< PreviousMARRIAM MOSSALLI Saudi entrepreneur, founder of Niche Arabia and author of Under the Abaya “The abaya has always been a garment of national pride and heritage. It’s how I show the world that you can be both traditional and contemporary; that they aren’t two mutually exclusive dichotomies but rather two sides of the same coin. The evolution of the abaya is akin to the emergence of the power suit in the ‘80s: as Khaleeji women of leisure have transitioned to being more active participants in the workforce, our fashion is reflective of our new role: from shorter versions that won’t get caught in the wheels of our office chairs or car doors, to the replacement of our decadent billowing silhouettes with more versatile, wrinkle-free tailored abayas, our outwear wardrobe has seasons and occasions just like everything else in our closets.” AMNA MOHAMMED KARMOSTAJI Emirati designer and founder of abaya brand Elnaline “The abaya is a t imele symbol of cultural pride and personal expre ion. It beaut ifu y bridges tradit ion wit h modernity, a owing women to honour t heir heritage while embracing t heir individuality. The abaya embodies grace and empowerment, offering a way for women to expre t heir unique style wit h confidence and elegance, a while staying r ted in t heir cultural ident ity. It ’s a celebrat ion of tradit ion reimagined for today’s world, where modesty and fashion coexist harmoniously. I’ve witne ed t he abaya evolve from a tradit ional garment into a dynamic fashion statement, embracing bold colours, innovat ive fabrics, and dist inct ive designs.” SHEIKHA DR. DALAL AL MAKTOUM Emirati medical doctor and content creator “I believe the abaya serves as a significant symbol in our culture, representing not only our values and traditions but also functioning as a powerful form of self-expression that allows individuals to convey their personal identity and style while adhering to cultural norms. The blend of tradition and modernity transforms the abaya into an artform, allowing me to showcase my personal aesthetic and helping me express my individuality while honouring my cultural heritage. We have witnessed the abaya evolve over time, showcasing a diverse range of styles that feature a vibrant palette of colours and intricate designs. This evolution not only reflects changing fashion trends but also provides women the opportunity to express themselves in various ways, embracing personal creativity while honouring the deep-rooted traditions linked to the abaya.” AMINA TAHER Emirati entrepreneur and founder of AT Th e Agency “The abaya is a visual representation of Emirati culture, and a fashion statement. It refl ects one’s personality, depending on how it is styled and paired with other clothing and accessories. Wearing an abaya communicates that I am an Emirati woman – cultured, reserved, yet open-minded. This tradition has been passed down through generations and holds a special place in my heart. From my great-grandmother to my daughter, the abaya is a valued part of our identity, embodying our heritage and individuality. The abaya has undergone a signifi cant transformation as our nation has evolved. We have shifted from simple, black, straight-cut designs to a vibrant array of colours, cuts, and materials, often enhanced with unique accessories. This evolution refl ects our growing creativity and artistic expression. I have a diverse collection of abayas tailored for diff erent occasions. At work, I prefer more understated designs in subtle colours, primarily dark or monochromatic shades. For events, I embrace bold, striking colours or pastels, depending on the occasion and the season. Each choice allows me to express diff erent facets of my life while remaining true to my cultural roots. Over the past decade, the abaya has transitioned from being available only in specifi c, limited stores to featuring established brands that have gained regional and global recognition. Today, we see international celebrities, like Alicia Keys, donning the abaya during their visits to the Middle East, highlighting its growing acceptance and appeal on the global stage. What was once considered traditional attire has transformed into a distinct fashion category, complete with a vibrant label of its own. We are fortunate to have an array of talented Emirati and Khaleeji fashion designers who have created bespoke pieces, each refl ecting their unique vision and craftsmanship, made with love. I enjoy wearing a variety of brands, but I particularly value the abayas designed by my mother. She has exquisite taste in everything, and I trust her judgement completely. Each piece she creates carries a personal touch, blending our heritage with contemporary fl air and love!” WAFA BALASWAD Emirati designer and founder of her eponymous abaya label The abaya, to me, means culture, tradition and represents the Emirati woman. It is a symbol of our community and celebrates our strengths and achievements. The