YUNG NOSTALGIA

AMELIE ZILBER

DISRUPTING DIAMONDS

THIS IS YUNG

02-03

LETTER FROM THE FOUNDER

Summer memories As the summer sun sets upon us, we’re drawn to a sensation that tugs at our hearts and summons memories of times gone by: Nostalgia, that powerful force that shapes our identities and connects us to our roots. Memories flood back, evenings spent with family, time at the beach, summer road trips and mountain retreats.

Our summer issue pauses to reflect on the interplay between nostalgia and the present. How do we harness our nostalgia to inspire creativity, foster unity, and propel us towards a progressive future?

This issue, we meet Amelie Zilber, influencer extraordinaire, who talks about lifestyle, fashion and more importantly, social and political events, as she works to inform and inspire a younger generation.

Our digital cover is the tale of Ra2smal, the musical collective that’s taking the regional scene by storm, one incredible track at a time.

We tell the tale of Hermes’ fabulous Theme event in France’s Camargue, a place of water, horses, music, art, and inspiration that sets the tone for the House’s creatives.

We talk to Nasri Sayegh, of radiokarantina as he tells tales of Beirut, music and more. We sit down with creatives like the team behind O Art Studio to discover unique designs inspired by their love of fashion, art and history. The stories in this issue are about designers, storytellers, painters and sculptors, each weaving their own captivating narrative.

Finally, I had the pleasure of spending time with Dior as they announced the winners of the ‘Dior Photography and Visual Arts Award For Young Talents’. This remarkable initiative showcases upcoming creatives and serves as an inspirational example of how we can support the next generation of extraordinary artists.

Seeing all these talents, I’m amazed by how the new generation is shaping our future, culturally, musically, inspirationally. Their clear connection with their roots and their determination to make the world a better place fills me with hope. Here’s to the future, and the past, here’s to nostalgia.

Wishing you all an incredible summer, YUNG Love, Sandra Yeghiazarian

THE SURFER SQUAD Sally Fitzgibbons Stephanie Gilmore Kelly Slater

THE ANNIVERSARY ISSUE

Founder and Chief Content Officer SANDRA YEGHIAZARIAN Creative Director SAIF HIDAYAH Art Director ATHINA SYMEONIDOU Senior Editor LOUIS PARKS Digital Editor FIFI ABOU DIB Fashion Assistant NUJOUD OWEIS Editorial Assistant OMAIA JALLAD Digital Writer MENNA SHANAB ADVERTISING AND PARTNERSHIPS partnerships@thisisyung.com SUBMISSION submissions@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.

AMELIE ZILBER AMELIE ZILBER photography CALEB & GLADYS; styling SAIF HIDAYAH, DYLAN WAYNE

THIS IS YUNG

06-07

Founders Letter Masthead The Mood Comme Un Garcon Summer Echoes Ra2s Mal: Sound Investments Amelie Zilber Wrist Bliss Hermés Capturing Tunis Full Circle The Fendi Allure Bahrain’s Brush With Nostalgia Face To Face The Beauty Edit Dior Complex Narratives Miu Miu X Yung Party

CONTENTS

2-3 4-5 8-27 28-39 40-49 50-61

62-74 76-83 84-89 90-101 102-105 106-117 118-121

122-127 128-131 132-135 136-141 142-144

CONTRIBUTORS

ALI GHARIENI/ ALLA SAWEDEG/ AMANDA KAY/ AMINA ZAHER/ ARTEM KOROLEV/ AYA NEGM/ AYA TARIQ/ BACHIR TAYACHI/ BAYAN DAHDAH/ CALEB AND GLADYS/ DEV MAX SEMBULA/ DYLAN WAYNE/ EMNA CHARNI/ FANNY TURCOTTE/ FARAH HOSNI/ FRANCESCA/ GAELLE IBRAHIM/ GONN KINOSHITA/ HIND SOUSAN/ IBRAHIM SHEBANI/ JADE BENAÏM/ LOLA/ MANSELL/ LOU BUNKHEILA/ LOUAI ALAMA/ LOUMA SLITI/ MABOUKA/ MANEL AYOUB/ MARIA ARANDA/ MARIE MALVINSKAIA/ MARIAM EL GENDY/ MAYRA HOCINE/ MOHAMMAD JUNAID/ MOHAMED ALI BEN GHARS/ RINAD SAAD/ RYM HAMAMI/ SALIMA MRAD/ SAMO SHALABY/ SARAH RUXTON/ SELIM FESSILI/ SFAYA BAKRI/ TARECK RAFFOUL/ YARKI/ YOUSRA MAJNAOUI/ ZINA BAKER

THIS IS YUNG

08-09

THE MOOD

words OMAIA JALLAD

THIS IS YUNG

10-11

THE MOOD

RAYAN ELNAYAL Fictional Spaces Rayan Elnayal is a Sudanese-British designer who creates fictional spaces to image a future Sudan and to tackle a colonial legacy.

As an artist and designer, how has your background in architecture influenced your creative process and the way you visualise and speculate on fictional spaces?

I use my architecture skills and experience to visualise my own fictional Sudanese spaces. My architecture studies taught me how to communicate ideas visually. It is also where I learnt technical skills like CAD, 3D rendering and Adobe CC software, all of which I now use to produce my artworks.

What specific historical influences inform and shape your artistic work?

Many of my works are based on photographic references from the 1950s and beyond, including Sudanese and North African architecture. I particularly like taking traditional forms and turning them into something futuristic - like turning a minaret or dome into a spaceship. However I’m also not strict with my creative practice.I never thought I would play with typography, but I’ve been having a lot of fun sculpting and distorting Arabic text in 3D. This play with forms has also prompted me to use more unusual methods of lighting and materiality in my 3D scenes.

with other images. Also the process is not linear for me. I might start a piece, pause it, start another one, or return to an older piece- sometimes years old.

Have you ever had a dream or a surreal experience that has influenced your artistic work? If so, can you share a bit about it?

Sometimes I draw from my dreams. I have one image titled ‘False awakening’ which is inspired by a dream where I had three false awakenings- which is when you think you’re awake but actually you have just ‘woken’ up into another dream. It was very surreal because each false awakening ended with me back in the same environment.

How does it help you explore and communicate the narratives of Sudan, the SWANA region, and its diaspora?

Studying how postcolonial novelists and artists used magic realism to resist the narratives they were asked to conform to is of interest to me as a Sudanese woman who does not see East Africa in Afrofuturism. Creating futuristic visuals that communicate fictional narratives from Sudan and the SWANA region needs to be polyvocal because the region and Sudan itself is so diverse- Western cyber-futurism does not reflect this.

How do you merge nostalgic historical elements and modern mediums in your work to bring a dynamic and vivid artistic vision to life?

I think collage achieves this well. I love collage because it allows me to combine the new with the old and test compositions live.

Even when I use 3D renderings I always collage the final render

photography SULEIKA MUELLER

What draws you to the concept of magic realism in your artistic practice?

Magic realism liberates me from conforming to an era, style, genre or medium. It helps shape polyvocal narratives, which for me, as a creative from the built-environment profession is very significant. The profession has a huge lack of diversity and feels very homogenous and unaccepting of diverse cultures and aesthetics. Magic realism provides me with the tools to resist Euro-centric ideals of Futurisms and architectures.

THIS IS YUNG

12-13

THE MOOD

NAJLA SAID Photographing The Hidden Najla Said is an Egyptian visual artist whose photography delves into intimate, often ignored sides of Cairo to highlight the underlying dynamics within the complex structure of society.

What initially sparked your interest in photography?

My childhood was meticulously photographed and recorded by my dad, and later I always resorted to this archive when I struggled to remember. I think I just had this full trust and familiarity with the medium, so I started off photographing my friends as well.

In your photography, you often employ a personal and introspective lens. How does that serve as a catalyst for social change, especially in the context of Cairo?

I always start with first-hand experiences or at least issues my closest friends and I discuss. I feel that I always seek to fill the gap for the representation I (or my friends) didn’t have. I think that’s how personal stories grow to be more universal and spark at least a tiny change within my own circle.

How do you balance sharing your personal experiences while also inviting viewers to connect with and relate to your work on a broader level?

I believe that living in a conservative society where everything is secretive, once someone shares their personal stories, it usually has a ripple effect. I believe a lot of things I suffer from, many people do too, so I usually hold on to a specific feeling instead of the experience I had. For example, shame is a universal feeling, and most specifically felt by those around me. In my latest project Garden of Cairo, I asked people in Cairo to anonymously submit the coordinates of their sexual fantasies. If a location was hard to access, I would choose a discreet camera and therefore the whole style would change but then there’s a bigger chance a viewer will relate to how fast this image had to be taken.

What specific notions or messages about womanhood do you aim to convey through your artwork, and why is this theme of particular significance to you?

It’s particularly significant to me because living in Cairo means your ‘gender’ is impossible to detach from your identity, you’re constantly seen and judged based on how well you fit in your supposed gender. If anything, my projects are usually driven by the message that womanhood is not one thing, and I just aim to add more representation to what womanhood can look like (but never has to be).

Cairo is a city rich in history and cultural diversity. How does the city itself influence and inspire your artistic process?

The city itself doesn’t inspire me per se but everything that it doesn’t clearly say, does. There’s a lot of underlying rage and friction within the city, and it’s hard to avoid. My projects are more about confronting that.

There’s a nostalgic feel in your photographs. How do you think nostalgia and looking at the past plays a role in delivering your message?

I guess it comes back to the fact that I was always told by my grandparents and those of their generation that the past was so much better, and it always made me feel like I was born in the wrong time. I think there’s a lot of glorification of the past, but I enjoy playing with that!

Imagine your artwork could come to life and interact with people. What kind of conversations or experiences do you think they would have with viewers?

This took some thought… I think they would cause a necessary discomfort one needs for growth, but they would be very open to endless needed conversations and transparency.

THIS IS YUNG

14-15

THE MOOD

O ART-STUDIO Of Art And Fashion

Adel Essam and Henar Sherif are the creative duo behind O art-Studio, a creative house where the lines between fashion, art and history merge and blur to create unique, stunning results.

How did your individual journeys as photographers and art directors lead to the formation of O art-Studio ?

Henar: I studied interior design at the faculty of Fine Arts and was working as a teaching assistant there at the time we met.

Adel: I was still in college and studying communication engineering then.

This was over 10 years ago, we used to walk the streets of our hometown, Alexandria, Egypt and use our phones to take photos of beautiful scenes we came across as a group of friends.

We thought if we combined our passion and creative minds together we would create something big, and right then we decided to work together and create “O Art Studio”, our media production house.

Talk to us about the Dior show you shot at the Pyramids of Giza. Has the experience shaped your artistic growth and direction?

We saw a totally new aspect of working under pressure and having to make everything work perfectly no matter the circumstances and we did enjoy it! We didn’t have a chance to scout the location or prep and test until only one day before the actual shoot, when the location was built, so we were kind of prepping for the whole thing theoretically. On the shooting day, 80% of the plan changed just 10 minutes before shooting due to circumstances related to the preparations for the show and we just had to quickly adapt, just think and act on the spot while making sure that the outcome would still turn out impeccable and thankfully it did and worked perfectly.

In what ways do you both contribute different stylistic approaches into your projects?

We believe that our visions complete one another in that aspect, for example, when we are working on a new project, we brainstorm either together or individually then each one of us presents their vision on how to best approach this project. Sometimes the concepts we present are alike, so we start working on combining both our ideas and come up with a final structure.Sometimes they’re very different, so we discuss and study both scenarios together till we agree which would work better, then we both work on it together.

Bridging the past and present seems to be important in your work. What about the past inspires your work?

Classical art is a HUGE inspiration for us, it carries a history of real stories, mythologies, fantasy, imagination, human history and discoveries.

What draws you to the intersection of art and fashion, and how do you incorporate artistic elements into your commercial projects?

We consider our work as if we’re painting, there’s a blank canvas and the product we’re shooting is an element in this painting, it completes it and without it something would be missing, it has to be the hero yes, but it wouldn’t be without the whole vision and elements around it that support it to be and make it standout.

If you could shoot a project anywhere in the world without limitation, where would it be and why?

Probably in outer space, maybe on the moon or on another planet, how cool would that be?!

Why? : Because we’d make history then.

16-17

photography FRANCESCO SCOTTI

THIS IS YUNG THE MOOD

BAZZA ALZOUMAN A Journey In Fashion Kuwaiti designer Bazza Alzouman was born in South Carolina and realised her interest in design early on. After completing her studies and graduating from Parsons School of Design, she returned to Kuwait to launch her eponymous label.

