Manuel Arnaut

Vogue Arabia editor-in-chief Manuel Arnaut. Photo: Ziga Mihelcic
Pink, not shockingly.
Last March, I visited Jaipur for the first time during Holi, and completely fell in love with the city. I instantly had the idea to put together an issue of Vogue Arabia fully dedicated to pink. From the walls of the iconic City Palace, to which we had special access for this issue through the kind support of Sawai Padmanabh Singh, the Maharaja of Jaipur, to Valentino’s Winter 2022 fuchsia collection that took social media by storm, the color seems to be literally everywhere.
Sawai Padmanabh Singh, the Maharaja of Jaipur. Vogue Arabia July/August 2022. Photo: Nishanth Radhakrishnan
I could not think of a better arena than the ‘Pink City’ itself to stage this blooming extravaganza. Let’s not forget that decades beforeKim Kardashian caused a stir in a shocking pink Balenciaga catsuit, Diana Vreeland so astutely stated that “pink is the navy blue of India.” More than a chromatic exercise, this issue also serves to highlight the strong link between the Gulf countries and India over centuries, initially motivated by trading roots, the two regions have been influencing each other in a creative tango that touches the fields of economy, food, art, architecture, entertainment, and fashion. I hope that as you turn these pages, you feel the same excitement we did putting them together in Jaipur. Pink made us happy, made us dream, and above all, it made us fall in love with fashion again and again.
Read Next: An Ode to Pink and India-Middle East Ties: Inside Vogue Arabia’s July/August 2022 Issue

Vogue Arabia editor-in-chief Manuel Arnaut. Photo: Ziga Mihelcic
This month, there were many discussions in the press and on social media on the most societal side of fashion. In France, the ban of the hijab – now also a reality in sports – continues to stab the fundamental rights of millions of Muslims in the country. As we reported on Vogue.me, the issue became an even bigger topic when supermodel Bella Hadid and beauty mogul Huda Kattan posted about it, showing their outrage against this prohibition. On the other hand, Vanity Fair’s annual Hollywood edition cover featuring Nicole Kidman wearing Miu Miu (a look combining an extremely short skirt and top), also sparked a wave of opinions on Instagram. Many followers of the publication accused the 54-year-old actor of not being age-appropriate, and even perpetuating a fetishist “schoolgirl” fantasy.
The more I think about these two stories, the more I can’t help but feel bewildered. In March 2022, why are we still dictating what women should or shouldn’t wear? In my opinion, if it makes you happy, and you are not being forced or putting anyone’s security at risk, dress in what makes you feel good – whether it is a hijab or a miniskirt.
This kind of attention and scrutiny in the public eye is something the three powerhouses we invited to front our fifth anniversary covers are extremely used to. However, this never stopped Amina Muaddi, Nadine Njeim, and Huda Kattan from thriving in their respective fields. As you can read on our cover, this special anniversary edition is all about women who are taking Arabia global, exactly like our magic trio, who touch millions around the world through fashion, beauty, and performance. We selected this theme with a clear intention: we want to make a statement, promoting the strength and entrepreneurship of Arab women and their ever evolving role in the region, but also Arab women’s image abroad. If you live in Dubai, Riyadh, or any other major Middle Eastern city, you know that things have changed at a rapid pace, but worldwide there are still some preconceived ideas of submissiveness that we want to shatter.
On a personal level, putting together this anniversary edition was exciting, but also challenging and scary. Not being Arab myself, I heavily feel the responsibility of creating content that our readers are proud of. This feeling was multiplied times twenty when we added the pressure of having to put together the best magazine we have ever produced. Assembling these pages was also an exercise of self-discovery and reflection. I always get emotional when, during my research, I flip through past editions of Vogue Arabia, as all the major features are associated with so many adventures, trips abroad, emotions, and stress – but mainly a feeling of satisfaction and of being privileged to have the opportunity to have a job I enjoy the most. Naturally, I love the result and the strong covers that constantly position Vogue Arabia at the center of the cultural zeitgeist, but I also love all the behind-the-scenes moments – from hiding inside a tuk tuk with Syrian singer Assala in the Marrakech medina, to sharing a set with the legendary Peter Lindbergh.
