< Previous40 HarpersBazaarArabia.com November 2020 The NEWS “ T H E E M I R A T I A R T SC E N E IS I N N O VA T I V E , DY NA M I C A N D I N T E R C O N N E C T E D … T H E R E IS A R E A L S E N S E O F CO M M U N I T Y A N D C O L L A B OR A T IO N W H IC H DR I V E S T H E S U CC E S S O F A N Y CU L T U R A L I N I T I A T I V E ” Dy a l a N u s s e i b e h, Directo r o f A b u Dh a b i Art Practice’ programme in London will curate the fair’s Performing Arts programme this year, adapting to the new virtual format and delving into what performance art can really fl ourish into amidst these unsettling times. “Globally and across industries we have all faced a unique set of challenges created by the pandemic,” adds Dyala. “For the art sector, one of the most important changes created by the pandemic was the need to ‘do’ online better, to present culture virtually and for the art market to create the conditions from which art could be sold more easily online.” Noting that online sales were already peaking before the onset of COVID-19, Dyala has observed that there were still a lack of virtual gallery exhibition viewing spaces and the acceleration of the same has occurred during the pandemic, with the response of the art world shown through a spike in virtual innovations. “That said, after a certain point, people have become increasingly aware of how much they miss being in front of artworks in real life and seeing their community in real life,” she notes. “That is why no matter how much we improve our online offering, it will never replace physical exhibitions and events. As an art fair, we have adapted to the pandemic by going predominantly virtual this year and with a fantastic online offering – but I can’t wait to hold an event back at Manarat Al Saadiyat again in future.” The fair is also set to feature Beyond: Emerging Artists, a section curated by Beirut-born Maya El Khalil, who is also the Founding Director of Jeddah’s Athr Gallery. This space will house a body of new work by three budding artists from across the UAE, namely Hind Mezaina, Afra Al Dhaheri and Afra Al Suwaidi. The featured works consider the distortion of time forced upon us during a year of hiatus, prompting extended periods of isolation and pensive recollection of the past. Inspired by the new-found perspectives we have on memory and time, the artists draw on the experiences of remembrance and how they are all interconnected. There will also be a strong focus on South Korea this year, with a number of galleries from the region participating at the fair. Following a promising response from art collectors to previous gallery programmes highlighting South Korea, curator Sung sought to offer viewers a stimulating insight into the contemporary landscape in South Korea today. Entitled Material-real, the exhibition explores the rapid societal, economic and cultural changes in the region and the subtle similarities to the conditions of the UAE. “Interestingly, some parallels can be drawn with the experience of living in the UAE which has undergone rapid transformation in a relatively short period of time,” says Dyala. “Perhaps that is why there is an affi nity for contemporary Korean art here, because it speaks to a shared experience of urban transformation and its legacies.” Also hosted during the fair will be an online Talks Programme, spanning an array of conversations with leading art figures who will explore the history of the UAE and the contemporary art scene around the globe. As Dyala suggests, “The fairs that do survive this year will be the strongest and will have adapted and evolved to do so.” ■ Comprising a series of live-stream video interviews with artists, gallerists and curators, Abu Dhabi Art’s 12th edition will be live from 19 to 26 November 2020. abudhabiart.ae Above: Chioma Ebinama. penumbras 25. 2018. Sumi ink and watercolour on cotton rag paper. 30x44cm. Image courtesy of Catinca Tabacaru Gallery Above: Ram Han. Case_01_03(city). 2020. Light panel. 56x200cm. Commissioned by Busan Biennale 2020 IMAGES COUR TESY OF THE AR TISTS, LUARENCE LEBLANC, AUGUSTINE P ARADES AND DEP AR TMENT OF CUL TURE AND TOURISM ABU DHABI HBA_151_038to040_NewsOpener_11411581.indd 4002/11/2020 12:45:22 PM The NEWS WORDS BY DEVINDER BAINS This year has been a mixed bag for the book world: one that saw surges in sales of fi ction and educational publications across the globe during lockdown, but a huge drop in revenue for many independent book stores due to the volatility of pandemic-induced opening restrictions. It’s been a time to evolve, which is exactly what the 39th edition of the Sharjah International Book Fair (SIBF) is doing by making its offering a virtual one this year. The event, organised by the Sharjah Book Authority (SBA), is used to seeing thousands of book lovers descend on its series of events, and shop its array of new publications and old favourites alike, but