my works in glam january 2014

8/13/2019 my works in GLAM January 2014

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EDITOR SINDHU NAIR

CHIEF FASHION CORRESPONDENT DEBRINA ALIYAH

SENIOR CORRESPONDENTS ABIGAIL MATHIAS

EZDHAR IBRAHIM ALI

AYSWARYA MURTHY

PHOTOGRAPHER ROB ALTAMIRANO

SENIOR ART DIRECTOR VENKAT REDDY

DEPUTY ART DIRECTOR HANAN ABU SIAM

ASSISTANT ART DIRECTOR AYUSH INDRAJITH

SENIOR GRAPHIC DESIGNER MAHESHWAR REDDY B

SENIOR MANAGER MARKETING ZULFIKAR JIFFRY

ASSISTANT MANAGER MARKETING THOMAS JOSE

SENIOR MEDIA CONSULTANTS HASAN REKKAB

LYDIA YOUSSEF

MARKETING RESEARCH & SUPPORT EXECUTIVE KANWAL BALUCH

SENIOR ACCOUNTANT PRATAP CHANDRAN

SR. DISTRIBUTION EXECUTIVE BIKRAM SHRESTHA

DISTRIBUTION SUPPORT ARJUN TIMILSINA

BHIMAL RAI

BASANTHA.P

PUBLISHER AND EDITORINCHIEF YOUSUF JASSEM AL DARWISH

CHIEF EXECUTIVE SANDEEP SEHGAL

EXECUTIVE VICE PRESIDENT ALPANA ROY

VICE PRESIDENT RAVI RAMAN

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GLAMSOCIAL MEDIA

COMING UP

The worlds first Calligraphy artist, ElSeed, whose work can be seen around

Doha, collaborated with the students ofVCUQ for a special project at car park of

The Gate Mall. Watch the video of themaking of the project to find out more

about this creative collaboration.

EVENTS OF THE MONTH

Isabella Blow: Fashion Galore

20 November 2013 2 March 2014

Somerset House, London.

Somerset House, in partnership with the IsabellaBlow Foundation and Central Saint Martins, isproud to present a major fashion exhibition

celebrating the extraordinary life and wardrobeof the late British patron of fashion and art. Born

into the rarefied world of British aristocracy,Isabellas thirty year career began in the early

80s as Anna Wintours assistant at US Vogue. Onher return to London in 1986, she worked at

Tatler followed by British Vogue. In 1997 shebecame the Fashion Director of the Sunday

Times Style after which she returned to Tatler asFashion Director. Driven by a passion forcreativity, Isabella is credited for having

nurtured and inspired numerous artists anddesigners.

Two rising stars in the London fashionsscene Mary Katrantzou and Roksanda Ilincicsits down with GLAM for an exclusive look

into their Resort 2014 collection.


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BY DEBRINA ALIYAH

LACEYAFFAIROne of the undercurrent trends that has been quietly

working its way into recent runway shows is the emergenceof lace fabrics. We have to admit that it is one of those

trends that walk a f ine line between granny fashion and

mod chic. Not to mention, it is one very unforgiving textureon the wrong body shapes so many tend to just avoid it all

together! But with the many interpretations out there in thelatest Resort 2014 collections, we found the perfect pieces

that will bring out the delicate side of your fashion persona.Go for small lace patterns or motifs, like this all-white

ensemble from Michael Kors (above), or pick pieces withlace appliqus on unconventional cuts like the biker jacket

from Christopher Kane. Balance out the overtly vintagefactor with edgy separates including leather.

Tortoise Shell Sunglasses,Salvatore Ferragamo,

Porto Arabia.

Crepe & Lace Gown, StellaMcCartney, Porto Arabia,

QR19,936.

Floral Lace Dress Slippers,Nicholas Kirkwood, The Closet,

Porto Arabia, QR3,099.

Cotton Linen and LaceMiniskirt, Balenciaga,Porto Arabia, QR2,831.

Lace Biker Jacket,Christopher Kane,Net-A-Porter.

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SAVE1Belted Trench Coat, QR296.

2Relaxed Crop Trousers, QR148.3Utility Jumpsuit, QR99.

