Nowadays, fashion often takes itself a little too seriously. Trashy Clothing, on the other hand, thrives on irony while addressing a topic that is undeniably serious — and that tension is precisely what makes it so compelling. In an industry that often confuses solemnity with depth, a little irreverence can be surprisingly sharp.

Set in the brutalist steel building of the Institut du Monde Arabe, the show unfolded in a space that is far more than a museum. The institution has long served as a cultural haven for young creatives who prefer not to play by the rules, which feels entirely in line with the way Omar and Shukri approach their work.

By Mark Khoury

The self-described anti-luxury luxury label was founded in 2017 by Shukri Lawrence and Omar Braika, who use irony to address the state of the world through Y2K references and an avant-garde spirit. When asked whether they considered their work a form of protest, Shukri explained that it was “more of a documentation, in better lighting and from a different angle, than a protest.”

Inspired by Divine Intervention, the film by Elia Suleiman, the messaging behind the collection drew a clear contrast between the mundanity of everyday life and militarism. As the designers explained, “During occupation, going to the salon is political, going to the gym is political. Everything becomes political.”

Olive green, tarboush red, sand beige, and metallic accents formed the core palette of the collection. While some silhouettes appeared boxy and avant-garde, almost presenting themselves as armor, others were strikingly figure-hugging, featuring draped delicate mesh and unconventional bras. The collection also included jewelry from Sheytan, Mia Khalifa’s brand, who was not only perfectly cast but also seemed to act as a muse for the designers themselves.

Speaking of perfect casting, Hadid sister Alana made her runway debut for Trashy, explaining that it felt “obvious for [her] to represent [her] people and walk for a Palestinian brand during Paris Fashion Week, and [she] would only do it for Trashy Clothing.”

Overall, the show was more than a coherent collection. It felt, in many ways, like a real-time documentation of life under occupation. Fashion may rarely claim such a role, but here it did not shy away from it either.

More info on TrashyClothing.shop

As Lebanon and parts of the Gulf navigate the emotional weight of war and instability, many people are searching for ways to stay grounded while the news cycle grows heavier by the day. Anxiety, grief, and uncertainty have become shared experiences across the region, prompting deeper conversations about mental resilience and the role of community in moments of crisis.

For Lebanese, Dubai-based mindset coach Nour Bachir, these moments of collective tension are precisely when emotional support becomes most essential. Through her initiative Bedaya, meaning “a beginning,” Bachir is working to create spaces where people can pause, process, and reconnect with themselves and others.

“Every transformation, every moment of genuine change, begins somewhere; and I wanted to create a space that honored that threshold,” she says.

The idea for Bedaya grew from what Bachir repeatedly observed around her: individuals who seemed outwardly functional but internally adrift. In fast-moving cities across the Gulf, productivity often eclipses emotional wellbeing, leaving many people feeling isolated despite constant digital connection.

“People who were educated, motivated, and doing ‘all the right things’… and yet still feeling fundamentally disconnected,” she explains. “They had access to information but lacked integration. They had motivation but no sustained structure.”

In a region currently grappling with conflict and uncertainty, those feelings can intensify. Fear and anxiety are often interpreted as signs of personal weakness, but Bachir encourages a different understanding.

“Fear, anxiety, and overwhelm are natural stress responses; they are the body doing exactly what it was designed to do,” she says. “The work is not to silence them, but to regulate them.”

Part of that regulation begins with simple physical practices. Breathwork, movement, and stepping away from constant information streams can help the nervous system regain balance. In periods of crisis, she says, boundaries around media consumption are particularly important.

“You do not need to be informed every hour to be a caring or responsible person. Set intentional windows for consuming news and protect the rest of your time.”

Yet perhaps the most powerful antidote to uncertainty is human connection. When people retreat into isolation, distress often deepens. Reaching out, even briefly, can interrupt that spiral.

“Connect with someone real. Not a feed, not a comment section; a voice, a face, a person who knows you,” Bachir says. “Co-regulation is a biological reality. We calm down in the presence of safe others.”

That philosophy is also what inspired Bachir to offer free 30-minute psychological support sessions during this period. The goal is not to solve everything in one conversation, but to create a moment of relief and perspective.

“There is a particular kind of weight that comes from carrying something alone and in silence,” she explains. “Often, the most powerful thing a first conversation does is simply interrupt that silence.”

Even a short conversation, she adds, can change how someone experiences the rest of their week.

“Thirty minutes is enough time to do something genuinely meaningful: to feel heard, to name what has been circling without a name, and to walk away with at least one concrete thing to hold onto.”

In moments when the external world feels chaotic, resilience is often misunderstood as emotional toughness. For Bachir, it is something more nuanced.

“Resilience is not the absence of being affected,” she says. “It is the capacity to be moved without being swept away.”

Ultimately, the message she hopes people carry through this period of uncertainty is both simple and profound: connection is not optional: it is essential.

“Asking for help is not weakness. It is one of the most courageous and self-aware things a human being can do.”

And sometimes the first step toward stability is simply reaching out.

“You do not have to have it figured out before you make contact. You just have to take one step toward connection. That step… is where every beginning starts.”

More info on Bedayamena.com

It begins with the moon. 

Looking eagerly to the night sky, searching for confirmation that Ramadan, indeed, has returned. Billions of people all over the planet, then, fall into the rhythm of the brightest star in the sky, as they endeavor to cut out the noise of the demanding world inside and reckon with the chaos of their inner selves. 

What happens when you do not allow yourself to ply every ounce of discomfort with distractions?  Younger generations are finding their own way of answering that question, along with their own way of moving through the holy month. 

By Saher Azmi

‍

Despite my own amorphous relationship with faith - hard to define, confusing to explain - I can say that there is absolutely something special about the month of Ramadan. Is it the way the community comes together to enliven the nights? Is it the shared rituals that we get to share with each other these precious 30 days? Is it the sincerity of effort people put in to become more balanced individuals? Likely, it is all of these, and more. 

I decide I would benefit from the perspectives of a few friends, those I deem to be ‘better’ at Ramadan than I am, and what they tell me drastically shifts my outlook.

“For a lot of people, Ramadan is about peace. Nobody is waiting for Eid to come. We are all waiting to get in that zone, to focus on doing better. Ramadan has become a judgement free month over the years. You aren’t judged based on how you’re doing, but rather if you show up and try.”

If you show up and try. I turn the words over in my mind. 

Perfectionism has never been something I am keen on, but when it comes to my faith, I feel that unless I fit exactly into this box with fixed dimensions and prescribed rules, I am utterly failing at it.

We, often, take on the burden of the world without even being asked to do it, which has become somewhat of a characterizing trait of our generation. Ramadan is a reminder of the collective, of the ease to be found in the midst of community. And it is so much more than that. It is an exercise of empathy and awareness. We, voluntarily, give up the simplest pleasures – your daily morning coffee, your breezy lunch with a friend. You feel the hunger cues in your body, you know you can satisfy them, and you choose not to. If desire is the root of all suffering, you have curbed your desire. You are content in this knowledge. 

You reflect on the fact that there are millions out there who are living in poverty and destitution, in countries ravaged by war, in a constant state of panic. In the welcoming solitude of Ramadan, you can appreciate how truly lucky you are; you can begin to detach from the fleeting materialism that is so encoded into our everyday lives under capitalism.

You can begin to imagine a different way of life.

Living in a country like the UAE, we are afforded the unique privilege of experiencing what life is like when the system bends to the demands of Ramadan. When work hours are shorter, and we spend more time at home, more time with our families, our communities, yet the world continues to go on as before – what does that tell us? 

“People talk about capitalist realism in their books and theories, yet none of them have managed to produce a reality which shows there is an alternate way to live.” says a friend. “It doesn’t always have to be the routine we’re made to believe is inherent.” 

Ramadan feels like a lifeline – there is no denying that. 

It always seems to come when we need it most. The chance to retreat – to simplicity of mind and body, to discipline governed by nature and not office hours, to a desire to simply be better as a person, to a dedication towards cultivating a kinder society – is invaluable. 

I can understand, then, why people look forward to Ramadan the way they do, why they wait for that first moon. However brief, this month gives us a chance to slow down, to be still, to retreat and restore ourselves. When we break bread at Iftar with our beloveds, the respite from hunger comes gently, and we can soothe ourselves with the knowledge that there will always be this. There will always be Ramadan.

Across the Middle East and beyond, a new generation of women founders is reshaping what modern entrepreneurship looks like. They are building brands rooted in heritage yet designed for the future, blending creativity with strategic vision, and proving that leadership today is as much about purpose as it is about profit.

From fine jewellery ateliers to wellness spaces, design studios, and conscious fashion labels, these women are not simply launching businesses. They are creating ecosystems, communities, and cultural narratives that extend far beyond the products themselves.

Here are some of the founders redefining what it means to lead in the region today.

Reimagining Modern Jewelry

Jewellery remains one of the most powerful forms of personal expression in the region, and several women are pushing the category forward with fresh perspectives.

Based in Amman, Ghadeer Taher and Joumana Jallad are the creative minds behind STONE Fine Jewelry, a brand that champions understated luxury and timeless design. With backgrounds in finance and political journalism, the duo brings both artistic sensibility and strategic insight to their work. Over the past decade, they have reinterpreted classic jewellery forms through fluid silhouettes and refined craftsmanship, earning the trust of collectors across the region.

www.bystonejewelry.com

Similarly rooted in heritage is Mariyeh Ghelichkhani - For Ghelichkhani, jewellery has always been part of life. Growing up in her father’s gemstone workshop, she developed an early fascination with craftsmanship and design. Her multicultural life between cities such as Tehran, Dubai and London continues to influence her work today, resulting in pieces that reflect resilience, spirituality and emotional depth.

www.mariyehghelichkhani.com

Few designers command the global recognition of Farah Khan. With more than three decades of experience in the world of fine jewelry, she has built a brand synonymous with glamour, craftsmanship and bold design. Her creations are instantly recognizable for their dramatic scale, intricate detailing and fearless use of color.

Farah’s creative process draws from a wide range of inspirations: architecture, travel, nature, geometry and the hidden narratives embedded in the places she visits. Each collection reflects this layered perspective, combining artistic imagination with technical mastery. Her work has been worn by some of the world’s most recognizable figures, including Beyoncé, Serena Williams, and prominent personalities across both Hollywood and Bollywood.

Yet beyond celebrity appeal, what defines Farah Khan’s legacy is her ability to transform jewellery into wearable art; pieces that feel powerful, expressive and unapologetically luxurious.

www.farahkhanworld.com

As the creative director of Samra, Katia Abou Samra represents the evolution of a family legacy into a modern global brand. Raised within the jewellery world, her passion for gemstones and craftsmanship developed naturally. But Katia’s approach extends far beyond tradition. With training in marketing and advertising, diamond grading and jewellery design at GIA, she brings both creative vision and strategic thinking to the brand.

Under her leadership, Samra has expanded its identity through storytelling, collaborations and contemporary design that appeals to a new generation of collectors. Katia is also deeply committed to mentorship and empowerment. Through her Dream Big with Samra initiative, she supports emerging talent and encourages young creatives to pursue ambitious careers within the industry.

For Katia, jewellery is not only about beauty; it is about confidence, identity and purpose.

www.samra.com

Born into a family of fifth-generation jewellers, Aashna Sanghvi grew up surrounded by the traditions of natural diamond craftsmanship. Yet rather than simply continuing the family path, she chose to challenge it. With Kayaa Jewels, Aashna became the first in her lineage to embrace lab-grown diamonds, bringing a progressive perspective to a historically traditional industry.

Her vision was to bridge the gap between high jewellery reserved for special occasions and everyday accessories. Kayaa designs are versatile, customizable and wearable  pieces designed to integrate seamlessly into modern life.For Aashna, the future of luxury lies in accessibility, individuality and sustainability, where jewelry becomes a daily expression rather than a rare indulgence.

www.kayaajewels.com

Before becoming a jewellery designer, Lana Al Kamal trained as an architect, a background that continues to shape her design philosophy today. Her pieces reflect architectural thinking: precise lines, structural balance and a deep understanding of proportion.

After studying jewellery design and gemology through GIA and L’Ecole School of Jewelry Arts, she launched her eponymous brand in 2018. Crafted in the UAE, Lana’s collections merge 18-karat gold and diamonds with sculptural design, resulting in jewellery that feels both structured and delicate. Her work reflects a refined femininity grounded in craftsmanship and symbolism  jewellery that feels quietly powerful rather than overtly extravagant.

www.lanaalkamaljewelry.com

For Sanah Khurana, jewellery has always been tied to memory. Growing up in India surrounded by heirloom pieces rich in family history, she noticed something curious: many of these meaningful jewels remained locked away, rarely worn in modern life.

With Tripat, she set out to change that.Her brand bridges heritage and contemporary wearability, creating jewellery that carries the emotional depth of inheritance while fitting effortlessly into daily routines. Sanah blends creative instinct with sharp commercial awareness, ensuring her designs remain both soulful and practical. The result is jewellery meant to be lived in  pieces that accompany life’s everyday moments as much as its celebrations.

www.tripatjewellery.com

Designing Spaces and Experiences

Beyond jewellery, women are also redefining design and lifestyle businesses across the region.

Interior designer Sally Negm approaches design with a rare dual perspective; one shaped by engineering precision and architectural creativity. As co-founder and creative director of Peristylia, she leads the studio’s design philosophy with clarity and intention.

Her work centers on human-focused luxury, creating spaces where aesthetic beauty and functionality coexist seamlessly. Rather than imposing style, Sally’s approach begins with understanding how people experience a space; how they move, interact and feel within it. The result is interiors that feel deeply personal, timeless and emotionally resonant.

Meanwhile in Dubai, Tinaz Bodhanwala, founder of MINIAAR, is shaping a new vision for ethical fashion. When Tinaz Bodhanwala founded the brand in 2017, her vision was clear: luxury fashion could be both elegant and ethical.

Her collections are known for their clean silhouettes, modular construction and architectural lines, creating garments that feel modern yet timeless. But beyond aesthetics, Tinaz places strong emphasis on social responsibility and inclusivity, ensuring the brand reflects values as much as design.

Through MINIAAR, she continues to challenge the notion that sustainability and high fashion cannot coexist, proving that conscious luxury is not only possible, but increasingly essential.

www.miniaar.com

Building Communities Through Wellness and Beauty

Entrepreneurship today is increasingly about community, and several women founders are creating brands that extend beyond products into shared experiences.

In Abu Dhabi, Meerah Al Matrooshi and Alia Al Mazrouei have transformed the concept of boutique fitness with The Burn Room. Blending high-performance Lagree training with professional red-light therapy, their studio merges strength training with advanced recovery technology.

For Meerah, a passionate fitness professional, the goal was to create more than a workout environment; it was about building a space for resilience and intentional living. Alia, an experienced entrepreneur with multiple successful ventures, brings strategic leadership and mentorship to the business.

Together they have built a studio that feels both high-energy and deeply community-driven.

www.instagram.com/burnroom.ae

In the beauty space, Alia Al Marzooqi, founder of OLAH Haircare, turned a family tradition into a thriving natural beauty brand. Inspired by her grandmother’s haircare recipes, OLAH combines heritage knowledge with modern formulations, building a loyal community around clean, results-driven products.The story behind OLAH Haircare begins with a family ritual.

Inspired by her grandmother’s traditional haircare recipes, Alia Al Marzooqi transformed those ancestral practices into a modern beauty brand.

Launched in Dubai in 2023, OLAH combines natural ingredients with contemporary cosmetic science, offering formulations rooted in both heritage and performance. What began as a deeply personal tradition has grown into one of the UAE’s emerging clean beauty brands, championing self-care, confidence and authenticity.

www.olahhaircare.com

A New Era of Female Entrepreneurship

Across the region, founders like Dujanah and Oloof Jarrar of House Janolo and Dounia Lahlou, founder of Zei, are continuing to push creative boundaries through contemporary jewellery that encourages individuality and interaction.

At House Janolo, sisters Dujanah and Oloof Jarrar bring a shared creative vision to contemporary jewellery. Their brand celebrates individuality and personal expression, offering pieces that feel modern while maintaining a refined, timeless sensibility. Each design reflects a careful balance between craftsmanship, material quality and artistic intention. Through House Janolo, the duo continues to explore how jewellery can become a powerful extension of identity.

With Zei, founder Dounia Lahlou explores jewellery as an interactive design language. Her work focuses on modular construction, movement and adaptability, encouraging wearers to engage with jewellery in new ways. Each piece is designed to evolve, shifting shape or configuration depending on how it is worn.

Through Zei, Dounia reimagines jewellery as something dynamic rather than static, where design becomes a dialogue between object and wearer. Together, these women represent something larger than individual success stories. They reflect a shift in how businesses are being built in the region; more collaborative, more intentional, and deeply connected to identity and culture.

www.zeijewels.com

Taken together, these founders represent something larger than individual success stories. They embody a shift in the regional business landscape: one where women are building companies that merge creativity, strategy and cultural depth.

Their brands span industries, but they share a common thread: intention.

They are creating businesses that do more than sell products. They shape communities, inspire new conversations and redefine what leadership looks like for the next generation.

The future of entrepreneurship in the region is not just innovative: it is undeniably female.

Lebanon has lived through more than its share of hardship in recent years. Economic collapse, political instability, and repeated waves of displacement have placed enormous strain on communities across the country.

Yet amid uncertainty, something remarkable continues to emerge: an unwavering culture of solidarity. Grassroots organizations, volunteers, and everyday citizens are once again stepping forward to support those most affected, particularly as the number of displaced families rises. This is how you can help.

Community-Led Efforts on the Ground

Across Beirut and beyond, local initiatives are organizing food distribution and emergency aid through volunteer networks and partnerships with local businesses.

One such effort is Humans of Dahieh, a grassroots initiative coordinating aid for vulnerable communities. Those looking to support their work can make a WISH donation to +96181696400.

Meanwhile, Nation Kitchen is working tirelessly to feed displaced individuals across the country. Their work relies heavily on community donations and volunteer support.

Supporters can contribute directly through their fundraising campaigns:

https://www.gofundme.com/f/a-beirut-ngo-distribute-food-meds-to-displaced-lebanese?lang=en_GB&utm_campaign=fp_sharesheet&utm_medium=customer&utm_source=copy_link

For those specifically wishing to help displaced families:

https://www.gofundme.com/f/nation-station-for-the-displaced-lebanon?lang=en_US&utm_campaign=fp_sharesheet&utm_medium=customer&utm_source=copy_link

Feeding the Displaced

Several volunteer groups have also revived emergency food initiatives to address the growing needs of displaced communities.

The Barzakh team has relaunched a large-scale aid initiative aimed at providing daily meals throughout Ramadan. Their work is supported by a network of volunteers and grassroots partners distributing food and essential supplies on the ground.

Their message to the community is direct and urgent:

“We are heartbroken to be right where we were two years ago, but we cannot sit idle. The number of displaced people in Lebanon is increasing daily, so we have started the aid initiative again to provide them with food during the holy month of Ramadan.”

Donations of all kinds are welcomed, from raw food ingredients and blankets to mattresses and financial contributions. Every contribution directly supports the preparation and distribution of meals for families in need.

Those wishing to donate or coordinate support can contact:

Khodor Al Akhdar
Operations Manager
khodor.issa@hotmail.com
+96170053547 (WhatsApp)

Donations can also be sent through Western Union.

Organizations Continuing Long-Term Support

Beyond emergency aid, several Lebanese organizations continue to provide long-term humanitarian support.

Offre Joie, known for its large-scale volunteer mobilization and community rebuilding programs, continues to collect donations through:

https://donate.stripe.com/9AQbLW2b76M777O000?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnHQaz7GDCLFAROpXYqFgdlp74IwQkm0EzqaaDc3SUlpkN97IrJHJtfVb4Klg_aem_QnyclDV7eTlZwUUnn8Cq-w

Another key organization continuing its work is Beit El Baraka, which provides direct aid to families affected by economic hardship through food programs, housing support, and social assistance. You can donate through Paypal, here https://www.paypal.com/donate/?hosted_button_id=D6KTMZTDKE8RQ&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnVvGi7ElrYSHH_xCxb3yXN6QBOx8CtWe-ew7yJ3mYCiKqivUyY6I6WWm81o4_aem_L64zsvY_pS9KfANphOX4vg

Jeyetna is working on providing reusable and disposable products to accomodate to different shelter situation. (pads, tampons, panties, reusable pads, hot water bottles and Jeyetna informative document)

You can send cash transfers for menstrual products - they also have partnered with Riwaq, Beit Aam, MWA and Multaga El Tullab to 'organise a decentralised community-led response.'

You can support them through:

In-kind donations at Riwaq (cash and products) and Beit 3am (products)

WISH transfer (+961) 76682025

Twint / Revolut +41793167107

The Ghassan Abu Sittah Foundation in partnership with the Chair of Conflict Medecine at the American University of Beirut Medical Center (AUBMC) isproviding treatment for children and caregivers. To donate: Cash or Bank Transfer, call +961 70 247 145 or on this LINK

USEFUL NUMBERS

Lebanese Ministry Of Health , Full Medical Coverage for Displaced People:

1787: Emergency Cases

1214: Cancer Patients and Crititcal Cases

1564: Mental Health Services

Lebanon’s strength has always been rooted in its people and in the belief that even during moments of crisis, community can prevail. These initiatives remind us that collective action, even through small contributions, can create meaningful change.

Whether through financial support, donations of supplies, or simply spreading awareness, every act of solidarity helps sustain the work of those on the ground.

At Prada, clothes are rarely just clothes. They are conversations, contradictions, memories layered into fabric.

And for Fall/Winter 2026, Miuccia Prada and Raf Simons lean fully into that idea, presenting a collection that feels less like a static wardrobe and more like a living portrait of modern womanhood.

Unveiled in Milan inside the Deposito of Fondazione Prada, the show explored the idea that identity is never singular. It shifts, evolves, fractures, reforms. The designers described the collection as “an embrace of inherent pluralities”, reflecting the multifaceted realities women inhabit every day.

Bc Cynthia Jreige

A Wardrobe in Motion

At the heart of the collection was layering, but not the predictable kind. Instead, Prada approached it as a metaphor for time, memory, and transformation. Garments seemed to reveal hidden histories as they moved. Tailoring collided with sportswear. Embroidered satin dresses were layered beneath coats or partially concealed under minimalist silhouettes. The result felt both spontaneous and precise; a wardrobe constantly shifting through the day.

Within each look, as Prada described, “we discover multitudes.”

The layering wasn’t just visual. It suggested the lived reality of clothing: pieces added, removed, repurposed across the rhythms of daily life. A coat over a dress. A skirt over trousers. Fabrics folding into one another like overlapping narratives.

The Beauty of Imperfection

Perhaps the most striking aspect of the collection was its treatment of materials. Rather than pristine surfaces, many pieces appeared intentionally weathered, fabrics faded, embroideries aged, textures distressed.

It created a sense that these garments had already lived a life.

Precious decoration looked patinated, archival dresses seemed embedded within other garments, and materials were sometimes “eaten away as a means of revelation,” exposing layers beneath.

It felt emotional rather than nostalgic. Clothes not as pristine objects, but as companions shaped by experience.

Fifteen Women, Infinite Characters

The runway cast -a defined group of 15 women- reinforced the narrative of plurality. Rather than presenting a single archetype, the show explored how the same wardrobe could hold countless personalities.

Through subtle shifts in styling, posture, and layering, each model embodied a different version of the Prada woman. Strong yet fluid. Intellectual yet instinctive. Familiar yet constantly evolving.

It suggested something quietly radical: identity is not fixed, and neither is fashion.

A Dialogue With Time

Even the setting mirrored the collection’s philosophy. The Deposito of Fondazione Prada was filled with artworks, furniture, and objects spanning five centuries, from Renaissance tapestries and Venetian mirrors to modern chairs and lamps.

These artefacts, each carrying their own histories, echoed the collection’s layered narrative. Just like the clothes, their meanings were personal, shifting, and open to interpretation.

The Prada Paradox

Prada has long thrived on paradox: simplicity revealing complexity, restraint holding emotional depth.

FW26 continues that tradition. On the surface, the silhouettes feel pared back. But look closer and the layers multiply: visually, conceptually, emotionally.

It’s fashion as archaeology and every garment contains another story beneath it. Which perhaps that’s the point.

Because in Prada’s world, identity is never singular; it’s layered, lived, and always becoming.

More on Prada.com

At Alserkal Avenue this Ramadan, Miu Miu is doing something that feels especially resonant for the season.

From February 24 to March 6 at The Yard, the house is unveiling Sunset to Sunrise, a special Dubai activation designed not simply as an event, but as a gathering point — one where cinema, conversation, food, and community come together in a way that feels both intimate and intentional.

Timed to coincide with the holy month, the experience draws from the rhythm that defines Ramadan itself: sunset and sunrise, pause and exchange, reflection and togetherness. As fasts are broken and evenings unfold, Sunset to Sunrise becomes a space for shared presence, oplacing storytelling at its center, and more specifically, the women who carry it forward.

That framing is what makes this programme feel particularly thoughtful. Rather than approaching film as entertainment alone, Miu Miu positions cinema here as a vessel for memory, emotion, and cultural transmission. Across four evenings, from February 25 to 28, the brand partners with Cinema Akil on a curated screening series, followed by conversations curated by Myrna Ayad that expand on women’s stories, inherited narratives, and the quiet but enduring ways memory moves across generations.

The line-up is strong, and deeply regionally attuned. Honey, Rain and Dust, directed by Nujoom Alghanem, opens the programme with a poetic look at honey specialists navigating environmental and cultural change in the mountains of the UAE. Hijra, directed by Shahad Ameen, follows a grandmother and her granddaughters on a journey across Saudi Arabia toward Mecca, where disappearance, identity, and resilience intertwine. Cotton Queen, making its UAE premiere, brings viewers into a Sudanese cotton-farming village, where a teenage girl confronts the push and pull between modern development and tradition. Then comes Bye Bye Tiberias, Lina Soualem’s moving documentary tracing memory, exile, and family history across four generations through the story of actress Hiam Abbass and her return to her Palestinian birthplace.

Each screening is paired with a conversation that pushes the evening beyond viewing and into reflection. The titles alone set the tone: At Sunset: The Women Who Hold the Story, In Motion: Stories That Travel, Toward Sunrise: Labour, Care, and Cultural Stewardship, and Carrying the Story. Together, they build a framework that feels emotionally rich and culturally grounded; not over-explained, not performative, but genuinely considered.

And then the experience shifts. From March 1 to 6, the space transitions into a more open communal format, with workshops, animations, and scheduled artistic performances welcoming the public in. Throughout the full duration of the activation, guests can also experience a culinary offering imagined by Nala, adding another layer of hospitality to the setting.

What makes Miu Miu Sunset to Sunrise stand out is that it does not lean on spectacle for its impact. Instead, it taps into something softer and far more lasting: the power of gathering, the intimacy of shared stories, and the significance of creating space for women’s voices during a month shaped by ritual, reflection, and community. In a city that knows how to do scale, this feels like a reminder that sometimes the most meaningful luxury lies in atmosphere, intention, and the conversations that stay with you long after the night ends.

‍

PROGRAM:

Wednesday, 25 February

Honey, Rain and Dust Film Screening
Conversation: At Sunset: The Women Who Hold the Story
With Nujoom Alghanem & Munira Al Sayegh & Moderated by Hind Mezaina

Thursday, 26 February
Hijra Film Screening
Conversation: In Motion: Stories That Travel
With Ghaliah Amin & Nora Razian & Moderated by May Al Dabbagh

Friday, 27 February
Cotton Queen Film Screening, UAE Premiere
Conversation: Toward Sunrise: Labour, Care, and Cultural Stewardship
With Suzannah Mirghani & Salma Shaheem & Moderated by Laila Binbrek

Saturday, 28 February
Bye Bye Tiberias Film Screening
Conversation: Carrying the Story
With Lina Soualem & Butheina Hamed Kazim

From 1 to 6 March, the experience transitions into a communal space, with workshops, animations, and scheduled artistic performances open to the public.Guests will also enjoy a dedicated culinary experience imagined by Nala at the Miu Miu Sunset to Sunrise space throughout the full duration of the activation.

More on MiuMiu.com

In a fashion landscape that can often feel saturated with noise, Creative Space Beirut and Slow Factory are choosing to speak about something deeper: access, sustainability, and the future of creative education.

Their newly announced partnership is not just another collaboration. It is a reminder that fashion can still be a tool for care, community, and long-term change.

At the center of it all is Creative Space Beirut, the pioneering free fashion school that has become one of the region’s most powerful examples of what happens when education is treated as a right rather than a privilege. Operating in Lebanon, within a context shaped by political, economic, and social instability, CSB has built a model that is as radical as it is necessary: free design education rooted in rigor, inclusivity, and responsibility. Its impact speaks for itself, with a 94% job placement rate for graduates and more than 150 applicants competing for just ten places in each admission round.

Now, through its partnership with Slow Factory, that model gains a new kind of support system. Slow Factory will act as CSB’s fiscal sponsor, making it easier for U.S.-based supporters to contribute through tax-deductible donations, including recurring monthly giving. But beyond logistics, this partnership feels aligned on a much more meaningful level. Both organizations are invested in challenging extractive systems and building something more thoughtful in their place: structures that value shared knowledge, community-driven growth, and a more equitable creative future.

What makes Creative Space Beirut especially compelling is that sustainability there is not a trend or a branding exercise. It is embedded into the very way students learn and create. Student work is developed using deadstock and donated fabrics, making reuse and circularity central to the design process from day one. The school also integrates real-world collaborations, exposure to biomaterials, upcycling, and alternative production methods, encouraging students to think critically about material futures and the systems that shape fashion at large.

There is also something deeply moving about the ecosystem CSB has built around continuity. Education does not stop at graduation. Alumni return as mentors, instructors, collaborators, and working designers, creating a circular model where knowledge keeps moving and creative practice stays rooted in community. That kind of structure feels especially important in a region where creative labor is often underfunded, undervalued, or forced to operate against the odds.

And the results are impossible to ignore. CSB alumni including Roni Helou, Amir Al Kasm, and Ahmed Amer have all received the Fashion Trust Arabia Prize, with every CSB nominee to date winning the award. That kind of consistency says a lot. It tells us that when emerging talent is properly supported, extraordinary things happen. It also reinforces a point that feels urgent right now: talent has always existed everywhere, but access has not.

For JDEED, this is the kind of story that deserves attention because it is not only about fashion education. It is about protecting culture, preserving knowledge, and refusing to accept that creativity should only belong to those who can afford it. In a time when so many institutions are under pressure, Creative Space Beirut and Slow Factory are showing what it looks like to build with intention and to invest in people, not just outcomes.

Launching in February 2026, the joint campaign will introduce the partnership to a wider international audience while spotlighting the role free design education plays in sustaining cultural life under strain. More than a fundraiser, it feels like a statement of belief: that creative education matters, that access matters, and that safeguarding the next generation of designers is a collective responsibility.

Saint Levant officially launched the 2048 Foundation, a new initiative dedicated to supporting Palestinian musicians and the wider music ecosystem across Palestine.

But to reduce this to a “foundation launch” would be missing the point.

2048 is not random. It marks the centenary of the Nakba. A date loaded with history, rupture, displacement, but also projection. What will Palestine look like then? Who will be telling its stories? Who will be shaping its sound?

The foundation starts from something disarmingly simple: Palestinian artists deserve resources, visibility, and real structural support. Not sympathy or momentary amplification. Actual investment; and that distinction matters.

We talk a lot about representation in fashion, in media, in culture. But representation without infrastructure is fragile. It depends on mood, algorithms, geopolitics. The 2048 Foundation shifts the focus from visibility to sustainability, offering micro to medium-sized grants to musicians and music-related creatives at different stages of their journeys.

It also creates something equally important: connection. Grantees are brought into collaborative sessions with local and international music professionals, building exchange, not hierarchy. The model feels philanthropical and like ecosystem-building, and this isn’t a sudden move. 2048 has been active since 2023, quietly supporting projects while refining its focus through research and engagement on the ground

This public launch marks a clearer chapter that is more structured, more intentional, but still community-led.

At JDEED, we’ve spoken often about the urgency of local narratives, the necessity of telling our own stories before they are diluted, translated, softened for external comfort. Music is one of the most immediate forms of that storytelling. It travels without subtitles, carries dialect, rhythm, memory.

Saint Levant understands that cultural power is not just about global streams or festival lineups. There is something deeply generational about this move; instead of waiting for Western institutions to validate or fund Palestinian art, this is a homegrown model. Artist-led. Regionally rooted. Future-facing.

The 2048 Foundation signals a shift away from rigid funding structures toward something more human and artist-centered, it positions creativity not as charity, but as a force shaping the future.

Which raises a bigger question: what happens when artists stop asking for space and start creating it for others?

Living in Dubai means you can get anything from a sandwich to furniture delivered to your door by just snapping your fingers. Fantastic or problematic, that’s a question everyone has an opinion on.

What is certain is that people’s ability to wait has become increasingly minimal, to a point that we’d cancel a cab if we see “wait time 4 minutes.” What do you mean a whole 240 seconds? Ain’t nobody got time for this.

Or don’t we actually?

Everything needs to be fast, fast, fast — and it seems like my Nonna’s motto in life has no place in 2026. She used to tell me chi va piano va sano e va lontano: who goes slowly goes healthily and far. Going slowly feels like the ultimate horror for people these days. We want it fast, well done, and we want it now.

From Love Is Blind and getting married in six weeks, to Ozempic and losing 40kgs in two months, the question is: what are we actually rushing for? Is there some invisible finish line we’re all trying to cross as quickly as possible to unlock a prize?

I’ve had a few conversations with friends who wanted to take time off to reflect, and they all landed on the same conclusion: “We can’t afford to go MIA for even two weeks. Everyone will forget about us.”

While I beg to differ — human beings aren’t Labubus that rise to fame and disappear in less time than it takes to understand their purpose — the essence of what they’re saying isn’t wrong. If you’re not visible, if you’re not making noise, and if you give people a reason to forget about you, they probably will.

I’m not talking childhood best friends. I’m talking professional relationships. That fling you’re speaking to through texts. Your connections on Instagram.

The need for our generation to receive news, content, goods, and food ASAP (and soon better be like, now) has rewired how we relate to time, patience, and even each other. We refresh feeds compulsively. We expect replies instantly. We panic when typing bubbles disappear. We measure relevance in likes and views. Silence feels dangerous. Waiting feels like falling behind.

We’ve built systems that reward immediacy and punish pause- and honestly, it’s exhausting.

Somewhere along the way, we stopped letting things breathe. Careers need to take off overnight, relationships need clarity by week two, healing needs to happen quickly, growth needs to be visible. If there’s no immediate result, we move on. Swipe. Cancel. Replace.

We’re not wired for long arcs anymore. We’re wired for dopamine hits. But maybe what we’re really craving isn’t speed...maybe it’s reassurance. Maybe it’s control? Maybe it’s the comfort of feeling seen in a world that moves too fast to notice anyone who slows down?

Maybe we’re rushing because standing still feels scary. And maybe (probably), my Nonna had a point.

Because going slowly doesn’t mean going nowhere. It means allowing things to unfold. It means building something that lasts. It means choosing depth over urgency. Presence over performance, longevity over instant gratification.

In a world screaming now, now, now, choosing to move at your own pace might be the most radical thing you can do.

If you’ve been scrolling Instagram or Snapchat lately, you may have noticed something subtly- and intriguingly, different about how fashion brands are showing up. Rather than the usual static campaign posts and celebrity shots, there’s a growing layer of digital experimentation layered into feed content and mobile experiences.

Leading that shift is Gucci, whose recent use of AI in both its social channels and immersive digital tech feels like a signpost for where fashion is heading.

Today, Gucci teased its upcoming Primavera show with AI-generated content on its Instagram feed, a move that feels less like a gimmick and more like a strategic pivot. Rather than relying solely on traditional photos and videos, these AI elements give the brand flexibility to visualize concepts that might otherwise take weeks of planning, styling, scouting, and shooting. At the same time, Gucci partnered with Snapchat to launch the first Sponsored AI Lens for luxury, powered by Snap’s generative AI tech, letting users transform themselves into one of six iconic Gucci characters straight from their camera. The experience turns a campaign into something participatory: followers aren’t just consuming Gucci imagery, they’re stepping into it themselves.

This kind of experimentation is not happening in isolation. Across the fashion industry, AI adoption has moved well beyond early curiosity into actual content deployment and operational use. Long-form reporting on the sector notes that retailers and luxury brands are exploring AI for everything from digital models to immersive customer experiences. Some companies are even creating digital “twins” of real models or using AI avatars to showcase products in ways that reduce cost and increase creative control.

At its heart, the Gucci approach feels like a logical next step: social media is no longer a one-way broadcast channel but a space for co-creation, play, and personalization. Allowing people to insert themselves into Gucci’s universe, and to visualize character identities straight through AI lenses, expands the brand’s presence beyond the passive scroll and into something you interact with, save, share, and return to.

But this isn’t just about fun filters or flashy visuals. Industry observers point out that in fashion, AI is quickly becoming more than an accessory. In many cases, it’s enabling brands to iterate faster, respond to trends in real time, and reimagine traditional workflows such as fitting, visualization, and campaign production. For example, AI can help generate virtual imagery, assist designers with mood boards, or speed up storytelling through dynamic content, giving creative teams more room to focus on nuanced decision-making rather than repetitive tasks.

That’s where the debate gets interesting. On one hand, tools like Snapchat Lenses or Instagram AI visuals signal a new layer of engagement, where followers are not just observers but participants. On the other, the rise of AI also raises questions about what is gained and what is lost when machines take on roles traditionally held by humans. AI models and digital avatars are already being created by brands and tech startups that aim to replace or augment human models in campaigns and e-commerce imagery, with important ethical considerations about consent, representation, and livelihood.

For Gucci, integrating AI into both social storytelling and immersive mobile experiences feels like a natural evolution of its brand ethos, fusing heritage with experimentation. It suggests that fashion houses are no longer restrained by traditional production cycles or the limitations of physical shoots; instead, they can prototype ideas in virtual spaces first, test audience reactions, and adjust narratives on the fly.

So what does this mean for the future of fashion?

It means that the lines between the real and the digital are blurring faster than we thought. AI isn’t just helping designers or speeding up logistics; it’s shaping how brands talk to their audiences, how customers see themselves wearing luxury, and how fashion stories are told on mobile platforms. Gucci’s Spring AI activations feel like a cultural preview of that, fashion as shared experience, not just editorial product.

Whether this will ultimately replace traditional creative roles or simply broaden the toolkit designers and storytellers use is still up for debate, but one thing is clear: the brands that embrace this shift early will be the ones setting the tone for how fashion feels and functions in the age of AI.

So, what do you guys think? 

Ramadan always changes the rhythm of the city. Days feel gentler, nights stretch longer, and suddenly we’re all searching for places that let us slow down, gather properly, and make a meal feel meaningful.

This season, Dubai and Abu Dhabi are offering some beautifully considered Iftar and Suhoor experiences, from homegrown Emirati flavours to garden settings, fragrance-inspired majlis moments, and sharing tables designed for long conversations.

Here’s where we’re booking.

At Gerbou, Ramadan feels intimate and rooted in culture. Dubai’s go-to destination for Emirati-inspired cuisine is serving both Iftar and Suhoor set menus alongside curated delivery boxes for nights at home. Expect comforting soups, vibrant salads, Bahraini kebabs, Chicken Kabsa, Lamb Mtabban, and nostalgic desserts like Um Ali and saffron kunafa, all served in Gerbou’s warm, story-driven space. Iftar runs from sunset to 9pm at AED 320 per person, while Suhoor follows from 9pm until 3am at AED 315. The à la carte menu is also available throughout the night for those who prefer to mix and match.

More info Gerbou.com

Over at The Lana Dubai, Ramadan comes with a sensory twist thanks to a collaboration with KAYALI, founded by Mona Kattan. Set within Veranda overlooking Marasi Bay, the KAYALI Majlis offers a fragrance-inspired Iftar experience curated by Chef Jouni Ibrahim. The AED 395 per person set menu blends hot and cold mezze, sushi and sashimi, Arabic mixed grill, Ouzi, truffle pasta, and Middle Eastern desserts, paired with premium Arabic coffee and refreshing beverages. It’s generous, glamorous, and designed for sharing.

