December 3, 2022
DUBAI: A cohort of fashion lovers on Twitter have gone wild over a pair of dark brown Oxfords worn by Saudi Crown Prince Mohammed bin Salman this week.
The shoes, called Hallam, are from British footwear label Crockett & Jones and retail at about $560.
ارتدى الامير الشاب المحبوب “محمد بن سلمان” حذاء CROCKETT & JONES HALLAM وهو المفضل لسموّه في فصل الشتاء للظهور بإطلالة أنيقة مع الزي الرسمي
— الرجل – TDM (@TDazzlingM) November 17, 2022
“Always elegant,” one user tweeted, while another asked for the price of the shoes. Other Twitter users were looking for cheaper alternatives to dress like the crown prince.
انيق من يومه
— ريـمّ  (@mllli___) November 17, 2022
Fans are expecting the shoe model to be sold out in a couple of days. “Wait for two days, you will find it out of stock in shops and online,” tweeted a fan.
انتظر يومين اذا ما لقيته منتهي من المحلات والموقع
— l (@lzrt81) November 18, 2022
Others are expecting the brand to increase the price of the shoes after the crown prince wore them.
الزبده بكم ووين يبيعون
— ﮼١٧٢٧م (@mz11990) November 18, 2022
It was not just the crown prince’s footwear that sparked the fashion frenzy, but also his blazer, with fans commenting on the style.
“Tomorrow everyone in Riyadh will be wearing that jacket,” one user wrote.
بكره مولعين الرياض كلهم نفس الجاكيت
— زيآد (@Ziyad1950) November 17, 2022
It is not the first time that the Saudi crown prince has sparked a style storm online.
In 2021, he was photographed wearing a quilted gilet while chairing a board meeting of the Public Investment Fund.
The prince showed off a $6,551 casual sleeveless vest by UK luxury cashmere brand Franck Namani.
In 2019, he attended the Formula E races in Riyadh wearing a navy-colored Barbour jacket worn over a crisp white thobe that immediately sent the internet into overdrive.
The outerwear item by British heritage brand Barbour sparked its own Arabic hashtag on Twitter — that translated to “Crown prince’s jacket” — with many taking to the social media platform to admire the look.
DUBAI: American actress Zendaya gave fans a look at the UAE’s desert this week ahead of the release of her new movie, “Dune: Part Two.”
The star shared a picture of a sunset and the golden dunes on her Instagram story, with the caption: “I know I’ve been quiet, but I’m here, just working as usual … sending love from Arrakis.”
The sand dunes of Abu Dhabi will once again stand in as the desert planet Arrakis in Denis Villeneuve’s adaptation of Frank Herbert’s bestselling novel.

Zendaya plays the role of Chani, the daughter of imperial planetologist Liet-Kynes and his Fremen wife Faroula, in the action-packed movie.
She is a member of the Fremen, who are the inhabitants of Arrakis.
Earlier this year, Legendary Entertainment, the producers of the multi-Academy Award-winning film “Dune” confirmed that the team behind it would return to Liwa desert in Abu Dhabi to shoot the highly anticipated sequel.
“Dune has again provided us with an exciting opportunity to associate the emirate with another global movie franchise,” Mohamed Khalifa Al-Mubarak, chairman of both the Department of Culture and Tourism for Abu Dhabi and twofour54 Abu Dhabi, said in an earlier statement.
The movie “will allow us to entice enthusiastic fans and audience members to visit the landscapes which they have seen on screen,” he added.
Villeneuve returns in the director’s chair for the sequel alongside his co-scriptwriters Eric Roth and Jon Spaiths.
Oscar nominee Timothee Chalamet returns to lead the cast as Paul Atreides. He will once again be joined by Rebecca Ferguson and Javier Bardem, among others.
New cast members include “Elvis” star Austin Butler, Christopher Walken, Florence Pugh, Lea Seydoux and Souheila Yacoub.
The UAE was not the only Arab country to play a starring role in the first “Dune” film. Some of the desert shots were filmed in Wadi Rum in Jordan.
Earlier this month, Chalamet shared a snap of the Jordan desert.
“All the Dune fans (right now),” he wrote on Instagram, alongside a trio of eye emojis.
DUBAI: A chameleon when it comes to identities, California-based part-Palestinian musician Saint Levant has had many names. But it’s his current alias that is taking him to global recognition as a young musician speaking straight to the people.
Born Marwan Abdelhamid in Jerusalem, Saint Levant’s mission is to dismantle the old notions some people have of Palestine. For Abdelhamid, who spent some of his formative years growing up in Gaza, the memories of Palestine still bring warm feelings, despite the horrors that led to his family having to leave.
“The actual cultural makeup is my mom is half-French and half-Algerian. My dad is Serbian, half-Palestinian. And they actually both grew up in Algeria. But they decided, in the early 90s, post the Oslo Accords, that Palestine was going to be free.
“So they went back, my dad went to live in Gaza in the early 1980s. And my dad actually built a hotel there and that’s where I grew up, I grew up in a hotel  built with my father’s architectural brain. And, to me, it was like the best years of my life,” said the singer who turned 22 last month.
“For everyone, like childhood is very meaningful. And for me, it was a juxtaposition because I remember the sound of the drones and the sounds of the bones. But more than anything, I remember the warmth, and the smell of … and the taste of food and just the odd feeling of soil.”
As a musician and artist, Abdelhamid says he wants to walk in the footsteps of Palestinian-American intellectual Edward Said to “reclaim the Orientalist fantasies that have dictated the geopolitics of our area for the last three centuries.”
This year, Abdelhamid also announced the 2048 Fellowship, which covers the living expenses of a young Palestinian creative for a whole year.
“Palestine is such a big part of my identity. I always feel very out of place, always. You know what I mean? And I think one of the only times maybe in my life that I didn’t feel out of place was in Gaza.”
He said that he even composed a song, “Tourist,” that expresses how he feels when he travels back to his birthplace. “I feel like a tourist in my own city. I know (if I) go back, I would feel like a tourist. So yeah, my music can also be naive, nostalgic,” said Abdelhamid.
Abdelhamid has spent the last few years focused on his activism which also saw him gain thousands of followers on TikTok. But around 2021, he was left with a choice of music, activism or a startup that he had been working on.
“I made a conscious decision last September that I’m gonna be a musician, because I don’t want to be 80 years old and look back at my life and regret the fact that I didn’t give it a try. And I heard this quote the other day, ‘leap, and the net will appear.’ And just like that, everything fell into place.”
ABU DHABI: The UAE’s Yasalam After-Race Concert at the Formula 1 Etihad Airways Abu Dhabi Grand Prix is back.
The three-day much-anticipated event kicked off on Thursday with British rapper Dave and US singer Usher hitting the stage to meet their fans in the Middle East. 

