Culture

The North African country’s nearly 10,000 artisan cooperatives harness a soft power heard around the world. Now, a wave of innovative design is conquering fashion with ancestral savoir-faire.
Ben Youssef Mosque, Marrakesh
Morocco’s aesthetic has been exported, and then interpreted, reimported, and reinterpreted so many times that it can be hard to distinguish moresque fantasy from Maghrebin reality. Spain’s legendary Alhambra was built for the Emir of Granada. Casablanca’s iconic Habous neighborhood was envisioned as a “new medina” by the French. Louis Vuitton’s maroquinerie attained world-renown during the Jazz Age, when art deco spread pointed arches, glazed mosaics, and fretwork from New York spires to Hollywood movie palaces. Post-independence, old-world socialites like Barbara Hutton and new-wave sybarites like Yves Saint Laurent and the rich hippies calling themselves the “gyp-set” nurtured the country’s glamorous mystique into global fashion and modern art. Arab, Berber, French, Portuguese, Sahrawi, and Spanish styles and artisanal skills in textiles, leather, carpentry, ceramics, masonry, and metalwork have blended over centuries of repeated North African and European incursions, and evolved over the ages.
Yves Saint Laurent in his Marrakech home photographed for Vogue US’s August 1980 issue. Photo: Horst P. Horst
But this universality comes at a cost. The Moroccan “look” can be picked up anywhere, from clamorous souks in Marrakech, to crisp showrooms in Paris, to cut-price outlets in Cleveland. For the casual customer, it can be hard to appreciate the quality and cost difference between a piece conceived and crafted in the atelier of a caring artisan and one made in a sweatshop – or even in China. The handicrafts sector accounts for an estimated 22% of employment in Morocco, but only 7% of the country’s economic output. That split reflects a low value placed on Moroccan artisanship – a problem the country aims to redress, notably through programs by the Maison d’Artisan, like the recent “Our Hands, Our Treasure” campaign. The vision is of “artisanship at the service of inclusive and sustainable development,” says Fatima- Zahra Ammor, Morocco’s Minister of Tourism, Handicrafts, and Social and Solidarity Economy. Artisans “work with local materials that they know how to preserve,” adds Martine Therer, of the United Nation Development Programme. What’s more, “It represents a form of soft power,” she explains, referring to the cultural diplomacy that accompanies economic impact, citing as an example artisanship’s role at the heart of French dominance among global luxury brands.
Model Shalom Harlow wearing a Yves Saint Laurent Rive Gauche dress for Vogue US’s April 1996 issue shot in Morocco. Photo: Arthur Elgort
For those visiting the country, at the gates to Marrakech’s medina, La Mamounia is a local attraction and the perennial place to be. Opened in 1929 – in the palace and grounds of an 18th-century royal residence – the hotel transports with ornate salons, rooms, and suites hewn from traditional craftsmanship. Intricately geometric Tuareg mats share space with tilework by Said Benadiba, a maalem: a master artisan recognized nationally and by Unesco as a Living Human Treasure. Orange groves, and vegetable and herb gardens for use in the restaurants, complete the local flavor. Meanwhile, in its namesake city, Le Casablanca rises above leafy, villa-strewn Anfa, within easy reach of the oceanfront corniche’s parks, malls, and entertainment to the east and the historic center, west, with plenty of contemporary designer shopping along the way. Spacious, modern rooms enjoy views over the pool and surrounding gardens to the Hassan II Mosque and the Atlantic.
A souk in Marrakech
Morocco’s renewed methodology for artisanship includes the culinary arts, with several chefs sourcing ingredients and inspiration locally. Near the Majorelle Garden in Marrakech’s fashionable Gueliz neighborhood, concept store Moro serves lightened traditional dishes like saffron chicken, or cauliflower steak, on a sunny, minimalist patio. In the medina, Le Jardin serves classics – including a mouthwatering beef Tanjia Marrakechia – in a multilevel riad setting festooned with flowering plants and palm trees. And in edgy Sidi Ghanem, designers and gallery owners stop at Jajjah for mint tea and sweets. While in Casablanca, La Sqala offers the most local flavors imaginable in a vast walled garden at the edge of the old medina, tucked behind the ramparts. For a more buttoned-up vibe, head to La Pergola for Moroccan fare with Parisian flare fit for high-rolling business meals, fashionistas, or ladies-who-lunch. At night, soak up the ambience amid the golden pretty-young things of the city’s smart set at Manaos, featuring live music and ocean views.
The Jardin Majorelle
At the core of Morocco’s approach are almost 10 000 artisanal cooperatives across the country, focused on training and empowering women and young people. Rural women here have traditionally done weaving or other cottage industry crafts alongside raising the children and maintaining the house, often passing the skills to their daughters. And men have apprenticed in more grueling tasks like masonry, tile, and metal work, or leather tanning. But the unstructured nature of the sector made the work precarious, in both financial and personal terms. Cooperatives, in addition to providing a steady supply of work in safe surroundings, help artisans register as skilled, independent professional tradespeople. This brings them into the formal economy, with protections such as health and unemployment insurance. And it has led high-end brands – who understand that exceptional products rely on exceptional creative conditions – to explore and experiment with the contemporary appeal of traditional craftwork.
