< Previous30 HarpersBazaarArabia.com October 2023 OUTSIDE THE LINES In her hotly anticipated second book, Eyeliner: A Cultural History, Lebanese- Egyptian writer Zahra Hankir traverses continents to explore the allure, power, and cultural importance of kohl Words by NATALIE HUGHES T H E E Y E W E SP Y HBQ_032_30to31_News_ZahraHankir_13048833.indd 3016/10/2023 14:4231 Harper’s Bazaar Qatar Autumn/Winter 2023 The NEWS “I use kajal every day,” says Zahra Hankir, holding up the ornate, brass kohl pot she uses daily – a gift from her mother, purchased in the souks of Silon. Th e Lebanese-Egyptian journalist and writer is speaking to us from her New York apartment, ahead of the release of her second book, Eyeliner: A Cultural History. “It’s an inherent part of my identity.” It wasn’t solely Zahra’s personal connection to eyeliner that inspired her to write the book, though it played a signifi cant part. More than that, she wanted to celebrate the traditions of communities of colour, specifi cally those out of the East. “Many of the chapters focus on Eastern culture and tradition, and amplify the voices of people from the regions,” she explains. In this sharing of stories, Eyeliner has something in common with Zahra’s fi rst book, Our Women on the Ground – a collection of essays by Arab women journalists reporting on war and trauma – though admittedly, the subject matter is lighter. Th is is something Zahra acknowledges. Prior to working on Eyeliner, she was reporting from Karantina in the aftermath of the Beirut blast, during which time the pandemic was also looming large. “I had been toying with the idea [for Eyeliner] for a while,” she tells us. “But I struggled to settle on it. I felt that people might think it was superfi cial. And frivolous. And how could I be writing a book about this cosmetic when so much was unfolding around the Middle East?” It was Zahra’s mother that gave her the push she needed. “She took me to the souks of Silon on my birthday, to the oldest kohl seller in my hometown. She said, ‘You really have to write this book. It’s such a beautiful idea and celebration.’” Eyeliner is about so much more than make-up. Expansive and richly researched, the book not only charts the history of this ancient product, but also goes deep in exploring the role of eyeliner (or kajal, kohl, or sormeh) as a tool for rebellion and self-expression, and as a means of celebrating one’s cultural identity. In researching and writing it, Zahra spent time in six countries including Japan, India, and Chad, speaking with geisha, cholas, chicanas, dancers, and more. How many interviews did she conduct? “Hundreds,” she replies. “In Petra alone, it was upwards of 80, and for each chapter it was dozens, so together it would be hundreds.” Th e project was ambitious, made even more so by pandemic-induced lockdown. In lieu of being able to travel at points during the book’s two-year genesis, Zahra read (prolifi cally), watched fi lms, and did a vast amount of visual research. “I devoted two months of pure research for each chapter,” she recalls. “I immersed myself in each culture and reached out to people from within cultures [outside of my own] to assist me with some of the research because that’s what I would hope for if someone was writing about my region.” One chapter is dedicated to Amy Winehouse, who was rarely seen without her theatrically winged eyeliner. While researching this part of the book, Zahra notes that life began to imitate art. “My wings were becoming bigger and bigger,” she laughs. “Random strangers would say, ‘Has anyone ever told you you look like Amy Winehouse?’” She even had a dream about the singer – a sign of Winehouse’s approval, according to the late star’s hairdresser, who Zahra also interviewed. “Th e point is, that’s how immersed I was in each chapter. I really wanted to understand the characters, the cultures, and the communities.” Zahra camped out for eight days in Chad’s savanna region to observe the Worso, the Wodaabe people’s annual beauty contest in which the women judge the men – a tradition that subverts the idea that beauty is the preserve of women. While she was there, she met 19-year-old Adam, who had travelled from the capital of N’Djamena to see the festival. “I had such a special bond with him,” she says. “He really opened up to me about how he would like to study medicine in the west and then return to Chad. He talked with such pride about his eyeliner, which he wears both for cultural and medicinal reasons. Part of his desire to become a doctor was because he found it so fascinating that kohl had these medicinal properties.” During her stay in the desert, Zahra ran out of her beloved eyeliner; luckily, Adam came to her rescue. “He brought me some of his,” she says, speaking to the wonderful connectedness kohl brings. We chat about how eyeliner can be as much a tool for rebellion as self- expression, and sometimes both – something Hankir explores in rich detail in the book. In Iran, the conspicuity of one’s eye