le cercle # 9
DESCRIPTION
Le Cercle magazine is for those that ooze unique, world-class style and design.TRANSCRIPT
09
*ExclusivE intErviEwsInga Sempe & phIlIppe nIgro talk design
Le Cercle takes you
*window shoppingBespoke boutiques around the world
The cutting edge of*fashion
*vEnicE BiEnnalEIlluminated
*fEndi&KEnzo arrivE in townDiscover the brands
www.georgeschakra.com
Edition (Le Cercle 42x27cm).indd 1 11/3/11 9:19 AM
www.georgeschakra.com
Edition (Le Cercle 42x27cm).indd 1 11/3/11 9:19 AM
Le Cercle BCD An Nahar Bldg . Martyrs’ Square . Downtown . Le Cercle SAIFI . +961 1 97 14 44 / 555 . www.kenzo.com
Le Cercle BCD An Nahar Bldg . Martyrs’ Square . Downtown . Le Cercle SAIFI . +961 1 97 14 44 / 555 . www.kenzo.com
Inga Sempe’s independence,
irreverence and her practical
rigor combine with her poetic
exactingness to give each and
every onet of her creations a
“never before seen” quality. She
challenges artificial designs
and defends useful and
inventive ones to bring elegant
solutions to everyday
expectations.
words : m i c h e l r o s e t
publisher:
City News Privilege
on behalf of Le Cercle Hitti
editor in chief :
Anastasia Nysten
managing editor:
Helen Assaf
graphic design:
Genia Kodash
printer:
RAIDY | www.raidy.com
contributors:
Owen Adams
Dan Bratman
Miriam Dunn
Haneen Joudiyeh
Louis Parks
Fernande Van Tets
advertising:
t: +961 3 852 899
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19architecture 20
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living 242526
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product Design 6061626364656667686970717273747576777879 8081
Fashion 828384858687888990919293949596979899
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art & Culture 104105106107108109110111112113114115
In Beirut 116117118119120
w e a r e l i v i n g i n e x c i t i n g times – in a world where style
reigns supreme, and increasingly the art of the
fashion designer is being fused with the dream of architects,
and vice versa.Within the pages of Le
Cercle a global revolution of emergent ideas is reflected in
style as we go window-shopping, from Shanghai and
Tokyo to Warsaw to Amsterdam, and closer to home in Beirut.
We’re facing a situation where the principles of architecture and fabric design are meshing closer together, where many different worlds reveal themselves if you know where to look, where aesthetic senses and notions of what we previously believed irrational and impossible are turned on their head.
Formidable fashion houses, such as Costume National are undergoing a process of reinvention and new ways of presenting themselves - retaining their supreme artisan power while seeking out sheer innovative talent to keep up with the newcomers that matter – such as Starch in Beirut and Hotel The Exchange in Amsterdam. The very best of haute couture, from Fendi and Kenzo, can now be found in Downtown Beirut, and we celebrate the exquisite and enduring super-designers’ ventures into home furnishings.
The Venice Biennale continues its role as a style barometer, and here in Le Cercle, from Berlin we feature the best of the best Red Dot design award-winners.
L’affaire fashion is this issue’s theme – where seeing can often mean disbelieving, where the desire to come closer and be immersed in the newness is irresistible. The new generation is sashaying through the door, and we’re out celebrating this burgeoning new age of design.
PARK VIEW BUILDING, BOULEVARD DU PARC - BEIRUT T. +961 1 99 21 16 CHARLES MALEK AVE., ELLIPSE CENTER - ASHRAFIEH, LEBANON T. +961 1 20 00 01
WWW.WSAL A MOON.COM
wss_earrings_21x27_wss_earrings_21x27 8/22/11 3:02 AM Page 1
Inga Sempe’s independence,
irreverence and her practical
rigor combine with her poetic
exactingness to give each and
every onet of her creations a
“never before seen” quality. She
challenges artificial designs
and defends useful and
inventive ones to bring elegant
solutions to everyday
expectations.
words : m i c h e l r o s e t
PARK VIEW BUILDING, BOULEVARD DU PARC - BEIRUT T. +961 1 99 21 16 CHARLES MALEK AVE., ELLIPSE CENTER - ASHRAFIEH, LEBANON T. +961 1 20 00 01
WWW.WSAL A MOON.COM
wss_earrings_21x27_wss_earrings_21x27 8/22/11 3:02 AM Page 1
aCCeSSorIeS
THE WINTERwIShlISt
DelFtBLuEColleCtIonMarcel Wanders
“Marcel wanders designed a collection of
ceramic vases for Moooi, all vases are
produced and decorated at ‘Royal Delft’,
A Dutch company dating back to 1653 and
the original producer of the
beautiful delft blue ceramics.”
MoooI
DelFtBLuE11Marcel Wanders
Ceramic, White, Delft blue and gold.
40 (h) x 21.5 (w) x 21.5 (d) cm
MoooI
XXl ARoMATICCanDleBois de cashmere fragrance
XL 400g or XXL 1500gr
HERVE GAMBS
roSeauNoé Duchaufour-Lawrance
Ceramic vase with brilliant white slip.
45/60 (h) x 22/29 (ø) cm
LIGNE RoSET
RêVED’eDoLigne Roset
Mini -box in oak veneer, with clasp in
moulded hand polished aluminum, or in
MDF, with interior finished in ‘cafe au lait’
lacquer and moulded mirror-polished
aluminum clasp.
22/11 (h) x 21/32 (w) x 21/32 (d) cm
LIGNE RoSET
goes wInDow shoppIng for
some of ThIs season’s musT-have purChases.
aCCeSSorIeS
LESnympheSTous les Trois
Jar in fibreglass finished in gloss lacquer.
178 (h) x 25/28 (ø) cm
LIGNE RoSET
glaSSholDerAND tumBler - LACEColleCtIon
Paola Navone
Clear glass and handcrafted silk-screened
decoration with 980/1000 silver.
34 (h) x 28.5 (ø) cm and 9 (h) x 8 (ø) cm
EGIzIA
tumBlerS - LACEColleC-tIon
Paola Navone
Clear glass and handcrafted silk-screened
decoration with 980/1000 silver.
15 (h) x 7 (ø) cm and 9.5 (h) x 8 (ø) cm
EGIzIA
wInter Vanessa Mitrani
Mouth-blown glass and porcelain.
32 (h) cm
RoCHE BoBoIS
DunkerqueJean Paul Gaultier for
Roche Bobois collection
100% wool rug
200 x 300 cm
RoCHE BoBoIS
CouSSInDoNJuanAND DentellaPouDRé
Jean Paul Gaultier
Satin square cushion
40 x 40 cm and 60 x 60 cm
RoCHE BoBoIS
SHANGHAIlanternBlack iron
36/100 (h) x 21/45 (ø) cm
HERVE GAMBS
huSkPatricia urquiola
A hard shell in hirek® and a series of soft
cushions: these are the basic elements of
the husk armchair.
84/110 (h) x 77/84 (w) x 77 (d) cm
B&B ITALIA
roCherHertel & Klarhoefer
Steel base. Shell in satin-finish reinforced
techno polymer, with the signature of the
designers.
84.5 (h) x 52 (w) x 57 (d) cm
LIGNE RoSET
SIttIng
FaCettR & E Bouroullec
Three layers of criss-cross panels and
thermoformed polystyrene, overlaid with
polyether foam. Invisible
feet in black polythene.
84 (h) x 145/190 (w) x 81 (d) cm
LIGNE RoSET
CARBoNChaIrBertjan Pot and Marcel Wanders
Carbon fiber drained in epoxy resin.
79 (h) x 49 (w) x 47 (d) cm
MoooI
alSterEmmanuel Dietrich
Fabric and tubular steel with soldered
metal mesh.