What’s your earliest memory of fashion?

My earliest memory has to be helping my mum shop for clothing when I was maybe in 4th grade. I feel like that was when I discovered the idea of styling and having creative input into clothing.

Can you tell us about your journey from pursuing a degree in Business Administration to discovering your passion for fashion design?

I always say that fashion in the end is a business and so it’s not as big of a departure as it may seem. I loved my college education but fashion allows me the space to be creative and adds newness to business.

I was absorbed with fashion during college and took a sewing class for fun outside of school, when I went shopping for our project is when I realized that this is what I wanted to do. My mother actually wore the first gown I sewed during that class, which was a navy blue mermaid gown with an ivory lace caplet.

Could you walk us through your creative process from conceptualising a collection to bringing it to life? How do you find inspiration, and how do you translate your ideas into tangible garments?

It’s always challenging to start a collection, just to pinpoint a direction, I usually base it initially a lot on intuition and what I’m drawn to, and once the first sample is complete I’m able to build off of that and make others, towards the end of developing a collection I’m so full of ideas that I often have to stop. The ideas I have naturally come in the form of a garment or at least part of it, then I fill in the gaps in design.

As a designer based in Kuwait, how does the cultural landscape of the region influence your work?

By nature of being Kuwaiti I represent who I am both intentionally and also unintentionally through my designs. When I think of dressing for an occasion, I think of it through the lens of how we celebrate occasions and what our needs are.

Exquisite craftsmanship is a hallmark of your label.

How do you ensure that each piece reflects the highest level of craftsmanship and attention to detail?

We invest a lot in quality control, I’m also very aware of any limitations we may have both from a manpower or production perspective, so I keep that in mind when designing.

Your collections often feature ethereal and pareddown silhouettes. How do you ensure that these designs still have a strong impact and create a memorable presence both on the runway and in real-life settings?

I am by nature empathetic and I believe that this helps me create things that people can feel and experience, it can often be a small detail that can make all the difference. Basically I’m balancing a lot of thoughts in my head all the time.

How do you strike a balance between creating designs that exude modern elegance while also maintaining a sense of timelessness?

I think it has to do with my style philosophy, basically you wear the clothes, the clothes shouldn’t wear you, so I’m always making sure to simplify and I think that ensures elegance and timelessness.

What do you hope your clientele experiences or feels when wearing your designs?

I hope they feel sexy, confident, beautiful and happy, like their best selves.

If you could dress any fictional character in one of your designs, who would it be and why?

Carrie Bradshaw, she represents the most fashion forward, trend setting and experimental character.

I’d love to see how she’d style a piece and what twist she’d put on it.

What is the most unusual or unexpected source of inspiration you’ve had for a collection or garment?

My innermost experiences.

THIS IS YUNG

18-19

THE MOOD

MOHAMMAD ABDOUNI Tales From The Edge Mohammad Abdouni is a visual artist working in photography and film. His work explores marginalised communities and his latest project journals alternative culture in SW Asia and North Africa.

Where or when did your passion for the visual arts grow and how did it all start?

I always had an affinity to visuals from a very young age, whether it was the design on the box of cereal that I stared at endlessly every morning, or the Chiquita Banana stickers that I would peel off and stick over my notebooks. It’s been a continuous journey since, with my affinities shifting and evolving as time went by. It wasn’t always photography or film, for a long stretch of time I was much more interested in painting and design. It’s been a natural evolution since.

When was it that you decided to focus on portraying marginalised communities in the SWANA region?

It wasn’t necessarily a decision I took at a certain point in time. That too was a natural evolution within my work, one that developed and became stronger the asI got older and couldn’t find answers to what I was looking for.

Your films often explore themes of identity and marginalised communities. How do you approach the delicate balance between capturing the authenticity of these experiences while also crafting a compelling narrative for your audience?

I find the authenticity of these experiences to be quite compelling narratives on their own, I rarely have “an audience” in mind that I am trying to reach with the work. I do the work for myself, to satisfy my own need for knowledge and information, and hope that in doing so I might satisfy others’ needs to know more in the process.

Have there been any mentors or role models who have influenced your artistic style or approach?

Many of the greats have had a huge impact on shaping my affinities and how I go about my work, it would be impossible to choose only a few to name, but I’d say Christopher Doyle and Wong Kar-wai, Larry Sultan and Nan Goldin off the top of my head.

In your photography and filmmaking, you have the opportunity to delve deep into the lives and experiences of your subjects. How do these encounters and stories personally impact and inspire you as an artist?

I’ve come to realize with time that the cathartic aspect of what I do lies in the fact that I begin to understand my own self much better through attempting to understand others. I might not have proper words to explain it further at this point, but in a way, the culmination of the work, somehow, acts as an extensive autoportrait, and an attempt to explore my own identity further.

Your work often evokes a strong sense of nostalgia.

Can you tell us about the role that nostalgia plays in your artistic vision and how it influences the stories you tell?

I see it a little less as an obsession with nostalgia, and more of an homage to the different greats, times, worlds and aesthetics that shaped how I look at the world. I never shy away from inspiration, on the contrary, I place it front and centre. We are all jigsaw puzzles of what we love, and what we don’t.

Talk to us about Cold Cuts, and the light-bulb moment that brought it to life.

Not really a light-bulb moment, it was and still is a photo journal that evolves as I do, taking on different shapes and forms, and exploring different topics within each issue. It’s a platform that allows me to share the work I’m doing, as well as a collaborative space where I get to spitball with other artists that I find myself inspired by. Currently, Cold Cuts is focused on exploring queer cultures in South West Asia and North Africa.

THIS IS YUNG

20-21

THE MOOD

NASRI SAYEGH Tales of Lebanon Nasri Sayegh is a French-Lebanese creative. He’s a writer, visual artist, actor, and DJ and the founder of radiokarantina, a project that merges visual and audio material to tell tales of Lebanon.

Tell us about the inspiration behind radiokarantina. radiokarantina conjures together music, stories, and images from Beirut to the rest of the world. Ceci n’est pas une radio! but rather, an intuition that I followed since March 2020 when the world was about to enter into quarantine. I first shared “Radio Karantina - Day One”, a mix consisting of extracts from old Lebanese advertisements, texts by Delphine Seyrig, John Berger and Marguerite Duras. The idea was to compose a set per day from confinement. A moment after, my mailbox was taken over with numerous requests to participate.

Today and many hundreds of days later, as many days as artists, writers, theatre makers have taken part and shaped this collaborative artistic journey.

Was music a big part of your life growing up?

As a child, music resonated with the crackling reverberations of radio sets and the voices of radio presenters that would utter out information on the bombings in Beirut. Alongside this ambient fear was a cheerful and yet nostalgic repertoire with the voices of singers. My head and my body were composed of an ongoing party mixing terror, ecstasy and madness.

How do you curate and select the content featured on radiokarantina? radiokarantina is constantly inventing its own self, developing and feeding on itself. During quarantine, listeners quickly took advantage of radiokarantina to send requests and love; from one city to another, a country here to another there, and sometimes from a hospital room in Tunis, or a waiting room in Cleveland.

All sound territories cross paths. At times surreal, the collages I create oftentimes take us to the discovery of new territories creating a new collective memory.

What kind of impact or change do you hope to inspire in people’s lives? radiokarantina has been trying to discover new ways of listening/reading the world, digging towards a muchneeded sense of otherness. Not only an echo chamber to Lebanon’s turmoil but also to the tragedies that are shaping our current world; radiokarantina has humbly been trying to echo the world’s heartbeats. Literary pieces signed by Hanane Hajj Ali and Chrystele Khodr had a powerful effect amongst our audience. In a time and place where words are being more and more impeached, and threatened, I envisage rk to be a meeting point of all sorts of expressions. Let the self be less fearful of expressing love, and anger, and of formulating fights, be they social, political, or cultural.

How do you approach the selection of videos to accompany the music and stories on Radio Karantina?

How does nostalgia or a connection to the past influence you?

The encounter between the images and the sounds are purely fortuitous. Images emanating from the past are a staple of my artistic work. Therefore, the collages are the result of an exquisite corpse. I firmly believe in misplacements and replacements. I am not trying to evoke emotions as much as I am trying to convoke the uncanny. Unexpected mélanges. Of course, nostalgia might appear as the cornerstone of radiokarantina, but I try to not fall for it. When I watch footage from our pasts, I look at them as fiercely contemporary material.

Nostalgia implicates “better yesteryears”. I don’t function as past versus present. I envisage all the material I use in the same tense.

If you could describe your life with three soundtracks, which songs or musical pieces would you choose?

Nido and/or Tatra ads. Into the Groove - Madonna. The Nightingale - Julee Cruise & Angelo Badalamenti.

Collage: ABRAHAM ZEITOUN; Photography JOIE IACONO

THIS IS YUNG

22-23

THE MOOD

HELLO PSYCHALEPPO A Journey from Aleppo Hello Psychaleppo is an Electro-Tarab pioneer, creating a unique sound that comes straight from his hometown and is rapidly gaining followers from around the Middle East.

How did you come up with your unique blend of ElectroTarab? What inspired you to create this genre?

Inspired by Arabic music’s richness and electronic music’s possibilities, I blended Arabic music theory and electronic sounds. My goal was to bridge tradition and modernity, reviving the Arab musical heritage for a contemporary audience.

I strive to create music that resonates on multiple levels, offering both immediate dancefloor appeal and profound introspection. By blending traditional Arabic music theory and aesthetics with electronic elements, I create a fusion that balances energy and depth. In live performances, I adapt to the context, infusing improvisation and reinterpretations.

Can you share the story behind how you came up with your stage name? “ Hello Psychaleppo” combines elements that represent my artistic vision. “Hello” invites exploration, while “Psych” signifies introspection and the inner journey. “Aleppo” pays homage to my roots, representing the city where I grew up and honoring its artistic traditions. Together, my stage name represents a fusion of influences and a celebration of my cultural heritage.

Do your childhood memories play a role in shaping your music and influencing your artistic direction? If so, how?

Growing up in Aleppo, Syria, surrounded by Tarab music, has greatly influenced my artistic direction. Memories of sitting at coffee shops near the Aleppo Citadel, immersed in Umm Kulthum’s mesmerizing melodies, and joyful family gatherings infused with music have shaped my sound as Hello Psychaleppo.

How do you select the Arab heritage vocals that you incorporate into your tracks?

I prioritize unique melodies, rhythmic qualities, and emotional depth. I respect the original songs and aim for a harmonious fusion of traditional and modern elements.

While I’ve explored sampling in the past, my current focus is on producing and collaborating with other artists for original vocal recordings.

Are there any specific artists or musicians who have influenced your sound and style?

My sound and style are influenced by a diverse range of artists and musicians. From legends of Arabic music to electronic pioneers and genre-defying artists, I carry a musical baggage that continues to inspire me. It’s challenging to pinpoint specific individuals, but my music is a culmination of countless influences that have shaped my creative journey.

In your opinion, how does music serve as a means of cultural expression and bridge between different generations?

Music serves as a bridge between generations by preserving cultural heritage through older generations and infusing fresh perspectives from younger ones. It fosters intergenerational dialogue, appreciation, and understanding, allowing the transmission of knowledge and creating a sense of continuity. Music unites different generations, enabling them to learn from each other and embrace vitality and relevance.

How do you balance creating energetic, danceable tracks while also ensuring that the depth and intricacy of the music is fully appreciated in more introspective settings?

If you were to organize a music festival and could choose any three artists, living or dead, to headline it alongside you, who would you choose and why?

I would choose Portishead for their influential trip-hop sound, Led Zeppelin for their legendary status in rock music, and the late master Mohammad Ghazi for his profound impact on muwashahat singing and his role in teaching Fairuz. I would prefer to be in the audience, fully immersed in their performances.

Do you have any upcoming releases?

I’m working on my highly anticipated new album, collaborating with brilliant regional artists. It’s a musical journey exploring new sonic territories while staying true to my Electro-Tarab sound.

THIS IS YUNG

24-25

THE MOOD

QAIS MALHAS Authenticity and Culture Qais Malhas is the chef at Shams El Balad, a family-run restaurant and design store in Amman that celebrates the best of Palestinian food and culture, creating unique experiences for all who visit.

Take us back in time, when was the moment that you discovered your passion for food?

I grew up in a home with two very skilled cooks as grandmothers, so I think my passion for food was very deep rooted from a young age, but it was only at university where I was missing the food I took for granted at home that I discovered that my passion went beyond simply eating to cooking, too.

Can you share with us the inspiration behind Shams El Balad?