make-up can be the diff erence between life and death. “[Th ere, women] balance their desire for self-expression against their assessment of risk,” Zahra notes. Apart from that brief, kohl-less moment in Chad, Zahra is never without her own signature eyeliner; the aforementioned kajal traces her lower waterline and inner corner of her eye, while a dramatic wing, architected from NYX liquid eyeliner (her favourite kind), adorns her lid. For the writer, these ‘magical lines’ gave her confi dence as a young girl with Levantine-Egyptian heritage living in Northern England (where her family had moved during the Lebanese Civil War), and continue to anchor her in many ways. “[Eyeliner] connects me to so many diff erent parts of my identity,” she says. “My grandmother, my mother, the Prophet Muhammad (PBUH), Queen Nefertiti… I do not live in the Middle East anymore, and it connects me to that land. What is so powerful about eyeliner is that it can take you across oceans and across continents.” Zahra has adored Queen Nerfetiti since she fi rst laid eyes on an image of her in a 1961 issue of National Geographic, at the age of 14. She saw something of herself in the Egyptian queen – a refreshing change to the Eurocentric ideals presented in the teen magazines she’d leafed through before. “I’d argue that she’s the original beauty infl uencer,” she insists. For Zahra, part of the power of wearing eyeliner is paying homage to her enduring beauty icon, who she credits with popularising eyeliner. “I actually have a picture of her in front of me right now,” she says with a smile, casting her (immaculately winged) eyes upwards of her computer screen, to a wall out of view. “Eyeliner makes me feel like I’m part of this constellation of beautiful, strong women – starting with Nefertiti. I could talk about Nefertiti for days.” And we could listen. “What is so powerful about eyeliner is that it can take you across oceans and across continents” The UK-based author’s second book, followed on from her bestselling debut Our Women on the Ground PHOTOGRAPHY : FERNANDO GOMEZ HBQ_032_30to31_News_ZahraHankir_13048833.indd 3116/10/2023 14:43 The NEWS 32 Harper’s Bazaar Qatar Autumn/Winter 2023 To celebrate Ex Nihilo’s 10 year anniversary, Bazaar meets the founders of the niche maison for an immersive olfactive experience in the heart of Paris Words by NARGES RAISS T H E M I X M A S T ER PAST, PRESENT AND FUTURE There is a name that stands out in the world of haute perfumery for its commitment to creating gender- neutral smells. Ex Nihilo, a niche perfume brand, recently celebrated its 10th anniversary and launched a new fragrance called Blue Talisman by Spanish master nose perfumer Jordi Fernandez. Established by Benoît Verdier, Olivier Royère, and Sylvie Loday, three visionaries who set out to shake up the perfume business with their revolutionary idea, the uniqueness of the brand stems from the fact that none of the trio come from a traditional perfumer’s background. Although this may seem unusual for a scent specialist, this innovative spirit has contributed to its phenomenal success. Benoît, who takes on more of a marketing and creative leadership role, explains, “We don’t share the more conservative ideas of most of the fragrance industry, so we have been very open to change. Th at’s how we’ve managed to evolve and carve out our own footprint.” Sylvie possessed prior experience at Givaudan Laboratory, establishing a connection between the brand, the industry, and the perfumers. Givaudan is a Swiss company engaged in the manufacturing of fragrances, active cosmetic ingredients and one of the world’s leading scent producers. In contrast, Olivier’s banking background enables him to manage the fi nancial aspects of the business eff ectively. Th e synergy between all three is the key to Ex Nihilo’s growth. PIONEERS OF INNOVATION Th e maison’s starting point was the French avant-garde and its yearning to abandon convention in favour of building new ideas. Ex Nihilo, which means ‘out of nothing’ in Latin, is inspired by a period of optimism and originality when people believed anything was possible. Th e creativity of the company goes far beyond the realm of perfumery, permeating other fi elds such as architecture, design, and art glass. Th e spirit of collaboration at its heart encourages new connections between the perfume industry, cutting-edge tech companies, and thriving artistic circles. Ex Nihilo does more than make scents; it creates multisensory experiences that fuse aroma, art, and technology. Th e brand’s clients are encouraged to expand their perception of aroma into a wider domain of an olfactory journey at their boutiques. Th ese establishments encourage exploration by providing expert scent advice one-on-one. Perfume connoisseurs get a sneak peek at the handiwork that goes into each scent as they try out rare new raw components. Fragrance testers that use electronics bring together tradition and modernity. Th e house was an early leader in highlighting