< Previous The XXX 60 HarpersBazaarArabia.com November 2020 With travel plans on hold, take a trip around the globe with this exclusive look at the new Atlas of Dreams collection from Liberty London’s Liberty Fabrics. Exploring four diverse landscapes, the heritage brand captures the beauty of lush green rainforests, the fresh serenity of country meadows, the mystical wilderness of desert dunes and the playful charm and nostalgia of seaside trips to the coast. Silks, linen and Liberty’s famed Tana Lawn cotton are host to 60 designs that celebrate the planet, using techniques such as watercolour washes, pencil illustrations, cut stencils and gouache paint. The collection honours the wanderlust of the brand’s global customer and indeed their love for Liberty Fabrics, an adulation that has seen exponential growth for the company within the Middle East. Liberty’s online revenue for the region is up 619 per cent year- on-year since lockdown, and for Liberty Fabrics specifi cally it is up 595 per cent. The universal appeal of the designs, and the functional adaptability of the textiles, have long made the fabrics the popular and refi ned choice for modest dress, such as abayas, in the region. Liberty London’s iconic fabrics bring a whole world of possibilities to customers in the Middle East, with the launch of dreamy new textiles collection Words by DEVINDER BAINS PR INTS CH A R MING The TALKING POINT Harper’s Bazaar Arabia spoke exclusively to Mary-Ann Bartlett Dunkley, Design Director at Liberty Fabrics, about working in the legendary Liberty London building, selecting the right patterns each season and the Middle East’s love affair with the fabled brand… Tell us about your role at Liberty and what it involves… I direct a team of textile designers, inspiring them and guiding them in the creation of new artwork which will become part of the Liberty print archive. I also work with our in-house archivist, Anna Buruma, who helps us to dive into the archive for inspiration for each seasonal collection. I’ve been at Liberty for fi ve years and work with brands from all countries and markets, from childrenswear in Paris, menswear in Milan and fabric stores in the Middle East. What do you love most about textiles? They are everyday and luxury; they can be both beautiful and useful. Everyone has a relationship with textiles, and I love the way that they can be used to show your personality. Something that I love in particular Delicate fl orals depicting English meadows take centre stage at Liberty HBA_151_060to061_Liberty_11411093.indd 6002/11/2020 03:08:05 PM61 HarpersBazaarArabia.com November 2020 about Liberty Fabrics is the way they hold memories for people, particularly childhood memories, and feel familiar. How do you decide what is the right design for Liberty? I have an incredibly talented team of designers so I rely on their training, experience and passion to know that if they are showing me something, it’s likely to be of an extremely high standard. Secondly, I need to feel emotional about a design: be it surprise, delight, admiration or nostalgia. If I’m not moved by it in some way, it’s probably not for Liberty. What are your personal favourite designs? That can change on a daily basis depending on mood, occasion or the weather! A good design has to have fl ow and rhythm, and colour plays an enormous part. I love to see someone wearing a print that refl ects their personality, highlights their mood or character, or defi nes a room set. Often I will remember someone by the textiles they are wearing, rather than if they wear glasses or the colour of their hair! Where are the fabrics designed? Pre-Covid, we worked in a busy creative studio with textile designers, fabric specialists and archivists, connected by a bridge to our beautiful and famous London store on Regent Street. Working at Liberty Fabrics, you have the sense that you are a small part of a wonderfully rich history. It is such a privilege and responsibility to honour the Tudor beams, and the whole team takes great pride in that mission. Post-Covid, we have had to adapt to working and communicating from home, I moved from Islington, North London to be by the sea in Brighton the day before the country was locked down so it was nice to be in a new place to fi nd creativity in fresh surroundings. Now, we still work from home but meet in London once or twice a week to see designs and work together – wearing Liberty Fabrics face masks of course! Talk us through the design journey of a fabric… It