4

Sling Satchel, QR123.All items available from H&M,Villaggio & Landmark Mall.

SPLURGE1Shower Proof Trench coat,

Lacoste, Landmark Mall, QR1,728.

2Layered Trousers, Issey Miyake,www.farfetch.com, QR3,582.

3Satin Trimmed Jumpsuit, ByMalene Birger, Lagoona Mall,QR1,802.

4Heroine Chain Satchel, AlexanderMcQueen, Porto Arabia, QR7,590.

Kick off the New Year with a little something bluefor the traditional notion of good luck. No, it is not

only for brides, the calming shade exudes a sense ofrenewal for everyone to face a brand new chapter!While we are still enjoying the cool temperaturesof a mild winter, grab a light trench coat and keep

your style relaxed in these super casual yet luxe

selections. Cruise into 2014 with lots of zen!

SOMETHING

BLUE

SAVE

VSSPLURGE

1

1

22

3

44

3


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AN EDIT OF THINGS THAT ARE HOT NOW

KAREN KARCH

Edgy yet timeless, the jewellery collection of Karen Karch isdefinitely collectable material. The designer, who has been

making fine jewellery for over two decades, has got a uniquedesign vision that reinvents the term classic. Steering away

from the conventional definitions of classic jewellery, Karen

uses precious stones to create individualised statement pieces.Her early street-inspired designs caused a stir, earning her

work the moniker, dangerous jewellery, and many celebritiesincluding Celine Dion are fans. Signature designs include long

beaded strand necklaces, and finely drawn bracelets worn instacks. Shop the eclectic designer at www.karenkarch.com

VALENTINO X HAVAIANAS COLLABORATION

The coming together of two very different worlds, the red carpetcouture of Valentino with the casual comfort of Havaianas, results ina range of covetable flip-flops that will bring the chic back to sandals.Part of Valentinos Spring Summer 2014 collection, the flip-flops

will be available in a wide range of colours and customisable strapsincluding studs, camouflage, leather or bright neons. The standardpairs start from QR1,015 while the al ligator strap range will startfrom QR2,468 per pair. And it goes without saying that this collectionwill be of a limited issue so it is advisable to put your orders in nowbefore it is too late! Valentino is located at Villaggio Mall.

MIU MIU BIJOUX JEWELS

What keeps us going back to Miu Miu time and time againis the ability of the brand to update and reinvent their

signature offerings to make things fresh. This season,the labels signature Bijoux jewels get a makeover pairing

some really fun colours to its brass necklaces and earrings.Experimenting with bright hues and materials, the bijouxjewels are perfect additions to sol id colour outfits. The

necklaces and earrings are mixed with multi-colour crystalswhile the plexi bracelets feature bejewelled clasps. Pricesstart from QR1,925. Miu Miu is located at Villaggio Mall.


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BEYOND THE GLITZ AND GLAMOUR, THE AIM OFFASHION EXCHANGE IS TO CONTINUOUSLY PROMOTE

ENTREPRENEURSHIP AMONG QATARI DESIGNERS. ROUDHACENTER, THE KEY PLAYER IN THIS PROGRAMME, HAS BEEN

WORKING TIRELESSLY BY ORGANISING WORKSHOPS, TALKS ANDTRUNK SHOWS TO PROVIDE PLATFORMS FOR QATARI WOMEN TO

PROMOTE THEIR BUSINESSES. AMONG THE QATARI DESIGNERSWHO PARTICIPATED IN THE FASHION EXCHANGE PROGRAMME

WERE FATTHIYA AL JABER AND ELHAM AL ANSARI, BOTH ATDIFFERENT CROSSROADS IN THEIR DESIGN CAREERS BUT READY

TO TAKE ON THE NEXT CHALLENGE.

