MUMBAI: When Indian actress Divya Unny flew into the southern state of Kerala in 2015, she thought it was for a business meeting with an award-winning director about a role in his upcoming film.
Instead, she was called to the director’s hotel room at 9 pm, where the man propositioned her for sex and told her she would have to make compromises if she wanted to succeed in the film industry.
“You always hear of actresses getting called by directors to hotel rooms at night, but I didn’t think twice because I was going in with a reference,” she told Reuters.
Unny said she rejected the advances of the director, whom she declined to name, and left without a role in the movie. Reuters was unable to confirm her accusations.
Three other women involved in India’s film industry, the world’s largest, told Reuters that Unny’s experience isn’t unique. But even after allegations of sexual assault and harassment levelled at Hollywood producer Harvey Weinstein prompted a wave of similar complaints, Bollywood has been reluctant to name and shame perpetrators.
“The way men are being called out in Hollywood right now, I don’t know if it can happen in India,” said Alankrita Shrivastava, a director whose last film, “Lipstick Under my Burkha” was acclaimed for its examination of women and sexuality.
“In terms of how our psychology is, how patriarchy functions, it is much more entrenched,” she said.
The vast majority of Bollywood’s biggest producers and film-makers are men, many from prominent film families who until recently controlled most of the industry.
Mukesh Bhatt, who co-heads production house Vishesh Films, said India’s film industry should not be singled out and was limited in what more it could do to prevent harassment.
“What can we do? We cannot do any moral policing,” Bhatt, told Reuters in a telephone interview. “We cannot keep moral cops outside every film office to see that no girl is being exploited.”
The industry also had to be cautious about false allegations, said Bhatt, who was previously the chairman of apex industry body, the Film and Television Producers Guild of India.
“I am not saying men have not been exploitative. They have been for centuries. But today’s woman is also not as simple as she pretends to be,” he said. “But just as there are good men and bad men, so also there are women who are exploitative and very cunning. Also blatantly shameless to offer themselves.” He declined to provide any examples.
Despite laws requiring Indian companies to form internal committees to investigate sexual harassment at the workplace, very few of cases are reported to the police, said women’s rights activist and lawyer, Flavia Agnes.
“They (companies) may have a committee or they may not have one. They may do an investigation or they may not do one. And they may or may not file a complaint. It could go wrong at every stage,” she said.
Reports of sexual assault, while rare, are not unheard of in India’s film industry.
Earlier this year, Gopalakrishnan Padmanabhan Pillai, a popular actor in the Malayalam film industry best known by his stage name Dileep, was arrested by police who accused him and several others of kidnapping and molesting an actress. Dileep denies the accusations.
“He says it is a completely false case. He was framed by the police and some enemies,” B Raman Pillai, a lawyer for Dileep, told Reuters.
Fans cheered and distributed sweets as he walked out on bail last month after more than 80 days in prison. The police haven’t filed formal charges in court, after which a date for the trial would be set.
“We will file a charge sheet in the next two weeks. Maybe next week,” Biju Paulose, an inspector of police in charge of the case, told Reuters by phone.
Kangana Ranaut is one of the few Bollywood actresses who has publicly spoken out about the sexual assault and harassment. Ranaut, who has appeared in 30 films in the past decade, told Reuters she had faced “severe sexual exploitation and harassment at the work place,” without elaborating.
“I’ve read some stories (about harassment) shared by few prominent people, but most people find it hard to open up about such experiences,” she said. “Victim shaming is very common in our society, it’s done brutally and openly.”
According to a survey conducted by The Indian National Bar Association this year, around 70 percent of Indian women said they would not report sexual harassment at the workplace because they weren’t confident about the complaint mechanism and because of the stigma attached to victims.
Shrivastava, the director, said the kind of cinema Bollywood often produces demonstrates its attitude toward sexual harassment and assault.
For example, two of this year’s hit movies — “Toilet – Ek Prem Katha” and “Badrinath Ki Dulhaniya” — showed the hero stalking the leading lady, taking pictures of her without her knowledge.
“For decades, we have created cinema where harassment is depicted as love,” Shrivastava said. “And that reflects the mentality of the creators – that they keep portraying it, and excusing it in the name of commerce.”
