It all started when Jessica, the very cool Dubai-based Founder of Talent & Strategy Agency Imaginary Friends moved into her own space in Dubai and took us, her followers, along for every step of the decorating process; from her Facebook Marketplace finds to her custom-made furniture. I remember thinking: dang! immaculate taste.

I even subscribed to her channel, where she would share newly listed pieces on the OG Meta platform.

In a world where fishbone dining chairs and Scandi decor feel omnipresent, coming across interiors that are truly individualistic is a visual treat. We wanted to learn more about Jessica’s inspirations, as well as her do’s and don’ts.

Welcome to our first "Taste Lives Here" where we ask the coolest people to show us their interiors

By Cynthia Jreige

Photography: @jullzbek

JESS'S ID

Name: Jessica Cox
Location: Dubai
Job: Influencer Strategy and Management

When did you realize you loved interiors and decorating?

When i moved out of the family home and had a blank canvas to work with. It felt like a new opportunity to express myself.

What’s been the most fun decorating your own place?

Being creative with balancing aesthetic and function.. and also finding ways to create little luxuries for myself even in a small space.

What are mistakes you learned from?

Working with custom builders in Dubai is not for the weak...even some of the most legitimate looking ones can be scammers.
You have to have every design element confirmed in writing, with drawings - never trust that their vision is aligned with yours.  

What are the top places you looked at for furniture?

Facebook Marketplace has been my goldmine! But also La Brocante for vintage and second hand and H&M Home are some of my favourites. The CB2 outlet as well!

What’s a random purchase that you can’t live without?

Probably the waterproof bench in my shower. It has made my showers even longer but sooo much more lush.

What are some regional interior designers / architects whose work you admire?

There’s so many good ones! Omar Al Gurg's style is great. Nada Debs. Super Studio Official!

What makes a house a home?

Displaying your personality in a tasteful medium. Sometimes it’s not about screaming Eat, Pray, Love on your doormat or artwork - but creating a space that exudes hospitality, comfort and spirituality using texture, scent, subtle accessories to communicate a message.

Top 3 favourite designers?

All time is impossible to choose but i’ll give you the 3 at the top of my wishlist:

Lighting designer duo - Loney Abrams and Johnny Stanish (Wretched Flowers)

Katie Kohls' insane pebble mirrors

Whoever is behind @sidequeeste phenomenal steel work

What’s your advice to someone wanting to decorate their own home now and who’s struggling?

Nesting is a primal instinct, embrace the difficulties and use it as an opportunity to learn about yourself on a deeper level. When you make mistakes, don’t under-utilize returning items or reselling them. if you hate something - look at it as an opportunity to reinvent and refine and learn to express yourself again and again.

Follow Jess on Instagram, here

Now that's one collab that really makes sense to us. This April, everyone's favourite perfume brand KAYALI and everyone's favourite salon CHALK are coming together in Alserkal Avenue for a limited-time takeover and it's looking iconic.

Two homegrown brands, both rooted in Dubai, both built around community and self-expression, meeting somewhere in the middle.

And that middle space is where things get interesting.

More than a beauty appointment

Running from April 27 to May 3, the collaboration transforms CHALK into something softer, more playful, and entirely sensorial.

Hair becomes just one part of the experience. There’s scent, mood, energy. While you'd usually walk in for a treatment, now you're literally stepping into the KAYALI Eden universe, where everything is designed to feel a little more immersive, a little more personal.

At the centre of it is the layering bar, where guests are invited to explore, mix, and build their own scent identity using KAYALI’s latest launches, Eden Sweet Peach | 35 and Eden Plush Pear | 23.

Spray, layer, play.

A space that moves with you

The CHALKBOOTH, already something of a signature, is reimagined through the Eden lens. It becomes part of the experience rather than an add-on, a place to capture the aftermath of it all, post-glam, post-scent, post-moment.

Even the details feel considered.

From curated coffee by Subko to light bites inspired by the fragrance notes, the collaboration leans into the idea that beauty doesn’t exist in isolation. It’s tied to how you feel, what you smell, what you taste, the environment around you.

Community, but actually

There’s a word that gets used a lot, community. But here, it feels grounded. As Mona Kattan puts it, the intention behind KAYALI has always been about connection and storytelling, and this collaboration is a way of bringing that back to the people who shaped it.

This space was created for people to show up, unwind, experiment, and leave feeling something, whether that’s confidence, ease, or just a small reset in the middle of the week.

Guests leave with more than just a treatment: they'll get a curated goodie bag, samples from the Eden collection, CHALK essentials, small extensions of the experience that carry beyond the space.

KAYALI x CHALK does well is something Dubai doesn’t always get credit for: creating moments that feel personal and not performative, where beauty isn’t just something you book but you truly experience.

When and where

April 27 – May 3, 2026
CHALK, Alserkal Avenue, Dubai

I was 12 when The Devil Wears Prada came out. Like so many teenagers of my generation, even though it painted a relatively harsh picture of the fashion world, it did far more than just entertain us for two hours or give us good styling.

It ignited something deeper. It made us dream of this glittering universe where flights to Paris and Chanel boots felt like a fair trade-off for long nights and walking your boss’s dog. New York, Runway, Fashion Week; it all suddenly felt within reach.

I had already decided two years earlier that I would work in a fashion magazine. A strong mind, determination, and, admittedly, a slightly obsessive temperament have always defined me, but that film didn’t create the dream, it validated it. Looking back, it’s interesting because it probably should have scared me. Instead, I saw myself in it. I imagined sitting on a quilted seat overlooking the New York skyline, planning shoots, rushing between meetings, living that fast, chaotic, intoxicating life that seemed both impossible and entirely attainable at once.

Six years later, I walked into my first day at fashion school. Five years after that, I launched my own magazine. Not quite Runway, and I’d like to believe I’m a million times more empathetic than Miranda, but still, the shows, the events, the brands, the intensity: it all happened. In many ways, life did begin to resemble the movie. This industry is home to some of the biggest egos I’ve ever encountered, to moments of pressure, of judgment, of feeling overlooked or underestimated. But it’s also exhilarating, captivating, and, truthfully, quite fun. As my friends like to say, “it’s PR, not ER.”

And yet, somewhere along the way, something shifted. Because what I was really chasing wasn’t just the career, it was the feeling the movie gave me; that sense that everything was possible. While I still believe that, reality has a way of reshaping it. You grow up, you adjust, you compromise, and things don’t quite look the way they did in your head.

The truth is, the people who grew up with The Devil Wears Prada are now in their thirties. We’ve lived through a pandemic, inflation, instability, things we never quite saw coming. The version of life we imagined back then — the glossy, effortless one — feels further away than we expected. The dream of a life à la Andy Sachs didn’t disappear; it just became something we quietly put aside, something we folded away while figuring out how to navigate the version of adulthood we were actually given.

We’re doing our best. Building careers, making choices, sometimes loving what we do, sometimes simply doing what we need to. But if we’re honest, life in 2026 looks very different from the version we imagined in 2006. And maybe that’s why the idea of The Devil Wears Prada 2 feels so significant.

It’s not really about the sequel. It’s about what it represents. A return, however brief, to a time when dreaming big felt natural, when hope wasn’t something you had to negotiate with, and when the future still felt wide open. The promo tour alone already gave us something dazzling to look at in some on the most grim, awful period of time we were given to live: the looks, the smiles and a Meryl Streep looking so good we can't wait to be in our 60s. Whether the film is good or not almost doesn’t matter. If it's mid, I don't think I'll even care.

Like so many of us, I’ll be watching because I want to feel something again; because, deep down, I think we’re all still holding on to the idea that things can be a little bit dreamy even in the unperfection of it all.

Style is rarely just about what you wear, but how you wear it. The attitude, the instinct, the way pieces come together without feeling overthought.

The Way She Wears (TWSW) is our way of spotlighting women whose style feels personal, intuitive, and entirely their own. Not trends, not formulas, just a point of view.

Our fourth guests are Oloof and Dujanah, Abu Dhabi born jewelry designers, founders of upcoming label House Janolo. We love their quirky approach to fashion that is so well informed, mixing classic pieces with contemporary ones, always with style. We love their seemingly effortless way to put it all together.

Meet Oloof and Dujanah.

Oloof’s IDs:

Oloof Jarrar , born and raised Abu Dhabi, originally Palestinian -

Co founder of House Janolo and jewelry designer and creative director

When did you know you’d be working in fashion/creative industries?

I’ve always been creative, so it never felt like a big decision, it felt more like following something that was already there. As I got older, I started to understand how to shape that into something real, and fashion just made sense.

I’ve always had an eye for design but also a natural sense of taste and strong instinct across interiors, art, fashion, branding or jewelry. It’s all connected, just different ways of expressing the same perspective.

Who are you fashion icons?

Kate moss, Carrie Bradshaw, Anna Dello Russo, Jane birkin, Rosie Huntington-Whiteley

What are 3 brands you could wear forever?

Saint Laurent, Dries Van Noten, Khaite

Your favorite gem stone?

It’s hard to choose just one, but I’m especially drawn to Paraiba tourmalines, spinels, and aquamarines. Paraibas have that almost electric glow, aquamarines feel very calm and clear, and spinels are interesting because of their range. It reminds me that the same stone can take on completely different personalities.

It’s similar to how I approach style! I don’t fit into one category. It changes with how I feel, there’s always a different vibe.

4 staples everyone should own?

1.Invest in a Great Leather Jacket (Toteme , Khaite , YSL and Nour Hammour all have great ones that will last a long time )

2.Staple sunglasses I love  Jacques Marie Mage , Celine , Toteme and Tom Ford  for sunnies

3.Fun cashmere sweater : Elder Statesman , Adrian Cashmere, Guest In Residence

4.A crisp well tailored tee I love re-done , from Frame and Khaite

⁠A piece worth investing in?

A archival piece from your favorite designer (another version of collecting art)

Your current favourite song, book or tv show?

Song : Pearls - Sade

Tv Show - Outlander

Dujnah's ID:

Palestinian, Abu Dhabi–raised, Co-Founder of House Janolo, Jewelry Designer & Stylist

When did you know you’d be working in fashion/creative industries?

It’s something I always knew, even if I didn’t know exactly what it would look like. From around 14, when my sister and I started a small streetwear project, to deciding to study at Parsons, it was always clear I’d end up doing something creative.

Who are you fashion icons?

Peggy Gugenheim, Diana Vreeland, Miles Davis, Brad Pitt, Elsa Peretti

What are 3 brands you could wear forever?

Saint Laurent, Phoebe Philo, Dries Van Noten

Your favorite gem stone?

It always changes, so I’ll give three for different reasons. My long-time favorite, even before House Janolo, is Paraiba. A stone that constantly inspires my design process are Bi-colour Tourmalines. And more recently, I’ve been drawn to citrines due to their range.

4 staples everyone should own?

1.Colored cashmere socks – my number one styling trick. Even with the most basic outfit, they add something.

Especially on days you don’t feel like trying.

2. A “ludicrously capacious bag”

– something you can throw everything into. I always need a hundred things on me, so this is essential for work, travel, or just daily life.

3. The perfect pair of jeans – harder to find than it sounds. I’m always searching. Vintage is usually the trick beacuse

they stretch and mold to your body. What Goes Around Comes Around in New York has an incredible selection. I’m

also waiting for the Bode x Levi’s drop.

4. A pair of Jacques Marie Mage sunglasses

What are the regional brands you love right now? (joint answer)

There are so many strong designers coming out of the region right now.

In clothing, Espace Meld – 2 incredible friends of mine that do up-cycled, playful couture that’s incredibly creative and unlike anything out there. And Funky Fahad is a classic. A must-visit in Marrakech that has colorful, collectible pieces (don't overlook the headwear). For homeware, Sometimes Studio and Catfish Objects – both Egyptian brands founded by female duos. They play with timeless forms but add this layer of modern eccentricity and maximalism.