they’ve had to adapt. And for 2020, organisers are hoping to reach an even larger audience by moving their 64 events online for this year’s theme: The World Reads from Sharjah. The fair will bring together renowned Arab authors and intellectuals, who will join virtually to lead a series of literary and cultural discussions through the 11-day event, which will run from November 4-14, 2020. We spoke to one of the fair’s nominated ‘cultural pioneers’, Bahraini author, journalist and women’s-rights advocate, Layla Al Motawa, about female empowerment in the region, what’s on her reading list and what the audience can expect from her talk… How can the move online be benefi cial for the fair? Digital culture is spreading its branches like a living creature in every direction, and is helping us fi nd a way to reach the outside world. We’ve moved on screen, and this means reaching a wider range of the public. You see this branching out in the form of e-readers too, many of the Arab migrants fi nd it diffi cult to locate Arabic books due to poor distribution, therefore electronical access is easier. I personally prefer the hard copy, however electronic reading has helped me to be connected to virtual books. What will you be discussing in your SIBF talk? My seminar refers to some of the aspects of my new book that I plan to release next year. I will discuss the importance of history in novels and how we explore human behaviour. When historians try to analyse the ancient societies, they usually look for physical and scientifi c evidence that has been discovered, but writers have more freedom to tie events with personality. In our work, when we study history, we provide the THE NEXT CHAPTER The 39th edition of the Sharjah International Book Fair tells the story of a digital transformation psyche that has been left behind, and are able to reinvent the picture and provide readers with an imagination of a time. This is the charm of a novel over a history book. Other than my own talk, I’m looking forward to seeing Emirati novelist and researcher Sultan Al Ameemi – I enjoy how he doesn’t limit his characters to any boundaries. What else are you working on at the moment, aside from the novel? I am working on two pieces of drama, and both of these discuss women’s issues. During the current situation, the required criteria for dramas has been different and more space is available to write freely and to reinvent and break the image of the ‘typical woman’ as seen and depicted by a male society. The new generation has rebelled against the kinds of dramas that saturated and infl uenced the minds in the past, and is turning to companies like Netfl ix and HBO to gain more freedom for their subject matter. Tell us about your work in female empowerment … In my personal experience, as an independent woman, I hope I’ve provided a clear image of independence to those who are living in fear and are dominated by male society. It’s important for both genders to unite to gain equal rights. In this region, some women believe that by keeping their female children in the dark, without teaching them their rights, they’re protecting them from society, but I strongly believe women’s rights should not be under family privileges and should be protected by a country’s laws and systems. Laws should be strict and fear-inducing to violators, allowing the system to intervene and monitor through authorised individuals. Many laws have been developed to provide more rights to women in Arab countries, however, they are not being shared with younger women because of the personal opinions of their families. What are you reading at the moment? I just recently completed the dystopian novel Never Let Me Go by Kazuo Ishiguro. This farming of human organs, human cloning and the fact these ‘people’ have no rights has really stayed with me. I also want to mention a new book which consists of 50 Arab writers, largely new voices, which translates as How Many Lungs to the Coast and will be available at the fair. ■ Sharjah International Book Fair (SIBF) will run from November 4-14, 2020. For more information visit sibf.com. Follow Layla on Twitter and Instagram @lailaalmotawa. Her 2012 novel My Heart is not for Sale is available in book stores. “ I H O P E I ’ V E P R O V I D E D A C L E A R I M A G E O F IN D E P E N D E N C E T O T H O S E W H O A R E L I V I N G I N F E A R , A N D A R E DO M I NA T E D B Y M A L E SOC I E T Y ” Lay la A l M o taw a 41 HarpersBazaarArabia.com November 2020 T H E E V E N T Layla’s 2012 book titled: My Heart is not for Sale HBA_151_041_BookFair_11417355.indd 4102/11/2020 12:46:15 PMHours after its digital Cruise 2020/21 reveal, Chanel’s President of Fashion, Bruno Pavlovsky sat down with Bazaar to discuss steering the beloved brand through quite possibly its most tumultuous waters yet… CRUISE CONTROL 42 HarpersBazaarArabia.com November 2020 The NEWS Words by OLIVIA