More info on DorchesterCollection.com

If outdoor dining is your Ramadan love language, Raffles Dubai delivers a beautiful garden setting for both Iftar and Suhoor. Their Raffles Garden Iftar unfolds under open skies with live cooking stations, Ramadan juices, fine teas, and coffee, priced at AED 235 per adult. Later in the evening, Suhoor takes over with à la carte dining and shisha for those who like to linger. There are also private garden cabanas for intimate gatherings, in-room Iftar and Suhoor for quieter nights, and a refined Ramadan dessert stand in Raffles Salon if you’re only stopping by for something sweet.

More info on Raffles.com

For a more fashion-forward moment, Nammos Dubai teams up with Dior for a seaside Ramadan experience. Set against Arabian Gulf views, Dior has designed a bespoke space at Nammos where guests can gather for Iftar and Suhoor over sharing-style menus served on custom Dior tableware. Think candlelight, soft entertainment, lush greenery, and evenings that feel equal parts reflective and elevated.

More info on Nammos.com/Dubai

If you’re craving bold flavours and a social atmosphere, COYA Dubai brings its signature Peruvian energy to Ramadan with a vibrant Iftar set menu priced at AED 249 per person. The experience starts with dates and guacamole, followed by sharing plates like Avocado Maki, Smoked Corn Salad, Short Rib Baos, and Chicken Skewers, then mains including Lomo Saltado or Miso Chilean Seabass, finished with a Saffron Pavlova that nods to regional flavours.

More info on Coyarestaurant.com

Abu Dhabi also has its moment this Ramadan at Rosewood Abu Dhabi, where Glo Restaurant welcomes guests for Iftar from sunset to 9pm with interactive stations, live cooking, traditional Ramadan beverages, and soft Qanun melodies. Suhoor follows from 10pm to 2am with à la carte dining in an open-air setting. It’s calm, elegant, and ideal for evenings that feel restorative rather than rushed.

More info on RosewoodHotels.com

For something a little unexpected, Chôm Chôm Dubai brings Vietnamese flavours into the Ramadan conversation with a comforting, sharing-style Iftar experience priced at AED 175 per person. Tucked away in Galleria Mall, the cosy spot offers a three-course menu that starts with a Tamarind Soda on arrival and their signature Sweet and Sour Pineapple Prawn Soup, followed by chargrilled barramundi served with interactive sides like butter lettuce wraps, bun vermicelli, Vietnamese herbs, pickles, and green nuoc cham. Dessert comes in the form of Condensed Caramel Milk Flan, Pandan Milk Cake, or Coconut Gelato. The restaurant also stays open until 1am throughout Ramadan, making it an easy option for relaxed Suhoor plans with friends or family.

More info on chomchom.ae

For those craving something refined yet comforting, one of our absolute fav, ROKA Dubai introduces a contemporary Japanese take on Iftar at AED 180 per person. The experience begins with dates, a welcome drink, and gluten-free miso soup, followed by starters like iceberg lettuce salad with caramelised onion dressing, crispy prawn avocado maki, and chicken karaage finished with gochujang glaze. Guests then choose a main, from teriyaki-glazed salmon to slow-braised beef short rib or cedar-roasted baby chicken, all served with steamed rice. Dessert is your pick from ROKA’s signature selection, rounding out an evening designed to unfold slowly around flavour and togetherness, framed by the restaurant’s open robata grill.

‍

More info on Rokarestaurant.com

And new this season, French-Mediterranean favourite La Petite Maison Dubai introduces a special Ramadan collaboration with Saudi chef Mona Mosly. Designed around togetherness and sharing, the Iftar menu blends LPM classics with Middle Eastern warmth, starting with soup, dates, and mezze including Socca bread, fresh fruits and vegetables, feta, quail eggs with caviar, and chef Mona’s signature kibbeh. Mains follow tasting-style, from grilled Chilean sea bass to shawarma-spiced ribeye with broad beans fatteh, finishing with a shared dessert moment featuring Mona’s date cake alongside LPM’s iconic vanilla cheesecake. The experience is priced at AED 260 per person (minimum two guests), and available throughout Ramadan across Dubai, Abu Dhabi, Riyadh, and Doha.

More info on lpmrestaurants.com

For Bookings: Dubai, click here
Abu Dhabi, click here
Doha, click here

Ramadan isn’t just about where you eat. It’s about who you gather with, how long you stay, and creating space for connection. Whether you’re breaking fast in a garden, sharing mezze by the sea, or keeping things close to home, this season’s Iftar and Suhoor spots remind us that the best moments still happen around the table.

For a while now, we’ve been watching Jana Diab move through the music scene, and with the release of Oh My!, she officially steps forward on her own terms.

The Afropop-inspired track marks a clear milestone in Jana’s career. It’s her first solo single to fully blend English and Arabic in the same song, and it feels intentional rather than experimental for the sake of it. It reflects who she actually is: bicultural, globally influenced, and grounded in Arab sound.

Behind the track are two heavyweight names from the region, with lyrics by Tamer Hussien and composition by Amr Moustafa. The result is upbeat, polished, and easy to listen to, the kind of song that fits just as naturally into summer playlists as it does late-night drives.

In the lead-up to the release, Jana shared studio moments and teasers across her socials, giving people a look into the process instead of simply dropping the finished product. It felt natural and very Gen Z, more about bringing people along than presenting something overly curated.

Her father, Amr Diab, also publicly showed his support, a moment that highlighted both pride and trust in her direction. It was a reminder that while Jana comes from legacy, she is clearly carving her own path.

This is not her first introduction to a wider audience. Jana previously appeared on Amr Diab’s 2025 album Ebtadena, featuring on the summer hit Khatfoony. The track became one of the season’s defining releases and introduced her voice to a much larger audience, signaling early on that she was more than just a feature.

Still, “Oh My!” feels different. This is not a collaboration moment. This is Jana on her own.

What makes her interesting is not just who her father is. It is how easily she moves between cultures, languages, and sounds. Her music does not try to choose one identity over another, and that feels very now. It reflects a generation that sees culture as layered rather than fixed.

At JDEED, we’re drawn to artists who don’t feel rushed or overproduced, who let things unfold naturally and build their story step by step. Jana Diab feels like one of those names. “Oh My!” is not about proving anything. It is simply the start of her building something that belongs to her.

Follow Jana's journey on Instagram @JanaDiab_

Ramadan has a funny way of slowing everything down, at least emotionally. The days move fast, but the nights stretch long. Tables get fuller, conversations get deeper, and suddenly everyone is in the same room again.

Enter a new reason to stay there.

This Ramadan, Amazon UAE teamed up with Anas Bukhash to launch After Sunset, a limited-edition version of the #ABTalks card game designed to bring people closer during Iftar and Suhoor, one question at a time

If you’ve ever watched an #ABtalks episode, you already know Anas doesn’t do surface-level (or perhaps you read our interview with him? If not, it's here). His entire universe is built around meaningful conversations, emotional honesty, and asking the kind of questions that make you pause before answering. After Sunset takes that same energy and brings it straight to your dining table.

The game includes thoughtfully curated question cards to spark connection, action cards to lighten the mood, and a special set of AB cards written by Anas himself, designed for everyone aged 13 to 70 (yes, even your uncle who never puts his phone down). It’s made for families, friends, cousins dropping by unannounced, and those post-iftar moments when nobody’s quite ready to leave yet

What we love most? It feels intentional without being heavy.

You don’t need to “perform vulnerability.” You just shuffle the deck, pull a card, and suddenly you’re talking about memories, values, and feelings you didn’t realize were waiting to be shared.

And because this is Ramadan, there’s heart layered into every detail. The AB Question cards feature illustrations created by five young artists from the Rashid Center for People of Determination, adding warmth, colour, and genuine community spirit to the experience.

From a logistics standpoint (because life is busy), After Sunset is available exclusively on Amazon Now with delivery in as little as 15 minutes, which honestly feels very on brand for 2026. It’s priced at AED 130, with free delivery for Prime members, and you can even add a curated selection of Anas’ favourite Ramadan snacks while you’re at it. Full hearts, full bellies, minimal planning.

But beyond the convenience, the idea is simple: create space. Space to talk. Space to listen.
Space to reconnect with the people sitting right in front of you.

In a world that never stops pinging, buzzing, or refreshing, After Sunset feels like a gentle reminder that the best moments don’t live on screens butthey happen around tables, between bites of food, in laughter, reflection, and long pauses.

And honestly? That feels very Ramadan.

Buy the card game here on www.amazon.ae

In Milan, Princi is our go-to: the kind of spot you fall into naturally while wandering near the Duomo di Milano or spending slow afternoons in Brera district.

It’s our favorite place for breakfast, some that turn into lunch, for an espresso that become focaccia, and those in-between moments where you sit a little longer than planned, watching the city move (with an excellent ‘bombolone’ or two.) And it makes sense: Princi literally built that ritual into its DNA, adding an espresso bar early on so people could pair coffee with freshly baked cornetto, the Milan way.  

So when Princi officially opened its flagship in Dubai, we couldn't be any happier. It felt less like discovering something new and more like welcoming an old favourite into our everyday. In a city with so much options everywhere, betting on something we truly love is a real luxury. Princi’s own story tracks that expansion clearly: Kuwait in February 2020, then Dubai Mall in February 2026: a neat, confident timeline for a brand that’s always moved with ambition.  

As founder Rocco Princi puts it: “Princi embodies the spirit of Milan: rhythm, discipline, and warmth. Everything begins with three simple things—water, flour, and fire—and the time it takes for them to become something real. Each dish is a reflection of the Milanese heart and craftsmanship, and we're bringing this daily gesture to Dubai, with Alshaya, to create a place to be experienced all day long.”

That “all day long” detail is key, because Princi isn’t positioning itself as just a bakery pit stop. The Dubai flagship brings Princi’s signature Milanese rhythm to the UAE in a modern, premium setting designed for all-day dining that is more a destination than a café. And the brand has a simple set of pillars that explain why it translates so well across cities: Origin, Craft, Place, People.  

Origin is Princi’s obsession with ingredients: sourced without compromise, baked with intention, and treated like the main character.  

Craft is where Princi gets almost poetic. “In the artisan, there is art. And from art comes bread.” The brand frames its process through elemental language—water, air, earth, fire—and makes a point of doing things the traditional way: no shortcuts, no secrets, just patience and pride. You feel that approach in the Dubai space too, where freshness isn’t marketed as a promise, but is built into the choreography.

Place is Milan, always. Princi calls Milan Rocco’s muse, and you can see it in the design language, the counter rhythm, the quiet efficiency that still feels warm. The Dubai flagship keeps that “Spirito di Milano” energy intact: sleek but not cold, social but not loud, like it understands that luxury can be as simple as a really good coffee, at the right pace, in the right light.

And then there’s People: la ‘Famiglia’. Princi describes itself as a family legacy started by Rocco, continued by his sons, but also extended to the bakers and commessas, the farmers and artisans, and the customers who keep showing up. That’s what makes the Dubai opening feel instantly familiar: the room is designed for everyday life: quick coffee runs, casual meetings, and long conversations that stretch because nobody’s rushing you out.

From the first espresso of the morning to the final bite later in the day, Princi is built to move with your schedule. The menu is genuinely all-day, spanning bakery, bread, pastry, breakfast, starters, salads, focaccia pizza, sandwiches, pasta and main courses, plus beverages, so you can do a soft morning start or a proper sit-down without switching venues. And in true Dubai fashion, what makes it extra fun is how seamlessly Princi plays with local taste: think a tender zaatar focaccia moment, or a warm, comforting Umm Ali; Middle Eastern familiarity, filtered through a very Italian kind of precision.

“Our commitment to delivering world-class, authentic experiences continues with the debut of Princi in the UAE. We are thrilled to introduce this unique culinary landmark that offers guests an inspiring culinary destination that captures the vibrant essence of Milanese culture. We look forward to seeing our customers experience it firsthand,” said John Hadden, CEO of Alshaya Group.

And the real bonus? Their breathtaking views on the majestic Burj Khalifa and Dubai fountains. Who doesn’t love having a meal set against grand backdrop?

A breakfast stop before meetings or a spontaneous lunch plan, Princi is one of those addresses you suggest instinctively. We can’t wait for our next visit.

PRINCI  

www.princime.com

Dubai Mall

1^st floor  04 315 3603

‍

The Padded Cassette  slipped into fashion sometime in the late 2010s, 2019 to be precise, introduced under Daniel Lee during his era at Bottega Veneta, when the brand reshaped what modern luxury could look like.

No logos or theatrics. Just an exaggerated, padded take on Bottega’s iconic Intrecciato weave just softer and bolder and a piece we knew right away we needed to get our hands on.

By Cynthia Jreige

Inspired by 1970s luxury car interiors (which somehow makes perfect sense), the bag took Bottega’s traditional leather weaving and turned it maximalist: oversized padded strips, quilted lambskin, a boxy rectangular shape, a triangular buckle, and an adjustable strap that made it easy to wear however your day unfolded. It debuted as part of the Pre-Fall 2019 collection, at a moment when fashion was collectively exhaling. Logos were exiting the room. Craft was becoming the ultimate cool and texture mattered more than status.

The Cassette felt like a reset: plush leather, graphic proportions, wearable. Editors picked it up first, then celebrities, then the cool crowd. It was still kind of a 'when you know you know' piece but so aesthetically pleasing no one could ignore it.

We got ours in baby blue. Not because it was trending (it was), but because it felt soft and light which, unintentionally, matched life a little bit more at the time.

Looking back now, that bag feels tied to a version of life that no longer exists. Before the constant urgency and bfore productivity became a (toxic?) personality trait.

What’s funny is that the bag itself hasn’t aged badly at all. It's actually still our favourite. The padded weave still feels right. the shape still works. It still goes with everything. And despite all the cycles, micro-trends, and TikTok-led revivals, it hasn’t become embarrassing; which is saying a lot.

We still wear it.

Maybe not with the same lightness as before, because we’re not the same people, and the world definitely isn’t the same place, but it remains one of those pieces that doesn’t feel dated or forced. It just feels familiar.

Some bags remind you of who you were. Some remind you of how things felt. The Padded Cassette does both.

It hit me right in the middle of a HIIT session. I came here to unwind (we all have our ways of doing that, and I guess mine is sweating under a ticking chronometer) ; but somehow I was still annoyed by a text I had just gotten.

Mind you, it’s Sunday morning, 8:40am. The sun is shining, I just had a sip of espresso, I’m on my way to the burpee chamber, and right there and then, a text following up on an article I had at the top of my list for the following day pops up on my phone.

By Cynthia Jreige

I know some people don’t overthink it. Something crosses their minds and boom — it needs to depart their conscience before it’s forgotten forever. Sadly, as the recipient of this impulse, I started spiraling into stress over how to answer, given that said article has yet to be finalized. Because yes, I took a bit of time off between Saturday afternoon and Sunday. Sue me.

I was not going to answer, because I refuse to set this as a standard. I was so taken aback (yet far from surprised) that I took it out on my impressive community of 1.2K followers and asked them if they too were receiving text messages from work outside working hours. Okay, only 32 people replied — but 31 said yes. Thirty-one! Are you telling me this is now the norm?

Since the introduction of AI, employers and/or clients expect us to debit an amount of work faster than an Airbus during takeoff, prioritizing quantity over quality and completely disregarding any form of wellbeing.

Are we glamorizing the grind? Is it voluntary? Or is it a punishment disguised under the promise of getting first to the finish line of the productivity marathon?

We shouldn’t be proudly saying that we have Zoom meetings at 1am on a Friday, or that we haven’t slept in four days because of a work project. I plead guilty to doing that more than I’d like to admit, but to my defense, I’m an entrepreneur and I’m a bit of a masochist (cf. my ways to unwind).

So there I was, putting my sneakers on, ready for the next 45 minutes of sweating my apricot electrolytes off (hopefully not). But even though it was Sunday morning and I was promised high dopamine levels, I was anxious. I was angry and I wanted to go home. It took warming up and a few good songs to forget about the world (the dopamine eventually hit later as I moonwalked my way home), but I still couldn’t help but wonder: why is my professional life overstepping on my private one so much? Who gave anyone the right? Us, collectively, as a society? Capitalism? AI and its insane fast-delivery standards? The collective of SWANA dads?

No matter who, it is time to reclaim our right to chill back.

Not for us to get to the gym or a massage appointment wanting to smash a few plates on the floor (or, you know, murder someone). Even wellness companies capitalize on our misery: supplements, retreats, lymphatic vibrating plates, rings and bracelets that tell us our recovery is awful (no shit, Sherlock). It is hard to ever feel fulfilled, accomplished, or like we’re doing anything right. To the point that if I take 30 minutes to have lunch, I feel like I’m failing people who expect answers from me. Where my colleague excels at JOMO (I’m jealous), I’m the queen of FOMO, and I always believe that being unproductive will lead to my demise.

Or… is that what the system wants me to believe?

Cover photo: Jessica Walsh

There’s a quiet shift happening across the Middle East’s fine jewellery landscape. Away from legacy maisons and heritage-heavy codes, a new generation of independent brands is redefining what luxury looks like and it's looking more personal, more expressive, and deeply rooted in place.

These designers understood one thing: it's not about chasing trends, they're literally building their own,

From Dubai to Doha, Abu Dhabi to Oman, today’s regional jewellery creatives are translating memory, movement, architecture, and identity into pieces meant to be worn daily, layered intuitively, and kept for life. What connects them isn’t a singular aesthetic but it’s a common intention. Jewellery is no longer just adornment; it’s storytelling in 18k gold.

Take House Janolo, founded by sisters Oloof and Dujanah Jarrar. Shaped by lives lived between Abu Dhabi and New York, the brand embraces asymmetry, imperfection, and instinctive design. Working exclusively with natural gemstones and 18k gold, House Janolo creates pieces that feel lived-in rather than precious  bold yet effortless, expressive without needing explanation.

www.housejanolo.com

That sense of movement carries into one of our recent favourites, Zei Jewels, whose Cubica collection introduces modular jewellery built for transformation. Sculptural cubes can be rotated, stacked, and reconfigured, challenging the idea that fine jewellery should stay fixed. It’s architectural, interactive, and reflective of a modern mindset where luxury is fluid.

www.zeijewels.com

Colour takes center stage at Karina Choudhrie Jewels, a female-led brand marking a powerful return to Dubai, the city that shaped its founder’s early years. Known for unconventional gemstone pairings and expressive settings, each piece channels individuality and modern femininity through layered emotion and confident craftsmanship.

www.kandcojewels.com

From Oman comes Elyamm, founded by two sisters who translate memory and symbolism into refined contemporary design. Their debut Zigzag collection balances structure with softness, while their expansion into Saudi Arabia signals a growing regional presence rooted in poetic restraint.

www.elyamm.com

Architecture meets elegance at Lana Al Kamal Jewelry, where founder Lana’s background as an architect shapes every line and proportion. Established in 2018, the brand creates 18k gold pieces that move effortlessly from everyday staples to statement classics — each design beginning on paper before becoming something deeply personal.

www.lanaalkamaljewelry.com

Cultural exchange sits at the heart of Rosetta Fine Jewellery, whose collections draw from Eastern and Western traditions alike. Crafted by master artisans using age-old techniques, Rosetta’s jewellery feels both familiar and unexpected, designed for longevity, not hype. We love that the pieces work perfectly on a white tee-jeans -blazer combo as well as a gala gown.

www.rosettafinejewelry.com

Then we have Shams Fine Jewelry, an emerging Emirati label inspired by memories of travel and lingering light. With fluid silhouettes and luminous finishes, Shams creates jewellery that feels emotional yet wearable; designed to move seamlessly between everyday life and meaningful moments. We feel particularly drawn to the sense of freedom that transpires through the pieces.

www.shamsfinejewelry.com

Heritage is reimagined through a youthful lens at Dubai-based TRYYST, particularly in its Modern Maharaja collection. Inspired by South Asian royal jewellery, the line pairs vibrant stones with mother of pearl, encouraging playful layering while honoring cultural richness.

www.tryyst.com

A distinctly Emirati voice emerges in TOi Fine Jewelry, founded by Aisha Bin Hendi. Defined by its signature Sparkle motif, TOi captures light and movement through bold yet refined silhouettes, creating jewellery that feels expressive, confident, and modern.

www.instagram.com/jewelrybytoi

In Doha, Kaltham’s Pavilion offers a softer, feminine universe. Founded by Kaltham Al Majid, the brand is known for dainty forms, pearls, and coloured gemstones, with its Queen of Hearts collection exploring romance and strength through delicate design.

www.kalthamspavilion.com

Then there’s Nigaam Jewels, which bridges family heritage with international reach. From atelier beginnings to global showcases, the house is celebrated for rare gemstones and precision craftsmanship , a testament to how regional expertise can evolve into worldwide relevance.

www.nigaam.com

Rounding out this new wave is Cullinan Crown, an Emirati house inspired by the philosophy of the legendary Cullinan Diamond. Designed in Dubai and crafted with balance and longevity in mind, the brand rejects seasonal thinking in favor of enduring forms: jewellery meant to be worn, passed on, and remembered.

www.cullinanuk.com

Together, these brands reflect something bigger than design: a regional creative awakening. The Middle East’s independent fine jewellery scene is no longer defined by inherited luxury codes. It’s shaped by founders, sisters, architects, and storytellers; building businesses rooted in identity, craftsmanship, and personal expression. And as these names continue to grow beyond borders, one thing is clear: a new movement has launched.

When Dua Lipa first burst onto the global music scene with her self-titled debut in 2017, few could have predicted the full spectrum of influence she’d command just years later. The British-Albanian-Kosovar singer-songwriter rode a wave of chart-topping hits, including the breakout anthem “New Rules,” which became a defining moment for female empowerment in pop, and quickly proved that her voice wasn’t just catchy but culturally resonant.

But music was just the beginning.

Today, Lipa isn’t simply a global pop star; she’s a brand builder, cultural curator, and multi-industry innovator whose ambitions stretch far beyond the stage. She founded Service95, a newsletter and platform that blends lifestyle, culture, travel, and ideas into one global concierge narrative, curating content as personally engaging as a friend’s top recommendations.

In fashion and luxury, Lipa has become a modern icon.On February 19th 2026, she stepped into a new role as Global Brand Ambassador for Bulgari, joining the ranks of some of the world’s most stylish names as the Roman luxury house looks to evolve its story with her contemporary voice and confidence.  And just last year, she also snagged a coveted position as Chanel ambassador, headlining the campaign for the 'Chanel 25' bag, putting her front and center in the world of haute couture and luxury accessories.

Her entrepreneurial instinct doesn’t stop at fashion: in wellness and beauty, she’s also forging her own path. Lipa partnered with Augustinus Bader — the science-led skincare powerhouse — to launch her own line, DUA by Augustinus Bader, a trio of high-performance essentials designed to be simple, effective, and travel-ready for her global lifestyle.

And in fitness too, she’s entered the world of wellness culture as Co-Founder and Chief Creative Officer, through her association with Frame Fitness, a boutique approach to Pilates and mindful movement that reflects how she balances the physical demands of touring with long-term wellbeing.

Yet it’s not just commerce that she’s redefining; it’s conscience. Lipa uses her platform for activism and social advocacy, speaking out on gender equality and LGBTQ+ rights, and repeatedly showing up on issues from systemic sexism in music to global humanitarian concerns. Also a Pro-Palestine ally, she consistently challenged injustice, using both her voice and visibility to amplify causes she believes in.

So ask again: what can’t Dua Lipa do?

She’s a Grammy-winning artist, a luxury fashion ambassador, a skincare founder, a cultural curator through Service95, a wellness voice tied to Frame, and a vocal activist. In a world where most talents stay within one lane, Lipa continues to build a portfolio that’s as dynamic as her stage presence — one that makes influence feel less like a title and more like a lifestyle.

More on DuaLipa.com

Ramadan arrives, as if on cue, when we need a reminder of what matters most. Giving, empathy, and community: the basics of a good life, and the cheat sheet to cleansing our souls.

Here is our curated list of charity organisations to donate to this holy month.

By Saher Azmi

The Giving Family

‍
What started as a small effort amongst friends has grown into a powerful movement led by entrepreneur Fadie Musallet, expanding its operations every year. Beyond donating meals daily, this Ramadan The Giving Family is partnering with Rove Hotels for their “Pass it On” campaign: for every iftar worth AED 129 purchased at one of The Daily restaurants, a complimentary voucher is donated to a labour worker.

To join the daily volunteering group, simply follow their Instagram to keep track of the time and location each day. No sign-ups, no registration required. Simply showing up and contributing is enough.

www.thegivingfamily.org

ThriftForGood
ThriftForGood is leading the UAE’s sustainable fashion movement, and this month it’s honoring the ethos of Ramadan by raising AED 100,000 for 35 Tanzanian orphans who have lost their families due to the country’s HIV crisis. Funds raised go towards the children’s education, housing, nutrition, and safety needs.

The best part? ThriftForGood donates 100% of its proceeds to its charitable causes — meaning you can donate directly or shop at one of their locations, and either way, you’ll be supporting something meaningful.

www.thriftforgood.org

Dubai Charity Association

‍With Dubai Charity Association this year, the goodness endures. The organisation is launching a wide-reaching Ramadan campaign featuring specialised projects such as the “Goodness Coupon” to fulfil essential needs for underprivileged families, “Iftar Sayem” with over one million meals distributed locally and internationally, orphan sponsorships, mosque and clinic-building programs, support for educational initiatives, and more. It’s part of a broader effort to expand the umbrella of social protection offered by Dubai Charity.

Donations can be made online through the charity’s website, and they also accept in-kind donations.

www.dubaicharity.org

Beit Al Khair Society

‍
Beit Al Khair is focusing on family welfare this Ramadan, with eight new initiatives to support low-income households and provide urgent care in situations like medical emergencies, the loss of a breadwinner, or settling overdue rent to prevent eviction.

The AED 70 million campaign aligns with the UAE naming 2026 as the “Year of the Family.” While emphasis remains on meeting emergency aid needs, the charity will also provide free iftar meals for over 1.6 million fasting individuals.

Contributions can be made directly through Beit Al Khair’s website.

www.beitalkheir.org

Emirates Red Crescent

‍
Emirates Red Crescent is allocating more than AED 32.5 million towards charitable Ramadan programmes expected to benefit more than 395,000 people.

Under the theme “Giving Without Limits,” the organisation will provide daily iftars, Eid clothing, Zakat Al Fitr, and introduce new initiatives such as “Your Iftar is On Us,” distributing iftar meals to essential workers at their workplaces.

Philanthropists are encouraged to sponsor tent set-ups, which go up to AED 75,000 and include all operational costs. Donations can be made online through the ERC website or across hundreds of donation points nationwide.

www.emiratesrc.ae

If travel has taught us anything lately, it’s that movement is no longer just about getting from A to B but about how seamlessly your life fits in between. Enter the next generation of TUMI Alpha, unveiled this early 2026 with cinematic campaigns starring Lando Norris and Wei Daxun.

The message is clear: Alpha is mindset beyond just luggage.

Shot like a modern action sequence, Norris’s campaign frames preparation as ritual tat includes precision, focus and pretty much zero distractions. It mirrors his world on the Formula 1 track, where readiness is everything (we've witnessed it at the last Abu Dhabi GP). As he puts it, when something matters, you want every detail working exactly as it should  and Alpha is perfectly built for that energy. Across Asia-Pacific, Wei Daxun carries that same philosophy through sleek architectural spaces, highlighting Alpha’s clean lines, quiet confidence, and fluid movement. Together, they embody what TUMI calls a new blueprint for modern mobility

At the core of this evolution is design intelligence. Alpha continues to anchor itself in TUMI’s signature FXT™ ballistic nylon, now paired with streamlined pocketing, silent magnetic closures, and intuitive access points that feel less like features and more like instinct. It’s been engineered for people who move fast and expect their essentials to keep up (perfect for us who are basically always on the go.)

The collection refreshes Alpha’s most iconic silhouettes, from expandable carry-ons to smart backpacks and versatile crossbody styles, each refined to support movement without interruption. To mark this new chapter, TUMI also introduces Ultra Blue, a vivid accent detail across select pieces that nods to the brand’s ongoing commitment to innovation and excellence.

What makes this launch resonate isn’t just the product, it’s the philosophy behind it. Alpha reflects a deeper understanding of how we live now: hybrid days, spontaneous weekends, work that travels with us, and lives lived across cities. As TUMI’s Global Creative Director Victor Sanz explains, Alpha is where the brand returns to rethink performance: observing how people move, what they carry, and how design can quietly support every moment of that journey.

In true JDEED fashion, we see Alpha less as a travel collection and more as a lifestyle companion, that understands ambition, appreciates restraint, and believes great design should feel effortless. And not to brag but we are in the Tumi VIP club, which (yes we just invented it) gathers all the coolest people we see rushing through airports. Somehow, TUMI is always the commons denomintor.

More on Tumi.com

There’s a very specific kind of outfit pressure that hits in Ramadan: you want something polished enough for last-minute plans, comfortable enough for long evenings, and easy enough to repeat without it looking like you’re repeating.

Levi’s is leaning into that exact reality with Fit for Life Season 3, a women’s denim platform built around pieces that move with you, from quiet mornings to social nights, without feeling like you’re “dressed up” or “dressed down.” The campaign just launched and is spotlighting women across the region and how they actually live in denim: casually, confidently, and on their own terms.

The mood this season is simple: denim you can rely on. Levi’s Middle East GM Mir Zia Mahmood frames it as pieces that feel “authentic, comfortable, and effortless”—basically the holy trinity when your day stretches from coffee to iftar to “we’re just doing a quick stop” that turns into midnight.

Fit for Life Season 3 is built around the silhouettes everyone’s reaching for lately—relaxed bootcuts and wide legs—with enough structure to feel put-together and enough ease to feel like you can breathe. On the bootcut side, styles like Middy Loose Boot and Loose Boot give you that easy hip-and-thigh fit with a subtle flare, while Super Low Boot brings a more directional shape without sacrificing comfort.

For wide-leg lovers, the season calls out Cinch Baggy, especially appealing because the fit can be adjusted, along with Super Baggy Barrel for modern volume and a strong silhouette, and Shaping Wide Leg for that sweet spot between soft and structured. And if you want denim without committing to full jeans, the XL Skirt is positioned as the breathable option that still delivers the denim mood.

Styling stays very JDEED: simple, wearable, and not trying too hard. Think wide-leg denim with a lightweight tee and clean sneakers when you want the low-effort hero look; a bootcut with a relaxed top and a sharp outer layer for iftar plans that come together fast; or the XL skirt with a breathable top and statement earrings when you want something softer but still confident. Levi’s supports that direction by pairing the denim with lightweight tees, relaxed silhouettes, and breathable fabrics, making the whole edit feel intuitive rather than complicated.

The bigger point is that Fit for Life Season 3 isn’t trying to sell you a “new you.” It’s selling the idea of a denim uniform; pieces you can live in through Ramadan and beyond, the kind you reach for again and again because they simply work.

Levi’s Fit for Life Season 3 is available now across Levi’s stores in the GCC.

More on Levis.com

For Dima Al Sheikhly - the Iraqi-born, Dubai-based fashion, beauty and lifestyle creator known for her effortless blend of luxury and real life - that moment happened in Tokyo.

We’ve long followed Dima for her glam, her cultural pride, and her modern take on femininity. But over the past few months, another side of her has emerged: disciplined, focused, athletic. The kind of strength that doesn’t always show in an outfit but in early mornings and sore legs.

When we asked her what sparked her decision to run her first half marathon, she didn’t romanticize it.

“I never thought I’d run a half marathon. I wasn’t “the runner. But last February, I was in Tokyo during the Tokyo Marathon, and something shifted in me. Watching thousands of people, especially runners 45 and older was incredibly inspiring. It wasn’t about speed; it was about strength, discipline, and the simple power of showing up for yourself. In that moment, I made a promise: I would start running.

The early weeks of training were chaotic. I was sore, breathless, and doubting myself more than I expected. I quickly learned that training requires discipline, not motivation. What kept me consistent were the small wins.. finishing a run even when it felt messy, going a little farther than I thought I could, choosing effort over excuses.

Somewhere between the struggle and the progress, it stopped being just about a race. It became personal. Running turned into a way of understanding myself better my limits, my mindset, and my resilience. And that’s what truly kept me committed."

For someone whose career lives online, performance could have easily become the focus. Instead, Dima leaned into structure — and data — in a way that supported her growth rather than defined it.

On how her Apple Watch shaped her training:

“My Apple Watch was a huge part of my training. I could track my pace during every run and see how my heart rate responded, which helped me train smarter, not just harder. The best part was seeing my pace improve and my heart rate stabilize over time.. real proof that I was getting stronger. The Fitness app made it easy to keep streaks going and track progress in one place.”

But consistency isn’t just about metrics as much as it’s about rhythm. Especially when your life includes flights, shoots, and shifting time zones.

“I’m really grateful that my job lets me work on my own schedule. It’s made it so much easier to reprogram my week around training. I try to workout/run 2–3 times a week and save my recovery sessions for the weekend. Honestly, since I started training for the marathon on Nov 7, 2025, I don’t think a single week has gone by that I skipped a workout!

It’s become such a part of my life that it feels weird not to move my body. Even when I’m at home, I try to stay active.. doing yoga, foam rolling, just moving in some way. It’s less about strict rules and more about making it part of my day-to-day once it feels normal, consistency comes naturally.”

And yet — numbers aren’t everything.

“I love the data — pace, heart rate, distance it keeps me focused and motivated. But I’ve learned that numbers are only part of the story. I always try to listen to my body first. If I feel strong and my body can push, I push. If I’m tired or something feels off, I slow down even if the stats say I could go harder. The metrics help guide me, but they don’t override how I feel.

For me, it’s about balance. The stats keep me accountable, but tuning into my body is what keeps me consistent and injury-free.”

Training in the UAE brings its own narrative: heat, humidity, city life. But for Dima, the real challenge wasn’t climate. It was movement of a different kind.

“I actually started training in November 2025, so I got really lucky with the weather in the UAE it was getting cooler and better every week, which made building the habit so much easier.

The bigger challenge for me wasn’t the heat — it was travel. I’m constantly flying for work, different time zones, different routines. Instead of letting that throw me off, I decided to make running part of the trip. No matter what city I was in, I’d find a route and go. Honestly, that made me fall even more in love with running. There’s something special about discovering a city on foot.”

And when race day finally arrived?

“On race day, I know my Apple Watch will be tracking everything splits, time, calories and I do love seeing those numbers. But crossing the finish line means so much more than what’s on the screen. For me, it’s about keeping a promise I made to myself. It represents all the early mornings, the runs I didn’t skip, and the days I showed up even when I didn’t feel like it. That’s the real win. And seeing my family at the finish line was honestly the cherry on top. Sharing that moment with them made it so emotional and special.”

There’s something deeply JDEED about this evolution, a woman known for style choosing discipline. A creator known for aesthetics choosing endurance. A modern Arab woman redefining strength on her own terms.

Not because she was “the runner" but because she decided to become one.

Follow her journey on Instagram, @dimasheikhly

Buckle up for February 17th, one of the most poweful days of the year where stories, symbols and sky align.

On this day, three profound cycles intersect: the beginning of the Year of the Fire Horse in the Chinese zodiac, the eve of Ramadan for Muslims around the world, and the eve of Lent for many Christians; a triad of tradition, introspection and renewal. And hanging above it all is a rare celestial event: an annular solar eclipse known as a Ring of Fire, caused when the Moon moves directly between the Earth and the Sun but is too far to fully cover it, leaving a glowing halo visible at maximum coverage.

Text: Cynthia Jreige

In Chinese astrology, the Fire Horse is one of the most dynamic and intense combinations in the 60-year zodiac cycle. The horse symbolizes movement, independence, spirited force and passion, while fire amplifies its energy, signaling a year of transformation, courage and bold forward momentum. It’s a year that encourages risk-taking, reinvention and the pursuit of one’s truths, but also one that warns against burnout and impulsiveness. For many, it feels like a cosmic nudge to lean into what matters most with both energy and intention.

At the same time, Muslim communities prepare for the start of Ramadan, a month defined by fasting, prayer, self-discipline and compassion. This period invites believers to step back from daily routines, to pause, to reflect on their relationship with the divine and with others, and to cultivate gratitude. Though exact dates depend on crescent moon sightings, astronomers and religious authorities have pointed to 17 February as the expected evening for the new moon, with Ramadan likely beginning soon after, contingent on official sighting confirmation.

For Christians observing Lent, the eve of this solemn season also falls on this day. Lent is a time of intentional reflection, surrender and preparation, traditionally marked by sacrifices and introspection as believers ready themselves for Easter. It asks its participants to look inward, to uncover spiritual truths and to engage in practices that bring clarity and compassion.

Overlaying these spiritual frameworks is the solar eclipse, a rare sky phenomenon that captures the imagination across cultures. While the Ring of Fire itself will be visible mainly from remote parts of Antarctica, and not directly over the UAE, its timing on the same new moon that ushers in important religious calendars adds another layer of symbolism. Eclipses have long been seen in many traditions as moments of transition and revelation; times when the ordinary rhythm of the sky is disrupted, and attention is drawn upward, outward and inward at once.

So what does this confluence mean for the year ahead?

Spiritually, it offers a beautiful duality: the Fire Horse’s forward motion paired with intentional reflection. It’s an invitation to balance the fire within- the ambition, creativity, drive; with the power of discipline, presence and compassion. In a world that often prizes speed and achievement, this rare overlap of traditions reminds us that meaningful progress often begins with stillness.

Culturally, these converging cycles reflect a global desire for renewal after years marked by disruption and distance. They remind us that traditions, whether astrological, religious or communal, provide anchors in times of complexity. And even when we approach them from different perspectives, there is a shared human rhythm: pause, reflect, release, and then act with purpose.

In this rare moment where the heavens, calendars and spiritual practices align, there is a gentle reminder for all of us; to look inward before we leap forward, to seek clarity before we make choices, and to honour both presence and motion as we move through 2026.

For Spring 2026, Coach teams up with Elyanna for Express Your Many Sides, a Middle East–exclusive moment that speaks directly to a generation raised between cultures, identities, and expectations. At its core, the campaign isn’t really about bags but about multiplicity.

Elyanna has always existed in the in-between, blending Arabic melodies with global beats, softness with strength, vulnerability with presence. Here, she becomes the embodiment of what Coach is trying to say: you don’t have to choose just one version of yourself. You’re allowed to be layered and contradictory.

The visuals follow Elyanna through moments of movement and stillness, sound and silence, showing identity as something lived rather than performed. Her energy carries the story: intuitive, grounded, unapologetic. It's not really your usual campaign and we're here for it.

Coach’s Tabby bag appears quietly throughout, styled across moods and settings, treated like the perfect companion. We also love the hero Tabby 26 in maple (a Middle-East exclusive!), super warm, and versatile; for Elyanna and for us at JDEED, style doesn’t need to be extravagant to be expressive.

What makes this collaboration land is its regional specificity. Express Your Many Sides unfolds exclusively in the Middle East, marking Coach’s continued investment in the region, alongside the reopening of its renovated flagship at Dubai Mall. It’s a reminder that global brands are finally learning to tell stories with the region, not just in it (a welcomed energey to be honest!)

There’s also purpose behind the partnership. Elyanna continues her commitment to giving back, with donations to the World Food Programme tied to the campaign, proof that visibility can be paired with responsibility.

For us at JDEED, this feels aligned with how many of us move through the world today. We’re not one thing. We carry heritage and ambition. We balance softness with resilience. We show up differently depending on the room  and that doesn’t make us fragmented. It makes us whole.

More on Coach.com

We don’t always know how to say “I love you.” Sometimes it comes out as your dad  prepares you a fresh orange juice or
when your mum brings you a slice of your favorite cake when she knows you’ve had a long day. No big conversation or emotional monologue. Just food, placed gently in front of you.

In Arab culture, love is rarely spoken. Instead, it lives in gestures, in plates refilled without asking, in questions disguised as “did you eat?,” in the way aunties send you home with leftovers in tupperwares (oh these tuppwares....) and insist you take more, always more (don't you dare not take more.)

While sharing a meal matters in most cultures, in the Arab world it borders on the spiritual.

A meal is never just a meal.

