSTIBLE

In your personal life, how do you maintain a connection to your Algerian background?

Visiting my family in Lyon, where we would have big dinners and spend time with my cousins. Eating traditional food. It also reminds me of when my mum hands me her phone to talk to my Algerian aunt on Facetime and I try to avoid it, I feel like it’s a universal experience when you have family abroad.

If you could step into someone else’s shoes for a day, living or historical, who would it be and why?

I will say my grandfather, Mohammed. He was very kind and giving, he was not really vocal about his emotions, he preferred to show his love through actions. I knew him through the words of my mum as I never got the chance to meet him. He passed away before I was born. But hearing his story through my mum makes me feel so proud to be related to him. So yeah, I will say Mohammed, my grandfather!

Looking into the future, both personally and professionally, what are some goals or aspirations you have set for yourself?

Trying to be more myself, more empathetic, more peaceful about everything. Listen more, understand more and love more. Develop the love inside because it’s all about that. I’m doing all of this for the love of my friends, my family, for the love that I’m learning to give to myself too. It’s all about love so yeah more love in everything. Professionally, i want to develop my career, live more lives through my roles, tell stories through movies. This is what gives me life and this is my passion, so I’m heading in this direction. ■

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PRADASPHERE II

PRADASPHERE II

PRADASPHERE II WAS A CAPTIVATING EXHIBITION CHRONICLING THE NARRATIVE OF PRADA FROM ITS INCEPTION IN 1913 TO TODAY’S CONTEMPORARY. RUNWAY SPECTACLES. Hosted at the Start Museum in Shanghai, this visual extravaganza, curated by co-creative directors Miuccia Prada and Raf Simons, unfolded as a testament to the evolution of a brand that has seamlessly woven itself into the fabric of Italian excellence. Here, we present just a slice of what was a remarkable event.

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THE MAGAZZINO: WHERE ARTISTRY MEETS ARCHIVAL MARVELS Pradasphere II was staged as a lush magazzino, an Italian warehouse, housing over 400 artifacts. The exhibition mirrored the vast and multifaceted Prada, from fashion archives to decades-long collaborations across art, architecture, culture, and sport, every artifact served as a poignant brushstroke in the masterpiece that was Pradasphere II.

PRADASPHERE II

VITRINE: ICONIC BAGS AND FORMIDABLE CRAFTSMANSHIP In the Vitrine, the spotlight was on twenty bags from the Prada archive, each silhouette echoing iconic forms synonymous with the house. From the Galleria to the Cleo, these timeless pieces unveiled not only Prada’s distinctive formal sensibility, but also the unparalleled craftsmanship that defines the brand.

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PRADASPHERE II

RE-NYLON: PRADA’S SUSTAINABLE INNOVATIONS RE-NYLON invited you to explore Prada’s commitment to sustainability through a showcase of Re-Nylon looks and films from the house’s collaboration with National Geographic. Visitors delved into the structural and circular possibilities of these sustainable materials, reflecting Prada’s dedication to shaping a more eco-conscious future.

FRATELLI PRADA: A GLIMPSE INTO THE PAST Visitors stepped back in time with FRATELLI PRADA, a meticulous recreation of a fragment from the original Prada shop in Milan. Super-high-resolution videos showcased the original objects on show, accompanied by three recently-reissued purses and recreations of murals commissioned by Mario Prada in the early 1920s.

A nostalgic voyage into the roots of Prada’s legacy.

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PRADASPHERE II

MATERIALITY: CRAFTING SKIRTS, CRAFTING ART MATERIALITY presented a visual feast with twenty first-ever exhibited skirts crafted exclusively for the Shanghai Pradasphere. This exhibit was a testament to the extraordinary craftsmanship and striking materiality of Prada’s workroom, showcasing the brand’s ability to transform fabrics into wearable art.

FONDAZIONE PRADA: A CULTURAL ODYSSEY In FONDAZIONE PRADA, visitors explored thirty extraordinary exhibitions staged by Prada’s art foundation. From fine arts to cinema, music, science, and technology, each exhibition encapsulated the brand’s profound relationship with culture. A journey through Prada’s cultural odyssey, revealing the brand’s commitment to pushing boundaries and transcending conventional artistry.

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WILD BAGS Plants, the quiet champions of nature, personify resilience by seamlessly adapting, regenerating, and flourishing despite challenges. Grounded in the progress of evolution, they rrepresent an enduring spirit and tenacity amid life’s trials. This is precisely why they make the perfect complementary backdrop for our handbag editorial, showcasing the latest ‘it-bags’ from designers such as Chanel, Loewe, Saint Laurent, and more. photography NICOLETA BURU styling DANIELA CORREIA

WILD BAGS

photography assistant MICHELE ANDRENUCCI

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bag, SAINT LAURENT

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bag, MCM

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WILD BAGS

bag, LOEWE

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bag, CHANEL

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WILD BAGS

bag, GUCCI

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WILD BAGS

bag, MIU MIU

bag, BOTTEGA VENETA

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RICHARD MILLE ART PRIZE

RICHARD MILLE ART PRIZE Louvre Abu Dhabi and Richard Mille collaborate to showcase fresh talent.

words MARIANA BAIÃO SANTOS

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ow in its third consecutive edition, Louvre Abu Dhabi recently curated the Richard Mille Art Prize, celebrating creatives from across the region. The museum and the luxury Swiss watchmaker joined forces to champion emerging artists from across the UAE and GCC, in support of our vibrant art ecosystem.

For the first time, the exhibition was held outdoors under the museum’s floating dome. The elaborate dome was the ideal setting for Art Here 2023 which ran under the concept of ‘Transparencies’.

In the interplay of sunlight and sunlight and shadow were exhibited shortlisted artworks by Alaa Tarabzouni, Farah Behbhani, Hashel Al Lamki, Nabla Yahya, Sarah Brahim, Sawsan and Bahar Al Bahar, and Zahrah Al Ghamdi were exhibited. The works were on show until late February and the winner of the prize will be announced later in the year.

This edition was overseen by curator and advisor Maya El Khalil, who has worked to highlight the artists and breadth of their work within the contest, saying that, “What has captivated me most about this curatorial experience is how a seemingly direct open call inspired both revelatory material engagements and nuanced conceptual distortions. In their responses, transparency is a visual perception, cultural, and historic force. And together, these works wonderfully illustrate how we see, encounter, and experience the world.”

RICHARD MILLE ART PRIZE

The Richard Mille Art Prize consists of an open call and artists working in different mediums can submit their work for consideration.

The jury reviewed more than a hundred submissions, out of which only seven artworks made the shortlist. The recipient of the prize will receive a grant of USD 60,000.

The 2023 jury was led by H.H. Sheikh Zayed bin Sultan bin Khalifa Al Nahyan, advisor to the Ministry of Foreign Affairs (MOFA), Chairman of UAE Unlimited, a prolific art collector, and a patron of the Centre Pompidou, the British Museum and the Sharjah Art Foundation. Maya El Khalil, the curator and former Founding Director of Athr Gallery in Jeddah, Dr. Souraya Noujaim, director of the Islamic Arts department at Musée du Louvre in France, and former Director for Scientific, Curatorial and Collections Management at Louvre Abu Dhabi also joined the panel. The judges were rounded out by Clare Lilley, director of Yorkshire Sculpture Park, the honourable selector of Frieze Sculpture and a trustee of various foundations such as Art UK; art historian Dr. Guilhem André, acting Director for Scientific, Curatorial and Collections Management at Louvre Abu Dhabi and Mohammed Kazem, the renowned shortlisted Emirati Artist for Art Here 2021.

NABLA YAHYA UAE-BASED INDIAN ARTIST

“SoftBank” explores the obscured histories of the Suez Canal’s construction. The installation, with an occidentalised healing bowl engraved with maxims representing hyper-capitalistic imperialists, unveils cultural hegemony in capitalist and imperialist realpolitik. Focusing on the exploitative nature of concession contracts during the Suez Canal Company’s foundation in 1858, the artist highlights neglected details of the monumental scheme and critiques the Exposition Universelle of 1867 for downplaying hardships faced by the workers in favour of showcasing engineering marvels. “SoftBank” underscores the ethical bankruptcy concealed by profits from imperialist projects.

HASHEL AL LAMKI EMIRATI PAINTER

In “Foraminifera,” Hashel Al Lamki explores the significance of pigments, posing questions about perception and understanding.

Using a painter’s expertise, Al Lamki investigates how surfaces interact with natural pigments, creating a connection to the past. Through techniques reviving ancient materials, the artwork reinterprets history for today. In the broader context of the Louvre Abu Dhabi’s presentation, spanning civilisations and eras, “Foraminifera” transcends generations of artistic encounters, offering a versatile experience—either atmospheric or focused on material and technical aspects—within the rich tapestry of human history and creativity.

FARAH BEHBHANI KUWAITI MULTIDISCIPLINARY ARTIST

Farah Behbhani’s work is dedicated to honouring the 10th-century Syrian Muslim astronomer, Mariam Al-‘Ijliya, who pioneered the astrolabe. The installation, Hiya (She), draws inspiration from the 12th-century Tughrul tower, employing a 24-sided polygon shape to indicate time through changing shadows. Created with coloured glass, the artwork explores the dynamic interplay of light and colour, transforming throughout the day based on the visible light spectrum. The piece symbolises the connection between transparency and light, serving as a metaphor for unveiling hidden truths or overlooked stories.

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RICHARD MILLE ART PRIZE

ALAA TARABZOUNI SAUDI ART CURATOR AND INDEPENDENT ARTIST

Alaa Tarabzouni delves into themes of urban development, neighbourhood identity, and the impact of redevelopment on a community. Using stained glass in the unconventional portrayal of streets and boundaries, her artwork “Remember to Forget” reflects on memory, emphasising the emotional and physical aspects of the changing environment. The delicate glass pieces pay homage to the current state of the neighbourhood, documenting its unique essence amid the rapid growth and redevelopment of Riyadh.

SARAH BRAHIM SAUDI VISUAL AND PERFORMANCE ARTIST

Sarah Brahim’s work explores the concept of “flesh memory” – the bodily manifestation of breath that carries conscious and unconscious experiences across generations. Using algae as a biomaterial, the artist underscores the universal origins of breath and its connection to biological and atmospheric processes.

Suspended over a courtyard pool, the installation blurs boundaries with the viewer, invoking primal connections to the essential flows that sustain all existence. Brahim’s concern lies in intertwining the ephemeral nature of breath with tangible elements like light, wind, water, and reflections in an atmospheric setting.

SAWSAN AND BAHAR AL BAHAR UAE-BASED SYRIAN ARTIST

The artists behind “Waterdust” are concerned with preserving the traditional craft of glassblowing in Damascus, addressing its decline over the past decade. Through hand blown glass sculptures, the project traces and intensifies how light moves in the dome, connecting to the city’s heritage. Collaborating with craftspeople in Damascus and Berlin, the artists shed light on this dying craft, emphasising its historical significance and the economic challenges artisans face. The project serves as a dialogue between ancient techniques and contemporary art, and helps support Abu Ahmad’s Handmade Glass Factory in Bab Sharqi, old Damascus.