A post shared by Yasalam After-Race Concerts (@yasalamae)
Dave performed first. He sang some of his most famous hits, including “Wanna Know,” “Clash” and “Professor X.” The fans sang along with the star as they snapped pictures and videos of the British music sensation. 
Usher was the second singer in the lineup. The star, who opted for a monochrome beige look, performed “I Don’t Know,” “Love in This Club” and “You Don’t Have to Call.” 

A post shared by Yasalam After-Race Concerts (@yasalamae)
Usher was joined by performers who wowed fans with their moves on stage.

The Yasalam After-Race Concert lineup includes hip hop trio Swedish House Mafia — performing on Friday, Grammy Award-winning US artist Kendrick Lamar — performing on Saturday, and Hall of Fame legends Def Leppard — performing on Sunday. 
A post shared by Yasalam After-Race Concerts (@yasalamae)
Dave’s 2019 debut album “Psychodrama” was met with critical acclaim, winning the prestigious Mercury Prize and named “Album of the Year” at the BRIT Awards. The British producer, musician and songwriter has also collaborated with Drake and AJ Tracey.
Diamond-selling megastar, actor and dancer Usher has eight Grammy Awards to his name, was Billboard’s No. 1 Hot 100 Artist and No. 2 most successful artist of the 2000s, and according to the Recording Industry Association of America is one of the best-selling artists in American music history.
Houn Beirut

Cuisine: Traditional Lebanese
Price range: Minimum charge of SR115 (c. $30) on Sun, Tues and Weds. SR200 on Thurs, Fri, Mon.
Highlights: Umm Ali, kunafa, hummus, baba ganoush, mixed grill.
Additional information: Many visitors head to Houn Beirut to sample the shisha in the outdoor section overlooking the fountain. The service is excellent, but the place may not be to everyone’s taste, as the music can be loud. Portion sizes are generous, making this a good choice for group outings. Overall, a lively, fun experience.

Cuisine: Café-style food and coffee
Price range: Dallah of coffee = SR156
Highlights: Ice-cream desserts, Saudi coffee, date cake, cinnamon pecan cake
Additional information: A great place to grab dessert and coffee after dinner, Toqa is a high-end café famed for its excellent service, Saudi coffee and popular with foodies who like to post their dishes on Instagram. We found the dallah a little too small for sharing, so opted to individual cups of coffee (at SR33 each). Outdoor seating on the second floor offers a great view over the boulevard’s fountains.

Cuisine: International
Price range: Dishes average between SR40-65
Highlights: Cheeseburger, Korean fried chicken, chicken alfredo pasta with crisped parmesan slices
Additional information: No minimum charge and no set menu make Paradox a popular choice for the more-casual diner, as do its wide range of menu options, including some delicious desserts such as the crazy cookie, the Nutella choc-chip cookie, and the Lotus apple crumble. Paradox also regularly hosts live music, including performances on the oud, accordion, guitar, saxophone and violin, accompanied by vocals.

Cuisine: Italian
Price range: Minimum charge of SR150
Highlights: Tiramisu, truffle pizza, truffle balls, curly corn
Additional information: Many customers head to Public just for the tiramisu — and rightly so, the restaurant’s take on the classic Italian dessert is superb. What really elevates the experience at Public is the staff — friendly and outgoing, they created a fun and welcoming environment for guests. Our only gripes? Like so many other restaurants in the area, the music plays at a volume that can make conversation difficult at times, and the spicy rigatoni pasta — which was highly recommended — left us disappointed.