By Cynthia Jreige

It’s a gathering that stretches across hours, from the first pickles placed on the table to the final ahwet bayda to help digestion, time dissolves. Conversations flow freely. We’ll move seamlessly from Lamia’s pregnancy to 3amo Wassim’s car problems, from politics to the annoying neighbor, from childhood memories to tomorrow’s plans. Everything is welcome at the table. This is where connection happens and this is where we learn.

We learn by standing next to our mothers, watching how sambousiks are folded just so, how parsley must be chopped impossibly fine. We learn patience while waiting for the bazella to simmer properly. We learn generosity when elders insist everyone eats first. And sometimes, late into the night, we learn family truths through our 3amte, who suddenly decides it’s the right moment to confess a story or two (or is it the arak? we'll never know.)

And for those of us in the diaspora, food becomes something else entirely. It becomes memory.

It’s the smell of loubieh b zeit  on the stove, the tangy taste of zaatar...it’s an old notebook filled with handwritten recipes, passed from one generation to the next, stained with olive oil and time. Dishes become anchors and flavors become geography.

When home feels far, food brings it closer.

Cooking our parents’ recipes in foreign kitchens is an act of remembrance. Teaching our children how to roll grape leaves or season lentils becomes cultural preservation. Every recreated dish is a quiet way of affirming who we are and where we come from. In many ways. food carries our history.

It holds migration, resilience, celebration, and grief. Recipes travel in suitcases and WhatsApp voice notes (if you have not yet, please follow The Voice Note Chef on Instagram.) Measurements are intuitive and nstructions sound like poetry from Khalil Gibran: a little of this, until it feels right.

In Arab homes, cooking is care and feeding someone is responsibility. Our hospitality is inherited and is famous worldwide: even when times are hard, the table remains full; when words fail, food speaks.

You might not hear “I miss you," but you’ll receive a message asking if you’ve eaten. You might not get emotional reassurance, but you’ll be handed warm bread.

And somehow, that’s enough.

Because for us, love lives in shared dishes, lingering meals, and kitchens that never truly close. It lives in the quiet understanding that if you are fed, you are seen.

Food is not just nourishment, it is how we show up for each other, how we remember who we are and simply, how we love.

You have the fancy couches your parents covered in fabric fearing they'd get scratched and on which you ended up never sitting on. And then, there’s the plastic chair, which belongs everywhere else.

Across the South and West, the white (or sometimes faded green, blue, or sunburnt beige) plastic chair is more than furniture. It is infrastructure. It is hospitality. It is survival; it is democracy in its purest form.

By Cynthia Jreige - All images: @chairsofbeirut on Instagram

You’ll find it on Cairo sidewalks at 2am, in Lagos courtyards, on Beirut balconies, outside Karachi corner shops, in Manila alleyways, at wedding halls in Amman, at roadside tea stands in Riyadh. It is stackable, washable, sun-proof, cheap, and nearly indestructible. It doesn’t discriminate between guest and host. It doesn’t require status to sit on.

In regions where space is fluid and public life spills into the street, the plastic chair becomes a portable extension of home. It creates gathering where there is none. Five chairs pulled into a circle instantly become a majlis, a debate floor, a business meeting, a confession booth, a political forum. It kind of is the most accessible seat of power.

Unlike Western design icons, think the Eames lounge or the Barcelona chair, the plastic chair is not about exclusivity; it's about replication. Millions of iterations exist, often unbranded, molded from the same basic template. Its anonymity is part of its power. No logo, no author, just utility.

And yet, it carries symbolism.

It represents informal economies; barbers cutting hair on sidewalks, street vendors arranging fruit beside them, taxi drivers waiting for fares. It represents migration and adaptation- families carrying them from countryside to city, from one apartment to the next. It represents resilience in climates where heat cracks pavement and dust coats everything. It is also a quiet critique of global inequality.

In wealthier parts of the world, design is curated. Elsewhere, design is negotiated. The plastic chair answers immediate needs: affordability, durability, multiplicity. It thrives not because it is beautiful, but because it works.

But maybe that’s its beauty.

Over time, the plastic chair has entered art, photography, and fashion editorials as a symbol of rawness and authenticity. Yet its aestheticization often strips it of context. For many communities, it is not ironic- it's essential.

To sit on a plastic chair is to participate in a shared visual language. It signals informality, openness, conversation. It suggests you are staying awhile, but not forever. It exists between permanence and impermanence, much like the cities it inhabits.

In a world obsessed with design pedigree and scarcity, the plastic chair reminds us that the most powerful objects are often the most ordinary.

It is not glamorous, but it holds the world.

Ramadan changes everything: the pace of the day softens, evenings stretch longer, and getting dressed becomes a ritual in itself: layered, adaptable, built to move between moments.

This season, Nike brings its global Style By series to the Middle East, reimagining the concept through the lens of modest dressing and everyday wear during the Holy Month. The result feels less like a campaign and more like a reflection of how women across the region actually live: moving from daytime routines to late-night gatherings, styling pieces that evolve with the rhythm of Ramadan.

Shot in Old Dubai, the visuals are rooted in place , drawing on the neighbourhood’s textures and architecture while spotlighting Lana Al Beik and Leena Al Ghouti. Together, they embody the effortless way tradition and contemporary style coexist here, where wardrobes are built around relaxed silhouettes, layered proportions, and looks that transition naturally from day to night.

At its core, Style By is about interpretation; how sport-inspired fashion becomes personal. For Ramadan, Nike leans into versatility, showcasing pieces designed to be styled multiple ways throughout the day. The edit is anchored by the Shox Z, with its sleek, directional profile that slips easily into layered looks, and the Air Max Muse, which brings a bolder energy through exaggerated proportions and a fashion-forward stance. Together, they offer contrasting expressions of movement and mood, worn differently depending on where the night takes you.

What we appreciate most is the honesty of it all. There’s no over-styling, no forced grandeur. Just women dressing for real life — balancing comfort, confidence, and creativity in a way that feels familiar to anyone navigating Ramadan in the city.

Through Style By, Nike continues to spotlight women across the Middle East, celebrating individuality while acknowledging the evolving language of modest style ,one shaped by culture, personal expression, and the quiet power of everyday choices. The series launches across the UAE, Saudi Arabia, and Qatar this season, marking another step in how regional stories are being told on their own terms.

Nike.com

We were scrolling late at night, as usual, when a story stopped us mid-thumb: beautifully plated dishes, intriguing flavour combinations, a clear love for figs, and what looked like a carefully curated lineup of natural wines. Restaurant blue (keeping the lowercase b for added coolness), you officially have our attention.

Set along Mamsha Beach, the restaurant has been quietly building a reputation for seasonal cooking, thoughtful sourcing, and an atmosphere that feels more like a coastal retreat than a formal dining room, which in a restaurant landscape counting one too many fancy venues, is much needed.

By Cynthia Jreige

Here, the menu is guided by the seasons, with much of the produce coming from blue’s own farm (what we love to hear) in Abu Dhabi; a commitment that ensures every dish reflects its moment in time and place. Ingredients like figs, citrus, dates, cucumbers, herbs and vegetables are grown, preserved, pickled, and woven directly into the kitchen’s work, giving the menu a farm-to-table reputation with real purpose.

What makes blue especially intriguing for us isn’t just its ingredient philosophy, but how that philosophy translates into experience. Imagine sitting in a quiet garden-like space overlooking the sea, or at the kitchen counter watching the chefs work over an open fire, every seat promising a slightly different perspective on the same coastal breeze. Whether it’s a casually composed share plate or a more substantial seasonal course, the food is designed to feel approachable yet considered:  the kind of meal you remember not just for its (surely, divine) taste.

To complement the dishes, blue offers a curated selection of natural wines, cocktails shaped by seasonal flavours, and non-alcoholic infusions that echo the freshness of the menu. The dining experience is allmost ceremonial, owhere your surroundings, your plate, and the light over the water feel like equally important ingredients.

Led by Head Chef Noah Muscat, ex sous-chef at 3 Michelin stars (yes, 3) Studio FZN, and a team drawn from around the world, the kitchen’s collaborative spirit gives blue a sense of intimacy that’s becoming rare in big city dining. Every course seems to ask a small question: What does this season taste like? and then answer it with clarity and flavors.

For us at JDEED, this is exactly the kind of restaurant worth chasing: one where culture, place, and culinary curiosity come together without fanfare and where the menu changes as the wind and tides shift. It already seems to remind us of our favourite spots in Europe, where seasonality, intentional wines and creativity unite.

blue opens a new chapter in Abu Dhabi’s dining landscape and we can’t wait to taste it.

More info and and bookings on restaurantblue.ae

Valentine’s in the UAE isn’t one mood, it’s a menu. Skyline dinners when you want drama, beach rituals when you want softness, and late-night plans for the couples (and the friends) who refuse to call it a night early. Here’s our curated address book of where we’re booking, browsing, and sending screenshots to the group chat.

For the “main character skyline” dinner

TATTU Dubai (Levels 74 + 81)

‍
If you’re after a big-city Valentine’s with a side of immersive theatre, TATTU’s Valentine’s specials land across the restaurant and Sky Lounge. Think heart-shaped Wagyu dumplings, a limited-edition sharing cocktail, and a two-person dessert finale. The headline move is the premium Valentine’s Platter (AED 990) with sushi, nigiri, sashimi, and Oscietra caviar.

More info on Tatturestaurant.me

Above Eleven (Palm Jumeirah, West Palm rooftop)

‍A modern, social take on love weekend: Galentine’s Night (Feb 13) with a two-hour free-flow package (AED 199) and live beats by the Ritmo Arriba trio, plus a Valentine’s dinner concept (Feb 14) built around a “Date Check” card game so you’re actually talking, not just posing.

More info on aboveeleven.com

Bar des Prés (DIFC)

‍
A Valentine’s set menu by Chef Cyril Lignac on the 51st floor, anchored by a seafood platter to share, mains like grilled Australian entrecôte or native lobster, and the house’s signature Coeur Fondant to close. Bonus: the “My Darling” cocktail and a DJ set from 9pm for the ones who want dinner to turn into a night. (AED 600 per person)

More info on bardespres.com

For the “by the sea” romantics

Casa Amor (Mandarin Oriental Jumeira, Dubai)

‍A beachside Valentine’s shaped like a ritual: “Amor, Set with Intention” includes a symbolic mandala moment for couples to pause and set intentions, then a sharing menu that swings from crisp shiso tuna and truffle brioche to wagyu rib-eye or seared tuna ‘poivre,’ finishing with gianduja hazelnut ice cream (AED 550 per person). If you want it livelier, they’re also hosting a DJ Night with DJ Sasson on Feb 14.

More info on

L’Amo Bistro del Mare (Dubai Harbour)

‍For the ones who want classic Italian romance with harbour views and live music: refined signatures (tagliolini lime & caviale, wagyu tagliata, oysters, caviar) plus a special Valentine’s dessert, Macaron al Lamopone (raspberry, white chocolate, violet). Terrace has a minimum spend of AED 500 per person; indoor has no minimum.

More info on lamorestaurant.com

SĀN Beach (Palm West Beach)

‍
SĀN Beach has quickly become one of Dubai’s most elegant yet informal beachfront destinations. For Valentine’s Day, the venue leans into that breezy, effortless energy with a limited-edition dessert called Lychee Kiss (AED 80) on 14 February: white chocolate and lychee mousse layered with rose, raspberry sauce, and meringue. It’s not a full dinner package, but it is the perfect way to transition from golden-hour cocktails into a slow evening — think toes in the sand, soft music, shared laughter, and an easy smile between courses

More info on sanbeachdubai.com

For the “we want a story with our dinner” crowd

The Theater (Fairmont, Sheikh Zayed Road)

‍
Dinner-and-a-show, but make it properly Dubai. Valentine’s comes with a curated menu (hello Gillardeau oysters, foie gras parfait, pan-seared scallops) and a dessert called “Valentine’s Whispers,” plus the venue’s full performance spectacle.

More info on thetheaterdubai.com

Jamavar

For couples who bond over exceptional food, Jamavar offers a candlelit Valentine’s experience rooted in refined Indian cuisine. The MICHELIN-starred restaurant has created two sharing-style set menus — vegetarian and non-vegetarian — showcasing regional flavours through dishes like ajwaini paneer tikka, soft-shell crab, malvani prawn curry, and Old Delhi butter chicken. Both menus end on a romantic note with Cupid’s Strawberry Crémeux, making Jamavar a strong choice for those who value atmosphere, depth of flavour, and a sense of occasion.

More info on jamavarrestaurants.com

For the “staycation romance” file

‍Al Zorah Beach Resort

If Valentine’s for you means escaping the noise, Al Zorah offers a beautifully unhurried take on romance. Highlights include a private Dinner Under the Stars set directly on the sand (AED 2,500 per couple, with champagne, roses, and keepsake touches), a refined Valentine’s dinner at Aquario with live entertainment (AED 650 per couple), plus softer moments like an in-villa floating breakfast and a deeply relaxing couples spa experience. Everything here is designed around privacy, presence, and slowing down — perfect for couples who want Valentine’s to feel personal, not performative.

More info on alzorahbeachresort.com

‍The St. Regis Abu Dhabi

‍
This is basically a Valentine’s mini-festival: from a helipad “skyline supper” (5:30–7pm) at AED 1,100 per person, to a Valentine’s brunch at The Terrace on the Corniche (12:30–4pm) with beverage packages starting AED 345, plus dinner options across Villa Toscana, Catch (a seafood-led four-course menu, AED 495 per person), Azura Panoramic Lounge, and even a Valentine’s afternoon tea running Feb 10–16.

More info on villatoscana-abudhabi.com

For the “glam, candlelit, Milan-coded” dinner

Gloria Osteria (The Ritz-Carlton DIFC)

‍
A full 1970s Milanese love affair with velvet, candlelight, and a “Tunnel of Love” entrance. Menu is à la carte (so you can go big or keep it casual), plus a special pink cocktail Love at First Pop (AED 70) and a Raspberry Tiramisù moment (AED 61). Open late, no minimum spend — which we always love for Valentine’s flexibility.

More info on gloria-osteria.com

It’s been a landmark week for Bad Bunny — one that moved from Grammy glory straight into global cultural impact. Fresh off his Best Album win, the artist delivered a historic halftime performance at the Super Bowl Halftime Show, and the ripple effect was felt far beyond the stadium.

While most halftime performances chase theatrics, Bad Bunny stayed rooted in who he is. The rhythm, the references, the Puerto Rican pulse; it all felt personal. Less about grand gestures, more about showing up with feeling on a global stage.

Rather than dilute his sound for a global audience, Bad Bunny leaned fully into it. Puerto Rican references, Spanish lyrics, and a performance driven by energy rather than excess signaled a shift in how mainstream stages can hold space for identity.

The response was immediate.

Globally, Bad Bunny’s Spotify streams surged 210%, with DtMF, BAILE INoLVIDABLE, and NUEVAYoL simultaneously occupying the top three spots on Spotify’s global chart. But the most striking reaction came from the Middle East and particularly the Gulf.

In the UAE, streams rose 388%, led by explosive growth across his halftime setlist. Tracks like Yo Perreo Sola saw a staggering +10,600% increase, followed by major spikes across Party (+2,333%), El Apagón (+1,320%), MONACO (+1,300%), Safaera (+1,267%), LA MuDANZA (+1,033%), DtMF (+916%), Tití Me Preguntó (+656%), NUEVAYoL (+618%), and BAILE INoLVIDABLE (+449%).

In Saudi Arabia, the response was even stronger. Streams climbed 482%, driven by significant lifts across the same core tracks; with Yo Perreo Sola, NUEVAYoL, LA MuDANZA, Party, and BAILE INoLVIDABLE leading the surge. The scale of engagement points to something deeper than curiosity: a genuine cultural connection.

What this moment confirms is that Bad Bunny’s reach in the region is no longer niche or novelty. In markets like KSA — where global pop, youth culture, and live entertainment are rapidly evolving — his music resonates as expressive, confident, and emotionally direct. Language becomes secondary to rhythm, energy, and identity.

Numbers collected via Spotify

With the launch of MaisonMargiela/folders, Maison Margiela does what it has always done best: it pulls back the curtain quietly.

Rather than unveiling another glossy campaign, the Maison is opening up its creative process in a way that feels deeply aligned with its DNA. The project begins with the Fall Winter 2026 show in Shanghai this April, presented as a special guest of Shanghai Fashion Week, before unfolding across a series of exhibitions and experiences in four Chinese cities.

Each stop explores one of Margiela’s foundational codes: Artisanal, Anonymity, Tabi, and Bianchetto. These aren’t presented as museum-like heritage moments, but as living ideas. Shanghai becomes a creative laboratory for Artisanal. Beijing reflects on masks and identity through Anonymity. Chengdu celebrates the cult of Tabi. Shenzhen opens the doors to Bianchetto through an atelier experience. All four exhibitions are free and open to the public.

But the most Margiela gesture comes online.

For the first time, the Maison has made its internal working folders public — the same digital spaces used by its teams to store images, timelines, press material, and evolving ideas. As the project progresses, new files will be added, allowing anyone to follow along, piece by piece.

It’s not about oversharing. It’s about transparency as philosophy.

In a fashion landscape driven by instant visuals and fast consumption, MaisonMargiela/folders feels deliberately slower. It invites you to browse, to read, to sit with fragments. To understand fashion not just as finished product, but as process. As accumulation. As thought.

There’s something refreshing about that.

Margiela has never been interested in shouting. Instead, it offers clues. Layers. Gaps. And now, folders. It’s an invitation to engage with the Maison on its own terms, to trace ideas back to their origins, and to witness creativity while it’s still forming.

MaisonMargiela/folders is a great reminder that fashion can still be intellectual, intimate, and deeply human. Sometimes, opening the archive says more than launching a campaign ever could.

More on Margiela.com

Werner Bronkhorst’s ‘CRACK’ exhibition landed in Dubai for its debut show from 16-18 January. 'CRACK' was the Sydney-based artist’s most ambitious project yet, which unfolded across four atmospheric rooms at Concrete, Alserkal Avenue. Crack – the sound, the tension, the beginning, perhaps the end – was the focal point of artworks on display.

I walked through the rooms – first, I saw salt lakes and beaches, and I thought of days spent at the beach as a child, hot sand crackling under my feet. I moved to the second room and was awestruck by a massive 7-panel painting of a desert, characterized by opulent red and deep brown, and a tiny family trekking across this mammoth expanse, and I thought of those joint family expeditions from my owl life where the unspoken tension of undertaking this long passage would weigh on us all. A dimly lit corridor led to the third room, which felt like stepping into the mouth of a cave behind a waterfall.

Themes of dressage, drawn from Bronkhorst’s family history of the sport, boxing, rock climbing, basketball and Porsches emerged from the walls, illuminated by overhead lights that made the tiny figures within jump out, almost alive. The fourth room was dressed in light once again. More sports motifs, some playful, some contemplative, all echoing the same emotion – crack.

By Saher Azmi

Post-‘Crack’, I had questions for Bronkhorst, curious to know more about the intricacies and inspirations behind the exhibitions. Some of those are graciously answered by him below:

Can you tell us a little bit more about the spiritual side of your art? You mentioned Paulo Coelho's books were an inspiration for ‘The Pilgrimage’ and, of course, ‘The Alchemist’. What did you take away from these books and can we see a glimpse of it in this collection?

Werner Bronkhorst (WB): Spirituality has always played a big role in my life in general but this time I wanted to connect that to my art after reading the books ‘The Alchemist’ and ‘The Pilgrimage’ by Paulo Coelho.

I actually named two artworks after those books to further emphasise its impact on my life and to visualise the storyline in some way. The artwork ‘The Alchemist’ is a relatively small book which revolves around the journey of a young man following his dreams and in the book he journeys through the desert to find the treasure that was revealed in his dream. As such the artwork is also rather small in size and features a camel and a young man walking on what seems to be an abstracted version of a sand dune. This artwork was the study for the much larger artwork ‘The Pilgrimage’ which also features a camel and a young man but with the addition of a wife and two kids. This nuclear family is travelling through a much larger desert landscape on their own journey to seek a new and better future or perhaps simply to travel together. In some ways it resembles my life with my own partner and kids but in many ways there’s a universal understanding that the right decision to move on to a better future can sometimes mean moving through unforgiving landscapes or perhaps going on a spiritual journey which can often feel treacherous or harsh but is more than worth it once the destination is reached and the pilgrimage has ended.

Your paintings feel whimsical and energetic. They draw from a wide array of real life inspirations - tennis, the beach, road trips with your family - but I found myself wondering where is the darkness? Are there any of your artworks that explore darker themes, maybe as an excision of negative emotions?

WB: My artworks tend to stray from darker moments to focus on the light. As such I tend to create artworks that make the viewer feel calm, uplifted and perhaps nostalgic. I do this not only because that’s what makes me the happiest in my craft but also because I’ve been fortunate not to have much darkness in my own life. My goal is to reflect the beauty of the world around us and to show an alternate version of reality- a dreamlike vision where life is balanced and beautiful.

Why did you choose Dubai for ‘Crack’? What drew you to the city?

WB: Dubai is a city that is full of beauty and perfection everywhere you look. A city filled with people from all over the world who are forward thinkers and appreciate art and culture. It also happens to be surrounded by the desert so when I first thought of working on a desert-themed collection of artworks, I knew immediately that the Middle East would be the perfect place to exhibit and no other city interested me as much as Dubai.

In an interview online, you spoke about how your art style will continue evolving as your children grow older, as you have new experiences with them. I thought that was a lovely sentiment, and wanted to know if you’re already seeing a difference, or an evolution, in any aspect of your work as an artist because of the time you spend with your family?

WB: There’s no doubt that my kids have inspired me over the past few years to try new things and explore new territories. Kids look at life with awe and wonder and adults tend to forget how to do that. Being around my kids and having them in the studio with me allows me to dance more, laugh more and live more and that in turn has made me realise that my practice as an artist should be no different. Now I tend to have more fun with artworks. I play around with new concepts, new compositions and more importantly new colours. I include more activities that I may not have experienced yet myself and in turn this has opened my eyes and my frame of reference to the big world all around me, experiencing everything exactly like my children do- with a sense of wonder!

Can you sum up ‘Crack’ in 3 words (and you can’t say ‘Crack’)?

WB: Warm, minimal, nostalgic

Can we get your top 3 (current) music recommendations - perhaps whatever you were listening to as you worked on this exhibition?

WB: I create a playlist for each collection of artworks which follows the theme of the body of work. As such this ‘CRACK’ playlist features earthy sounds and moods that transport you to the desert in some way.

'Savanne' by Vieux Farka Touré & Khruangbin is perhaps my favourite. I actually even have played it on repeat before interviews to help bring calmness

‘Tomorrow’s Dust’ by Tame Impala is a perfect example of calm sounds and good stories. The album cover also features an abandoned house in the Namibian desert where I spent a lot of my childhood.

‘A Horse With No Name’ by America is also just a classic that worked so well for a collection where I painted so many horses!

What’s your absolute favourite piece from ‘Crack’ and why?

WB: My personal favourite is a bit tricky to decide on, given it’s like choosing your favourite child!

But the most important piece in this collection would be ‘The Pilgrimage’ because of all the different ways it connected with me and my story. I’m a young father moving through this big abstract canvas of life with my two kids and wife. It was also the most technical and complex artwork to make- oh and my biggest yet too! This made the challenge all the more difficult but one that worked so well!

More on www.wernerbronkhorst.com

This February, Mandarin Oriental Downtown, Dubai invites guests to slow down and savour Valentine’s season through an intimate collaboration with Maison Valentino, unfolding at The Lobby Lounge on the 36th floor, from 6 to 15 February.

Set against sweeping views of Downtown Dubai, the limited-time pop-up blends fashion and flavors. At the heart of the experience is a curated edit of Valentino Garavani bags from the Spring Summer 2026 collection, paired with a nod to Italian coffee culture. Guests are invited to select a message to accompany their cup, choosing from words centred on love, positivity, and hope, a small but thoughtful gesture that transforms a simple coffee moment into something more personal.

A limited number of Valentino-branded coffees will be served daily on a first come, first served basis between 10am and 10pm, making each visit feel quietly special.

For those looking to linger longer, the experience extends into a Valentino Afternoon Tea, served daily from 2pm to 6pm. Crafted by Mandarin Oriental Downtown Dubai’s culinary team in close collaboration with the Maison, the menu offers a refined selection of bespoke sweet and savoury creations, designed to elevate the classic afternoon ritual. It’s an elegant pause in the day, best enjoyed while watching the city unfold below.

What we love most about this collaboration is its subtlety. It’s not about grand gestures, but about creating space for connection, whether that’s over a beautifully poured coffee, a shared dessert, or simply a moment of stillness high above the streets.

The pop-up runs daily from 6 to 15 February at The Lobby Lounge, with the Valentino Afternoon Tea priced at AED 195 per person. Consider it a Valentine’s date with the city, best experienced slowly.

When Salon C. Stellar announced its return to Dubai this February, we knew this time we couldn't miss our chance. After a sold-out debut last year, the London-based skin clinic is back with an immersive residency at PAUS Club, and for us at JDEED, this one sits right at the intersection of results, ritual, and real self-care.

Founded by visionary skin expert Andrea Pfeffer, Salon C. Stellar has built a cult following for a reason. Her approach goes far beyond surface-level glow. The clinic blends advanced, medical-grade treatments with holistic wellness practices, creating experiences that feel deeply considered, sensorial, and genuinely transformative. It’s where ancient wisdom meets modern science, without losing the human touch.

From 8–15 February, Salon C. Stellar will take over PAUS Club in Umm Suqeim, bringing two of its most-loved treatments to Dubai: The Best Facial and Stellar Face Skin Pen Microneedling. Both are fully bespoke, designed to adapt to your skin’s needs in real time, focusing not only on immediate radiance but long-term skin health. Think sculpting massage, Dermalux medical-grade LED, targeted actives, and precision microneedling tailored to your concerns.

What truly sets this experience apart, though, is its attention to atmosphere.

Every treatment includes Salon C. Stellar’s signature Audio Menu, curated soundscapes that accompany your rest phase, inviting a full nervous-system reset. From vocal yoga nidra to ambient sound baths, this is skincare as a multi-sensory journey, not just a treatment appointment. That part truly felt incredibly immersive and special, unlike something we've experienced before.

Visually, the space is elevated through an installation by Dubai-based ceramic artist Britt Singleton, adding a tactile, artistic layer to the residency that mirrors the clinic’s philosophy of beauty as experience.

It’s no surprise that Salon C. Stellar’s clientele includes names like Erin O’Connor, alongside actors, editors, and creatives who value both performance and presence. But what we love most is that the brand never feels exclusive in spirit: it’s thoughtful, grounded, and deeply intentional.

Hosting this pop-up feels especially fitting for PAUS Club, a space built around balance, movement, nourishment, and community. Whether you’re coming straight from reformer Pilates (which we recently tried and approved) sound healing, or simply carving out a quiet moment for yourself, this collaboration speaks to a wider idea of wellness, one rooted in routine, connection, and slowing down.

At JDEED, we’re always drawn to beauty experiences that go beyond trends. Salon C. Stellar feels like that rare blend of science and soul — a reminder that taking care of your skin can also be an act of presence.

Appointments are limited, and if last year is anything to go by, they won’t last long.

To book:
+44 7513 821880 or appointments@saloncstellar.com

Happy Art Basel Qatar opening day to those who celebrate! The fair opened its doors in Msheireb Downtown Doha today, marking the first Art Basel fair ever in the MENASA region.

The promise? A remarkable range of artistic voices shaping the narrative. Curated by Wael Shawky, more than half of the 84 artists presented hail from the Middle East, North Africa, and South Asia, reflecting a region in dynamic conversation with its own past and the global art world.

Here are the booths we’re especially excited to explore:

Imran Qureshi — Nature Morte

The celebrated Pakistani artist Imran Qureshi presents Opening Word of This New Scripture, an installation commissioned by Nature Morte that brings together over one hundred sculptural works. Qureshi’s practice transforms traditions of miniature painting into expansive, poetic forms that weave beauty with rupture, history with contemporary sensibility. His work invites viewers into a contemplative space where the past resonates in the present.

More on NatureMorte.com

Sophia Al-Maria — The Third Line

At The Third Line’s presentation, Dubai-based artist Sophia Al-Maria will be featured. Al-Maria’s practice critically engages with identity, futurism, and global cultural flows, often exploring how narratives of tradition and technology intersect. With HILUX, Al-Maria comes home to Doha and to the roots of her practice, revisiting drawing and cartooning through a striking new mixed media series. Rendered in large scale ink and watercolor works, the project moves away from film toward a quieter, more tactile mode of expression, weaving personal gesture with rich historical and symbolic references.

More on TheThirdLine.com

Nil Yalter — 1 Mira Madrid

Nil Yalter, represented by Mira Madrid, is a pivotal figure in feminist and conceptual art whose practice spans video, performance, installation, and photography. Her work Temporary Dwellings navigates themes of migration, habitation, body, and memory — amplifying voices and experiences often marginalized in mainstream narratives. Yalter’s work feels especially urgent in conversations about movement, displacement, and belonging.

More on 1MiraMadrid.com

Maha Malluh — Galerie Krinzinger

Saudi artist Maha Malluh presents Food for Thought Fatawa II at Galerie Krinzinger. Malluh’s work operates through archival fragments, humour, and recontextualization, examining belief systems and cultural practices. This edition of her ongoing exploration reflects the intersections of tradition, authority, and everyday life.

More on Gallery-Krinzinger.At

Rasheed Araeen — Grosvenor Gallery

A true pioneer of conceptual and minimalist art, Rasheed Araeen brings Jouissance to Grosvenor Gallery’s booth. Araeen — one of the earliest South Asian voices in the conceptual art canon — has spent decades interrogating the mechanics of abstraction, cultural hierarchies, and artistic autonomy. Jouissance continues this lineage, exploring pleasure, form, and perception in ways that feel both historically grounded and cutting-edge.

Ahmed Mater — Athr Gallery

Jeddah’s Athr Gallery presents Ahmed Mater, a central figure in contemporary Gulf art whose powerful work navigates faith, modern life, and the politics of place. Mater’s practice — from photography to installation — often reflects on transformation, spirituality, and societal change, making his presence at a fair centered on Becoming especially resonant.

More on ATHRart.com

Hazem Harb — Tabari Artspace

Dubai’s Tabari Artspace represents Hazem Harb, whose multidisciplinary practice frequently explores memory, history, and visual symbolism through layered narratives. Harb’s work asks viewers to consider how personal and collective histories shape lived experience, resonating with the regional context of the fair.

More on TabariArtSpace.com

Simone Fattal — Karma International

At Karma International, Simone Fattal offers her distinct sculptural language, built on abstraction and material poetics. Fattal’s long-standing practice — marked by quiet yet powerful forms — offers a contemplative counterbalance to the bustling energy of the fair, creating moments of pause and reflection.

More info on KarmaInternational.ch

Jean-Michel Basquiat — Acquavella Galleries

On the international front, Jean-Michel Basquiat appears with works from Acquavella Galleries. Basquiat’s work remains a touchstone for contemporary art — its raw energy and incisive critique of culture, power, and identity reverberate across generations. His presence here reminds us why artists from different eras continue to shape conversations in the present.

More on AcquavellaGalleries.com

As Art Basel Qatar unfolds across M7 and the Doha Design District, these presentations, ranging from poetically charged installations to sculptural inquiries into form, identity, and history, exemplify the vibrant dialogues at the heart of this inaugural edition. Each booth offers a distinct way of looking, thinking, and becoming, making the fair not just a marketplace, but a rich arena for cultural exchange and discovery.

More on ArtBasel.com

Emergency Room is a brand that here at JDEED we kind of grew up with. We launched JDEED the same year Emergency Room came into being, and from those early days, we’ve been following founder Eric Mathieu Ritter quite closely: watching his evolution, his language, and his unwavering commitment to craft and emotion-led design.

It’s rare to witness a designer build a world so distinctly their own, and even rarer to feel connected to that journey in real time.

That’s why seeing Emergency Room take the runway once again, this time in collaboration with Timberland, felt especially meaningful.

Presented at the basketball court of Dubai Design District, the show unfolded as a meditation on connection, inspired by a simple phrase we’ve all typed more times than we can count: Hey, what are you up to? From spontaneous coffee runs to hurried outfit changes before a night out, the collection captured those in between moments of modern life, where intimacy meets urgency and emotion lives in the everyday.

Emergency Room’s signature one of one pieces, built through upcycling and expressive construction, were paired with Timberland’s classic essentials, creating a dialogue between softness and structure, vulnerability and grounding. What stood out most was the craftsmanship. Garments embroidered with mother of pearl buttons echoed Beirut’s ironwork balconies and gates, subtle architectural references that carried memory into fabric. Patchworked details made from leftover materials reinforced Emergency Room’s long-standing commitment to reuse, transforming remnants into meaning.

The soundtrack, built around the evolution of telecommunication, layered rings, pings, and notification tones into an emotional arc, mirroring the collection’s exploration of how we reach for one another today. It was quiet, poetic, and deeply human.

For us, this moment felt full circle.

We’ve been fans of Emergency Room from the beginning, watching Eric shape a brand rooted in real, raw feelings. To see that vision continue to grow, now meeting global platforms while staying true to its emotional core, is exactly the kind of creative journey we love to champion.

Emergency Room is not into chasing trands, it's about telling stories. And at JDEED, that’s what we’ve always believed fashion should do.

More on EmergencyRoomBeirut.com

As Ramadan approaches, we preapre to shift into a softer rhythm (we should...ha)- Evenings stretch longer, gatherings become more intentional, and spaces are reimagined to reflect the spirit of the Holy Month. This season, Galeries Lafayette Dubai transforms into a thoughtfully curated Ramadan destination, inviting visitors to experience fashion, beauty, home, and culture through a lens of meaning and celebration.

At the heart of the experience is the Ramadan Market, designed as a one stop destination for Ramadan and Eid essentials. Blending contemporary creativity with cultural heritage, the market brings together a refined edit of lifestyle, gifting, artisanal jewellery, home décor, food, and festive brands. It is a space created for discovery, where considered craftsmanship meets modern sensibility, making it easy to find pieces that feel both special and purposeful.

Fashion takes centre stage through a dedicated Ramadan Designers’ Pop Up, spotlighting a curated mix of emerging regional designers alongside select international brands presenting elevated modest collections for the season. From flowing kaftans and abayas to elegant occasion wear designed for Ramadan evenings and Eid celebrations, the edit reinterprets traditional silhouettes through a modern lens. Designers including Arad Ghaderian, By Febe, Dalia Al Azem, and Roula Bahnam bring a sense of individuality and regional identity to the space, complemented by lifestyle and gifting brands such as Moonlight Concept, Barg, and Edmond Moussallem.

Beauty and fragrance are positioned as key gifting categories throughout the month, with Galeries Lafayette Dubai’s beauty department offering a seasonal focus on curated gift sets, limited edition collections, and immersive in store experiences. From oud and signature scents to refined beauty essentials, renowned houses including Guerlain, Amouage, and Creed present thoughtful options designed for Ramadan evenings and Eid gifting.

For those preparing their homes for Iftar, Suhoor, and festive gatherings, the home section introduces curated selections of décor, tableware, and accessories that elevate hosting moments with understated elegance. A dedicated Home Pop Up showcases handpicked regional designers alongside international names such as TANAGRA and Villeroy & Boch, with regional brands like Sisal and Tohfa Luxe offering culturally inspired pieces that balance artisanal craftsmanship with contemporary design.

Adding a cultural and experiential dimension, the Ramadan Market hosts weekly cultural activations every Friday and Saturday. From henna artists to rotating Ramadan inspired experiences, each weekend brings something new, creating a dynamic environment that celebrates tradition, creativity, and community.

More than a shopping destination, Galeries Lafayette Dubai’s Ramadan offering is an invitation to slow down, connect, and celebrate the season in all its layers. Through fashion, beauty, home, and culture, it captures the essence of Ramadan as a time of reflection, generosity, and togetherness.

For more information, visit Galeries Lafayette Dubai at Dubai Mall or online at galerieslafayette.ae, or follow @galerieslafayettedubai on Instagram for updates and weekly activation highlights.

This week is quite monumental for Doha's cultural landcape. The opening of Art Basel Qatar,the first Art Basel fair in the MENASA region, and a significant turning point for the global art map.

Set across Msheireb Downtown Doha, the inaugural edition brings together 87 international exhibitors presenting the work of 84 artists, more than half of whom come from across the Middle East, North Africa, and South Asia. Rather than following the traditional booth format, the fair unfolds through solo artist presentations, creating a slower, more deliberate way of encountering art. The result feels less transactional and more contemplative, inviting visitors to spend time with individual practices instead of moving quickly from stand to stand.

Guided by Artistic Director Wael Shawky alongside Art Basel’s Chief Artistic Officer Vincenzo de Bellis, the fair is shaped around the theme Becoming — a framework that speaks to transformation, identity, and growth, both personal and collective. It’s a fitting lens for a region whose creative voices are increasingly stepping onto the world stage on their own terms.

On the eve of the opening, the fair’s ambition was made unmistakably clear at Museum of Islamic Art, where artist Jenny Holzer unveiled SONG, a monumental site responsive work projected across the museum’s façade and inner courtyard, accompanied by a choreographed performance of over 700 drones lighting up the night sky.

Drawing on poetry by Mahmoud Darwish and Nujoom Alghanem, Holzer transformed Arabic and English text into light, rhythm, and interruption, bringing language into public space as both beauty and provocation. The piece continues to appear nightly throughout the fair, offering a powerful reminder of poetry’s ability to hold history, grief, hope, and resistance all at once.

Presented in partnership with Qatar Sports Investments and QC+, with Visit Qatar as Lead Partner, Art Basel Qatar feels less like an imported format and more like a platform designed in conversation with its surroundings. It responds to Qatar’s long standing investment in culture, museums, and creative infrastructure, while opening new pathways between regional artists and Art Basel’s global ecosystem.

Beyond its scale, intention is what sets this fair apart. By privileging solo presentations and multi site experiences, Art Basel Qatar proposes a different future for art fairs, one that balances commerce with context, and visibility with depth. It is a model that allows artists to present complete ideas rather than fragments, and audiences to engage with work beyond the rush of acquisition.

For Doha, this marks another step in its evolution as a cultural capital. For the MENASA region, it represents something larger: recognition, connectivity, and a long overdue centering of voices that have always been here, creating, questioning, and imagining.

Art Basel Qatar runs through 7 February, with preview days on 3 and 4 February. More than a fair, it feels like the beginning of a conversation, rooted in place, poetry, and possibility.

January’s art schedule is always packed, a relentless flow of events and exhibitions and opening nights, but no matter what, there is one thing I would never miss.

When Shindagha’s meandering streets lead me to Sikka, a week-long festival that is the crown jewel of Dubai’s art calendar. The neighborhood’s 16 houses become home to every art discipline imaginable – ceramics, paintings, visual art, installations that inspire and console – spun from a lifetime of experiencing the world, through joy and grief and everything that comes with it.

Music fills the spaces in between, a place to stay and commune with strangers for a while. Across the creek, lies old Dubai and the million stories it holds. Somehow, it has all translated into this sprawling coralstone neighborhood, a showcase of humanity’s devotion to all things lovely, imperfect, and all-encompassing. The festival has a tradition of outdoing itself. This year was no different. JDEED spoke to a select few artists that we simply could not forget.

By Saher Azmi

What we choose to preserve, to carry on, shapes our tomorrows.

Russian-born artist Margarita Faizulina’s piece, composed of thirty ceramic hands, modeled after the older generation of Emiratis, was a touching tribute to these bearers of traditional crafts, disappearing professions, and manual skills that once shaped everyday life in the past.

“I chose to focus on elderly hands because since childhood I have been fascinated by how much my grandparents knew and could do.” says Faizulina. “Aging hands can sometimes tell more than faces or words.”

The small details often carry the most meaning. Palestinian-Polish designer and visual artist Neveen Abu Samra echoed this belief in her work, presented at the Visual Art House. She transformed the intimacy of a shared ritual that exists across hundreds of cultures into a tangible art work through used tea bags.

“By collecting, drying and layering these tea bags, I transform an overlooked and temporary material into a lasting visual surface.” Samra explains, “Through this material, I explored how small, ordinary actions can hold emotional value and how memory can be built through repetition and time. The layered surfaces reflect identity as something fragile and constantly forming, shaped by lived experience”

The International House made its debut at Sikka this year, with the theme “Worship of the Imperfect”. Through a series of abstract installations that focused more on feeling than seeing, the International House revealed itself to be one of the most interesting experiences to be had at the festival this time around.

