The NewYork Times Style Magazine

ISSUE 11 : 2012To be on stands till March 2012

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12 Design and Style 2012

The CONTRARIANSan ode to

THE 18TH CENTURY

2

2

34 RemixQataR�Art�from�Egg�shells?�Meet�Mohamed�Al-Baker�who�makes�art�from�anything,�even�from��egg�shells.�By�Cassey Oliveira.

40 amanandhisshoesHow�much�are�you�willing�to�pay�for�a�quality�pair�of�shoes�asks�Rory Coen.

42 shaRedexpeRiences�Students�from�Doha�learn�the�art�of�glass�blowing�from�the�experts�in�the�West.By�Sindhu Nair.

���������44seenQataRThe�Language�Design�SpeaksAt�an�imaginary�roundtable,�Laurene Leon Boym�met�with�two�titans�of�design�to�chat�about�the�state�of�design�in�Doha.�At�one�end�sat�American-educated,�Doha-bred�master�architect�Ibrahim�Mohamed�Al-Jaidah,�and�at�the�other�the�Italian-trained,�Russian-born�master�designer,�Constantin�Boym.�

6 contRibutoRs

9 Remix� � �Styled�to�a�T,�The�Stockholm�collective�

Front,�Hugo�Franca,�Cristoan�Zunzunaga,�Logo�tees,�pinkie�rings,�Norell�comes�to�sale,�American�sportswear�is�this�romantic’s�new�passion.�By�Suzy Menkes,�Installation�art�in�Marfa,�Tex.,�inside�designers’�(messy)�studios,�a�survey�of�homegrown�modernist�style,�the�Pavilion�of�Art�&�Design�visits�the�big�Apple,�The�Selby�does�brunch�in�Berlin.�The�jeweler�David�Webb�still�wows�Cathy�Horyn.�

The New York Times Style Magazine DESIGN & STYLE 2012

50wRiteR,diRectoRandactoR–nadinelabaki.

34theReisaRtfRomegg-shellstoo.

Copyright�©�2012�The�New�York�Times

4

92 thegRaVeYaRd shift

Two�Palestinians�practice�how�to�run�for�their�lives�in�a�Gaza�cemetery.�Text�by�Stephen Farrell.Photographs�by�Klaus Thymann.

50 nadinelabaki� � �Movie�Maestro

Lebanese�movie�maestro�Nadine�Labaki,�currently�taking�the�world�by�storm�with�her�epic�new�film�Where�Do�We�Go�Now.�By Orna Ballout.

56 face� � �A�slick�nude�lip�was�the�pout�of�choice�

on�resort�runways.�60�Expert:�Reyad�Fritas.�62�Profile�in�Style:�Francesca�Bonato.

64 gifted� � �What�a�year!�For�these�talented�10,�

name�recognition�at�last.�Photographs�by Sebastian Kim.�Fashion�editor:�Ethel Park.�Text�by�Jacob Brown.

� 74 pashafieRceA�collector's�personal�booty�becomes�a�fantasy�hotel�in�fez.By�Christopher Petkanas.

92eatYouRheaRtout,spideR-man!takeaplungewithpaRkouRingaza.

On the cOver Jean and Steven Goldman'S

ChiCaGo apartment iS a treaSure trove. photoGraph by annie

SChleChter.

Copyright�©�2012�The�New�York�Times

84 thecontRaRiansThese�Chicago�collectors�bypassed�the�modernist�route,�turning�their�apartment�into�an�ode�to�the�18th�century.�They�did�it�their�way�–�and�by�themselves.�By�Pilar Viladas.�Photographs�by�Annie Schlechter.�

6

“It’s a sport about facing great obstacles,” says

Stephen Farrell of the Gaza Strip’s parkour athletes,

whom he met for “The Graveyard Shift” (Page 92).

In the past few years, Farrell, an Anglo-Irish foreign

correspondent for The Times, has been detained in Libya and kidnapped in Iraq

and Afghanistan. “If you expect to walk through

these worlds for months at a time and emerge unscathed and see human suffering all

around you and think it can’t possibly happen to you,

you’re naive in the extreme.”

stephen

farrell

The Danish photographer Klaus Thymann specializes

in sports and subcultures. ‘‘I’ve documented

everything from gay rodeo to underwater striptease to snow polo,’’ says Thymann, who contributes regularly

to V Man, Exit magazine and i-D. For ‘‘The Graveyard

Shift’’ (Page 92), Thymann photographed Palestinians

who practice the urban acrobatics known as

parkour in the Gaza Strip. Currently, he’s at work

on the world’s first glacier atlas, Project Pressure.

klausthymann

contributors

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tel: (+974) 44672139, 44550983, 44671173, 44667584Fax: (+974) 44550982

email: tqatar@omsqatar.com website: www.omsqatar.com

publisher&editor- in- chief yousuf Jassem al darwish chiefexecutive Sandeep Sehgal executivevicepresident alpana roy vicepresident ravi raman

managingeditor vani Saraswathi deputyeditor Sindhu nairfashion&lifestylecorrespondentorna balloutcorrespondent rory Coen ezdihar ibrahim ali editorialcoordinatorCassey oliveira artdirector venkat reddy asstdirector–production Sujith heenatigala assistantartdirector hanan abu Saiam seniorgraphicdesigners ayush indrajith Sampath Gunathilaka m d photographyrob altamirano

managers–marketing mohammed Sami Zulfikar Jiffry seniormediaconsultant Chaturka Karandana mediaconsultant hassan rekkab

marketingresearch&supportexecutive emily landry

accountant pratap Chandran

sr.distributionexecutive bikram Shrestha distributionsupport arjun timilsina bhimal rai

Qatar published by

BY k at h r Y n B r a n c h

‘‘I don’t overthink pictures,’’ says the photographer Jeff Henrikson,

27, who’s known for turning out cool, relaxed portraits of emerging

talents. For ‘‘Styled to a T’’ (Page 26), he tagged along with the

17-year-old actress Taissa Farmiga on her first trip to Venice, Calif.

When he’s not assisting the celebrated photographer Richard

Burbridge, Henrikson may be on assignment for Bad Day, an

under-the-radar Toronto arts quarterly. He’s particular about his

medium: ‘‘I prefer film,’’ he declares. ‘‘I think digital takes

some of the magic out of photography.’’

Jeff

henrikson

For ‘‘All’s Fair in NYC’’ (Page 15), Felix Burrichter, the founder of the architecture and design magazine Pin-Up, writes about

the impending arrival of the Pavilion of Art & Design fair in New York. ‘‘It’s a

sophisticated and eclectic yet still approachable collection,’’ he says. A frequent contributor to The Moment,

Fantastic Man and Interview, Burrichter also has a master’s degree in architecture from

Columbia University. Pin-Up’s fall/winter 2011 issue, he says, ‘‘focuses on how architecture

and its designers can be both serious and fun at the same time.’’ The magazine hits

newsstands in mid-October.

felix

burrichter

remix

photoGraph by ami Sioux FaShion editor: andreaS KoKKino

on lindGren: Céline top, Qr6,916. at barneyS neW yorK. Céline SKirt,

Qr5,460. at JeFFrey. Go to JeFFreyneWyorK.Com.

on laGerKviSt: aKriS dreSS, Qr14,524. at SaKS FiFth avenue. Go to

SaKSFiFthavenue.Com. tod’S loaFerS, Qr2,785. her oWn StoCKinGS. on von

der lanCKen: Céline top, Qr9,646, and pantS,

Qr8,008. at berGdorF Goodman. Céline loaFerS, Qr3,167. at

nordStrom.

thedesigners Front, the Stockholm collective

made up of (from left) anna Lindgren, Sofia Lagerkvist and charlotte

von der Lancken, combines rigorous concepts with visual humor.

thetrendFaux-bois print textiles look like

freshly milled timber but feel luxe — and spare you the guilt of

cutting down yet another tree.

thethingtheir Soft Wood Sofa, from the Italian

furniture manufacturer Moroso, is what it says it is (sort of): soft and wood (print). Go to morosousa.com.

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remix

LaBeL Maker ‘‘a t-shirt?’’ asked the Lanvin shopgirl on the other end of the receiver when I inquired about logo tees. ‘‘We sell blouses. have you tried calling the outlets?’’ My recent sartorial scavenge was prompted by céline’s resort collection. I was already head over heels for the discreet French label, but then phoebe philo, its designer, showed an in-your-face céline-tagged top, styled smartly beneath a bustier and a prim, tailored jacket. only philo could make blatant branding compulsively collectible so soon after we’d all stripped the initials (save our own) off our bags and sunglasses. ‘‘I’ve heard they keep them in the back,’’ said a saleswoman at Jeffrey when I went there looking for logos. ‘‘that’s the secret,’’ he added. ‘‘You have to ask.’’ a recent trip to Yves Saint Laurent confirmed this to be true. ‘‘We wouldn’t be YSL if we didn’t have an inscribed t-shirt, would we?’’ the sales associate coyly whispered to me before returning from the stockroom with a yummy stash of initialed tees in navy and magenta. ‘‘We’ll always have them.’’ Blouses, that is. RACHEL WALDMAN

honorine JeWelS Cleopatra eye rinG, Qr1,511. Go to Shoplatitude.Com.

ileana maKri For the roW round eye rinG, about Qr17,690. Go to theroW.Com.

hillier GloWinG heart rinG, Qr4,186, bubble heart rinG, Qr9,464, and bunny love rinG, Qr8,918. Go to aStleyClarKe.Com.

thislittlepinkie

Once confined to a fat cat’s finger,

today’s pinkie rings are dainty, pretty and

made for a lady.

thailand in technicolorOfficially,�the�designer�Thakoon�Panichgul�(above�left),�of�Thakoon,�is�an�adviser�to�Thailand’s�ministry�of�commerce.�But�this�summer�he�put�business�aside�and�spent�two�weeks�looking�for�inspiration�in�the�country’s�northern�mountain�villages�near�Chiang�Mai.�He�found�it�in�the�bright,�hand-woven�and�embroidered�silk�and�cotton�ikats�of�the�Karen�and�Lua�tribes�—�a�vibrant�palette�similar�to�the�saturated�red,�turquoise,�mustard�and�pink�yarns�in�his�recent�spring�collection.�‘‘There�is�something�so�special�about�these�communities�of�grandmothers,’’�Panichgul�says.�‘‘It’s�really�a�dying�art.�Each�tribe’s�ikat�pattern�is�based�on�memory.’’����CHELSEA ZALOPANY

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n�the�American�fall�collections�of�1960,�Norman�Norell�did�something�seemingly�too�radical�for�a�man�who�ate�most�of�his�meals�at�Schrafft’s�and�Hamburg�Heaven.�He�had��his�models�paint�their�faces�in�the�bohemian-urchin�style�of�Paris�in�the�’20s,�with�darkened�eyes�and�red�lips,�finished�off�with�shingle�haircuts.�Then�he�put�the�girls�in�pants.�

Technically�these�were�split�skirts,�but�who�cares?�The�effect�was�the�same.�Long�before�Yves�Saint�Laurent�issued�le smoking,�square�Norman�was�there.�‘‘They�may�seem�a�little�avant-garde�at�first,’’�he�told�The�Times�after�his�1960�show,�for�which�he�received�a�standing�ovation,�‘‘but�I�really�do�believe�in�the�look.’’�He�had�uncanny�instincts�for�anticipating�change:�the�elongated�sweater�look,�the�return�of�waistlines�in�the�mid-’60s,�the�dolman-sleeve�rage�of�the�early�’70s.�He�showed�leopard�patterns�in�the�’40s.�The�flapper�makeup�told�a�lot�about�Norell�as�well:�stage-struck�at�an�early�age,�he�designed�costumes�in�the�’20s�at�the�Astoria�studio�of�Paramount�Pictures,�dressing�Gloria�Swanson�in�‘‘Zaza,’’�and�later�worked�on�Broadway�musicals�and�burlesque�shows�before�moving�to�ladies’�fashion.

Norell�has�always�been�something�of�a�quiet�genius�of�American�fashion�—�he�was�born�Norman�David�Levinson��on�April�20,�1900,�in�Noblesville,�Ind.,�and�got�his��surname�by�chopping�down�‘‘Norman’’�and�taking�one�‘‘l’’�from�‘‘Levinson’’�and�the�other�from�‘‘looks.’’�And�so�it’s�intriguing�to�find�a�personal�trove�of�Norells�from�the�’60s��and�’70s,�some�of�it�in�mint�condition.�On�Oct.�19,�the�site��1st�Dibs�will�sell�more�than�100�ensembles�that�belonged�to�Beverly�Dowis�Blettner,�a�Chicago�socialite�and�philanthropist.�

Ricky�Serbin,�a�vintage-clothing�dealer�in�San�Francisco�who�has�organized�previous�online�sales,�learned�of��the�Norells�from�a�friend�and�approached�Blettner,�who�is�78�and�housebound.�‘‘She�kept�the�clothes�in�a�separate�apartment,’’�said�Serbin,�who�was�duly�surprised�by�the�depth�of�the�collection.�There�were�military-style�coats�with�jaunty�button�accents,�round-neck�jersey�dresses,�shirtwaists,�linen�chemises�in�cream�and�buttercup�yellow,�and�Norell’s�signature�bow�blouses.�Alas,�Blettner,�a�great�fund-raiser,�had�donated�her�sequined�Norell�mermaid�dresses�to�the�Chicago�

Historical�Society,�but�the�1st�Dibs�sale�includes�a�cream-colored�evening�dress�with�a�sequined�bodice�and�draped�skirt.

On�a�second�visit�to�Blettner’s�home,�Serbin�was�enticed�with�even�more�Norells,�many�of�them�samples�bought�directly�from�the�designer�in�New�York,�before�the�house�closed�in�1972,�shortly�after�his�death.�Born�in�Aurora,�Ill.,�Blettner�worked�for�a�beauty-supply�company�and�later�a�truck-leasing�firm,�purchasing�the�Norells�on�her�own.�In�1983,�she�married�Edward�Blettner,�a�Chicago�banker.�She�never�met�Norell.�But�then�in�contrast�with�other�designers�of�that�era,�Norell�didn’t�socialize�with�his�clients.�After�an�early�dinner,�usually�at�Schrafft’s,�he�went�home�to�an�elegant�duplex�in�Amster�Yard,�outfitted�with�Aubussons,�rare�Chinese�porcelains�and�a�Coromandel�screen�—�all�of�which�were�changed�in�summer,�according�to�the�writer�Bernadine�Morris,�to�Mexican�cottons�and�sunflower�silks.

‘‘If�you�look�at�the�current�collections,�you�see�Norell’s�influence,’’�Serbin�said.�Certainly�you�see�it�in�the�snappy�military�coats�and�jewel�necklines�popularized�by�Kate�Middleton,�in�the�ladylike�restraint�of�the�fall�Valentino�couture�show,�in�the�pin-neat�coats�for�fall.�Norell�loved�logic�—�the�logic�of�a�flattering,�youthful�neckline�—�with�the�shimmer�of�an�opening�night.�Sly�Norman�was�our�fashion�advance�man.�n

iNormaN’s coNquest astashofpristinenorellsgoesupforsale.cathyhorynistempted.

Back to now clockwise from above left: Babe paley, dressed by norell and shot by Slim aarons, circa 1946; the designer, in 1951, at a Fashion critics award rehearsal; a page from Vogue, in 1972, featuring a matching coat and dress; a dress from the 1st dibs oct. 19 sale.

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2).

Man of the hour olivier theyskens (top right) has shifted from hyper-romantic clothes to modern sportswear.

ince�Olivier�Theyskens�exudes�an�edgy�romanticism�with�his�poetic�long�hair,�he�has�always�seemed�like�a�Belgian�goth.�At�the�end�of�the�last�century,�when�he�was�a�21-year-old�prodigy,�he�made�clothes�with�a�hint�of�darkness�and�dressed�Madonna�in�a�long�frock�coat�for�the�1998�Academy�Awards.�������

Now,�at�age�34,�he�is�making��cool�clothes�for�his�own�generation,�creating�a�21st-century�version��

of�American�sportswear�as�designer�for�his�own�Theyskens’�Theory�label�and�for�the�giant�Theory�company,�which�is�under�the�umbrella�of�the�Japan-based�Fast�Retailing�group.�

Most�of�the�years�between�were�dedicated�to�luxury�style��at�the�Parisian�houses�of�Rochas�and�Nina�Ricci,�both�built�on�successful�fragrances�and�an�invitation�to�Theyskens�to�make�hyper-romantic�clothes.�Typically�his�shows�would�present��a�young�woman�with�feathers�in�her�hair,�balanced�on�stiltlike�shoes�while�her�long�dress�puddled�into�a�train.�‘‘When�I�am�doing�clothes,�I�like�to�imagine�I�am�her,’’�the�designer�says.

Theyskens�likes�to�dispel�most�of�the�received�wisdom�about�himself.�No,�he�was�never�a�goth�during�his�time�in�Brussels�and�his�brief�passage�through�the�city’s�La�Cambre�

fashion�school.�The�word�‘‘Gothic’’�resonated�for�him�only�as�Belgian�churches�with�thin�pinnacles�pushing�up�into�the�sky.������

I�remember�from�those�early�years�black�leather�jackets,�taut�as�corsets,�set�off�by�black�pearls,�lace�and�astrakhan;�or�long�dresses,�cut�from�his�family’s�collection�of�antique�linen�sheets�and�shown�in�a�crumbling,�gilded�Paris�mansion.�Theyskens�leapt�to�the�international�fashion�stage�in�the�late�1990s,�and�then�made�a�relatively�quiet�start�at�Rochas�in�2002.�I�later�watched�him�tinting�fabrics�in�his�tiny�studio,�creating�pastel�Impressionist�patterns�that�evoked�Claude�Monet�water�lilies�at�Giverny.�

Without�ever�reaching�for�the�drama�of�John�Galliano’s�wild�creativity�at�Dior,�Theyskens�produced�moments�of�fashion�enchantment.�Dresses�might�be�wisps�of�chiffon�and�lace,�floating�over�a�bared�back.�Their�delicacy�and�decency�in�an�era�of�‘‘girly’’�vulgarity�is�Theyskens’s�Parisian�legacy.

The�idea�of�capturing�fantasy�in�a�perfume�bottle�—�or�a�dress�—�made�sense�at�Rochas.�But�its�parent�company,�Procter�&�Gamble,�gave�up�on�fashion�in�2006.�At�Nina�Ricci,�the�designer�was�able�to�nurture�his�love�of�Victoriana�and�disheveled�glamour.�His�last�show�for�Ricci,�in�2009,�was�typical�in�the�teetering�platforms�below�long�dresses,�silvered,�as�if�caught�in�moonlight.�

Theyskens�talks�serenely�about�the�closure�of�the�fashion�division�at�Rochas�and�the�abrupt�end�of�his�contract�at�Ricci�after�critical�acclaim.�The�relationship�between�his�years�in�Europe�and�the�fresh�start�in�New�York�is�summed�up�in��the�title�of�the�book�he�published�last�year:�‘‘The�Other�Side��of�the�Picture.’’�The�designer�cut�all�the�patterns�for�his�early�

collections�(as�he�still�often�does�today).�And�he�was�never�wedded�to�the�idea�of�high�fashion:�he�always�wanted�his�‘‘cool�girl’’�(he�never�refers�to�her�as�a�‘‘woman’’)�to�be�able��to�buy�his�clothes�at�an�easy�price�and�mix�the�pieces�in�her�own�way.

‘‘I�had�to�do�a�lot�of�things�on�my�own,�to�make�it�happen,’’�Theyskens�says.�‘‘I�was�the�pattern�maker�from�Day�1.�I’ve�been�for�a�few�years�obsessed�by�making�the�right�pant�—�simple�things,�done�with�subtlety�and�research.’’

The�‘‘cool�pants’’�—�a�hipster�trouser�with�a�panel�that�rises�to�the�natural�waist�—�dominated�the�spring-summer�2012�Theyskens’�Theory�collection�in�New�York.�The�models’�legs�were�elongated�by�ridiculously�high�platform�shoes�that�recalled�the�Ricci�years.�The�difference�is,�of�course,�that�Andrew�Rosen,�chief�executive�of�Theory,�brought�Theyskens�on�to�make�feminized�sportswear�to�sell�at�realistic�prices.�The�madness�of�the�footwear�had�become�what�the�designer�calls�‘‘a�bridge�between�clothes�and�design�—�part�of�a�fetish.’’�The�show�ended�with�the�models�stomping�out�in�combat�boots,�to�prove�that�he�could�do�feminist�femininity,�too.���

Theyskens’�Theory�is�filling�the�gap�between�so-called�fast�fashion�and�high-end�clothes�that�are�10�times�more�expensive.�Prices�are�not�rock�bottom,�but�Theyskens�says�that�he�has�achieved�his�aim�to�‘‘do�clothes�in�proper�way,�at��a�proper�price,�and�in�proper�quality,�not�preciously�made,��but�with�the�integrity�of�affordable�fashion.’’�n

olivier’s twist americansportswearisthisromantic’snewpassion.bysuzymenkes

s

remix crosscurrents rochas,

fall 2006

olivier theyskens, fall 2001

nina ricci, fall 2009

theyskens’ theory, spring 2012

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remixwork in progress Paul Barbera shoots slick interiors for clients like Elle Decoration and Vogue Living. But before he ventured into the studios of the 32 designers in his new book ‘‘Where They Create’’ (Frame Publishers, QR163), he begged them not to clean up. ‘‘It’s not like messy wall, messy table, pencil on floor and rubbish near door equals great artist,’’ Barbera insists, but those intimate details make for rich material. Matali Crasset’s personal library, Maarten Baas’s prototypes and even the crudely fashioned cardboard strip that keeps Confetti System’s air-conditioner from jostling its hand-cut garlands reveal what it’s really like inside a designer’s world. MONICA KHEMSUROV

backtothefutuRepostwar california provided the perfect environment for modernism to flourish. newly available materials like machine-molded plywood combined with mass production to revolutionize furniture design; industrial steel transformed residential construction; and the region’s comfortable climate invited indoor-outdoor living. this month, the Los angeles county Museum of art presents ‘‘california Design, 1930-1965: Living in a Modern Way,’’ a survey of california’s homegrown style including the iconic 1945-49 eames house (a room from which will be installed as part of the exhibition), Barbie’s circa 1962 dream house (complete with cardboard hi-fi/television console) and a 1952 desk (left) by Greta Magnusson Grossman. In new York, the Museum of arts and design offered a counterpoint with ‘‘crafting Modernism’’, a look at the american Studio craft Movement, which embraced traditional techniques like woodworking, weaving and silversmithing to produce radical results, like Vladimir kagan’s trippy mosaic tile table or Jan de Swart’s 1965 blanket chest (right). SUSAN MORGAN

SPACE INVADER For�the�L.A.�artist�Sarah�Cain,�space�is�more�than�just�physical�—�it’s�also�psychic�and�emotional.�‘‘I�try�to�morph�the�three,’’�says�Cain,�whose�site-specific�work�dips�into�a�playfully�vivid�palette�that�defies�her�contemplative�nature.�Cain�used�abandoned�buildings�to�develop�her�style,�and�some�of�her�earliest�efforts,�along�the�dirt�roads�of�her�native�upstate�New�York,�went�entirely�unseen.�A�2004�installation�in�a�squat�in�San�Francisco’s�North�Beach,�however,�brought�her�the�attention�of�the�art�world.�She�is�now�represented�by�Honor�Fraser�in�L.A.�and�Anthony�Meier�Fine�Arts�in�San�Francisco�and�was�recently�commissioned�by�LAND�(Los�Angeles�Nomadic�Division)�to�do�an�installation�in�a�former�Masonic�lodge�in�Marfa,�Tex.�On�view�through�Dec.�4�as�part�of�a�suite�of�public�projects,�‘‘Forget�Me�Not’’�takes�its�name�from�the�flower�pin�once�worn�by�the�Masons�and�later�adopted�by�the�Nazis.�‘‘Supreme�Being’’�(above),�a�three-dimensional�canvas�bordered�in�gold�leaf,�is�the�only�component�Cain�created�off-site�for�the�piece;��its�diagonal�stripes�were�traced�from�the�floorboards�in�her�studio. STEFFIE NELSON

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First�the�Frieze�Art�Fair�announced�the�inauguration�of�its�New�York�offshoot,�in�May�2012.�Then�another�high-end�fair,�the�Pavilion�of�Art�&�Design�(or�PAD)�came�to�New�York�for�the�first�time,�from�Nov.�10�to�Nov.�14�at�the��Park�Avenue�Armory.�

PAD�started�in�Paris�in�1997,�when��it�was�known�by�the�slightly�less�catchy�name�Pavillon�des�Antiquaires�et�des�Galeries�d’Art.�In�2007�it�introduced�its�London�site.�‘‘Now�that�we�have�successfully�established�PAD�in�Paris�and�London,�it�feels�only�natural�to�come�to�New�York,’’�says�Patrick�Perrin,�who�founded�the�fair�with�Stéphane�Custot.�

PAD’s�emphasis�on�modern�art�as�well�as�19th-,�20th-�and�21st-century�decorative�arts�and�design�reflects�its�founders’�respective�areas�of�expertise:�Custot�is�a�partner�in�Hopkins-Custot�gallery�in�Paris,�which�specializes�in�modern�and�contemporary�art;�Perrin��is�a�design�author�and�furniture�

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collector�and�dealer.�(He�opened�both�Galerie�Perrin,�a�Parisian�gallery�for�17th-to-19th-century�French�furniture,�and�the�famed�Salon�du�Dessin,�a�fair�for�Old�Master�drawings.)�

‘‘We�love�every�single�kind�of�art,�every�single�period,’’�Perrin�exclaimed.�‘‘We’re�interested�in�everything�—�eclecticism�is�our�goal.’’�Indeed,�there�will�be�what�he�describes�as�‘‘lots�of�20th-century�paintings,�photographs�and�so-called�primitive�art,’’at�the�fair’s�52�galleries�from�France,�Britain,�Germany,�Switzerland,�Canada�and�the�United�States.�In�addition�to�20th-century�furnishings�by�evergreens�like�Jean�Prouvé�and�Charlotte�Perriand,�there�will�also�be�a�particularly�broad�mix�of�design,�from�Victorian�jewelry�(Primavera�Gallery,�New�York)�to�contemporary�furniture�by�Nendo�or�Studio�Job�(Carpenters�Workshop�Gallery,�London).�

What�led�to�scheduling�PAD�in�November,�outside�of�the�regular�New�York�art�fair�calendar?�‘‘It’s�perfect�because�it’s�during�the�fall�auction�season,’’�Perrin�explains,�‘‘and�it’s�two�weeks�before�Thanksgiving,�so�people�stay�in�the�city�to�work.’’�Perrin�is�also�confident�that�the�fair’s�proximity�to�all�the�major�uptown�museums�and�cultural�institutions�will�help�weave�it�into�the�uptown�cultural�circuit.�One�thing�he�doesn’t�want�to�waste�too�much�time�thinking�about�is�whether�the�current�economic�climate�lends�

itself�to�starting�an�art�fair.�‘‘Should�we�stop�breathing?’’�Perrin�shoots�back,�almost�indignantly.�Clearly�for�him,�and�for�the�sophisticated�clientele�PAD�seeks�to�attract,�collecting�isn’t�only�about�investing�—�it’s�in�the�blood.�For�more�information,�go�to�padny.net.