ZAHRAH AL GHAMDI SAUDI VISUAL AND LAND ARTIST

Zahrah Al Ghamdi’s practice is centred around exploring memory and history through traditional architecture, utilising a meticulous process to assemble earth, clay, rocks, leather, and water in sitespecific installations. Her work draws on the concept of ‘embodied memory,’ addressing themes of cultural identity, memory, and loss. Growing up in the Southwestern region of Saudi Arabia, surrounded by traditional Aseeri architecture, played a crucial role in shaping her practice. As a faculty member at the University of Jeddah, Al-Ghamdi’s concern extends to sharing her artistic expertise and passion for traditional architectural forms.

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THE FORBIDDEN COLOURS

the

FORBIDDEN colours

photography LARA ZANKOUL styling YASMINA KARAM

dress, KRIKOR JABOTIAN

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dress, KAROLINE LANG

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THE FORBIDDEN COLOURS

This fashion editorial, inspired by Félix González-Torres’ powerful masterpiece “The Forbidden Colours,” carefully weaves selected garments against monochrome canvases, echoing the famous 1988 installation. Fast forward to 2024, and the installation stands resilient, its impact more potent than ever.

A model adorned in these forbidden hues transcends conventional fashion, embodying a symbol of rebellion and standing as an advocate for transformative change.

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dress, headpiece KRIKOR JABOTIAN

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THE FORBIDDEN COLOURS

dress, headpiece, KRIKOR JABOTIAN

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skirt, top, AMIR AL KASM

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THE FORBIDDEN COLOURS

creative direction SAIF HIDAYAH; makeup SHARBEL HASBANY; hair REMAH JAMMOUL; model SERENA ABOUSEFIAN from LOCAL VICE

The editorial seamlessly blends style with activism, transforming fashion into a palpable tool, urging viewers to reassess its role in social discourse and personal empowerment.

Through this fusion of art and fashion, dynamic dialogues about selfexpression emerge, challenging norms in both realms. Echoing González-Torres’ words, the canvases of Forbidden Colours allow viewers to interpret it freely – whether seen as exercises in colour theory, abstract wonders, or, perhaps, simply four unassuming rectangular canvases on a wall. The beauty lies not just in the colours, but in the stories and defiance they represent.

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As the winter chill settles in, embrace ‘THE STYLE RIOT,’ a canvas where creativity knows no limits, where conventional fashion norms are tossed aside in favour of bold, audacious self-expression. Within this collision of diverse, unconventional styles, a creative explosion unfolds, reshaping the very landscape of winter fashion.

Dive into this meticulously curated segment as Middle Eastern style icons Fahd El Amrousy, Selma Kaci Sebbagh, Tali Marjien, Nadine Sami and Islam Mansori play fashion anarchists and unveil their top picks. Join them on an exhilarating style journey, uncovering the essence of their unique fashion philosophies and what winter style genuinely means to them as they depart from the ordinary. curated by NUJOUD OWEIS

STYLE RIOT

ISLAM MANSORI NATIONALITY Egyptian

CURRENT JOB/OCCUPATION Founder/Creative Director at Cocoon Agency

SELMA KACI SEBBAGH NATIONALITY French Algerian

CURRENT JOB/OCCUPATION Content creator

STYLE ICON: A$AP ROCKY FAVORITE COLOUR: Black MOST COMMON ITEM IN YOUR WARDROBE THIS SEASON: Coats PERSONAL STYLE IN ONE WORD: Edgy WINTER AFFIRMATION: “Embrace the chill, elevate the style”

STYLE ICON: Blondey and Bella Hadid FAVORITE COLOUR: Brown, pink and green MOST COMMON ITEM IN YOUR WARDROBE THIS SEASON: A vintage shearling jacket PERSONAL STYLE IN ONE WORD: Eclectic WINTER AFFIRMATION: “It’s cold outside baby”

FAHD EL AMROUSY

NADINE SAMI

NATIONALITY French Algerian-Egyptian

NATIONALITY Egyptian Lebanese

CURRENT JOB/OCCUPATION Content creator and actor

CURRENT JOB/OCCUPATION Fashion designer & content creator

STYLE ICON: I don’t really have an icon; I would say I draw inspiration from a bit of everything to create my own style, but personalities whose flow I admire would be Tyler, the Creator, or Pharrell Williams.

FAVORITE COLOUR: Black MOST COMMON ITEM IN YOUR WARDROBE THIS SEASON: Shirts, mules and a long double-breasted coat.

PERSONAL STYLE IN ONE WORD: Minimalist WINTER AFFIRMATION: “Cover up but stay fashionable”

TALI MARJIEH NATIONALITY Palestinian Chilean

CURRENT JOB/OCCUPATION Designer STYLE ICON: Cher, Rihana, Haifa Wahbeh, Bella Hadid FAVORITE COLOUR: Black MOST COMMON ITEM IN YOUR WARDROBE THIS SEASON: Martial fit; my line launching soon.

PERSONAL STYLE IN ONE WORD: Dark Feminine WINTER AFFIRMATION: “Vintage black vegan leather jackets, boots and gloves. A nice cozy set can never go wrong!”

STYLE ICON: Darcy from the Winx Club FAVORITE COLOUR: Black MOST COMMON ITEM IN YOUR WARDROBE THIS SEASON: Huge long white faux fur coat PERSONAL STYLE IN ONE WORD: Mutable WINTER AFFIRMATION: “Layers and textures and then some more layers”

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STYLE RIOT

Islam Mansori, a fashion trendsetter from Kuwait, has woven a unique tapestry of self-expression, fearlessly sculpting his fashion odyssey. Challenging stereotypes associated with Middle Eastern attire, his innovative fusion reshapes perceptions, breathing new life into the regional fashion narrative. Reflecting his journey of self-discovery and boundless creativity, Mansori’s style choices radiate individuality and empowerment. His guidance for style enthusiasts advocates for self-exploration, embracing uniqueness, and leveraging fashion as a medium for personal empowerment and joy.

photography ANTON DONIKOV

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I want my style to inspire others to fearlessly express themselves and celebrate their authenticity.

You have such a distinctive style, can you share the journey of how you discovered it? Was it a process of evolution?

My journey to discovering my distinctive style has indeed been an evolving process. It began with experimentation and a willingness to step out of my comfort zone. Over the years, I’ve drawn inspiration from various sources, from fashion icons like A$AP ROCKY to street culture and art. I’ve always believed that personal style is an ever-evolving reflection of one’s identity. It’s about finding what makes you feel confident and authentic. Along the way, I’ve embraced different styles, learned what works for me, and allowed my fashion choices to grow with me.

In your view, what defines the ideal winter wardrobe?

The ideal winter wardrobe, in my view, combines style and functionality. It’s about staying warm while expressing your unique style. Key elements include a versatile and warm coat, cozy knitwear, layering pieces like turtlenecks, and comfortable yet stylish boots. Oversized items, like a chunky knit sweater or a roomy coat, add a contemporary touch to keep you on-trend. Accessories such as scarves and gloves not only keep you warm but also serve as statement pieces. Ultimately, the ideal winter wardrobe is a blend of prac2 ticality and personal expression.

Hailing from the Middle East, does your fashion challenge stereotypes or norms?

Indeed, hailing from the Middle East has influenced my fashion choices in a way that challenges stereotypes and norms. There’s often a misconception that Middle Eastern fashion is

1. men’s black double-breasted wool coat, CASABLANCA 2. cable knit sweater vest, 1017 ALYX 9SM 3. allover logo scarf, BALENCIAGA 4. mirror balenciaga hoodie oversized in black, BALENCIAGA

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solely traditional or conservative. While I appreciate and respect our rich cultural heritage, I believe in breaking boundaries and showcasing a more diverse side of Middle Eastern style. By incorporating edgy and contemporary elements into my personal style, I aim to challenge these stereotypes and demonstrate that fashion in the Middle East is evolving, diverse, and open to innovation.

What story or message do you aim to convey through your personal style? How does it reflect your narrative?

Through my personal style, I aim to convey a message of self-expression, individuality, and confidence. It reflects my narrative by showcasing my journey of self-discovery and growth. My style communicates that it’s okay to be bold, to stand out, and to embrace your unique identity. It’s a visual representation of my creative spirit and my willingness to push boundaries. Ultimately, I want my style to inspire others to fearlessly express themselves and celebrate their authenticity.

Can you offer any guidance for individuals seeking to explore and find their own style identity?

For those on a journey to find their style identity, I would advise starting with self-discovery. Experiment with different looks, draw inspiration from various sources, and don’t be afraid to make fashion mistakes – they can be valuable learning experiences. Be open to evolving and refining your style as you grow. Remember that personal style is about what makes you feel comfortable and confident, rather than conforming to trends. Embrace your uniqueness and use fashion as a tool for self-expression. Most importantly, have fun with it – fashion should be enjoyable and empowering.

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Fahd El Amrousy is a style maven hailing from Egypt and Algeria, who traces his fashion evolution through varied phases, from trend-driven to his current avant-garde flair. His unique and harmonious style, influenced by Middle Eastern and Moroccan cultures, challenges norms while reflecting a blend of traditional and contemporary inspirations. Through his unconventional yet confident wardrobe, El Amrousy conveys the message that personal style transcends brand labels, advocating for the power of individuality and confidence in fashion. His guidance for style seekers emphasizes the fusion of basic pieces with statement elements, showcasing a pathway to elevate personal style with subtlety and distinction.

STYLE RIOT

photography AXLE JOZEPH

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I think every style reflects someone’s personality.

You have such a distinctive style, can you share the journey of how you discovered it? Was it a process of evolution?

My style has gone through several periods. Let’s say I’ve always liked dressing up, but I used to follow trends a lot. Today, I manage to wear slightly avant-garde pieces, ones that are not necessarily seen on everyone and that aren’t commonly paired together. My style has evolved, but I think I’ve found the balance and the style that suits me for a few more years. Thanks to my stylist @xomayss, too!

In your opinion, what defines the ideal winter wardrobe?

For me, in winter, you can wear everything: summer T-shirts, I wear them in winter, as well as jeans that I can wear in both sum1 mer and winter. But the essentials to have are: a puffer jacket, a basic hoodie, a long zippered wool sweater, Prada loafers, a pair of Adidas Samba, New Balance 1906 R (two pairs of sneakers is good).

Hailing from the Middle East, does your fashion challenge stereotypes or norms?

Well, I’m from Egypt through my father and Algeria through my mother.

I would say yes and no: my grandmother, who sees me wearing oversized jeans, harasses me every time to alter them

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by sewing or reducing them by 2/3 sizes ... obviously, she’s not used to seeing wide pants worn in this way. And yet, in the Middle East or the Maghreb, traditional style is increasingly popular and inspires many big brands. More and more people are able to mix the two and showcase their culture and their own unique style. I’m thinking particularly of Style Beldi; I like his universe. He challenges norms and stereotypes with his old vintage style. I don’t know if I challenge stereotypes, but I think I have a style that is out of the ordinary. Well, my followers should be asked that question, haha.

What story or message do you want to convey through your personal style?

That one can dress well without wearing brands from head to toe. I think every style reflects someone’s personality. Dressing well helps me feel confident.

Can you offer any guidance for individuals seeking to explore and find their own style identity?