JDEED spoke to Yasuaki Onishi, an exhibiting artist from Japan who specializes in sculpture, and presented his work ‘reverse of volume’ at the festival.

“I reconstruct cavities, empty spaces, and void and boundaries that go unnoticed in everyday life. It's about seeing things from a different angle with a new perspective.”

The installation gives an impression of a mountain except a switch was flipped and we only see its inverse. Only the negative space of it. Constructed of polyethylene sheets, copper foil, and other such materials that easily lose their shape, the mountain floated delicately, its terrain taking up all the space in the room.

Deira raised Jonathan Edora Sarmiento, who grew up to practice architecture and moonlight as a photographer when he gets time away from “the studio”, as he has a habit of saying.

In ‘Still Moving’, Sarmiento excavates his father’s archive of images, shot on a 2008 JVC camcorder – beginning with his life in the Philippines and continuing as he made the journey to Dubai – and expands it into a wider study of time, memory, and migration.

“The rooftop intervention is a nod to the visual language of Deira.” says the artist, referring to the use of construction materials in the installation; the metal scaffolding, the drifting curtains, backlit softly with warm light and clearly unfinished.

It is the image, the architecture, of a city that is never at rest, never completed. Always moving, always in a transient state, making do much like the people who built it.

“Clay is where I let myself be slow, whimsical, and a little poetic” says Buata, “I’m interested in how objects can hold stories - not loudly, but gently.”

Yada is what the Moroccan artist named her 3-piece series for the Ceramics House. Each figure seems to have originated from the same whimsical fairyland with little differences setting them apart, all inspiring undulating joy.

One represents the oldest daughter of a family - she’s serious, taller, and has a dignified air, but her inner world suggests someone who has learnt to be happy despite. The other has a soft, kind air to her, the kind of girl you would find picking blades of grass and befriending ladybugs. The last Yada has skin the color of jade. Set into her center is a space wallpapered with Zellige, the traditional Moroccan tile pattern, and sitting within it is a half-peeled clementine. She is the most beautiful.

Buata sees Yada as belonging to the liminal space between cultures and definitions. “She belongs to the in-between, and in that sense, she becomes a soft reflection of Dubai’s future identity: layered, multilingual, imperfect, and deeply human.”

Gazing at Shadi Ziaei’s 4-part ceramic series feels like looking at the many faces of an elemental deity as she molds herself from sea to human.

Ziaei comes from a decade-long background in sculpture. Working with these forms that are fragile yet transformative, she draws from her inner space as she moves between disciplines, reaching a place where strange dreams, buried emotions, and inherited histories turn into a tangible language.

“For me, the future of art in this city is inseparable from the sea.” says Ziaei. “I draw constant inspiration from the sea and see myself as part of it—not just as a source of imagery, but as a way of understanding time, movement, and coexistence. In the same way, I see Dubai as a city deeply connected to the sea, both historically and emotionally.”

Ziaei imagines the future of Dubai as an artistic language that flows the same as the sea – open, fluid, and responsive. She speaks to her sense of responsibility as an artist, of the need to be honest, attentive, and rigorous. A future we all must play a part in, each one a wave in the sea.

There is something quietly disarming about the title I Dreamt We Dreamt of Eden. It suggests a collective memory, half imagined, half inherited. A place that may never have existed as we picture it, yet continues to surface in our inner landscapes, shaped by longing, nostalgia, and the desire for refuge.

Presented by Hunna Art Gallery and curated by Hayaty Diaries, the exhibition brings together five artists whose practices orbit themes of memory, displacement, identity, and becoming. Rather than offering Eden as a singular paradise, the exhibition unfolds it as a psychological terrain, fragmented, shifting, and deeply personal.

The artists Alymamah Rashed, Hannah Lim, Raya Kassissieh, Samo Shalaby, and Xanthe Burdett approach Eden not as a destination, but as a state of mind. Across painting, sculpture, installation, and mixed media, their works explore gardens as sites of tension. Spaces where beauty and grief coexist, where care and destruction sit uncomfortably close.

Alymamah Rashed’s work traces Eden through cycles of spirit, body, and landscape, drawing on personal rituals and spiritual symbolism. Her practice blurs the line between inner worlds and physical environments, where gardens become places of surrender and transformation rather than escape. For Hannah Lim, Eden emerges through hybrid mythologies, shaped by Eastern and Western references. Her figures feel suspended between worlds, inhabiting a space where fantasy, folklore, and memory merge.

Raya Kassissieh approaches Eden through fragility and care. Rooted in textile traditions and Palestinian heritage, her work treats the garden as a living body, vulnerable yet resilient. Materials soften and harden, echoing the tension between protection and exposure. Samo Shalaby’s Eden is nocturnal and theatrical, shaped by ritual, scent, and memory. His landscapes feel immersive and sensory, places you enter rather than observe, where time folds in on itself.

Xanthe Burdett’s practice brings Eden back to the body. Her works blur boundaries between human and landscape, surface and depth, presence and absence. Through layered materials and fragmented forms, she explores how memory settles into flesh, how places are carried long after they are left behind.

Together, these works resist nostalgia. Eden is not romanticised, nor is it presented as something to be reclaimed. Instead, it appears as a site of negotiation, a place shaped by what has been lost, imagined, or reassembled. It is intimate rather than monumental, emotional rather than idealised.

The exhibition also reflects the ethos of both Hunna Art and Hayaty Diaries. Hunna Art continues its commitment to amplifying the voices of women artists from or connected to the Arabian Peninsula, creating space for experimentation and critical dialogue. Hayaty Diaries, led by Christina Shoucair, brings its curatorial focus on underrepresented identities and authentic storytelling into a collective framework, allowing individual practices to resonate while forming a shared narrative.

In I Dreamt We Dreamt of Eden, the garden becomes a metaphor for survival and imagination. A place shaped by care, memory, and vulnerability. A reminder that paradise is rarely untouched, and that the act of dreaming together can be an act of resistance in itself.

Cover: Hannah Lim 'The Enchanted Garden Snuff Bottle'. 2025 16x18x13cm & The Jade Window Snuff Bottle, 2023 17 x 18 x 12 cm

More on Hunna.Art

Dubai’s dining scene literally doesn’t sleep, with new restaurants opening every week from fine dining to casual eateries.

This month, whether you’re craving slow morning rituals, bold new tacos, late-night energy or bomb truffle pasta, here are the restaurants worth making time for.

Kumo

In a restored villa on Al Wasl Road, Kumo feels like the kind of place you discover and then decide to return to, not only because you had a great time and food is delish, but also because they recently launched a breakfast (above) and their matcha is whispered to be the best in town. Named for the Japanese word for cloud, it frames Japanese cuisine with warmth and restraint, inviting you to slow down in a decor that seems imported straight from the streets of Kyoto. The breakfast selection- think Japanese-style sandos, pastries and carefully brewed matcha- has already become a gentle ritual for early risers.

While we've yet to try their mornig staples, we can already tell you that the dinner menu is worth the detour, from delicious handrolls to scrumptious sandos and desserts that'll make you forget the word calories. Calo who?

KUMO

19th street, Al Wasl Road

Instagram.com/Kumo.Uae

Taqueria El Primo

El Primo might feel simple on paper, but it gets the basics so convincingly right. This taqueria delivers tacos that lean into authentic technique and bold flavour: trompo al pastor sliced from the spit, brisket-style suadero, and Baja-style fish and shrimp that play between spice, smoke, and freshness. But also - and not the least- some vegan options with mushrooms, tofu and seriously good condiments.

We loved everything about our visit at El Primo (minus perhaps the harsh white lights, wishing for something a bit more dimmed to hide our friday-night-out-of- a-crazy-work-week-faces); it's casual but loud enough to be social, and the focus is simply on the food: the delicious tacos are the reason you’re there. Whether you start with one or end up with half the menu, it’s easy to understand how this little spot is becoming a favourite. Oh, and if you skip the vanilla softie with hot churros....can we really be friends?

TAQUERIA EL PRIMO

Bada'a Aswaaq Mall - 365 Al Wasl Road

Instagram.com/taqueria_elprimo_ dubai

Nobu One Za’abeel

if you live in Dubai, chances are you've been / have heard / have had on your to-do list one of the city's Nobus. But this isn’t just another Nobu opening. Nobu One Za’abeel takes a global culinary brand and roots it into Dubai’s nocturnal pulse. Set within The Link at One&Only One Za’abeel, the restaurant transforms after dinner into a late-night destination with extended bar hours and a curated DJ soundtrack, inviting guests to linger long after the plates are cleared. Designed by Rockwell Group, the space is a study in layered geometry and fluid light, anchored by a monumental installation from Rockwell and LASVIT that runs across the ceiling, shaping the mood from arrival to private dining. With classics from chef Nobu Matsuhisa’s modern Japanese-Peruvian repertoire and an atmosphere that evolves into the night, this is a dinner spot that feels as much about the experience as the food.

On the opening night, we devoured some delicious rolls while gasping at the guest of honor- Lindsay Lohan-'s beauty and finally saw Mr Nobu himself - unfortunately he didn't give us the secre† to his phenomenal spinach salad with crispy shiitake we sometimes dream about at night.

NOBU ONE ZA'ABEEL

One and Only One Zabeel

Instagram.com/Nobuonezaabeel

OTHER

OTHER, born from Dubai studio VERHAAL’s architectural language, feels like a restaurant you want to live among rather than just visit (can we steal these chairs?) Its saturated colours, sculptural lighting, and textured surfaces create an immersive environment that makes time feel more like a ceremonial moment (lunch with the girls is that moment.) The menu mirrors that thoughtful design: a hot dog dressed with caviar (that somehow feels right?), beef tartare with chips meant for sharing, and other dishes that walk the line between playful and precise. By day it’s pastry and coffee; by night it settles into dinner and drinks, all under interiors that look good on camera but feel even better in person.

OTHER

Dar Wasl

Instagram.com/Itsallother

Gloria Osteria by Big Mamma

Recently opened at The Ritz Carlton DIFC, Gloria brings the theatrical flair of 1970s Milan to Dubai: velvet banquettes, mirrored ceilings, a very grand entrance with liquor bottles from floor to ceiling and a terrace that frames the skyline like a stage. The menu? All of favourite from the Milan location are here: truffle-flecked mafaldine (the house's best seller) to lobster-filled pasta but also a magnificent tomato tatin, an insane warm grilled vegetables salad with ricotta and potentially the best sea bass we've ever had. There's much more we want to try including the crudos, but that only means we'll need to be back soon. Oh, and please don't sleep on the tiramisu, it's almost as good as our nonna's.

GLORIA

Ritz Carlton DIFC

Instagram.com/Gloriaosteria.dxb

Of The Earth

We kept passing by the mysterious Of The Earth sign in Alserkal Avenue that said opening soon for a while until...it actually opened. When you want food that feels grounded (literally and figuratively) Of The Earth answers the call. This new café and eatery champions farm-to-table philosophy with ingredients sourced from UAE farms and growers. The recipes, while they're definitely not basic, majorly focus on the produce quality. The space itself is also a reason the come back: softly lit, curated with natural materials and a circular seating area wrapped around a tree, sets a tone of calm before you even order. The menu keeps things simple and quality-led, featuring specialty coffee (absolutely divine and approved by the coffee snobs we are), fresh juices, pastries and croissants that feel perfect whether you’re catching up with a friend or lingering over your laptop. There’s also a small lifestyle corner with curated merchandise that echoes the space’s earthy, thoughtful aesthetic, making Of The Earth feel as much like a concept space as a place to eat.

As per what we tried, The Farmer plate as seen above but in its sweet version: think tomato-lime jam, wild berries jam, fresh nut butter, organic salted butter and this pillowy sourdough bread that got us closer to heaven with every bite.

OF THE EARTH

Alserkal Avenue, The Courtyard

Instagram.com/Oftheearthae

UrArtU Gallery, on its opening night in Alserkal Avenue, saw the delicate symmetry of a flower magnified and translated into gleaming metallic structures that hovered serenely over its marbled floor, courtesy of Stonetta.

The space felt suspended somewhere between fragility and permanence, an intentional contradiction that set the tone for the evening.

By Saher Azmi

Gurgen Yeritsyan, better known as Gosha, is the gallery’s founder. With over fifteen years of experience, his practice has consistently pushed floristry beyond decoration, repositioning flowers as vessels for art, design, and emotional expression. Through exhibitions, installations, and spatial projects shaped by global cultural collaborations, Gosha treats florals not as accessories, but as a language in their own right.

Crosby Studios, founded by New York–Paris based designer and artist Harry Nuriev, is the latest of these collaborations. Working across art, architecture, fashion, and spatial design, Nuriev is guided by his principle of Transformism, a philosophy that collapses boundaries between concept, space, and storytelling. His environments are not meant to be observed from a distance, but entered, inhabited, and felt.

At the far end of the room, beyond a lavish, almost Hadean feast of cheeses, pomegranates, grapes, and fruit, framed behind a walk-in flower fridge backlit in a deep, bloody red, rows of bouquets appeared. Composed of familiar stems roses, carnations, chrysanthemums they had shed their ornamental role entirely. Here, flowers became architectural units, defined by mass, repetition, and rhythm rather than fragility.

Orchids dominated the night. Their presence echoed throughout the space, from a six-metre-tall anchoring structure suspended overhead to the smallest details, including intricately sculpted doorknobs. Repeated and scaled, the orchid became both motif and message, at once sensual and structural.

The collaboration between Nuriev and Gosha unfolded as a living, breathing presence, one that pulled you in and quietly encouraged you to linger. Flowers shifted from objects to experiences, from beauty to tension. Light caught and ricocheted off aluminium-composite walls, amplifying reflections and creating a sense of unease beneath the elegance. Perhaps that tension is intentional, a reminder of the ephemerality at the heart of floristry itself. A fleeting beauty, held briefly in space.

Few brands understand the weight of heritage the way Barbour does. Founded in 1894 to protect fishermen and mariners from the unforgiving British weather, the brand’s story is one of function, endurance, and quiet reliability.

Over a century later, Barbour remains instantly recognisable, not because it has stood still, but because it has learned how to evolve without abandoning its roots.

In recent years, collaborations have become one of the clearest ways Barbour has kept its language alive. Not as a trend-chasing exercise, but as a form of conversation. Each partnership feels like an exchange, where heritage meets new perspectives, and where craftsmanship is tested, reinterpreted, and carried forward.

The Barbour x Feng Chen Wang collaboration is a powerful example of this approach. Uniting Barbour’s British countryside codes with Feng Chen Wang’s conceptual design language rooted in Eastern mythology, the collection transforms classic outerwear into something almost ceremonial. The reimagined Bedale jacket, inspired by the mythical Long Ma or Dragon Horse, blends equestrian heritage with symbolic embroidery and layered storytelling. It feels less like a seasonal piece and more like modern armour, designed for a global generation that values meaning as much as form.

What makes the collaboration resonate is not just its visual impact, but the way it honours both worlds equally. Drawing from ancient texts like Shan Hai Jing and a Lunar New Year inspired palette, the collection speaks to resilience, freedom, and movement. It reinforces the idea that heritage is not fixed to one geography, but can travel, adapt, and gain depth through cultural dialogue.

This ability to remain open without losing identity is also evident in Barbour’s ongoing partnership with GANNI. Now in its fourth iteration, the GANNI x Barbour collaboration injects playfulness and modern femininity into the brand’s classic silhouettes. Peplum shapes, leopard prints, tartan accents, and removable panels reinterpret waxed cotton and quilted jackets with a lighter, more expressive touch. Rooted in practicality but driven by joy, the collection reflects how heritage can be softened and reshaped without being diluted .

Then there is Levi’s x Barbour, a collaboration that feels very obviours:tTwo brands born just decades apart, each built on outfitting working people, come together through a shared respect for durability, repair, and time. Waxed cotton meets denim, British coastline meets American workwear, and the result is a collection that celebrates the poetry of labour and the beauty of clothes that age with their wearer. Through initiatives like the Re Loved programme, the collaboration reinforces a belief both brands share: that garments gain value through wear, repair, and personal history, not disposability.

Across these collaborations, a clear philosophy emerges. Barbour does not collaborate to reinvent itself, but to reflect itself through new lenses. Each partnership reinforces the brand’s core values of craftsmanship, longevity, and purpose, while allowing new stories to unfold. In a fashion landscape often dominated by speed and spectacle, this approach feels refreshingly intentional.

The power of collaboration, in Barbour’s case, lies in trust. Trust in its archives, trust in its makers, and trust in the creatives it invites into its world. Rather than erasing the past, these collaborations expand it, ensuring that Barbour remains not just relevant, but resonant.

In many ways, Barbour’s collaborations remind us that heritage is not something to be protected behind glass. It is something to be worn, challenged, and shared. And when done with care, collaboration becomes less about co branding and more about continuity.

More info on Barbour.com

Barbour is now at Dubai Hills Mall and City Center Mirdif

Pantone’s Colour of the Year for 2026 arrives quietly, almost deceptively so. Cloud Dancer, the first white shade ever to hold the title, feels less like a palate cleanser; it reflects a broader shift in how we are choosing to live, away from excess and visual noise, and towards spaces that offer clarity, calm, and room to breathe.

Cloud Dancer is not a blank white. It sits somewhere between warm and cool, unbleached and softly balanced, carrying a sense of restraint. In interiors, it signals a move away from bold statements and fast trends, towards atmospheres shaped by proportion, comfort, and intention. It is a colour that opens up space, both visually and emotionally, allowing interiors to feel lighter, calmer, and more adaptable to everyday life.

Rather than functioning as a neutral backdrop, Cloud Dancer comes alive when paired with furniture that brings depth through form and craftsmanship. This is where Minotti’s approach to contemporary living feels particularly resonant. The Italian house treats colour not as decoration, but as part of a wider language of balance, materiality, and longevity.

In living spaces, pieces like the Supermoon modular system and the Pattie armchair introduce sculptural softness without overwhelming the room. Designed by Giampiero Tagliaferri, Supermoon draws on 1970s references and lunar forms, its generous curves and floating frame lending a sense of lightness that complements Cloud Dancer’s restraint. Pattie, with its upholstered seat and lacquered shell, balances comfort and structure, adding quiet character without disrupting the calm of the space.

Elsewhere, definition comes through contrast rather than colour. The Nastro side table introduces precision through its intersecting metal bands, subtly reflecting light while maintaining a composed presence. Against a Cloud Dancer palette, it adds depth without tension, reinforcing the idea that serenity does not require simplicity to the point of absence.

In the bedroom, the Libra bed feels like a natural extension of this mood. Also designed by Tagliaferri, it combines layered upholstery and soft curves to create a sense of retreat that feels intentional rather than styled. Rendered in light tones, it supports the idea of the bedroom as a place for rest and recalibration, where design serves comfort first.

Dining and shared spaces continue this sense of adaptability. The Saki table by Nendo, with its rounded edges and sculptural base, feels grounded yet light, its geometry reading clearly against the pale backdrop. Similarly, the Vivienne seating by GamFratesi introduces warmth through proportion, offering softness without excess and structure without heaviness.

What distinguishes Cloud Dancer from traditional whites is not its neutrality, but its intention. It avoids sterility, instead encouraging interiors that feel open, calm, and capable of evolving over time. Paired with furniture that prioritises craftsmanship and thoughtful design, it becomes a foundation for homes that are truly lived in.

In a moment where our spaces are increasingly asked to support rest, reflection, and everyday rituals, Cloud Dancer feels less like a natural response. Through Minotti’s lens, it becomes clear that the future of living is not about doing more, but about choosing with care.

More on Minotti.com

Interior trends rarely exist in isolation. More often, they reflect how we are feeling, how we want to move through our days, and what we are craving emotionally from the spaces we call home.

As 2026 begins to take shape, the language of interiors feels less about novelty and more about return. A return to warmth, to tactility, to expressive design that prioritises feeling over spectacle.

According to Aati Home, whose perspective is shaped by decades of working with some of the world’s most respected design houses, the year ahead marks a shift away from cold minimalism and towards interiors that feel layered, personal, and deeply lived in. Spaces are becoming softer and more intuitive, designed not just to be seen, but to be experienced on a daily basis .

Through its perspective on the year ahead, Aati Home points to a renewed focus on materiality, form, and emotional connection.

This direction is visible across the brands represented by Aati Home, where craftsmanship and proportion take precedence over excess. Houses such as Minotti continue to explore sculptural comfort through softened silhouettes and modular forms, while ELIE SAAB Maison brings a refined elegance that balances architectural structure with sensual materials. Meanwhile, Dolce & Gabbana Casa and Roberto Cavalli Home Interiors embrace a more expressive language, using rich textures, bold patterns, and confident colour to create interiors that feel immersive and emotionally charged.

Materiality plays a defining role in this evolution. Stone surfaces become more character driven, with pronounced veining and warmer tonal palettes shaping floors, walls, and furniture details. Metals are treated with greater subtlety, often paired with wood, textiles, and lacquered finishes to create depth rather than contrast. Brands like Rugiano, Frigerio, Vittoria Frigerio, and Hessentia reflect this balance through designs that prioritise tactility, craftsmanship, and a sense of permanence.

Colour also moves with confidence into 2026. Earthy tones such as terracotta, muted greens, oxblood, and layered neutrals dominate, creating spaces that feel grounded and calm. Blue re-emerges as a statement shade, offering depth and quiet drama without overwhelming the interior. These palettes encourage a sense of continuity, allowing spaces to evolve naturally rather than follow fleeting trends.

Form follows feeling. Curved silhouettes and softer geometries continue to define contemporary interiors, extending from seating to architectural details. The rise of the occasional sofa reflects this shift, allowing expressive pieces to exist beyond formal living rooms and into more intimate corners of the home. Pattern, too, returns in a more immersive way, with layered applications that create atmosphere rather than decoration.

As these trends are brought to life, Aati Home, part of Al Tayer Insignia, continues to elevate the luxury retail and interiors experience. For 2026, the brand introduces an enhanced in-house interiors support service, with a specialist team working closely with interior designers and private clients from initial concept through to final execution. The service spans moodboard development, spatial planning, furniture advisory, curtain and upholstery solutions, as well as fabric and wallpaper selection, ensuring each design vision is translated seamlessly into a cohesive and thoughtfully realised interior.

With over four decades of expertise and a curated portfolio of leading international design houses, Aati Home offers more than products. It offers a considered approach to living, where design supports daily life, reflects individuality, and endures over time.

In 2026, the future of home is about intention, craftsmanship, and creating spaces that feel honest.

More info on Aati.ae

At JDEED, supporting emerging designers from the region is not a one-off gesture, it’s a commitment we renew every year. The Fashion Trust Arabia Prize continues to stand out as one of the most meaningful platforms for designers across the MENA region, offering far more than recognition alone.

Now entering its 2026 edition, the prize provides financial support, tailored mentorship, global exposure, and long-term guidance from industry leaders, creating real pathways for growth and sustainability. For designers ready to take their work to the next level, it represents a rare and powerful opportunity to be seen, supported, and championed on an international stage.

‍

More on FashionTrustArabia.com

In the Middle East, living well has always been an intentional act. It is expressed through hospitality, through the spaces we gather in, and through the objects we choose to surround ourselves with.

From daily rituals to lasting heirlooms, beauty here is never ornamental alone; it is purposeful, layered, and deeply personal.

This edit brings together a curated selection of brands that reflect a contemporary Middle Eastern approach to the art of living, where tradition and modernity exist in quiet dialogue. Each embodies a way of living that values craft, care, and identity, whether through wellness, design, or jewellery meant to be worn and lived in.

The Wave Lounge

At The Wave Lounge, haircare is treated as an extension of wellbeing, a practice rooted in restoration and long-term care rather than quick fixes. The salon’s approach centres on performance-led treatments designed to address the cumulative effects of styling, colouring, and environmental stress, with a clear focus on balance and vitality.

Advanced services such as K18 Molecular Repair and L’Oréal Professionnel Metal Detox strengthen and protect the hair from within, while tailored scalp treatments restore equilibrium at the root. For moments that invite indulgence, rituals like the Miriam Quevedo 24K Gold Rejuvenating experience elevate haircare into a refined act of self-care, leaving hair visibly nourished, luminous, and renewed.

More on TheWaveLounge.ae

The Curve Club

Movement, at The Curve Club, is approached with intention. Designed exclusively for women, this Abu Dhabi-based wellness space redefines fitness as an essential component of living well — one that prioritises presence, precision, and balance.

Through mindful pilates, yoga, and mobility practices, the studio creates an environment where strength and softness coexist. The softly curved interiors, warm textures, and serene atmosphere extend the experience beyond physical exercise, positioning The Curve Club as a lifestyle destination that nurtures both body and mind while fostering a strong sense of community.

More On CurveClub.ae

Âme Studio

At Âme Studio, the art of living unfolds through creativity and quiet beauty. This Dubai-based Emirati creative house reimagines everyday experiences through refined floral design, bespoke events, curated gifting, and hands-on workshops that invite moments of connection and calm.

Each creation is thoughtfully composed, blending global references with an elegant, understated sensibility. Whether shaping a gathering or transforming a space, Âme Studio turns rituals into expressions of soul and artistry, where beauty feels intimate rather than performative.

More on Instagram, here

Contemporary Spaces

Contemporary Spaces approaches the art of living through furniture that balances heritage, craftsmanship, and purposeful design. Founded by Emirati siblings and rooted in a family legacy of manufacturing, the studio creates pieces designed to be lived with — not simply displayed.

Produced locally in Dubai, each creation reflects material integrity, sculptural clarity, and comfort, resulting in interiors that feel personal, warm, and quietly expressive. The brand’s work speaks to a contemporary way of living in the UAE, where design aligns seamlessly with everyday rhythms.

More on their Instagram, here

STONE Fine Jewellery

At STONE Fine Jewellery, jewellery is designed for modern life; fluid, versatile, and effortlessly refined. Female-founded and rooted in Jordan, the brand brings a contemporary sensibility to fine jewellery, creating pieces that feel chic and timeless in equal measure.

With a new flagship store opening soon in Amman, STONE continues to shape a vision of jewellery meant to be worn daily, layered intuitively, and lived in fully, allowing elegance to adapt naturally to every moment.

More on Bystonejewelry.com

Le Paris Diamonds

Founded in 1998 by an Emirati family, Le Paris Diamonds brings exceptional gemstones and high jewellery to the forefront through decades of expertise and global collaboration. Each piece is crafted alongside master artisans, balancing bold artistry with enduring elegance.

Designed to be worn, cherished, and passed on, Le Paris Diamonds reflects a philosophy where jewellery becomes a vessel for memory and continuity, an expression of living that honours both legacy and craftsmanship.

More on LeParisDiamonds.com

Cullinan Crown

At Cullinan Crown, the art of living is defined by permanence and intention. Female-founded and proudly Emirati, the Dubai-based jewellery house creates pieces that transcend seasons, focusing instead on longevity and meaning.

Inspired by the symbolism of the legendary Cullinan Diamond, each design reflects balance, refinement, and quiet strength. Crafted to age gracefully, Cullinan Crown’s jewellery is meant to gather stories over time, becoming part of a woman’s personal history.

More on Cullinanuk.com

Rosetta Fine Jewellery

Founded in Dubai in 2005, Rosetta Fine Jewellery exists at the intersection of heritage and modernity. Drawing from both Eastern and Western design traditions, its pieces are defined by fluid forms, luminous materials, and an emphasis on ease.

Designed to transition seamlessly between everyday moments and occasions of celebration, Rosetta’s jewellery is intended to live with the wearer, holding memory, rhythm, and continuity beyond trends.

More on RosettaFineJewellery.com

Tripat Jewellery

Rooted in Indian craftsmanship, Tripat Jewellery reimagines heirlooms for contemporary life. The brand creates modern pieces that balance emotional depth with everyday ease, designed to feel natural rather than ceremonial.

Crafted in recycled gold and responsibly sourced gemstones, Tripat’s designs are shaped by symbolism and memory, offering jewellery that integrates quietly into daily rituals while carrying stories meant to endure.

More on TripatJewellery.com

Yuniu Jewels

Dubai-based Yuniu Jewels approaches jewellery as a form of personal expression. Movement and storytelling lie at the heart of the brand, particularly through its Tiyar collection, which transforms Arabic letter motifs into fluid, sculptural designs brought to life through diamonds and cascading gemstones.

Fully customisable and designed for daily wear, Yuniu Jewels creates pieces that feel intimate and expressive, reflecting a modern vision of jewellery that evolves alongside the wearer.

More on YuniuJewels.com

COS continues its steady expansion in the UAE with the opening of its latest store at Mall of the Emirates, marking the brand’s sixth location in the country. More than a retail addition, the new space reflects COS’ ongoing commitment to thoughtful design, material exploration, and a quietly confident approach to fashion and interiors.

Designed in-house by the brand’s interior specialists, the store unfolds across a calm, neutral palette that immediately sets the tone. The environment feels deliberate and composed, allowing both the architecture and the garments to breathe. Ready-to-wear collections are presented on sleek aluminium railing systems, reinforcing COS’ preference for clarity and structure, while a custom-made table by PAPER FACTOR anchors the space with understated elegance. Crafted in Italy from plywood and natural pigments extracted from the earth, the piece introduces a tactile, grounded element to the store’s visual language.

Materiality plays a central role throughout the interior. Grassi Pietre terrazzo flooring runs seamlessly across the space, complemented by hand-tufted rugs by Kasthall that add warmth without excess. Carefully selected furnishings and purposeful lighting create a dialogue between modern design and timeless craftsmanship, echoing COS’ broader design philosophy.

In the lounge area, Tacchini’s Sesann sofa brings sculptural softness, while HAY’s Chisel lounge chairs (you might not know that yet but we have a huge love. for HAY, by the way) introduce precision through their plywood construction and clean lines. The fitting rooms continue this balance of comfort and design, featuring NOR11 upholstered daybeds and pouffes set against dark wood accents. Throughout the store, Helle Mardahl’s candy-coloured Bon Bon wall lamps add a subtle, playful contrast, casting a warm glow that softens the minimalist surroundings.

The new location debuts with COS’ latest womenswear and menswear collections, offering elevated wardrobe essentials defined by craftsmanship, contemporary detailing, and distinctive silhouettes. True to the brand’s ethos, the focus remains on pieces designed to last, garments that feel relevant now and adaptable over time (our jeans are literally 10 years old and still intact.)

Founded in London and inspired by contemporary culture, COS has built its reputation on a bespoke approach to design, combining function with enduring style. The Mall of the Emirates opening feels like a natural extension of that identity, a space where fashion, architecture, and material integrity converge in a way that feels both current and considered.

Discover the new store at Mall Of The Emirates.

Ramallah has long been a city where culture persists not despite reality, but through it. In its fifth edition, Ramallah Art Fair returns with a title that feels less like a theme and more like a lived truth: Narratives Under Occupation.

Taking place against the backdrop of two years of ongoing genocide in Gaza, the 2026 edition brings together forty-two artists from Palestine and the Golan Heights to reflect on what it means to create, remember, and imagine while living under sustained oppression.

This year’s fair is both an act of witnessing and an act of insistence. Across two sections — Contemporary and Rare — the artworks navigate displacement, loss, identity, memory, and the weight of everyday life under occupation, while also carving out space for resistance, resilience, and visions of a future beyond it.

In the Contemporary section, the urgency of the present is impossible to ignore. Works unfold as documents of survival, grief, and endurance. From Gaza, Maisara Baroud presents original pieces from his series I’m Still Alive, a body of work that captures the daily anguish of life under bombardment with raw immediacy. Sari Tarazi contributes striking photo montages composed from images taken during street demonstrations across Palestine protesting the ongoing genocide in Gaza, layering collective action with visual fragmentation.

Bashar Khalaf introduces a new body of work examining the devastating fire that tore through Ramallah’s main vegetable market, a blaze ignited during an Israeli military incursion when tear gas bombs reduced the space to ashes. The works move between documentation and mourning, bearing witness to how violence seeps into even the most ordinary sites of daily life.

Inass Yassin participates with two works, 100 Oranges in Yafa and Mohammad Returns Home. The latter depicts preparations for a welcome ceremony, with images of artworks appearing in the background; a quiet but devastating reference to absence. The work is dedicated to Palestinian artist Mohammad Alhaj from Gaza, whose artworks were lost beneath the rubble. Here, memory becomes both tribute and refusal to forget.

For the first time at Ramallah Art Fair, Noor Elshaer from the Golan Heights presents a series titled Tayyat (Folds). Her works explore the internal contradictions of motherhood through intimate daily rituals, such as folding scarves. These gestures become symbols of closeness, care, and the emotional weight carried within the seemingly mundane.

The Rare section, inaugurated last year and now firmly established, deepens the fair’s historical and cultural grounding. It brings together works by artists whose practices have shaped Palestinian and regional visual language across decades. A rarely shown lithograph by Syrian artist Burhan Karkutli depicts village life through his signature densely patterned compositions, where figures, animals, and motifs coexist like scenes from a collective story. A rare etching by Juliana Seraphim, an artist displaced in 1948, revisits themes of homeland, femininity, and memory through her surrealist lens.

Also on view are works by Vladimir Tamari, Laila Shawa, and Shafik Radwan; the latter having lost all of his artworks under the rubble of his home in Gaza. In this context, the Rare section does not function as nostalgia or archival distance, but as continuity. It asserts that Palestinian artistic production has always existed in dialogue with loss, exile, and perseverance.

Running until 29 March 2026, Ramallah Art Fair 2026 offers artworks at accessible prices, encouraging new collectors to engage with Palestinian art not as an abstract gesture of solidarity, but as a tangible act of support. More than a marketplace, the fair positions itself as a space of encounter, between generations, geographies, and lived realities.

Narratives Under Occupation does not attempt to soften its message. Instead, it insists on complexity, on presence, and on the necessity of art as both record and resistance. In Ramallah, creation remains an act of defiance, and of hope.

Cover: The Wedding by Burhan Karkutli - 50 x 70 cm - 1995

More info on Zawyeh.net

Sikka Art & Design Festival returns to Dubai this Friday, 23^rd of January, with a packed repertoire of more than 450 artists, hailing from different countries and a wide variety of artistic disciplines.

The 14^th edition of the festival merges heritage and the spirit of innovation, inviting attendees to imagine the emirate as a place where roots stay firmly anchored yet movement is constant. Thus, the theme is aptly named ‘Imagining Dubai: Identities of the Future’.

By Saher Azmi

Here's what to look forward to: 

Whether you enjoy elegant design or vibrant murals, there’s something for everyone at Sikka, with more than 250 artworks being displayed across 16 houses - Ceramics, Art & Tech, Khaleeji, and Photography, to name just a few. 

Sikka is situated in one of the most bustling parts of the Emirate, speaking to how it aspires to be a community-led festival. Designed in a way that opens a dialogue between artists, curators, and attendees, it’s a space open to everyone. A wide range of workshops and talks will be hosted everyday by a diverse group of creatives, inviting attendees of all ages to get closer to the art and the spirit of the festival. 

Live music performances are going to be featured throughout the entire festival along with an eclectic food market populated by homegrown retailers. 

Since its inception in 2011, Sikka Festival has become an irreplaceable part of Dubai’s art calendar, owing to the unique space it provides for budding artistic talent to take root and flourish, to draw from the environment we are situated in, and contribute to a greater understanding of the Emirate’s pulse as a living, breathing landscape of artists. 

Shaima Rashed Al Suwaidi, Chief Executive Officer of the Arts, Design & Literature Sector at Dubai Culture, highlighted that the festival’s ongoing success reflects its expanding impact on both the local and regional arts scenes. She noted that Sikka has evolved into a platform that energises the community while actively contributing to the growth of the wider creative sector.

‍

More info, here

In Dubai, “healthy” dining has quietly evolved beyond calorie counts and superfood buzzwords. Today, it’s about intention, balance, and spaces that understand food as part of a wider way of living.

Whether rooted in wellness, sustainability, or simple pleasure, these restaurants prove that eating well doesn’t mean sacrificing flavour, atmosphere, or joy.

Here are some of the city’s most thoughtful destinations for nourishing both body and mind.

SEVA Experience

Tucked away in a villa on Jumeirah Road, SEVA feels less like a restaurant and more like a pause button. Step inside and you’re immediately removed from the city’s rhythm, entering a sanctuary built around holistic wellbeing.

Opened in 2014 as the Middle East’s first 100 percent plant-based dining concept, SEVA’s menu is crafted with clear intention. Every dish is free of gluten, cane sugar, and GMOs, designed to nourish without deprivation. But SEVA’s appeal extends well beyond the plate. From sound healing and yoga sessions to movement and breathwork workshops, the space invites guests to slow down, reconnect, and ground themselves. It’s a place where eating well becomes part of a wider ritual.

www.sevaexperience.com

‍

Above Eleven Dubai (Veganuary & Dry January Edition)

For those easing into the new year with intention, Above Eleven Dubai offers a compelling reminder that “healthy” doesn’t have to mean muted. Throughout January, the rooftop destination introduces a limited-edition Veganuary Nikkei menu alongside ABOVE 00, a dedicated non-alcoholic beverage collection.

The plant-based set menu explores Japanese-Peruvian flavours through dishes like sweet potato tempura, king oyster mushroom nigiri, palm heart tiradito, miso-glazed cauliflower, and a coconut tapioca dessert. Paired with complex, alcohol-free drinks inspired by Japanese precision and Peruvian warmth, the experience feels celebratory rather than corrective.

It’s a welcome shift for those looking to reset without giving up ritual, flavour, or atmosphere.

www.aboveelleven.com

Soulgreen

Originally from Milan, Soulgreen brings a distinctly Italian sense of ease to ethical dining. The concept blends tradition with modern sensibilities, speaking to diners who care about what they eat without wanting to feel preached to.

The menu is 80 percent vegan and 20 percent pescatarian, with a strong focus on sustainable and locally sourced ingredients. Expect vibrant bowls, comforting pasta and risotto dishes, and indulgent burgers made with red quinoa and truffle spinach. Overlooking Creek Harbour, Soulgreen offers a calm, cosy escape from the city’s pace, where food feels generous, warm, and quietly considered.

www.soulgreen.ae

Splendour Fields

Splendour Fields proves that food can be both deeply healthy and genuinely exciting. The focus here is on flavour-forward dishes that don’t rely on heaviness or excess to satisfy. Clean ingredients, thoughtful combinations, and bold seasoning come together in plates that feel energising rather than restrictive.

It’s the kind of place you leave feeling nourished, not just fed.

www.eatx.com

KOBEYa Gluten-Free Eatery

KOBEYa is one of Dubai’s rare spots where gluten-free isn’t a limitation, it’s the whole point. Positioned as a 100% gluten-free concept with a Japanese and Far Eastern leaning, it’s built for diners who want flavour and peace of mind in equal measure, from comforting bowls to lighter café-style plates. We also love their breakfast and dessert menu, allowing us to indulge without the consequences.

www.kobeya.ae

Tawa Gluten-Free Eatery

For those navigating gluten-free dining without wanting to compromise on comfort, Tawa delivers familiarity with care. The menu focuses on accessible, flavourful dishes that feel reassuring rather than niche, making it a reliable go-to for everyday healthy eating. Their bakery items are truly to die for, and wait until you try the desserts.

www.instagram.com/tawabakery

Joga

Positioned as a neighbourhood eatery, Joga keeps things simple and consistent. Their philosophy centres on wholesome, nourishing meals designed for everyday life. Sandwiches, wraps, salads, and smoothies are made using fresh, quality ingredients, with vegan and vegetarian options woven naturally into the menu.

It’s casual, unpretentious, and grounded, the kind of place you return to without overthinking it. And guess what? Our favourite women chef, Soraya Aoud aka 'Sunchef' is collaborating with Joga for a special menu, coming soon.

www.eatjoga.com

In recent years, Abu Dhabi has been quietly but deliberately positioning itself as a place where culture, commerce, and long-term vision intersect. This January, that positioning becomes even more pronounced as the UAE capital hosts Shoptalk Luxe for the first time, bringing one of the world’s most influential luxury retail platforms to the Middle East.