FELIX BURRICHTER

so far, so goodThe�Centre�Pompidou-Metz�is�presenting�the�‘‘Bivouac,’’�a�retrospective�dedicated�to�the�work�of�the�designers�Ronan�and�Erwan�Bouroullec�until�July�2012.�‘‘It’s�like�a�big�family�dinner�where�everybody�shows�up,’’�says�Erwan�(left,�seated).�The�family,�in�this�case,�is�the�brothers’�radically�original�work,�from�‘‘Lit�Clos’’�of�2000,�a�raised,�semi-enclosed�bed�like�a�bird�cage,�to�‘‘Ploum,’’�a�new�sofa�for�Ligne�Roset,�which�they�compare�to�a�very�ripe�fruit.�This�is�the�Bouroullecs’�first�major�show�in�their�native�France,�organized�by�ambience�and�demarcated�by�supersize�versions�of�their�room-divider�designs,�including�the�plastic�seaweed-inspired�‘‘Algues’’�and�their�textile�‘‘Clouds’’;�one�long�wall�will�hold�nearly�300�drawings.�To�coincide�with�the�show,�Phaidon�is�releasing�a�new�monograph�of�their�work.�‘‘We’re�still�young,�so�a�celebration�of�our�career�is�nice�but�a�little�anxiety-inducing,’’�said�Ronan,�the�older�of�the�two,�who�recently�turned�40.�‘‘Each�time�we�do�an�exhibition�it�feels�like:�that’s�done,�let’s�move�on�to�something�else.’’�That�something�else�will�be�a�permanent�lighting�installation��for�the�Gabriel�staircase�in�the�Château�de�Versailles. AMY SERAFIN

Spheres of influence kate Malone’s ‘‘an atomic Spiral Bottle’’ from adrian Sassoon at pad new York.

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hugo França works with hardwoods indigenous to his native Brazil to

create spectacular environments that are environmentally friendly.

Knotty by nature. ‘‘I like to maximize the innate features of the tree,’’ França says.

‘‘It’s an exercise in finding functionality in the forms that are already there.’’

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P H O T O G R A P H S �B Y �T H E �S E L B Y

hen�Caroline�Burnett�decided��to�open�Heroes,�in�Berlin’s�Neukölln�district,�her�initial�emphasis�was��not�on�food.�‘‘The�cafe�was�a�pretext�for�the�art,’’�says�Burnett,�an�

American�editor�who�curates�art�shows�in�a�dynamic�exhibition�space�in�the�back.�Today�she�and�her�partner,�Damien�Poinsard,�a�French-born�cook�who�helps�run�a�theater�group�on�the�side,�are�drawing�regulars�as�much�with�their�down-home�fare�as�with�their�roster�of�up-and-coming�artists.�Crepes�and�quiches�are�standards;�specials�depend��on�who’s�cooking.�If�Poinsard�is�in�the�kitchen,��the�menu�might�include�pot�au�feu�or�stewed��chicken;�when�Burnett�is�in,�she�says,�the�special��is�likely�to�be�meatloaf,�reflecting�her�nostalgia��for�home. ABBY AGUIRRE

wa movable feasttwoexpatsserveupheartybrunchandinstallationartinabohocornerofberlin.

Bonjour to Berlin clockwise from top left: damien poinsard slices tomatoes to accompany a cheese crepe; caroline Burnett at the counter; on the stovetop, poulet au miel; poinsard flips a crepe; peering in the cafe’s front window.

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Fresh direct From top: poinsard pours maple syrup over fruit and pain perdu; the specials depend on which owner is cooking; Burnett prepares frosting for a layered carrot cake; the cafe’s exterior, in Berlin’s blue-collar neukölln borough.

The art of the meal From top: the cafe’s exhibition space; poinsard makes a chocolate cake; the dessert case is stocked daily.

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thethingsphoto-derived pixel patterns.

his fabric for kvadrat on the Moroso armchair in his Shoreditch studio

is based on a London cityscape; the scarf mosaic is Moroccan-inspired.

thedesignerthe Barcelona-born cristian

Zuzunaga trained as a type designer, and his love for letterpress squares evolved into a fixation on the pixel,

‘‘the icon of our time.’’

thelookBlock party. Zuzunaga’s pixels are

a metaphor for a fragmented time. ‘‘these shapes are rooted in our

unconscious,’’ he says. ‘‘I’m trying to play at a psychological level.’’

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Giorgio ArmaniOccupation: Designer, Hotelier

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milan It’s probably fair to say that Giorgio Armani owns this town — or at least a glamorous and centrally located chunk of it. Last month, the designer further expanded his domain with the opening of the Armani Hotel Milano. ONDINE COHANE

ArmAni-villeHoused�in�the�imposing�1930s�Enrico�Griffini�building�that�has�over�the�last�few�years�become�a�showcase�for�all�things�Armani,�the�new�95-�room�Armani�Hotel�Milano�in�the�heart�of�the�Fashion�Quadrangle�represents�the�culmination�of��the�designer’s�vision�for�the�ultimate�lifestyle�complex.�‘‘It��is�a�personal�triumph,�the�realization�of�a�dream,’’�he�explains.�Furnishings�come��from�Armani/Casa,�naturally,�but�with�customized�hotel�finishes;�the�Italian�restaurant�features�seasonal�local�ingredients�and�a�handpicked�wine��list;�and�‘‘lifestyle�managers’’�double��as�personal�concierges.��A�ground�plan�of��the�project�seen�from�above�resembles�a�huge�A.�‘‘I�consider�that�to�be�a�good�omen,’’�Armani�says.�n

1. Emporio Armani Caffè the cafe is a canteen for suitably kitted-out fashion types, hungry shoppers and businessmen looking to soak up some armani glamour. red-topped tables and green upholstered banquettes provide a sleek backdrop to a menu that runs from light salads to risotto Milanese. open early morning until late. piazza croce rossa 2; 39-02-723-18680.

2. Armani/Spa Located on the eighth floor of the new armani hotel, the nearly 13,000-square-foot spa is poised to become a destination in itself. the louvered windows, walls and roof give a whole new perspective on Milan’s skyline, and the swimming pool, steam room and sauna offer refuge from an otherwise hectic city. Via Manzoni 31; armanihotels.com.

4. Armani/Manzoni 31 armani/Libri (books), armani/Fiori (floral arrangements), armani/dolci (chocolates) — think of this complex as a one-stop shop for all essential nonessentials, including the designer’s new skin-care line, regenessence; sunglasses; jeans; and even armani baby bottles. Via Manzoni 31; 39-02-7231-8600.

3. Armani/Privé the designer’s 360-degree lifestyle concept continues at this pink- light-bathed after-hours spot, which shares a name with his couture collection. Get beyond the velvet rope (a hotel room key helps), and the vibe is more conducive to sipping prosecco than table dancing. Via Manzoni 31; 39-02- 6231-2655.

5. Armani/Casa take the armani aesthetic home in the form of pale sofas, chinese- inspired screens, cream and beige sheets, and throw in the golds and neutrals that the designer favors. among the objects you’ll find here are the erika bowl in gold leaf (below), a limited-edition snakeskin writing desk and beautiful red Murano glass bowls. Via Sant’ andrea 9; 39-02-657-2401.

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To�begin�with,�Webb�never�crossed�the�threshold�of�the�Park�Avenue�shop.�It�was�the�creation�of�Nina�Silberstein,�his�partner,�who�took�over�the�business�at�his�death,�in�1975,�and�with�her�family�ran�it,�more�or�less�successfully,�until�2009,�when�the�company�entered�Chapter�11�bankruptcy�and�was�sold�for�a�mere�QR40�million.�A�decade�earlier,�when�investors�were�offering�blank�checks�for�anything�that�glittered,�the�Silbersteins�could�have�probably�received�10�times�that�sum.�But�Nina�never�considered�selling,�says�her�son�Stanley.�‘‘My�mother�always�expected�it�to�stay�in�the�family,’’�he�says.�So�they�held�on�as�a�host�of�social�and�economic�forces,�including�a�recession,�uprooted�many�of�the�old�values.�Today�on�that�corner�of�Park�Avenue�stands�a�branch�of�Chase.

Fortunately�the�Webb�name�was�never�tarnished.�He�was��a�man�of�outstanding�qualities�—�charm,�talent,�enormous�drive�—�whose�death�at�age�50�from�pancreatic�cancer�shocked�his�family�and�friends,�some�of�whom�resented�Nina�Silberstein’s�control.�But,�according�to�Stanley,�his�mother�had�become�Webb’s�partner�years�earlier�when�she�helped�him�buy�out�his�original�backer,�a�well-connected�woman�named�Antoinette�Quilleret,�in�1963.�(Stanley�maintains�that�his�mother,�a�Russian�émigré,�was�also�involved�at�the�beginning,�

he�ring,�a�birthday�present,�is�an�austere�hunk�of�gold�with�an�ice�rink�of�diamonds�finished�off�by�a�flat�piece�of�carved�jade�—�a�phoenix,�according�to�a�Chinese�artist�who�spied�the�ring�during�a�dinner�party�in�Beijing.�I�gazed�wondrously�at�the�design�so�as�not�to�appear�rude�but�thought:�phoenix,�schmeenix.�The�ring�

was�given�to�me�by�someone�I�love,�and�I�can�still�see�his�creased,�anxious�face�the�night�I�opened�the�box.

It�was�designed�by�David�Webb,�a�name�that�had�personal�associations�for�me�of�New�York;�some�borrowed�from�Vogue�and�W�in�the�’70s,�others�from�those�bird�cages�of�rapture,�the�‘‘women’s�pages’’�in�newspapers,�where�praise�for�Webb’s�jewels�was�constant�and�vaguely�haughty.�Some�years�later,�in�the�’90s,�if�I�happened�to�be�in�the�vicinity�of�57th�Street�and�Park�Avenue,�I�would�glance�toward�the�David�Webb�shop,�a�fortress�marked�by�a�sleek�nameplate,�and�think�the�place�was�somehow�equal�to�a�private�bank�or�club.�Which�just�goes�to�show�you�what�a�myth�New�York�is,�or�as�Truman�Capote�called�it,�‘‘a�diamond�iceberg.’’�It�would�be�years,�and�the�gift�of�a�ring,�before�I�would�be�able�to�appreciate�the�remarkable�genius�of�David�Webb.

Vast menagerie top, from left: david Webb with a lady friend; magazine editorials from 1977 and 1971. Jewelry, from left: tiger bracelet, Qr276,640; ring, Qr83,720; nail ring, Qr45,864; cuff, Qr338,520; bull bracelet, Qr495,040; giraffe bracelet, Qr225,680. cLo

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but�others�familiar�with�the�firm’s�history�say�she�first�functioned�as�his�accountant.)�Aside�from�getting�on�well�with�Webb,�Nina�seems�to�have�provided�a�stabilizing�influence.�‘‘David�could�never�say�no�to�anything,’’�explains�Andrew�Clunn,�his�right-hand�man�for�years,�who�left�in�1978�to�go�out��

on�his�own.�‘‘He�bought�a�big�ruby�collection,�and�after�Nixon�went�to�China,�a�lot�of�jade�came�onto�the�market.�He�bought�that,�too.�That’s�where�it�was�rather�dangerous.’’

To�the�outside�world�at�least,�the�business�appeared�as�invulnerable�as�the�new�shop�that�Nina�erected.�Stone�setters�and�enamelers�continued�to�work�off�old�designs,�like�the�animal�bracelets�that�women�wore�stacked�in�the�1960s�or�

the�fat�rings�and�earrings,�their�semiprecious�stones�and�cha-cha�colors�warming�demure�bouts�of�fashion�since�the�’50s.

‘‘It’s�not�like�the�quality�and�designs�took�a�dive�after��he�died.�They�didn’t,’’�said�Lisa�Hubbard,�the�co-chairman�of�Sotheby’s�international�jewelry�division.�Webb�pieces�owned�by�Elizabeth�Taylor�will�be�in�the�December�auction�of��her�belongings�at�Christie’s.�Wherever�starry�provenance�has�been�matched�by�exceptional�stones,�like�Doris�Duke’s�circa�1957�diamond�brooch,�which�sold�at�Christie’s�in�2004�for�QR1,250,340,�prices�for�Webb�have�been�well�above�estimates.

One�reason�for�the�continuity�was�Webb’s�creative��output;�during�his�career,�starting�in�1948,�he�produced�between�40,000�and�50,000�designs.�That�made�the�company�appealing�to�its�new�owners,�Sima�Ghadamian,��Mark�Emanuel�and�Robert�Sadian,�well-established�dealers��in�estate�jewelry,�who�were�part�of�a�group�that�successfully��bid�for�Fred�Leighton.�Sensing�that�Webb�held�a�richer�story,�one�of�American�moxie,�the�partners�decided�to�put�their�efforts�behind�Webb.�‘‘It�has�amazing�name�recognition,’’�Ghadamian�says�when�we�meet�at�the�company’s�new�home,��at�942�Madison�Avenue,�which�houses�a�shop,�a�large�workroom�and�the�archive,�including�some�30,000�index�cards�of�jewelry�that�was�made.�A�half�century�of�pleasure�

and�guilt�is�on�record�—�every�birthday�gem,�every�makeup�gift�from�a�waltzing�husband.�When�I�ask�Ghadamian�why�the�former�owners�hit�a�wall,�she�suggests�they�were�victims�of�their�own�success.�‘‘They�were�so�successful�and�with�such�ease�for�so�long�that�they�didn’t�dig�a�little�deeper,’’�she�says.

But�there�is�another�reason�the�Webb�name�has�endured,�and�that�is�Webb�himself.�His�outsize�personality�was�reflected�in�nearly�everything�he�made,�perhaps�most�of�all�in�the�fantastical�objects�he�gave�as�gifts�of�state�for�various�presidents.�Born�in�Asheville,�N.C.,�Webb�arrived�in�New�York�at�16�and�found�work�in�the�jewelry�district.�‘‘Every�client�talks�about�his�charisma,’’�says�Ruth�Peltason,�who�is�writing�a�book�about�Webb.�Kenneth�Jay�Lane�says�he�was�not�unlike�Bill�Blass�in�looks�and�charm.�He�was�a�tall,�well-tailored�mixture�of�Southern�gentility�and�roughneck�talk.�He�had�a�gang�of�male�friends,�but,�to�Peltason’s�knowledge,�there�was�no�central�figure�in�his�life.�He�loved�to�paint�and�was�said�to�be�a�superb�cook.�With�success,�which�came�quickly�(his�pieces�began�to�appear�in�Vogue�in�1950),�he�bought�a�town�house�on�the�Upper�East�Side�and�filled�it�with�art�and�Regency�furniture.�He�liked�gardening�at�his�upstate�house�—�a�motif�in�his�designs.

‘‘He�had�interesting�friends,�but�I�remember�him�as�being�private,’’�says�Marjorie�Reed�Gordon,�who�first�met�Webb�in�his�shop�at�7�East�57th�Street�when,�as�a�student�in�the�’60s,�she�bought�a�QR1,092�pair�of�frog�pins�on�layaway.�Andrew�Clunn�suggests�that�some�clients,�without�careers�or�husbands,�became�too�attached�to�Webb,�a�problem�that�Blass�had�as�well.�Shortly�after�Webb�died,�Clunn�says,�a�few��ladies�turned�up�at�the�shop,�insisting,�‘‘I�know�he�loved�me!’’

No�doubt�he�did,�but�he�loved�his�work�more.�Capote,��who�invited�Webb�to�his�Black�and�White�Ball�(he�declined),�was�about�the�same�age.�In�a�1946�essay�about�that�period,�he�said�of�proving�oneself�(and�avoiding�a�return�to�the�provinces):�‘‘Only�success,�and�that�at�a�perilous�peak,�can�give�relief.’’�Webb�was�lucky�in�that�he�possessed�both�ambition�and�artistic�talent.�Not�only�did�he�produce�an�extraordinary�range�of�designs,�like�the�large�jewels�in�coral,�tiger’s�eye,�lapis�and�rock�crystal�—�pieces�that�in�their�jivey�brilliance�seemed�to�anticipate�mod�and�radical�chic�—�but�he�also�adapted�his�ideas�to�new�attitudes.�He�created�forms�inspired�by�Mughal�jewelry,�did�luscious�things�with�pearls�(like�a�twisted�diamond�encrusted�ring�finished�off�with�two�fat�pearls)�and,�of�course,�made�the�popular�animal�shapes.

Yet,�at�the�end�of�the�’60s,�as�if�summoning�the�cooler�feminist�era,�Webb�evolved�from�a�figural�artist�to�an�abstract�one.�‘‘He�sort�of�invented�this�pure�geometry,’’�Mark�Emanuel�says.�‘‘It�has�a�lot�of�youthfulness�and�female�power.’’�In�the�shop,�Emanuel�picked�up�a�hammered-gold�cuff�set�with�a�huge�Persian�turquoise�and�held�it�a�moment.�‘‘It’s�about�how�to�hug�a�stone,’’�he�said.

Webb’s�generation�of�rock�stars,�as�Lisa�Hubbard�points�out,�lived�in�a�time�when�everybody�was�less�mobile�and�not�plagued�by�ringing�cellphones.�‘‘They�had�time�and�space�and�the�ability�to�cater�to�this�loyal�and�caring�clientele,’’�she�says.�The�challenge�for�the�new�owners�is�exactly�the�opposite:�how�to�compete�in�a�global�market�where�customers�want�accessibility�as�much�as�exclusivity.�‘‘If�a�brand�doesn’t�have��a�global�outlook,�it’s�essentially�doomed�to�be�a�mom-and-pop�operation,’’�Emanuel�says.�He�and�his�partners�have�restored�Webb’s�inventory�of�stones,�and�Emanuel�says�they�are�exploring�all�kinds�of�ideas,�like�collaborations�with�artists��and�more�affordable�pieces.�But�for�now,�it’s�enough�for�them�to�deal�with�the�master’s�groovy�treasure�trove�and�dig�in.�n

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Best and brightest From top: Mary-kate olsen, Jennifer Garner and Jessica alba wearing Webb jewels.

His outsize personality was reflected in everything

he made, perhaps most of all the fantastical objects

he made as gifts of state for various presidents.

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thetrendMaui Wowie. From the lofty tropics of

Givenchy and Stella Mccartney to the more affordable climes of Versace

for h&M and Milly, hawaiian prints are very much in the air this holiday season.

thegirltaissa Farmiga, the 17-year-old star of

‘‘american horror Story,’’ tV’s scariest new show, got her break earlier this

year with a lauded performance under the direction of her big sis Vera in the

film ‘‘higher Ground.’’

thelooknorth shore or not, a papaya and

guava colored crepe dress by Jill Stuart has us surfing the Web.

photoGraph by JeFF henriKSon FaShion editor: Sara moonveS

Jill Stuart dreSS, Qr1,820. linda FarroW vintaGe SunGlaSSeS,

Qr1,292. Go to lindaFarroWGallery.Com.

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when in france: the partnerS love Food almoSt aS muCh aS Furniture. on buyinG tripS to pariS, they head to reStaurant pharamond For ‘‘authentiC FrenCh Fare and an inCredible Wine liSt.’’ Go to pharamond.Fr. in the South, ‘‘We eat Several mealS, iF not all oF them’’ at le Jardin du Quai, near aviGnon. ‘‘the Garden iS lovely.’’ Go to danielhebet.Com. they Stay at la maiSon Sur la SorGue in provenCe, a Four-Suite hotel that dateS to the 18th Century. Go to lamaiSonSurlaSorGue.Com.

GrAcious HomemaiSon Gerard The new outpost of Gerardus Widdershoven and Benoist F. Drut’s blue-chip gallery, on East 10th Street in Manhattan, features Art Deco, midcentury and contemporary furnishings in a former 1970s-era beauty parlor that is strikingly industrial and surprisingly intimate. Go to maisongerard.com. SANDR A BALLENTINE

7. The pair is drawn to sculptures by the Italian artist Mario dal Fabbro for their pure, organic forms. ‘‘Ironically, he usually marked his pieces with nFS (not for sale)!’’ Widdershoven says. this one’s Qr65,520.

8. Drut discovered Matthew Solomon’s work in narrowsburg, n.Y., not far from his country retreat. ‘‘I immediately fell in love with his elegant, naturalistic ceramics,’’ he says. ‘‘and his glazes are vibrant and simply superb.’’ these tulips are Qr1,365 and Qr2,130.

9. This chair (one of a pair for Qr127,400) by the French designer Jean royère, is the only known example of his use of faux rattan.

1. The partners have a penchant for contemporary ceramic and porcelain pieces. this monumental urn by the danish ceramicist per Weiss was inspired by Greek amphorae, ‘‘with a little keith haring thrown in,’’ says Widdershoven (above right). It’s Qr80,080.

2. The only ceramicist in France to hold the title of Maître d’art (Master artist), Jean Girel is also one of the few artisans who creates his own porcelain paste. this piece, from his Bestiaire series, is Qr24,752.

3. Thomas Boog, a paris-based designer, takes seashell art to a new level, according to drut (above left). ‘‘he slices, flattens, crushes and layers shells to create fresh designs

that are more chic than beach.’’ this mirror is Qr35,672.

4. The New York artist nicholas howey’s geometric and richly saturated paintings ‘‘remind us of Japanese calligraphy and heraldic imagery of days gone by,’’ Widdershoven says. ‘‘exchange of Letters,’’ shown here, is Qr46,592.

5. The gallery owners introduced hervé van der Straeten’s stylish metalwork to the united States in 2004. these bronze candlesticks are Qr7,280 (small), Qr7,280 (medium) and Qr8,736 (large).

6. They are passionate about the midcentury designer Jules Leleu, and are particularly enamored of this lacquered wood, gilt and bronze table from circa 1962. It’s Qr247,520.

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to C h a m p i o n m o d e r n .C o m .

* all priCeS indiCative. For availability & boutiQue detailS CheCK brand direCtory on paGe 98. 31

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V O L U T E S F r o m r o C h e b o b o i S , Q r 2 2 , 3 4 6 . G o to r o C h e - b o b o i S .C o m .

FA I N T b y pat r i C i a u r Q u i o l a F o r G l a S i ta l i a , Q r 3 6,07 6 .

at d d C. G o to d d C n yC.C o m .

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A R VA DA N I L E S F r o m a r h a u S, Q r 9,8 24 .

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* all priCeS indiCative. For availability & boutiQue detailS CheCK brand direCtory on paGe 98.32

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ack�in�1988,�when�12-year-old�Mohammed�Al-Baker,�first�came�across�a�book�by�jewelry�artist�Carl�Fabergè,�he�was�intrigued�by�how�the�artist�transformed�an�

ostrich�egg�into�a�precious�piece�of�art.�Mohammed�attempted�his�first�creation�by�decorating�a�chicken�egg�with�glitter.�“It�was�ugly,”�he�recalls.�Undeterred,�he�continued�to�learn�more�about�egg�art�and�explore�its�intricacies.�“This�is�how�you�grow�as�an�artist,”�he�says.

