my works in T Magazine Qatar Issue 27

8/11/2019 my works in T Magazine Qatar Issue 27

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18 T Qatar: The New York Times Style Magazine

Downtown Design isback for a secondshowing, this year withthe theme 'Original'.The fair will showcasecompanies and brandsthat define theevolution of

contemporary design.Page 45

Publisher & Editor-In-Chief

Yousuf Jassem Al Darwish

Chief Executive

Sandeep SehgalExecutive Vice President

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EDITORIAL

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Chief Fashion Correspondent

Debrina Aliyah

Senior Correspondents

Abigail MathiasAyswarya MurthyEzdihar Ibrahim Ali

ART

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Venkat Reddy

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Senior Graphic DesignerMaheshwar Reddy

Photography

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Frederick Alphonso

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Sakala A. Debrass

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OF THE NEW YORK TIMES

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Lookout Qatar36 This and That

Couture designer Rani Zakhem isinspired by the culture of the places he

has lived; the technical watch from

Officine Panerai; Dunhill's Autumn

Winter 2014/2015 Chassis collection; Deena

Aljuhani Abdulaziz, the founder of DNA, is

in a collaboration with Nathalie Trad; and

the surreal world of Maldives.

40 The Trend

When the house of Fendi presented its

first collection of ready-to-wear fur, it was

the first time anyone had seen a new

future for fur. Fluid, light, and wearable,

the legacy for the Italian house was

cemented.

42 Runway Analysis

For AW/14 the Middle Eastern designers

went back to their roots to embrace their

cultural heritage.

45 Creative Fair

Cristina Romelli Gervasoni, Downtown

Design's director, tells why Dubai has

become so relevant to the international

design scene.

47 Talent Watch

Alessandra Facchinetti of Tods is

compared to Clines Phoebe

Philo, and the brands last collection was

termed a minimalist moment in Milan.

COURTESYOFDOWNT

OWNDESIGN


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40 T Qatar: The New York Times Style Magazine

If Arabian royalty has a face for street style, it would beDeena Aljuhani Abdulaziz the Saudi Arabian princess

whose fashion insight merits reverence with a quiet yet far-lung inluence among emerging designers.

The founder of DNA, a members-only boutique, has often been photographed latelywith a clutch in hand presumably a personal favorite in line with fashions renewed

love affair with the minaudire. After a well-celebrated trunk show by accessories

designer Nathalie Trad at DNAs Doha outpost earlier this year, the duo has come

together to launch LEsprit Deco Modern a specially handcrafted capsule collection

as part of the designers Fall collection. Trad, who bagged the best regional accessory

designer title at the 2014 Grazia Style Awards in Dubai, delved into the Art Deco

movement of the 1920s and 30s as the focal point of the collaboration. We wanted to

tap into this luxurious deco sensibility by creating a collection of clutches that are both

irresistible objects of desire as well as precious heirlooms meant to be passed down

from one generation to the next, says Trad. The collection features four distinctive

styles: the Adler, the Dixon, the Leon and the Raleigh a collective outcome of thedesigners study on haute jewelers techniques in the 20s with the furniture design

work of Jean Prouv and Jean Michel Frank inluencing the choices of material. The

collaboration, an adventure and labor of love, for Trad, is available exclusively at DNA

boutiques in Riyadh and Doha as well as online at FarFetch.com. DEBRINA ALIYAH

Holding On to Deco

Dashboard InspiredBrands have been inspired by art and artists.Some like Dunhill were already known formotoring provenance.

Taking it further, the Autumn Winter 2014/2015 Chassis collection from

Dunhill found inspiration in the leather of motor car dashboards of the

1900s. The cult carbon fiber effect on this range is created by fusingintense heat with highly technical liquid print and a metal printing

plate to create a unique three-dimensional appearance.