82 (h) x 61 (w) x 59 (d) cm
LIGNE RoSET
moëlInga Sempé
With the exception of its all-enveloping
back, Moël draws heavily on Ligne Roset’s
long-standing expertise in the field of
all-foam models.
81/97 (h) x 105 (w) x 89 (d) cm
LIGNE RoSET
SIttIng
MAHJongCouTuRE moDularSoFA
Hans Hopfer
Dressed by Jean Paul Gaultier in Couture
collection fabrics. Modular composition
from hand-made padded cushions straight
and comer backrests.
RoCHE BoBoIS
SMoKEChaIrMaarten Baas
Burnt wood, finished with epoxy resin, fire
retardant, foam leather, upholstery.
104 (h) x 75 (w) x 80 (d) cm
MoooI
BenHuRarmChaIrJean Paul Gaultier by Roche Bobois.
Armchair, laminated aluminum structure,
fabric upholstered seat
(green, red or blue velvet)
RoCHE BoBoIS.
BENDSoFaPatricia urquiola
urquiola has entitled the bend-sofa due to
its curvaceous albeit monolithic form.
It gives the appearance of being manually
molded from a supple material
as if by a sculptor.
Various sizes
B&B ITALIA
MooNSyStemzaha Hadid
A continuous shape, a blend
of aesthetics and ergonomics.
85 (h) x 288 (w) x 92/200 (d) cm
B&B ITALIA
CurulePierre Paulin
Curved solid beech slats, cut from the
same piece of wood and assembled using
threaded steel posts and rivets.
67 (h) x 56 (w) x 35.5 (d) cm
LIGNE RoSET
RISCIAarmChaIrArmchair from the fabric collection of
distinct pieces that give ultimate presence
to any interior.
KENzo MAISoN
CuteCuTCoFFeeTABLECédric Ragot
Solid wood (rain tree).
25 (h) x 100 (w) x 84 (d) cm
RoCHE BoBoIS
taBleS
CIrCleSMaria Jenglinska
Epoxy satin black lacquered steel or with
top in brilliant-polished stainless steel.
43/53 (h) x 36.5/42 (ø) cm
LIGNE RoSET
SurFaCeVincent Van Duysen
Vast range of finishes: glossy painted,
brushed light oak, brushed oak or gray oak
for tops and partitions.
37 (h) x 120/150 (w) x 35/60/70 (d) cm
B&B ITALIA
penInSuleangie anakis
Brilliant-polished folded sheet steel
with top in mDF finished in american
walnut veneer.
38 (h) x 35 (w) x 37 (d) cm
LIGNE RoSET
antIgonePierre Paulin
Low table with structure in black-stained
solid beech or natural solid beech.
26.5 (h) x 80 (w) x 80 (d) cm
LIGNE RoSET
FloeTomoko Azumi
White lacquered metal, laminated glass
top. Contain a number of Swarovski
crystals and LED lights which project
a subtle play of light on the
translucent glass top.
LA PALMA
palettePascal Mourgue
Low table in the shape of a painter’s
palette. Molded enameled ceramic.
35 (h) x 65 (w) x 34.5 (d) cm
LIGNE RoSET
lIghtIng
RANDoMlIghtBertjan Pot
Fiberglass soaked in epoxy resin,
chromed steel pendant.
50/80/100 (ø) cm
MoooI
PASCALmourguePascal Mourgue
Base in brilliant-chromed steel;
cotton shade.
48/80 (h) x 12/23 (ø) cm
LIGNE RoSET
RABBITlampFront
PVC/cotton laminate on metal structure.
MoooI
ChIoIlluminated box in transparent plexiglass
and matt varnished aluminum.
60/90 (h) x 23 (w) x 15 (d) cm
LIGNE RoSET
CHANTAL2011Stephen Burks
Table lamp with base and shade in clear
mouth-blown glass. Red textile cable and
black manual switch.
35 (h) x 35 (ø) cm
LIGNE RoSET
CoutureFLoWERDIFFuSerRoom spray Bois de Cashmere
& Love couture
The repeated gesture which consists in
perfuming a Couture flower diffuser
HERVE GAMBS
aCCeSSorIeS
HoMEFrangranCe CoLLECTIoN
HERVE GAMBS
CELESTEColleCtIonLSA
Serve Punch bowl and ladle
25 (ø) cm
LSA
mIlo Vase
16 (h) cm
LSA
MALIKAgranD Champagne flute, wine glass
and cocktail glass
LSA
ServeLow comport
32 (ø) cm
LSA
Con
cept
and
Sty
ling
Col
lage
Stu
dio.
Pho
to F
abriz
io B
erga
mo.
MAXALTO IS A B&B ITALIA BRAND. COLLECTION COORDINATED BY ANTONIO CITTERIO. [email protected] WWW.MAXALTO.IT
Pmedal
back & front
W o r d s : M I R I A M D u N N
zAHA HADID JoINS JuRy To JuDGE ARCHITECTuRE’S MoST PRESTIGIouS AWARD
Chicago not only enjoys a
reputation as the birthplace
of the skyscraper, but is also
rather aptly home to
architecture’s most prestigious award,
the pritzker prize.
often referred to as
‘architecture’s Nobel’, the Pritzker Prize was
set up by the Hyatt Foundation in 1979, an
initiative founded by the late Jay A. Pritzker,
whose family business interests in hotel
operations are headquartered in Chicago.
His eldest son, Thomas J. Pritzker is now
chairman of the foundation, which has long
supported educational, social welfare,
scientific, medical and cultural activities.
The Pritzker family has a
natural affinity with architectural innovation,
having acquired an unfinished building in
1967 which was not only transformed into
the Hyatt Regency Atlanta, but also boasted
a soaring atrium that became the signature
piece of the brand’s hotels worldwide.
In a similar spirit, the Pritzker
Prize, which consists of $100,000 and a
bronze medallion, is awarded each year to
a living architect whose built work has
made a significant contribution to humanity
and the built environment.
The 26th edition of the award
is set to be held in Beijing, another city
famed for its excitingly innovative
architecture. And innovation is also a word
regularly associated with the Baghdad-born
architect zaha Hadid who is one of two
new members of the jury appointed to
select this year’s laureate.
The pioneering, British-based
architect, together with the Supreme Court
Justice Stephen Breyer, joins six other
judges who will make up an eight-member
panel serving for a multiple number of
years.
Famed for her radical
approach, Hadid is a former Pritzker Prize
winner herself, becoming the first woman
to receive the award in 2004. Her style,
which favors multiple perspective points
and fragmented geometry, is best displayed
in works such as the Rosenthal Center for
Contemporary Art in Cincinnati and the
recently-completed Aquatics Center in
London, uK, which will host the swimming
events for the 2012 olympic Games.
Being selected as a juror for
the Pritzker Prize could be viewed as an
honor on a par with winning the award
itself. As Thomas J. Pritzker himself says,
“The members of the Pritzker jury are now,
and always have been thoughtful,
outstanding individuals from diverse
backgrounds providing sometimes
surprising insight to architectural
achievement in our time.”
Hadid’s well documented
forcefulness and focus should stand her in
good stead for her new role. She will
undoubtedly bring something special to
what is already an exceptional event.
zaha Hadid
by Simone Cecchetti.
official Breyer
there’S oFten a temptatIon to glanCe at an
exhibition rather than take in the detail. At Tokyo’s
CNAC LAB, viewers have little choice but to get in
close. In September a show celebrating 25 years of
Italian edgy chic from CoSTuME NATIoNAL marked the
opening of the boutique’s flagship Aoyama Complex
within the groundbreaking arts center. The artefacts, as
worn by Madonna and other top celebrities, were
shielded from faraway view by a porous curtain of
polyester ribbons. only when viewers stand next to
them do the 18mm-wide threads turn from opaque to
translucent to the point of appearing non-existent,
offering an exclusive close-up. The architect behind the
ingenious installation, titled Bang, Ryuji Nakamura,
hung 4,100m of polyester ribbons over 130 sq meters,
to create a synthetic fog, a curtain that clears to reveal
one mannequin at a time.