MARRIAGE OFCOMMITMENTQATARI FASHION ENTREPRENEURS GO THE EXTRA MILE

BY DEBRINA ALIYAHPHOTOGRAPHY BY ABDUL RAHMAN AL BAKER


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How many abayas does a woman need? Fatthiya Al Jabercurrently has sixty pieces on rotation in her wardrobe. Are theyall black? Yes. But are they all the same? No. Look, people tendto overlook details and fittings. Thats why Arab women excel atthis, we have the eye for the details, she quips. The eye for thedetail, and the precise attention to finishing, is what takes thebudding fashion designers collection to the next level. Fatthiyais wearing one of her own designs, an abaya layered with agorgeous knit crochet. From afar, the colour black might deceive

the eyes but up-close, the texture of the crochet is mesmerising.Of course its not all the same. Just like regular outf its, you haveclean crisp abayas for work, bejewelled ones for evening, heavyfabrics for winter, and little surprises under the sleeves just forour own eyes, she explains.

What had started as a hobby four years ago for Fatthiya hasnow grown into a fashion label with ever-eager fans. And bythe time she presented her collection at The S eptember Show,she caught the attention of not only Qataris at home but alsothose living in London. It was my big break. I am so humbledby the overwhelming response but it has also given me thedefining push for my business, she says. A finance executivewith Qatar Foundation, Fatthiya is now wearing the many hatsthat Qatari women often do; professional career, entrepreneurialendeavour and family responsibilities. This new wave of female

entrepreneurship in Qatar was the main reason why RoudhaCenter was initiated; to assist and empower Qatari women inexpanding their business ventures. I f irst joined the centrethrough a fashion exhibition and now they help us throughworkshops, training and talks on various issues regardingconducting business, she says.

Fatthiya credits the evolving role of women in the communityas a big part of her success. A decade earlier, you would notsee women publicly representing their brand. They are always

working in the background but now, the community is sosupportive. We are doing press interviews and telling the worldabout what we are doing, she explains. And now that the fieldhas leveled from a gender perspective, women can focus on thebigger picture. Of course, there are always obstacles to runninga business. Capital funding, resources, and the whole works, shesays.

Fatthiya is ready to spread her wings to include regionalmarkets. She has started receiving custom orders from the UAE,but she is quick to recognise that the abaya market is vastlydifferent from one Gulf country to another. Women fromdifferent Gulf countries wear different abayas. This is whatmakes us distinctive. The abayas I make now have a very Qatariidentity to them, which would not appeal to women from, say,the Emirates or Bahrain, she explains.

FATTHIYA AL JABER

SPREADING WINGS

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During The September Show trip to L ondon, Elham Al Ansaridisappeared every morning during breakfast on a secret mission. Onone fortunate morning, she returned with a much treasured contactcard and revealed the mystery behind her sneaking around. I got thecontact of the retail manager of Harrods, and asked Roudha Center tohelp me draft proposals in English, she explains. It turns out she hadbeen visiting Harrods every morning hoping to meet the right personto speak to about carrying her collection at the luxury departmentstore. And that is my life mission, she says, to be able to sell in

Harrods. This is not her f irst attempt though. She has been trying forthe past couple of years ever since a regular client of hers suggestedthe idea.Elham is one of the pioneering fashion entrepreneurs in Qatar, makingher f irst jalabiya some eight years ago. She has established herself asa niche designer especially for traditional abayas and occasion wearjalabiyas. Her success is well-known locally, and she counts manyof the most distinguished Qatari families as her regular clients. Butthe story of Elham goes beyond her creative work; this is the story ofone woman who solidly stood her ground against the changing sociallandscape of Qatar. I started this business with my own savingswithout the help of anyone else, and this is the way I would like itto remain. A lot of par tnership offers have come in ever since mybusiness grew but I declined all of them. I want to be responsible formy own successes and failures, she says.

Elham is one of the very few purveyors of traditional abayas leftamid a tsunami of modern abaya labels in Qatar. She herself wears thetraditional abaya with a niqab, and is fiercely protective of her ownheritage. During the London event, I was speaking to somebody who

laughed at me when I told her I was a fashion designer. Apparently Ididnt have the right designer look with my niqab and abaya. Aftermy runway presentation, that person was speechless, she relates.This is me, I want to break stereotypes. It is my choice to wear thetraditional abaya and not reveal my face but this doesnt representmy design work. My designs speak for themselves. As the youngergeneration gravitates towards modern abaya designs, the originalabayas including abaya al misah, samakah,and al bisch, are losingtheir appeal. To be honest, modern abaya is like fast fashion, they getthrown away after the trend fades but these traditional pieces become

heirlooms, passed from generations to generations.Being an entrepreneur in Qatar or anywhere else requires planning

and a step -by-step progression. Many young designers come to mefor advice and I would tell them to build their brand slowly instead oftaking huge leaps like investing in big standalone stores, she says.

