How Saudi Arabia’s filmmakers hit their stride since the resumption of movie screening

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Updated 01 May 2023
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How Saudi Arabia’s filmmakers hit their stride since the resumption of movie screening

  • Box-office revenues in the Middle East have bounced back thanks in part to the success of Saudi cinema
  • Resumption of movie screening across the Kingdom has kindled great interest in production for the big screen

RIYADH: For 35 years, Saudis were deprived of the quintessential cinema experience — the giddiness of waiting in line to buy a ticket, the rising anticipation as the lights dimmed, and the thrill of watching movie trailers projected on the screen while munching on freshly popped corn kernels.

April 18 marked five years since the resumption of movie screening across the Kingdom for the first time since the 1970s. But the lifting of the ban has been about more than mere entertainment.

The power of Saudi cinema has revolutionized the film economy in the region, institutionalized a creative industry, and set the stage for generations of undiscovered talent, while celebrating the Kingdom’s identity.




A lot has happened since cinemas in the Kingdom reopened in 2018. (Arab News Archive)

Even before the reopening of domestic cinemas, a glimmer of hope came in the form of Haifaa Mansour’s 2012 film “Wadjda,” the first all-Saudi cast feature shot in Saudi Arabia.

Although the handful of screening venues in the Kingdom were highly censored at the time, the film still garnered international success, grossing millions in box office sales globally.

Mahmoud Sabbagh’s “Barakah Meets Barakah” made waves in 2016 with its commentary on conservatism in the guise of comedy, followed by Ayman Tamano’s horror film “Madayen,” and multiple other short and feature film ventures that blazed a trail for a new era of cinema.




Hollywood actor John Travolta attending a special event organized by the Kingdom's General Authority for Entertainment in Riyadh in 2017. (AFP)

When the ban was lifted in 2018, crowds flocked to cinemas to watch the iconic Marvel blockbuster “Black Panther,” transforming the way Saudis experience film to this day. 

Film producer Walaa Bahefzallah recalls attending a screening of “Aquaman,” marking her first visit to a movie theater.

“I got very emotional. I got chills and started tearing up, because I couldn’t help but think ‘Why did it take this long? What for?’” Bahefzallah told Arab News. “Cinema has created societies, changed rules, created heritage. Cinema initiated social and cultural movements.”




Walaa Bahefzallah (right), casting director of Saudi film Champions, alongside the cast at the 2021 Red Sea Film Festival, including Fatima Albanawi (center).  (Supplied)

Bahefzallah graduated from film school in 2010 at the top of her class, but had been working in the industry since 2007 in Egypt. In 2013 she established Rose Panthera, an experimental production company.

In addition to her many works, Bahefzallah has recently lent her talents as the casting director and production executive of the AlUla-shot Hollywood production “Kandahar,” set to premiere on May 6.

“Cinema was a late entry into Saudi society, so (the community) already had a specific taste in entertainment,” she said. “They were first opposed to Saudi-made content and we only found negative judgment, and most turned from viewer to critic. We can’t blame them.




The number of ticket sales in Saudi Arabia amounted to 30,860,956 for films in 22 languages ​​from 38 countries since 2018. (Social Media)

“Lately — after ‘Shams Al-Maaref’ (‘The Book of Sun’), ‘Abtal,’ ‘Sattar’ and ‘Alhamour H. A.’ — they realized there’s a new era of cinema being built and a one that speaks to our minds and our issues, in our own language and sense of humor — a cinema that understands us.”

According to the General Commission for Audiovisual Media, 31 Saudi films have been produced in the five years since the cinema ban was lifted.

These Saudi-made films include the family drama “40 Years and One Night,” the football comedy “Abtal” (“Champions”), the true-to-life “Shihana,” and the animated film “Masameer.”

Long gone are the decades of pay-per-view, stacks of foreign DVDs, improvised movie halls, underground screenings and travels to nearby countries, most notably Bahrain, for a weekend of binge-watching the latest releases.

And, just as cinema footfall and profits are in decline elsewhere in the world, box-office revenues in the Middle East and North Africa region have rapidly bounced back, largely thanks to the success of Saudi cinemas.

FASTFACTS

Entertainment chains currently operation in Saudi Arabia include VOX Cinema, AMC, Reel Cinemas and Muvi Cinemas.