Doum’s geometric handbags
Zyne shoes
Doum was founded by the mother-daughter team of Samira and Yasmine Erguibi, and creates prim, highly geometric handbags using raffia, canvas, and Alter Nappa leather substitute. Its cooperative, Doum For Women, supports rural women from around Marrakech. “What started with the manufacturing of luxury handcrafted bags is now a place of power for over 200 women that weave their heritage, respect, and care into every stitch,” say the founders. “Our basketry cooperative is the first in Morocco recognized and certified Sedex [sustainable supply chain] for its social compliance.” Similarly, Zyne shoes was founded in Casablanca by Zineb Britel and Laura Pujol, who studied and worked in Paris at houses including Christian Dior, Sonia Rykiel, and Christian Louboutin. Zyne interprets the ubiquitous babouche pointed slipper into glamorously embroidered satin mules or playfully elegant woven sandals that seem to spin straw into gold, and recently gained fame as a favorite of Meghan Markle. The shoes are handmade by a cooperative that grew from five to 50 women under Zyne’s wing. “We wanted to showcase the amazing craftsmanship that is part of our Moroccan DNA, so we started researching old embroidery techniques that have been passed down from generation to generation and ways in which we could showcase them through our product,” Pujol says. “When I create a new collection, I always start by speaking to our artisans,” adds Britel, “discussing what excites them, what we haven’t explored yet, what is possible and what they want to learn.”
Beni Rugs
Visibility is key for such brands and their growth comes in step with concept stores that expose them to local style hunters and foreign buyers. Soufiane Zarib 16 sells dramatic and plush Beni Rugs and much more in a three-story atrium rising above a black-and-green marble pool, showing sensuous, modern furniture, ceramics, and accessories redolent of elevated functionality (even the workers’ jumpsuits are available in a fetching ready-to-wear line.) Hajjaj puts a vibrant, pop-art spin on upcycled materials. Moro, a gallery, restaurant, and now boutique hotel evolved from The Moroccans argan oil skincare line. And 33 Rue Majorelle curates homegrown luxury, from whimsical furniture by Noun to evocative tunic-shirts by designers like Noureddine Amir. His retrospective during the inaugural season of the Pierre-Bergé-Yves-Saint- Laurent Foundation in 2016 was described as an “earthquake” on the Moroccan fashion scene. “Noureddine Amir is an artist who uses garments as his medium,” said Bergé of the protégé he’d discovered two years before. Amir, who was born in Marrakech, studied at Paris’s Esmod, and started his career in the 1990s as a costume designer. His creations sculpt traditional wool, raffia, and other materials into textures and shapes reminiscent of Amazigh constructions in North America, but wholly beyond place, or even time. In 2018, he was the first Moroccan designer to present haute couture in Paris, and last Fall, alongside Saint Laurent’s Moroccan-inspired clothing and art, in the 14th-century palace of the Dukes of Cadaval in Portugal’s Algarve.
Maison Sara Chraibi
In January, Sara Chraïbi was the latest Moroccan designer to surprise and delight on the Paris runways. Chraïbi trained and worked as an architect before coming to fashion. That structure, geometry, and play of positive and negative space shows in her multi-faceted designs. The opulent clothes both rely on and subvert tradition in limitless ways that only haute couture can accommodate. Aloe-fiber-based silk normally woven into elaborate trim becomes whole fabric. Pearl-festooned wedding dresses are reborn as the looped strands of a caplet. Given the buzz following her collection, it seems Morocco’s conquest of world imagination is far from over.
Originally published in the March 2023 issue of Vogue Arabia
Read Next: Hassan Hajjaj Welcomes the World into His Playful Pop Kingdom Created in Morocco

In the Mood for Love. Photo: Can Büyükkalkan. Fashion editor: Tugce Bahçıvangil. Courtesy of Vogue Türkiye
In collaboration with Unicef, Vogue Türkiye has launched the ‘Fashion United for Türkiye’ initiative – a call for the global fashion industry to unite in Turkey’s time of need. The initiative hopes to raise donations for children who have been affected by the devastating earthquake that recently struck Turkey and parts of northern Syria.
The 7.8 magnitude earthquake struck on February 6 and left tens of thousands of people dead in its wake with millions more in need of immediate aid. As Turkey and the world unite in a monumental effort for recovery there are still many in shelters struggling to survive the extreme weather conditions, with children being the most vulnerable and affected group. This is why the ‘Fashion Unites for Türkiye’ initiative hopes to raise awareness and inspire more people to join relief efforts.