ELHAMAL ANSARI

NO PRECONCEIVED NOTIONS

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AS A FASHION DESIGNER, BUSINESSWOMAN AND AMOTHER, EMILIA WICKSTEADBELIEVES THAT THE PERFECT

TOOL OF EMPOWERMENT FOR WOMEN AROUND THEWORLD IS IN FASHION.

BY DEBRINA ALIYAH

SEIZETHE MOMENT

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GLIMPSES FROM EMILIA WICKSTEADSSPRING SUMMER 2014 COLLECTION

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and sensibility. These two defining elements havemade Emilia Wicksteads collections a winningformula among women living in the public eye. Dressesthat nip at the right places to flatter and silhouettes thatare both charming and modest, it is the perfect scriptthat has turned figures like Samantha Cameron andKate Middleton into fans.

Not that you cannot imagine her designs on everydaywomen. If anything, it is like a rite of passage when

you slip into oneof her pieces. Atsome point in everywomans life, therecomes a time whenthe definitive dress

is needed to trulymake you feellike a lady, sansall the out-this-world seasonal fanfare. The magicalWickstead (Emiliasmother AngelaWickstead is alegendary couturier

too) touch, givesnew vibrancy to theotherwise all-too-familiar dread offormal dressing.Her Spring Summer2014 collectionof dreamy piecesthat flounce look

equally appropriatefor a society charitydo as a Caribbeanvacation. I wasinspired by themusic of the

Mississippi, by the rhythm and blues. Its all abouthaving a lively spirit and a sense of fun, she says.

It has been nearly three years since Emilia launchedher ready-to-wear collections winning her legions of

fans, which have since expanded beyond the high-society circles. From a business model that was run outof her living room on a made-to-measure only basis in2008, Emilias rapid rise has been quick, undoubtedlybecause of the niche she has created for herself and her

precise crafting skills. Just like much of her designs thatoften tell a story of unhurried ladylikeness, her made-to-measure clients remain the core of her businessperpetuating a romantic notion of b espoke tailoring.It is still the best part of my business today. Movinginto ready-to-wear has been so exciting though,especially because that means I can be a part of fashionweek and its great to see the collections growing fromstrength to strength at the atelier and online, she says.And the industry is def initely paying attention, withEmilia securing the coveted nomination for the BritishFashion Council Vogue Designer Fashion Fund 2014(the winner will be announced later this January).

When Emilias Spring Summer 2014 pieces walkedthe runway to close the catwalk presentation of Fashion

Exchange, there was more than just sartorial exchangeat play. While the designer had always been fascinatedby the culture, clothing and colours of the Middle East,it was a kind of female entrepreneurial camaraderiethat sealed the deal. Like the featured Qataridesigners, Emilia wears different hats and faces similarchallenges modern women have regardless of cultureand location. One of my biggest challenges has beentrying to juggle my time between being a mother, adesigner and a business person. I hope I can inspire

other new designers to take the plunge, to be bold andto take a chance on your own talents, she explains.

And it was in this inspirational spirit that thedesigner had agreed to come on board the FashionExchange programme. Emilia believes that fashion isone of few unique inspiring industries where womencan challenge themselves from different perspectives.I was so honoured to be asked to participate. It is agreat opportunity to transcend distance and culture,

and to develop understanding through something weare all familiar with; fashion, she says. Emilia herselfis no stranger to crossing cultures and adapting to newenvironments. Originally from New Zealand, she hadmoved to Milan and then London before setting upher business and she acknowledges that though it maybe difficult to start out in cities that have less fashionpresence, you just have to seize the moment and giveit a go!