Muvi Cinemas alone has 205 screens in 21 locations in 10 different cities.

However, it appears there is still an untapped market in the Kingdom. The highest-grossing film in Saudi Arabia to date, “Top Gun: Maverick,” sold an estimated 1.2 million tickets among a population of 35.95 million, which suggests only a fraction of the Saudi public are regularly visiting cinemas.

“With more films being produced and continuous success, there will be a higher demand,” Faris Godus, director and co-writer of “The Book of Sun,” told Arab News.




Muvi Studios is breaking records at the Saudi box office, with more than 1 million tickets sold for its two latest productions. (Supplied)

“Most people who went in to buy the first cinema tickets were considered early adopters, coming in with no expectations to try something new. But now they have precedents to compare films to.”

“The Book of Sun,” a production from The Godus Brothers’ Tape Productions, funded by the Red Sea Film Festival, was one of the first Saudi films to be screened in commercial cinemas. It was recently named the fourth most-attended Saudi film.

“The merit of cinema is the collective experience,” Godus said. “As human beings, we’re impacted by others. When we’re trying something new, it’s good to experience it collectively.

“When we watched ‘The Book of Sun’ in theaters, some people were laughing at lines or getting excited at parts I didn’t know would have that sort of impact. It created a first impression of the film that spread widely through word of mouth. It was great and I believe Saudi films are in need of this stage of engagement.”




Two young Saudi film directors have been presented with trophies after winning the second edition of a 48-hour filmmaking challenge. (AN Photo/Ali Khameq)

Indeed, Saudi filmmakers appreciate how cinema-going creates community bonds that allow them to draw feedback from their audiences. 

“This has allowed for a greater appreciation of Saudi’s diverse culture and storytelling, as well as increased opportunities for Saudi filmmakers to showcase their creativity, expand it, and export our culture, language, idioms, values and jokes to the world,” Saudi actress Summer Shesha told Arab News.

“Having the space that allows us to gather, laugh, cry and feel as one plays a significant role in shaping the way Saudi content is experienced and made.”

Shesha said that she cried when she heard the news that cinemas would reopen. She had taken part in her first feature film role in 2017’s “Exit 5,” but only ever saw it screened at festivals.

“Then experiencing watching my second feature ‘Kayan,’ directed by Hakeem Jomaa, in the theater among my friends, family and the audience is a feeling I will never forget,” she said.




Two young Saudi film directors have been presented with trophies after winning the second edition of a 48-hour filmmaking challenge. (AN Photo/Ali Khameq)

“It was surreal, to see my face on the big screen and hear and see the reaction of my people at the same time. This memory still gives me goosebumps.

“I was grateful to be a part of an industry that did not even exist, and that I believed in what I loved and did it anyway, to witness and contribute to this significant change.”

Saudi actress Ida Alkusay was studying abroad when she heard the news that cinemas were reopening in her home country.

“Ironically, I was studying film to be able to have movies shown on those big screens back home. Hearing that news made me feel like half of the battle was already won,” Alkusay told Arab News.

Prior to 2018, a role in a rising, yet premature, film industry was a pipedream for many aspiring actors. Supported by the Saudi Film Commission, which has worked to legitimize the local film industry and create job opportunities, there has never been a better time to pursue a career in Saudi cinema.




Saudi women study film making at a university in Jeddah, Saudi Arabia March 7, 2018. (REUTERS)

“Giving opportunities to talents and investing in filmmakers and local movies will pay off because we are here to create our legacy and document it,” Alkusay said. “Saudi Arabia is rich in heroic histories and this legacy should be celebrated and shared.”

The actress has landed multiple opportunities in the industry since returning home, including a role in MBC’s “Rise of the Witches,” the TV mini-series “Akher Riyal” (“Cut Off”), and a leading role in the 2021 horror film “Junoon,” which premiered in cinemas last October.

Brothers Maan B. and Talha B., the film’s producers, told Arab News: “Seeing your debut film being watched is something inspiring. When we studied film in 2013, we never thought this day would come.

“We think greater and bolder films will follow in the next five to ten years because the audience is smarter than you think and they want something both entertaining and thought-provoking, not something shallow they can watch for free in the comfort of their homes. This makes things more challenging for us filmmakers, as we are competing with streaming services and social media content.”