In the wake of Weinstein scandal, some women say Bollywood failing to address harassment
In the wake of Weinstein scandal, some women say Bollywood failing to address harassment
Inside the Saudi 100 Brands showcase in Paris
- A closer look at the 11 Saudi designers who exhibited during Paris Fashion Week last month
PARIS: During Paris Men’s Fashion Week last month, the Saudi 100 Brands showcase by Tranoï took over the fifth floor of the LVMH-owned La Samaritaine department store in the French capital. Eleven Saudi designers showcased their creativity in an initiative from the Saudi Fashion Commission.
The top floor of the iconic address, with its historic peacock-mosaic frieze, Gustav Eiffel wrought-ironwork, and spectacular glass ceiling provided the perfect setting for the originality and exuberance of the young designers presenting their craftsmanship and heritage.
Burak Cakmak, CEO of the Fashion Commission of Saudi Arabia, said: “Saudi Arabia is a fantastic hub of talent and expertise. This showroom at La Samaritaine represents a major opportunity for Saudi designers to showcase their collections during Paris Fashion Week. It is also a powerful way to strengthen ties between the Saudi Fashion Commission and international fashion players, including Tranoï.”
Here, we run down the 11 brands on show.
1886
Launched in 2016, 1886 was Saudi’s first premium streetwear brand. Renowned for its quality denim, the brand launched T-shirts this year featuring Jeddah, Al Ula and Abha to celebrate its Saudi heritage. Co-founder Fahad Aljomiah has a “Designed in KSA” sign on his office wall as a daily inspiration for his team. “We have the talent, knowledge, taste and willingness to work hard to set the industry standard, to put KSA definitely on the international fashion map,” he told Arab News.
REBIRTH
Tala Abukhaled launched her eco-friendly luxury resortwear label three years ago, to breathe new life into Saudi artistic craftsmanship and cultural traditions. “My clients tend to be people who love to travel, they’re adventurous, free-spirited and eco-conscious,” she said. One of Abukhaled’s recurring motifs is the integration of raffia made from palm fronds, and woven into macramé detailing. Her palette for her latest collection — Resort 25 — is neutral sand, with hot pink, tangerine orange and olive green.
AWAKEN
“Our slogan is ‘Open your eyes.’ We want to encourage people to wake up to their life, not to live in a virtual world,” said Khalid Almasoud, founder of the Riyadh-based streetwear brand. The brand’s logo is jaquard woven or serigraphed onto many of their pieces.
WAAD ALOQAILI COUTURE
Each intricate creation of this label — founded in 2019 by sisters Waad and Ahlam Aloqaili — is strongly rooted in Saudi tradition, crafted with emotional elegance and cultural depth, with the goal of empowering women. Aloqaili’s hand-beaded teal and emerald mermaid gown with short train stole the show.
ELEVEN
Fusing innovation with comfort, the collection from this Riyadh-based label — bold, distinctive and contemporary —was entirely produced in Saudi, reflecting a strong local identity ready to be exported to the wider world.
HAJRUSS
Hajruss is a contemporary streetwear label fusing innovation and craftsmanship in its creations. The brand combines modernity and tradition, with particular attention to detail and high-end materials. “Each collection is a dialogue between heritage and innovation — where clothing becomes a medium for storytelling,” the catalogue for the showcase stated.
MIRAI
Mirai means ‘future’ in Japanese. The label fuses Saudi culture, style and energy with Japanese minimalism and attention to detail. “We chose the name Mirai because we believe that timelessness is the future,” said co-founder Abdulrahman Tarabeh. “We don’t follow trends, we don’t follow any fashion calendar; whatever we enjoy making, we make. With Omar (Shabra, his co-founder), we want to create a community where people can tell their personal stories through their clothes.’ Tarabeh pointed out a white jacket with tiny brown dots, “This is one of our signature designs. We sourced the fabric from Tuscany, Italy, and it’s coffee-washed,” he said. “The buttons are engraved with Sakura, Japanese cherry blossom.”
RAZAN ALAZZOUNI
With a background in sculpture and fine arts from Tufts University, Razan Alazzouni is known for “blending art, femininity, and craftsmanship” in her designs, which are “sculptural, delicate, and timeless” and “celebrate soft glamour and Saudi heritage through refined, handcrafted pieces made in her Riyadh atelier,” according to the catalogue.