A piece worth investing in?

It would be silly not to say House Janolo. But beyond that, a great leather jacket or an everyday black bag – both are

things I find myself reaching for constantly, year-round.

Your current favorite song or tv show?

Song: Right now, Lotus Flower by Radiohead

TV Show: Always Freaks and Geek

Discover House Janolo, here

Beyond just a Design Fair, Milan during Salone feels like a literal takeover, and designers aren't the only one participating.

Fashion houses are reshaping what design week looks like, and more importantly, what their role within it can be. This year, the shift is even clearer. The focus is on the perspective even more than the product iteself; these brands are literally staging a new world.

Here's a tour of nine Maisons that adding their zest to the world of Mobile.

Dior Maison

At Dior, the starting point is heritage, and it evolves from there.

Installed inside Palazzo Landriani, the House presents its Corolle lamps, designed by Noé Duchaufour-Lawrance, a subtle nod to the iconic New Look silhouette introduced in 1947. The reference unfolds through form rather than nostalgia, soft, structured, almost botanical.

The scenography draws from the gardens of Christian Dior’s childhood home in Granville, reinterpreted through a layered installation that moves between organic and graphic. It doesn’t feel like a display. It feels like stepping into a memory, reconstructed with precision.

More on Dior.com

Hermès

With Hermès, the installation becomes a study in rhythm. Designed by Charlotte Macaux Perelman and Alexis Fabry, the space is structured through thirty rectangular columns, arranged in a way that creates both order and movement. You don’t just look at it, you move through it, following lines, pauses, and shifts in perspective.

There’s a subtle repetition to it, echoing the gesture of the artisan. The same movement, refined over time. The same precision, applied again and again.

Objects appear almost incidentally along the way: a cashmere throw, a leather marquetry box, hammered metal pieces catching light at different angles. They’re not isolated but rather sit within the architecture, part of a larger composition of texture, colour, and material.

What emerges is something closer to a landscape than a display.

More on Hermes.com

Loro Piana

At Loro Piana, the focus shifts inward. Presented at the Cortile della Seta, Studies, Chapter I: On the Plaid turns something as familiar as a plaid into a full design language.

Rather than introducing a new object, the House studies one, deeply. Twenty-four plaids are displayed as individual pieces, each exploring a different construction, technique, or material. Together, they form something closer to an index than a collection.

There’s a quiet rigor to it: fibres, yarns, raw materials are shown alongside finished pieces, revealing the process rather than hiding it. Vicuña, baby cashmere, linen, wool, everything sits within the same conversation, not competing, just existing in variation.

More on LoroPiana.com

Ferragamo

Across the city, Ferragamo takes a lighter approach.

At its boutique, silk becomes the medium. The Floating Silk Garden transforms scarves into something almost immaterial, suspended mid-air, drifting through the space like petals.

Rooted in archival prints, florals and references to the Gancini symbol, the installation turns heritage into movement. Material becomes atmosphere.

More on Ferragamo.com

Chloé

With Chloé, the focus isn’t just on re-edition, it’s on what that re-edition represents.

The return of the Tomato Chair, originally designed in 1970, feels less like a nostalgic gesture and more like a statement. Its soft, rounded, almost exaggerated form challenges the idea of structure altogether, inviting a more instinctive, physical relationship with design.

Under Chemena Kamali, the piece finds a natural place within the Maison’s current language. There’s a continuity in the way Chloé approaches softness, fluidity, and ease, not as aesthetic choices, but as a way of thinking about how objects are lived with.

Reworked in naturally tanned leather and produced on a made-to-order basis, the chair retains its original spirit while gaining a new clarity through material and colour.

More on Chloe.com

Bottega Veneta

At Bottega Veneta, the focus stays on material, but pushes it somewhere new. In collaboration with artist Kwangho Lee, the House presents Lightful, a woven light installation that builds on its signature intrecciato language while moving into a more experimental space.

Leather strips are reworked into suspended forms, shaped by hand into organic structures that shift with light and shadow. There’s a sense of tension between control and spontaneity, the precision of craft meeting the unpredictability of material.

What makes it land is the process behind it. Lee worked closely with artisans at the House’s atelier, translating traditional techniques into something more sculptural, almost abstract.

Beyond the object itself, the craft is pushed just far enough to become something else.

More on BottegaVeneta.com

Gucci

With Gucci, it’s less about looking back and more about how memory moves.

Curated by Demna, Gucci Memoria unfolds as a layered narrative rather than a traditional retrospective. At its core are twelve large-scale tapestries, each translating a defining moment in the House’s history into a visual scene, from its Florentine origins to its more recent creative eras. But the exhibition doesn’t sit still.

The iconic Flora motif expands into a full environment, shifting from print into space, while smaller details, like vending machines dispensing drinks tied to fictional personas, introduce an unexpected sense of play.

What comes through is not a fixed identity, but something constantly evolving.

More on Gucci.com

Prada

At Prada, the focus shifts away from objects entirely. Prada Frames returns not as an installation, but as a symposium, this year under the theme In Sight. Curated by Formafantasma, it explores image-making as something far more complex than aesthetics, looking at how images shape perception, politics, and even what we consider to be real.

Across a series of talks and conversations, the programme moves through topics like algorithmic vision, the environmental cost of digital imagery, and the blurred line between truth and representation.

Set within the historic Santa Maria delle Grazie, the experience feels deliberately contrasting, Renaissance architecture meeting contemporary discourse. More than just design as form, it’s about how we see, and what that does.

More on Prada.com

Jil Sander

With Jil Sander, the gesture is quieter.

Reference Library, created with Apartamento, brings together 60 books selected by creatives across disciplines, presented in a minimal, almost ritualistic space. Visitors are invited to slow down, to read, to handle objects with care. In a week somewhat defined by spectacle, it feels almost radical.

More on JilSander.com

There’s a certain image of Bella Hadid that feels fixed. The sharp cheekbones, the runway presence, the ability to shift from vintage Y2K to high-concept couture without losing herself in either. For years, she’s existed at that intersection of fashion and persona, constantly seen, rarely fully known.

Between Us changes that.

A story told from the inside

Released this October by Rizzoli, Between Us isn’t structured like a typical fashion memoir. It doesn’t move linearly, doesn’t over-explain, doesn’t try to frame Bella’s life into something too polished but instead, will unfold through images.

Shot over years by her childhood best friend Yasmine Diba, alongside Bella’s own archive, the book feels less like a retrospective and more like a collection of moments that were never meant to be public. There’s something slightly raw about it, middle school photos, blurry nights, early shoots that don’t yet carry the weight of a career. You don’t feel like you’re being told a story, you feel like you’re stepping into one.

Before the image, there was the girl

At JDEED we love a contrast: the book promises to move between two timelines without forcing a distinction. One is the Bella we know, runways in Paris, campaigns for Yves Saint Laurent, Fendi, global covers, the kind of visibility that rarely allows for privacy.

The other is much quieter: childhood in Malibu, time with Gigi Hadid and Yolanda Hadid, inside jokes, awkward teenage years, long flights, the in-between moments that usually get edited out.

It presents a raw Bella, nostalgic and real.

What happens when the image drops

There’s an honesty here that doesn’t feel curated. Handwritten notes, fragments of text messages, images that don’t quite “fit” the narrative of a supermodel’s rise. It breaks the illusion without trying to dismantle it entirely.

You see the parts that don’t usually make it through, the loneliness, the repetition, the pressure of being constantly visible. There are references to her ongoing journey with Lyme disease, to mental health etc, but they sit alongside everything else.

But Friendship is here, the real narrative...

If there’s a centre to the book, it’s not fashion but the relationship between Bella and Yasmine.

There’s something grounding about having the same person behind the camera for years. Someone who saw everything before it became something else. The images don’t feel like they’re trying to capture Bella Hadid, the model. They capture Bella, the person, before, during, and after everything else. That continuity is what holds the book together.

What to expect

A large-format hardcover, 288 matte-coated pages, Polaroids layered into the layout, margins filled with notes, everything about it leans into tactility. It feels closer to an archive, something you return to rather than read once and we do love this idea becaue truly, we've had enough of everything being somehow disposable.

JDEED's tale

Now look, there’s no shortage of visibility in fashion, what’s rare is perspective. Between Us doesn’t try to redefine Bella Hadid, it just opens a window into how she got here, and what it felt like along the way. Growing up in public, navigating identity, friendship, health, and work in a space that rarely slows down. Personally? We're very excited to dive in.

Details

Between Us by Bella Hadid and Yasmine Diba
Published by Rizzoli
Release date: October 6, 2026
Format: Hardcover
Pages: 288
Price: $45

Right now, creativity in the region feels different; you see it in the way brands are being built, slower, more intentional, less driven by trends and more by meaning.

This World Creativity and Innovation Day (April 21st), it’s not about celebrating creativity as an idea. It’s about looking at the brands that are actually shaping it: they're all around us, from fitness to jewelry, events to childwear.

here's our round-up of the creatives minds building to last.

Âme Studio

Âme Studio approaches creativity through experience.

Working across events, florals and gifting, the studio creates moments rather than objects. Everything is considered, from the smallest detail to the overall atmosphere. It’s quiet, intentional, and deeply personal, redefining creativity as something you don’t just see, but feel.

More info, here

The Burn Room

The Burn Room shifts how we think about performance.

By integrating red light therapy directly into workouts, recovery becomes part of the process itself. It’s a more balanced approach, one that focuses not just on intensity, but on longevity, energy, and how the body actually responds over time. Everything we love at JDEED, because after all, if you feel good in your body, the rest will follow.

More info, here

SWE ME

With The Sway collection, SWE ME brings movement into something traditionally still.

Jewellery becomes responsive, fluid, designed to follow the body rather than sit against it. Lines shift, forms soften, and pieces feel almost alive in the way they move. It’s a subtle shift, but it changes the entire experience, turning jewellery into something more expressive and instinctive.

More info, here

Cullinan Crown

Cullinan Crown doesn’t chase newness.

Instead, it builds around permanence. Inspired by the symbolism of the Cullinan Diamond, the Emirati brand approaches fine jewellery with a sense of structure and restraint. Pieces feel grounded, almost architectural, designed to last rather than to evolve with seasons. It’s a quieter form of innovation, one that sits in craftsmanship, precision, and the idea that luxury doesn’t need to move quickly to remain relevant.

More info, here

Le Paris Diamonds

Le Paris Diamonds sits comfortably between heritage and evolution.

There’s a clear respect for traditional craftsmanship, but the approach feels more global, more open. Exceptional stones remain at the centre, but the design language is lighter, allowing the brand to move forward without losing the depth of its origins. If you want to stand out, Le Paris Diamonds is definitely your best bet.

More info, here

Liberté Fine Jewels

Liberté feels personal from the start.

Newly launched and quietly distinct, the brand treats jewellery as something tied to identity. Each piece marks a moment, a transition, a version of self. The aesthetic is clean, minimal, but never empty. There’s a sense that what matters isn’t just how it looks, but what it carries. We love that idea and we'll be following closely.

More info, here

SHAMS Fine Jewelry

SHAMS moves in a softer direction.

Inspired by light, stillness and memory, the brand strips things back, allowing simplicity to take the lead. There’s an emotional undercurrent to the pieces, something subtle but present, where design feels less about statement and more about feeling. We're also totally bsessed with this coral collection (above).

More info, here

Karina Choudhrie Jewels

With Karina Choudhrie, the process becomes the focus.

Each piece begins as a painting, translating colour, texture and emotion into form. The result feels layered, expressive, and slightly unexpected. There’s no attempt to fit within traditional ideas of fine jewellery, and that’s exactly where its strength sits.

More info, here

Monart Fine Jewelry

Monart approaches jewellery through movement, but in a quieter way.

Soft forms, thoughtful details, and an artistic sense of ease give each piece a quiet presence. Designed to feel natural, expressive, and effortlessly part of the everyday.