And�he�has.�Nine�private�exhibitions�in�the�region,�felicitated�by�HH�the�Emir�Sheikh�Hamad�bin�Khalifa�Al-Thani�during�Qatar’s�77�Mta�celebration�and�most�recently�–�the�inauguration�of�his�first�boutique�at�The�Gate�Mall.

Al�Baker�Art�Boutique�houses�Mohammed’s�timeless�creations�–�hand-made�jewelry�using�precious�stones,�antique�clockworks�in�wood,�watches�in�fine�leather�and�his�signature�egg�sculptures�adorned�with�gold�and�precious�embellishments.�These�eggs,�he�says,�are�specially�flown�in�from�South�Africa,�London,�the�US�and�Canada.�After�coating�them�with�a�particular�chemical�that�preserves�the�life�of�the�shell,�the�artist�gets�down�to�work,�offering�each�piece�a�unique�finish.�Seeking�inspiration�from�his�cultural�roots,�there’s�always�a�touch�of�rich�history�that�adorns�his�pieces,�be�it�pearls�or�Islamic�renderings.����

Mohammed�has�never�had�a�mentor,�though�he�admits�to�have�been�following�Fabergè�closely.�“However,�the�best�way�to�master�an�art�is�to�experience�it�yourself.�Learn�to�experiment,�and�you�will�create,”�he�says.

The�immense�support�that�he�receives�from�his�family,�friends�and�the�public�is�overwhelming.�“My�family�is�my�best�critic,�especially�my�brother.�He’s�not�an�artist�but�has�a�good�taste�in�art.�You�don’t�have�to�listen�to�the�positive�side�always.�Sometimes�criticism�lets�you�understand�your�

weaknesses�better�and�helps�you�improve�yourself.”�

The�genre�of�art�that�Mohammed�touches�upon�is�relatively�new�to�the�region.�So�though�he�doesn’t�have�to�face�competition�in�his�medium�of�work,�he�feels�it’s�still�challenging�to�satiate�the�discerning�taste�of�the�public.�“As�an�artist,�you�need�to�keep�evolving.�People�want�to�see�something�new�each�time,�and�you�need�to�live�up�to�their�expectations.”�n

b

art iN aN eggshellart From eGGShellS? beFore you diSmiSS thiS StraiGht oFF, meet Qatari JeWelry and eGG SCulpture deSiGner MOHAMMED AL-BAKER Who believeS WorK oF art Can be CraFted From anythinG. JuSt liKe hoW eGGShellS Found their Way From traSh to hiS many treaSureS, WriteS CASSEy OLIVEIRA.

Beyond ArtMohammed al-Baker's boutique showcases his timeless creations of jewelry, clockworks and egg sculptures.right: al-Baker with other leading Qatari businessmen.

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35

العمر يبلغ من الباكر العام 1988، وعندما كان حممد

املجوهرات لفنان كتاب يديه بني وقع عاما، 12

فابريجيه، فافُتنت بالطريقة التي حول بها الفنان بي�ضة

النعامة اإىل قطعة فنية ثمينة، فحاول اأن يبدع اأول قطعة

"كانت قبيحة" كما فنية له بتلميع بي�ضة دجاج لكنها

يقول. لكن ذلك مل يثبط من عزميته فوا�ضل �ضعيه ملعرفة

وا�ضتك�ضاف تعقيداته حيث يقول: البي�ض املزيد عن فن

"هذه هي الطريقة التي يتطور بها املرء كفنان".

ت�ضعة اأقام حيث بالفعل فنان اإىل حممد حتول وقد

معار�ض فنية خا�ضة يف املنطقة، وهناأه ح�رضة �ضاحب

اأمري البالد املفدى اآل ثاين ال�ضمو ال�ضيخ حمد بن خليفة

الغاز الإنتاجية لقطر من الطاقة خالل الحتفال ببلوغ

77 مليون طن �ضنويا، كما اأنه قد افتتح موؤخرا اأول منفذ

له يف ذي جيت.

جموهرات من اخلالدة اإبداعاته حممد منفذ وي�ضم

وال�ضاعات الكرمية، الأحجار با�ضتخدام يدويا م�ضنوعة

من ومنحوتاته اجللدية، وال�ضاعات اخل�ضبية، العتيقة

البي�ض املزين بالذهب والأحجار الكرمية. وك�ضف حممد

اأفريقيا، ولندن، اأن هذا البي�ض قد تنقل جوا بني جنوب

والوليات املتحدة، وكندا، لطالئه مبادة كيميائية معينة

حتفظ ق�ضوره من التلف. وبعد ذلك قام الفنان بتزيني كل

وهو الأخريات. عن متيزها فريدة بطريقة منها بي�ضة

ي�ضتمد الإلهام من جذوره الثقافية، اإذ توجد دائما مل�ضة

من التاريخ الغني تزّين كل قطعة من قطعه الفنية �ضواء

كان ذلك من خالل اللوؤلوؤ اأو النقو�ض الإ�ضالمية.

خط باتباعه يعرتف اأنه اإل قط، معلم ملحمد يكن ومل

طريقة اأف�ضل "لكن م�ضيفا: وثيقة، ب�ضورة فابريجيه

اأن يقوم املرء بتجربته بنف�ضه. عليك اأي فن هي لإتقان

اأن تتعلم كيف جترب، عندئذ �ضوف تبدع".

قشور البيض تدخل دائرة الفن

في

قبل أن تستهجن فكرة اإلبداع الفني من قشور البيض، ينبغي أن تقابل الصائغ القطري ومصمم المنحوتات من قشور البيض، محمد الباكر، الذي يعتقد أنه

من الممكن تصميم األعمال الفنية من أي شيء. فقد وجدت قشور البيض طريقها عنده من سلة المهمالت لتتحول إلى منحوتات فنية رائعة.

ويتلقى حممد دعما هائال من عائلته واجلمهور اإذ يقول:

"اإن عائلتي هي اأف�ضل نقادي وخ�ضو�ضا اأخي، رغم اأنه من لي�ض مرهف. فني بذوق يتمتع اأنه اإل فنانا، لي�ض

ال�رضوري اأن يتحدث النا�ض عن اجلانب الإيجابي دائما.

لنقاط اأف�ضل فهما للمرء النتقادات تتيح اأحيانا اإذ

ن".ّ�ضعفه وت�ضاعده على التح�ض

جديدا حممد ميار�ضه الذي الفن من النوع هذا وُيعترب

ن�ضبيا يف املنطقة. لذا على الرغم من عدم وجود مناف�ضة

التحدي مواجهة دائما عليه اأن اإل عمله، جمال يف

املتمثل يف اإر�ضاء اأذواق اجلمهور املتميز. واأنهى حديثه

قائال: "يحتاج الفنان اإىل التطور با�ضتمرار. فالنا�ض حتب

اأن يرتقي اإىل روؤية �ضيء جديد يف كل مرة، وعلى املرء

م�ضتوى تطلعاتهم".

الفنان حممد الباكر مع جمموعة من رجال الأعمال القطريني

عينات من اأعمال الفنان حممد الباكر

36

chanel dawn of springFor the Spring 2012 makeup collection Peter Philips, Creative Director of Chanel Make Up, has translated into colors an exhilarating blend of the freshness of dawn and the softness of sunset that Spring brings along. A harmony of shimmering shades of pink, coral and peach adorn the collection to capture the changing moods of Spring. For the lips, there’s the sparkle of gloss, the charm of lipshine or the elegance of a satiny lipstick. The cheekbones are sun-kissed with a complexion so pure, while the eyes meet the gaze of luminous nude tones or the fantasy of amber.The glow of garnet amidst all that shimmer brings in a breath of sensuality to this seductive collection.

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37

The�House�of�Hermès�constantly�celebrates�hand�craftsmanship,�and�the�objects�created�tell�the�story�of�the�astounding�relationship�between�the�hand�and�mind.�This�time�Hermès�honors�the�ancient�art�of�straw�marquetry�–�a�form�of�expertise�that�has�become�extremely�rare�–�by�presenting�it�for�the�first�time�on�a�watch�dial.Hermès�introduces�two�new�versions�of�the�Arceau�watch,�originally�created�by�Henri�d’Origny�in�1978.�They�feature�the�model’s�signature�asymmetrical�lugs�with�a�twist�–�its�shape�allows�a�stirrup�leather�to�slide�through�it�thus�evoking�Hermès�saddle-making�history.�The�distinctive�italic�typeface�of�the�Arceau�hour-markers�has�vanished�to�accommodate�the�exceptional�straw�marquetry�on�the�dial.�The�blue�and�black�motifs,�framed�by�the�41�mm-diameter�white�gold�watch�case,�depict�two�iconic�Hermès�tie�patterns�featuring�chevrons�and�tiny�squares.�A�matt�indigo�blue�alligator�strap�further�complements�the�straw�dial.Endowing�these�two�models�with�a�55-hour�power�reserve�is�a�mechanical�self-winding�caliber�H1928�by�Manufacture�Vaucher�exclusively�for�Hermès.

HERMÈS REVIVING STRAW MARqUETRY

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Vacheron constantintimeless treat

The latest newcomer to the elegant Patrimony Traditionnelle line is the first Vacheron Constantin

watch to be approved according to the new Hallmark of Geneva criteria - the Patrimony Traditionnelle

14-day Tourbillon. At the heart of the tourbillon lies the Vacheron

Constantin Caliber 2260 that boasts an exceptional 14-day power reserve. The caliber is equipped with four barrels mounted as coupled pairs and amount

to a total length of around 2.20m while each of them enables approximately 13 development rotations – all

in a caliber whose diameter is only 29.10mm. These barrels also guarantee a longer stability in time.

In line with the high standards of this timeless line, the design incorporates a variety of delicate

elements such as a slender bezel, a case middle with a fluted base, a screw-down case-back fitted with a

sapphire crystal, faceted hour-markers that double at 12 o’clock, 5N pink gold dauphine hands and a

historically-inspired opaline silver-toned dial adorned with a variety of finishes.

Stamped with the Hallmark of Geneva, this timepiece is excellence certified.harry Winston, the

international jeweler and timepiece manufacturer, hosted an exclusive dinner with al Fardan jewelry to celebrate the success of ”richard III” performances in doha at the Four Seasons hotel. the event was attended by the cast and crew of the production as well as other VIp clients.Shakespeare’s ”richard III” had two performances at the Qatar national convention center on december 16-17, 2011, as part of an international tour co-organized by the doha Film Institute (dFI) in Qatar. the global tour had performances in Greece, Spain, hong kong, Singapore and Istanbul, and Qatar was the only Middle east destination to be included. the ”richard III” tour kicked off amid great critical acclaim at the old Vic on June 29, 2011.the cast has a mix of British and american actors including Maureen anderman as the duchess of York; haydn Gwynne as Queen elizabeth; chuk Iwuji as duke of Buckingham; Gemma Jones as Queen Margaret; kevin Spacey as richard III and chandler Williams as George, duke of clarence. the play was directed by Sam Mendes.the tour is part of the Bridge project – a unique collaboration between London’s old Vic theatre, BaM (the Brooklyn academy of Music) and the independent uk production company neal Street – and is presented by Bank of america Merrill Lynch.

remix qatar

haRRYwinstoncelebRatesRichaRdiiisuccess

39

SEE BY CHLOÈSHIMMERY SHOWShow�off�your�perfect�style�this�party�season�with�the�funky�yet�stylish�Cherry�bag�from�See�By�Chloè.�The�perfect�little�party�bag�has�been�embellished�with�light�metallic�gold�pieces�to�give�off�a�unique�feather�effect.�Add�an�effortless�touch�of�glamor�to�any�outfit�you�pick�with�this�uber-chic�beauty�the�next�time�you�plan�for�a�glitzy�evening.Not�to�forget,�these�bags�serve�as�perfect�gifts�too!�

poloandpartywithpiagetaspen – one of the world’s most glamorous winter destination – provided an ideal setting for the 11th annual World Snow polo championship and a glittering holiday party hosted by piaget and audi. the action-packed holiday began on an intense note with the piaget polo team, featuring piaget polo ambassadors nic roldan and Marc Ganzi along with top-ranked kris kampsen, competing in one of the most celebrated events of the polo season. Meanwhile the action off-field was just as intense as the polo crowd and aspen jet set enjoyed an endless round of parties. the stellar crowd included hollywood celebrities ”twilight” star, kellan Lutz; ”Star treks’” Zachary Quinto and chris diamantopoulos, star of the upcoming ”three Stooges” release, along with socialites paris and nicky hilton, nacho and delfina Figueras, Jamie tisch, Lita heller, amy phelan, Marc and Melissa Ganzi and Jenny kennedy among others.But the crowd-pleaser was clearly piaget’s polo FortyFive timepiece that adorned the wrists of nearly every polo player in attendance.

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eriously,�how�often�do�you�really�look�at�a�man’s�shoes?”�pondered�Andy�Dufresne�in�“The�Shawshank�Redemption”.�

Whilst�this�may�be�true�for�most�people,�there’s�a�prevalent�thesis�among�women�today�that�a�man�can�be�defined�by�the�shoes�he�wears.�EHow.com�has�even�

produced�a�webpage�detailing�the�subtle�skills�required�to�perceive�a�man’s�personality�by�the�way�he�is�shod.�Its�

snumber�one�tip�for�ladies,�“Though�it�might�be�safer�to�check�out�his�shoes�rather�than�the�rest�of�his�body,�do�this�carefully.�You�do�not�want�to�seem�desperate�if�your�eyes�linger�for�too�long”,�tells�us�all�we�need�to�know,�really.�A�man’s�shoes�are�a�more�attractive�feature�than�a�six-pack�midriff.�Who�knew?!

EHow�rationalises�that�if�he�keeps�his�shoes�clean,�then�he�must�give�them�great�care�and�attention�and�this�naturally�means�he�will�also�care�and�attend�to�his�girl.�If�he�wears�boatshoes,�he�has�an�appreciation�for�the�finer�things�in�life.�He’ll�appreciate�an�outfit�you’ve�carefully�put�together�or�the�new�hair-style�you’re�showing�off.

It�was�for�this�reason�I�accepted�an�invitation�last�month�from�Santoni�to�their�shop�at�The�Pearl-Qatar�where�I�was�given�an�overview�of�their�brand�and�its�history�before�I�was�sized�up�for�a�pair�of�luxury�shoes�of�my�own.�I�figured�I�needed�a�neat�pair�of�shoes�because�if�EHow�was�accurate�in�

Federico Ferranti Santoni’s commercial Manager for the Middle east in their outlet at the pearl.

a maN aNd his shoes byRorycoenit’S oFten Said that you don’t KnoW What you’ve Got till it’S Gone. you don’t underStand What a ComFortable pair oF ShoeS iS Worth until you've WalKed three mileS in a pair oF boney CloGS With a Couple oF StoneS WedGed into the SoleS oF your Feet. but hoW muCh are you WillinG to pay For a Quality pair oF ShoeS? Would you value ShoeS aS muCh aS a dinner JaCKet?

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41

its�analysis�–�and�I�had�no�reason�to�doubt�them�–�then�any�woman�I�ever�dated�would�definitely�have�thought�I’d�treat�her�like�a�rag�doll!

Santoni�SPA�was�founded�by�Andrea�Santoni�in�Marche,�Italy�–�a�region�on�the�east�coast�–�in�1975.�Its�headquarters�are�in�a�small�town�called�Corridonia,�and�it�employs�its�labor�directly�from�the�town.�Andrea�started�with�just�four�employees�working�in�a�basement�under�his�house�in�1972,�but�now�has�450�employees�working�in�three�factories�in�his�home-town.

Italians�have�a�penchant�for�apparel�and�they�take�their�shoes�without�a�pinch�of�salt.�They�have�a�long�and�labored�tradition�in�shoe�creation�and�design.�I�met�with�Federico�Ferranti,�their�Commercial�

Manager�for�the�Middle�East,�and�his�passion�for�the�industry�–�and�their�brand�in�particular�–�was�strikingly�obvious.�

“We�have�a�strong�tradition�of�producing�shoes�in�Italy,”�he�stressed.�“The�English�were�innovators�in�shoe�construction,�in�producing�sturdy�soles,�and�we�learned�

from�this.�But�the�upper�sole�–�or�the�upper�part�of�the�shoe�–�is�something�very�Italian.�The�look,�the�design,�the�touch,�the�feel.�A�Santoni�shoe�is�distinctive�in�its�coloring�and�design.�The�handmade�stitching,�the�inside�stitching,�the�finishing�–�incredible�quality.

“Santoni�has�always�had�a�passion�for�quality�and�beauty�–�ever�since�he�founded�the�brand.�These�were�essential�components�of�his�shoes�from�the�first�day.�He�then�introduced�this�unique�hand-coloring,�where�each�coloring�is�like�a�secret�recipe�and�every�shoe�is�distinctive�because�it�is�finished�by�hand.�When�the�assistants�are�coloring,�they�are�obviously�following�a�sample,�but�such�is�the�varying�weight�and�dryness�of�the�leather,�each�shoe�reacts�to�the�pressure�of�a�finger�very�differently.”

All�of�which�sounded�very�thorough�and�deliberate,�I�thought.�I�was�pretty�clueless�as�to�how�much�a�pair�of�these�luxury�shoes�might�cost,�so�when�I�was�informed�that�they�could�cost�up�to�QR5,000,�my�jaw�nearly�hit�the�ground.�I�don’t�think�I�had�ever�paid�more�than�QR400�for�a�pair�before�in�my�life.�However,�as�I�replaced�my�jaw,��my�thoughts�quickly�shifted�to��the�indirect�costs�associated�with�acquiring�a�pair�of�these�shoes.�Santoni�had�kindly�agreed�to�fit�me�for�a�complimentary�pair,�but�would�this�mean�I’d�have�to�purchase�a�couple�of�brand�new�outfits�to�complement�them?�No�good�wearing�them�with�a�pair�of�combats�and�a�t-shirt,�after�all.�And�if�word�of�their�price�got�around�my�locality,�I’d�be�the�next�Shoeless�Joe�Jackson�as�soon�as�I�set�foot�outside�the�door!

After�announcing�my�wrong�shoe-size�to�Federico�initially,�and�after�two�more�failed�attempts�to�find�one�which�fitted�properly,�I�began�to�feel�like�one�of�the�ugly�sisters.�In�my�anxiety�to�end�the�torment,�I�agreed�on�a�size�which�wasn’t�quite�perfect,�but�Federico�detected�my�abandoned�declaration�and�he�persevered�with�or�without�me.�On�the�fifth�or�sixth�fitting,�they�finally�slipped�me�into�a�pair�of�their�'limited�editions'�brand,�and�such�was�the�comfort,�I�hardly�knew�I�was�wearing�them�as�I�took�them�out�for�a�test-walk.�They�were�of�course�unfinished�at�this�time,�betraying�a�rather�sallow�yellow�color�that�didn’t�go�at�all�well�with�my�denim�jeans,�but�they�felt�magnificent.

Federico�sat�me�down�and�documented�my�preferred�type�of�leather,�design�and�coloring,�which�were�then�sent�–�with�the�shoes�I�had�just�fitted�–�to�their�headquarters�in�Marche,�Italy�for�finishing.�I�really�didn’t�know�much�about�customized�shoes,�so�I�just�went�for�the�old�reliables.�Dark�brown,�traditional�leather�and�a�conservative�enough�design.�Let�the�women�make�out�of�that�what�they�want�n

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I figured I needed a neat pair of shoes because if ehow.com were accurate in their analysis, then any woman I ever dated would definitely have thought I’d treat them like a rag doll!

“

”

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The�glass�exhibits�blend�with�the�white-washed�walls�and�yet�stand�out�with�their�intricate�designs.�A�sense�of�frailty�hangs�precariously�in�the�air.�But�the�thread�that�binds�them�is�sturdy�and�significant;�designs�that�embrace�both�Eastern�and�Western�influences�to�create�a�global�confluence.�Traditional�shapes�with�a�modern�interpretation.�Designed�by�students�in�Doha,�chiseled�to�perfection�by�expert�hands�at�Fabrica,�a�design�and�research�center�in�the�Veneto�region�in�Italy,�and�brought�to�life�by�the�glassmaker�Massimo�Lunardon.

THE�PRODUCTSThe�designs�range�from�an�Arab�perfume-stopper-inspired�fragrance�vessel�to�sheesha�stands�and�every�day�utility�pieces�like�a�cake�tray�or�even�an�ordinary�vase.�But�the�design�interpretations�are�not�as�mundane�as�their�use.�

tark�and�subtle.�Two�words�to�describe�the�exhibition�Shared�Glass,�put�together�by�the�students�and�faculty�of�MFA�from�VCUQ ,�at�the�Katara�Art�Center.�But�the�process�that�went�into�it�takes�longer�to�illustrate.s

shared experieNces bysindhunair.

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43

Like�the�Eurab�designed�by�Rania�Chamsine�–�in�essence�a�carafe�or�an�oil�bottle.�But�the�complex�interpretation�makes�it�a�design�miracle�when�you�think�of�the�material�that�is�used.�Glass�is�heated�and�blown�to�arrive�at�this�design�masterpiece.�A�bulge�here�and�then�three�loops�and�finally�a�spout,�all�inside�an�Italian�carafe.�“Eurab�is�a�creature�born�out�of�the�marriage�of�traditional�ornamental�Arab�glass�to�the�elegant�European�glass�objects.�Its�body�is�inspired�by�the�Italian�carafe�with�Lebanese�water�jar�spouts�on�its�sides.�On�top,�there�is�a�straw�inspired�by�the�Egyptian�sheesha,”�says�the�Lebanese�student�of�MFA,�who�has�a�Bachelor’s�degree�in�Fine�Arts�and�Graphic�Design.

The�process�of�heating�the�fragile�glass�and�shaping�it�while�it�is�heated�is�a�wonderful�process�to�watch,�say�the�students.�

“The�process�played�with�the�strength�of�glass�and�brought�to�life�our�designs.�It�was�a�gratifying�experience,”�Rania�says.

Another�ostensibly�simple�jar�is�the�brainchild�of�another�student,�Sameh�Ibrahim,�an�Egyptian�architect.�Explaining�his�concept,�Ibrahim�says,�“It�combines�two�iconic�traditional�jars�expressing�Western�and�Middle�Eastern�cultures,�with�a�secret�path�connecting�them.�A�connecting�path�forms�a�heart�from�outside.”�

And�this�“simple”�piece�was�not�so�easy�to�create�for�the�glass�experts.

“They�had�to�repeat�the�process�a�couple�of�times�to�get�the�inside�connection�right,”�he�says.

But�what�made�this�project�even�more�enticing�for�the�students�was�the�synergy�in�design.�“We�worked�as�a�team.�We�had�endless�discussions�and�helped�each�other�in�the�pursuit�of�the�best�design.�The�whole�collection�was�everyone’s�engagement,�not�any�singular�piece�of�work.�So�by�the�end�of�the�process�we�are�not�sure�if�the�work�finished�by�Ibrahim�was�entirely�his�or�was�a�mix�of�all�our�combined�ideas,”�says�Chamsine.

Like�Ibrahim’s�glass�object,�which�depicts�the�bond�between�East�and�West,�the�designers�found�that�there�was�no�race�to�excel�in�the�Italian�design�community�but�to�create�a�good�design�that�transcends�all�barriers.�The�same�goes�for�the�MFA�programme,�which�brings�professionals�from�different�backgrounds�together.

THE�PROGRAMThis�confluence�and�dialogue�in�design�is�part�of�the�curriculum�for�the�Master’s�program�at�VCUQ.

“We�believe�our�students�have�to�experience�design�from�all�aspects,�from�different�countries�and�institutions.�The�whole�program�was�about�exchange�of�creativity,�ideas�and�expertise,”�says�Constantin�Boym,�Director�of�MFA�at�VCUQ.�

“Each�of�us�brings�our�own�expertise�into�the�MFA�program�and�we�learn�from�each�other,”�says�Chamsine.

The�venue�is�equally�important�in�this�design�synergy,�feels�Sidonio�Costa,�Artistic�Director�and�Curator�at�Katara�Art�Center.�“This�is�a�platform�for�culture�to�connect�with�the�audience.�We�share�the�creativity.�VCUQ�has�a�gallery�of�its�own,�but�we�have�access�to�a�lot�more�audience.�Katara�aims�to�become�the�hub�of�art�and�this�is�just�the�beginning�for�us.�Katara�has�12�art�galleries�and�two�within�the�Art�Center.�And�we�intend�to�have�activities�throughout�the�year.�We�intend�to�have�an�educational�angle�too�to�the�exhibition.�This�way�there�will�be�engagement�and�education�of�art�awareness�to�the�public,”�says�Costa,�visibly�excited�about�the�whole�artistic�movement�that�the�Center�has�stirred�awake.