Taking place from 27 to 29 January 2026, the inaugural regional edition of Shoptalk Luxe will convene over 2,000 senior decision-makers and more than 170 global speakers, placing Abu Dhabi at the centre of conversations shaping the future of luxury, fashion, hospitality, and elevated consumer experiences. Among the confirmed speakers are figures who rarely share the same stage: Vera Wang, Daniel Grieder, CEO of Hugo Boss, Marco Parsiegla, CEO of Amouage, Philippe Zuber, CEO of Kerzner International, and Michael Ward, Managing Director of Harrods, alongside leaders from Christian Louboutin, Harvey Nichols, Fabergé, and more.

More than a conference, Shoptalk Luxe is designed as a working forum. Part of the globally recognised Shoptalk series, the event arrives in Abu Dhabi through a strategic collaboration with the Abu Dhabi Investment Office (ADIO), reflecting the emirate’s growing role as a global hub for luxury brands seeking meaningful engagement with sophisticated, internationally minded consumers.

What sets Shoptalk Luxe apart is its industry-led agenda. Built collaboratively with leaders across retail, fashion, and technology, the programme focuses on five core themes shaping luxury today: delivering value beyond product ownership; deepening consumer relationships; redefining online and offline experiences; elevating search and discovery; and driving excellence through leadership. Rather than aspirational soundbites, these sessions aim to address real challenges facing luxury brands navigating changing consumer values, digital acceleration, and the demand for authenticity.

Abu Dhabi’s selection as host city feels intentional. Supported by a strong economic foundation and world-class cultural institutions such as Louvre Abu Dhabi, the upcoming Zayed National Museum, and the future Guggenheim Abu Dhabi, the emirate offers an ecosystem where luxury is increasingly defined by substance, culture, and long-term relevance rather than visibility alone.

Beyond the stage, Shoptalk Luxe places emphasis on connection. Through its curated Meetup platform, the event will facilitate over 20,000 targeted meetings between brands, investors, and technology partners. More than 80 sponsors and solution providers, including global players such as Shopify, eBay, and Snapchat, are expected to participate, showcasing innovations across personalisation, omnichannel strategy, and artificial intelligence.

As Zia Daniell Wigder, Global President of Shoptalk, notes, the platform is intended as a catalyst, bringing together the global luxury community.

For Abu Dhabi, hosting Shoptalk Luxe marks a defining moment. It signals a shift from being a place where luxury is consumed, to one where its future is debated, designed, and built. And as the industry looks ahead, the UAE capital is increasingly positioning itself not only as a destination, but as a driver of the next chapter in global luxury.

More info here

She is the voice of a generation lost in noise... a poetess in a world that is slowly being dehumanized ... a committed activist calling to action in contrast of hitting frantically on purchase buttons.

With her grounding calmness she commands to be heard yet her music touches, reaches, transcends boundaries and merging universes.Unveiling the artist that is Yal Solan...

By Ghena Maalouf

As a multidisciplinary artist, how would you describe your body of art as a whole?

- Y.S: My main art is my music, but my body of work spans different mediums. I’m initially an animator and graphic designer who metamorphosed into a singer-songwriter, model, actress, poet and voice over artist.
The former has allowed me to raise awareness on causes dear to my heart, such as environmental issues, women’s rights, LGBT rights, through visual storytelling and activism. The latter is a continuation of that passion in different artistic forms. My music, my modeling, and overall presence are a celebration of the much-needed feminine energy in our modern day, one that carries compassion, embodiment, sensuality and empowerment. They all flow together. They all are part of a journey bridging awareness, from my inner world to the outer world.
All of these disciplines are different manifestations of me. I am not one thing, and nothing is ever separate. I act when I perform. I perform when I model. I write when I sing.

Which art medium allows you to best express yourself without inhibitions in regard to your audience? Does it happen to be your favorite way of self-expression?

- Y.S: In regard to the audience, definitely singing. It is my way to encrypt the contents of my soul, musically. However, to myself, it would be writing.My notebooks are a very intimate, uninhibited space for me.
My music is born from the safety of letting the stream of my consciousness flow fully from mind to pen, and then gets transformed into songs I can share with the world.

'I am not one thing, and nothing is ever separate. I act when I perform. I perform when I model. I write when I sing.'

Watching your artistic trajectory unfold, one may notice that you evolved (but not ceased to be) from being a lyrical poetess engrained in spirituality and feminine mystic; thus directing your energy flow from within to the universe; to raising awareness of what is happening in the world and trying to incite empathy around you (in your last two singles), yet liberation remains at the core of your message. What has brought this shift on?

- Y.S: It feels like it is the path of artistic maturity, in the sense that the higher values that I sing about, are taking root. These shapes are being embodied, becoming tangible enough to express what needs to be expressed, in the current moment.

For instance, Manam, the single I released before Ya Enay Kafak Alam, was alight bulb moment. I was approached to song write about my stance as an artiston the turbulent situation in Lebanon. I was almost going to turn it down, thinking that my musical work is only up in the clouds. But, when I started writing it, I realized just how political it is. How our internal worlds are shaped by the outside and vice versa. These ideals can’t live in a vacuum.

Over time, my awareness has expanded to my surroundings and then globally, growing in unprecedented ways. My work is more grounded and directional, but the ethereal force is all the same. And, I do see myself continually alternating between the earthly and the ethereal.

How would you describe your artistic style in rapport to your fashion style?Do you feel they are intertwined & coherent, or intentionally clashing & parallel?

Y.S: Musically, my style is something I call “Soul Fusion”, a mix of my oriental and occidental influences combined with my more personal tendencies towards the mystical. Soulfulness is the main ingredient in my work, as it is my tool to express holistic awareness, feminine energy, sensuality, and awakening.
When it comes to fashion, I’m pretty much a chameleon. I can go anywhere from bohemian and earthy, to shiny and flamboyant, to androgynous or gender-fluid.And I can shamelessly say, yes, this does clash with my music. Glam and glamorous, is definitely not something one would immediately associate with a soulful singer-songwriter. But I also find it kind of ridiculous how some people dress “spiritual” to fit the mold of what a “spiritual” artist should look like. To me, there is a lack of authenticity in dressing - or being – of what people expect you to be, and I would rather surprise than fulfill any expectation. I do not believe an artist should ever be put into a box. I always seek to reinvent myself, out of the pure pleasure of self-discovery.

After working with prominent & established talents like Mike Massy, Zeid Hamdan & Bachar Mar Khalifeh, how would you describe the dynamic you established with them?

- Y.S: First and foremost, Mike Massy! From initially being my vocal coach, to arranging and producing my first two singles, and now becoming a mentor to me, he really was the person who set me out on this path. Working on my third single, La7ali, with Bachar Mar-Khalife, was also a tremendous pleasure. He was able to really translate the feeling of La7ali into the sound I imagined, all in one studio day!
As for Zeid, it was such a free-flow. We got to perform together during JAM3A,the fundraiser he initiated with KED. We didn’t prepare much, yet the connectionon stage was so fluid that we totally improvised a mixture of my poetry and hissounds.
The biggest lesson to take from these experiences is to put your art out there. If Ihad not dared to sing, to write, to be vulnerable and to take risks, how wouldthese established artists have found me?
It has been humbling to collaborate with them. I think it is such a beautiful cycle of support, how experienced artists can uplift younger ones, to keep the power of music alive. For these inspiring artists to believe in me enough to contribute to my journey, while I am still in the first few years of it, is quite a big deal for me, and I am honored.

How did you discover your penchant for art? And how did you hone your talents?

- Y.S: It all came out from a very unpredictable unfolding. I was a math nerd who knew she wanted to create for the rest of her life. My first contact with art was studying graphic design and animation at university, yet the place where I also discovered singing was the university’s chamber choir.

It took several years before I realized the poetry that I had been writing purely for myself, can actually be song-writing. And then some more years to muster up thecourage to perform live.
My talents were fed and sculpted by the desire to share a gift, I think.

Singing and using my voice was a revelation, until the next natural step was sharing my own writing through them, and expressing my soul through my voice.Beyond that, what is the point of writing if it meant keeping those songs to myself? It felt like something was missing, not putting them out there, and performing out of the joy of sharing them with people and connecting on a deeper level.

“Al Souq Al Oumoumi”, a cabaret show directed by Hisham Jaber, choreographed by Khouloud Yassine and produced by Metro Al Medina, gained a lot of traction and success, and in my opinion it is likely set to become one of the staples of our Lebanese pop culture, how do you live this experience?

- Y.S: With this show celebrating its two-year anniversary now, I can definitely agree with you! Ever since I read the script, I knew it would be life-changing. It was actually my first experience in theatre, so I was given a lot of trust. It has been such a fun experience! Opening up the side of me that is overtly feminine, and provocative, at least relative to the more conservative perspective of Lebanese society. Being part of a burlesque show like this brought out another side of me on stage, and allowed me to bring three different facets within me together: the singer, the actress and the dancer. It is also a very interesting contrast to the more soulful and calmer presence I have in my own concerts.
“Al Souq Al Oumoumi” displays the history of the red light district in my country,and it’s very important that such overlooked information is brought to thelimelight, and disseminated to the public in such a lively and engaging way. I think Metro Al Madina is doing our culture a great favor, by revealing it unto itselfand celebrating, the past and the present, the obvious and the obscured.

Circling back to your latest release “Ya Enay Kafak Alam”, how did it come to be??

- Y.S: It is actually really wild how it started - I did not choose it – it is one of those things that just happened. A producer all the way from Tunisia, Bilel Abdou, reached out to me on Instagram out of the blue. The track he had sent me was initially empty; asking me to song write to it, along with sampled voices singing“Ya Eneya”. Something about those words and how they were sung was magical to me, and I started asking about the song and researching it further. When I heard the full song, this Sudanese folk song through a cover by Zahraman, and listened to its words, I knew I wanted to sing it.

And the process was not just artistic; it felt like a message that needed to be voiced out. In light of the violence and wars across countries in the SWANA region like Lebanon, Sudan, and Palestine, “Ya Enay Kafak Alam”, which translates to “Oh My Eyes, Enough Pain”, resonated in a different way today. I wanted to respect and honor its Sudanese origins, while letting it speak truthfully of our harsh, common present realities.

“Ya Enay Kafak Alam” speaks to the universality of pain that is felt across our borders, but is also an act of resistance. When the world has turned a blind eyeto such immense suffering, this song calls for us to look it in the face, and acknowledge that this is a collective plea. This song became my vessel toaddress the cycles of violence that haunt our lands, and to express a deep desire for liberation from them.

What can we wish for Yal Solan?

- Y.S: To finally get that EP out! On a more serious note though, you can definitely wish for Yal to keep writing, expressing, and releasing music, all while growing mindfully. It is quite the tough road. I am on a path with a lot of challenges, distractions and set backs, so you can also wish me the strength and perseverance to carry on, so that I can put out some beautiful thoughts into the world.

“Ya Enay Kafak Alam” streaming on all platforms and music video out onyoutube.com here.
Find Yal Solan’s whole discography and work on yalsolan.com

Follow Yal Solan on Instagram, here

For TikTok, click here

You’ve probably found yourself digging through decade-old photos in your social media archives these past few weeks, haven’t you?

The nostalgia of 2016 is hitting hard; a year when we filtered ourselves with dog ears, Instagram posts were anything but curated, captions were random, and filters were unapologetically aggressive. Songs like Sia’s Cheap Thrills and Drake’s One Dance topped the charts, Beyoncé’s Lemonade reshaped pop culture, and our calves were firmly imprisoned in skinny jeans. Beyond the screen, the world was shifting too, with Brexit and the election of Donald Trump marking the first time many of us felt a real political rupture take place in real time.

By Cynthia Jreige

And yet, despite the turbulence, there was a sense of simplicity to that moment. Social media still felt social. We saw updates from friends rather than an endless stream of AI-generated ads, algorithmic suggestions, and content we never asked to see. The internet felt less like a marketplace and more like a shared space made of imperfection, chaos, and humans being humans.

For many, 2016 represents the last moment before everything became heavy. Before social media fully professionalized itself, before every post was optimized, monetized, or subject to getting canceled. Platforms still felt playful, chaotic, and oddly intimate. Influencers were people, not brands. Content felt spontaneous rather than strategic. Looking back, 2016 sits in our collective memory as a cultural “before.” I mean, damn, we even went through a pandemic in this decade, the type of thing that frankly, we thought we would never experience beyond the movie Contagion.

Today’s return to that era feels less about aesthetics (clearly and thankfully...) and more about emotion. In a present defined by constant crises, algorithmic pressure, and digital fatigue, nostalgia has become a form of emotional regulation. It's as if revisiting older internet languages offers a sense of grounding or an odd sense of comfort. It reminds us of a time when being online felt lighter, less surveilled, and less performative.

There is also a clear rejection embedded in this revival. Over the past few years, feeds have grown increasingly polished and homogeneous with minimalism, luxury neutrality, and hyper-curation dominating visual culture, until perfection began to feel corporate and not so aspirational. The 2016 comeback pushes back against that. It reintroduces awkwardness, humor, and imperfection, qualities that now feel sort of...radical?

This moment also reflects growing exhaustion with algorithms. Today’s platforms reward repetition and conformity: certain sounds, poses, aesthetics, and narratives rise while others disappear. The appeal of 2016 lies partly in the fact that it predates this uniformity. Reviving its visual language is a way of reclaiming individuality in a system that increasingly flattens it.

At a deeper level, the resurgence raises an uncomfortable question: did things actually improve? Technological progress promised connection, creativity, and freedom, yet many now feel more anxious, more self-conscious, and more disconnected than before. The turn toward 2016 is not naive nostalgia: it’s a subtle critique of linear progress and a recognition that more tools didn’t necessarily mean more joy.

Still, this is not about going backwards entirely. The revival is filtered through today’s awareness. It carries more inclusivity, more cultural consciousness, and more self-reflection. What people are really reaching for is not the past itself, but the feeling it offered: spontaneity, humor, and the freedom to exist online without constant optimization.

The return of 2016 trends tells us something important about the present; it reveals a collective desire to lighten the weight of being visible, to reconnect with sincerity, and to remember that the internet once felt like a space for expression before it became a marketplace.

In revisiting that era, we are not trying to escape reality. We are searching for clues on how to make the present feel more human again.

Cover picture: La La Land, 2016

This past January 7, Rosewood Doha marked its official opening with a celebration that unfolded across the property’s many spaces, an introduction not just to a hotel, but to a new cultural address within Qatar’s rapidly evolving landscape.

Set within Lusail Marina District, the opening brought together leaders from culture, government, and the creative industries, signalling the hotel’s ambition to exist beyond hospitality alone. The presence of H.E. Sheikh Khalid bin Hamad Al Thani, H.E. Sheikha Mayassa bint Hamad Al Thani, and H.E. Mr. Akbar Al Baker underscored the significance of the moment, as Rosewood Doha officially took its place in the city’s future-facing narrative.

An Opening Shaped by Culture and Sound

Rather than a traditional inauguration, the evening was conceived as a multi-sensory experience. Live performances anchored the celebration, with British pianist and producer Tokio Myers delivering a dynamic set that blurred classical and contemporary sound, followed by Saudi duo AlTurk Twins, whose modern interpretation of Arab music created a powerful dialogue between global and regional expression.

Fireworks lit up the Lusail skyline as guests moved through the hotel’s signature spaces, offering a first glimpse into a property designed to be explored — not observed from a distance.

Architecture Inspired by the Sea

Rising along the marina, Rosewood Doha is defined by its sculptural, twin-tower form, a vertical interpretation of Qatar’s maritime heritage. The architecture and interiors draw inspiration from coral formations, the movement of water, and traditional dhow boats, translating the natural rhythms of the Arabian Gulf into contemporary design language.

Inside, oceanic hues, curved lines, and tactile materials create a sense of calm that contrasts with the city’s ambition outside: a balance between retreat and connection that feels deliberate and thoughtful.

Beyond its opening night, Rosewood Doha positions itself as a fully integrated lifestyle destination. The property is home to 155 rooms and suites, 162 apartments, and 276 Rosewood Residences, blurring the boundaries between hospitality, long-term living, and social space.

Dining plays a central role in shaping the experience, with eight distinct venues spanning global cuisines and moods, from Chinese fine dining at Koo Madame and Mediterranean-inspired Mila, to the Golden Age–influenced Stoke & Stoker and the delicate indulgence of Butterfly Room & Patisserie. Wellbeing is anchored by Asaya, Rosewood’s integrative wellness concept, offering a culturally rooted approach to restoration through hammams, treatments, and mindfulness practices.

A Long-Term Presence

For Rosewood Hotel Group, the opening represents more than expansion. As CEO Sonia Cheng noted during the evening, Rosewood Doha reflects the brand’s commitment to creating places that resonate culturally and build meaningful connections within the communities they inhabit. Managing Director Juan Samsó echoed this sentiment, highlighting the sense of connection that defined the opening night and the community the hotel aims to foster moving forward.

In Lusail — a city imagined as Qatar’s future — Rosewood Doha arrives as a carefully considered addition, placing culture, design, and experience at its core, and signals a new chapter of how luxury is lived.

More info on Rosewoodhotels.com

There are brands you admire from afar, and then there are brands that grow alongside you. Amina Muaddi has always been the latter for us.

We’ve supported the brand for years, long before it became a global shorthand for modern glamour. Our founder wore Amina Muaddi shoes on her wedding day, not because they were trending, but because they felt strong, elegant, and timeless. So when we heard that the brand’s first boutique in the UAE was opening, it felt less like news and more like a full-circle moment.

The boutique has just opened at Level Shoes in Dubai Mall, and it’s everything you’d expect: clean, sculptural, and confident without trying too hard. Designed in collaboration with Crosby Studios, the space reflects the brand’s language: precise lines, soft metallics, and a sense of intention in every detail.

Inside, you’ll find exclusive styles you won’t get anywhere else, alongside new capsule collections that stay true to what Amina does best; silhouettes that feel bold, wearable, and unmistakably hers.

And if you were at the Dubai pop-up, you’ll understand why this opening feels special. That moment was already iconic but this feels like the next chapter; one that gives the brand a permanent home in a city that’s been wearing and loving it for a long time.

For us, this isn’t just another store opening. It’s about watching a designer we genuinely believe in take up space, beautifully, confidently, and on her own terms.

Welcome to Dubai, Amina. We’ve been waiting.

More on AminaMuaddi.com and shop on Levelshoes.com

For over a decade, Reel Palestine has carved out a vital space for Palestinian cinema in the UAE: as archive, testimony, and living cultural practice. This January, the festival returns to Cinema Akil for its 12th edition, running from 23 January to 1 February 2026, reaffirming its role as one of the region’s most enduring platforms for Palestinian storytelling.

Presented by Bayt and held in partnership with Alserkal Avenue, this year’s programme brings together fiction, documentary, and short films that span generations, geographies, and lived realities, offering audiences not a single narrative, but a constellation of voices shaped by memory, resistance, humour, grief, and imagination.

Cinema as Witness

The festival opens with the UAE premiere of Once Upon a Time in Gaza by Arab and Tarzan Nasser, a Cannes-premiered drama set in Gaza in 2007, where survival, loyalty, and spectacle collide under siege. The opening night screening will be followed by an in-person Q&A with actor Majd Eid, grounding the cinematic experience in dialogue and presence.

Among the centrepieces of this year’s programme is a focus on Palestinian filmmaker Annemarie Jacir, who will attend the festival in person. Her latest feature, Palestine 36, returns audiences to British Mandate Palestine in 1936, tracing a young man’s life as political unrest reshapes both village and city. The programme also includes a special screening of Jacir’s celebrated film Wajib, presented in tribute to the late Mohammad Bakri, honouring his legacy through one of his most enduring performances.

Stories Beyond the Headlines

Documentary cinema plays a powerful role in this year’s edition, offering intimate perspectives shaped by care and proximity rather than distance. Put Your Soul in Your Hand and Walk by Sepideh Farsi unfolds through video conversations with Palestinian photojournalist Fatma Hassona, forming a fragile yet vital record of life in Gaza. Meanwhile, The Clown of Gaza follows Alaa Meqdad, who transforms performance into an act of tenderness for children living through devastation.

Other works — from Palestine Comedy Club to Who Is Still Alive — reveal how humour, memory, and creative expression persist even under the weight of loss, challenging the narrow frames through which Palestinian life is so often viewed.

Short Films, Living Archives

The short film programme continues this intimacy through smaller gestures and personal stories. From Born A Celebrity to Gaza Bride 17 and BAISANOS, these works explore identity, privacy, displacement, and belonging, often through unexpected lenses such as football fandom, family tension, or quiet moments of interior conflict. Together, they form a mosaic of Palestinian experience that is as varied as it is deeply human.

Beyond the Screen

Reel Palestine extends far beyond cinema. Across two weekends, the Reel Palestine Souk transforms the spaces around Cinema Akil and KAVE into a gathering place for Palestinian designers, artisans, collectives, and social enterprises. Fashion, jewellery, books, homeware, and food sit alongside conversation and exchange, reinforcing the festival’s role as a living cultural ecosystem rather than a standalone event.

This year’s visual identity, created by Palestinian artist Rami Afifi, draws from the lineage of Arab illustration, echoing the work of Helmi El Touni, Mohieddine Ellabbad, and Naji Al-Ali. The artwork becomes an act of return: weaving fishermen, orange groves, ka’ak, musicians, and native flora into a visual archive shaped by longing, memory, and resilience.

A Necessary Space

In a region where Palestinian stories are often fragmented or politicised beyond recognition, Reel Palestine remains grounded in care, offering space for complexity, contradiction, and dignity. Its 12th edition is not only a celebration of cinema, but a reaffirmation of storytelling as a form of continuity.

Reel Palestine runs from 23 January to 1 February 2026 at Cinema Akil. Tickets and the full programme are available via cinemaakil.com.

Opened since this November at Dubai Harbour, Son of a Fish introduces a new rhythm to Greek dining and we truly love this one: from sunlit seafood lunches to late-night, music-led gatherings by the sea, it has all it takes for a perfect moment.

Brought to life by AlphaMind, the global lifestyle group formed by Addmind Hospitality and ADMO Lifestyle Holding, Son of a Fish is one of the first concepts to debut at Harbour House, the new dining and entertainment hub set along the waterfront of Dubai Harbour.

Inspired by the Athenian Riviera, the concept pays homage to early Greek fishermen but reinterprets tradition through a contemporary, day-to-night lens. Son of a Fish belongs to a new generation: those who salt their fish generously, pour their friends’ drinks before their own, and let the final song decide when the night ends.

The space mirrors this philosophy. Understated and stripped back, the interiors echo the natural beauty of the Athenian coastline. Floor-to-ceiling windows frame the sea beyond, opening onto a minimalist terrace designed for long lunches, laid-back drinks, and electric moments as the sun dips below the horizon. Sitting down with a Greek frappé in hand, served by our lovely Greek waiter, brought us right back to our Aegean holidays, a pretty perfect memory.

At the heart of the experience is food meant to be shared. Son of a Fish serves expertly prepared seafood alongside authentic Greek dishes with a global twist. A fresh fish display evokes the warmth of a seaside taverna, while the beverage programme is curated for every hour: bottles chosen for leisurely afternoons, golden-hour sunsets, and nights that build in energy as the music takes over. And not to be dramatic but literally everything we ate was absolutely delicious. You don't believe us? We recommended the place to a group of friends and they all said the same.

Sound is central to the concept. DJs guide the atmosphere from sundown to starlit skies, with Modern Aegean Electronica setting the tone. A cultural programme of curated live performances further weaves music into the fabric of the experience, transforming dinner into something immersive and fluid.

“Son of a Fish is a homegrown concept we’re incredibly proud of,” says AlphaMind Founder Tony Habre. “Set within a stunning waterfront location, it offers a unique day-to-night experience that speaks to food lovers, sunset chasers, and music enthusiasts alike.”

Located next to Bar du Port, Son of a Fish marks the first homegrown opening at Harbour House; a destination poised to become one of Dubai’s most exciting lifestyle addresses. With additional concepts set to be announced in the coming months, the stage is set for a new chapter in waterfront dining, where atmosphere is as essential as what’s on the plate.

Son of a Fish is now open at Dubai Harbour.

For Ramadan 2026, Burberry presents an exclusive capsule that reinterprets the House’s iconic codes through a lens of elegance, craftsmanship, and quiet celebration.

Floaty silhouettes unfold in a seasonal palette of ripple red and santal beige, with trench coats, fluid dresses, and silk pyjama sets jacquard-woven with a tonal House Check. Gold-plated hardware adds subtle luminosity, while lightweight cashmere and silk scarves are meticulously embellished with thousands of sequins, a nod to both tradition and modern refinement.

Accessories complete the story with understated opulence: Sloane mules and Bridle clutch bags adorned with transparent rhinestones revealing the classic beige check, alongside sunglasses finished with crystal-accented Knight hinges.

Rooted in craftsmanship and designed for moments of togetherness, Burberry’s Ramadan capsule reflects the House’s ongoing dialogue with the season;  one defined by intention, grace, and enduring style.

The Burberry Ramadan capsule will be available online and in select stores from January 2026.

Gucci introduces La Famiglia, a new campaign that signals the beginning of a new chapter under Demna; one defined by an unapologetic sense of sexiness, extravagance, and daring confidence.

First revealed in September, the collection marks a moment of transition, drawing from the House’s vast archive and visual language across decades, while quietly setting the stage for Demna’s personal vision for Gucci, set to unfold in February.

Photographed by Catherine Opie, the campaign unfolds as a portrait of personalities rather than a traditional cast. Each figure embodies a different facet of Gucci’s universe, shaped by attitude, presence, and an instinctive understanding of what makes something unmistakably Gucci. Together, they form an extended family bound by a shared mindset; a certain Gucciness that transcends era or silhouette.

Throughout the campaign, gesture and styling take on as much importance as the clothes themselves. Ease, posture, and attitude become defining elements, revealing how individual wardrobes come together to create a collective identity rooted in character and iconic codes. The result is a vision of fashion that feels lived-in, expressive, and self-assured.

La Famiglia unfolds through a series of characters whose wardrobes reinterpret Gucci’s signatures with renewed sensuality and Italian attitude. Incazzata appears in a vivid ’60s-inspired little red coat, mirroring her fiery temperament. Gallerista moves with quiet authority in a refined black look, punctuated by the re-proportioned Bamboo 1947 bag.

The Italian notion of sprezzatura — that art of effortless elegance — runs through the collection, visible in relaxed gestures and soft leather mules worn stepped-in. Pleasure-driven dressing extends into menswear, from Direttore’s sharply tailored suit to Principino’s look, shaped by an innate magnetism and ease in commanding attention.

Together, these characters form La Famiglia: a constellation of personas that reflect the many attitudes, contradictions, and desires that define this new Gucci moment.

The La Famiglia collection is available in Gucci stores worldwide and on gucci.com since January 8.

From the outside, Reformer Pilates and Lagree look almost interchangeable. Springs, platforms, straps. Slow, controlled movements promising strength without impact. We assumed the difference would be subtle.

It wasn’t.

We tried both. And after Lagree, and more specifically, the Microformer, we genuinely couldn’t walk properly for three days. No exaggeration or editorial drama. Just very sore legs, stiff stairs, and a few good laughs.

Precision versus pressure

Reformer Pilates feels rooted in intention. Every movement is purposeful, guided by breath and alignment. It challenges you quietly, asking for control rather than force. You leave feeling worked, but also lengthened and recalibrated as if lyour body had been gently reorganised rather than pushed to its edge.

Lagree isn't exactly as gentle and it isn’t “just Pilates on a different machine.” Created in Los Angeles and patented by founder Sebastien Lagree in 2006, with the explicit goal of delivering specific results, it focuses more on integrated strength and endurance. It’s a high-intensity, low-impact, full-body method built around strength, endurance, and a cardio effect, all performed on the Megaformer (or its smaller variations, like the Microformer).

What makes it feel so brutal isn’t speed, it’s the opposite. Lagree is obsessed with time under tension: slow, continuous movements that keep your muscles working for longer than they want to, often paired with isometrics and isokinetics (think: holding, shaking, moving at a controlled tempo). That’s why it can feel like you’re “barely moving,” while your body is fully on fire.

And then there’s the machine difference: while both use spring resistance,  the Megaformer is more of a fitness machine than a rehabilitation tool: larger, more ergonomic, with front and back platforms and handles that allow for more variety and faster transitions (which also means less rest).

The Microformer looks minimal, almost understated, until you’re on it. Movements are painfully slow, holds feel endless, and rest barely exists. Every muscle is switched on at once. The shaking is expected, encouraged, even. We went in thinking it would feel similar but harder. In our humble opinion, it was much harder (that microformer thing is not for the weak.)

How it actually feels

Reformer Pilates wakes up deep muscles you didn’t know you had. It’s technical, controlled, and humbling in a subtle way. You may not leave drenched in sweat, but your posture improves, your core feels awake, and your body feels more cooperative afterwards.

Lagree feels like endurance training disguised as low impact movement. The burn builds quietly, then completely takes over. It’s the kind of workout where you wake up the next day thinking you’re fine... until you try to stand up.

Studios on our radar

Reform Atheltica , ICD Brookfield and Jumeirah, Dubai

PEAQ Wellness, Dubai

SOAR Lagree, Beirut

Lagree with Sauce, Jeddah

FORM, Abu Dhabi

Origin Circle, Beirut

Namat, Beirut

Corelab, Amman

Sculpt, Doha

Curve Club, Abu Dhabi

What else we’re curious to try this year

As much as Reformer and Lagree dominate the conversation, movement today feels bigger than any single method. This year, we’re drawn to workouts that combine community, creativity, and intention and not just results.

SYNKRO

Well technically we already tried. Part movement, part performance, part sensory experience, SYNKRO blends rhythm, coordination, and strength into something that feels expressive rather than punishing. It’s less about isolating muscles and more about syncing body and mind through flow. Challenging, yes but also joyful and immersive. The group of women all following the choreography in synch, as we're all whispered the same encouragements through the headset, brings a sense of empowerment very little other workouts managed to bring us. Plus, the insane views from One Za'abeel truly add to the experience.

More info and bookings, here

Barre50

Then there’s Barre50, where ballet-inspired precision meets serious strength. Small movements, deep burn, impeccable posture. It’s elegant on the surface and brutal underneath, the kind of workout that looks graceful until you’re halfway through and questioning your life choices.

More info, here

Gray Wellness

We’re also drawn to spaces that don’t separate movement from restoration. Gray Wellness feels like a response to burnout culture, offering reformer, yoga, strength, and recovery under one roof. It’s less about chasing intensity for its own sake and more about balance, longevity, and listening to the body. The kind of place where working out and slowing down can coexist.

More info, here

FS8

You're already know we're obsessed with F45. Its sister company FS8 is the perfect miy of reformer pilates and strength: just like at F45, you follow a screen while an instructor goes around making sure you're executing the movements correctly. With a first regional opening in Qatar, FS8 recently made its way to Abu Dhabi.

More info, here

And for the mind and soul...

A vision board workshop morning with Nour Bachir, mindset coach and founder of Bedaya. Happening this Sunday January 11th in Dubai, it promises to help you 'design your personal vision board, set powerful intentions, and take the first step toward manifesting your dreams for the year ahead.' To sign up, click here

And yes, run clubs are still very much alive

One of the most refreshing things about Dubai’s movement culture is how run clubs have quietly become a staple of city life: low-barrier, social, and surprisingly joyful. They’re less about beating personal records and more about shared rhythms, scenic routes, and community energy.

On the social end of the spectrum, Jumeirah Johns Running Club feels like a weekly ritual with friends rather than a formal workout. Runs are welcoming to all levels, and you’ll often come away with new conversations, and perhaps plans for coffee or brunch afterward.

Not far behind in scale and vibe is Dubai Creek Striders, one of the city’s most established groups. Their routes often wind along scenic waterfronts and historic pockets of the city, giving each session a sense of place and pace that’s as much about exploration as it is about cardio.

Then there’s the gently community-oriented Humantra Running Club, which blends run and walk sessions with stretching and social intervals; a slower-paced, intentional way to start the weekend that feels more like wellness with friends than training.

‍

In partnership with the Abu Dhabi Music & Arts Foundation (ADMAF), the Seoul Museum of Art (SeMA) presents ‘Proximities’; a new exhibition that brings contemporary art from the United Arab Emirates to Seoul.

Curated by Eunju Kim and Maya El Khalil, ‘Proximities’ is the second exchange project between SeMA and the ADMAF. It builds upon the success of ‘Layered Medium: We Are in Open Circuits’, shown at Manarat Al Saadiyat back in May 2025, showing contemporary South Korean art in the UAE, promoting transnational dialogue and cultural understanding between the two countries.

By Robert McKelvey

This subsequent exhibition – the largest of its kind yet – assembles a multigenerational selection of over 40 UAE-based artists in the South Korean capital, showing works that range from the 1980s to the present day. The show examines the tensions between regional and global identity, offering visitors valuable insight into the complex and highly mutable nature of today’s international society from alternate perspectives.

“While the nation of the UAE officially coming together in 1971 is quite recent, this has always been a place of movement, very connected to the outside world,” El Khalil told Jdeed. “Today, the population of the UAE is about ten-percent Emiratis; the rest are foreigners. When you have a place with such a rich history and diversity of people, it becomes a place that is very prone to intense communication, exchange and creativity.”

“The hybridity of the region and how different cultures merge is at the heart of the identity of the UAE,” explained Kim. “In Korea, we are a very homogeneous nation, so how I would present the UAE to Korean audiences was one of the first questions that I asked myself. We decided to host three different generations of UAE artists to show the viewer how these people live in this modern world, and the commonalities that can be found, through their own eyes. We wanted to help Korean audiences recognise and identify the society of this region, and then to go further; to understand their world and their thoughts.”

Each of the exhibition’s three sections centre upon a distinct type of encounter. The artist-curators of each section were asked to respond to themes that resonate with their own creative practices, selecting peer works that lend additional points-of-view to spark further contemplation and discussion. These sections are then linked by satellite works, creating engaging connections where additional approaches to cultural navigation can emerge organically.

The first section – titled ‘A Place for Turning’, and overseen by photographer Farah Al Qasimi – combines the familiar and unfamiliar, exploring the relationship between comfortable mundanity and intimate secrecy within domestic life, producing multifarious imaginary realities. Blending 1990s Gulf pop culture aesthetics with a sense of the uncanny, it confronts how rapid urban development and societal shifts infiltrate the home, transforming familiar spaces in unexpected ways, revealing unspoken truths through changes within the social landscape.

Multidisciplinary artist Alaa Edris is exhibiting several pieces as part of this section, including ‘School’, a single-channel video work that documents a performance in which Edris recreates an impulsive childhood act of breaking discarded fluorescent lightbulbs in an abandoned school; a commentary on the transmission of knowledge. This is accompanied by ‘Kharareef – Fables from the Trucial State', another video work that blends archival material and footage captured by Edris into dreamlike narratives that refer to folktales of jinn told by mothers to their children to educate and discipline them. Meanwhile, her ‘The Seven Jinnat Of The Trucial States’ are simultaneously self-portraits, and a visual documentation of the oral traditions of the UAE.

“Something that connects all cultures are folk stories,” said Edris. “Many of these are very similar across different cultures. By presenting the mythology of the UAE, I'm hoping that visitors in Korea might see how our cultures are similar. I think having a strong visual can help people. It's definitely an easier gateway, more so than works that are more text-based or subtle, especially when language can be a barrier.”

The second section – ‘Recording Distance, Not Topography’, by Cristiana de Marchi and Mohammed Kazem – investigates spatial relations in flux through works that engage with notions of place, challenging the assumed neutrality of traditional cartography and navigation. Movement is presented as a complex transition of status rather than a simple shift in location, highlighting the societal and emotional gaps created by shifting borders.

“We were really looking at this idea of displacement and belonging,” said de Marchi. “That's why we selected works which make use of coordinates, maps and even compasses; elements that are usually referencing specific locations. At the same time, we were ready to disrupt that sense of stability.”

De Marchi’s own ‘The Atlas of the Impossible’ – filmed across various locations, including a former market, a public garden and a traditional domestic home – traces themes of individual life, migration and loss, while also exploring the possibilities of new beginnings and connections. The choreography adapts to the history and atmosphere of each location, while the audio responds to breath, pauses and stillness, inviting the audience to imagine how far – physically and emotionally – these bodies have travelled.

The final section – ‘That Thing, Amphibian’ – sees trio Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian come together to explore works by the younger generation of Emirati artists who also have other professions, existing ‘amphibiously’ between two environments, revealing the intersections between art and civic structures, institutional context and independent practices within the UAE.

Artist Shaikha Al Ketbi also works as a creative director for the Salama bint Hamdan Al Nahyan Foundation, based in Abu Dhabi. In her work ‘Sigh’, she takes on the role of a bizarre, otherworldly creature that arrives in the middle of the desert in a bathtub. Thus begins her adventure exploring an abandoned park, interacting with the objects in a ritualistic manner. Through these disjointed interactions, she investigates subconscious images rooted in childish memory, unfolding into wider reflection on introspection.

“This video is the first episode of this character that I’m performing as,” explained Al Ketbi. “I specifically love places of recreation and play, because these kinds of spaces are disappearing in the UAE. I love wandering in these spaces by myself but, when I try to embody a specific character, I react to the space very differently.”

‘Proximities’ will run at the Seoul Museum of Art (SeMA) until March 29, 2026.

There are places you walk into and immediately know you'll have good time, even if you’ve never been before. Coffeemania is one of those places.

We had heard about it for years. Our Russian friends would talk about it being the "place to be" rather than a restaurant. Somewhere you go in the morning and somehow end up staying longer than planned. So when Coffeemania opened its first UAE location at Dubai Hills Mall, we got really curious.

What struck us first wasn’t the coffee or the food, but the atmosphere. It feels elegant without being stiff. You can come alone, with family, for a meeting, or just to sit and think, it works either way. On the day we visited, there was actually a line of people waiting to find a table; a good sign that we were in good hands.

Founded in Moscow in 2001, Coffeemania has nearly 25 years behind it, and you feel that confidence immediately. The brand isn't trying to introduce itself ; Dubai just happens to be its next chapter, and its first outside Russia.

The menu leans into comfort in the best possible way. Olivier salad, beef stroganoff, honey cake: some of the best items Russian gastronomy has to offer, with a modern take. The coffee is taken seriously here, not as a side note but as the backbone of the experience (well, not like there isn't a big hint in the name.) The original Raf coffee, created by Coffeemania’s own baristas, makes sense once you try it: it's Soft, indulgent, and a bit acidic like we love it.

The space itself deserves time. Designed by Studio APAA, it’s warm and layered. Marble, wood, leather, soft lighting. Nothing flashy, nothing cold. You notice the details slowly, which feels intentional. Even the art, curated in collaboration with RARARES Gallery, blends into the space rather than demanding attention. Works by artists like Fatma Lootah sit comfortably here, adding depth without distraction.

Dubai has no shortage of places to eat or drink coffee. Coffeemania doesn’t try to compete with noise or novelty. Instead, it offers somethinglasting. A place you return to and a place that becomes part of your routine; especially in malls that can feel a bit impersonal, it really stands out.

Coffeemania is now open at Dubai Hills Mall,

More info on Coffeemaniagcc.ae

For Amr Mansi, culture has never been about spectacle alone. It is about ownership, continuity, and the responsibility of building structures that outlast applause.

From El Gouna Film Festival to Shark Tank Egypt and the Egypt Entrepreneur Awards, Mansi has quietly positioned himself at the intersection of culture, business, and social impact. What emerges from his reflections is not the story of an event-maker, but of a builder: someone deeply invested in creating ecosystems that allow people, industries, and narratives to grow on their own terms.

At the core of everything Amr Mansi builds lies a single conviction: culture must serve the people who create it. “The vision that drives me is the idea of reclaiming our cultural narrative and shaping it in a way that builds real ecosystems around it,” he explains, emphasizing that these ecosystems should “influence society and the economy, not just moments in time.”

Egypt’s cultural richness, he notes, has always been present- across film, art, and entrepreneurship -yet too often detached from tangible benefit. “For a long time these stories were either overlooked or told without truly benefiting the people behind them,” he says. His response has been to create platforms that do more than spotlight talent. “I wanted to create platforms that put this work in the spotlight while giving back to the people behind them.”