More info, here

Baguette Design

At Baguette Design, everything begins with language.

Founded by Emirati designer Fatma Al Bannai, the brand translates words into form. Stories become shapes, memories become lines, resulting in pieces that feel minimal but deeply personal. It’s a refined approach where design holds meaning without needing to overstate it. If you've been reading JDEED for a while you already know we love the brand and what they stand for.

More info, here

Tilahn

Tilahn brings a couture sensibility into childrenswear.

It’s a space that’s rarely approached with this level of intention. Delicate fabrics, careful construction, and a story-led approach give each piece a sense of depth. It’s not about dressing children, it’s about celebrating individuality from the very beginning. Because the little ones in our lives should also celebrate their personal style, from an early age.

More info, here

A different pace

What connects these brands isn’t how they look; it’s how they think.

Esepcially in our regional climate, we're invited to take a step back: less urgency, more intention.
These brands are focusing on building something that lasts. And in that shift, a different kind of innovation begins to take shape.

Déjà Vu is the new exhibition taking over Concrete at Alserkal you won't want to miss. On paper, it’s a large-scale show, 20 galleries, over 50 artists, the first time something like this has been done in the UAE.

It doesn’t feel like a group show

Usually, with exhibitions like this, you can feel the structure. Different galleries, different voices, everything slightly compartmentalised but here, it all kind of blends.

You move through works that don’t necessarily belong together but somehow sit in the same emotional space. There’s no clean narrative, no obvious entry point. It’s more fragmented, a bit disorienting at times, but in a way that feels intentional.

Things repeat, but not in the same way

The title makes sense once you spend some time with it.

The exhibition builds around this idea of repetition, not literal repetition, but the feeling of things happening again, slightly altered, slightly off. It pulls from Raed Yassin’s Déjà Vu and expands it into three loose directions: the uncanny, the absurdity of history, and the instability of language.

You see it in different ways.

Moments where something feels familiar but doesn’t quite land. Works that reference history but don’t feel anchored in the past. Text and symbols that look like they should make sense, but don’t fully resolve.

It’s not heavy-handed. It just sits there.

You don’t really “understand” it, you recognise it

There are names you know, Larissa Sansour, Nabil Anani, Samira Abbassy, Slavs and Tartars, and others you might not. But the experience isn’t about tracking who’s who.

It’s more about how the works speak to each other. Or sometimes don’t. There’s a tension between them, but also a kind of quiet alignment. Memory, identity, conflict, displacement, it’s all there, but nothing is explained too neatly.

And that’s probably why it works.

It feels very now, without trying too hard to be

There’s context behind the exhibition, the fact that it brings galleries together at a time when the art ecosystem needs it.

But it doesn’t feel like it’s trying to make a point about that.

Instead, it reflects something more subtle. The way things feel right now. Slightly repetitive, slightly unstable, hard to fully grasp but impossible to ignore.

You don’t rush this one

It’s the kind of show you move through slowly. Maybe circle back to a few works. Maybe not fully get everything.

And that’s fine. Because Déjà Vu isn’t really asking you to understand it but maybe just to notice the feeling.

‍

Style is rarely just about what you wear, but how you wear it. The attitude, the instinct, the way pieces come together without feeling overthought.

The Way She Wears (TWSW) is our way of spotlighting women whose style feels personal, intuitive, and entirely their own. Not trends, not formulas, just a point of view.

Our third guest is Jude Salem, Dubai-based Communications Manager and tastemaker, whose approach to fashion is so inspiring, mixing staples with edgy pieces, always with style. We fell in love with her effortless vibes and looks (most of which we def pinned on our inspo board.)

Meet Jude.

“Jude’s ID”

Jude Salem, Moroccan/Jordanian, Communications Manager

⁠When did you know you’d be working in fashion?

Probably when I watched the opening scene of The Devil Wears Prada and thought ‘yup. That looks about right’. I have no idea why that scene stuck with me for so long but it really did. I think I manifested it subconsciously as a kid and then one day I realized it was my reality.

Who are you fashion icons?

For me, what I love about fashion is that it should be individualistic and really represent you. I feel like Jane Birkin is such a good example of that. She was just being herself and is now a renowned fashion icon, but she wasn’t trying to be. I love when I see someone dressing completely as themselves – it could be a famous actress, a girl I find on Instagram, or a woman I cross in the street. I feel like as long as you’re authentic, you’re killing it.

"I feel like as long as you’re authentic, you’re killing it. "

‍
What are 3 brands you could wear forever?

Valentino of course! Lol. Beside that, I feel like my style is always just changing and really depends what kind of headspace I’m in. To be honest, I do love having just good basics that make me feel comfortable. I do love brands like Khaite, The Row, Celine, Jil Sander – I just feel like you get pieces that you will love and keep wearing over and over again.

‍
4 staples everyone should own?

Of course, a great pair of denim that makes your bum look good (hehe), and then I repeat white and black t-shirts all the time. White and black tank tops are usually the starting point for whatever I wear. I think everyone does need one flattering black dress, and a beautiful timeless coat.

‍
What are the regional brands you love right now?

I love Be Indie, Nafsika Skourti, Zyne and Bil Arabi jewlery.

⁠Your most special fashion possession?

Everything my mom has ever given me (or I’ve taken without her knowing). She has such good taste and going through her wardrobe is just unbelievable because she has all kinds of pieces for any occasion. Even now, all these years laters, whenever I wear something of hers I get a compliment.

‍
A piece worth investing in?

For me I do love a bag. I am a sucker for a huge bag – I have a huge Balenciaga City bag that has been with me through everything the last 10 years. I still carry it and people love that it looks destressed – and I always joke like it really is stressed because it’s had to stick by me through some crazy times. I do love a Bottega Veneta Andiamo too – I am a sucker for a big bag honestly.

Your current favourite song, book or tv show?

Asking a libra their favorite anything immediately sends them into a panic. I love music, books, films, so choosing one is impossible. At the moment, I am re-watching a lot of Wes Anderson films, and listening to a bunch of random music, from The Smiths to Sombr, to the Cranberries, to Kid Cudi. Make it make sense lol.

Nothing extreme this month. Just things that feel good enough to come back to in these mad times.

Emirates Palace Mandarin Oriental, Abu Dhabi

This is more of a full-day reset than a quick visit: you go in with no real plan and let the day take shape.

The Bathing Rituals are a good place to start, running every Tuesday (Turkish) and Wednesday (Moroccan), 10am–1pm, at AED 150 per person. It’s simple, but grounding, and you can build on it if you feel like it, with optional hammams or massages.

Then there’s Spring Awakening, running throughout April (so like, hurry up-ish), where you can mix treatments depending on how much time you want to spend, 90 minutes (AED 800), 120 minutes (AED 1,200), or 150 minutes (AED 1,500).

If you don’t want to commit to treatments, the Palace Luxe Pass works just as well, 10am to 6pm, from AED 600 per couple, giving you a room, beach and pool access, and space to just switch off.

More info, here

AWAKEN Spa at Atlantis The Royal, Dubai

This one is more structured, in a way that actually works.

The Fitness & Recovery Daycation, available until 30 April, is AED 380 per person, and includes gym access (indoor and outdoor), a cold plunge session, the lap pool, and a full day at Nobu by the Beach with a sunbed.

If you want something slower, the Spa Day Retreat is AED 1,020, with a 90-minute massage, a 30-minute facial, and full access to the Elements facilities and pools.

It’s one of the few places where recovery, movement and downtime all sit in the same day.

More info, here

The Uncommon Club x Marasi Bay, Dubai

This is less about running and more about building a habit that actually sticks.

Every Saturday morning, the group meets at 6:45am at The Lana, with a 7am start, and runs along the Dubai Canal for about 45 minutes. It’s guided, paced, and split into different groups, so you’re not trying to keep up with anyone, you’re just moving at your own rhythm.

What makes it work is everything around it. The setting is calm, the route is genuinely scenic, and it ends with coffee at the promenade, which turns it into something social rather than something you have to push yourself through.

It’s one of the few things that doesn’t feel like a “wellness commitment,” but still gives you that reset feeling before the weekend really starts.

More info, here

NETTE, Dubai

This month, we’ve also been leaning into small things that make everyday routines feel a bit better, like what you reach for in between everything else.

NETTE just dropped a new line of smoothies, and it’s the kind of launch that makes sense right now. Nothing complicated, just blends that fit into your day depending on how you feel.

They’re built around function, but it’s not in your face. More like you pick what you’re in the mood for and the benefits come with it. Dragon Glow is one of the easiest ones to come back to, with dragon fruit, strawberries, banana, coconut milk, flaxseed and vegan protein, light, but still filling.

If you want something more tropical, Golden Passion mixes passion fruit and mango with hojicha and collagen, while Sunrise Immunity leans more toward a morning reset, orange, pineapple, ginger, carrot, the kind of thing you grab when you feel like you need to rebalance a bit.

There are also heavier options like Morning Fuel, with oats, almond butter, chia seeds and protein, which actually holds you over, and Cacao Dream, which feels more indulgent but still works as an energy boost.

For something lighter, Green Goddess and Ocean Glow sit more on the calming side, greens, spirulina, fruit, simple blends that feel easy to digest and good to come back to when you want something less heavy.

What works is how flexible it all is. You can add collagen, protein, or keep it as it is. It doesn’t feel like a “wellness drink,” it just feels like something that fits into your day without overthinking it.

More info, here

Meliá Desert Palm, Dubai

This is one of those places that feels far from Dubai, even though it’s only about 20 minutes away.

Set on a large polo estate surrounded by greenery, the whole point here is space. You’re not walking into a typical spa environment, you’re stepping into something quieter, slower, and much more open.

The breathwork and sound healing sessions are what draw you in, running every Tuesday and Thursday at 10am, and they’re completely complimentary. You sit in the wellness studio, guided through breathing exercises that help regulate your nervous system, followed by sound healing that uses vibrations and frequencies to bring your body into a calmer state. It’s simple, but it works.

What makes it different is the setting around it. You’re not rushing back into the city straight after. You can stay, walk around the estate, sit by the pool, or even turn it into a proper reset day. There’s also a daycation option (around AED 499) which includes a one-hour massage, pool access overlooking the polo fields, and a meal, so it naturally extends the experience without overcomplicating it.

Beyond that, the space itself is built for longer stays if you want it, with a full spa, yoga and fitness classes, and even horse-related experiences tied to the estate. But honestly, even just going for one session is enough to shift your day.

More info, here

Sohum Wellness Sanctuary, Dubai

This is where wellness slows down properly.

Set in Al Quoz, Sohum feels less like a spa and more like a space you spend time in. It’s open daily from 9am to 9pm, and everything is built around Ayurveda, not as a trend, but as a full system. The idea is balance, mind, body, and energy all working together, not just fixing one thing at a time.

You can go for treatments, but they’re not the kind you rush through. Massages like Abhyanga (warm oil therapy) or Shirodhara are designed to calm the nervous system, improve circulation, and help with sleep, so it’s as much about how you feel after as during.

Pricing sits around AED 500 for a 60-minute aromatherapy massage and AED 700 for a 90-minute treatment

But what really makes Sohum different is everything happening around those treatments.

Throughout the month, they run a mix of sessions that feel more immersive than transactional, sound healing, breathwork, yoga, and full moon ceremonies. A typical full moon session, for example, runs in the evening and is around AED 375, combining breath, sound, and guided reflection.

There are also deeper, longer experiences, workshops and immersive sessions that can go up to around AED 1,900+, depending on the facilitator and format.

The space itself plays a big role. Treatment rooms, steam, sauna, hydrotherapy, and quiet areas all flow into each other, so you don’t feel like you’re just there for one appointment. You stay, move around, take your time.

It’s not quick wellness. It’s the kind you settle into.

