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U DÉCOR
By
Sandra
Story-telling has a whole new dimension
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n interior architect, furniture, product and lighting designer, this lady has definitely earned the name she has made for herself in Lebanon. Having graduated from the Académie Libanaise des Beaux-Arts in Beirut with a Masters degree in Interior Architecture, Sandra took on an MFA in Lighting Design from Parsons, New York. Ever expanding her skills and knowledge as a designer, she travelled to Paris to complete an internship in Industrial Design at the Ecole Nationale Supérieure des Arts Décoratifs. Defining her creations as a form of story-telling, Sandra explains that there is often more to her designs than what meets the eye. She reveals to us that behind every collection there is a tale that inspired it – from reviving social awareness to conveying nostalgic sentiments. Drawn to the vintage world, each design constantly re-invents traditions with a fresh new contemporary technique, the result is a 'mélange' of contrasts. Her work illustrates the entire process; from the conception to the creation and production of her own furniture and home accessories line. In addition to this, she is the conceptual designer and interior architect behind a host of venues including boutiques, residences and restaurants. Being someone who enjoys experimenting and exploring new materials, Sandra’s artistic nature gave way to a mix of various functional collections from Democratic designs (SMAC), to limited edition pieces and space designing that arouse and stimulate different sensations and feelings.
Khawate
m bouti
que
ACQUASTUDIO
Bird Cage floor lamps
o Fakh
ANDERSON
ury
tme apar
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Golden Cage daybed
ANDREW
DD The multifunctional sculpture
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U FASHION
La Sposa dress
Carolina Herrera dress
Rosa Clara dress Rosa Clara dress
Carolina Herrera dress
Oscar de la Renta dress
Happily
Ever After With sophisticated elegance and fairytale allure, Esposa is every bride’s one-stop destination for not only a happy ending, but a beautiful beginning. The bridal boutique invited U Magazine to an exclusive showcase of designer dresses that will have you falling in love all over again.
Oscar de la Renta dress
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Marchesa dress
U NEWS
STYLE NOTES T HE L AT ES T FASHION , BEAUTY AN D NE W S F R O M A BROA D A N D C LOSE TO
J EW ELR Y H O M E .
FLORAL FANTASY
Allow us to introduce Knot Eau Florale, the continuation of the collaboration between Bottega Veneta Creative Director Tomas Maier and master perfumer Daniela Andrier. Described as a “delicate floral expression of the Knot fragrance”, Knot Eau Florale was created with amplified notes of Rose and Peony, combined with the gentle softness of musk. The bottle is art in itself, inspired by Venetian glasswork and the traditional Italian carafe, and the bottle cap is perhaps the most captivating element. Designed as a gold, knot-shaped closure, the cap is reminiscent of the closure seen on Bottega Veneta’s Knot clutch. Clever, no?
THE WILDE SIDE
Olivia Wilde is a style icon in her own right, and now even more so. Stepping out on the red carpet at the ‘Love The Coopers’ premiere in Lose Angeles, Olivia opted for a tealength, blue and white striped Ingie Paris dress from the Summer 2016 collection. The Ingie Paris Summer 2016 collection tells a story of white sand and bright colours, featuring floral printed brocade, fluid silk, maxi hibiscus printed gazar, luminous lurex embroideries and graphic black and white 'canage'.
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T IS FOR TIMELESS
Tylda Kaloustian Ghosn, or to the jewellery lovers of Lebanon, Mrs.T, is a designer unlike any other. Described as a trendsetter, feminist, traveler and a dreamer, Mrs. T’s stunning jewels reflect her own emotions and experiences. With daring designs and intricate detail, her love for designing jewellery is evident from the outset. Using only the finest precious and semi-precious stones, Mrs. T embellishes her creations with sparkle and charm – leaving the wearer simply astounded by the thought, care and devotion that would have gone into the newest addition to their jewellery box. These beautiful waterfall earrings are 18k gold, encrusted with white diamonds, tanzanite and engraved jade disks – and they really do speak for themselves.