RBA
Founded in 2017 in New York City, this “cross-cultural Saudi fashion brand” merges bold design, premium quality, and urban aesthetics to create unique streetwear pieces. “Each design is more than clothing — it’s a story woven with symbolism, culture, and modern elegance,” the catalogue stated. “RBA creates pieces that celebrate diversity, sustainability, and artistic expression.”
REEM ALKANHAL
This label designs clothing for women who like to express their femininity with simple elegance. The Sword collection, created for the show, “reflects this vision — merging traditional symbolism with modern sophistication for the confident, contemporary woman,” according to the catalogue.
YASMINA Q
Yasmina Q is a comtemporary womenwear label that seeks to create positive change through working mindfully with local communities, with a focus on knitwear. “We’re very focused on sustainably. I’m based in Saudi, we source our yarn from Italy and produce in London. Each piece we produce has zero waste,” said founder Yasmina Qanzal.
Saudi luxury brand Lavish Concepts opens London atelier
LONDON: On June 26, the luxury lifestyle brand Lavish Concepts, founded by Saudi businesswomen Nada Altobaishi and Hala Al-Sharekh, opened an atelier in Chiswick, London.
Described as “a slow, salon-style shopping experience,” the atelier showcases a carefully curated selection of fashion, jewelry and objets d’art that blend artisanal skill, cultural heritage and contemporary design. It is the first permanent home for Lavish Concepts, which has previously only staged temporary pop-ups in the UK capital.
“We wanted to reframe how people experience luxury: less noise, more nuance,” Altobaishi tells Arab News. “The Chiswick Atelier captures that in every detail. It’s not about volume; it’s about storytelling and voice.”
Nine Saudi brands are featured, including Dalsh Designs, Herfah, Yarakech, and Qormuz. The wider lineup also includes products from brands originating in the UK, US, UAE, Oman, Morocco and Jordan.
“Each selection is deeply intentional. With the Saudi brands, we looked for designers who are redefining heritage — not discarding it — and reworking it into something unapologetically current and wearable,” Al-Sharekh, officially designated as Lavish Concepts’ “brand visionary,” says.
Positioning Lavish Atelier as a “slow, salon-style” space rather than a conventional boutique was a deliberate decision on the part of its founders.
“The stories behind these pieces and our partner brands deserve more than a passing glance,” says Altobaishi. “We wanted a space that encourages pause; a place where conversation and great craftsmanship are given equal weight.”
The pair’s Saudi identity shapes every element of the atelier, says Al-Sharekh. “From the aesthetics to the hospitality, the way we curate is always filtered through a very Saudi sense of meaning and memory.”
So far, Lavish Concepts has yet to stage an event in Saudi Arabia, but plans are in place to do so within the next 18 months, the founders say.
Meanwhile, they hope that visitors to this new permanent home in London will walk away with a deeper appreciation of the craftsmanship and cultural richness behind each piece.
“This isn’t just an event, it’s an invitation to participate in the Lavish lifestyle. We hope people leave feeling like they’ve stepped into a slower, more considered rhythm, one that stays with them well beyond the double doors,” Altobaishi concludes.
Recipes for Success: Dubai’s Dragonfly Head Chef Biman Rai talks clarity and craftsmanship
DUBAI: For Sri Lankan chef Biman Rai, the kitchen has always been more than a workplace — it’s where memory, culture, and tradition come together. In his childhood home, he says, food was “both ritual and a form of storytelling.” His earliest inspiration came from his grandmother, whose sunrise spice-grinding sessions laid the foundation for his culinary career.
Inspired by the women in his family, Rai set out to become a professional cook. He has worked in kitchens across the Middle East, and says he was particularly influenced by Japanese and pan-Asian cuisines. “The respect for detail, for balance… it aligned perfectly with how I saw the world,” Rai tells Arab News.
Now, as head chef at pan-Asian restaurant Dragonfly in Dubai, Rai is bringing that vision to life.
“What makes us unique isn’t just the food, it’s the feeling. We honor the spirit of Japanese and pan-Asian cuisine while giving it a bold, modern twist,” he says. “There’s finesse, but also a quiet rebellion in the flavors and plating. It’s about creating impact through precision and personality.”
When you started out professionally, what was the most common mistake you made?
Trying to do too much. I believed more was more — more components, more garnishes, more flair. I’ve learned that restraint is power. Now, I focus on clarity and intention in every dish.
What’s your top tip for amateur chefs at home?