That sense of responsibility extends beyond visibility to ownership. “We are the movers and enablers of these stories, and it’s time we take ownership of them, in a way that is sustainable and genuinely beneficial to our communities.”

This philosophy is particularly evident in the Egypt Entrepreneur Awards, a platform designed not as a celebration for its own sake, but as an entry point into something larger. What defines the next generation of Egyptian talent, Mansi says, is “their resilience and clarity of purpose.” Many, he adds, “didn’t come from privilege or easy access, they built something from very little, through persistence and drive.”

“The vision that drives me is the idea of reclaiming our cultural narrative and shaping it in a way that builds real ecosystems around it”

Recognition, in his view, must translate into opportunity. “When we designed the Egypt Entrepreneur Awards, the goal was never just to hand out trophies.” Instead, he explains, “by giving them credible recognition, you give them more than exposure; you give them validation and allow them to integrate systems and networks that will enable them to grow and scale.” That is why, he insists, “we focus on building a community around the awards, not just an annual ceremony.”

Mansi’s understanding of scale and impact was shaped early on through ievents, where the turning point came not through growth metrics, but through people. “That realization came gradually,” he recalls, “but one defining moment was when I saw the long-term impact of what we were doing, not just on audiences, but on people’s lives.”

He points to squash as a powerful example. “I watched the sport go from being underappreciated to thriving, with players gaining global recognition and sponsorships.” One memory remains especially vivid: “There’s one image I still keep with me: a young boy who volunteered at one of our tournaments in 2010. Fifteen years later, he’s ranked in the world’s top 10.” It was then, Mansi says, that everything clicked. “That’s when it became clear that ievents wasn’t about logistics or production, it was about supporting journeys and building gateways.”

This same realization carried into film, entrepreneurship, and media. “We weren’t just organizing events; we were creating platforms that could genuinely move industries forward.”

Operating at the crossroads of creativity and commerce requires discipline, something Mansi approaches with clarity. “If the story is real and the intention is genuine, sustainability becomes much easier,” he says. Still, belief alone is not enough. “Passion alone isn’t enough. Vision and structure are necessary.” Drawing from sports, he adds, “you may love the game, but without strategy and consistency, you won’t last.”

When developing new concepts, intention must be matched with structure. “We’re very intentional about building a solid business model around it; partnerships, scalability, and long-term relevance.” Ultimately, what matters most is connection. “People don’t connect with products; they connect with experiences.” And when that connection is real, “commercial success becomes a byproduct, not the goal.”

Despite global progress, Mansi believes misconceptions about the region persist. “One of the biggest misconceptions is that creativity in our region isn’t up to global standards.” The reality, he insists, is different. “The talent here is extraordinary, what’s often missing is access, platforms, and trust.”

He has seen the shift firsthand. “Whether it’s filmmakers in GFF or entrepreneurs on Shark Tank, the potential has always been there.” His role, as he defines it, is simple but demanding. “My role, as I see it, is to build bridges: between creativity and business, between local talent and global platforms, and between ambition and opportunity.” And when those bridges are built with intention, the impact is lasting. “When you invest in people, you don’t just change perceptions, you change reality.”

Keep up with Amr Mansi on his Instagram, here

We recently made our way to the newly opened Lion in the Sun, located on the top floor of Mandarin Oriental Downtown Dubai, not without excitement. Opened on November 25, the restaurant marks the global debut of the Lion in the Sun concept, with Dubai chosen as its launch destination.

If one word were to summarize the experience, it would be grand. The ascent alone sets the tone: an imposing staircase leading upward, gradually revealing sweeping views of Downtown Dubai. You'll spot the Address Sky Views unfolding in one direction, the Burj Khalifa anchoring the other. Designed by Richard Saunders, the space blends timeless elegance with contemporary refinement. The décor, the open kitchen, and the rhythm of the room create a sense of theatre that feels almost cinematic. Before the food even arrived, we found ourselves already immersed and served a feast for the eyes.

At its core, Lion in the Sun celebrates the art of open-fire cooking, a philosophy led by Culinary Director and celebrity chef Batuhan Piatti. Here, fire is treated as ritual rather than spectacle, shaping dishes that prioritize depth, purity, and shared experience. The menu draws from Mediterranean influences, allowing premium ingredients to speak through simplicity and precision.

Among the standouts, the king crab leg is one we’ll remember for months to come: indulgent and impeccably executed. The rib eye and the sea bass, both simply grilled, rank among the finest we’ve had the chance to enjoy, reinforcing the idea that simplicity can be the ultimate luxury.

And while we wrere trying to give our carb intake a break, the pasta menu was seriously inviting and we might have to be back just to try the truffle rigatonis. If you're visiting as a group, the paella looks like the ultimate succiuent choice.

Then came dessert or the moment that truly sealed the evening. A mandarin sorbet, vibrant and refreshing, so delicious we could have easily ordered five scoops without hesitation. But it was the pistachio flan that proved unforgettable: silky, comforting, and rich without being heavy. The kind of dessert that stays  that could genuinely justify a two-hour drive through traffic, just for one more bite.

Inspired by the original Lion in the Sun retreat in Malindi, Kenya, a cultural landmark developed by Flavio Briatore and long associated with art, fashion, and music, the Dubai outpost reinterprets that legacy for the city’s rhythm. Reimagined under the umbrella of Majestas, Lion in the Sun positions itself as more than a restaurant: a contemporary cultural destination where heritage meets horizon, and where hospitality is designed to feel like a sense of home.

Lion in the Sun doesn’t rely on spectacle alone. It understands scale, yes, but it’s the alignment of setting, concept, and execution that makes the experience resonate long after the table is cleared.

More info on Instagram, here.‍

Monday to Sunday: 12PM – 12AM
Address: Mandarin Oriental Downtown, Wasl Tower - Albanny Street, Sheikh Zayed Road, Dubai

WhatsApp: +971 56 573 8283

It is a very particular kind of loneliness to feel like you do not belong, and not in the misfit sense of not relating to TikTok dances, or people drinking matcha. It is the ache of realising that nowhere you go will ever feel entirely yours, never fully your home, your culture or your identity, no matter how hard you try to claim it.

This feeling can appear anywhere and at any moment: when you stumble through one of your own languages, when someone casually asks where you are from, when you worry that choosing a certain path might disappoint the part of your heritage or family you are expected to honour. The ability to step into different worlds is magical, yet the constant sense of drifting between them can be quietly alienating.

By Cynthia Jreige

As someone with three nationalities who grew up in a fourth country and studied within a fifth school system, identity was never simply a question. It actually quickly became a burden. It is impossible to choose a side or feel more one thing than another, and instead you grow up as fragments of many places at once, unable to claim any of them completely. You learn to live in that uncertainty, pausing every time someone asks where you are from, unsure of the answer or knowing they will lose interest before you finish explaining.

Still, many people manage to embrace this complexity with grace, turning it into richness and strength. When you look at it closely, it truly is beautiful to understand people on a deeper level, to speak their languages, to know their traditions and cultures. It opens your mind in ways that few experiences ever could.

Yet this sense of belonging everywhere and nowhere can bring an intense feeling of solitude. There are moments when one culture takes over, when you find yourself identifying more strongly with it, only to suddenly miss parts of the other: the food, the weather, the rhythm of life.

In parts of the Middle East, another layer complicates the search for belonging: nationality can only be passed down through the father, effectively erasing, at least on paper, a woman’s ability to carry forward her cultural legacy. Trips to Lebanon and a few conversations with taxi drivers initiated by the paleness of my skin and the color of my eyes, that all started similarily: “ente men wen?” (where are you from?) and always concluded in the same way: "ya3ne eza bayyik lebneni, ente 100% lebneniyye” (If your dad is Lebanese, you are 100% Lebanese). Could they have solved, right then and there, years of insecurity and questioning? (Please read this question on a sarcastic tone.)

It seems like this question of belonging is common across third culture kids:

“The hardest part for me was being placed in a school that didn’t reflect the country I grew up in,” Joe* tells us. “When I later started working with people from that country, I realized just how far removed we were from them. I was also born in Brussels, a city I hardly know today, which adds to the feeling that nowhere is truly home. I’m half Lebanese but don’t speak the language, and half Belgian, yet I never lived in Brussels.”

What often made things harder were people’s reactions to our “mixed” identities. Oh wow, that’s too complicated. We don’t really know where you’re from. You’re the alien of the group. These are things I’ve heard more than once, and that quietly reinforced the feeling of being a complete outsider.

Growing up, it’s probably no coincidence that my closest circle was made up of third-culture kids. Most others had parents from the same country- sometimes even the same village- and carried their patriotism with so much certainty and ease (you know these moments at house parties were certain songs come on and everyone is singing them so loudly in unison but you have no idea what the lyrics were? I was there more than once.) Not that I lacked love for my countries; I love all of mine deeply. But their unshakable sense of belonging often made me question my own, intensifying that persistent feeling of being out of place.

Today, at 32, and potentially thinking of a future as a mother myself. I can't help but wonder if my kids would feel the same way, or worse? Elisa* , a third-culture kid herself, shares the same point of view: "The only real fear is knowing what culture to pass on to my child, but I make peace with it by accepting that cultures shift through time and that whatever I do will be part of this general cultural shift."

‍

*Names have been modified for privacy

After a summer season that drew crowds and conversation, EmpowerHer returns to Dubai Mall with a holiday twist. From December 8 to 28, the platform unveils its first ever Winter Wonderland, a festive pop-up created in collaboration with EMAAR and perfectly timed with the mall’s annual holiday campaign.

The result is a full winterscape in the heart of Dubai Mall. Think immersive décor, sparkling lights, and that unmistakable December energy, all wrapped around a curated marketplace featuring more than 60 regional and international brands. EmpowerHer has always championed discovery, and this edition brings together everything from fashion and abayas to jewellery, skincare, perfumes and gifting essentials. Homegrown names like Setrah, Carat Craft, and Ikkiu join global newcomers, offering a holiday edit that feels both regional and refreshingly diverse.

This season’s pop-up also expands into homeware, with brands like Ikkiu and Pluto Deco offering décor pieces to bring a festive atmosphere into your home. Whether you are shopping for loved ones or simply indulging in a little seasonal self-gifting, the curation hits all the right notes.

Set beside Galeries Lafayette and adjacent to The District, the location could not be more convenient for holiday wanderers drifting between decorations, hot chocolates and last-minute gift runs. The experience goes beyond browsing, with live entertainment, carols, music performances and family-friendly workshops planned throughout the three-week celebration.

Of course, no EmpowerHer event is complete without a moment for regional creators to shine. Influencer Hala will showcase OFA Jewelry during the opening round, while beauty favourite Narin launches Narins Beauty in person with a special meet and greet on December 16 from 6 to 8 PM.

‍
Among the brands taking part this season is a mix that beautifully reflects the region’s creative landscape. Fashion finds sit alongside artisanal jewellery, modern abayas and festive gifting gems. Labels such as Turana Atash London, Takara, Tensplace, Nabat and Hagat, Setrah, Balena, Basic Abaya and Narcise Couture bring a spectrum of ready-to-wear and modest fashion to explore.

The jewellery offering is equally rich, with Carat Craft Fine Jewelry, Evara Diamonds, Joubijoux, Mas Jewels, Mayra Jewelry, Calmeus Jewelry, Idman, Zoppini, Elly, By Farida and more presenting pieces that range from everyday sparkle to statement heirlooms.

For beauty lovers, Pearl Scent, The Perfume Bar, Adira Skin, Siyate, Reachful Beauty, Silkylicious, Hello Angel and others bring skincare rituals, perfumes and thoughtful wellbeing essentials.

Those decorating for the season will find homeware and decor from Ikkiu, Pluto Deco, Moushe Design and Maveroc, and UAE Christmas Store, adding festive charm to any space.

Accessories and lifestyle pieces from Knotty Dreams, Tilahn, NABIL Studio, Hala Pop, JOY and CO, Dammah Store, 229 Boutique, Bride to Be, Kallirroi Concept, ABAY, Jamila Bags and many others complete the experience. The result is a marketplace that feels alive, diverse and thoughtfully curated — a true reflection of EmpowerHer’s mission to champion creativity in all its forms.

EmpowerHer’s Winter Wonderland brings together the heartbeat of the region’s creative scene at the year’s most festive moment. It celebrates women-led ventures, independent designers and the joy of discovery, all in one of Dubai’s most iconic spaces. A holiday market, a festive escape and a cultural snapshot, all wrapped into one.

More info on Instagram.com/Empowerher_ae

December always makes us pause a little. We look around, take stock of the small things that make everyday life feel beautiful and intentional. This month we are spotlighting the brands that have shaped our homes, our routines and our personal style. These are the names we keep returning to and that bring soul into the ordinary.

INTERIORS

Contemporary Spaces

We first noticed Contemporary Spaces the way you notice anything quietly exceptional. Their pieces are made to elevate the rooms they'll live in. Founded by Emirati siblings Alya, Maitha and Obaid Al Suwaidi, the studio carries the memory of their childhood spent inside their family’s workshops. Today that legacy has grown into furniture crafted in Al Quoz. Each creation is rooted in precision and warmth. Each one designed to live with you and grow with you. Contemporary Spaces is a reminder that homegrown craftsmanship can be both soulful and modern.

More info on Instagram.com/contemporaryspaces.ae

Peristylia

Peristylia feels like stepping into a space that understands you. Founded by architects Ahmed El Morshedy and Sally Negm, the studio builds environments where beauty, purpose and wellbeing move together. Their interiors feel thoughtful and intentional with a commitment to timelessness and material integrity. Peristylia creates spaces that function as sanctuaries rather than rooms.

More info on Peristylia.com

JEWELLERY

Kaltham’s Pavilion

If you're new here you might not know yet that we've loved Kaltham's Pavilion for some time. Kaltham’s Pavilion brings joy to jewellery. Based in Qatar, the brand creates pieces that feel feminine, colourful and wonderfully wearable. Each design feels like a small celebration of style and self expression. Perfect for gifting and perfect for keeping and especially during this season when everything feels a little more sentimental. And though the pieces are more feminine than our usual style, they land at just the right level, adding a feel-good touch to our daily lives.

More info on Kalthamspavilion.com

Elyamm

Elyamm is one of the newest names on our radar and already one of the most exciting. The debut collection Zigzag introduces stackable pieces with sculptural lines and an easy sense of play. The aesthetic is modern and chic with a touch of boldness aka everything we love. The more you explore the pieces, the more you notice the thoughtful balance between fun and refinement, which makes them surprisingly versatile. It is the kind of jewellery that instantly lifts an outfit and quietly signals a fresh point of view.

More info on Elyamm.com

Lynor

Lynor is one of those Dubai born brands that effortlessly slips into your everyday life. Founded in 2019, it creates delicate pieces shaped by both Middle Eastern and Western influences, resulting in jewellery that feels personal, modern and expressive. The designs layer beautifully and carry a sense of meaning, making them just as perfect for daily wear as they are for gifting. Lynor is all about those small pieces that make every day feel a touch more special.

More info on Lynorofficial.com

FASHION

Miniaar

Miniaar is a Dubai based fashion house that has mastered the art of quiet luxury. Known for its couture, bridal and refined pret collections, the brand moves with a sense of effortless elegance that feels both modern and timeless. Each silhouette is crafted with precision and an eye for detail, resulting in pieces that drape beautifully and hold their shape with intention.

What makes Miniaar stand out is its ability to balance simplicity with impact. The designs feel understated but never plain, luxurious but always wearable. Whether you are dressing for a celebration or elevating your everyday wardrobe, Miniaar offers a distinctly chic aesthetic that continues to define the region’s contemporary fashion landscape.

More info on Miniaar.com

BEAUTY AND WELLNESS

The Curve Club

The Curve Club in Abu Dhabi has become one of the most thoughtful wellness spaces in the region. Known for its signature Curveformer classes and calming interiors, the studio invites women to move with intention and reconnect with their bodies. Founded by an Emirati entrepreneur, it embraces the idea that a woman’s journey is always evolving and that strength is found in every stage of it.

With attentive instructors and a nurturing atmosphere, The Curve Club feels as much like a community as a fitness studio. It is a place to feel supported, grounded and encouraged, both during the workout and long after you leave.

More info on Instagram.com/currveclub

OLAH Haircare

OLAH is an Emirati haircare brand rooted in nature and family tradition. Inspired by founder Alia Almarzooqi's grandmother’s timeless recipe, the products blend natural ingredients with clean, modern formulations that feel both nostalgic and refreshingly contemporary. Each bottle reflects a commitment to gentle care and real nourishment, free from harsh additives and designed for every hair type.

What we appreciate most is the sincerity of the brand. OLAH feels trustworthy, offering simple routines that genuinely support the hair’s natural health. Proudly produced in the UAE, it brings heritage and modern beauty together with ease.

More info on Instagram.com/olah.haircare

EVENT SET UP

Âme Studio

Âme Studio in Dubai feels like a creative retreat. The studio offers floral design, event styling, bespoke gifting and workshops that bring beauty into every moment. Their approach is artistic and mindful with attention to detail that transforms any occasion. Âme is also a lovely destination for intimate gatherings and celebrations. A space shaped by craft, creativity and community.

More info on Instagram.com/amestudio_uae

We first discovered WatchHouse in London, tucked into one of those beautifully designed corners of the city that make you forget you are meant to be somewhere else.

So when word got out that the cult-favourite Modern Coffee brand was opening in Dubai, we made our way to Marsa Boulevard faster than we care to admit. And yes, the excitement was entirely justified.

WatchHouse officially opened on 1 November, marking its first-ever location in the UAE and the beginning of its Middle Eastern story. Set along the new seasonal waterfront destination on Dubai Creek, the House create the perfect opportunity to slow down, breathe and reconnect with the ritual of coffee in a place where land, water and evening light meet effortlessly.

We arrived curious, a little nostalgic for our London memories and very ready to see how WatchHouse would translate in Dubai. We were also daring enough to try the falafel pastry, which turned out to be excellent, warm, savoury and the perfect companion to one of the best coffees we have tasted in the city. Between an espresso and a soy flat white, both prepared with the precision that makes a great drink, it became clear that WatchHouse’s philosophy had travelled well.

It is this philosophy (as to know, Modern Coffee as connection, intention and sensory experience) that defines WatchHouse. The Dubai opening takes that ambition forward, with Founder and CEO Roland Horne describing the House as a love letter to what the brand does best: craftsmanship, design integrity and hospitality rooted in meaning.

Set at the edge of the Creek and facing the Ras Al Khor Wildlife Sanctuary, WatchHouse becomes part of a curated neighbourhood celebrating food, design and culture. It is a spot where you can watch the sunset paint the water gold, catch up with friends or stage an effortlessly cute coffee date without trying too hard.

A Coffee Menu Worth Showing Up For

The Dubai pop-up introduces the city to WatchHouse’s signature menu, including Rarities, the brand’s celebrated collection of exceptional coffees sourced from renowned producers. Each is prepared with a level of precision that honours its origin: the Wilder Garcia Gesha, Peru, scented with lemon verbena and nectarine, the Los Rodriguez SL28, Bolivia, bright with hibiscus and blackberry, the Sebastian Ramirez Gesha, Colombia, wrapped in notes of lavender, peach and fig.

There is also the Golden Cardamom Latte, a Dubai-appropriate creation that blends cardamom, turmeric and chai into something that feels like a warm hug disguised as a drink.

Whether enjoyed at the water’s edge or taken to go, every cup reflects WatchHouse’s devotion to quality and its insistence that small rituals deserve sincerity.

Design Worth Slowing Down For

Designed with Berlin-based architect Kirill Borisov, the Marsa Boulevard House is a study in calmness and cultural memory. Drawing from desert architecture and the Creek’s maritime heritage, the space features four sculptural wind towers, a brutalist reinterpretation of traditional barjeel ventilation that doubles as a symbolic lighthouse.

Locally sourced materials, earthy textures and modular lines frame uninterrupted views of Dubai Creek, creating a design-led retreat that feels both grounded and contemporary. It is minimalist but warm, architectural yet intimate, and unmistakably WatchHouse in its pursuit of purposeful beauty.

A New Ritual in the City

WatchHouse’s arrival feels timely. In a city that embraces innovation while holding tight to heritage, the brand’s Modern Coffee ethos resonates deeply. It offers not just a caffeine fix, but a space where architecture, landscape and intention converge.

And for us, it has already become one of those places you plan to revisit: sometimes for the coffee, sometimes for the sunset and sometimes simply because it feels good to be there. We already cannot wait for the Abu Dhabi openings, this 2026!

More on WatchHouse.Com

FENDI unveils a new limited-edition capsule celebrating the arrival of Emily in Paris Season 5, and the pairing feels surprisingly effortless. Rather than leaning into cliché, the collection taps into the show’s playful elegance while grounding it firmly in FENDI’s Roman heritage. We kinda love the green...don't you?

‍
The capsule revisits three of the House’s icons: two Baguettes and one Peekaboo, each crafted in a tapestry-effect fabric featuring the FENDI Dots motif. The pattern blends the FF logo with a subtle Art Deco sensibility, landing somewhere between whimsical and sophisticated. Colour combinations come in soft duos of brown with pink or dove grey with mint, making the pieces feel both collectible and wearable.

What anchors this collaboration is a narrative that extends beyond accessories. In Season 5, Emily Cooper’s storyline takes her to Rome, where the character steps into FENDI’s world: the monumental Palazzo della Civiltà Italiana and the flagship Palazzo FENDI. The Baguette, naturally, plays its part, appearing almost as a character within the plot rather than a mere fashion accent.

‍

The capsule pieces come with dedicated tags and will be offered in a limited release across selected FENDI boutiques worldwide and on fendi.com. Fans of the series will recognise the spirit immediately, but the designs remain firmly rooted in FENDI’s DNA, offering a balance of lightness, nostalgia and craftsmanship that speaks to both worlds.

With the new season premiering on Netflix today, the timing feels intentional. A Roman chapter for Emily, a Parisian wink from FENDI and a capsule that lands neatly at the intersection of cultural momentum and fashion desire.

In February 2026, Doha will open a new chapter in contemporary culture as Art Basel Qatar unveils its inaugural edition. Anticipation has been building for months, and with good reason.

The fair arrives not simply as another stop on the global art calendar, but as a defining moment for the Middle East’s cultural landscape, placing Doha at the crossroads of regional storytelling and international dialogue.

At the heart of this first edition are 84 artists and 87 galleries from 31 countries, supported by a deeply ambitious Special Projects program that transforms the city itself into an extended exhibition. Curated by Wael Shawky in collaboration with Vincenzo de Bellis, the program introduces nine monumental sculptures, installations and performances distributed across Msheireb Downtown Doha, weaving art into the rhythm of urban life.

‍

Anchored by the fair’s thematic focus, Becoming, these projects examine transformation in its many dimensions. Personal, political, ecological and spiritual shifts all find expression in works that refuse to sit neatly within traditional formats. Instead, Art Basel Qatar positions the city as both canvas and collaborator, inviting visitors to move through an environment where contemporary art is not simply viewed but experienced.

When the City Becomes the Exhibition

The selection of Special Projects forms a compelling blend of voices and artistic languages.
Mexican artist Abraham Cruzvillegas expands his celebrated autoconstrucción philosophy into one of his most ambitious public sculptures to date, exploring reinvention as a cultural and personal inheritance.

At M7, Bruce Nauman floods the theatre with a vast projection of Beckett’s Chair Portrait Rotated, dissolving the boundaries between architecture, movement and perception. Nearby, Hassan Khan’s Little Castles and Other Songs unfolds through a bespoke digital sound system, drawing visitors into a shifting emotional landscape shaped by uncertainty and global flux. The conversation continues with Khalil Rabah, whose installation Transition, among other things assembles fragments of domestic and institutional structures to probe how memory and identity occupy physical space. Above the district, Nalini Malani turns the façade of M7 into a stop-motion cosmos with My Reality is Different, a haunting universe animated by displacement, mythology and collective trauma.

Further along, Nour Jaouda imagines a waystation built from steel, suspended textiles and layered drawings, a site where emotion quietly overrules geography. Rayyane Tabet introduces a contemplative pavilion in What Dreams May Come, evoking the simple gesture of resting beneath a palm tree and offering the city a moment of stillness. Completing the constellation, Sumayya Vally’s In the Assembly of Lovers reinterprets Islamic public architecture through a continuously shifting communal space shaped by movement, poetry and the act of gathering.

The performance collective Sweat Variant stages a durational choreography exploring the gestures of holding and witnessing, transforming physical endurance into emotional dialogue.

Together, the projects form an urban choreography that invites audiences to wander, encounter and reflect. Doha becomes an active participant in the artistic process, its public spaces reimagined as sites of possibility.

Inside the Galleries: A New Centre of Gravity

Within the fair itself, the Galleries sector draws a sophisticated portrait of contemporary art across the MENASA region and beyond. More than half of the participating artists represent the cultural geographies that Art Basel Qatar seeks to spotlight, establishing the fair as a new anchor within the Art Basel network.

Highlights include focused presentations by Etel Adnan, political and ecological inquiries by Ali Cherri, documentary reflections by Ahmed Mater, and new works by Mona Hatoum and Marlene Dumas. The sector also features conceptual investigations by Mohamed Monaiseer, transformations of form by Philip Guston, object-based systems by Hassan Sharif, and expansive narratives from Simone Fattal, Shirin Neshat, Lynda Benglis, Sophia Al-Maria and others.

Here, regional modernism, diasporic memory and experimental contemporary practices coexist, offering an unusually layered view of artistic production today.

A Wider Cultural Season Across Qatar

Coinciding with Art Basel Qatar is an extensive calendar of exhibitions and public programs across Qatar Museums institutions.

From the expansive we refuse_d exhibition at Mathaf and the retrospective of I. M. Pei at ALRIWAQ, to Rirkrit Tiravanija’s large-scale installation in MIA Park and the immersive celebration of MF Husain at Katara, the city-wide programming enriches the fair with parallel narratives. The 3-2-1 Qatar Olympic and Sports Museum brings a cultural lens to design through Sneakers Unboxed, while public artworks by Richard Serra, Olafur Eliasson and regional artists extend the experience into Doha’s urban fabric.

A Fair Rooted in Place and Looking Forward

Art Basel Qatar 2026 arrives with the clarity of a cultural landmark in the making. It reimagines the role of an art fair, positioning Doha not only as a host city but as a site of artistic experimentation, civic engagement and regional storytelling. In its inaugural edition, the fair does more than present art. It proposes a new way of encountering it, one shaped by transformation, proximity and place.

Doha stands at the beginning of a cultural horizon that feels expansive and distinctly its own. Art Basel Qatar, in its first gesture, has already ensured the world is watching.

More on ArtBasel.com

Across Dubai’s cultural landscape, a quiet but meaningful shift is taking place. Museums, heritage houses, libraries and public art spaces are moving beyond accessibility as an architectural feature and toward accessibility as a lived experience.

At the centre of this evolution is Dubai Culture and Arts Authority, which has just completed a specialised training programme designed to empower heritage site teams with the skills and sensitivity needed to support People of Determination in cultural guidance and visitor engagement.

Held under the community initiative Empowering People of Determination in Cultural Guidance, the programme was developed in partnership with the Taqarrub Centre for Rehabilitation and Generation Preparation, bringing together experts, families and frontline cultural staff. The aim is simple yet transformative: to make every cultural visit in Dubai both inclusive and meaningful, regardless of ability.

Hosted at Hor Al Anz Public Library, the training gathered twenty-two Dubai Culture employees who work across heritage sites throughout the emirate. Together with Taqarrub specialists, parents and companions, participants explored global standards in accessible communication and learned how to recognise and respond to a wide spectrum of needs. The sessions extended beyond theory into practical, scenario-led exercises, inviting trainees to navigate real-world situations inside heritage environments and adapt tours to different abilities while maintaining safety and engagement.

The initiative directly supports Dubai’s wider social vision through the "My Community… A City for Everyone" programme, which aims to make the emirate one of the world’s most accessible cities for residents and visitors alike. It also aligns with the Dubai Code, reinforcing environmental, humanitarian and accessibility standards across public institutions.

More than workforce training, the programme signals a cultural shift in how institutions understand their role. Heritage sites are not static spaces filled with objects and stories. They are living environments shaped by the people who enter them. By building teams equipped with empathy, professionalism and adaptive communication skills, Dubai Culture is redefining what it means to host, guide and educate.

There is also an important reciprocal dimension. As People of Determination gain access to supportive tools and confidence-building methodologies, new pathways open for them to become active contributors to the cultural sector. The initiative gives them the opportunity not only to visit heritage sites but also to lead tours, share perspectives and engage as cultural guides in their own right.

In a city known for rapid innovation, projects like this remind us that progress is not only measured in architecture or scale but in the quality of connection. Bridging gaps in access, expanding representation and reimagining inclusion as a creative process are the building blocks of a cultural ecosystem that sees everyone, welcomes everyone and makes space for everyone.

More on Dubaiculture.gova.ae

Paula’s Choice has finally touched down in the Middle East, and skincare lovers across the region are paying attention. Long celebrated by global beauty communities for its evidence-based formulations and myth-busting approach, the brand officially launches at Sephora Middle East, marking a significant milestone in its international journey.

The arrival feels both overdue and perfectly timed: at a moment when transparency is valued more than marketing gloss and when consumers want formulas that respect both skin and intelligence, Paula’s Choice steps into the region with the sort of quiet confidence only science can offer.

For Chief Executive Officer Faiz Ahmad, the move was inevitable. The Middle East has always been a home to discerning beauty enthusiasts, people who read ingredients, who track results, who expect performance. Bringing Paula’s Choice to the region is not simply a distribution expansion. It is the beginning of a shared conversation about what honest, research-driven skincare can look like.

At the core of the brand is Paula Begoun, the founder who built Paula’s Choice in 1995 from a place of deep consumer advocacy. Before transparency became a buzzword, Paula was translating scientific research into accessible knowledge, challenging industry myths and refusing to release any product that could not be justified by peer-reviewed evidence. This philosophy became the backbone of the brand: clinical grade formulations grounded in reality, fragrance-free and rigorously tested, designed to support skin rather than overwhelm it.

The brand’s iconic Ingredient Dictionary remains one of the most trusted online resources for anyone seeking to understand what is in their skincare, and more importantly, why it is there. This commitment to empowering the consumer has created a global community that values knowledge as much as glow, placing Paula’s Choice at the intersection of science and self-confidence.

With the Middle East launch, several cult favourites finally land on regional shelves. Leading the collection is the celebrated Skin Perfecting 2% BHA Liquid Exfoliant, a toner that has reached near-mythical status for its ability to clear pores, refine texture and reduce blemishes without irritation. Alongside it sits the Pro-Collagen Peptide Plumping Moisturizer, a firming and hydrating formula driven by a powerful blend of peptides and amino acids.

Daily protection comes through the 5% Vitamin C Sheer Moisturizer SPF 50, which brightens and evens skin tone while shielding it from UV and pollution. For those seeking targeted transformation, the Pro-Retinaldehyde Dual-Retinoid Treatment combines retinaldehyde and encapsulated retinol for visible renewal without the usual discomfort. Completing the lineup is the 10% Azelaic Acid Booster, a multipurpose staple that addresses redness, uneven tone and blemishes with calm precision.

These formulas promise measurable results, respect for the barrier and honest communication; qualities that resonate strongly with a region that increasingly seeks authenticity from its beauty brands.

With Sephora Middle East as its exclusive retail partner, Paula’s Choice becomes accessible in store and online, inviting both longtime devotees and curious newcomers to experience a brand that has always prioritised truth over trend.

For a market that appreciates innovation yet remains deeply connected to routine and ritual, Paula’s Choice feels like a natural fit. Its arrival signals a shift toward elevated skincare literacy, empowering consumers to understand their skin and the formulas they choose.

More on Paulaschoice.com

At Milan’s Galleria Gola, a new exhibition invites visitors to step beyond headlines and enter a quiet, powerful space where land is not a possession but a relationship.

Opening to the public from 14 to 30 December 2025, with a special preview on 13 December, ‘Ard: To Belong to Land is a profound tribute to the unbreakable bond between the Palestinian people and their homeland. Curated by British–Iraqi writer and editor Dalia Al-Dujaili, the exhibition brings together eight contemporary Palestinian photographers whose work reframes the narrative surrounding Palestine with tenderness, intimacy and visual integrity.

Since 1946, more than 5.9 million Palestinians have been displaced. The Nakba of 1948, a catastrophe that reshaped the region’s history, continues to echo through generations, shaping questions of memory, belonging and the meaning of a land that lives both in the physical world and in the bodies of those who carry it within them. This exhibition confronts that history not through spectacle but through presence.

The title, ‘Ard — meaning land, earth, ground — shifts the narrative entirely. Rather than land as something to own, it becomes something one belongs to. A reciprocal space defined by care, rootedness and protection. In this spirit, the exhibition foregrounds natural landscapes, scenes of everyday life, animals, gestures of quiet resistance and the enduring relationship between people and the environment that holds them. These images reveal a Palestine that is alive, textured, complex and deeply human.

The works on view come from eight artists whose practices represent some of the most vital voices in contemporary Palestinian photography. Adam Rouhana explores new visual narratives shaped by memory and personal history, while Maen Hammad blends documentary insight with research and writing, his work appearing in international publications and receiving global recognition. Jenna Masoud weaves nostalgia and identity through a lens that moves between documentary and stylised storytelling.

From Bethlehem, Samar Hazboun brings a journalist’s precision and an artist’s sensitivity, with contributions to The New York Times and support from organisations such as Magnum Foundation. Kholood Eid, both photographer and filmmaker, captures the emotional and psychological resonance of Palestinian life with work spanning National Geographic, TIME and beyond. Sakir Khader, known for his raw cinematic approach, examines the fragile line between life and death in conflict zones, recently earning his place as a Magnum Photos nominee.

Zach Hussein, moving between the West Bank and the United States, uses photography and film to cultivate empathy in places where solidarity is often absent. Completing the collective is Dean Majd, a self-taught artist whose work has been featured in Aperture, Vogue and The New Yorker, and who continues to expand the language of Palestinian visual culture through exhibitions and residencies.

Adding a literary dimension to the experience, the exhibition includes a poetic contribution by Yahya Al Hamarna, whose words act as a connective tissue between the images, offering emotional cadence and narrative depth.

More than a reaction to any single political moment, ‘Ard stands as a gesture of respect for Palestinians martyred from 1948 to the present day, as well as an act of solidarity with those who continue to fight for liberation both within Palestine and across the diaspora. It is a collective archive of memory, resilience and radical tenderness.

At its core, the exhibition is also a testament to the power of curation. With her background in SWANA arts, migration and environmental narratives, Dalia Al-Dujaili brings together artists whose works do more than depict: they witness, honour and reimagine. Through careful selection and spatial storytelling, she constructs a shared visual narrative that challenges reductive representations and instead returns viewers to the emotional and physical landscapes that define Palestinian life.

‘Ard: To Belong to Land  is a reclamation of story; a reminder that land can hold memory, that resistance can be quiet, and that photography can become a form of collective healing. In Milan, far from the olive trees and stone terraces that fill these images, the exhibition creates a space where Palestine can be seen, felt and remembered with clarity and tenderness.

See it Gola Galleria

Via Emilio Gola, 5

Milan, Italy

www.golagallery.com

It would have taken us nine years to return to Bahrain, but when the opportunity presented itself to spend two days in the kingdom at the boutique hotel The Merchant House, we didn’t think twice.

(Mind you, we received the invite in the midst of our Beirut trip for Wedesign, a trip that was supposed to be ending after six long weeks, during which we swore we would stay put until Christmas.)

As anxious flyer–AV geeks — yes, this paradox is somehow true — we also knew we’d be flying on the new Emirates A350, and couldn’t help but get even more excited. But as soon as we arrived at The Merchant House, despite a very short night behind us and our sunglasses still firmly on, we felt an immense sense of peace.

The hotel is a true oasis: right next door to the charming Bab Al Bahrain, a short eight-minute drive from mega-mall The Avenues, and yet it feels like a cocoon far removed from the hustle and bustle of Manama. We were quickly welcomed by the lovely team and the oh-so-charming Gordon Campbell Gray, an iconic hotelier known for creating spaces that feel lived-in, artistic and quietly luxurious — the kind of hospitality that stays with you long after checkout.

A Boutique Hotel That Redefined Boutique Hotels

Since opening its doors, The Merchant House has redefined the boutique hotel experience in Bahrain. With only 46 thoughtfully designed suites, each individually styled with curated artwork, the hotel blends comfort, creativity and understated luxury with a distinctly residential feel.

Every Urban Suite, Urban Plus, and Executive Suite includes a kitchen, dining and sitting area, while the Corner Suites flood with natural light thanks to dual-aspect windows. The Signature Suites, spanning 60 square metres, can interconnect with Urban Suites to create generous two-bedroom residences — ideal for extended stays, family trips, or simply when you want a little extra room to unwind.

This is not just a place to sleep, it literally feels like it becomes your holiday home.

A Destination for Dining and Design

The beating heart of the hotel is Indigo Terrace, the rooftop restaurant crowned by a floral British-style garden. Celebrated by Condé Nast Traveller as one of the Top 10 Restaurants in Bahrain and among the Prettiest Restaurants in the Middle East, Indigo offers a fine-dining fusion of Mediterranean and Asian flavours with a focus on sharing plates, seasonal produce and relaxed sophistication. From vibrant business lunches to slow evening dinners under the Manama sky, Indigo has become one of Bahrain’s most beloved culinary destinations. The black cod was particularly delicious.

Overlooking the lobby, The Library houses more than 1,000 curated books, creating an intimate space for reading, working, or simply sinking into a moment of stillness. Open throughout the day for light bites and refreshments, it transforms each afternoon into a refined tea lounge serving an elegant Afternoon Tea ritual between 2 pm and 5:30 pm with a choice of traditional British or locally inspired selections. We absolutely loved our tea-time (which with us had to obviously become a coffee-time; there was something so special about enjoying fresh hot scones and flipping through some books in the most plush atmosphere.

Just steps from the energy of Bab Al Bahrain Souq, Café Gray offers a tranquil escape for casual bites, pastries and freshly brewed coffee — the perfect in-between stop for both travellers and locals.

Wellness and Artistry at the Core

Guests are invited to unwind at PURE Spa, with bespoke treatments designed for deep relaxation and rejuvenation. Wellness continues at the chlorine-free rooftop infinity pool (which sadly we didn't have time to try), with views sweeping across the Manama skyline, as well as a fully equipped 24-hour gym for those rare moments of motivation while travelling.

But perhaps the most defining element of The Merchant House is its devotion to art. The hotel’s extensive collection -personally curated by Gordon Campbell Gray - features original works by Bahraini and international artists, infusing every corridor, suite and common area with moments of inspiration. There's a Pop Art- inspired artwork of Umm Kalthoum by Jamal AbdulRahim in the lobby that we would have loved to take home...

Behind the scenes, the hotel continues to invest in Bahrain’s creative ecosystem, supporting local suppliers across chocolates, spa products, art, menus and more, making the guest experience not only luxurious, but meaningfully local.

An Award-Winning Legacy

In just five years, The Merchant House has evolved from Bahrain’s pioneering five-star boutique hotel into one of the Gulf’s leading examples of contemporary luxury and cultural elegance. Accolades from Condé Nast Traveller, TripAdvisor, and the Haute Grandeur Global Awards reflect the hotel’s dedication to excellence  but its true charm lies in its intimacy, its stories, and its ability to make travellers feel instantly at home.

A Return Worth Waiting For

Nine years may have passed before we made it back to Bahrain, but staying at The Merchant House made the wait feel almost poetic. Between the art-filled spaces, the warmth of the team, the calm that settles the moment you step inside, and the unmistakable touch of Campbell Gray - it is a place that slows you down, softens the edges of travel, and reminds you of the pleasure of discovering (or rediscovering) a city.

We might have just found our home away from home.

More info on TheMerchantHouse.Bh

As Dubai slips into its most dazzling time of year, the city’s dining and lifestyle scene transforms into something truly special; a mosaic of twinkling lights, tables dressed for celebration, immersive culinary experiences, and nights designed to linger.

From château-inspired Christmas lunches to moonlit beachfront dinners and vinyl-scored countdowns, the festive season is less about tradition and more about the experiences we create together. This year, Dubai’s most coveted venues are rewriting the rules of celebrating in style.

