W Riyadh KAFD introduces a new expression of lifestyle hospitality to the Kingdom Certain hotel brands arrive in a city loudly. Others arrive at precisely the moment the city is ready for them. W Hotels enters Saudi Arabia through Riyadh, opening its first property inside King Abdullah Financial District, a part of the capital that increasingly reflects the pace, ambition, and evolving social rhythm of the city itself. The timing feels deliberate. Riyadh has changed dramatically over the last few years, not only in scale, but in how the city experiences hospitality. Hotels are no longer functioning solely as places to stay. They have become restaurants, social hubs, workspaces, meeting points, and extensions of the city’s cultural life. Within this landscape, W Riyadh – KAFD positions itself less as a traditional luxury hotel and more as an active part of the capital’s daily movement. The location itself is central to that identity. KAFD has rapidly evolved into one of Riyadh’s defining urban districts, combining offices, residences, retail, hospitality, and public architecture within a highly designed environment shaped by walkability and density rather than sprawl alone. The district increasingly attracts a younger professional and creative audience, people moving fluidly between business, dining, social life, and culture throughout the day. W Hotels has historically built its identity around exactly this type of energy. Since first launching in New York in the late 1990s, the brand positioned itself differently from more formal luxury hospitality, building hotels around nightlife, design, music, fashion, and social connectivity. Riyadh marks an important regional evolution of that formula, adapting the brand’s more globally recognisable language to a city with its own distinct cultural framework. The design, developed by LW Design, approaches Saudi references with restraint rather than theatricality. Najdi textiles, Al Sadu weaving traditions, desert landscapes, and geometric regional patterns appear throughout the property, but they are interpreted architecturally rather than decoratively. Stone, veined marble, bronze tones, textured fabrics, and sculptural details create an environment that feels connected to place without becoming literal in its references. The arrival sequence establishes this immediately. Inside the lobby, open social spaces are balanced against quieter corners intended for conversation and informal gathering. A six-metre tapestry by Saudi artist Abdulnasser Gharem anchors the room, while large-scale curtains reference the early stages of textile weaving. The layering of contemporary design with regional craftsmanship gives the hotel a stronger sense of context than many international hospitality imports entering the Gulf market. That connection continues throughout the guestrooms and suites. The palette moves through deep greens, ruby, gold, and bronze, while geometric textiles and Arabic-English typographic artwork reinforce the hotel’s regional identity. The W Penthouse, spanning nearly 400 square metres, introduces a more residential atmosphere with private wellness facilities, expansive entertaining areas, and an installation inspired by Subha prayer beads, transforming a familiar cultural object into sculptural form. Yet the social identity of W Riyadh may ultimately define it more than the design itself. Across Riyadh, restaurants and hospitality spaces have increasingly become central to the city’s social infrastructure. Dining now shapes much of Riyadh’s public rhythm, particularly among younger Saudis whose social lives move fluidly between cafés, lounges, restaurants, and hotels throughout the week. W Riyadh is built directly around that behaviour. Its dining concepts operate less as standalone venues and more as layered gathering spaces. Sira introduces a Latin American-inspired menu centred around open-fire cooking and a social dining atmosphere. Beni functions as an all-day coffee house serving specialty coffee and artisanal ice cream, reflecting Riyadh’s increasingly sophisticated café culture, which has become one of the defining elements of the city’s contemporary identity. Later this year, Sahari will expand the hotel further into nightlife and evening programming through an outdoor lounge built around music, performance, and social gatherings extending late into the night. The name itself carries particular resonance. Sahari references the Arabic tradition of staying awake deep into the evening, something long embedded within Gulf social culture, especially during Ramadan and summer months when the city shifts later into the night. Here, the concept becomes contemporary hospitality programming without losing its regional context. This balance between international hospitality language and local rhythm is where W Riyadh feels most successful. Rather than simply importing the existing W formula into Saudi Arabia, the hotel adapts itself to the city’s behaviour, social codes, and pace. The opening also reflects a wider transformation happening across Saudi hospitality itself. Riyadh is entering a period where global hotel brands are no longer arriving cautiously. They are building flagship statements within the city, recognising Saudi Arabia not simply as an emerging market, but as one of the region’s most influential luxury destinations. W Riyadh joins a hospitality landscape increasingly shaped by names such as Edition, St. Regis, Four Seasons, Bab Samhan, and The Ritz-Carlton, all competing to define what luxury hospitality in modern Riyadh will ultimately become. For W Hotels specifically, Riyadh represents something larger than another regional opening. It marks the brand’s entrance into one of the fastest-evolving cultural markets globally, where youth, design, nightlife, dining, and luxury consumption are all being redefined simultaneously. Inside KAFD, that transformation already feels visible. Offices empty into cafés. Restaurants remain full late into the night. Fashion, business, culture, and hospitality increasingly overlap within the same spaces. W Riyadh enters directly into that rhythm, not observing the city’s evolution from a distance, but placing itself inside the movement itself.