And in fashion, she believes, is the culmination of

creativity, business sense and a social understanding ofthe world around us.

Emilia Wickstead E-Boutique is now available onwww.emiliawickstead.com

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STYLE

I was inspired bythe music of the

Mississippi, bythe rhythm and

blues. Its all abouthaving a lively

spirit and a senseof fun,

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ON A COOL DOHA WINTER EVENING, THEFASHION CALENDAR OF THE YEAR CAME TOA CLOSE WITH THE SCULPTURAL WORKS OFLWREN SCOTT, STEPHEN JONES AND WADHA

AL HAJRI FORMING THE BACKDROP WHILE THECATWALK SHONE WITH GLIMMERING ABAYAS.

BY DEBRINA ALIYAHPHOTOGRAPHY BY ABDUL RAHMAN AL BAKER

FASHION,

MUSEUM

A STARRYCAST

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would seem that Mathaf: Arab Museum of Modern Art was builtto be the perfect backdrop for an event as this. The conceptualsculptures, punctuating the courtyard leading to the museum,stood witness as models strutted down the runway in designs thatpay homage to the essence of being a woman in Qatar. The powerof the abaya has extended beyond just local women; guests ofdifferent nationalities graced the event in their own interpretationsof the national dress. Fashion Exchange, in its quest to bridge

Qatar-UK cultures through fashion, has created a ripple insideQatar itself melding perhaps the most important relationship of all;between the locals and expats.

The runway presentation by the headlining Qatari designers,Fatthiya Al Jaber, Elham Al Ansari and Hessa Al Mannai,showcased a collection of works that draws on the style progressionof a developing society. Elhams niche design encompasses thetraditional world of an Arab woman while Fatthiya and Hessaswork represents the rise of the modern abaya. The powerful

underlying phenomenon lies within the designers themselves, allstrong intellectual entrepreneurs making their mark in the f ield ofbusiness that was once solely dominated by men in this region.

The Fashion Exchange programme delves deeply in this context;to promote and encourage more women to excel in fashionentrepreneurship. The participation of designer Lwren Scottand milliner Stephen Jones with their visit to Qatar to share theirexperiences and anecdotes of venturing into the world of fashionstrengthens the educational objective of the programme. The stardesign duo who have collaborated on many collections presented a

public talk at the Virginia Commonwealth University Qatar as wellas an archival exhibition at Mathaf during the main event night.Winner of the 2013 British Fashion Council Vogue Fashion Fundaward, Nicholas Kirkwood, whose work was also exhibited, hasalso pledged to mentor and offer internships to design students

It

The collection of the Britishdesigners displayed outsideMathaf, picrured above are

Stephen Jones and L wren Scott.


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from Qatar as part of the programme.Qatars rising design star, Wadha Al Hajri previewed her Spring

Summer 2014 collection during the event alongside British fine

jewellers Robinson Pelham while Emilia Wickstead closed therunway show with her colourful flouncy dresses from spring. Theenigmatic and diverse line-up of designer names on-board thisproject is not just mere prestigious association, but a foundingpathway towards building a solid fashion movement in Qatar.

Fashion Exchange is part of the Qatar-UK 2013 Year ofCulture program with key participation of Roudha Center forEntrepreneurship and Innovation to facilitate collaborationsbetween emerging and established designers in Qatar and theUK. Trunk shows were held after the event at The Vanity Room

and The Closet, both multi-brand boutiques also owned byQatari female entrepreneurs, where guests and designers hadthe chance to interact. GLAM was the official media partner ofFashion Exchange, in our initiative to continuously support localand regional talents.

Qatari designer Wadha Al Hajris SpringSummer Collection, along with glimpses of

the British designers work

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AT THE RECENT ART CONSERVATION CONFERENCE INQATAR, THERE WAS ONE OBJECT THAT CREATED QUITE ABUZZ AMONG LOCAL FASHION ENTHUSIASTS. A CERTAIN

FIFTIES DIOR ZEMIRE DRESS THAT WAS SHOWN IN A PERIODCOUTURE EXHIBITION IN THE VICTORIA & ALBERT MUSEUM IN1997 HEADLINED THE CONFERENCE IN TEXTILE RESTORATION.THE DRESS, WITH AN INTRIGUING HISTORY, WAS ONE OF THE

LANDMARK PIECES OF CHRISTIAN DIORS WORK MAKING IT ANIMPORTANT MILESTONE IN FASHION HISTORY. V&AS SENIORTEXTILE CONSERVATOR, FRANCES HARTOG,TALKS TO GLAMABOUT THE UNIQUE RESTORATION PROCESS TO BRING THIS

DRESS BACK TO ITS ORIGINAL GLORY.