the noses HBQ_032_32to33_News_Ex Nihlo_13044922.indd 3216/10/2023 14:4433 Harper’s Bazaar Qatar Autumn/Winter 2023 IMAGES: SUPPLIED FLEUR NARCOTIQUE: THE ICON Th e popularity of Fleur Narcotique has helped the company reach its 10th anniversary. Fans which include Hailey Bieber, love the way the fragrance unfolds in a sequence of olfactory notes, with top notes of bergamot, lychee, and peach, followed by a heart of jasmine, peony, and orange blossom, and fi nally, a base of transparent wood, moss, and musk. A perfumer since 2011, Quentin specialises in crafting sophisticated, complex, and feminine creations for Ex Nihilo. He also masterminds fragrances for artistic expressions, including shows, exhibitions, and concerts. BLUE TALISMAN: THE FUTURE In celebration of their 10th anniversary, Ex Nihilo has released Blue Talisman by Jordi Fernandez. It was created as a hypnotic jewel inspired by the iconic Place Vendôme in Paris, representing the best of the brand’s expertise. It serves as an olfactory statement honouring the company’s 10 years of innovation and luxury. And, it’s is destined for iconic status in the niche perfume industry because of its expertly crafted notes. Th e cutting-edge top notes combine the subtle freshness of bergamot, pear, mandarin orange, and ginger, while its heart reveals a captivating blend of orange blossom and georgywood, all resting upon a rich base of ambrofi x, musk, and akigalawood. Ex Nihilo has revolutionised the perfume industry in just 10 years, changing how we present and perceive scent. Th eir dedication to originality, openess, innovation and diversity makes them a name to remember. What the next decade holds for Ex Nihilo and the world of scent connoisseurs is surely bright as they continue to disrupt the market with their novel approach, staying true to their avant-garde core values. “We don’t share the more conservative ideas of most of the fragrance industry” Benoît Verdier The three founders are determined to continue disrupting the scent scene The NEWS Blue Talisman (right) was created to mark the house’s 10-year anniversary and joins stalwart Fleur Narcotique (left). Clients can also customise scents at the maison’s boutiques (far right) behind your favorite perfumes. Other brands hid the perfumers’ names behind their products, but Ex Nihilo encouraged openness. Th ey put the spotlight on personalities like Jordi Fernández, a self-taught senior perfumer at Givaudan laboratory and the nose behind the maison’s latest anniversary creation, Blue Talisman. Jordi’s expertise in traditional Middle Eastern perfumery has earned him the reputation of a master of oud and exotic scents. He has spent many years immersing himself in the region’s culture, meeting people and visiting places to gain a deep understanding of the region’s preferences and traditions. Another man to know? Th e mastermind behind signature scent Fleur Narcotique is Quentin Bisch, who has worked with some of the biggest names in the fragrance industry, Carolina Herrera, Mugler, and Jean Paul Gaultier. Th is newfound transparency about the people and processes behind your favourite perfumes is a huge step forward for the industry. LA MAISON EX NIHILO Th e Parisian fl agship boutique on Faubourg St. Honoré is home to the brand’s signature fully personalised scent service. Why not make your own semi-custom fragrance? Th e Osmologue, a miniature replica of the fragrance-making equipment at Givaudan Laboratory, is its key component. Th is cutting-edge fragrance-blending device lets customers develop personalised scents, empowering clients to customise any perfume from the Initiale and Babylone assortments with iris Padilla, vanilla bourbon, white musk, and other absolutes. Benoit Verdier, Ex Nihilo co-founder, emphasises the importance of this experience, saying, “I think this is what people are looking for – to be part of the process. And, you don’t have to wait for six months to get the results! You can go home directly with it.” Regarding the presentation of its high-end scents, Ex Nihilo spares no detail, fusing form and function. Each fragrance is packaged in a recyclable foam box with a cardboard insert that may be reused. Th is not only looks stunning, but shields perfumes from environmental factors like light and heat in transit. Sustainability is also at the core of the brand’s ethos as they only use cardboard or foam packaging which means that any type of packing material can be reused or recycled and has made sustainable sourcing the brand’s top priority. Simplicity and versatility is key. Th ese scents were developed with gender neutrality and ease of use in mind. According to Verdier, “All our fragrances are genderless, something we can share. Th e ambition of the brand is to talk to a new generation and to keep disrupting the status quo of the industry.” HBQ_032_32to33_News_Ex Nihlo_13044922.indd 3316/10/2023 14:4434 Harper’s Bazaar Qatar Autumn/Winter 2023 FR EEZE FR A ME Words by NATASHA FARUQUE Artist, activist and