is a colourful journey that involves lots of eyes, conversations, opinions, expertise and incredible dedication to achieve the fi nest result possible. Since Covid, there is so much to miss about this journey: the energy of London, colourful activity and conversations in person, but we are lucky that we have such incredible technology and creative minds that are dedicated to fi nding solutions in challenging times. What is the most enjoyable part of the journey? The journey from a concept or idea to a mark on a page, then people, process and passion. Each step is engaging, and often emotional. I love the sense that, as a team, we are creating just the fi rst part of the story. It is exciting to meet customers and discover their passion for something we were a part of; to create something that people enjoy and often treasure is an inspiration. Tell us about the relationship between Liberty Fabrics and the Middle East region… We have a long-standing relationship with the Middle East. Arthur Liberty travelled far and wide in the late 1800s and began collecting textiles that still live in the archive, with treasured infl uences from cultures all over the world. We have specialists in our design team who work as colourists specifi cally for this region, and they also adapt compositions and scales and create new designs to ensure they are perfectly suited to the market. Who is your customer in this region? In drapery stores we develop exclusive colourways and often bespoke designs for varied tastes and styles. Customers know the quality of our fabrics, in particular Tana Lawn cotton – the way it feels and looks. There is a trust, respect and enjoyment that they understand very well. They know how to sew and create with it. How has this regional customer base grown over time? The popularity of Liberty Fabrics has grown with the increased appetite for original designs full of exquisite detail. As every design in our collections begins as a hand-painted or drawn artwork, our customers appreciate the time and quality devoted to each design. Tell us about the link between your fabrics and abayas… Tana Lawn is a silk-like cotton so it is the perfect fabric to wear in all weathers; it is comfortable and breathable and the colours of the printed fabric are so vibrant that when you just see a cuff or a collar it is rich and beautiful. We create fabric for customers to buy, and they continue its creative journey into fi nished pieces. What about these designs will appeal to the Middle East customer? The region is drawn to the rich history of Liberty and its unique design aesthetic. For SS21 – Atlas of Dreams – the collection provides a sense of escape: from exotic botanicals to a desert rose. Recently we have found a signifi cant growth in designs featuring quintessentially English fl orals. In our last collection, the popularity of our large-scale poppy prints was remarkable. Each season we include English fl orals such as roses and daisies. Our Felda design for SS21 celebrates English wildfl ower meadows and has been painted in delicate washes of watercolour, whilst the oil- painted Cosmos celebrates the enduring beauty of the Anemone fl ower. ■ The Atlas of Dreams collection is available from Libertylondon.com from the end of November and from international draperies from February Bold colours and prints make up the new collection Navaho designs on Tana Lawn textiles give a desert-days feel HBA_151_060to061_Liberty_11411093.indd 6102/11/2020 03:08:12 PM62 HarpersBazaarArabia.com November 2020 It’s been a tumultuous year for cinema, with Covid-induced lockdowns forcing us away from the big screen in the direction of streaming services to get our fi lm fi xes. Butheina Kazim, co-creator of Dubai independent picture house Cinema Akil believes there’s nothing that can replace the joy of a visit to the theatre. Here, she returns to her last arthouse experience before the pandemic hit, and realises a world, and industry, that’s had to move with the new normal… “It was 8.22am in February 2020, and I was in Berlin for the International Film Festival. I pushed through the infamously overzealous Berlinale crowds, having already lined up for an hour outside the Friedrichstadt-Palast theatre. Darting up four fl ights of stairs, still taking in the splendour of the stained-glass panels and the hovering chandeliers, I fl ashed my badge at the usher at the last of the countless checkpoints, and waited. Then came the nod. I was in. The relief at scoring a decent seat in