More info, here

Mandarin Oriental Downtown, Dubai

The moment that fits perfectly into your routine. The Mandarin Pass gives you a full day from 7am to 8pm, priced at AED 400 per person, fully redeemable on food and drinks, with access to the pool, gym, sauna and steam.

For something more structured, Sunrise Flow runs every Saturday at 7:30am, priced at AED 150, combining yoga with breakfast after.

And if you want a treatment, the 60-minute Reset is AED 475, focused on breath, tension release and bringing everything back into balance.

More info, here

FAINE Journals

This isn’t just about journaling, it’s more about creating a space for yourself that doesn’t require anyone else.

FAINE is a Dubai-based brand built around the idea of intentional living through small, everyday rituals. It sits somewhere between wellness and lifestyle, with products designed to make you slow down, reflect, and reconnect, but in a way that still feels aesthetic and part of your daily life.

The journals are really the core of it. Each one is built around a specific emotional space, not just “wellness” in a general sense. There’s a Wellness Journal for daily habits and routines, but also more specific ones like Heartbreak and Grief journals, designed to help you process things at your own pace.

What makes them different is that they’re not trying to fix you. They’re more like a tool you come back to when you need to. Some days you write, some days you don’t, and that’s fine. There’s also a deeper layer to the brand. It actually started from a very personal place, the founder created the first journals while going through grief, wanting something that felt less clinical than therapy and less overwhelming than talking.

That’s why it feels the way it does. Not overly structured, not too heavy, just something that sits with you when you need it.

In terms of price, journals are around AED 129, with other personalised pieces going up to around AED 190–250, depending on the item.

It’s simple, but it adds something.

More info, here

Haruharu Wonder now at Ulta Beauty

https://www.ulta.com

Keeping skincare simple this month.

The brand focuses on daily consistency, using fermented ingredients like black rice to support long-term skin health. Products are designed to be used every day, without overwhelming your routine.

For A Getaway...RXV Wellness Village, Thailand

And for a trip… this is the one you plan with intention.

Set on a 50-acre heritage estate along the Tha Chin River, about an hour from Bangkok, RXV isn’t built around one idea like detox or weight loss. It’s designed to look at everything together, your lifestyle, your energy levels, your stress, your sleep, and build something around that.

Every stay starts with a full consultation, including a doctor session, fitness assessment, and mineral analysis, which then shapes your entire programme. From there, you move between different zones, a medical clinic for treatments like IV therapy and cryotherapy, a movement space focused on strength and neuromuscular training, and a more restorative area built around traditional therapies like Thai massage, Ayurveda, and sound healing.

Programmes are structured over 3, 5 or 7 nights, starting from around THB 67,000, (USD 2000) depending on the focus, whether it’s stress, detox, physical recovery, or something more personalised.

What stands out is how balanced it feels. It’s clinical, but not cold. Structured, but not rigid. You don’t just go there to switch off, you go to understand what’s actually going on, and leave with something you can carry back into your routine.

More info, here

Zeyne’s AWDA tour was always going to feel bigger than a run of dates. Maybe it’s the album itself, maybe it’s the fact that awda means return, or maybe it’s because her live world already feels built around memory, movement, and the kind of feeling that refuses to stay on record.

This September, that world lands across nine European cities, starting at KOKO in London on September 1, then moving through Dublin, Brussels, Paris, Amsterdam, Berlin, Milan, Barcelona, and Istanbul. KOKO’s listing describes her live show as emotionally intense and globally resonant, which tracks.

So if Zeyne is going on tour, we already know where we’re eating. Not just anywhere, and definitely not whatever is closest to the venue. We’re talking Palestinian restaurants, Palestinian-owned kitchens, and in the cities where permanent spots are still scarce, the pop-ups and community tables keeping the culture alive.

By Cynthia Jreige

London

‍London is the easy one, because the scene is rich and varied enough to make the whole trip revolve around food if you let it. Akub is the obvious first stop: Fadi Kattan’s Notting Hill restaurant describes itself as a Palestinian table built around the diversity of ingredients and traditions from the region, with sharing plates rooted in hospitality. It’s the pre-show dinner if you want something elegant without losing the soul of it.

Then there’s Hiba, a family-run spot bringing “the tastes of Palestine & Lebanon,” with a kitchen led by the family matriarch, which makes it exactly the kind of place you want for the after-show comedown. And if the appetite swings more breakfast or lunch, Café Palestina is the softer, more home-style detour. More than a restaurant, this is a community space. Think brunches, supper clubs, and a very homey atmosphere. It genuinely feels like being invited into someone’s house.

Dublin

‍Dublin has more of a community feel to it. Bethlehem calls itself the first restaurant of its kind in the city, serving real homemade Palestinian cuisine in the heart of Dublin, and honestly that’s reason enough to go. Madleen is another one, currently operating as an authentic Palestinian pop-up in Dublin and donating a portion of proceeds to Gaza, which gives it a sense of urgency and care beyond the meal itself. And then there’s Umi Falafel, which may read more casual on paper, but its menu openly names a “Palestinian Falafel,” served in Palestinian bread with hummus, pickles, fried aubergine, parsley, chilli, and tahini, which feels like the sort of thing you eat before doors open and think about again on the flight home.

Brussels

Brussels is where it starts getting very good. Olives Restaurant in Saint-Gilles is explicit about what it is: a tribute to Gaza, to Palestinian culture, and to the dishes of grandmothers’ kitchens. That’s exactly the energy we want. Jerusalem Old City is another strong stop, built around original Palestinian dishes from Jerusalem and served with the kind of generosity that usually means you’ve ordered the right thing. Jaffa sits slightly more in the broad Levantine lane, but it’s still a local favorite for mezze and long, easy meals.

Paris

Paris is trickier, because the Palestinian restaurant landscape is still surprisingly thin, but Ardi remains essential. More than one source calls it the city’s only Palestinian restaurant, and what keeps coming up is the feeling that it’s less a conventional restaurant than a living cultural space, with Rania, its French-Palestinian founder, building it around home cooking, crafts, and a sense of welcome. If we’re in Paris for Zeyne, this is where we’re going before anything else.

After the show, we're running to Dirty Lemon Bar; we have it saved on Instagram since at least a year and have been pre-salivating just reading the menu. It's not strictly Palestinian, but important: chef Ruba Khoury brings Palestinian roots into a modern Paris bistro format. Also there's a Doudou made with mezcal if you needed any more convincing.

Amsterdam

Amsterdam is where the itinerary shifts from fixed addresses to the people carrying Palestinian food through workshops, pop-ups, and traveling cafés. Tabaria Café describes itself as a Palestinian cultural pop-up dedicated to helping Palestinians in exile reconnect with their roots and educating others about Palestinian heritage. Sawa48 has positioned itself as a warm gathering space for Palestinians and allies, while collaborating on cooking workshops around dishes like maqluba. Nour Kitchen, through chef Nour Elnono, is also part of that ecosystem, bringing Palestinian food to shared tables across the city. So in Amsterdam, the move is less about a permanent restaurant and more about following the community.

Berlin

‍Berlin has range. Alin Gaza Kitchen is probably the clearest Palestinian address, serving vegan and vegetarian specialties from Gaza based on family recipes near Mauerpark. Casalot, whose own materials note that the owners come from Iksal near Nazareth, is more expansive and all-day, with the kind of broad Arabic menu that works when you’re feeding friends before heading to Säälchen. Simsim rounds it out with a homey Levantine menu that explicitly references Palestinian, Syrian, and Lebanese kitchens while “bridging the gap between authenticity and modernity,” which feels entirely on theme for Zeyne’s crowd.

Milan

‍Milan is an easy yes, mostly because Street Food Betlemme seems to come up every time anyone asks where Palestinian food lives in the city. It’s widely described as a point of reference for the Palestinian community in Milan, and the reviews are full of the right words: warm hospitality, real flavor, neighborhood favorite. It’s the sort of place you want before a show at Santeria Toscana 31, when all you really need is shawarma, falafel, hummus, and the certainty that you picked the right address.

Barcelona

Barcelona gives us Askadinya, which is luckily all we need. The restaurant calls itself a Palestinian restaurant serving authentic dishes made with fresh, high-quality ingredients in a stylish Gràcia setting, and another listing describes it as Mediterranean food with a Palestinian spirit. That sounds exactly right for a city stop that wants to feel easy, warm, and slightly bohemian before heading to Sala Apolo.

Istanbul

Istanbul might be the city on the route where the options feel most abundant. There’s SEKA in Beyoğlu, described as a Palestinian restaurant near Taksim Square serving classics like falafel, hummus, and fattoush, and there’s Baraka, which identifies itself openly as a Palestinian restaurant in Istanbul, complete with heritage atmosphere and Palestinian breakfast. If London is where you start with a flourish, Istanbul feels like where you end by eating properly.

Maybe that’s the real tour map. Not just venues and dates, but the kitchens around them. The places where return takes a different form each night, through olive oil, musakhan, falafel, pickles, breads, smoke, and all the recipes that keep moving with people long after they’ve crossed borders.

CHEAT SHEET

Zeyne AWDA Tour — Tickets & Where We’re Eating

London — September 1

🎟️ Tickets: https://www.livenation.co.uk/zeyne-tickets-adp1602111
🍽️ Akub Restaurant – https://www.akub-restaurant.com/
🍽️ Hiba Street Food – https://www.hiba-express.co.uk/hiba-street/
🍽️ Café Palestina – http://cafepalestina.co.uk/

Dublin — September 3

🎟️ Tickets: https://www.ticketmaster.ie/artist/5586399?venueId=196813
🍽️ Bethlehem Restaurant – https://bethlehemrestaurant.net/
🍽️ Madleen (Pop-up)
🍽️ Umi Falafel – https://umifalafel.ie/

Brussels — September 5

🎟️ Tickets: https://botanique.be/en/concert/zeyne-2026
🍽️ Olive Restaurant – https://olivegaza.be/
🍽️ Jerusalem Old City Restaurant – http://www.jerusalemoldcity.be/
🍽️ Restaurant Jaffa

Paris — September 7

🎟️ Tickets: https://www.livenation.fr/zeyne-tickets-adp1602111
🍽️ Ardi Concept Store – https://ardi-palestine.com/

Amsterdam — September 9

🎟️ Tickets: https://tolhuistuin.nl/en/events/zeyne
🍽️ Tabaria Café (Pop-up) – https://www.tabaria.org/
🍽️ Sawa48
🍽️ Nour Kitchen (Pop-up)

Berlin — September 11

🎟️ Tickets: https://www.ticketmaster.de/event/zeyne-awda-eu-tour-2026-01042026-tickets/1140402887
🍽️ Alin Gaza Kitchen
🍽️ Casalot – https://casalot.de/
🍽️ Simsim Restaurant

Milan — September 14

🎟️ Tickets: https://www.ticketone.it/artist/zeyne/
🍽️ Street Food Betlemme
🍽️ Nun Taste of Middle East – https://www.nunmilano.com/

Barcelona — September 16

🎟️ Tickets: https://feverup.com/m/523714
🍽️ Askadinya – https://www.askadinyabarcelona.com/

Istanbul — September 18

🎟️ Tickets: https://www.passo.com.tr/tr/etkinlik/zeyne-salon-iksv-konser-biletleri/10380320
🍽️ SEKA Palestinian Restaurant
🍽️ Baraka Restaurant

Something is shifting, and it’s happening in the most familiar place: the kitchen. Across the region and its diaspora, a new generation of Arab founders — many of them women — are returning to food not to preserve it exactly as it was, but to see what it can become.

What they’re building sits somewhere between memory and intention, where staples we’ve always known are being reintroduced with a new kind of clarity.

Olivié

Olivié belongs to a new wave of brands treating olive oil with the same attention usually reserved for wine or perfume. The focus is on origin, sourcing, and transparency, bringing the product back to its roots while elevating how it’s experienced. It reflects a broader shift in how younger founders are approaching food: not as background, but as something worth understanding. Something worth choosing deliberately.