“Shared�Glass”�is�the�communication�between�communities,�characterized�by�the�particular�mix�of�people,�and�reveals�what�is�possible�when�they�gather�and�discuss�around�a�table�n�

EAST MEETS WESTLeft: Students watch the expert glassmakers of Massimo Lunardon at work above (clockwise): designs being initiated and reviewed and two of the glass exhibits, path and eurab

44

Class Apart:the lobby at

kempinski residences & Suites, doha

ver�a�large�quantity�of�the�most�expensive�virtual�pastries�and�a�bottomless�pot�of�overly�sweet�Karak�tea�laced�with�Rainbow�brand�condensed�milk,�the�discussion�turned�to�Design�in�Doha:�past,�present�and�future.

With�name�brand�international�architects�like�

Jean�Nouvel�and�Co.�contributing�to�the�skyline,�Doha’s�fast�track�urbanization�is�here�to�stay.�However,�once�you�zoom�into�the�details,�you�may�be�surprised�to�find�that�a�majority�of�the�engineering�and�architecture�firms�driving�Doha’s�

oconstruction�find�their�inspiration�at�a�local�shop.�The�multidisciplinary�Arab�Engineering�Bureau�(AEB)�was�originally�established�in�1966.�With�the�arrival�of�architect�Ibrahim�Mohamed�Al-Jaidah�in�1991,�the�office�sharpened�its�focus�to�create�buildings�that�enhanced�and�defined�the�architectural�style�of�modern�Qatar,�while�preserving�essential�elements�of�traditional�Qatari�architecture.�Many�of�the�region’s�iconic�buildings�originated�from�the�offices�of�AEB.�In�Doha�alone,�there�are�at�least�850�buildings�that�bear�his�imprimatur.

Fellow�tea-drinker�and�educator�Constantin�Boym�was�offered�in�2010�an�opportunity�to�become�Director�of�the�first�MFA�Design�Program�in�the�Middle�East,�at�Virginia�Commonwealth�University�in�Qatar�(VCUQ ).�This�June�there�will�be�the�first�graduating�class�from�the�multi-disciplinary�department�under�his�tutelage.Boym�is�a�relative�newcomer�to�the�Doha�design�scene,�but�he�has�a�deep�well�of�experience�spanning�three�decades�prior.�

seen qatar

the laNguage desigN speaks at an imaGinary roundtable, laurene leon boym met With tWo titanS oF deSiGn to Chat about the State oF deSiGn in doha. at one end Sat ameriCan-eduCated, doha-bred maSter arChiteCt ibrahim mohamed al-Jaidah, and at the other the italian-trained, ruSSian-born maSter deSiGner, ConStantin boym.

45

Design Maestros:top: Italian-trained, russian-born master designer constantin Boym; right: american-educated, doha-bred master architect Ibrahim Mohamed al-Jaidah

Doha? Once the oil and natural gas exports began (in the 1950s) how did the influx of wealth and progress shape and change the direction of Qatari architecture? Since Doha went from a small village to a large metropolis in half a century, how do we define “Urban Qatari Design”?

IMJ:�It’s�true,�the�past�of�Qatar�was�a�village�on�the�sea,�a�real�melting-pot.�When�you�look�at�the�history�of�the�city,�like�any�traditional�sea�town,�you�discover�many�of�the�people�were�travelers�and�merchants.�People�traveled�for�business�and�outsiders�brought�their�sensibilities�here�from�their�own�cultures.�Gulf�architecture�is�unique,�and�it’s�easy�to�see�the�visual�influences�of�many�parts�of�the�Gulf�in�Qatar.�There�are�

elements�from�multiple�cultures:�Saudi,�Iraq,�Iran,�India,�Oman�and�Zanzibar,�even.�Then�there�are�influences�from�the�interior�–�nomadic�tribes�such�as�the�Najd,�who�utilized�the�rangeland.�All�of�this�together�is�a�big�mix!�But�that�cultural�melding�was�not�just�a�strong�influence�in�the�historical�Qatari�architecture,�it’s�still�on�at�this�moment.

CB:�Recently,�I�stumbled�upon�an�amazing�website�of�photographs�from�the�architectural�history�of�Qatar.��The�

Before�he�set�his�sights�on�Qatar,�Boym�ran�the�much�admired,�visionary�design�firm�Boym�Partners�Inc.�in�New�York,�while�at�the�same�time�juggling�academic�coordinator�duties�in�the�Product�Design�program�at�Parsons�School�of�Design.�When�his�world-class�reputation�as�a�design�guru�grew,�Boym�expanded�his�teaching�agenda�to�include�international�Master�Design�workshops�and�lectures�in�Asia,�Europe�and�America.�Boym�Partners�also�received�the�highest�design�award�in�the�United�States,�the�2009�National�Design�Award�in�Product�Design�from�Cooper-Hewitt,�National�Design�Museum,�Smithsonian�Institution.�

THE�PASTLLB: The Doha of 2012 I’ve gotten to know is a progressive and optimistic city, looking ahead toward the future. It’s well documented that the city got its start in fishing, pearl hunting and trading. How did these humble origins shape the city of

46

planning�of�old�Doha�was�essentially�a�social,�pedestrian�city.�It�was�not�a�car�culture�where�people�drove�into�underground�garages.�Residents�strolled�everywhere,�and�buildings�and�homes�were�designed�to�flow�into�the�street.�It’s�an�aspect�of�Arab�life,�very�different�from�the�gated�communities�and�compounds�people�live�in�today.

LLB:�Looking�back,�Doha�is�in�need�of�more�public�green�space�to�re-awaken�and�facilitate�the�traditional�Arabic�urban�social�fabric.�We�have�amazing�weather�here�five�months�in�a�year.�However,�living�in�a�lifestyle�compound�is�the�defacto�way�of�life�now�for�nationals�and�expats�alike.�One�woman�recently�said�to�me�“I�wanted�my�own�backyard”.�I�thought�that�was�an�interesting�trade-off,�a�3m�x�3m�private�patch�of�green�lawn�for�a�model�of�living�that�has�destroyed�Arab�social�life.

LLB: IMJ, your book on the history of Qatari architecture 1800-1950 is considered the definitive book on the subject. It’s quite comprehensive; can you talk a little about your book?

IMJ:�Well,�there�are�actually�two�books.�One�has�already�been�published�–�“The�History�of�Qatari�Architecture”�is�the�book�that�you’re�talking�about.�I’m�currently�at�work�on�a�new�interior�design�book,�to�be�published�by�the�end�of�2012.�It’s�a�volume�on�Traditional�Qatari�Interiors�to�inspire�designers�working�on�Islamic�architecture�here�and�abroad.�The�research�in�the�book�is�already�quite�extensive.�The�book�will�portray�existing�Qatari�interiors�inspired�by�the�traditional�way�of�living.

CB:�The�first�book�is�an�invaluable�resource�for�students�and�designers�alike.�I’ve�seen�your�first�book�on�many�a�student’s�desk�at�VCUQ.�There�is�a�great�desire�among�students�to�know�the�tradition,�so�that�their�design�proposals�are�in�tune�with�the�past�and�have�a�certain�cultural�relevance.�LLB: So how can we reconcile the old and the new purpose-built structures? Which

projects of the past 20 years come to mind in Doha that best illustrate a philosophy of incorporating the old traditions alongside the new way of life?

IMJ:�The�most�successful�projects�are��mainly�Gulf-influenced,�with�a�modern�direction.�It’s�an�Arab�vernacular�style�with�the�functions�changed�to�fit�the�needs�of�today.�Standouts�from�that�early�period�are�the�headquarters�of�the�Qatar�Foundation,�out�in�Education�City.�Also,�the�Diplomatic�Club�in�the�West�Bay�Lagoon�is�a�great�building.�

THE�PRESENTLLB: Doha has opened up to foreign designers in addition to shops like AEB that are already based in the region. What unique qualities can Qatari designers contribute to the global urban image of Qatar?

IMJ:�I�welcome�the�amazing�foreign�architects�working�in�the�region�with�open�arms,�as�their�diverse�experiences�and�points�of�view�are�adding�so�much�value�to�the�city�we�are�creating�together.�Having�a�more�diverse�pool�of�international�architects�building�in�Doha�creates�an�extremely�healthy�situation�for�everyone�participating.�It�goes�without�saying�I’m�enthusiastically�pro-global.

CB:�To�be�a�contemporary�metropolis,�Doha�has�to�be�international,�and�has�to�be�built�with�participation�by�an�international�roster�of�architects.�At�the�same�time,�these��‘outsiders’�bring�a�critical�re-evaluation�of�the�local�traditions�

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Creative Touch:Laurene Leon Boym

The most successful projects are mainly Gulf-influenced, with a modern direction. It’s an Arab vernacular style with the functions changed to fit the needs of today.

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Visual Splendor:clockwise: Swimming pool and the exterior view of the diplomatic club; exterior view of kempinski residences & Suites; swimming pool of al Sharq Village & Spa; QF headquarters; the courtyard and relaxation area of al Sharq Village & Spa.

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Laurene Leon Boym is a partner in the Doha/New York City-based design studio Boym Partners. She has taught at Parsons The New School for Design and the School of Visual Arts.

and�style.�Paola�Antonelli,�the�design�curator�at�the�Museum�of�Modern�Art�(MoMA),�wrote�about�“digging�deep�into�local�culture�in�order�to�achieve�the�universal�sublime”.�For�design�and�architecture�alike,�local�traditions�have�in�recent�decades�proved�to�be�the�most�meaningful�way�to�move�beyond�modernism�without�giving�up�the�great�qualities�of�modern�design.�

LLB: Can you tell us about some internationally-born architects designing buildings in Qatar that have managed to co-opt and incorporate some local flavor into some of the skyscrapers, institutions and museums that have gone up in the past few years?

IMJ:�The�Japanese�designer�Arata�Isozaki�has�done�an�extraordinary�job�developing�Education�City.�When�AEB�designed�the�original�Qatar�Foundation�that�was�the�only�building�of�reference�out�in�Education�City.�Isozaki�built�on�the�original�idea�of�Education�City,�beautifully.�Jean�Nouvel�and�Pei�partners�referred�to�Islamic�architecture�and�have�designed�buildings�that�fit�in�the�local�environment.

THE�FUTURELLB: We have a long way to go in Doha before environmental awareness is part of our citizens’ everyday lexicon. IMJ, I was impressed with the emphasis on the sustainable aspects of your firm’s work. Can you update us on your involvement in the green building practice?

IMJ:�Our�ancestors�already�had�green�building�practices�in�place�that�would�win�certification�today.�There�was�sensitivity�to�materials,�orientation�and�scale�that�made�those�structures�very�livable�and�green.�Only�in�the�past�year�or�two,�green�building�practice�has�mainstreamed�in�the�MENA�region.�At�AEB,�we�make�it�a�point�to�include�the�basics�of�sustainability�in�every�building�we�design�now.�

LLB: CB, your energy is now being invested in educating the younger generation. Do you have thoughts about learning design and behavior by example and research? What type of role do you feel design education plays in the future of this country?

CB:�Graduate-level�design�education�in�the�region�is�very�new,�and�there�are�lots�of�challenges�setting�up�a�new�design�program...�like�anywhere�in�the�world.��Here,�there�are�some�parallels�to�the�West.�Most�importantly,�design�is�now�understood�and�taught�as�a�multidisciplinary�activity.�The�

programs�move�from�narrow�specializations�into�understanding�design�as�a�comprehensive�field�that�stretches�over�separate�disciplines.�The�design�problems�(and�solutions)�of�today�are�just�too�complicated�to�fit�within�one�traditional�discipline.�To�prepare�design�leaders�for�this�fluid�and�complex�condition,�we�need�to�teach�collaboration,�to�make�designers�comfortable�to�work�in�teams,�to�enable�them�to�move�easily�between�separate�disciplines.�In�education,�there�should�be�a�fluidity�required�in�thinking�about�addressing�problems,�not�just�learning�physical�tools.

IMJ:�Design�is�an�evolving�discipline.�The�design�schools�are�already�doing�an�excellent�job�of�preparing�young�designers�to�work�in�a�contemporary�context,�and�readying�them�for�the�challenges�of�2022.�The�process�has�accelerated�to�such�an�extent�that�students�are�learning�the�same�skills�at�the�same�time�with�mature�members�of�the�design�community.

LLB: How do you see the fully formed Doha of the 2022 World Cup through the visitor’s eyes? How will residents benefit from these advances?

IMJ:�There�are�so�many�projects�in�the�works�for�2022�already.�What�we�are�going�to�see,�because�of�high�demand,�is�a�lot�more�hotels,�and�a�public�transportation�system.�Ultimately,�we�are�committed�to�making�Doha�the�gold�standard�for�the�Gulf�region.�A�social,�educational�and�cultural�renaissance�of�Qatar�is�happening.�The�2022�World�Cup�initiative�is�contributing�to�the�acceleration�of�design-driven�changes�in�our�capital.�Around�the�world,�designers�are�searching�for�ways�to�design�Doha�2022.

CB:�The�idea�is�to�use�the�World�Cup�event�as�a�catalyst�to�transform�the�city,�to�make�it�livable,�sustainable�and�enjoyable�for�generations�of�people�after�2022.�The�Cup�is�just�a�few�weeks�long,�but�life�goes�on!�Talent-wise,�Qatar�has�the�world’s�best�thinkers�at�its�disposal.�Holistically,�what�should�be�done�to�improve�our�quality�of�life�here?�Perhaps�there�is�a�need�to�get�inputs�at�all�different�levels�to�look�critically�at�the�city.�Architect�Rem�Koolhaas�has�said�that�“the�Gulf�is�not�just�reconfiguring�itself;�it’s�reconfiguring�the�world”.�The�solutions�which�we�try�here�might�become�a�norm�in�many�parts�of�the�globe�ten�years�from�now.Integrating�city�planning,�infrastructure�with�new�construction,�sounds�like�boring�stuff�compared�to�building�new�buildings.�But�ultimately�it’s�complementary,�and�everything�has�to�work�side�by�side.�It’s�a�different�way�of�looking�ahead.�Stepping�back�to�the�vantage�point�of�how�people�live,�I’m�thinking�about�those�little�patches�of�green�grass�here�and�there�that�families�picnic�on�so�pleasurably�in�the�good�weather.

Precisely�because�we�are�looking�ahead,�we�can’t�just�tear�everything�down.�Because�of�the�enormous�financial�resources�at�hand,�there�are�the�opportunities�for�Qatar�to�be�a�major�player�in�social�change.�The�ultimate�goal�should�be�to�channel�designers�and�their�creative�talent�toward�addressing�community�needs.�

Architect Rem Koolhaas has said that “the Gulf is not just reconfiguring itself; it’s reconfiguring the world The solutions which we try here might become a norm in many parts of the globe ten years from now.

“

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writer,�director�and�actor,�are�each�difficult�roles�to�handle�in�the�making�of�a�film.�Fuse�the�three�roles�together�and�you�get�Lebanese�

movie�maestro�Nadine�Labaki,�currently�taking�the�world�by�storm�with�her�epic�new�film�“Where�Do�We�Go�Now”.�She�opens�up�to�T Qatar�about�her�riveting�career...

A�group�of�women,�Muslim�and�Christian,�all�clad�in�black,�united�by�a�sense�of�grief,�perform�a�moving�tribute�dance�for�lost�loved�ones�in�the�opening�scene�of�“Where�do�We�Go�Now”�–�a�film�about�women�trying�to�calm�inter-religious�tensions�between�the�men�in�their�unnamed�village.��

Nadine�Labaki’s�powerful�musical�film�blends�the�right�amount�of�drama,�comedy�and�romance.�It’s�hard�not�to�laugh�out�loud�at�the�witty�village�women,�who�are�on�the�ultimate�mission�to�prevent�their�beloved�menfolk�from�harming�one�another.�In�order�to�do�so,�they�devise�a�set�of�comical�plans�to�distract�them,�such�as�inviting�Ukrainian�dancers�to�stay�in�the�village,�and�cooking�a�batch�of�treats�dosed�with�hashish!

“The�film�has�given�me�the�ability�to�portray�things�I�want�to�say�and�explore.�I’m�really�happy�it’s�been�well�received�by�people�around�the�world.�Lebanon�is�such�a�small�country,�with�no�film�industry,�so�it�makes�me�proud�to�showcase�a�Lebanese�film�to�the�rest�of�the�world,”�Labaki�shares.

Before�her�foray�into�the�realm�of�film,�Labaki�was�already�a�household�name�in�the�region,�renowned�for�her�work�as�a�director�of�many�popular�Arab�music�videos�and�commercials.�But�it�was�her�first�film�“Caramel”�that�catapulted�her�into�the�global�spotlight.�

“Caramel”�tells�the�story�of�five�Lebanese�women�who�meet�consistently�in�a�beauty�salon�in�Beirut.�The�intimate�setting�of�the�salon�proves�to�be�their�ultimate�escape�–�a�place�where�they�can�freely�express�their�thoughts�and�troubles�about�sex,�men,�motherhood�and�marriage.�Despite�its�success,�Labaki�worried�about�her�future�projects.�“When�I�started�writing�“Where�Do�We�Go�Now”,�I�thought�that�maybe�it�wasn’t�going�to�be�as�successful�as�“Caramel”.�However,�I’m�happy�that�people�aren’t�comparing�it�to�the�

nadinelabakifierce film flair byornaballout

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Movie MaestroLabaki's latest film Where do We Go now is both comical and serious, focusing on a group of women trying to calm tensions between Muslims and christians in their unnamed village.

roles�of�writer,�director�and�actor�in�both�her�movies.�“It�is�a�very�challenging�job�in�general,�especially�when�you’re�making�films�in�Lebanon�where�there’s�no�industry�and�no�film�structure.�I�mostly�work�with�non-professional�actors,�and�the�fact�that�I’m�directing�and�acting�makes�it�even�more�challenging.�However,�we�end�up�overcoming�these�challenges�and�it�is�amazing�achieving�the�things�you�want�to.”

In�both�films,�Labaki�emulates�the�realities�and�dilemmas�many�women�in�modern�society�are�faced�with.�In�“Where�Do�We�Go�Now”,�she�portrays�the�character�of�Amale,�a�Christian�woman�in�love�with�a�Muslim�man;�while�in�“Caramel”,�she�plays�Layale,�a�devout�Christian�woman�in�love�with�a�married�man.�Her�ability�to�play�different�

first�film,�and�most�people�seem�to�like�it�more.�It’s�quite�relieving�in�a�sense.”�

“Where�Do�We�Go�Now”�certainly�looks�promising.�In�2011,�it�received�the�People’s�Choice�Award�at�the�Annual�Toronto�International�Film�Festival�and�scooped�the�Audience�Award�for�Best�Narrative�at�the�Doha�Tribeca�Film�Festival.�

Now,�it’s�just�a�waiting�game�as�to�whether�Labaki�can�make�history�in�her�home�country,�Lebanon,�by�taking�home�its�first�Oscar�at�the�forthcoming�84th�Annual�Academy�Awards,�as�it’s�the�country’s�official�entry�into�the�Best�Foreign�Language�Film�Category.

Labaki’s�incredible�talents�are�evident�on-�and�off-screen,�as�to�date�she�has�managed�to�juggle�simultaneously�the�

Film Credits Lebanese Labaki is a superhero when it comes to movie making, as she manages to simultaneously juggle roles of writer, actor and director.

52

characters�is�something�that�gives�her�much�fulfillment.�“I�like�to�be�a�different�person�in�every�film�because�it�allows�me�to�explore�my�different�natures.�I�like�to�live�many�lives�and�am�grateful�my�job�allows�me�to�do�this.”

Family,�however,�is�Labaki’s�most�pivotal�role.�While�writing�“Caramel”,�she�fell�in�love�with�musical�composer�Khaled�Mouzanar,�who�she�went�on�to�marry�and�start�a�family�with.�The�pair�also�worked�together�on�“Where�Do�We�Go�Now”:�“It’s�really�special�to�have�such�a�close�working�relationship�with�the�music�composer;�it’s�helpful,�as�the�music�is�born�with�the�film�and�everything�revolves�around�what�you’re�doing.”�

Opening�up�about�her�relationship�with�her�husband,�she�shares:�“It’s�like�living�in�a�movie!�Our�job�isn’t�about�numbers�or�profitability,�it’s�about�art�and�creativity�–�it’s�nice�to�talk�about�these�things.�Sharing�a�human�experience�makes�you�feel�better.”

Attending�film�festivals�and�glitzy�affairs�comes�hand�in�hand�with�Labaki’s�job.�Describing�her�signature�style�as�“simple,�elegant�and�comfortable,”�the�beautiful�star�certainly�knows�how�to�rock�the�red�carpet�in�style,�and�counts�designers�Elie�Saab,�Stephane�Rolland�and�Melia�M�among�her�favorites�to�help�her�achieve�an�effortlessly�chic�look.�“I�work�with�a�lot�of�designers�and�like�the�way�that�somehow,�each�of�them�manages�to�give�me�a�different�personality�through�their�designs.�I�like�pieces�that�give�me�different�ways�of�expressing�myself.”

With�plans�to�write�her�next�film�in�the�winter,�and�various�offers�to�act�in�other�films,�one�would�imagine�Labaki�has�little�time�to�do�much�else.�“When�I’m�not�working,�I�like�to�spend�time�with�my�two-year-old�son.�I�also�like�to�practice�yoga�and�Pilates�–�although�it’s�not�on�a�regular�basis�as�traveling�is�time-consuming.”�n

Global Starthe success of ”caramel” catapulted Labaki into the spotlight; it tells the story of five Lebanese friends who find escape in the intimate surroundings of a beauty salon.

Living the DreamLabaki's husband

khaled Mouzanner is the man behind

the music of ”caramel” and

”Where do We Go now”

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اأكون �ضخ�ضية خمتلفة يف كل فيلم لأن ذلك يتيح يل الفر�ضة ل�ضتك�ضاف اأن "اأحب اجلوانب املختلفة لطبيعتي. واأحب اأن اأعي�ض حياة متعددة اجلوانب واأنا �ضعيدة لكون

عملي يتيح يل القيام بذلك".

"�ضكر لفيلم تاأليفها اأثناء اأحبت العائلة تلعب دورا حموريا لدى نادين فقد اأن غري

وعمل معه. عائلة بتكوين وبداأت فتزوجته مزنر خالد واملو�ضيقي امللحن بنات"

اأن يكّون املرء "اإنه لأمر رائع "وهالأ لوين". وعن ذلك تقول: كالهما معا على فيلم

مع تولد املو�ضيقى لأن مفيد �ضيء اأنه كما مو�ضيقى، ملحن مع وثيقة عمل عالقة

الفيلم وكل �ضيء يدور حولها".

وحتدثت عن عالقتها مع زوجها قائلة: "اإنها ت�ضبه العي�ض يف فيلم، فر�ضالتنا لي�ضت

الأرقام اأو الربحية واإمنا هي الفن والإبداع. ومن الرائع اأن نتحدث عن هذه الأمور اإذ

من �ضاأن ت�ضاطر التجربة الإن�ضانية اأن يجعل املرء ي�ضعر �ضعورا ح�ضنا".

ال�ضينمائية بحكم عملها. وكثري ما ت�ضافر نادين حل�ضور املهرجانات

وت�ضف نادين اأ�ضلوبها يف انتقاء مالب�ضها باأنه "ب�ضيط واأنيق ومريح"

ال�ضجادة عامل تدخل كيف بالتاأكيد اجلميلة النجمة هذه تعرف اإذ

و�ضتيفان �ضعب، اإيلي امل�ضممني تعترب وهي راق، باأ�ضلوب احلمراء

على مل�ضاعدتها لديها املف�ضلني امل�ضممني من اإم، وميليا رولن،

امل�ضممني من الكثري مع اأعمل "اإنني م�ضيفة: اأنيق، مبظهر الظهور

واأحب الطريقة التي يعطيني من خاللها كل منهم �ضخ�ضية خمتلفة من

للتعبري التي متنحني طرقا خمتلفة خالل ت�ضاميمهم. واأحب املالب�ض

عن نف�ضي".

وتعتزم نادين كتابة فيلمها املقبل يف ال�ضتاء. وقد يعتقد املرء اأنه لي�ض

اأعمل، ل "عندما تقول: اأنها اإل اآخر �ضيء باأي للقيام وقت اأي لديها

اأحب اأن اأم�ضي بع�ض الوقت مع ابني الذي يبلغ �ضنتني من العمر، كما

اأنني اأحب ممار�ضة اليوغا والبيالت�ض على الرغم من اأنني ل اأقوم بذلك

ب�ضورة منتظمة لأن ال�ضفر ي�ضيع الكثري من الوقت".

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بذلك فاإنهن يقمن ببع�ض احليل واخلدع الكوميدية مثل

وخبز �رضقية، اأوروبية اأ�ضول ذي راق�ضات ا�ضتقدام

احل�ضي�ضة والأدوية املخّدرة فيها.ّ

احللوى ود�ض

"وهالأ لوين" اأتاح يل فيلم "لقد تقول نادين عن الفيلم:

للغاية �ضعيدة واأنا اأقولها. اأن اأريد التي الأمور ت�ضوير

يف النا�ض قبل من ح�ضنا قبول لقى قد الفيلم لكون

ل للغاية بلد �ضغري هو لبنان اإن العامل. اأنحاء خمتلف

توجد فيه �ضناعة �ضينما، وهذا ما يجعلني اأ�ضعر بالفخر

لعر�ض فيلم لبناين على بقية العامل".