Taste as you go — and trust your palate. Recipes are guides, but your instinct is the real compass. Also, don’t underestimate the power of acid. A squeeze of citrus can bring a dish to life.
What one ingredient can instantly improve any dish — and why?
Yuzu. It’s electric. Just a few drops can brighten a dish, elevate aroma, and add that perfect high note without overpowering the core flavors. It’s subtle, but transformative.
When you dine out, do you find yourself critiquing the food?
It’s second nature, yes. But not in a negative way; I pay attention.
What’s the most common issue you notice?
Lack of harmony — flavors fighting each other instead of working together. Also, when the service doesn’t match the ambition of the kitchen, the experience falls flat. Great dining is holistic.
What’s your favorite cuisine to eat?
Italian and Japanese. They both celebrate ingredients, not just technique. A perfect bowl of ramen or a plate of cacio e pepe — both are about balance, soul, and simplicity done well.
What’s your go-to 20-minute meal to cook at home?
A miso-marinated salmon with steamed rice and quick-pickled cucumbers. It’s comforting, fast, and packed with umami. Plus, it gives you that sense of a complete meal without needing much time or effort.
What customer request most annoys you?
When guests try to reinvent the dish at the table with endless modifications. I fully respect dietary needs, but there’s a difference between adjusting and redesigning. Every dish is built to tell a story; the best experience comes when you trust that process.
What’s your favorite dish to cook?
Nigiri sushi. It’s pure craftsmanship. You’re working with just a few elements — rice, fish, soy, wasabi — but every detail matters. It’s the kind of dish that keeps you humble and sharp, no matter how long you’ve been cooking.
What’s the hardest dish to perfect?
Ramen. It’s deceptively hard. The broth alone is a science — depth, clarity, timing. Then you have the noodles, the toppings, the balance of fat and acid. One small misstep and the entire bowl is off.
What kind of head chef are you? Strict? Calm? Loud?
Calm, always. Precision doesn’t require shouting. I lead by consistency, clarity, and presence. I believe a composed kitchen is a creative kitchen. My team knows I expect high standards, but also that I support them fully in achieving it.
RECIPE: Assorted vegetable stir-fry noodle
INGREDIENTS
Any long noodle 100g
Olive oil 15ml
Finely chopped garlic 5g
Black pepper powder 1g
Thinly-sliced mix vegetables 60-70g
Tonaktsu sauce 20g
Light soy sauce 40g
INSTRUCTIONS
Boil water in a pot and cook 100g of any child noodle until just done (follow package instructions for time. Drain and rinse with cold water to stop cooking. Set aside with a drizzle of oil to prevent sticking.
Stir-fry the vegetables:
Heat 15ml olive oil in a wok or large saute pan over medium-high heat. Add 5g finely chopped garlic and sauté until fragrant (about 15–20 seconds). Add white onion julienne and stir for 1 minute until slightly soft. Add 60–70g of mixed vegetables (can include carrots, bell peppers, cabbage, zucchini, broccoli, etc. whatever available
Stir-fry for 2–3 minutes until vegetables are cooked but still crisp.
Season and Combine Add 1g black pepper powder and toss to coat.
Add cooked noodles to the pan and stir well. Add Sauce and Finish
Pour in the noodle sauce mixture: and add 20g Tonkatsu sauce
40g Light soy sauce Toss everything together over high heat until noodles are fully coated and heated through (1–2 minutes).
Adjust seasoning if needed.
Artists push the boundaries of technology in new media arts residency in Riyadh
- Residency displays futuristic artwork inspired by the natural landscape and culture of the Kingdom
- Diriyah Art Futures brings together artists from around the world, combining art, science and technology
RIYADH: Diriyah Art Futures opened a new residency displaying cutting-edge artwork in Riyadh on Wednesday evening.
The Mazra’ah Media Art Residency spring/summer 2025 open studio displays work that combines art, science and technology.
It is a three-month program designed for artists and scholars working across new media and digital art.
The theme, “High-Resolution Dreams of Sand,” explored the evolving relationships between humans, nature and technology in rapidly changing environments, informed by the distinctive contexts of Diriyah and Riyadh.
The evening’s open studio offered a behind-the-scenes look at work in progress from the spring/summer 2025 residents, alongside talks and studio discussions.
In the studios, Arab News met with various artists including Saudi Arwa Al-Neami whose creations explore themes of acceptance, identity and societal transformation.
