< Previous378 Few embody the Saudi success story better than Abadia. In the past 12 months alone, not only has it secured international investment from Turmeric Capital, but it’s also become the fi rst brand from the Kingdom to be stocked on Net-a-Porter. “It’s been monumental,” refl ects co-founder Shahd AlShehail. “We’ve defi nitely hit a lot of milestones that were important for Abadia this year.” Yet showing the confi dence and ambition that no doubt wowed both chairman of Turmeric Capital, Ravi Thakran, and interim CEO of Yoox Net-a-Porter Group, Alison Loehnis, according to Shahd, these achievements have been part of the plan all along. “When we started Abadia, the goal was always to go global,” she recalls. “The dream was to defi ne what craftsmanship and luxury could mean from this part of the world, to have a very unique point of view, and to bring that to a global audience. These milestones actually reinforced that we’re getting there.” She acknowledges, “We are very aware how diffi cult it is to be on-boarded on Net-a-Porter. It’s one of the most selective doors out there.” On what made Abadia stand out, she observes, “In such a competitive world, your brand needs to have the full package. It’s not just having an amazing product, it’s having an amazing product with an authentic story, superior craftsmanship, quality of the product itself, the pricing, positioning, and the overall brand perception. There were so many moving parts that were needed to come together for Abadia, for us to be ready. We were very conscious of that from the start, and we were working towards that year on year, improving our messaging, improving product development, design, fabrications, and our work with artisans. So, all of that coming together was what made our brand attractive for retailers like Net-a-Porter.” It’s the luxury online retailer’s positioning and international reach, plus its customer crossover, that makes it an enviable retail partner for Abadia. “It made sense on a lot of levels,” Shahd admits. “It’s been a long time coming. We’ve been connecting with and presenting to the team for a while, and I met Alison in person last year when she visited our offi ces and experienced the brand in the true sense – not the glossy end of it, but the atelier, the real work. That was a really special moment.” Shahd’s honesty, authenticity and quiet tenacity paid off when six signature styles – the Yara panelled hammered-satin gown in yellow and silver; the Seen metallic lace coat; the Nuun bead-embellished grosgrain- trimmed braided piqué coat; a double-breasted satin-twill trench coat; and a crinkled-voile maxi dress – launched on Net-a-Porter in December 2023, with more designs set to drop in 2024. For an international audience discovering Abadia for the fi rst time, think of modern and contemporary names such as The Row and Jil Sander – “brands that focus on craftsmanship, fabrication, timeless designs, really high quality while being also innovative design leaders in their fi eld,” adds Shahd. In the co-founder’s own words, “The way I would introduce Abadia is we’re an ethical luxury brand that strives to be a timeless addition to a woman’s wardrobe. Aesthetically, we are a balance between contrasts of masculine and feminine, we play with volume and structure. And a huge part of the brand’s mission is to support craftsmanship from the region and include it by working with artisans and preserving and reviving that craftsmanship in a modern way.” However, what wasn’t planned was becoming a pioneer among her peers. “It was never about being the fi rst Saudi brand,” Shahd muses, modestly. “As we started the process, we realised, ‘Wait a minute, we’re the fi rst Saudi brand on it’. It’s really exciting to open that door for ourselves and for everyone. And I know we won’t be the last of the Saudi brands on there. There’s some amazing talent in Saudi Arabia and we’re happy to be one part of that journey.” PHOTOGRAPHY Amina Zaher STYLING Nour Bou Ezz SENIOR PRODUCER Steff Hawker MAKEUP Jean Kairouz HAIR Maggie Semaan WORDS Alison Tay Shahd AlShehail’s ethical luxury label may be the only Saudi brand to retail on Net-a-Porter but here’s why she believes it will be the rst of many 376-381_VISION_VOL2_ABADIA-MS.indd 37819/04/2024 14:58379 376-381_VISION_VOL2_ABADIA-MS.indd 37919/04/2024 14:58376-381_VISION_VOL2_ABADIA-MS.indd 38019/04/2024 14:58381 Shahd’s advice to her fellow Saudi brands wishing to emulate her