U EXPOSURE
Around THE WORLD By YASMIN HARAKE
Bon Voyage came about thanks to five architects, three countries and one passion. With a love for photography and armed with nothing more than a camera, Deniz Basman, Pauline Charles, Théophile Chaudieu, Tara Sakhi and Tracy Zeidan established Bon Voyage. With roots in Lebanon, Turkey and France, each individual has their own, distinctive style, although they do have one aspect in common – the desire to explore the world and portray it through their own eyes. Through their lenses, the five unlikely comrades capture their different reflections of realities, explore different cities, landscapes and cultures that have been forgotten by some, lived by others and never seen by many. Experience their adventures first-hand at their upcoming exhibitions coming soon to a place near you.
EXHIBITION AT MINUS 1
Theme: Birth Where: Minus1, Tabaris Achrafieh When: 22nd December, 2015 – 4th January, 2016 Opening night: 22nd December, 2015 from 6.30pm until 10pm
EXHIBITION AT ROCHANE GALERIE
Theme: Self-portrait Where: Rue Said Akl - Saifi Village When: 10th December, 2015 – 24th December, 2015 (running from Monday to Saturday, 10am - 7pm)
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U INTERVIEW
IN-DEPTH
TIMI HAYEK By YASMIN HARAKE
U Magazine met with the talented Timi Hayek to talk all things fashion.
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rom London to Beirut, Timi takes us on a tour of her career so far. What inspired or influenced you to pursue fashion as a career? I love working creatively around the human body. Fashion seemed like the most practical and direct way of doing it. You studied Fashion Print at Central Saint Martins College in London. What made you decide to study in the English capital? I was always attracted to the UK’s creative energy and culture; CSM also had the best reputation - it turned out to be the best place to get immersed in the creative heart of London, especially alongside other creative international students. How did this experience shape who you have become today, both personally and as a designer? My university experience really instilled a great sense of craftsmanship and healthy ambition in me. The environment allowed me to be independent in my work and still feel connected to others. This helped me grow creatively in the best possible way. On the downside however, they didn’t prepare me for the business side of fashion. I graduated after five years (a foundation year, and four years of BA Fashion Print including an industrial placement year) where I was fully qualified for only a very specific part of the industry - the creative side. So today I’m learning and coping with the business side of things, which is challenging but very interesting and eye-opening at the same time.
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Did you gain any experience within the fashion industry alongside your studies? Yes, every summer from the age of 18 I would intern at a fashion house. I started off in Lebanese fashion houses such as Zuhair Murad, George Hobeika and Elie Saab. After university, I worked for the print department of McQ for Alexander McQueen, Jean-Charles de Castelbajac, Mary Katrantzou and my longest work experience was at Louis Vuitton. I also did a lot of freelance illustration work up until last year - I stopped when I decided to put all my focus and energy into my brand. In 2010 you won a prestigious award – can you tell us more about this? I won first prize for creating a print for Liberty in my second year. They gave us a brief where we chose a movie from a list to get inspired by and create several prints. I fell in love with ‘La Dolce Vita’ by Federico Fellini, and created several illustrations inspired by that movie. One of the prints was an ink drawing of lace with cats intertwined within it; they thought it was interesting and sold it at their store for Autumn Winter 2012. You launched your eponymous fashion label, ‘Timi Hayek’ in 2014 with the support of the Starch Foundation. How did the foundation help you do this? They mentored us and provided us with a shop in Saifi Village in downtown to sell our work for one year. They also gave us a lot of exposure by connecting us to magazines in the Middle East and featuring us in two fashion shows with Fashion Forward Dubai. The Starch Foundation by Rabih Kayrouz and Tala