During the residency, she undertook an artistic investigation of Saudi Arabia’s landscapes, collecting sand samples from various regions across the Kingdom.
Through nano microscopy and advanced imaging techniques, she created an immersive sensory experience that transforms microscopic grains of sand into pieces of art in the form of films, virtual reality and 3D-printed sculptures.
She told Arab News: “I am currently researching seven different areas in the Kingdom, where I’m exploring the sound of the sun using specialized sensors during sunrise and sunset. The resulting sound waves are translated into frequencies that create audible sounds.
“By analyzing the sound of the sun and the atomic structure of sands, I produce artwork that highlights the differences across various regions of Saudi Arabia.”
For 90 days, artist Dr. Stanza has been creating a whole body of work based on Saudi Arabia using real-time data including weather forecasts, pollution stats and news feeds.
Using an AI prompt, he created the series “Sons of Time” — an interactive Internet installation inspired by cybernetics and the future.
His other work, “Machine Cities,” connects 90 cities and towns across the Kingdom and tracks them in real time, presenting a visualization that the public can engage with.
The London-based artist has exhibited worldwide and earned numerous awards for his use of the Internet as an art medium.
“While I’ve been here, what I’ve really learned about Saudi Arabia is it’s a very warm and inclusive country that’s moving forward toward 2030.
“There’s a whole series of ideas about AI and agency that (are) also incorporated within my artworks. I look forward to presenting some of these works here in the future,” he told Arab News.
Indian artist Harshit Agrawal has taken his time at the residency to contemplate the juxtaposition of Diriyah’s rich heritage with its exponential development in the past few years.
Set against Diriyah’s historic farms and Riyadh’s evolving environment, the participants were encouraged to consider the impact of technology on natural and constructed landscapes.
“While I was here, I was quite fascinated, in my early days by the cultural richness, the different practices of culture, but also Diriyah as a city in transition in this beautiful time where it’s developing into something else with all these constructions and all these new things that are happening,” Agrawal told Arab News.
In “Machinic Meditations,” the artist was particularly fascinated with subhas, or prayer beads, that are commonly used in Saudi Arabia.
This prompted his research, where he also found electronic subhas. “It’s quite fascinating to move from this kind of manual device to an electronic version of it,” he said.
“I started thinking — because I work a lot with machine learning, AI data— what is the extreme scenario of that? So, I created these devices, which are motorized systems that rotate these beads autonomously, and they keep doing that continuously.
“And with each rotation, they pick up new human data to meditate on. It’s kind of the machine’s version of meditating, but on human data and climate data.”
In “Data Excavations: The New Soil,” the artist takes inspiration from construction and excavation machinery, using its mobility as a way to write out words in a choreographed manner using light strips.
“It’s been a really exciting time to be here, because it’s a great intersection between deep cultural practices that are here that I can kind of see in the city, but also really cutting-edge studios and facilities that I’ve had and (been) exposed through the material residency,” he said.
The open studio event welcomed a number of artists and prominent figures in the art scene, aiming to introduce them to the findings and research of this year’s cohort around new media arts in the region.
“Having Saudi Arabia attracting so many different cultures right now is a great thing, for artists to meet and research in the new media and technology is a great thing because they can implement their culture’s ideas in so many different ways and that’s what we see here — it’s a great cultural bridge,” visual artist Lulwah AI-Hamoud, who was attending the event, told Arab News.
DAF Director Haytham Nawar and DAF Director of Education Dr. Tegan Bristow delivered opening remarks, followed by talks from Dr. Anett Holzheid, an ZKM science and art researcher and curator, and Mizuho Yamazaki, an independent writer and scholar.
Attendees then enjoyed an open studio preview with Dr. Stanza, before a break for networking and a tour of the fabrication lab, sound lab and prototypes.
The evening concluded with studio discussions featuring Arwa Alneami, Harshit Agrawal and Reem Alnasser, all media artists.
How the Michelin Guide will boost the culinary scene in Saudi Arabia
RIYADH: The Michelin Guide — the restaurant industry’s most-respected guidebook — has finally come to Saudi Arabia. In a significant milestone for the Kingdom’s culinary scene, the guide — organized in partnership with the Saudi Culinary Arts Commission — will be released in three stages: on the 15th of each month from October to December this year, it was announced at the launch event last month.