adventurer Zaria Forman, and Vacheron Constantin, take us on a journey through Iceland T H E T I M E F O R CH AN G E HBQ_032_34to38_News_VCA_13052144.indd 3417/10/2023 12:4635 Harper’s Bazaar Qatar Autumn/Winter 2023 The NEWS Iceland’s stunning landscapes draw visitors from all over the world, but are a stark reminder of the eff ects of climate change You see that blue piece of ice?” our Icelandic guide points to an iceberg over two storeys high, jutting out of the freezing cold waters of the Jökulsárlón glacier lagoon. “It turned this morning, dropping big chunks all around it. Don’t go too near, as it is constantly melting and moving. And what you see, is of course just the tip…” “When my grandmother was young, she said that there was no glacier lagoon,” he adds sadly. “It was just sheets of ice. Th at’s the eff ect of climate change.” And that is what Zaria Forman, the face of Swiss watchmaker Vacheron Constantin’s latest Overseas campaign and newest recruit to its illustrious One of Not Many roster, which celebrates creative excellence in a multitude of guises, wants to highlight. Th e New York-based creative’s canvases are unique. After spending days documenting icescapes, via video and photography, she creates large-scale pastel pieces – they are so intricate and life-like that on fi rst glance, they look like pictures. She has also broadened her repertoire, and her latest work, inspired by the polar scenery in Iceland, in collaboration with Vacheron Constantin, includes sculpture and video installations as part of the exhibit unveiled at Reykjavik’s Harper Centre, before touring the world, raising awareness about the environmental damage that is being wrecked. Zaria, a noted name in creative circles, has had a unique career punctuated with extreme journeys from the start: she’s even embarked on a NASA scientifi c mission over the Canadian Arctic, Antartica and Greenland in 2016. She’s been a National Geographic artist-in- residence in Antartica, and her work was showcased as part of Banksy’s seminal Dismaland exhibit. As the mother-to-Ziggy gave Bazaar a personal tour of the scenery that inspired her – from the black volcanic Diamond Beach dotted with massive pieces of glistening ice, to dramatic waterfalls – we discussed her pursuit of perfection, and how that made this partnership with Vacheron Constantin such a natural fi t. The Overseas watch celebrates the spirit of exploration which is why Zaria was the ideal choice to personify the campaign HBQ_032_34to38_News_VCA_13052144.indd 3517/10/2023 12:4636 Harper’s Bazaar Qatar Autumn/Winter 2023 The NEWS Did you always know that you were going to be an artist? Th e inspiration for my drawings began in my early childhood, when I travelled with my family throughout several of the world’s most remote landscapes, which became the subject of my mother’s fi ne art photography. She led us to the most remote places she could fi nd, and those experiences instilled in me a deep love of landscape. I developed an appreciation for the beauty and vastness of the ever-changing sky and sea. I loved watching a far-off storm on the western desert plains, the monsoon rains of southern India, and the cold arctic light illuminating Greenland’s waters. I have very fond memories of our trips and consider them a vital part of my upbringing and education. I feel very fortunate that I had the opportunity to see so much of the world, and to learn fi rst- hand about cultures so vastly diff erent from my own. I didn’t always know I wanted to create art professionally, but it was always a part of my life from day one, and the natural world has always been my greatest inspiration. You have a very unique research method from which your artwork comes to life. When I travel, I take thousands of photographs, and soak up the landscape with my eyes (and full being!). Once I return to the studio, I draw from my memory of the experience as well as from the photographs, to create large-scale compositions. Occasionally I will re-invent the water or sky, alter the shape of the ice, or mix and match a few diff erent images to create the composition I envision, but I’d say 90 per cent of the time I draw the landscape as I experienced it, in order to stay true to what existed at that moment in time. I begin with a very simple pencil sketch so I have a few major lines to follow, and then I add layers of pigment onto the paper, smudging everything with my palms and fi ngers. I break the pastel into sharp shards to render fi ner details on top of the base layers. Did your activism start when you saw these landscapes in transition? Th e severity of the climate crisis really hit me when I visited Greenland for the fi rst time in 2007. At the time, we weren’t talking about it. But in Greenland, it was a constant topic of discussion. Scientists were visiting to study changes in the ice, newscasters were coming to write about it, and government offi cials coming to learn. I had countless conversations with the locals about how their