Abby Champion. Photo: Courtesy of Vogue Türkiye
On March 6, the campaign was kicked off with photographers, models, makeup artists, models, celebrities, and influencers all around the world posting photos in ‘Fashion Unites for Türkiye’ t-shirts and urging their followers to donate to Unicef Turkey’s ‘Fashion Unites for Türkiye’ fund. Models Abby Champion and Maike Inga are amongst the many that took part in this initiative with Champion gracing Vogue Türkiye’s March 2023 digital cover. The month of March will also see the global fashion industry join this call for children in need by sharing graphic designs related to the campaign with donation links.
A second segment of the campaign focuses on auctions and sales as a means of raising donations. Vogue Türkiye will be launching two charity collections in March and April 2023 – the first will feature local designers while the second taps into the creativity of international talents. Turkish design houses such as In the Mood for Love, Anim Living, and Dice Kayek will be reinterpreting their favorite designs from their SS23 collections for an auction by Artam Antik Auction House.
Anim Living. Photo: Can Büyükkalkan. Fashion editor: Tugce Bahçıvangil. Courtesy of Vogue Türkiye
For the second collection, global designers will be creating limited edition t-shirts carrying a message of hope for the citizens of Turkey. All proceeds from the sales of these two collections will be given to the Inicef Turkish National Committee to bolster relief efforts for children affected by the earthquake.
Donations can be made here: Unicefturk.org
Read Next: Syria and Turkey Earthquake: People Urged to Not Donate Inappropriate Items to Survivors

Celebrating the vibrant work of contemporary Bahraini artist Shaikh Rashid bin Khalifa Al Khalifa, Vogue brings forth fashion that is ready to bloom this season.
Photo: Sam Rawadi
HE Shaikh Rashid bin Khalifa Al Khalifa is a man of many hats. An artist, he is currently hard at work preparing his solo show opening this month in Baku, Azerbaijan, at the Heydar Aliyev Center designed by Zaha Hadid. He will present in a large space with new pieces created over the past year; one stretches to about eight meters long. This is far from his debut exhibition. The artist had his first of almost a dozen solo shows at 18 and went on to participate in group displays, fairs, and biennials. He is particularly proud of his exhibition at the Saatchi Gallery in London in 2018. In parallel to pursuing his career as an artist, art collector, and patron, he has served in various Bahraini government positions throughout his entire life. Currently, he is the chairman of the National Council of the Arts and is honorary chairman of the Bahrain Arts Society.
Rashid Al Khalifa next to a 1966 piece that he painted directly onto the wall, in his family home, now the RAK Art Foundation, in Bahrain
Shaikh Al Khalifa’s unlikely entry into the world of art began at school. He shares that as a young man he “liked being in art class and enjoyed it more than any of the other subjects.” When he finished high school in Bahrain, he obtained a scholarship to study in the UK. This time abroad proved enlightening. Shaikh Al Khalifa recalls, “I studied art and design and of course, seeing all the museums, art galleries, and other artists, it opened up my horizon and mind.” He then returned to Bahrain and continued painting along with his other official duties. Soon, he set up an arts club with a few other artist friends: the Bahrain Arts Society. With the encouragement and support of family, friends, and the Ministry of Culture, they held exhibitions and invited artists from outside Bahrain to showcase their work as well.
Metamorphosis II, Oil on Canvas, 1996
In the midst of his time as a student in the UK, Shaikh Al Khalifa also began to collect art. “During one of my visits to galleries, I saw a drawing by Henry Moore,” he recalls. “It was 600 pounds and I managed to save my money so I could buy it. At the time, my pocket money was 200 pounds a month, so my friends thought I was crazy. I was so proud of it. I think I was around 21 years old at the time.” Back in Bahrain, he continued to collect and exchange with other artists. Today, the Moore painting hangs on his light-filled walls along with dozens of other works at the RAK Foundation – a converted, traditional Bahraini house built in the Thirties, which was in fact where he was raised and lived with his mother. At the entrance, a plaque states, “This house was built in 1349 AH – 1930 by Shaikh Hamad bin Isa Al Khalifa Ruler of Bahrain for his wife Shaikha Aisha bint Rashid Al Khalifa.” Shaikh Rashid’s own works, along with pieces from his art collection, are displayed throughout the property. He mentions that it was never his intention to amass art, but that he acquired what he liked. His collection now contains works of artists from all over the Middle East, America, and Europe, such as Farhad Moshiri, Mounir Sharaoudy Farmanfarmaian, Frank Stella, and Yves Klein.
From left: Blue Parametric, Enamel on Aluminum, 2018; Spectrum VI, Enamel on Aluminium, 2021; Spherical Compression in Grey, Enamel on Aluminium, 2020
When asked about what it feels like to manage different occupations, and fight initial preconceived ideas around the importance of art in the Arab world, the artist answers quickly and honestly, stating, “I was always requested to have a proper job in government, which is my duty. I have held various positions, which I have enjoyed. I never depended on art as my career, but I continue to paint. I feel at ease, and I am fortunate to be able to do things at my own pace and on my own time.” Shaikh Al Khalifa’s work has evolved and grown over the years. His early pieces were mainly based on the landscapes of his country. He then moved into more figurative work, such as the flowers that inspired the fashion shoot accompanying this piece, and over time, details started to slip away, and his work became more abstract.