More info, here

Ya Albi

Ya Albi is deeply personal. Founded by Palestinian-American designer Yasmeen Abouremeleh and her mother, the brand was never just about olive oil. It was about continuity.

Growing up between the US and Palestine, Abouremeleh understood early on that food carried meaning beyond the plate. Olive oil was care, ritual, identity. Today, Ya Albi works directly with farmers in the West Bank, turning each bottle into something that connects land, memory, and diaspora in a tangible way. We're also absolutely obsessed with her merch, ranging from cute tees to keyholders and even the most cutesy (yes we hate this word too) disposable camera you've ever seen.

More info, here

Hayati Goods

Hayati Goods is deeply personal, in a way that feels immediately clear once you understand where it comes from. Founded by Palestinian-American Yasmine Borno, the brand started with a simple but pointed observation: Arabic food was often reduced, mislabelled, or stripped of its identity, especially in Western markets.

After nearly a decade working in the food industry, Borno saw a gap for something that felt both modern and true to its origins. “Hayati,” meaning my life in Arabic, isn’t just a name, it’s a reflection of how the brand was built, around the food she grew up with, from za’atar manakeesh to long, shared breakfasts rooted in family and routine.

The brand launched with a Palestinian-style green za’atar, but the intention goes beyond a single product. It’s about giving Arabic pantry staples the visibility they’ve rarely had, presenting them with care, design, and context, without diluting what they are.

There’s also something quietly assertive in how Hayati positions itself. Not trying to make Arabic food more “accessible,” but insisting on naming it correctly, owning it fully, and letting it exist on its own terms.

In that sense, it sits at the heart of this new wave.

More info, here

Picklini

Picklini starts from something familiar: pickles, the kind that have always been on the table, passed around without much thought. But here, they’re given a new kind of attention. The brand builds around a simple idea, taking something deeply rooted in regional food culture and treating it with the same care, identity, and presence as anything else in the pantry.

There’s a sense of playfulness to it, from the tone to the product itself, but it’s grounded in intention. The pickles are made without sugar, preservatives, or additives, keeping them close to the way they’ve always been prepared, just presented differently.

What stands out is how naturally it sits between nostalgia and now. It doesn’t try to reinvent the product, and it doesn’t over-explain it either. It simply reframes it, turning something everyday into something you notice again.

In the same way as the rest of this list, it’s less about changing tradition.

More info, here

Táche

Táche brings a different kind of product into the conversation, but the intention feels familiar. Founded by Iranian-American Roxana Saidi, the brand started from something deeply personal: pistachios, a staple in her upbringing, both culturally and at the table.

What began as homemade pistachio milk in 2015, during California’s drought, quickly evolved into something more considered. Saidi wasn’t just looking for an alternative to dairy, but for something that felt aligned with both taste and sustainability, pistachios requiring significantly less water than almonds while offering a richer, more distinct flavor.

Launched in 2020, Táche became the first brand to position pistachio milk as a category of its own, moving away from the expected almond and oat landscape.

But beyond that, it reflects something larger.

Like many of the brands in this list, it starts from a cultural reference point and builds outward. Taking something familiar within Middle Eastern and Persian households and reframing it for a global audience, without losing its origin in the process. Now we desperately need a regional point of sale.

More info, here

Good Girl Snacks

Good Girl Snacks isn’t just about pickles, it’s about reframing an entire category. Founded by Leah Marcus and Yasaman Bakhtiar, two best friends with Middle Eastern roots, the brand came out of a simple realization: the snack aisle felt outdated, and no one was speaking to their generation.

What started as an observation quickly turned into something bigger. Both founders, coming from Persian, Egyptian, and Tunisian backgrounds, grew up with pickles as a staple, something present at every table, but rarely given much attention.

With Good Girl Snacks, they decided to change that. Their now-viral “Hot Girl Pickles” take that familiarity and push it forward, through bold flavors like honey harissa or turmeric dill, and a branding language that feels unapologetically current.

But what really defines the brand isn’t just the product, it’s the perspective. It’s about taking something that’s always existed within Middle Eastern food culture and making it visible again, but this time through a lens that speaks to a younger, global audience.

More info, here

Switch Foods

Switch Foods approaches the same conversation from a different angle. Founded in the UAE by Edward Hamod, the brand looks beyond presentation and asks what happens when you rethink the ingredients themselves. By creating plant-based versions of regional staples like kebab and shawarma, it taps into familiar flavors while responding to a growing demand for more sustainable food systems. It’s a shift that doesn’t reject tradition, but adapts it, allowing it to evolve alongside changing habits.

They've also had a collaboration with Al Safadi running for a few years now, and all we can say it's that we've tried and approved. The hummus b lahme with Switch meat is just absolutely phenomenal. Please do yourself a favor and get it for lunch.

More info, here

At a certain level of craftsmanship, a watch stops being about time. With its latest High Watchmaking releases, Gucci measures hours and build worlds: worlds built from memory, from archive, from an almost obsessive attention to detail that feels closer to couture than horology.

Unveiled in Geneva, the new additions to the G-Timeless Métiers d’Art and GUCCI 25H collections move between two distinct ideas of luxury: one rooted in storytelling, the other in precision.

The Métiers d’Art pieces are where Gucci leans fully into its narrative language. Drawing from archival silk scarves, some dating back to the 1960s and 70s, each dial becomes a miniature composition. Micro-painted florals, hand-engraved creatures, layers of onyx, opal, mother-of-pearl: everything is placed with intent, everything built by hand.

One piece revisits the iconic Flora motif, originally illustrated by Vittorio Accornero, but here it feels less like a print and more like a living surface. Flowers don’t just sit still, they literally shift with light. A dragonfly appears mid-motion. Even the tourbillon, placed at twelve, feels like part of the composition rather than a technical interruption.

Elsewhere, the work of feather artist Nelly Saunier introduces a different kind of texture. Each feather is selected, placed, and layered by hand, creating gradients that move between softness and precision.

There’s a sense, across these pieces, that Gucci is less interested in modernising heritage with their archive more than just referenced but beautifully reworked. Pulled apart, translated, and rebuilt through techniques that demand time, patience, and a certain kind of obsession. Then comes the shift.

The GUCCI 25H approaches the same idea of craftsmanship from a completely different angle. Where Métiers d’Art is intricate and narrative, the 25H is architectural. Clean lines, an ultra-thin case, a skeletonised interior that exposes the mechanics rather than conceals them. But even here, Gucci resists restraint.

The latest iteration introduces a frame of rainbow sapphires, each one cut and set by hand, creating a spectrum that moves around the dial like light refracted through glass. might be bold and excessive, yes, but it is controlled.

What ties both collections together is a very specific understanding of luxury. In the end, these pieces don’t just tell time: they hold it.

More on www.Gucci.com

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.

Last Updated April 9th

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, HERE

For those specifically wishing to help displaced families, click on this 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, click HERE for donations

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

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) is providing treatment for children and caregivers. To donate: Cash or Bank Transfer, call +961 70 247 145 or on this LINK

LEBANESE FOOD BANK: Donate HERE

LFB’s core mission is to provide food to those in need across Lebanon, without discrimination of any kind, whether based on religion, political affiliation, geography, identity, or nationality. At the same time, the organization works to raise awareness around food waste and promote more responsible ways of managing food resources. LFB is part of the Food Banking Regional Network in Dubai, under the Global Food Banking Network, and has been audited by Deloitte Touche since 2016.

EQUIPPING LEBANON'S FIRST RESPONDERS: GO FUND ME LINK HERE

STOUH BEIRUT: To donate, click HERE

Stouh Beirut is committed to supporting vulnerable communities, with a focus on children, youth, and women, by addressing their most essential needs. Through access to medical care, basic assistance, and continuous advocacy, the organization works to improve well-being and ensure that their rights are protected.

‍

GIVE ME A PAW, LINK HERE

For donations outside of Lebanon, click here

‍

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.

‍

Roanne El Alaili’s style is instinctive, expressive, and unapologetically colorful. The Swiss-Lebanese founder of pre-loved fashion app &Again approaches fashion as a form of intuition rather than structure, dressing by feeling rather than following any set rules.

There’s something inherently playful in the way she puts things together, a sense that clothes are less about perfection and more about expression, about wearing what feels right in the moment and letting that guide everything else. Dressing up her Barbies, sketching, cutting fabrics, putting things together before she even knew what that meant: it was never about clothes alone, but about expression.

The Way She Wears (TWSW) is our way of spotlighting women whose style feels personal, intuitive, and entirely their own. Not trends, not formulas, just a point of view.

Roanne’s ID:

Roanne El Alaili, Swiss Lebanese, Fashion Tech founder

When did you know you’d be working in fashion?

Could have been the day I only played with my Barbie’s clothes instead of the actual dolls. I used to make sketched and cut up fabric (my daughter does that too) and I’ve always been quite theatrical, even from a young age. Receipt in the pics. Expressing myself through my outfits is at the core of who I am.  

Who are you fashion icons?

Iris Apfel, Cher, Elsa Schiaparelli

‍
What are 3 brands you could wear forever?

Moschino (vintage and new), Escada (vintage), Versace (vintage)

Four staples everyone should own?

A vintage denim jacket, some funky conversation piece heels, a bag that doesn’t look like a bag, a perfect little sexy cute summer dress

What are the regional brands you love right now?

Patile (csb graduate), Sanne, Emergency Room

‍
Your fashion most special possession?

My mother’s pieces. There’s a Moschino cropped blazer that I love. It represents her so completely.

A piece worth investing in?

I don’t see fashion as investments. It should just be fun.

Your current favourite song, book or tv show?

Sunny - Bobby Hebb ( i like oldies and in these times, def need some sun in my brain) Sade / paradise (in stuck on it again, and will never get over it).

Fav jeans?

This is always such a hard question because for the longest time buying jeans was the fear of my life cause I got a bunda and could never find a good waist to badoinkdoink ratio (understand waist-butt ratio). So I stopped looking at sizes and started modifying my denim. But right now my favourite baggies are thrifted Topshop and my overall fave are Agolde.

There’s something about Elusive Territories that doesn’t sit comfortably, and that’s exactly the point.

Opening at Zawyeh Gallery in Alserkal, the exhibition brings together fifteen Palestinian artists, but it doesn’t feel like a group show in the traditional sense. It feels more like fragments of something larger, scattered, unfinished, still searching. Not for answers, but for a way to hold onto something that keeps slipping.

What you notice first isn’t a single narrative, but a repetition of feeling. Memory shows up everywhere, not as nostalgia, but as something heavier, something that lingers. In some works, it’s soft and almost comforting, like Samia Halaby’s landscapes that carry the quiet of a sunset you can almost step into. In others, it’s dense and suffocating, like Bashir Makhoul’s layered compositions that feel like cities built on top of themselves, holding more than they can carry.

And then there’s the absence. Not loud, not declared, but present in the way space is treated. Mohammed Joha’s work, for example, doesn’t just depict displacement, it feels constructed from it. The materials, the layering, the fragility of it all, it mirrors a kind of architecture that was never meant to last but somehow does.

What’s interesting is how often abstraction becomes the language here. Not as a stylistic choice, but almost as necessity. When something can’t be fully said, it gets broken down into color, into texture, into rhythm. Kamal Boullata turns memory into geometry, into something you can almost read like music. Sliman Mansour strips language down to a single letter and lets it exist as form, not just meaning.

There are moments of softness too. Nabil Anani’s landscapes feel almost utopian, like a version of Palestine that exists somewhere between memory and hope. Trees grow freely, colors feel generous, and for a second, you’re allowed to imagine what it would look like if things were simply… normal.

But the exhibition never lets you stay there for too long.