homeland is transforming so drastically that they are forced to adapt in order to survive. Out in the ice fj ords, I felt both the power and the fragility of the landscape. Th e sheer size, majesty, and beauty of the icebergs is humbling. Th e ice fj ords are alive with movement and thunderous cracking – reminders of their destructive capabilities. Yet while their threatening potential is evident, so is their vulnerability: I could see the ice melting under the unseasonably warm sun. At the time, I was already planning to make drawings of Greenland, but also seeking a higher purpose for my work. It was clear to me that the story I needed to tell in my drawings was that of our changing climate. Do you feel what you do is a profession, a calling, or a bit of both? I think it’s both. I believe we all have a responsibility to make this world a better place in any way that we can, whether it’s being kind to strangers, or building an organization to feed the hungry. Art is the sharpest tool in my toolbox, and I feel very lucky that it’s also something I enjoy doing, and that I’m able to make a living off of it. What eff ect do you hope your work will have on the viewer? My motivation as an artist has always been to evoke an emotional connection to these dramatic, fragile places and to forge a sense of stewardship. Because few people are able to experience these remote and extreme landscapes themselves, the size of my drawings serves to physically and emotionally envelop the viewer, facilitating both intimacy and awe. Psychology tells us that art has a special ability to tap into emotions, and that we take action and make decisions based on our emotions more than anything else. When you love something, you want to protect it, so if viewers can fall in love with these places as I have, perhaps they will be inspired to preserve them. It isn’t immediately clear at fi rst what the link is between horology and your work, but once you start thinking about it, time is at the core of what you do too. In collaborating with Vacheron Constantin I discovered a world that I didn’t know and one that appealed to me in many ways, particularly in terms of the craftsmanship and artistic skills necessary to create timepieces. I’m familiar with this attention to detail in my own work – accuracy, and rigorous technical discipline is required, without losing sight of the big picture. Vacheron Constantin and I share this common spirit, making it entirely natural for our paths to converge. Additionally, time is a theme that runs through my work in a myriad of ways. It begins with an instant, when the light hits the ice just right. It’s often a fl eeting moment in harsh landscapes with unpredictable weather. I snap a photo in one second. Th en, working in my studio, I draw that moment out, metaphorically and physically, into the weeks and months that it takes me to complete a drawing. Th e ice I draw has time and history inside its depths. Ancient air bubbles that are trapped in the ice from when the glacier was formed, that are studied by scientists to determine the age of the ice (which can be millions of years old!). Th e landscapes I draw are so ephemeral, that by the time I have completed a drawing, the ice I’ve rendered no longer exists. How much time does it take a glacier to collapse? We are still learning the answer to that. And fi nally, there is the time that we still have to restore our planets natural systems before it’s too late. Th e clock is running down on climate change – on the window of time we have left to avert its worst consequences. PHOTOGRAPHS: SUPPLIED “When you love something, you want to protect it” HBQ_032_34to38_News_VCA_13052144.indd 3617/10/2023 12:4737 Harper’s Bazaar Qatar Autumn/Winter 2023 Zaria and Vacheron Constantin took Bazaar on a tour of Iceland, the inspiration behind their latest collaboration The artist uses pastels to paint her photo- realistic canvases, inspired by icescapes The NEWS HBQ_032_34to38_News_VCA_13052144.indd 3717/10/2023 12:4738 Harper’s Bazaar Qatar Autumn/Winter 2023 You also have a keen sense of adventure which refl ects the Overseas Collection. Flying with NASA was defi nitely the most unusual expedition of my career thus far. Th ey invite me to join Operation IceBridge, an airborne science mission that has been mapping changes in the ice at both poles for over a decade. I joined some of their fl ights over both poles. Th e aircrafts were equipped with a whole suite of instruments including lasers, radars, an infrared sensor, digital photography and a gravimeter (which measures gravity). Flights were 12 hours on average, and we fl ew only 1,500 feet above glaciers, sea ice, and mountain ranges. For most of us, the polar ice sheets are just giant white spots on a map. And indeed, they sometimes look like that from the air. But the IceBridge scientists and engineers know that there’s rapid change occurring beneath the surface – a complex interplay of freshwater rivers, valleys of bedrock, and warmer ocean waters