Metamorphosis VI by Shaikh Rashid bin Khalifa Al Khalifa, 1998, oil on canvas, 120 x 95cm. Photo: Sam Rawadi
He explains that his interest in color led to new avenues. “Instead of canvas, I started looking at different materials to replace it. I ended up with aluminum, but this is challenging, as you must use enamel paint, which I am sensitive to.” The artist welcomes any challenge with curiosity and discipline. He is also the father of six children, and his eldest daughter, Shaikha Noor, is the co-founder of luxury fashion brand Noon by Noor. Creativity runs in the family and is encouraged every step of the way.
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Photo: Sam Rawadi
Originally published in the March 2023 issue of Vogue Arabia
Style: Amine JreissatiFashion editor: Natalie WesternoffHair and makeup: Ivana OsypyshynaProducer: Sam AllisonModel: Abuk Adier at Art Factory StudioPaintings: Rashid KhalifaSpecial thanks: Jones the Grocer
Read Next: How Cairo’s Surrealist Collective Paved the Way for a Contemporary Art Landscape Without Borders

Egypt’s legendary songstress Dalida would have turned 90 this month, and while her light has since departed, her impression on fashion and music endures.
Photo: Getty
Singing has its own energy, but for the Egypt-born and French-Italian chanteuse Dalida, her interpretations were uniquely nuanced. At once ebullient and raspy, they brought forth the disquieting hums of a heavy life. When once asked of her own purpose, she answered, “To help others (through song) by sharing my life and my torments.” With a career traversing three decades, she managed to do just this. Singing in numerous languages, among them Arabic, French, and Italian, she connected with people across oceans. When performing in Egypt, the late songstress was known to often ask her public, “Mabsoteen?” – “Are you happy?” Dalida would have turned 90 this month – and if her memory still lingers in our shared cultural consciousness, it is a testament to a woman who gave in abundance. To her art, to her loves, and to life itself.
Photo: Getty
Reflecting on the artist that was Dalida, Egyptian mezzo-soprano Farrah El Dibany, Chevalier de l’Ordre des Arts et des Lettres, says of her influence, “To me, Dalida represents a woman with so much talent, that it was beyond her. There are so many songs that she sang in parallel to incidents happening in her life. And she was always smiling despite all the sadness inside of her. This made her music and singing even deeper.” Extending her classic repertoire to cover songs such as Dalida’s Histoire d’un amour among others, she shares, “I think the thing that inspired me the most was her honesty on stage. The way she expressed herself when singing was genuine – and this is what moved me. The way she articulated the lyrics of the songs taught me a lot. I’m more connected to the lyrics and to the true emotion behind them now. I am more connected to my own feelings and emotions when I sing because of Dalida. Because she was connected to her inner self. This is rare to find.”
Dalida’s album covers

Dalida left her mark on each generation. Stylistically, it seems she also embraced every decade she encountered. From a sultry brunette in the late 50s, she was a golden-haired star in the years that followed. Throughout her time in Paris, Dalida swayed between casual looks and extravagant pieces. Everything from a Moorish corset and gilet by Yves Saint Laurent, to full leather ensembles by Jean-Claude Jitrois, who once claimed dressing Dalida was “like dressing the stars for the Cannes Film Festival.”
Photo: Getty
Born Yolanda Cristina Gigliotti, Dalida was raised in Cairo. She was nurtured by a family with predominant artistic sensibilities. Her father achieved the position of premier violinist at Cairo’s Opera House, while her mother was a seamstress. After being crowned Miss Egypt in 1954, she landed her first movie role using the stage name “Delila,” in homage to Hedy Lamarr’s character in the Hollywood classic, Samson and Delilah. She later altered it to “Dalida” after moving to Paris in late 1954. To support herself in the new city, Dalida began to sing in cabarets, where her talent was inevitably discovered. In January of 1957, her title song Bambino became one of her most popular, bringing with it overnight success. French newspaper Le Figaro revisited the impact of the event, noting “A launch that announced what will happen in the coming decades … the debut of modern times, where the singer is more important than the song itself.” Natacha Atlas comments of Dalida, “Her bilingual approach to music in general, singing in both Arabic and French, was inspiring. She was a natural born globehopping nomadic star, glamorous, continental and Egypt-born at the same time so she had a wonderful open mind keen to express all these multifaceted things she grew up with.”