BY DEBRINA ALIYAH

LIFEBACK TO

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HERITAGE / 55


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Tell us about the unique story behindthe dress. Does the museum know who

last owned it?The original costume was shown inDiors 1954 Winter Collection butthis version of the Zemire designdiffers quite considerably fromthe original in both colour and thefabric used. It was commissioned bythe wife of a leading British textilemanufacturer, to showcase his new

semi synthetic fabric. Little else isknown about the history of the dressuntil it turned up in a Paris auction,at which time it was said to havebeen found in a cellar close to theSeine and possibly worn for fancydress. It was certainly heavily water stained and the skirt had beenclumsily altered but who the f inal owner was, I do not know.

Why is this dress such an important landmark in fashion history?

This costume was the star piece of the 54 Winter/AutumnCollection and was showcased at Blenheim Palace to an audiencethat included Princess Margaret. It is considered to be Diors mosthistorically inspired piece and a departure from his more familiaravant-garde work.

Tell us about the conservation processundertaken to restore this dress. How

long did it take?The real difficulty was the level ofsoiling; it was extremely dirty. Acleaning method needed to be foundthat was both safe for the object andwould give a satisfactory result. Theouter fabric was an early semi syn-thetic and it was not known howit would react to water. Both the

outer fabric and its silk lining hadproblematic dyes. A considerableamount of testing was necessarybefore a successful washing processwas carried out. Another major ele-ment was the reshaping of the skirt;

the original complex pleating had been removed and needed rein-stating which involved some detective work. The whole treatment,including mounting the costume for display, took 183 hours.

In restoring this dress, did you discover anything unique; tailoring,marks or any special elements that could be tied to the history of thedress, history of the time it was made, or perhaps the journey the dresshad been through?The labels sewn into the bodice were the most intriguing; they

HERITAGE /55

It is consideredto be Diors most

historicallyinspired piece anda departure from

his more familiaravant-garde work.

56 \ HERITAGE were roughly tacked in One was a Dior label but because the stitching


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56 \ HERITAGE were roughly tacked in. One was a Dior label but because the stitchingholding it was obviously not original, at first it cast doubt on theauthenticity of the piece. The second label was hand written on cottontape and b ore the name Agota Sekers. Research established that shewas the wife of the textile manufacturer Miki Sekers which in turn ledto the identification of the fabric as the early semi-synthetic, celluloseacetate. Eventually contact was made with the Sekers family, who

donated the swatch book that features the cellulose acetate used tocreate this version of Zemire.

In your work, what are the deciding elements in whether you choose torestore a dress, or not? Under what conditions do you decide that it can bemaintained, or not?Our work programme is driven by the demands of display; whetherit be for a gallery, a temporary exhibition, a small display or a loanto another institution - it is very rare we work on anything from storethat is not required for imminent display. When a piece is chosen to

be exhibited, we assess what work is necessary to make it safe fordisplay. We also consult with the curator and designers regarding theirrequirements, before finalising a treatment. Each textile is differentand has different demands but by their nature they are all organic anddegrade with time; it is our job to preserve them for as long as possible

whilst keeping them accessible.