ا�ضمها ا�ضتهر ال�ضينما، عامل اإىل نادين ولوج وقبل

امل�ضاهري من العديد لكليبات كمخرجة املنطقة يف

ال�ضوء دائرة اإىل دخلت لكنها التجارية. والإعالنات

العاملية من خالل فيلمها الأول "�ضكر بنات".

يلتقني لبنانيات خم�ض ق�ضة بنات" "�ضكر ويحكي

وت�ضاعد بريوت. يف للتجميل �ضالون يف با�ضتمرار

حميمية ال�ضالون يف حتويله اإىل مكان يعرّبن فيه بحرية

والرجال، باجلن�ض، املتعلقة وم�ضاكلهن اأفكارهن عن

اأن اإل الفيلم جناح من الرغم وعلى والزواج. والأمومة،

اإذ امل�ضتقبلية م�ضاريعها حيال بالقلق �ضعرت نادين

قالت: "اعتقدُت عندما بداأت بكتابة فيلم "وهالأ لوين" اأنه

قد ل يحقق نف�ض النجاح الذي اأحرزه فيلم "�ضكر بنات"،

لكنني �ضعيدة لأن النا�ض مل يقارنوه بفيلمي الأول فيلم،

ما وهذا اأكرث، اأحبوه قد النا�ض معظم اأن يبدو اأنه كما

جعلني اأ�ضعر بالراحة".

ففي واعد. فيلم لوين" "وهالأ فيلم اأن بالتاأكيد ويبدو

عام 2011، فاز بجائزة اجلمهور يف مهرجان تورونتو

اجلمهور جائزة وح�ضد ال�ضنوي، الدويل ال�ضينمائي

لأف�ضل فيلم روائي يف مهرجان الدوحة ترايبيكا.

تاريخيا من خالل اإجنازا اأن حتقق الآن نادين وتنتظر

جوائز م�ضابقة يف اأو�ضكار باأول يفوز لبنان جعل

لبنان ت�ضارك حيث املقبلة والثمانني الرابعة الأو�ضكار

بالفيلم ر�ضميا يف فئة اأف�ضل فيلم اأجنبي.

واملوؤلف املخرج اأدوار بني جمعت حيث متعددة مبواهب نادين وتتمتع

واملمثل يف فيلميها. ويف هذا ال�ضدد تقول: "اإنها مهمة �ضعبة للغاية ب�ضورة

عامة وخ�ضو�ضا عندما يعمل املرء يف �ضناعة الأفالم يف لبنان التي لي�ض

فيها اأية بنية حتتية ل�ضناعة الأفالم. فاأنا اأعمل يف معظم الأحيان مع ممثلني

غري حمرتفني، كما اأن قيامي بالتمثيل والإخراج يف وقت واحد يجعل الأمر

اأكرث حتديا، لكننا يف نهاية املطاف تغلبنا على هذه التحديات. ومن املده�ض

اأن يتمكن املرء من حتقيق الأمور التي يرغب بتحقيقها".

وحتاكي نادين يف كال الفيلمني الواقع وتتحدث عن امل�ضاكل التي تواجهها

"وهالأ لوين" مثلت نادين الن�ضاء يف املجتمع احلديث. ففي فيلم العديد من

امراأة م�ضيحية حتب رجال م�ضلما، بينما لعبت يف فيلم اآمال، وهي �ضخ�ضية

"�ضكر بنات" دور ليال، وهي امراأة م�ضيحية متدينة حتب رجال متزوجا. وقد اأتاحت لها قدرتها على لعب �ضخ�ضيات خمتلفة حتقيــق ذاتهـ_ا حيث تقول:

تتمتـع نــاديــن لبكــي

مبواهــب متعـــددة

حيـث جمعت بني اأدوار

املخــرج واملوؤلف

واملمثـــــل فـــي

فيلميها

�إن فيلم "وهلأ لوين"

فيلـــم واعـــد. ففي عـــام

2011، فـــاز بجائــزة

اجلمهــور فــي مهرجان

تورونتــــو ال�سينمائــي الدويل

ال�سنــوي، وح�سد جائزة

اجلمهور لأف�سل فيلم روائي

يف مهرجان الدوحة ترايبيكا

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الأفالم إن �ضناعة جمال يف �ضعبة مهام هي واملمثل واملخرج الكاتب من كل دور

ال�ضينمائية. لكن عند دمج هذه الأدوار الثالثة معا فاإنك حت�ضل على ماي�ضرتو الأفالم

اللبنانية نادين لبكي التي فاجاأت العامل موؤخرا بفيلمها اجلديد امللحمي "وهالأ لوين".

حتدثت نادين لـ تي قطر حول م�ضريتها الفنية املميزة...

يتحدث الفيلم عن ن�ضاء يحاولن تهدئة امل�ضاحنات الدينية بني الرجال يف قرية معزولة

عن حميطها، وي�ضور الفيلم يف م�ضهده الفتتاحي جمموعة من الن�ضاء من امل�ضيحيات

وامل�ضلمات مت�ضحات بال�ضواد وهن يرق�ضن حزنا على اأحبائهن الذين فقدوهن.

اأن ل ي�ضحك ال�ضعب اإذ من والرومان�ضية والدراما الكوميديا لبكي مع نادين فيلم القوية يف املو�ضيقى ومتتزج

املرء ب�ضوت عاٍل على براعة ن�ضاء القرية اللواتي ي�ضعني ملنع اأحبائهن من الرجال من اإيذاء بع�ضهم بع�ضا. وللقيام

نادين لبكيمخرجة سينمائية أم مايسترو؟

بقلم اأورنا بلوط

56

p h oto G r a p h BY r I c h a r d B u r B r I d G e

Youthful and cool, a slick nude lip is the pout du jour. By Sandra Ballentine

a nude awakening

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Lip service clockwise from top left: Bobbi Brown Lip Gloss in nougat; Yves Saint Laurent Golden Gloss Shimmering Lip Gloss in Golden Whisper; Gloss d’armani in Beige; Guerlain kisskiss essence de Gloss; tom Ford ultra Shine Lip Gloss in naked; chanel rouge allure extrait de Gloss in discretion; M.a.c. pro Longwear Lipglass in ready or not!; kate Somerville Quench and correct plumping Gloss and restorative Lip treatment; Sephora ultra Shine Lip Gloss in 20 Shiny perfect nude; Fresh Sugar Lip Gloss in Sugar charm; neutrogena MoistureShine Gloss in Super Sparkle; Make up For ever Lab Shine Lip Gloss in #S4.

Dior Forever packed with mother-of-pearl and hydrating agents for a luminous, smooth finish. Qr167.

Giorgio Armani Designer Lift this advanced formula purports to lift and tighten skin. Qr237.

Tom Ford Traceless Foundation Stick easily blendable coverage on the go. Qr284.

THERE’S�SOMETHING�VERY�SExY-COOL�about�a�glossy,�nude�lip.�It�says,�‘‘I’m�hot,�but�I�didn’t�try�too�hard,’’�and�it�works�for�almost�everyone.�(And�for�almost�every�designer,�judging�by�how�many�copped�the�bare-lip�look�for�their�resort�and�spring�shows.)�It’s�also�super-low-maintenance.�‘‘You�don’t�have�to�be�concerned�that�your�color�will�bleed,’’�says�Lisa�Houghton,�who�did�the�makeup�on�the�previous�page.�The�only�caveat:�you�need�a�well-prepped�pucker.�Houghton�exfoliated�our�model’s�lips�by�dabbing�on�a�bit�of�Elizabeth�Arden�Eight�Hour�Cream�and�rubbing�it�off�with�a�tissue.�Then�she�applied�a�mixture�of�Arden’s�Crystal�Clear�Lip�Gloss�and�a�touch�of�High�Shine�Lip�Gloss�in�Tropicoral�for�the��right�pinkish�tone.

Before�getting�your�gloss�on,�use�a�targeted�product�like�Bliss�Fabulips�Treatment�Kit,�which�contains�a�cleanser,�scrub,�plumper�and�balm,�or�Fresh�Sugar�Lip�Gloss,�which�smells�practically�edible.�Kate�Somerville’s�new�Quench�and�Correct�Plumping�Gloss�and�Restorative�Lip�Treatment�comes�in�a�convenient,�double-ended�tube�that’s�great�for�showing�lips�some�love�on�the�run.�

Keep�skin�sheer�and�fairly�matte�to�offset�the�shiny�lip�look.�Tom�Pecheux�(Estée�Lauder’s�creative�makeup�director),�who�devised�a�gorgeously�warm,�nude�lip�for�Derek�Lam’s�resort�show,�cautions:�‘‘Go�with�a�satin�face�and�a�metallic�eye.�Or�a�very�matte�eye�shadow.�Don’t�do�a�shimmery�eye�shadow�or�shiny�face.�If�everything�is�too�shimmery,�it�won’t�work.’’�Don’t�be�afraid�to�load�on�the�lip�gloss,�though,�says�Tom�Ford,�whose�new�cosmetics�collection�contains�a�line�of�high-shine�glosses,�including�a�great�nude�called�Naked.�‘‘If�you’re�going�to�wear�gloss,�really�go�for�it.�It�should�be�full�on.’’

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face forward High-tech, versatile and available in almost every skin tone, the fanciest new foundations have nothing to hide. K ATHRYN BR ANCH

Chanel Perfection Lumière this breathable, feather-light formula comes in 20 shades. Qr200.

pat mcgrath backstage at Dolce & gabbana

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face expert

Known for electric facials that make A-list clients look as if they’ve had face-lifts, Melanie Simon uses her magic machines (and Circ-Cell, her product line) to coax youth from even the most stubborn complexions. Go to circcell.com. SANDR A BALLENTINE

current AffAir

tip sheet For dewy, angelic skin before a big event, Simon recommends a 45-minute intravenous amino acid drip. She gets hers from the L.a.-based Sat hari, ‘‘who put this treatment on the map.’’ Simon mixes her own perfumes using essential oils from Young Living. ‘‘It’s important to know where your oils come from, and I have seen their distillery with my own eyes.’’ For clients who have trouble with sleep and/or regularity, she suggests natural Vitality’s natural calm plus calcium drink mix. ‘‘take it at night to help relax you, and in the morning you should be right as rain with no cramping.’’ the hot new neutraceutical on the block — Livon’s Lypo-Spheric Vitamin c — is almost as good as a c drip, Simon says.

MeLanie’s WOrLD her favorite places for pampering? the spa at encore at Wynn Las Vegas (below) — ‘‘truly amazing’’ — and adrift Float Spa in

dallas, where she floats in a dark, silent, room-size salt water tank for an hour. ‘‘Sensory deprivation stimulates theta brain waves, promoting mental

clarity, and sea salts pull metabolic waste out of your pores.’’ a flower addict, she buys piano garden roses from fiftyflowers.com. Butter London nail polish in British racing Green is a Simon signature. She takes her tea

with cream and xagave, ‘‘the only agave that tastes exactly like sugar.’’

tOOLs OF her traDe custom-built to administer Simon’s electrical cocktail, this portable St-8 machine stimulates lymphatic drainage using nano and

pico currents. Microneedling, in which tiny needles are rolled over the face and neck, is her preferred technique for fighting acne and surgery scars. She developed circ-cell crème er3, which she says mimics the effect of

hormone replacement on the skin, with her go-to beauty guru dr. Michael Galitzer. ‘‘he uses homeopathic and naturopathic medicines in conjunction

with bioidentical hormone replacement,’’ she says. ‘‘there’s no better specialist in this area in the world, and he’s given many women a new lease

on life.’’ She uses surgical gauze to apply toners and serums. ‘‘Saturate it with liquid and press and hold it to each area of your face for 15 seconds.

this intensifies the effect of any product, so start slowly.’’

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true colorOne of New york City’s hottest hair colorists, Frédéric Fekkai’s Reyad Fritas, can spin straw into gold. ‘‘I see a lot of overprocessed, dry hair out there,’’ he says. Not on his glossy girls, bien sur. ‘‘We get their hair into amazing condition and give them color that sparkles.’’ SANDR A BALLENTINE

face expert

fine examples ‘‘the most beautiful colors, to me, are the ones that respect a woman’s natural base,’’ Fritas says. ‘‘Many women have bad color, and

it’s because they strayed too far from what works with their complexion.’’ uniform color is modern, he says, and he prefers warm shades to cool ones.

‘‘I don’t do her hair, but I love Vanessa paradis’s coppery cinnamon hue.’’ he does do heidi klum’s signature blond tresses. ‘‘She’s adventuresome, so

it’s fun to work with her.’’ Freja Beha wins in the brunette stakes. ‘‘her color’s very natural and always looks cool without being extreme.’’

reyaD’s worlD Fritas travels around the city on his parisian-style bicycle. ‘‘It’s a great workout, it gets me everywhere on time, and I can do a million

things in a day,’’ he says. ‘‘Most importantly, it gives me a sense of freedom.’’ an art lover, he’s as inspired by street artists like Mr. Brainwash (below right) as he is by visits to MoMa. the colorist wears subtle pieces by the jeweler Lizzie Fortunato (‘‘I bought this necklace at Maryam nassir

Zadeh on the Lower east Side’’), and dior homme (right) is his go-to designer. Fritas collects vintage-style glasses, like this pair he found in

Berlin. When it’s time to let his hair down (pun intended), he frequents sexy bars and lounges, including raspoutine, a russian-style cabaret in paris.

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P O R T R A I T �B Y �I O U L E x

traDe secrets the French have a remedy for everything, including thin hair. When in paris, Fritas picks up tablets containing brewers’ yeast and selenium for his new York clients. he mixes Leonor Greyl huile de Magnolia (Qr178 at beautyhabit.com) with color. ‘‘It helps the hair hold it better.’’ known for his skill with balayage, he uses custom-made brushes to apply color. his favorite conditioner? Frédéric Fekkai’s protein rx pM repair Strengthener. he tames his own locks (cut by the superstylist Michel aleman) with Fekkai’s coiff nonchalant and pomade cristal.

60

above: a bag made from rebozo fabric and

hand-dyed leather. right: Bonato with a

group of hacienda Montaecristo weavers

in Valladolid.

Bonato is a flea-market junkie, always searching

for old scissors (right) and vintage Mexicana like this

stack of antique rebozos (below),

of which she has more than 300.

face profile in style

P H O T O G R A P H S �B Y �T H E �S E L B Y

fraNcesca boNatoFrancesca Bonato’s accessories line, Hacienda Montaecristo, was born of necessity. When she and her husband, the model Nicolas Malleville, opened their hotel, Coqui Coqui, in Tulum, Mexico, 10 years ago, ‘‘Calvin Klein didn’t sell linens here,’’ she says. So the couple made their own, working with local weavers for everything from towels to uniforms. Along the way, she fell in love with the traditional shawl called the rebozo, which she and her partner, Jacopo Janniello Ravagnan, use for their bags, sandles and jewelry. ‘‘We’re inspired by the synchronicity of the colonial and local traditions,’’ she says, ‘‘by the romanticism of Mexico.’’ JEFFRIES BL ACKERBY

When they’re not at their 16th-century house in Valladolid, Mexico, Bonato, Malleville and their son, Léon, live at coqui coqui, the hotel they built in tulum (left and above).

62

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right: Bonato strives to recreate the aesthetic

of Mexico’s faded but still grand haciendas. Below:

the hacienda Montaecristo showroom in Valladolid.

hacienda Montaecristo combines rebozos and leather into sandals

(right) and a necklace (below) that gives traditional Mayan dress a

high-fashion spin. the pieces are sold at Barneys and colette in paris.

Bonato and husband in Valladolid. Below: an inspirational image from a flea-market book. ‘‘It looks both colonial and Mayan,’’ she says. ‘‘a great symbol of our collection.’’

‘I started weaving and sewing with artisans when I was pregnant.

I just wanted to do something

with my hands.’

“

”

face

right: the fringe on a rebozo can take two months to complete.

‘‘the fringe makes each one unique,’’ Bonato says. Far right: a leather stitcher from the 1970s, one of the few machines in the factory.

above: Bonato and Janniello ravagnan, her best friend for 15 years, at work on their line. above right: pictures of their jewelry along with vintage pieces used as reference.

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64

charlie daYthe syncopated beat he brought to this year’s hit comedy ‘‘horrible Bosses’’ follows the cult-humor trajectory of ‘‘It’s always Sunny in philadelphia,’’ the Fx sitcom that he helped create and stars in and that has made him a household name among a certain brand of young and rowdy future frat boys. In 2013, look for him to break type in a Guillermo del toro-directed sci-fi action thriller.

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rYaN trecartiNno other artist has been as successful translating the post- Internet aesthetic to a serious audience. his work has traveled to four museums this year, including the Musée d’art Moderne de la Ville de paris in a show that runs until Jan. 8. his elaborate, purposefully amateur-seeming video pieces, usually presented mise-en-scène in a gallery space, feel like exactly what they are: a high-concept, high- art conversation in the tumblr- and Youtube-informed vernacular of the new generation.

aYmeliNe valadeYou may recognize this extraordinary beauty from one of the 22 times this year she has either opened or closed a major fashion show. her breakthrough moment came in october 2010, when she took her first turn on the runway for Balenciaga. She is now the face of new York’s own alexander Wang.

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theophilus loNdoNIt’s not exactly news that rap is going through convulsive changes for the better. Backed by a guitar band, this trinidad-born Brooklynite has incorporated influences as varied as electro, new wave and post-punk in a manner so subtle that you won’t notice unless you pay attention.

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66

louis c. k.Like Jerry Seinfeld before him, Louis c. k. is doing something revolutionary with his hilarious sitcom about nothing. But his nothing is kind of depressing. When he takes his daughters to visit an aged aunt, hoping it proves educational for the girls, the aunt turns out to be vilely racist. and there’s no redemptive moment: she ends up dying midshow, and he’s left feeling like a bad parent. that’s life.

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chris lilleYaustralian comedy has proven hard to translate for an american audience. outback oddballs are just too odd for Yanks to grasp. But somehow Lilley, who plays multiple characters on his shows, ‘‘Summer heights high’’ and ‘‘We can Be heroes,’’ succeeds where others have failed. his latest series, ‘‘angry Boys,’’ on hBo in January, includes new and recurrent characters. You’ll soon be laughing at the mention of ‘‘Slap My elbow.’’

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lexi thompsoNWinning a ladies pro golf tournament at 16 years old is certainly an accomplishment. that and her all-american glow make thompson so intriguing. on the blogs and in pretty much every golf magazine out there, thompson, as the new narrative goes, is tiger Woods’s replacement on the links. Suddenly that austin powers joke about ‘‘unibrows’’ and the Ladies professional Golf association feels so out of date.

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68

alexis pageMost of the amazing designer makeup collaborations that M.a.c. has brought us over the years have been developed by this pale 29-year-old beauty. her latest creation, a collaboration with Gareth pugh, hit stores last month. ranging from sultry to ethereal and encased in wonderfully cubist packaging, the pieces are exactly what you’d want from pugh. Without crossing the line into something angstily goth, it gives out a dark vibe and still looks pretty.

marjaNe satrapithe Iranian-born French graphic novelist and filmmaker first found a wide audience with her animated drama ‘‘persepolis,’’ which portrayed Middle east politics through dreamy teenage eyes (her own). It won a Special Jury prize at cannes in 2007. this year she presented her first live-action film, ‘‘chicken With plums,’’ based on her 2004 graphic novel by the same name. chronicling the last eight days of a man bent on suicide over the loss of his much-loved violin, it was greeted with great fanfare at the Venice Film Festival.

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70

etting�a�read�on�the�city�of�Los�Angeles�has��never�been�easy.�Twenty�years�ago,�when�my�husband�was�offered�a��job�in�L.A.,�we�left�

New�York.�I�figured�that�as�a�writer,�my�work�was�portable,�and�as�an�urbanite,�I�would�easily�adjust.�But�Los�Angeles,�with�its�shifting�perspectives�and�unwieldy�size,�was�perplexing.�When�we�first�arrived,�I�spoke��with�an�architectural�historian�on�the��verge�of�relocating.�He�offered�me�one�salient�tip�before�making�his�exit:�‘‘The�two�most�interesting�things�about�Los�Angeles,’’�he��said,�‘‘are�the�domestic�architecture�and��the�ephemeral�population.’’�He�was�right:�the�stream�of�characters�is�constant,�and�the�number�of�exceptional�houses�is�astonishing.�And�as�the�critic�Reyner�Banham�had�so�famously�done�before�me,�I�got�my�driver’s�license,�began�reading�Esther�McCoy�and�learned�to�love�Los�Angeles.

‘‘No�one�can�write�about�architecture��in�California�without�acknowledging�her�as��the�mother�of�us�all,’’�Banham�declared.�McCoy�documented�the�state’s�neglected�architectural�heritage�and�was�a�witness�to�midcentury�Modernism,�which�she�pithily�described�as�‘‘a�marriage�between�Walden�Pond�and�Douglas�Aircraft.’’�‘‘Five�California�Architects,’’�her�1960�classic,�delivered�an�unprecedented�look�at�Modernist�architecture�and�its�distinctly�West�Coast�origins,�through�the�early-20th-century�work�of�Irving�Gill,�Bernard�Maybeck,�R. M.�Schindler�and��the�brothers�Charles�and�Henry�Greene.�She�spelled�out�the�basic�elements�of�modern�residential�design:�open�floor�plans,�ample�natural�light,�simplified�forms,�an�easy�flow�between�indoors�and�out�and�an�embrace��

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Manhattan transfer esther Mccoy, at home in Santa Monica, around 1985.

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She�wrote�fiction�and�found�work�as�a�research�assistant�for�Theodore�Dreiser,�gathering�stories�ripped�from�the�headlines.�In�1932,�after�McCoy�had�been�hospitalized�with�double�pneumonia,�a�friend�urged�her�to�go�to�Southern�California�and�recuperate.�She�went�west,�intending�only�to�wait�out�the�raw�New�York�spring,�but�ended�up�staying.�She�was�85�when�she�died�at�her�home�in�Santa�Monica.�

In�California,�McCoy�set�off�on�the�itinerant�career�of�a�freelance�writer.�Her�stories�appeared�in�university�quarterlies,�progressive�broadsides�and�the�best�of�‘‘the�slicks.’’�She�reported�on�slum�clearances�and�the�crisis�in�low-cost�housing�and�wrote�book�reviews�and�a�trilogy�of�detective�novels.��When�her�friend�Jean�Evans,�a�writer�for�New�York�PM�Magazine,�married�the�future�director�Nicholas�Ray�in�1936,�McCoy�served�as�a�witness.�With�Ray,�McCoy�collaborated�on�a�screenplay�about�troubled�youth�that�was�never�finished.�

During�World�War�II,�McCoy�worked�as�an�engineering�draftsman�at�Douglas�Aircraft.�As�the�war�was�ending,�she�hoped�to�study�architecture�at�the�University�of�Southern�California,�but�as�a�woman�in�her�40s,�her�application�was�strongly�‘‘discouraged’’�by�a�school�filling�up�with�male�students�on�the�G.I.�Bill�of�Rights.�When�she�learned�that�R. M.�Schindler’s�only�draftsman�had�been�called�up,�she�applied�for�the�job�with�drawings�she’d�made�to�renovate�her�own�house.�Expecting�only�‘‘a�cool�dismissal’’�and�a�good�look�at�Schindler’s�1922�North�Kings�Road�house�and�studio,�she�was�stunned�when�Schindler�hired�her�on�the�spot.