Four compositions that move from dawn through twilight Fashion and fragrance have always operated close to one another. Both shape presence through detail, texture, and memory, allowing identity to be carried through something physical yet intangible. With the launch of its first fragrance collection, Peserico extends its visual language into scent, translating the atmosphere of the brand into a more sensory form. The collection emerges from a collaboration with perfumer Caterina Roncati, founder of the Genoese niche fragrance house Strega del Castello. Drawing from a family history rooted in early twentieth-century perfumery, Roncati approaches scent composition with a balance of structure and instinct, shaping fragrances that unfold gradually rather than immediately. Together, Peserico and Roncati developed three fragrances and a perfumed water, each tied to a different moment within the day. The collection moves chronologically, from dawn through midday into sunset, allowing mood, light, and atmosphere to guide the compositions. Aurora Nobile introduces the beginning of the sequence. Inspired by the soft pink light of early morning, the fragrance opens through pear, bergamot, and mandarin before moving into orange blossom, neroli, and sambac jasmine. The composition settles into bourbon vanilla, amber, white musk, and benzoin, creating a warmth that feels smooth rather than heavy. The progression continues with Luce Sublime, positioned around the clarity of midday light. Marine accords introduce the fragrance before cedar, vetiver, cardamom, and clove build through the centre of the composition. The base remains restrained, combining coumarin, amber, and musk in a way that feels dry, airy, and measured. This scent holds particular importance within the collection, operating as the fragrance most closely associated with the house itself. Its character extends further through the accompanying perfumed water, a lighter interpretation that retains the freshness and woody structure of the original composition while softening its intensity into something more diffuse and atmospheric. Tramonto Ambrato closes the collection through a warmer register. Built around the tones of late evening, the fragrance moves through citrus and fruit before settling into amber, cedar, sandalwood, and white musk. Pineapple, cherry, pear, and peach appear within the centre of the composition, introducing sweetness without pushing the fragrance into excess. Across all four creations, there is a consistency in pacing. None of the fragrances rely on immediate projection or overt complexity. Instead, they are constructed to evolve gradually, remaining close to the skin and allowing individual notes to emerge through time and movement. This restraint reflects the wider identity of Peserico itself. The Italian house has built its reputation through precision, softness, and continuity rather than spectacle, allowing materials and tailoring to define the experience of the garment. The fragrances follow the same logic, extending the atmosphere of the brand rather than departing from it. What emerges is a collection shaped around mood and presence. Each composition holds a distinct point within the day, while remaining connected through a shared sense of balance and quiet refinement. Peserico enters fragrance in the same way it approaches fashion, through clarity, texture, and the details that remain long after the first impression.