a venue that holds a huge 1,895 people stays with me still. I was one of the fi rst people in the world to see Matteo Garrone’s latest feature: Pinocchio, which had held its world premiere the previous night. I excitedly shuffl ed in my seat, smiled politely at the couple next to me as our winter clothes piled up around our feet, touching each other with an unspoken, but absolute, permission that’s since been lost. A few moments later, darkness descended, and after the obligatory orchestra of coughs (that had never even heard of Covid), the opening credits smiled. Pinocchio is a full-blown Garrone. Its magical images As the pandemic forces the fi lm world to adapt, Cinema Akil’s Butheina Kazim writes a love letter to the enduring allure of the arthouse BIG SCREEN ROMANCE Cinema Akil welcomes fi lm lovers once again to Alserkal Avenue The stylish interior that awaits the Cinema Akil audiences away from the big screen EDITED BY DEVINDER BAINS HBA_151_062to063_TalkingPoint_Cinema_11416562.indd 6202/11/2020 01:27:37 PM The TALKING POINT 63 HarpersBazaarArabia.com November 2020 sticky and its eeriness sprinkled with kisses of cute, all while the Dario Marianelli score tames its irregular characters. As I returned to Dubai, and considered the fi lm’s potential release at Cinema Akil, Februray turned to March, and the world became a very different place. Looking back, the fi lm, and all its peculiarity, was a foreshadowing of a world to come. The cinemas shut, the fears surged and lives were lost, and then as they reopened, considerations for the fears coped, and the lives bargained entered our thoughts. Today, theatres across Europe are shutting down again, while in India cinemas reopen despite a surge in cases. Video on demand (VOD) is gobbling up all in sight and growing more relevant by the day. Nearby, El Gouna Film Festival lives on with its red carpets, gala dinners and the trappings of a distant time. Elsewhere, theatrical releases are being pushed back, festivals postponed, it’s virtual everything and there’s subsequent Zoom fatigue. The pandemic has been plagued by an obsessive voraciousness for all things security; in our quest for food and cyber security, what becomes of the security of magic? Of poetry? The importance remains, and to appropriate author Joan Didion: “We tell ourselves stories in order to live.” And arthouses have also always ‘lived’, they’re fi ghters and survivors. Engaged in that warfare against complacency of the mind and its stagnations. Fortresses of fantasy and brutal realities alike, community spaces in the truest sense: placing their bets on stories that celebrate our humanity and collective existence. And this is not cinema’s fi rst pandemic survived, nor is it news that VOD enjoys unchallenged chomping rights at the theatrical pie. This ‘death of cinemas’ prophecy has been with us a while now: hiding and haunting. Yet somehow, despite it all, we fi nd ourselves coming back. Cinemas and fi lm festivals might look different right now, but come back we will. In October 2020, after a long holdback, we opened Matteo Garrone’s Pinocchio at Cinema Akil – the only picture house showing the fi lm in its original Italian language. I took my usual seat at the very back of the cinema, locked eyes with actor Roberto Benigni towering over the handful of spectators that had come to watch the fi lm. But this time, it was not Benigni I had come to see, and he wasn’t what the audience had come to see either. I’d watched as the small crowd had stood in line outside, apart but together, I looked on as they now sat: socially distanced but connected. They watched collectively, in a strange solidarity as the darkness descended, declaring them the brave. The opening credits smiled, and they all smiled back with fl ickering lights on their faces. And there, aligned with the peculiarities of 2020, a wooden puppet told me a secret: “We watch stories together; so we can truly see.” ■ For more information on Cinema Akil, visit: cinemaakil.com Butheina Kazim looks forward to a new normal for Cinema Akil Butheina picks the fi lms that have changed the face of 21st-century Arab cinema Theeb BY NAJI ABU NAWAR For reclaiming that window to parts relegated to the novels of Orientalist writers, in a tale of brotherly love. Caramel BY NADINE LABAKI For inviting that genre of sexy Arab cinema that is at once accessible and rich like caramel. As I Open My Eyes BY LEYLA BOUZID For its rethinking the utility of music and the eternal seductiveness of