Shams El Balad first started as a way to connect contemporary identity with local heritage, showcasing the bounty of local farms and the beauty of our food in a simple, meaningful way.

There’s a sense of nostalgia throughout Shams El Balad’s menu, how do you marry that catering to a modern audience?

Memory plays a central role in the way we interact with food. Whenever we put something on the menu, it has to harken back in some way to something we know and love. Our goal is often to create dishes that are new and surprising, while also familiar and comforting.

Are there any specific childhood memories or personal experiences that influence your work?

My work is deeply influenced by childhood memories and experiences. Our food is deeply influenced by the experience of being a Palestinian in the diaspora, something that was hammered into me at a very young age. I see a constant thread of yearning that runs through my work. It is as much about being somewhere as it is about not being able to be somewhere else.

How do you ensure that the dining experience at Shams El Balad goes beyond food and becomes a cultural journey for your guests?

Our team works very hard to constantly learn and improve all parts of the guests’ experience, whether it be through the food, beverage, hospitality, decor or otherwise. However, the one thing that is central to all of that is our own culture as a team and as an organisation. Building a healthy and safe working environment is where many restaurants fall short and happy, comfortable people are really the key to any great experience. It is our shared culture that we are sharing with our guests, after all.

Are there any specific cultural or artistic traditions that have influenced your approach to cooking and flavour combinations?

There are many and more to come. I would say that in the past few years one of the biggest influences on how I’ve come to think about our style of cooking has been Bertolt Brecht, a German playwright from the early 20th century. The way we are working on creating a new style of Arabic restaurant cooking as opposed to home cooking or food you’d find at “Lebanese” restaurants connects in many ways to how he created a new style of theatre in the age of naturalism.

Dia Mrad is a Lebanese photographer who expresses himself through his stunning location shoots and his contemporary portrayal of cities.

Objects as Containers of Social Phenomena

DIA MRAD

THIS IS YUNG 26-27 THE MOOD

What initially sparked your interest in photography, and how has that passion evolved?

Photography has always fascinated me as a powerful tool to capture and make sense of the chaotic world around me. During my architecture training, I discovered the immense potential of photography to document and explore urban landscapes that served as backdrops for my academic projects.

What is your earliest memory of a camera?

One of my earliest camera memories takes me back to my childhood, where homemade jello, stacks of Bonjus and cakes, and colourful balloons filled the air during birthday celebrations. They were special occasions when my parents would take out their trusted black Kodak film camera and capture the moment of me blowing out the candles.

Do you feel any personal or emotional connections towards the cities or locations you photograph? How does that influence your work?

Absolutely, my work is deeply influenced by the personal and emotional connections I have with the cities I photograph, particularly Beirut. As an inhabitant and artist, I have developed a profound bond with Beirut, seeing it as a city in need of care and preservation.

This connection influences my work by driving me to capture the city’s beauty, uncover its hidden stories, and shed light on its complex social, historical, and cultural dynamics.

Are there any specific architectural or cultural elements you find yourself particularly drawn to when photographing a cityscape?

I am particularly drawn to the architectural elements that define a city’s identity and cultural heritage. The interplay of light and shadow, symmetrical patterns, and unique design features capture my attention. I aim to highlight the repetition of architectural motifs, revealing the layers of history, style, and social dynamics.

What is the most surprising or unexpected discovery you’ve made while documenting the shifting urban environment in Beirut?

One of the most surprising discoveries I’ve made while documenting Beirut’s shifting urban environment is the adaptive nature of its residents. In the face of challenges and socioeconomic conditions, I have witnessed the emergence of material infrastructural solutions such as solar panels, water tanks, and private generators. These elements have become essential fragments of the urban landscape, representing the resourcefulness of the people.

What is your favourite aspect of capturing buildings as silent witnesses in your photography?

My favourite aspect of capturing buildings as silent witnesses is their ability to hold stories within their walls. Buildings, with their architectural details and unique designs, have witnessed the passage of time, the lives of people, and the transformation of societies.

I aim to unlock these narratives, revealing the significance of these structures and the emotions they evoke.

How do you balance your work’s documentary and artistic nature to create a unique visual language?

This balance is crucial in creating a unique visual language that conveys my intended messages. In the documentary aspect, I strive to capture the authenticity of the moment, focusing on real stories and experiences. I conduct thorough research, immerse myself in the subject matter, and document with accuracy and depth. At the same time, I embrace my artistic vision to bring creativity and interpretation to the images. I experiment with composition, lighting, and visual elements to enhance the aesthetics and evoke emotions.

THIS IS YUNG

COM ME UN GAR CON 28-29

photography FANNY TURCOTTE styling SARAH RUXTON

COMME UN GARCON

coat MAISON MARGIELA

THIS IS YUNG

sweater, skirt, boots FENDI

30-31

COMME UN GARCON

jacket, dress MAGDA BUTRYM boots GIABORGHINI

THIS IS YUNG

shirt, gloves, trousers ALEXANDER MCQUEEN collar, STYLIST’S OWN

32-33

COMME UN GARCON

shirt, trousers, heels, BOTTEGA VENETA

THIS IS YUNG

cardigan, top, shorts, boots VALENTINO

34-35

COMME UN GARCON

THIS IS YUNG

dress 1309 STUDIOS necklace, earrings KISMET BY M

36-37

COMME UN GARCON

dress, ring, bracelet CELINE

38-39

creative direction SARAH RUXTON; makeup AMANDA KAY; hair MARIA ARANDA; model FRANCESCA at JEEL MANAGEMENT; photography assistant MOHAMMAD JUNAID

THIS IS YUNG COMME UN GARCON

SUMMER

THIS IS YUNG

40-41

1. DARA HAMARNEH

SUMMER ECHOES

2. TABARAK MANSOUR

ECHOES 3. SAMER DOUMET

4. BAYAN DAHDAH

THIS IS YUNG

42-43

SUMMER ECHOES

MEMORIES OF FASHION Dara Hamarneh Dara Hamarneh founded her eponymous label at the age of 23, but it all began with a fascination with people, their bags and how they interacted with them.

From a very young age, summer always brought a sense of rebirth. A fresh new haircut ready for the new school year, a new wardrobe collected from that summer’s travels, I couldn’t wait to go back to school and show off this new me.

I’m eight years old again, sitting on the beach in Marbella with my mother when a man carrying more handbags than he can handle happens upon our tanning beds, bargaining with her to make a purchase. The logos are so familiar, yet not exactly what you would find in a Louis Vuitton store. I, at the time, was very easily persuaded and couldn’t understand why my mother refused to entertain this man and his fabulous bags while others on the beach took their time admiring the products and haggling for a fair price. I later learned that what he was selling wasn’t the real deal. I remember nagging my parents, already picturing myself out with friends with my new cool bag, and them refusing my wishes.

This time, I’m eleven years old wandering the shopping arcades of the Bellagio in Las Vegas, when we entered a Chanel store. At this point I had grown accustomed to accompanying my mother on her shopping escapades, it was something I always looked forward to. I’d wander around while she browsed and muse at whatever was on display. The sales assistant that day seemed to sense my draw to fashion (even more than I did at the time), and pulled out a beautiful pink bag, “Perfect for your little girl,” she said. I couldn’t agree with her more. She really knew the way to an eleven year old’s heart. To this day, I hold a grudge for not getting my way.

With every new destination came a new muse. I became obsessed with people watching, in the words of Andre Leon Talley, my eyes were starving for beauty. My travels are what came to shape my appreciation for aesthetics, taking little pieces of my surroundings to then build my own. Accessories were always a crucial point of observation, and the ultimate point of judgement, a woman’s handbag. I became fascinated with the most minute details, how a handbag would sit on a woman’s shoulder, how it would hang while hooked under her arm, and my favourite: where the bag would be placed when dining. My mother was always the one who would ask the waiter for an extra chair, so the bag would have a seat at the table, too. It was the sum of these particulars that would shape my design ethos, building on memories so ingrained in my mind.

photography RAMA SAFFOURI

The year starts and ends with summer. Growing up away from home, summers were the most important part of the year. The echoing sounds of splashing in pools and children playing outside still bring back moments from my childhood, and the ease that the season brings. There was always a countdown for the days leading up to travel, travels home to Jordan or going away to Europe with my parents.

“I, at the time, was very easily persuaded and couldn’t understand why my mother refused to entertain this man and his fabulous bags.”

THIS IS YUNG

44-45

SUMMER ECHOES

COOL ROOFS AND CLAY Tabarak Mansour Iraqi painter Tabarak Mansour’s summers were spent escaping from the fierce heat of the summer on her roof and using mud from her garden to create sculptures.

I remember our large rooftop, we would spray water to cool it down a bit as the sun set. We would prepare summer fruits and exchange stories with our neighbours on a daily basis. We would bring a radio and everything we needed. It felt like an amazing camping trip to me.

My father used to bring us a telescope to observe the nearby planets, and before sleep, he would share his memories of war, when he was a soldier. The conversations were fascinating and emotionally moving.

My mother used to tell me many imaginary tales, and the best part was that I would listen to them while gazing at the stars and the clear sky. We abandoned this tradition as Iraqis during and after the war due to pollution, noise from power generators, and the fear of random gunfire.

I must be honest and say that I wasn’t a typical student.

I didn’t like school, and I eagerly awaited the last day of the school year to finally return home. It meant that I could draw and sculpt whenever I wanted in the clay. One day, I ran out of clay, and it was difficult for my father to go to the tool store because the war was still ongoing, and everything became hard to access. So, I told myself to find a solution! I went to the soil in the backyard, and fortunately, it was clay-ey soil. I dug up the garden and accidentally damaged my mother’s okra tree. She was very upset and didn’t know who did it. Perhaps a rabbit or a dog entered the garden. Soon enough, she discovered it herself when she found my small sculptures.

Today, I try to do what’s possible and to not let anything stand in my way. I no longer wait for the right conditions…

As for the wonderful memory of seeing the sea for the first time, what a breathtaking view it was! Maybe it happened recently, and perhaps my family didn’t take me for a summer vacation by the sea when I was young. But all of this has made me appreciate the beauty of nature.

I’m grateful for every opportunity to be embraced by nature. All these experiences have taught me to be brave today and to keep trying. In truth, I am a very patient person. My fears fuel my work, and I feel that I have a story to tell in the future.

Image SUPPLIED BY TALENT

I feel nostalgic for the past, even though I didn’t have a typical childhood. However, there are many wonderful memories that take me years back. In the summer, Iraqis used to sleep on the rooftop of their houses because it was a hot, dry country.

“As for the wonderful memory of seeing the sea for the first time, what a breathtaking view it was! ”

THIS IS YUNG

46-47

SUMMER ECHOES

A BANK OF SWEET MEMORIES Samer Doumit

The summers of my childhood were full of escape, freedom, and playfulness. A 1980 Mercedes Benz with overloaded pieces of baggage on the roof that took my dad some time to fix.

Things never change in this place, church bells are in the background announcing the afternoon mass, and the mist from the humidity on the coast is meeting us, slowly taking over the scenery.

Like a pack of sardines, we squeezed into the car, my three brothers and my aunt in the back with me sitting on my mother’s lap in the front. We were ready to kick off a two hour trip from East Beirut’s bustling center all the way up to my village in the high mountains of North Lebanon Tannourine.

The official summer music was Umm Kulthum, and it was always playing in the background while my mum brought the food with her sisters who came to visit. My father prepared his Arak with a burning cigarette in his mouth, promising everyone, as usual, that his mix was the best.

My father had all her discography displayed in the weary old oak cupboard; this was imprinted in my soul and memories for life. Later in life, I understood my infatuation with the greatest Egyptian artist of all time; the mountain summer moments made me fall in love with her music.

We bid goodbye to the humid weather and thick air on the coast and gradually saw the blue Mediterranean disappear as we ascended the hills and mountains on our way to the lush green valley. A long, serpentine road that took almost two hours to find our heaven and refuge.

The local FM radio we played on our way was interrupted by news flashes towards the end of the Civil War and the latest small wars the Lebanese were still fighting; Melhem Barakat and Warda were fading out and lost gradually with the absence of coverage in the mountains.

Arriving all dizzy, sweaty, and mostly fighting from the trip, our home nestled between twelve Italian cedar trees that are 100 years old, planted during the First World War, a cold water stream welcomed us with a charm and an immediate sense of home and safety.

The continuous sound of running water from the neighbouring spring, my mum’s grinding coffee in the morning, the smell of fresh cedars in early June, the old radio in the kitchen playing Fairouz in the morning and Umm Kulthum at night, my summers were crafted by beautiful randomness,.