The Maison’s signature motifs, reworked with precision Pasquale Bruni has long approached jewellery through emotion and symbolism, allowing natural forms to shape the language of the Maison. Flowers, leaves, and organic silhouettes appear repeatedly across its collections, not as decoration, but as part of a larger identity rooted in femininity, sensuality, and craftsmanship. With the introduction of Petit Garden and Petit Joli Micro, that language moves into a more intimate scale. The collections refine some of the Maison’s most recognisable floral motifs into smaller, more delicate forms, designed to sit closer to the body and integrate more naturally into daily wear. The shift in proportion changes the experience of the jewellery. Pieces feel lighter, more layered, and more fluid in how they are styled, while still retaining the richness associated with Pasquale Bruni’s aesthetic. At the centre of both collections is the flower, a recurring symbol within the Maison’s visual universe. Under the creative direction of Eugenia Bruni, nature has consistently operated as both inspiration and emotional reference, shaping collections that explore themes of individuality, energy, and personal expression. Petit Garden and Petit Joli Micro continue this direction through miniature floral forms set with pavé diamonds and coloured gemstones. The detailing remains precise despite the reduction in scale. Stones are positioned to preserve depth and luminosity, allowing each piece to hold presence without relying on size. The use of colour is controlled, with gemstones introducing variation through subtle contrast rather than intensity. Diamonds remain central, catching light across the contours of the petals and reinforcing the softness of the silhouettes. Handcrafted in Italy, the collections reflect the Maison’s continued emphasis on artisanal construction. Pasquale Bruni’s jewellery is produced within its atelier in Valenza, a city historically associated with Italian goldsmithing and fine jewellery craftsmanship. This heritage remains visible in the finishing of each piece, from the smoothness of the gold surfaces to the precision of the stone setting. The move toward smaller-scale jewellery aligns with a broader shift currently shaping the fine jewellery landscape. Pieces are increasingly designed to be layered and worn continuously rather than reserved for occasion dressing alone. Petit Garden and Petit Joli Micro respond to this naturally, offering forms that can be combined across necklaces, rings, earrings, and bracelets without feeling repetitive. There is also a softness to the collections that feels aligned with the current direction of luxury jewellery. Rather than relying on overt scale or visibility, the emphasis is placed on proximity, pieces that reveal themselves gradually through movement and detail. What remains consistent is the emotional quality that has always defined Pasquale Bruni. Jewellery is treated as something deeply personal, connected not only to style, but to mood, memory, and self-expression. Petit Garden and Petit Joli Micro do not alter the Maison’s identity. They condense it, allowing its floral language, colour palette, and craftsmanship to exist in a form that feels lighter, more versatile, and closely connected to everyday life.

A Roman motif, brought into focus There are moments when a collection extends beyond the object and begins to shape its own environment. Bvlgari’s Divas’ Dream enters Riyadh in that way, not as a static presentation, but as a spatial experience that unfolds across the city. For the first time, the Maison introduces a pop-up dedicated entirely to this collection, structured as a journey rather than a display. It begins at Solitaire Mall and continues at Kingdom Centre, allowing the experience to move through two distinct settings while maintaining a continuous narrative. At the centre of Divas’ Dream is a form that has remained consistent since its introduction in 2016. The fan-shaped motif, derived from the mosaic patterns of the Baths of Caracalla in Rome, expands outward with measured symmetry, creating a silhouette that feels both structured and fluid. Within the pop-up, this form is translated into space. The experience is divided into a sequence of rooms, each revealing a different aspect of the collection. It begins with an introduction to the motif itself, tracing its origins and the references that inform it. From there, the focus shifts to craftsmanship, where the process behind each piece is brought forward, from gemstone selection to the precision of setting and finishing. The progression continues into a more immediate interaction. A dedicated try-on space allows the pieces to move from display to wear, shifting the experience from observation to participation. The final stage introduces a photographic element, capturing a moment within the environment that reflects the visual language of the collection. Throughout, the use of colour and light remains central. Surfaces are designed to respond to movement, allowing the collection’s tonal variations and material contrasts to become more visible as the space is navigated. The effect is controlled, each element positioned to maintain clarity while allowing for variation. The setting carries its own relevance. Riyadh continues to establish itself as a place where heritage and contemporary expression operate in parallel, creating a context that aligns naturally with the collection’s underlying structure. Divas’ Dream moves within that same framework, where historical reference is held alongside a more current interpretation of femininity. What emerges is a presentation that does not isolate the jewellery from its environment. Instead, it extends its language, allowing form, material, and light to exist across both object and space. Bvlgari’s approach here remains precise. The collection retains its identity, while the experience around it expands, creating a setting in which each piece can be encountered with greater depth and clarity. Divas’ Dream holds its structure. The environment allows it to be seen differently.