The advice I can give: Always turn to basic pieces. You can then pair them with a strong piece (accessories, shoes, coats...) branded or not, which will really dress up your look and make a difference. But sober basic pieces are essential.

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1. re-nylon and leather jacket, PRADA 2. embroidered logo hoodie, AIMÉ LEON DORE 3. men’s cassette, BOTTEGA VENETA 4. 6moncler 1017 ALYX 9SM almondis, MONCLER GENIUS 5. grey tracksuit, SUNSET TOWER X SPORTY RICH 6. shearling wedge boots, LOEWE

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STYLE RIOT

Selma Kaci Sebbagh, a 24-year-old French-Algerian, traces the beginning of her fashion journey back to her childhood, where she was guided by her mother’s wisdom through the maxim, “Dress for yourself, not for others.” From Parisian chic to a fusion of global influences, her attire narrates tales of heritage and wanderlust, celebrating the freedom found in fashion as she effortlessly weaves together functionality and style. Selma adds a contemporary twist to her attire, seamlessly merging sneakers with statement dresses, pastel suits, or flowing trousers, echoing the timeless elegance of Bianca Jagger. Her unique gift lies in crafting ensembles where textures and silhouettes dance in harmony, each outfit an opus of fashion and panache. Beyond fashion, she’s an intrepid explorer, seeking cultural treasures with each journey’s beginning.

photography SKWAD PHOTOGRAPHY

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My style is showcasing the diversity and richness of styles from all my heritage, and travel.

You have such a distinctive style, can you share the journey of how you discovered it? Was it a process of evolution?

Since I was a child, I’ve always experimented with fashion, and I’m fortunate to have a mother who emphasized, “Dress for yourself, not for others.” I’ve held onto this advice, realizing that whenever my style shifted to please others, it lacked authenticity. Both in life and fashion, genuine happiness comes from being true to yourself.

too seriously when it comes to how they dress. I really think that the people who are best dressed are five year old kids, they picked an outfit with honesty and appreciation, just because they liked it. As simple as this. I want to feel like a five year old kid when it comes to fashion. I dress with my instinct, knowing I choose clothing that reflects my personality, interests, and cultural influences, creating a visual story of who I am.

In your view, what defines the ideal winter wardrobe?

For an ideal winter wardrobe, my Copenhagen era taught me the importance of blending warmth and style. Embrace 1 high-quality pieces like cashmere knits, wool coats, and iconic shearling jackets to stay warm with a touch of timeless flair.

Can you offer any guidance for individuals seeking to explore and find their own style identity?

You should always try everything that crosses your mind when it comes to fashion. Often people are like: “I 3 love that (style/piece) but that’s not for me.” I’m always speechless: Who decides that’s not for you? Try and see.

In discovering your style identity, it’s essential to experiment with different looks, pay attention to what makes you feel confident, and draw inspiration from diverse sources. Don’t be afraid to mix and 4 match, and most importantly, trust your instincts – your style is a reflection of your personality.

Also I’m having more fun with the versatile layers, the scarves, gloves, beanie, that complete the ensemble. If you wanna survive winter it really has to be both practicality and fashion-forward elegance.

Hailing from the Middle East, does your fashion challenge stereotypes or norms?

As someone from the Middle East, born in Paris, my fashion choices naturally incorporate elements of my cultural background. We also had the chance to travel a lot with my family. Somehow I think my style is showcasing the diversity and richness of styles from all my heritage, and travel. I really embrace a fusion of traditional and contemporary influences.

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What story or message do you aim to convey through your personal style? How does it reflect your narrative?

Through my personal style, I aim for the only message I can: I’m true to myself and sometimes I feel people take fashion way

1. mohair star cardigan, MARGE SHERWOOD 2. scarf in mohair and wool, LOEWE 3. faux fur corduroy earflap cap, OPEN YY 4. flannel faux fur trim coat, OPEN YY 5. shaggy jacquard hooded scarf, OPEN YY 6. shearling jacket, GANT 7. tor ultra hi, HOKA ONE ONE 8. tasman slipper ‘burnt olive’, PALACE X UGG

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STYLE RIOT

Sister and stylist of the emerging Palestinian-Chilean singer Elyanna, Tali Marjieh is building a bridge between the Middle East and the Western world through her creative designs and styling expertise. Raised amidst the diverse cultural landscape of Palestine, she carries within her a deep-rooted connection to the traditions and aesthetics that define the region. However, upon her move to Los Angeles, the contrast between her homeland and her new environment became distinctly clear and she continues to infuse a regional twist into her work as a fashion designer and her new upcoming brand, Martial.

photography PROVIDED BY TALENT

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Embrace the journey, even with fashion missteps, as they guide you to your true style.

In your view, what defines the ideal winter wardrobe?

Creating the perfect winter wardrobe involves layering, but make it feel effortless, embracing bold colourcolor choices that complement one another.

You have such a distinctive style, can you share the journey of how you discovered it? Was it a process of evolution?

Since I was in middle school, friends came to me for fashion advice, even borrowing clothes from my closet. I always liked trying different styles. Back home, in Nazarateh, at high school graduations, girls usually wore wear a dress. Instead of wearing a dress I decided to design my own piece wearing pants, I knew that was the style that I would most feel myself the most in. This inspired others to start wearing pants for similar occasions and that was the first sign that I could felt I can inspire girls to wear what they feel, not what they’ve been told to.

My mum always dressed me well since I was a kid, and my fashion sense developed early. I saw pictures when I was a kid and I still think these outfits that I wore are timeless and I want to keep it this way. Things happen very organically. Once, I remember I wanted to dress my sister, Elyanna, for a music video. It was easier for me to go to a fabric store, get inspired, and design. I didn’t feel that I wanted to style her, I wanted to design what fitteds her best, and what makes her who she is. People kept asking where her outfit was from, after that I felt that my journey was clearer. I feel designing and styling go hand-in-hand, because it’s all about the vision and the taste. I feel I can do both, but I know that my goal is to design clothes for a stylist to pull.

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Hailing from the Middle East, does your fashion challenge stereotypes or norms?

Coming from Palestine, a land rich in cultural expressions like Tatreez, coins, headscarves, and henna, I noticed a void in these elements when I moved to the U.S. Many Americans were unfamiliar with our cultural heritage.

Determined to bridge this gap, I made it my goal to introduce our art and fashion to the Western world, using Elyanna as the vessel. There is immense strength in embracing one’s culture and proudly representing it.

What story or message do you aim to convey through your personal style? How does it reflect your narrative?

My goal is for girls to feel like the main character whenever they wear my designs. I envision my creations as special occasion pieces that girls would eagerly choose without hesitation.

Standing out has always been second nature to me, whether through my big Middle Eastern hair or unique outfits. I aspire for girls to feel empowered to stand out in their own unique ways.

Can you offer any guidance for individuals seeking to explore and find their own style identity?

Continue to discover. Embrace the journey, even with fashion missteps, as they guide you to your true style.

Dress in a way that celebrates every aspect of your body, honouringhonoring its uniqueness.

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1. women’s biker 90mm over-the-knee boot in black, BALENCIAGA 2. off-white faux shearling robe coat, CASABLANCA 3. 1/1 smv black leather sedici moto jacket, SAMI MIRO VINTAGE 4. yahir overknee dark green, GMBH 5. fire dress, DILARA FINDIKOGLU 3

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STYLE RIOT

Nadine Sami, a dynamic and multifaceted Lebanese-Egyptian influencer, has made waves not only as a TikToker but also as a fashion designer and a daring style icon. Her identity is intricately woven into a backdrop of diversity and complexity, being born into a cultural melting pot that embodies both Lebanese and Egyptian heritage. This chaotic, multicultural upbringing has influenced her perspective on self-expression and fashion. Motivated by a fervent desire to break free from societal norms and to challenge prevailing toxic patriarchal and gender-oppressive ideologies entrenched within her region, Sami has embarked on a journey to advocate for progressive values and inclusivity. Through her platform and creations, she strives to shift the narrative from fashion to a broader perspective, emphasizing ethics and breaking down traditional gender boundaries.

photography PROVIDED BY TALENT

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Every time I was not in a school uniform was a time for me to shine.

You have such a distinctive style, can you share the journey of how you discovered it? Was it a process of evolution?

I was always fascinated with clothes and I used to sit by my mother while she sewed the most intricate, colourful designs when I was a kid. When I came to Lebanon, I had to wear a strict uniform to school for 11 years. We got scolded for wearing the wrong colour of socks so this did not mix well with the slight problem I had with being told what to do. Every time I was not in a uniform was a time for me to shine (they didn’t let me wear my juicy couture fringe boots to school). This eventually escalated to me wanting to buy the things no one else wanted to buy and enjoying the reactions I got from doing that. I leaned to more unexpected shapes and colours and slowly started developing a personal visual style away from just wanting to see people’s reactions, but I do believe separating my choices from what other people expected from me was a great way to kick start my fashion world building. It was, still is and will hopefully always be, an evolving process. I’m a very mutable person and I enjoy seeing things like my personal experiences, my interests, the city I’m in affect the way I dress.

In your view, what defines the ideal winter wardrobe?

A nice, sometimes borderline absurd, amount of layering of different textiles, fur with leather, lace, knitwear... And then elevating the overall outfit by making it monochromatic! Writing this sentence alone just made me fantasise about the nearest winter storm.

Hailing from the Middle East, does your fashion challenge stereotypes or norms?

I believe anything that steps outside of ephemeral trends challenges fashion stereotypes in the region, so I definitely think that my visual language is challenging to the normal landscape, but so many of my peers also

1. jacobina shearling collarless coat open back, ANN DEMEULEMEESTER 2. black leather safety-pin corset, ss 2011, BALMAIN BY CHRISTOPHE DECARNIN 3. wedge tabi boots, MAISON MARGIELA 4. press-stud leather knee boots, Y/PROJECT

share that experience. I started buying unusual cuts and colours at local stores since I could first afford to, and I remember getting weird looks from the employees. I also got a couple “you’re the first person to even try this on” from those employees, which was the quickest way for me to finalise a purchase. I do believe I gradually grew more interested with elevating my own expression, as opposed to it being a simple act of rebellion.

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What story or message do you aim to convey through your personal style? How does it reflect your narrative?

I really want to find more ways to reflect elements of our culture in an elevated and accessible way. I think we have relied on visuals from the other side of the world for long enough, it really is time to look inward and notice what’s right in front of us. That is the ultimate essence of the visual style I would like to see myself portray easily and effortlessly. Our regional identities are so interesting and it’s unfortunate that we are almost used to turning our backs to it when it comes to our creative expression, especially in fashion.

Can you offer any guidance for individuals seeking to explore and find their own style identity?

Don’t be apprehensive about intimidating people, especially yourself. Experiment with 2 elements that are unexpected to even you and then see what sticks. A very fruitful piece of advice I got from an amazing instructor in fashion school is that simply liking something is not enough, you should understand why you like it.