Hajjar is the best thing that ever happened to Lebanon’s emerging fashion designer scene. It really is a great way to launch young and new designers in Beirut. They gave me the confidence and the push I needed to help me take off on my own. What struggles did you face when you first started out, and how did you overcome them? Being a “one man band” is challenging, especially in the fast paced and demanding fashion world which is why I’m opting for slow fashion; quality clothing that lasts longer, like menswear. Since I do almost everything myself, I have trouble delegating work to other people which is also proving to be a handful, although I genuinely love making the clothes myself and it is part of my creative process. What is your greatest achievement to date and why? I don’t think I have a single greatest achievement; I have many small wins that I’m proud of! Getting into the best university, working with some of the best fashion brands, getting to sell my print at Liberty’s, getting into Starch, showcasing at Fashion Forward in Dubai, and of course setting up my own company and shop. How would you describe the fashion industry in Lebanon when compared to other cities across the world? The fashion industry in Lebanon is starting to take off - slowly - but what I like about it is the few small time designers starting their own thing and shaping the scene for themselves - kind of like what I’m doing in my own way. However setting up a brand in a country with no rules and outdated laws can be a huge challenge. Also, trusting people to do their job properly is an issue in Beirut, the status quo is being late and no one pays attention to details. However once you meet the right people and trust bonds start to grow, it’s great. What can you tell us about some of your upcoming designs or collections? The winter collection is full of wool/viscose grey knits and woven dark blues with dark blue velvet trimmings. I recently added some dark purple textures and will be making outfits with that material, too. It’s very cosy, comfortable and chic all at the same time; they are classic cuts that are supposed to last for years! Spring Summer 16 has some pleated pinks and long beige skirts and matching crop tops in the mix. What advice would you give to a young person hoping to have a career in fashion design? It’s more important these days to leave university with a wellrounded experience in both the business and creative side of fashion, or else it won’t be balanced. Anyone who hopes to set up their own thing would be better off if they delve into both arenas.
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U INTERVIEW
IN-DEPTH
NADINE MNEIMNEH By YASMIN HARAKE
U Magazine meets fashion-forward Nadine Mneimneh, a designer with roots in Paris that stretch all the way to Beirut.
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n our exclusive interview, Nadine reveals both her intriguing past and exciting future. Were you always interested in fashion, or is that something that came into play later on? I always had an interest in fashion, but I never thought it would become my career. As a little girl living in Paris, I would ask my parents to take me to Avenue Montaigne to see the window displays. During Paris fashion week, I would freeze in front of the television waiting for images of Yves Saint Laurent, Christian Lacroix and Chanel shows, and nothing could disturb my concentration during those 5-minute sequences. The realisation that I wanted to work in fashion came much later, when I developed a growing passion for fabrics, cuts and craftsmanship. You were born in France but moved to Beirut to study at AUB. How did this experience have an impact on you as a person? What did you take away from it? My AUB experience taught me to be proactive - to find what I like and make my own path. I enrolled at AUB in 2001 with positive mindset, thinking it would easy to adapt since I was coming back to my origins. But AUB turned out to be a competitive environment, with hard-working students already aware of how important networking is, as well as showing solid proof of leadership skills and volunteering activities. I was a thousand miles away from that in the beginning, but I learnt that it’s important to embrace your individuality and pursue
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your own goals! There’s an obvious contrast between the French and the American system, and I’m very happy to have experienced both. You traveled to Milan after graduating from AUB. Can you tell us more about this part of your life? During my last year at AUB, I started taking night classes at ESMOD in patternmaking. At that time, I was completely obsessed with Tom Ford – both the persona and his work for Gucci. So after my graduation I begged my parents to send me to Milan to attend a class at Marangoni. It was an amazing experience as I had the privilege to interact with industry professionals who would share their knowledge with such humility. This is when I thought, for the first time, that I wanted to work in fashion. In your opinion, how is European fashion different to that of Lebanon? There’s a belief that fashion comes from the street. If you walk in any European fashion capital, you can feel a mood, a rhythm. You can identify a variety of style influences and you really witness how fashion is a way to communicate and express yourself. Sadly, that’s not really the case in Lebanon. I walk a lot in Beirut, but my eyes are always thirsty for originality. And it’s the same thing if I’m walking in a mall - I feel Lebanese women are under a certain pressure to look young, neat and seductive all the time; this may be why they are not really risk-takers and choose to make more conventional fashion and beauty choices.