Looking back to these moments, our family, like all Lebanese families, is now scattered around the world; the road now is an extensive highway cutting through the green mountains, the spring is dry in June, and the cedar tree has no neighbours to shade as they all left. What remains is a sweet stack of memories that lives happily in my heart.

photography ELIE FAHED

Lebanese singer-songwriter Samer Doumit holds tight to his memories of trips into the mountains, morning coffee with Fairouz and hazy nights with Umm Kulthum. Some things change, others remain the same.

“The summers of my childhood were full of escape, freedom, and playfulness.”

THIS IS YUNG

48-49

SUMMER ECHOES

STORIES AND MEMORIES Bayan Dahdah Palestinian-Jordanian artist Bayan Dahdah mixes mediums including physical and digital art to tell tales from her memories and her travels in the form of a multimedia scrapbook.

Regrettably, my relationship with Amman summers began to sour as I entered my teens. I started to arrive there with a false sense of superiority. Why was there only Space Toon instead of Disney Channel? What even is Mr Chips, where are the Walkers crisps? How come I had to get clothes from these knock off Jabal Al Hussein brands, while all my friends came back to school kitted out in matching outfits from the magical TESCO that they all spoke of? Thankfully, at the ripe old age of 29, I’ve managed to unpack where that feeling of superiority came from (influenced by European standards blah, blah) and haven’t felt that way since. But more interestingly, over the years I have dissected what those summers did teach me, rather than focus on the ‘shortcomings’.

Having over 30 cousins older than me meant I learned so much just by being around them, almost through osmosis. At age 12-13, my cousins Sarry and Sami were obsessed with metal music, and I’ll never forget the first time I heard Smoke On The Water hum low in the background as we fiddled away on the Nintendo 64 in their basement. Back at school later that year, someone played House of the Rising Sun (the Green Day cover) and I quietly sang along, until John* turned to me snidely, “Do you even know who sang the original?” and I responded confidently with a “The Animals, duh”. His bemused face at my response is a core memory I’ll hold onto forever, even at the risk of sounding like a ‘pick me’ girl.

I first learned what a portfolio was through my architect cousins Sabrina and Yazan. Observing them work on their summer projects using local stone and natural materials taught me so much about the craftsmanship of design in our region. And finally, and possibly most surprisingly, the stories, songs and meanings I absorbed from the anime shows on Space Toon, the shows I thought bored me, still inspire some of my work to this day.

The fantasy of one day living outside the Middle East has dissipated quickly, as I achingly watch the number of days spent with family deplete year on year. I’ve learned my priority is to be here, close to family, and close to the people, places and things that inspire me daily.

photography RAHEED ALLAF

From a young girl through to my late adolescence, my summers were spent escaping the Doha heat for somewhere with slightly milder weather and lots of family; Amman. The feeling of landing in Queen Alia International airport, my uncle waiting for us with his pickup, the long drive to my grandma’s house with all my cousins sat on the steps outside awaiting our arrival, year after year, was unmatched. Our summer days were spent running wild in my grandfather’s olive farm while aunties walked around with plates of food force feeding us from their hands. Mornings were spent choreographing dances to C’est La Vie by B*Witched with my cousins, and afternoons sat in front of the TV at my grandma’s watching Space Toon in a post-molokhiyeh coma as an electric fan pushed hot air in our direction, while the adults all napped.

“Observing them work on their summer projects using local stone and natural materials taught me so much about the craftsmanship of design in our region.”

THIS IS YUNG

50-51

SOUND INVEST MEN TS

SOUND INVESTMENTS

photography AMINA ZAHER styling AYA NEGM words MENNA SHANAB

THIS IS YUNG

52-53

SOUND INVESTMENTS

“The collective spent the month of April meticulously plotting and crafting, moving from the quiet corners of the studio to the loudspeakers of the masses.”

In the realm of music, there are tales of unprecedented synergy and unfettered authenticity that reshape the narrative of artistry. It’s finding that sweet spot where the threads of friendship and creativity intertwine to weave stories of passion and triumph. No story embodies this more than that of Ras2mal, the trailblazing music label and collective that has turned the Egyptian rap scene on its head with a dizzying assortment of creative exploits.

This powerhouse collective, comprising of Egyptian rap heavyweights Marwan Moussa, Afroto, El Dab3, Yonyo, and Karim Enzo, recently hit the airwaves with “Shahr Mal”, a dazzling, month-long composition of five hard-hitting EPs, each day punctuated with a new track, a microcosmic snap of the vibrant Egyptian scene.

The quintet’s May blitz, a sonic shower born from the quiet intensity of April’s preparations, cut through the deafening silence of the Ramadan music slumber. The collective spent the month of April meticulously plotting and crafting, moving from the quiet corners of the studio to the loudspeakers of the masses, showering us with fresh releases just in time for spring.

Ironically, despite its Arabic translation as ‘capital’, the collective’s genesis was deeply organic, its roots planted in the soil of their mutual respect and for music, not a commercial undertaking. Co-founder, linchpin and chief architect of the group, Marwan Moussa, paints a picture of this inception, “We didn’t start intentionally to create a profit-driven label or group.” Marwan Moussa, co-founder and chief architect of the group clarifies, “What happened was that we all happened to make music and became friends over that shared interest.”

This organic alliance acted as a catalyst, igniting a surge of creativ-

ity that transformed RA2SMAL into a familial collective where their individual artistry could flourish, rather than be constrained by the confines of a traditional music label. Co-founders Omar Emad and Marwan Moussa helm this fraternity of artists, their vision rooted in subtle stylistic nuances and the rawness of emotion.

Ra2smal’s narrative not only chronicles their meteoric rise in the scene but underscores the inherent camaraderie in their music-making journey. It is a reminder that music, in its purest form, isn’t a competition but a celebration of shared experiences and stories from the streets of Cairo to the alleyways of Alexandria.

Their music is something of a sonic journal, narrating their own personal journeys and reflecting the hues of their reality.

There’s no singular, defining Ra2smal sound, and that’s exactly how they like it. The group’s auditory fingerprint is a chorus of a diversity of influences and experiences as Afroto explains, “We all contribute to each other’s tracks, offering advice and our individual perspectives.” This mosaic of styles, narratives, and sounds are mirrored in the individual EPs, a celebration of their dynamic range.

The group’s workshop-style approach to creation bolstered the quality of the tracks for the “Shahr Mal” release, as Marwan points out, “We had a workshop vibe during the Eps especially in the final stages... we’re kind of executive producing for each other in a way as well and I think that made a difference in terms of the quality of the track.”

THIS IS YUNG

54-55

SOUND INVESTMENTS

“Karim Enzo’s latest EP exudes dark trap influences, a product of his fascination with narratives that blur the lines between the melancholic and the sublime.”

THIS IS YUNG

56-57

This was essential in getting through the month-long sprint for the “Shahr Mal” release. The artists, Moussa revealed, “sat down together as a team and brainstormed, and since we know each other’s strengths and weaknesses, we helped each other come up with the theme or concept that best suited how each one of us was really feeling during that time.” This burst of creativity for the month-long marathon has its roots in the unique synergy among the members.

In the whirlwind of creative momentum that RA2SMAL represents, each artist has something unique to bring to the table.

Trust and knowledge sharing are the enduring threads that bind this group together, elements that self-taught producer and rapper El Dab3 attributes as vital to their exponential growth. “Initially what brought us together was our shared interest for music. I think what kept it going is that we were able to build trust and share knowledge between each other,” he expounds.

The cornerstone of RA2SMAL’s success lies in their mutual support and creative interchange as Moussa asserts, “The direction for the five EPs was about capturing the state of mind we were in and translating it into a concept for each EP.” The outcome? A sonic palette diverse in sound, style, and narrative.

In a bid to redefine music, Ra2smal isn’t too focused on standing out. Their aim is to create irresistibly good music that will captivate their fans and it all grows organically from there. Moussa states, “We want our product to be so good that you genuinely can’t listen to other music.” Their strategy for standing out in a crowded industry? Stay authentic, continually pushing boundaries, and deliver music that truly resonates.

Moussa reflects on their approach to the EPs, highlighting the importance of individuality, “When it came to creating these EPs, we didn’t think of having some kind of cohesive identity. We really want to highlight how different and unique each of our styles is and that the common denominator between us isn’t this homogeneous identity, but rather our shared interest and appreciation for the craft of making music.”

SOUND INVESTMENTS

“Initially what brought us together was our shared interest for music. I think what kept it going is that we were able to build trust and share knowledge between each other.” El Dab3 Each artist demonstrated their mastery over their respective rap styles, imparting their unique musical influences into each track. In the landscape of Egyptian rap, Marwan Moussa stands out with his high-energy, lyrically-focused style. This vivid dynamism permeates his latest EP, brimming with incisive lyrics and intense rhythms.

But what fuels this relentless intensity in his work? The answer lies in Moussa’s music regimen, akin to a finely tuned diet.

Rather than feasting on a buffet of genres, Moussa adheres strictly to a diet of select music that keeps his creative senses attuned to the nuances of his craft. Through this auditory nourishment, Moussa remains at the top of the game, perpetually evolving and refining his approach to songwriting. His latest EP is a testimony to this method. Each track encapsulates Moussa’s dedication to lyrical sharpness and vibrant energy, reflecting the hours of carefully curated music he absorbed.

Karim Enzo’s latest EP exudes dark trap influences, a product of his fascination with narratives that blur the lines between the melancholic and the sublime. His penchant for dark trap can be traced back to his childhood, where he developed a deep appreciation for the style’s raw, visceral energy.

THIS IS YUNG

58-59

SOUND INVESTMENTS

His approach to music creation is spontaneous and genuine, freestyling for extended periods of time before refining his lyrics into a cohesive song as he candidly discussed his creative process, “I go on recording a freestyle for around 20-30 minutes on each beat, then arrange it and come out with a song.” His sound isn’t manufactured; it’s the unfiltered rhythm of his street, his environment, his reality. “I picture myself on the street. In the last EP (El Mata7en) during the recording and writing process, I always had the vision of myself with my friends on the corner where we always hang and do whatever. That’s the explanation to the way I sounded on that particular project, because I mostly talk in that calm tone in real life.”

El Dab3, known for his innovative blend of sha3by music and modern hip-hop elements, sought to push the boundaries of Egyptian music, stepping away from the world of western melodies and trying something a little new for his latest EP. This novel approach to music creation resulted in a genre-bending auditory experience that would come to define his signature sound. He attributes this breakthrough in his music to the immersive process behind the creation of their work as a collective, “We spent maybe a week developing the ideas together, which I feel helped me develop a more cohesive and well-structured EP. At least once or twice a week, you would hear one of the other’s track and it was kind of like an endless stream of inspiration, so I feel that also helped enrich my sound.”

Alexandria-born rapper Afroto echoes a similar sentiment, underscoring the importance of collective mentorship in their work, “Each one of us acted as a mentor. We’d sit and listen to each other’s tracks, give pointers and offer our perspectives individually and as a collective.” His personal experiences have also deeply coloured his work. His recent travels became the inspiration behind his EP, serving as a tribute to the various countries and cultures he has encountered, “Over the past two years, I travelled a lot outside of Egypt and I toured all over. I wanted each track on the EP to be completely different from the one before it, representing the diversity of countries and cultures I experienced over the last couple of years.” His own odyssey outside Egypt over the past two years was a compelling muse for his EP, “I was always a dreamer, and I wanted people to dream with me and celebrate this success.” he shares.

Each track on his EP is a postcard from the different countries and cultures he’s experienced, together painting a vibrant soundscape of his travels.

Reflective and intensely realistic, Yonyo’s music draws heavily from his personal experiences as well. “My personal life, my love life, is the biggest influence on my music,” he confessed, emphasising the central role of authenticity and self-reflection in his craft.

His songs, often characterised as the introspective musings of a university student, offer a candid glimpse into the life of the young artist. The universality of his personal experiences allow him to connect deeply with his audience on an emotional level. The EP further solidified his reputation as a relatable and grounded artist in a scene brimming with larger-than-life personas.

Omar Emad, co-founder of RA2SMAL, traced the inception of the label back to 2021, when the idea was initially brought to life by Marwan Moussa. “Marwan Moussa came up with the idea. Omar Ahmed and I were helping execute the vision as it is,” he reminisces. “About the collective coming together, the five artists were always described as a family. The only thing they needed was a big umbrella for them.” The birth of RA2SMAL was not never about creating a music label; it was about forging a creative collective, a family bound by their shared passion for music. With this cohesive approach, RA2SMAL didn’t just ascend to prominence; they redefined the very fabric of the Egyptian rap scene. They crafted a unique selling point, establishing themselves as a powerhouse in an industry often criticised for its homogeneity.