Italian Riviera Glamour at Ristorante Loren

Palm West Beach’s coastal jewel, Ristorante Loren, brings the spirit of the Italian Riviera straight to the shores of Dubai this festive season. Overlooking the Marina and styled like a timeless postcard from the Amalfi Coast, Loren’s Christmas celebration unfolds on December 25th with a family-style brunch set menu complete with live violin performances — the ideal setting for relaxed elegance and festive flair.

As the year draws to a close, Loren becomes a front-row seat to Dubai’s most spectacular night. Their New Year’s Eve celebration elevates coastal dining into a true soirée, blending curated festive dishes with live entertainment in a Venice-inspired ambiance overlooking the fireworks. Chic, romantic and sensory, it’s the kind of night that embodies JDEED’s vision of festive indulgence — stylish without losing the warmth of togetherness.

Christmas Day Brunch

25 December 2025
AED 450 per person (drinks à la carte)
Live violin performance
Set-menu brunch & dessert buffet

New Year’s Eve Celebration

31 December 2025
AED 1,000 minimum spend (indoor)
AED 1,500 minimum spend (terrace)
Live performance | Venice-inspired décor | Sky views

www.lorenristorantedubai.com
Reservations: +971 4 557 8293
�eservations@lorenristorantedubai.com

‍Sweet Traditions with a Modern Touch: Café Bateel

For those whose holidays revolve around elegant desserts and cozy coffee rituals, Café Bateel offers a refined take on culinary nostalgia. Their festive menu introduces limited creations such as the Chocolate Yuzu Bûche, Pistachio & Caramel Bûchette, and the charmingly understated Vanilla & Apricot Dome, alongside winter beverages like the spiced Golden Date Latte, a distinctly regional twist on a global classic.

Whether it’s brunch with loved ones, gifting beautifully crafted cakes, or savoring quiet moments over coffee, Bateel’s seasonal menu celebrates the art of slowing down and sharing.

www.cafebateel.com

Erth Abu Dhabi – Heritage, Elegance & Festive Wonder

In Abu Dhabi, the festive season unfolds with poetic warmth at Erth, where Emirati heritage meets contemporary elegance. The celebrations begin on 12 December with the hotel’s enchanting Christmas Tree Lighting & Gingerbread House Ceremony, a family-favourite evening filled with Santa visits, children’s gingerbread workshops, mulled wine and hot chocolate.

Throughout December, guests may enjoy a serene Festive Afternoon Tea, a refined ritual featuring seasonal pastries and fine teas.

On Christmas Eve, two distinct experiences await:
Ergon Deli & Café: A romantic, Mediterranean-inspired four-course dinner under the stars.
Al Rimal Restaurant: A lavish buffet of roasted turkey, prime ribs, festive desserts and live entertainment. Christmas Day brings an abundant international brunch with live music and a dedicated kids’ area, followed by an extraordinary New Year’s Eve celebration, Celestial Elegance Under the Stars, complete with gourmet dining, performances and Abu Dhabi’s glittering fireworks. The festivities continue into 2026 with a relaxing New Year’s Day brunch and an elegant Orthodox Christmas Dinner on January 7.

Beautifully rooted in heritage yet effortlessly luxurious, Erth offers one of the UAE’s most soulful festive calendars.

www.erth.ae

Michelin Moments & Grand Feasts at Atlantis

Few destinations do festive exceptionally quite like Atlantis Dubai. Across Atlantis The Palm and Atlantis The Royal, the season unfolds as a world tour of gastronomy.

At the pinnacle of celebration, FZN by Björn Frantzén offers an ultra-exclusive nine-course tasting journey inspired by modern European cuisine infused with Japanese techniques. Meanwhile, the iconic Dinner by Heston Blumenthal celebrates British culinary history through its festive tasting menu, while Ossiano heightens the magic with progressive dining beside the shimmering Ambassador Lagoon.

Celebrity chef hotspots like CARBONE, Nobu, La Mar, and Ariana’s Persian Kitchen provide atmospheric dining for those who love the buzz of holiday energy mixed with standout world cuisines. Family feasts come alive at Gordon Ramsay’s Bread Street Kitchen, while playful celebrations take over Wavehouse, Saffron and the globe-trotting marketplace of Gastronomy: perfect for multi-generational festive gatherings.

For something softer, dessert lovers gravitate toward Plato’s and The Royal Tearoom, both showcasing festive afternoon teas designed to savor slowly, porcelain cups in hand and skyline views beyond the windows.

All info see below

Classic Elegance at St. Regis Downtown Dubai

Timeless glamour defines the festive program at The St. Regis Downtown Dubai. With the Dubai Water Canal and Burj Khalifa as its backdrop, the hotel’s celebrations pay tribute to grand hospitality traditions.

At BASTA!, guests embrace a hearty Italian Christmas through seasonal menus, while Christmas Eve brings a four-course fine-dining experience paired with house beverages. Christmas Day brunch unfolds over live cooking stations, riverside terraces, entertainment, and a charming special appearance by Santa Claus, basically a flawless blend of luxury and warmth.

Across the canal-facing terraces of Ginori Terrace, festive afternoon tea is served on elegant Ginori porcelain, while gourmet holiday hampers offer beautifully crafted gifts for taste-led indulgence long after the season fades.

All Info see below

Netsu by Ross Shonhan – A Festive Season of Fire & Japanese Flair

At Netsu, the holidays ignite with the dramatic flames of the Warayaki grill and a bold interpretation of Japanese festive dining. On Christmas Day, the renowned Omakase Brunch takes center stage: a sharing-style journey featuring Wagyu Beef Gyoza, King Crab Tacos, pristine sushi and sashimi, Spicy Miso Tiger Prawns, Roasted Canadian Lobster and Australian Wagyu Ribeye. A festive dessert medley offers the perfect finish.
AED 550–2,650 depending on beverage package │ AED 250 for children.

On New Year’s Eve, Netsu reimagines Japan’s traditional Omisoka with a lavish curated dinner, live music, DJ sets and the glow of the straw-fire grill. Guests may dine in Netsu Lounge for AED 995 or experience the main restaurant with a minimum spend of AED 1,500 per person.

For those who wish to keep the night alive, the Kabuki Omisoka After Party takes over the rooftop terrace with an adults-only celebration with panoramic Dubai fireworks, high-energy sets and premium service, offered at AED 5,000 minimum spend for a table of four.

A festive destination for diners who want refinement with rhythm, fire and unforgettable flavour.

www.mandarinoriental.com/netsu

Playful Vibes at Mama Shelter Dubai

If your festive mood leans more toward high-energy fun than classic formality, Mama Shelter Dubai brings a refreshing edge to the season. Their signature approach mixes bold food with entertainment-first experiences.

The Mama Claus menu presents comforting Christmas plates with a decadent twist, while the Christmas Day brunch transforms Mama Restaurant into an enchanted forest complete with cocktails, a hot-chocolate bar and live entertainment. Those who prefer to sing their way through the holidays are well-served by the joyful chaos of Boxing Day Karaoke Night, while the year’s grand finale arrives in the form of their NYE Flashback Party: a nostalgic DJ journey through musical decades, paired with Wagyu Tomahawk, Lobster Thermidor, and prime viewing access to the Burj Khalifa fireworks.

All info see below

Vinyl Soundtracks and Japanese Feasts at Honeycomb Hi-Fi

For NYE revelers seeking something refined yet undeniably cool, Honeycomb Hi-Fi offers the antidote to traditional glitter ball count-downs. Dubai’s first vinyl listening bar hosts a Japanese-inspired multi-course feast featuring plates such as yellowtail tartar, ebi katsu, and duck breast with persimmon & yuzu honey, with a parallel vegetarian tasting menu for non-meat guests.

Three beverage packages guide the experience — from non-alcoholic pairings to premium cocktail and sake selections — while curated vinyl sets provide the night’s atmospheric heartbeat. It’s less about big-room spectacle and more about intimate celebration for true audiophiles and culinary insiders.

NYE Dinner Packages

• Non-Alcoholic: AED 600
• House Beverage: AED 700
• Premium Beverage: AED 800

Includes multi-course tasting menu & live vinyl soundtrack.

www.honeycombhifi.com

Scalini – An Italian Holiday Filled With Warmth & Tradition

Few restaurants capture the intimacy of an Italian holiday quite like Scalini Dubai and Scalini Cucina. This year, both destinations invite guests into a world of nostalgia, warmth and impeccable Italian hospitality. Christmas Eve at Scalini Dubai begins with Dinner with Babbo Natale, where Italy’s beloved Father Festive brings joy to guests of all ages. On Christmas Day, families can gather for a heartwarming festive lunch from 1pm to 4pm, complete with surprise visits, seasonal dishes and the signature comfort of Scalini’s timeless favourites.

At Scalini Cucina in Dubai Mall, the festive spirit continues with a lively Christmas Day gathering designed for families, featuring special treats for children and plenty of Italian charm. A highlight of the season is Scalini’s iconic Panettone, available beautifully packaged for gifting or taking home; as part Italian, our founder would love to tell you that under no circumstance should you miss out on a Panettone or Pandoro (ortheScalini Parmgiana, the best EVER).

To welcome 2026, Scalini Dubai hosts an intimate New Year’s Eve soirée filled with laughter, where acclaimed Emirati comedian Abz Ali takes the stage for a special stand-up performance. Refined Italian festive dishes, a warm atmosphere and a night of joy make Scalini a must-visit for lovers of authentic holiday traditions.

www.Scalini-dubai.com

Festive by the Sea: Sirene Beach by GAIA

If the holidays mean salt air, candlelit tables and sunset soundtracks, Sirene Beach by GAIA delivers coastal festivities at their most poetic. Running from December 23 to 31, Sirene’s Aegean-inspired menu showcases dishes such as tempura oysters with lemon butter, grilled lobster with clams and botarga, crab orzo, and a refreshing tuna salad with grain mustard dressing.

For celebratory groups, the AED 1,200 set menu becomes a feast of Greek comfort, beginning with Mama Chicken Soup and moving into signature plates like Sea Bream Carpaccio, White Truffle Pasta, Grilled Seabass and clay-pot Baby Goat, ending with nostalgic desserts including Apple & Raisin Pie and Sirene’s famed frozen yogurt with honey walnuts.

All week long, DJs and live artists soundtrack the experience, from organic downtempo lunches to elevated sunset DJ sessions and late-night poolside rhythms. This is festive freedom as only Dubai does it: barefoot luxury meets coastal after-dark glamour.

Festive Set Menu

23–31 December‍

AED 1,200 per person

Dishes include:
Tempura Oysters │ Grilled Lobster │ White Truffle Pasta │ Sea Bream Carpaccio │ Baby Goat Claypot

Daily DJ sets & live vocal performances

www.sirenebeach.com

Atlantis Royal

Michelin Stars & Haute Dining

FZN by Björn Frantzén – 3 Michelin Stars
Dec 24 & 25 | Dinner
AED 2,000 tasting menu
Wine pairings from AED 750–1,400

Dinner by Heston Blumenthal – 1 Michelin Star
December daily | Christmas Eve & Day
AED 980 – AED 1,095 for festive tasting menu

Ossiano – 1 Michelin Star‍

Christmas Day
AED 1,500 tasting menu (+ beverage pairings)

Celebrity Chef & Lifestyle Dining

CARBONE – À la carte Italian + festive specials
NOBU – Festive brunch from AED 495 / Dinner à la carte
LA MAR – Festive brunch AED 550
ARIANA’S PERSIAN KITCHEN – Festive set from AED 370

Family & Crowd Favorites

Gordon Ramsay Bread Street Kitchen
‍‍Christmas brunch from AED 695

SAFFRON Buffet
Christmas brunch packages from AED 750

PLATO’S Afternoon Tea AED 240 – AED 345 per person

Booking websites:
www.atlantis.com/atlantis-the-palm/festivewww.atlantis.com/atlantis-the-royal/festive

ST REGIS DOWNTOWN

BASTA!

Daily Festive À La Carte
4–30 December

Christmas Eve Dinn

AED 450 per person including beverages

• Christmas Day Brunch
AED 525 – AED 850 per person

Ginori Terrace – Festive Afternoon Tea

4–30 December
AED 295 – AED 325 per person

Festive Gourmet Gift Hampers available

www.marriott.com/en-us/hotels/dxbxr-the-st-regis-downtown-dubai/overview

MAMA SHELTER

Mama Claus Menu

22–26 December
À la carte from AED 45

Christmas Day Brunch

25 December | 1–5pm
AED 249 soft | AED 399 house | AED 499 prosecco

Boxing Day Karaoke

26 Dec | Evening
AED 249 – 449

NYE Flashback Party

31 Dec | From 8pm

Minimum spend AED 695 per person

www.mamashelter.com/dubai

JDEED’s Festive Forecast

This festive season, celebration moves beyond tradition into something deeply personal, whether that means Michelin-level gastronomy, playful karaoke nights, intimate vinyl grooves or barefoot dinners by the sea. Dubai’s festive offerings reflect a city that celebrates diversity of mood just as much as luxury: grand or low-key, classic or unconventional, there is no singular way to experience the holidays here.

‍

The festive season, according to Miu Miu, is less about excess and more about joy; its Holiday 2025 collection captures exactly that spirit. Designed as a wardrobe of optimism and wonder, the latest offering is a playful balance between elegance and rebellion, celebrating femininity while subtly rewriting its rules.

Layering sits at the heart of the collection, with contrasts of texture and proportion shaping silhouettes that feel both classic and fresh. Crumpled and embroidered duchesse satin opera coats shimmer in soft, luminous hues, while shearling jackets and stoles bring a cocooning richness to winter dressing. Knitwear is elevated with glitter and sequins paired with micro-shorts, injecting a dose of irreverence into festive styling, while bias-cut satin slips and lingerie-inspired dresses, trimmed with delicate bows and ribbons, honor the house’s signature ultra-feminine aesthetic. Floral prints float through the collection, adding a softness that feels effortless and lighthearted.

When it comes to accessories, Miu Miu continues to explore contrast with confidence. Supple moccasins, loafers and ballerinas sit alongside knee-high stretch leather boots, first unveiled on the Paris runway. Ultra-flat sneakers in nylon and suede ground the mood with a sporty touch, offset by patent pumps edged with grosgrain and finished with either kitten or high heels: each silhouette expressing the brand’s dialogue between practicality and polish.

The handbag offering is equally rich, with iconic styles including the Wander, Arcadie, Pocket, Beau, Solitaire, pouches and backpacks returning in classic leathers and timeless shades, alongside special holiday hues of pink and red designed to brighten winter wardrobes. The Miu Miu Custom Studio also moves forward this season, reimagining sneakers and bags into truly unique, personalized pieces, embellished with playful tricks, pins and accessories that embody the label’s spirited DNA.

With Holiday 2025, Miu Miu delivers a festive wardrobe that refuses to take itself too seriously — blending softness with shine, tradition with disruption, and glamour with an unmistakable lightness of spirit. It is a collection that reminds us that celebration starts not with an occasion, but with the way we choose to dress for everyday moments of joy.

More on MiuMiu.com

As CEO of the Arts, Design & Literature Sector at Dubai Culture, Shaima Rashid Al Suwaidi carries one of the most influential roles in shaping the city’s cultural narrative; one where heritage is not preserved behind glass, but actively reimagined for contemporary life.

From the experimental spirit of Sikka Art & Design Festival and the material-driven innovation of Dubai Design Week, to the policy frameworks transforming creativity into a sustainable economy, her work sits at the meeting point between tradition and forward momentum.

In conversation with JDEED, Al Suwaidi reflects on building creative ecosystems, listening to the needs of artists and communities, and the importance of mentorship and access, especially for emerging women creatives. She speaks to the values guiding Dubai Culture’s initiatives, from the development of Al Quoz Creative Zone to the global positioning of Dubai as a cultural capital, where storytelling, design, and diplomacy coexist.

At once strategic and grounded, her leadership is defined by a belief that culture grows strongest when it is heard first; a philosophy that continues to shape the city’s evolving creative landscape.

You lead the Arts, Design & Literature Sector at Dubai Culture, how do you balance celebrating Dubai’s rich heritage while also championing bold, futuristic creative narratives?

Shaima Rashid Al Suwaidi: Heritage is the foundation of our creative identity in Dubai. It influences how artists think and the meaning they bring to their work. At Dubai Culture, we work to keep it alive by inviting artists to reinterpret our culture in new and relevant ways. You’ll see this mix at Sikka, where traditional architecture serves as a stage for experimental art, or in public installations that reimagine Emirati craftsmanship for today’s audience.

This connection between the past and the present also runs through programmes like Dubai Design Week, where regional designers experiment with materials such as palm fronds, clay, and coral stone to explore sustainable design for the future. Even in literature, we support writers who revisit folklore or oral history to tell stories that reflect modern life. The goal is to let heritage evolve naturally, so that it is seen as the source of creative energy that continues to guide Dubai’s next chapter.

Sikka Art & Design Festival, Dubai Design Week and other festivals have become global stages for the region’s creative ecosystem. From your perspective, what role does culture policy play in turning Dubai into a “creative capital”?

Shaima Rashid Al Suwaidi: Culture policy turns creative energy into a lasting ecosystem. At Dubai Culture, our role is to create the structure that allows ideas to grow through frameworks, licensing, funding, and access. The Dubai Creative Economy Strategy and initiatives like the Al Quoz Creative Zone give artists, designers, and writers the space to turn their practice into viable enterprises.

Festivals such as Sikka Art & Design Festival, Dubai Design Week, and the Emirates Airline Festival of Literature act as global stages that showcase this ecosystem in motion. They draw international audiences, encourage cultural exchange, and attract investment that feeds back into the local economy. In 2024 alone, the cultural and creative industries attracted AED 18.86 billion in FDI capital inflows and generated over 23,000 new jobs through 971 new projects.

Culture has also become one of Dubai’s strongest forms of soft power. Today, the city is shaping international dialogue on creativity and innovation. Events such as the World Cities Culture Summit and the International Council of Museums (ICOM) General Conference 2025, as well as the upcoming International Symposium on Electronic/Emerging Art (ISEA2026 Dubai), bring together cultural leaders and policymakers from around the world. These gatherings position Dubai as an active voice in setting the global cultural agenda, showing how the city’s growth in creativity is deeply linked to knowledge exchange, collaboration, and cultural diplomacy.

'Culture has also become one of Dubai’s strongest forms of soft power. Today, the city is shaping international dialogue on creativity and innovation.'

You’ve publicly spoken about mentorship, community, and rising local talent. What are the most meaningful ways Dubai Culture is creating access for emerging women designers, artists, and creatives?

Shaima Rashid Al Suwaidi: Access begins with opportunity, which is why our focus is on giving creatives every chance to create and be seen. Through initiatives like Al Quoz Creative Zone and Talent Atelier, we’re building the infrastructure that helps women turn talent into sustainable careers. Platforms such as Sikka Art & Design Festival and Dubai Design Week offer visible stages for emerging designers and artists to showcase their work and collaborate with established names. Mentorship is central to these programmes, connecting early-career creatives with industry leaders who guide their growth.

This reflects the UAE’s wider commitment to inclusion and equality. Women play a defining role in shaping Dubai’s cultural landscape, whether as artists, entrepreneurs, or decision-makers. At Dubai Culture, that representation informs how we develop programmes.

'At Dubai Culture, women play an active role across all levels of the organisation. That vision is driven by Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum and Her Excellency Hala Badri, who continue to inspire a culture of inclusion.'

Many leaders talk strategy. You’ve spoken of listening first. How has this approach—listening to creatives, communities, and audiences—shaped the projects you initiate or support at the Authority?

Shaima Rashid Al Suwaidi: Listening is at the centre of what we do. Before any project begins, we spend time understanding what artists, entrepreneurs, and communities actually need. Many of our programmes were shaped this way, including the Al Quoz Creative Zone and the Dubai Cultural Grant. When we listen, we uncover what helps people most, whether it’s space to create, access to funding, or the chance to grow internationally. Each year, the Sikka Art and Design Festival also evolves based on what participants and visitors tell us.

As an Emirati woman in a senior creative leadership role, what personal values or experiences inform how you lead and how you hope to inspire the next generation of creatives in the region?

Shaima Rashid Al Suwaidi: I take that responsibility seriously. When I was younger, seeing women in leadership roles changed what I believed was possible. Today, I try to create that same sense of opportunity by building spaces where people feel safe to explore ideas and grow at their own pace. If sharing my experience helps someone feel more confident in their path, that’s deeply rewarding.

I’ve been lucky to build my career in an environment that values women’s contributions. At Dubai Culture, women play an active role across all levels of the organisation. That vision is driven by Her Highness Sheikha Latifa bint Mohammed bin Rashid Al Maktoum and Her Excellency Hala Badri, who continue to inspire a culture of inclusion. Their representation reinforces the idea that it’s talent and dedication that define leadership, not gender.

Find out more on DubaiCulture.Gov.Ae

With Dubai’s winter finally setting the mood for open-air everything, one of the city’s most anticipated creative events is back. Curated Playlist, the pop-up that’s grown into a true community gathering, returns with its Winter Edition from December 5 to 7 at ONE OF US Courtyard, Al Quoz, welcoming visitors daily from 4 PM to 11 PM.

More than a shopping destination, Curated Playlist has always been about discovery, providing that feeling of stumbling upon brands you didn’t know you needed to meet. This season’s edition brings together an inspired mix of regional and international names across fashion, lifestyle, design, and creative products, carefully placed within an outdoor setting designed to celebrate individuality and creative energy.

Across three vibrant evenings, guests can explore exclusive drops, connect directly with founders, and browse a lineup of independent labels that reflect Dubai’s ever-evolving creative scene. Interactive activations throughout the space make each visit feel layered and spontaneous, while the open-air environment, paired with Dubai’s perfect winter weather, transforms the pop-up into a laid-back weekend hangout rather than just a shopping stop.

The atmosphere is what makes Curated Playlist feel special. Whether you’re popping by with friends, making new connections, or simply wandering solo through the booths, the mood stays buzzy yet relaxed. Food and beverage vendors are scattered throughout the venue, serving up coffee, comfort bites, and refreshing treats designed to keep visitors fueled as they roam from brand to brand.

At its core, Curated Playlist continues to champion what it does best: building community through creativity. Each edition strengthens the platform’s mission of spotlighting both local talent and rising international designers, creating a space where retail becomes social and shopping becomes cultural exchange.

This year’s Winter Edition is proudly supported by Quiqup, Hypelify, and Wisewell, brands whose shared focus on innovation and lifestyle excellence aligns seamlessly with Curated Playlist’s creative vision.

More details on Instagram, here

Istituto Marangoni Dubai officially unveiled its first graduating cohort in Fashion Design & Accessories this week, marking a defining milestone for the institution since opening its regional campus in 2022.

For JDEED, the showcase carried a special resonance. Before completing a master’s degree in journalism at London College of Fashion, our founder studied Fashion Design at Istituto Marangoni Paris — making it a rare and reflective moment to witness the school’s newest generation presenting their work here in Dubai, years later, as the brand completes its global loop from Europe to the Middle East.

The intimate press preview highlighted the creativity of five graduating designers: Frederico Chiminazzo Assumpcao, Iva Ajtoski, Khadija Kalla, Ibrahim Yakubu, and Sara El Youssef, each presenting collections shaped by strong conceptual narratives and contemporary craftsmanship.

Frederico’s JetStream took inspiration from the emotional pull of aviation and his pilot father’s career, translating movement into technical silhouettes and fluid construction. Iva’s deeply personal collection explored generational creativity and the pressures surrounding inherited artistic legacies. With 56, Khadija bridged literature, film references, and South African-sourced materials into a layered narrative on identity and memory. Ibrahim’s Hana blended floral motifs with architectural streetwear elements as a tribute to growth and resilience, while Sara’s Gilded Tension explored illusion and perception through honeycomb textures, layered structures, and material experimentation.

The showcase was held in a sensorial setting, accompanied by a bespoke fragrance developed in collaboration with Symrise, reinforcing the multi-dimensional approach Marangoni Dubai is cultivating across its creative programs. Footwear for the collections was supplied by Marangoni alumna Nish Shewak, a nod to the institution’s global alumni network.

Founded in 1935 in Milan, Istituto Marangoni has trained over 45,000 fashion professionals worldwide and continues to educate approximately 5,000 students from 108 countries across its international campuses, including Milan, Paris, London, and now Dubai, establishing the city as an increasingly important hub for fashion education in the region.

Seeing these collections debut locally highlights how Dubai’s fashion ecosystem has matured — shifting from a consumer capital to an emerging platform for talent creation. Marangoni’s first graduating class is a reflection of that evolution: globally trained, conceptually driven, and ready for the next stage of the industry.

More on IstitutoMarangoni.com

Back in 2017, when JDEED was still in its very first chapter, Art Dubai was the first art fair we ever covered. We walked the halls wide-eyed, notebooks in hand, unsure of what kind of publication we would fully become yet — but knowing we wanted to tell the stories of creativity in the region with honesty, warmth, and depth.

That moment became our unofficial starting line. And now, as we look toward the fair’s 20th anniversary edition in 2026, we’re preparing to return for our ninth year in a row with the same excitement, just a little more perspective.

Art Dubai 2026 takes place at Madinat Jumeirah from 17–19 April, marking two decades of shaping the Middle East’s global art conversation.

This milestone edition will bring together over 100 contemporary, modern, and digital presentations from more than 35 countries, structured under the curatorial framework “Future, Past, Present.” It’s the first edition under new Fair Director Dunja Gottweis, and it introduces a revamped fair structure, unveiling new sections Zamaniyyat and Bawwaba Extended alongside the established Galleries, Bawwaba, and the expanded Art Dubai Digital.

But beyond the impressive numbers and new curatorial directions, Art Dubai’s magic has always been about something deeper: connection. Rooted in the city yet resonating globally, the fair remains a meeting point for artists, curators, collectors, and thinkers from across MENASA and beyond, reinforcing Dubai’s role as a cultural crossroads. More than half of the 2026 participants hail from the MENASA region, with a growing presence from Africa and Latin America, a reflection of the fair’s evolving geography and widening reach.

What excites us most about this edition is how closely it mirrors the evolution of the creative scene we’ve witnessed firsthand since our early days. Zamaniyyat, curated by Dr. Sarah A. Rifky, revisits modernisms from the 1950s to 1990s across global timelines; Bawwaba, curated by Amal Khalaf, champions experimental and diasporic voices focused on belonging and resilience; Art Dubai Digital, now entering its fifth year and curated by Ulrich Schrauth and Nadine Khalil, places immersive and technology-led practices right at the centre of contemporary dialogue; while the new Bawwaba Extended, curated by Khalaf alongside Alexie Glass-Kantor, opens the campus to large-scale installations that reshape how the public engages with art across space.

For JDEED, returning to Art Dubai year after year has felt like growing up alongside the fair itself; learning, evolving, and continually rediscovering the power of creative storytelling. From our first tentative walkthrough in 2017 to now preparing to attend our ninth edition, the fair remains a marker of our journey as much as it is a highlight of the region’s cultural calendar.

More on ArtDubai.com

Cover: Art Dubai Digital 2026 , Art On Istanbul - Oddvix, Lisbon (2025), print, 150 x 250 cm, courtesy of Art On Istanbul

Pet parents, this one’s for you. Marriott Resort Palm Jumeirah, Dubai has officially rolled out one of the city’s most heart-warming hospitality launches yet with “Pawfect Stay on the Palm” — a staycation designed entirely around welcoming our four-legged companions as full-fledged guests.

Timed with the debut of the resort’s newly unveiled Palm Seaview Rooms with Terrace, the experience offers something that’s still exceptionally rare in the UAE’s luxury hotel scene: a five-star escape where pets aren’t just tolerated but are celebrated.

Located on the second floor, these new terrace rooms are tailor-made for travels with furry plus-ones, blending sleek interiors with spacious outdoor areas perfect for sunshine lounging or early-morning stretches. Their introduction makes Marriott Resort Palm Jumeirah the first five-star property on Palm West Beach to officially open its doors to pets , a milestone that reflects the evolving needs of modern travellers who don’t want to leave any member of the family behind.

From Check-In to Tail-Wagging Comfort

The VIP treatment starts the moment paws step through the lobby. Pets receive a personalised welcome including tailored treats, a welcome letter, and an in-room setup complete with a pet bed, food and water bowls, a branded “Pet in Room” door hanger, plus take-home goodies such as a chew toy and a walking map. Guests can enjoy pet-inclusive breakfast and optional lunch or dinner either in-room or at MYAMI, while dining venues MYAMI and Bal Harbour Beach now offer dedicated pet menus alongside shaded seating areas. For quieter moments, the Fountain Area offers a relaxed setting to unwind together.

Walk, Wander, Repeat

Of course, one of the standout perks lies just outside the hotel doors: Palm West Beach Promenade — widely recognised as one of Dubai’s top dog-walking locations. This scenic beachside stretch is ideal for sunrise strolls, sunset wanders, or leisurely midday laps by the water, placing fresh air, ocean views, and casual daily adventures directly at guests’ feet.

Homegrown Partnerships, Thoughtful Touches

To elevate the experience even further, Marriott has partnered with two of the UAE’s most beloved homegrown pet brands: Furchild Pet Nutrition, the country’s pioneering fresh and raw pet food company, and Pet World UAE, a premium retail destination for accessories and essentials. Through these collaborations, guests receive exclusive offers and discounts, ensuring the highest-quality local nutrition and products are available throughout their stay — true “home-away-from-home” hospitality for humans and pets alike.

As Gerrit Schmitt, General Manager of Marriott Resort Palm Jumeirah, shares:
“Guests told us what they wanted, and so we created it… The addition of pet-friendly stays reflects our commitment to evolving with our guests and delivering meaningful moments of connection.”

With pet-friendly luxury still a rarity in the region, “Pawfect Stay on the Palm” answers a growing call from Dubai residents seeking destination escapes where no companion is left behind. It’s thoughtful, modern hospitality — and a refreshing reminder that true indulgence means everyone gets to travel together.

Stay Details

Pet stays are exclusively available in the Palm Seaview Rooms with Terrace, welcoming up to two pets (dogs or cats only) per room, each weighing up to 25kg. A non-refundable fee of AED 300 per room, per night applies. Pets may access guest lifts, lobby areas, and the second-floor hallway while moving through the resort, with designated pet-friendly zones including MYAMI, Bal Harbour Beach, the Fountain Area, and the Palm West Beach Promenade.

The “Pawfect Stay on the Palm” package can be booked directly via:
www.marriottresortpalmjumeirah.com+971 4 666 1111

Authenticity has become the latest trend: applauded, marketed, packaged, sold. But only as long as it fits neatly within a narrative designed for us, not by us.

Every day, we’re bombarded with products promising to shape us into our “best selves.” A face cream that erases time. A gym membership that rewires discipline. GLP-1s that melt away the parts of us we were told to hide. Each one marketed like a passport to a new identity: shinier, smoother, smaller.
A life where insecurities magically vanish and we emerge as an improved, invisible version of ourselves.

But hold on.
Do we even want that?

By Cynthia Jreige

Between persuasive branding and the constant hum of self-optimization culture, it’s easy to forget to ask the question. We follow the script on autopilot, convinced that transformation is the only way forward. But the paradox is clearer than ever: be your best self, but only the version we’ve pre-approved. Look how you’re sold to look. Feel what you’re told to feel.

Where, then, does the real “you” sit in all of this?

Because being truly authentic—living by your own desires, your own beliefs, your own contradictions—rarely fits the commercial blueprint. Saying no when everyone else is nodding yes. Wearing blue in a world committed to yellow. Choosing a life that doesn’t photograph easily.

We’re encouraged to journal, manifest, meditate, “be ourselves.” But not too much. Not too loudly. Not in ways that might disrupt industries built on manufacturing insecurity. After all, radical self-acceptance doesn’t exactly boost quarterly sales.

‍

And perhaps this rise in curated authenticity isn’t just cultural — it’s symptomatic. Recent studies show that self-confidence and well-being among younger generations remain strikingly fragile. The Deloitte 2025 Gen Z & Millennial Survey reports that only 52% of Gen Z and 58% of Millennials describe their mental well-being as “good” or “very good” (1). Meanwhile, a 2025 global report by EY reveals that young adults aged 18–34 are navigating life with “a more sophisticated set of instruments” but also heightened uncertainty around identity, self-expression, and personal confidence (2)

In a world where image is currency, the pressure to perform a version of confidence  rather than experience the real thing, keeps rising.

Look at social media: a universe overflowing with purchased followers, inflated likes, synthetic engagement. The irony is almost artistic. The very posts preaching “self-love” are often the most curated, the most edited, the most unreal.
Who are we trying to impress?
What are we performing?
And how does distorting who we are—even digitally—serve us in the long run?

Here’s the uncomfortable truth: authenticity makes people uneasy. It mirrors back their own fears, their own insecurities, their own silent longing to be free. It’s easier to dismiss an unapologetic person than to confront the parts of ourselves we’ve muted.

This isn’t a call for chaos or boundary-less living. Society needs structure; community needs care.
But imagine how different things would feel—how much lighter—if we were genuinely supported in showing up as we are. If authenticity wasn’t a marketing trend but a cultural norm. If being real wasn’t radical.

Maybe the real revolution is this:
To stop performing.
To stop shrinking.
To stop editing ourselves into oblivion.

‍

(1): Deloitte

(2): EY Global Generation Research

Cover: Mirrorpix / Getty Images

For us at JDEED, Backburner has always been part of a routine: our absolute favourite coffee shop in Lebanon, and the place we always head to the moment we land in Beirut. The ritual is non-negotiable: a Freddo Espresso or Cappuccino Freddo, icy, creamy, perfect. And instantly, we feel home again.

So naturally, we were thrilled to hear that Backburner, already beloved for its Saifi Village branch, has just opened a brand-new location at ABC Dbayeh, where we always make a pit stop on the way to the North.

A Bigger, Brighter Home for Beirut’s Coffee Lovers

The new space sits on L2 with over 50 indoor seats, finally giving us a spot in Dbayeh where we can camp out with our laptops, meet friends, or simply hide away with that beloved Freddo in hand. It’s spacious, cozy, and unmistakably Backburner: think warm woods, soft tones, and that relaxed Beirut mood that’s impossible to replicate anywhere else .

On the menu? All the familiar favourites: coffees, smoothies, superfood drinks, savory bites, and pastries, freshly made and always satisfying. And just in time for winter, they’ve rolled out their seasonal drinks: pumpkin spice lattes, hot chocolate, and all the comforting flavours we crave the moment the temperatures drop in Lebanon.

A Coffee Shop With a Community Soul

Backburner has always been more than a caffeine stop: it’s a place where the coolest people in Beirut gathers. Their commitment to freshly roasted beans and an in-house daily menu, paired with baked goods from artisanal local bakers, has helped shape a space that feels local, grounded, and loved by everyone who walks in.

The brand, under the Nothing But Love Group, already has locations in Saifi Village, Dbayeh, seasonally at Faqra Club, at Beam downtown, and soon in Tripoli, with franchises in Kuwait as well (and we're crossing fingers for the UAE). Since 2016, they’ve built something rare: a coffee shop that feels like a community pulse point, a little sanctuary in a city that thrives on connection.

And now, with ABC Dbayeh added to the list, we have a new go-to spot for our “we’re finally back in Beirut” ritual.

More on TheBackburner.com

When we started JDEED back in 2017, we were a baby magazine with big dreams, hunting for the voices and visual storytellers who felt true to our region.

Prod Antzoulis was one of the first names on our moodboards — someone we admired long before everything aligned professionally. There was something in his eye, in the way he framed a street, a moment, a car, a person: honest, warm, and a little nostalgic.

Watching him grow from those early days in Dubai to now shooting major campaigns — Gucci included — has felt like witnessing a friend step into his destiny. But what’s even more beautiful is seeing him circle back to the place where it all began with a project that feels deeply personal: Beit Prod.

Beit Prod isn’t just a brand, it's a lived-in world built from memory, Mediterranean light, and the textures of the Arab region. As described in the press release, it’s “a living dialogue between memory, design, and modern craft.”

Objects, prints, décor, and collaborations that feel familiar without trying; pieces that feel like home because they come from one.

The word “beit” means home in Arabic, and the project lives up to that name. Every item — whether it’s a piece of vintage décor from the ’60s–2000s, a found object, a film print captured across the region, or a small-batch collaboration — carries warmth, story, and intention. According to page 1 of the press release, each piece is chosen for its character and “emotional pull,” designed to feel discovered rather than produced, lived-in rather than decorative.

What we love most is that Beit Prod feels like a continuation of Prod’s own journey; a natural extension of the nostalgia he has always photographed. He describes his work as capturing “honest and unedited moments revealing the eccentricities and particularities of places and people,” nurturing a sense of comfort and familiarity to uncover a subject’s rawness. That same sincerity runs through Beit Prod.

There are analog film prints, shot across the Arab region and Mediterranean, made in small runs and authenticated in-house. There are collaborations shaped around cities, archives, and personal memories. There’s merch, built slowly and intentionally as the brand’s identity evolves. And there are vintage objects — glassware, ceramics, tech, décor — curated with feeling rather than algorithmic trend-chasing. Everything is small batch. Everything is intimate. Everything is real.

In many ways, this project embodies the kind of creativity JDEED has always championed: region-rooted, story-led, memory-driven. It also feels like a full-circle moment — from admiring Prod’s talent when we were building our own identity, to watching him build a world that reflects exactly who he is now.

Beit Prod is not nostalgia for nostalgia’s sake. It’s an archive of a life lived between cultures, between cities, between frames. A home built from the things we choose to keep and the memories that keep choosing us.

And we couldn’t be prouder to witness this chapter.

More on BeitProd.com

If you’ve lived in Dubai long enough, you know that Nammos in always in the city’s social calendar. A long-lunch tradition. A “meet me by the water” moment. A spot you bookmarked for everything from birthdays to “I need to feel alive again” dinners. So when the doors closed for renovation, everyone wondered what the next chapter would look like.

And now we have our answer: Nammos Dubai is back and it feels familiar, but better.

Reopening this December, the iconic beachside address returns to Jumeirah with a refreshed setting and a renewed sense of ease. It’s still the Nammos you know but with a calmer mood, a little more intention, and design details that make you stop and smile. The delicious dishes from the Aegean sea? Still there.

‍

A Greek Original, Reborn for Dubai

Nammos started more than 20 years ago on Psarou Beach in Mykonos, and that roots-first energy still anchors everything. But the Dubai edition now stands proudly on its own: part Mediterranean, part Dubai, part something entirely in-between. As Petros Stathis—Chairman of Nammos and Vice Chairman of ADMO Holding—puts it:

“From the beginning, Nammos has always been about more than cuisine or setting; it’s about emotion.”
And the space delivers exactly that. Not loud emotion but familiar emotion.

The Food Still Steals the Show (Obviously)

There are restaurants you go to for the view, and restaurants you go to for the food. Nammos has always been both.

The menu returns with the greatest hits: Salmon Teriyaki. Spicy Crab Tartar. Aubergine Mille-Feuille. Risotto Saganaki.
And a few new surprises shaped by seasonal Mediterranean creativity. Nothing forced. Nothing gimmicky. Just simple dishes that taste like summer without trying too hard.

The Nammos “Day Turns Into Night” Phenomenon

One thing Nammos has always understood is rhythm. You arrive for lunch thinking you’ll stay two hours. Suddenly the sun drops, the music shifts, the tables reshuffle, and you realise you’ve been there all day.

The beach, the terrace, the alfresco dining, the performances, the unexpected DJ sets…all meant for you to stay from lunch to dinner.

Aegean by Heart, Dubai by Design

The renovation leans into Cycladic lines, sun-bleached textures, and those signature Nammos blues.
But then you notice the details that make it Dubai: hand-painted tiles, curated landscaping, glazed lava surfaces, and mahogany sunbeds that nod to Riva boats; small touches that tell you someone paid attention.

It’s barefoot luxury, but grown up, more relaxed, more intentional, more “come as you are.”

More on Nammos.com

Abu Dhabi just dropped its biggest cultural flex yet — and yes, it involves dinosaurs, cosmic explosions, ancient savannahs, and a T. rex showdown that feels straight out of a sci-fi blockbuster. Welcome to the Natural History Museum Abu Dhabi, now officially inaugurated by HH Sheikh Khaled bin Mohamed bin Zayed Al Nahyan in the heart of Saadiyat Cultural District.