Small IS BeautIFul at warSaw BoutIque FIuFIu.
A Scandinavian archetype to reflect the Nordic shop
goods for sale within it has been transplanted in the
heart of Poland’s capital by architects Mateusz
Adamczyk and Marcin Kwietowicz from a concept by
Magdalena Wołosz. Six spaces within the 31 sq m floor
area ensure not a centimeter is wasted. The result is a
gable house stretched lengthways, cut in three with red
steel blades, slightly shifted to provide enough space to
fit in a cash desk, fitting room and storage.
optical illusions are created by the steel
coulisses; what might have been a daunting long space
appears short by deceptive design. The idea is to entice
passers-by into the fairytale cottage-like shop, lit from a
side room, and to be immersed in the atmosphere of a
mini-Scandinavia. The raw carpentry of the wooden
structure is emphasized with snow-white interiors, and
a universal simplicity of features such as rails, ledges
and lamps.
wIth Strong eChoeS oF
Pinocchio creator Guiseppe’s
workshop and the magic of The
Nutcracker, Spanish designer
CuldeSac set out to bring
Hermès accessories to life for
its winter collection, marrying
artisan soul with objets d’art,
employing high craftsmanship
to showcase the Paris maison’s
finery in a stately home, with
exquisite fantasies in nine
rooms.
The world’s media
gathered for an exclusive
premiere of this season’s
collection, each with a different
CuldeSac installation, some
showcasing finished objects,
others translating the
disciplined, patient and precise
approach of the fashion
house’s mode of production.
In one room,
wooden horses wore ties, hats,
scarves and shoes. Colorful silk
and cashmere carrés appeared
suspended in mid-air, mounted
on floating balloons,
shimmering to Tchaikovsky’s
Nutcracker Suite. There were
towers made of Hermès
distinctive orange shoeboxes,
six marionettes gathered
around a tableware display, and
in the final room a cornucopia
of nostalgia and hidden
treasures placed in what
appeared to be music boxes.
you’D Be harD puSheD to FInD a more
arresting shop-window display than the hats on stage at
an Issey Miyake store in Tokyo. As funky and
idiosyncratic as milliner Akio Hirata’s collection is, it’s
the electric-blue traditional-style dining chairs on which
the hats perch that immediately grab the attention.
However, more than the briefest glance will show the
2D/3D Chairs by yoichi yamamoto Architects are not all
that they might initially seem. The wooden backs are
real enough, but the legs and bases are two-
dimensional drawings, painted on the ground in such a
way that from a fixed angle they appear to be all
correct. A sidelong glance or a closer inspection
betrays the illusion. Spectral seats collapse before the
eye of the beholder. The seamless transition from 3D to
2D, which yamamoto created with his associate yayoi
Ito, plays the most entertaining games with the mind.
DeSIgner ronalD aBDallah’S aChraFIeh BoutIque
epitomizes his edgy, glamour meets rock-chic style. on the relaxed
Abdel Wahab El Inglizi street, the store’s blend of simple
architectural detailing and touches inspired by couture fashion
create an intriguing experience.
“It all has to be balanced,” says Abdallah, “We’ve
got neutral tones so that the clothes are the center of attention,
but then there’s gold detailing on the rails, red hangers for the
pieces.” In order to maximize space a gold table runs the length of
the store with clothing hanging above it, displayed in an innovative
manner, no space is lost, yet the clothes are clearly the
centerpieces.
As in fashion, evolution is key and Abdallah
plans to reinvent the location on a regular basis. A blank wall serves
as a display area, a canvas upon which Abdallah can exhibit his
latest creations. Similarly, the window displays are intentionally
simple, allowing changes to be made whenever a fresh look is
sought. An exciting addition to Beirut’s shopping culture, Abdallah’s
boutique is something to see.
whICh way IS up? hIgh-enD FaShIon BrowSerS at
the startling new Alter store in Shanghai, China must wonder.
Faced with staircases descending from the ceiling, adorned
with gravity-defying naked mannequins, dresses, shoes,
jewelry, glasses, design toys and books in a multi-dimensional
arrangement, those in the know will feel as if they’ve stepped
into an Escher drawing – those seemingly impossible
architectural models.
Alter owner Sonja Long wanted to subvert the
ingrained conservatism of Shanghai, and Roman architect
Francesco Gatti, and his Shanghai associates at 3GATTI, were
the people for the outlandish job.
Gatti was “fast and spontaneous” and “designed
like a child, without inhibitions” to realize this vision, which
made the most out of the 100 sq meter space. Incredibly, this
alternative reality with no up or down or left and right, does
function. Two fitting rooms and a store room are enclosed
beneath an ascending staircase, while smaller staircases at the
front cantilever out across the floor.
dévorez l’opportunitéJ.B. Schmetterling. Une création Ingo Maurer.
Corniche an-Nahr 01/584 222 Hamra 01/343 335 Jnah 01/820 338
debbas Frog 21-27 11/9/11 11:18 AM Page 1
FASHIoNABLy hoSpItaBle
W o r d s : o w e n a D a m s
01
From the outside, hotel the exchange
blends in with the terrace of lofty gabled
buildings along amsterdam’s Damrak, also
known as the city’s red Carpet.
But its 61 rooms have each been given
contrasting individual makeovers – dressed by eight
graduates from the Amsterdam Fashion Institute, fitting
the interiors as they might models, with themes ranging
from a minimalist Emperor Wears No Clothes to an
elaborate Marie Antoinette boudoir.
Located opposite the city’s stock
exchange on the main street that leads from the
Centraal Station to Dam Square, the concept of
marrying fashion design with architecture came from
otto Nan and Suzanne oxenaar. The galleries-stuffed
Jordaan district, a 15-minute walk from the Damrak, is
the center of the city’s considerable eccentricity and
innovation, but the city is now taking innovative design
to its heart.
Roos Soetekouw’s eight rooms all have
one thing in common, she says: “They are theatrical,
explicit and over the top.” These include a “sad, sinister
and beautiful room” called Misunderstood Creatures.
“The ceiling is crying black tears of diamonds which
drop on the floor and in which illustrated creatures
come alive.” A complex triple-layer knit custom fabric
with a shimmering nylon surface completes the picture,
which should ensure guests some pretty strange
dreams!
Anne Wolters aims to bring the cityscape
of Amsterdam into the rooms she designed, using the
views as a literal base for the pattern of her fabrics to
make the room into “one huge camera obscura”, even
incorporating the designs in dressing-gowns. “As soon
as you put on the dressing-gown,” she says. “you will be
camouflaged by the city.”
What better way for a tourist to be
wrapped up in Amsterdam by wearing it in a room
reflecting it?
www.exchangeamsterdam.com
01 _____ Atelier room
Photo by Arjan Benning
02 _____ Manray’s eyes -
Photo by Arjan Benning
03_____ Misunderstood
Creatures
Photo by Mirjam Bleeker
04 _____ unaware Reality
Photo by Mirjam Bleeker
02
03
04
W o r d s : o w e n a D a m s
FERoCIouS
FenDI
the future posterity of the
double-F signature of Fendi
was assured when it kick-
started a new handbag
revolution in 1997 with the must-have
Baguette – a petite bag, in 600 varieties,
to be carried under the arm just as one
would transport a stick of bread.