youth. A Present from the Past BY KAWTHAR YOUNIS For illustrating to the Arab fi lm universe that a documentary drenched in emotion and power can be simple and budget-compliant. Divine Intervention (Yadon Ilaheyya) BY ELIA SULEIMAN For defi ning how a master of cinema stays on top of his game and in full focus between one century and the next. HBA_151_062to063_TalkingPoint_Cinema_11416562.indd 6302/11/2020 01:27:47 PM64 HarpersBazaarArabia.com November 2020 MOVING PICTURES The TALKING POINT Dorra Zarrouk wears Lebanese designer Tony Ward Noutchka Karaguezian reports from the red carpet at Egypt’s El Gouna Film Festival HBA_151_064to67_TalkingPoint_GFF_11417432.indd 6402/11/2020 01:29:29 PM The TALKING POINT 65 HarpersBazaarArabia.com November 2020 Egypt’s history and breathtaking impact on modern civilisation is world-renowned: the birthplace of Cleopatra and the home to the famed River Nile. Alongside its ancient mysticism, it is also the hub of one of the biggest and most thriving movie industries in the world: who could forget Omar Sharif ’s Oscar-nominated performance in Lawrence of Arabia? Egypt’s cinemas and theatres were once an exclusive home in the region for fi rst-runs of Twentieth Century Fox Films and displaying the famed roaring lion of MGM. The cinemas themselves, Art Deco masterpieces, conquered the imagination of many architects during their golden age, embracing the style of Ancient Egypt, complete with crimson-carpeted stairways, chandeliers in the foyer and ushers with long red coats. It was a combination of magic and luxury, hosting some of the earliest-known screenings of the world’s fi rst movies, and putting the cinema industry at the forefront. It was the capital of the Arab fi lm world. From its own Clark Cable (Roushdy Abaza), Cinderella (Soad Hosny) and Marilyn Monroe (Hind Rostom), Egypt’s love affair and deep connection with moving pictures continues to this day. Millions watched the silver screen in the early years of the Egyptian fi lm industry, captured by a time of passion, mystery and escapism. Even today, some of the Arab world’s most-famous movie stars come from Egypt, including Yousra, Bushra, Leila Alaoui and Yasmine Sabri. And last month, the past and the present came together on the glittering shores of the Red Sea to attend the El Gouna Film Festival – one of the Middle East’s most respected fi lm industry events. This year, however, Covid restrictions meant the festival needed a makeover. Screenings were fi lled to half capacity and a scheduled sanitation took place in between viewings, as well as, of course, social distancing. Despite it all, the festival was a success. Stunning gowns, dazzling face masks and an air of movie magic dominated the nine-day festival. “It’s diffi cult, but we’re trying to set an example to the rest of the world, just like the Venice Film Festival,” explained actress Bushra Rozza, speaking to Harper’s Bazaar Arabia at the festival. Other actresses on the red carpet included a Egyptian powerhouse and Bazaar ex-cover star, Yousra “ I T ’ S D I FFI C U LT , B U T W E ’ R E T R Y I N G TO S E T A N E X A M P L E TO T H E RE S T O F T H E WO R L D , J U S T L I K E T H E V E N I C E F I L M FE S T I V A L ” Bu shra Bushra, actress and Co-founder of the festival HBA_151_064to67_TalkingPoint_GFF_11417432.indd 6502/11/2020 01:29:48 PM66 HarpersBazaarArabia.com November 2020 feather-clad Shereen Reda, who co-starred with British actress Andrea Riseborough in the British-Egyptian movie Luxor – a Sundance fi lm festival nominee. She talked about how the coronavirus will make the fi lm industry more “innovative, because we are trying to fi nd solutions.” The theme for this year’s fi lm festival was ‘The Culture of Dreams’ and it showcased 63 fi lms across competition categories including: Feature Narrative, Feature Documentary, Short Film, Offi cial Selection and a Special Presentations category. Speaking to Harper’s Bazaar Arabia from the red carpet as she arrived at the fi lm festival, actress Bushra Rozza captured the mood: “Of course it affected the whole world, not just the fi lm industry, but we are still dreaming, as they said in this year’s festival slogan.” Netfl ix’s Arabic original show Paranormal is the fi rst-ever Egyptian series on the streaming platform, and the festival celebrated by announcing the cast. Egyptian comedian Ahmed Amin will take the lead role in the show which is an adaptation of the late Egyptian author Ahmed Khaled Tawfi q’s thriller book series Ma Wara’ El