YUNG: Scene in Motion

REEM KHOURY

www.bang-olufsen.com

LENNY KRAVITZ

RIXOS TERSANE ISTANBUL

WHERE HISTORY MEETS

CONTEMPORARY

LUXURY

Set along the tranquil banks of the Golden Horn, Rixos Tersane Istanbul is where Ottoman heritage meets contemporary elegance in the heart of one of the world’s most dynamic cities. Opened in 2024 within the historic Tersane Istanbul shipyard complex, the hotel redefines urban luxury through a curated blend of refined design, cultural immersion, and elevated living.

A LANDMARK REIMAGINED

Once a 600-year-old Ottoman shipyard, today Tersane Istanbul is transforming into a vibrant cultural and lifestyle destination. At the heart of this transformation is Rixos Tersane Istanbul, a property that honours the past while embracing the future. The hotel’s design evokes the spirit of its maritime legacy, fusing Ottoman-inspired motifs with sleek modern aesthetics. With 432 sophisticated rooms and suites, interiors feature Turkish artisanal touches, from handwoven carpets to mosaic detailing, balancing tradition and innovation for today’s global traveller.

UNMATCHED WATERFRONT LOCATION

The hotel’s waterfront location offers uninterrupted views across the Golden Horn, creating a serene contrast to the bustling city. Guests can unwind beside the heated infinity pool, take in the panorama from their private balconies, or explore the historic peninsula via the hotel’s exclusive boat tours. Discovery Routes, a signature offering, invites guests on curated journeys through Fener and Balat, Istanbul’s most storied neighbourhoods. Art lovers can also follow bespoke routes along the Golden Horn, with insider access to museums and cultural institutions.

A CULTURAL & LIFESTYLE HUB

Rixos Tersane Istanbul is more than a place to stay, it’s a space to experience. The hotel features a permanent art collection focused on cultural sustainability. The property’s venues, from the grand Tersane Ballroom to the expansive Event Hall, serve as stages for local and international gatherings. Wellness and fitness are integral, with rowing, personal training, and spa rounding out the lifestyle experience.

A UNIQUE CULINARY JOURNEY

With three exceptional dining venues, Rixos Tersane Istanbul invites guests on an unforgettable culinary journey. Velena Food Market is a vibrant all-day restaurant combining Anatolian, Italian, and Asian flavours. Josephine İstanbul, the hotel’s fine-dining restaurant, is a destination in itself, offering exquisite cuisine with panoramic views. For an indulgent evening, Gowden Club hosts Sip, Smoke & Jazz nights every Friday, pairing live jazz with rare whiskeys, fine cigars, and crafted cocktails.

DISCOVER A NEW SIDE OF ISTANBUL

At Rixos Tersane Istanbul, every detail tells a story – of history, of innovation, of timeless hospitality. Whether you're here for discovery, celebration, or pure relaxation, this is a destination where Istanbul reveals itself in a whole new light.

Scene in Motion

Summer is here. And with it comes a moment to pause; not in retreat, but in reflection. Despite the ongoing instability across the region, despite the turmoil that often clouds our days, we find ourselves holding on to one thing: Gratitude.

We’re grateful for the artists who trust us, for the stories they carry, and for the growing community we’re building together. Gratitude is a word that’s often thrown around in captions, rituals, and conversations. But lately, it’s become something deeper. In a world that refuses to slow down, choosing to be grateful feels almost radical. It anchors us. It reminds us to be present, to notice the shifts, and to honour the people and moments that shape our work.

This issue is about that balance. Between ambition and stillness. Between movement and reflection. Between drive and care.

It’s also about legacy; about how a new generation of artists, athletes, and creatives are paving the way, carving space in places that rarely make room, in a region full of of upheaval. This spirit of movement is captured in our tagline for the season: Scene in Motion. A nod to transition. To velocity. To stories that don’t sit still.

We start with Reem Khoury, a rising actor who’s rewriting the rules. From Beirut’s stages to breakout international roles, Khoury brings sharpness, depth, and honesty to every performance. She’s unfiltered, unscripted, and entirely in her element. Her story is one of persistence, risk, and radical self-definition.

Then there’s Nataly Aukar, whose comedy doesn’t flinch. She talks about Arabophobia, exile, and inherited trauma with clarity and precision, without ever reducing her pain to a punchline. Her work proves comedy can be both a witness and a weapon.

For the first time at YUNG, we also hosted a conversation between two athletes. Palestinian footballer Oday Dabbagh and Palestinian boxer Waseem Abu Sal speak, brother to brother, athlete to athlete. They talk about sacrifice, survival, and the quiet defiance of carrying a flag in places that rarely welcome it.

These conversations are the heart of this issue, and shooting all these covers in under two months was no small feat. Every early morning, every long day, every decision was made with one intention: to give these voices the space they deserve.

In The Mood, we interview sportspeople from across the region, across disciplines, across cultures. From Olympic champions to golfers, we consider how the body itself becomes a language in motion.

In Art, we report from the Venice Biennale and Milan Triennale. While Venice asks how we adapt in the face of ecological crisis, Milan questions who architecture is really built for. Both exhibitions offer urgent calls for change and MENA artists are responding with clarity and force.

In Music, we enter Blu Fiefer’s world, one shaped by sound, memory, war, and cinema. She doesn’t cater to the mainstream; she builds her own lane. We also speak with Sleiman Damien, a Lebanese producer who has long been the invisible force behind some of Arabic pop’s most defining tracks. Quietly and consistently, he’s been rewriting the rules of the genre - not by chasing formulas, but by doing the song justice.

It’s endless. There are so many creatives and talented people all around. The industry is shifting, and fast. But what grounds us is remembering why we do this work, and who we do it for. There’s always someone to highlight, someone ready to be seen, to be heard and take their place in this world.

So let’s keep moving forward. Let’s challenge the norms. Let’s uplift each other. Let’s stay grateful. And most importantly, let’s pause.

Founder and Editor in Chief - YUNG

founder and editor in chief SANDRA YEGHIAZARIAN

creative director

SAIF HIDAYAH

art director

ATHINA SYMEONIDOU

managing editor

NADINE KAHIL

senior editor

LOUIS PARKS

producer LANA SHASH

creative project manager OMAIA JALLAD

editorial content assistant MAYA MAGED

digital writers MENNA SHANAB

MARIANA BAIÃO SANTOS

client manager and operations lead DARA HAMARNEH dara@thisisyung.com

SUBMISSIONS AND INQUIRIES hello@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.

photography TUĞBERK ACAR

styling TUĞÇE KILINÇLI

photography MOHAMED SHERIF

styling POLINA SHABELNIKOVA

photography IAN HIPPOLYTE

styling IGNACIO DE TIEDRA

photography MOHAMED SHERIF

styling POLINA SHABELNIKOVA

ABDULLA ELMAZ / ABDULLAH

/ ALAA NASIR / ALI SADALH

PORTELA / ANASTASIIA

HOLDBROOK / AZRA KHAMISSA

CHEB MOHA / DERYA GURSEL

EMMA NAVABI / ESRAN TOPAL / FRANCESCA ALBOROSA / FAYEZ / HAITHAM HIJAZIN

DESMOND / IAN HIPPOLYTE

DE TIEDRA / JIMMY PARRATT

LARA SANDRES / LIAM JOHN

TERESA STRIPPOLI / MOHAMAD

SHERIF / NOYA MEYOHAS / OLESIA

SHABELNIKOVA / RIHA NOWSHAD / SAM JUBB / SAMMI WONG

KAHL / TUGBERK ACAR / TUGCE

LISUNGI / YOI KONG / YUI

words

OMAIA JALLAD

LAETITIA AOUN

photography by Patrick Mecherkany

Two Worlds, One Drive

Juggling the demands of taekwondo and medical school, Laetitia Aoun is both an athlete and a student. Aoun began practicing the sport at the age of nine, quickly rising through the ranks. By 2024, she represented Lebanon at the Paris Olympics, finishing fifth in the women’s 57 kg category. At the same time, Aoun is pursuing her medical degree at the Lebanese American University, balancing the intensity of competition with the rigors of academia. Her unwavering commitment to both her sport and education serves as a powerful reminder that with determination and passion, one can excel in multiple realms and inspire others along the way.

Can you tell us how your journey with taekwondo began and what drew you to the sport initially?

I started taekwondo when I was around eight years old. At the time, I was practicing all kinds of sports— gymnastics, tennis, swimming—and had done judo before. I remember my dad being worried about the risks of injury in judo, especially for my back. So he decided that I should switch to another combat sport. I’ve always loved fighting, maybe because I grew up surrounded by three boys—my brother and two cousins—so I naturally gravitated toward it. What drew me to taekwondo was partly family influence. My mum had practiced it and was a black belt, and my dad once tried it just to impress her! When I started, I didn’t know much about the sport, but very soon, I was sparring with the big boys—and I absolutely loved it. Out of all the sports I was doing, taekwondo quickly became my favourite. I loved the adrenaline, the intensity, and the constant challenge that comes with fighting sports.

What does it mean to you to represent Lebanon on the international stage, especially in a sport that doesn’t always get the spotlight in your country?

Raising Lebanon’s flag and representing my country on the international stage is my greatest pride. It means so much to me to project a positive image of Lebanese athletes, our culture, and our values.

Getting to the Olympic level in any sport is tough, but doing it in a country where taekwondo hasn’t always been in the spotlight makes it even more challenging. At the same time, it pushed me to work even harder— to not only earn recognition for myself but to shine a light on my sport within Lebanon.

What kept me going was the support of the Lebanese people who understood and appreciated the significance of my journey. That support, along with the dream of making the path easier for future generations, gave me purpose beyond medals.

You’ve competed in major events like the Olympics and Asian Games. What have been the most defining moments in your career so far?

Two moments stand out. The first was not qualifying for the Tokyo Olympics. That moment was heart-breaking, but it was also deeply character-building. It taught me to push harder, to let go of excuses, and to stay hungry for

my goals. I learned that even if you work and sacrifice a lot, things don’t always go your way—and that’s part of life.

The second defining moment came three years later when I qualified for the Paris Olympics. This time, I was in my second year of medical school, juggling intense academic pressure and clinical rotations. That achievement reminded me that sometimes things don’t happen on our timeline, but they happen at the right time. It felt like God had a plan—and though it was delayed, it came with a deeper meaning and strength.

What are some of the biggest challenges you’ve faced as a female athlete in Lebanon, and how have you overcome them?

One of the biggest challenges has been the lack of recognition and support for my sport, especially as a female athlete. For a long time, taekwondo wasn’t given the attention it deserved, and that made things more difficult.

But thankfully, that’s beginning to change—and I’m hopeful it will continue to improve. I was also fortunate to have the support of amazing coaches, a hardworking federation, dedicated teammates, and, most importantly, my parents.

What advice would you give to young girls in Lebanon or the region who want to pursue martial arts but may not have support?

If there’s a will, there’s a way. Take things step by step— training after training, competition after competition. Don’t be overwhelmed by the big picture; focus on growth day by day. With the progress we’re seeing in taekwondo, especially in our region, it’s becoming easier to find sponsors and support when you start reaching the international level. As for emotional support, surround yourself with ambitious people who share your values and uplift you.

Most importantly, stay consistent—because motivation won’t always be there. And trust the process. Even if things don’t make sense at times.

ZAID KAREEM

photography by MOEEN ATTAR, JORDANIAN OLYMPIC COMMITTEE

An Unstoppable Force

Zaid Kareem is one of the most decorated fighters in modern taekwondo. Born in Amman, his journey began when his parents enrolled him in martial arts to channel his childhood energy. By 17, he had won bronze at the Youth Olympic Games in Buenos Aires. His rise continued with medals at the Asian Championships and, in 2022, a landmark gold at the Grand Prix Final in Riyadh. In 2024, Kareem etched his name into history, earning a silver medal at the Paris Olympics in the 68kg category, becoming the first Jordanian to medal at both youth and senior Olympic levels.

Can you take us back to the moment you first encountered taekwondo?

I was always really active as a kid, and my parents decided to enrol me in a taekwondo club. After a few years of training and competing, realised I loved the challenge. The feeling of pushing myself to win… that’s what hooked me. It became more than just a sport at that point.

Reflecting on your early days, what challenges did you face, and how did you overcome them?

One of the toughest periods was recovering from an injury to my left foot. I had a ligament tear, and the rehab process was too long and too demanding. I had to adjust a lot. Most of my kicks were done with my left, so I had to be really careful. It felt like a cycle of patience and persistence. I think this was a moment that really solidified my discipline – on another level. All elite athletes need to be disciplined, but this challenged me to have discipline on top of my discipline. I have a methodical daily routine. It’s what I lean into when I need to overcome anything –routine.

Your bronze medal at the 2018 Youth Olympic Games was a significant achievement. How did that experience influence your aspirations and approach to the sport? That bronze medal brought pressure that I was ready for. It was an amazing feeling to be on that podium and I still had not fully developed into who I am as an athlete. I was still so young. A lot of people were pushing me after… that “OK, now it’s time for an Olympic medal”. Honestly, it gave me the confidence to push for the next level, to be the first Jordanian in history to get two medals. I was so motivated. 2018 was the first and most important step for me.

I was determined not to waste the six years I put in after the Youth Olympics. I became obsessed with training. I zoned in completely and nothing else mattered.

Growing up in Amman, how did the local environment and community support your development in taekwondo?

Amman is home and my club, my coach, and my friends and family - they all believe in me. That is important to have. Since the beginning, everyone could see there was something special that clicked between me and this sport.

I would say those immediately around me have been the most influential. Keeping your circle tight is important, and I don’t want my focus to deviate from training. I’ve had the same coach since childhood, Faris al Assaf. He has been a huge support in my development as an athlete and person. My physiotherapist Lana Jordan, my teammate Rama Aboalrob, and my mental coach, Saeed Al Karmi, have all played a huge role in helping me reach this level.

Reaching the Olympic final and earning a silver medal is a monumental achievement. Can you walk us through your emotions during that match and what it meant to you personally?

The feeling was surreal. When I entered the final, I had thousands, thousands of messages coming in. I turned my phone off.

Honestly, when I entered the final, I was enjoying it. And enjoying the energy there.

What routines or practices do you follow to maintain peak performance both physically and mentally?

I train twice a day, six days a week: morning taekwondo sessions and evening fitness training. I never miss a session, and I put a lot of focus on recovery to make sure I’m ready for the next one. Mentally, I stay focused by trusting my training and sticking to my routine. I also work closely with my coach to study my opponents and prepare strategically.

If you could go back and speak to your younger self just starting out in that Amman taekwondo club, what would you say to him?

That I am proud of him. And that I would continue to be proud of him, because I know myself and I would continue to keep pushing forward.

As a kid, who was your sporting hero?

The Korean taekwondo athlete Dae Hoon Lee. He’s one of the greatest taekwondo athletes in the world and he is also in my category. His personality and fighting were amazing. I met him in 2023. He was so supportive and encouraging. It meant a lot to have someone I looked up to believe in me.

LAYLA ALMASRI

photography by CAUDELL CAJUSTE

Beyond the Finish Line

Layla Almasri runs with purpose. A record-breaking Palestinian middle- and long-distance runner, she blends talent and determination in every stride. Born in Colorado Springs to a family from Nablus, she rose through school tracks and became a multi-time All-American honours winner at the University of Colorado, Colorado Springs. In 2023, she debuted for Palestine, earning bronze at the Arab Athletics Championships and has collectively set national records from 800m, 1,500m, Mile, 3,000m and 5,000m. She was the first Palestinian woman to represent at the World Cross Country Championships and in 2024, she represented Palestine at the Paris Olympic Games and broke the national record in the 800m. Almasri now balances coaching, training, and inspiring the next generation.

You began running at a young age. What was it about the sport that drew you in?

The biggest thing that drew me into running and has kept me there for as long as it has is the people. My teammates and training partners, coaches and mentors. The incredible people I meet running on the trails and also doing their workouts on the track. I’m still close with so many of my former teammates from all stages, from middle school all the way through college (and of course my friends I have met post-collegiately as well!). People think of running as an individual sport but you can reach higher heights with others training around you. The best memories are the long bus rides and travel to races, the funny conversations on runs, getting food after training, that’s what makes the sport so special.

Setting a national record for Palestine in the 800 metres at the Olympics is a remarkable achievement. Can you describe the emotions and thoughts you experienced during that race?

It was a really special moment for me! Not necessarily because of the national record, I’m not an 800m specialist, I train for the 1500m and 5000m primarily. I ran the 800m at the Games because of the rules for Universality Qualification. So I knew that was something I could do simply because of where my fitness was and knowing my personal bests from when I did used to run the 800m. The special emotions ultimately came more from the being at the Olympics itself. Holding Palestine on my shoulders and trying to make my people proud during such a critical time in history. Knowing what that meant to my friends, family, and coaches. That’s what meant the most to me. It left me feeling no nerves on the start line and just a lot of gratitude. I took a few extra moments to soak in the electric crowd at the Stade de France before I walked off the track, and that picture will always be etched into my memory.

Beyond the race itself, what was the most memorable aspect of your Olympic experience in Paris?

I had so much fun exploring Paris of course, I’ve never visited before and getting to see some of the most iconic landmarks was super fun, especially doing it with my teammates and the entire Palestinian delegation where we truly were making memories together. But most of all, the most memorable aspect was the opening ceremonies.

Hearing all of the cheers as we came down the Seine and the outpouring of love we received makes me so happy to feel the world standing behind us. That feeling of pride will always stick with me.

You also coach and work professionally while training at an elite level. How do you balance all those roles, and what keeps you grounded?

It’s definitely challenging at times so I have a pretty tight routine that keeps me grounded. I’m also very strict with my calendar/planner. I add everything to a to-do list and my calendar so that I can see my entire week and check stuff off as needed. Sometimes having all of these roles doesn’t leave me a lot of room for “fun” during the work week, so I really have to be intentional that I’m filling my own cup when I have days off.