A study in craftsmanship inspired by the discipline of dance Movement has always been central to Van Cleef & Arpels. Not as a reference, but as a language that informs how each piece is shaped, balanced, and ultimately brought to life. With Ballet Précieux, the Maison returns to one of its most enduring sources of inspiration, translating the discipline of dance into a new series of High Jewelry creations. The relationship is longstanding. Since the early 1940s, dancer clips have formed part of the Maison’s visual identity, capturing the posture, gesture, and lightness of ballet through gold and precious stones. This latest chapter extends that dialogue, introducing twelve new ballerina clips that draw from the classical repertoire, each one constructed with a level of precision that reflects both the technical demands of dance and the craftsmanship of high jewellery. The process begins with form. Each figure is first sculpted by hand in green wax, allowing the volume and proportions to be studied in three dimensions. This stage holds particular importance, as it determines how the body will carry movement once translated into gold. The wax is then replaced through casting, before the piece is refined, polished, and prepared for setting. From there, colour is introduced. Gemstones are selected not only for quality, but for how they contribute to the overall composition. Sapphires, rubies, emeralds, and diamonds are arranged to follow the lines of the body, echoing the folds of fabric, the structure of a bodice, or the movement of a skirt. The result is a surface that feels continuous, where material and form are held together without interruption. Each clip references a specific ballet, allowing the collection to move across different narratives. The Danse de Séville figure reflects the energy of Carmen, with layered skirts that accentuate movement through both structure and colour. Elsewhere, Rêverie de Coppelius introduces a more restrained posture, its form suggesting stillness within motion, while the Fée Dragée piece carries a softer palette, where pastel stones are arranged in gradual transitions across the silhouette. The detailing remains consistent throughout. Techniques such as guilloché engraving, lacquer application, and stone paving are used to recreate the textures of stage costumes, allowing the jewellery to carry both visual and tactile depth. The combination of polished gold and varied stone settings introduces contrast, but it remains controlled, ensuring that the overall composition retains clarity. Beyond individual pieces, the collection operates as a complete ensemble. The twelve clips form what can be understood as a jewelled corps de ballet, each figure distinct, yet connected through proportion, technique, and the shared language of movement. This continuity extends into the Maison’s broader engagement with dance. Through its Dance Reflections initiative, Van Cleef & Arpels continues to support contemporary choreographic work, reinforcing a relationship that exists both within the object and beyond it. What defines Ballet Précieux is not interpretation, but translation. The gestures of dance are carried directly into material, shaped through technique, and held in a form that preserves both movement and balance. The result is a collection that moves quietly, not through motion, but through the precision with which it is made.