You were selected by the Starch Foundation in order to present your very first collection. What do you think made you stand out as a designer? The Starch Foundation is careful to select designers who present a strong concept with a high quality of execution. In 2010, we were 5 women designers with very different styles, but I think what brought us together was our common quality of seriousness and commitment to bring the best out this experience. Can you talk to us about your greatest success (so far)? I was proud to participate in a fashion show during London Fashion Week, in February 2014. The show featured the work of international designers who have an ethos of sustainability. I was the only Middle-Eastern designer among the selection, but I really hope more designers will venture into ethical fashion. Fashion plays a huge part when it comes to Lebanese fashion and design. How do you think the Lebanese attitude towards fashion has changed over the years? I don’t think the attitude is really changing. I don’t think the emerging designers get enough support. The Starch Foundation is doing a great job but it’s the only one of its kind - with fashion and design being two key drivers of the economy, they shouldn’t be neglected. I find it very sad that Dubai has managed to make a place for itself in the fashion world by empowering and boosting initiatives for local and regional designers, while Beirut is moving backwards. If you have a closer look at the Lebanese retail environment, you’ll find that some stores refuse to stock Lebanese designers while others would impose consignment deals with an insane commission percentage. Overall, it is not a very flourishing environment, and I don’t like how it can backfire on the designers. Lebanon has been facing many challenges over the past few years; but we have schools offering high-quality fashion degrees, and we do have bloggers whose careers and exposure have skyrocketed; so it’s not all black. But we need more consideration, push and positive light on the Lebanese talents, especially for the ready-to-wear sector. What things do you tend to incorporate into your designs? Is there usually something you want to convey? I like to work with refined fabrics to create a clear and sharp
silhouette. It is important for me to design a garment with the idea that it has to remain in a closet for as long as possible. I find the concept of timelessness very appealing, as I have fascination for vintage garments. I do hope my pieces will be worn by different generations, and that they become part of the wearer’s story. I tend work with patchworks too, because I don’t like to waste any fabric. This brings an “artisanal” aspect to my work, and I think it adds soul to my pieces. Do you have any exciting plans for the near future? I’m working on a new business idea related to fashion. It’s a large-scale project with the goal to support the manufacturing aspect of fashion, so it will take time to set up! In the meantime, I’m preparing pieces to exhibit at Station Market during from the 17th until the 20th of December. What, if anything, would you do differently if you could start over? I don’t really to like dwell on regrets. All positive and negative experiences are parts of our journey! Can you tell us something about yourself that might surprise us? I’m very much into Ayurveda science, natural remedies and beauty recipes based on essential oils. This is something I wish to study in the future.
U EXPOSURE
La Mode a BEYROUTH By YASMIN HARAKE
London, Paris, Milan – the three fashion capitals of the world. For now, that is.
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ver recent years, Beirut has started to receive the recognition it deserves for producing some of the world’s most renowned fashion designers - Zuhair Murad, Elie Saab and Reem Acra to name but a few. With stunning designs, captivating runway shows and celebrity clients, Lebanese designers are putting their country on the fashion map. But what about the talented, up and coming Lebanese designers; the ones who are still relatively unknown to the wider population? This is where country’s official and most esteemed fashion week comes in. Say hello to La Mode A Beyrouth. Presented by L.I.P.S. Management, La Mode A Beyrouth 2015-2016 Fashion Week took place at Forum de Beyrouth from the 4th until the 8th of November this year. The official fashion week of Beirut, the event gave designers (both local and international) and brands the opportunity to showcase their collections.