Available in elegant blues, chestnut browns and racing greens, the

details on the bags such as D-rings, padlock cases and leather zip pulls

as inspired by the brand's design hallmarks. The facet glass was

used by Alfred Dunhill while designing the interior lights in the car in

the early 1930s. SINDHU NAIR

Designed specifically for those who travel, the Luminor 1950

3 Days GMT 24H is a new watch from Officine Panerai. De-

spite its rather technical name, this watch is built toenable the second time zone to be read simultaneously with

local time by means of an independent central hand which

makes one revolution of the dial every 24 hours. It is also the

first watch from Panerai to adopt a new manufacture move-

ment, the automatic P.9003 calibre. The most innovative

feature relates to the GMT function,that is indicated over 24

hours instead of 12 hours. It also has a newly designed circu-

lar power reserve indicator on the back of the watch, which

is clearly visible and easy to read through the sapphire crys-

tal in the caseback. ABIGAIL MATHIAS

Ahead of Its Time

Lookout Qatar

IN THE RIGHT HANDS:Officine Panerai's latest technical offering.

Clockwise from top left: The Raleigh,The Leon, the Adler and the Dixon, four distinctivestyles of clutches from the LEsprit Deco Modern.

The Dunhill AutumnWinter collection has aunique carbon fibereffect.

COURTSEYOFDUNHIL

L;COURTSEYOFOFFICINEPANERAI;COURTSEY

OFNATHALIETRAD


4/641September-October 2014

Lookout Qatar

The Couture PrinceThe de facto story of a couturier

from the Middle East usually starts

in Lebanon the creativecornerstone that seems to give birthto waves of designers with fantasy-laden creations that would rival any

Disney princesss wardrobe.

BY DEBRINA ALIYAH

DESIGNER RANI ZAKHEMSversion comes with a little

African twist growing up in Nairobi, where his family

fled from then war-torn Lebanon. Drawing from the

vibrant colors and rich diversity of Kenyan culture, the

designer leaped head-on into the world of fashion.

With a prestigious Parsons training, the label Rani

Zakhem came to life in 2009, first with a special focus on

the plus-size market and then onto what the designer

does best, couture. A couple of successful collections

later, Zakhem made his Alta Roma debut in July with

the Couture Fall 2014 presentation.The accolade was a defining moment as Alta Roma is

primarily an Italian showing with little international

representation. It provided innumerable opportunities

in terms of growth, exposure and brand establishment,

he says. The collection, Metamorphosis, offers

Zakhems narrative of a womans evolving moments in

life from dusk to dawn, and from youth to maturity, and

is executed in impressive technical touches of

kaleidoscopic geometric embroidery, laser devore-

flocked tulle and silver degrade pailettes.

Zakhems strength in dramatic and sensual creations

has made fans of celebrities like Kelly Rowland and

Roselyn Sanchez, who walked the red carpets in his

pieces. The wave is riding high for Zakhem, though he

is mindful of the highly-saturated luxury market in theregion. It is important to be fresh with a strong identity

to stay competitive, he says. Theres also a need to

truly understand your clients and adapt accordingly to

truly be an international brand.

DIVERSITY IN FASHIONRani Zakhem's CoutureFall 2014 presentation.

On Talent

COURTESYOFRANIZAKHEM


5/644 T Qatar: The New York Times Style Magazine

Lookout Qatar

FRANKLY SPEAKING, the notion of fur in the Middle East screams

impractical and downright ridiculous. Cascading down the Corniche

in a mink coat on a balmy winter evening of 15 degrees C hardly

does the fur any justice. But the image that fur needs to be in an

austere coat form is also an archaic perception. The evolution of

materials in garment-making has come far, especially when

innovation drives designers to take a pair of scissors to the precious

fur. The intrinsic value of what Karl Lagerfeld and the five Fendi

sisters, Paola, Anna, Franca, Carla and Alda daughters of the

founders Edoardo and Adele Fendi did in the 60s when theyrevolutionized the use of fur in fashion is one that is everlasting.

The rigidness and hassle of fur in its earlier forms, weighed down

by layers of lining thought necessary to protect the expensive

material, made the garment solely a status symbol rather than

anything fashionably functional. When the house of Fendi presented

their maiden collection of ready-to-wear fur, it was the first anyone

had seen of the new future for fur. Fluid, light, and wearable, the

legacy for the Italian house was cemented.

In contemporary times, the personification of this luxurious

material has further evolved with Lagerfeld and Silvia Venturini

Fendi, daughter of one of the famous five Fendi sisters, Anna, and

mother to accessories designer Delfina Delettrez, at the forefront.