career trajectory? Be consistent. “You need to keep showing up, you need to keep improving, season on season. I think that’s a huge determining factor of success. This industry and the global market generally can feel uncertain, but your vision for the brand has to be very consistent with every delivery and every touchpoint and every interaction.” And when that time comes, Shahd promises strangers to Saudi fashion, “You will fi nd a really exciting offering, something really different and fresh and something that’s also luxurious and beautiful. Not just Abadia, but all my colleagues in the industry. I see the amount of work and effort that’s always put into creating something really special, when it comes to material, design and details. Even within the current competitive landscape and the fact that there are so many brands everywhere, I think you’ll fi nd something fresh in Saudi.” Abadia’s accomplishments aren’t in isolation, but within the context of and perfectly in step with HRH the Crown Prince and Prime Minister of Saudi Arabia Mohammed bin Salman Al Saud’s modernisation strategy for the Kingdom. Shahd explains, “As Saudis, we’re super enthusiastic about Vision 2030 because it gives a very clear direction of growth for the country and that growth then extends to all sectors. At Abadia, we are in a very unique position to have started a brand as this focus of leadership and visionary thinking in Saudi is happening, and obviously we’ll see a trickle down of that because we are working towards an objective that’s very aligned with Vision 2030’s goals. We’re lucky to be doing it at this moment in time, and defi nitely I see a synergy.” She continues, “When you’re in Riyadh, you can see the buzzing effect of change, growth, movement, and that is driven by the nation’s leadership and also by the public buying into that leadership and working towards the same vision. It’s a very interesting moment of accelerated growth. It’s our moment now in Saudi.” Fulfi lling this mandate, the Fashion Commission was founded under the Ministry of Culture, with the leadership of CEO Burak Çakmak, to further develop the industry and give local brands a global platform, culminating in the fi rst Riyadh Fashion Week in October 2023, with Abadia among the 30 participating Saudi designers. Shahd remembers, “This was such a proud moment to be presenting for the fi rst time in Riyadh after showing in other fashion capitals. You could sense the pride from everyone, not only the brands that were showing but also the attendees, and even the people that came from abroad to see it for the fi rst time.” She points out, “One of the most exciting moments from Riyadh Fashion Week was getting that immediate feedback from those attending, and it was so meaningful to have so many Saudi women tell me, ‘We love the collection because it feels like us, but it feels like us today’. That’s what we’re aiming to create, because tradition and traditional wear, history and heritage are a huge part of our DNA, but we need to make it relevant to women today and for days to come too. That’s the biggest challenge for us: How do you bring tradition to make it relevant for today but timeless for the future?” As for the future of Abadia, in addition to selected styles from the Spring/ Summer 2024 collection launching on Net-a-Porter, Shahd has added Harvey Nichols Kuwait and Boutique N to her bricks-and-mortar stockists. “You’ll see some big openings when it comes to Abadia’s universe, I can say that. As well as some exciting collaborations and new retail partners on a global level,” she teases. “It’s very important for us to speak our goals and manifest them – we’re intentional with everything that we do – and we are only competing with ourselves to become better every year.” 376-381_VISION_VOL2_ABADIA-MS.indd 38119/04/2024 14:58382 382-387_VISION_VOL2_RSH FEATURE.indd 38219/04/2024 14:58383 RSHFESTIVAL 382-387_VISION_VOL2_RSH FEATURE.indd 38319/04/2024 14:58384 382-387_VISION_VOL2_RSH FEATURE.indd 38419/04/2024 14:58385 PHOTOGRAPHY Courtesy of the Visual Arts Commission WORDS Alison Tay In their latest creative collaboration, the Fashion and Visual Arts Commissions join forces to celebrate street culture for the RSH Festival in Riyadh An abandoned building in Al Mughrizat is an unlikely location for a dynamic confl uence of visual arts and fashion, but Saudi Arabia continues to defy expectations, and RSH Festival in Riyadh is proof of the