From�1944�to�1947,�McCoy�worked�in�the�south�studio,�where�‘‘the�drafting�boards�were�low,�and�we�sat�on�plywood�chairs�of�Schindler’s�design�rather�than�stools,�and�as�I�swung�around�before�answering�the�telephone,�which�so�seldom�rang�it�always�startled�me,�I�usually�tipped�over�the�chair.�To�see�one�of�his�fine�structivist�chairs�tipped�over�wounded�him;�it�was�as�if�I�had�contradicted�one�of�his�sacred�beliefs.’’�Across�the�road�was�the�Dodge�House,�Irving�Gill’s�1916�masterwork�widely�regarded�as�the�first�fully�modern�house�in�the�West,�one�that�McCoy�described�as�‘‘the�record�of�a�genius�which�blossomed�in�this�climate,�this�place.’’�

Throughout�the�1960s,�McCoy�campaigned�to�preserve�the�Dodge�House�and�wrote�and�produced�a�short�film�about�it,�directed�by�Robert�Snyder,�which�will�be�screened�as�part�of�the�exhibition.�When�the�house�was�finally�demolished,�in�1970,�the�need�for�architectural�preservation�in�Los�Angeles�became�harshly�evident,�something�McCoy�knew�all�along.�‘‘One�incentive�to�write�about�Southern�California�was�that�it�was�so�neglected,’’�McCoy�once�told�an�interviewer.�‘‘It�was��a�place�that�was�not�taken�seriously.�And�damn�it,�I�wanted�it��to�be�taken�seriously.’’�n

of�new�building�materials�and�engineering�techniques.�Her�writing�was�lucid�and�sharply�observed,�its�plain�language�shot�through�with�wit�and�unexpected�poetry.�A�daring�hilltop�house�designed�by�Schindler�was�‘‘a�veritable�jack-in-the-beanstalk�structure:�it�grew�like�a�light�vine�from�the�bottom�of�a�canyon�up�to�the�road,�clinging�to�the�narrow�ledge�of�level�land�at�the�top�by�structural�tendrils.’’�

McCoy�wrote�six�books�about�architecture,�which�have�been�described�as�a�‘‘Balzacian�cycle’’:�characters�reappear�in�major�and�minor�roles,�and�a�compelling�portrait�of�a�place�emerges.�Her�long�career�as�an�architectural�writer�began�in�1945�with�her�rhapsodic�appreciation�of�R. M.�Schindler�for�the�leftist�literary�journal�Direction.�‘‘His�houses�are�wrapped�around�space,’’�she�wrote.�‘‘A�Schindler�house�is�in�movement;�it��is�in�becoming.’’�Her�last�essay,�commissioned�by�the�Museum��of�Contemporary�Art,�Los�Angeles�and�published�two�months�before�her�death�in�1989,�was�a�scholarly�memoir�about��the�postwar�Case�Study�House,�a�program�created�by�Arts�&�Architecture�magazine.�And�although�she�was�incredibly�prolific,�there�was�no�McCoy�anthology.�Most�of�her�work�existed�only�as�far-flung�ephemera:�a�1948�New�Yorker�short�story,�‘‘The�Important�House,’’�a�wry�domestic�drama�about��a�modern�house,�a�female�homeowner�and�an�overbearing�male�photographer;�a�1986�profile�of�Frank�Gehry�and�his�‘‘blessed�childhood’’�overseen�by�a�baby-sitting�blind�boxer;�satirical�riffs�on�the�conservative�adversaries�of�modern�design.�

A�few�years�ago,�I�visited�the�Archives�of�American�Art�in�Washington,�D.C.,�where�McCoy’s�papers�are�housed,�and�I�began�to�assemble�‘‘Piecing�Together�Los�Angeles:�An�Esther�McCoy�Reader’’�(due�out�this�month�from�East�of�Borneo),��a�collection�of�her�writing�about�Southern�California,�exactly�the�sort�of�guide�I’d�been�wishing�for�when�I�first�arrived.��And�along�with�the�architect�Kimberli�Meyer,�the�director�of�the�MAK�Center�for�Art�and�Architecture�at�the�Schindler�House�in�Los�Angeles,�I�curated�‘‘Sympathetic�Seeing,’’��the�first�exhibition�about�McCoy’s�life�and�work,�on�view�

at�the�MAK�Center�through�Jan.�8,�2012.�As�I�discovered,�her�story�is�panoramic,�unexpected�and�enormously�heartening.�

f�you�lived�in�New�York,�it�was�proper�to�make�fun�of�Los�Angeles,’’�McCoy�remarked�50�years�after�abandoning�Manhattan�for�the�wrong�coast.�Born�in�Arkansas�in�1904,�she�was�raised�in�Coffeyville,�Kan.,�in�a�book-loving�household�‘‘where�someone�read�to�someone�else�every�night.’’�

Educated�in�the�Midwest,�she�moved�to�New�York�at�21�and�landed�in�the�cultural�hothouse�of�Jazz�Age�Greenwich�Village.�

Los Angeles, by the book above: two of Mccoy’s books on california Modern architecture. her career as an architectural writer began with an article on r. M. Schindler in the journal directon. Below right: the writer with the tai chi master Marshall ho’o on Zuma Beach in Malibu, circa 1933.

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ascale�Mussard�lifts�the�top�of�the�large�packing�crate,�and�I�look�inside.�She�has�already�shown�me�around�her�workroom�at�Hermès,�a�treat�for�anyone�interested�in�how�things�are�made,�and�now�she�is�permitting�me�a�peek�at�a�project�to�which�she�is�profoundly�attached.�I�find�it�hard�not�to�

crack�a�smile�at�her�kindergarten-teacher�gravity,�enhanced�by�the�canvas�apron�that�covers�her�long�white�Indian�linen�dress.�Strands�of�blond�hair�escape�from�her�bun.

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P H O T O G R A P H �B Y �B E N J A M I N �B O U C H E T

For�three�years,�Mussard,�a�sixth-generation�member��of�the�Hermès�family,�has�been�leading�the�Petit�h�line,�a�unique�salvage�mission:�to�retrieve�discarded�materials�from�Hermès’s�workshops�and�turn�them�into�new�objects.�The�line�isn’t�exactly�a�bid�by�the�Mother�of�the�Birkin�to��be�perceived�as�sustainable,�though�a�few�blogs�seemed�to�think�so�and�mocked�the�effort�as�‘‘upcycling.’’�That�may��be�a�fair�assessment�of�a�jigsaw�puzzle�made�from�leftover�crocodile�skin,�an�object�nobody�really�needs.�On�the�other�hand,�this�view�may�be�too�literal�minded.�The�objects��of�Petit�h�—�which�boasts�a�roster�of�designers�like�Gilles�Jonemann,�Christian�Astuguevieille,�Alice�Cozon�and�Adrien�Rovero�in�addition�to�the�company’s�artisans�—�are�not�toys,�but�they�do�express�childlike�qualities:�innocence,�playfulness,�creaturely�allusions.�‘‘Hermès�is�all�about�stories,’’�as�Mussard�says.�More�important,�these�objects�also�extend�a�warrant�upon�which�Hermès�was�built:�the�

waste Not, waNt it withpetith,hermèsraisesthebaronrecycledchic.bycathyhoryn

Salvage beauty hermès’s petit h project, which uses scrap and defective materials, produces objects both useful (a rosewood and woven cotton folding screen) and whimsical (a giant panda).

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possibility�to�own�something�that�can�be�repaired.�Years�ago,�when�Mussard�was�starting�in�the�family�ateliers,��a�great-uncle,�Robert�Dumas,�explained�that�this�was�the�fundamental�difference�between�Hermès�and�other�companies�selling�expensive�goods.�That�ethical�standard�—�repairing�instead�of�replacing�—�infuses�the�Petit�h�line.��But�be�prepared�to�be�surprised�and�taunted.

I�peer�into�the�crate.�There,�resting�in�a�state�of�repose,�is�a�giant�rabbit,�its�floppy�ears,�like�the�rest�of�its�squashy�body,�made�in�classic�Hermès�orange�leather.�My�first�thought,�once�I�stop�laughing,�is�to�imagine�the�absurd�pleasure�it�will�give�the�lucky�stiff�who�manages�to�buy�it.�For,�despite�the�pleas�of�disappointed�customers,�Mussard�has�no�plans�to�reproduce�the�rabbit,�or�indeed�the�other�animals�in�the�Petit�h�menagerie,�which�include�a�panda,�a�fawn�and�an�enormous�camel�in�crocodile.�(The�rabbit,�fawn�and�camel�have�all�been�sold.)�In�early�November,�some�2,200�Petit�h�objects�will�go�on�sale�for�three�weeks�in�the�New�York�flagship,�as�part�of�a�tour�that�began�last�winter�in�Paris.�While�that�total�is�impressive,�given�that�everything�is�made�by�hand,�it�includes�duplicates�of�objects,�like�coiled�silk-print�necklaces�or�leather�sleeves�for�your�morning�Starbucks�cup,�that�were�relatively�easy�to�reproduce�because�the�materials�were�available.�That�isn’t�the�case,�though,�with�most�of�the�Petit�h�objects,�which�present�a�seeming�paradox.

Mussard�says�it�was�never�her�intention�to�create�a�permanent�trove�of�objects,�even�if�customers�seem�willing�to�pay�for�them;�for�Petit�h,�the�prices�range�from�QR146�for�a�leather�charm�to�QR364,000�for�the�panda.�Recently�Mussard�had�to�tell�a�Chinese�customer�that,�no,�he�could�not�put�an�option�on�the�panda,�which�will�be�offered�only�in�New�York.�She�is�not�being�snooty.�The�whole�point�of�Petit�h�is�to�find�new�and�creative�uses�for�leftover�scraps�of�leather�and�silk�or�defective�china�and�crystal�—�not�turn�out�more�products,�however�delectable.�‘‘I�hate�wasted�things,’’�says�Mussard,�who�spent�afternoons�as�a�child�watching�the�Hermès�leather�workers,�or�the�three�women�who�repaired�clients’�gloves.�Economy�was�always�built�into�the�process,�she�says:�‘‘At�the�end�of�each�day,�the�craftsmen�who�were�making�bags�took�their�leftovers�to�the�people�making�bracelets�or�belts.�So�everything�was�kept�and�reused.�In�fact,�I�didn’t�invent�this��at�Hermès.�The�smallest�pieces�were�for�watchbands.’’

hree�years�ago,�after�giving�a�speech�about�luxury�at�the�Villa�Noailles��in�Hyères,�France,�Mussard�was�approached�by�Gilles�Jonemann,�a�jeweler.�He�told�her�that�without�money�to�buy�stones�early�in�his�career�he�had�turned�to�other�materials.�By�then,�Mussard�had�spent�30�years�at�Hermès,�and�she’d�developed�sharp�instincts.�She�asked�Jonemann�if�he’d�

like�to�collaborate.�Over�the�next�six�months�they�created�some�80�objects�from�leftovers�and�rejects.�Then�Mussard�gathered�the�family�and�made�her�pitch�for�Petit�h.

Hermès’s�aesthetic�demands,�as�well�as�the�problems�inherent�with�scraps�—�not�enough�material,�the�wrong�scale�for�the�task�—�provide�Mussard�and�her�team�of�designers�and�artisans�with�challenges�that,�she�says,�have�transformed�their�thinking.�She�recalled�how�a�young�designer,�Godefroy�de�Virieu,�wanted�to�play�around�with�silk.�She�introduced�him�to�Gérard�Lognon,�whose�firm�does�pleating.�‘‘They�had�a�real�love�at�first�sight,’’�Mussard�says.�‘‘This�old�man�who�has�been�four�generations�in�pleated�fabric�for�haute�couture,�and�Godefroy.’’�The�young�man�wanted�to�pleat�silk�three-dimensionally,�a�technique�he�resolved�—�to�Lognon’s�surprise�—�with�marbles�to�form�shapes�and�later�a�corrugated�tube,�not�unlike�a�vacuum�cleaner�hose.�The�results�were�the�coiled�silk�necklaces.�‘‘Now�we�are�making�our�own�profile,’’�Mussard�says.�‘‘I�always�say�at�Hermès�we�must�have�our�own�mold.�. . .�I�like�easy�things�but�I�also�like�to�add�something.’’

This�is�a�pretty�good�description�of�Hermès’s�aesthetic:�keep�it�simple�but�be�sure�to�add�something.�‘‘We�are�surrounded�by�things�that�you�don’t�need,’’�Mussard�says.��‘‘It�helps�Hermès�to�grow.’’�The�Petit�h�studio�is�now��working�on�a�crystal�vase�with�decorative�pleated�leather.

I�tell�Mussard�that�one�of�my�favorite�objects�is�a�doorstop�made�from�a�translucent�cylinder�of�white�crystal�and�the�handle�of�a�Kelly�bag.�‘‘Of�course,’’�she�says,�‘‘you�could�use�a�piece�of�marble�to�stop�a�door,�but�to�me�this�object�has�an�honest�quality.�It’s�more�than�a�perfect�product.’’

In�a�sense,�Petit�h�is�about�finding�harmony�between��two�opposing�values�—�those�of�perfection�and�imperfection.�As�Mussard�says,�‘‘I�want�to�be�like�my�uncles�and�my�grandmother.�They�were�always,�until�the�end,�pushing�everyone.�Yes,�it’s�the�way�it�has�to�be.’’�n B

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tThrowaway chic above, from left: coffee cup holders made of crocodile scraps; the porte-Gallet, a paperweight or doorstop; the collier d’air, a necklace made from a pleated hermès silk scarf.

* all priCeS indiCative. For availability & boutiQue detailS CheCK brand direCtory on paGe 98.

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pasha fierce acollector’spersonalbootybecomesafantasyhotelinfez.bychristopherpetkanas

Maître de medina From left: the courtyard of Le Jardin des Biehn, complete with koi pond; the owner’s collection of antique textiles.

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P H O T O G R A P H S �B Y �T O M �M A N N I O N

f�you�travel�over�and�over��to�the�same�place,�you�start�to�know�people�without�really�knowing�them,�exchanging��a�weak�smile�with�a�shopkeeper,�a�street�sweeper,�a�waiter�at�the�cafe.�If�the�place�is�Provence,�France,�and�you�are�interested�in�old�

things,�especially�textiles�and�folk�costumes,�you�may�have�had�a�glancing�acquaintance�with�the�antiquarian�Michel�Biehn,�an�inescapable�presence�in�the�region�from�the�late�1970s�until�last�year.�

Biehn�began�small�with�a�stand�at�the�Aix-en-Provence�flea�markets,�trading�up�to�a�cupboard-size�shop�on�the�Place�des�Trois�Ormeaux,�where�he�preached�the�gospel�of�Provençal�boutis�—�wood-blocked�quilts�that,�when�he�entered�the�business,�were�used�as�moving�blankets�to�wrap�Louis�xVI�commodes�at�chateau�sales.�Having�attracted�a�following,�Biehn�moved�on,�living�and�dealing�on�the�main�drag�in�L’Isle-sur-la-Sorgue��in�a�town�house�whose�hulk�and�hauteur�

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seemed�not�accidental�echoes�of�his�own.�Like�Christian�Lacroix,�Côté��Sud,�Pierre�Deux�and�braids�of�garlic,�he’s�been�an�indivisible�part�of��the�global�post-Picasso�fashion�for��all�things�Provençal.

That�look�has�been�waning�for�a�while�now�and�may�in�fact�be�fini.�No�matter.�The�news�is�that�one�of�its�chief�architects�has�deserted,�to�Fez,�quietly�opening�a�nine-room�hotel�in�the�thick�of�the�medina.�While�it’s�tempting�to�think�of�Le�Jardin�des�Biehn�as�just�another�of�the�riad hotels�that�open�by�the�dozen�in�Morocco,�there’s�obviously�something�more�ironic�and�cosmopolitan�going�on�beyond�the�usual�roll�call�of�North�African�signifiers,�beyond�the�mosaic�tile�work,�moucharabieh�trellises,�keyhole�arches,�carved�plaster�friezes�and�rendered�walls�waxed�with�soap.�Connoisseurs�are�not�known�for�their�modesty.�‘‘L’oeil du maitre’’�—�the�eye�of�the�master,�Biehn�suggests�evenly.

He�debarked�in�Morocco�with�a�shipping�container�filled�with�a�lifetime�of�scholarly�collections�assembled�throughout�the�East�—�nautilus�shells�with�cameo-like�engravings�of�Alexander�the�Great’s�chariot,�shapely�Syrian�ewers,�Ottoman�ostrich�eggs�suspended�in�the�most�delicate�crocheted�nets.�Consequently�there’s��a�lot�of�museum-quality�eye�candy��at�Le�Jardin�des�Biehn�—�a�striking��suzani�from�Samarkand�here,�a�luscious�Yemenite�silk�robe�there.�The�only�other�hotel�I�know�that�is�such��a�concentrated�expression�of�one�man’s�taste,�designed�around�the�personal�booty�of�a�world-class�collector,�is�Alistair�McAlpine’s�Il�Convento�di�Santa�Maria�di�Costantinopoli�in�Puglia,�Italy.�If�‘‘museum�quality’’�says�to�you�‘‘la-di-da’’�and�‘‘don’t�touch,’’�you�have�the�wrong�aesthete.�As�Biehn�writes�in�his�

Tile world clockwise from above: the

‘‘shell salon’’; the pasha suite; the Fez

cafe; a path in the garden; a window in

the Sultans suite.

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memoir,�‘‘La�Conversation�des�Objets,’’�‘‘Charm,�more�than�magnificence,�gives�rise�to�luxury,�and�there�is�no�real�pleasure�without�fantasy.’’�In�the�Fez�Cafe�at�Le�Jardin�des�Biehn,�a�stage-set�version�of�the�kind�of�lazy�dive�you�fall�upon�in�the�Moroccan�Sahara,�lunch�is�served�on�tables�in�the�shape�of�bottle�caps,�draped�for�dinner�in�the�striped�skirts�of�market�farmers�from�the�Rif�mountains.�Really�loud�games�of�what�the�French�call�‘‘baby�foot’’�(foosball)�are�encouraged,�not�tolerated.�The�worn�benches�of�babouchiers,�makers�of�traditional�Moroccan�slippers,�are�repurposed�as�night�tables�in��some�guest�rooms.�And�Biehn’s�wife,�Catherine,�offers,�improbably,�consultations�in�the�relaxation�technique�known�as�sophrology�in�a�jewel�box��at�the�foot�of�the�long,�narrow�fountain�that�acts�as�the�frontier�between��

the�couple’s��domain�and��everything�else.�

he�everything�else�includes�the�restaurant,�a�hammam,�an�Andalusian-style�garden�edged�with�coursing�

water�and�planted�with�rare�citrus�varietals,�and�a�terrace�for�yoga�classes�and�concerts.�(Fez�is�the�last�place�you’d�expect�to�hear�the�Yale�Whiffenpoofs,�

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Arch triomphe clockwise from left: awning stripes in the pasha suite; the hotel’s spa; hot and cold pools in the pasha suite’s Moorish bath; the pasha suite’s bathroom.

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but�there�they�were�this�summer.)�There’s�also�a�tiny�atelier�where�custom�babouches�are�made�before�your�eyes�and�a�gallery/shop�devoted�to�Biehn’s�textiles�and�costumes,�and�whatever�odds�and�ends�—�bubble-glass�tumblers,�woven�plastic�totes�—�catch�his�fancy�in�the�souk.�

For�Biehn,�moving�to�Fez�could�have�been�a�terribly�isolating�experience,�but�it�hasn’t�turned�out�that�way,�he�says:�‘‘Perhaps�because�I’m�not�a�hotelier��by�trade�—�though�I�know�what�makes��a�good�one�—�we�somehow�seem�to�attract�as�guests�people�we�actually�have�a�desire�to�meet.�It’s�very�nourishing.�I’m�un passioné,�not�a�businessman.�Whatever�I�do�usually�ends�up�working,�but�money�is�never�the�motor.�I’m��62.�If�I�didn’t�do�this�now.�. . .�Not�that��it�was�easy.�Moroccan�bureaucracy�is��a�nightmare.�When�you�buy�real�estate,�you�need�a�lawyer�and�a�notary.�But�at�the�same�time�everything�here�is�done�with�such�charm,�a�certain�quality�of�smile.�Find�me�the�French�notary�with�charm.’’

When�Biehn�first�visited�the��property,�it�was�a�shantytown�inhabited�by�14�families,�all�of�whom�needed��to�be�relocated.�It�was�owned�by�the�far-flung�heirs�of�Si�Tayeb�el�Mokri,��a�legend�among�Arab�voluptuaries�who�served�Morocco�as�finance�minister�and,�until�his�death�in�1949,�as�pasha��of�Casablanca�under�the�current�king’s�grandfather.�El�Mokri�led�two�lives��in�Fez:�a�formal�one�with�lots�of�stifling�

ceremony�in�the�sumptuous�family�palace�and�a�secret,�private�one�in�a�modest�residence�(relatively�modest,�anyway)�that�he�built�around�an�existing�garden�pavilion.�As�the�palaces�are��just�three�minutes�apart�along�a�snaking�route�in�the�medina,�he�did�not�have��far�to�go�to�kick�back.�The�pasha’s�private�apartment,�now�a�guest�suite,�has�40-foot�ceilings�culminating��in�a�halka,�a�roof�opening�to�the�sky;�a�Moorish�bath�with�two�sunken�soaking�pools,�one�hot,�one�cold;�and,�in�a�high-wire�flourish�perhaps�only�Biehn�could�manage,�scrolling�awning-striped�Napoleon�III�upholstery�in�a�sitting�room�pulsing�with�tiles�laid�in�multiple�geometric�patterns.

Unseen�at�the�hotel,�for�now,�are�the�strange�collages�Biehn�builds�out�of�precious�old�scraps�of�cloth,�shells,�beads,�buttons�and�passementerie.�He�began�making�these�narrative�works,�with�titles�like�‘‘Low�Tide’’�and�‘‘The�Birth�of�Venus,’’�in�the�town�house��in�L’Isle-sur-la-Sorgue.�For�a�customer�there,�it�was�difficult�to�know�where�Biehn’s�living�quarters�ended�and�his�shop�began,�what�was�for�sale�and�what�was�not,�an�ambiguity�he�shrewdly�cultivated.�(Woe�to�him�who�put�his�foot�on�the�first�step�leading�upstairs.)�You�were�also�never�sure�how�welcome�you�were.�The�kitchen�was�directly�inside�the�front�door,�where�Biehn�could�often�be�spied,�oblivious�to�the�world,�blanching�cardoons�or�preparing�some�other�obscure�Provençal�dish.�You�could�wave�your�credit�card�all�you�liked.�Too�bad.�Now,�though,�you’d�never�know�he�wasn’t�always�in�the�hospitality�business.�n

Biehn debarked in Morocco with a lifetime of scholarly collections — nautilus shells with cameo-like engravings, shapely Syrian ewers, Ottoman ostrich eggs suspended in nets.

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A QMA GAllery (BuildinG 10)

A new art space run by Qatar Museum Authority hosting various art exhibitions all year long. From 20th January 2012 to 1st June 2012: Conscious & Unconscious by the late artist Louise Bourgeois

B KAtArA Art Centre (BuildinG 5) The Katara’s epicentre for art with exhibition space, retail units focusing on original creative works and an art bookshop.

C ArAB PostAl stAMP MuseuM (BuildinG 22)

A stamp collection covering 22 Arab countries as well as equipments used in the past in Arab post offices and a small library that houses books about stampsAdmission is free.

d QAtAr PhilhArMoniC orChestrA (oPerA house, BuildinG 16)

Qatar Philharmonic Orchestra performs and promotes western and Arabic music to inspire development of music in this region. The 2012 season will see performances of pieces from Rimsky-Korsakov, Marcel Khalife, Tchaikovsky, Beethoven and Stravinsky. For full schedule and tickets, please refer tohttp://qatarphilharmonicorchestra.org

e KAtArA BeACh The Katara Beach is open to public with admission charges and is a great place for water sports and activities. It had about 800 umbrellas and beds. Opens daily from 9am to 6pm.

KAtArAKatara is Doha’s cultural village, a collective of restaurants, galleries and artistic and creative societies.

GPS 25.36008,51.52614

location : Lusail Street, West Bay opening hours : Various opening times for the various establishments Contact : +974 44110003 Website : http://www.katara.net time to spend : Half day or full day depending on points of interest to visit

hiGhliGhts

4 8 h o u r s q a t a r I 2 0 1 2 4 8 h o u r s q a t a r I 2 0 1 2

24 hoursor More

If you are spending 24 hours or more in Qatar, take the opportunity to explore the natural beauty of the desert by taking trips out of Doha. Dune bashing, desert safaris and expeditions to forts and old settlements out of the city can be arranged via tour operators who will make sure you get the best experience.

1 sinGinG sAnd dunes, dune BAshinG And desert sAfAri

Doha is one of the few areas in the world

where the desert dunes produce a deep

and resonant humming sound that earned

it the nickname of singing sand Dunes. this

is a natural phenomenon resulting from the

friction of a thin layer of sand flowing down

the side of a sand dune. the friction sound is

amplified by the crescent shape of the dunes

and can be heard up to 10km away. The exact

location for the singing sand Dunes is at GPs

coordinates: 25.0388811, 51.4060266

along with visiting the singing sand Dunes, the

travel operators will usually plan the day trip

together with an experience of Dune Bashing.

Get ready for an exhilarating adventure as you

take on the desert dunes in big 4x4 wheels!

If you opt for a full day safari, the itinerary

will usually include setting up camp at the

inland sea for the night where you will get to

experience a taste of Bedoiun lifestyle. Enjoy

the stillness of the desert night skies and wake

up to the beautiful sunrise over the sand.