If you weren’t a runner, what sport would you pursue instead? I never know how to answer this question and I get asked it all the time… Growing up, I did gymnastics and ballet. When I was a bit older I played volleyball too. I had a lot of fun with those sports, but I don’t know if I would pursue them if I didn’t run. My favourite sport to watch is basketball, I love the pace and skill of the sport, so I’ll go with that! But it does involve running!

If you could invite any three athletes (past or present) to dinner, who would you choose, and what would you ask them?

Serena Williams, Sifan Hassan, and Simone Biles. They have not only excelled in their sports but have fundamentally shifted the landscape for future generations.

I would love to talk about identity and influence, and how each of them have changed perceptions and opened up space for representation in ways that go far beyond sport.

DANIA AKEEL

Desert Speed

Dania Akeel is breaking barriers in motorsports as one of Saudi Arabia’s most trailblazing athletes. After earning degrees in Modern History and International Business, she began racing in 2019, winning ‘Rookie of the Year’ in her debut season racing motorcycles. She later transitioned to rally-raid, becoming the first Saudi and Arab woman to finish the Dakar Rally in 2022. In 2024, she made history again by winning the FIA Middle East Bajas Championship—an unprecedented overall title for a woman. With a Dakar stage win in 2025, Akeel continues to show what’s possible for women in motorsport on a global scale.

Do you remember the exact moment when you decided motorsport wasn’t just a passion—but a path? What pushed you to go all in?

I raced in 2019 on the weekends as a hobby, a place to enjoy riding my superbike. After I raced my first rally in 2021, I decided to keep going, and eventually after my first Dakar in 2022 I committed to pursuing this path fully.

Your journey bridges politics, business, and motorsports—how do these seemingly different worlds influence each other in your life?

In motorsport you have to engage with people from different countries, and work together towards a common goal. I think a knowledge of the global landscape supports this and makes it a more seamless practice. I also need to exercise many of the skills I learn from my studies of business to ensure my partners receive a fruitful return from their investment in me.

You’ve lived and studied across Saudi Arabia, the UK, and the UAE. How have these diverse environments shaped your identity and ambition?

Each country has taught me how to adapt to a new environment in different ways. When I arrived in the UK I was challenged to learn the importance of discipline and focus. When I moved back to the Middle East I learned the power of community, and the impact of working together. It also helped me to have a more entrepreneurial mentality, as many industries in Saudi Arabia are growing steadily, so a more creative mindset is required to build something solid.

In 2024, you became the first woman globally to win an overall rally championship. What do you hope that win signals to the next generation of female racers?

That they do not need to see women as champions to pursue their goals. If it hasn’t been done before, then it doesn’t mean it can’t be done.

How do you mentally prepare for the isolation, pressure, and unpredictability of long-distance rallies?

I try as much as possible to focus on improving my skills, so that I can rely on them in unknown scenarios.

Your academic background is rooted in modern history and politics—do you ever think of your racing career as a form of modern history in motion?

I think that history can teach us a lot about human behaviour and natural instincts. If we learn from past mistakes we might be more equipped to make better decisions. That being said, we are all still learning and I have no doubt that future generations will be learning from our mistakes as well.

You often speak about growth and personal development. What habits, rituals, or philosophies ground you amid the high-speed chaos?

To have a clear idea of why I’m pursuing my goals. This can simplify things amid chaos. It’s also helpful to focus on the present action, as opposed to the outcome.

If your life had a soundtrack, what three songs would definitely be on it? Life is Highway by Tom Cochrane, Fast Cars and Freedom by Rascal Flatts, Dreams by Fleetwood Mac.

If you weren’t racing cars, what career could you see yourself doing? Writing.

OMAR ISMAIL

photography by MARTIN DOKOUPIL,

Building a Legacy

Omar Ismail is blazing a trail for Palestinian athletes. Born to parents from Jenin, he became the first Palestinian to directly qualify for the Olympics in a combat sport, making his debut at the 2024 Paris Games in taekwondo at just 18. What began in 2018 as a way to stay active quickly turned into a meteoric rise, as Ismail racked up international medals, including two Arab Championship golds, before finishing high school. With unwavering family support and the guidance of key coaches, he has emerged as a generational talent as he sets his sights on the 2028 Olympics.

You began taekwondo around at 9 or 10 in Sharjah. What initially drew you to the sport, and how did your early experiences shape your passion for it?

It started with a friend, his name was Fahd, who introduced me to taekwondo. I was curious, and the more I trained, the more I connected with it. Coaches and even my family quickly saw something in me, and their belief gave me confidence. That early encouragement helped me fall in love with the sport. Over time, I began to understand that this wasn’t just something I was just good at, but it was something I could use to represent something bigger than myself. Realising that I could make my country proud and inspire younger athletes gave me real purpose.

Growing up in the UAE with roots in Jenin, how did your Palestinian identity influence your decision to represent Palestine internationally?

Being Palestinian isn’t something I switch on or off. I carry my identity with me wherever I go, including in sport. The UAE gave me so much in terms of opportunity, and I am grateful for that. But knowing the struggles that my people go through daily, I feel it is my responsibility to use that opportunity that I have been given. My hope is that through my sport, I will always give a voice and representation to the Palestinian people. It’s one more step towards our people being seen and being heard.

Tell us about your very first competition—what do you remember about that moment, and how did it shape your hunger to win?

I remember winning gold at that first competition, and it was emotional. I beat athletes who were really strong, and it was a great feeling to see my hard work pay off. That moment was a wake-up call for me to start aiming higher and dreaming bigger. That feeling of standing on the podium… it’s addictive, in the best way.

Taekwondo is as much mental as it is physical. How do you train your focus under pressure? When things get intense, I pull back. I prefer to be by myself in those moments and to reconnect with my thoughts and my purpose. I have a few close people who help calm me down… not always with words, just with presence. That quiet support helps me stay grounded. I’ve learned that solitude can be a strength for me. It gives me clarity and focus.

There’s a moment before every fight when it’s just you, your breath, and silence. What goes through your mind in that space?

Performing well is my priority; and winning a gold medal is a top goal as well. So when I’m in the zone and focused, I tend to achieve both goals. But more than that, I want to represent myself, my people, and my training. It’s a tunnel vision kind of focus and it does drive me.

How do you stay connected to your roots and your community while living and training far from home?

Culture is a big part of who I am, and my family makes sure we stay connected to our roots, even from afar. We’re constantly in touch with our extended family and community back in Palestine. Whether it’s through calls, messages, or watching competitions together from a distance, I always feel their presence. And honestly, their support fuels me. I know I’m never really alone out there.

What’s a moment from your journey—maybe a small, quiet one—that people don’t see but that means everything to you?

My family and friends being there in the crowd for me and watching me play. Even those who watch me live on YouTube or TV. Their support and love makes it all worth it

If a younger athlete asked you what it takes to qualify for the Olympics, what’s one thing you’d say that no one told you?

That it’s not a quick path. It’s a never-ending grind, day in and day out, and hard work. You have to be ready to outwork everyone, to train even when you’re tired, even when you lose, even when no one’s watching. It’s not about talent alone… it’s consistency, sacrifice, and belief. And you have to have a purpose.

What does success look like to you beyond medals? What are you chasing?

I’m chasing a title, a reputation, and a voice for my people. The more I grow in my career, the louder my voice gets. I’m fighting for my people. That’s my biggest pride, accomplishment, and a never-ending goal.

ALIYA BOSHNAK

photography by JORDAN OLYMPIC

A Journey in Motion

Jordanian sprinter, Aliya Boshnak’s journey into track started by chance when she joined a school race as part of the gymnastics team and discovered her natural talent. After trying multiple events, she focused on sprints, competing for her school in Jordan and later with Yale’s university team in the US. Despite injuries keeping her off the international stage, she’s ready to return, potentially exploring new events. Boshnak is passionate about supporting athletes, having worked with Jordan’s Athlete Commission and spoken on wearable tech at TEDx. Now specializing in the 200m and 400m, she’s determined to not only push her own limits but also help shape the future of sports in Jordan and beyond.

Your entry into track and field was almost accidental—can you take us back to that school race in Jordan and what clicked for you that day?

I only ran my first race because our whole gymnastics team had entered. It was more of a school activity than a real competition—I showed up in baggy PE shorts and a loose T-shirt, ran the 100m, and just focused on getting to the line first. I had no idea what a good time even was. Afterward, a coach came up to me and said I should stick with track. I was still all in on gymnastics, but I agreed to practice track for fun.

I first tried the 400 about a year later. Hearing my couch cheer me on around the final bend was the first time I was conscious of digging deep. I didn’t fall in love with the race—if anything, I avoided it for years—long jump, high jump, whatever seemed exciting. I was still figuring things out. But eventually, I found my way back to the longer sprints.

You’ve worked closely with the Jordanian Athlete Commission and participated in various regional and global conferences. What’s one issue in sports you think needs more attention?

Meaningful access. Many athletes are still left asking the painful question: “What if?”—what if systems were fairer, governance more transparent, or support better distributed? Talent alone isn’t enough to stay in the game. Athletes need stable infrastructure, mental health support, and guidance navigating life beyond sport. Real commitment means building systems that let athletes focus on performance—not survival—and never wonder what might’ve been.

Competing with Yale’s track team must’ve been a shift from your training in Jordan. How did that transition shape you both on and off the track?

I went from training with three people to being part of a 50-person team where everyone held each other to a high standard. No workout ever felt impossible when someone else was getting through it.

I’m incredibly grateful—for the coaches who challenged me and the teammates who became close friends. It’s one of the most gratifying experiences I’ve ever had—on and off the track.

I do want to point out though, that the smaller nature of the track community in Jordan also makes it somewhat of a family and an experience I wouldn’t change for the world; I feel like I gained an extended family.

You’ve dealt with a series of injuries in recent years— how have those challenges impacted your mind-set as an athlete, and what’s helped you stay motivated through recovery?

Injuries are tough—especially when you know you’re ready and don’t even make it to the start line. With my hamstring for example, it’s not just the pain, but the pause. You start asking: do I really want to keep doing this? You learn how to stay committed without visible progress, how to back yourself when there’s no momentum. I’ve had moments where I thought, maybe I’m done. Then one solid session shifts everything—I realize there is much more to give.

What sparked your interest in sports tech and performance tools?

I started logging casually, and it slowly became part of my routine. Since then, I’ve used a Garmin and Whoop. What drew me in was how closely the data—sleep, effort, recovery—matched how I felt. It showed me how detailed and data-driven the sport has become. Knowledge is power, and now we have more of it than ever—and it’s showing in global performances.

Your TEDx talk touches on wearable tech and performance. How do you see technology reshaping the future of training, recovery, and competition in athletics?

In my TEDx talk, I looked at wearables through a posthuman lens—what happens when devices don’t just track us but start shaping our behaviour? When your watch says you’re not recovered or nudges you toward a target, it’s easy to let data take over.

That’s the tension. Tech is powerful, but it shouldn’t override instinct or self-awareness. Used well, it sharpens performance. But the best moments in sport (and life) often come from trusting yourself to go beyond the metrics.

FAISAL SALHAB

photography by GOLF SAUDI

One Swing at a Time

Saudi Arabian golfer Faisal Salhab’s passion for the sport began with his very first swings as a child. That early love grew into a commitment that led him to represent Saudi Arabia on the national team, earning victories at prestigious international tournaments along the way. After years of dedication and growth, Salhab made the leap to professional golf, continuing to push his game to new heights. With his eyes set on the future, he’s driven by the same passion that started it all—one swing at a time.

Can you share how you first became interested in golf and what drew you to the sport in Saudi Arabia?

I grew up in an athletic family and we would always try out new sports. One of them was golf, and it stood out to me most. The first time I played golf was abroad during a family vacation and once I found out there was a golf course in Riyadh it became all I wanted to do.

Who were your role models or inspirations when you started playing golf?

Definitely at the highest level it was Tiger Woods. But on a personal level, although he wasn’t the greatest golfer, I always enjoyed golfing with my father and my family.

What challenges did you face pursuing golf in a country where the sport is still developing?

When I was younger it was difficult to find high level coaching, as well as big events to participate in. However, over the years the sport has developed so quickly. There has been so much support to grow the game and develop the next generation of national team players as well as professionals, and I see a bright future for golf in Saudi Arabia.

What motivated your decision to turn professional?

It’s always been a dream of mine to turn professional and compete at the highest level. I was a player on the national team for quite some time, and I decided to take the next step to turn professional. I’m very grateful and fortunate to be able to do this with such great support from my country.

How has competing internationally influenced your perspective on the game?

What I’ve learnt is that you never stop learning. This game is a never-ending cycle of trying to improve yourself. I’ve been fortunate enough to play with such great players who have won multiple times on the highest international stages, and they still are trying to improve themselves and learn.

Do you consider your swing more technical or instinctive—and how has it evolved over time?

As a kid, it was instinctive to enjoy the game. But now, technical, technical, technical.

What strategies do you use to maintain focus and composure on the course?

The basic stuff, staying hydrated, eating enough and always remembering the hard work I’ve put in to be here. I’m still trying to figure out the best way to do it but so far this is what I do.

You’ve just won your dream tournament—what’s the first thing you do when you get off the course? Hug my wife, call my family and friends. Definitely try to enjoy the moment and savour it.

What legacy do you hope to leave for future generations of Saudi golfers? I want to be remembered for never giving up, working hard, going that extra mile to improve myself. And definitely, for dreaming big.

VALERIE TARAZI

photography by AUBURN UNIVERSITY

Against the Current

Valerie Tarazi moves through the world with rare dual force: both Olympian and scholar, she balances elite athleticism with academic rigor. A Paris 2024 Olympic swimmer for Palestine and a PhD candidate in Supply Chain Management at Auburn University, Tarazi’s journey is grounded in heritage and purpose. Descended from one of Gaza’s oldest Christian families, her story threads through diversity and representation. With medals from the Arab Games and the honour of carrying Palestine’s flag in Paris, she stands not only as an athlete, but as an advocate, championing gender equity, athlete safety, and the belief that sport is a universal right.

What is your earliest memory of a swimming pool?

One of my earliest memories is when I was about two or three years old. I wanted to jump off the 3m springboard, but the lifeguard told my mum that I couldn’t unless I could swim across the 25-yard pool. So I did. I started swimming just in the summers at Crystal Lake Country Club when I was about four years old. I simply fell in love with the water. Every year I would look forward to getting back in the pool, so by the time I was eight, my parents put me in a swim program that was year round.

What’s going through your mind in the quiet seconds before the starting buzzer? What do you block out, and what do you hold onto?

When I step up on the starting blocks, I always take a deep breath. My first thought when I bend over is “Oh my gosh, this suit is tight!” But my mind is always clear. The work is done. I know how to execute the race. There is no point at thinking about it now.

My favourite race was the 200m Individual Medley that I swam in Paris. I really don’t like racing this event, but when I qualified for the Olympics in it, I knew I had to put my head down and work hard. I put so much work into this race. Before the race in Paris, I had everything go wrong. I ripped two suits. I had the wrong swim cap. I had the wrong credentials. I almost missed my race! When I finished the race, I touched the wall and had the best time. I got to raise the Palestinian flag and honour my country. I was so upset with the results though, but that is not what the world needed to see. I put in so much work and through all the adversity, I was able to show the world how strong we are.

Was there a moment when you felt your identity as a Palestinian swimmer “clicked” or became something deeper than just nationality?

There wasn’t a specific moment. I was always proud to be Palestinian. My role and my life changed though the first night of the Arab Games in 2023 when I won two gold medals. I became a key spokesperson for Palestine and I’m proud of that.

What’s one stereotype or assumption about Middle Eastern women in sport that you’ve proudly proven wrong?

The assumption that we are passive or lack ambition. As a Palestinian woman, I’ve shown that not only do we have the drive and determination to compete at the highest levels, like the Olympics, but we also lead, advocate, and create change within the sporting world. Whether it’s standing up for gender equity, promoting safe sport, or representing an entire region on the international stage, I’ve worked to prove that Middle Eastern women are powerful forces in and out of competition.

Stepping onto the Olympic stage representing Palestine is a moment few experience—can you take us back to what that felt like?

It was the biggest honour I could ever ask for. I was able to raise the flag for my country and people. I got to be a voice for Palestine that people listened to. I was just so proud and grateful.

If your lane could talk after a race, what would it say about you?

“Wow she actually made her event!” Like I said before, I almost missed my race. It was a very stressful 30 minutes leading up to the event. I ended up having a good race all things considering. Except the last 50. I made the mistake of kicking way too hard off the wall and I died the final 15m and got out touched.

What part of your story are you still writing, and what chapter do you hope comes next?

I have a lot going on. I am still swimming competitively. Right now I chair the Gender Equity Committee for the Olympic Council of Asia and I’m on the executive board. Our goal is to create more opportunities for women in sports. I will also start my PhD in Humanitarian Supply Chain this fall at Auburn University.

NOUREDDINE HADID

photography by MARISE NASSOUR

Lebanon’s Fastest Man

Noureddine Hadid is leading the way for Lebanese sprinters. Born in Nabatieh and raised in Beirut, Hadid holds national records in both the 100m and 200m sprints. His breakthrough came with his qualification for the Tokyo 2020 Olympics, where he competed in the 200m. Hadid has continued to push boundaries marking him as Lebanon’s fastest man, and qualifying again for the 2024 Paris Olympics. He now trains under elite coach Gentry Bradley, with his eyes firmly set on the LA28 Games. It isn’t all about speed, Hadid embodies progress, showing that anything is possible with belief and dedication.

What’s your earliest memory of sports? And how did you get into your field?

I used to love playing street football growing up in Saudi Arabia… it’s one of my strongest childhood memories. That passion sparked my dream of becoming a professional football player.