modernisation of abayas came from the creativity and innovation of using diff erent innovative materials and diff erent cuts that were more modern, and styles such as suit lapels. Each of these additions channeled a new look. Using modern sleeves, buttons and detailing in the abaya has further emphasised the contemporary look. 18GRAZIAMA GAZINE. COM GME_011_016to019_TheModernisationOfTheAbaya_13395375.indd 1802/10/2024 20:43GHADA AL-SUBAEY Qatari designer and founder of fashion label 1309 Studios To me, t he abaya is more t han just tradit ional at t ire; it ’s a symbol of cultural heritage and elegance. I want to change t he st igma around abayas and s t hem gain t he same global respect as kimonos. I believe abayas have t he potent ial to transcend t heir tradit ional role and become a fashion statement t hat people a around t he world wear, not just for modesty but for style and self-expre ion. By reimagining pieces like t he abaya in ways t hat are bold, modern, and inclusive, my goal is to inspire change t hrough my designs, showing t hat tradit ional garments can evolve into somet hing global and relevant while st i honouring t heir r ts. I want my co ect ions to make people ret hink what tradit ional fashion can be, making it a part of t he global fashion conversat ion. Over t he years, I’ve s n t he abaya evolve significant ly t hrough fashion and creat ivity. Tradit iona y, abayas were very simple and primarily designed for modesty, but now t hey’ve become a versat ile piece t hat can reflect t he modern Arab woman’s lifestyle. At 1309 Studios, we strive to break away from purely tradit ional designs and offer somet hing t hat resonates wit h today’s women. We design abayas t hat aren’ t just about modesty, but about style, ident ity, and confidence. Our focus is on creat ing pieces t hat are mindful of our customers’ n ds whet her it ’s trends, weat her, or cultural nuances while also modernising t he abaya to make it more relevant in contemporary fashion.” FATMA AL HASHIMI Emirati designer and founder of her eponymous abaya label “The abaya is a refl ection of rich heritage that gracefully intertwines elegance and culture. It is a timeless piece that connects the wearer to their roots and exudes sophistication. The abaya has transformed in many ways through fashion and creativity, whether it be in the form of distinct elements such as detailed embellishments, contemporary silhouettes or unique colour palettes. The beauty of the abaya is that despite its modernisation, it still stays true to its roots and continues to refl ect the cultural signifi cance of the piece.” RAFIA HELAL BIN DRAI Emirati designer and founder of abaya label Mauzan “To me, t he abaya is a symbol of tradit ion, culture and style. It ’s a work of art t hat te s t he story of our history while showcasing our craftsmanship and eye for quality. It is an iconic garment as it stands out and represents our region and our values. I expre myself t hrough my choice of abayas and how I would style t hem. I pick each item of clot hing wit h my style and personality in mind and toget her t hey form t he perfect expre ion of myself. At Mauzan, we take great pride in creat ing innovat ive designs for t he abaya t hat fit t he n ds of t he modern woman. Through a variety of colours, silhouet tes and embroidery details, we s k new ways to design t he abaya while staying true to its r ts. Sh r details, exaggerated sl ves and contrast ing colour palet tes spark a sense of novelty and creat ivity. Over t he years, talented designers have cha enged t he norm and showcased a new era in t he abaya fashion.“ RAWDHA THANI Emirati designer and founder of ready-to-wear label Illi Studio “The abaya holds a special place in my heart as it is deeply intertwined with my culture. It represents a beautiful celebration of modesty, allowing me to express my identity in a way that feels authentic and true to myself. Wearing the abaya brings me comfort and confidence, as it reflects my values and heritage. It’s more than just a piece of clothing; it’s a warm embrace of my roots and a testament to the elegance of modesty. I truly cherish it. I express myself through traditional fashion by wearing pieces that connect me to my culture while also allowing me to showcase my individuality. The abaya, for instance, is a beautiful canvas that I enjoy personalising. I love adding my own personal touch and interpreting trends in a way that aligns with modesty. Whether it’s through unique fabrics, colours, or embellishments, creating my own version of what a trend looks like while remaining true to my values is something I truly enjoy. I’ve seen the abaya transform beautifully through the years, embracing modern trends while staying true to its roots. Designers have infused creativity into traditional styles, introducing a wide range of colours, fabrics, and innovative cuts that reflect contemporary fashion. It’s inspiring to see how the abaya