PHILLIPS T H E I N T E R V IE W HBA_151_042to044_NewsPavlovski_11410427.indd 4202/11/2020 12:48:46 PM43 HarpersBazaarArabia.com November 2020 What happens when a fundamental pillar of a brand – spectacular, large-scale destination shows in some of the world’s most fabulous, far-fl ung locales – suddenly falls victim to Covid-19’s relentless grip? That’s exactly what Chanel found itself having to navigate these past few months, having announced back last September – now a distant memory of blithe optimism – that its always-grand Cruise collection would be showcased on the jet-set isle of Capri; the perfect backdrop for clothing that would no doubt be purchased for jaunts to this exact spot. “The idea is the Mediterranean, its islands, the summer, and that always makes me think of the 1960s, all those legendary actresses holidaying on the Italian and the French Riviera,” Virginie Viard, the maison’s Creative Director told Harper’s Bazaar Arabia about the joyful collection, rooted in hazy summer hedonism. “Sunshine, sophistication, something that is very simple. And beautiful vibrant colours, just like the shades of the bougainvillea.” Fast-forward to May, and the world was a very different place, leading Chanel to announce that the show must indeed go on, albeit in an equally different guise than originally planned; a digital presentation in the form of a seven-minute video directed by Julien Pujol. Still encouraging us to dream, the virtually presented collection, titled Balade en Méditerranée (A Trip Around The Mediterranean) was not only proof of the house’s deft ability to adapt, but also displayed its dedication to wearability – specifi cally now, when customers demand more from their clothes than ever. “This collection has been conceived to travel light, with just a few multipurpose items of clothing. A long jacket in black chiffon that can be worn over a swimsuit or with jeans in the evening. And if worn against bare skin, it becomes a déshabillé,” Virginie continued. Proof, perhaps, that Covid-19 has engendered a change in philosophy around smarter tactics in what we buy, and why. Just hours after the digital presentation – a fi rst for Chanel – Bazaar sat down (virtually, of course) with President of Fashion at Chanel, Bruno Pavlovsky, to discuss Cruise, Covid, and what Karl would say… “To be very frank, I couldn’t imagine in January, when we had Haute Couture, that a few weeks later we would be in such a situation,” Bruno says, expressing the sentiment of so many. “So we needed to adapt and keep in mind that the most important thing is to continue to seduce and to propose a kind of dream. Something amazing!” Dreaming is at the very heart of Cruise – a season, it is said, breathed to life by Gabrielle Chanel herself for her customers who would vacation by the coast; most notably, Biarritz. Cruise is so entwined with the maison, in fact, that in December The NEWS 1933, Harper’s Bazaar published an article on the subject of ‘Cruise clothes’ where the entire concept was illustrated by a Chanel design. “It’s a very symbolic collection,” Bruno explains. “Chanel was the very fi rst one to create it and make it visible, starting [offi cially] in 2000 with Karl, so 20 years later I think it’s very important for us to continue.” Indeed, for all luxury brands that create Cruise collections, it is these that remain in store the longest, and – broadly – boast the largest sell- through rate. So does it necessarily follow, then, that within almost 10 collections that Virginie produces a year, Cruise is the most important of them all? Bruno has a predictably savvy, diplomatic response; akin to a man being asked of all his children, which one is his favourite. “The main ready-to-wear collections are very important, too,” he smiles. “It’s kind of like a creative evolution and competition, even if we don’t like the term ‘competition.’ But we have two very special ‘moments’ [each year] with Cruise and Métiers d’art [the latter being another collection pioneered by Chanel, shown every December since 2002 to showcase the best of its dedicated métiers, from embroidery to millinery]. “It’s about taking time with our partners; be it press, customers, infl uencers… when it’s not the rush of a 20-minute show. They’re all important, though!” And of course, they are, each a crucial cornerstone of the house that Gabrielle built – and that Bruno, Karl, and now Virginie, are upholding to such high standards. In an age of extreme choice, it is no mean feat to have your brand heard loud and clear above the cacophony, and it is Bruno’s responsbility to ensure that Chanel remains “one of the most successful business models based on creativity,” as he once told Business of Fashion. The best way of doing so is the simple-sounding but no doubt intricate balancing act of maintaining heritage codes whilst consistently looking to the future. Last October, Bruno had said