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Founded by Mr. Johnny Fadlallah, L.I.P.S. announced that La Mode A Beyrouth is to become a bi-annual fashion event, taking place each year in November and again in April. In addition to the celebration of local and international designers, the highly-anticipated event will also feature a special showcase, the Young Fashion Designers Competition. Created with a desire to highlight the country’s young talent, something that is often overlooked in favour of more established brands and designers, the competition’s mission is to give aspiring designers a chance to take that first, bold step into the fashion industry with the guidance and support of the finest names in the industry. Held under the patronage of the Ministry of Tourism and the Ministry of Culture, the competition saw 24 students take part, and all were from ESMOD, NDU, AUST, CAMM and the Academy of Fashion. Each participant created and showcased four different outfits, with three of them representing their own style and the fourth fitting to the theme of Movember, or Moustache November – and thus raising awareness of men’s health through fashion, an initiative supported by Mr. Nemer Saade. After being judged on their creativity and designs, the participants were narrowed down to ten semi-finalists, from which the 3rd, 2nd and 1st place winners were decided. The panel of judges was an impressive one, and it included Mrs. Blanka Matraji, Mr. Nemer Saade, Mrs. Grace Rihan, Miss. Aline Watfa, Miss. Reem El Khazen, Mrs. Ahed Ghraizy and Miss. Cynthia Fadlallah. The first edition of La Mode A Beyrouth was opened with international designer, Yahya Al Bishri, followed by consecutive shows over the next few days. These featured names such as Hoss Intropia (MAF Fashion), Dolce Farfalla, Rasash, Blanka Matragi, Provoc, Sanaa Furs, Jeans Couture, Just Cavalli, Patrizia Pepe, Elisabetta Franchi, Nemer Saade, and finally closed by renowned Lebanese designer, Hussein Bazaza. Hair was taken care of by the official hair partner of L.I.P.S., L’Oreal Professionnel, represented by Salon Pace E Luce, and the makeup by the official makeup partner of L.I.P.S., Makeup Studio.
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The remarkable setup was carried out by sponsors, Saad & Trad (Agents of Lamborghini & Bentley), Inspiration Group (Fouad Choufany), MAT Management Team, Giscardo Mannequins, Strassco, Coin Blue Tissus Haute Couture, Casa Del Flora, XLab Agency, Fattal (Agents of Cointreau, Evian & Badoit), Vincenti (Agents of Jim Bean, Chopin Vodka & Lavazza Coffee), MiDoree, ProSec, Raidy Printing Group, and Splendora Beauty Care (Zeina Fadlallah). The event was fully supported by main media partners of L.I.P.S., JGroup (PromoMedia, U Magazine, The Gate Magazine, Al Jadeed TV, Hawacom Radio), along with our other media partners: Mondanite, Beiruting, Aalamoki, Prestige, Sayidaty, Dar Al Sayad, Facelook, Beirut Nightlife, Business Journal, iLife TV, The Daily Star, and Z Fashion Window. In a press release, the Project Manager of L.I.P.S. and Founder of La Mode A Beyrouth, Samantha Fadlallah said, “We are now proud to have re-placed Beirut on the international calendar of fashion, bringing it back to being the hub of fashion in the Middle East,” before thanking Forum de Beyrouth management for their support and announcing the second edition of Beirut’s official fashion week, scheduled to take place from the 19th until the 23rd or April, 2016. It’s already marked on our calendars - is it on yours?
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U INTERVIEW
From a to c
U Magazine caught up with the Arab Fund for Arts and Culture By YASMIN HARAKE
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he Arab Fund for Arts and Culture (AFAC) has a very specific mission, one that envisions a thriving Arab art and cultural scene. There are two significant aspects that make AFAC’s work stand out from the rest – transparency and clarity when it comes to grant-giving, and independence through a diverse selection of sources of funding. U sat down with AFAC to learn more about the fund. Why is AFAC unique? AFAC is in the business of providing grants intelligently to a large community of artists from a wide range of disciplines; we do not produce art ourselves. Often, managing the arts is marred by personal bias and taste and can only benefit from a rigorous and systematic management approach from “outside the box”. The AFAC team brings with it many years of experience in marketing, communication, project management and fundraising. Of course, we work closely with a dense network of writers, art critics, cinematographers and curators that provide us with the necessary expertise and know-how. What AFAC works for? What are its main objectives? AFAC aims to enable “a thriving Arab art and cultural scene, one that is confident in its expression, open to dialogue, accessible to all and sustained locally by committed patrons. Two fundamental principles guide AFAC's mode of work: transparency in the grant