The signature menu, restructured for the early evening Carbone has always operated with a certain intensity. The room, the pacing, the sense of occasion, each element is structured to hold attention from the moment the evening begins. With the introduction of Selection of Carbone, that rhythm shifts slightly, opening the experience into an earlier part of the day without losing its identity. Set within Mansard Riyadh, the new concept repositions the restaurant’s offering into a format that feels more fluid. The early evening becomes active, not transitional. Guests arrive between five and eight, or earlier on weekends, and the experience unfolds with a different kind of energy, one that is less formal, but still controlled. The structure of the menu reflects this change. It is built around sharing, allowing the table to form gradually rather than through individual courses. Guests move through a curated selection, beginning with antipasti and salads that establish both pace and tone. A shrimp cocktail, composed with poached red prawns and a classic sauce, sits alongside carpaccio layered with truffle and walnut, each dish carrying the depth expected of the Carbone kitchen while remaining balanced within the format. The progression continues through pasta, which remains central to the restaurant’s identity. Signature dishes appear here without adjustment, the Spicy Rigatoni, Angel Hair with chilli and garlic, and Fusilli Pomodoro, each designed to be placed at the centre of the table, shared rather than served individually. The familiarity of these plates anchors the experience, maintaining continuity with the original concept. Mains follow with the same clarity. Grilled cuts of ribeye and New York strip introduce a more structured element, while seafood, including whole branzino, offers variation without shifting the overall direction. Sides complete the table, potatoes roasted in duck fat, sautéed spinach, and asparagus with lemon, each contributing to a composition that feels complete without excess. Desserts remain straightforward. Carrot cake and lemon cheesecake close the meal with a familiar sense of indulgence, aligning with the broader language of the menu. What defines Selection of Carbone is not the individual dishes, but how they are experienced. The format is designed for two or more guests, with a fixed selection that can be expanded, allowing the table to be built collectively. The atmosphere responds to this. It becomes more social, more open, while retaining the structure that defines the restaurant. This shift introduces a different entry point into Carbone. The experience becomes more accessible in timing and format, without reducing its identity. It allows the restaurant to operate across a broader part of the day, engaging a wider audience while maintaining the consistency of its offering. Within Riyadh’s evolving dining landscape, this approach feels aligned. The city continues to expand how dining is experienced, moving beyond fixed occasions into something more flexible, more integrated into the rhythm of the day.

Writing instruments shaped by precision, texture, and presence Versace approaches design through expression. It moves between structure and excess, control and instinct, allowing each object to carry both precision and presence. Within the Spring Summer 2026 collection, this language is translated into writing instruments, objects that shift the act of writing into something more deliberate, more physical, and more visible. The collection is built around a clear idea. Writing is not treated as function alone, but as gesture. The movement of ink across paper becomes an extension of thought, shaped by the object that holds it. Each pen is designed to reflect this, merging Italian artistry with Swiss technical construction, where form and performance are held in equal measure. Two distinct expressions define the collection. Croco introduces a surface that is immediately tactile. The barrel carries a crocodile pattern that moves across the metal, catching light and creating variation with each shift in angle. The finish is polished, but not flat, allowing texture to remain present. The addition of the Medusa emblem and Versace logo anchors the piece within the house’s visual language, maintaining continuity while introducing a more physical dimension to the design. The construction remains precise. A Swiss-made roller system ensures a controlled, fluid movement, where ink flows consistently without interruption. The balance between texture and function is maintained throughout, allowing the pen to operate as both object and instrument. Rock ’n’ Royalty moves in a different direction. The surface becomes more intricate, with the La Coupe des Dieux Jungle motif extending across both barrel and cap. Rendered in gold tones with sculptural relief, the design carries a sense of density, where detail builds across the surface without losing clarity. The reference to Versace’s established codes is clear. Classical symbolism sits alongside a more contemporary edge, creating a composition that holds both. The Medusa remains present, integrated within the design, while the engraved logo introduces a point of structure within the overall composition. Despite the visual complexity, the function remains controlled. The roller tip moves with consistency, maintaining a steady flow that aligns with the precision expected of a writing instrument. The balance between performance and design is maintained without compromise. Across both models, material and proportion are handled with care. Metal finishes move between stainless steel and gold plating, creating contrast without excess. The dimensions remain compact, allowing the object to sit comfortably within the hand while retaining its visual presence. What defines this collection is not scale, but focus. Each element is developed with intention, from surface texture to movement, ensuring that the object holds both visual and functional clarity. Versace’s approach remains consistent. Expression is carried through form, and design is used to shape how an object is experienced. Within this collection, writing becomes part of that expression, held in the hand, translated through movement, and defined through detail.