they needed to imagine the Chanel of tomorrow. But in a post-Covid world, what does that now look like? “Chanel is not just a fi xed image; we have a strong link to the past. I think that Chanel has held the interest of many people from all generations because we are very loyal to our codes, but at the same time, we work on them all year long to make them modern and part of the future,” he explains. So does the Chanel of tomorrow look different now than it did when he fi rst made that statement? “Absolutely! The context was a bit different!” he laughs. “Adapting has to be the permanent posture of the brand. Not to imagine everything is done, but to challenge ourselves. And after what we’ve seen in the last fi ve months, we have needed to adapt ourselves more than ever, so it’s been kind of an acceleration. We’ve always had to adapt for our customers, but I’ve also heard many Balade en Méditerranée; Chanel’s 2020/21 Cruise collection was an ode to the Med HBA_151_042to044_NewsPavlovski_11410427.indd 4302/11/2020 12:49:24 PM44 HarpersBazaarArabia.com November 2020 POR TRAIT : FRÉDÉRIC DA VID. IMAGES: COUR TESY OF KARIM SADLI AND CHANEL rumours where [detractors] don’t share that point of view. They can say whatever they want, that’s fi ne, but at Chanel we fi nd a way to continue to emerge and to create the dream and the desire.” And the numbers don’t lie. According to Business of Fashion, in 2018, Chanel released fi nancial results for the fi rst time, reporting revenue of almost $10 billion [Dhs3.67 billion] for fi scal year 2017. Desire, it seems, is still going strong in the Chanel universe. There’s no doubt, however, that – along with the passing of the maison’s formidable, long-time Creative Director, Karl Lagerfeld in 2019, the appointment of his right-hand woman, Virginie Viard to the post that same year, and now the juggernaut of coronavirus impacting everything from production to spending habits, the maison is sailing through unprecedented change. We ask what Karl – with his inimitable, and outspoken, view on life – would have been saying if he were still with us. “To be honest, I don’t know, and we’ve been talking quite a lot about that with Virginie. We are not Karl, she is not Karl and I am not Karl. But what we’re doing is what we feel is meaningful for the brand today. It’s more about Chanel than about Karl. We are sure collectively, though, that he would have been terrifi ed by the [Covid] situation. When it was about illness and health etc…” he trails. “But he would no doubt have had some good sentences or one-liners… he would have said some shocking thing, but we liked that with Karl because he liked to be quite provocative. We aren’t the same. But we all miss the guy and his little provocations,” he laughs affectionately. Since the digital reveal of the Cruise collection, Chanel has returned – true to form – with a socially-distanced yet nonetheless grand showcasing of SS21; a physical runway show in Paris’ Grand Palais against a giant Chanel motif mimicking the Hollywood sign. Bruno had told us, “Even if Cruise wasn’t possible in Capri, it was crucial to get us through this crisis by having our team come back to some energy.” We can safely say that energy is back – and with Chanel, that it never really went away. “ W E H A V E N EED ED T O AD AP T M O R E T H AN E V E R , B U T A T C H A N E L W E A L W A Y S F I N D A W A Y TO CO N T I N U E T O E M E R GE A N D T O C R E A T E TH E DR E A M ” Br un o P a v l ov sk y The NEWS Lily-Rose Depp stars in Chanel’s Cruise campaign, shot by Karim Sadli HBA_151_042to044_NewsPavlovski_11410427.indd 4402/11/2020 12:49:37 PM45 HarpersBazaarArabia.com November 2020 The NEWS Not too long ago, it was considered taboo to touch up one’s make-up in public, aside from discreetly applying a swipe of lipstick after the fi nal course had been cleared from the dinner table. Polite women powdered their noses in the privacy of the ladies’ room when away from their vanities, but all that’s changed, and the celebration of make-up is the order of the day with the launch of Herrera Beauty. The luxury cosmetics concept, which was designed by Creative Director Wes Gordon, Beauty Creative Director Carolina A. Herrera and Global Make-up Consultant Lauren Parsons, includes 36 different shades of lipstick, two different powder formulations and a cream-to-powder highlighter. If that wasn’t exciting enough, the products come encased in bold prints and bright hues from Carolina Herrera’s ready-to-wear collections, complete with interchangeable charms, tassels and printed magnet covers – perfect for colour coordination fanatics and those who like to keep their look refreshed from day-to-day. “When it comes to customising the lipstick tubes and compacts, I think [the options] are endless,” Lauren says. “There’s something quite chic about wearing a certain outfi t – and then you can have a [matching] compact