With the Renaissance man of
fashion Karl Lagerfeld at the helm, the
Italian high-fashion house would surely be
incapable of stumbling, no matter how
many ethical consumers eschewed the furs
and leathers on which the casa was
founded in Rome, way back in 1925.
Lagerfeld launched the luxury
prêt-a-porter fur collection in 1969, four
years after he was headhunted by the Fendi
dynasty. He transformed pelts from a stiff,
heavy, outer attire into a light, soft, fabric-
like material. Several years ago, he sent furs
gilded in 24-carat gold gliding down the
runway.
Fendi Casa applies the same
couturier’s flair for cut, color and pattern in
home design – the chic meets the opulent
in a fusion of the classic and the
contemporary, in the heart of the living
room or adding a sophisticated touch to
lounging in the sunshine.
Fendi’s global reach, over 160
boutiques in 25 countries – including a
shop in Downtown Beirut - was elaborately
showcased when it staged an 88-meter
catwalk show on the Great Wall of China.
Its audacity knows no bounds.
W o r d s : o W E N A D A M S
ECLECTIC kenzo
kenzo is a common male name
in Japan - but throughout
the world it stands for the
supremo kenzo takada,
whose perfumes, skincare products
“made from nature”, clothes and a
range of elegant homeware have a
strong global appeal – the ultimate in
delectable cultural fusion.
Kenzo was one of the first
men to gain admission to Tokyo’s Bunka
Fashion College, before moving to Paris.
Initially, he was forced to mix numerous
bold fabrics to make one garment as he
could only afford fabrics from flea markets.
This resourceful, colorful array of materials
from many cultures, with a natural
essence, is Kenzo’s signature, with a yin-
yang equilibrium and qi energy at the fore.
By the late-1970s, Kenzo had
the kudos to launch flamboyant shows in
a circus tent, atop an elephant. He retired
in 1999, leaving his assistants in charge,
but has since occasionally returned to the
ECLECTIC kenzo
fray. Poetic perfumes to make a splash in
the last decade include FlowerbyKenzo,
recalling the scent of poppies, while
skincare line Kenzoki focused on the rice
stem, ginger flower, bamboo leaf and
white lotus. While no person should be
without Kenzo scent or attire, no home
should be either.
Colla
ge S
tudi
o
For Viola every story always begins with Tufty-Time. Tufty-Time is designed by Patricia Urquiola.
In Love modular sofaDesign Philippe BouixUpholstered with a set of cushionSONIA RYKIEL MAISONfor Roche Bobois
Photo
: Mich
el Gi
bert.
Spec
ial th
anks
to: A
ssou
line
BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]
In Love modular sofaDesign Philippe BouixUpholstered with a set of cushionSONIA RYKIEL MAISONfor Roche Bobois
Photo
: Mich
el Gi
bert.
Spec
ial th
anks
to: A
ssou
line
BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]
Equation modular sofasDesign Roberto Tapinassi andMaurizio Manzoni Noxis bookshelfDesign Luigi Gorgoni Cute Cut coffee tablesDesign Cedric Ragot
Photo
Cred
it: M
ichel
Gibe
rt. Sp
ecial
than
ks: T
ASCH
EN
BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]
Equation modular sofasDesign Roberto Tapinassi andMaurizio Manzoni Noxis bookshelfDesign Luigi Gorgoni Cute Cut coffee tablesDesign Cedric Ragot
Photo
Cred
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Gibe
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than
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ASCH
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BEIRUT DOWNTOWN33 rue WeygandTel: +961 1 986 888/[email protected]
W o r d s : L o u I S P A R K S
DoRI HITTI’S DESIGN FoR VALLI & VALLI’S BouTIquE
So often an afterthought, yet an
essential part of any design, the
common handle is something
the majority of us take for
granted. Thankfully, Valli & Valli has
created Lebanon’s first luxury boutique
dedicated to this most essential, yet oft
neglected finishing touch.
A veritable marketplace of
designer handles of every sort, size and
shape, Valli & Valli presents handles as
works of art, decorative elements in their
own right. A cornucopia of styles, materials
and pricings allied to the highest industrial
standards and benchmarks, brings a wealth
of options to designers and homeowners
alike, unmatched by anything in the region.
Designers such as
Antonio Citterio, Foster & Partners and
David Chipperfield Architects, to name but
a few, come together under one roof
offering an unprecedented collection of the
very best interior design products
renowned firm Valli & Valli has to offer.
Whatever it is you’re looking for, you’ll find
it at this most extraordinary boutique.
As befits Valli & Valli’s
mission, the handles are very much at the
heart of the boutique. Designed by Dori
Hitti, the boutique features his famed
minimalist designs taking nothing away
from the products on offer, serving as
something of a blank canvas where the
handles themselves form the art. Clean
lines, open spaces, unembellished
typography and an uncluttered architectural
environment create a thoroughly modern,
unobtrusive setting in which to showcase
this astounding collection.
Hitti designed the
boutique with a museum in mind,
showcasing the products as pieces of art,
displayed prominently for the visitor to
enjoy and understand. This classic
approach is juxtaposed by the bold use of
the color red, with half the wall space
adorned in a most vibrant hue. This modern
take on a most classic approach is the most
fitting tribute to the designs on offer.
Design: Norbert Beck
If you listen to your senses,
you’ll experienceall that’s beautiful and exhilarating
in this world.Rolf Benz MIO, where i feel good.
W o r d s : L o u I S P A R K S
via Sydney, abu Dhabi and l.a.
to drop but a few names, Black
pearl Interiors has arrived in
lebanon. Crafting bespoke
furniture using some of the most exotic
materials on the planet, Black Pearl sits at the
pinnacle of interior design and the company’s
dynamic young head, Alexa McGrath,
recently sat with us in Beirut to discuss their
pieces and plans.
you have to see it to understand
it, but mother of pearl is a quite remarkable
material. It’s a form of shell, a natural material
made by a variety of species of mollusks,
which forms a hard, brittle surface, creamy,
iridescent and smooth to the touch. Looking
at a chair or table made by Black Pearl
Interiors you realize that each one is covered
with thousands, if not tens of thousands, of
tiny pieces of this most luxurious material.
As if that’s not enough, Black Pearl Interiors
takes its name from the rarest form of
mother of pearl. A fraction of a fraction of a
shell’s surface, black mother of pearl is
perhaps the most sought after material to
come out of the depths of the ocean. The
hallmark of truly niche products, black
mother of pearl has the cachet only those in
the know truly understand as Russell Crowe
and the designers Candy and Candy will
attest, both having made use of Black Pearl
Interior’s services in the creation of one of
the most expensive residences in Sydney and
London’s upmarket one Hyde Park
respectively.
“It’s all done by hand,” says
McGrath. “The carcass is made from marine
plywood or a honeycomb and then the
mother of pearl is placed around the
carcass.” Mother of pearl, being as delicate
as it is, sounds like a craftsman’s nightmare.
on the subject McGrath laughs, saying,
“The shell is cracked before being placed
into position by hand and polished down.
Any gaps are then hand filled. As you’re
sanding it down you come across
imperfections and they’re taken out and a
replacement piece is put in, creating
irregular shapes. There are any number
Stingray dressing table
Shell coffee tables
Mother of pearl inlayed
dining room wall unit with
stainless steel lining and
dining room chairs with silk
velvet fabric and ebony
makassar legs
of things that can go wrong.” A single chair
can take two craftsmen about a week to
complete, making these pieces clearly
something a little special.
McGrath’s style exhibits all
that’s good about minimalism, simple lines,
a lack of complex embellishments and a
color palette that’s clear and easy on the
eye. All’s well and good, but then anything
more complex would surely detract from
the subtle sheen given off by the mother of
pearl. These pieces have to be seen to be
believed. There’s something altogether
opulent about each chair, table or
sideboard, almost otherworldly as they
shimmer softly in the light, immediately
transfixing the gaze.