As you can imagine, editing a magazine is an intricate puzzle, and I’m only a small piece of it. I would like to thank the Vogue Arabia team, all our contributors, and all our advertisers for always elevating the publication with their creativity and generosity. Lastly, and most importantly, thank you to our readers, who have been with us for the past half decade. This magazine, with 500 pages – our biggest issue ever – is our heartfelt tribute to you.
Read Next: Behind-the-Scenes of Our 5th Anniversary Shoot with Amina Muaddi, Huda Kattan, and Nadine Nassib Njeim
Originally published in the March 2022 issue of Vogue Arabia

With his latest couture collection, Pierpaolo Piccioli brings further glory and modernity to the house of Valentino. Take a closer look to witness these gowns tell the shared story of today.
Photographed by Bruno & Nico van Mossevelde
Entering the Paris headquarters of Valentino in Place Vendôme makes you feel like a child again; awakening memories of visiting a more formal relative’s home, with your mother reminding you to wear a clean shirt and be on your best behavior. The space feels palatial and serene, and the high ceiling salon walls are adorned with intricate gold molding. Light is abundant, shining through big windows that frame the bronze Vendôme column, right in the beating heart of Parisian luxury.
Pierpaolo Piccioli. Photo: Inez & Vinoodh
As I’m escorted into one of the rooms, I’m asked to not take any pictures, as some of the looks I’m about to see have not been revealed to the public and are only on display for an exclusive preview granted to Vogue Arabia ahead of Valentino’s couture show in Venice, which would take place two weeks later. Looking around me, I spot a magnificent gown made from a patchwork of pink and purple fabrics, a white maxi cape and dress with a splash of red, and a skirt and jacket suit that, at first glance, remind me of a Miró. There are also paintings and drawings next to each look, motioning that there is some sort of artistic collaboration behind each design. In the best Valentino style, all feels grand and regal, and from that moment on, I knew I was in for a treat. Let’s not forget that Pierpaolo Piccioli, the brand’s creative director and naturally the author of the looks, is known for big statements. So big, that they brought Céline Dion to tears at one of his previous shows.
Photographed by Bruno & Nico van Mossevelde
As Piccioli enters the room, wearing jeans, sneakers, and a T-shirt, the ambiance becomes more relaxed. After he lights the first cigarette, the conversation flows. Piccioli starts by explaining that this couture collection is the result of a collaboration with 16 artists, handpicked by him. “More than ever, I’ve been feeling that we need to connect, and I always enjoyed being around other creative people,” he says. “This was my way to start a conversation with a community that shares the same values.” Relying on instinct, Piccioli had a simple approach, selecting artists that he liked and came across organically. The list is eclectic, with names hailing from all over the world, such as Wu Rui, James Nares, Patricia Treib, and Francis Offman. “The only rule was to listen to my feelings, and the goal was not just to do a show packed with artists. It is more like a collective effort, like an orchestra I’m conducting with different instruments, where each one plays in his own way. But when they are together… The result is beautiful music.”
Photographed by Bruno & Nico van Mossevelde
Although the collection is connected with the arts, Piccioli firmly believes that the worlds of art and fashion are apart. “This might sound provocative, but I don’t believe that fashion is art,” he states. This is probably the only point where we disagree, especially after he takes me one floor up, where we sit at the end of a runway where models walk so close to us, we can analyze every single stitch or embroidery in the clothes they are wearing. The dresses feature a virtuoso use of colors – potent plum and berry red next to splashes of forest green and royal blue. Other models appear nonchalant, in sparkling mini culottes, bustiers, and feather headpieces. It all feels deliciously kaleidoscopic. “Aren’t all these colors hard to combine?” I enquire. “Not if you are good,” Piccioli laughs. “If not… That’s a problem!”