can be both elegant and trendy, allowing for personal expression while still upholding modesty. This evolution makes it easier for each of us to find a style that resonates with our personality. I love how the abaya has become a vibrant part of the fashion landscape, showcasing the incredible blend of tradition and modern creativity!” GRAZIAMA GAZINE. COM19 GME_011_016to019_TheModernisationOfTheAbaya_13395375.indd 1901/10/2024 21:01MORE THAN IT SEAMS WORDS PEMA BAKSHI ART KIMBERLEE KESSLER GME_011_20to25_MoreThanItSeams_13374737.indd 2001/10/2024 21:04GME_011_20to25_MoreThanItSeams_13374737.indd 2101/10/2024 21:04During the 4th century BCE, rival artists Parrhasius and Zeuxis struck up a competition to challenge each another’s artistic capabilities. As the fable goes, Zeuxis managed to paint grapes that were so realistic birds even tried to reach for them. When he eventually visited Parrhasius’ studio and tried to lift a curtain to get a look at his rival’s artwork, he was staggered to discover that the curtain itself was the painting. Acknowledging defeat, Zeuxis conceded that while he had tricked the birds, Parrhasius’ curtains had deceived the man – and a fellow artist, at that. And thus, the earliest artistic employ of trompe-l’œil claimed its fi rst victim. A French term that translates to ‘deceive the eye’, trompe-l’œil is a design technique where through perspective, dimension and placement, an optical illusion is created, typically to mimic something else. It has long been utilised in art, but as creatives endeavour to probe what is possible in clothing design, it has found fertile ground in the world of fashion, where designers are using it to push the boundaries of materiality, silhouette, and perception. Arguably, it all began with Elsa Schiaparelli, when the Italian couturier debuted a sweater with a knitted illusion of a bow necktie Who says lace can’t be hewn from leather? Or that paper can’t sit on the body like a weathered old sweater? In a time of rampant production and boundless creativity, is material the nal frontier for designers? When all else seems lost to the algorithm, fashion’s deceptive ingenuity requires us to look a little closer this spread, left to right LOEWE Fall/Winter 2023/2024, LOEWE Fall/Winter 2023/2024, SCHIAPARELLI HAUTE COUTURE Fall/Winter 2023/2024, SCHIAPARELLI HAUTE COUTURE Spring/Summer 2023, SCHIAPARELLI HAUTE COUTURE Spring/Summer 2023, SCHIAPARELLI HAUTE COUTURE Fall/Winter 2023/2024, SCHIAPARELLI HAUTE COUTURE Fall/Winter 2023/2024 previous spread, left to rightLOEWE Fall/Winter 2023/2024, Y/PROJECT Spring/Summer 2023, Y/PROJECT Fall/Winter 2022/2023, Y/PROJECT Fall/Winter 2022/2023, Y/PROJECT Fall/Winter 2022/2023, Y/PROJECT Spring/Summer 2023, Y/PROJECT Spring/Summer 2023 22GRAZIAMA GAZINE. COM GME_011_20to25_MoreThanItSeams_13374737.indd 2201/10/2024 21:04in the 1920s. Designed in collaboration with Armenian refugee and knitwear designer Aroosiag Mikaëlian, the design became a hit when Schiaparelli wore it to a dinner party in 1927. While Schiaparelli’s experimentation with trompe-l’œil continued, the ’60s saw the technique take off once again alongside the Pop Art movement and a fascination with technology. With major historical events taking place in the realm of space exploration, design of this era refl ected a shift in focus for clothing, where textile innovations like screen printing and the use of faux pockets, zippers and other utilitarian details were trending over the form-fl attering cuts of the ’50s. In 2024, fashion has never been more accessible, profi table, or ubiquitous. With ‘cores’ and ‘aesthetics’ being loudly disseminated by the day, the dizzying pace of trends has left many worn out and wondering what is really ‘new’ and left to be uncovered. But, as easy as it is to pore over the sweeping rise of ‘dupe’ culture and the bottomless pit of fast fashion and lament the death of originality, innovations in design are there for those who care to doubletake. Beyond just visual trickery for its own sake, the current resurgence of trompe-l’œil and adjacent techniques is a response to a wider malaise within the industry. As fashion fatigue becomes an increasing concern for both designers and consumers – not to mention the relentless pressure to produce collections that are as creatively novel as they are commercially marketable – many designers have turned their eye for reinvention to where clothing begins: fabric. Countering the copy-and-paste cycle of today’s cyclical manufacturing, runways are quickly becoming a funhouse of design where the possibilities of fabrication are something to tilt the head and squint at. What is a visually arresting and accentuated gown, is but more than a printed sheath, and an everyday pair of denim jeans are actually painted leather trousers, eliciting surprise, delight and a few lingering looks. One of the leaders of this movement is Irish designer Jonathan Anderson, who has become the