Cuisine: Moroccan
Price range: Minimum charge of SR150
Highlights: Slow-cooked Marrakech tanjia, tajine, couscous
Additional information: A rare peaceful retreat in this buzzing area, Kasbah Moroccan Lounge features interiors inspired by Moroccan culture and is definitely one of the best high-end Moroccan dining experiences in Saudi Arabia. The knowledgeable staff really come into their own when serving the restaurant’s excellent Moroccan tea, turning it into an interactive experience for customers.
Le Relais de l’Entrecote

Cuisine: French steakhouse
Price range: Minimum charge of SR195
Highlights: Sirloin steak with walnut salad and French fries, crème brûlée
Additional information: After the success of its original location on Tahlia Street, Le Relais de l’Entrecote opened its second Riyadh branch in The Alley in Boulevard City, and it has proved just as successful. This is high-quality fare for meat lovers, but might even tempt in some vegetarians with its magnificent crème brûlée — which features a special vanilla cream recipe topped with crunchy caramel.
Petit Café

Cuisine: Lebanese
Price range: Minimum charge of SR100 Sat-Weds; SR150 Thurs-Fri
Highlights: Mezze, vine leaves, shisha
Additional information: While it’s not the best Lebanese restaurant in the area, Petit Café remains popular with visitors because of its lively atmosphere and its outdoor shisha area overlooking the fountain. The staff play a large part in that lively atmosphere, often breaking into impromptu dance performances throughout the evening. It’s an ideal spot for a fun night out with friends.
DUBAI: Chicago-based artist Michael Rakowitz has a confession to make, right off the bat: He has never been to Iraq. This might come as a surprise, since the Iraqi-American is known for tirelessly devoting himself for over a decade to shedding light on the destruction and looting of Iraq’s indigenous cultural heritage, starting from the 2003 US occupation to the rise of Daesh, as well as extractions carried out by museums in the West.  
However, his memories — especially those of hearing conversations in Arabic between his grandmother and mother while growing up in New York — are steeped in Iraqi history. “I heard the good things and the wondrous things,” he tells Arab News.
Rakowitz’s family is of the Jewish faith. In 1941, a violent pogrom, known as Farhud, aimed at Jews, took place in Baghdad, which was then a multicultural city. Many of them eventually fled their homeland.
“My grandparents and their children were suddenly and abruptly separated from that place. When I was growing up on Long Island, they created conditions where we were all surrounded by things that were like portals to that place,” Rakowitz says. “They were their memories of daily life there and what it meant to them. They passed them on to my mother, who was very young when she arrived to the States.”
His family history is partly explored — through a long, annotated chart dotted with pencil notes and pages from the Jewish Haggadah prayer book — in Rakowitz’s solo show at Green Art Gallery in Dubai, which runs until Nov 23. Entitled “The invisible enemy should not exist,” the exhibit also showcases Rakowitz’s ongoing installation project, which began in 2007, addressing the looting of thousands of precious artifacts from the National Museum of Iraq following the invasion. He describes this work as “a ghost to remind.” 
With the help of his assistants, Rakowitz “reappears” the looted artifacts by creating detailed, papier-mâché relief-like sculptures, made of fragments of Arabic and English newspapers and Middle Eastern food packaging from grocery stores. 
The resulting sculptures are intentionally colorful — “breathing life” into the artifacts. “The sheer number of what’s still missing at the museum will outlive me and my studio,” Rakowitz says. 
“We’ve made about 800 of those objects; it’s taken 16 years to do that,” he continues. “In reappearing all of these things, we understand how much is missing. For me, those objects are never not tied to people. When the world saw the looting of the museum, there was an agreement that this was not simply a localized Iraqi loss. It was a loss for all of us.”
The curious name of the show is a translation of “Aj ibur shapu” — the name of the processional way that ran through the iconic blue Ishtar Gate of Babylon. “When I read that it meant ‘The invisible enemy should not exist,’ I thought that was the coolest name for a street that I’d ever heard,” says Rakowitz. “It was so mysterious, but it also makes you think about other things, especially during a time of war, in a place like Iraq that is under assault. I thought that was a perfect title for a project like this, using some of the poetics of ancient Mesopotamia as a way of speaking about the now.”
A newer branch of Rakowitz’s project focuses on a historical site near Mosul: the Northwest Palace of Kalhu, from which hundreds of panels (now reappeared by Rakowitz) have been taken by major museums over the years, and which was mostly destroyed by Daesh in 2015. 
Rakowitz uses very specific terminology when it comes to describing his practice. Observers could analyze it as a symbolic form of preserving, remembering, or informing. “There is an opportunity to reappear, but it’s not a reconstruction,” he explains. “I used to reconstruct but then, when the 3D printing rage started to happen about 10 years ago, I started to think more critically about the fact that these are ghosts that I’m making.
“I’m making them out of very vulnerable material. So, it’s a reappearance of something that is disappeared that will disappear again,” he continues. “It’s crucial that it should not necessarily be something that hides the scar of the fact that something has happened. Even in the midst of making things present again, there is a loss that can’t be recouped.”


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