Because just as quickly, it shifts. Into disorientation, into fragmentation, into the quiet reality that runs underneath all of it. Benji Boyadgian’s work, for instance, plays with perception in a way that makes you question what you’re looking at, while Yazan Abu Salameh brings in materials like concrete and everyday objects, grounding everything back into a reality that is far from abstract.

What ties it all together is this constant tension between holding on and letting go. Between imagining a future and being pulled back into a present that doesn’t quite allow it. And maybe that’s what makes Elusive Territories feel so relevant right now.

Because beyond the context of Palestine, the exhibition taps into something broader, something a lot of people in the region are quietly navigating: The idea of home not as a fixed place, but as something carried, reassembled, and sometimes reimagined just to make sense of things.

It’s not an easy exhibition, and it’s not meant to be, but it stays with you, in that quiet, unresolved way.

ZAWYEH GALLERY

Alserkal

opens April 4th

There is a certain kind of creative who doesn’t just tell stories, but finds them where most people would not think to look: in kitchens, in routines, in the quiet gestures that often go unnoticed. For Lebanese creative director and filmmaker Joseph Hanna, those are the moments that matter most.

Based in Lebanon and working across film, fashion, and advertising, Hanna has built a reputation for creating visuals that feel both cinematic and deeply personal. As the founder of C’est Joseph, his work moves fluidly between luxury campaigns and emotionally driven narratives, always grounded in a strong sense of storytelling and a visual language that feels intentional, bold, and unmistakably his.

With more than a decade of experience, his trajectory reflects a balance between imagination and precision. From international campaigns across fashion, jewelry, and lifestyle to award-winning films, Hanna’s projects consistently blur the line between commercial and artistic. His short film Yeprem: The Spark of a Legacy became a global success, telling the story of transformation, resilience, and ambition, earning recognition at Cannes Lions 2025 and beyond.

But beyond the accolades and global recognition, what defines Hanna’s work is something quieter. A sensitivity to detail, and an ability to elevate the ordinary into something worth pausing for; his latest project captures exactly that.

What began as a simple, almost mundane moment at home slowly transformed into a film rooted in memory, culture, and emotion. Like many Lebanese mothers, his mother never lets anything go to waste. Over time, a Jacquemus fabric bag he had gifted her stopped being just a fashion object. It became part of her everyday life, used for groceries, for storing zaatar, keshk, labneh, seamlessly absorbed into the rhythm of her routine.

There is something deeply familiar in that image. The way luxury dissolves into daily life. The way objects are repurposed, reimagined, given new meaning through use. That contrast is what stayed with him.

The tension between the polished world of fashion and the raw, honest way the bag was being used at home felt real in a way that no campaign could replicate. It spoke to something deeply rooted in Lebanese culture, the instinct to find value in everything, to make something out of what is available, to turn even the simplest object into something purposeful.

Hanna chose to approach the project with restraint. The film is cinematic, but never overworked. Emotional, but never forced. It unfolds naturally, allowing the story to speak for itself.

At its core, it is not really about the bag. It is about his mother.

A tribute to Georgina, who, like so many mothers, moves through life with a quiet resourcefulness that rarely seeks recognition. In her hands, the bag becomes something else entirely, not a symbol of fashion, but of care, practicality, and love. A reminder that value is not defined by where something comes from, but by how it is used.

There is also something gently ironic in the fact that she does not know who Jacquemus is. And yet, in many ways, she gives the object more meaning than the brand itself ever could.

The film becomes a reflection of that idea. That beauty does not always live in intention, but often in instinct. That creativity is not always constructed, but lived.

For Hanna, whose work often merges Lebanese identity with a global visual language, this project feels like a return to something essential. A reminder that the most powerful stories are not always the ones that are imagined, but the ones that already exist around us, waiting to be seen.

In a world that constantly looks for the next big idea, there is something refreshing about turning inward instead. About finding inspiration in the everyday, and treating it with the same care and attention as anything else.

Sometimes, the most meaningful stories are the ones that were already there all along.

See the film on Instagram now - click here

There is something quietly powerful about choosing local and to do it not as a trend, not as a moment, but as a mindset. In a city that moves fast and often looks outward, turning your attention inward can feel almost radical.

Cinema Akil has always understood that. Long before “support local” became part of everyday language, the independent cinema built its identity around storytelling, community, and the people behind both. Now, with the launch of the (Imperfect) Homegrown Guide, that same ethos is being extended beyond the screen.

At first glance, the guide reads like a directory, but spend a few minutes with it, and it becomes something else entirely. A living, evolving map of the UAE’s independent spirit, bringing together more than 2,500 homegrown businesses across sectors that range from fashion and retail to wellness, food, and the creative industries.

It is not polished, and that is precisely the point. The word imperfect here feels intentional: it reflects the reality of building something from the ground up, often without the safety nets that larger, established systems provide. It also mirrors the nature of the community itself, one that is constantly growing, shifting, and redefining what it means to create locally.

What makes the guide compelling is not just its scale, but its purpose. It is designed to be returned to, whether you are looking to shop more consciously, discover new creatives, find collaborators, or simply understand the ecosystem that exists around you. It invites participation rather than passive browsing, encouraging users to contribute, connect, and build alongside one another.

In many ways, it captures a broader shift that has been unfolding quietly across the region. A move toward local-first thinking that is less about exclusivity and more about sustainability, not just economically, but culturally. When homegrown supports homegrown, something larger begins to take shape, not just a network, but a sense of shared momentum.

Cinema Akil’s role in this feels natural: since its beginnings as a nomadic cinema, it has positioned itself as more than a venue, acting instead as a platform for stories, conversations, and community. The guide feels like an extension of that vision, a way of turning the spotlight outward and allowing others to take center stage.

And perhaps that is what makes it resonate. It does not try to define what the local scene should look like. It simply creates the space for it to exist, in all its complexity, creativity, and imperfection.

Because in the end, supporting local is not about a single purchase or a passing moment. It is about choosing, again and again, to invest in what is being built around you.

Style is rarely just about what you wear, but how you wear it. The attitude, the instinct, the way pieces come together without feeling overthought.

The Way She Wears (TWSW) is our way of spotlighting women whose style feels personal, intuitive, and entirely their own. Not trends, not formulas, just a point of view.

We begin with Dania Sawedeg, Dubai-based fashion PR and co-founder of jewelry brand Kamushki, whose approach to dressing feels as considered as it is effortless. We fell in love with every single outfit she would post on her stories, and we asked if she could send over her #MirrorSeflies, cause honestly.... just keep reading and you'll understand. We want it all!

WHO ARE YOU?

Dania Sawedeg, Libyan, PR @Z7 & Co founder of Kamushki Studio
‍

WHEN DID YOU KNOW YOU'D BE WORKING IN FASHION?

I've always loved fashion and art, but I never thought they could be a career — I’d always treated them more like hobbies. I started out studying International Relations, but after the revolution in Libya I gradually lost interest in politics and fell in love with communications. That shift led me to change my major after about 2.5 years.

‍
WHO ARE YOUR FASHION ICONS?

My mother and sisters.

‍
WHAT ARE 3 BRANDS YOU COULD WEAR FOREVER?

Three is not enough but for sure Alaïa, Khaite, and anything vintage Jean-Paul Gaultier.

FOUR STAPLES EVERYONE SHOULD OWN?

A white T-shirt, a pair of black ballerina or loafers and an oversized blazer.

WHAT ARE REGIONAL BRANDS YOU LOVE RIGHT NOW?

I love these two Libyan brands I recently came across called N.A studio & Mallakä; they both have insane jackets! I love seeing girls from my country succeed, it's very inspiring.

‍
YOUR MOST SEPECIAL POSSESION?

All my Kamushki pieces .

‍
A PIECE WORTH INVESTING IN?

Denim, once you buy the right brand that fits you, they truly last. I love Citizens of Humanity and Khaite jeans.

‍
YOUR CURRENT FAVOURITE SONG, BOOK OR TV SHOW?

‍
Song: South – Fango, my favorite song to work out too especially at Synkro
Book:  I am currently reading 'The Surrender Experiments' and I am loving it
TV show – Landman

‍

There’s a certain type of chaos that only happens when something long-awaited finally opens in Dubai: not the overhyped kind, but the real one. People showing up early, walking in with no plan, leaving with more than they intended.That’s exactly what’s happening at Primark’s first UAE store in The Dubai Mall.

Because for all the luxury, the statement pieces, the “investment buys,” Dubai has always been missing something slightly more honest. Clothes you don’t have to overthink, pieces you can wear immediately, without attaching meaning to them. Primark has always understood that.

The space is big, obviously. Over 60,000 square feet, one continuous floor, the kind of layout that doesn’t really guide you anywhere but somehow pulls you through everything.
You go in for basics and end up somewhere else entirely.

There’s something almost nostalgic about it. Not in the sense of looking back, but in the way it reminds you of how shopping used to feel. Less calculated, less curated for the sake of being seen; you pick things because you like them, because they’re easy, because they make sense in your day to day. And that’s where Primark lands differently here.

It doesn’t try to compete with the rest of the mall because frankly it doesn’t need to. It sits in its own lane, somewhere between trend and routine. You’ll find the expected, the collaborations everyone recognises, the slightly more elevated pieces from The Edit, but none of it feels intimidating. Everything feels wearable and if we don't think too far, we could trick ourselves into thinking Marble Arch is around the corner.

This is also just the beginning. Two more stores are already lined up in Dubai in the coming weeks, which says a lot about how confident the brand is about landing here.

But this first one matters, because it quietly shifts the balance. It reminds you that fashion doesn’t always have to be a decision. Sometimes it can just be something you walk into, pick up, and take with you without thinking too much about it.

And in a city like Dubai, that feels new.

Cover/ Ribbon Cutting - Steve Vickerstaff, Ghansham G Pindoria, Her Excellency Alison Milton, Vivien Stewart, John Hadden

There is a quiet habit many of us carry without ever really questioning it, a way of moving through life that feels almost instinctive.

We save the nice things, the dress that feels too special for an ordinary day, the plates that remain untouched in cupboards, the perfume that is only used when something important happens, all carefully set aside as if their value depends on the moment they are attached to. We tell ourselves we are waiting for the right time, for an occasion that will justify using them, for a version of life that feels worthy enough.

But what if that moment never arrives in the way we imagine it?

By Cynthia Jreige

In regions where uncertainty is not an abstract concept but something that quietly shapes the rhythm of everyday life, this habit begins to take on a different meaning. In Lebanon, in Palestine, and increasingly across the Gulf, the future is not always something that stretches out predictably ahead, but something that can shift quickly, sometimes overnight, reshaping plans, expectations, and even the sense of what comes next. What once felt distant can suddenly become immediate, and timelines that once seemed stable can dissolve without warning.

Under these conditions, the idea of a “special occasion” begins to blur, losing its clear edges and its sense of certainty.

Psychological research has long explored how uncertainty reshapes the way we think, feel, and imagine the future. Work on what is known as intolerance of uncertainty, particularly by psychologist Michel Dugas and later synthesized by R. Nicholas Carleton, suggests that when the future feels unpredictable, people experience heightened anxiety and find it increasingly difficult to plan long term or rely on what has not yet happened. Neuroscientific research by researchers such as Alexander Grupe and Jack Nitschke further shows that the brain often reacts more strongly to uncertain threats than to known ones, keeping the mind in a continuous state of anticipation, as if it is always preparing for something just beyond reach.

In that constant state of anticipation, the future becomes harder to hold onto as something stable or guaranteed, and begins instead to feel fragile, conditional, and constantly shifting.

And yet, many of us continue to wait.

We wait for stability, for clarity, for a sense of reassurance that life has settled enough to allow us to fully enjoy it, as though joy itself requires permission from circumstances that may never fully align. In doing so, we quietly push moments of pleasure further away, placing them somewhere in the future, as if they belong to a later version of ourselves rather than the present one.