Alongside mother of pearl,
McGrath works with ray skin, ostrich leather
and other exotic coverings. Above all, Black
Pearl Interiors, simply put, makes use of
only the highest standards of
craftsmanship, the finest materials money
can buy and a simple, clear design vision.
Welcome to Beirut.
www.blackpearlinteriors.com
Green stingray cabinet
with brass lining
Stingray bed
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FOR AN ALL-ROUNDGOOD FEELING.ROLF BENZ 582.
Design: Joachim Nees
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W o r d s : L o u I S P A R K S
02 03 04 05
last october saw the
retrospective exhibition of
lebanese artist Saloua raouda
Choucair’s life’s work at the
Beirut exhibition Center. Choucair, now
in her 90’s was an exceptional artist until
her retirement in 1990’s. Entirely self-
taught, Choucair worked in a wide range of
materials, fabrics, wood, stone, clay, metals,
ceramics and more, creating a wealth of
pieces that has to seen to be believed.
Jewelry, carpets, sculptures, paintings and
more, Choucair’s work is a veritable mine
of artistic content.
Containing some of her most
iconic pieces, including a series of
sculptures called “Poems”, and another
called “Infinite Building”, the exhibition
shone light on the extraordinary talent of
this underexposed artist. Largely self-taught,
Choucair had worked in a university library,
voraciously consuming literature and
writings on any number of subjects, soon
discovering a passion for physics and
engineering that would come to play a role
in her creative process later in her life.
Alongside her academic study
in the library, Choucair received a formal
education in art, albeit it on a casual basis,
by working alongside other Lebanese artists
01 _____ Module
1980-1983, wood
02 _____Trajectory
of the arc
03 _____ Garden Project,
Public Bench
04 _____Exhibition
05 _____ Composition of
two forms
Saloua Raouda Choucair
InFInIte PoSSIBILITIES
01
02
03
and visiting Paris between ’48 and ’51 to
study at the Ecole Nationale des Beaux-
Arts, La Grande Chaumière atelier before
working at a number of other ateliers in the
city.
She had gradually become
interested in the manner in which a line can
continue from one point, into infinity,
according to her daughter, Hala Choucair,
“Her work is abstract, the lines are in her
mind, she’s not representing anything in
particular, it’s about presenting an idea that
is beyond any measurable scale, the idea
that things go on forever.”
Her experiences in France, her
fascination with the way in a line can
continue through infinity, and her in-depth
understanding of Islamic art allowed her to
create “Poems” and “Infinite Buildings”,
blending Islamic and Arabic tradition with
modern touches. “Poems” is a collection of
small sculptures, made up of jig-saw
puzzle-like pieces that interlock to create a
shape; “Just as with Arabic poetry, every
“verse” has a meaning, it doesn’t need to be
read as part of a poem to make sense,” said
Choucair, “So, each shape is unique, and
each piece of the puzzle is a stand-alone
sculpture, but no two pieces in the
collection are the same, meaning that each
complete “Poem” is a one-off.”
“Infinite Buildings” was created
as a series of interlocking pieces combine
to form columns not unlike Native Indian
totem poles. Separate pieces, or blocks, of
sculpture interlock, forming a column rich
in detail, creating lines that, potentially, go
on forever. As with “Poems”, the individual
blocks are sculptural pieces in their own
right, all small enough to be used as a
stool, or a bench, but combined the
possibilities are, as the name suggests,
limitless.
Like many artists, Choucair
was never fully appreciated while she still
produced pieces, and it is only recently that
Lebanon could enjoy her work. A
wonderfully talented artist and the producer
of a diverse body of work, Choucair is
someone Lebanon should treasure.
01 _____ Poem,
1961-1965, wood
02 _____ Study in nudes,
Graphite and Charcoal on
paper
03 _____ Rhythmical
composition in yellow,
oil on board
The reD DoT BesT of The
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aCCoLaDe for proDuCT
DesIgners. aT The DeBuT gaLa
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presTIgIous german InsTITuTe,
The 19Th year of The ConTesT
reCeIveD 6,468 suBmIssIons,
anD a massIve amounT of
InTernaTIonaL InTeresT.
an InTrICaTe seLeCTIon
proCess LasTIng severaL
Days, presIDeD over By
an InTernaTIonaL anD
InDepenDenT jury of
renowneD DesIgn experTs,
awarDeD 608 reD DoTs for
hIgh quaLITy In DesIgn,
80 In The BesT of The BesT
CaTegory, anD 10 of Those
reCeIveD The reD DoT granD
prIx, The hIghesT InDIvIDuaL
DIsTInCTIon.
we have Chosen seven of
The TasTIesT BesT of The BesT
awarD-wInners In DIfferenT
seCTIons. you Can aLmosT
feeL quaLITy oozIng from The
proDuCTs.
red dot design
element Collar (watches and jewelry
section): we tend to think of industrial
materials as heavy – belonging in the world
of work rather than body adornments. The
element Collar, ‘collet’, a close-fitting
choker necklace, has defied convention by
embedding small diamonds in carbon fiber,
incorporating design methods more often
used to build marine vessels. The jury was
impressed by carbon being turned into a
piece of jewelry “as lightweight as it is
elegant”. The experts added: “The interplay
between dark and light elements over the
curved surface attracts attention and
underlines the aesthetic value of the
carbon. Due to the ergonomic shape of the
concave planes, the element Collar is
comfortable to wear.”
ploum sofa by erwan and rowan
Bouroullec for Ligne roset (Living rooms
and bedrooms section): The jury was
influenced by the balance of comfort and
aesthetics. The low sitting height allows the
sitter to be “engulfed and embraced” by the
soft foam interior and flexible stretch-fabric
material, designed to adapt perfectly to the
recliner’s body contours and produce a
highly sensuous experience. The designers
carried out extensive surveys to come up
with a design for contemporary lifestyles
– allowing for diverse lifestyles and levels of
reclining, all of them in supreme comfort.
“we conceived this sofa as a ripe and
delicious fruit,” said the Bouroullec brothers.
13” macBook air (Computers section):
from gorgeous lighting to lovely lightness
– the jury was swung by apple’s sparing use
of aluminum – the computer’s housing has
been reduced to just one piece in an
admirable act of resource-saving, with a
glass multi-touch track pod. as well as
being pleasing to the touch, the new 13”
version “is remarkably slim, and yet is very
sturdy and robust – ideal for working on the
go,” the designers said. The jury noted:
“smaller, lighter and more silent, the
macBook air... is ready for use anywhere
and at any time – a thoroughly mobile and
contemporary product.”
pontos Décentrique phases de lune wrist
watch (watches and jewelry section):
precision and presentation of time and the
cosmos with the minimum of clutter sold
this exquisite timepiece to the red Dot
judges. Before watches or scientific
instruments existed, our ancestors
measured time by the phases of the moon
and shifting constellations, and pontos has
reconnected the practice of antiquity with
contemporary sublime design, luminous
components on a sleek, velvety black dial,
giving the impression of looking into the
cosmos. The jury remarked: “only
wristwatches of extraordinary precision,
with materials of high quality and a creative
arrangement of functions successfully
address the emotions of their wearers.”
versatile axis ceramic wall tile (interior
design section): Inspired by the alhambra
fortress, the moorish symphony in stone in
granada, spain, the versatile three-
dimensional tiles with an s-motif give
rooms an impressive depth, and are also
incredibly soft and tactile. The tiles offer a
whole new set of geometric possibilities for
planners and architects to play with. “The
tile is no longer just a flat surface which
covers or protects a wall, but is a spatial
form in itself which gives rooms a new
perspective,” enthused the jury. “The motif
is at once simple and carefully thought
through and helps to give an imposing
impression of a room.”
