Ashi Studio gets a starring role in Faouzia’s new music video with John Legend
Updated 30 January 2021
Arab News
DUBAI: It’s been an eventful weekend for Saudi-helmed label Ashi Studio, which received a shout out from US actress Kat Graham on Instagram and was donned by Moroccan-Canadian singer Faouzia in her new music video with John Legend.
Known for its celebrity-loved looks — the label has been worn by the likes of Bollywood star Deepika Padukone, British singer Ellie Goulding and Australian icon Kylie Minogue — Mohammed Ashi’s fashion house received the nod of approval from US actress Kat Graham on Instagram on Friday.
“Thank you @Ashistudio for my jammies and congrats on another beautiful collection!” Graham posted on Instagram Stories, alongside a shot of her artfully posed in the label’s chic loungewear. Graham, who starred in supernatural drama series “The Vampire Diaries,” then shared a throwback video of a dress fitting in Paris in 2020 in which she can be seen wearing a voluminous white gown complete with an exaggerated train and an off-the-shoulder neckline by the Saudi designer.
Kat Graham showed off the brand’s loungewear. (Instagram )
The Beirut-based fashion house launched its line of luxury loungewear in 2020, keeping in line with the need for chic but comfortable clothes as much of the world continues to remain at home during the COVID-19 pandemic. The collection features fabrics such as pure silk and cashmere that can be worn both indoors and outdoors, and offers fashion lovers coordinating sets as well as long silk robes.
For her part, Graham showed off a cream colored ensemble complete with ribbed cuffs, hems and lapels.
Singer Faouzia showed off a more tailored look by the designer in her latest music video — a duet with US singer John Legend.
The ethereal video for “Minefields” sees the Moroccan-Canadian singer wearing an eye-catching shirt-and-skirt set by Ashi Studio. In the video, the pair perform in an open field, with Legend crooning while playing a piano and Faouzia singing while walking though wheat-colored undergrowth.
“It symbolizes both the emotional and literal challenges that we go through to be with and support those around us,” Faouzia said of the song and video, according to Vogue Arabia. “I hope that viewers will feel hopeful and remember that things will always get better.”
The singer paired the billowing ensemble, with its rouched cuffs and oversized lapels, with romantic hair and pearl drop earrings.
From Paris to Jeddah — diversity shines at World Music Day
The musical evening at the Jeddah Cultural Club included electronic, soul, deep house, pop and more on the theme of “Franco-Saudi Friendship”
Updated 27 June 2024
Nada Hameed
JEDDAH: A World Music Day event organized by the French Consulate in Jeddah and the French Embassy in Riyadh featured local and French artists across a variety of genres.
The musical evening at the Jeddah Cultural Club included electronic, soul, deep house, pop and more on the theme of “Franco-Saudi Friendship.”
First established in France in 1982 under the patronage of then-Minister of Culture Jack Lang, who now serves as president of the Arab World Institute in Paris, the Fete de la Musique is celebrated in over 100 countries. Musicians at every level are invited to perform everywhere, from concert halls to the streets.
In Jeddah, two female voices were honored — Nadeen Linjawi, otherwise known as Fulana, and Canine, the brainchild of French composer and singer Magali Cotta.
Rising Saudi singer Nadeen Linjawi, known as Fulana, representing the emerging Saudi Arabian voice during the World Music Day in Jeddah. (Photo supplied)
Fulana, a rising Saudi singer, gave the opening performance and expressed her gratitude at being invited to represent the sound of young Saudis.
“Music has been my entire life; I don’t remember a time where I have ever been my most authentic self except here (on stage). This is the truest me,” she said.
“It seems that even when we are extremely happy to celebrate something luxurious or artistic like music, it is important to remember that when we say international, it often still applies only to those who don’t have to worry about basic human needs. What’s more important is to remember how lucky we are, be grateful for what we have, and send prayers for those who cannot celebrate International Music Day.”
Linjawi chose the name “Fulana”, which means “anybody,” because for her, the story she tells through her music could be anyone’s story. Her songs revolve around loss of identity, confusion, and loneliness.
In 2023, she produced seven songs and performed in Jeddah (Balad Beast) and Riyadh (Middle Beast), as well as Cairo, Amman, and New York during her “Notes on Swimming” tour. Her album “Banatafkar” was produced with Wall of Sound.
In the second part of the event, Canine took to the stage leading a group that captivated the audience with a blend of electro-pop, soul and hip-hop, woven through with surreal arrangements and deeply intimate lyrics.
Magali Cotta’s approach to music combines acoustic and electronic instruments. (Photo supplied)
The performance also featured excerpts from influential French personalities such as philosopher Gilles Deleuze, lawyer Gisele Halimi, and poet Charles Baudelaire.