Photographed by Bruno & Nico van Mossevelde
One of the novelties on the Valentino couture runway is the inclusion of male models. Piccioli explains that this is nothing but a sign that times are changing, and that the fashion world has the responsibility to lead these changes. “As a designer, you need to have a loud voice, even if your medium is only the images you produce, which can be so powerful,” he shares. “After the pandemic, our world lost boundaries and changed, and there are no more divisions of gender. Just go to the street and see what kids are wearing: from capes to makeup. Couture is all about this uniqueness, and fashion needs to celebrate these shifts. But we cannot be late; we need to lead with our voice.”
Photographed by Bruno & Nico van Mossevelde
Being ahead of the social and cultural movements is something deeply connected with the work of Piccioli for Valentino. One of his disruptive moments happened during the SS19 couture presentation, when discussions around inclusivity and representation were starting to erupt in the fashion world. Making a bold decision, the designer cast 39 Black models to walk his runway, with Naomi Campbell closing the show with regal strides. Piccioli also stopped using fur, one of the previous staples of the maison. “I don’t think we will miss fur,” he says. “Even the humblest fabric can look rich if you treat it the right way.”
Photographed by Bruno & Nico van Mossevelde
As models continue to walk and turn before us, I inquire why the show is taking place in Venice and not Rome, the city where Valentino was founded in 1960 by Valentino Garavani and Giancarlo Giammetti. It is also the birthplace of Piccioli, who worked at Fendi for 10 years before joining Valentino as an accessories designer, in 1999. He took the creative reins of the house in 2008, alongside Maria Grazia Chiuri, becoming sole creative director of the maison in July 2016, when Chiuri exited for the top creative role at Dior.
Photographed by Bruno & Nico van Mossevelde
“We chose Venice not because of its architecture or grandeur, but because we wanted to be part of this moment of authentic Italian culture during the Venice Biennale. Being there means a lot,” he says. This doesn’t imply that Piccioli loves Rome any less, as the capital is a continuous source of inspiration for him. The city he describes as being full of layers, where a simple stroll down the street can inspire new ideas, and where ancient churches coexist with Fellini and Pasolini-like sets, always reminds him of the importance of pushing his vision to its best. “When you work in Rome, you can’t compete with Caravaggio or Bernini,” he concludes. “So, you do what you can…”
Photographed by Bruno & Nico van Mossevelde
Read Next: Salma Abu Deif Embodies the Punk Spirit of the Valentino Act Collection at Cairo’s Cinema Radio
All clothing ValentinoStyle: Claire CarruthersHair: Flavio Santillo at Making Beauty ManagementMakeup: Arianna Campa at Blend ManagementStyle assistant: Valentina Rossi MoriCasting director: Troy WestwoodDigital tech: Elio RosatoLight tech: Pietro FrizziProduction: Federica Marchetti at Atomo Management, Max Brunetti at ForProduction.itModel: Ayak Veronica at Marilyn Agency

Manuel Arnaut photographed by Ziga Mihelcic
For all of us living in the Middle East, we are spoiled by a region that offers a unique mix of heritage and traditions, combined with state-of-the-art technology, and a constant search for what the future will be. Look, for instance, at some of the most groundbreaking projects currently disrupting the Gulf, such as the UAE’s efforts to explore space and the opening of the new Museum of the Future, the creation of the world’s ultimate city in KSA’s Neom, or the kick-off of Expo 2020 Dubai this month. It is in this exciting context that we decided to explore how the future will look through the lens of fashion.
Rawdah Mohamed, Nadia Khaya, and Aouatif Saadi photographed by Julien Vallon for Vogue Arabia October 2021
Starting with our cover, we present three models hailing from Morocco and Somalia, who, more than just being beautiful (I personally find just being beautiful very boring these days), have strong voices that impact the industry and society in general. On p94, they share their experiences of dealing with racism and discrimination, and they reveal how they have turned their uniqueness into their biggest assets.
This month, in a feature we call The Vanguards, we turn the spotlight on a group of extraordinary individuals who are breaking boundaries in the arts, design, and fashion worlds. One of them is Lebanon’s Khaled El Mays, who I met many years ago in Beirut, and who I’ve been following and admiring ever since. Last month, when I visited Milan Design Week, I was extremely proud to see his work in the exclusive Nilufar Gallery and also as part of Dior’s Medallion Chair exhibition, next to iconic industry personalities such as Nendo and India Mahdavi.