GPS 25.0388811, 51.4060266

4 8 h o u r s q a t a r I 2 0 1 2 4 8 h o u r s q a t a r I 2 0 1 2

A sAffron lounGe (BuildinG 26)Modern Indian Cuisine and the menu was designed with the consultation of Michelin-starred chef Vineet Bhatia. Opening hours: 12.30 to 3pm, 7pm to 10.30pmPhone: +974 3325 8919

B KhAn fArouK tArAB CAfe (BuildinG 7)Traditional Egyptian Cuisine with shisha and live musicOpening hours: 12noon to midnightPhone: +974 4408 0840

C suKAr PAshA (BuildinG 31)Turkish and Arabic cuisine with beautiful Ottoman inspired lounge for private

parties and diningOpening hours: 6.30pm to midnight Phone: +974 4408 2000 d l’WzAAr seAfood restAurAnt

(BuildinG 27)Modern Seafood with a fresh seafood counter where you can take your pick on the choices and have it cooked to your likingOpening hours: 12 to 3pm, 7pm to 11pmPhone: +974 4408 0710

e red VelVet CuPCAKes (BuildinG 24)A cute and chic cafe from United States specializing in cupcakes and coffeeOpening hours: 19am to 12 midnightPhone: +974 4408-0700

restAurAnts

estiMAted driVinG Duration to the Airport

40 Minutes

Spend the afternoon relaxing at the beach, or take a tour around the

museum and exhibitions around the village and end

the day with

a meal at one of the restaurants while enjoying

a variety of seasonal entertainment including live

music and cultural shows.

Wear comfortable walking shoes as Katara is designed with cobblestone landscape

Take advantage of the free buggy services available when going to different

locations of Katara

Call ahead to make reservations at the

restaurants that you would like to dine in especially

during the weekends

tiPsAnd

AdVise

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shoPPinG

shoPPinG

The shopping scene in Doha is growing rapidly as more and more new brands enter the market. Just like dining, you can find a variety of shopping to suit your taste, budget and preference here. For local merchandises, hit the souks to find interesting gems like carpets, pottery and crafts while the malls will offer all the international brands you can think of. For a more chic style, visit the few dependent boutiques where you can find unique pieces from all around the world.

1 VillAGio – shoPPinG MAll +974 44135 222 Aspire Zone, Al Aziziyah Opening hours: Carrefour: 8am to 10pm

Starbucks: 8.30am to 10pm Other Stores: 10am to 10pm

Designed as an Italian village with gondola rides and visions of blue skies on the ceilings, Villagio is a one stop entertainment spot for the family. Other than shops of established brands like Zara, Mango, H&M and the likes, there is also an ice hockey rink and a cinema. The new extension of the mall is home to its luxurybrand tenants including Marc Jacobs, Louis Vuitton, and Dolce & Gabbana.

GPS 25.26028, 51.44273

2 lAndMArK – shoPPinG MAll +974 4487 5222 Madinat Khalifa Opening hours: Carrefour: 8am to 10pm

Starbucks: 8.30am to 10pm Other Stores: 10am to 10pm

With Marks and Spencer and BHS as its anchor tenants, Landmark is a favourite for fashion lovers with brands including Victoria’s Secret and Kurt Geiger.

GPS 25.33344, 51.46498

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1 Al MourJAn – leBAnese +974 4483 4423 Al Corniche Street, West Bay Sat to Weds: 12.30pm to 12.30am Thurs to Friday: 12.30pm to 1am

Situated on the Corniche, you get excellent view plus the experience of dining by the water. Good for entertaining guests

2 BurJ Al hAMMAM – leBAnese +974 4495 3876 ext 1291 Porto Arabia, The Pearl Daily 10am to 10pm

Impressive selection of Lebanese food in a very posh environment, this can be considered Lebanesefine dining. Outdoor dining available. Licensed. Good for entertaining guests

3 leBAnese shAWArMA – leBAnese +974 4466 2616 Between D Ring and E Ring Road, Off

Airport Road Daily noon to 2am

Shawarma and Falafel Sandwich snack place. On The Go.

4 PAMPAno – MexiCAn +974 4495 3876 ext 1221 Al Istiqlal Street, The Pearl Daily: 6pm to 1am

An excellent Mexican seafood restaurant with outdoor seating facing the marina. A different take than the usual Mex-Tex fare. Licensed.

5 tse yAnG – Chinese +974 4495 3876 ext 2071 Porto Arabia, The Pearl Daily: 7pm to 11pm

Chinese fine dining cuisine helmed by a Shanghainese chef who brings the best of the Far East to this region. Also has a swanky bar great for catching up with friends in the evening. Licensed.

restAurAnts

dininG

Dining in Doha can be quite an experience with the extensive variety of cuisines available. The choices reflect the multi-cultural and multi-ethnic composition of the residents in the city. You can explore the best of each cuisine at different meal times of the day and large number of restaurants are clustered together in areas such as ramada Plaza, the Pearl and souq Waqif. Be sure to call ahead to make reservations because some restaurants can be fully booked especially during the weekend. Licensed restaurants means that alcohol is available in the establishment. In the cooler months, take advantage of the outdoor seating provided by most restaurants to enjoy the weather.

WATER FROnT BEST SEA FOOD

SPICY FOOD

ALCOHOLAMERICAn

ITALIAn

4 8 h o u r s q a t a r I 2 0 1 2 4 8 h o u r s q a t a r I 2 0 1 2

Al Zubara town is one of the most interesting archaelogical attraction in Doha. It was originally the centre of power for Qatar and the town was established as one of the most important port and pearl trading centers in the Persian Gulf in the 18th Century. The site is currently being excavated to gain better insight into the glorious times of the trading port. The Al Zubara fort was built in 1938 during the reign of Sheikh Abdullah bin Jassim Al Thani and was erected beside the ruins of the original fort from the 18th century. It was used as a coastguard station up till the mid 1980s.

2 Al JAssAsiyeh stone CArVinGsAl huWAilAh, northern QAtAr

4 Al Khor MuseuMAl Khor CorniChe, north of dohA+974 4472 1866oPeninG tiMes VAry throuGhout the yeAr. CAll Before VisitinG.

These rocky hills close to the north-eastern coast of Qatar between the two villages of Al Huwailah and Fuwairit, contain more than 900 prehistoric carvings depicting different types of boats and symbols. Spread over a large area, the carvings may be difficult to spot, so it is advisable to hire a tour operator for a guided tour.

3 Al zuBArA fort And Al zuBArA toWnAl zuBArA, northern QAtAr

GPS 25.9770111, 51.0454156

This museum overlooks the beautiful Al Khor coastline and displays archaelogical finds from neolithic and bronze ages. It also offers a glimpse into the fishing, pearling and dhow building industries. the museum is also famous for displaying the legend of Ghilan and Mae, believed to be the region’s first female pirate.

GPS 25.68692, 51.51631

5 uMM sAlAl MohAMMed fortAnd BArzAn toWer uMM sAlAl, north of dohA

Umm Salal is home to the Umm Salal Mohammed Fort and the Barzan Tower, both a historical attraction to this area. The fort was built during the late nineteeth and twentieth centuries as a residential fort and features thick high walls and an impressive facade. The was also designed with unique decorative and architectural elements. The Barzan Tower was originally built as a watch tower and has a ‘T’ shaped architectural style. It has three levels and an external staircase.

GPS 25.40541, 51.44134

4 8 h o u r s q a t a r I 2 0 1 2

1 GettinG AroundA The best way to getting around the

city is to organize transportation with the hotel that you are staying in. Most hotels will provide limo service for hire by the hour or by the destination that you intend to visit. Make sure to keep the hotel’s or the limo service’s number so that you can call them whenever you need to be picked up. Cab services are available but it is always advisable to arrange your transportation in advance as cabs might not be available at all spots in the city. For longer trips, you may opt to rent a car.

B The best way to navigate around the city is to identify landmarks in the location that you are headed to. In this guide, you will find more of location descriptions for the destinations rather than street addresses. Providing these information will be more helpful to your driver as street addresses are not commonly used for navigation.

2 dressinGA Qatar is a Muslim country so it is

advisable to dress respectfully in accordance to the local culture. Generally, skirts should be of knee length or longer and tops should cover the shoulders for women. It is also a great idea to carry a shawl or a scarf, which can be wrapped

around the shoulders, especially if you are visiting communal places like the souq or the park. Tops with plunging necklines and spaghetti strap tank tops should be avoided. Men should avoid wearing sleeveless t-shirts or shorts. Swimwear including bikinis are allowed at the hotel pools but make sure you are covered once you move away from the those areas.

3 soCiAl etiQuetteA As with all cultures, travelling to a

new country means that you may need to learn a slightly different set of social etiquette. In Qatar, be mindful when you are meeting locals of the opposite gender. Always wait for them to extend their hands first for a handshake as some may not feel comfortable touching a stranger of the opposite gender.

4 8 h o u r s q a t a r I 2 0 1 2

tiPs &Guide

AvAilAbleAt over 300+

locAtions

PAssPort siZe

08-1561 Copyright ©2012 GMG-48 hrs

48 hrs is a visitors’ handbook which stands out by offering concise, up-to-date and well-

catalogued information on the city and country. apart from advising on popular choices and

destinations, it highlights hidden gems which a visitor can explore and experience. it presents

the best of events, destinations, dining and shopping options.

To find ouT more abouT 48 hrs conTacT:

tel: (+974) 44550983, 44672139, 44671173, 44667584 fax: (+974) 44550982

e-mail: info@omsqatar.com

Free

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n�acquaintance�at�Goldman�Sachs�knows�what�he�is�about�but�worries�what�the�outside�world�would��make�of�his�keeping�a�dinner-party�journal.�Actually,�there�are�few�things�he�takes�more�seriously�than�maintaining�a�log�not�just�of�his�menus�but�also�of�his�centerpieces,�place�settings�(china,�crystal,�silver,�linen),�guests’�food�preferences�and�

even�their�allergies.�Not�that�he�is�trying�to�steal�Pat�Buckley’s�tiara�or�anything.

‘‘Hostess�books,’’�as�they’re�still�sometimes�called,�may��be�a�creaky�social�nicety�associated�with�the�kind�of�women�who�spent�afternoons�at�Kenneth�having�their�hair�teased,�but�it’s�surprising�how�many�people�hang�on�to�them�out�of�sheer�usefulness�—�for�remembering�that�the�paella�was�so�dreadful�it�should�be�taken�out�of�circulation,�that�the�sweet�peas�merit�a�replay.�It’s�a�long�way�from�the�Bois�de�Boulogne�and�the�Duchess�of�Windsor,�but�you�do�what�you�can.�

You’d�be�surprised�who�doesn’t�keep�party�books:�Annette�de�la�Renta,�Henry�Grunwald’s�widow�Louise,�Aerin�Lauder.�‘‘In�my�next�life�I�am�planning�to�keep�one�of�those�books,�I�swear,’’�Nora�Ephron�said.�Others�make�the�time�or�delegate�the�task�to�flunkies:�Valentino,�Betsy�Bloomingdale,�Dede�Wilsey.�Bringing�up�the�rear�are�Carol�Mack,�of�Palm�Beach,�Fla.;�the�designer�Jasper�Conran;�and�Christopher�Spitzmiller,��the�preppy�potter�whose�double-gourd�lamps�are�de�facto�with�people�who�get�their�lattes�at�Sant�Ambroeus�and�their�stocking�stuffers�at�De�Vera.�Conran�documents�his�parties�the�new-fashioned�way,�photographing�them�with�his�iPhone,�then�loading�the�images�onto�his�computer�to�create�‘‘an�aide-mémoire,�sort�of.’’

One�in�a�long�line�of�metahostesses�who�relished�the�fastidious�tradition�of�building�entertaining�dossiers,�the�Duchess�of�Windsor�personalized�the�practice�to�the�point�of�cruelty,�noting�any�deficiencies�on�what�her�servants�called�the�‘‘complaint�pad,’’�kept�at�her�elbow�during�dinner�parties�and�sheathed�in�a�gold�Van�Cleef�&�Arpels�case.�In�‘‘Elsie��de�Wolfe’s�Recipes�for�Successful�Dining,’’�published�in�1935,�de�Wolfe�invites�readers�to�find�inspiration,�‘‘as�I�often�have�when�at�my�wits’�end,’’�by�consulting�menus�‘‘chosen�from�among�my�own�files�of�reference�on�the�subject,�covering�many�years.’’�A�decade�later,�in�‘‘Entertaining�Is�Fun!’’�the�steamrolling�domestic�oracle�Dorothy�Draper�unloaded�on�lazy�bones�who�always�fall�back�on�the�same�dish.�‘‘People�

asittiNg prettY thehostesswhocaresthemosteststillgoesbythebook.bychristopherpetkanas

don’t�want�to�know�when�they�are�asked�to�your�house�that�there�will�inevitably�be�chicken�à�la�creme,’’�she�huffed.�‘‘You�can�keep�a�record�of�your�parties�and�the�guests�at�them�and�what�you�gave�the�guests�to�eat,�and�then�you�won’t�confront�Mr.�J—�with�the�same�dish�for�the�seventh�time.�. . .’’

For�heaven’s�sake!For�every�party�she�gives,�Carol�Mack,�whose��husband,�

Earle,�was�ambassador�to�Finland,�keeps�a�vinyl�binder�that�notes�or�contains:�the�occasion�(dinner�for�Bibi�Netanyahu),�the�invitation,�the�guest�list,�the�menu,�the�seating�chart,�

talk

Tools of the trade clockwise from top: carol Mack’s seating plan; hilary Geary ross’s seating easel from Vogel; the popular Smythson party diary.

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pictures�of�the�table�decorations�(from�1999,�canvas�tablecloths�painted�with�18th-century�French�garden�scenes),�the�flowers�and�the�entertainment�(Spanish�guitar�for�a�soiree�for�Peter�Martins�and�Darci�Kistler).�Noted�on�a�checklist�that�includes�the�need�for�olives�is�a�reminder�to�order�tablecloth�liners.�‘‘Without�the�checklist,’’�Mack�said,�‘‘no�one�would�

think�to�see�if�we�have�any�cocktail�onions.�Some�people�still�want�a�martini�with�an�onion�in�it.’’

hristopher�Spitzmiller�uses�his�ledger�to�record�what�he�could�do�better,�‘‘[invite]�a�few�younger�people�next�time!’’),�how�the�party�went�(‘‘really�nice�night!’’)�and�mishaps�(‘‘oven�door�fell�off�in�the�middle�of�cooking�salmon!’’).�His�annual�buffets�have�two�immutable�excuses:�chick-hatching�season�

(‘‘the�orpingtons�were�much�adored’’)�and�the�Westminster�Dog�Show�(‘‘the�Sussex�spaniel�won!’’).

Without�her�diary,�the�decorator�Maureen�Footer�said�she�might�never�recall�how�well�chocolate�follows�poulet�à�l’Armagnac.�Since�she�had�nothing�for�dessert�the�first�time�she�made�it�except�leftover�Halloween�candy,�she�put�out�a�bowl�of�Snickers�and�hoped�for�the�best.�Everyone�loved�them,�so�the�next�time�she�served�chicken�she�made�chocolate�mousse.��

Footer�would�rather�invest�in�a�box�of�marrons�glacés��than�a�fancy�book�to�record�them�in.�Her�spiral�notebook�does�the�job�as�well�as�the�12-pound�doorstop�Minnie�Dubilier,�a�former�Vogue�editor,�commissioned�from�the�Vogel�Bindery,�

adorned�with�a�Wayne�Thiebaud�engraving�of�a�toqued�chef�scratching�his�head�over�his�menu.�Vogel�also�supplies�Hilary�Geary�Ross�with�seating�easels�that�allow�her�to�reshuffle�her�guests�on�bits�of�paper�until�she�nails�the�plan.�

While�Smythson’s�pigskin�party�register�is�the�default�diary�for�the�jewelry�expert�Janet�Mavec,�Scully�&�Scully�also�has��a�nice�version,�and�Graphic�Image’s�‘‘Entertaining’’�is�one�of�the�only�ones�that�includes�table�shapes�other�than�oval��for�recording�seating�plans.�Mavec�can�tell�you�whether�you�ate�duck�breast�or�quail�stuffed�with�Cajun�sausage�when��she�invited�you�to�dinner�in�1979,�whether�it�took�place�in�her�dining�room�or�the�Knickerbocker�Club�and�whether�the�tablecloth�was�paisley.�Also�whether�Peter�Duchin�played.

Only�Dorothy�Rodgers,�the�composer’s�long-suffering�wife,�found�it�unnecessary�to�write�things�down.�But�then�she�had��a�mind�like�a�steel�trap.�If,�after�a�party,�it�was�discovered�that�safety�pins�had�been�missing�in�the�powder�room,�she�made��a�quick�mental�note.�As�she�put�it�in�‘‘My�Favorite�Things,’’��a�bathroom�used�by�dinner�guests�must�also�contain�aspirin,�cotton�balls�and�fresh�combs.�Since�you�never�know�when��a�woman�is�going�to�destroy�her�manicure�on�an�oyster�shell,�Mrs.�Rodgers�thought�emery�boards�were�crucial,�too.�God�help�Dick�if�he�left�his�pajamas�on�the�bathroom�door.�n

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Best-laid plans clockwise from top: a reminder for one of the duchess of Windsor’s parties; Minnie dubilier’s book; Maureen Footer’s archive.

Swears Nora Ephron: ‘In my next life, I am going to keep one of those books.’

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Th e New Y o rk Tim e s St y l e Mag a z in e deSiGn Fall 2011

our kInd oF tea partY artWorK by aStier de villatte

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the�lineage�of�Americans�like�Chris�Rock,�Meryl�Streep,�Yo-Yo�Ma�and�Tina�Turner.�Using�genealogical�and�historical�resources,�he�traces�their�family�stories�as�far�back�as�he�can.�When�the�paper�trail�runs�out,�he�resorts�to�DNA�tests.�

Gates�is�a�member�of�the�Personal�Genome�Project�at�Harvard�Medical�School,�and�he�and�his�late�father�(who�died�at�age�97�on�Christmas�Eve,�2010)�were�the�first�African-Americans�to�have�their�entire�genomes�sequenced.�The�tests�showed�that�Gates�Jr.�has�50�percent�European�ancestry�and�descends�from�John�Redman,�a�free�African-American�who�fought�in�the�Revolutionary�War.�In�2006,�Gates�was�inducted�into�the�Sons�of�the�American�Revolution.�‘‘When�I�do�a�black�person’s�DNA,�there�are�never�any�people�who�are�100�percent�black,�no�matter�how�dark�they�are,’’�he�says.

Gates�also�learned�that�he�is�related�to�a�fourth-century�Irish�king.�It�is�a�distinction�he�shares�with�James�Crowley,�

the�police�sergeant�who�arrested�Gates�for�disorderly�conduct�in�July�2009.�Responding�to�a�report�of�a�break-in,�Crowley�ordered�the�professor�to�step�out�of�the�house.�He�refused�and�was�arrested.�The�incident�became�national�news,�with�President�Obama�saying�the�police�had�‘‘acted�stupidly.’’�A�few�weeks�after,�he�convened�a�White�House�‘‘beer�summit’’�with�Gates,�Crowley�and�the�vice�president.

Gates�cites�Obama’s�intervention�as�an�example�of�his�talent�for�navigating�America’s�vexed�racial�legacy.�‘‘I�began�receiving�hate�mail�and�death�threats�after�the�arrest,�and�that�all�stopped�after�the�summit,’’�he�says.�It�pains�Gates�that�the�president�doesn’t�seem�able�to�bring�people�together�as�effectively�as�he�once�did.�Why�is�this?�He�puts�on�his�literary�scholar’s�hat.�

Gates�recalls�the�excitement�of�Obama’s�inauguration,�which�he�attended.�‘‘Obama�is�searching�for�a�narrative.�He�had�an�election�narrative�but�hasn’t�found�the�vocabulary�for�governing.’’�Gates�wonders�how�more�combative�politicians,�like�Lyndon�Johnson,�would�have�responded�to�the�slights�Obama�has�received�from�Congress.�(‘‘He�would�have�grabbed�these�people�by�the�balls�and�said,�‘I�am�the�president�of�the�goddamned�United�States!’ ’’)�

But�that�isn’t�Obama’s,�or�Gates’s�own,�style,�he�says:�‘‘What�people�forget�is�that�the�most�radical�thing�about�Obama�is�that�he�was�the�first�black�man�in�history�to�imagine�that�he�could�become�president,�who�was�able�to�make�other�Americans�believe�it�as�well.�Other�than�that,�he�is�a�centrist,�just�like�I�try�to�be.�He’s�been�bridging�divisions�his�whole�life.’’�n

Henry�Louis�Gates�Jr.�is�having�lunch�at�New�York’s�Union�Square�Cafe,�hoping�Danny�Meyer’s�chicken�soup�will�soothe�his�allergies.�He�has�just�returned�from�Newark,�where�he�interviewed�Mayor�Cory�Booker�for�his�new�PBS�series,�‘‘Finding�Your�Roots.’’�After�lunch�he’s�catching�a�flight�to�Martha’s�Vineyard�for�Bill�Clinton’s�birthday�party.�Author�of�14�books,�editor�in�chief�of�the�online�publication�The�Root,�documentary�producer�and�presenter,�Gates,�61,�is�a�one-man�multimedia�industry.�

‘‘I�have�no�plans�to�slow�down,’’�he�says�cheerfully.A�clear�line�runs�through�Gates’s�myriad�projects.�‘‘I�want�

to�get�into�the�educational�DNA�of�American�culture,’’�he�says.�‘‘I�want�10�percent�of�the�common�culture,�more�or�less,�to�be�black.’’�Gates’s�love�of�technology�has�been�a�boon�in�this�regard.�He�is�always�thinking�about�new�ways�to�circulate�his�ideas.�‘‘The�Norton�Anthology�of�African-American�Literature’’�(1996)�included�a�CD�of�oral�literature�with�recordings�of�poets�like�Langston�Hughes�reading�their�work.�He�followed�up�‘‘Africana:�The�Encyclopedia�of�the�African�American�Experience’’�(1999)�with�Microsoft’s�Encarta�Africana�on�CD-ROM.�The�success�of�The�Huffington�Post�inspired�him�to�start�The�Root,�The�Washington�Post’s�online�African-American�publication.�‘‘I’m�a�tech�geek.�Whenever��I�read�about�something�new,�I�think�to�myself,�How�can�I�take�this�and�make�it�black?’’

Gates�has�always�wanted�to�reach�a�wider�audience�than�scholarship�alone�could�attract.�In�1995,�he�and�his�family�rode�3,000�miles�through�Africa�for�the�BBC�documentary�‘‘Great�Railway�Journeys.’’�His�genealogy�series�on�PBS�—�‘‘Faces�of�America’’�and�‘‘African�American�Lives’’�—�drew��25�million�viewers.�This�latest�installment,�the�first�to�run��in�prime�time,�might�beat�that.�‘‘It�would�take�a�thousand�years�for�my�book�‘The�Signifying�Monkey’�to�get�to�that�many�people,’’�he�says.�

Which�isn’t�to�say�that�he�has�abandoned�print.�In�November,�Knopf�will�publish�‘‘Life�Upon�These�Shores:�Looking�at�African-American�History,�1513-2008.’’�Accessibly�written�and�lavishly�illustrated,�it’s�aimed�at�readers�who�may�have�shied�away�from�his�earlier,�encyclopedic�compendiums.�It�is�also�quirkier.�Alongside�requisite�sections�on�the�Emancipation�Proclamation�and��the�civil�rights�movement,�it�includes�entries�on�the��television�show�‘‘Soul�Train’’�and�Supreme�Court�Justice�Clarence�Thomas.�

Gates’s�slant�on�African-American�history�has�been�influenced�by�the�research�he�did�for�his�most�recent�book�and�television�series,�‘‘Black�in�Latin�America.’’�In�a�move�sure�to�raise�eyebrows,�he�opens�this�latest�volume�with�Juan�Garrido,�a�free�black�conquistador�who�accompanied�Ponce�de�León�on�his�1513�expedition�to�Florida.�The�year�1619�is�when�most�historians�date�the�presence�of�African�slaves�in�the�colonies,�so�why�does�Gates�start�106�years�earlier,�and�with�an�‘‘oppressor’’�rather�than�with�the�oppressed?�

‘‘The�thing�about�black�history�is�that�the�truth�is�so�much�more�complex�than�anything�you�could�make�up,’’�he�says.�‘‘One�principle�I’ve�been�fighting�for�that�doesn’t�endear�me�to�a�lot�of�people�is�that�black�people�can�be�just�as�complicated�and�screwed�up�as�white�people.�Our�motives�can�be�just�as�base�and�violent.�Suffering�does�not�necessarily�ennoble�you.’’�

Gates’s�belief�in�the�complexity�of�American�culture�has�only�been�reinforced�by�the�genetic�research�that�has�informed�his�recent�books�and�television�programs.�In�them,�Gates�explores�

A culture of complexity henry Louis Gates Jr., director of the W. e. B. du Bois Institute for african and african american research at harvard university, photographed in new York city on Sept. 2, 2011.

the10perceNterheNrY louis gates jr. haS a Simple but exhauStinG Goal — to maKe the Common Culture reFleCt What’S blaCK in ameriCa. by robert s. boYNtoN photoGraph by richard burbridge

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theCoNtrariaNs

nominimalistshowcaseforthesechicagocollectors,whoturnedtheirapartmentintoanodetothe18th ceNturY.

theydidittheir waY—andtheydiditthemselves.by pilar viladasphotographsby aNNie schlechter

Treasure trove above: a pearl chandelier adorns the bedroom. opposite: the couple designed the wood paneling in one of the libraries, which contains a 17th-century Italian scagliola table and 18th-century French furniture. throughout the apartment, Jean did the decorating.