This familial camaraderie extends beyond the studio to their fans as Moussa stresses, “We’re very close to our fans. Staying in touch with them and trying to understand what the fans actually want is critical for us.” This hands-on approach creates something of a synergistic relationship with their fan base, which greatly influences their musical narrative. This raw connection drives their narratives and creative direction, creating music that throbs with the reality of their collective, lived experiences.

THIS IS YUNG

60-61

SOUND INVESTMENTS

The collective’s most memorable moment thus far, according to Emad, was their inaugural showcase in Egypt, “R2SMLSZN 1”. The event saw an incredible turnout, with a crowd of 10,000 fans pouring into a hockey stadium, a sight that still resonates with the team.

This overwhelming show of support is more than just fandom - it’s a testament to the bonds RA2SMAL has cultivated with their audience, aptly termed the ‘Ra2smal family’. These aren’t casual listeners, but dedicated followers who resonate with the passion and raw emotion that the label pours into every track.

Their success is not hinged solely on their musical prowess. Instead, it’s their commitment to authenticity, both in their music and interactions, that endears them to their fans. Their approach to marketing, far from the high-pressure tactics commonly seen, mirrors their overall ethos - organic, laid-back, and deeply connected with their community.

RA2SMAL’s journey is only just gathering momentum. Their aim isn’t merely to stand out, but to create a body of work so compelling that it leaves their listeners clamouring for more. Their connection with fans goes beyond that of an artist-listener relationship, instead it is a symbiotic synergy that pulsates through their music and fills it with their lived experiences.

In a realm often caught up in stardom and glamour, RA2SMAL is here with a simple, powerful message: Friends before artists. Fans before capital. ■

production DIGITENT; location STUDIO 07; RA2S MAL PR DIGITENT

“About the collective coming together, the five artists were always described as a family. The only thing they needed was a big umbrella for them.”

Omar Emad

THIS IS YUNG

62-63

SOCIAL CONSCIOUS

photography CALEB & GLADYS styling SAIF HIDAYAH, DYLAN WAYNE words LOUIS PARKS

Amelie Zilber is something of a sensation. A multi-hyphenate, the social media star has crossed into fashion, acting and more. But, it’s her social activism and her fascination with the Middle East that truly catch the eye.

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress DIOR

THIS IS YUNG

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress RALPH LAUREN

64-65

SOCIAL CONSCIOUS

“I truly believe when my generation has the information and tools to create change, we do.”

Amelie Zilber isn’t your average influencer. Sure, her feeds feature fashion, beauty, lifestyle, but this is just one of her many facets. What sets Zilber apart from the rest is her dedication to a truth, a truth that appeals to a socially-conscious youth, one that’s underserved by the mainstream media. Zilber is, in many ways, an educator, a spreader of news, a voice for worthy causes. Beyond the shoots with Dior and Tiffany, beyond the beauty tips, there’s a true desire to, as trite as it may sound, make a difference. Oh, and she’s 21.

“My journey [in content creation] began as a prepubescent, when I unintentionally laid the groundwork for a career in news summarizing. I started a weekly newsletter called the TwoMinuteTimes in sixth grade, purely as a resource for my peers. I noticed the lack of awareness amongst my friends and wanted to change the landscape of media available to young people with limited existing knowledge of global events,” she says. Zilber took current events and broke them down into five to seven sentences, making them easily digestible and understandable. After a while, she pivoted into social media and she hasn’t stopped since. She started this at 11 or 12 years old, let that sink in.

The model, actress, influencer aims to be an agent of change for a generation starved of tailored, serious content. Studying Middle Eastern Foreign Policy at Washington DC’s Georgetown, Zilber is fascinated by politics and social issues and the Middle East. So why life as an influencer? “Social media is this generation’s new media outlet. My mission is to educate wider audiences and inspire them to take action. I truly believe when my generation has the information and tools to create change, we do,” she says. It’s obvious, really. The mission is to spread the word and if you want to reach young people, you go where they are.

Zilber is indeed an influencer, but she’s a very different breed from your average TikTok star.

There’s no doubt that, as Zilber says, “Social media has immense potential as it can transform passive engagement into real-world impact.” But the key to Zilber’s success is perhaps a little disappointing if you take half a step back. There’s very little traditional media – news shows, websites, magazines – that talk to the younger generation about serious issues, about politics. There’s plenty of entertainment, but very little informative programming (if we’re to use the old terms) about issues of real substance. Added to that, the explosion of new outlets such as Instagram, TikTok and others has effectively formed an entirely new series of channels that traditional media simply don’t understand, and certainly don’t dominate. All this means that there’s space for people like Zilber to reach an audience and to build themselves a platform.

Zilber is clear on social media’s power, “I believe vehicles of change are ever evolving, and right now, the most prominent looks like social media My generation wants to be the change and to challenge status quos, and community is imperative to do this. Through social media we find community and can encounter like-minded groups who strive for the same goals,” she says.

THIS IS YUNG

66-67

SOCIAL CONSCIOUS

“… vehicles of change are ever evolving, and right now, the most prominent looks like social media.

My generation wants to be the change and to challenge status quos, and community is imperative to do this.”

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress RALPH LAUREN

THIS IS YUNG

68-69

SOCIAL CONSCIOUS

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress DIOR

Currently Zilber sits on 2.2 million followers on Instagram, 7 million on TikTok and hundreds of thousands on Twitter. She’s big and she’s growing all the time. Outside of social media, she’s an actress and plays Lauryn on Hulu’s Grown-ish, a show about a group of students navigating the challenges of college, young adulthood, friendships and relationships and an off-shoot of the famed Black-ish, “I’ve always dreamt of working on the screen in the way that I do, and Grown-ish has simply been the most wonderful, life changing experience. I look forward to continue working on interesting projects that speak to me, and ultimately being a part of pieces of work that make a difference!” she says.

Unsurprisingly, Zilber’s studies are on hold, for now. She’s currently taking a gap year. But, her influencer-media work began long before university, and it’s clear that the two have fed into one another as her posts on the protests in Iran and commentary on immigrants have shown. In any case, Zilber says that her education at Georgetown and the news items she covers aren’t necessarily related, “My studies are for my curiosity and personal edification. If there’s a crossover between a current news story and what I learn, all the better!”

What is clear is that Zilber had a more traditional, though incredibly ambitious, plan for her life before she fully embraced her current path. The influencer planned to major in Middle Eastern foreign relations, graduate, work at the US State Department and eventually end up at a think tank working on foreign policy. Demanding, certainly, and not for the fainthearted.

However, “Life took some unexpected, but joyous, turns, and I no longer see that as my path. I’ve always found my curiosity driving me towards the history of the region, and feel very lucky to have found a major that really fulfils me,” she says. She hasn’t completely ruled out working in Middle Eastern-related fields, but from the outside it looks as if her career is headed in a totally different direction.

Zilber has interviewed some heavy hitters in Washington for her social media feeds and she occasionally works with White House Administration. She coyly suggests that we check out her channels to see what she’s spoken about, but she’s talked to former Democratic presidential candidate Pete Buttigieg, Vice President Kamala Harris, and former White House Press Secretary Jen Psaki among others. All of these interviews are available on her socials and have reached a vast audience, “I believe it’s important my generation is able to have productive and constructive conversations with politicians. We are a core demographic, and we deserve to be heard,” she says.

Zilber talks about a wide range of topics, political, cultural, social. Her scope is international, and she’s spoken on the treatment of migrants, the Turkish earthquakes, the situation in Syria, Russia and Ukraine and the protests in Iran. However, it’s fair to say that the majority of her focus is squarely placed on the US, a country that’s going through a period of political and legal upheaval that is often incredibly hard to understand. As such, she’s posted on issues such as climate change, LGBTQ+ rights, abortion and more. She’s clearly to the Left on these issues. When asked to elaborate on the topics she covers, she gives a relatively neutral response, “I have a point of view on many different issues, which is not dissimilar to many in my generation. With the audience that I have, I feel it’s imperative I utilize this power to start conversations and to educate those who might feel disempowered to get started.” Again, when asked if there’s a cause she’s particularly focused on, she gives an answer that hints that her education at Georgetown and her time spent around politicians have taught her a thing or two, saying, “So many issues are at the forefront of today’s conversations. I would say I’m more well versed on certain issues, but am always learning and have a drive to continue educating myself and my audience.”

THIS IS YUNG

70-71

SOCIAL CONSCIOUS

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress FIRAS ZEDAN

THIS IS YUNG

72-73

SOCIAL CONSCIOUS

“Beauty and fashion with a socially conscious twist.” This is how Zilber describes her platform, so it seems fitting to circle back. Speaking of her social work and fashion, she says, “The two, in my life, are intrinsically connected. Having social consciousness forces me to recognize the consequences my actions have on the rest of the world. I’m in a place of privilege simply by having choice options, and it’s my obligation as a burgeoning young woman with an influence to do what I can, when I can. Social consciousness in the beauty and fashion world, especially in terms of consumerism, is vital in inching our way to global sustainability goals. Who I am in terms of how I outwardly express myself is intertwined with who I am internally.”

It’s refreshing to see such as clear take on the issues surrounding the industry, especially from one so enmeshed within it. The fashion industry is one of the most polluting sectors in the global economy due to the endless need for new products and our insatiable desire to keep on-trend. According to in-depth reporting by Bloomberg in early 2022, the industry accounted for 10% of global carbon dioxide output – more than international flights and shipping combined – and accounts for 20% of the 300 million tons of plastic produced globally every year.

“I believe it’s important my generation is able to have productive and constructive conversations with politicians.

We are a core demographic, and we deserve to be heard.”

That said, Zilber is clearly in love with the world of fashion and has worked with major labels and featured in international publications, “Any opportunity I get to wear something exquisite is a highlight for me!” she says and lists Christian Dior, Tiffany and Ralph Lauren as her favourite houses, “They’re such wonderful companies and are all aligned with my purpose,” she says.

As for the future, it sounds like she’s in a good place, “I hope to keep growing and learning, to continue evolving and become a better version of myself every day, and to keep pushing myself to accomplish all I set my heart to.”

Amelie Zilber is unique, her blend of fashion, lifestyle and social activism is certainly refreshing in a world where so many influencers appear carbon copies of one another. Her commitment to spreading awareness of progressive causes and important political issues is fantastic to see and it’s certain that her audience is underserved when it comes to the mainstream media. Above all, it’s heartening to see such a talented young woman embracing her passions in life and managing to combine her love of fashion, media and social activism to such effect. ■

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress AKNVAS

THIS IS YUNG

makeup DIOR BEAUTY. jewellery TIFFANY & CO. dress RALPH LAUREN

DIOR BEAUTY makeup used on Amelie: Plum Tutu. Dior Show on Stage Crayon in Plum. Dior on Stage Liner. Dior Forever Skin Glow Foundation. Dior Forever Skin Corrector.

Roses Glow in Rosewood, Cherry and Pink. Dior Addict Lip Maximizer in Beige. Dior Show Mascara.

74-75

SOCIAL CONSCIOUS

makeup AYA TARIQ; hair GONN KINOSHITA; producer ARTEM KOROLEV, production assistant YARKI

“Any opportunity I get to wear something exquisite is a highlight for me!” she says and lists Christian Dior, Tiffany and Ralph Lauren as her favourite houses.”

THIS IS YUNG

76-77

WRIST BLISS

Elevate your style game and make a statement with our specially curated timepieces for this sunny season. Whether you’re lounging by the pool or embarking on new adventures, our curated edit has something to complement your next outfit.

Discover the perfect blend of fashion and durability, ensuring your watch stands the test of time while adding a touch of sophistication to your summer ensemble. illustrations BAYAN DAHDAH

78-79

image supplied via AHMED SEDDIQI & SONS

THIS IS YUNG WRIST BLISS

THIS IS YUNG

80-81

WRIST BLISS

THIS IS YUNG

82-83

WRIST BLISS

image supplied via AHMED SEDDIQI & SONS

THIS IS YUNG

84-85

ASTONISHING HERMÈS IN A CAMARGUE SUNSET

ASTONI SHING HERMÈS IN A CAMA RGUE SUNSET photography CAROL SACHS words FIFI ABOU DIB

THIS IS YUNG

86-87

ASTONISHING HERMÈS IN A CAMARGUE SUNSET

At the end of May, Hermès celebrated its annual Theme event in the Camargue, under the concept of Astonishment. A magical sunset and fantastic cavalcades through the wetlands created a magical moment.