Valentino couture. Photographed by Bruno & Nico van Mossevelde
One of the names who is also reshaping the future of fashion is Pierpaolo Piccioli, creative director of Valentino, who gave Vogue Arabia an exclusive preview of the maison’s latest couture collection, before it even hit the runway in the Venetian Arsenal. During my sit-down with him in the brand’s stunning Place Vendôme offices, we discussed topics such as gender-neutral fashion and his position that fashion is not art. The latter concept sounds contrary to what we usually promote at Vogue, but I invite you to jump to p128 to better understand Piccioli’s vision.
From left: Fatima Al-Fihri, Zaha Hadid, Assia Dagher, and Sameera Moussa. Illustrated by Nourie Flayhan
Of course, all progress is only possible if it’s anchored in a strong foundation: in October, join us in celebrating the legacies of some of the most disruptive women from the region, including Tunisian Fatima Al-Fihri, who founded the world’s first university more than 1,000 years ago, Egyptian feminist writer and activist Nawal El Saadawi, and Zaha Hadid. I hope this new issue of Vogue makes you feel inspired and hopeful for a better future. We all need this extra motivation now.
Read Next: Go Inside the Vogue Arabia October 2021 Issue for Fashion’s New Frontiers

Vogue Arabia editor-in-chief Manuel Arnaut. Photo: Ziga Mihelcic
This month was extremely emotional for us at Vogue, as we approached the theme of the body from the rawest and most candid perspective to date. Every year, as temperatures rise and swimsuit season approaches, many of us embark on crazy diets and endless hours at the gym, looking for fast results in the shallowest way – I exercise just to lose weight quickly, not for my health. This could be a consequence of years of brainwashing from the entertainment and fashion industries, who have been promoting harsh patterns of beauty and an idea that the slimmer you are, the more beautiful you are, for decades.
Thankfully, the fashion community – from publications to designers – has been trying to fight this demon, with this reflecting in the visibility of more diverse bodies on covers, runways, and campaigns. This month’s cover star, Precious Lee, is the perfect example, as her glorious face and curves are everywhere this season – from the Versace show to the covers of British Vogue and Vogue Brasil. I met Precious in New York four years ago. She was not yet the supermodel she is today, but I was immediately blown away by her beauty and luminous personality. She had the full package. After I returned to Dubai, I told everyone in the office that the woman I met for dinner was going to be a star. And here she is, shining as bright as a diamond, shot for this month’s issue by Paola Kudacki, a photographer I have been keen on working with for years. Paola, Precious, and the team were in the studio until 3am, completely carried away by their creative process. Their passion is reflected in every single image they produced.
Precious Lee photographed by Paola Kudacki
In this issue, we also shatter further stereotypes around the classic idea of femininity. If sometimes society overlooks women with curves, the same happens with women with muscles. Strong female bodies are considered by some to be manly and not elegant, as if women have no right to a powerful figure. This led us to put together an editorial with three high performance athletes, styled in anything but their gym clothes, reclaiming their right to their femininity and strength.
Being on set with Dareen Barbar, Rania Hammad, and Zainab Al-Eqabi was definitely the highlight of my month, as I was inspired by their stories of perseverance and positivity. When they described to me how they lost their limbs, it put everything in my life in perspective. It makes me proud that we are dedicating a big part of this issue to people of determination, so many times overseen by society – and even more so by style publications. I’m happy to see that fashion brands, from high street to luxury, are also working towards including in their collections pieces for this segment, with Burberry, Gucci, Tommy Hilfiger, and Mango normalizing different bodies. But there’s still a lot of work to do around awareness and inclusion. As the Iraqi activist Zainab states, “The more you see my amputation, the more you will stop seeing it.”
Read Next: Precious Lee Stars on Our Body Positivity Issue in an Ode to Real Diversity and Empowerment

Cindy Bruna wears Saudi label Ashi Studio Couture FW20. Photographed by Tom Munro for Vogue Arabia
Bold and forward-thinking, in a move certain to excite Saudi designers, the Fashion Commission of Saudi Arabia’s Ministry of Culture today announces the launch of the Saudi 100 Brands program in partnership with Vogue Arabia.