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Jeanandsteven�Goldman�have�always�done�things�their�way�—�which�has�usually�meant�swimming�against�the�current.�In�the�mid-1960s,�when�the�newly�married�couple�lived�in�Cambridge,�Mass.,�where�Steven�attended�Harvard�Law�School�and�Jean�worked�as�a�curator�at�the�Institute�of�Contemporary�Art�in�Boston,�they�could�have�bought�Warhols�and�Lichtensteins�(which�were�going�for�a�song�then).�Instead,�they�set�their�sights�on�what�Jean�has�called�‘‘postage-stamp�Renaissance�scribbles,’’�gradually�amassing�a�large�and�important�collection�of�Italian�drawings�from�the�15th�to�the�17th�centuries.�

And�in�the�mid-1990s,�when�the�Goldmans�—�Jean�by�then�an�art�historian,�and�Steven�in�transition�from�academia�to�real�estate�—�decided�to�move�back�to�their�native�Chicago�and�sell�their�David�Adler-designed�1921�French�country�manor�in�suburban�Glencoe,�Ill.,�they�could�have�installed�themselves�in�the�kind�of�sleek,�plush�aerie�favored�by�many�of�their�art-collector�peers.�But�no.�The�couple�bought�a�spacious�apartment�in�an�austerely�elegant�Art�Deco�building�on�Chicago’s�Gold�Coast�and�proceeded�to�turn�it�into�an�18th-century�fantasy,�a�city�cousin�of�their�beloved�Adler�house,�complete�with�two�libraries�(and�no�guest�rooms),�parquet�de�Versailles�floors,�carved�French�and�Italian�furniture�and,�of�course,�their�collection�of�drawings�—�now�at�180�and�still�counting�—�by�Raphael,�Andrea�del�Sarto,�Guido�Reni,�Agnolo�Bronzino�and�various�Carraccis,�among�other�masters.�

Nor�did�they�do�it�the�way�you�might�imagine,�directing�a�small�army�of�architects�and�decorators.�The�Goldmans�designed�and�decorated�the�apartment�themselves�(with�the�help,�of�course,�of�first-rate�carpenters�and�craftsmen)�and�discovered�in�the�process�a�level�of�obsessiveness�that�surprised�even�them.�Once�Steven�had�said�of�the�existing�space,�‘‘Everything�had�to�go,’’�it�was,�as�Jean�recalled,�‘‘a�slippery�slope.’’

Making�things�has�always�been�big�in�the�Goldman�family,�according�to�Jean,�who�favors�up-to-the-minute�clothes�from�Ikram�—�the�Chicago�store�owned�by�her�daughter-in-law,�Ikram�Goldman,�who�is�married�to�the�older�of�the�couple’s�two�sons,�Josh�—�and�who�has�the�birdlike�figure�to�carry�them�off.�‘‘When�the�kids�were�small,’’�she�recalled,�‘‘we�made�our�own�dishes.�We�made�decoupage�trays,�and�we�grew�

Hooked on classics the Goldmans designed the living room fireplace mantel, above which hangs an

18th-century Venetian mirror, its gilded frame carved with depictions of musical instruments.

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Past perfect the library bookshelves were made to

look bowed with age. opposite: reflections of the past through the mirrors in

the room.

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pumpkins�and�made�pumpkin�cake,�and�gave�it�as�gifts�to�teachers�on�the�trays.’’�

A�tray�is�one�thing;�an�entire�apartment�is�quite�another.�The�Goldmans�started�pretty�much�from�scratch,�replacing�doors�and�designing�a�new�fireplace�mantel�for�the�living�room,�as�well�as�paneling,�bookshelves�(in�one�library,�they�were�deliberately�bowed�to�make�them�look�old)�and�even�moldings.�Steven�bought�a�book�of�molding�profiles�and�then�sculptured�his�own�versions�out�of�Play-Doh.�When�it�was�discovered�that�the�apartment’s�existing�parquet�floors�were�missing�from�part�of�the�living�room�(which�was�revealed�only�when�the�previous�owner’s�area�rug�was�removed),�Steven�worked�with�a�carpenter�to�achieve�a�perfect�match,�even�suggesting�that�the�carpenter�find�reject�pieces�of�oak�and�soak�them�in�an�ammonia�bath,�which�was�done�in�the�19th�century�to�kill�worms�but�which�also�brought�out�the�grain�of�the�wood.�

Jean,�of�course,�was�no�slouch�either.�‘‘What�Steven�isn’t�obsessive�about,�I�am,’’�she�explained,�as�if�anyone�doubted�it.�Her�attention�to�detail�is�evident�in�the�apartment’s�decorating,�with�its�elegant�touches�(like�the�smocked�silk�curtains�in�the�bedroom)�and�serene�palette,�with�its�dominant�shade�of�blue�that�puts�you�in�mind�of�the�French�artist�Watteau.�Jean�also�oversees�the�framing�and�matting�of�the�couple’s�drawings,�which�will�eventually�go�to�the�Art�Institute�of�Chicago,�where�she�is�a�lifetime�trustee.�And,�in�what�must�have�been�rare�moments�of�spare�time,�she�also�made�the�needlepoint�rug�in�front�of�the�living�room�fireplace.�

The�renovation�took�about�five�years�to�complete,�which�is�not�surprising�when�Jean�and�Steven�explain�that�the�painters�alone�spent�thousands�of�hours�on�the�project,�most�of�them�preparing�the�walls�—�which�are,�it�must�be�said,�almost�impossibly�smooth,�with�the�depth�of�tone�that�only�a�costly,�expert�paint�job�can�provide.�But�then,�said�Steven,�‘‘These�guys�were�more�than�painters.’’�Indeed,�they�were�connoisseurs�—�just�like�the�Goldmans.�n

Luxe and calm right: the 18th-century paneling in a multipurpose room off the kitchen

conceals things like a washing machine as well as dinner plates. Below: a sliding panel in the

dining room opens to the kitchen.

thecouplesharesanextreme

attentiontodetail .‘what

stevenisn’tobsessive

about,’Jeangoldmansaidofher

husband,‘i am.’

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THE

Gr

AVEY

ArD

BY Stephen Farrell PHOTOGRAPHS BY KlauS thymann

coNverts to the urbaN sport of parkour, two YouNg palestiNiaNs practice how to ruN for their lives iN a gaza cemeterY.

Urban gymnastics this structure is near the khan Yunis cemetery in Gaza, which serves as the primary training ground for the refugee-camp athletes.

SHiF

T

Leaps of faith From left: Mohammed al-Jakhbeer, abed allah enshasy, Jihad abu Sultan and ahmad al-Jakhbeer share tricks. Jakhbeer and enshasy maintain a Facebook page that links them globally to the sport’s practitioners.

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Mohammed�al-Jakhbeer�and�Abed�Allah�Enshasy�sprint�along�narrow�walls.�They�somersault�off�concrete�pillars�and�land�in�the�deep�sand.�

‘‘At�first�people�didn’t�accept�us,’’�Enshasy,�23,�explains.�People�would�say:�‘‘You�jump�like�monkeys�and�you�climb�buildings�like�thieves.�What�are�you�doing?’’

The�brand�of�urban-obstacle-course�gymnastics�they�practice�may�be�at�odds�with�the�socially�conservative�mores�of�Khan�Yunis�—�the�southern�Gaza�town��and�periodic�war�zone�that�they�call�home�—�but�it�is�their�chosen�form�of�self-�expression.�Calling�themselves�the�Gaza�Parkour�Team�and�practicing�with��a�rotating�crew�of�like-minded�edgy�acrobats,�they�spend�their�days�rehearsing�routines�and�teaching�the�sport�to�schoolchildren.�The�local�graveyard�serves��as�their�practice�arena.�As�Enshasy�puts�it,�‘‘The�dead�people�don’t�mind.’’

Among�the�headstones�of�local�dignitaries�and�graffiti�commemorating�militants�are�bullet�holes�from�battles�between�Palestinian�factions�and�Israeli�troops,�who�were�once�based�in�the�former�Jewish�settlement�that�adjoins�the�cemetery.�‘‘I�have�witnessed�war,�invasion�and�killing,’’�Enshasy�says.�‘‘When�I�was�a�kid�and�I�saw�these�things,�blood�and�injuries,�I�didn’t�know�what�it�all�meant.’’

He�and�Jakhbeer,�22,�are�wary�of�straying�too�near�the�Hamas�training�zone,�just��as�they�are�wary�of�leaving�their�homes�when�Israeli�drones�appear�in�the�sky�over�their�cinder-block�refugee�camp.�They�prefer�the�comparative�safety�of�their��daring�leaps�and�bone-shattering�landings.�They�believe�that,�one�day,�their�ticket�out�of�Gaza�will�be�written�by�parkour.

Parkour�originated�in�the�suburbs�of�Paris�and�is�a�corruption�of�the�French�word�‘‘parcours,’’�meaning�route�or�journey.�In�a�very�literal�sense,�the�sport�is�about�overcoming�barriers,�living�beyond�the�restraints�of�physics.�It�inspires�a�philosophical�outlook�on�life�that�mirrors�the�actions�of�its�athletes.�

According�to�Jakhbeer,�parkour�helps�untangle�the�‘‘anger�and�depression’’�that�comes�with�living�where�they�do.�Indeed,�nowhere�could�a�philosophy�of�escape�and�freedom�have�a�greater�resonance�than�in�the�narrow,�politically�and�militarily�confined�Gaza�Strip,�home�to�a�boxed-in�population�of�1.7�million�Palestinians.

As�it�so�happens,�the�dense�urban�setting�is�perfectly�suited�for�the�activity,�a�fact�Enshasy�realized�immediately�upon�watching�the�famous�documentary�‘‘Jump�

From every angle clockwise from top: ahmad al-Jakhbeer and enshasy perform gravity-defying acrobatics in the ruins of the Gaza International airport near rafah, about eight miles from their home in the khan Yunis refugee camp; Mohammed al-Jakhbeer and Sultan take their turn in Gaza city; concrete blocks are no obstacle for Mohammed al-Jakhbeer and enshasy on this Mediterranean coast road north of khan Yunis.

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London’’�on�television�a�few�years�ago.�He�recruited�Jakhbeer,�and�needing�no�expensive�equipment�and�aided�by�the�Internet,�they�picked�up�moves�quickly,�discovering�a�talent�for�fluidity�through�extreme�motions.�Jakhbeer,�a�basketball�player,�does�better�on�the�jumps,�while�Enshasy�regards�tumbling�as�his�forte.�

The�sandy�soil�of�their�training�grounds�slows�down�their�routines�at�points�where�they�would�prefer�firmer�surfaces��for�jumping-off,�but�it�also�helps�to�break�bad�falls.�High��sand�dunes�are�also�ideal�for�spectacular�leaps,�which�feature��in�the�videos�that�Jakhbeer�—�who�studied�film�editing��at�college�—�puts�together�with�footage�shot�on�borrowed�cellphone�cameras.

Both�are�confident�of�their�abilities,�but�they�have�never�been�able�to�test�themselves�against�other�parkour�devotees�outside�Gaza.�A�cheap�Korean�computer�in�a�pink-washed�back�room�in�Enshasy’s�home�is�their�only�conduit�to�the�outside�world.�Both�spend�hours�each�day�online,�their�quick�eyes�and�fingers�rarely�leaving�the�keyboard�and�screen.

Through�a�Facebook�page�they�chat,�mostly�in�Arabic,�with�enthusiasts�from�Kuwait,�Bahrain,�Algeria,�Morocco�and�Egypt.�A�commenter�for�a�recent�video�singles�out�Enshasy�—�‘‘the�dude�with�the�long�hair’’�—�for�having�‘‘awesome�tumbling�skill.’’�Another�writes�in�Arabic,�‘‘May�God�bring��my�level�to�their�level.’’

A�third�commenter,�this�one�in�English,�writes:�‘‘Amazing�guys!�You�got�so�much�better�from�last�year.�I�hope�there�will�be�peace�between�us�one�day.’’�Another,�also�in�English,�writes�simply,�‘‘I�love�it.’’�Both�are�signed�‘‘Peace�from�Israel!’’�

Though�the�only�Israelis�Jakhbeer�and�Enshasy�have�ever�met�are�settlers�and�soldiers,�at�whom�they�threw�stones�as�

Up, up and away From left: enshasy goes sideways in a former Israeli settlement near the khan Yunis cemetery; team dynamics on display near the ruined airport outside rafah. opposite: Mohammed al-Jakhbeer soars in k.o. (know obstacles) sneakers from the World Freerunning parkour Federation.

children,�they�say�they�can�separate�their�feelings�about�Israel’s�politics�from�its�people,�to�whom�they�bear�no�ill�will.�They�see�themselves�as�athletes�first�and�not�political�figures�of�any�sort.

Because�they�speak�only�Arabic,�they�are�limited�in�how�much�they�can�interact�with�those�outside�the�Middle�East.�But�parkour�is�a�visual�spectacle�with�sequences�that�can�be�broken�down�into�individual�moves.�So�while�they�are�studying�a�YouTube�video�or�a�series�of�stepped�walls�on�the�Gaza�seafront,�there��is�a�rat-tat-tat�exchange�in�Arabic�and�broken�English�between�them,�as�they�evaluate�obstacles�and�identify�moves�—�‘‘back�flip,’’�‘‘amaamiya’’�[front],�‘‘cat�leap’’�and�‘‘jidar’’�[wall].

‘‘When�I�watch�the�people�who�do�parkour�outside,�I’ve�never�seen�anybody�who�does�it�better�than�us,’’�says�Jakhbeer,�a�burst�of�electronic�music�from�his�headphones�indicating�that�even�as�he�speaks,�most�of�his�attention�is�directed�toward�the�latest�video�that�he�has�found�on�the�Internet.

Even�though�they�cannot�easily�reach�the�outside�world,�sometimes�it�intrudes,�unbidden.�At�one�point,�Jakhbeer�tears�off�his�headphones�with�news�that�the�Libyan�leader,�Col.�Muammar�el-Qaddafi,�has�been�killed.�For�a�moment�sport�is�put�aside,�and�the�youngsters�and�adults�gather�around�the�screen�in�Enshasy’s�home,�as�confused�by�the�implications�of�this�passing�as�the�rest�of�the�world.

One�obstacle�to�their�ambition�to�be�professional�athletes�is�pressure�to�get�a��job,�not�easy�in�an�area�of�high�unemployment.�Jakhbeer,�in�particular,�says�his�family�is�nagging�him�to�start�bringing�money�in.�For�the�moment�he�has�managed�to�resist�and�to�continue�devoting�himself�to�parkour.

His�immediate�goal�is�to�secure�entry�to�a�parkour�competition�in�Miami�next�spring,�the�Cross�Urban�Scramble,��which�would�transform�their�international�profile.�They�seize�upon�the�arrival�of�English-speaking�journalists�to�get�a�proper�translation�of�the�competition�rules,�nervous�that�they�might�have�missed�the�deadline�to�submit�a�video�—�they�hadn’t�—�and�that�two�people�might�not�be�enough�for�a�team.�(It�was.)

The�real�uncertainty�is�whether�they�will�be�able�to�leave�Gaza.�Jakhbeer�once�lived�in�Saudi�Arabia,�so�he�has�travel�documents.�But�Enshasy�has�never�left�the�coastal�strip,�and�the�bureaucratic�and�financial�hurdles�are�many.

The�gateway�to�Egypt�is�barely�five�miles�down�the�road,�but�there�is�no�way��of�knowing�whether�fate�will�allow�them�passage.

Miami�seems�a�long�way�away.�n

97

98

Canali 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1831

Calvin Klein Collection 10 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2561

Carolina Herrera Villaggio Mall- Via Domo - 44134748

Cartier Cartier Boutique - Royal Plaza - 44131381 Cartier Boutique - Villaggio Mall - Via Domo - 44507798

Celine Villaggio Mall- Via Domo - 44134763

Chloe 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2181 Villaggio Mall - 44135222

Christian Dior Villaggio Mall- Via Domo - 44135222

Chopard Villaggio Mall- Via Domo - 44519900

Cugini 2 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1471

Damiani Blue Salon - Suhaim Bin Hamad Street - 44466111

David Morris Ali Bin Ali Watches & Jewelry - Royal Plaza - 44131391

Diesel Salam Stores - 44485555 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1701

Dolce & Gabbana Villaggio Mall- Via Domo - 44161007

D & G Villaggio Mall- Via Domo - 44135222

Domenico Vacca 1 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1061

Dunhill Royal Plaza - 44131381 Villaggio Mall - 44134788

Diptyque 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2241

Elie Saab Zai - Salwa Road - 44092600

Emporio Armani 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2161

Ermenegildo Zegna Villaggio Mall- Via Domo - 44134765

Fendi Al Majed Jewelry - Suhaim Bin Hamad Street - 44478888 Villaggio Mall- Via Domo - 44135222

Franck Muller Villaggio Mall- Via Domo - 44519900

Frette Royal Plaza - 44360560 Landmark Shopping Mall - 44874331

Galliano 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1771

Georg Jensen 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2251

GF Ferre 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1631/1641

Giorgio Armani 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1921

Giovanni Ferraris Al Muftah Jewelry - Al Sadd - 44441320 Al Muftah Jewelry - Royal Plaza - 44131341 Al Muftah Jewelry - City Centre - 44833000

Giuseppe Zanotti Design 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2291

Givenchy The Mall - 44678888

Gucci Villaggio Mall- Via Domo - 44134612

Harry Winston Villaggio Mall- Via Domo - 44519900

Harmont & Blaine 2 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1481

Hermes 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1911

Hublot Al Majed Jewelry - Suhaim Bin Hamad Street - 44478888 Al Majed Jewelry - Villaggio Mall - 44507701

Hugo Boss Salam Plaza - 44485555 The Mall - 44672200 The Gate - 44077162 Extn 320

Ice Iceberg 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1651

Jaeger LeCoulture Al Majed Jewelry - Villaggio Mall - 44507701 Al Majed Boutique - Suhaim Bin Hamad Street -Al Saad - 44478888

John Galliano 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2301

John Richmond 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1741

Just Cavalli 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1751

Kenzo Porto Arabia - Parcel 4 - The Pearl Qatar - 44953876 - Extn 1991 Emporium Shopping Centre - 44375796/98

Lacoste Villaggio Mall - 44507191 Landmark Shopping Mall - 44887604

Lanvin Paris Zai - Salwa Road - 44092600

LeoPizzo Ali Bin Ali W & J - Royal Plaza - 44131391

Loewe Zai - Salwa Road - 44507356 Villaggio Mall- Via Domo - 44507356

Love Moschino 2 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1061 Emporium Shopping Centre - 44375796/98

Louis Vuitton Villaggio Mall- Via Domo - 44134927

Maurice Lacriox Watches Blue Salon - Suhaim Bin Hamad Street - 44466111

M Missoni 4 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1691

Marc Jacobs Villaggio Mall- Via Domo - 44134767

Montblanc Villaggio Mall - 44507009 The Mall - 44674920 City Center - 44839532 Royal Plaza - 44131398 The Four Seasons Hotel - 44935288

Mulberry 1 La Croissette Porto Arabia -The Pearl Qatar - 44953876 - Extn 1111

brand directory

Aigner Blue Salon - Suhaim Bin Hamad Street - 44466111 Highland - The Mall - 44678678 1 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1051

A. Lange & Sohne Al Majed Jewelry - Suhaim Bin Hamad Street - 44478888

Agent Provocateur 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2271

Alexander McQueen 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2231

Amouage 51 East -Al Maha Center - Salwa Road - 44257777

Armani Exchange Villaggio Mall - 44135222

Balmain 51 East - Al Maha Center - Salwa Road - 44257777

Balenciaga 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1861

Banana Republic Villaggio Mall - 44135222

Barbara Bui Zai - Salwa Road - 44092600

Betty Barclay Emporium Shopping Centre - 44375796/98

Berluti Villaggio Mall- Via Domo - 44161860

Bikkembergs Blue Salon - Suhaim Bin Hamad Street - 44466111

Blumarine 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1811

Boss Orange Salam Plaza - 44485555 The Mall - 44551325 Porto Arabia,The Pearl Qatar - 44953876 Extn 1521

Bottega Veneta Villaggio Mall- Via Domo - 44507354

Breitling Blue Salon - Suhaim Bin Hamad Street - 44466111

Brioni 51 East -Al Maha Center - Salwa Road - 44257777

Burberry Villaggio Mall- Via Domo - 44134551

Bvlgari Villaggio Mall- Via Domo - 44134568/44134566

Boucheron Lagoona Mall 44361111

99

Nespresso Blue Salon - Suhaim Bin Hamad Street - 44466111

Omega Rivoli Prestige - City Center - 44833679 Rivoli Prestige - Villaggio Mall - 44519750 Rivoli Prestige - Landmark Shop-ping Mall - 44873190 Rivoli Prestige - The Mall - 44678866

Pal Zileri Blue Salon - Suhaim Bin Hamad Street - 44466111 The Mall - 44678888

Panerai Villaggio Mall - 44135222

Patek Philippe Al Majed Jewelry - Suhaim Bin Hamad Street - 44478888

Paris Hilton Bags Royal Plaza - 44131381

Prada Villaggio Mall- Via Domo - 44135222

Qatar Executive Qatar Airways Office - Airport Road - 44453800

Ralph Lauren Villaggio Mall- Via Domo - 44135655

Rene Caovilla 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1851

Richard Mille Ali Bin Ali W & J - Royal Plaza - 44131391

Rizon Jet Behind Doha International Airport - 44991878

Roberto Cavalli Villaggio Mall - 44135222 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2151

Romain Jerome Ali Bin Ali W & J - Royal Plaza - 44131391

Rolex 51 East -Al Maha Center - Salwa Road - 44361111/44257777

Schreiner Ali Bin Ali W & J - Royal Plaza - 44131391

Sonia Rykiel 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1801

Sephora Landmark Shopping Mall - 44875222 Villaggio Mall - 44135222

Sergio Rossi 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876

Salvatore Ferragamo 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1941

Stefano Ricci 6 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1791

Stella McCartney 7 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 2281

S.T. Dupont Royal Plaza - 44341765

Swarovski Landmark Shopping Mall - 44838158

Tanagra Villaggio Mall- Via Domo - 44134780

Tod's Villaggio Mall- Via Domo - 44134937

Tiffany & Co. Villaggio Mall- Via Domo - 44134976

Ulysse Nardin Ali Bin Ali Jewelry - City Centre - 44838012/44838034

Valentino Villaggio Mall- Via Domo - 44135222

Van Cleef & Arpels Villaggio Mall - 44129399

Vera Wang 1 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 5157

Vertu Rivoli Prestige - City Center - 44833679 Rivoli Prestige - Landmark Shop-ping Mall - 44873190 Rivoli Prestige - The Mall - 44678866 Rivoli Prestige - Villaggio Mall - 44519750

Versace Al Majed Jewelry -Versace Bou-tique - Suhaim Bin Hamad Street - 44477333

Versace Collection Villaggio Mall - 44135437

Virgin Megastore Villaggio Mall - 44135824 Landmark Shopping Mall - 44182242

Weekend Max Mara 2 La Croissette Porto Arabia -The Pearl Qatar - 44953876 Extn 1611

Zenith Blue Salon - Suhaim Bin Hamad Street - 44466111

51 East City Center Doha - Salwa Road - 44257777

Blue Salon Suhaim Bin Hamad Street - 44466111/44678888

Emporium Suhaim Bin Hamad Street - 44375796/44375798

Lagoona Mall West Bay - 44257766

Royal Plaza Al Sadd Street - 44130000

Salam Studio & Stores Salam Plaza - Near City Centre - 44485555 Salam Stores - The Mall - 44672200

The Mall D-Ring Road - 44678888

The GateMaysaloun Street - West Bay -

44932524Villaggio

Al Waab Street - 44135222

Write to us if you have a question, comment or need help finding a fashion brand retailer. For any additions, amendments or correc-tions please contact us at info@omsqatar.com.

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‘‘I’ve�always�made�stuff�and�wanted�to�know�how�things�worked,’’�says�Bethan�Laura�Wood,�a�28-year-old�British�product�designer�who�studied�under�Martino�Gamper�and�Jurgen�Bey,�and�whose�work�was�featured�with�that�of�her�mentors�at�the�cutting-�edge�Milan�gallery�Nilufar�in�April.�Wood�takes�nuts-and-bolts�materials�to�fantastic�places;�her�Moon�Rock�tables�are�inlaid��with�laser-cut�plastic�laminate,�as�is�her�Particle�jewelry�(shown�here),�inspired�by�lowly�particle�board.�Wood’s�own�look,�a�confection�of�glitter,�pattern�and�wrapping,�has�evolved�since�her�teen�years�from�a�defense�against�bullying�classmates�(‘‘I�thought�I’d�give�them�a�reason’’)�into�a��form�of�play.�Look�for�Wood�at�the�Pavilion�of�Art�&�Design�London�show�this�month.�

bethanlaurawood

mixandmaxed

6