Kingdom’s transformation in living colour. For the second year, the Visual Arts Commission, under the Ministry of Culture, brought together more than 30 local, regional and international graffi ti artists, alongside workshops, DJs, and a skatepark for the RSH Festival, a global creative exchange in Riyadh from 15 November-6 December 2023. Curated by Saudi artist and graphic designer Basmah Felemban, and London-based artist and writer Cedar Lewisohn, the festival literally fl oodlights a range of contemporary art practices in the Kingdom, and empowers the artistic community. Titans of the genre, Futura and Martha Cooper join Saudi talents including Bolotron, Embee, Fouad Alghareeb, Ghofran, Moath Alofi , RexChouk, San Shyn, The Azee, and Zeinab Al-Mahoozi. Lending their points of view from the wider Arabsphere are Abdallah Abbas and Alaa Satir from Sudan; Alaa Awad, Ammar Abo Bakr, and Aya Tarek from Egypt; Dakn from Afghanistan; Dalal Mitwally from Jordan; Miramar, and Wijdan Al-Majed from Iraq; Mohamed L’Ghacham from Morocco; Shik Shik from Somalia, and the French-Tunisian ST4 Collective. International contributors include Faith XLVII from South Africa; Fatspatrol, and Pranav from India; Kumkum Fernando from Sri Lanka; Ruben Sanchez and Spidertag from Spain, and the SHN Collective from Brazil. “The global collaboration of artists is a fi rst and an exciting one for street art,” observes Cedar, in the spirit of “exploring its history and future in the context of contemporary art.” And, in fact, the brutalist concrete backdrop serves as the perfect blank canvas for street artists to showcase their murals, sound and video installations, and sculptures, exactly as Dina Amin, CEO of the Visual Arts Commission, had intended. Dina explains, “The landscape of visual arts in Saudi Arabia is incredibly rich and diverse. Artists and practitioners engage with a vast range of subjects, styles, languages of expression and landscapes. This is one example of the vibrancy of this richness, and we are proud to work with so many creative voices from across the country and beyond as part of RSH Festival.” While Riyadh may not be synonymous with street culture to the casual observer, Dina insists, “As the capital city of Saudi Arabia, Riyadh is a large and dynamic urban centre that is home to an incredible community CULTURE:REMIXED opening pages Innerbloom, 2023, SAN SHYN commissioned by the Visual Arts Commission facing page Roaming Freely, 2023, GHOFRAN commissioned by the Visual Arts Commission 382-387_VISION_VOL2_RSH FEATURE.indd 38521/04/2024 20:50386 of residents representing a wide range of backgrounds, age groups, interests, and nationalities.” She continues, “As a practice, street art is a form of artistic expression that fi nds its canvas in the public realm and therefore it is traditionally a form of art that is widely accessible and consumable by all. It also has close links and synergies with other creative practices, including fashion, music, performance and dance and, of course, food. The blending of these many elements contributes to the wide appeal and accessibility of street art.” Proving her point, she cites, “In this year’s RSH Festival this is evident in festival attendance, which includes multigenerational families and wide attendance from the community, representing both genders and all age groups, to experience the works of art, fashion, skateboarding, dance, music, workshops and educational offerings, as well as the opportunity to socially gather over culinary delights. RSH Festival, at its heart, looks to unite these many elements that go hand-in-hand with the work of the visual artists represented in the festival, creating an experience that is rich and multifaceted.” On a spiral staircase seemingly suspended in mid-air, Saudi female artist, graphic designer, and skateboarder San Shyn’s mural Innerbloom stretches to the sky, a metaphor for the rapid ascent of the next generation. “The Visual Arts Commission is dedicated to providing support to the Saudi visual arts ecosystem and its practitioners, allowing for organic and sustainable development and growth across all forms of creative expression,” Dina confi rms. “As a Commission, we are committed to creating opportunities to engage a community that has an established interest in the subject of visual arts, as well as a community that has yet to discover the richness of expression offered through the language of visual arts. We are also