When my family moved back to Lebanon, I was determined to keep chasing that dream. I joined the army sports team to stay active and competitive. In my first year, an unexpected opportunity came up: the main 200m sprinter got injured, and they needed someone to fill in. Even though sprinting wasn’t my focus, I stepped up – and ended up finishing with an impressive time, placing 6th in the finals at the Army Athletics Championship. I was young, and that moment showed me (and those around me) I had potential beyond football, too. That is actually what “started it all” as they say.

From Nabatieh to the Olympics, when did you first realize you had the potential to become Lebanon’s fastest man?

I first realized my potential in athletics back in 2013, during my very first year in the sport. I had strong results right away, winning both the 200m and 400m, and quickly became recognized as one of the top young talents in Lebanon. That early success gave me the motivation to keep pushing. In 2016, I broke the national 200m record with a time of 21.50 seconds, and the following year, I set the 100m record with 10.58. That’s when I knew I could aim even higher… and I started to allow myself to dream for the Olympics.

Sprinting is about fractions of a second, how do you mentally prepare for such high-pressure races where everything comes down to the start?

Sprinting comes down to fractions of a second, so mental preparation is just as important as physical training. Before a race, I focus on staying calm and present. I visualize the perfect start, the first few strides, and the finish. I’ve learned to block out distractions and trust my training. The pressure is always there, but experience at high-level competitions has taught me how to turn that pressure into focus.

You recently began training with coach Gentry Bradley. How has this new chapter shaped your approach to sprinting?

Everything has changed for me. The level of training, the mindset, the professionalism. It has all been next level. I remember one day showing up to practice in the US, and Allyson Felix, Michael Norman, and Rai Benjamin were there. That moment really stuck with me. It made me realize how serious this opportunity is, with Coach Gentry, and that he believes in me.

Who was your earliest role model in sports?

I always looked up to Usain Bolt. His confidence, charisma, and of course dominance on the track.

Competing around the world must be surreal at times. What’s one country or experience that left a lasting mark on you, and why?

The Asian Championships in Doha in 2019 is an experience I’ll never forget. I broke the Lebanese national record in the 200m twice during the competition and became the first male sprinter from Lebanon to reach a final at that level. In the final, I missed the bronze medal by just 0.01 seconds - I ran 20.85 and third place was 20.84. It was heart-breaking, but also incredibly motivating. That race motivated me more.

If you weren’t a professional sprinter, what do you think you’d be doing today?

I’m pretty sure I’d be playing futsal or football… I’ve always loved the game, and I’m actually really good at it. I also used to love graphic design, and I still have a creative side. So maybe I’d be doing something as an artist or designer.

What advice would you give young Lebanese kids who aspire to grow on the international sports stage?

Don’t rush the process. In any sport, success takes time, patience, and consistency. Focus on yourself. Train hard, eat healthy, sleep well, and stay away from things that can hold you back, like alcohol or bad habits. Be respectful to your parents and the people around you. Character matters as much as talent.

Most importantly, stay humble. I truly believe that modesty opens doors, while ego can destroy everything…

OTHMAN ALMULLA

photography by HARVEY JAMISON

Passion for the Greens

Saudi Arabia’s first professional golfer, Othman AlMulla, found his way to golf through an unexpected twist. Once a promising football player, a summer off the pitch led him to the fairway and a lifelong passion. By 17, he was training at the International Junior Golf Academy in the US. In 2019, he made history by turning professional, representing the Kingdom on the MENA and Asian Tours, and competing alongside legends like Ernie Els on the European Tour. Today, he serves as a national ambassador, dedicated to growing the game through youth outreach, school visits, and public engagement, whilst still competing internationally on the Asian Tour.

What first drew you into golf, and do you remember the exact moment it clicked for you?

Luck, really. I was crazy about football and one of my friends suggested we try golf, and I fell in love with the game. I would say the moment it clicked for me was when I was chosen to represent the Saudi national golf team at 16 years old and I was hooked.

In 2019 you made history by becoming the first Saudi golfer to turn professional and compete representing Saudi internationally as a professional. How did that experience shape your ambitions and what are your goals now going forward?

It meant the world to me to get the opportunity to continue representing Saudi Arabia playing the sport I love. I never dreamt that I would be able to compete as a professional representing Saudi Arabia at the first ever international professional golf event in Saudi Arabia. To see the excitement from the young boys and girls that attended the event made me dream of a day where we could have a Saudi win a global professional event. My goals are to continue to do my best growing the game of golf in the Kingdom with my partners such as Golf Saudi, Aramco, and Neom. I would also like to become one of the best professional golfers in Asia.

What’s one lesson golf has taught you that you carry into every other part of your life?

Perseverance, I think golf, like life, has lots of ups and downs and it’s how you deal with those challenges that makes you a stronger person.

How do you stay emotionally and spiritually centred during long tours or difficult competitive seasons?

I’ve got an amazing support system in my family and my team that helps me always be in the best place emotionally, and my faith as a Muslim plays a big part in staying spiritually centred.

How do you see golf changing the way the world views Saudi Arabia—and how do you see it changing the way Saudis view themselves?

I think golf and sport in general gives an amazing opportunity to show how we’re more alike globally, rather than different, we share the same passions and ambitions. Global sporting events have given Saudi Arabia a chance to showcase our wonderful culture and hospitality and invite people from all over the world to come see our beautiful country.

Is there a coach, mentor, or moment of feedback that completely changed your approach to the game?

I’m super lucky to have a lot of amazing people in my life that have helped shape the person I am today. But If I had to choose one moment that changed my approach to the game it would be the birth of my son, Ibrahim, I go out every single day and try to be the best version of myself and carry myself in a way that my son would be proud to say, “That’s my dad”.

What’s one tournament location that left a lasting impact on you, either because of the challenge or the culture?

I would definitely say any time I get to compete in Saudi Arabia the experience is really special, to get the support from the fans and media and to showcase our talent at home are moments I’ll never forget it.

What’s the strangest or most memorable item you’ve ever carried in your golf bag?

I have a ball marker that I use every round that has the initials of my family members on it, and I always mark my golf ball with an R for my wife, Rana, and an I for my son, Ibrahim.

As a mentor, what’s the most important advice you try to pass on to young athletes?

I think the most important thing I try to pass on is to dream as big as you can, and then work really hard, and most importantly to enjoy the process of chasing your dreams! ■

CUT TING THRO UGH

She’s not part of the scene — she cuts through it. The city doesn’t embrace her — it frames her. Cold light, raw walls, glass, metal, stillness. Clothes cling, fall, resist. Nothing is staged, yet everything is deliberate.

photography: GREG ADAMSKI

styling: OLESIA ROMANOVA

dress, MONIKA TUSZAK

dress, NU É veil, STYLIST’S OWN shoes, BALENCIAGA

jacket, DI STAVNITSER top, DI STAVNITSER headpiece, NU É shoes, VERSACE top, BA

dress, TTSWTRS

sunglasses, STYLIST’S OWN

dress, DENIS KLIMANSKY shoes, BALENCIAGA

jacket, skirt, NOUR HAMMOUR shoes, GIANMARCO LORENZI ARCHIVE

t-shirt, THE FRANKIE SHOP bracelet, AGMES shoes, STYLIST’S OWN

CHANEL’s Métiers d’art 2024/25 collection blends Chinese artistry with French legacy.

A DREAM IN LACQUER AND LIGHT

words:

Unveiled beneath the twilight skies of Hangzhou’s West Lake, CHANEL’s latest Métiers d’art collection is a poetic fusion of Parisian legacy and Chinese artistry, where Coromandel screens, lacquered elegance, and masterful craftsmanship converge in a cinematic homage to Gabrielle Chanel’s world.

At nightfall on the serene banks of this stunning lake, CHANEL unveiled its 2024/25 Métiers d’art collection in a setting as poetic as the collection itself. This year’s destination—Hangzhou, a city steeped in history and propelled by innovation—served as the dreamlike backdrop to a collection that bridges worlds, tracing an ethereal line between Paris and China. The location is far from incidental: West Lake, once captured in the intricate panels of Gabrielle Chanel’s beloved Coromandel screens, becomes the living stage for a narrative steeped in reverie, romance, and reflection.

The collection draws deeply from the intimate world of Mademoiselle Chanel. Her passion for Chinese lacquer, specifically the antique screens she surrounded herself with at 31, rue Cambon, echoes throughout the silhouettes and textures. One screen in particular, depicting everyday scenes of West Lake, inspired this latest voyage of style, travel, and craftsmanship. The CHANEL Creative Studio channels this visual lexicon through the exceptional savoir-faire of the Maisons d’art housed at le19M.

Wim Wenders lent his cinematic eye to the presentation, directing a dreamlike film starring CHANEL ambassadors Tilda Swinton, Leah Dou, and Xin Zhilei. Through his lens, the collection becomes a journey through memory and imagination.

Long coats in rich tweeds and velvets—some embroidered with delicate florals—evoke both elegance and enigma. Duffle coats and oversized jackets are adorned with traditional frogging by Paloma, lined with luminous silk satin. Pagoda sleeves, mandarin collars, phosphorescent braids by Montex, and the softness of silk-lined pockets speak to the tactile luxury that defines the collection. At once structured and soft, jackets—whether straight-cut, belted, or buttoned to the side—pair with pleated skirts, culottes, and wrap skirts in a fluid conversation between form and movement.

“Fleece

coats, pillow handbags, and pearl necklaces shaped like clouds invite wearers into

a cushioned, otherworldly realm.”

A spirit of travel imbues each look. Knitwear pieces, from layered T-shirts and bustiers to an extraordinary jumpsuit printed with Coromandel motifs, blur the line between utility and artistry. Bags evoke thoughts of correspondence and wanderlust—travel bags, vanity cases, and envelope-like pockets suggesting secret letters never sent. Camellias and lotus blossoms, embroidered by Lesage, cascade down pleated gowns and tailored suits, echoing the floral elegance of lacquerware. The palette flows from jade green and lacquer pink to sky blue, punctuated by earthy browns and deep blacks, mimicking the glistening waters and dark wood of antique panels.

Footwear is a continuation of the story: thigh-high boots, mid-calf silhouettes by Massaro, and pointed slippers in black patent leather, some embroidered with delicate florals or prunus fruit, channel the timeless femininity Chanel cherished. Jewellery by Goossens nods to timeworn earthenware, while hats and beanies by Maison Michel anchor the looks in layered romanticism.

Through meticulous pleating, rufflework by Lemarié and Lognon, and the use of inlaid or lacquered lace, the collection leans into sensual softness. Blouses with ruff collars, floor-length gowns, negligees, and even pyjamas shimmer with golden lace and cloud-like textures. Fleece coats, pillow handbags, and pearl necklaces shaped like clouds offer comfort as couture, inviting wearers into a cushioned, otherworldly realm.

CHANEL’s 2024/25 Métiers d’art collection is no mere sartorial journey—it is a passage into the inner world of Gabrielle Chanel. At the intersection of artistic homage and technical mastery, it stands as a luminous celebration of East and West, night and light, memory and modernity. ■

From behind the camera to centre stage, the Lebanese actress is reshaping what it means to be a leading woman.

THE UNSCRI PTED JOUR NEY

photography: TUĞBERK ACAR

styling: TUĞÇE KILINÇLI

words: MARIANA BAIÃO SANTOS

full look, MIU MIU

“I worked on myself to the point that people watch me and forget my looks. They just say she’s very adorable.

She’s very natural on camera.”

In the bustling, vibrant heart of Beirut, where ancient history whispers through modern streets and artistic souls find their rhythm, a new voice is emerging. Reem Khoury, the Lebanese actress quickly becoming a name to know, is charting a course distinctly her own, challenging conventions with every thoughtful word and compelling performance. Stepping into the spotlight after an unconventional journey from behind the camera, Khoury is changing what it means to be a leading woman in the Arab world, nuanced and authentic.

Our conversation with Khoury unfolds with the candidness of an intimate chat between friends, revealing a woman deeply connected to her craft and fiercely protective of her individuality. It’s clear from the outset that her path to acting was anything but preordained. “I studied filmmaking at university,” she begins, a surprising revelation for an actress of her burgeoning stature. “We’ve always had films to shoot, and my friends were always asking me to act in their short films.” What started as a casual favour soon blossomed into a profound realization. “It was the first moment I started acting,” she recalls, her voice tinged with a sense of epiphany.

For Khoury, acting offered a unique liberation - a chance to transcend the ordinary. “Because in life, sometimes you feel, I wish I was a superhero. I wish I was a dancer, a singer,” she muses. “In acting, you get this opportunity. Even though you’re acting, you’re doing it. You can live it.

You can feel it. You can believe it. At least for the duration of the project, you’re living this life.” It’s this profound sense of immersion, of embodying myriad experiences, that truly drew her in.

Before the acting bug bit, Khoury’s early career provided an unexpected training ground: modelling. It’s a past that she credits significantly with shaping her ease in front of the lens. “First of all, it made me more comfortable in front of the camera,” she explains. “When I first started acting, I wasn’t aware of the camera. I forgot the camera. I just acted and was natural around it.” This early exposure instilled a rare naturalism that many seasoned actors strive for. “Because I didn’t study acting, but with the experience of being in front of the camera from modelling, it’s made me become a natural actor.” Beyond the gaze of the camera, modelling also refined her physical presence. “It helps my body language on camera,” she adds. “Some actors, you feel like they’re a bit stiff when they’re acting. So modelling gave me this flexibility of knowing how to move around the camera.”

“Art sometimes comes from pain and sorrow. And Beirut has passed through a lot.”

Currently, Khoury is making waves as Lara in the series Aser. Lara, she explains, “speaks whatever comes into her mind, even though sometimes it can get her into trouble.” She’s a character who “doesn’t think before acting,” a playful and glamorous “mafia girl” who uses her allure to help accomplish missions. The experience of working on Aser has been nothing short of a masterclass. “We have a variety of good, very, very well-known and class A actors like Basil Khayat, Abbas Al Nouri, Samer al-Masri,” she enthuses. “For me, it was like a school. Because I’m learning from them. I’m taking whatever notes they give me on how to improve myself. And sitting along them, sometimes behind the scenes, is very helpful.”

When asked about her most challenging roles, Khoury points to her experiences in Egypt. She was very nervous going in, unfamiliar with the industry’s workings, its acting and directing techniques, and what to expect. “Egyptians are people that improvise a lot” she explains. “If you’re an intruder like me, it’s hard for you to flow, to get with what they’re doing.” It forced her to adapt, to inject more of herself into the roles, to “do something from me, more than what’s written.”

Khoury’s journey has taken her from an aspiring filmmaker to a celebrated actress, yet her dream of directing remains very much alive. Her graduation short film, “The Tailor,” marked a pivotal moment. She was deeply inspired by European cinema, and her initial ambition for the film was to create it without actors. This challenging endeavour ultimately highlighted their indispensable value. Khoury realized the profound importance of actors in a film, understanding that even with a strong script and direction, an actor can elevate or diminish a project.

Her roots in Beirut are inextricably woven into her identity as an artist. The city’s resilience and its history of pain have become a profound source of inspiration. “Art sometimes comes from pain and sorrow. And Beirut has passed through a lot. And Lebanese people, we love our country... We’ve witnessed wars. We’ve witnessed one of the biggest explosions. We’ve lost people we love.” This deep connection to her homeland fuels her emotional depth, allowing her to draw on shared experiences of grief to enrich her performances.

Perhaps one of the most intriguing chapters in Khoury’s narrative is her participation in Miss Lebanon. She approaches the topic with refreshing honesty, acknowledging the unfortunate reality that “in Arab world, the actress, the main character, let’s say in drama, not in cinema, the main actress has to be beautiful.” For Khoury, Miss Lebanon was a calculated decision, a means to an end. “I was at a point where I knew that becoming a director needs a lot of time and a lot of effort,” she explains. “And I wasn’t having the opportunity, the chances.” When the opportunity for Miss Lebanon presented itself, she seized it. The impact was immediate and undeniable. “I got a lot of calls for work the second day.”

Khoury is unapologetic about using the Miss Lebanon platform to advance her career. She openly asserts, “I used Miss Lebanon to work. I’m telling you, I used Miss Lebanon.” This frankness, however, comes with a caveat. Khoury expresses sadness that many talented actresses are overlooked due to needing to meet a certain standard of looks. This reality fuels her deep commitment to proving her worth through her talent. “I worked a lot on my acting career. And after that, I took a lot of workshops because I didn’t want people to say she’s acting because she’s not good enough.” Her goal is clear: to ensure that her acting prowess overshadows any superficial judgments. “I worked on myself to the point that people watch me and forget my looks. They just say she’s very adorable. She’s very natural on camera. This is what people like about me.”

Her artistic influences are as diverse as her ambitions. She gravitates towards European cinema, drawn to its raw, real, and actor-centric storytelling. Actresses like Uma Thurman, Jennifer Connelly, and Penelope Cruz inspire her, while directors such as Tarkovsky, Bernardo Bertolucci (a particular favourite), Lars von Trier, Gaspar Noé, Xavier Dolan, and David Lynch shape her cinematic vision. Among Arab directors, Ziad Dweiri and his film “West Beirut” hold a special place, a masterpiece that echoes with the universal themes of childhood and resilience amidst conflict.

“I want to be remembered as the girl who did whatever she wanted and spoke freely about what she loved.”

Looking to the future, Reem Khoury envisions a legacy rooted in authenticity and artistic freedom. In an industry often bound by restrictive norms, particularly for women, she hopes to be remembered as “the girl that did whatever she wants freely.” She challenges the unwritten rules that dictate appearance and expression, especially the pervasive use of fillers and surgeries. “I want to be remembered as the girl who did whatever she wanted and spoke freely about what she loved. And not abiding by the rules just because she wants to reach [the heights]. No, she got there, but in her own way.” It’s a powerful statement of intent - to achieve success not by conforming, but by staying true to herself.