Throughout your career, whathave been some of the most

exciting items that you haveconserved?This is a difficult questionas each object has its ownchallenges and sometimes itis the treatment process thatis fascinating rather than theobject itself. I have worked onmany projects since arrivingat the V&A and it would be

difficult to single one out. Butone of the more recent was thepreparation of textiles for the 7

new Medieval & Renaissance Galleries which opened at the V&A atthe end of 2011. There were 95 textiles in total and they were mostlyextremely fragile. They ranged from an Egyptian womans hair netdating from the 8th century, to a 15th Century European tapestrymeasuring 4.5 x 7m - the treatment of which took nearly 4000 hours.When the galleries opened and all the textiles were safely on display,

there was a tremendous sense of achievement.In the conservation of textile; you must be very familiar wi th the evolutionof fabric and textile making throughout time. What do you think aresome important developments that have happened in the art of fabric anddressmaking in your observations?From the late 19th Century when fabrics were first developed fromregenerated cellulose, through to the production of the synthetics inthe mid 20th Century, to the present techno fabrics; progression inthe manufacture of new textiles has been non-stop. For the centuries

before, fabrics were woven from natural fibres and it was the fashionsthat changed dramatically. Now, the evolution of dressmaking hasbecome more about the use of these new materials and the cross overbetween art and tailoring, than distinct developments in the processof dressmaking.

Our work

programmeis driven

by thedemands of

display

Before restoration work

After restoration work


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Paying tribute to women, we would like to shinea light on a sport where both genders competeequally, and where the current world championis a woman. It is a well-deserved plaudit forequestrian show jumper Edwina Tops Alexander,who has won the Global Champion Tour twice.

It is not difficult to see that equestrian is asport dominated by men, and hardly a secret

that it is one that is exclusive, often a game for the privileged. WhenEdwina broke the gender dominance, she also brought a refreshingperspective to the equestrian world. She did not come from a familywho were connected to horses. She had grown up in Sydney, a bigcity in a country that dims in comparison to Europe in equestrianexcellence. It was truly a mark of unprecedented talent.

But Edwina had never considered this as a disadvantage, althoughthere was much perseverance on her part to keep riding. I walkedinto this sport without thinking too much about it. Of course, I see

people around me in the sport who have families involved and familyinfluence, and the experience does help, she related. I learnt it myway. Its different but to me when you set your mind on it, there areways to get there.

She was the f irst Australian to make the final of the individualjumping competition at the World Equestrian Games in 2006 andhas been a trailblazer for Australia in the last two Olympics. Since2006, Edwina has won Grand Prix shows in major equestrianlocations around the world including Brussels, London, Cannes,Geneva and of course, Doha. Edwinas most prolific horse, Itot Du

Chateau, is a seventeen-year-old gelding that has been a big part ofher equestrian journey. When I first rode him, I knew that therewas something special, a bond between us, she says. We have beenthrough a lot, and this is a very important time now for Itot. At thisage, it is essential to maintain his f itness. Just like humans, we cant

RIDINGINTOFASHION

GLAM PUTS THE SPOTLIGHT ONTHE AMBASSADOR OF JAEGER LE

COULTRE, EDWINA TOPS ALEXANDER,AN EQUESTRIAN SHOW JUMPER FORWHOM WINNING IS ALMOST A HABIT.

BY DEBRINA ALIYAH

SPOTLIGHT /63


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/

just wake up one day when we are f ifty-years- old and decide to b efit.

Qatar, a rising name in the equestrian world, is no new land toEdwina. She has been in and out of Doha in the last couple of years,competing at the Al Shaqab Equestrian Center as well as trainingbudding show jumpers. Al Shaqab is an incredible facility. I havenever seen anything like that before and it is a real platform topromote the sport in this part of the world. Edwinas husband JanTops, another illustrious rider, has been training the Qatar team andEdwina has been in discussions with local partners to promote thesport among local women. Obviously there are rules to respect, butwe have had very positive discussions and maybe sometime later in

my career, this is def initely something I can see myself doing, shesays.