In places shaped by instability, this kind of waiting carries a different weight, because saving things for later is no longer simply a personal habit or a harmless form of discipline, but begins to resemble a way of living as though the present moment is temporary, incomplete, or somehow not deserving of being fully experienced.

But perhaps the opposite is true.

Perhaps in environments where time feels uncertain and the future cannot always be relied upon, the present becomes the only space that is truly available, the only place where something can actually be lived, worn, used, and felt in its entirety.

Wearing the nice dress on an ordinary day, using the good plates without justification, opening the bottle you were saving for later, these gestures may seem small, almost insignificant at first glance, but within this context they begin to take on a quiet and deeply personal significance. They are not acts of indulgence, but of grounding, small ways of reclaiming the present from the habit of postponement.

Because in regions where the future is not always guaranteed, the most meaningful shift may not lie in resilience or endurance, but in permission, the permission to experience life as it is, rather than waiting for it to become something else.

And perhaps that is what makes something truly special, not the occasion itself, but the decision to stop waiting for one.

Lately, where we choose to eat has started to feel like more than just a casual decision. It’s about showing up, supporting places we love, and returning to the ones that have quietly become part of our routines — especially in moments where everything else feels uncertain.

So this isn’t a list of the “best” restaurants in Dubai. It’s the places we keep going back to; the ones we want to keep full, busy, and alive.

We’ll start with Of The Earth, where the farmer’s breakfast has become something we think about long after we leave. Everything is homemade, deeply comforting, and just done right, from the sourdough to the almond butter. It’s simple, but it stays with you, and it’s exactly the kind of place you want to return to again and again. they also have yummy coffees and juices.

OF THE EARTH

ALSERKAL

@OFTHEEARTHAE

Then there’s Alica Bakery, which feels less like a one-time visit and more like a habit in the making. The morning tray alone - sourdough bun with homemade compote and cheese, - their coffees, their Alica tartine, the cinammon bun, the lemon cake...makes it nearly impossible to choose just one thing. Everything is consistently incredible, and the fact that it’s on Deliveroo just means we’ll be ordering it just as often as we’ll be going.

ALICA

PORT DE LA MER

@ALICABAKERY

We recently discovered Subko, and honestly, it might have the best avocado toast we’ve had in the city. And when a staple like that is done this well, you know everything else will follow. Add smoked salmon and chili crunch, and you’ll understand why we’re already planning our next visit.

SUBKO

ALSERKAL

@SUBKOUAE

Maisan15 has been a favorite for years; the kind of place that feels personal. We always go back for the açaí bowl with homemade granola, peanut butter, and berries, paired with a pistachio latte. It’s still, without question, the best açaí bowl in Dubai. Nothing really comes close. There’s something about Maisan15 that feels like home, and it always has. Don't sleep on the housebread and 'Rami's Breakfast'.

MAISAN 15

AL BARSHA SOUTH

@MAISAN15

For something that instantly takes us back, we go to Akhu Manoushe. One bite and you’re in Lebanon. We keep it simple: the zaatar manoushe, warm, fragrant, and exactly how it should be. It’s the kind of staple that doesn’t need reinventing, just doing right, and here, it is. The kind of breakfast that feels both grounding and a tad nostalgic.

For something more casual but just as satisfying, Taqueria El Primo does exactly what it needs to do: no overthinking, just really good, authentic food. The taco de camarones is a clear standout, but the soft shell tacos followed by churros and a vanilla softie make for the kind of meal you don’t want to end.

When we’re craving something that feels closer to home, we head to Em Sherif Deli for a sourdough tartine topped with hindbeh and Bulgarian cheese. It’s simple, but it carries so much flavor, the kind that immediately takes you back to Lebanon.

EM SHERIF DELI

ONE CENTRAL AND GALLERIA MALL, BARSHA

@EMSHERIFDELI

For coffee, Stir Coffee has become a go-to, especially post-workout. It’s tucked into a gym, which makes it feel like a reward, and the beans are some of the most carefully sourced in the UAE. The flat white never misses.

STIR

THE IVY, JVT

@stircoffee.ae

We’ll always go back to One Life Kitchen and Café, across all its locations. It’s one of those places that just works, every time. An iced latte with homemade almond milk is non-negotiable, followed by a build-your-own salad from the counter — always fresh, always packed with flavor.

ONE LIFE

D3, ALSERKAL, JVC

onelifedxb.com

Then there’s Chom Chom, a Vietnamese spot that somehow gets everything right. The summer rolls are unreal, the coconut ice cream is the perfect finish, and the whole place has that laid-back energy that makes you want to stay — or take it home and do the same.

CHOM CHOM

GALLERIA MALL, BARSHA

@chomchomdxb

For pizza, Blu Pizzeria is hard to beat. Their sourdough base alone is worth the visit, and the rotating menu keeps things interesting without overcomplicating anything. It’s straightforward, and it’s really, really good.

BLU PIZZERIA

UMM SUQUEIM

@blupizzeria

SEVA Table is where we go when we want something plant-based that still feels indulgent. The chickpea omelet and banana pancakes are favorites, but what makes it stand out is how nourishing everything feels — full of superfoods, adaptogens, and ingredients that actually leave you feeling good.

SEVA TABLE

JUMEIRAH 1

@SEVATABLE

For something more classic, Scalini Dubai does what it does exceptionally well. The parmigiana is easily one of the best we’ve had, the truffle pasta never disappoints, and the atmosphere makes it the kind of place you stay a little longer than planned.

SCALINI

FOUR SEASONS JUMEIRAH

www.scalini-dubai.com

We also love Brix Café — calm, minimal, and quietly perfect. It’s where we go for a good coffee, a few light bites, and a moment to slow down. The kind of place that doesn’t try too hard, but gets everything right.

BRIX CAFE

JUMEIRAH FISHING PORT

@BRIXCAFE.AE

We’ll also be going to Amongst Few Cafe, which is one of those places we keep coming back to without really thinking about it. It’s amongst few where we love basically everything on the menu, is a great place to work from, have great vegan options and some copies of JDEED to read through. It just feels easy — the kind of spot you settle into and end up staying longer than planned.

AMONGST FEW

UMM SUQUEIM

@AMONGSTFEWCAFE

More than anything, these are the places we’ll keep choosing, not just for the food, but for what they represent. Familiarity, consistency, and a sense of community, especially when it matters most.

Because sometimes, showing up is enough.

This season doesn’t ask for reinvention, it leans into instinct, into pieces that feel immediate, a little nostalgic, and quietly self-assured.

There’s a clear dialogue between play and restraint running through this edit. Miu Miu’s animal-print pouch and Amina Muaddi’s zebra slingbacks introduce a sense of irreverence, a kind of offbeat energy that feels intentionally out of place, yet entirely right. It’s not about statement for the sake of it, but about disruption  just enough to keep things from settling.

That tension is softened by pieces that ground the wardrobe. Ramla’s natural leather flats bring a tactile simplicity, the kind that doesn’t compete but anchors everything around it, while ALEMAIS dresses carry movement and ease, their prints suggesting escape without ever feeling disconnected from the everyday.

‍

From top left:

SHRUNKEN WOOL-BLEND POLO SHIRT, COS - $129

FLEURS BLANCHES EARRINGS , VANINA - $150

COLT ZEBRA-PRINT CALF HAIR MULES, KHAITE - $1320

BARREL-LEG JEANS, &OTHER STORIES - $139

DASHA PRINTED HALTERNECK LINEN MAXI DRESS, CALA DE LA CRUZ - $495

What’s striking is how these elements coexist without hierarchy. A crisp shirt from ESSENTIEL Antwerp sits as comfortably within the mix as a more expressive piece like Maram’s degrade-toned, crystal-detailed top, which adds a distinctly regional perspective, one that feels current without trying too hard to define itself.

The palette follows the same logic. Nothing overly coordinated, yet nothing accidental either: warm neutrals, sun-faded pinks, saturated reds and blues all slipping into one another, echoing a season that feels less about precision and more about rhythm.

Ultimately, this is not a wardrobe built on occasion, but on feeling. On knowing when something works without needing to explain why. On allowing contrast to exist without resolving it.

Because summer, at its best, isn’t curated. It’s assembled piece by piece, moment by moment.

FROM TOP LEFT:

FITTED ASSYMETRIC TOP , LEMAIRE - $395

LA LUNE MAXI DRESS, SHONA JOY - $360

DENIM FLARE SKIRT. EMERGENCY ROOM BEIRUT - $120

CONTRAST BIKINI, &OTHER STORIES - $45 TOP AND $45 BOTTOM

FROM TOP LEFT

CABLE-KNIT MATCHING SHORT AND SWEATER, MAGDA BUTRYM - $668 and $1608

COPACABANA LINEN SHIRT DRESS, FARMRIO - $350

FROM TOP LEFT:

MILKY SKIRT, NICKLAS SKOVGAARD - $177

STRASS EARRINGS, ESSENTIEL - $125

ANIMAL PRINTED LEATHER POUCH, MIU MIU - $1906

LAYAIN IN TAN BROWN, RAMLA - $188

LA PISTE ENCHANTÉE SILK SCARF, COCCELLATO - $150,60

FROM TOP LEFT:

OVERSIZED LINEN SHIRT, LIME - $105

COTTON MINI DRESS, ALEMAIS X MOKSHINI TOUCAN TANGO - $460

DUNES LUMIERE MULES, VANINA - $400

MONUMENT TOTE, COS - $290

PINK SHIRT WITH UNEVER BUTTONS, ESSENTIEL - $195

YING YANG CRYSTAL CROP TOP, MARAM - $148,10

ZEBRA PRINTED SLINGBACK, AMINA MUADDI - $658

GRADIENT LEATHER BIKER, MARAM - $866

RED HEART EMBROIDERED T-SHIRT, LIRIKA MATOSHI - $130

It’s ironic—perhaps even telling—that a generation which prides itself so deeply on the idea of freedom now finds itself increasingly quick to judge how others choose to navigate it.

Since February 28th, as attacks escalated across our region, people have responded in vastly different ways—some choosing to stay, others deciding to leave, sometimes by choice and sometimes out of necessity, some carrying on as if life remained unchanged while others openly acknowledging that nothing feels normal at all, each reaction shaped by personal circumstance, emotional capacity, and an instinct to cope in whatever way feels most bearable.

By Cynthia Jreige

The truth, however, is that every single one of these responses is valid, because we are living through something that is not only unprecedented but deeply disorienting, something that reshapes not just our physical realities but our sense of safety, belonging, and control, leaving each of us to navigate uncertainty without a clear roadmap or shared understanding of what the “right” response might look like.

Leaving, in this context, is not a sign of weakness, nor does it imply abandoning one’s home, one’s identity, or one’s connection to place; rather, it can often be an act of preservation—of mental health, of family stability, of self—just as staying is not a badge of honor or a moral high ground that makes someone inherently stronger, more loyal, or more resilient, but instead a decision that can be equally complex, equally constrained, and equally personal.

And yet, despite this, the question remains: why the judgment?

Across social media, the noise has become impossible to ignore, with statements ranging from “life here is completely normal, I don’t know what people are talking about” to “I chose to leave for a few weeks until things calm down,” each one quickly met with a wave of criticism, as though there were a universally accepted way to exist within instability, as though deviation from that imagined norm somehow warrants explanation or condemnation.

But there isn’t, and there never has been.

What we are witnessing is not simply a difference in choices, but a difference in capacity; an intersection of personal history, emotional threshold, lived experience, and available resources that shapes how each individual processes fear, uncertainty, and disruption, meaning that what feels manageable to one person may feel overwhelming to another, and both realities can coexist without invalidating each other.

Some people have lived through repeated cycles of instability and have learned, consciously or not, to compartmentalize, to normalize, to continue, while others are encountering this intensity for the first time and are still learning how to process it, how to name it, how to carry it; some have the privilege to leave and choose distance as a way to breathe, while others do not, and instead must find ways to create stability within instability, holding on to routine as a form of grounding.