The opening of theaters in the Kingdom has been widely welcomed by the Saudis, who used to flock to Bahrain or Dubai to for entertainment. (Photo Courtesy: Red Sea Film Festival)

While streaming services are considered cinema’s biggest competitors, the re-emergence of movie theaters in Saudi Arabia has reawakened interest in filmmaking for the big screen.

Maan B., who also starred in and co-directed “Junoon,” said: “A lot of people who had that passion wanted to get back into the game.

“A lot of universities are helping with that by providing film or media majors highlighted in their programs, and it’s drawing a lot of attention from the newer generation.

“I envy the new generation. It’s all set up for them and they need to take advantage of it all — the opportunities, the support, the funds — to be recognized and do good work.”




The Saudi Film Festival highlights desert cinema in an interactive artwork inspired by the Tuwaiq mountains. (SPA)

Fahad Alqahtani was on the lookout for a hobby when he stumbled into acting. His first opportunity arose in Shahid’s original TV show “The Fates Hotel,” before later securing the lead role of Hamed in Saudi cinema’s latest release “Alhamour H.A.”

“This film is close (to the hearts) of the Saudi community and I’m very happy about that,” Alqahtani told Arab News.

“The interest in attending cinema screenings in Saudi is on a noticeable high, to the point where it drew in investors in the film industry ... (After 2018) I felt that the cinema scene was a lot more mature and serious, and this will create a world of difference in our outputs.”

The movie is the second-most-viewed Saudi film in theaters after the action comedy “Sattar.” The raging success of “Sattar” was in part due to well-calculated timing.




The Saudi comedy “Sattar” received high praise since its premiere last year, and has recently become the highest grossing Saudi movie with almost 900,000 ticket sales to date. (Supplied)

Ibraheem Alkhairallah, the film’s writer, producer, and co-star, told Arab News: “When we dropped ‘Sattar,’ we knew it was time ... Our whole time on the Internet was training for this big move.”

Telfaz11, which had spent years building its online presence, strategically awaited the establishment of cinemas in smaller districts before releasing what would become the country’s greatest cinema hit yet.




Ibraheem Alkhairallah on the set of Saudi film Sattar, where he portrayed the character of Abdulkhaleq, an undercover officer pretending to be a wrestling coach. (Supplied)

“The closest theater to the southern region isn’t Jeddah anymore; it’s Khamis Mushait, Abha. Hafar Al-Batin is not Dammam or Sharqiyah anymore — it’s themselves,” said Alkhairallah.

Khamis Mushait was one of the top five locations for the most ticket sales for screenings of “Sattar.” However, creatively speaking, Alkhairallah believes the film made a splash because it stayed true to Saudi culture.

“Talk to the audience. Don’t talk to the big festivals and foreigners to reach (success). No — once they see the interest from your own audience, it’ll travel.”

 


Theater and film experts Fatima Al-Banawi, Lana Komsany lend expertise to Saudi summer camp

Updated 23 June 2025
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Theater and film experts Fatima Al-Banawi, Lana Komsany lend expertise to Saudi summer camp

DUBAI: Saudi filmmaker Fatima Al-Banawi is set to take part in a two week summer program for children in Jeddah hosted by Alf Wad Productions.

The two programs aimed at children are titled “Little Theater Stars Camp” and “Camp Journey to the World of Cinema.” The programs run for two weeks.

The schedule focuses on teaching theatrical experiences by allowing children to write a play inspired by their ideas. In addition to writing a script, the participants will design the costumes and help in building the set for the production.

From lighting to sound and storytelling, the program will offer a holistic understanding of what it takes to bring a theater production to life.

Led by instructor Lana Komsany and supervised by Al-Banawi, the programs will conclude with a performance in front of a live audience.

 

Al-Banawi is recognized for her roles in “Barakah Meets Barakah” and the Saudi thriller “Route 10.”

She made her directorial debut with “Basma,” in which she also plays the titular role of a young Saudi woman who returns to her hometown of Jeddah after studying in the US. Back home, she is confronted with her father’s mental illness, strained family ties, and the challenge of reconnecting with a past life that no longer feels familiar.

“I really went into cinema — in 2015 with my first feature as an actress — with one intention: to bridge the gap between the arts and social impact and psychology,” she previously told Arab News. “And I was able to come closer to this union when I positioned myself as a writer-director, more so than as an actor.”