Is it the colour, the cut or the way the fabric falls? Does it remind you of a childhood memory, a shirt your mother wore? The answers you can get from just asking yourself ‘why’, a question many are unable to answer, can be very insightful. This has been very useful to tune out the things that don’t speak to me personally. At a certain point it will be so easy to own only the things you absolutely love. Looking further than trends that won’t last more than a few weeks is also necessary, because it stands in the way of your own world building. ■

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YUNG X JLC

A CELEBRATION J a e g e r- Le C o u l t re c o n t i n u e s to p u s h i n n ova t i o n i n b o t h d e s i g n a n d wa tc h m a k i n g a n d i s

OF EXCELLENCE d e l i ve r i n g i m p e c c a b l e re s u l t s t h ro u g h i n c re d i b l e p i e c e s a n d s t u n n i n g a r t i s t r y.

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YUNG X JLC

Harmony in time Jaeger-LeCoultre’s blossoming collaboration with digital floristry sculptor Brendi Wedinger.

Jaeger-LeCoultre, the venerable watchmaker, continues to cultivate its cultural universe through the Made of Makers programme, unveiling a captivating collaboration with Brendi Wedinger. Renowned for her skill in 3D digital arts, sculpture, and floristry, the Los Angeles-based multimedia artist brings a distinctive vision to the world of horology with her unique blend of nature and technology.

Made of Makers seeks to transcend traditional boundaries, fostering collaborations and highlighting the links been watchmakers and artists from diverse disciplines. Rooted in creativity, expertise, and precision, the programme explores novel forms of artistic expression. Wedinger’s inclusion signifies a departure into the realm of contemporary art, pushing the boundaries of the unexpected.

Wedinger’s artistic journey, deeply rooted in Los Angeles, navigates the convergence of the natural and the digital. Her three-dimensional, digital artworks, inspired by biodiversity and sustainability, showcase a profound love for flowers. Despite the digital medium’s apparent contrast with organic themes, Wedinger emphasizes her commitment to traditional craftsmanship, using technical tools to sculpt and handdraw intricate details before employing mathematical equations to enhance textures.

For this collaborative venture, Jaeger-LeCoultre commissioned three surrealistic flowers inspired by the Vallée de Joux’s flora, a theme seamlessly aligned with Wedinger’s deep affinity for nature.

Her immersive experience at Jaeger-LeCoultre’s home at the Manufacture in the Vallée, surrounded by wildflowers and intricate watch components, informed the creation of these detailed, one-of-a-kind digital artworks.

“Everything about that visit – from the wildflowers in the fields, to the incredible complexity and tiny scale of the watch components and the patience and skill of all the different craftsmen in the Manufacture – was like a romantic fantasy world, so far from the lightning-fast pace of modern life,” says Wedinger. “Aside from the natural beauty of the valley, I felt very inspired by the high-complication watches and the unique details you find in them. I wanted the flowers to be complex and one-of-a kind, like the watches, with all of the beauty and immense detail that can be found in both.”

In a poetic nod to botanical tradition, each flower carries both a Latin and an English name, paying homage to Jaeger-LeCoultre’s Reverso legacy. Elements of poppy, alpine pasque, and grass of parnassus blend into the 1931 Golden Poppy. Poet’s daffodil, red hemp nettle, and late spider orchid form the 1931 Golden Orchid. Water mint, scabious, and fringed pink, contribute to the creation of the 1931 Golden Thistle.

Further blurring reality, Jaeger-LeCoultre commissioned a French plant breeder to create a unique hybrid, the 1931 White Orchid, echoing the form of Wedinger’s digital, golden, masterpiece.

Wedinger’s surrealistic flowers juxtapose the organic with the metallic, the digital with the physical, creating tension and intrigue. This collaboration not only celebrates the artistic fusion of nature and technology, but also introduces a tangible representation of Wedinger’s art with the 1931 White Orchid, ensuring a lasting legacy within Jaeger-LeCoultre’s visual identity.

As Jaeger-LeCoultre continues to explore uncharted artistic territories, the harmony achieved through this collaboration resonates as a testament to the enduring connection between the timeless precision of watchmaking and the ever-evolving realm of contemporary art.

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words MENNA SHANAB photography MOHAMED REX

FINDING HOME

What is home? Is it a physical location? A comfort zone? A memory? The soft lull of your computer? The smell of your mother’s cooking?

Roots firmly grounded in Sudan, these three artists suddenly found themselves pulled from the soil of their land and replanting their seeds in Egypt. These are their stories. This is how they’re finding home.

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STITCHING FOR CHANGE In Cairo, Hadeel Osman is navigating a new reality, carving out a new chapter. Born under different skies, in the UAE, Osman’s journey through Malaysia and the US forged a path back to her roots in Sudan, only to find herself re-routed to Egypt by war. “Multi-hyphenate” doesn’t begin to describe her. Osman is a force in sustainable fashion – a consultant, designer, researcher, stylist, and a voice for the untold stories of African fashion.

“Fashion has always been a part of me,” she reminisces, her mind wandering back to days spent lost in a sea of fabrics, textures and colours, tirelessly experimenting with her parents’ vintage collections, mixing and matching into oblivion. “I’ve always loved fashion,” she says, recalling the lessons in sewing from her grandmother and how she relished being part of the process of making custom clothes with her mother.

Her path led her to Sudan in 2018, a move that catalysed the creation of DAVU Studio – standing for “designing a visual utopia” – a creative sanctuary where art, design, education, and sustainability converged.

It was here that Osman began to fuse her creative direction with her advocacy for sustainable fashion, aiming to revolutionise the industry by embedding practices like art direction, prop making, and styling into her productions.

However, Osman’s journey took an unexpected turn during a visit to Cairo, which was only intended as a holiday. The outbreak of war in Sudan turned her brief visit into an indefinite stay. “Initially, I came to Cairo for a holiday,” she explains, “but the war broke out, and I couldn’t return.” This displacement was a challenging transition, from being a multifaceted professional in Sudan to facing the uncertainties of the Egyptian market. “It was definitely very tough for me,” Osman admits, discussing the difficulty of adjusting to a new professional landscape while grieving for her home and seeking ways to earn a living.

In Egypt, Osman found purpose in working with the Hub for Artists from Sudan, aiding fellow Sudanese artists who were also affected by the war. This role, deeply personal and reflective of her own experiences, “was both challenging and healing,” she reflects, emphasising the empathy required to help people grappling with immense loss. “Understanding their mental state, the agony they felt, and their perseverance to build a new life in their new found reality was not very difficult, because I also needed to be surrounded by such a community,” she admits.

The five-month program offered scholarships, workshops, and mentorship, in hopes of fostering a community where artists could heal and regain their creative voices. “There’s this overwhelming grief, that hits like a ton of bricks every day when I wake up and a huge sense of conflict between the desire of moving forward and embracing whatever is left of life, while looking back at what once was,” Osman shares, “but I am proud of the Sudanese community for coming together in Egypt, supporting each other through discussions, collaborations, and cultural events.”

Osman’s advocacy for sustainable fashion is the main thread that runs through her career and at the heart of her ethos is the fight against overconsumption, particularly in the African context. “Overconsumption is not for us,” she states firmly, highlighting the inherent sustainability in African traditions. She emphasises the importance of conscious consumption, urging a return to traditional methods of clothing production. “We as Africans have been adopting sustainability long before it became a trend, we just didn’t know there was a name for it,” she asserts.

Osman’s accolades are as diverse as her experiences. Named in Forbes Africa’s 30 Under 30 and the 100 Most Influential Young Africans in 2020, she is truly an unstoppable force. Her work with the Fashion Revolution and as a board member of the Union of Concerned Researchers in Fashion speaks volumes of her steadfast commitment to reshaping perceptions of African fashion.

Osman’s dream is of African fashion brands that not only create jobs, but that also respect and harness traditional methods, marketing their creations to a global audience. “I want to see more African brands upcycling, designing with the planet in mind, and marketing their creations to the global north,” she asserts, committed to educating and advocating for a sustainable fashion industry through her work. “I plan on providing consultations to said brands, traders and designers, to educate through my workshops, to continue with my advocacy work while also designing clothes that are both circular and functional.”

Hadeel Osman, a fashionable humanistic rebel, as she describes herself, leaves us with one message: “I want people to be conscious of their consumption, to connect with their materials on a more human level, questioning who made them, how and whether or not they received a fair wage, to support and uplift traditional and folklore methods of making clothes, to modernise them and sell them back to the global north that is polluting our lands with second hand garments they have donated to us without us asking for charity.”

IN MEMORY OF HUSSAM OSMAN HAMID SULIMAN My brother Hussam is the most white hearted and pure-intentioned person I’ve ever met. Being a young man in Sudan with hopes, dreams, and the desire to better his life, while living in a system that opposed all of this, is not only challenging but also heartbreaking. Still, he remains a dedicated son, brother, uncle, cousin and friend.

I refuse to speak about Hussam in the past tense, because we may have had to bid his physical form farewell, his soul, however, is always with us, in our mind, heart, every word, memory, thought, prayer, video, picture, text message and voice note.

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FINDING HOME

MAMAN: FIGHTING FOR MUSIC On the 11th of June, the day he turned a year older, Mahdi Ali Nouri, known artistically as MaMan, crossed the Egyptian border. It was his birthday – a “synchronicity”, as he called it. But this year, the candles were replaced by the grim reality of fleeing his homeland amid war. He departed Sudan as it spiralled into war, carrying not just his belongings, but the weight of leaving behind everything familiar.

Amidst the chaos of relocation, “I tried to do as much good as I could along the way,” he reflects, his efforts to contribute positively became a coping mechanism in the face of displacement and loss. “I didn’t want to feel like a burden. Fixing speakers at the mosque, helping out where I could.” This transition, though marked by fear and uncertainty, was also a quest for stability and meaning. “It’s about feeling useful.

It wasn’t about the future then; it was about finding a stable place to think about what comes next.”

“There’s still a feeling of Sudan here in Egypt,” MaMan muses, but his eyes are set on the future, on finding a place to call home. “I’m keeping my options open,” he says, aware that while Sudan rebuilds, he too must reconstruct his life and career in a land that is both new and familiar, in hopes of returning one day with something to contribute.

“Moving from Sudan to Egypt is a life-changing experience,” he states.

“You can try to put whatever label on it, but it is a life changing experience on the simplest level.”

The war in Sudan uprooted him from the comfort of his cherished studio, a small room on his roof, which he fondly called the ‘fourth dimension’. “Leaving Sudan meant leaving behind my comfort zone, my studio, my space where time flowed at a different pace,” he recalls fondly.

“But it also opened my eyes to the broader canvas of life and music.”

MaMan’s story starts in Khartoum. It was here, in the age of Bluetooth, when sharing a song felt like a clandestine operation, that MaMan began to find his voice. It was a time when the seeds of Sudan’s rap culture were just being sown in places like the Greenyard, where rap battles and lyrical showdowns drew in crowds and birthed legends.

“There was always people rapping and I used to go to be like, here, I’ll show you my song. I’ll send it to you on Bluetooth or put it on Zip Cloud and then 200 people download it, you’re like, Oh my God, who are these people downloading my stuff?”

Mahdi’s early days were a mix of experimentation and discovery. “In high school, I used to DJ with a computer, an actual CPU,” he laughs.

His journey into music wasn’t always linear. It was a series of starts and stops. “I used to quit a lot of things” he admits. “I would learn violin and then quit. I felt like music wasn’t there always.”