Reem Khoury navigates industry complexities with grace, intellect, unwavering commitment. Beirut inspires her; she embodies its spirit. A city refusing to be defined by its struggles. A woman, in every sense, unscripted. Unforgettable. ■

“Ziad

Dweiri’s “West Beirut” holds a special place for Khoury, a masterpiece that echoes with the universal themes of childhood and resilience amidst conflict.”

YUNG Presents: A conversation between Oday Dabbagh and Waseem Abu Sal. Two Palestinian athletes talk dreams, resilience, pride and determination.

GLORY AND REPRE SENTA TION

photography: MOHAMED SHERIF

styling: POLINA SHABELNIKOVA

words: MENNA SHANAB

“The beauty of winning is in the depth of suffering, the constant struggle and darkness to get there. That is where you find hope when there is none.”

— Waseem Abu Sal

Two Palestinian athletes. One conversation across time zones, borders, weight classes, and stadiums. From the streets of Jerusalem to Hampden Park. From Ramallah gyms to Olympic rings. This is what it sounds like when the dream speaks back.

Abu Sal: From Hilal Al-Quds to the Scottish Premiership, you’ve played for seven clubs across four countries. What did each move take away from you—and what did each one give back?

Dabbagh: Every move meant starting over. New country, sometimes a new language, new system. And it’s never easy leaving home so often. I’ve been away from my family since I was 16. So each move in my career has been a driver in my life for, “How do I get further in this sport?”

Abu Sal: I love this sport. I love my family. I LOVE where I come from. How do you show that to the world?

Dabbagh: I just keep showing up. Every single day, I keep showing up. I learned a lot from each of these moves across the world and all the travels in between. Kuwait tested my confidence, and then gave me confidence. Portugal showed me a different style of the game. Belgium tested my patience. And Scotland gave me a chance to prove myself.

“It’s

the greatest privilege of my life. And it costs everything.”

– Oday Dabbagh

Abu Sal: You made history as the first Palestinian to win the Scottish Cup. Winning on European soil, under foreign lights. Did you feel like you were rewriting a story that was never meant to include someone like you?

Dabbagh: Honestly, at that moment I was just proud. Proud to win, proud to help the team. Afterwards, I started to realize how big it was. I didn’t allow myself to think about it before. I just had to focus on the moment. But after… I don’t believe that I am “rewriting a story that was never meant to include us.” We’ve always had the talent, and we’ve always been meant to be here. This is just the beginning. It means the world to me that I can accomplish this for my country. I am just opening the door, and I hope to be an ambassador for other Palestinian players in this way.

Abu Sal: When you lifted that trophy, did it feel like yours? Or did a part of you feel like you were winning it for someone else, somewhere else?

Dabbagh: Nothing is ever “mine.” Everything I do is for my team, for the staff and coaches who support me, for my family, for my fans, and for my country. And… for every Palestinian with a dream. Every single thing I do is for the representation of my people. This was our achievement.

“Nothing is ever ‘mine.’ Every single thing I do, is for the representation of my people.”

— Oday Dabbagh

Abu Sal: You’ve become the all-time top scorer for Palestine. What does it cost to carry a country’s dreams on your back?

Dabbagh: It’s the greatest privilege of my life. And it costs everything. I have been away from my family since I was 16. Nearly a decade now. And I will continue to give football my all, and do whatever I possibly can to be the best on and off the pitch, because I believe that is going to give a bit of hope to those I love.

Abu Sal: Jerusalem is your birthplace, but also quite a symbol. When you walk onto a pitch in Europe, do you feel like you’re bringing a piece of that tension with you?

Dabbagh: I focus on my performance. That is how I can represent my homeland.

Abu Sal: You scored 13 goals in 18 games in Kuwait. Most would say you were in your prime. But were you happy then?

Dabbagh: I don’t believe success on the field defines my happiness. My faith and the gift of giving a voice to my people through sport are sources of happiness to me.

Abu Sal: The footballer’s life is a nomadic one. How does a Palestinian man build a sense of home in a world that already tells him he doesn’t belong anywhere?

Dabbagh: Through faith. That never leaves me.

blazer, shoes, LOUIS VUITTON trousers, COS

shirt, trousers, tie, GUCCI shoes, BERLUTI

“Life is going to be tough. But there is power in sport. Show up every day. Give it your absolute all.”

Abu Sal: When did football stop being an escape and start becoming something you had to win?

Dabbagh: I was playing on the streets of Jerusalem as a kid. I always had the dream of going pro. I’ve always had that competitive spirit, so I guess you could say… I always wanted to win.

Abu Sal: Have you ever felt like quitting? What kept you going?

Dabbagh: Never. I’m on a bigger mission.

Abu Sal: You are living the dream of many young Palestinian kids. But if they could sit here with you—what truth would you tell them that no one told you?

Dabbagh: To never quit. Life is going to be tough. But there is power in sport. Show up every day. Give it your absolute all. Be the best version of yourself. We represent through the gift we are given, through our names, through so many different things. And that is how you can make change.

Abu Sal: Ask the question you wish someone had asked you during your hardest season.

Dabbagh: No question really – just knowing that I have support from my loved ones is the most important. And that they know who I am, and that I am grounded in my faith, and dedicated to what I do.

Abu Sal: What’s something only another Palestinian athlete could understand about your journey?

Dabbagh: The duality of chasing personal dreams while making sure to represent the collective.

— Oday Dabbagh

Abu Sal: Favourite stadium atmosphere?

Dabbagh: Hampden Park during the Scottish Cup final… electric. Unforgettable.

Abu Sal: What does Palestine smell like?

Dabbagh: Like home. Like my mum’s cooking.

Abu Sal: Pre-match ritual?

Dabbagh: Prayer. Always.

Abu Sal: Arabic or English music in the locker room?

Dabbagh: English.

Abu Sal: A question you hate being asked?

Dabbagh: I don’t know. I am unbothered by what others ask or think of me. As long as my family knows who I am, I am good.

Abu Sal: A question you wish someone would ask?

Dabbagh: What is representation? Because I believe it is in my purpose, in this gift I have been given, and I choose to give my all to… every single day. I do my best to give hope through this. And I really believe in the power of sport.

Abu Sal: If football is your first love, what’s your second?

Dabbagh: If we are talking sports? Running... the gym. Just staying active in general.

shorts, jackets, BADIBANGA shoes, TALENT’S OWN

“I always take my defeats as a man. I kill any negative thought inside my mind, remind myself of my training and capabilities…”

— Waseem Abu Sal

Dabbagh: You mentioned that your dream of becoming an Olympian began at age 10. Can you recall a specific moment or experience that ignited this aspiration?

Abu Sal: The first time it really hit me was after I lost my first-ever match at the Palestinian Nationals. It made me believe I could come back stronger and take what is mine. I told myself, if people think this defeat defines me, I’ll show them it fuels me.

Dabbagh: What did that dream represent to you amidst the backdrop of life in Ramallah?

Abu Sal: It makes me more determined. I think the beauty of winning is in the depth of suffering, the constant struggle and darkness to get there. I say this because that is where you find hope when there is none. And that is what makes victory 100 times better. This is my mentality and my power behind keeping the dream alive.

Dabbagh: When you’re alone—after a fight, or late at night—what thoughts come up most? Is there something you always return to?

Abu Sal: Depends on the result. If I get a medal, I am pretty happy and thinking about the long-term plan, if I have lost, I always sit and talk myself out of that defeat. I always take my defeats as a man. I kill any negative thought inside my mind, remind myself of my training and capabilities… and just basically recharge with good sleep, wake up and re-do everything the next day. I always, ALWAYS picture greatness ahead of me.

blazer, BALENCIAGA t-shirt, HUGO BOSS

jacket, BADIBANGA trousers, COS shoes, BERLUTI

“We’ve always had the talent, and we’ve always always been meant to be here.

This is just the beginning.”

— Oday Dabbagh

Dabbagh: Being the first Palestinian boxer at the Olympics carries immense symbolic weight. How do you reconcile the personal pressures of competition with the broader expectations of representing a nation under occupation?

Abu Sal: We’re taught to block out outside expectations, though I am not saying that is easy. During the Olympics, I entered a different headspace. I got myself into a zone thinking and remembering my brothers and sisters whom we have lost. I wanted to fight for my people. I wanted to show a kid in Gaza he can be there one day, revive hope for a girl who lost her family… I had very mixed and rushed feelings before that fight. I just wanted to make my people proud, and tell them their voice is heard. ■

jacket, t-shirt, JACQUEMUS shorts, BADIBANGA

jacket, trousers, shoes, GUCCI t-shirt, STYLIST’S OWN

NOTHING FUNNY ABOUT IT

Nataly Aukar on comedy, collapse, and carrying Beirut onstage.

photography: IAN HIPPOLYTE

styling: IGNACIO DE TIEDRA

words: NADINE KAHIL

GABBANA

dress, DOLCE & GABBANA

When Lebanese comedian Nataly Aukar takes the stage in New York, she brings with her a paradox: the sharp instincts of someone who’s always used humour to survive, and the deliberate, methodical writing of an artist who knows that pain isn’t always material. “I don’t believe everything needs to become a joke,” she says. “If I find something that’s funnier than sad to say about a subject, I’ll write a joke about it eventually… But I don’t try to push it if it’s not there.”

The Beirut-born comic fled Lebanon during the 2006 war, when she was just twelve years old. “It was my first time experiencing anger and confusion,” she remembers. “The sudden snatch out of the country, and away from everything and everyone I knew, at a time where internet and phones weren’t accessible to us, was painfully difficult.” The displacement marked her deeply, “I spent a year and a half in NY very angry, which is something my family still mocks me for,” but it also sparked the beginnings of a personal shift that would later emerge onstage.

“I don’t believe everything needs to become a joke.”

Her humour is rooted in that contradiction: a love for Lebanon tempered by estrangement, an early desire to assimilate that now gives way to a refusal to explain herself. “Having had spent most of my life in Lebanon before permanently moving to NYC for comedy, I never questioned my identity and neither did the people around me. A Lebanese in Lebanon. That’s what I was,” she says. “And when I arrived here I suddenly didn’t look or sound as Arab as people thought I should? I struggled with my identity and felt like I always had to prove it or justify it. But eventually I stopped caring completely and just focused on me and my truth.”

There was no “aha” moment where Aukar realized comedy was her calling. It was always there, baked into the culture around her. “Honestly everybody [made me laugh]. Lebanese people are hilarious,” she says. “My dad was the first person that made me laugh… My mum is also very funny. Much drier and darker which I realize today is where my humour comes from. My grandparents are also hilarious. I’d spend a lot of time with them. I am obsessed with my maternal grandmother and grandfather.”

“Very little was taken seriously around us in the country. In a place where everything is constantly crumbling down, people know how to find joy.”

jacket, REBECCA VALLANCE sunglasses, FERRAGAMO bracelet, STYLIST’S OWN

top, STYLIST’S OWN trousers, KANDR

“I want to talk to both [Arab and non-Arab audiences], so I always start a joke with an angle addressed to both.”

And then there were the teachers, “a little kookoo”, and the daily absurdities of life in Beirut. “Very little was taken seriously around us in the country. In a place where everything is constantly crumbling down, people know how to find joy.”

But joy has limits. The aftermath of the 2020 port explosion, for instance, is still something that’s beyond jokes. “I still see the pain of the port explosion in the faces of the people I love present that day,” she says. Even so, she doesn’t believe in keeping comedy too precious: “If there’s a point to it,” she adds, “I’ll write a joke about it eventually.”

Aukar doesn’t craft different sets for Arab or non-Arab audiences. “I make sure that I am always writing in a way that everyone will understand what I’m talking about. I don’t like alienating audiences or writing jokes that would only work for one and not the other,” she says. “I want to talk to both.”

Still, being Arab in America comes with its own calculus. She recalls a moment at summer camp, not long after arriving in the US, when a girl told her, “My country is at war with you.” “We had just got to NYC from the war in Lebanon and I was very scared, lonely and confused,” she says. “That’s when I started really learning English and trying to polish my American accent. So I can blend in. And I got so good at it now I don’t even know what my real accent is anymore.”

Aukar has said before that she wanted to “change everyone’s mind” about Lebanon through her work. Now she laughs at that younger self: “That is a crazy and unrealistic goal. That was my goal when I was first starting out in comedy and was still too naïve and too egotistical. I laugh at myself now for it.”

top, trousers, KANDR

full look, ALAÏA

coat, LURLINE boots, STYLIST’S OWN

“That was my goal when I was first starting out in comedy and was still too naïve and too egotistical. I laugh at myself now for it.”

“Sometimes I’m tired and already not in the mood. So things can go south pretty fast. Oops.”

Still, she hasn’t abandoned the mission entirely. “I like to think that I can at least reshape the thoughts of one person per show and to me that counts for something in the butterfly effect. That’s why I like to perform in English. To reach the people who are not us.”

Her comedy doesn’t always land safely. When hecklers interrupt her set or the room turns political, she doesn’t have a one-size-fits-all response. “It depends on my mental state that day, and how the show is going to begin with,” she says. “Sometimes I’m tired and already not in the mood. So things can go south pretty fast. Oops.”

After nearly a decade in the business, her definition of success has changed. “Smaller than ever,” she says. “The more you seem to grow to others, the less you feel it yourself… Your own expectations of yourself get bigger, your real life gets further and further from the one you had envisioned for yourself and you constantly have to rewrite it all.”

That rewriting is where her work lives, in the in-between, the dark parts, the punchlines that take their time. “Comedy has helped a lot,” she says. “But I definitely stopped putting too much pressure on comedy to solve all of my pain and discomfort… It actually often makes dark times darker.”

Asked whether she considers her work a form of activism, she answers without hesitation: “Probably yes. It’s the only outlet I know how to communicate through. And I have a lot of feelings and opinions. So I sneak them all inside my jokes.”

If there’s one thing she hopes people walk away with after a show? It’s not a revelation. It’s a reality. “That I’m tired,” she deadpans, “and I’d rather be home watching TV in the dark.” ■

trousers, CRITTER top, STYLIST’S OWN

THE HANDS REME MBER

To celebrate the Craft is Our Language campaign by Bottega Veneta, YUNG presents The Hands Remember, a tribute to regional craft through the timeless ritual of henna. Featuring Azra Khamissa and her grandmother, the story honours connection across generations—where handcraft becomes a shared language. Here, henna meets leather as symbols of memory and care. Craft becomes inheritance: lived, layered, and passed gently from hand to hand.

photography: CHEB MOHA

henna artist: AZRA KHAMISSA

CHES

AL FAISAL AL ZUBAIR

IN COLLABORATION WITH TAG HEUER, WE SPEAK TO THE FACE OF ARAB GT3 MOTORSPORT.

Passion. Dedication. Legacy. These are the words that define Al Faisal Al Zubair’s journey in the world of motorsport. More than just a talented racer, he is a proud Omani ambassador, relentlessly pushing boundaries and putting Arab racing on the global map. Wearing pieces from TAG Heuer, in this exclusive interview Al Zubair lays bare his hopes and dreams and what it’s taken to get this far.

photography: AMER MOHAMAD

words: NADINE KAHIL

styling: POLINA SHABELNIKOVA

leather jacket, BADIBANGA watch, TAG HEUER FORMULA 1 CHRONOGRAPH AUTOMATIC, 44MM, TITANIUM

top, BALENCIAGA red hoodie, STYLIST’S OWN

watch, TAG HEUER CARRERA CHRONOGRAPH AUTOMATIC, 39MM, STEEL

shirt, trousers, FENDI watch, TAG HEUER CARRERA CHRONOGRAPH AUTOMATIC, 39MM, STEEL

top, BALENCIAGA red hoodie, STYLIST’S OWN watch, TAG HEUER CARRERA CHRONOGRAPH AUTOMATIC, 39MM, STEEL

From a young boy with a dream to a champion on the international stage, Al Zubair’s story is one of perseverance, sacrifice, and an unwavering commitment to excellence. His latest milestone in 2025, winning the prestigious Michelin Dubai 24H with Al Manar Racing by Team WRT in the BMW M4 GT3 EVO, wasn’t just another victory. It was a statement. A moment that reflected his deep desire to see the Omani flag soar every time he races.

Al Zubair’s love for racing started early. Like many professional drivers, his journey began in karting, where he spent years refining his skills, mastering the art of speed, precision, and control. But success in motorsport doesn’t come easy—it demands immense dedication and countless sacrifices. “To be totally dedicated to what I do, I had to make a lot of sacrifices,” he admits. “I missed family events, friends’ parties, and social gatherings because my focus was always on racing.”

While his family supported his passion, they also made one thing clear, education came first. “For them, the most important thing was that I completed my studies and took my education seriously. Balancing school and racing was tough, but it was something I had to do.”

Fuelled by his ambition to keep winning under the Omani flag and represent the region on every track, Al Zubair furthered his vision by founding Al Manar Racing, the only GT3 team from the Arab world competing in the Gold category. His aim is not just to compete at the highest levels of GT3 racing but also to promote Arab motorsport talent, showcasing that regional drivers have the chance to shine on the global stage.

“As the Middle East establishes itself as a global motorsport hub, we can expect more regional talents looking to pursue racing as a professional career,” he says.

He believes that a crucial part of this progress is the increase in regional and local sponsorship and investment. Motorsport sponsorships are often dominated by international brands, and Al Zubair is determined to change that. “We have so much potential in the Middle East, but without regional support and sponsorships, we are missing out on real growth. It’s time for local companies to step up and invest in motorsport just like they do in other sports.”

He sees this as more than just financial support, it’s about building a sustainable motorsport ecosystem in the region, one that nurtures future champions and cements the Middle East’s presence in global racing.