The film debuted on Netflix in 2024.

Meanwhile, Qamsani specializes in film and theater, with extensive experience in directing, acting, and writing, and is known for her work in creative training.

Alfwad Productions is a Saudi Arabia-based creative arts organization focused on nurturing young talent through performance, storytelling, and cultural education. The organization runs year-round programs that blend theater, music, and visual arts.


Bella Hadid’s Orabella launches new collaboration

Updated 23 June 2025
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Bella Hadid’s Orabella launches new collaboration

DUBAI: American Dutch Palestinian supermodel Bella Hadid is expanding her beauty brand, Orebella, into the world of accessories — and she’s doing it with a little help from her close friends.

Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.”

Bella Hadid has teamed up with Wildflower Cases co-founders Sydney and Devon Lee Carlson to launch a limited-edition collaboration featuring two dreamy new products: an iPhone case and a “Scentable Wristlet.” (Instagram)

Hadid took to Instagram to announce the launch, writing, “Feeling like the luckiest girl in the world to be able to be creative with my beauty boss sisters. Life is beautiful when we have the opportunity to watch our friends winning. So proud of you two. So proud of our teams. So proud of us. Love you all — thank you for bringing this vision to life.

“Cases ANDDDD our most special scented wristlets to keep the orebella scent of your choice on you at all times! Been wanting to make this accessory for a while, had the idea for scented bracelets and wristlets, and my sisters pulled it all together for us. Love you guys so much,” she added.

Teased earlier on Instagram through behind-the-scenes campaign shots, the collaboration blends Orebella’s fragrance-forward ethos with Wildflower’s unique phone accessory style.

The iPhone case is designed with a celestial sky motif and a delicate crescent moon, channeling Hadid’s signature mystical aesthetic — part of what the trio call a “girl gang collection,” celebrating the friendship between Bella, Devon, and Sydney.

Meanwhile, the Scentable Wristlet introduces a functional — and fragrant — twist. Designed to hold a small vial of Orebella’s signature scent, the wristlet allows users to carry their favorite fragrance with them wherever they go, seamlessly merging style with sensory self-expression.

Orebella, which launched in May last year with a sell-out line of clean fragrance mists, is rooted in Hadid’s love of scent layering, spirituality, and beauty rituals.

Hadid wrote on her website at the time: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings. From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.”


Co-founder of digital platform The Open Crate shares Art Basel top picks

Updated 21 June 2025
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Co-founder of digital platform The Open Crate shares Art Basel top picks

BASEL: Tunisian art expert Amina Debbiche, who co-founded digital art platform The Open Crate alongside Nora Mansour, shares her top artworks from Switzerland’s Art Basel contemporary art fair, which wraps up on Sunday.

Amina Debbiche. (Supplied)

The Open Crate allows clients to digitalize their entire collection, whether it be artwork, design objects or luxury items.

Yto Barrada at Sfeir-Semler Gallery

“I first discovered Yto Barrada’s work at the Arsenale during the 2011 Venice Biennale and was instantly captivated by her poetic and political approach. Since then, I’ve followed her brilliant trajectory across film, photography, textiles, and installation. Born in Paris and raised in Tangier, her practice explores themes of memory, displacement, and resistance. We’ve now come full circle - she will represent France at the upcoming Venice Biennale, curated by Myriam Ben Salah.”

Yto Barrada’s work at Art Basel. (Supplied)

 Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited

Alia Farid’s ‘Elsewhere’ at Art Basel Unlimited. (Supplied)

“Alia Farid’s ‘Elsewhere’ deeply moved me with its layered storytelling and political tenderness. The work maps Arab and South Asian migration to Latin America and the Caribbean through handwoven rugs made with Iraqi weavers. It documents hybrid identities, memory, and solidarity across geographies. I’ve long admired how Alia reclaims overlooked narratives with such poetic clarity. Her voice feels both urgent and timeless.”

Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth

“Eunnam Hong’s painting … stopped me in my tracks — cinematic, hyper-stylized, and effortlessly cool. With nods to Cindy Sherman and K-drama aesthetics, the Korean artist explores identity and performance through staged, uncanny tableaus. Her figures- drenched in soft light, wrapped in curlers and headscarves, clutching vitamin D and Safeway bags - feel both retro and unmistakably now. It’s suburban surrealism meets generational moodboard, complete with Converse and quiet rebellion. Hong is one of the most compelling contemporary voices out there - sharp, relatable, and iconic in the making.