Set to invest manpower in 100 domestic fashion brands, the new, one-year program will also support designers’ global ambitions through mentorship with experts from fashion powerhouses LVMH, Kering, Chanel, Valentino, Swarovski, and Bulgari. “It’s so exciting to launch Saudi 100 Brands as such a rich and diverse opportunity for the talented fashion design community here in KSA,” remarks HH Princess Noura bint Faisal, sector development director of the Fashion Commission. “The fashion commission spent 2020 laying the foundations for an enabled sector and now, in 2021, we’re rolling out this initiative, among others, to ensure our ambitions – which reflect those of our community – are achieved.”
Where the importance of strategic storytelling is at an all-time high, along with media support, Vogue Arabia will help fashion brands to amplify their message, while also sharing knowledge on how best to approach editorial and social media content. “Vogue Arabia has a long history of nurturing emerging regional brands and partnering with the Saudi 100 Brands program is a natural continuation of our support,” states editor-in-chief Manuel Arnaut. “We are excited to work closely with the Saudi Fashion Commission, sharing insights that will contribute to the development of the brands taking part in this journey, and using our platforms to support their growth not only locally but also on a global scale.”
HH Princess Noura bint Faisal, sector development director of the Fashion Commission. Courtesy of Saudi 100 Brands
Branding, conceptualization, sales performance strategy, public relations and marketing, client identification, innovation and technology, and key leadership skills will be offered via virtual and in-person training workshops to help boost competitive business advantage for Saudi brands in the global fashion world. Along with guidance from luxury experts, professors from Central Saint Martins, the Royal College of Art, Yale, and Parsons will also partake in the designers’ mentorship journey. “Saudi Arabia is on a growth path across all sectors, including fashion, and there are great opportunities for local entrepreneurs to build new businesses across all parts of the fashion value chain,” says Burak Cakmak, CEO of the Fashion Commission. “A robust fashion sector benefits from local creatives, design studios, marketing and communication agencies, manufacturers, and retailers. And through programs like Saudi 100 Brands, we look forward to seeing Saudi designers take their rightful place on the global stage.”
For several years, Vogue Arabia has pioneered initiatives with the aim to bring Saudi’s rich history to the international stage through its content. It is the world’s first magazine to launch an annual issue entirely dedicated to the Kingdom of Saudi Arabia – the June 2018 edition – bringing international attention to its diverse fashions, cultures, landscapes, and social evolution. The following year, it brought supermodel Winnie Harlow to Saudi for a cover shoot in Riyadh with local talent Shahad Salman, with the issue receiving international recognition and being featured on The Tonight Show Starring Jimmy Fallon. In 2020, Vogue Arabia unlocked the door to some of the most meaningful venues of the Kingdom, with a five-cover special edition photographed for the first time at NEOM, and Diriyah. In the latter location, Vogue featured women in traditional Saudi dress from its various provinces by female photographer Hayat Osamah, curated by Dr Layla AlBassam.
Along with the training and shared knowledge, Saudi 100 Brands will offer retail platforms and consumer-directed activities with the purpose of encouraging sales in the market. The first will be in Riyadh in December 2021, with Vogue Arabia also supporting, as a natural extension of the backing of emerging talent and other Vogue campaigns such as the annual fashion prize and the ongoing #buyArabdesigners campaign. E-sales outlets and a wholesale campaign, launching early 2022, will encourage international sales. The Fashion Commission partners with Vogue Arabia and regional retailers to accomplish this and more. These retailers will partake in virtual conferences, provide professional training, and will also offer dedicated in-store space for exclusive Ramadan pop-up initiatives in March 2022. Through the acquisition of some of the Saudi 100 Brands products, retailers will support wholesale resort campaign sales across major fashion cities. Through this pioneering initiative, Saudi brands will be elevated at home and abroad, and will contribute to fashion’s diverse, international mosaic, while bringing to the forefront its inimitable edge.
Saudi brands that wish to participate are invited by the Fashion Commission to register through its e-platform Saudi100brands.com from Thursday, June 3 – Sunday, June 20, 2021.