And yet, with all the underlying strength and determination ofa relentless warrior, Edwina is a picturesque f igure blessed witha youthful charm. Dressed in a mesh white blouse with a flower-

appliqud headband,she spoke onthe importanceof maintaining

femininity for femaleathletes.For women in

sport, femininitycan be easily lostand I really believeyou have to make aneffort to keep it, sheexplained. Withinthe equestrian

world itself, Edwinahas carved herown style realm,being appointedan ambassador forJaeger LeCoultreas well as acollaboration stint

with Gucci. Jaeger Le Coultre has had a long relationship with the

equestrian world, and its iconic Reverso watch seems a story thatjust f its with Edwinas duality in femininity and strength.I enjoy fashion a lot, I enjoy taking care of myself, I think when

you make an effort, you look good and that makes you feel good,she said. Not one to obsess over runway shows or the latest fashionhit, Edwina prefers the subtlety of classic numbers and has noqualms wearing the same outfits twice. I do admire the fashionworld, I love going to shows and reading magazines. It is interestingto see how fashion moves and evolves, but I am all for simplicity andcomfort with a little sportiness thrown into it.

Edwina was among the special guests present in Doha to celebratethe World Breeding Federation of Sport Horses. Jaeger LeCoultreawarded three prizes to three distinguished horse breeders in aspecial dinner attended by Princess Benedikt of Denmark, thepresident of the federation.

For womenin sport,

femininity canbe easily lost

and I really

believe youhave to make aneffort to keep it,


22/30

KIMONO KAFTAN,MATTHEW WILLIAMSON,QR5,895.(Shoes, Stylists Own)

FASHION /69


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Fashion Styling: Debrina Aliyah

Photography: Angel MallariHair & Make Up: Eric Pascual from Frank ProvostModel: Angelique Lange

Shoot Coordinator: Rob AltamiranoAll Items Available from Salam Studio & Stores and The Gate MallShot on location at the Calligraffiti project wall in the car park of

The Gate Mall.

BE BOLD, BE COLOURFUL,BE VIVACIOUS. THE NEW

YEAR BEGS FOR AN ALL NEWPERSPECTIVE ON BRIGHTSHADES, TEXTURES, AND

STARK SILHOUETTES. LET NEWRESOLUTIONS GUIDE AN ALLNEW POWER ARTISTIC STYLE.

ARTISTICSTYLE

70 \ FASHION


24/30

RUFFLED SHIRT DRESS,GIVENCHY, QR17,950.(Shoes, Stylists Own)


25/30

72 \ FASHION

BLACK AND GOLD COAT,TEMPERLEY LONDON,QR7 350


26/30

QR7,350.BLACK AND GOLD SKIRT,TEMPERLEY LONDON,QR3,250.REFLECTIVE SUNGLASSES,RAY BAN, QR845.

FASHION /73


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TUBE DRESS,MISSONI, QR19,450.


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FASHION /75


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PRINTED RED DRESS,MOSCHINO, QR3,795.

76 \ FASHION


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CALLIGRAFFITI LOVELooming at the corner of The Gate Malls car park is a majestic wall spray painted with colours and Arabic words,although no vandalism has been at play. Instead, the graffiti shares the same design strand of a project that we havecome to be familiar with, the Calligraff iti walls of the Sal wa Road tunnel. In a collaborative effort between The Gate

and Virginia Commonwealth University Qatar (VCUQ ), the art and graphic design students of the school had thechance to work with the world-famous Calligraffiti ar tist El Seed to produce the unique artworks now adorning the

walls of the malls car park. The students, through several workshops and site visits to the Salwa Road tunnel, learntabout the works of El Seed before embarking on this project with him. The design ideas were conceptualised so well

by the students that the judging panel had a tough time narrowing down to the f inal three designs to be used. I wasimpressed and pleasantly surprised by the quality of the work and the talent of the students because none of them havehad any experience in street art before. The f inal work on the walls is almost identical to their original sketches, said

El Seed who supervised and directed the artistic part of the project. The final three artworks are titled Welcome &Park Your Car, Old is Gold, and Illusion Vs Reality. We believe that we have given the students an opportunity tolearn a new skill, a new perspective at looking at art and expressing their opinions in style, said Isabella Ibrahim, the

marketing and PR executive of The Gate Mall.

Welcome & Park the Car- Traditional worksused in Qatari culture that depict genuinehospitality and generosity.

Illusion Vs Reality - The concept revolves aroundthe Pablo Picasso quote that Everything that youcan imagine is real.

Old is Gold A traditional proverb suggestingthat our past is a precious part of who we are.

my works in glam january 2014

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