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giving process, and independence through a diversity of funding sources.” The Fund’s objectives target creative communities, audiences as well as the public sector. The measurable impact of AFAC’s work ranges from Arab filmmakers screening their films at international film festivals; to translations of foreign contemporary literature into Arabic, distributed for free on the internet; to archives that collect, document and preserve images of daily life during better times, in conflict-torn countries like Lebanon and Iraq; to workshops that teach children to weave stories through puppetry and animation; to sharing contemporary narratives from the region with the global public. What kind of arts it AFAC focusing on supporting at the moment? Since its establishment, AFAC’s core activity has been to fund projects and initiatives through its General Grant, with an open call for project proposals issued in six categories: cinema, performing arts, visual arts, literature, music, as well as research, training and regional events (RTR). For its General Grant, AFAC currently makes two annual calls for project proposals, each in three categories. Each call remains open for approximately three months. After the call closes, the evaluation and selection process takes another two months before grant winners are announced. In parallel with the general open calls for proposals, which ensure equal access for applicants and provide a continuous barometer
for the state of arts and culture in the region, AFAC utilises its accumulated experience in the region to design programmes that can address geographic, thematic and demographically peripheral areas in need of support in the Arab world. Our current special programmes are aimed to support documentary film-making, Arab novel-writing and documentary photography. The Association is having its annual fundraiser this year. What would it like to present as a theme for this edition? Why did you choose this in particular? AFAC aims to mobilise local support for cultural initiatives by raising awareness on the importance of cultural philanthropy within the Arab region. While charitable giving is abundant, the recognition of arts and culture as a valid recipient of strategic philanthropic investment is still lacking and needs to be developed. To that effect, we decided to work under the theme of ‘Make Art Possible’ and target well-known international art patrons and philanthropists to channel support for arts and culture in the Arab region. We also use this event to highlight the work of some of our grantees through artistic installations, an exhibition and a number of commissioned trailers that shed the light on a specific artist or art sector. Can you give us some background on the work you have done so far since AFAC’s creation? We spent the first few years on standardising and streamlining the application process, making it easily accessible online and making sure that the highest standards in terms of ethicality and transparency are met. We later worked on developing platforms to encourage individual philanthropy for the arts and established a solid working relationship with US and Europe-based institutional donors which resulted in AFAC being awarded multi-year donations. What is ACEF? Last year, AFAC launched a special fund that aims to invest in projects that have high social impact. Considering the difficult
times the Arab region is going through, we felt the need to support cultural initiatives that are contributing to positive change. We insisted on creating a long-term programme that can help revive the region’s confidence in itself by providing the financial backbone that is needed for creativity to flourish. The Arab Creativity and Entrepreneurship Fund (ACEF), was born out of an urge to empower local, independent cultural practitioners. ACEF’s mission is a socially conscious extension to what AFAC stands for in the world of Arab arts and culture. It is a further declaration that the support of self-expression and freedom in creative production are essential in the development of powerful and vibrant Arab communities. ACEF actively engages stakeholders from different backgrounds and encourages them to pool in their skills and resources for positive social responsibility. Building on our inherent goal to ‘Make Art Possible’, we presented ACEF in March 2014 as a shareholding venture through which investors can support Arab artists and creative entrepreneurs in developing their projects. These projects are helping educate, inspire and build different communities across the Arab region. Thus, the return on investment of this Fund is one of positive social impact, rather than financial gain. What would you say to a future grantee, board member, donor, or anyone who is interested in becoming involved? Given AFAC’s nature as an institution that is developing infrastructure for philanthropy in the region, we have managed to invest in talented young people who are determined to propel this region forward. Creativity and entrepreneurship are much needed tools in the mission to reform our Arab communities and promote more authentic representations of who we are to the world. As we grapple with narratives of intolerance, extremism and backwardness, these independent voices are the ones that are best positioned to portray the region’s complex realities and usher in a new era for democracy.