Bmw 5 Series touring passenger Car
(automobiles, transport and caravans
section): surely the ultimate test for car
design is when the beholder feels the joy of
driving it before even turning the ignition.
hence the jury awarded Bmw the highest
design prize possible for the new 5 series
Touring’s flowing line movement, not just
evident from the outside, but also echoed
in its interior. This new model continues
the Bmw’s brand identity with its long
engine hood and long wheelbase, and is
marked by a low and sleek profile. The
jury’s verdict: “you can almost feel the
sporting elegance and dynamics... The
ergonomic concept of the user controls is
tailored optimally to the driver.”
the Coral reef leD Floor light (Lighting
and Lamps section): The jury was fascinated
by the way the lamp adapts interactively to
the mood of users and its organic language
of form. Inspired by the diverse ecosystems
of coral reefs lit by sunlight, the designers
took heed of the organic shape using three
overlapping luminous elements. each can
be easily adapted and rotated over a radius
of 120 degrees, allowing the user to
illuminate three different areas
simultaneously. The jury reasoned: “The way
this light is turned into an integrated part of
a living space is outstanding.”
W o r d s : L o u I S P A R K S
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Art & Culture 104105106107108109110111112113114115
In Beirut 116117118119120
BLENDEDSupremaCy
Designer philippe
nigro first caught
ligne roset’s eye
following an
exhibition at 2008’s Salon de
paris. of particular interest was
Nigro’s Intersection sofa, a
design in which the seating is
made up of interlocking colors,
featuring a subtle fade from
one tone to another.
2011 has been a
busy year for designer Philippe
Nigro and Ligne Roset; the
French designer’s ongoing
fascination with the mixing of
materials, color and shape
continues to influence his work.
At present Nigro is working on
a Ligne Roset collection of
outdoor furniture, lighting and
sofas all revolving around the
repetition of shape. “The
common thing is not to have a
very simple shape and to play
on the repetition of this shape.
The shape alone, doesn’t make
any sense. It makes sense once
Nigro Philippe
Photo by Francois
Coquerel
Passio
we have a composition, once
we accumulate them. It’s very
interesting exploring it,” he says.
Nigro thrives on
spontaneity, and claims that
Ligne Roset is the ultimate
partner in this respect: “I
develop the furniture by myself
and present it to Roset. I get
inspired by their catalogues in
order to be able to complete
their collection and so it’s
useful at the same time.” This
happy blend of commercial and
creative talent has allowed
work by Nigro and Ligne Roset
to remain vibrant and
challenging in an ever-changing
field.
In turn, Ligne
Roset’s production expertise
allows Nigro creative freedom.
“In my research, I tried to
introduce asymmetrical shapes
because if you think industrial
production, you usually think
square shapes, aligned shape
because it’s easier to produce.
It’s a challenge developing a
product industrially if it is
asymmetrical,” he says. This
blend of spirited free thinking,
technical know-how and a
natural eye for style continues
to surprise and Nigro’s latest
collection is sure to prove a
boon to Ligne Roset’s ever
expanding offerings.
Entailles
W o r d s : L o u I s p a r k s
ISoLATING Style
French designer Inga
Sempé’s latest
collection for ligne
roset, the ruche
line, suggests at once
comfort and style,
resembling, as the pieces do,
a rather chic duvet, or pillow
thrown over an almost
Scandinavian frame. Featuring
side tables, sofas, coffee tables
and now a bed, the collection
continues to grow.
Interestingly,
Sempé was put off the idea of
designing the latest piece. “I
don’t really like drawing beds
because people are happy to
have just a mattress. I find it
absurd these beds that are on
platforms, on which you hit
your tibia before going to bed,”
she said. Challenged to
overcome her natural distaste,
Sempé took inspiration from
the soft, sensual appeal of the
Ruche collection, creating what
must be one of the most
naturally inviting beds around
today.
Speaking to
Sempé, you get the impression
that this highly successful
designer lives in something of a
bubble, albeit an exceedingly
creative bubble. Speaking of
design trends, Sempé says, “I
never expect anything. I’m a
very bad analyst about fairs,
trends.” on working in a team
and seeking creative input, she
shares, “I don’t really like to talk.
I like to talk only to people who
I’m dealing with in a company. I
Inga Sempe portrait
copyright Sofia Sanchez
and Mauro Mongiello
Ruché bed
have assistants, we talk, but not
about design. I ask them to find
solutions for projects but that’s
about it.”
Given her creative
isolation, it’s therefore not all
that surprising that Sempé
designs for the everyman,
eschewing a target for which
she places herself “in a
person’s shoes, a person that
has no age, no sex, mostly
European since it’s the
country we are in. But most
importantly that has no age
and needs a product.” Relying
upon her natural talent for
design and drive to succeed,
Inga Sempé’s a creative force
to be reckoned with.
Ruche Meridienne and
tablette natural beech
Ruche sketch
watches are
generally
made to be
worn, but
artist-inventor Dominic
wilcox has instead used
vintage timepieces to tell
minute-long stories, in a
perpetual loop.
Wilcox, a self-
confessed smartphone addict,
previously created a tongue-in-
cheek invention – a nose-
mounted device to enable
people like himself to use their
phones while in the bath.
In one piece from
his Moments In Time, a series
of seven miniature sculptures
on watch faces, a man is so
engrossed in his phone he fails
to spot a monkey balanced on
the head of a weightlifting boy,
standing on the arm of an
elderly rollerskater, which
wheels towards him and away
from him during the course of
60 seconds.
The phone starer
is a tiny figure sat on a watch’s
minute hand, while the triple-
figure assemblage balances
precariously on the second
hand.
Another idea was
staring him in the face as he
crossed Mare Street in Hackney,
London one day in August to
get to his studio. He found
himself in the middle of the
worst rioting England
experienced in 30 years.
He recalled: “There
was a young boy carrying a
color television down a back
street, and that stuck in my
mind. So I came up with this
idea of putting a little looter
carrying a rectangular TV on
the second hand with this riot
policeman watching
indecisively on the minute
hand.”
using toy figures,
Wilcox manipulated their heads
and limbs into telling his stories,
painstakingly creating
accessories such as an LCD TV
with wire and plug.
Wilcox came up
with the idea of using watch-
faces as a kinetic canvas during
a Speed Creating exercise last
year. East London design
showcase Dezeen Space
commissioned him to create
seven miniature moving
sculptures as part of the
London Design Festival.
They hold a mirror
to the everyday constant
struggles which get us
nowhere, reflecting the nihilism
of unending repetition.
For his first piece
– selling for £600 (about
$1000) each – Wilcox placed a
seat on the minute-hand and
the figure of a man who got to
sit on his seat for just a second
before having to get up.
The second of his
creations sees a figure with his
arms defensively folded, while
another spins around him
offering an outstretched hand,
perpetually rejected. Wilcox
says of the unrequited
friendship: “It’s quite a sad
story.”
The Watch
Sweeper is a deconstructive
sculpture, the sweeper
mounted on the second-hand
sweeping away the numbers,
minute and hour hands of a
watch, plunging time into a
concept where nothing but
seconds count.
www.dominicwilcox.com
01_____ Pig Close
02_____ Pig
03_____ Hide
04_____ iPhone
05_____ Lootercutout
06_____ Sweep Watch
02
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A 50 yEAR RETRoSPECTIVE
W o r d s : o w e n a D a m s
patrick Demarchelier’s
life changed when his
father gave him a
kodak camera for his
17th birthday. within five years,
he went from taking seaside snaps
at Le havre to emigrating to new
york in 1975, becoming one of the
world’s most revered fashion
photographers. his portraits are
works of art in themselves,
gracing the covers of vogue, elle,
rolling stone, glamour et al.