eating away at glaciers from beneath. As our climate changes, ice melt is speeding up. Th e rate at which the whole of Antarctica is shedding ice has tripled over the past decade. Th ese IceBridge missions are collecting critical information that can tell us how this ice loss is occurring – and what these changes mean for sea level rise and coastal communities around the world. Some of the drawings in this series were born from photographs taken from the window of NASA’s fl ying laboratory. But other material came from cameras that are fi xed to the belly of the plane, pointing downward. Th ese images are one of the mapping tools IceBridge uses to track ice changes over time. So, in a way, these drawings represent the body of evidence that help scientists understand how climate change is aff ecting our planet. My proximity to NASA scientists allowed me to ask endless questions about what we were seeing and how they were measuring it. Th is experience informed and elevated my own practice of observing ice, and in turn, my drawing technique evolved toward heightened precision and nuance. The NEWS Th e sometimes dizzying perspective of the imagery nods to the impossibility of grasping the size of these places. Even after logging 40,000 miles over 95 hours in the air, it’s still diffi cult to comprehend the vastness of polar ice and the rate at which it is disappearing. Climate change, too, can feel like an overwhelming abstraction. While it is arguably the biggest challenge of our time, it’s also one of the hardest stories to tell. Th ese drawings are a portrait of accelerated loss – and a clarion call for faster action against that loss. What have some of the highlights of your work been? Th e very fi rst glacier I ever saw was Sermeq Kajalleq in Greenland, on that family trip in 2007. Five years later, I returned to spread my mother’s ashes in Disco Bay where the glacier carves icebergs into the ocean, on an expedition I led in her honour. Another fi ve years after that, I had the opportunity to fl y over the same glacier with NASA, to see the ice, and my mother, from above. I made a drawing of Sermeq Kajalleq, inspired by my fl ights with NASA – that single work that holds the most meaning for me. Th is sequence of events over the course of ten years is a major highlight of my career and life. Who do you admire, both in your artistic realm, as an adventurer, and in general? My mother’s dedication, passion, and perseverance as an artist and adventurer continue to inspire me. She would spend hours on an icy cliff edge, waiting for the sunlight to illuminate the frame through her camera lens, smiling and happy, long after the rest of the family’s toes had gone numb. Olifer Eliasson is one of my favourite artists who continues to inspire me as well. We have a similar passion for the environment but work in entirely diff erent mediums. Is there a destination that remains on your bucket list? Alaska is perhaps the next icy landscape I would love to visit – I have never been. It’s been recommended to me by many people who have seen all the icy frontiers of our planet. Your work is hyper-realistic – one actually feels chills looking at it – have you thought about how modern technology like AI will infl uence your work going forward? At the moment I have no plans to incorporate AI in my work. It has not had any infl uence on me to date. My work is rooted in the natural world – I render the beauty of what we stand to lose. When we discuss polar landscapes, words like ‘otherworldy’ often arise. I want to show viewers that these remote places are very much of our world. Th ey are our planets cooling system, and if we let that system collapse, we may not survive as a human race. I can’t see how AI would have anything meaningful to contribute to this discussion, but who knows what the future holds and if or how my interest may shift. You are obviously drawn to the ice. But have you ever artistically explored the desert? No, I have not, but for no particular reason other than ice continues to inspire me, and I have not felt pulled to render desert landscapes. One never knows what the future holds, but I still have so much to learn about rendering the vast array of icy textures, surfaces, and depths, and I believe it will continue to inspire me as long as I continue to work outside my comfort zone, and as long as climate change continues to be the largest crisis we face globally. From left: Zaria primarily works with pastels on canvas, and creates work like Fellsfjara, a centrepiece of her Vacheron Constantin collaboration HBQ_032_34to38_News_VCA_13052144.indd 3817/10/2023 12:4739 Harper’s Bazaar Qatar Autumn/Winter 2023 Bucket PHOTOGRAPHY : P AUL ZAK. STYLING: CR YST ALLE COX Lamb Wool-lined Leather Sandals,QR3,280, Gucci FUR BABIES Feel like you’re fl oating on air as you slip into the fashion totem of the season – the fuzzy sandal 39 Harper’s Bazaar Qatar Autumn/Winter 2023 HBQ_032_39_MustHaveList_Gucci cats_13053233.indd 3916/10/2023 14:50Next >