French singer Yves Montand and Dalida with their Music Hall Bravo trophies during a 1959 ceremony held in a Paris Hotel
Dalida’s fame grew exponentially throughout the 60s; she sold out shows at the famed concert hall l’Olympia – initially opening for Charles Aznavour – and embarked on international tours. She also garnered numerous awards, including the Medal of the City of Paris, the Ordre des Arts et des Lettres, and the honorary title of Godmother of Montmartre’s Homeless Children. If her genre would later dwell in the melancholic, the events of her personal life would serve to echo this further.
Photo: Getty
In the summer of 1966, while on tour in Rome, Dalida was introduced to the misunderstood genius of Italian music that was Luigi Tenco. As somewhat of a tortured soul himself, the two would fall for one another, instantaneously. Soon after, it appeared the couple would be a natural fit for the Sanremo Music Festival in January of 1967. There, they performed one of Tenco’s compositions, Ciao Amore, Ciao. Though Dalida’s performance was highly acclaimed, they were nevertheless eliminated from the competition. This had a devastating effect on Tenco, who woefully committed suicide by gunshot the following evening. His body was found by Dalida, who would in turn struggle with depression. She later attempted suicide herself, ending up in a coma for five days. Amid considerable press speculation, her career would be put on hold.
Dalida during a television show in 1981 in Paris. Photo: Getty
When the singer finally reappeared on the public scene in the summer of 1967, she made a number of TV appearances, debuting more profound, soulful material, evoking her loss. In December of that same year, she became pregnant following a brief romance and underwent an abortion. This left her unable to conceive, which further contributed to her fragile mental health. As a sensitive soul, who engaged in a lifelong search to understand others, just as herself, she once famously stated, “When people say, ‘I love you,’ what they mean is, ‘love me.’”
Photo: Getty
Now fully established as a living legend, Dalida and her brother Orlando founded a record label. This would give her greater control over her own music. Her comeback show in Paris would relaunch her career. In the mid-1970s, she took another risk and released a disco single, J’attendrai – she was the first mainstream French artist to do so. When the song rose to number one, it would become the precursor to the disco scene in France, which she effectively launched, singlehandedly. She could ignite audiences with the thrill of her up-tempo hits, just as she could bring them (and herself) to tears each time she performed Je suis malade. All through to the 80s, her shows were as elaborate as they were spectacular. Her public, ever evolving.
The singer in France in 1985. Photo: Getty
Despite the trauma of her personal life, her career was a tale of endless achievements. Dalida filled out venues worldwide and sold records in vast numbers. She even made a reappearance on the silver screen, notably in renowned Egyptian director Youssef Chahine’s 1986 release, The Sixth Day. Some of her most beloved songs were also in Arabic, like Salma Ya Salama, or her own love letter to Egypt, Helwa Ya Baladi, where she reminisces, “Memories of all the past, My sweet country! My heart is full of stories. Remember, my country? My first love was in my country. I can never forget it.” Dalida ultimately released over 45 studio albums, prolonging her myriad of concerts all over. Though her life was touched by tragedy, her melodious hymns continue to enchant. In her own words, “I went through life without looking at it. I know what my life is. My husband, that is the public. The songs, those are my children.” Forever charged with the undertones of her ardor, her voice remains suspended in time.
Dalida during a television show in 1971 in Paris. Photo: Getty
An icon brought to life
Regional designers reimagine Dalida’s strong, fierce style in various powerful illustrations for Vogue Arabia.
Illustration: Rami Al Ali
Illustration: Yousef Akbar
Illustration: Honayda
Illustration: Sara Onsi
Illustration: Maison Yeya
Illustration: Qasimi
Illustration: 1309
Originally published in the January 2023 issue of Vogue Arabia
Read Next: 20 of the Region’s Most Glamorous Beauty Divas Ever

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There’s always something to celebrate in the world of Richard Mille, and this month, the Swiss watchmaking brand unveils the very first edition of its Artbook series, Art in the Gulf: A Richard Mille Artbook. The limited-edition bilingual book was compiled in celebration of The Richard Mille Art Prize and the Art Here 2021 exhibition, and offers readers a close-up view of the region’s vibrant art world, with a focus on contemporary art in the GCC.
Photo: Courtesy Richard Mille
Why an artbook? Look back at Richard Mille’s history and you’ll find that beauty resides in every facet of the brand’s identity. The new book, therefore, only honors this code, creating a strong bond between the visual and horological arts that Richard Mille has dedicated itself to for years. For art enthusiasts, the book serves as an absolute must-have thanks to its detailed breakdown of the history of GCC’s art scene, split between the artistic communities of the UAE, Saudi Arabia, Bahrain, Kuwait, Oman, and Qatar. The book also spotlights some of the biggest artistic accomplishments in the region, and its cover may just count as one on the list. Lovingly made by Khor Fakkan-born Emirati artist Mohamed Ahmed Ibrahim, the cover of  Art in the Gulf: A Richard Mille Artbook deserves a spot in your living room, and depicts the Art Here 2021 exhibition’s theme of “Time, Memory, Territory”. The artist features in the book, of course, along with ellow contemporaries such as Faisal Alkheriji, Hazem Harb, Zahra Alghamdi, Ali Cha’aban and El Seed. Bonus: the book also takes its readers into the homes of the region’s most noteworthy art collectors.