Read Next: Emerging Saudi Arabian Designers To Have On Your Radar, and in Your Wardrobe

Vogue Arabia editor-in-chief Manuel Arnaut. Photo: Ziga Mihelcic
Ever since I was a little boy, I remember being surrounded by people who could make things. Beautiful things. One of my fondest memories is of my maternal grandmother – a woman so important in my development – and the long evenings spent by her side when she would knit the most beautiful crochet patterns for hours and hours. These delicate webs would then be applied to bedsheets or tablecloths, only to be enjoyed on special days. Since then, I’ve always been impressed by people who can make things with their bare hands – whether a sculpture, a piece of furniture, or a beautiful dress.
To my delight, the Arab world is a place where I also found the same love for all things handmade, following strict centuries-old techniques that are still being respected. In this issue dedicated to the highest artistries, we have the honor to include an interview with HH Sheikha Jawaher bint Mohammed Al Qasimi, wife of His Highness the Ruler of Sharjah. The royal leads different cultural organizations, including the Irthi Contemporary Crafts Council, which focuses on preserving traditional Emirati heritage. “We all must understand that a pursuit of modernity doesn’t mean letting go of the past. The past is what shows us the way to our future,” shares Her Highness with Vogue.
Malika El Maslouhi wearing Guo Pei couture. Photographed by Thibault-Théodore for Vogue Arabia May 2021
Speaking of fashion in a more global way, it is also not a secret that Arab clients have been key couture and high jewelry customers for decades. More than just buying quantity, the region is known for its impeccable sartorial taste, loving everything that is exclusive, produced in limited quantities, and made using the most lavish raw materials. This motivated us to build the issue around a 14-page portfolio story where Moroccan model on the rise Malika El Maslouhi wears couture looks by classic maisons such as Giambattista Valli and Dior, but also more experimental houses like Iris van Herpen and Viktor & Rolf. In a story penned by the elegant Amy Fine Collins, the woman behind Vanity Fair’s International Best-Dressed List, we discuss if couture will survive in a world dominated by Zoom calls and restrictions. I invite you to read the conclusion on p84.
We could not do an issue dedicated to the topic of couture and artistry without highlighting the work of iconic couturier Elie Saab. Even following last year’s Beirut blast, nothing appears to slow down the Saab family, now busier than ever with the main fashion collections, but also new makeup and fragrances, watches and home lines. I’m glad to witness the growth of Elie Saab’s global empire and influence, even in a moment when the world is struggling.
Like couture, some skeptics say that print magazines are something of the past. Naturally, I don’t agree with this, and I’m pleased and excited to invite you to try our new augmented reality features that are being announced and promoted on Vogue.me and on our social media. Last month, our cover came to life as never before, and singer Balqees Fathi showed up in your living room. It looks like magic, but it’s just Vogue leading the future of fashion.
Read Next: Vogue Arabia’s May Issue Celebrates Artistry, Craftsmanship, and Savoir Faire

Manuel Arnaut and HH Sheikha Fatima bint Hazza bin Zayed Al Nahyan. Photographed by Boo George
Women – strong women – are at the center of all our editions, but this month in particular, even more so. As we enter the Holy Month, we dedicate this issue to the importance of family, and there is no question that women are the glue that holds this institution together. Wise, giving, loving, women are at the heart of it all.
This year, as the UAE celebrates its 50th anniversary, we are proud to have on our cover HH Sheikha Fatima bint Hazza bin Zayed Al Nahyan, who poses for the first time ever for a magazine. Her Highness is the granddaughter of the founders of the country – the late Sheikh Zayed bin Sultan Al Nahyan and HH Sheikha Fatima bint Mubarak – and leads by example, heading many organizations in the fields of arts, education, sports, and philanthropy, such as the Fatima Bint Mubarak Ladies Sports Academy and the Fatima Bint Hazza Cultural Foundation, among others. She is also an accomplished horseback rider and breeder, the first female judge in the UAE for Arabian Beauty Horse shows, and the founder of Al Shira’aa Stables. I had the pleasure of visiting Her Highness at the royal stables and sitting for a chat on the topics of the UAE, the female forces taking the country forward, and her loved ones. “My grandmother HH Sheikha Fatima bint Mubarak is my mother, my role model, my idol, and my whole world,” she shares. “She is also an infinite source of love and compassion. She is truly the Mother of the Nation, and my own mentor.”