Like any great athlete, Al Zubair is never satisfied with just one victory. “Every success leads to a bigger challenge,” he says. “Winning a race like the Dubai 24H is just one step. Races like Le Mans are the ultimate goal, and I’m working every day to make that happen.”

His drive and ambition fuel his relentless pursuit of excellence, ensuring that every race is not just about personal achievement, but also about representing his country and inspiring the next generation of Arab racers.

Al Faisal Al Zubair isn’t just racing for himself; he’s racing for a greater purpose. By pushing boundaries, he paves the way for Arab talent in GT3. His journey is still unfolding, but one thing is clear: his influence on the sport will inspire generations to come. ■

top, jacket, LORO PIANA watch, TAG HEUER MONACO

CHRONOGRAPH

AUTOMATIC, 39MM, STEEL

hoodie, shorts, LORO PIANA

watch, TAG HEUER MONACO CHRONOGRAPH

AUTOMATIC, 39MM, DLC TITANIUM

LAIDBACK LUXE

Meet the more relaxed side of high watchmaking.

A new wave of luxury timepieces leans into relaxed elegance—where high-tech performance meets everyday wearability. From ceramic and titanium builds to refined dials and ultra-thin movements, these designs blend effortless style with horological substance. Whether on the track, in the air, or at ease, this season’s standout pieces prove that watches can be at once serious, stylish and a little laid back.

graphics: MAYA MAGED

words: NADINE KAHIL

Rolex GMT-Master II

A Cerachrom debut on a left-crown masterpiece

Rolex debuts its first ceramic dial on a white gold GMT-Master II with a green Cerachrom dial matching its green-black bezel. The left-crown watch features a 9 o’clock date, calibre 3285 movement, and Oyster bracelet. It combines technical innovation, dual-time functionality, and high durability with signature luxury craftsmanship.

Chopard Alpine Eagle 41 SL Cadence 8HF

A stunning lightweight sport chronometer

Crafted in ceramicised titanium, the Alpine Eagle 41 SL Cadence 8HF is Chopard’s lightest, sportiest Alpine Eagle yet. Its 41mm bead-blasted case, rubber strap, and Pitch Black titanium dial create a rugged, modern look. Powered by a high-frequency 01.14-C movement, it delivers elite chronometer precision for extreme adventures.

Richard Mille x Ferrari RM 43-01 Tourbillon Split-Seconds Chronograph Ferrari

A timepiece imbued with the spirit of the track

Richard Mille and Ferrari continue their high-octane collaboration with the RM 43-01 Tourbillon Split-Seconds Chronograph Ferrari. Limited to just 150 pieces, 75 in microblasted titanium and 75 in Carbon TPT, this timepiece is inspired by Ferrari’s design language and engineered with racing precision, it features a skeletonised titanium baseplate, Carbon TPT bridges, and dual-function displays including power reserve and torque indicators. Ferrari’s Centro Stile influenced the aesthetic details, from the Prancing Horse emblem to the strap’s Purosangue-inspired pattern. The movement, developed with APLL, delivers 70 hours of power and includes an advanced split-seconds chronograph. With components and finishes echoing Ferrari engines, this watch is not just a timekeeper, it’s a mechanical tribute to performance and innovation.

TAG Heuer Monaco Split-Second Chronograph

Formula 1 spirit, split-second precision

Marking a decade of partnership with Formula 1, the Monaco Split-Second Chronograph is a tribute limited to just 10 exclusive pieces—one for each year of shared racing heritage. Its bold design pays homage to F1’s iconic palette, with sleek white ceramic and striking red accents evoking the sport’s unmistakable colours. The chronograph dials bear the legendary phrase “Lights out & away we go,” encapsulating the thrill of the grid. A masterstroke of precision engineering, this timepiece channels the speed, spirit, and adrenaline of Formula 1—crafted for those who live life in the fast lane.

Hermès Cut Le Temps Suspendu

Playful time suspension with a twist

Hermès brings its whimsical “Le Temps Suspendu” complication to the bold Hermès Cut line, blending assertive modern design with playful horology. The Hermès Cut Le Temps Suspendu’s quirky new charm includes a counter clockwise-running subsidiary seconds on a 24-second cycle. It’s a surprising yet refreshing twist on the tradition of freezing time, delivered with elegance and flair.

Hublot Big Bang 20th Anniversary Limited Edition

Celebrating two decades of bold innovation

Hublot’s Big Bang 20th Anniversary Limited Edition captures two decades of avant-garde creativity. A checkered pattern dial, ridged bezel, and straps crafted from red ceramic, matte black ceramic, and Magic Gold (scratch-proof gold) showcase cutting-edge materials. Sporty, rebellious, and unmistakably Hublot, it’s a celebration of pure innovation and design audacity.

Cartier Tank à Guichets

A revival of one of Cartier’s most creative designs

The Tank à Guichets returns in a limited edition, staying true to its 1928 design. Instead of hands, jumping hours and dragging minutes are displayed through apertures. The satin-finished case with polished brancards is available in yellow gold, rose gold, and platinum. A hand-wound 9755 MC movement ensures precision, while the platinum model (limited to 200 pieces) modernizes a 1930s variation with angled apertures.

Bvlgari Octo Finissimo Ultra Tourbillon

The world’s thinnest flying tourbillon

Bvlgari’s Octo Finissimo Ultra Tourbillon sets a new ultra-thin world record at just 1.85mm thick. Sculpted from titanium and tungsten carbide, it’s luxurious and modern, with architectural inspiration from Rome. Skeletonisation maximises light diffusion, creating a masterpiece of mechanical transparency and daring contemporary design.

Chanel J12 Bleu Caliber 12.1

38MM

A sapphire spark meets sporty chic

The J12 Bleu limited edition reinterprets everyday elegance with matte blue ceramic, black-coated steel, and a dazzling sapphire-set dial. Powered by the COSC-certified Caliber 12.1, it promises a 70-hour reserve and 200 metres of water resistance, making it the ultimate sleek yet resilient luxury watch.

Audemars Piguet Royal Oak Offshore in Ceramic

Bold greens and deep blacks

This timepiece features a 43 mm black ceramic case accented with a green ceramic bezel, crown, and push-pieces — a first at this size. Titanium elements add contrast, while the dial showcases a dark green PVD Méga Tapisserie pattern with black accents and silver-toned luminescent hands. A sapphire and titanium caseback reveals the Calibre 4401 movement inside. Finished with a dark green leather strap or a black rubber strap, it blends elegance with sportiness.

Jaeger-LeCoultre Reverso

Tribute Monoface Small

Seconds

Timeless elegance reimagined

A refined take on an icon, the new Reverso Tribute Monoface Small Seconds pairs Jaeger-LeCoultre’s signature Art Deco design with a Milanese link bracelet in 18k pink gold. Recently introduced, this sleek interpretation features a matching grained dial

and the manually wound Calibre 822 movement with a 42-hour power reserve. Originally created in 1931 for polo players, the Reverso has evolved into a design legend. This latest edition highlights its dual nature— sporty yet elegant, vintage yet modern—with the bracelet’s fluid construction echoing its timeless silhouette. Subtle and sophisticated, it reaffirms the Reverso’s place in the pantheon of horological icons. ■

VERTICAL

OBSESSION

Charles Dubouloz, Richard Mille Partner, conquers desert rock and fear alike.

words: NADINE KAHIL

photography COURTESY OF RICHARD MILLE

As the morning sun paints the towering sand formations of Desert Rock in hues of gold and rust, Charles Dubouloz gazes out at the vast Saudi desert, a faint smile tugging at the corner of his lips, as YUNG approaches him to chat. “Maybe I’ll paraglide later,” he says, eyes fixed on the sandstone cliffs that seem to ripple out toward the Red Sea. For the world-renowned French alpinist, this place is more than a location, it’s a revelation.

In the heart of Saudi Arabia’s Red Sea Project, Desert Rock stands as a surreal landscape sculpted by time, wind, and silence. And for Dubouloz, it’s a new kind of vertical playground. “I’m here exploring, climbing, and discovering something different. Yesterday I climbed a crack on the other side of the mountain, and I can’t wait to get back at it, maybe in two or three days.”

Dubouloz is the first mountaineer to become a Richard Mille Partner, a partnership that feels less like sponsorship and more like kinship. “So, I’ve been with Richard Mille for three years now, and I think we share exactly the same spirit. I’m someone who is very extreme as a climber, and I believe Richard Mille is also right at the cutting edge in terms of products and philosophy,” he says. “We get along very well, we do great things together, we take part in amazing events, and I’m really proud to stand alongside the other Richard Mille athletes. We have a real bond, and I find that extremely valuable when you’re an ambassador, to feel well represented and to have partners who truly reflect and share your values.”

Much like his timepieces, Dubouloz operates in realms where time bends and pressure intensifies. He’s known for pushing the limits of human endurance, from the Himalayas to the French Alps. In January 2022, he achieved a historic solo ascent of the infamous Rolling Stones route on the north face of the Grandes Jorasses, six days alone on one of Europe’s most dangerous walls, battling ice, rock, and minus-20 temperatures. No ropes, no backup. Just instinct, fear, and relentless will.

“Fear connects you to the ‘now’,” he reflects. “If there was no fear, mountaineering would be meaningless. It’s the fear that brings clarity. The day I feel none, I’ll stop climbing.” Even when you’re just starting out, fear is always there, he explains. “It’s something deeply tied to the mountain environment. As you progress, you do harder things, but that fear never fully goes away. The key is learning to manage it, to make it an asset rather than a limit. For me, fear is the best insurance I have. I often say that my fear is my life insurance, it keeps me focused, alert, and aware for very long stretches of time.”

In fact, he believes it’s time to redefine how we view fear. “It’s a powerful emotion, often seen as negative, but in my life as an alpinist, I view it as something deeply positive. It has helped me far more than it has hurt me in my career.”

This pursuit of clarity, intensity, and perfection is what binds him to Richard Mille. “The watches are made for people like me, for people who live in motion, in extreme conditions. Whether I’m scaling a face in Chamonix or navigating rock under the Arabian sun, I know the machine on my wrist is as resilient as I am.”

That machine is the Richard Mille RM 67-02 Automatic Extra Flat, and it’s more than just gear—it’s a trusted companion. “When I climb, I wear my RM 67-02 watch simply because it’s super tough, really light, I don’t feel it on my wrist, and I have zero fear climbing with it. That’s super important to me. If it were heavy, honestly, I wouldn’t wear it,” he says. “And if you look at almost any photo of me climbing, I’m wearing it. That’s just huge, to be able to climb with a watch like that.”

And what about the look? “This colour? I love it—it’s gorgeous, isn’t it? I usually have slightly tanned skin, so I find the terracotta colour looks great on me. It’s very original. In the mountains, for photos, it helps to have something colourful that stands out. People often aren’t nearby, so our clothes are rarely black—we wear bright colours. And this colour fits perfectly with the vibe I’m going for.”

Back at Desert Rock, Dubouloz seems invigorated by the unfamiliar terrain, massive sand mountains that rise like monuments, echoing the drama of alpine ranges in a palette of ochre and fire.

His appetite for new vertical lines is far from sated. “My next big project is to go to Pakistan this summer and try to open a new route on a peak called Gasherbrum IV, a very high-altitude mountain that has never been climbed via that route,” he shares. “The goal is to create a new path, to climb a new line on this mountain, which is considered extremely difficult. I’ll be heading to Pakistan for the whole summer, from the end of June through August. I don’t know exactly when I’ll return, it’ll depend on when we’re able to make an attempt. I really hope to accomplish something meaningful there.”

That kind of endeavor demands total dedication, and years of buildup. “Preparation for an expedition is almost a daily routine,” he says. “Every day I either go rock climbing, do endurance training, or head into the mountains. But really, this kind of expedition is mostly built on experience and the many years of practice that come before.”

For those dreaming of following in his footsteps, he offers candid advice: “Training and hard work are essential, but honestly, that part is relatively easy. What you really need is a lot of determination and serious endurance, because you need to keep going for years. Experience takes a long time to build, and it’s also a tough environment, you’re often affected by tragedy, and despite that, you have to stay motivated.”

He adds, “The greatest quality an alpinist can have is the ability to self-reflect, to keep moving forward, to stay motivated, and to constantly challenge yourself with harder and more committed climbs.”

For now, Dubouloz is content to breathe in the warm desert air and contemplate the possibilities. “I align myself to the vertical,” he says, pausing to take in the horizon. “At opposite ends of the spectrum, Arnaud (his longtime climbing partner) and I find osmosis with the elements at their rawest. I don’t get that in horizontal life. Only here, when I’m up there, do I allow myself to take a breath and say, ‘wow.’”

And while the world looks on in awe at what he’ll conquer next, Charles Dubouloz continues his quiet ascent, one summit, one watch, and one handhold at a time. ■

photography

COURTESY OF RICHARD MILLE

“The watches are made for people like me, for people who live in motion, in extreme conditions. Whether I’m scaling a face in Chamonix or navigating rock under the Arabian sun, I know the machine on my wrist is as resilient as I am.”

Tommy Fleetwood on dedication, TAG Heuer, and the finesse of perfect timing.

TRAIN LIKE A SCIENTIST, PLAY LIKE AN ARTIST

words: LOUIS PARKS

In the high-stakes world of professional golf, where one misstep can unravel years of work, TAG Heuer Ambassador Tommy Fleetwood is an embodiment of calm precision. A fan favourite and a well-established face on the global circuit, Fleetwood has spent years mastering a game that, by his own admission, can never truly be perfected.

“There’s no substitute for experience,” Fleetwood says. “It’s easy to say stay present or talk positive, but you have to actually live it and experience it.” For Fleetwood, resilience isn’t a concept; it’s a practice—refined through failure, shaped by near-misses, and strengthened by the quiet repetition of daily discipline.

That process—the repetition, the structure, the science—is what drew him to TAG Heuer. The watchmaker’s emphasis on precision, technology, and performance aligns perfectly with Fleetwood’s analytical approach to preparation. Wearing the TAG Heuer Connected Calibre E4 Golf Edition during training and competition, he finds a wearable companion that’s just as focused on improvement as he is. “I try and perfect so many different things in the game of golf, and the end product will be something that hopefully is flowing and expressive. That’s the same in a watch really, except the watch does have to be perfect.”

Fleetwood’s mantra? “Train like a scientist, play like an artist.” It’s a philosophy that underpins not just his preparation, but also the duality of golf— rigid structure balanced by creative flair. On the course, he aims to be instinctive and expressive. Off the course, he trains with scientific rigour, deconstructing his swing, scrutinising his timing, and aligning body and mind for that singular winning moment.

Helping him fine-tune that balance is the TAG Heuer Golf app—synced to his Calibre E4—which offers real-time course mapping, shot tracking, and performance analysis across 40,000 global courses, including his beloved St Andrews. Whether checking distances mid-round or reviewing shot history post-play, the watch and app serve as a digital caddie addressing his needs.

“It’s all for a moment,” he says. “It might be a minute, it might be 10 seconds, it might be a split second—but that is that winning moment. And then you focus step by step, day by day, and practice session by practice session. That is all designing you to actually win.”

Fleetwood knows all too well the sting of near misses. However, he sees them not as setbacks, but as vital steps in the journey. “I think that consistency comes before excellence,” he says. “The more you put yourself in that position, and build that layer of consistency, the more times you will succeed.”

His advice to the next generation of golfers? Dream boldly, work tirelessly, and surround yourself with the right people. “You need people to grow you,” he says. “Whether that be the best information you’re going to get, supportive in terms of your emotions, a positive influence… whatever that may be.”

From the storied links of Scotland to the high-tech diagnostics offered by the Calibre E4’s digital interface, Fleetwood brings a rare balance of humility and precision to his game. It’s a mindset reflected in both the timepiece on his wrist and the rhythm of his play: disciplined yet free, analytical yet artistic.

In the end, it’s not just about chasing trophies. It’s about becoming, as he puts it, “the best version of yourself.” And with golf—and TAG Heuer—every advantage counts. ■

World record freediver Arnaud Jerald on the ocean, endurance, and the Richard Mille RM 032 Automatic Winding Flyback Chronograph.

At just 29 years old, French freediver Arnaud Jerald has already cemented his place in the record books—multiple times. With eight world records and a dive of 122 metres under his belt, Jerald has redefined the limits of human potential, plunging into the abyss on a single breath. But for Jerald, freediving isn’t about breaking records. It’s about silence, self-discovery, and transformation. As a Richard Mille ambassador, he wears the Richard Mille RM 032 Automatic Winding Flyback Chronograph, an extreme-performance timepiece built to thrive in high-pressure environments, on every dive. words: LOUIS PARKS

photography by Charlotte Benoît

had this desiretodosomething diferent.”

e w t h a t I

“ I syawla k n

photography by Charlotte Benoît

You first tried freediving while spearfishing with your father. What emotions did you experience, and when did you realize it would become your life’s passion?

The first time I put my head underwater, the first emotion I had was fear. My father and I went back to the water every weekend and from there I felt better and better. I was able to transform this fear into a feeling of freedom. From the age of seven when I discovered the underwater world until the age of 16 I always felt like I was a bit like Peter Pan or the Little Prince, who discovers planets. I always knew that I had this desire to do something different. I didn’t want to make any concessions, I wanted to live from my passion or nothing.

You’ve spoken about using freediving as a space to help cope with pressure. Has this shaped the athlete you are today?

Being in the water at its depths, without breathing, has always been a challenge for humans. It taught me faster to manage my emotions, my fears. For me, freediving has been a school of life to bring out the best in myself.

I didn’t stop training, and in those same years I was also breaking my records. After that I had a call from Charles Caudrelier, to work toward his victory on the Arkéa Ultim Challenge 2024. From there I was able to work for two years with François Perrodo during his season and the 24 Hours of Le Mans in LMP2 pro-am.