In an exclusive interview with Arab News, Cotta shared insights into her creative process, inspiration, and the evolution of her unique sound.
She said the Jeddah event was “a journey exploring the core themes of hope, feminine strength, nature, and the night, transcending the traditional concert format to become an immersive experience.”
She added: “I enjoy collaborating with other artists. My most beautiful collaborations are with the musicians who accompany me on stage. Whether they are instrumentalists or singers, they are wonderful performers and add their sensitivity to the music I have written. Similarly, I consider the sound engineers who mix my music to be creators in their own right.
“Unfortunately we did not have time to collaborate with Fulana for this live performance, but I hope it will happen soon! I was very surprised to find a Saudi female artist in electronic music. I didn’t expect it, and it was a very pleasant surprise.”
Cotta’s approach to music combines acoustic and electronic instruments. She explained how she favors analog synthesizers for their organic warmth, while also incorporating acoustic instruments like brass and strings for a more delicate touch. This blend defies conventional boundaries, prioritizing emotional resonance.
“I use analog synthesizers rather than digital ones. Their sound is warmer and more organic. Sometimes, I need even more warmth and fragility, which leads me towards acoustic sounds. For me, there are no boundaries between acoustic and electronic sounds. They just need to be as moving as possible at any given point in the piece,” she said.
Cotta’s performance not only highlighted the Saudi Arabia’s growing electro-pop scene, but also underscored the universal language of music. (Photo supplied)
Cotta’s message resonated with the Saudi audience. She expressed a desire to move them, emphasizing the power of femininity and the group’s representation of musical roles that are traditionally dominated by males.
“We want to present a different image of what is expected of ‘femininity.’ For us, femininity is connected to nature; it can be fragile, but it also possesses immense strength,” she said.
Cotta’s performance not only highlighted the Kingdom’s growing electro-pop scene, but also underscored the universal language of music.
As for the future, Cotta is currently working on her third album and preparing new performances for the year ahead. She hopes to return to Saudi Arabia with a new show.
On June 27, the French Embassy in Riyadh in partnership with Alliance Française, Beast House and MDL Beast hosted a day-long event dedicated to promoting music culture.
Beast House came alive with rhythm, with the line-up including a special performance by Canine as well as DJ sets by JOJ, Vinyl Mode, and D’JULZ.
Saudi films win big with five Viddy awards and six Vega Digital gongs
Ra’ee Al-Ajrab, Horizon and Station 7 received a total of five platinum Viddy awards and six Vega Digital awards
Films were produced as part of the Ministry of Media’s Saudi Konoz initiative, which spotlights the nation’s hidden treasures, significant events, and cultural elements
Updated 27 June 2024
Arab News
RIYADH: Three films highlighting Saudi Arabia’s natural beauty and achievements under Vision 2030 have gained international recognition with a string of industry awards.
“Ra’ee Al-Ajrab,” “Horizon,” and “Station 7” received a total of five platinum Viddy awards and six Vega Digital awards.
The three films were produced as part of the Ministry of Media’s Saudi Konoz initiative, which spotlights the nation’s hidden treasures, significant events, and cultural elements.
“Ra’ee Al-Ajrab” received the Viddy award in cinematography, while “Horizon” was awarded in the integrated marketing plan category, Saudi Press Agency reported.
“Station 7” won two awards in the cinematography and documentary categories.
“Ra’ee Al-Ajrab” won Vega awards in the categories of directing, cinematography, and short films, while “Station 7” received the award in the marketing and long documentary categories.
“Horizon,” produced by the Konoz initiative in partnership with the National Center for Wildlife, showcases the natural beauty of Saudi Arabia, including more than 10,000 species of creatures, each uniquely adapting to its environment.
“Station 7” documents the achievements of Saudi Vision 2030 in its seventh year, 2023, highlighting progress achieved at various levels in the Kingdom.
Launched in 1995, the Viddy awards are administered by the Association of Marketing and Communication Professionals.
The Vega awards recognize outstanding work in the field of digital media marketing by professionals and organizations, and is run by the International Awards Associate.
Previously, the Konoz initiative won 12 awards in various international and local competitions, such as the Saudi Film Festival, Telly Awards, and Hermes Creative Awards.
The latest achievements increase the number of international awards received by the initiative this year to 23.
Saudi Konoz, part of the Human Capability Development Program under Vision 2030, aims to visually document the treasures of the Kingdom and contribute to a leap in artistic production.
It has presented several documentaries such as “Chapter 295,” “What Saudis Eat,” “Saudi Atlas,” “A Difficult Stage,” and “Ala Hadden Sawa.”
Saudi-helmed Ashi Studio showcases new collection at Paris Haute Couture Week
‘Sculpted Clouds’ draws on ‘pure emotions’
Updated 27 June 2024
Jasmine Bager
PARIS: Paris-based label Ashi Studio, which was founded by Saudi designer Mohammed Ashi, has showcased its Fall/Winter 2024-25 Collection, called “Sculpted Clouds,” as part of the Paris Haute Couture Week.