It only seems fitting that
Demarchelier should be the
choice of Christian Dior to portray
more than 50 years of elite
designer gowns in 100 delicious
photographs for a luscious
coffee-table retrospective,
published by rizzoli, and
accompanied by an essay from
Ingrid sischy.
The fashion-house
invented the lavish and decadent
new Look, and, although Dior
died back in 1957, he has
remained the epitome of haute
couture.
In 1947 the parisian
designer shocked an
establishment desperate to
promote austerity, and delighted
post-war high society when he
rose up against the prevailing
fabric-rationing, boxy uniformity
with his busty bodices,
constraining corsets, and dresses
flaring out from the waist. his
models were a sharp contrast to
the everyday grey with their
voluptuous, curvaceous and
determinedly feminine forms.
Today, Beyonce
knowles, Linda evangelista and
nicole kidman are among those
who adore Dior, while
Demarchelier’s appeal is near-
universal among fashionistas.
AN NAHAR BLDG, +961 1 971 444/555 ZOUK HIGHWAY, +961 9 217 744/55 SAIFI MAIN ROAD, +961 1 573 555
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AN NAHAR BLDG, +961 1 971 444/555 ZOUK HIGHWAY, +961 9 217 744/55 SAIFI MAIN ROAD, +961 1 573 555
keepIng It In the FamIly
keepIng It In the FamIly
W o r d s : f e r n a n D e v a n T e T s
a new fashion
sensation has hit
Beirut. After eight
years of working in
Paris, Milan and New york, Karine
Tawil Abboud has returned to
Lebanon and started her own
fashion brand, Karoline Lang. She
showed her second collection in
November. you are sure to get a
one off, as all clothes are made to
measure following the pret-a-
couture concept.
The brand is inspired
by her heritage, and the great
women of her family. Karoline
Lang, was her great grandmother,
an Austrian woman who married
a Lebanese. “There was
something about her life that
really touched me,” says Abboud.
“She spent her life in the
shadows.” Abboud is now giving
her a chance to shine
posthumously through her
fashion collections, the first of
which ‘Branches de Vie’ was a
direct reference to her family
lineage. “The branch is the logo
of my brand, I am a branch of
Karoline Lang” Abboud explains.
Her target audience
are ‘women who are very
womanly’, and it shows. Her
latest collection, ‘Sur Lignée’,
draws on the theme of lines, both
hereditary and through its strong
focus on original cuts. Her
favorite piece, a black pony coat,
is of a revolutionary design; she
hasn’t come across anything like
it while teaching history of
fashion at uSJ. “It’s an S-cut, and
it’s going to be part of the brand,”
she says.
Abboud has just
opened up a showroom in Jal-el-
Dib in the Metn to serve her
rapidly expanding customer base.
Next up is showing her third
collection in Paris; she is keen to
get the approval of the fashion
capital of the world. A showroom
in Beirut is also in the works.
“Through the women in my
family I want to reach out to all
women of the world.”
www.karolinelang.com
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the threaDS oF CultureFASHIoN IS A CoLLECTIVE FoRCE: WHILE HAuTE CouTuRE DESIGNERS HoPE To INFLuENCE THE HIGH STREET WITH THE GARMENTS WoRN By ELITE MoDELS oN CATWALKS, DESIGNER omar JoSeph naSSer-khoury TAKES HIS CuES FRoM THE CoMMuNITy To ASSEMBLE CLoTHES IMBuED WITH MEANING.
W o r d s : o w e n a D a m s
P h o t o : T a r e k m o u k a D D e m
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omar Joseph works
from his birthplace,
Jerusalem, and also
with palestinian refugee
projects in lebanon and Jordan,
drawing inspiration from traditions
with fabrics used for centuries and
costumes, deconstructing them and
remaking them, with intense
attention to detail and
craftsmanship.
after finishing school in
ramallah, the 23-year-old designer
completed his studies in London, and
returned there in early 2011 for a show
as part of London fashion week. one of
his works was acquired by the British
museum. The concept of silk Thread
martyrs was inspired by the heritage of
and current situation in palestine. using
techniques and structures employed by
traditional embroiderers, he worked
closely with artisans and craftspeople to
reflect the continuation of palestinian
culture by producing outfits for farmers,
fighters, martyrs, social workers,
refugees, and above all, the individual
spirit – exploring gender, duty and
social constraints.
his bespoke approach
means that, while versed in latest
technologies, he focuses on the
intricate, hand-made approach,
carrying out embroidery, fabric
preparation, coloring and dyeing by
hand, using natural materials such as
indigo and tea.
Currently, omar joseph is
working on a palestinian embroidery
instruction book with sunbula (a fair-
trade handicrafts organization). while
he delights in creating his own
elaborate, intelligent niche work that
speaks volumes visually – to
disseminate ideas, promote traditions
and do-it-yourself crafts, is his
vocation. fashion is for everyone, not
just the privileged.
a FreSh BatCh
oF StarCh
The aLL-new sTarCh BouTIque has reopeneD In DownTown BeIruT, anD IT’s aLL aBouT Legwork – IT aLL neeDs To Be seen up CLose.
Fashionistas faced an impatient
wait to see what this year’s
carefully selected visionary
designers’ collections were like
before the Saifi village space launched
in early December –as interior designer
marc Dibeh supremely tantalized.
Everything was screened off except some
artful sets of legs.
Dibeh’s genius is to give
Starch’s four fresh designers’ collections
plenty of room to breathe and find
themselves in a refreshingly simple but
effortlessly cool space.
MAHER BSAIBES
MIRA HAyEK
MALAIKA NAJEM
DINA KHALIFE
By debuting up-and-coming
designers and giving them a
helping hand for a year at a
time, Tala Hajjar and Rabih
Kayrouz’s three-year-old, non-
profit Starch Foundation is
playing a leading role in the
gathering resurgence of
Lebanese fashion, art and
culture.
Inside Starch the
minimalist aesthetic is at its
most profound from Maher
Bsaibes; by contrast, Dina
Khalifé wears her heart very
much on her sleeves for her
Hearts, Bugs and other
Creatures close-to-nature
collection. Sheer urban grit
from Mira Hayek’s ready-to-
wear collection, inspired by
graphic novels, electronic
music and Brazilian graffiti,
takes us to another
stratosphere, and Malaika
Najem offers something else
again.
Starch, the
building-block carbohydrate,
exists as a launch-pad for new
expression. If the eventual
flowering turns out to be as
exciting as the roots, Beirut will
soon be on fire, style-wise.
MAHER BSAIBES
MIRA HAyEK
MALAIKA NAJEM
DINA KHALIFE
W o r d s : D a n B r a T m a n
LIGHTING THE
way
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Far overhead silent
wings beat the wind,
darkening the moon
that lies above,
beyond. Above the wings, beyond
the roof, chased by shimmering
canals, into illicit corners and past
private bridges. It cuts through the
shadows into windows, shining in
the moonlit eyes of lovers
illuminating their deepest hopes.
Deep inside there is seen,
something. Light is not an absence
of dark, but illumination of what
has always been there.
The ceiling of the grand
pavilion of the 2011 Venice La
Biennale is covered in 2000
stuffed pigeons. Above is the
moon. Below is the world’s
most diverse and eclectic
collection of art. Illumination
is the theme. Representatives
from 89 countries have come
together in Venice to show
the state of the arts in the
world today. Twenty-eight
permanent pavilions and
countless temporary locations
serve as the venue for curator
Bice Curiger’s vision and the
effect is awe.
Also in the main pavilion hang
paintings by Tintoretto,
All photos on this page:
China.