cover.” Carolina A. Herrera fi rmly believes beautiful things should be seen and not hidden. “Traditionally, make-up is something that you keep out of sight, whether on your bathroom shelf or in your vanity pouch,” she notes. “We wanted to give women an opportunity to fl aunt their make-up unapologetically, like a piece of fabulous jewellery.” ■ Herrera Beauty will be launching at Harvey Nichols Kuwait’s counter in November, before opening its doors in the U.K., Spain, Middle East, Mexico and Brazil. BE SPOK E BE AUTY Carolina Herrera is redefi ning the idea of customisable cosmetics, one compact and lipstick at a time... With so many small businesses suffering from the economic effects of the ongoing pandemic, supporting homegrown designers is arguably more important than ever before. Enter Bloomingdale’s Local Love pop-up. The luxury department store recently stepped in to do its part in highlighting regional designers to its shoppers, by curating a handpicked selection of 14 different homegrown brands – ranging from womenswear and fi ne jewellery, to accessories and homeware – all of which are being showcased online and in-store. From the likes of Bouguessa’s minimalist ready-to-wear pieces, created by Dubai-based fashion designer Faiza Bouguessa, to Kage’s vintage- inspired prints by Palestinian-Emirati designer Basma Abu Ghazale, Local Love includes pieces by some of the most notable designers from the region. Egyptian accessories brand Okhtein showcases its new line of statement sunglasses, while UAE label Qasimi unveiled a womenswear capsule collection exclusive to Local Love. In addition to perusing designs by Arabic calligraphy-inspired home décor brand Kashida and experiencing the delectable scents of Lava’s hand-crafted luxury candles, customers at Bloomingdale’s in The Dubai Mall can also sample exclusive desserts by local batch baker Mélange. ■ LOCAL LOVE The spotlight was fi rmly fi xed on 14 regional brands at Bloomingdale’s most recent pop-up WORDS: LAURA KELL AND ZAINAB DAMJI THE MAKE-UP Dubai-based handbag brand L’Afshar was one of 14 homegrown labels included in the pop-up T H E P O P - U P HBA_151_045_NewsCHerrera_11408883.indd 4502/11/2020 12:50:29 PM46 HarpersBazaarArabia.com November 2020 T H E SC E N T Romantic and feminine, yet mysterious and dark: the Gucci Bloom fragrance collection has unveiled its newest addition, Profumo Di Fiori, via a campaign like no other. Starring some truly legendary women, Florence Welch joins Anjelica Huston, Jodie Turner-Smith and Susie Cave in bringing the fragrance’s powers to life in a beautiful series of images shot in the mystical Umbrian countryside. With notes of ylang ylang, tuberose and jasmine-bud extract paired with a warm, earthy base of sandalwood and musk, this fragrance certainly isn’t for the faint of heart – something all these women have in common, not The NEWS Starring in the new Gucci Bloom Profumo Di Fiori campaign, singer Florence Welch shares her fascination with fragrance and a secret passion for creating her own scents while on tour with her band Florence and the Machine The Alchemist least Florence, whose soaring, transcendent vocals have long since captured the imagination of Gucci Creative Director, Alessandro Michele. Here, Bazaar speaks to Florence about her long- standing love affair with scent, the magical ambiance of the shoot location and how she concocts her own perfumes whilst on the road with her band… What kind of role has fragrance played throughout your life? I would say I’m someone who has always loved playing with textures, scents and fl avours. When I was a child, The NEWS HBA_151_046to047_NewsGucci_11413641.indd 4602/11/2020 12:51:47 PM The XXX 47 HarpersBazaarArabia.com November 2020 WORDS: LAURA KELL & SANAIY A GABRIELLE JHA VERI. PHOTOGRAPHY : FLORIA SIGISMONDI rough idea, you need carrier oils (like sweet-almond oil) and other ingredients from a perfumery market to make it. You then have to try it yourself and implement a mix of ingredients to strike a balance, so that you’re not creating an aromatherapy oil but rather a perfume. Some ingredients [we wanted were] discontinued so it’s tricky to fi nd them. Our drummer [Loren Humphrey] is really into it and fi nds great places to buy rare ingredients for our perfumes. You could say we’ve become seasoned perfumers. Do you keep all the perfumes that you’ve created? Oh defi nitely. I have a crazy fragrance collection and I’ve learnt so much about perfumes. There are certain ways to keep them; some in the dark, some in the fridge. Funnily enough, the perfumes I made had a lot of tuberose and ylang ylang, which are ingredients used in Profumo Di Fiori. Those essential oils are just classics and smell amazing when combined. Do you think you’ll ever launch your own fragrance line? I don’t know about that, but I’ve defi nitely become obsessed, so maybe one day… you never know! What I’ve found