It was when Hermès traditionally unveils the theme that will guide the inspiration of its creators and artisans in the coming months. And as tradition dictates, this event was kept secret until the last second.

The guests were given only an enigmatic card indicating a meeting point at a train station or airport as their sole clue.

Meanwhile, all the bus shelters in Paris displayed the words “Astonishing Hermès.” There was no need to decipher the fabulous landscape painted on the invitation by Tom de Pékin, or to analyse its colours to guess the program. Astonishment, the theme of Hermès’ new creative cycle, is already present even before the guests embark on their journey.

It is in Camargue, between the river Rhône and the Mediterranean, that a network of small signs finally begins to make sense, including the latex boots and mosquito repellent provided for the journey. Tractors cross the landscape under the guidance of Henri Laurent, the manadier (ranch owner), who escorts the visitors along with his wife Annie, dressed in traditional attire and a black velvet hat.

An initiatory water infused with herbs is offered by a donkey handler carrying baskets and bottles. The Camargue, with its rice fields, unfolds its magic at the twilight’s edge. Walking in single file through the vast expanse where land, sky, and water intertwine, one comes across a stranded glider—or perhaps it is ready to take flight. Then, in the deep silence of the falling day, an eerie voice emerges, neither female nor male. It fills the air, hovers over the grey earth, resonating with the tall grasses and the wind. Near the glider, singer Lyra Pramuk, resembling a steampunk nymph, shaped a vital sound that could belong to any element of the landscape, including the human. Speakers carried by members of the procession transmit it all the way to the end of the line. Slowly, accompanied by her partner Emiliano Maggi, she wraps up a copper-coloured parachute, where the pale light of that moment shimmers. Their gestures are a slow, organic, hypnotic dance.

Soon, the journey continues across the waters. Through the magic of the lighting created by Mathieu Cabanes and Éric Wurtz, every splash produced by the city dwellers’ footsteps emerging from the clay mud becomes a golden spark. At the end of the path, stands a platform, and between the water and the platform, a circular arena. Emerging from the very sun, or rather from the bed where the sun still hesitates to lay down, a herd of horses is faintly visible in the distance, a magnificent cavalcade whose power and breath can be heard even before the gallop is seen —Camargue’s beautiful horses do not wear horseshoes. They run through the water, and the golden sparks transform into fireworks. And the sun sets. Its colours are nearly identical to those in Tom de Pékin’s illustration, which had seemed unreal. In the psychedelic pink of the Camargue twilight, the white horses turn pink, then orange, then purple. One might believe they are witnessing a ride of unicorns. Placing the horse at the heart of the performance, the collective La Horde, under the direction of the

National Choreographic Center - National Ballet of Marseille, delivers an acrobatic ballet in collaboration with the Hasta Luego equestrian show stable. In the background, the voices of Deborah Bookbinder’s choir rise, a telluric litany, a pagan chant to the rising night. The riders depart and then return from the depths of darkness. They carry lanterns that shine in the dark like dozens of fireflies dancing through the now indecipherable wetland.

Again, the tractors. They cut through the night until they reach the Laurent manade, where a central bonfire already illuminates the arena hosting the banquet. Armand Arnal, a botanist devoted to the terroir and Michelin-starred chef of La Chassagnette restaurant in Arles, has prepared a vegetarian meal that combines beetroot and raspberries, carrots and kumquats, artichokes, tartlets with Swiss chard, courgette flowers, verbena, fennel, and even golden rice: a melting Camargue risotto. With their guitars and vibrant songs, the musicians of the Sol Y Arte troupe, an emblematic group from Saintes-Mariesde-la-Mer, the cradle of French Gypsy culture, add fire to the fire, contributing to elevate an evening where each sense will have received its share of the extraordinary.

“What is happening? Suddenly, we have lost all our bearings, to the point of being struck with astonishment. Our knowledge, our habits are in disarray. (...) What has been given back to us simultaneously is the enigma of the world which we had lost from sight, and the enigma of our presence in the world, so quickly forgotten. Astonishment takes us by surprise but awakens us from sleepwalking and indifference,” comments Pierre-Alexis Dumas, Hermès’ artistic director. In this regard, he recalls a small event from his childhood: “One afternoon, while my sister and I were sitting doing our homework after school, our father (Jean-Louis Dumas, director of the Hermès group from 1978 to 2006 and founder of the Theme tradition) burst into our room and asked us to follow him. We ran after him without asking any questions.

We found his car in the middle of the street, engine running. He drove through Paris at full speed and stopped on the Alexandre III bridge.

There, he asked us to close our eyes for a few seconds. When we opened them, Paris was orange! He had noticed a cloud under the setting sun and knew that as soon as that cloud passed in front of the sun, the city would be bathed in that extraordinary light.”

The entire Theme event, built around one of the world’s most beautiful sunsets, undoubtedly stems from this memory. It symbolises the entire culture of Hermès as has been transmitted since the establishment of the house in the mid-19th century: rejecting ostentatious luxury, respecting craftsmanship and know-how, and bringing together all forms of art to give meaning and universal dimension to each creation, calling upon the world’s best artisans, and embracing diversity.

No visible logos ever appear in these Theme events, where the spirit of Hermès reigns without the need for display. Understanding the workings of miracles, anticipating them, and sharing them with the world: so goes the magic of Hermès, never ceasing to amaze - or is it to astonish? ■

“The entire Theme event, built around one of the world’s most beautiful sunsets, undoubtedly stems from this memory. ”

THIS IS YUNG

88-89

ASTONISHING HERMÈS IN A CAMARGUE SUNSET

THIS IS YUNG

90-91

CAPTURING TUNIS

CAP TUR ING TUNIS

photography BACHIR TAYACHI styling SAIF HIDAYAH

Capturing Tunis brings together the essence of Tunisia through the lens of renowned Tunisian photographer Bachir Tayachi. With 10 stunning Tunisian faces adorned in exquisite ensembles by local designers, Tayachi brilliantly showcases the rich tapestry of Tunisian culture through an engaging photographic narrative. Each page tells a captivating story, unveiling the diverse identities, traditions, and journeys of the remarkable Tunisian people. The editorial’s artful composition intertwines these compelling narratives with the breathtaking landscapes of Tunis, from its inviting beaches to her bustling souks and iconic landmarks, painting a vivid picture that encapsulates the vibrant spirit of this North African gem.

jacket, skirt, tights BORN IN EXILE

CAPTURING TUNIS

THIS IS YUNG

top, jeans BORN IN EXILE necklaces TALENT’S OWN

92-93

CAPTURING TUNIS

necklaces TALENT’S OWN

THIS IS YUNG

94-95

top BORN IN EXILE necklaces TAMAR ZIZT

CAPTURING TUNIS

top, pants BORN IN EXILE sunglasses TALENT’S OWN

THIS IS YUNG

dress VENDREDI headpiece, heels TALENT’S OWN

96-97

CAPTURING TUNIS

dress EYE K t-shit BORN IN EXILE

THIS IS YUNG

98-99

CAPTURING TUNIS

top BORN IN EXILE

dress HANEEN ALAYEB

100-101

makeup MOHAMED ALI BEN GHARS; models SELIM FESSILI, RYM HAMAMI, DEV MAX SEMBULA, EMNA CHARNI, ALI GHARIENI, SFAYA BAKRI, FARAH HOSNI, SALIMA MRAD, MANEL AYOUB, MABOUKA; production IBRAHIM SHEBANI, LOU BUNKHEILA; casting ROVER MODELS

THIS IS YUNG CAPTURING TUNIS

dress, top HANEEN ALAYEB shoes TALENT’S OWN

dress AUBAINE FRIPERIE VINTAGE

THIS IS YUNG

102-103

FULL CIRCLE

FULL CIR CLE From Palestine to global hip-Hop: Suhel Nafar’s self-made odyssey

WORDS MENNA SHANAB

THIS IS YUNG

104-105

FULL CIRCLE

“When the whole thing started, we didn’t have a computer or internet at first.

But when we finally did, we got a cheap mic and we just started downloading beats and recording on them.”

“When I saw Hakim running down the streets singing ‘Wala wahd wala meya’ chasing a girl, that’s not something that was my reality,” recalls Suhel Nafar, a seminal figure in the Arab hip-hop scene and current VP of Strategy & Development at Empire WANA. “But when I saw Tupac running away from cops, and all the scenes from the music videos with drugs and violence, it resonated.” Police brutality or the NWA songs like ‘Fuck the Police.’ We were like, ‘This is our life.’ It felt like those music videos were shot in my neighbourhood.” Nafar vividly remembers the moment when the urban narratives of American hip-hop first, and profoundly, resonated with his own lived experiences in one of Palestine’s most notorious ghettos, Lod. Born and raised in Lod, a hotbed of crime and poverty notorious for being a major regional drug and weapons market, Nafar’s reality was starkly different from the glamourised portrayal of Arab life in popular media. It was within the harsh realities of his hometown that he, along with his brother Tamer, found comfort and inspiration in the gritty realism of hip-hop, going on to eventually found Palestine’s first hip-hop group, DAM. Nafar comes from a musical lineage. His grandfather was a carpenter by profession, but his true passion lay in crafting traditional Arabic instruments such as the oud, a traditional Middle-Eastern stringed instrument. “When he went back home to his family on the weekend, he would test out the oud and play around with it, and then my grandma would sit next to him and sing,” says Nafar. Out of these melodies and the rich cultural tradition they represented, his love for music was kindled.

It was the intersection of his heritage and the gritty realities of his hometown that would truly inspire him. When he stumbled upon hip-hop for the first time in the mid-90s, the raw and poignant lyrics, brimming with societal critique, felt uncannily relatable. Hip-hop didn’t merely offer a window to a world that mirrored their own, it offered a path for self-education. Despite their limited access to resources,

Suhel and his brother navigated their way around financial and linguistic barriers by sneaking into libraries and painstakingly translating English lyrics into Arabic. “Tamer used to print the lyrics, translate them one by one with a translator and then take them and bring them home,” Suhel recalls.

The process was life-changing, to say the least. “That’s the reason why we speak English right now.” Suhel, who admits he wasn’t always a good student, found himself captivated by the process of learning English through hip hop. “Hip hop was my teacher,” he says. “From Mobb Deep, NAS, Public Enemy, Tupac, Biggie. Those artists were actually my teachers.”

Hip hop didn’t just teach them English though. It became a means to vent their frustrations, express their reality, and ultimately, a vehicle for their global success. Their determination began to pay off when they met Mahmoud Jrere, another Lod resident whose reality resonated with theirs. Together, they created DAM, the first Palestinian hip-hop group and thus, Arabic hip hop took root.

The first sign of their impending stardom came out of nowhere.

“Once we had a request to perform in Nazareth, which is like almost an hour and a half away from our town. We were surprised that anyone would ask us to perform.” The event was a turning point in their lives.

“When we got there, we saw 2,000 people singing every word with us,” Suhel recalls with a hint of awe in his voice. “We didn’t even know that our computer was hacked and someone took those songs and leaked them and we had our music spread around Palestine.”

“Our career took off from there.” This was a defining moment for Nafar, an affirmation that Arabic hip-hop had a place in the world of music. However, the brothers’ journey toward hip hop stardom wasn’t all smooth sailing. Their first performances were on makeshift stages, and the lack of a local hip hop scene meant they had to work hard to

establish a platform for their music. Suhel recounts, “We had to build everything from scratch, literally from scratch, to a point where we had to actually build a stage, by bringing two trucks, putting them backto-back, reverse, putting together pieces of wood, hammer and nail.”

Co-founding DAM at a young age, Nafar and his group quickly became the heartbeat of Arab street culture. Their lyrics, while grounded in the reality of their Palestinian identity, touched upon universal themes of justice, identity, and freedom. Remarkably, Nafar was only 14 years old when he began this global musical journey. Along with the rest of DAM, he would tour the world for the next 15 years, translating their lived experiences into powerful verses and electrifying beats.

Throughout his illustrious career, Nafar has always been resourceful, taking on multiple roles and mastering different aspects of the music industry. As the trio expanded their musical abilities, Nafar’s interest was piqued by the world offstage, the strategizing, marketing, and logistical machinations that are essential to a successful music act.

His interest in the backstage intricacies of the industry was further amplified during his involvement with the award-winning film “Slingshot Hip-Hop,” directed by Jacqueline Reem Salloum. “I picked up the camera during the film because that’s what I loved,” Nafar recalled, detailing the five years of filming during which he narrated and documented numerous memorable moments. This experience broadened his understanding of the vital nature of the less glamorous, off-stage work, and emphasised the importance of bridging gaps to help artists in their journeys through the industry.