01
02 03 04
06
05
01_____Japan
02_____ Argentina
03_____ South Africa
04_____ South Africa
05_____ Moldova
06_____ Turkey
classical master of light. In the
vast white spaces the
Tintorettos seem somehow
modern in their depiction of
religious tableaus—grim, pained,
beatific faces revealed by divine
lighting.
“I am particularly
interested in the eagerness of
many contemporary artists to
establish an intense dialogue
with the viewer and to
challenge the conventions
through which contemporary
art is viewed. The work of
Venetian painter Tintoretto will
play a prominent role in
Illuminations,” said Curiger.
For the first time
Saudi Arabia is represented with
a stunning work. A huge black
disc is suspended in the
entrance of its building. But its
other side is a mirror, beneath
which are 3,457 reflective
spheres with images of mosaic
projected from above. “When
you come in, you face this
black hole. The unknown. This
is how you are to me and me
to you,” says artist Shadia Alem.
“But the other side is a
reflection and many reflections
below. This is how we are,
reflections of each other,
exchanging light.”
The line between
art, sculpture and architecture
here is undefined. Multimedia
installations leap out at the
viewer, sound and vision, light
and color. But perhaps the
unsung art here is the buildings
that house this event. Along
with the striking new structures
built over the years for the
Biennale are the ancient
buildings of Venice. Bathed in
Above and below:
Saudi Arabia
the somber autumnal light
Venice is famous for, this
floating city with its silent walls
and confidential canals frame
the Biennnale as a single work.
Surrounding the materialized
dreams of the greatest artists in
the world are infinite vaulted
ceilings, historied brickwork
and delicate stone filigree.
Graceful arches of stone reach
over Fabian Marti’s “The Summit
of It”, a terraced, reaching box-
like sculpture evoking a
skyscrapered city skyline,
bridging the past to the future.
This juxtaposition of old and
new lends context to both,
pulling us out of the numbness
to time. The haunting of
ancient architecture and the
possibility of the future lands
us, the human element, the
audience, squarely in the
present, reminding us that we
are here, now. We build on the
past and craft the future.
The Biennale is a
global community, a worldwide
spotlight on what is changing, a
dialog of nations through the
expressions of individuals. In a
time of changing world politics,
the Biennale and the art it has
gathered represents the politics
of change. The gathering of art
and artists from around the
world show the diversity of the
human experience. But it also
shows the commonality of the
desire to express it. once a
light is shined, fear of the
darkness disappears and that
which has always been there
becomes illuminated.
Left and below left: ukraine.
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Der MC MP 21x27 Le Cercle PA.pdf 1 11/23/11 2:10 PM
ARTIST MAuRIzIo CATTELAN BRINGS HIS ANARCHIC STREAK To THE GuGGENHEIM
For his first solo
exhibition in 1989,
maurizio Cattelan
made a massive
statement out of nothing.
Visitors were greeted with a
sign reading ‘torno subito’ (be
back soon) and a closed gallery.
Since that infamous (non)
beginning, the Italian anarchist
has turned his utter disrespect
of all authority into an
assortment of howls, designed
to provoke, outrage and
invigorate the anarchistic
streaks inherent in the masses.
Everything he has
created – or shamelessly stolen
from other artists – is hung like
dirty linen in a ramshackle
vertical display from the oculus
in the Guggenheim’s rotunda in
New york. Devout Catholics,
particularly, will get a shock
from a waxwork of Pope John
Paul II struck down by a
meteorite.
Cattelan himself can be found
hung from a metal coat rack - a
piece called La Rivoluzione
siamo noi (We are the
revolution, 2000) - dressed in a
felt suit associated with Joseph
Beuys, the anarchistic German
artist cited as the father of
conceptualism. Like Beuys,
Cattelan has a fascination for
taxidermy and death,
exemplified in the title piece for
this extensive retrospective, All.
The 1997 work, nine marble
fallen bodies, victims of an
unnamed trauma, like those we
see portrayed regularly in the
media, he describes as a
“monument to death”.
Alternatively,
Bidibidobidiboo (1996), depicts
the suicide of a squirrel in a
dirty kitchen.
Working in a
hyperreal vein, Cattelan’s
sculptures play the fool while
offering scathing critiques of
abusive power, mirroring killer
contradictions at the heart of a
global hegemony.
Raised in the
Italian city of Padua, a mix of
poverty at home, punishment at
school and a string of dead-
end, unfulfilling jobs compelled
Cattelan to create, steal and
rebel in art.
In 1996, for a show
in Amsterdam called Another
F***ing Readymade, he stole an
entire show by another artist
from a nearby gallery and tried
to pass it off as his own.
All deliberately
resists a clear, chronological
view of almost everything the
artist has created since 1989.
Rather, the display is a
haphazard jumble, some work
at eye-level, others towering
overhead. Visitors to the
startling show must be hoping
gravitational principles of
physics have been well and
truly suspended. This is
gallows humor taken to a
whole new level.
W o r d s : o W E N A D A M S
‘ K E E P R O C K I N G ’ — w o r d s : h a n e e n j o u D I y e h ,
‘ O l d , m O d E R N W O R l d ’ — w o r d s : L o u I s p a r k s
karim Chaya’s fascination with rocking
Chairs is something we can all relate to.
how many times have you walked into a
room and the first thing to catch your
attention is the rocking chair in the corner?
Chaya manifested this
fascination in a unique exhibition at Beirut
art Center. “we have always associated the
chair with stillness and lack of motion; my
pieces are an attempt to change that,” he
says.
a rhode Island school of
Design graduate, Beirut-born Chaya co-
founded abillama Chaya Industrial Design in
1997. Chaya also started two companies:
aCID, which specializes in design,
manufacturing and installation of
architectural detailing and spokDesign, a
company devoted to furniture and product
design. In addition to that, he teaches fifth
year industrial design at aLBa.
In this exhibition, spokDesign
presents Chaya’s latest creations conceived
under the theme of rocking and movement,
inspired by the pendulum and the
metronome.
The creations feature an array
of activities (including meditation,
conversation) and materials (such as leather,
wood), and take you on an extraordinary
journey. The use of authentic furniture items
and the mixing of them with modern
elements give each piece a story to tell.
This is also accentuated by some of the
chairs being given names of people, giving
them a personality of their own.
Those that visit the exhibition
should make sure to try all the chairs, each
one offering a different rhythmic
experience.
Beirut Rock Center by Spokdesign
continues at the Beirut Art Center until
January 21. www.beirutartcenter.org
KEEP roCkIng
seasonal, fresh, organic: all words that
describe Lux, the latest addition to Beirut’s
burgeoning list of modern, creative and
engaging eateries, located in the city’s port
District. named after a unit of light, it’s not
surprising that Lux is something of a tribute
to the power of illumination; the lamps
which adorn the eating areas are all from
1930s and ‘40s Berlin, there’s a focus on
natural light during the day, and a wooden
terrace where diners can take in the air.
owned by michel saydah and
johnny farah, Lux’s take on food and drink
is estimable, but then the partners’ history
with Casablanca, pacifico, Dragonfly and
other renowned nightlife spots makes this
perhaps a given. what is more surprising is
that the pair designed the interior alongside
architect karim Bekdache.
with leather benches, a wood-
topped aluminum bar, long tables and
natural wood finishes, the interior harks
back to a time when attention to detail was
a must and quality was king. farah’s
touches are clear to see as is saydah’s past,
and it’s the overall feeling of warmth, old
fashioned, yet relevant, style and a great
menu that bring Lux into the spotlight.
oLD, moDern
worlD
www.porschebeirut.com
Porsche Centre Lebanon s.a.l.Telephone 01 975 911, 03 901 911
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