I understood that what athletes were looking for through my experience was not to breathe better, but to be able to better manage their fears and emotions in extreme moments. I was also able to learn a lot about sports that are much older than mine. Freediving is a very young sport. I try to bring to it the same mechanisms that we see in much older and more professional sports.

This learning isn’t just personal. I made it cross the barriers of sport. A few years ago, a multiple Olympic swimming champion asked me to work with him to prepare [and teach him about] my discipline. I accepted this beautiful experience of working with Florent Manaudou and his team, to win his Olympic silver medal at the Tokyo Olympics.

Breaking multiple world records, including your 122-metre dive in the Bahamas, is extraordinary. What keeps you motivated?

The approach I have always had to freediving. This saved me […] my appetite is now insatiable. At the age of 16, when I reached a depth of 30 metres, there was nothing around me, no wreck, no fish. Nothing but blue. It was like a mirror effect. I was finally able to see myself through my own eyes. And not through the eyes of others, due to my shyness. That’s when I realized what it could bring me. The desire was not to break all the world records, but simply to evolve as a human being. My last eight world records were ultimately just a process. I realize that this was only part of the process and not an end in itself.

“The Richard Mille RM 032

Automatic Winding Flyback

Chronograph was to become the first

Richard

Mille to achieve a world record in freediving.”

How does the Richard Mille RM 032 Automatic Winding Flyback Chronograph compliment your performance?

With the Richard Mille RM 032 Automatic Winding Flyback Chronograph, it was love at first sight, long before becoming a Richard Mille partner. For me, this piece represented purity. No one had taken it out onto the water in the ocean. So it became more than just a piece. The Richard Mille RM 032 Automatic Winding Flyback Chronograph was to become the first Richard Mille to achieve a world record in freediving alongside me. A few months after signing, I continued my momentum to break new world records, but this time underwater, I was no longer alone. Since that day, I have never again dived without it.

This piece has a chronograph. This allows me to calculate training or recovery times. Complications that I particularly appreciate. When I dive in competition, I have to respect a precise start time. If I go over this time by a single second, I am disqualified. At that point, I am already in the water preparing. I can’t really have my phone. So the Richard Mille RM 032 Automatic Winding Flyback Chronograph allows me to always keep in touch with time, in this sport where we quickly lose track of it.

When I go abroad for several months on a desert island. I use the date but also the month, which are part of the complications. Believe it or not, when I spend more than three months focused on diving in places you’re not supposed to go, I lose all sense of time. I disconnect; my contacts at that time are limited to my family and my partners.

Looking ahead, what are your biggest goals — both in freediving and beyond?

I think it’s always been about fulfilling myself as a person. Through freediving, I discover parts of myself that I wouldn’t have been able to experience otherwise. I gave everything, and I continue to do so, for this path to depth.

I won’t talk about sacrifice, I’m fulfilled in that way. However, I know there are other ways, more personal in life, that may be just as beautiful to accomplish.

I sometimes wonder what my goal is. I don’t think it’s achievable; perhaps the journey itself is the goal. I move forward with my choices as if I were writing my book, without ever writing the word “End.” ■

photography by Daan Verhoeven

STAY GROUNDED.

But what if we don’t want to?

photography: HOLLY MCCANDLESS-DESMOND

styling: MARIA TERESA STRIPPOLI

jumpsuit, YAO YAO HUANG skirt, TIM RYAN shoes, PLEIADES hat, MEG DENNIS

full look, ALAÏA

jacket, trousers, 3 PARADIS shoes, LOUIS VUITTON

dress, LURLINE

shoes, LOEWE

hat, MEG DENNIS stockings, YAO YAO HUANG

full look, MALENE AGA

L-R: t-shirt, trousers, LOUIS VUITTON shoes, MALENE AGA full look, LOUIS VUITTON

full look, SAINT LAURENT

jumpsuit, YAO YAO HUANG skirt, TIM RYAN shoes, PLEIADES hat, MEG DENNIS

dress, ERBOLD ERDENEBAT gloves, YAO YAO HUANG

top, ERBOLD ERDENEBAT stockings, shoes, YAO YAO HUANG

dress, ERBOLD ERDENEBAT gloves, YAO YAO HUANG

movement director LIAM JOHN; makeup YOI KONG; hair YUI OZAKI; set designer ELLIE KOSLOWSKY; models ALYSON DUBEY, ANA PORTELA at IMG MODELS, BEN CORBETT, ANDREW HOLDBROOK at IMG MODELS; creative assistant FRANCESCA ALBOROSA; photography assistant SAM JUBB; styling assistant LILI RAMUNDI, LARA SANDRES; production assistant EMMA NAVABI; interns SAMMI WONG, NOYA MEYOHAS

jacket, trousers, JUUN J shoes, PRADA

STATE MENT PIECES ONLY

Sometimes, all it takes is one piece to pull a look together. This season’s accessories are designed to do just that - to elevate the everyday and turn simple outfits into something memorable. From moccasins to derbies, to oversized totes, bold sneakers to sleek handbags, these are the finishing touches that make all the difference. Each piece has the ability to transform, because the right accessory doesn’t just complete a look, it defines it. graphics:

Jet Sneaker, HERMÈS

Lopez, JOHN LOBB

BC Duo Bag, BRUNELLO CUCINELLI

LV Sneakerina, LOUIS VUITTON

Empire Carryall Bag 34, COACH

Le City Bag, BALENCIAGA

JOE over-the-knee boots in smooth leather, SAINT LAURENT

BUILT FOR WOMEN BY WOMEN

adidas’ F50 SPARKFUSION is changing the game for women’s football boots.

words: NADINE KAHIL

adidas has unveiled the F50 SPARKFUSION, a landmark football boot engineered specifically for women, designed to meet the physiological and performance needs of female players at every level. The launch follows adidas’ largest-ever research initiative into women’s foot anatomy, combining over a decade of data with real-world testing by elite athletes, including Trinity Rodman, Linda Caicedo, Valentina Giacinti and Jule Brand.

The F50 SPARKFUSION was developed from the ground up to serve the demands of the fast-evolving women’s game. At the core of the innovation is FUSIONLAST, a women-specific anatomical approach that accommodates narrower heels, higher arches, and greater midfoot volume, resulting in better lockdown, improved comfort, and more responsive directional changes. “They’ve really improved the way my foot connects with the ball. They’re incredibly light and feel like they’re made for my feet. I love that about them—the lightness, and especially the way they interact with the ground. You can really feel how much easier it is to move,” said Giacinti, who plays for Italy and Roma, in an interview with YUNG.

The project represents a shift in how performance gear is conceptualized, moving from a one-size-fits-all model to truly athlete-led design. “At adidas, our mission is to serve athletes with the best possible products,” said Sam Handy, General Manager at adidas Football. “With F50 SPARKFUSION, we’ve gone beyond retrofitting an existing model, we started from scratch to build a boot that reflects the biomechanics, needs, and game style of women footballers.”

The design process brought together adidas’ Innovation Team and its global network of athlete partners. More than 10 years of foot anatomy data was combined with new 3D scans and qualitative feedback from clubs including Arsenal Women, Real Madrid Femenino, and OL Lyonnais. This collaboration informed every component of the boot, from internal construction to stud configuration, optimised for agility, acceleration, and comfort.

The FUSIONSOLE SOCKLINER enhances arch support and midfoot lockdown, while an updated heel structure and external counter provide stability in the rearfoot, one of the most common problem areas for women wearing unisex boots. The newly developed SPRINTFRAME FUSION FG/AG soleplate incorporates semi-conical studs for smoother rotational movement, plus an additional PIVOT STUD and a fourth lateral stud to reduce pressure points and support multidirectional play on both natural grass and artificial turf.

Testing proved the performance gains. Athletes wearing the F50 SPARKFUSION consistently completed agility-focused drills faster than in their previous boots. Jule Brand, who was involved throughout the testing phase, noted: “Having been part of the process, I know the level of detail and research that went into producing the boot. I could feel the difference immediately, especially in training where movement and speed are everything.”

For adidas, the product marks not just a technological leap but also a cultural moment for the sport. “These boots are much better adapted to my feet. I’m really happy

that adidas has created something tailored for women’s football—for us athletes. It’s something that was needed,” says Giacinti.

Visually, the boot stands out in a pastel purple colourway with neon green accents and tonal graphics wrapping the silhouette. The iconic Three Stripes appear on the outer side in a matching neon green. The F50 SPARKFUSION is available in midcut, lowcut laced, and laceless models, across four price tiers, ensuring accessibility for grassroots players and professionals alike.

“The feedback we’ve had from players has come through loud and clear,” says Handy. “This is a boot that unlocks their potential, respects their physiology, and meets the moment for women’s football.” ■

Introducing the Loom Bag, a refined accessory that pays homage to Loro Piana’s heritage in fabric-making and exclusive textiles. Named after the traditional loom, the b ag symbolizes the art of transforming fibre into cloth, a tribute to craftsmanship, quality, and timeless design. With its tactile appeal and enduring elegance, the Loom Bag blends functionality with sophistication, offering a modern expression of luxury rooted in tradition.

LOOM

BLOOM

art director: TALAL KAHL

photography: ABDULLA ELMAZ

SUMMER’S BEAUTY LAB

Curated with the hot season in mind. From the refreshing tingle of lip balms to sun-kissed fragrances and nourishing hair and body care products, this collection celebrates a formula for confidence, ready to be tested, tried, and adored all season long.

graphics: NADIA MÉNDEZ

maldives in a bottle ylang coco, KAYALI

full cover anti-thinning shampoo, blank space anti-KP body wash, cool down anti-buildup body lotion, HELLO KLEAN

chance eau splendide, CHANEL

the lip balm duo, AUGUSTINUS BADER X SOFIA COPPOLA

rose star, DIOR BEAUTY

POP, WITHOUT THE RULES:

SLEIMAN DAMIEN’S WAY FORWARD

The in-demand producer leaving his fingerprint on MENA’s music blueprint

photography: SAM RAWADI

words: MENNA SHANAB

“The hardest thing to do is make people want to dance—not just move, but feel it viscerally.”

There is a quiet and calculated rebellion in the way Sleiman Damien talks about pop. Not pop as a genre, but pop as a practice—something that can live anywhere from a sweaty Egyptian hip-hop banger to a melancholic, synth-drenched ballad in Arabic. “Pop is just what people like,” he says, bluntly. “It’s not about formula. It’s about doing the song justice.”

A name buried in credits, a ghostwriter of soundscapes, a silent force behind the evolving lexicon of Arabic pop—Damien has long been one of the region’s most influential yet understated producers. A key figure behind both chart-toppers and cult favourites, his role was often invisible, even as his sonic DNA ran through hundreds of millions of streams. Now, that’s starting to change.

After a career built behind the boards, he’s beginning to take steps into the foreground—claiming his place not just as a producer, but as an artist in his own right. “It gave me anxiety,” he admits of his first official artist

credit on a track with Nai Barghouti. “It’s the first time I’ve presented myself directly to the audience—not just through someone else.”

From Beirut bedrooms to Dubai studios, Damien’s rise is the kind of career arc people romanticize—only he didn’t plan any of it. It all began with a cracked copy of FL Studio and a string of failed attempts at being in bands that led him to making beats in his bedroom, which later evolved into professional work. “I tried to sing, I tried to play guitar. I sucked at both,” he laughs. “So I ended up doing what I could alone.”

His breakout came early, through an arrangement for Carole Samaha’s “Sahranine,” a hybrid track that blended Arabic pop with EDM. At the time, it wasn’t framed as experimental. This was well before terms like fusion and genre-bending were thrown around so liberally. “I didn’t really have much knowledge in Arabic pop. It wasn’t a conscious decision to create a hybrid sound. I was just doing what I knew how to do,” he says.

The song’s success locked him into that sound for a time, as more artists approached him looking for similar arrangements. For a year, he obliged. But then he started evolving, resisting the creative trap, learning more about Arabic music theory and incorporating those elements gradually into his work.

Today, he bristles at reductive labels like “fusion.” “I wouldn’t define what I do now as a hybrid. It doesn’t try to be anything—it just is.”

That philosophy extends to his approach in the studio. He avoids categorizing music strictly by genre, focusing instead on making each track as compelling as possible. “My job is to do the song justice. That’s the only rule.”

To him, pop is a container—not a genre but a scope: whatever resonates with the most people.

For Damien, staying honest to the artist—and to the culture—is key. “When you work with someone like Haifa Wehbe or George Wassouf, you’re not there to erase who they are,” he says. “You’re there to evolve it, to introduce something fresh while respecting where they come from.”

What emerges from that fluidity is not confusion, but coherence. “It’s not a push and pull. It’s synergy. I introduce my ideas while respecting the artist’s history and audience.”

You’ve heard his fingerprints across some of the Arab world’s most iconic voices but good luck trying to pin down a signature “Sleiman sound.” Even he can’t do it. “I change my process every time. I work differently with each artist. But somehow, people still know it’s me.”

There may be no singular sound—but there is a sensibility. A focus on groove, a mastery of arrangement, an ear for tension and release. “The hardest thing to do is make people want to dance,” he says. “Not just move, but feel it viscerally. That takes hours of work.”

Despite the variability, listeners often recognize his work. “People tell me they can identify my sound on the radio, but I’ve never really understood how.” That mysterious signature, that sonic thumbprint he never designed, has followed him from project to project.

When it comes to timelessness, Damien believes we’re too close to the moment to recognize it. “In the 2000s, people mocked pop music for being plastic. Now we’re nostalgic for it. We just can’t predict what we’ll look back on with affection.” What has changed, however, is the volume of content. “We’re constantly bombarded. That makes music feel more fleeting, even if it’s not. It just hasn’t had space to linger.”

Streaming, which once promised democratization, has become a structural paradox. “It used to be that streaming democratized music. Now artists can fall into the trap of catering to algorithms instead of listeners. It’s changed how people create.” Still, he sees value in keeping an open ear. “A few years ago, I was more judgmental. Now I try not to dismiss something immediately. A song that seems uninteresting can turn out to be deeply compelling.”

This ethos of openness is particularly relevant in his collaborations with emerging artists. “You get to experiment more. And if it works, you’re part of something new. In Lebanon, I used to produce for indie artists for free. I didn’t even ask for royalties because I was doing well with commercial projects. In Dubai, it’s harder financially, but collaborations make it more feasible.”

One such project—his collaboration with Nai Barghouti—marked his first time being credited as an artist. The decision was strategic, but also personal. “The vision was mine too. I wanted to be part of it in a more official way.” Still, there were challenges. Nai had an established fanbase, and their track diverged from her usual style. “We had to recalibrate expectations,” he says. But the experiment validated the creative risk.

Damien also speaks candidly about the marginalization of producers in Arab music. “We’re not beatmakers. We’re co-authors. But in this region, we’re still largely invisible.” This invisibility extends to entire formats. “Labels here aren’t interested in instrumental albums. But globally, instrumental music is thriving.”

That refusal to vanish into the background is what has carved out Damien’s legacy. “The reason people know my name is because I didn’t disappear. I let my fingerprint exist—even if I can’t always explain how it formed.”

He isn’t planning to sing anytime soon—“I’m an awful singer,” he laughs—but he is planning more collaborations and more deliberate authorship. He’s no longer just composing music for others, he’s being heard on his own terms.

His approach is rooted in intuition, shaped by years of listening, producing, and adjusting. “The more I make music, the less I believe in rules,” he says. “If it doesn’t feel good, I don’t care how smart it is.”

In an industry still tethered to formulas, Damien is making space for feeling—for unpolished intuition, for risk, for resonance. Not chasing the moment, but shaping something that might last beyond it. ■

THE BLU PRINT OF BLU FIEFER

How a self-made Lebanese

turned survival into her cinematic universe.

artist

photography: CHRISTIAN ABOU FAYSSAL

words: MENNA SHANAB

b e l i e v e I c o l d ma ke c h a ngew i t h

“Iusedto

c a m e ,raw with i n a n d a or n d me . ”

To dream aloud is to bruise easily. At its heart, the act of making —music, film, meaning— can never be born from hardness but from a softness, that once exposed, sometimes needs protection to survive. In putting up that armour, we can find ourselves slipping into the role of a villain, not one that hurts others, but one that shields that vulnerable core.

This is where we meet Blu Fiefer. Not just as an artist, director, or producer, but as a person who realized she had to become the machine, with all its metal and sharp edges, to protect the space where her vision could live safely.

That machine gave us Villain Bala Cause—her debut album, and a body of evidence.

Each track is a document of survival, stitched together with blood and bandwidth, proof of what she endured, and who she became. She wrote, produced, directed, edited—crafted it all without a label, budget, or safety net. It’s the aftermath of being forced to harden, to outgrow innocence, to play the villain just to stay in the game.

“This is my blueprint. My magnum opus,” she shares. Every ad-lib, cut and shift in lighting bears her fingerprint and is a part of a larger vision. “Taking the front seat on creative and strategic decisions was essential. I’m a storyteller, and every detail—from a sample to a cut in a music video—serves the bigger vision.”

When it comes to control, she speaks from an intimate awareness of her own capacity. “It’s a heavy crown,” she admits, “but it’s what shaped me. I thrive on the hustle now. I’m not even sure I can live without it.”

This vision began around 2020, as Lebanon reeled from revolution, crisis, collapse. “This album is my origin story,” she explains. “I used to believe I could make change with kindness and love. Then came war, within and around me.”

The album is her origin story. The reflection of a girl who’s lived through trauma and has transformed it into something artistic, therapeutic. From innocence to survival mode.

The conceptual album is told in chapters, punctuated by cinematic visuals and hidden Easter eggs. In Sharaf, one of the earliest tracks, Blu wears a white suit—still clinging to a sense of idealism. “You can see it in my eyes,”

she reflects. “There was sadness. That was the chapter where I started making choices in the name of survival. Sharaf was my vow to the dark life I was embarking on— Hasta La Muerte Habibi.”