On moving to the United States a decade ago, Nafar embarked on an arduous journey of self-improvement. A key turning point in his career was his collaboration with Complex Network on their Snapchat channe where he built and led a team that created daily content exploring music and culture. “I did that for a year and a half, where I was part of the production of over 6,000 videos,” Nafar said, emphasising the magnitude of the experience that dramatically honed his content creation and team management skills.

This didn’t go unnoticed. Eventually, Spotify approached Nafar with an enticing proposition. “They told me they’re launching in the Arab world. I said I would love to do that,” Nafar shared enthusiastically. As the first Arab hired at Spotify, Nafar was tasked with the formidable feat of building an ecosystem designed to increase the global visibility of Arabic music. Nafar was instrumental in laying the foundation for the hub, creative directing, strategizing and overseeing the programming of over 120 playlists.

After three fruitful years with Spotify, Nafar joined EMPIRE, a decision motivated by a desire to support emerging artists in their journeys starting from scratch. He was up for a challenge. “Even if an artist has only five streams, I want to be part of their journey,” he said passionately. His mission is clear: “It’s about all ears in the world and how we can support these voices to reach these ears.”

In his approach to supporting artists, he applies a reverse-engineering method, beginning with the end goal and charting the best course towards it. In his words, “I approach them and ask, ‘What is your end goal? Not just for now, but five years from now?’”, he explains.

His strategic process is best encapsulated in a nautical analogy he often uses. “The way I see it, we need to reach a certain island, and here’s the sailboat we’re all on. The artist, they are the captain of this fine vessel.”Nafar’s approach positions the artist as the principal decision-maker, the one to guide their career, their voyage.

“The thing is when you’re on a sailing boat, there’s going to be a lot of wind. So, if you sail against it, you’ll capsize and you won’t reach the goal,” he explains. This tenet of adjusting one’s course as needed, acknowledging that the journey isn’t always a straight path, mirrors Nafar’s own trajectory.

“That’s why we have to zigzag and go with the wind,” he says. Artists must trust their teams, he emphasises, paralleling this to how they navigated the high seas of the music industry. “It’s a journey that we’re going together,” he declares, underlining his view of the artist-management relationship as a shared, adaptable voyage.

This idea finds resonance in Nafar’s personal story. Hailing from humble beginnings in Lod, his journey has been one of resilience, determination, and self-taught mastery. As a young artist, he crafted music with limited resources, weaving his story and that of Lod into each song, all while laying down the foundations for hip hop in a region where it was practically non-existent.

Presently, Nafar leverages his experience and knowledge to support emerging artists from the WANA region, providing them with the opportunities and tools he painstakingly built for himself. This full-circle narrative—transforming from an aspiring artist in Palestine to a mentor and trailblazer in the global music industry—is not just a tribute to his perseverance, but also a homage to his roots. His story is a nod to his younger self, ensuring that he did not overcome his hurdles for his own benefit, but that they were critical stepping stones on the path that led him to his current role - empowering others to tell their own stories. ■

THIS IS YUNG

106-107

THE FENDI ALLURE

THE FENDI In this editorial, the spotlight falls on Louai Alama, a promising new generation model and social media star.

Donning exquisite designs by Fendi, Alama effortlessly embodies the brand’s luxurious aesthetic. Against the backdrop of the enchanting city of Paris, the editorial paints a picture of a young man confidently strolling through the streets, exuding a sense of allure that effortlessly captivates and inspires. The Fendi Allure showcases the seamless fusion of contemporary fashion and digital culture, epitomizing the ever-evolving landscape of style and the power of the new generation.

photography TARECK RAFFOUL styling GAËLLE IBRAHIM, RINAD SAAD

full look, FENDI

full look, FENDI

A L L U R E

THIS IS YUNG

full look, FENDI

108-109

THE FENDI ALLURE

full look, FENDI

THIS IS YUNG

full look, FENDI

110-111

THE FENDI ALLURE

full look, FENDI

THIS IS YUNG

full look, FENDI

112-113

THE FENDI ALLURE

full look, FENDI

THIS IS YUNG full look, FENDI

114-115

THE FENDI ALLURE

full look, FENDI

THIS IS YUNG full look, FENDI

116-117

THE FENDI ALLURE

creative direction SAIF HIDAYAH; art direction GAËLLE IBRAHIM, RINAD SAAD; grooming JADE BENAÏM

full look, FENDI

THIS IS YUNG

118-119

BAHRAIN’S BRUSH WITH NOSTALGIA

BAH RAIN’S BRUSH WITH NOS TALGIA photography MATT WARDLE words MENNA SHANAB

For Bader Alsaad, Bahrain’s art scene may be a “hidden gem,” but it’s certainly not for forgetting.

THIS IS YUNG

120-121

BAHRAIN’S BRUSH WITH NOSTALGIA

“The art scene is very mature, but it lacks a lot of support,” Alsaad explains, arguing that the artists are not lacking in talent, but in opportunities.

The Fawzia Bucheeri house stands as a testament to the power of stories and memory in preserving cultural heritage. The exhibition is a stark reminder of what we stand to lose if we don’t make an effort to preserve our identity – a tribute to the past and a warning for the future. A nod to the mature, yet stagnant Bahraini art scene. It was his final act as a curator, a gesture of love and a gentle push.

Art is not simply a pastime in Bahrain – it’s a lifeline, a connecting thread that binds the island’s vibrant community of creatives. It’s also the lifeblood for Bader Alsaad, a cultural steward and the soul of Bahrain’s art scene. Born of the sea, nurtured by creativity and led by a rebellious streak, the community builder and art curator is not just another participant in Bahrain’s art scene, he is its ambassador. Behind his words is a deep reverence for the beautiful, intricate tapestry of his homeland and an innate desire to add to its cultural fabric.

In an old, forgotten house in Bahrain – initially known as the Fawzia Bucheeri house –Alsaad embarked on a transformative journey. He would breathe life into this historical structure and transform it into a symbol of Bahrain’s rich and often overlooked culture and history. He used the narrative of a dilapidated and abandoned home to bring to life the implications of fading memories and lost histories. “We can bring these pictures back to life. We printed them on white paper and hung them all over,” he recounts. “But what happens if our stories are not shared? If our success is not celebrated?”

“We found out that, actually, this lady was the last heir to the house.

She didn’t even know that she had this house,” Alsaad elaborates. He delved into the forgotten narratives of the home, a structure once alive with the chatter and life of family gatherings and celebrations, which had since fallen into silence and disrepair.

For Alsaad , this project wasn’t just about restoring a structure; it was a unique opportunity to weave the threads of Bahrain’s past into the fabric of its present. “I wanted to curate a show based on memory and how we can lose ourselves if we don’t nurture our stories,” he says.

The exhibition focused on preserving the fading images of Bahrain’s past. Bader and his team gathered old photos – baby pictures from the 70s, 80s, and 90s, along with a handful of wedding pictures – and embossed them onto tracing paper, removing all identifiable features and colour, creating a ghostly effect.

For Alsaad, the heart of Bahrain’s art scene was always about self-expression, storytelling and cultural preservation. His journey into the dizzying world of art actually began on the Formula One tracks, but it was at Red Bull, as a community manager, where he found his true calling and community. “I got introduced into the art community, and I just couldn’t find myself going back to anything,” he recalls. “In my journey, I realised that I might have chosen a career path that doesn’t make me a lot of money, but it fills me with satisfaction,” he says. His journey in the creative industry in Bahrain, spanning over eight years, has been a rewarding one, igniting his passion for people development and leading with creativity.

His work spans a variety of roles that deeply embed him in the Bahraini creative community, from managing art projects to curating Art Bahrain Across Borders (ArtBAB), Bahrain’s International Contemporary Art Fair, and the largest Bahraini pavilion, but his most cherished work lies within the walls of Red Bull’s Malja, “because we gave a space for young artists to create,” he explains.

Yet, his roots in the Bahraini art scene run deeper than just professional involvements. As a self-described ‘culture consumer’, he found kinship among the art community. “Artists have this rebellious attitude about them that I connect with more than anything else. And I think that’s what inspired me to keep going, to keep producing and working in the arts field,” Alsaadsays.

According to Alsaad, Bahrain boasts a more mature art scene when compared to its Gulf neighbours, but it is not without its problems.

However, his perspective is not one of criticism but one of empathetic understanding. “The art scene is very mature, but it lacks a lot of support,” Alsaad explains, arguing that the artists are not lacking in talent, but in opportunities. The dearth of galleries and representative bodies in the country hinders Bahraini artists’ capacity for exposure, a thing he finds profoundly saddening.

Bahrain’s art scene is a paradoxical world. It is home to extraordinary talent yet plagued with lack of representation and support. There is a stasis, a sinking feeling of being stuck, clinging to a magnificent past but unable to march forward. “The creative community in Bahrain is living in nostalgia of what used to be.

And they are not able to cope with the present,” he laments. “I would love for more people to collaborate together. I think that’s something that’s really lacking in the region.”

However, Alsaad is not a man to just sit idly and lament the state of affairs. Despite these challenges, he is still optimistic, energised by his belief in the abundant talent within the arts community. He thinks the only way through is a shift away from an overly commercialised focus on art to one that celebrates and nurtures creativity for its own sake. HENA, the regional freelance marketplace he is currently building, aims to do just that. “We’re trying to give back,” he explains. “We’re trying to build a community of creative talents that are connected region wide.” HENA is aimed at building a network of creative talents and a platform for creatives from the Arab world to showcase their work and connect with clients. It is designed to eliminate the middleman and foster collaboration among artists, something he felt was lacking. He is also hopeful for the growth of HENA. “My vision for HENA is to make it more than just a marketplace. I want it to be a community where creatives from all walks of life can connect, collaborate, and grow together.”

He wants to see the community grow, evolve, and blossom. He dreams of a day when there will be more collaboration and independent private galleries focused on showcasing and representing artists on a global platform. “We’re currently stuck between a couple of galleries,” he admits. “We are in desperate need of more infrastructure.”

Alsaad’s future plans revolve around one key theme - sustainability. He is working to create sustainable structures that support artists and creatives, providing them with opportunities to create and flourish.

Despite the challenges, he still remains inextricably connected to Bahrain. He speaks affectionately of his homeland, describing it as “a very sticky land, it’s very forgiving, it has a lot to give.”

Its history as a trading hub has imbued the society with a richly diverse ethos. This diversity is reflected in the works of Bahraini artists, who tap into myriad influences to create unique and meaningful art.

For him, the island’s diversity of dialects, its historical roots to the Dilmun civilization, and its multicultural society, all pour into its artistic charm. He believes the land and its people have played a critical role in nurturing Bahrain’s mature art scene and developing its artistic expression.

The artistic landscape in Bahrain may be faced with countless challenges, but it is these very obstacles that breed creativity and resilience. Just as the sea nurtures the land, the trials and tribulations faced by the Bahraini art community seem to have cultivated an environment that is ripe for innovation, creativity, and growth.

As Alsaad’s narrative suggests, art in Bahrain is a journey of discovery, self-expression, and cultural reflection. It is a manifestation of the island nation’s vibrant history, diverse society, and unyielding spirit.

Over the last decade, Alsaad has been actively challenging the status quo and paving the way for the Bahraini artistic community to thrive.