Photo: Courtesy Richard Mille
Spanning across painting, installation, technology, photography and sculpture, Art in the Gulf: A Richard Mille Artbook aims to give the Richard Mille family a 360 degree understanding of the contributions made in the region by 31 GCC-based artists, along with the seven finalists of the Richard Mille Art Prize 2021. Throughout its pages, you will also find yourself enjoying commentary by six of the Gulf region’s most eminent art collectors and patrons. What’s more, in an effort to build on the  partnership between Richard Mille and Louvre Abu Dhabi, Art in the Gulf: A Richard Mille Artbook also gives away a hint at what the theme of the second season of the Richard Mille Art Prize may just be. Are you ready to crack the code?
Photo: Courtesy Richard Mille

Photo: Courtesy Warner Bros
After months of anticipation, the first trailer for Greta Grewig’s Barbie film hit the internet on Friday, and it’s a technicolored visual treat.
A little over one-minute long, the teaser clip opens with a playful homage to Stanley Kubrick’s 2001: A Space Odyssey. In it, Margot Robbie, who stars as the historic doll, stands as tall as a skyscraper on a sandy landscape amidst young girls playing with baby dolls. A bit of fashion history: Robbie wears the same shoulderless black-and-white striped swimsuit as the very first Barbie doll, released in 1959.
There are feverish glimpses at some of the other colorful costumes on display. Ryan Gosling, who plays Ken, wears a fringe leather vest paired with fingerless leather gloves. Perhaps it is an ode to the chaps-wearing Harley Davidson Ken. Either way, the shirtless look shows off the character’s iconic washboard abs. A beat later, Issa Rae, star and creator of Insecure, appears as a thoroughly modern version of “President Barbie” with her hot-pink jumpsuit and sash. And Marvel star Simu Lu becomes a dancing Ken, donning a Bob Fosse-leaning all-black get-up with pink socks.
The campy costume design of Barbie, led by Jacqueline Durran, has already created plenty of conversation.When on-set photos of Ryan Gosling and Margot Robbie donning colorful, 80s-flavored roller skating outfits leaked earlier this year, fans couldn’t get enough. Other conversation-sparking looks include Ken’s Canadian tuxedo and Barbie’s sparkly Western wear. Barbiecore, anyone?
If the swelling pre-release buzz is anything to go by, Barbie is sure to be a fashion gem when it hits theaters on July 21 next year. Start stockpiling your hot pink now.
Watch the full teaser trailer for Barbie below:
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Originally published in Vogue.com

Photo: Getty
Jessica Chastain is once again showing her support for the women of Iran, many of whom have been protesting the country’s extreme laws regarding how women dress and behave for the past two months.
Stepping out in New York City to appear on Live With Kelly and Ryan, the Oscar winner wore a tailored brown suit and a white T-shirt with the name Mahsa Amini printed over and over in pink capital letters.
Photo: Getty
On September 16, 22-year-old Amini died after being detained by police for not following the restrictive dress code, per CNN. Outrage followed and, according to a human rights group, at least 300 protesters have died. Meanwhile, clips of women removing and sometimes destroying their hijabs have gone viral online. Celebrities, too, have taken notice; Marion Cotillard and Juliette Binoche both publicly cut their hair in solidarity with Iranian women, while Meghan Markle was recently spotted wearing a T-shirt with the Farsi slogan “Zan zindgi azadi”, which translates to “Women life freedom”.
Though she’s kept her signature red hair, this isn’t the first time Jessica Chastain has shown support for the cause. She posted on Instagram three times in September, writing, “I stand with the women of Iran and will amplify their voices from afar. When one woman is attacked, it is an attack on as all 🖤.”
Photo: Getty
Chastain has also advocated for women’s equality closer to home, fighting for pay parity in her movie projects and helping women of color, like her friend Octavia Spencer, do the same. Spencer recalled Chastain’s commitment in 2018, telling a panel, “I love [Jessica] because she’s walking the walk and she’s actually talking the talk…. She said, ‘Octavia we’re gonna get you paid on this film.” I said, ‘I would love to do your film, but here’s the thing: I’m gonna have to get paid.’ She said, ‘Of course, and you and I are going to be tied together. We’re gonna be favored nations, and we’re gonna make the same thing. And you’re gonna make that amount.’ Fast-forward to last week, we’re making five times what we asked for.”
Originally published in Glamour.com

Prada Mode Moscow by Damien Hirst. Photo: Courtesy of Prada
Traveling social club Prada Mode is bringing its eighth edition to Dubai soon, with an immersive installation by famed artist and friend of the Italian fashion house, Damien Hirst. Taking place at ICD Brookfield Place, DIFC from November 9-10, the installation will follow the artist’s work with Prada Mode Moscow in 2021 to present a new rendition of ‘Pharmacy by Damien Hirst’.