Guests were escorted from the scorching summer heat into a darkened room with booming sounds, creating an other-worldly atmosphere. The catwalk wrapped around the small, intimate space as the audience was immersed in Ashi Studio’s avant-garde designs, a collection that captures its signature style — merging the theatrical with elements of nature.
The models wore slick-back buns and minimal makeup. (Getty Images)
From dark to light to dark again, the billowing yet structured garments playfully juxtaposed the different styles and textures, and produced a dazzling array of silhouettes, easily slipping between the hard and the soft, the feminine and the masculine.
It is a collection that heavily draws from nature as well. The models wore slick-back buns and minimal makeup and offered a clean canvas to go alongside the dramatic designs.
It is a collection that heavily draws from nature as well. (Getty Images)
Ashi said: “My collection is born of pure emotions, translating the human experience.
“At the creative onset, feelings appeared like flashes to me — courage and determination, grace, and protection. I imagine a world where the soul moves from one place to another.
The collection is called “Sculpted Clouds.” (Getty Images)
“My muse is the woman who is always searching. She embraces her fate, whatever it may be.”
Ashi became the first couturier from the region to join the Federation de la Haute Couture in Paris as a guest member in 2023.
The garments produced a dazzling array of silhouettes, easily slipping between the hard and the soft, the feminine and the masculine. (Getty Images)
He is also scheduled to unveil uniform design concepts for the much-anticipated Riyadh Air launch.
Ashi’s designs have been worn by celebrities such as Beyonce, Lady Gaga, Jennifer Hudson, Kylie Minogue, Penelope Cruz, Deepika Padukone, Sonam Kapoor, and Queen Rania of Jordan.
Review: ‘House of the Dragon’ season two: There will be blood
Updated 27 June 2024
Adam Grundey
DUBAI: Reviews of season two of the “Game of Thrones” prequel/spinoff series “House of the Dragon” have focused heavily on its pace. It’s slow (at least for the majority of the four episodes available to reviewers) — a criticism also levied against season one.
But slow can be a strength. Much of the first episode is taken up with a (necessary) slew of exposition that brings viewers up to speed with the story of the Targaryen dynasty that ruled the Seven Kingdoms for almost three centuries, thanks in large part to the fact that the Targaryens are dragon lords. Which in these faux-medieval times is like owning a B-52 bomber when no one else even has a hang glider. So the Targaryens don’t have any outside forces realistically capable of taking them on. Instead, their own in-fighting tears them apart.
Season two begins almost immediately after the events of season one. King Viserys is dead and there is a rift over who should succeed him: his daughter Rhaenyra, long proclaimed publicly as his heir, or his young son Aegon, whom Viserys’ wife Alicent Hightower (Rhaenyra’s childhood friend and Aegon’s mother) mistakenly believes Viserys named heir on his deathbed. Since no one else was present, there’s nobody to tell her she’s wrong. And, since she’s the queen, many believe her. But many don’t.
Perhaps it was expected that season two would jump straight into the devastating civil war known as The Dance of Dragons. It doesn’t. Instead, showrunner Ryan Condal takes his time, ratcheting up the tension, showing the political maneuverings in the respective courts of Rhaenyra and Aegon, and also the lengths to which Rhaenyra — still determined to claim her throne — will go to try and avoid the horrors she knows must accompany any war involving dragons.
Don’t mistake slow for boring, though. For those wanting visceral violence, for example, episode one ends with the beheading of an infant in front of his stricken mother — a death that is swiftly turned into political currency by Aegon’s chief advisor. Cynicism is ever-present in Westeros.
And then, in episode four, the levee breaks. The tension is released. The dragons fly. It’s brutal, bloody, and glorious.
“House of the Dragon” still doesn’t quite have the ‘wow’ factor of its predecessor, but it’s enthralling, thought-provoking, sometimes nauseating, rage-inducing, and bold. And it rewards your patience.
Saudi filmmaker Shahad Ameen discusses her second feature, ‘Hijra’
The ‘road trip’ movie is set against the backdrop of Hajj
Updated 27 June 2024
Mariam Nihal
JEDDAH: Saudi filmmaker Shahad Ameen’s debut feature, 2019’s “Scales,” was hugely successful. The dystopian drama picked up prestigious awards at the Venice Film Festival, the BFI London Film Festival, and the Sydney Science Fiction Film Festival, as well as several regional awards. It was also selected as Saudi Arabia’s official entry for the Oscars in 2020, although it was not ultimately nominated.
So expectations are high for Ameen’s recently completed second film, “Hijra,” which she hopes will be in cinemas next year. Ameen is currently in Paris working on post-production and editing.