But it was in singing that he found something unshakeable. “It’s like something awoke in me when I started singing. It became a form of healing,” he reflects. “I think I did it out of spite at first. Nobody wanted to take it seriously. So I’m like, OK, cool. I’ll tell you what, I’m actually doing it. So I did everything – write, sing, engineer, make beats, manage artists,” he says. This do-it-yourself spirit catapulted MaMan into the heart of Sudan’s evolving scene.

He started rapping at 16 and that later gave way to singing, his velvety voice finding a home in the rich textures of R&B. Collaborations and experiments followed, leading to the release of his debut EP, “Eyes of a Gemini,” a project that showcased the duality of his persona and his knack for storytelling.

The EP was a breakthrough, but it was just the beginning. MaMan was part of Nuslang, and later formed “Young JustUs,” a group that eventually evolved into a label, under which he released “1991” – an album that echoed the love and suffering of the times. His music, deeply personal and reflective, culminated in “Shammasi,” an album that explored themes of depression, fear, isolation, and hope – mirroring Sudan’s own identity crisis.

Music, for MaMan, is a deeply spiritual affair. “It’s something I’m fighting for to keep in my life. And to make work with reality. I had to make it my bread and butter,” he affirms. “Music is equal to life and family for me.” This belief guided him through a three-year hiatus from music, a time for self-discovery and redefining his sound. This, however, was interrupted by war.

Amidst the upheaval, he managed to salvage some of his work, which he physically carried over to Egypt. This act of preservation became the foundation for his new project – a blend of tracks from Sudan and new creations in Egypt. “The idea of releasing wasn’t so important then. But coming to Egypt, the past six months were about releasing and processing what happened,” he explains. MaMan’s new work is truly emblematic of his transition, both literally and metaphorically.

In this new phase of his life, MaMan continues to speak through his music, “I speak to myself through this music, and it sounds like I’m speaking to people, but maybe I am speaking to people too.” Through all these transitions, MaMan has been guided by a philosophy that goes beyond music: “Always look through someone else’s perspective. It’s the best way to live selflessly.”

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FINDING HOME

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THE LEGENDARY RIDE OF ROTATION Emerging from a lineage steeped in musical tradition and Sufi spirituality, Tamer Siddig, aka RoTation, communicates best through lyrics and melodies. His catchphrase ‘Jamdean’, a term deeply ingrained in his personal history, frequently surfaces in his dialogue, peppering his speech – a nod to his early forays into music with ‘The Jamdean Crew’, a collective that marked the beginning of his journey into the world of music in Sudan. From the traditional madeeh, or spiritual chanting, compositions written by his father, Al-Shaikh Al-Sharif Siddig, to the lively Sudanese music played by his mother, RoTation’s earliest memories have always revolved around music.

His musical roots were planted in his childhood home in Omdurmán, where his father, Al-Shaikh Al-Sharif Siddig, composed madeeh.

“I would always see him writing,” he recalls, “I’d see him humming into an old voice recorder, capturing melodies that would later come alive in the voices of the madaheen.” This early exposure to the art of melody, coupled with his mother’s love for Sudanese legends like Zidan Ibrahim, laid the foundation for his future in music.

As a child, RoTation’s introduction to playing music was almost serendipitous. Encountering the “tar,” a percussion instrument used by the madaheen in their spiritual songs, and with no formal training, he instinctively picked up the rhythms, joining the ensemble as if he had always belonged. “I’d simply pick up the tar, observe, and imitate their playing, naturally finding my place among them,” he recalls, reflecting on how these early experiences began to hone his innate musicality.

It was his big brother, Wax, though, that was his main influence. “He is the person that actually got me into music and singing,” he says.

“When I was six years old, he came and played me some Tupac in my ears. It was ‘Only God Can Judge Me’. It was like a whole new world opening up.” This exposure to Western hip-hop, combined with his Sudanese heritage, would later become a hallmark of his style.

Upon moving to Sudan at 11 from the UAE, in the streets, images of rappers and icons like Craig David sparked a new curiosity in him. “I started getting Eminem tapes, 50 Cent’s ‘Get Rich or Die Trying,’” he recounts. He reminisces about discovering Craig David through cassette tapes, marking the beginning of a lifelong love for R&B and hiphop. “I wanted melodies. I wanted more melodies,” he says, reflecting on his evolving musical taste that eventually led him to explore reggae, jazz, and blues.

Post-high school, RoTation, then known as Big T, began experimenting with music. His journey as a performer began in 2008, at Papa Costa, a family-owned restaurant in Downtown Khartoum. “There was this open mic organised by my brother and his collective, ‘The Jamdean Crew.’ “I wrote an R&B acapella for it. It was my first performance.

The audience’s emotional reaction was crazy. There was this girl in the audience, crying as I sang. That moment, I knew I had something special,” he recounts. “Then it started with yo, why don’t you hop on a verse?” And so he began dipping his toes into the music-making world, with the support of The Jamdean Crew.

A subsequent hiatus in Malaysia for college marked a pause in his musical journey, but economic challenges in Sudan beckoned him home.

So, he returned to Sudan and found himself performing again. He recalls, “I started attending open mics again, teaming up with my friend Bonez and his band. We did covers, started writing. It felt like coming home.” This resurgence was a rebirth of sorts, a rekindling of the musical flame that had been temporarily dimmed.

“After college, I had a religious phase where I stopped making music. It was a time of inner conflict, but it taught me discipline and the importance of letting go of grudges.” This period was crucial for his personal growth. “Then there was a moment, I was in the shower and I started singing “Days of the East” by Drake. I was thinking, God forgive me but I missed the song so much. It was like a guilty pleasure, but it reignited my love for music.”

The birth of RoTation, the artist, was almost predestined. Searching for a new identity, he found inspiration in an unexpected moment of camaraderie. “One day, chilling at Capital Radio, someone asked about ‘the rotation’ of the smoking circle. That’s when WillyWill suggested ‘Rotation’ as my name. It just clicked,” he says with a sense of destiny.

“I slept on it. The next day when I woke up, I was convinced,” he reflects “So, I wrote my first song as RoTation “Green.” No beat, I was just humming in my head, just like my dad used to do but with words not just melodies.” The inspiration for “Green” sparked unexpectedly when he saw a sign for “The Greenyard,” a massive green space where rap battles went down. On the bus ride home, his mind raced with the rhythm and lyrics of the song, eager to lay down his thoughts.

Upon reaching home, his eagerness to materialise the song was so intense that he didn’t even pause to switch on the lights. “A few days after my birthday, we released Green on Soundcloud. I didn’t want my face to show. I didn’t want anyone to know who RoTation was.”

His artistry transcends simple imitation. With an uncanny ability to oscillate between fast-paced rap and heartfelt vocals, he skillfully weaves English and Arabic in his lyrics, crafting songs that feel both deeply personal and universally relatable. As one of the core members of the Sudanese rap collective NuSlang, RoTation has collaborated with heavyweight Sudanese artists like TooDope, Blvxb, Soulja, and MaMan, crafting hit after hit that transformed the Sudanese scene. His work with producers like WillyWill and Saji has further honed his distinctive style, a fusion of R&B, hip-hop, and soul trap, infused with his Sudanese flair – a danceable concoction that pays homage to the 90s southern hip-hop from which trap music originated.

Now in Cairo, he is both taking stock and looking forward. In Sudan, he left behind his father’s house, material possessions, and even certain mentalities. “I always used to believe that I’m supposed to be living in Sudan,” he said. “But I left behind the concept of going back,” signalling not just a physical departure from Sudan but a mental and emotional shift towards a new future.

In his forthcoming project, RoTation aims to revisit his musical beginnings. “This new project, a four-track EP, is about returning to those roots, to the melodies that have always been a part of me. It’s not about exploring new territories, but about embracing and reinterpreting the sounds that shaped me,” he shares.

RoTation’s journey, marked by the ebb and flow of life’s unpredictability, is a mirror of the rhythms of his music – sometimes soulful, sometimes upbeat, but always deeply human. ■

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FEMME

curated by NUJOUD OWEIS

FEM M This issue’s YUNG Beauty Favourites highlights the allure of pink in a homage to resilience, as we delve into a curated selection of beauty and skincare products.

Pink embodies softness and grace where each item symbolises the strength inherent in self-care and skincare routines – how they adapt, and empower. We invite you to embrace both beauty and strength in your daily rituals.

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loubidoo rose limited edition eau de parfum 90ml, CHRISTIAN LOUBOUTIN

DRIES VAN NOTEN Dries Van Noten’s Raving Rose eau de parfum is a rebellious and flamboyant creation, where the iconic scent of rose is transformed into a modern, spicy sensation, featuring notes of pink and black pepper, Rosa Water, Rose Absolute, and a base of Cashmeran and Musk, with 90% naturally-derived ingredients.

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HUDA BEAUTY Huda Beauty’s Easy Bake Loose Powders, influenced by Huda’s makeup philosophy, offer a seamless and lightweight texture for a matte yet subtly luminous finish. Perfect for long-lasting, shine-controlled makeup, these powders subtly colour correct and highlight facial contours, leaving a translucent veil of radiant colour.

CAROLINA HERRERA Carolina Herrera’s Fabulous Kiss Lipstick comes encased in a refillable, signature House print cap for an elegant, sustainable beauty experience. Start by choosing the lipstick refill that suits your preferred texture and shade, then complement it with one of their stylish cap designs for a luxurious aesthetic.

PRADA The Prada Paradoxe Intense fragrance redefines strength with delicacy, capturing the intense signature of a woman in perpetual self-reinvention.

The floral, ambery scent intensifies delicate ingredients like jasmine and amber, enhanced by a moss accord, creating a captivating expression of femininity.

LOEWE LOEWE Home Scents Ivy offers a honeyed floral fragrance that captures the essence of the evergreen vine. This delicate and soft scent is beautifully expressed in a subtle shade of pink, creating a sensory experience reminiscent of the sweet and aromatic characteristics of ivy. The soap bar becomes a luxurious addition to your home, infusing a touch of nature’s elegance into your surroundings with its captivating fragrance.

BENEFIT COSMETICS Crafted originally for a 1970s exotic dancer, the Benetint rose-tinted lip stain has achieved cultfavourite status.

Renowned for its kiss-proof and long-lasting colour, it has become a beloved choice among celebrities, makeup artists, and women globally.

ANASTASIA BEVERLY HILLS The Anastasia Beverly Hills Brow Freeze Gel is a unique brow wax-gel hybrid, equipped with a dual-action comb applicator, ensuring precise shaping, sculpting, and extreme hold for your brows on-the-go. Upon application, you can achieve lifted, laminated-look brows infused with the benefits of hair-loving frozen technology.

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HAUTE COUTURE, HAUTE HORLOGERIE

Haute Couture, Haute Horlogerie Audemars Piguet and Tamara Ralph come together to create something remarkable.

The exquisite Audemars Piguet Royal Oak Concept Flying Tourbillon Limited Edition is the result of a creative collaboration between the famed watchmaker and Haute Couture designer Tamara Ralph. This unique creation represents the harmonious blend of femininity, creativity, and precision craftsmanship in this exclusive 18-carat pink gold timepiece.