The way colour sits on the skin determines everything. It defines depth, clarity, and how the face holds light. For years, much of the beauty industry approached this inconsistently, with undertones often adjusted rather than properly understood. Vimi Joshi Beauty is built on addressing that with precision. Founded by global makeup artist Vimi Joshi, whose career spans over two decades, the brand draws from direct, hands-on experience across a wide range of skin tones. The starting point is technical. Formulations are developed to hold true pigment, allowing colour to appear as intended without shifting, dulling, or flattening once applied. The difference is immediate. Shades remain stable, and undertones are preserved rather than corrected. This approach shapes the entire range. Eyeshadow palettes are structured to build dimension, with tones that layer cleanly without losing clarity. Mascaras focus on definition and separation, allowing the eye to retain its natural structure. Liners are designed with control, creating shape without overpowering the rest of the face. Each product works within a system that prioritises balance and consistency. The emphasis on undertone is central. Rather than adapting a narrow shade range, the brand is developed with a broader spectrum in mind from the outset. This allows products to sit naturally across diverse skin tones, maintaining depth and warmth where it exists, rather than neutralising it. There is a noticeable shift in how colour behaves. It appears more precise, more aligned with the skin, and requires less adjustment. Application becomes more direct. A single pass delivers the intended result, without the need to layer or correct. Beyond formulation, the brand operates with a clear sense of connection. It creates space for a wider range of faces and perspectives within beauty, not as an extension, but as part of its foundation. Through in-store experiences, masterclasses, and ongoing engagement with artists and consumers, the brand builds a network that feels active and responsive. Its presence within Ulta Beauty Middle East reflects this alignment. The brand connects with an audience that recognises itself within the palette and the way colour is constructed. It sits within the existing landscape of beauty, while offering a more considered approach to how products are developed and worn. What defines Vimi Joshi Beauty is clarity. Colour is treated as structure, undertone is handled with accuracy, and the experience remains consistent from formulation through to application. It is a brand shaped by understanding how colour should sit, and allowing it to do so without compromise.

Jewellery that moves with the season Summer changes how jewellery is worn. Pieces move out of the background and take on a more visible role, shaping the entire look rather than finishing it. L’Atelier Nawbar approaches the season with that understanding, placing colour, texture, and layering at the centre of the collection. Founded in Beirut, the house has long worked between tradition and expression, drawing on established techniques while allowing for a more personal way of wearing jewellery. That balance carries through this edit, where craftsmanship remains precise, yet the overall feeling is relaxed and instinctive. The collection focuses on rings and bangles designed to be worn together. Turquoise, malachite, and enamel introduce a palette that reflects the season directly, tones that respond to light and sit easily against sun-warmed skin. The use of hand-painted enamel adds depth to each piece, creating surfaces that shift subtly as they move. There is a physical quality to how the pieces behave. Bangles gather at the wrist, producing a quiet, familiar sound with movement, while rings layer across the hand, each carrying its own detail while contributing to a broader composition. The effect builds gradually, shaped by how the pieces are combined rather than prescribed. This approach to stacking feels natural within the brand’s language. L’Atelier Nawbar has always worked with colour and symbolism, allowing each piece to hold its own identity while remaining part of a larger system. The “mini-masterpiece” rings continue this idea, small in scale, but defined by their intricacy and clarity of design. The collection moves easily between settings. It sits as comfortably at the beach as it does in the city, adapting through layering rather than replacement. Pieces are added, adjusted, and worn repeatedly, forming combinations that evolve over time. What defines this edit is consistency. Colour remains vivid, materials are handled with control, and the overall composition feels considered without becoming structured. Jewellery becomes part of the daily rhythm of the season, integrated into how the day unfolds rather than reserved for a particular moment. L’Atelier Nawbar’s summer is built through accumulation. Each piece contributes to a composition that feels complete, held together through colour, material, and the way it is worn.