Opening to the public on 22 November, this 35,000 sqm giant becomes the largest natural history museum in the Middle East, but it’s more than a museum: it’s a full sensory journey through 13.8 billion years of life, from the birth of the universe to the creatures that once stomped across the region’s ancient, lush savannahs. Yes, the UAE was once green — and home to a four-tusked elephant, now revived inside the museum’s galleries.

Dinosaurs? Not One. Not Two. But a Whole Herd.

The museum opens with an entrance flex no one saw coming: the world’s first-ever display of FIVE sauropod dinosaurs together — a towering prehistoric welcoming committee that instantly shifts the vibe from “museum visit” to “epic time-travel moment”.

And then comes the drama. Deeper inside, another world-first: two Tyrannosaurus rexes locked in battle over a Triceratops carcass — featuring the iconic 67-million-year-old Stan, one of the best-preserved T. rex fossils on the planet. Actual bite marks included. Yes, it’s as wild as it sounds.

An Arabian Lens on the Planet’s Story

What makes the museum even more groundbreaking is its approach: a global natural history narrative reframed through a distinctly Arabian point of view.
Visitors get to wander through a past where the Gulf wasn’t all dunes and coastline, but thriving ecosystems teeming with creatures long gone. It’s nature, but told with regional intimacy: scientific storytelling grounded in place and memory

As H.E. Mohamed Khalifa Al Mubarak put it,

“Natural History Museum Abu Dhabi is a place where knowledge meets wonder… Understanding our planet’s past helps us protect its future.”
A perspective that lands with even more weight in a region rewriting its future through culture and innovation.

Science, But Make It Future-Shaping

Behind the spectacle lies a serious mission: education, research, biodiversity, climate awareness, and a plan to inspire the next generation of scientists, researchers, and environmental leaders.
With state-of-the-art labs on site, the museum becomes a hub for paleontology, earth sciences, conservation, and community-driven science — all powered by the UAE’s long-term commitment to sustainability and knowledge production.

The youth are not just visitors; they’re the future workforce the museum aims to shape. Workshops, school programs, and community initiatives are built into the foundation, making natural history accessible and engaging for all ages.

A New Cultural Planet on Saadiyat

With neighbors like Louvre Abu Dhabi, teamLab Phenomena, and soon the Guggenheim Abu Dhabi and Zayed National Museum, Saadiyat Cultural District is building an ecosystem where art, science, and imagination coexist.
The Natural History Museum slides right into this constellation — but with a roar.

This is not just another cultural space- it’s an invitation to rethink our place in the universe. To see how far we’ve come and how much of Earth’s story we’re still writing.

More info, here

There’s something undeniably special about fashion when it becomes personal. Not algorithm-generated, not trend-dictated — but chosen. This November, Miu Miu handed the keys to its universe to two of the region’s most stylish sisters, Jana & Kinzy Diab, for the latest edition of Miu Miu Select, hosted at the Miu Miu boutique in Fashion Avenue, The Dubai Mall.

Miu Miu Select isn’t just a shopping moment. It’s a mood, a point of view, an invitation into someone else’s fashion mind. Since its launch in 2019, the series has travelled the world from London to New York, Milan to Tokyo, partnered with global names like Georgia May Jagger, Gigi Hadid, Coco Gauff, Chloë Sevigny, Emily Ratajkowski, Poppy Delevingne, Cailee Spaeny, Alexa Chung, Lotta Volkova, and MOMO from TWICE.

Each edition is a window into individuality; a curated wardrobe that says, this is me. And this time, Dubai got the Diab treatment.

Inside the boutique, a dedicated section was transformed into the sisters’ personal edit — a collection of their favourite ready-to-wear, bags, shoes, jewellery, and eyewear from the new season. Every chosen piece carried the unmistakable energy of Jana and Kinzy: playful, sharp, feminine, and fashion-literate. To heighten the intimacy, hand-sewn tags signed by the sisters were added to each purchase, turning every garment into a tiny collectible of its own. And no joke, but we think we we would have made the exact same selection.

To polish the experience, purchases from the event were wrapped in custom Miu Miu Select bags and boxes, underscoring the brand’s love for craft and ritual.

‍

Dubai isn’t the only city touched by the moment. This season’s Miu Miu Select spin-off continues across the region:
— Riyadh at Kingdom Centre Mall (Nov 19–24)
— Kuwait at The Avenues Mall (Nov 19–24)
— Doha at Place Vendôme Mall (Nov 20–24)

A travelling capsule of personality, style, and Miu Miu attitude.

More on MiuMiu.com

As Cairo cements its place as one of the region’s most dynamic creative capitals, Hisham Mahdy stands at the center of its design renaissance.

A creative and design entrepreneur with over 25 years of experience, Hisham has shaped everything from interiors and architecture to major advertising campaigns for leading regional brands. The founder behind Mental Flame, Cairo Design Award (2017), and later Cairo Design Week (2022), he has spent the past decade building Egypt’s largest design platform — one that champions emerging talent, nurtures visibility, and reframes design as a cultural language rather than a decorative discipline.

As Cairo Design Week prepares for its upcoming edition — now spanning three districts and increasingly seen as a movement shaping Egypt’s creative identity — JDEED spoke to Hisham to explore the ideas behind “Design, So I Can See You,” the event’s first-ever campaign. A philosophy inspired by Socrates and grounded in the belief that design is how we reveal who we are, the campaign signals a powerful new chapter for creative expression across the city .

In this conversation, Hisham reflects on visibility, cultural storytelling, and the growing ecosystem he hopes will shape the next generation of Egyptian designers.

“Design, So I Can See You” is such a poetic and powerful theme. What inspired this concept, and how do you see it reflecting Egypt’s evolving creative identity on a global stage?

Hisham Mahdy (HM): The idea began with a question: how do we see each other through what we create? This question brought one of our favorite quotes to mind, Socrates’ “Speak, so I can see you,” which suggests that expression - whether through words or design - is how we reveal our true selves. This is where “Design, So I Can See You” was inspired by.

For us, this campaign is about reclaiming design as an act of visibility and identity. Egypt’s creative scene is at a turning point: it’s confident, experimental, and unapologetically local while being globally fluent. We wanted to reflect that. Through this campaign, we’re saying to our creative community: let the world see you, through your design, your culture, and your story.

‍This is Cairo Design Week’s first-ever campaign — a big milestone. What does launching this campaign mean for the evolution of CDW, and how do you hope it will reshape how people engage with design in Egypt?
HM: Launching our first-ever campaign marks a defining moment for Cairo Design Week. Since 2022, CDW has evolved from a design festival into a cultural movement. With “Design, So I Can See You,” we’re giving that movement a voice and a visual language. It’s not just a campaign; it’s a shift in how we think about design. We want people to see design not as decoration, but as a shared lamguage. Something that shapes our cities, our homes, and our sense of identity.

The campaign draws from Socrates’ quote, “Speak, so I can see you.” How does this philosophy translate into today’s creative culture, where visibility and identity are often mediated through design rather than words?‍
HM: Today, design is our language. Whether it’s the spaces we inhabit, the products we use, or the brands we interact with, design expresses who we are before we even speak. In a world where images and experiences communicate faster than words, design becomes the new dialogue.

That’s what this campaign celebrates. It’s about authenticity ; it encourages creatives to design from the inside out and to make work that reflects their truth.. Visibility today isn’t just about being seen; it’s about being understood through what you create.

CDW 2025 will span three districts — Heliopolis, Zamalek, and Downtown Cairo. How do these locations contribute to the storytelling of this year’s edition, and what kind of energy or dialogue do you hope will emerge between them?

HM: Each district tells a different chapter of Cairo’s design story. Heliopolis reflects our architectural heritage and craftsmanship, Zamalek embodies the artistic and cultural heartbeat of the city, and Downtown Cairo represents revival, and the fusion of old and new. By activating these three districts simultaneously, we’re inviting people to move through Cairo as a living design experience—to see how design connects past and present, tradition and innovation. We want to spark a dialogue between generations, between neighborhoods, and between local and international voices. The city itself becomes the canvas, and everyone who takes part becomes part of the story.

You’ve described Cairo Design Week as a “movement that shapes how design is experienced in Egypt.”
Looking ahead, what legacy do you hope CDW will build for the next generation of Egyptian and regional designers?HM: Our vision is for Cairo Design Week to stand as more than an annual event—it’s a catalyst for a design culture that’s sustainable, inclusive, and globally recognized. We want young designers in Egypt and across the region to see design as a viable path, one that contributes to economy, identity, and community.

The legacy we’re building is about empowerment. Through initiatives like the CDW Universities program, we’re investing in the next generation, creating platforms for visibility and opportunity. Ultimately, we hope CDW will inspire a regional design ecosystem that celebrates originality, values craftsmanship, and connects Egypt to the global creative map.

More on CairoDesignWeek.net

Doha is once again preparing to take center stage on the global fashion map. Fashion Trust Arabia (FTA) has announced the full judging panel for the 2025 FTA Prize, marking the seventh edition of the region’s most influential award for emerging designers.

Uniting iconic names, creative disruptors, couture legends, and industry-makers, this year’s jury reinforces FTA’s role as a cultural bridge between the Arab world and the international fashion landscape. As the non-profit continues its mission to uplift MENA talent, Doha will welcome 21 finalists competing across seven categories: Eveningwear, Ready-to-Wear, Accessories, Jewelry, Franca Sozzani Debut Talent, Guest Country: India, and Fashion Tech

And the jury? Nothing short of extraordinary.

A Jury That Defines Fashion Today

The 2025 panel includes some of the most influential visionaries shaping contemporary style and storytelling — from fashion titans to red-carpet couturiers, boundary-pushing designers, and cultural icons. Among the names:
Daniel Roseberry, Gisele Bündchen, Veronica Leoni, Zuhair Murad, Giambattista Valli, Bethann Hardison, Remo Ruffini, Christian Louboutin, Rabih Kayrouz, Francesco Risso, Viktor & Rolf, Amina Muaddi, Stefano Pilati, Imran Amed, Duran Lantink, Yoon Ahn, Paloma Elsesser, Natalia Vodianova, Guram Gvasalia — and many more who continue to shape the industry’s creative pulse.

With a jury of this scale, the deliberation becomes more than selection — it becomes a conversation on the future of fashion itself.

Empowering the Next Generation

The stakes remain high. Winners will receive financial grants of up to $200,000, in addition to mentorship from international industry leaders and retail partnerships designed to elevate their brands onto the global stage.

A New Era of Partnerships

FTA also revealed its 2025 sponsors and partners, each reinforcing the platform’s regional and global impact.

The Diamond Sponsor is Visit Qatar — whose support continues to strengthen FTA’s mission of celebrating design, talent, and cultural exchange across the MENA region, the Platinum Sponsor, Nita Mukesh Ambani Cultural Centre (NMACC) — joining as Guest Country Partner (India), in a partnership that underscores the power of cross-cultural craftsmanship and collaboration. Finally, the Gold Sponsors are Place Vendôme Qatar, Galeries Lafayette Doha
and Chopard — reflecting luxury’s ongoing commitment to nurturing creative excellence in the Arab world

Retail Partners Connecting MENA to the World

FTA’s retail partners are equally pivotal.
Harrods will showcase the collections of the 2025 winners in London and host them in Dubai for celebratory launches — an unprecedented platform for visibility and global reach.

Ounass, returning as the MENA-Based Prize Partner for a second year, will feature the winning designers’ Ready-to-Wear, Eveningwear, Accessories, and Jewelry collections online, further cementing its role in elevating regional talent to an international audience.

From its world-class jury to its visionary sponsors and retail partners, Fashion Trust Arabia’s commitment remains clear: to empower Arab designers and amplify creativity across the region and beyond

This November, as Doha welcomes the 2025 finalists, the FTA Prize becomes more than an event.
It is a proof that the future of fashion is diverse, global, and unmistakably rooted in the Arab world. Follow us on Instagram as JDEED reports live from Doha.

More on Fashiontrustarabia.com

This season, Levi’s® and Barbour join forces in a transatlantic collaboration celebrating over 170 years of shared heritage, craftsmanship, and workwear culture.

A meeting of two originals, two global fashion legends, and two materials that have shaped generations: Barbour’s signature waxed cotton and Levi’s® legendary denim.

The collaboration merges functionality and endurance with that effortless, lived-in style both houses are known for, resulting in limited-edition jackets, apparel and accessories that feel archival yet newly charged with purpose.

A Story Rooted in Workwear, Reinvented for Today

Both brands were born in the 19th century — Levi’s® outfitting miners and pioneers of the American West, while Barbour served sailors and mariners along the rugged British coasts. The new collaboration reinterprets silhouettes from each archive, striking a balance between outerwear expertise and denim-driven utility through pieces designed not just to last, but to evolve.

Highlights include the women’s Levi’s® x Barbour Spey Wax Jacket, and for men, two iterations of the Bedale Jacket — one in dark navy wax and another in denim, complete with traditional details such as triple-needle stitching, tartan lining and antique brass trims.

The Type II Waxed Jacket blends Barbour’s olive tones with Levi’s® indigo, bridging heritage aesthetics with modern everyday wear.

Complementing pieces include corduroy trousers, graphic tees, heavyweight hoodies and waxed caps, each stamped with subtle co-branding that feels authentic rather than over-styled

Two Textiles, One Philosophy: Wear, Age, Repair

Every waxed garment in the collection uses Barbour’s beeswax-infused cotton, designed to soften and develop character with wear, just as Levi’s® fades uniquely over time.The collaboration also introduces Re-Loved pieces, where vintage Levi’s® denim is restored and reimagined using Barbour’s iconic waxed fabrics, creating one-of-a-kind patchwork jackets and 501® jeans that celebrate repair culture and circular design.

A Campaign Dedicated to Masters of Craft

The campaign, shot by photographer and director Tbone Fletcher with styling by Tirino Yspol, pays tribute to the quiet, deliberate pursuit of mastery, framed around the famously referenced “10,000-hour rule”. Rather than using models, it features real makers - from furniture builders to ceramics experts .- shining a light on the hands, minds, and stories behind craft today.

“The design choices are, at times, understated, and I think there’s a quiet confidence in that… The pieces are made with care, and genuinely built to last,”
says Ian Bergin, Director of Menswear at Barbour

A Limited-Edition Drop With Long-Term Vision

The Levi’s® x Barbour collection will be available globally via Levi.com, the Levi’s® App, select Levi’s® Stores, Barbour retail channels and selected wholesale stockists which startd October 30, 2025, with Re-Loved pieces releasing November 20, 2025 at Selfridges London, Levi’s® Harajuku and Barbour Cat Street Tokyo

More on Barbour.com

Some brunches are good, some are great... and then there’s Traiteur Brunch at Park Hyatt Dubai. The city’s most iconic brunch is back, and we’re still thinking about it.

Set across the stunning terraces of Brasserie du Park and NOÉPE, overlooking the marina and the sparkling creek, Traiteur is what Dubai does best: grand, beautiful, and delightfully excessive — in the best way. It’s not just the setting that makes this brunch special, but the sheer abundance of culinary artistry. From perfectly grilled meats to ocean-fresh seafood stations, everyone will find something to love.

And let’s talk about the cheese room — because, honestly, it deserves its own Michelin star. A magnificent chamber lined with wheels, wedges, and textures of every kind, all hand-sourced from Europe, it’s the kind of experience that makes you momentarily forget your lactose intolerance (and brave the consequences). If heaven had a smell, it would be that room.

Seafood lovers will feel right at home too. Lobster Wellington, oysters, mussels, escargot, sushi — name it, and it’s probably being served, grilled, or freshly shucked before your eyes. It’s truly a paradise for lobster enthusiasts, and we didn’t waste a single bite.

What also sets Traiteur apart is the vibe. There’s an elegance to how the afternoon unfolds: cocktails that actually taste like cocktails (we’re looking at you, watered-down brunches of Dubai), a live band that perfectly complements the mood, and views that stretch across the creek like a painting. You’ll find yourself lingering a little longer than planned, just to soak it all in.

Led by Chef Sydney Stranger, the brunch captures what Dubai dining should feel like — sophisticated, social, and effortlessly glamorous.

And when the last plates are cleared and the band wraps up, the story continues next door at NOÉPE with the Sunset Soirée — an after-brunch gathering made for golden hours and slow dancing by the water.

So yes, we loved it, from the countless food stations to that unforgettable cheese room — and we’ll say it: Traiteur Brunch might just be Dubai’s ultimate weekend ritual.

Fore more info, click here

From November 19 to 22, 2025, NOMAD will take over Zayed International Airport’s historic Terminal 1, transforming one of the UAE’s most symbolic architectural landmarks into a living exhibition of art, design, and cultural dialogue.

For its landmark Middle East debut, NOMAD reimagines the concept of a design fair. Instead of the sterile halls of convention centers, the fair unfolds within the modernist curves and mosaic roof of Terminal 1, originally designed in 1982 by French architect Paul Andreu at the request of the late Sheikh Zayed bin Sultan Al Nahyan. The terminal, once a symbol of progress and refinement, is now reborn as a stage for innovation, storytelling, and artistic exchange.

Curated by Nicolas Bellavance-Lecompte, the fair’s co-founder, NOMAD has earned international acclaim for its site-specific philosophy, staging editions in Capri, Venice, St. Moritz, and Monaco. Its Abu Dhabi chapter marks the beginning of a new global season for the itinerant platform—one that bridges Gulf modernism, collectible design, and contemporary art into a single, immersive experience.

“Each NOMAD edition is embedded within its architectural context,” says Bellavance-Lecompte. “Luxury here is not a spectacle—it emerges from material integrity, from rhythm, from human connection.”

An Architectural Revival

Terminal 1’s distinctive circular lounge and arched walkways will serve as the foundation for NOMAD’s installations, inviting visitors to rediscover this landmark of Gulf modernism through a new lens. The fair will feature leading international galleries, from Milan’s Nilufar and Paris’ Galerie BSL to Cairo’s Le LAB and Dubai’s The AP Room—each presenting limited-edition design pieces that reflect a dialogue between heritage, materiality, and innovation

Among the highlights we are super excited for, Leila Heller Gallery will present Chihuly: Four Decades of Iconic Works, a sweeping celebration of Dale Chihuly’s masterful glass sculptures, Irthi Contemporary Crafts Council (Sharjah) unveils the Tilad Collection with Mexican artist Ricardo Rendón, fusing Emirati talli and safeefah crafts with volcanic stone and pine wood.

Orient 499 collaborates with Lebanese design duo David/Nicolas on Mida, a contemporary interpretation of the majlis that celebrates hospitality and craftsmanship while Maison Perrier-Jouët x Formafantasma bring Cohabitare, an ecological installation exploring coexistence and biodiversity through terracotta and flora. Another anticipated project include IN TRANSIT: A Nomadic Library, presented by Dongola Limited Editions x Studio Etienne Bastormagi x Mira Hawa Projects.

Finally, Bottega Veneta’s Destinations project marks the 50th anniversary of its iconic Intrecciato weave, reimagined by regional designers such as Abdalla Almulla, Esna Su, and Bahraini–Danish.

A Cultural Dialogue

Set against the backdrop of Abu Dhabi’s Saadiyat Cultural District—home to the Louvre and the future Guggenheim—the fair aligns with the city’s rising stature as a global creative hub. Timed alongside Abu Dhabi Art, NOMAD extends this momentum, drawing collectors, curators, and visionaries into a conversation that connects the Middle East’s heritage with its avant-garde future.

“Abu Dhabi embodies what NOMAD stands for,” says Bellavance-Lecompte. “It’s a place where tradition and innovation are not opposites, but partners in creating meaning.”

Off-Site and Beyond

Beyond the terminal walls, NOMAD expands into the city with Shifting Terrains, an off-site showcase in partnership with Jumeirah Saadiyat Island. This exhibition traces the evolving creative landscape of the Emirates through works by KAMEH, Georges Mohasseb, Neda Salmanpour, and Datecrete, exploring how place, material, and memory shape design today.

In partnership with the Department of Culture and Tourism – Abu Dhabi and Etihad Airways, NOMAD’s 2025 edition represents a real revival of dialogue between the Middle East and the world. By transforming a dormant airport terminal into a cultural gateway, it celebrates both movement and memory—a fitting metaphor for a region whose artistic spirit continues to travel far, without ever losing its roots.

In Partnership With

Department of Culture and Tourism – Abu Dhabi

Strategic Partners
Abu Dhabi Airports
Etihad Airways

Official Partners
Bottega Veneta
Abu Dhabi Sotheby’s International Realty
Perrier-Jouët

Hospitality Partner
Jumeirah

Strategic Organizing Partner
VCA Cultural Agency

Strategic Media Partner
AD Middle East

Media Partners
DOOR
Mousse Magazine

F&B Partner
The Lighthouse

& more...

More info on Nomad-circle.com

“Dream of the Desert was born from a shared desire to elevate the art of travel into an experience of cultural connection and timeless beauty.” — Aline Asmar d’Amman

Unveiled during the 9th edition of the Future Investment Initiative in Riyadh, Dream of the Desert marks Saudi Arabia’s first ultra-luxury train, a collaboration between Arsenale S.p.A., Saudi Arabia Railways (SAR), and the Ministry of Culture, redefining what it means to move through a landscape; not simply as a traveller, but as a witness to heritage.

At once poetic and technical, the project embodies what its designer, Aline Asmar d’Amman, calls “a moving bridge between worlds, a poetic dialogue between Italian engineering excellence and Saudi artistic soul.” Crafted in Italy and reimagined with Saudi artistry, Dream of the Desert merges savoir-faire, tradition, and modern design into a single living structure. “The train’s carriages, crafted in Italy and reimagined with Saudi artistry, embody a philosophy of upcycling, giving new life and meaning to existing structures,” she explains.

Luxury in Motion

For Aline, designing something that moves demanded a different kind of architecture, one where memory and motion coexist. “This is the very first time that I work on the design of a train interior,” she shares. “The philosophy is however the same when it comes to intervening on large-scale hospitality projects steeped in patrimonial buildings.” Whether it’s Hôtel de Crillon in Paris or Orient Express Venice, her process always begins with “context and stories of cultural relevance.”

She describes Dream of the Desert as “not only a reflection on luxury hospitality in motion, but also a remarkable opportunity to pay homage to a culture so rich, layered, and generous in its transmission.”

A Passage Through Emotion

From Riyadh to the Kingdom’s farthest horizons, Dream of the Desert will offer one- to two-night itineraries across 1,300 kilometres, with curated stops that celebrate Saudi Arabia’s natural beauty, cultural depth, and architectural heritage.

Inside, Aline envisioned each carriage as “a passage not only through landscapes, but through layers of emotion.” “From the welcoming majlis-inspired lounge to the contemplative suites and refined restaurant, each space is a different chapter of the same poetic journey deeply rooted in the kingdom’s rich heritage,” she says.

Every detail feels considered — a choreography of color, texture, and light. “The desert’s palette of earthy tones, sandy browns and oasis green are softly lit by the cinematic glow of Murano blown glass,” notes Arsenale. The train’s 33 private suites, Majlis lounge, and fine dining cars are designed to “capture the essence of tradition while setting the stage for timeless elegance with cultural relevance.”

Artistry as the Ultimate Luxury

For Aline, Dream of the Desert is a statement about legacy as much as luxury. “I wanted passengers to feel a sense of belonging, of suspended time, where comfort, beauty, and culture come together in a sensorial crescendo,” she shares. “Saudi Arabia’s embrace of the future is a generous invitation for the world to discover its rich cultural tapestry and traditions.”

“My architectural work is rooted in the transmission of heritage, a dialogue between past and future, elevated by stories of cultural connection,” she adds. “To me, artistry and craftsmanship are the ultimate luxury — a testimony of emotional intelligence, a token of cultural relevance honoring millennial gestures while capturing the spirit of our times.”

The Desert, the Spirit, and the Story

The Lebanese architect’s connection to the project is deeply personal. “I was born in Lebanon, where adversity teaches you to appreciate life and thrive for peace and beauty,” she reflects. “From my Lebanese upbringings, I keep the treasured memory of the Arabian poets’ melodic words… Ibn Arabi’s philosophy is summarized as such: ‘A desert may be dry, but it is rich in spirit.’”

It is through this lens that she approached the project — as both designer and dreamer. “I aimed to capture the spirit of the desert, that emptiness that allows for beauty to unfold with prosperity,” she says. “My quest for cultural relevance is coupled with a freedom to invent new realms where modernity is inspired by tradition, without any nostalgic restraint.”

Aline Asmar d’Amman — The Architect Who Bridges Worlds

Born in Lebanon and Parisian at heart, Aline Asmar d’Amman is the founder of Culture in Architecture, a design studio based between Paris and Beirut, dedicated to “bridging cultures while balancing the past and present.” Known for her ability to weave “dialogues between the raw and the precious, heritage and modernity, poetry and materiality,” her international portfolio includes the reopening of Hôtel de Crillon in Paris, the renovation of Le Jules Verne at the Eiffel Tower, and the upcoming Orient-Express Hotel at Palazzo Dona Giovannelli in Venice.

Her collaborations include a creative partnership with Karl Lagerfeld on Les Grands Appartements at Hôtel de Crillon and the sculptural collection Architectures, showcased at Carpenters Workshop Gallery. In 2022, she designed the Lebanese Pavilion at the Venice Art Biennale, further solidifying her reputation as an architect who builds stories through her spaces.

Dream of the Desert now joins that legacy, standing as a testament to her belief that design is both an act of cultural preservation and reinvention — a living bridge between memory and modernity.

A Journey, Not a Destination

For Arsenale, Dream of the Desert is more than a train; it is a symbol of Vision 2030’s creative ambition — a promise that Saudi Arabia’s story is one of movement, heritage, and transformation.
“This project embodies the shared pursuit of beauty, innovation, and hospitality that unites our two cultures,” said Paolo Barletta, CEO of Arsenale. “It marks the beginning of a new global platform redefining ultra-luxury travel – one that celebrates heritage, creativity, and a deep respect for local identity.”

As Aline Asmar d’Amman concludes: “Dream of the Desert embodies this vision — rooted in deep respect for heritage while seamlessly embracing modernity.”

And perhaps that’s what makes this train more than a marvel of design — it’s a reminder that in the vastness of the desert, movement itself becomes poetry.

More on DreamOfTheDesert.Com

Ahead of National Day, JDEED rounds up its favorite Emirati and regional experiences celebrating art, movement, beauty, and craftsmanship.

As National Day approaches, there’s no better time to celebrate the creative pulse and entrepreneurial spirit shaping the UAE’s modern identity. Across the Emirates, homegrown brands and visionary founders are redefining what luxury means today: rooted in experience, authenticity, and community. From sensory workshops and wellness sanctuaries to culinary destinations and fine jewelry houses, JDEED’s November Guide to Luxury in the UAE explores where artistry meets meaning, and where design meets heritage.

Movement: The Curve Club

In Abu Dhabi, movement takes on a new form at The Curve Club — the region’s first women-only studio to introduce the Curveformer, a revolutionary machine designed for intelligent, full-body workouts. The studio’s ethos is clear: wellness should be elegant, empowering, and effective. Beyond Pilates, The Curve Club’s offering extends to yoga, mobility, and stretch sessions, all within a space of calm sophistication.
Here, innovation meets femininity and strength, quite literally, finds its curve.

More on Instagram @currveclub

Food: Parlour Boutique

Long considered one of Dubai’s best-kept secrets, Parlour Boutique reintroduces itself with a refreshed look and an expanded culinary offering. The reimagined café blends cosmopolitan energy with understated elegance — part Parisian salon, part Dubai cool. With its new international menu celebrating seasonal ingredients and its layered spaces — from a coffee bar and live bakery to a fine dining restaurant and communal lounge — Parlour Boutique continues to define the intersection of culture, coffee, and connection.

More on Parlour.ae

Creative Workshops: Âme Studio

Dubai’s creative hub Âme Studio continues to blur the line between art, design, and community. At its beautiful new space in Umm Ramool, Âme is hosting a series of public workshops throughout November, inviting participants of all ages to explore their creativity. From Perfume and Soy Wax Candle Making to Bukhoor Crafting and Ikebana, every session reflects Âme’s signature aesthetic — minimalist, sensory, and deeply intentional. Led by expert instructors, these workshops are not just classes but experiences of connection and craftsmanship, designed for curious minds who find beauty in the process.
Workshops run daily starting November 2nd.

More on Instagram @Amestudio_ae

Haircare: OLAH Haircare

Founded in 2023 by Alia Almarzooqi, OLAH Haircare is rewriting the narrative of Emirati beauty. Inspired by her grandmother’s traditional haircare recipes, Alia transformed a family ritual into a modern, clean beauty movement. Today, OLAH stands for more than natural ingredients — it’s a story of heritage and innovation. Each formula is rigorously tested, fully licensed, and designed for visible results, embodying the brand’s values of self-care, cultural pride, and authenticity.
As OLAH expands across the GCC, it continues to celebrate beauty that’s deeply personal and proudly local.

More on Instagram @Olah.haircare

Jewellery Pop-Up: Tripat

From Amsterdam to Dubai, fine jewelry label Tripat makes its UAE debut with an exclusive pop-up at Kulture House Dubai (21–23 November). Founded by designer Sanah Khurana, the brand reimagines Indian heritage through a modern, minimalist lens. Handcrafted in recycled gold and set with ethically sourced gemstones, each piece feels like a modern heirloom — art for the everyday. The event, “A Garden of Memories,” invites visitors to explore Tripat’s world of design and storytelling, with one attendee winning the chance to co-create a bespoke jewel alongside the designer herself.

More on Instagram @Tripatjewellery

Jewellery to Discover

Nejla Bint Asem

The Jordanian royal and designer Nejla Bint Asem creates jewelry that feels like poetry cast in metal. Each piece carries emotional symbolism — joy, love, strength — through color and form, reinterpreting Jordanian heritage for a modern audience. These jewels are not just adornments, but stories to wear.

More on Najlabintasem.com

Kayaa Jewels

Founded by Aashna Sanghvi, fifth-generation jeweller and visionary behind Kayaa Jewels, this brand brings sustainability to the spotlight with lab-grown diamonds and accessible luxury. Every piece combines timeless beauty with ethical innovation — jewelry that tells a story, and one that feels good to wear. Available now at Kulture House Dubai.

More on Kayaajewels.com

Lana Al Kamal Jewelry

A symphony of architecture and emotion defines Lana Al Kamal’s Ward Collection, an ode to femininity and renewal. Inspired by the rose, each piece captures the delicate geometry of petals through sculptural craftsmanship — wearable art that blooms with meaning. We particularly love the collections's vibrant colors, making your daytime and nighttitme outfits pop

More on LanaAlKamalJewelry.com

Nigaam Jewels

At Nigaam, jewelry transcends ornamentation. Each piece is a masterwork of balance and form, created by artisans whose skill shapes some of the world’s most exceptional treasures. Whether bold or subtle, every design carries the house’s deep understanding of emotion, legacy, and beauty. We're completely obsessed with their use of Diamonds and emeralds in particular with our favorite (husband if you read this) ring being the 'Bypass' ring in 18K yellow gold and diamonds that you need to see for yourself here.

More on Nigaam.com

The Essence of Emirati Luxury

In every corner of the UAE, creativity thrives . Grounded in tradition yet open to the world. Whether it’s a fragrance workshop in Dubai, a Pilates class redefining movement in Abu Dhabi, or a homegrown haircare brand rewriting beauty norms, these stories remind us that luxury in the Emirates isn’t about excess like a lot think, it’s about intention.
This National Day, we celebrate the artisans, founders, and dreamers shaping the country’s next chapter: one creation, one idea, one beautiful detail at a time.

It seems like nostalgia can never really escape us as Arabs.
It sits quietly in our morning rituals, in the way we pour coffee, in the way our grandparents’ voices still echo in our kitchens.

It’s in the sobhiyye, that sacred morning coffee gathering that becomes less about caffeine and more about connection. It’s in how we still like to preserve our heritage - we're Phoenicians,  Pharaohs,  Bedouins — as if history is a family member we refuse to let go of.

By Cynthia Jreige

Maybe nostalgia isn’t something we remember. Maybe it’s something we inherit.

It shows up in the little things. In teta’s endless prescriptions: “drink a 7UP to feel better,” “rub rose water on your skin,” “orange blossom cures the spirit.” In the way we hold onto our crafts, embroidering the same stitches our great-grandmothers did, weaving the same palm, beating the same copper. Even in cities that keep reinventing themselves every decade, our instinct is to preserve, to archive, to remember.

It’s also in our traditions, the ones that quietly survive time.
In reading the future in coffee cups turned upside down, tracing stories in the leftover grounds as if the universe still speaks our dialect. In blowing out candles over a Forêt Noire cake, served with a fruit salad, a 'lazy cake' and a side of packaged whipped cream. And for the younger ones, nostalgia comes secondhand; inherited, imagined. We mourn the Lebanon that had a train, the Beirut once called the Paris of the Middle East, the Damascus of cinemas and jasmine balconies, the Cairo of black-and-white films. We feel attached to memories we never lived, places we only know through family photos, old songs, or stories told in kitchens thick with the smell of cardamom coffee.

Nostalgia, for us, is less about looking back and more about holding on — to smell, to sound, to story. The Arab world moves fast, but our sense of self seems to move through time in layers. A jar of pickles beside an iPhone, a tattoo of an ancient god under a designer sleeve, an oud note lingering in a minimalist Dubai apartment.

We affirm our identities every day not because we’re unsure of them, but because the act of remembering feels like a rebellion against erasure. To remember is to exist.

Maybe that’s why we can’t let go. Because nostalgia, to us, isn’t melancholic. It’s medicinal. It’s the rose water we splash on our faces in the morning, the cardamom we insist on in our coffee, the photo we keep on the fridge long after the color fades. It’s how we make sense of who we are in a world that keeps asking us to forget.

So, is nostalgia an Arab gene?
Maybe. Or maybe it’s just our favorite way of saying: we’re still here.

We travel a lot — maybe too much. From dusty runways to midnight check-ins, we’ve learned that the journey only feels as good as the suitcase that carries you.

And when it comes to trust, style, and longevity, JDEED has long found its match in RIMOWA. Because when you’re constantly in motion, your luggage becomes more than a vessel — it’s part of your rhythm, your ritual, your reflection.

This season, RIMOWA unveils two new hues that feel like they’ve been pulled straight from the earth’s memory: Clay and Terracotta. Inspired by the grounding beauty of nature, the tones echo both softness and strength, the cool calm of wet clay, the warmth of sun-baked soil. Clay speaks of beginnings, that pliable moment before creation, while Terracotta embodies permanence, fired, refined, and enduring. We must admit Terracotta stole our hearts.

Crafted from RIMOWA’s high-performance polycarbonate and finished monochromatically from shell to zipper, handle to wheel housing, every detail whispers design discipline and quiet power.

Engineered in Germany, the Essential Collection remains a benchmark in functional luxury. Lifetime guarantee? Of course. Multiwheel System, telescopic handle, dual-organization interior — all there. But what makes the new Clay and Terracotta pieces special isn’t just their build; it’s their temperament. They belong to people who move deliberately, stylishly, and endlessly; basically people who understand that elegance begins long before takeoff.

More on Rimowa.com

In the world of fine jewelry, few Maisons have mastered the balance between craftsmanship and creative audacity quite like Piaget.

Known for its sculptural elegance and radiant daring, Piaget continues to push the boundaries of jewelry design, channeling its rich 1970s heritage into creations that speak to both artistry and emotion. At the heart of this evolution stands Cynthia Tabet, Global Product Marketing Director, whose journey from Cartier to founding her own luxury consultancy has shaped a storytelling approach rooted in both precision and passion.

JDEED speaks with Tabet to know more.

“After studying finance, I indeed started working as Product Manager at Cartier,” she recalls. “It was a great place to learn; as I was able to develop my knowledge of jewellery craftsmanship and of course, gemstones within a big Maison with high expectation and demands. It taught me everything I needed to then create my own enterprise and consult with incredible family-owned Maisons like Boghossian for instance.”

This foundation informs her vision at Piaget, where storytelling begins not with words but with form. Speaking of the ‘Shapes of Extraleganza’ High Jewelry collection, Tabet reflects on the creative dialogue between geometry, light, and emotion. “High Jewellery really serves as the aspirational pinnacle and creative laboratory for a Maison. For me, it represents the ultimate expression of the Maison’s identity, pushing the boundaries of creativity and technical skill. Form has always been a playground for Piaget’s craftspeople, and this collection is a perfect example of the subversive playfulness of the Maison and of its connection to art and artists.”

For Tabet, form transcends design—it is philosophy. “To me, form is everywhere. The variety of shapes in nature is endless, it represents complexity, harmony and resilience all at the same time. I am passionate about architecture, and I find these shapes in the buildings while strolling in a new city – this is truly inspiring.”

Describing Piaget as “a very unique Maison, kind of niche and so rich that there is always a chapter we’re ready to rediscover,” she emphasizes that what truly sets it apart is “its joyful, elegant, and extravagant approach to celebrating life.” She continues, “The Maison’s unique identity is rooted in the 1970s, a period of exceptional creativity marked by long watch necklaces and memorable watch cuffs. This is achieved by blending the precision of a watchmaker with the artistic and creative vision of a jeweller.”

Behind each piece lies a process that harmonizes analytical rigor and spontaneous artistry. “The creation process is a dynamic one. We typically begin by analyzing our targets, trends, our existing collection, and the market to inform our creative briefs. At the same time, we remain flexible, allowing the design team's innovative ideas to lead the way. When this happens, we then identify the potential target market and adapt our strategy to include them.”

Her admiration for the artisans who bring Piaget’s vision to life is palpable. “The most memorable aspect of Piaget is the wonderful and passionate people I encountered,” she shares. “Their dedication is reflected in the in-house manufacture, where I love to stroll. I really enjoy the process of the ‘Decor Palace’ engraving. As this technique is handmade, each bracelet is unique and different. It is very Piaget. Our goal is to show this savoir faire to our clients and contribute to the story and the success of our Atelier de l’Extraordinaire.”

As Piaget’s ‘Shapes of Extraleganza’ arrives in Abu Dhabi, Tabet sees the exhibition as a dialogue between cultures. “For us, at Piaget, local artistry and culture need to be embraced and explored. Abu Dhabi’s unique identity made it the perfect setting to celebrate the latest High Jewellery collection and reinforce the city as a premier luxury retail destination. Our goal is to highlight the uniqueness of each market and build long-lasting connections.”

And in a final poetic gesture, Piaget pays homage to the region through one very special creation. “You can see it in different aspects and details, but also in one unique creation we’ve specially crafted for Abu Dhabi—the Desert Pearl Swinging Sautoir in diamonds and mother-of-pearl, a material so dear to the UAE and our way to pay homage.”

More on Piaget.com

Get your glowy bases and sculpted brows ready  because British beauty darling REFY has officially landed in the Middle East, exclusively at Sephora.

Founded by Jess Hunt and Jenna Meek, REFY has quickly become that brand everyone wants on their top shelf, thanks to its minimal aesthetic, genius formulas, and effortlessly polished results. Now, beauty lovers across the UAE, Saudi Arabia, Kuwait, and Qatar can finally get their hands on its cult favorites — both in-store and on Sephora.me

“We wanted to make sure we were showing up in the region in the best way possible,” says Jenna Meek, REFY’s CEO and Co-Founder. “For us, that’s through our trusted partner Sephora… one of our most anticipated markets”

Her creative counterpart Jess Hunt adds: “Almost from the day we launched, my DMs were flooded with messages asking ‘when are you coming here?’… To be able to partner with Sephora makes it even more special”

And let’s be real — the excitement is mutual. Hasmik Panossian, Managing Director at Sephora Middle East, shared: “REFY’s minimalist aesthetic and high-performance formulas have already captivated audiences globally, and we’re excited to bring this fresh, modern perspective to our beauty community across the region.”

Launched online November 1st and in-store December 1st, REFY’s full lineup includes all your soon-to-be staples: the viral Brow Sculpt, ultra-comfy Lip Blush, hydrating Glow & Sculpt Primer, and our personal fave — the Skin Finish, a water-based powder that keeps you fresh without the cake.

With their motto “Simplifying beauty,” REFY is rewriting the beauty routine — proof that effortless doesn’t mean basic. Consider this your sign to refresh your makeup bag and finally perfect that dewy, sculpted, no-makeup makeup look.