In collaboration with renowned designer Tamara Ralph, Audemars Piguet has released the Royal Oak Concept Flying Tourbillon Limited Edition. Unveiled during Tamara Ralph’s Spring/Summer 2024 Haute Couture Fashion Week runway show in Paris, this 18-carat pink gold masterpiece exudes timeless elegance with its Frosted Gold and graded hues ranging from brown and bronze to golden tones.

Inspired by the synergy between Haute Horlogerie and Haute Couture, this collaboration celebrates the enduring partnership between Audemars Piguet and Tamara Ralph. The design, capturing the spirit of both brands, showcases rich materials, unique colour palettes, and ultimate precision, resulting in an exquisite limited edition timepiece. The watch was presented on 22 January during the show in Paris.

Tamara Ralph said of the collaboration, “My intention for the design of this piece is for it to capture the spirit and craftsmanship of both my brand as well as Audemars Piguet. The complications of watchmaking orchestrate a foundation which can be played with in terms of textures, colours and designs, allowing for the savoir-faire of couture to shine through.

Rich materials, unique colour palettes and ultimate pre-

cision are combined, creating an exquisite limited edition of the Royal Oak Concept Flying Tourbillon, inspired

by Haute Couture.”

“Tamara’s endless quest for perfection perfectly echoes our watchmakers’ dedication to pushing their craft to the limit. We are delighted to start 2024 in collaboration with such an inspiring woman and it is only the beginning!” said Ilaria Resta, Chief Executive Officer, Audemars Piguet.

The Royal Oak Concept Flying Tourbillon features a refined play of textures and light. The 18-carat pink gold case adorned with Frosted Gold, an ancient Florentine jewellery technique revisited by jewellery designer Carolina Bucci and adapted by Audemars Piguet artisans in 2016, creates a sparkling effect akin to precious stones.

The multi-layered dial, inspired by Ralph’s bold femininity, showcases a ripple effect in graded hues from brown to golden tones.

Powered by the hand-wound Calibre 2964, the timepiece combines tradition with modernity. The flying tourbillon at 6 o’clock, visible through the glareproofed sapphire caseback, symbolizes the delicate balance between lightness, precision, and elegance.

Audemars Piguet’s legacy with the Royal Oak Concept, introduced in 2002, has evolved into a platform of experimentation and innovation. The collaboration with Tamara Ralph continues this legacy, merging bold and powerful aesthetics with the sophisticated luxury of Haute Couture. ■

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INTIMATE, ELEGANT

INTIMATE, ELEGANT

photography ZOË GHERTNER styling LOTTA VOLKOVA

talent EMMA CORRIN; art direction EDWARD QUARMBY

Miu Miu Holiday redraws codes, bringing classics to the fore and celebrating contemporary style.

In a spellbinding fusion of intimacy, elegance, and charm, Miu Miu Holiday transcends traditional boundaries, redefining cultivated dress codes for the contemporary soul. In a campaign starring award-winning actor Emma Corrin, the collection unfolds within the sanctuary of a private space – a home pulsating with infinite possibilities and interpretative allure.

Miu Miu Holiday is nothing less than a symphony of relaxed opulence and languor, all set against the backdrop of a filmic environment. The protagonist, someone of cultured confidence, resides in a space adorned with soft carpets and framed by precious antiques from distant realms. Here, the wardrobe mirrors the layers of the soul - a manifestation of meaning.

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INTIMATE, ELEGANT

“Miu Miu Holiday isn’t just a collection; it’s a celebration of individuality, elegance, and the ceaseless innovation that defines the Miu Miu spirit.”

In the intimate dance of textures and fabrics, fluid black cady, shearling, and tactile tweeds intertwine with sparkling organza embellished with crystals. Each piece, an ode to archetypal sophistication, breathes life into dress codes renewed, contemporized. Glossed leathers, supple cashmere, and jersey garments provide not just attire, but a canvas for freedom of movement and effortless allure.

The Miu Miu narrative unfolds with a bold remix of prototypical garments. Cardigan jackets elegantly drape over micro-mini or knee-length pencil skirts, each layer worn over lingerie – a celebration of individuality and unexpected juxtapositions. The collection invites surprise, creating an atmosphere where tradition and innovation intertwine seamlessly.

Rooted in an appreciation for the glamour and elegance of eras past, Miu Miu Holiday enriches and informs its aesthetic, always with an eye on the present and future. Alongside this enticing campaign, a collaboration with Marshall birthed an iconic line of joint products, while a partnership with Polaroid brought forth cameras adorned with branded web camera straps – a testament to Miu Miu’s commitment to innovation.

Under the art direction of Edward Quarmby and lensed by the visionary Zoë Ghertner, the Miu Miu Holiday campaign finds its unique stylistic voice through the expertise of stylist Lotta Volkova. With actor Emma Corrin as its muse, Miu Miu Holiday isn’t just a collection; it’s a celebration of individuality, elegance, and the ceaseless innovation that defines the Miu Miu spirit. ■

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DRAWING TRAUMA

DRAW ING TRAU MA Lebanese artist, writer and musician Mazen Kerbaj uses his art to tell tales that need telling and to cope in the face of crisis.

artworks SUPPLIED BY TALENT

words LOUIS PARKS

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DRAWING TRAUMA

Mazen Kerbaj is funny. The sort of funny that’s understated, but always there. He’s interesting to talk to.

There’s a dark, sardonic twist to much of what he says, and underneath there’s a sharp wit that needs to express itself.

A multi-hyphenate, Kerbaj is an artist, a comic book artist, a writer and an experimental musician. Living in Berlin, he’s a true Beiruti. The son of famed painter Laure Ghorayeb and the actor Antoine Kerbaj – who, as Kerbaj points out, was actually the more famous of the two in Lebanon when he was growing up – Kerbaj has always been surrounded by art, “So definitely there was a kind of artistic vibe, let’s say, in the house. But that said, my brother and sister, who are both older than me, have nothing to do with this,” he says with a chuckle, “I remember my father always saying, you know, choosing an artistic path is really a lot of sacrifice. It’s not as glamorous as you think and it’s not as easy.”

Art and writing certainly was easy for him and he sailed through his classes at school, “I had a fascination since very early on with the specific language of comics, which is not necessarily writing and drawing, but telling a story through drawing,” he says. “Before I learned to read, I would just flip through different comics and then go and tell the story to my mum, you know, half of it, inventing it, but it’s a language that speaks directly to me, and my fascination with it is still as vivid today.”

Working with this universal language, Kerbaj’s style has developed over time, “I’m horrified by the idea of having a style, like some authors and writers and painters, who have a style and stick to it for all their life and then make it a little bit better all the time, I just don’t want to be like them,” he says. The end result is a contemporary take on comic book art, frames, or individual frames, sharply focused to convey an idea, “one of my approaches is really more made for the press or for posters, or for things like this and it’s more, kind of funny, but in a very dark way, dark humour, and another approach is much more of a poetic one and less funny or not funny at all,” he says, tailing off at the end.

Less funny. Or not funny at all. Much of what Kerbaj produces these days certainly isn’t funny. While a lot of his work focuses on the passing of time, a subject which fascinates him, much of his recent work has dealt with a topic that’s decidedly unfunny. The plight of the Palestinians.

“I don’t know how to put it, it affects me on kind of a 100% scale, like everything in my life is affected by it and like many of us, it’s cutting,” he says quietly. That’s not an uncommon refrain. The current conflict is affecting people all over the world, but the Arabs more than anyone. “It’s like from waking up until you sleep, it’s there, and the days I do not draw, I’m totally depressed. I don’t know if I’m depressed because I didn’t draw, or I’m not capable of drawing because I’m too depressed. Drawing really helps me to cope,” he says.

Kerbaj is Lebanese and grew up during the Civil War. Having seen and heard the sounds of conflict, like most of his generation, he has a clear affinity for the Palestinians. “I mean I can relate because I’m Lebanese and they are Palestinians, and I can relate because I lived the Civil War,” he says. The result is that his art comes not only from a place of empathy, but of understanding and commonality.

His output is prolific, and it floods social media. Simple comics, simple ideas and simple text, they’re powerful and provoking. They speak to suffering, to a pain that seems to engulf all Arabs, from the Levant and further afield. Palestine and Lebanon. Until recent times, there were no clear borders between the two, the people came and went, intermarried. Their cultures are intertwined, incredibly similar. Beirut was a melting pot where people from all over the region and further afield came and went. The connections between the two are age old.

“I think I’m really navigating under the radar while getting a lot of attention at the same time.”

But why the seemingly endless posting, as if a stream of consciousness? There are two drivers. The first he touches on is a powerful idea, “I think we all share the same idea of helplessness and of depression and of being affected on any level, I think we all share the same pain. … I see comments on my drawings [on Instagram] that say, “Yeah, I thank you for expressing exactly what I’m feeling every day”. You know, I keep receiving these comments,” he says. People around the world are leaning on the works of Mazen Kerbaj in these times of despair. And it is despair for many. This latest bout of pain and suffering has affected people like never before, perhaps as it is so laid bare by social media. Perhaps because the West, the true power, doesn’t seem to care.

Kerbaj has mixed feelings about the power of the ‘Gram. “It’s really a double-edged sword, on one hand it is fantastic because you can arrive anywhere in the world, the other is that you cannot arrive with everything anywhere in the world because they could stop you.” He’s referring to the “shadow ban”, the apparent fact that certain posts with certain tags are somehow suppressed, gaining fewer likes than others.

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DRAWING TRAUMA

“I consider myself very, very lucky in this war and specifically in what I’m doing, because as long as I do not write in the caption of the drawing “Gaza” or “Palestine” or whatever, it’s a drawing, the algorithm cannot see it, it’s like I could write whatever I want in it … the algorithm for images cannot see the body or the explosion, or all the horrors we are seeing. So, I think I’m really navigating under the radar while getting a lot of attention at the same time,” he says. It wasn’t planned, but, given the existence of the shadow ban, it seems fitting that Kerbaj’s simple style has circumvented this technological issue. So far, he’s managed to avoid any problems.

That’s not to say that Kerbaj is not filtering his own work, he is. Not from fear of the authorities, but rather from the desire to bring people in, to allow them to view his work for what it is, he self-censors out of “a kind of need of bringing people in, not antagonizing,” he doesn’t want to give anyone a reason to point the finger at him, to question his motives or to discount what he’s saying. It’s all about inclusive suffering if you like, as sad as that term is. Kerbaj is telling a simple tale, that people are suffering horribly, it’s one that has to be put out there. No politics, no antagonism, just shouting it from the rooftops, doing his part in what he calls, accurately, “a war of communication”.

Throughout our conversation, Kerbaj has been witty, melancholic, and determined. He quietens when, toward the end, we talk of duty. “Laure died in February 2023. And since then I wasn’t capable of doing any anything, I would do some project, play a gig here and there, and draw something, but I wasn’t capable of working on a project with stamina, I wasn’t able to keep my head on it,” he says, “But, somehow what’s happening in Palestine healed me from the death of Laure, like I had to see some people in a tragedy way bigger than my own.” Pause for a second and consider. A man creatively paralyzed by the death of his mother, reawakened by the suffering he saw.