ultimate illusionist of fashion across both his namesake label, JW Anderson, and at Loewe, where he GRAZIAMA GAZINE. COM23 GME_011_20to25_MoreThanItSeams_13374737.indd 2303/10/2024 11:53has served as creative director since 2013. Anderson, who likes to recontextualise moments and objects from everyday life with a surrealist treatment, has proven adept at merging his technical prowess with his trademark sense of humour. Take his Fall/Winter 2023 collection for Loewe, which was rife with head-turning illusions and pieces designed to appear almost pixelated. Like a series of modest, lady-like dresses that, at fi rst, looked to be blurred through the screen – the medium via which most of the public take in Anderson’s work – but were actually illustrations of dresses printed onto A-line sheath dresses. “Th e blurry aspect in motion looks like a glitch,” the designer said of the looks at the time. “It’s out of focus. Is it staged, or not staged? Is it the right colour, is it photoshopped?” As Anderson explained, the inspiration came from a desire to challenge perspective in a digitally led world. “Printing a garment on a garment is not a new thing,” he continued. “But I was fascinated about the psychology of how we ultimately see things online.” Taking the trickery to new heights, we see what at fi rst glance appears to be slightly oversized knit cardigans slouching against the wearer’s fi gure. In reality, these pieces were formed from a layer of adhesive paper with a knitwear print, stuck to the models’ skin. Elsewhere, Bottega Veneta’s viral leather pieces have left jaws hanging for mimicking everyday fl annel shirts, denim and even cotton sweatshirts with a striking resemblance. Fellow leather luxuriate Hermès, under the creative direction of Nadège Vanhée, has also embraced trompe-l’œil in its quest to redefi ne its heritage fabrications. For Spring/Summer 2024, the designer introduced a series of pieces that looked and moved like ribbed knits, as well as others that appeared like delicate lace – all of which, upon closer inspection, were revealed to be constructed from laser-cut leather, so fi nely etched that they each mimicked the appearance of something far more diaphanous. Th en, at Balmain’s Fall/Winter 2024 presentation, Olivier Rousteing presented a picnic-inspired dress that looked to be cut from a gingham print, but was actually meticulously layered with blue and silver crystals to achieve this eff ect. Experimenting with graphics, Glenn Martens of Y/PROJECT is another modern creative demonstrating the power of illusion. His signature extends from body-mimicking prints that contort the fi gure, to skirts rendered with the silhouette of trousers to skewer fi rst glances. front two images CHRISTOPHER ESBER Spring/ Summer 2024, CHRISTOPHER ESBER Spring/Summer 2024. back row, left to right HERMÈS Spring/Summer 2024, BALMAIN Fall/ Winter 2024/2025, BALMAIN Fall/Winter 2024/2025, PRADA Spring/Summer 2025 As part of his Spring/Summer 2024 show, Australian designer Christopher Esber applied his usual knack for fl attering silhouettes with multiple looks fl oating down the runway that appeared to be cut from a printed patent leather. In a twist of the season, though, the material used for these pieces turned out to be an innovative biomaterial made of freely grown leaves that, through a process of being laid out individually, were stitched together and painted, creating a singular leather-like fabric. Of course, it’s impossible to peel back the layers of innovation currently taking over the industry without coming back to the house of Schiaparelli. Since taking on the role of creative director in 2019, Daniel Roseberry has reinvigorated the couturier with a madcap sense of creativity that is constantly pushing the limits of fabric. Whether it’s a crocodile two-piece that is actually embossed and treated leather (Fall/Winter 2024), or a dress that appears to boast a painterly print but is actually a mosaic of handpainted irregular paillettes (from the Fall 2023 Haute Couture show), there is a wonder to his physical capabilities that feels close to magic. Beyond the technical skill required to achieve these eff ects, the renewed interest in trompe-l’œil and a broader engineering mentality is sparking excitement across fashion, speaking to a broader philosophical shift in this particular cultural moment. As equally fatigued by the state of fashion today, designers are increasingly prioritising creating clothing with intellectual depth and a sense of whimsy to restore (and deceive) tired eyes. In an industry where surface has often been prioritised over substance, these feats of fabric off er a way to bring a sense of wonder that fashion innovation once brought to the world. Trends will always loop around, and what’s new will become old and new all over again – such is the inevitability of the commercial fashion machine. Creatively, the industry as a whole faces great challenges in overconsumption, and the issues this phenomenon brings with it, but in the glimmer of a dress that’s not quite what it seems, and denim that’s not quite denim, there is consolation that true visionaries will always be there to keep us grabbing for the curtain. 