Abu Dhabi’s dining scene has entered a phase where refinement is no longer defined by scale For nearly a decade, Isabel has held a distinct position in London, known not only for its menu, but for the way it brings people together. Its international debut does not attempt to replicate that presence. Instead, it extends it, allowing the concept to take shape within a different city, one that holds its own rhythm, its own pace, and its own expectations. From the outset, the approach is structured around continuity. The experience is designed to move from day into late evening without interruption, allowing the space to evolve gradually rather than shift abruptly. This sense of progression defines how Isabel operates, not as a single moment, but as a sequence of them. The menu follows the same direction. Led by French chef Vincent Visinet, it is built around an ingredient-led approach that draws from the Mediterranean without becoming fixed within it. Dishes are composed with clarity, allowing the product to remain central while introducing subtle variation through technique and balance. The opening notes are precise. Croquetas arrive filled with onion and leek béchamel, lifted through acidity rather than weight. Starters continue with a focus on freshness, a vegetable tartlet layered with cooked, raw, and pickled elements, or heirloom tomatoes presented with a verbena-infused consommé that shifts the flavour without altering its structure. Mains introduce a deeper register. Carabineros are paired with a reduced head jus, sharpened with kaffir lime and anchored by a potato roll with nori, a composition that moves between intensity and restraint. A Beef Fillet Wellington holds its place within the menu with a more classic construction, its layers defined through precision rather than reinterpretation. Desserts close the experience without excess. A red berry pavlova offers contrast through texture and temperature, while an oversized pistachio madeleine, served warm with diplomat cream, introduces a more communal gesture, designed to be shared rather than plated individually. The space itself is integral to how the experience unfolds. Designed by DBM Studio, the interiors are constructed through material and light rather than statement. Polished brass, Calacatta Viola marble, dark oak, and deep blue velvet create a palette that shifts throughout the day, revealing different layers as the light changes. There is a softness to the way the space is structured. Curved banquettes introduce intimacy without enclosure, while hand-embroidered silk wall coverings bring a level of detail that feels considered rather than decorative. The room does not present itself all at once. It reveals itself gradually, mirroring the pacing of the experience it holds. This opening also marks a broader collaboration between London-based BNF Hospitality and UAE-based Fuse Holding, bringing together international perspective and local understanding. The intention is clear. Isabel is not positioned as an import, but as a presence that belongs within Abu Dhabi, shaped by its context rather than defined by its origin. The year ahead will see the restaurant develop through a series of events and cultural collaborations, allowing it to move beyond its opening moment and into a more sustained role within the city’s dining landscape. Isabel Mayfair Abu Dhabi opens on April 20, not as a statement, but as an addition. A space designed for how people gather, how they spend time, and how an evening is allowed to unfold.

The language of the Ingenieur At Watches and Wonders Geneva, IWC returns to one of its most recognisable lines with a measured expansion of the Ingenieur Automatic 35. The approach is precise. Rather than redefining the collection, the brand introduces two new references that refine its position, extending both material expression and dial language while maintaining the integrity of the original design. The Ingenieur has always carried a distinct identity. First shaped through Gérald Genta’s industrial design language, its defining elements remain immediately recognisable, the functional screws across the bezel, the integrated bracelet, and the structured “Grid” dial. In its 35-millimetre form, these characteristics are held within a more compact and ergonomic case, allowing the watch to sit closer to the wrist without losing its presence. This latest release introduces a new dimension through material contrast. One model incorporates an 18-carat 5N gold bezel set with 45 white diamonds, forming a controlled frame that shifts the Ingenieur into a more elevated position without altering its underlying structure. The diamonds are set with precision, balanced against polished edges that maintain clarity rather than excess. The case and bracelet remain stainless steel, creating a deliberate interplay between restraint and ornamentation. Alongside this, IWC introduces a second reference that feels more aligned with the brand’s established codes. The addition of a deep blue dial, a colour long associated with the manufacture since the late 1960s, brings a different depth to the collection. The surface of the “Grid” dial takes on a more pronounced dimension in this tone, shifting with light and reinforcing the architectural quality of the design. Across both models, the detailing remains consistent. The combination of satin-finishing and polished surfaces across the case and bracelet creates a controlled contrast, while the integrated metal bracelet, with its polished centre links, maintains the continuity that defines the Ingenieur. The proportions are deliberate, with a thickness of just 9.4 millimetres, ensuring the watch retains a refined profile on the wrist. The movement is revealed through a transparent sapphire case back, offering a view of the 47110 calibre. Automatic winding, a 42-hour power reserve, and finishing details including circular graining and Geneva stripes position the watch firmly within IWC’s technical framework, while the gold-plated oscillating weight introduces a subtle visual contrast within the movement itself. What emerges from these additions is not a shift in direction, but a reinforcement of identity. The Ingenieur Automatic 35 continues to operate within a clearly defined space, one that balances engineering, design, and wearability without compromise. In extending the collection, IWC does not move away from its original language. It refines it, allowing new materials and finishes to sit within a structure that has remained consistent for decades.