Prada Mode Moscow by Damien Hirst. Photo: Courtesy of Prada
The project will see ICD Brookfield Place, which is DIFC’s epicenter of culture, lifestyle, and business, transformed by some of Hirst’s signature works into a dedicated space filled with art, music, and conversations over food. Members can expect floor-to-ceiling medicine cabinets, life-size molecule models, wallpaper inspired by catalogs of prescription medicine, and much more. “I’m thrilled and honored to be invited by Miuccia Prada to recreate Pharmacy for Prada Mode in Dubai after our successful collaboration in Moscow,” says the artist. “I’m working really hard with a complicated but beautiful space, ICD Brookfield Place, to create harmony between the inside and outside of the new building. Once again, Prada have found a space that will provide the perfect place for it. I’m so excited to be doing this!”
Pharmacy by Damien Hirst dates back to 1992, when the artist first showcased his work at the Cohen Gallery in New York, followed by a fully functioning restaurant version in Notting Hill, London in 1998, for which Miuccia Prada designed staff uniforms. Speaking of the concept, Hirst says, “I’ve always thought great restaurants can be seen as art, and art without the evidence as we always remember great meals on great evenings with great people in great places and in this way Pharmacy is definitely a kinetic artwork, that works best filled with people and art existing and living and breathing and eating and drinking and enjoying themselves as one.”
Prada Mode Moscow by Damien Hirst. Photo: Courtesy of Prada
Known to offer guests exclusive access to talks, programs, and content on cultural engagement, Prada Mode was launched as a “natural evolution” of the Prada Double Club by artist Carsten Höller, with the inaugural edition taking place in Miami in 2018. Since then, the private club has traveled to Hong Kong (2019), London (2019), Paris (2020), Shanghai (2020), Moscow (2021), and Los Angeles (2022)
Early access to Prada Mode Dubai will be made available for members to join panels in the morning and afternoon, followed by nightly events marked by beverage sampling and dinner.
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It’s that time of the year again! Just before Halloween, Christmas and New Year comes Diwali, the Indian festival of lights that sees homes around the world light up to celebrate the triumph of good over evil. If you celebrate the occasion, it’s likely that you’re planning to host a get-together over the coming days, or are seeing your calendar quickly fill up with Diwali outings at the homes of your closest friends and family. And no Diwali is truly complete without a few good gift exchanges.
Before we get started with this year’s gift guide, however, an important note for all who celebrate Diwali: With environmental concerns only growing stronger year on year, it’s important for all to approach the festival of lights more thoughtfully, using the occasion to reconnect with loved ones and make memories without fireworks and crackers, which are extremely harmful to the ozone layer, dangerous to humans, traumatic for animals, and major contributors of noise pollution.
Now let’s dive in! Household pieces are always a winning choice when it comes to Diwali gifting—why not treat your favorite hosts to ikat print glasses, a paisley print throw, or Versace cake stand? Other must-haves include La DoubleJ’s vibrant dessert plates, party-ready pearl-detailed napkin rings by Completedworks, and beaten gold trays by Tom Dixon, which can easily be decorated with fresh marigold blooms for an authentic festive finish.
For the hosts who love throwing card parties during Diwali, there’s no going wrong with a pristine Alexandra Llewellyn cards set, which comes in rich wooden casing, or even a travel-friendly set by Aerin. A scented Jo Malone candle makes a great pick for those who like to brighten up ever corner, as are Trudon’s earthy candle holders and Ginori’s incense burners.
Coming to fashion, Diwali is a wonderful time to invest in festive wear, and young Indian designers like Saaksha & Kinni and Arpita Mehta are offering up an array of ensembles that perfectly blend traditional elements with modern silhouettes. As for beauty, Miss Dior’s hair oil is as apt a choice as Saanté Selfcare’s collection of facial elixirs and hair potions, all made using ancient Indian remedies rooted in Aromatherapy, Reiki and Ayurveda. For makeup enthusiasts, Makeup by Mario’s jewel-toned eyeshadow palette is a festive must-have.
Below, check out Vogue Arabia’s edit of the best Diwali 2022 gifts. 