Tabiaa (The Paranormal). The book sold over 15 million copies worldwide, making it one of the most successful literary works to come out of MENA. Another hit was the Australian fi lm The Furnace, co-starring Egyptian actor Ahmed Malek, for his fi rst international role: a story about a young Afghan cameleer escaping the outback and getting caught up with a bushman on the run. Despite the obvious diffi culties, stars did their best to remain interactive on the red carpet, and although it was tricky to distinguish their expressions under the plethora of masks, there was still a buzz of excitement at being present at Actress Amina Khalil “O F CO U R S E I T A FFE C T E D T H E W H O L E W O R L D , N O T J U S T T H E F I L M I N D U S T R Y , B U T W E AR E S T I L L D R E A M I N G , A S I T SA Y S I N T H IS Y E A R ’ S FE S T I VA L S L O G A N ” Bu shra Tara Emad in a dress by Egyptian designer Deana Shabaan HBA_151_064to67_TalkingPoint_GFF_11417432.indd 6602/11/2020 01:30:04 PM The TALKING POINT 67 HarpersBazaarArabia.com November 2020 the festival. “It feels amazing to be here,” shared Jordanian actress Mais Hamdan. “The El Gouna Film Festival this year exceeded my expectations.” As with the rest of the world, many functions, conferences and service offerings shifted online, with the main ceremony fi lmed live and available for people to view on various digital platforms, as were the shows and fi lms from the festival. And the attitude towards streaming in general was a truly positive one. “I believe that platforms will open a lot of opportunities to more people that want to showcase their work,” said legendary actress Yousra who exuded Hollywood glamour on the red carpet. “They will have a chance to showcase their fi lms, series, or their artwork – whatever the type is. I believe platforms will open big, big opportunities for them and I’m very proud of that.” Despite the current optimism, the Egyptian fi lm industry suffered major losses as summer releases were put on hold, and production of many movies were temporarily suspended. Film makers had to cut staff and adjust how and when to fi lm with all the Covid-added regulations. Speaking exclusively to Harper’s Bazaar Arabia from the red carpet, actress Basma shared her experience with having had to fi lm during the pandemic. “We were very anxious while fi lming,” she recalled of her scenes. “For example, if there’s a scene where you’re hugging your mum, you’ll think a thousand times before you do it. It’s as simple as that.” The Egyptian fi lm industry also mourned the loss of many legendary actors: Hassan Hosny, Nadia Lutfi , Ezzat Abou Aouf, Mahmoud Yassin, Ragaa al-Geddawy to name but a few. But their memory and art will live on – on screen. And as the festival closed, the truth is that nothing can stop Egyptian cinema from creating magic. From Adel Emam’s comedy, the beautiful Yousra bursting onto the big screen, or the works of producers such as Mohamed Hefzy, the festival was a timely reminder of the robust and vibrant cinema industry. The ‘Hollywood on the Nile’ that leaves us in tears, give us laughter and feeds our smiles. The power of fi lms has an impact far greater than fi rst imagined and most importantly, has played a vital role in keeping us positive during these diffi cult times. As American poet Roger Zelazny once said: “Don’t wake me for the end of the world, unless it has very good special effects.” ■ “T H E P L A T F O R M S W I LL O P EN A L O T OF OPP O R T UNITI E S TO M O R E P E O P L E TH A T WA N T T O SHO W C A S E TH E I R WO R K ” Yo u s r a Menna Shalabi went in a ruffl ed gown by Lebanese brand Azzi & Osta Actress Mariam El-Khosht, known for La Totfe’ Al Shams, wore a dress by Shahir Alasheen TV host Raya Abirached chose a black look by Valentino HBA_151_064to67_TalkingPoint_GFF_11417432.indd 6702/11/2020 01:30:13 PM68 HarpersBazaarArabia.com November 2020 M YA Dedication, dragons and Death Becomes Her… our conversation with Egyptian actress May Calamawy was as diverse as the Arab stories she’s set on telling. Olivia Phillips spoke to the breakout star of Golden Globe-winning Ramy about the power of real female voices – both on and off-screen… Photography by JAMIE NELSON Styling by ANNA CASTAN CA L A M A W Y The INTERVIEW HBA_151_068to083_MayCalamawy_11417429.indd 6802/11/2020 01:33:02 PM The INTERVIEW 69 HarpersBazaarArabia.com November 2020 Top, Dhs8,500; Trousers, Dhs7,000, both Hermès HBA_151_068to083_MayCalamawy_11417429.indd 6902/11/2020 01:33:09 PMNext >