We tried it before you buy it The first time you use the Shark Beauty Glam Styler, the shift is immediate. Not dramatic, not theatrical, but practical. It changes the order of how you approach your hair. There is no separate blow dry, no second tool waiting on the counter. You begin with damp hair and move straight into styling. The transition happens within the same motion, and that is where the difference lies. The tool is built as a system rather than a single function. Attachments move between smoothing, shaping, and drying, but the experience remains continuous. The air flow and ceramic heat work together, regulating temperature as you move through each section, so there is no moment where the hair feels overworked or exposed to excessive heat. You notice this not through numbers or settings, but in how the hair responds. It stays soft, it holds its movement, and it does not carry the dry finish that usually follows repeated styling. The straightening attachment becomes the anchor. It takes hair from damp to smooth in a single pass, creating a finish that sits somewhere between a blowout and a flat iron, controlled, but not pressed. The result feels lighter, with more movement, and a surface that reflects light rather than absorbing it. There is a consistency to it that holds throughout the day without needing to be reworked. The brush attachment introduces a different direction. It is where the finish shifts from simply done to considered. It smooths the surface of the hair while adding shape, creating that slight lift at the root and softness through the ends that usually requires more time and effort to achieve. It is also where the gloss becomes most visible. Frizz is reduced almost immediately, and the hair takes on a cleaner, more polished texture. The curling attachments are more measured. They create soft, uniform waves with ease, drawing the hair around the barrel through airflow rather than force. The result is consistent, though intentionally relaxed. It is less about holding a structured curl and more about introducing movement. On finer hair, this may require additional setting, but within the context of the tool, it aligns with the overall direction, controlled, but not rigid. What becomes clear over time is the efficiency. Styling is faster, not because the tool is aggressive, but because it removes steps. There is no need to move between dryer, brush, and iron. The process is reduced without feeling simplified, and that reduction changes how often you reach for it. The experience remains consistent across different hair types. The attachments adapt in function rather than requiring a change in approach, allowing the tool to work with the hair rather than against it. Heat remains controlled throughout, measured continuously to avoid spikes, which becomes noticeable in the overall condition of the hair after repeated use. There are limitations, though they sit at the edges of the experience. The sound is present, slightly more than expected, and the initial use requires a level of familiarity before it becomes instinctive. Certain settings are linked rather than fully adjustable, which may take a moment to understand. None of this disrupts the overall function, but it is part of how the tool is designed to operate. What the Shark Glam Styler does well is not just styling. It simplifies the process while maintaining the result. Hair looks finished without looking overdone. It holds shape without losing movement. And most importantly, it allows the routine to feel more controlled, more efficient, and more consistent. It becomes less about creating a look, and more about maintaining a standard. PARTNER CONTENT - The EDIT was gifted for this review