Eunnam Hong’s ‘Safeway’ at Mendes Wood DM booth. (Supplied)
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Simone Fattal’s ‘Music On My Mind’ (2024)

“Simone Fattal is a Syrian Lebanese artist whose sculptural practice draws from archaeology, poetry, and mythology to explore themes of memory, exile, and resilience. Born in Damascus and raised in Beirut, she has created only a few large-scale sculptures, making each one rare and significant. Her works are held in major collections including MoMA, Centre Pompidou, and the Sharjah Art Foundation … I was drawn to “Music On My Mind” for its quiet power — the naive, totemic form and subtle reference to sound felt deeply poetic.”

Simone Fattal’s ‘Music On My Mind’ (2024). (Supplied)

M'barek Bouhchichi’s ‘Terr

M'barek Bouhchichi’s ‘Terra’ series (2024)


Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner

“I love this work for its quiet intensity and material poetry and Selma Feriani, who presents it, is one of the few truly independent voices from the region to make it to Art Basel with a consistently bold program. M’barek Bouhchichi, born in southeastern Morocco, lives and works in Tahanaout, Morocco. The artist collaborates with women artisans to create henna-dyed wool works that evoke both landscape and memory. His ‘Terra’ series explores cultural links between Morocco and Mali through ancestral weaving techniques. These minimal, earthy compositions blur the line between textile and painting. A major solo show in Tunis is coming this September.”

Noah Davis’s ‘The Goat from Grayson’ (2008) at David Zwirner

“I’ve always been drawn to Noah Davis’s ability to create scenes that feel both dreamlike and grounded in Black lived experience. “The Goat from Grayson” (2008), shown here at David Zwirner, captures his signature blend of poetic realism, rich symbolism and painterly tenderness. The glowing tree, the quiet tension, and the spiritual undertone pull you in. Davis, who passed away tragically young at 32, was not only a brilliant painter but also the founder of The Underground Museum in Los Angeles, a vital space for Black art and community. His work was the subject of a major retrospective at the Hammer Museum in 2020, cementing his legacy as one of the most influential artists of his generation.”

Eric Fischl’s ‘After the Funeral’ (2017)

“Eric Fischl’s paintings often feel like paused movie scenes, loaded with tension, memory, and unspoken drama. I was instantly drawn to these two women, something about the cigarette, the ice cube, the gaze, it felt like I’d stumbled into a Woody Allen film mid-conversation. Fischl captures that strange mix of intimacy and detachment with uncanny precision. A key figure of American figurative painting since the 1980s, his work explores suburban psychology and social dynamics. He is represented by Skarstedt, a gallery known for championing major contemporary artists like David Salle, Cindy Sherman, and George Condo.”

Eric Fischl’s ‘After the Funeral’ (2017)

Sheila Hicks’s ‘Lianes Etoiles’ (2020)

“Sheila Hicks’s ‘Lianes Etoiles’ is pure visual rhythm. Its vibrant threads, soft textures, and sculptural layering instantly drew me in. There is something meditative and sensual about the way the colors pulse across the surface. Hicks, a pioneer of textile art, has redefined fiber as a sculptural and painterly medium for over six decades. This piece feels both contemporary and ancestral, like a coded language of color and craft. It is shown by Alison Jacques, a gallery that consistently champions strong, visionary practices.”

Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

“Wael Shawky’s amphora sculptures are a masterclass in historical layering and contemporary wit. Representing the Egyptian Pavilion at the last Venice Biennale, his work was among the most celebrated and nearly won the Golden Lion. The video “Drama 1882” retelling of the ’Urabi revolution that was co‑funded through support from Mai Eldib, who organised key patronage, was later acquired by a major institution in the Middle East. These Murano glass forms, draped in ornate textiles, are as subtle as they are rich in reference. Shawky continues to expand the visual language of Arab myth, ritual, and storytelling with quiet force.”