dedicated to creating platforms for exchange which celebrate the talent of Saudi practitioners locally, regionally and globally, and which open doors of discovery, broadening horizons and inviting opportunities for the future.” This year, the Fashion Commission joins the conversation to present a major retail moment at the heart of the festival, featuring some of the standout streetwear talents from the second season of the Saudi 100 Brands initiative, including 1886, Mazrood, Noble & Fresh, and Not Boring. It’s an exciting addition to the mix for Dina. “The ability to celebrate the fashion brands represented in the festival and their streetwear lines that were presented at RSH is an important part of the experience. The opportunity to embrace, embody and take home a small part of the RSH vibe as a memento of the experience completes the journey of every visitor.” According to Burak Çakmak, CEO of the Fashion Commission, “Street culture is connected to many elements from the worlds of art and fashion, so the Visual Arts Commission and the Fashion Commission are coming together to blend these components.” On why it’s reaching an infl ection point on a global scale, Burak continues, “The way visual arts is evolving right now is a refl ection of contemporary and youth culture, and street art is very much a part of it. Beyond that, many artists doing more conceptual pieces are inspired by youth culture and also have an interest in streetwear, and we’re seeing more artists using fashion as a medium to create art, too.” This became even more apparent when the Fashion Commission and the Visual Arts Commission launched the Intermix Residency – a fully funded multicycle artist residency programme in Riyadh – open to Saudi and international emerging and mid-career visual artists, fashion designers, and curators with an interest in developing a production or research-based project related to the topics of innovation, transformation, and sustainability. “Now in its second year,” Burak continues, “the Intermix Residency sees fashion designers and visual artists spend over two months together in a shared studio where they can research and create pieces in any direction they like. This could be an installation, a piece inspired by textiles, or even by playing with bio-materials. Creating conceptual spaces that bring art and fashion together is a collaboration we’re committed to continuing.” Dina agrees. “The visual arts as a practice are dynamic and rich and embrace a multitude of interests, practices, languages and styles. In today’s creative communities, cultural practices and engagements touch each other regularly with the role of the multidisciplinary practitioner increasingly common. Visual arts, fashion, music and dance, all have the potential to engage similar themes, topics and subjects.” The value of these creative partnerships cannot be underestimated, as Dina well knows. “As the Visual Arts Commission, we are delighted to have the opportunity to work collaboratively with our colleagues in other cultural commissions within the Ministry of Culture, including the Fashion Commission, in order to celebrate the richness of the creative landscape of Saudi Arabia. Intermix Residency is another example of the collaborative approach we embrace, where we invite visual artists and fashion designers to engage their creative voices and practices to respond to the themes of innovation, transformation and sustainability through a shared language of visual creativity.” As night falls in Al Mughrizat, the RSH Festival site begins to glow in the dark, thanks to Spidertag’s Interactive Neon Mural #19. The pioneering Spanish street artist specialises in futuristic light installations in often- overlooked spaces. While DJs fi re up the decks and b-boys take to the dancefl oor, capturing the beat of the city better than most is Nothing is Impossible in Saudi, a work by Riyadh-based artist Fouad Alghareeb that references the Kingdom’s towering achievements, from securing Riyadh Expo 2030 to its bid to host the World Cup in 2034. And paradoxically, this concrete shell of a structure upon which Saudis themselves are imagining their own futures is perhaps the truest expression of the Crown Prince’s vision of all. facing page Untitled-Raw 1.2, 2023 ST4 COLLECTIVE commissioned by the Visual Arts Commission 382-387_VISION_VOL2_RSH FEATURE.indd 38619/04/2024 14:58387 382-387_VISION_VOL2_RSH FEATURE.indd 38719/04/2024 14:59Next >