Each track builds on the last, musically and narratively, culminating in the manifesto track Villain Bala Cause. “It has the key lyric from each song, in chronological order,” she reveals. “It’s the roadmap to the story.”

Here, Blu reclaims the archetype of the villain not as an antagonist but as an avatar of agency. She’s exhausted from trying to be palatable. The villain in her universe is what stands between her inner world and a world that wants to consume it. To enter Blu’s world is to submit to slow fire. This album resists the swipe, the scroll, the algorithm. It moves like memory: nonlinear, pulsating, alive. It is cinema, a war diary.

She made something that does not cater to instant gratification. It’s not made for TikTok, it’s made for people who want to sit with something. People who want to process. Every element is intentional. From the cinematography to the styling to the colour grading, it’s all interconnected.

She speaks often of building alone. Not out of pride, but necessity. Lebanon, her home base, isn’t exactly a hotbed of music industry infrastructure. You don’t get development time here. If you don’t show up ready, no one’s going to wait for you to figure it out. That lack of support is what sparked Mafi Budget—Blu’s self-built label for independent art.

Through her label, Blu has carved out a space for herself and others like her. “It’s my revolution,” she says. “An ‘anti’ to everything I came across before. We’ve rebuilt from scratch many times, but what we’re building is for the culture—and we’re just getting started.”

So what’s next for her? What does she actually want from all this now? I think it’s freedom. To create without waiting for someone to say yes. To experiment. To be soft again. Blu Fiefer isn’t trying to give you something light. She’s giving you what she never got—something honest. Something built from the ground up. Something that doesn’t cater, doesn’t perform or apologize.

Villain Bala Cause. A beginning, not a conclusion. A map, not a destination. ■

WHERE WIND MEETS

words: NADINE KAHIL

Loro Piana sails into the Mediterranean’s most prestigious regatta with timeless style and heritage craftsmanship.

In a celebration of tradition, innovation, and elegance, Loro Piana reaffirmed its deep-rooted connection with the sailing world as a proud sponsor of the Tre Golfi Sailing Week 2025. Held off the picturesque coast of Sorrento in May, the event stands as one of the Mediterranean’s most prestigious regattas, an embodiment of the very values that define the Italian Maison: timeless craftsmanship, performance, and a passion for excellence.

The Tre Golfi Sailing Week is no ordinary race. With its storied history, the regatta brings together over 120 of the world’s most exceptional yachts and international crews. The IMA Maxi European Championship, a cornerstone of the event, features 30 Maxi yachts from eight countries competing in a breathtaking setting that includes Capri, Ischia, and the Li Galli islands.

For Loro Piana, sailing is far more than a sport, it is a lifestyle and a legacy. The brand’s enduring relationship with regattas, from Porto Cervo to the Caribbean, is reflected in the functional luxury of its clothing. Icons such as the Windmate Bomber Jacket, White Sole shoes, and the linen André shirt were born at sea, combining performance with refined aesthetics. These garments are not only designed for elegance on deck but transition seamlessly to urban life, epitomizing the Loro Piana’s effortless, sophisticated style.

Loro Piana’s participation culminates in the awarding of the Loro Piana Challenge Trophy to the winner of Group 1—an honour that recognizes not just victory, but an alignment of values between brand and sailor: discipline, beauty, and a love of nature.

Beyond sponsorship, the Maison’s presence at Tre Golfi is a tribute to its founder’s maritime spirit. Pier Luigi Loro Piana, still an active sailor aboard his boat My Song, brings a personal legacy to the race, turning each regatta into a living expression of Loro Piana’s philosophy.

By anchoring itself in the sailing world’s most elite moments, Loro Piana continues to champion a lifestyle where impeccable style meets performance. The 2025 edition of Tre Golfi once again proves that when sailing meets sartorial savoir-faire, the result is nothing short of iconic. ■

WOVEN LUXURY

MENA CREATIVES CAPTIVATE IN VENICE AND MILAN

YUNG’s take on La Biennale di Venezia & La Triennale di Milano 2025.

Until November, Italy stands at the epicentre of global cultural discourse, hosting two major events: the 19th International Architecture Exhibition – La Biennale di Venezia, under the theme “Intelligens. Natural. Artificial. Collective.” and the 24th International Exhibition of Triennale Milano, titled “Inequalities”.

Both exhibitions, deeply intertwined, confront the fractures and urgencies of our time: Venice calls for radical adaptation in the face of ecological collapse, while Milan casts a spotlight on the deepening inequalities that shape our cities and societies.

Together, these curatorial visions respond to a world marked by instability, climate crisis, and political fragmentation. They urge a profound rethinking of the systems we inhabit: architecture as a collective, intelligent response to urgent change and inequality as a lens for imagining new solidarities and forms of shared agency.

In this critical moment, voices from the Middle East resonate with renewed clarity and force—many led by a new generation of female curators. Their proposals, rooted in complex histories and lived geographies, offer vital perspectives that the global stage can no longer afford to overlook.

19th International Architecture Exhibition –La Biennale di Venezia

Venice, Running Until November 23

SAUDI ARABIA

“The Um Slaim School: An Architecture of Connection” At Arsenale

In a city like Riyadh, where rapid transformations often blur the memory of place, Syn Architects, founded by Sara Alissa and Nojoud Alsudairi, have conceived an exhibition that stages a living archive and interactive platform, exploring the displacement of Najdi architecture in the evolving urban fabric. Through oral histories, visual records, and experimental mapping, The Um Slaim School reimagines the built environment as a continuity of spatial memory, resisting erasure and nurturing new forms of belonging.

Curated by Beatrice Leanza, with Sara Almutlaq as assistant curator, the pavilion proposes an alternative model for architectural education — one grounded in memory, materiality, and collective intelligence. It calls for a rethinking of how urban landscapes are shaped, inhabited, and remembered, addressing the urgencies of climate change, resource management, and the social dimension of the city.

Courtesy of the Architecture and Design Commission, the Commissioner for the National Pavilion of Saudi Arabia.

Syn Architects, © Nora Alissa

UNITED ARAB EMIRATES

“Pressure

Curated by Emirati architect and scholar Azza Aboualam, Pressure Cooker dives into the urgent link between architecture and food production in the UAE. As climate change threatens agricultural systems worldwide, the exhibition reimagines the greenhouse in arid environments, blending local knowledge and technological innovation to propose new models of resilience.

Through a series of experimental assemblies, Pressure Cooker explores how architecture, once rooted in traditions of scarcity, can offer real answers to today’s food security crisis. It invites us to think beyond survival, envisioning a future where food production is woven into the fabric of our cities and lives. In a world facing soil exhaustion and extreme temperatures, these ideas born in the desert may soon shape a global response.

Cooker” At Arsenale

Left, Azza Aboualam, image courtesy of National Pavilion UAE – La Biennale di Venezia. Photo by Daryll Borja of Seeing Things Right, Pressure Cooker, curated by Azza Aboualam. Image courtesy of National Pavilion UAE – La Biennale di Venezia. Photo by Ismail Noor of Seeing Things

OMAN

“Traces” At Arsenale

For its first-ever participation at the Venice Architecture Biennale, the Sultanate of Oman presents Traces, a pavilion curated by Majeda Alhinai that looks to the past to imagine the future. At its heart is the Sablah, Oman’s traditional communal space, reinterpreted not as a relic of another time, but as a living blueprint for how we might build spaces of resilience, adaptability, and belonging today.

In a world increasingly fractured by isolation and rapid change, Traces offers the Sablah as a model: a place where hospitality, dialogue, and shared responsibility are not abstract ideals but daily practices. Deeply rooted in Omani tradition yet profoundly contemporary in its message, the pavilion proposes a global vision, one where architecture becomes a vessel for community, fostering environments that adapt to both cultural memory and future needs.

Top, Traces, Oman Pavilion XII, courtesy of the Sultanate of Oman Below, Majeda Alhinai, Traces Curator

LEBANON

“The Land Remembers” At Arsenale

Curated by CAL Collective for Architecture Lebanon, the pavilion is a visceral call to confront the slow violence that decades of conflict, political collapse, and reckless urbanization have inflicted on Lebanon’s land. Lebanon, whose very name, lbn, means “white,” a reference to the snow-capped mountains that have cradled its history, has always drawn its strength from an ancient bond between people and nature, rooted in indigenous knowledge and collective memory.

Today, that continuity is under threat. Lebanon faces not just environmental degradation, but an unfolding ecocide: a deliberate and cumulative destruction of its natural and social ecosystems. “The Land Remembers” invites visitors to see beyond technical fixes, beyond the narratives of reconstruction, to recognize the land itself as a living archive of memory, resistance, and healing.

In a time when loss feels relentless, the pavilion insists on the urgent need to listen to the intelligence of the land, and to imagine repair as a radical, collective act.

Top, CAL Collective: Shereen Doummar, Lynn Chamoun, Edouard Souhaid and Elias Tamer Bottom, The Land Remembers - CAL Collective

EGYPT

“Let’s

Grasp the Mirage” At the Giardini

Curated by Salah Zikri, Ebrahim Zakaria, and Emad Fikry, Let’s Grasp the Mirage invites visitors into an immersive landscape where the Egyptian oasis becomes both a symbol and a challenge. In a world increasingly marked by scarcity and imbalance, the oasis, a fragile equilibrium of water, vegetation, and life, stands as a metaphor for sustainable harmony.

Here, sustainability is not a static ideal but a living, precarious negotiation. Drawing from Egypt’s rich ecological heritage, the pavilion connects local wisdom to global urgencies, asking what it truly means to nurture resilience in a time of accelerating collapse.

More than an installation, Let’s Grasp the Mirage becomes an experience of choice and consequence: every visitor’s movement mirrors the real-world decisions shaping our collective future. Weaving together natural, artificial, and collective intelligence, it offers a powerful reminder, true sustainability demands more than innovation; it calls for a profound reimagining of how we coexist.

Let’s Grasp the Mirage, Image courtesy of Salah Zikri, Ebrahim Zakaria, Emad Fikry

QATAR

“Beyti Beytak. My Home is Your Home. La mia casa è la tua casa” At Giardini & Palazzo Franchetti

This year marks a historic milestone for Qatar: its first official participation at La Biennale di Venezia. In April, it was announced that Qatar will build a permanent national pavilion, designed by Lebanese architect Lina Ghotmeh, in the Giardini, the heart of the Biennale since 1895. Qatar joins an exclusive group of 30 nations with a permanent space there, a rare honour achieved by only two other countries in the past fifty years (Australia and the Republic of Korea).

Qatar presents “Beyti Beytak. My Home is Your Home. La mia casa è la tua casa”, a twopart exhibition produced by Qatar Museums and organized by the future Art Mill Museum. Curated by Aurélien Lemonier and Sean Anderson, the project explores how hospitality shapes cities, communities, and the sense of belonging across the Middle East, North Africa, and South Asia (MENASA).

At the Giardini, Pakistani architect Yasmeen Lari’s Community Centre (2024) offers a powerful symbol: a bamboo structure built with humanitarian techniques developed for disaster relief by the Heritage Foundation of Pakistan. Here, architecture is reimagined as a tool for survival, solidarity, and dignity.

Meanwhile, at ACP–Palazzo Franchetti, the exhibition brings together over 30 architects, many exhibiting in Venice for the first time, tracing three generations of work across the MENASA region. Drawings, models, photographs, and archival documents reveal how architecture continuously reinvents shared spaces, from oasis towns to urban housing, mosques, museums, and gardens.

Beyti Beytak shows that architecture is far more than a backdrop: it’s a living force, shaping the ways we welcome, care for, and imagine each other.

Yasmeen Lari - Heritage Foundation of Pakistan, Community Centre, 2024. Installation view 19th International Architecture Exhibition - La Biennale di Venezia. Photo Giuseppe Miotto of Marco Cappelletti Studio

BAHRAIN

“Heatwave” At Arsenale

For Bahrain, a country long shaped by intense heat, architecture becomes a vital tool for survival and wellbeing. Curated by architect Andrea Faraguna, Heatwave won the Golden Lion for Best National Participation with a thoughtful response to the climate crisis: a passive cooling installation designed for the public realm.

Drawing from traditional Bahraini techniques and contemporary innovation, the pavilion offers a prototype for thermally comfortable urban spaces — no air conditioning required. A geothermal well, a solar chimney, and a carefully choreographed sequence of underground and above-ground flows create a breathable microclimate, even as global temperatures rise.

At the Arsenale, where excavation isn’t possible, the system is reimagined through mechanical ventilation and precise air circulation, turning the exhibition space into a working model of adaptation.

Heatwave speaks directly to the Gulf — where outdoor work, social life, and labour unfold under extreme heat. The structure proposes modular, scalable solutions that could transform construction sites and public spaces into vital zones of relief.

A companion publication extends the pavilion’s impact with essays, technical data, and historical reflections, reinforcing a simple yet urgent message: comfort, resilience, and sustainability must be part of how we design the cities of tomorrow.

Bahrain PavilionHeatwave, © Ishaq Madan

KUWAIT

“Kaynuna”

At Arsenale

For its sixth national participation at La Biennale di Venezia, Kuwait presents Kaynuna, a reflection on how time, space, and materiality shape architecture amid rapid political, social, and economic change.

Organized by the National Council for Culture, Arts, and Letters (NCCAL) and curated by Hamad Alkhaleefi, Mohammad Kassem, Naser Ashour, and Rabab Raes Kazem, the pavilion examines Kuwait’s architectural evolution, where modernization often favours demolition over adaptation, eroding cultural memory.

Kaynuna proposes an alternative: a process-driven approach rooted in values rather than aesthetics. Through a study of form, function, and history, it reimagines sustainable development as a practice of care — one that centres local knowledge and long-term resilience.

At its core, Kaynuna is about presence — what gives objects meaning, and how built environments can reflect deeper systems of value. Rather than preserving appearances, it argues for tools that sustain what truly matters: the ideas, relationships, and intentions that shape how we live.

Naser Ashour, Dissecting Brutalist Architecture: A Study In Mutation, 2025. Digital Vector Drawing, 40 x 40 cm, , courtesy of Naser Ashour

Mohammad Kassem, Material Library Portal, 2025. Digital 3D Rendering, 24 x 32 cm, courtesy of Mohammad

Kassem

24th International Exhibition Triennale

Milan, running until November 9 2025

QATAR – TIAMAT

Giardino della Triennale Triennale Milano

Bethlehem-based architects Elias and Yousef Anastas (AAU ANASTAS) bring Tiamat to the Giardino della Triennale with the support of Qatar Museums and the Design Doha Biennial. Originally created for Design Doha 2024, the installation evolves from their long-standing research project Stone Matters and is deeply rooted in the architectural heritage of Palestine, Syria, and Lebanon.

Responding directly to the theme of Inequalities, Tiamat challenges the increasing detachment between architecture and material knowledge. Constructed from precisely cut, interlocking stone blocks, the vault is entirely self-supporting, a quiet defiance of contemporary construction’s dependence on carbon-heavy, unsustainable methods.

The installation merges advanced computational design with the centuries-old craft of Palestinian stone masonry. In doing so, it proposes an alternative architectural language, one that respects the intelligence of natural materials, and the communities that have shaped them for generations.

By working closely with Palestinian artisans and promoting responsible quarrying, AAU ANASTAS reinforces the role of architecture not only as design, but as cultural and political practice, especially in regions marked by displacement and destruction.

SAUDI ARABIA

Maghras, a Farm for Experimentation Triennale Milano

Curated by Lulu Almana and Sara Al Omran, Maghras explores how agricultural practices, ecologies, and cultural memory are evolving in Al Ahsa — one of the world’s oldest and most fertile oases, now facing rapid transformation.

The exhibition is rooted in an interdisciplinary farm and community space in the Eastern Province of Saudi Arabia, where artists, architects, and researchers collaborated with local farming communities. Through workshops, performances, and screenings, they traced the deep entanglements between agriculture, land, and culture.

In Milan, the pavilion takes the form of a Maghras — a traditional plot of land defined by four palm trees — and becomes a site for reflection. It addresses the depletion of Al Ahsa’s springs, the impact of industrialization, and the shift from agricultural diversity to monoculture, particularly the dominance of the date palm. Maghras invites us to rethink the role of land as more than production — as memory, resilience, and future possibility.

LEBANON

“And From My Heart I Blow Kisses to the Sea and Houses” Triennale Milano

Curated by Ala Tannir, with support from the Graham Foundation, AFAC, and House of Today, the exhibition centres on the rehabilitation of a French Mandate–era coastal house in Beirut, damaged yet still standing. Blending contemporary art with architectural preservation, it explores the complex relationship between Beirut’s built heritage and its rapidly shifting urban landscape.

Visitors are invited to encounter the story of one of the few remaining houses from the late 1920s—a structure that has withstood layers of violence and relentless real estate pressures, yet continues to face the Mediterranean Sea.

At Triennale Milano, And From My Heart I Blow Kisses to the Sea and Houses brings the house, the stories of its inhabitants, and the presence of the Eastern Mediterranean to Milan. Rather than relying on traditional methods of architectural conservation, the project adopts artistic and experimental approaches, partially reconstructing the house through the very methods that contributed to its recent rehabilitation. ■

Opposite page, Left, AAU ANASTAS and Fahad al Obaidly, courtesy Design Doha Right, Workshop: Walk between the alleyways and farms of the ancient village of Battaliyah

Above, And From my Heart I Blow Kisses to the Sea and Houses, Beirut, installation view showing from left to right works by Khyam Allami, Lara Tabet, Jana Traboulsi with 7w20. Photo by Vicken Avakian

BEYOND

AstonMartin’s DB12, the marque’s frst “Super Tourer” .

words: NADINE KAHIL

GRAND TOURING

What do you call a grand tourer that outpaces expectations, outclasses rivals, and redefines the category it belongs to? According to Aston Martin, you call it the DB12, and more provocatively, you don’t call it a grand tourer at all. The first vehicle in a new era of performance and design for the brand, the DB12 is not just a successor to the DB11, but is something altogether different: the world’s first Super Tourer.