24GRAZIAMA GAZINE. COM GME_011_20to25_MoreThanItSeams_13374737.indd 2401/10/2024 21:04GME_011_20to25_MoreThanItSeams_13374737.indd 2501/10/2024 21:04Modern living has brought a kaleidoscope of perspectives, experiences and insights to our ngertips. But as we navigate an increasingly fragmented world, just getting along may be humanity’s greatest challenge WORDS PEMA BAKSHI One evening, I was poring over the comments on a video I was hate-watching when I stumbled across a phrase I hadn’t read on the internet in a very long time: “Th at’s a good point,” read a comment. “I see what you’re saying,” chirped the response. As I tapped through to follow the thread of messages exchanged between two users on opposite sides of a cause, I was caught off guard by what looked to be discourse – of the civil kind. An outlier, I thought, but nevertheless, the gesture stuck with me. By all accounts, we should be living in a golden age of connection, and this should be part and parcel with social media’s border-dissolving eff ect. Daily, the average person is exposed to once-unimaginable access to information, news and perspectives from around the world. But instead of a free exchange of relatable memes, geography-defying connections and considered ideas, we’re seeing extreme discord. And memes. Th e stakes don’t even determine the degree of vitriol, either. Whether it be about Donald Trump or the return of Capri pants, people seem ready to fi ght and deadlock over just about anything. And while a bit of dissent is healthy, and, arguably, necessary to push humanity forward, it seems to go beyond the normal give and take in 2024. DIGITAL DIVIDE Polarisation is far from a modern challenge, and a lot of progress has come from dissension, but as many thought leaders have attested, recent years have seen divisions deepen to an alarming degree. And for some, the root cause is obvious: digital saturation and its role in fostering moral tribalism. “For all the benefi ts the internet and digital connectivity have provided us, when we connect ourselves to all others around the world, at all hours of the day, with instant access to everything from COMMON COMMON 26GRAZIAMA GAZINE. COM GME_011_026to029_EDCommonGroundV5_13386785.indd 2601/10/2024 21:05news reports, cat videos, and every single opinion imaginable, we glut ourselves into malaise and work ourselves up into malice,” says Milan Kordestani, author of I’m Just Saying: Th e Art of Civil Discourse. In every scroll, post and algorithm-informed recommendation on our various gadgets, there is an overwhelming amount of information to process. As Kordestani notes, the sheer volume and frequency of content is driving us to react rather than understand. Th ings are simply moving too quickly, and in the maelstrom of online discourse, people will go to great lengths to feel heard. So, with this untapped wealth of connection at our fi ngertips, why are we choosing to cultivate disconnection? It’s impossible to ignore the increasingly hostile nature of life as a digital citizen. As Kordestani points out, cancel culture, doxing, and extremism on the internet leave many of us eager to stay within our ‘safe’ places, which typically results in establishing a moderated network of like-minded people. When we fi x ourselves in these groups, though, we risk skewing our lens of the wider world. HERD MENTALITY In his work as a neuroscientist and philosopher, Joshua Greene dives into the phenomenon of ‘moral tribes’, exploring the kind of values-based grouping we’re so prone to in the modern world. According to him, as the world shrinks, the moral boundaries that divide us become more pronounced and, as inherently social animals, we become incentivised by peers to not only stay within our respective moral tribes but double down on any opinions with impassioned conviction. Kordestani echoes this statement, citing how our need for peer approval is paradoxically informed by, and driving, an increase in loneliness. “We are only walking in circles in our shared echo chambers,” he writes. “When it’s harder to create 30-second relationships with the people around us – ones that open new social pathways to people who were previously complete strangers – we inherently become more anxious and closed off as human beings… Instead of engaging with those diff erent from us, we opt to speak to people who will parrot what we already believe.” Across the globe, modern loneliness rates have already been dubbed an epidemic. And as governing bodies become increasingly disconnected from their people, many are left to feel disenfranchised and vulnerable. GROUND GRAZIAMA GAZINE. COM27 GME_011_026to029_EDCommonGroundV5_13386785.indd 2704/10/2024 14:03Next >