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U INTERVIEW
SWEET
SUCCESS
U Magazine sat down with Lisa McDowell, Senior Vice President -Global Development of the renowned Cheesecake Factory. Lisa talked us through the journey the restaurant has taken her on, and reveals all about the highly-anticipated opening here in Lebanon. By YASMIN HARAKE
Where and when was The Cheesecake Factory founded, and what is the story behind it? The Cheesecake Factory story begins in Detroit, Michigan in the 1940’s. Evelyn Overton, who had an eye for detail and was a perfectionist, decided to open a small Cheesecake shop, but she eventually gave up her dream of owning her own business in order to raise her two small children, David and Renee. In 1972, Evelyn and her husband Oscar decided to pack up all of their belongings and move to Los Angeles to make one last attempt at owning their own business. Through hard work and determination, their business grew to a modest size and Evelyn was soon baking more than 20 varieties of cheesecakes and other desserts. With great foresight and intuition, their son David, who was seen as a “mad genius,” decided to open a restaurant to showcase his mother’s selection of cheesecakes. In 1978, he opened the first The Cheesecake Factory restaurant in Beverly Hills, California, and the restaurant was an immediate success! When did you first join the Cheesecake factory and why was it of interest to you? I joined in 1996, and it was at the beginning stages of The Cheesecake Factory. At that time it wasn’t very known; there were about 15 restaurants. A few people who worked for me had happened to try the restaurant in Florida and they convinced me to try it out as well - and I was completely blown away and taken aback from the quality of the food, to the portion size, to the interior decoration. So, I left there jealous that I didn’t work for them already. However, I didn’t go and ask; the people that worked for me told me there was a job opening. I flew to Chicago to be interviewed by David, and luckily I got the position. This was not only a job I was excited about, but also proud to be a part of. I started the job with restaurant number 15, and I knew my purpose there - I had past experiences in which I could use my skills to help the company grow, and put some systems and procedures in place. I’ve been working now with them for 19 years, it’s been a long growth, and I’ve been lucky enough to have been through it all. Can you tell us more about the roles you took on throughout the 19 years that you have been working with Cheesecake Factory? I started off in the training department and my goal was to help the company grow. My first role was to set a foundation that you could execute in multiple locations, and replicate the standards to all other locations. I had to capture all of that information before teaching it. I had to find the right talent and hire the right people - those who had a heart, passion, and experience for this business. My job was to make sure that what David created remained as such, and my job is to bring that to life and execute it every day. A lot of people say that they want to make change, but if you don’t embrace and love what you do, you won’t make it. The second job I had was restaurant operation. Now, I had to take all my experience and make sure The Cheesecake Factory succeeded even further. It takes about 60 people to open a restaurant - and
that is just the staff and trainers. Then you have 14 managers that you bring along, and they go all over the world as ambassadors, and duplicate it all. The company had just 15 restaurant locations in 1996. How many restaurants are there now? Right now we have over 200 restaurants worldwide. We have 8 in the Middle East: 4 in UAE, 3 in Kuwait, 1 KSA and Lebanon now is the 9th. We also have 2 in Mexico. In your current role you have created the company’s Global Development Department. Can you explain exactly what this is? I don’t do much work with domestic anymore; my main work consists with all of our international licensees and to be a good partner. I have to replicate the brand (make sure it taste the same in every restaurant), which is an extremely difficult task. I send a team of culinary out to make sure the food in each restaurant tastes exactly the same. They might spend 2 years trying every sauce in that particular country to make sure it tastes the same, and we don’t stop until its right. Although we don’t like changing any of our items, we try and involve products from around the world. For example, instead of importing wine from California, I want to embrace products that are here as well, such as the tasty Lebanese wine - it might even enhance The Cheesecake Factory experience. Finally, those people that have worked for the company for a while, sometimes over 20 years, are here now representing the brand. A lot of people have come from the all around the world - this shows commitment to The Cheesecake Factory. When and where did you first open in the Middle East? Why that country first? To be honest, we were a bit concerned about branching out The Cheesecake Factory due to the fact that it might not be