so fascinating is that there is a huge community that’s so passionate about fragrance and so many interesting people who share my passion too. It’s incredible to be part of it. ■ I always liked to smell everything. You know, when you’re younger and you buy the different body sprays and lotions you get at the supermarket or pharmacy? I used to love buying them and spraying some on before school. Today, fragrance is such an important step in my day-to-day life. For me, perfume makes me feel dressed; I feel very underdressed if I don’t have one on. I’m what the fragrance community calls a ‘fraghead’ – someone who is absolutely obsessed with perfume. How would you describe Profumo Di Fiori? I would say that most fl oral scents can be too sweet, but this one has a real warmth to it. I love this new addition to the Gucci Bloom family, because the fl oral isn’t overwhelming and the sandalwood adds a woody note. I also love tuberose – it’s a Victorian funeral fl ower. There’s a darkness and a heaviness to it that makes the perfume feel warm and comforting without being claustrophobic; it envelopes you in the best way. The new campaign was shot in the Umbrian countryside. Can you share any highlights? It’s just the most incredible place; it was a based on a monastery that used to be at the location we were fi lming in, but the area was then built by a surrealist architect and it was a space for theatre and experimentation. It just felt like we were in a magical wonderland. The fact that I was in this iconic place, amongst these incredible icons like Jodie Turner-Smith, Anjelica Huston and Susie Cave made it even more special. I also really love dance – modern dance, actually – so getting to move and express myself in this open, creative space felt so amazing. When the fi lm crew were shooting other scenes of the campaign I would just walk around and explore the countryside, and just take it all in. Before you record a new song or perform on stage, do you have any sort of rituals involving fragrance to help you get into the right state of mind? My band and I started learning about perfumes while on tour last year. We started with Arabian oud – which I know is [worn a lot] in Dubai, and then we started trying the whole spectrum of fragrances. We began mixing and trying to make our own perfumes. It was really fun and something we ended up doing with our free time during the High As Hope tour in 2019. It’s quite a complicated process, but to give you a “I’M W H A T T H E FR A G R A N C E CO M M U N I T Y CA L L S A ‘F R A G H E A D’ – SO M E O N E W H O IS A B SO L U T E L Y OB SE S S E D W I TH PE R F UM E ” Fl o r e n c e W e l c h The NEWS Gucci Creative Director Alessandro Michele with Florence Welch, on location at the campaign's shoot in Umbria HBA_151_046to047_NewsGucci_11413641.indd 4702/11/2020 12:51:56 PM48 HarpersBazaarArabia.com November 2020 WORDS: DEVINDER BAINS The NEWS For many, their physical and mental health has been tested to its limits this year, and a key antidote has been to embrace activities that exercise the mind and body. Luckily, The Art of Wellbeing collection from Loro Piana is here just in time for this month’s Dubai Fitness Challenge, and it will have you standing out in style amongst the thousands expected to join the 30x30 event. The new range celebrates movement and rejuvenation with pieces so stunning that they positively encourage participation. Stepping away from regular wardrobe staples, the Italian brand has produced fi tness items for use both inside and in the great outdoors. The Meditation Set is aimed at the estimated 500 million people globally who practice the mindful art, with the star piece being a soft, lightly padded mat in Loro Piana’s Cashmere Storm System®. Its hand-stitched leather trim and removable half-moon pillow is accompanied by non-slip cashmere socks and a cashmere water-bottle holder, all packaged in a herringbone cotton-canvas bag with leather trimmings. The second compilation in the trio is for those who like their skipping with a side of sartorial fl air. The Fitness Set includes a gym ball which is upholstered in super-soft padded cashmere with leather handles, an adjustable leather skipping rope and weights in satin-fi nish metal, and is completed with a cotton-jacquard towel and cashmere water- bottle holder. The fi nal set is for the wild at heart. With this month’s Global Wellness Summit forecasting wellness sabbaticals as one of its top 10 future trends, The Outdoor Kit could be just what’s needed to style up a camping break. The hero piece is the luxury cashmere sleeping bag that guarantees equal protection from humidity and wind. This is teamed with a deluxe cashmere eye mask and a neoprene and cashmere thermos fl ask with a leather shoulder strap. Lora Piana is a master of seamless production using the best in raw quality materials when it comes to clothing and accessories, now