On the lesson of staying relevant, the house of Fendi is able to keep

a finger on the pulse of the changing needs of women lightwearable mink coats are great, but what about using fur for a

myriad of other fashion items? Silvia remains the only family

member active in the operations of the Roman house.

Experimentation is such a vital part of Fendi my family initiated

THE DIRECTIONClockwise from left:Karl Lagerfeld andSilvia Venturini Fendiat the closing of thehouse's Fall 2014runway show; the fiveFendi sisters withLagerfeld in the earlydays of the furrevolution; the firstFendi fur collection byLagerfeld featuringFendi as a child in1965.

COURTESYOFFENDI

For the Fur of It

BY DEBRINA ALIYAH

The science of the evolution of a material thatmight not seem to be an obvious choice for the region. Designs

make up for the lack of practicality.

The Trend


6/6

45September-October 2014

THE LEGACYClockwise from top left: Fendi remains the onlyItalian house in the world to have its own fur atelier;daughter of Silvia, jewelry designer DelfinaDelettrez has recently designed a fur-inspiredjewelry line for the house of Fendi; the five Fendisisters, Anna, Carla, Franca, Alda and Paola worked

together in the fur ateliers; a sketch of the Astucciofur coat by Lagerfeld in 1971.

the change of ridiculous big furs in the 60s and the craftsmanship

that has passed down from generation to generation has kept this

alive, Silvia Fendi explains.

The emblematic relationship between Lagerfeld and the family

has been the driving force behind the work that Fendi has done with

fur. He rethought the furs from a status symbol to a normal

garment as a dress by taking away the linings and giving lightness

to it, Silvia says. Karl has always been a presence in Silvias lifesince she was a child, a vision now immortalized in the 1965 Fendi

campaign photo featuring a young Silvia and Karl wrapped up in

fur. I remember Karl working with my mother and her sisters,

sketching and brainstorming. He is an incredible person, very

clever, Silvia says. Lagerfeld has remained the head of

womenswear for Fendi for nearly 50 years and Silvia is the creative

director of accessories and menswear. We know each other so well

that there is no need to speak much when creating collections. We

understand each other with just a look. Karl gets bored easily and

always wants to be surprised so our work is very projected towards

the future, Silvia explains.

Fendis fur atelier has seen some marked strokes of creativity

meets science lab-inspired moments. In Fall 2008, the Gold

Molecular Fusion technique was developed where 24k gold

molecules were placed on the edge of the fur pieces as paint brush

strokes while the metamorphosis technique became the benchmark

for Fendi, fusing fur and texture together seamlessly. My favorite

remains the traditional Intarsia workmanship a complex,

elaborate method that takes many hours to create one fur coat,

Silvia says.

In the past two decades, Silvia has been credited with the rise ofthe legendary Fendi IT bags; the sensational Baguette that went on

to win the Fashion Group Internationals accessories award, the

Spy and of course, the much-coveted Peekaboo. The presence of fur

in Fendis accessories line is very much an integral part of its

Experimentation is such a vital part ofFendi my family initiated the change of

ridiculous big furs in the 60s and thecraftsmanship that has passed down from

generation to generation has kept this alive.

success fur details are a signature for almost all of the houses

offerings. The Baguette was released in a 24k gold mink version

using the same Gold Molecular Fusion technique, while the current

season serves up an utterly playful Monster Bug Baguette that

comes with its own repertoire of Monster bag charm friends.

Small accessories as the fur charms have been designed to give

the possibility for everyone to live the fur dream even if not being

able to afford a fur coat, Silvia says. This Fall, Fendis fur is on

everyones lips again; one, of course, for being one of the most

fur-applicative ready-to-wear collections and, two, for the

introduction of Karlito a fur charm in the image of Lagerfeld

himself. A tongue-in-cheek homage to Lagerfeld, for the extent ofhow he has changed the image of fur in the past five decades. On

that note, it makes so much more sartorial sense to still be able to

stroll down the Corniche on a Doha winter evening in fur, just in a

lighter form of perhaps a fur-trimmed scarf.

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