The guide “will focus on the bustling cities of Riyadh and Jeddah, while also beginning to explore the diverse regions of the Kingdom, including Khobar, AlUla, and many more,” Michelin said in a statement, adding that its inspectors — who visit venues anonymously — are “already in the field.”
As it does throughout the world, Michelin will award one star to restaurants providing “high-quality cooking that is worth a stop,” two stars for “excellent cooking that is worth a detour,” and three stars for “exceptional cuisine that is worth a special journey.”
Alongside the much-coveted star ratings, the selection also includes the popular Bib Gourmand category, a distinction awarded to restaurants that provide good quality food at a moderate price.
The well-known Jeddah-based chef and restauranteur Nihal Felemban says the arrival of the Michelin Guide will raise the bar for chefs and restaurants in Saudi Arabia.
“It's a dream for most chefs to obtain that star. That will create a very healthy sense of competition,” she tells Arab News.
And Felemban believes the Kingdom’s local and homegrown concepts are more than capable of holding their own against the big-name brands that have been imported in recent years.
“These concepts deserve to be known. They deserve to be recognized outside the Saudi market,” she says.
“This will give a chance to these homegrown concepts to be on the international culinary map, similarly to what happened in Dubai,” she adds, referring to the 2022 launch of the guide in the UAE. “There were a lot of restaurants we didn't know about (then). The Michelin Guide gave them a voice, gave them a name abroad; it’s a beautiful thing.”
UAE-based Samantha Wood, founder of the impartial restaurant review website FooDiva.net, says the Michelin Guide has had a hugely positive impact on Dubai’s culinary scene.
“Since the launch, the number of independent homegrown concepts has grown every year, with the most recent 2025 guide featuring 29 independent homegrown concepts taking the lion’s share in the top cut of Michelin stars and Bib Gourmand.”
For the Saudi guide, Wood says, “I hope Michelin will prioritise dishing out stars and bibs for the homegrown concepts — like it has done in Dubai. This gives restaurateurs the incentive to develop their own (ideas), rather than rely on importing concepts and franchise agreements.”
Felemban is the founder of one of those homegrown concepts that will be hoping for recognition later this year. Her Jeddah restaurant, The Lucky Lllama, offers Nikkei cuisine, blending Peruvian and Japanese culinary traditions. “I would love to see The Lucky Llama (in the guide), because I believe it can compete on international levels,” she says.
Felemban predicts that the French Riviera-inspired Le Petite Maison — more commonly known as LPM — and top burger spot Marble will earn some recognition, as well as Jeddah’s Korean BBQ joint HWA-RO.
The guide isn’t just a boon to the restaurant industry either. Michelin-starred restaurants can offer a significant boost to tourism.
“Foodie travellers use these guides to plan holidays, often booking high ranking restaurants first before planning holidays around these reservations,” says Wood.
Lifestyle and food blogger Sarah Taha, who showcases the luxury food industry in Saudi on her page Swirl The Fork, also believes the guide could be a game-changer for tourism in the Saudi capital.
“The arrival of the Michelin Guide has the potential to spotlight both ends of Riyadh’s culinary spectrum — from its most luxurious dining rooms to its beloved casual gems — making it one of the most exciting food cities in the region,” she tells Arab News.
“Michelin’s presence won’t just put a global spotlight on our chefs and restaurants; it will also raise the bar for quality, creativity, and service across the board. It’s a powerful statement that Saudi is ready to be recognized as a serious player in the world of fine dining,” she continues.
Riyadh is home to several standout restaurants that Taha believes are strong contenders for Michelin stars. Her predictions include Japanese restaurants Zuma, Myazu, and Nozomi (the latter “remains a benchmark for upscale dining,” she says), and Italian restaurant Mamo Michelangelo.
When it comes to the Bib Gourmand category, which celebrates more affordable yet high-quality dining, Taha highlights Saudi staples like Mama Noura — concepts that “fuse authenticity with consistency and have built loyal followings. They may not be fine dining, but they’re rooted in culinary excellence and local relevance,” she says.
Like Felemban, Taha is confident the arrival of the Michelin Guide can only be a good thing for the Saudi food scene.
“From what I’ve seen running Swirl the Fork, there’s so much passion and creativity here. This kind of spotlight will not only validate that, but also inspire a new generation to invest — and believe — in local culinary ventures. It’s about putting Saudi flavors and stories on the world stage.”