As for duty, Kerbaj is conflicted, “I do tend to think that I hate this idea of artists having a duty to be engaged, and I always considered myself as a total independent, personal and a political artist, so it’s funny, for somebody who knows my work, when I say I’m apolitical they almost fall from their chair. But somehow politics keeps inviting itself into my work,” he says. “Art, for me, I believe in it, you know, like it’s something I have to do and I do it for myself and it’s almost, if I want to make a Christian comparison, for my redemption.” Kerbaj is back to passion here, speaking forcefully, but the sadness re-emerges, “There are drawings that I made for Gaza [in 2008] that I keep drawing again and again, you know every four years, and they always feel up-to-date, like all the drawings I’m doing today. Unless this thing is solved it will be [as real] as ever tomorrow, and in one year, and in ten years, and this is really sad, so…” One thing’s for sure, Mazen Kerbaj will keep making his comics and more power to him. More power to him. ■

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CONCRETE FREEDOM

photography BEN BRAVENEC, SEREEN & LYDIA

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CONCRETE

FREEDOM SkatePal and the creation of a self-sustaining skating community in Palestine

words MENNA SHANAB

photography KEISHA FINAI 2019

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CONCRETE FREEDOM

“Right in the beginning, when I first went off to school, I had my skateboard, and I could see kids were quite excited by it.”

Though he didn’t know it at the time, the genesis of SkatePal occurred when Charlie Davies, then an English teacher, was skating through Jenin’s streets with his board after class. At the time, Davies never imagined that his routine would ignite a skating revolution in Occupied Palestine. “Right in the beginning, when I first went off to school, I had my skateboard, and I could see kids were quite excited by it,” Davies reminisces. “They hadn’t really seen anything like it.” In a region where overcrowding and the constant specter of violence limit play spaces, the novelty of skateboarding stirred a wave of excitement among the youth. This simple act of skateboarding, so common in some parts of the world, was new here, and it quickly caught on. They were drawn to the freedom and fluidity it offered, a stark contrast to their daily realities.

The attention it garnered from local children sparked an idea that eventually grew into a mission. “I wasn’t surprised that the kids were into it,” Davies reflects, acknowledging the universal appeal of skateboarding. “But I wasn’t sure how other people would react. Because obviously skateboarding in say, America or Europe or East Asia, it was seen as counter culture, and people didn’t necessary like it initially.

But people generally saw it as something without any cultural baggage, be it good or bad.”

Unbeknownst to him at the time, Davies’s later return to Palestine, post his Arabic studies in the UK, marked the beginning of something profound. In 2013, he launched SkatePal’s first project in Ramallah. “I reached out to some local groups, and one in Ramallah jumped on board. We didn’t know if it would take off, but the kids were all in,” he says. “We had kids coming for three, four assessments, six sessions every day at six-week summer camp. And that’s when I met Aram.

We hung out every night, skating together. It was nice.”

Davies’s initial vision of a one-time project quickly snowballed into something larger. “We thought it’d be a one-off thing, but then more folks wanted in. It got bigger than just skating around,” he says. This transition from a passion project to an organization was spurred by the realization that official status would allow for broader reach and impact. “Becoming an organization meant we could officially accept donations and expand our activities.”

In Palestine, skateboarding was free from the counter-culture tag it often carried in the West. “It was just skateboarding, plain and simple, without any preconceived notions attached to it. People were open to it, which was heartening,” Davies explains. The unadorned introduction of skateboarding allowed it to seamlessly integrate into the local culture.

Under Davies’s leadership, SkatePal has constructed a handful of skate parks across Palestine, creating more than just physical structures, but fostering community spaces for kids to momentarily escape the harsh realities of life. Their first park in Asira Al-Shamaliya in 2015, followed by others in Ramallah, Al-Bireh, and Jayyous, exemplifies this. By working with local organizations like The Palestinian House of Friendship, SkateQilya, and Asira Al-Shamaliya, SkatePal ensures that it effectively integrates into the surrounding Palestinian communities and that their projects are for the benefit of the people accessing them.

Davies quickly realized the importance of long-term commitment and local involvement. “I think at the beginning, I thought I it would just be like, I build a park and hand it over to someone to manage it. But over the years, I realized that we have to be committed for, at least, five years in a place,” he notes. This commitment meant building relationships, understanding local dynamics, and fostering local leadership.

“We teamed up with local NGOs and councils for our big projects. It was about building trust and making sure we were all in this together,” he says. “We wanted the projects led by local people because it’s never going to grow if people are waiting for us.” This approach wasn’t just about building skateparks, but about nurturing a sense of ownership and participation within the community. “It was important to spend a lot of time in the place and get to know the kids and their families. Davies knew from the onset that for SkatePal to thrive, it had to be embraced by the locals themselves. “We wanted to get away from the idea of waiting for the ‘white guy’ to arrive,” he explains. A crucial aspect of SkatePal’s mission is empowering local skaters.

Aram Sabbah, once a beneficiary of SkatePal, now manages their sites and coordinates classes and volunteer programs.

photography KEISHA FINAI 2019 ASIRA JONO

photography TOM PAJDLHAUSER ASIRA

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Under Davies’s leadership, SkatePal has constructed a handful of skate parks across Palestine, creating more than just physical structures, but fostering community spaces for kids to momentarily escape the harsh realities of life.

CONCRETE FREEDOM

photography KEISHA FINAI 2019 RAMALLAH

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photography BEN BRAVENEC_2019 SEREEN

photography KEISHA FINAI 2019 ASIRA

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CONCRETE FREEDOM

Beyond physical activity, SkatePal has opened doors to education and personal development. Davies notes improvements in English proficiency among the young skaters, a by-product of their interaction with international volunteers and a reflection of the broader educational implications of their programs. Through skateboarding, they find both an outlet for expression and a path to better concentration in class. But more than that, SkatePal offers a space of play and freedom—a rare commodity in a place where such opportunities are scarce.

Navigating the complexities of bringing skateboarding to Palestine, Charlie Davies encountered more than just cultural barriers, he also faced logistical nightmares, particularly with Israeli customs and the unpredictability of shipments. “You have issues in terms of actually getting in, through Israel, and sending things on the customs and imports. It’s sort of arbitrary, hard to manage, and expensive,” Davies explains, detailing the challenges SkatePal faces in their mission. The unpredictability of these shipments added another layer of difficulty.

“Sometimes we did a shipment, and only half of it gets through; other times, it gets lost,” he shares, highlighting the obstacles in setting up a sustainable supply of skateboards.

This issue of supply extended to the viability of skate shops in Palestine. “Just having a skate shop on its own is not a very lucrative job,” Davies admits, pointing out the need for diversification in their approach. “In places like Edinburgh, skate shops rely on selling not just skateboards, but also other items like shoes and brands like Carhart.

It’s challenging to maintain enough skateboards all the time without selling other stuff.”

Sabbah, now a key figure in SkatePal, also underscores the importance of self-sufficiency. When asked about his dream for the future of skating in Palestine, he envisions an empowered, independent skate culture. “My dream is simple. I hope we can have our own skate shop and more skate parks. I want skaters to have all the equipment they need, to use skateboarding as a tool to feel free, to face the world and the occupation,” Sabbah expresses passionately. His vision extends beyond equipment. He seeks more support for sports and the expression of individual identities. “I want to lift my young students, help them become tomorrow’s skaters in Palestine, not needing to rely on NGOs. I envision them as one family, united and self-reliant.”

Davies and Sabbah both want a self-sustaining community, where skateboarding is a symbol of freedom and personal expression. The journey wasn’t just about building skate parks but also about nurturing a culture. Davies observed, “Going forward, in the future, another issue that that you’re going to see obviously, is that a lot of the older skaters who could be the ones to stay and grow things long-term, they’re going to want to emigrate somewhere else. And I don’t blame anyone for wanting to do that. I think I would do the same.” Recognising this, the focus shifted to creating a sustainable skateboarding ecosystem in more populous, urban settings like Ramallah, where there was more potential for growth. “Because if you do it in the villages only, you do a lot of good in the community, and you can build up leaders, but then often those people will leave the village. And so if you have them in the main town, then it spreads out and becomes more robust,” says Davies.

As Sabbah points out, “In the skate classes, the children discovered a space where their individuality can shine, and they began to truly see and appreciate one another, fostering a newfound sense of empathy and mutual understanding.” This sentiment echoes Davies’s observation that “It’s hard to measure happiness derived from playing, but it’s something that is overlooked. These benefits, though hard to quantify, are just as vital as the physical aspect of skateboarding.”

Inclusivity has been a cornerstone of SkatePal’s mission. Despite initial resistance from conservative quarters, SkatePal has remained steadfast in its commitment to accessibility. “All the skate parks that we do, we specify at the beginning, these have to be open to everyone, and they have to be free, and we’ll provide free classes,” Davies asserts. This inclusive approach has not only democratized access to skateboarding but has also facilitated a cultural shift, enabling both boys and girls to participate and learn together. “Ultimately, this is a space which is up to the village to decide what to do with it, and hopefully, get managed by the local NGO and the council.”

Looking ahead, Davies envisions a skate scene that stands on its own feet. “The ultimate goal is to not need to exist anymore, and the local scene thrives independently. That’s what we’re working towards,” he explains. The idea is to transition from being the driving force to a supportive role, encouraging the local skate community to take the lead. The organization is shifting towards training locals in skatepark construction and management, reducing the reliance on international volunteers.

“And so I’d imagine that we’d still be going as an organization, but we wouldn’t be managing things on the ground there. But we would like mainly be kind of a more of a business that’s making money to fund things that are happening there and to encourage people to go and visit,” Davies concludes, outlining a future where SkatePal continues to inspire and support the Palestinian skateboarding community, with a more hands-off approach, “Just so there is a constant interest of skaters who are going to visit because that’s how you get a steam line moving.”

From a simple skateboard in the streets of Jenin to a network of skateparks across Palestine, SkatePal is about connecting through sport, building community, and empowering youth, one skateboard at a time. ■

photography KEISHA FINAI 2019 SEREEN

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VISUAL SYMPHONIES

words OMAIA JALLAD

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Symbolising the talent in the MENA region, two visionary photographers, American-Palestinian Adam Rouhana and Ghanaian Sarfo Emmanuel Annor, have emerged as pioneers as they challenge traditional craft boundaries.

Through their lenses, these two talented photographers transcend conventional limits, crafting visual masterpieces that not only captivate the eye, but evoke myriad emotions, engaging more than just our sense of sight. Through their unique styles, each artist paints a poetic narrative resonating with the rich tapestry of their heritage, unravelling threads of identity. Their work becomes a sensory exploration, a dance between light and shadow, capturing the essence of the present while echoing the whispers of the past. In the eloquent language of Rouhana’s Palestinian narratives and Annor’s vibrant depictions of Ghana, we are enchanted by an artistic alchemy that offers a glimpse into intangible aspects of cultural heritage, proving that in the realm of photography, heritage is not just preserved, but lived and felt.