None of these responses are wrong, and yet the danger lies in the assumption that our own way of coping is the correct one; that our choices are more rational, more grounded, more legitimate than someone else’s, because it is precisely this assumption that creates distance where we need closeness, and division where we need understanding.

At its core, this moment is about humanity under pressure, and under pressure, people reveal different versions of themselves: some becoming quieter, others louder, some retreating inward while others reach outward, some choosing distance in order to protect their sense of self while others choose presence in order to feel anchored to something real.

These are not contradictions; they are expressions of survival.

Perhaps the discomfort we feel is not rooted in the fact that people are making different choices, but in the reality that we are being forced to confront perspectives that challenge our own, revealing just how deeply we rely on the illusion that there is a “right” way to endure.

We like the idea of freedom in theory: freedom of movement, freedom of expression, freedom of choice; but freedom, in its truest form, requires us to extend that same permission to others, even when their choices differ from our own, even when we do not fully understand them, even when they make us uncomfortable.

It requires restraint, empathy, and a certain humility; the ability to accept that we do not know what is best for someone else’s life, that we are not operating from the same realities, and that our perspective, no matter how strongly held, is not universal.

In moments like these, solidarity is not about making the same choices, but about respecting that we won’t, about holding space for someone who chose to leave without questioning their courage, and standing beside someone who chose to stay without romanticizing their resilience, understanding that both decisions can come from a place of care rather than contradiction.

Maybe, instead of asking “why did they do that?” we should begin to ask “what might they be going through?”, shifting the focus from judgment to curiosity, from assumption to understanding.

Because the truth is that we are all, in one way or another, trying to find ground in something that keeps shifting beneath us, each of us reaching for stability in the only ways we know how.

And in times like these, the most radical thing we can do is not to judge, but to soften—to listen more closely, to allow more generously, and to support more intentionally, recognizing that freedom is not proven by how firmly we defend our own choices, but by how gently we hold space for someone else’s.

The gist of your year and the mantra to make it magical.

Aries

Go within and connect to your inner knowledge and power. Don’t rush into things. Everything is unfolding as it should be. Take the time to nurture yourself, your dreams and ambitions. It’s the year to plant the seeds of the future.‍

All my plans are working out perfectly.

Taurus

Break free from negative thinking. The past is finished and it’s time to move on. Your fears don’t define you. There is a flow of abundance in fulfilling your wishes this year, focus on that and expect magical new changes.

Everyday I step into successful new beginnings.

Gemini

‍

The truth will set you free. Expect deep spiritual awakening and clarity on your path. Evaluate the past, forgive and move on. Your new life is slowly but steadily being created. Be patient as you plan the next chapter of your life.

I have what it takes to succeed.

Cancer

Deep inner transformation is on the way. You won’t recognise yourself by the end of the year. You’re shedding the past and paving way for a positive new future. Changes, relocations and life review are defining your year.

I believe in my strength.

Leo

Your intuition is key in guiding you this year. An important person will help and inspire you with their wisdom, trust them! The right people will support you to live life to your highest ideals. Your soul is seeking change to be in the environment with the right people.

I’m ready to accept my soul’s calling.

Virgo

Make new lifestyle adjustments as you navigate through the year. Nurture yourself and those you love and life will give you back more. The need for balance, dedication and unity are what your soul is asking for and as a result rewards will follow.

My choices are nurturing and empowering.

Libra

A very happy ending where life becomes full circle. Your voice is powerful and needs to be heard. The connections and relationships you build this year will be long term. The world is your oyster as you make the best of it.

I’m fulfilled in all my relationships.

Scorpio

You’ll experience sudden revelation that offers freedom and helps you move forward. The past is still influencing your life and it’s time to change that. Spiritual union with the right people will uplift you and bring about opportunities for positive change.

Everyday my life is changing to the better.

Sagittarius

Time to make a courageous choice to change your situation. People and circumstances that are not right for you are on their way out. Don’t waste your time with the wrong crowd. Change is inevitable this year, so move forward seeking the right advice.

I surround myself with the right people.

Capricorn

Make choices that will give you more quiet time and rest. Take all the time you need to review your life and make healthy changes using your intuition. Be flexible with change and evaluate every step listening to your inner voice.

I enjoy my inner peace.

Aquarius

See this year as a catalyst to heal areas that have a weak foundation in your life. Seek truth and you’ll have the opportunity to improve your life. Your intuition will guide you for accurate guidance. It’s time make drastic changes.

I am protected and powerful.

Pisces

Release your attachment to the old that doesn’t serve you. Consider taking a different approach to life and as you navigate to changes take a more uplifting approach. You’ll be making the right connections with the people who are good for you and say goodbye to some.

I move forward with excitement.

For decades, the narrative surrounding youth in the region has been framed through resilience. It is a word often repeated by outsiders —sometimes admiringly, sometimes carelessly — to describe a generation that has grown up amid instability.

But resilience suggests endurance, the ability to withstand pressure without breaking. What it does not fully capture is something more subtle that has emerged among young people across the region: the insidious skill of adaptive survival.

Across the region today, uncertainty is not an abstract concept. It is something that appears in headlines, in conversations, in the background hum of everyday life. Missiles cross airspace, cities wake to news alerts. In Lebanon, war has once again returned to the foreground. Across the Gulf, missile threats periodically remind residents how fragile stability can feel.

For many young people, these realities do not always translate into dramatic upheaval, but into something quieter: a constant recalibration of expectations.

Rather than imagining life in long, predictable arcs, the future is often negotiated month by month, opportunity by opportunity. Plans are made with a certain flexibility built into them. Careers shift. Moves between cities happen quickly. Entire creative communities appear almost spontaneously in response to changing conditions - something us Arabs are particularly good at.

What might appear as instability from the outside is, for many, simply the rhythm of life. A forced-upon rhythm of life with 'Inshallah' as a tag line; nothing we ever wished for.

The ability to pivot quickly has become second nature. Languages shift mid-sentence. Friend groups stretch across continents and identities expand rather than settle. Belonging becomes something portable rather than tied to a single geography.

Take JDEED: born in 2017, we’ve already gone through more crises than most businesses endure in their entire existence. In 2019 came the Thawra — a breeze of hope for our generation, but one whose consequences were difficult to navigate. Then 2020 brought Covid and the Beirut port explosion. There’s no need to paint a picture of how this affected our very young business, and to be completely honest, we’re still not entirely sure how we made it out the other side. After barely two years trying to get back on our feet, October 2023 hit our entire region again, with Israel’s initiating its genocide on Gaza. And now in 2026 — well, you already know.

This adaptability, however, carries a heavy weight. Living in a state of adjustment requires constant emotional recalibration; the ability to rebuild, restart, and continue moving forward even as the ground beneath you shifts. Psychologists often describe anxiety as a response not only to danger itself but to the uncertainty of potential future threats, a state in which the mind remains alert to what might happen next. Under such conditions, the future rarely stretches very far ahead. Sometimes it reaches only the next hour, if even that.

And yet, this same instability has also produced a remarkable cultural inventiveness. Across the region, young artists, designers, filmmakers, and entrepreneurs continue to build new cultural languages in real time, drawing simultaneously from global influences and deeply local realities - because what other choice do we have?

Perhaps the defining trait of this generation is not resilience after all, but adaptability. Not the ability to endure the same circumstances indefinitely, but the capacity to transform alongside them.

In a region where the future can change overnight, survival has become less about standing firm and more about learning how to move.

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

In a city that rarely pauses, the idea of slowing time feels almost radical. Yet inside the sculptural architecture of One&Only One Za’abeel, a new space is quietly redefining what modern wellness can look like. Longevity Hub by Clinique La Prairie Dubai is not simply a spa, nor a medical clinic in the traditional sense. Instead, it exists somewhere in between: a hybrid environment where science, aesthetics, and lifestyle coaching converge around one central idea: living longer, and living better.

The concept originates from Clinique La Prairie, the Swiss institution that has spent nearly a century exploring the science of longevity. Founded in Montreux in 1931, the clinic has long been synonymous with regenerative medicine and preventative health. The Dubai hub translates that legacy into an urban format, bringing the clinic’s renowned longevity method into a contemporary setting designed for daily life rather than destination retreats.

Spread across three floors within One&Only One Za’abeel, the Hub feels closer to a private wellness laboratory than a traditional spa. Treatment suites, consultation lounges, movement studios, and the quietly futuristic Longevity Index space create an environment where diagnostics and restoration exist side by side. The experience begins with an in-depth analysis of the body’s internal and external health markers, from skin diagnostics to metabolic indicators, forming a personalized roadmap for treatment.

Rather than addressing health reactively, the Hub’s philosophy is rooted in prevention. Programs blend advanced diagnostics, regenerative medicine, aesthetic treatments, nutrition, and movement coaching, building a holistic picture of wellbeing that evolves with each individual. It is a model that reflects a broader shift in luxury wellness: away from occasional indulgence and toward measurable longevity.

The treatments themselves read like a glimpse into the future of wellbeing. Guests may move between cryotherapy, lymphatic therapies, IV infusions, and neuro-wave technologies designed to regulate the nervous system. Elsewhere, targeted facials address environmental stress and skin regeneration, while body-sculpting technologies enhance muscle tone and metabolic performance.

Our Hydrafacial with the fabulous Yvonna is something we won't forget anytime soon.

Yet despite the technology, the philosophy remains deeply human. Clinique La Prairie’s longevity method rests on three interconnected pillars — longevity, wellbeing, and aesthetics — recognizing that physical health, mental resilience, and outward vitality are inseparable expressions of the same system.

Dubai, perhaps unsurprisingly, provides the ideal context for this evolution. As the city positions itself as a global hub for advanced healthcare and medical tourism, spaces like Longevity Hub reflect a growing cultural shift: wellness is no longer just about relaxation, but about long-term optimization.

That philosophy also adapts to the rhythms of life in the region. During the holy month, the Hub introduces Ramadan Glow, a curated series of treatments designed specifically for the physical effects of fasting and the altered pace of daily routines. The program focuses on restoring hydration, radiance, and balance through treatments like the Ramadan Glow Facial, which combines deep cleansing, BioRePeel skin renewal, a lifting mask, and radiofrequency to revive tired complexions. Body therapies such as Emsculpt NEO complement the offering, supporting muscle tone and energy while aligning with the restorative spirit of the season.

In this sense, the Hub’s approach feels less like a clinical intervention and more like a dialogue with time itself. Longevity here is not framed as the pursuit of youth, but as the cultivation of vitality: physical, mental, and aesthetic, across the arc of a lifetime.

In a city defined by momentum, Longevity Hub proposes something quietly radical: that the greatest luxury may simply be time, well lived.

More info on longevity-hub.cliniquelaprairie.com/dubai/

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.

Last Updated April 9th

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, click HERE for donations

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

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) is providing treatment for children and caregivers. To donate: Cash or Bank Transfer, call +961 70 247 145 or on this LINK

LEBANESE FOOD BANK: Donate HERE

LFB’s core mission is to provide food to those in need across Lebanon, without discrimination of any kind, whether based on religion, political affiliation, geography, identity, or nationality. At the same time, the organization works to raise awareness around food waste and promote more responsible ways of managing food resources. LFB is part of the Food Banking Regional Network in Dubai, under the Global Food Banking Network, and has been audited by Deloitte Touche since 2016.

EQUIPPING LEBANON'S FIRST RESPONDERS: GO FUND ME LINK HERE

STOUH BEIRUT: To donate, click HERE

Stouh Beirut is committed to supporting vulnerable communities, with a focus on children, youth, and women, by addressing their most essential needs. Through access to medical care, basic assistance, and continuous advocacy, the organization works to improve well-being and ensure that their rights are protected.

‍

GIVE ME A PAW, LINK HERE

For donations outside of Lebanon, click here

‍

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