Filmmaker Shahad Ameen on the set of ‘Hijra’ with actress Lamar Feddan, who plays Jenna in the film. (Supplied)
“Hijra” (which means ‘migration’) tells an intimate family story: When a teenage girl disappears, her grandmother (played by Khairiya Nazmi) and younger sister, Janna (Lamar Feddan), travel to the north of the Kingdom in search of her.
“It’s less about the chase and more about the poetic journey that they go through,” Ameen tells Arab News. “But it has this epic backdrop, which is Hajj.”
Hajj is the annual Islamic pilgrimage to Makkah — one of the five pillars of Islam. More than 1.83 million Muslims performed Hajj in Saudi Arabia this year.
“Hijra” has its roots in a story that Ameen began more than a decade ago. “I was working on a story about this missing girl. That’s the only element that survived from that story though,” she explains.
During the COVID-19 pandemic, since international borders were closed, Ameen started exploring the Kingdom.
“It was the first time I’d traveled to the north of Saudi Arabia, and all around, which really got me excited about doing a road movie, because, to be honest, a lot of filmmaking is about choosing the locations and creating an atmosphere for the film,” she says. “And at one point in my travels I thought it would be amazing to make a road film about this family on their way to Hajj and this girl goes missing.”
‘Hijra’ was shot over 55 days across eight cities in the Kingdom — Taif, Jeddah, Medina, Wadi Al-Faraa, AlUla, Tabuk, NEOM, and Duba. (Supplied)
The movie was shot over 55 days across eight cities in the Kingdom — Taif, Jeddah, Medina, Wadi Al-Faraa, AlUla, Tabuk, NEOM, and Duba. Throughout the journey, Ameen’s emotive storytelling focuses on how Saudi Arabia has always been a place where Muslims have come together, and not just for Hajj.
“It was always being brought back to the idea that this land has connected people from all over the world,” she says. “That’s what excites me. I always get angry when Americans are like, ‘Oh, we’re a melting pot and a place of immigration.’ That’s true of us too. I mean, they say they immigrate for freedom, but for a lot of Muslims around the world Saudi Arabia is the place where they can be free.”
The theme of immigration/emigration has great resonance for Ameen personally, since her great grandfather came from Bukhara in Uzbekistan. She grew up in the port city of Jeddah, where, she says, “one sees a lot of Bukharis, Tashkenti, Asians and Africans.”
She continues: “It was really exciting for me to tell the story of this young girl looking for her freedom away from her family, but through her we get to learn about her grandmother’s past.”
Khairiya Nazmi and Lamar Feddan in ‘Hijra.’ (Supplied)
Throughout the road trip in “Hijra,” the 70-year-old grandmother relives her childhood while passing through the routes along which she migrated with her father as a young girl.
“The whole story is about different generations of women and we see it through the eyes of Janna — the youngest granddaughter,” Ameen tells Arab News, adding that, while the film is about a young Saudi girl getting to know her country, she also gets to discover the stories of the women in her family and how they view the ideas of freedom and identity.
“With all the changes happening and us having more freedom than we used to have as Saudi women, I fear that we’re not paying enough tribute to the older generation of Saudi women,” Ameen says. “I think what they have in common is — as cheesy as it sounds — strength and freedom. The grandmother in the story might seem like this traditional, strict, religious woman, but she is strong and free. I would never describe my grandmothers or my mother as weaker than we are. I would actually describe them as much stronger and much freer, but maybe within their own thoughts.”
Director Shahad Ameen and producer Mohamed Al-Daradji in Neom. (Supplied)
But Ameen is also aware of how she has benefited from the social change that has swept through the Kingdom in recent years. Saudi Arabia’s embrace of the film industry is seen in international film festivals across the globe but also locally as the government helps promote local talent. “Hijra,” for example, was supported by Ithra, NEOM, Film AlUla — the Royal Commission for AlUla’s film agency, and the Daw Initiative Saudi Film Commission.
“I was thankful to have Neom and AlUla, without (them) securing such locations would not have been possible,” Ameen says.
“Hijra” is also co-produced by the Red Sea Fund, a funding program under the Red Sea Film Foundation that has so far supported over 250 films from local and regional filmmakers.
“Receiving funds from our own country is amazing,” Ameen says, adding that young Saudi filmmakers “have no excuse” not to make movies. “Just write your script and apply for the funds and hope for the best,” she says.
For Ameen, filmmaking has been her dream since she was 10. She says she grew up wanting to tell Arab stories that she felt were missing from the big screen.
“I think it’s a feeling that we all share as Arab filmmakers,” she says. “It’s that question: Where are our voices? So to be able to showcase our stories and where we come from is beautiful.
“It’s been amazing,” she continues. “We shot a very challenging, interesting and exciting film.”