One aspect that always amazes me about the region, is its everchanging social landscape, and the way things mutate so quickly. Traditions are still being cherished, but the social taboos of yesterday have no place in the world of tomorrow. Read, for instance, our feature on p42 in Arabic, where a brave group of female camel riders reveal their story for the first time, tapping into an activity that in the past has been mainly associated with men. The feature comes with a beautiful portfolio of images captured by our picture editor Ankita Chandra.
Also a true pioneer, but in the world of cinema, is Fatma Hassan Al Remaihi, CEO of the Doha Film Institute, who has been transforming the industry, locally and internationally. Not only is she able to capture everyone’s attention on the world’s biggest red carpets, she is also a firm supporter of local talents, placing women front and center along the way. In this issue, she reveals how she fell in love with the seventh art, and her plans for the overall direction of the institute.
Lastly, I would like to wish a happy anniversary to couturier Rami Al Ali, who celebrates 20 years of his fashion house this month. At Paris fashion week, I’m always proud to attend his perfectly put together presentation – at the Ritz Paris or Le Meurice – as I feel it represents the region in such a sophisticated and beautiful way. Not long ago, in Dubai, I had the pleasure of attending a dinner at Rami’s home, which we’ve tried to recreate on p94, surrounded by other creatives handpicked by the couturier. It was a gorgeous night, lit by candles and with the most delicious Syrian food. There, I also had the chance to meet Rami’s sisters, elegant and strong women, who seem to be among the pillars of his brand. Suffice to say that next to a great man, there are always great women. And vice versa.
Read Next: April 2021 Cover: HH Sheikha Fatima bint Hazza bin Zayed Al Nahyan on Embracing the Values of “Family, Nation, and Strength”
Originally published in the April 2021 issue of Vogue Arabia

Vogue Arabia editor-in-chief Manuel Arnaut. Photo: Ziga Mihelcic

This March, all the editors of Vogue worldwide agreed that such an important month in the fashion calendar should be used to highlight and celebrate creativity. It’s a concept we are anchoring all our respective issues in. At a time when the world is experiencing so many challenges, the joys of witnessing the genius of a fashion designer, artist, chef, or performer, can drive us, more than ever, to a place of bliss, even if only for a brief instant. At home, closing your eyes to the rhythm of your favorite song can transport you far, far away. And what about dressing up and feeling beautiful even if you are staying in? Instant gratification.
It is regrettable that historically, the work of creatives has been undervalued on so many occasions. Look at Vincent van Gogh, for instance, who died in poverty and with one fewer ear, being only celebrated after his passing. With regards to fashion, during my professional life I have lost count of how many times I have heard the comment, “Come on, it’s only clothes, you are not saving lives.” Naturally, I’m aware that there are other activities and jobs of equal or greater importance, and yet, I cannot help but think of my colleagues in the creative fields as unsung heroes, so many times working under harsh conditions, but bringing beauty, depth, and color to the world we live in.
Models Patrice K and Athiec Geng photographed by Mous Lamrabat, wearing Studio Mousmous

This March also marks the fourth anniversary of Vogue in Arabia. This made me think that while creativity is not limited to any region, it makes sense to focus our issue on the artistry in our territory. Let’s start with our covers: shot in Marrakech by up-and-coming Moroccan talent Mous Lamrabat, these images are perhaps less glossy than what we usually prioritize, but there is something so optimistic and deep about the shots, that most of the team – not all, since creativity should also be divisive – jumped with excitement when I shared the first draft.
As you turn each page of this issue, I hope you will feel proud and curious about the stories of success we are shining a spotlight on, from the Egyptian opera singer enchanting the world to a female director at the UAE Ministry of Foreign Affairs and International Cooperation explaining why Emirati women have a world of opportunities ahead, or our portfolio with the young creative Arab community making waves in New York, shot by Tunisian female photographer Oumayma Ben Tanfous.