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VISUAL SYMPHONIES

Adam Adam Rouhana, an American-Palestinian photographer and activist, intricately captures life in occupied Palestine through his captivating imagery. Growing up in Boston, he shuttled between London and Jerusalem, his connection to Palestine deeply rooted in childhood memories of the area around Haifa. Beyond capturing images, Rouhana’s mission is to showcase the multifaceted nature of the Palestinian world, emphasising its rich social, cultural, and religious pluralism. In a unique approach to photography, his challenge is not a rebellion against conventions but a return to the roots of the art form—film. Embracing this traditional medium, he authentically documents the complexities of Palestinian life, bringing a timeless quality to his work and capturing the essence of a society that transcends mainstream narratives. Rouhana’s lens delicately reveals the nuanced reality of daily life in Palestine, leaving an indelible impact on those who engage with his evocative visual narratives.

As a Palestinian-American, how does your dual identity influence your artistic vision and the stories you choose to tell through your photography?

I was born to a Palestinian father and an American mother from New York. Raised in New England, I learned the Western canon, but I returned to Palestine annually. When I picked up my camera at around age 12—before the formation of my political consciousness—I took photos of what was around me: Palestinian life.

As I got older and I developed my practice, I noticed a dissonance between the West’s conception of Palestine and the images I was making—the life I was living. In the press, Palestinians were either masked, violent Arabs or helpless, disposable bodies. But that’s not what I felt when I was home in Palestine—or what I photographed. Instead, I experienced an unconditional Arab love; a rootedness and historic belonging on the land; and a daily generosity and collective spirit that I rarely experienced in America.

With a Master’s in Public Policy from Oxford, how does your academic experience influence your photography, and how do you incorporate intellectual elements into your creative process?

Public policy is primarily a vocabulary—a lexicon of imperialism. It is a language that corresponds to a set of academic and administrative domains that has been developed by the dominant hegemon to operate its empire—i.e. to Rule. These tools provide insight into the discourse that artists don’t necessarily have access to.

Are there specific individuals or experiences from your annual visits to Palestine that have significantly impacted your artistic perspective?

Dima Srouji was one of the first people who told me that the work I was making in Palestine was meaningful. I never really thought about it—photography was a default for me, a way of life. After she encouraged my practice, I began to work more conscientiously to produce this body of work.

Can you discuss your approach to challenging the conventions of photography and developing your distinctive style, particularly in your use of raw and unedited images?

I wouldn’t say that I’m challenging the conventions of photography—just the opposite, I’m returning to the foundations of photography—film photography. Our perception of the world is imperfect; the brain makes mistakes. Digital photography is perfect—almost too perfect; it becomes superficial and, in this exact, modifiable perfection, can sometimes feel fake. Film, on the other hand, often results in blemishes, misstrokes, blotches. I use film because, for me, film more accurately represents reality—our flawed reality.

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VISUAL SYMPHONIES

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If your camera could speak, what would it say about the untold stories and vibrant moments it has witnessed in Palestine?

I hope the photographs speak for themselves.

What thoughts race through your mind just before you click the shutter on your camera?

None—I endeavor to have a blank mind before I click the shutter. Photography is kind of like sports. You have to practice until you can dip into your subconscious. When you’re starting out, you’re still thinking about the camera, adjusting the shutter, the aperture, and so on. Eventually the camera becomes transparent. You become one with the world; you can sort of intuitively exist in a new, liminal space—a place between perception and reality, using the camera to define your own truth. I’m still learning, but I’ve been able to access this flowstate after months of consecutive shooting. You have to go out and take pictures all day every day. You have to let go of thinking and embrace spontaneity—it’s sort of non-analytical, you have to abandon your thoughts to flow naturally.

If you could offer advice to your younger self when you first started, what would it be?

First, I’d say: keep shooting. Second, I’d say: trust yourself, and your way of seeing. If you make work that is true to you, that is—from the inside out—it will be powerful because no one else can make that work—no one else is you.

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VISUAL SYMPHONIES

Sarfo Sarfo Emmanuel Annor, a dynamic visual artist from Koforidua, Ghana, transforms the canvas of contemporary Africa with vibrant narratives. Armed with his smartphone, Annor pioneers a fresh perspective on portraiture, relying solely on colours as a storytelling element.

His work mesmerises viewers with the vibrancy of his culture, capturing moments that feel like paintings. Focused on both the setting and fashion within his images, Annor’s lens conveys a beautiful African narrative and a therapeutic experience, exploring the emotional connection between colours and moods. Highlighting the demographic significance of the youth in Koforidua, he emphasises their influential role in shaping the continent’s future. Through his visionary colour use, inspired by the energy of his surroundings, Sarfo Emmanuel Annor crafts a compelling portrayal of a vibrant youth culture, inviting viewers into a world where each stroke of colour tells a story and resonates with the heartbeat of contemporary Africa.

How has your experience in the fashion industry informed your approach to photography?

My mum sells second hand bags and clothes and I was an apprentice at a fashion shop for a few months before getting into photography, so fashion has influenced my work a lot. One of the elements I have incorporated into my works is thrifting and styling. Because my mum sells thrifted clothes I’m able to choose and select any outfits to style. Also, my experience from being an apprentice at a fashion shop gave me some awesome colour combinations and styling ideas.

Why did you choose an iPhone as your means of photography?

I chose an iPhone as my means of photography because it is very simple to use compared to digital cameras and affordable, too.

Would you ever steer away from using a smartphone, going to a digital camera?

Yes, as time goes on I might switch to a digital camera.

Take us back to when you first developed an interest in photography as a child.

I would say my passion for photography began when I was given a phone by my sister when I graduated high school. I began to take pictures of family and friends and edit them on my phone for fun. I was really fascinated by how the photos came out. The composition and colours of the photographs really amazed me. I have always had a knack for telling stories and emotions visually, so when I got the phone and started taking those pictures, I decided to use my phone as an art creation tool to tell African stories through fashion and beauty.

What drew you to focus on capturing the vivid images of local young people in Koforidua, and what stories do you aim to tell through their portraits?

Koforidua and Ghana are blessed with so many beautiful people and a rich culture. So capturing such beautiful people and moments has always been my dream. These moments tell African stories through beauty and fashion, and incorporating these aspects is my way of celebrating and showcasing the rich culture and diversity of the continent. I also work to create awareness around socio-economic problems in my country, Ghana.

Your work as a visual artist stands out for its vibrant use of colour. How did you start using colour as a narrative tool in your art?

Growing up, I loved to draw and always admired the colours around me — in nature and the colours of the prestigious Kente Cloth. I use vibrant colours as a form of art therapy, we are more emotionally connected to colours than we realise. They affect our mood through different associations — the human brain connects warm colours like red, orange, and yellow to a range of feelings such as passion, comfort, anger, and power. So, when people look at colours, I believe it can affect them in positive ways.

Your niece is a recurring muse. Can you share a specific photograph involving her that holds personal significance to you?

My niece is a beautiful soul and the first person I photographed when I got my first phone. She has a beautiful aura and adds so much emotion to the images. My first portrait is of her wearing a scarf on her head. It is the first image I posted on Instagram. The photo was about empowering African girls. I created that image to challenge societal norms of beauty. By putting African beauty and fashion at the forefront, my works can challenge Eurocentric standards of beauty and encourage diversity.

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VISUAL SYMPHONIES

You approach your art from an optimistic perspective. How does this positivity influence your creative decisions, and what impact do you hope it has on those who experience your work?

The use of vibrant colours is one way I would say an optimistic perspective influences my creative decisions. The use of these colours is a form of art therapy for my audience. I believe people can be positively impacted by the use of vibrant colour, which can change their mood for the better.

How do you balance showcasing beauty and heritage to craft a narrative that resonates globally while staying rooted in the specificity of African culture?

Balancing global appeal with African cultural specificity involves highlighting universal themes like love, resilience, and human connection, while incorporating authentic elements of African heritage. It’s about creating a narrative that transcends cultural boundaries through relatable emotions, yet respecting and accurately representing the nuances of African culture to avoid stereotypes and promote a rich, diverse portrayal.

How does the influential role of young people in shaping the continent’s future inspire your artistic vision?

It inspires me to depict themes of resilience, innovation, and unity in my artistic vision. Through vibrant visuals, I aim to celebrate the dynamic spirit of African youth, contributing to a narrative that reflects their aspirations and potential impact on shaping a brighter future.

Can you share an example where a specific object added layers of meaning to a portrait, and what significance did it hold?

The photo is titled Gallon Thoughts and the object used in that photo is a gallon, placed on the head of the model. That photo was about the lack of water in some communities in the country.

It symbolises how people in these communities have to walk miles just to find some water to use. I believe my work could throw some light on these issues and help them get fixed.

Are there specific artists or movements that have influenced your style? If, so who or what?

One artist who has inspired me a lot through my art journey is Prince Gyasi, a Ghanaian visual artist.

How do you stay innovative in your photography and when documenting and preserving cultural heritage?

I stay innovative by embracing emerging technologies, experimenting with unconventional perspectives, and collaborating with communities to ensure authentic representation. Exploring diverse storytelling techniques, incorporating multimedia elements, and staying attuned to cultural nuances enables me to push the boundaries of traditional photography, contributing to a dynamic and evolving documentation of cultural heritage.

What messages or themes do you aim to convey through your art, and how do you want viewers to perceive Africa through your lens?

The central theme of my work is celebrating African beauty. One aspect of African beauty is the appreciation for dark skin tones.

Many African cultures have historically held dark skin as a symbol of beauty and associated it with health, strength, and heritage. My celebration of dark skin can be seen in the use of dark-skinned models in my work and also in highlighting the skin of the models in the photos. Traditional attire and fashion also play a significant role in defining African beauty. Different regions and ethnic groups have their own distinct clothing styles, fabrics, and patterns that reflect their cultural heritage and craftsmanship. I love to incorporate traditional clothing like Kente Cloth and others in my work.

Is there a colour you’re consistently drawn to when directing your photography?

I’m consistently drawn to blue tones and warm hues in my photography. These colours evoke a sense of grounding and connection to nature, fostering emotions of warmth, comfort, and timelessness in my creative process. They also complement cultural contexts, adding depth to the narrative while creating visually appealing compositions.

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If you were to shift away from colour and shoot in black and white, what would your creative vision or concept for such photographs be?

In a black and white context, I would focus on capturing the raw and elemental aspects of cultural heritage. Stripping away colour emphasises form, texture, and contrast, allowing a more intimate exploration of the cultural nuances and traditions. The absence of colour could evoke a timeless quality, emphasising the universal elements that transcend specific cultures while still preserving the authenticity of the subject matter.

If your photos could transport people to any African destination, where would you want them to go and why?

I would want my photos to transport people to the vibrant streets of Accra, Ghana. The rich tapestry of colours, bustling markets, and the fusion of tradition with modernity creates a visually captivating experience. It’s a place where cultural heritage thrives in every corner, offering a sensory journey that combines history, architecture, and the lively spirit of the people.

If you could give one piece of advice to your younger self, what would it be?

To embrace the journey of learning and growth; don’t fear mistakes, as they often lead to the most valuable lessons and creative breakthroughs. ■

VISUAL SYMPHONIES

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Art Here Richard Mille Art Prize 3rd Edition Louvre Abu Dhabi

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THE SPACE

RM 07-01 In-house skeletonised automatic winding calibre 50-hour power reserve (± 10%) Baseplate and bridges in grade 5 titanium Variable-geometry rotor Case and open-link bracelet in white gold set with diamonds

A Racing Machine On The Wrist