“Grand is not enough, this is the world’s first Super Tourer,” according to the famed automotive firm, positioning the DB12 not as an evolution but as a redefinition. Created as part of Aston Martin’s 110th anniversary and coinciding with 75 years of the DB bloodline, the DB12 marks a clear break from tradition. With a top speed of 202mph and a 0–60 time of just 3.5 seconds, it’s a car built to perform, but that’s only part of the story.

At its heart is a heavily re-engineered 4.0-litre V8 Twin Turbo engine delivering 680PS and 800Nm of torque. But the DB12’s distinction isn’t just in its numbers, it’s in how it translates them into experience. The platform has been overhauled with a 7% increase in torsional stiffness, intelligent adaptive dampers, and a rear-mounted

Electronic Differential (E-Diff) that allows for precision handling without compromising comfort.

“DB12 is a statement car, one that asserts Aston Martin’s position as a leader in performance, dynamics, engineering, and technology,” says Roberto Fedeli, the company’s Chief Technology Officer. “We have pushed every aspect of this car to be best-in-class.”

Those systems don’t just deliver speed, they expand the car’s emotional range. Five selectable drive modes (Wet, GT, Sport, Sport+, and Individual) give the driver control over the vehicle’s character, allowing for a smooth touring experience one moment and sharp, highly responsive performance the next. The custom Michelin Pilot Sport 5S tyres, developed specifically for this model, play a crucial role, improving road grip and reducing interior noise by 20%.

The exterior design signals Aston Martin’s commitment to both aggression and elegance. A wider track, sculpted splitter, larger grille, and frameless side mirrors define the front-end. A new iteration of the iconic wings badge appears for the first time on the DB12, underlining the car’s

role as the beginning of something new. It’s what Marek Reichman, Chief Creative Officer, calls “our design definition of a Super Tourer.”

The cabin is ultra-luxurious and increasingly digital. Richly detailed with Bridge of Weir leather, Alcantara, and hand-stitched quilting, the cockpit wraps around a fully in-house-developed infotainment system. It features a 10.25” Pure Black touchscreen with a 30ms reaction time, wireless Apple CarPlay and Android Auto, and a tactile balance of digital screens and physical controls. It’s a high-end interface designed for driving, not distraction.

That mix of craft and code continues with the sound system. As standard, DB12 comes with a 390w 11-speaker setup, but for those who want to go further, Aston Martin partnered with Bowers & Wilkins to create a 15-speaker, double-amplified 1,170W surround system specifically tuned to the car’s cabin architecture. It’s not an off-the-shelf system, it’s engineered into the structure itself.

Technology also defines the car’s approach to connectivity. The DB12 is the first Aston Martin to launch with a fully integrated digital ecosystem, vehicle tracking,

remote locking, over-the-air diagnostics, and last-mile navigation all accessible via the new Aston Martin app. It’s part of what the brand sees as a long-term ownership experience, with three years of connected services included and available even through the pre-owned “Timeless” program.

This is a car engineered for individuals, not categories, and Aston Martin knows it. The Q by Aston Martin personalization program invites owners to commission unique builds, with everything from subtle detail changes to one-off bodywork on the table. Customization here isn’t a flourish, it’s core to the product strategy.

As Amedeo Felisa, Aston Martin’s CEO, puts it: “When a brand has as much history as Aston Martin, it is important to honour the past, not by looking back, but by pushing forward. With the DB12, we are reasserting Aston Martin as a maker of truly exceptional performance sports cars.”

The DB12 isn’t just a flagship. It’s the prototype for a new design language, a new engineering philosophy, and a new level of customer expectation. The grand tourer has evolved, the Super Tourer has arrived. ■

YUNG

ESCAPES

A SCULPTED SANCTUARY ON THE SHORES OF BATROUN

A coastal escape shaped by nature, elevated by architecture, and grounded in purpose.

words NADINE KAHIL

There are places that draw you in with spectacle, and others that beckon more quietly, through texture, tone, and a sense of belonging to their surroundings. Capo Resort, set against one of Lebanon’s most pristine coastal stretches, is firmly in the latter category. A destination where you can spend a restful weekend or simply escape for the day, Capo merges hotel comfort with beachside ease. With its elemental architecture, adult-only philosophy, and deep-rooted connection to place, Capo offers an immersive experience that transcends hospitality.

“It all started with the land,” says Maya Saab, Co-Managing Director of Capo, a project owned and developed by Jamil Saab&Co. “Perched directly on one of Batroun’s most beautiful stretches of coastline, the location naturally called for something special.” What began as a personal retreat soon transformed into a concept that marries Mediterranean soul with architectural precision, a sanctuary that blends storytelling, design, and intuitive seaside living.

The architecture firm behind Capo is Carl Gerges Architects, a studio known for sculptural designs that resonate with their environment. “We wanted the architecture to feel almost geological, like Capo had always been there, carved into the cliffs and shaped by the sea,” Saab explains. “The use of stone, wood, and earth tones creates harmony with the landscape, while the play of shadow and light adds emotional depth. That duality captures the essence of Capo.” The result is a property that feels both rooted and ethereal, as if it were part of the terrain long before its construction.

“We wanted to create a place where people could truly disconnect, mentally and physically.”

That philosophy extended to every decision, from the initial concept to the smallest design detail. “Capo grew organically,” says Saab. “It wasn’t a rigid project built from floorplans. It evolved with time, instinct, and creativity.” This slow, deliberate evolution is reflected in the resort’s tactile interiors, where local artisans played a central role in shaping the atmosphere. “Artist Nelsy Massoud created the hand-sculpted bar at Butler’s Table; artisans worked on custom lighting, furniture, and finishes that feel sun-washed, tactile, and rooted in the Mediterranean,” says Saab.

The design language of Capo is inseparable from its emotional intent. Guests arrive not just to stay, but to reset. As an adults-only destination, the resort offers tranquility that feels rare in a high-paced world. “We wanted to create a place where people could truly disconnect, mentally and physically,” says Saab. “The adults-only model allows for a certain rhythm: slower mornings, quieter spaces, longer meals, spontaneous conversations.” It’s a space that privileges stillness, not just silence, a place where presence is encouraged, not performative. This philosophy is powerfully embodied in the whole project.

Although the property oozes serenity, “Clouds by the Sea,” Capo’s spa experience, is something else. Set in sea-facing treatment rooms and infused with a sensory palette of natural oils, earth tones, and quietude, the spa is more than an amenity, it is an anchor for Capo’s hospitality model. “Wellness is essential to Capo’s idea of retreat,” Saab notes. “Everything is designed to heighten that feeling of disconnecting from the noise and reconnecting with the senses.”

Dining, too, follows this layered approach. Capo partnered with the Butlers Group to create Butler’s Beach Club and Butler’s Table, two distinct culinary experiences that echo the resort’s ethos. “The Beach Club offers a laid-back yet refined menu and bar experience, flowing seamlessly from day to night,” says Saab. “Butler’s Table, a family restaurant, tells a different story, Medi-

terranean in spirit, refined in execution.” With Chef Youssef Akiki, one of Lebanon’s most acclaimed culinary figures, at the helm, the resort’s gastronomy is as sophisticated as its surroundings. Equally considered is Capo’s commitment to sustainability. “Capo is car-free. Once you park, you continue by foot or golf cart,” Saab explains. “All amenities, from shampoo to soap, are natural, locally made, and come in eco-conscious packaging. We use reusable mugs and glasses, and prioritize local sourcing across the board.” But sustainability here is not a static checklist; it’s an evolving mindset. Every new season brings refinements, small and large, toward a more conscious form of luxury.

Deeply tied to its setting, Capo has already sparked a wider ripple in Lebanese hospitality. “Capo is a destination. Located pieds dans l’eau on one of the most beautiful and rare stretches of Batroun’s coastline, it offers something different,” says Saab. Guests often use Capo as both an escape and a getaway, immersing themselves in its serenity before exploring nearby souks or cafés via tuk-tuk. “For expats and visitors, Capo has become the place to experience summer in Lebanon, visually, emotionally, and gastronomically,” she says.

Looking ahead, the Capo vision is expanding, carefully. New projects like Marea Park Batroun and Marea Hills Faqra are in development, designed in partnership with New York–based architecture firm WorkAC. But any growth will remain grounded in the values that shaped Capo from the start. “While there are no concrete plans yet, we remain open to expansion, as long as we stay true to our DNA,” says Saab.

Ultimately, Capo is a reflection of instinct, intimacy, and intentionality, a space built not for mass consumption, but for deep connection. “When you create with purpose and passion, the result is something you don’t need to compare to anything else,” Saab reflects. And that may be Capo’s most lasting legacy: a resort that doesn’t just host, but resonates.

“When you create with purpose and passion, the result is something you don’t need to compare to anything else.”

WHERE HERITAGE MEETS HOSPITALITY

A reborn 15th-century shipyard in the heart of the city, welcome to Rixos Tersane Istanbul.

In a city where empires once rose and fell, the newly opened Rixos Tersane Istanbul offers guests a rare blend of past and present, indulgence and culture. Perched on the banks of the Golden Horn and resurrected from the bones of the Ottoman Empire’s imperial shipyard, this urban resort is where history docks with contemporary luxury.

The resort spans two grand buildings across nearly 83,000 square metres, comprising 402 rooms and suites designed to accommodate families, long-stay guests, and luxury seekers alike. From the generously sized Executive Terrace Suite (135 m²) to the opulent 409 m² Presidential Suite—complete with its own sauna and massage room—every space is crafted with a sense of elegance and scale that mirrors Istanbul’s own grandeur.

words LOUIS PARKS

Dining options at Rixos Tersane are as diverse as the city’s heritage. The Velena Food Market leads a compelling culinary line-up, offering Anatolian, Asian, and European fare in a lively setting with a garden terrace with views of the Golden Horn. Josephine Istanbul redefines the café experience with decadent afternoon teas and

With curated cultural tours and kid-friendly workshops, the Rixos Tersane experience is both enriching and immersive.

craft cocktails, while the Gowden Club offers an atmospheric retreat for cigar aficionados and spirit connoisseurs. The Godiva Café and Halcyon Days round out the offerings, ensuring there’s something for everyone.

This unique location is also the perfect hub from which to explore Istanbul. Guests are invited to discover the city’s hidden corners through curated tours by boat and on foot, with access to sites like the Istanbul Modern Art Museum and the hidden gems of the city’s diverse districts.

Wellness is another cornerstone of the experience. The onsite spa offers an extensive menu of treatments that combine natural ingredients with advanced skincare science. Whether it’s a detoxifying facial using caviar masks, or a muscle-soothing session in the steam room followed by a massage, guests are invited to unwind in this stunning sanctuary.

For those who prefer movement to meditation, the Exclusive Sports Club offers a world-class fitness experience with sweeping views of the water. Daily sessions include everything from high-intensity workouts like HIIT and Tabata to group cycling, boxing, and functional training. On days off, the club hosts Tersane Sports Weekends, featuring special classes, tournaments, and more. Kids are looked after too, with a range of child-friendly fitness and sports options.

Blending business with leisure? The resort’s MICE facilities offer scale and sophistication, including the vast Tersane Ballroom and multiple high-tech meeting rooms. And every Friday night, the Gowden Club transforms into a jazz lounge for “Sip, Smoke & Jazz”—a smoky, sultry end to the working week.

The soul of Rixos Tersane Istanbul lies not just in its luxurious amenities or striking design, but in its seamless integration into the city’s rhythm. This is Istanbul as you’ve never seen it before— timeless yet cutting-edge, storied yet always surprising.

GOLDEN SANDS

Sandals, towels, a good book and a little quiet – hit the beach in Comporta and Samothraki.

words MARIANA BAIÃO SANTOS

Forget the obvious. This summer, luxury means anonymity. It means long lunches that turn into naps, days marked by swims and sandals, and places that aren’t trying to impress anyonebecause they don’t need to. Two of Europe’s most quietly magnetic destinations? Comporta, Portugal’s barefoot-chic coastline, and Samothraki, a wild Greek island where waterfalls replace beach clubs and the mythology is very real. They’re the ultimate escapes - for those in the know.

COMPORTA, PORTUGAL

WHERE SLOW LIVING IS THE STYLE CODE

About an hour and a half south of Lisbon, past stretches of cork oak and rice paddies, you’ll find Comporta. This former fishing village has become the darling of Europe’s low-key style set, not through flashy resorts or sceney clubs, but with its sense of restraint. Life here unfolds in soft linen, salty skin, and dusty bike rides to nowhere in particular.

The beaches, wide, quiet, and backed by rolling dunes, feel untouched. The village itself is little more than a cluster of whitewashed cafés and concept stores, but that’s the charm: there’s nothing to do, and that’s exactly the point.

Stay at Quinta da Comporta, a minimalist-meets-organic haven designed by Portuguese architect Miguel Câncio Martins. Surrounded by rice fields and golden light, it offers everything you didn’t know you needed: an Ayurvedic spa, a saltwater infinity pool, and interiors that whisper quiet luxury. It’s the kind of place where time expands and stress evaporates.

SAMOTHRAKI, GREECE THE ISLAND THAT TIME FORGOT

Now for something wilder. Far from the polished postcard version of Greece lies Samothraki, a mountainous island in the northern Aegean, known for its spiritual energy, ancient rituals, and waterfalls that tumble into natural pools. It’s the sort of place that doesn’t just seduce you - it changes you.

There are no glitzy beach clubs, no glossy yachts, and very few tourists. Instead, you’ll find walking trails through pine forests, goats perched on rocky cliffs, and steaming hot springs hidden in the hills. The beaches are pebbled, quiet, and open to the elements. It’s rugged, raw, and utterly enchanting.

Base yourself at Archondissa Boutique Beach Aparthotel, a cluster of terraced suites carved into the hillside just steps from the sea. Each room has a view that could hold your attention for days: endless blue, ancient olive trees, and the kind of peace you usually have to meditate for.

Comporta,Portugal

Samothraki, Greece

Image by ADRIANA MORAIS

SUN, STYLE, AND SEA: MONTE-CARLO, REIMAGINED

From Jacquemus’ Riviera takeover to sunset parties, the iconic Monte-Carlo Beach Club at the Monte-Carlo Beach Hotel returns with a bold new look and unmatched summer energy.

words LOUIS PARKS

Few destinations encapsulate the effortless glamour of the Riviera quite like the Monte-Carlo Beach Hotel, a member of Relais & Châteaux. This summer, the storied resort’s Beach Club steps into a bold new chapter—revamped, re-energised, and ready to redefine the Mediterranean escape. From new additions to a fashion collab with Jacquemus, next-level dining, and a fantastic wellness offering, this season is set to be its most exciting yet.

At the heart of this revival is design. Spearheaded by interior architect Dorothée Delaye, the newly renovated Beach Club blends the golden age of the Côte d’Azur with contemporary elegance. The refreshed suites and the reimagined Le Deck and Olympic pool area now feature sun-washed tones, striped textiles, and natural wood finishes that invite slow, luxurious lounging. It’s a space designed for connection, whether over lunch at Le Deck or basking in the calm of the sea-facing terrace.

This summer, fashion arrives poolside. Monte-Carlo Société des Bains de Mer has teamed up with cult-favourite label Jacquemus for an exclusive takeover of its Beach Club and boutiques. The pier and Pool Café are now dressed in banana yellow and coconut milk stripes, echoing Jacquemus’ “La Croisière” collection. Sunbeds, parasols, and cushions carry the playful signature, while two bespoke boutiques immerse guests in the designer’s Provencal world—complete with curated books, Matisse and Renoir prints, and homey touches that blur the lines between hotel and house party. It’s a collaboration that feels as natural as it is chic, a celebration of Riviera style at its finest.

On the culinary front, Monte-Carlo Beach Club has pulled out all the stops. First, there’s Maona Monte-Carlo—an homage to the heyday of Mediterranean glamour with Greek cuisine, live music, and sun-soaked celebrations. Open from May through September, it transforms into a lively dance floor under the afternoon sun. Then, Jondal lands at Club La Vigie, bringing its refined Iberian seafood to a stunning seaside setting, perfect for long, indulgent lunches or romantic dinners with waves lapping in the background.

At Le Deck, Chef Pascal Garrigues presents a refined Mediterranean menu in a newly reimagined, Riviera-chic setting. A short distance away, Michelin-starred Chef Marcel Ravin invites diners to Michelin-starred Elsa for a “marine garden” experience that fuses land and sea, using seawater steam cooking and organic ingredients from Domaine d’Agerbol. With its commitment to sustainability and flavour, Elsa continues to set the standard for conscious fine dining on the Riviera—where elegance meets ethical indulgence.

For guests seeking balance, the resort’s wellness and sport offerings have been elevated. Yoga and Pilates sessions unfold on shaded decks with sea views, while private coaching caters to those who prefer tailored fitness. Spa Monte-Carlo Beach sees a partnership with Paoma for eco-luxury treatments featuring organic, ethical skincare. Seeking a little sport? Sleek padel courts invite both spirited competition and casual rallies beneath the Riviera sky.

Monte-Carlo Beach Hotel and the Monte-Carlo Beach Club are a curated experience of Mediterranean life, where fashion, food, and fitness converge against the most timeless of backdrops. Whether you’re here for the striped parasols or the sea-to-table dining, one thing is certain: this is the getaway the summer deserves. ■

BALENCIAGA | AUTOMOBILI LAMBORGHINI

Lamborghini Showroom, Dubai

A Racing Machine On The Wrist