it adds wellbeing pieces to its repertoire, and does it with aplomb. ■ All three kits are available now. Elegant luxury that brings comfort for mind and body is at the soul of Loro Piana’s wellness capsule collection THE ART OF WELLBEING Carry on camping with The Outdoor Kit Put your mind at rest with The Meditation Set Upgrade your workout with Loro Piana’s chic fi tness equipment THE A THL U X U R Y HBA_151_048_news_LoroPiana_11395916.indd 4802/11/2020 12:55:09 PM49 HarpersBazaarArabia.com November 2020 The NEWS A brand born from friendship and made with love, new Dubai label, Second Summer is changing the way we think of luxury. Ex-Editor in Chief of Elle Arabia, Carmel Gill formed the label with her sister Jodi and best friend Amy Wheatley. The line came to fruition over Zoom in March on the eve of Covid lockdown. “Speaking to Amy, who is a fashion and swimwear designer and my sister Jodi, whose background is in fi nance and logistics, collectively we felt we had three strong pillars of essential knowledge in the fi elds it requires to launch a brand successfully.” For Carmel, this was an opportunity to cultivate her creative talent, as well as a chance to interpret fashion under the harsh light of the pandemic. It’s no secret the virus has seeped into every part of our lives. Stylistically speaking, there was an underlying current during the S/S shows. From NYC to Paris, utility was favoured over opulence. Having had her fi nger on the pulse of fashion for the past seven years working in magazines, it’s no wonder Carmel felt the reverberations, creating a line that centred entirely on timeless classics rather than focusing on the mercurial nature of trends. “Our buying habits changed, we no longer purchased trend-driven pieces and instead found ourselves hunting for staples that transcend the seasons, but we found when it came to hunting seasonless resortwear, we felt there wasn’t really a brand that stuck in our minds, so we decided to create one.” Their latest collection, El Corsario, speaks to the adventuress, inspired by a group of boho artists who revolutionised Ibiza’s art scene in the ’50s. Known as Grupo 59, the collective held their fi rst exhibit at Hotel El Corsario, the capsule’s namesake. In Carmel’s words, “made for the barefoot creative, the dreamer, the wild and the free.” Essentials in linens and casual silhouettes that if packed in your suitcase, would look good just about anywhere. Simply put, Second Summer is a new genre of clothing – seasonless, timeless and effortless. ■ SUMMER LOVIN’ NETFLIX AND LEBANON Ibiza meets the gumdrop world of the ’50s for Dubai Ibiza meets the gumdrop world of the ’50s for Dubai stylist, Carmel Gill’s breezy new line, Second Summerstylist, Carmel Gill’s breezy new line, Second Summer WORDS: LAUREN SANCHEZ AND NANDINI MEHT A T H E H O M E G R O W N T H E C U L T U R E Netflix is bringing a collection of Lebanese films and storytellers together, showcasing their work within a dedicated section of over 30 films for fans around the world to enjoy. The collection will feature award-winning films like The Little Wars ( ), Where Do We Go Now (), Under the Bombs (), The Kite (), West Beirut () and several others that celebrate and showcase Lebanese talent – from drama and comedy to romance – while also including the works of renowned directors Maroun Baghdadi, Phillippe Aractingi, Randa Chahal Sabagh, and former Bazaar cover star, Nadine Labaki, among several others. The collection ranges from stories of day-to-day living, to the struggles and chaos amidst crisis, giving the world a glance into the life of the nation. Not only does the catalogue highlight Lebanon’s cultural heritage, but also brings the country’s creative community to the forefront, showcasing the nation’s contribution to the entertainment world. Films like Cerf Volant and Caramel also represent the work of female directors and tackle important topics like female empowerment and cultural discrimination. It also holds value in its ability to convey the beauty and authenticity of Arab culture. “The catalogue represents stories from filmmakers from different walks of life, covering a slice of everything that Lebanon represents – love, humour, and beauty,” explains Nuha El Tayeb, Director of Content Acquisitions, MENAT at Netflix. It comes as part of Netflix’s commitment to the global Hardship Fund, partnering with the Arab Fund for Arts and Culture to support Beirut-based artists. The platform has already pledged over $500,000 [Dhs1.84 million] to the cause. As of October 19th, these films are available to over 193 million members worldwide with relevant subtitles in English, Arabic and French. ■ A selection of Lebanese fi lms and TV shows being streamed by Netfl ix as part of its programme celebrating the cinematic talent and stories from the country HBA_151_049_News_SummerNetflix_11411555.indd 4902/11/2020 12:56:18 PMNext >