After a year that had so many bumps in the road, I would like to end this letter by thanking the entire team involved in the making of Vogue Arabia, from the people in the office and our external contributors, to our advertisers who supported us even when their businesses were suffering, and, of course, our readers. You are the ultimate reason why we put so many hours of hard work into all we do. This is your magazine, so happy birthday to you, too.
Read Next: Inside Our Fourth Anniversary Issue Celebrating Arabia’s Creative Visionaries
Originally published in the March 2021 issue of Vogue Arabia

This Vogue Arabia December 2020 cover is lensed by Hayat Osamah and curated by historian Dr Layla AlBassam

The December 2020 issue of Vogue Arabia celebrates the Kingdom of Saudi Arabia with five covers dedicated to the country and its people.
The Unesco heritage site of Diriyah, the original home of the Saudi royal family and where the Kingdom was first formed, offers, for the first time ever to a magazine, a regal backdrop to celebrate the heritage of traditional garments and craftsmanship.
For the first cover, the special project was lensed by Hayat Osamah and curated by historian Dr Layla AlBassam. It stars five young Saudi women from across the country dressed in their respective regional dress. The calligraphy reads, “In the heart of Saudi.”
In brilliant contrast, the smart city of NEOM, which powers this year’s Vogue Fashion Prize, draws the eye to the next star Saudi models, shot by photographer Txema Yeste with surrealist effect. International Saudi couturier Ashi, who has dressed Beyoncé, Cardi B, and Billy Porter, is also featured on a cover alongside model and Ashi muse Cindy Bruna. The cover, shot by  Tom Munro, marks her first for Vogue.
“Our annual Saudi issue represents the three main pillars: Keeping Saudi traditions alive, offering a platform to the Kingdom’s youth, and celebrating the best of fashion,” says Manuel Arnaut, Vogue Arabia editor-in-chief.
Also inside the Saudi issue, an exclusive feature by Saudi ambassador to the US, HRH Princess Reema bint Bandar bin Sultan bin Abdulaziz Al Saud. Photographed for Vogue Arabia by her daughter, Princess Sarah bint Faisal Al Saud, she pens a letter to Saudi women, stating, “Whatever the future holds for the Kingdom, young Saudi women will be at the front of the line, integral to the process of shaping it. And that means, very soon, we will no longer refer to the ‘first’ Saudi women this or the ‘first’ Saudi woman that – because the presence and contribution of Saudi women in every job, occupation, career, and sector will simply be commonplace and unremarkable.” Princess Reema adds, “The time has come to be judged by our capabilities and accomplishments and not by our gender.”
READ Meet the finalists of the 2020 Vogue Fashion Prize Powered by Neom
In fashion, Saudi women’s evolving relationship with the abaya is explored, while in beauty, the Kingdom’s centuries-deep connection with perfume is also underscored. Fragrance in Arabia, a symbol of luxury and indulgence, has inspired lasting trends and brands the world over. Pioneering fragrance house creators, like the first Saudi female perfumer, Nouf Al Qahtani, offer their insight. Meanwhile, burgeoning ready-to-wear labels by young designers from the Kingdom are featured including Realself, Mazrood, Galag Collection, Lama Albluwi, and Aspect Doré, They show a penchant for unisex clothing and streetwear, along with sustainability and circular production. Of note, Vogue Arabia diversity-at-large editor Halima Aden interviews Tommy Hilfiger. The legendary designer discusses his program Make It Possible, the continuation of a 35-year journey to make a positive impact in the world.
Exceptionally, the December 2020 issue pays tribute to the mother of Saudi fine art with an interview with 80-year-old Saudi artist Safeya Binzagr by Saudi gallerist Mashael Al Rushaid. Binzagr, who has contributed 450 artworks, over 35 exhibitions, and a standalone museum to Saudi culture, tells Vogue Arabia, “I hope that as an artist, I did what was expected of me for my society.” Other stories explore behind the scenes of the flourishing world of Saudi cinema with women in particular informing of the roles being offered in front of and behind the camera.
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