Beyond Extravagance, Assouline. AED 1,824
Birdcage scented candle, L’objet. AED 777
Blanket, Alanui. AED 8,669
Born In Roma, Valentino. AED 425
Cake stand, Versace. AED 2,132
Candle holder, Trudon. AED 1,506
Cape set, Arpita Mehta. AED 1,385
Crystal bowl, Reflections Copenhagen. AED 2,056
Dessert plates, La DoubleJ. AED 942
English Pear & Freesia and Lime Basil & Mandarin candle, Jo Malone London. AED 701
Hair oil, face elixir and pillow spray, Saanté Selfcare
Heels, Malone Souliers
Ikat dress, Rianna + Nina. AED 8,945
Ikat print glasses, Les Ottomans. AED 500
Incense burner, Ginori 1735. AED 1,000
Kaftan, Sea. AED 1,703
Kurta and trousers, Saaksha & Kinni. AED 1,225
Linen napkins, Cabana. AED 660
Master Metallics Palette, Makeup by Mario. AED 186
Miss Dior Hair Oil, AED 222
Napkin rings, Completedworks. AED 1,146
Place mat, Sea. AED 351
Playing cards set, Alexandra Llewellyn. AED 20,415
Silver bowl, Buccellati. AED 1,483
Snack server, L’objet. AED 2,746
Sugar bowl, Dolce & Gabbana. AED 1,400
Tea light holder, Tom Dixon. AED 246
Travel cards set, Aerin. AED 2,072
Tray, Suzanne Kalan. AED 1,224
Tray, Tom Dixon. AED 1,348

Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
“Qawiyah”: the Arabic word for “a woman who embodies strength” is scripted in bold, bubble-gum-pink letters with an emerald-green shadow in the centre of a fuchsia-toned silk scarf that flaunts intricately-illustrated vines topped with floral and pomegranate motifs. The scarf is one of the first designs to sell out from the collaboration between Kween Karaza and Vela Scarves, which launched on October 10, bringing the Chicago artist’s distinctive touch to a medium that’s both wearable an accessible – while stocks last, that is.
Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
And judging by her track record, that won’t be very long. I should know – for the past year I’ve had something of an Instagram girl crush on Kween Karaza, whose overall aesthetic is one that I would gladly dress my whole house in. In fact, hers is the only Instagram account I have notifications turned on for, so that I never miss a post. Still, I’ve never managed to get my hands on one of her highly-coveted creations – carpets, cushions, lampshades, vases and vessels brought to life with vivid and vibrant hand-painted Arabic calligraphy. For almost as soon as a new piece is posted, it sells out instantaneously, eternalized on Instagram in a colorful portfolio of painted masterpieces that are a fusion of contemporary culture.
Some are monochrome, while others are a lively marriage of bright pigments and floral patterns. Words like “love” and verses from poets like Nizar Qabbani are emblazoned in Arabic amid romantic backgrounds on the sculptural, statement pieces.
Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
Eliza Karazah – the artist of Irish and Levantine heritage behind the Kween Karaza moniker – says that each piece she creates is entirely hand-painted and one-of-a-kind. “I’ve been painting since before I can remember and never stopped. I can’t really navigate print or getting people to copy what I do, so I just doodle on my own stuff directly,” she tells Vogue Arabia, adding that she is content being a one-woman brand. “Slow art is truly the only way to make it, unless you want to work with people. I don’t like working with people. I like making my pieces at home and then sending them out myself with as little interaction as possible,” she explains.
Instagram, says Karazah, has been instrumental in building brand awareness, generating hype and helping her posts go viral. “I was an art teacher before switching to full-time creator,” she reveals. “It was either post online, or subject my students to my little doodles forever.” Her collaboration with Vela was born out of a DM from the US-based headscarves brand. “It was really wild, and I was super nervous because I don’t have the most pious reputation and Vela is about embracing modesty. I’m not modest,” says Karaza. “But they were here for my work, not my religiosity and they were truly the best collaborators I’ve ever had.”
Kween Karaza and Marwa Atik. Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
Vela co-founder and creative director Marwa Atik co-designed the collection with Karaza, and directed the shoot, which was a nod to their respective Syrian and Levantine cultures, and an explosion of kaleidoscopic calligraphy.
“We wanted to embrace the idea of feminine strength and self,” says Karaza. “In art, Arabic is mostly reserved to religious contexts. The Ayat Al Kursis at the doors, the Bismillahs in the kitchens. And that’s beautiful and I have all that in my home as well, but I want my pieces to be less sacred. I want them to be on the floors, touched whenever, wherever. Arabic is not just for holy truths, but for swearing and flirting.”

Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
“I’m a love poem and occasional Sufi scribble kind of gal,” continues Karazah, who experimented with the idea of divine inspiration for her collaboration with Vela. “I’ve always felt a connection with Rabia Al Basri’s Sufi poetry because it isn’t harsh or judgmental. It’s her expression of love; not fear. So we used lines from her work about finding love in the divine to find love with herself. And that could be about Allah, or that could be just about finding purpose around you.”
Al Basri’s famous saying, “I came to know love the moment I found your love” is scrawled in whimsical script across sand-toned scarves – a muted alternative to the brightly-hued green, blue and pink designs in the collaboration. A hoodie and sweatpants set stamped with “Qawiyah” is also included in the range, bringing the characteristics of the collaboration’s empowered, spiritual, culturally in-tune and multifaceted muse full circle.
Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
Photo: Creatively Directed by Marwa Atik in collaboration for VELA X KweenKaraza
The Vela X Kween Karaza collaboration is available at velascarves.com while stock lasts.