the same - the recipe for success is doing it the right way. However, Mohammed Alshaya came to us and we finally agreed. Our first location was in Dubai Mall and obviously that location is premiere - we are right in front of the aquarium. Also, it’s a high tourist destination and a beautiful mall. You have expanded the company to the Middle East and Latin America; where’s your next stop? The ones that open next year will be located in Qatar, Egypt, Turkey and finally Asia. The Cheesecake Factory menu features more than 250 menu selections made fresh from scratch each day using only the highest quality ingredients. In your opinion, what are the top 2 main dishes customers’ just love to get their hands on? In every country it’s just a little bit different. Some things carry over, but the fan favourite in the Middle East has to be the fried macaroni and cheese. The second is Miso Salmon; it also translates well around the world. You have this delicate piece of protein – it’s miso glazed, and has a saki butter around it, white rice, and the presentation is gorgeous. We also started Skinnylicious, which includes lower calories and has 50 different items on the menu - you really feel it is delicious food. How many legendary cheesecakes are offered in the restaurant? And what are the top 3 desserts that are mostly asked for? There are 30 signature cheesecakes, and the top sellers include White Chocolate Raspberry, Reese’s Peanut Butter, and The Original. The Cheesecake Factory has received numerous awards. Which one is the company most proud of and why? The top 100 places to work. We got it 2 years in a row. You have dedicated your life to this company. What are the some skills and abilities necessary for someone to succeed in the F&B sector? You have to be a very hard worker, dedicated, and love what you do. It may look glamorous on the outside, but from the inside, it’s really hard work. To execute to that level, in which is excellence, there’s a lot of teaching and coaching every day. We want perfection and the way to do it is to be perfect in everything you do. If you don’t have that, you don’t make it here. It’s a relentless follow-up, but worth it. In the end, if you have to love what you do and be relentless - those two factors will bring you success.
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U FEATURE
“Rose des Vents” A bracelet made with white gold, diamond and mother-of-pearl
THE COMPASS ROSE
In this month’s issue of U, we are proud to present a showcase of fine jewellery from Dior quite unlike anything else. By YASMIN HARAKE
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“Rose des Vents” A bracelet made with pink gold, diamond and onyx
“Rose des Vents” A bracelet made with white gold, diamond and mother-of-pearl
“Rose des Vents” A long necklace made with yellow gold, diamonds and turquoise
V
ictoire des Castellane is the Creative Director of Fine and High jewellery at Dior, and we have an exclusive look at some of his stunning sketches and show-stopping designs. The Rose des Vents collection sees Victoire beautifully reinterpret Monsieur Dior's very own lucky star in the form of a wind rose – an eight-pointed star. We’ll let the pieces do the talking, shall we?
“Rose des Vents” A long necklace made with yellow gold, diamonds, lapis lazuli, motherof-pearl and turquoise
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U BEAUTY
Happiness is
DRESSED IN DIOR
Dior Multi Use Makeup Palette Inspired by the catwalk, this multilook palette gives the gift of two different makeup looks this winter – radiant glow or professional smoky – which one are you?
Making a gift is firstly a pleasure. Compose your custommade gift set in-store or discover Dior’s gift selection, for a sublime Christmas with elegance and delicacy.
J’adore Jewel Box 100ml Eau de Parfum & Travel Spray Gift Set Let her indulge in fragrant relaxation this Christmas with her favourite Eau de Parfum, along with a little travel spray, perfect for her handbag when she’s on the move.
Fahrenheit Jewel Box 100ml Eau de Toilette & Shower Gel Gift Set Give him something elegant yet intimate this Christmas, like the Fahrenheit Eau de Toilette Gift Set. Accompanied by a shower gel and refillable pocket spray, he’ll love this gift – and you!
Dior Eau Sauvage Jewel Box 100ml Eau de Toilette & Shower Gel Upgrade his grooming ways this festive season and give him the gift of Eau Sauvage. Including the Eau de Toilette, shower gel and refillable spray, he’ll be ready for anything, anywhere.
Diorshow Iconic Overcurl Mascara Christmas Gift Set Open up her eyes with the Diorshow Iconic Overcurl mascara; its incurved brush and volumising formula will work wonders this Christmas. This little set also includes a mini palette of five eyeshadows to add a touch of colour to her look. J’adore Jewel Box 50ml Eau de Parfum & Body Lotion Gift Set Offering a soft touch of femininity this holiday season, the J’adore Jewel Box is the perfect gift for the lady in your life. Featuring the iconic Eau de Parfum, this little treasure chest also includes the Beautifying Body Lotion – the perfect double act.
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