His commitment to nurturing Bahraini stories, preserving cultural identity, and creating communities for artists embodies the spirit of a renaissance quietly unfolding in this small Gulf kingdom. For Bader, Bahrain’s art scene may be a “hidden gem”, but it certainly is not a forgotten one. ■

THIS IS YUNG

122-123

FACE TO FACE

FACE FACE TO

photography LOLA MANSELL styling MAYRA HOCINE

Capturing the power of femininity and the beauty of nature, ‘Face to Face’ showcases the strength of women and their powerful sense of personal style through accessories by designers like Hugo Kreit, Roussey3D, and Sister Morphine.

necklaces, ROUSSEY3D

earrings, SISTERMORPHINE

THIS IS YUNG

earrings, ROUSSEY3D

124-125

FACE TO FACE

ring, HUGO KREIT

THIS IS YUNG

necklace, HUGO KREIT

126-127

FACE TO FACE

MAKEUP HIND SOUSAN; HAIR LOUMA SLITI; MODELS YOUSRA MAJNAOUI AT CITY MODELS, MARIE MALVINSKAIA

necklace, HUGO KREIT

THIS IS YUNG

128-129

YUNG OASIS

YUNG OASIS

Welcome to YUNG’s Oasis beauty vending machine, where summer dreams come to life. Step into a world of convenience and indulgence, as our incredible machine delivers top-notch beauty products right into your hands. illustration ZINA BAKER

THE SUMMER BEAUTY EDIT

THIS IS YUNG

130-131

01 Parade Eau De Parfum, CELINE

04 Scandal Les Parfums, JEAN PAUL GAULTIER

07 C.E.O. Afterglow Brightening Vitamin C Gel Cream, SUNDAY RILEY

10 Mthrshp Mega: Celestial Nirvana, PATT McGRATH LABS

YUNG OASIS

02 Aqua Allegoria Harvest Rosa Rossa, GUERLAIN

03 Le Male, JEAN PAUL GAULTIER

05 06 Soleil Brûlant Shimmering Body Oil, TOM FORD at Bloomingdale’s Dubai

Lip Blush, HUDA BEAUTY

08 09 Mattetrancetm Lipstick, PATT McGRATH LABS

11 The Buly Dental and Skincare Kit, Harvey Nichols Dubai

Skin Fetish: Sublime Skin Highlighterin ‘Venusian Nude’, PATT McGRATH LABS

12 Eye Color Quad, TOM FORD at Bloomingdale’s Dubai

01

02

11

04

06

05

08

03

09

07

10

12

05

THIS IS YUNG

132-133

BEAUTY, ON FILM

BEAUTY, ON FILM Dior and the École Nationale Supérieure De La Photographie in Arles came together to celebrate some of the finest talents in the world of visual arts. interview SANDRA YEGHIAZARIAN words LOUIS PARKS

“We had six months to select all the talents, and also to enter into their stories and understand what they wanted to speak about,” - Rafael Pavarotti The Sixth Edition of the Dior Photography and Visual Arts Award For Young Talents, run in collaboration with the École Nationale Supérieure De La Photographie (LUMA) in Arles, is a prestigious award that celebrates the very best young talent in the world. Photographers, videographers and other international creatives all compete to win the coveted title. This year was no different and YUNG was there to see it all.

photography ANDREA CENETIEMPO

The event brings together students and alumni of photography schools from all over the world with the aim of offering young artists the opportunity to participate through creating a project under the theme “Face to Face”. The goal is to attract new talent and provide them with a platform from which they can build their careers. 12 finalists will participate in a group show at LUMA Arles during the Les Rencontres d’Arles photography festival, which will take place until September 24, 2023.

The selection process is rigorous. The jury receives pre-selected dossiers from art and photography critics at the beginning of March, then meets to deliberate on the hundred or so applications received and selects around 12 laureates.

The elite jury is made up of industry experts Brazilian fashion photographer Rafael Pavarotti, Belgian photographer Barbara Iweins, French art historian and photographer Damarice Amao, along with Peter Philips, creative and image director for Dior Makeup, as well as Maja Hoffmann, president and founder of LUMA Arles, and Simon Baker, director of the Maison Européenne de la Photographie in Paris.

“I had to be very objective. I saw 45 dossiers before the finals.

We picked the 12 best from there, and then the winner and the special mention,” says Philips.

There two simple criteria that an applicant has to meet in order to be considered, they must be in the final year of their studies, or have graduated within the past five years. The call for submissions goes out in December and the jury finalises its approximately 12 selections by March. Currently, students from the art program at the University of Sharjah are included in the school list and can apply.

The 12 finalists came from all over the world and represented a host of disciplines and fields from the realm of photographic art.

Soyan Alexander Issa from Belgium, Kyle Keese from France, Andras Ladocsi and Jermine Chua from the UK, Wen Leng, from China, Jennifer Mclain from Spain, Iris Millot from France, Lucia Morón from Spain, Clarita Phiri-Beierdörffer and Beatrice Schuett Moumdjian from Germany, Aaryan Sinha from the Netherlands and Inés Tanoira from Mexico were all up for this incredible honour.

“It was a big challenge to be the president of the jury. In particular, when you’re in front of a lot of talents with different stories and different approaches to telling those stories. We had six months to select all the talents, and also to enter into their stories and understand what they wanted to speak about,” said Pavarotti, who served as the President of the jury. Both Pavarotti and Philips took great pains to highlight that all 12 finalists were incredibly talented and that selecting a winner, and one honourable mention, was extremely challenging.

THIS IS YUNG

134-135

There had to be one, though, and the judges chose Iris Millot from France. “I felt a particular emotion when I saw Iris’ works, it was the most powerful, emotionally, in the competition. Iris, I connected with,” said Pavarotti.

Millot’s work took the form of a documentary of sorts, a telling of a life story, that of Hélène, her great-aunt, who has been working on an isolated family farm in the middle of a forest, for 40 years. A combination of still life and portraiture, Millot’s work features wide-angle shots with large close-ups, through which she illustrates the older woman’s life choices and their consequences. But it’s more than a tale of a female farmer, Hélène’s life was vibrant, she was an early feminist, a great diarist, and strong, powerful character. It’s a personal story, according to Millot, “When I met her again [after 12 years], it was really emotionally intense. I took some photos, but I also collected some of her own stories, I worked with the archives I found in the house. So, my photographs, the archives, her own writings, they blend. Seeing her again, I discovered that she wrote about her life, but she never showed it to anyone.”

This tale of two women, of two generations, and of a life well lived, straddles the gap between reality and fiction, “I don’t want to show all of her, I want to take a step back. It’s between fiction and documentary. Through my images, I show something of her, in this place. We don’t see her face, we see her hands, her back. Maybe this says more than her face,” says Millot.

Philips elaborates, “She’s shot a suitcase, the composition is fantastic, it’s a great shot, there’s something on the wall, a chair, the suitcase is open, it’s somebody’s life, there’s a picture of the woman she’s talking about, when she was young, full of dreams. But the suitcase is almost like a coffin, because everything is in there, but it’s just a suitcase. Once the lady is gone, the suitcase is going to disappear, and she captured that moment. You see a picture in the suitcase, a young woman

BEAUTY, ON FILM

looking into a camera, full of dreams, and then there’s an older woman’s hand, or a picture of the woman, you don’t see her face, there’s a map of her land. She becomes anonymous, she disappears, but she’s the same woman as in the photo. It’s a beautiful narrative.”

Millot herself believes that storytelling has long been a part of her work, “I think it was there, but this is the first project that I was truly emotionally attached to. Maybe it’s a new path for me?” she muses. What is certain is that winning the Dior Photography and Visual Arts Award For Young Talents is sure to be a major milestone in her career.

The future? Millot intends to continue experimenting, “I have a new idea for a project – I would like to do a project for young girls, school girls, they build their own camp, they go into the forest and have to be independent. They’re 15 years old, they’re discovering themselves, they have to be together, have to organize themselves, be independent. It’s inspired by my little sister, she discovered herself in moments like these, in places like these.” She also intends to keep collaborating with other creatives, something she’s passionate about.

All of the artists who made the final 12 are incredibly talented, and there’s no doubt that many will go on to have extraordinary careers, including Jermine Chua, from the UK. Chua was given an honourable mention for her work ‘Words of Mouth’ that presented names and faces in a series of angles and in conversation, all designed to spark our interest and encourage us to notice minute details.

Millot’s undeniable skill is plain to see, and it will be fantastic to see where she goes next. But what’s equally wonderful is Dior and LUMA’s dedication to support such a wide range of exceptional talent. An international competition, one day we hope to see someone from MENA take the prize. Here’s to emotions, here’s to creativity. ■

“Millot’s undeniable skill is plain to see, and it will be fantastic to see where she goes next. But what’s equally wonderful is Dior and LUMA’s dedication to support such a wide range of exceptional talent.”

THIS IS YUNG

136-137

COMPLEX NARRATIVES

COM PLEX NAR RATIV ES photography MARIAM EL GENDY styling LANA SHASH words LANA SHASH, ALLA SAWEDEG

THIS IS YUNG

138-139

COMPLEX NARRATIVES

Meet Samo Shalaby, a talented creative working in fine art who lives between London, Dubai, and Cairo. Samo’s work explores various styles, including antiquity, surrealism, and grotesque, through his unique, personal, modern perspective. Shalaby is fond of using painting and photography to express his vision, and he enjoys mixing aesthetics and motifs from different decades to create new worlds that are both familiar and enigmatic. Shalaby’s art is complex and multifaceted, often presenting dichotomous narratives that challenge conventional thinking. He is constantly in a dreamlike state during the creative process, and he values symbolism and storytelling as essential elements of his work. With a background that exposed him to diverse art forms, Shalaby continues to evolve and expand his craft in various fields, including stage design, costumes, jewellery, and more.

How did it all start for you?

As early as I can remember. My mother is a bespoke artist specialising in many styles and mediums. I spent the better half of my childhood in her studio learning various styles and techniques as I shadowed her every move. She ambitiously experimented in many ways in terms of mediums, styles, and scale. From murals and ceilings to candles and leather goods, and even furniture. Guiding me through the classics, the modern, and through to the contemporary. She opened up many doors for my curious mind. Eventually, that developed into me exploring my imagination through the techniques I’ve adopted.

What inspires you to create your pieces?

Inspiration can strike in many forms, which is why I always keep a sketchbook within reach. The change of notes in a song, a new word being used in a sentence, a passing whiff or scent, a fever dream, or a nightmare. Everyday signs and symbols all play into the bigger picture. Aimlessly sketching is where the most direct form of inspiration dwells. Even writing.

What’s your favourite piece of art that you’ve created, and why?

“Figurative Theatre” was a turning point for me. After the initial panic of Covid, I spent two months alone where I reflected inward, the chaos of isolation bloomed into a productive flow one night when a vision came to me as I started to vigorously sketch. The next morning I got up, started painting again, and didn’t stop for six months. Everything that drove me to create started to fall into place.

Stage, costume, jewellery, characters, storytelling, and overall amplified theatricality. It solidified in me that this is my path.

How do your culture and background inspire your art?

Growing up between Egypt and Dubai has shaped my knowledge of different crafts and historical techniques.

Fusing antiquity with modern motifs came from my exposure to kitsch and camp meeting classical and traditional design, but within the same context. Merging these worlds together has fueled my maximalist approach to creating.

How would you describe your artistic style?

From future and past, otherworldly and vast.

What is your creative process like, from conceptualization to execution?

Sketch, sketch, sketch. I usually doodle until I feel I’ve finally hit a vein. A place where ideas bleed onto a page or canvas. Then comes a process of dissection and curation where I compose a narrative guided by characters acting as puzzle pieces.

THIS IS YUNG

140-141

What are some recurring themes or motifs in your work, and why are they important to you?

I believe that dreams can act as gateways to portals and other realms, where the truth lies in fiction. Through that, I like to embed dichotomous elements that contradict and reflect each other. I tend to mix different motifs from various decades to create new worlds, shrines, or temples, that are familiar yet so far away.

Who are some of your biggest artistic influences and how have they impacted your work?

From Thierry Mugler to Hieronymus Bosch, a lot of my influences range from costume to jewellery, and from painters to musicians. My mother and my aunt initiated my creative journey through both of their influences.

From painters such as Lawrence Alma Tadema and Maxfield Parrish to musicians like David Bowie and Siouxsie Sioux. Directors such as Jodorowsky and Kenneth Anger, to jewellery by Rene Lalique or Alphonse Mucha. Overall, a range of those influences expanded my sense of drama and atmospheric details in my paintings.

What is the best piece of advice you ever received?

‫إتصـَ ّر َف‬

It loosely translates to “Figure it out” or “Deal with it”.

Music to my ears.

What are the biggest obstacles you’ve had to face as an artist?

Censorship, especially in the Arab world. There are a lot of topics that are unfortunately still taboo or too sensitive to explore. So sometimes I find it difficult to navigate these discussions in a non-provocative way.

However, I hope through my work I get to push those boundaries and start new conversations. I chose to believe in magic. ■

COMPLEX NARRATIVES

creative direction and production L&L STUDIOS, MARIAM EL GENDY

THIS IS YUNG

142-143

MIU MIU X YUNG PARTY The Miu Miu x YUNG Party, held on the evening of May 9th, was the stage on which YUNG and Miu Miu’s creative forces joined in a celebration that will be cherished for years to come.

The Miu Miu x YUNG Party was held at Honeycomb HiFi, located at the Pullman Hotel in Dubai. The atmosphere was filled with pulsating music, as guests danced the evening away and immersed themselves in the exhilarating energy.

MIU MIU X YOUNG PARTY

LOVES featuring GIGI HADID photography STEVEN MEISEL creative direction EDWARD QUARMBY styling LOTTA VOLKOVA

BIG BANG ONE CLICK Stainless steel case set with diamonds.

Self-winding movement. Interchangeable strap using patented One-Click system.