Wael Shawky’s ‘I Am Hymns of The New Temples: Pompeii glass amphora (#06)’ (2023) at the booth of Lia Rumma

Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

“This striking portrait by Amoako Boafo was exhibited at the Gagosian booth, where the brilliant Rola Wazni, director of Gagosian Paris, walked me through a presentation curated by Francesco Bonami. Boafo, originally from Ghana and based in Vienna, is known for his lush finger-painted figures and bold exploration of Black identity and presence. His textured brushwork and floral detailing here are both tender and defiant. The composition radiates quiet power, dignity, and individuality. Rolla’s sharp eye and grace made the experience even more memorable.”

Amoako Boafo’s ‘Floral One Piece’ (2025) at Gagosian Gallery’s booth

Maurizio Cattelan and Rudofl Stingel at Gagosian Gallery’s booth

“Gagosian’s booth at Art Basel 2025, curated by Francesco Bonami, offered a brilliantly irreverent pairing of Maurizio Cattelan’s ‘No’ (2021) and Rudolf Stingel’s ‘Untitled’ (2012). Cattelan’s kneeling figure in a suit, head covered by a paper bag, delivers a biting satire of modern-day capitalism and mental health collapse — a man caught between denial and trauma, refusing to face symbolic castration or mortality. Stingel’s silvery abstraction provided a haunting, meditative counterpoint, echoing themes of absence and ego. Together, the works reflected on visibility, repression, and the absurd rituals of the art world. The result was a sharp, minimalist statement that lingered long after.”


Gigi Hadid’s latest cashmere launch inspired by New York

Updated 21 June 2025
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Gigi Hadid’s latest cashmere launch inspired by New York

DUBAI: US Palestinian Dutch supermodel and brand founder Gigi Hadid has released her latest collection — and a new summer campaign — under her cashmere label Guest in Residence.

The new line was inspired by New York, according to Hadid, who founded her brand in 2022.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Gigi Hadid (@gigihadid)

“I’m endlessly inspired by New York City — a place I’ve called home for many years — and the notion that we’re all guests here. For our collection, we embrace the great duality every New Yorker faces in Summer: the thrill of a busy day in the city, paired with the urge to hop in a car with friends and escape to somewhere quiet and laid-back. No matter where you find yourself, our cashmere pieces embrace a spirit of timelessness that always works,” Hadid is quoted as saying on the Guest in Residence Instagram page.

The launch was complemented by a video campaign shared on social media, in which Hadid is joined by fellow models as they explore New York in the summer.

Paolo Santosuosso acted as the campaign’s art director, while the looks were styled by Elizabeth Fraser-Bell.

Hadid launched her clothing label, which features soft, colorful knitwear, in September 2022.

“Over the last handful of years, I didn’t want to be backed into starting my own line just because there was an offer on the table or a deal to be made,” she wrote to her followers on Instagram at the time.

“The earliest days of Guest in Residence came about when I started to question the cashmere market, and those answers gave me a path,” she added.

“I believe that because of its sustainable qualities — natural and made to cherish and to pass down — cashmere is a luxury that should be more accessible.”

Celebrities including Blake Lively, Ryan Reynolds, Taylor Swift and Bradley Cooper have been spotted wearing the label’s designs.

In June, Hadid also unveiled a new campaign with Brazilian footwear brand Havaianas.

The model, who launched a line with the flip flop label, starred in a vintage-inspired series of photographs. In the shots, she shows off slippers from her collection with the brand and is seen wearing retro outfits on a beach.


Post Malone to headline 2025 Esports World Cup opening ceremony in Riyadh

Updated 20 June 2025
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Post Malone to headline 2025 Esports World Cup opening ceremony in Riyadh

DUBAI: US rapper Post Malone – known for tracks like “Rockstar,” “I Had Some Help” and “Sunflower” – will perform will headline the opening ceremony of the 2025 Esports World Cup in Saudi Arabia.

The rap and country music artist will hit the stage in Riyadh on July 10.

In August 2020, the singer became part of Envy Gaming‘s ownership group, taking an undisclosed stake in the company, Esports Insider reporter of the North American organization that has since merged with Native Gaming.

The singer will return to the region to perform at the 2025 Etihad Airways Abu Dhabi Grand Prix on Friday Dec. 5.

Malone previously performed at the 2018 Abu Dhabi Grand Prix. He then returned in 2022, taking to the stage at Etihad Park.