A Language of Colour, Set in Motion Within Piaget’s evolving language of jewellery, colour has never been surface. It has always been structure, emotion, and identity. With the introduction of Possession Vibrant Palace, the Maison returns to one of its most enduring signatures, the interplay between movement and material, and extends it through a new exploration of ornamental stone. This collection marks a considered shift within Possession. Known for its rotating forms and sculptural gold, the line now incorporates turquoise, sodalite, and dumortierite, stones chosen not simply for their colour, but for the depth and variation they carry. Each shade of blue moves between brightness and density, between light and shadow, creating pieces that feel composed rather than decorated. The decision is grounded in Piaget’s history. Since the late 1960s, the Maison has approached colour as a defining element of its identity, from the early experimental displays of Salon Piaget to the visual language that emerged through its ‘21st Century Collection’. Blue, in particular, has remained central, drawn from both the alpine clarity of La Côte-aux-Fées and the saturated light of the Riviera.  It is this duality, precision and vibrancy, that carries through into Vibrant Palace. What distinguishes the collection is its construction. Hard stone mosaics are set into engraved gold surfaces, where Decor Palace technique meets a more fluid, almost painterly arrangement of materials. Squares, ovals, and irregular cuts are layered in ways that allow each stone to retain its individuality, while still forming a coherent whole. The result is not symmetry, but balance. Not repetition, but rhythm. This sense of composition extends into the movement that defines Possession. Rotation remains central, expressed through rings, bracelets, and medallions that respond to touch. The gesture is subtle, almost instinctive, yet it anchors the collection conceptually. Jewellery here is not static. It shifts, turns, and reframes itself in real time, reinforcing Piaget’s longstanding interest in pieces that are lived with rather than simply worn. There is also a quieter dimension to the work. The use of ornamental stones introduces an element of symbolism, echoing the historical role of amulets and protective objects. Without overt reference, the pieces carry a sense of intimacy, something held close, understood privately by the wearer. The circular form reinforces this, a shape that has long been associated with continuity, protection, and renewal across cultures. Across the collection, diamonds appear with restraint, set in half-moon formations that frame rather than dominate the stones. Rose gold provides warmth, while polished gadroons introduce a structural clarity that offsets the fluidity of the mosaic. Every element is deliberate, contributing to a composition where light does not simply reflect, but moves across surfaces and between materials. Possession Vibrant Palace does not reposition the collection so much as deepen it. It retains the codes that have defined Possession for decades, circularity, tactility, movement, while introducing a new material vocabulary that expands its expressive range. In doing so, Piaget reinforces its place within jewellery not only as a house of craftsmanship, but as one that continues to explore how form, colour, and motion can coexist within a single object. What emerges is a collection that feels both precise and open. Each piece carries its own variation, shaped by the natural differences in stone, the hand of the artisan, and the way it is worn. It is jewellery that reveals itself gradually, through light, through movement, and through the quiet dialogue between material and form that Piaget has long understood as its own.

A new expression of the V8 grand tourer There is a particular clarity to the idea of a grand tourer when it is left open to the elements. With the unveiling of the Ferrari Amalfi Spider, Ferrari returns to this space with precision, refining a format that has long defined the marque’s road-going identity. The Amalfi Spider arrives not as a departure, but as a continuation, a V8-driven, front mid-engined convertible shaped for distance, speed, and the experience of driving itself. At its core sits the latest evolution of Ferrari’s twin-turbo V8, producing up to 640 cv and positioned to balance performance with composure across long distances.  Power is delivered through an eight-speed dual-clutch transmission, translating seamlessly into acceleration that reaches 100 km/h in just over three seconds, while maintaining the measured character expected of a grand tourer.  This is not a car built for excess alone, but for continuity, where performance is sustained rather than momentary. The defining gesture, of course, is the roof. A fabric soft top replaces the fixed form of the coupé, engineered to open in 13.5 seconds and at speeds of up to 60 km/h, preserving both the car’s proportions and its usability.  When retracted, the roof compresses into a minimal footprint, allowing the Amalfi Spider to maintain the clean, uninterrupted lines that have become central to Ferrari’s current design language. The result is a silhouette that reads as complete whether open or closed, uninterrupted by compromise. Inside, the dual-cockpit layout reinforces this balance between driver and passenger. A fully digital instrument cluster sits opposite a central touchscreen, with an optional display extending toward the passenger, reflecting Ferrari’s ongoing interest in shared driving experience rather than isolation.  Materials are handled with restraint, leather, metal, and carefully considered surfaces that favour tactility over excess, aligning with the car’s broader sense of control. What distinguishes the Amalfi Spider is not a single feature, but its positioning. It sits within Ferrari’s lineage of V8 grand tourers, a space historically defined by usability as much as performance. The inclusion of a 2+ configuration, modest rear seating, and practical luggage capacity underscores this, reinforcing the idea that this is a car designed to be driven often, not reserved. There is also a shift in how Ferrari frames this category. The Amalfi Spider is described not as a supercar, but as a grand tourer, a distinction that matters.  It places emphasis on experience over spectacle, on the continuity of driving rather than isolated performance metrics. The open roof amplifies this, introducing sound, light, and environment into the drive in a way that cannot be replicated in a closed form. In this sense, the Amalfi Spider is less about transformation and more about refinement. It takes a familiar structure, V8 power, front-mid engine layout, rear-wheel drive, and reworks it with a contemporary clarity that aligns with how Ferrari now defines its road cars. It is precise without being restrained, powerful without being excessive, and open without losing its sense of form. The name itself, drawn from one of Italy’s most enduring coastlines, is not incidental. It situates the car within a landscape of movement, distance, and exposure, where the act of driving extends beyond performance into something more considered. The Amalfi Spider carries that association forward, not as reference, but as experience, a car designed to be driven with purpose, and to be understood over time rather than in a single moment.

Tailoring and fluidity come together in a debut grounded in perspective rather than trend Abdullah Alkhorayef arrives at fashion from a different place. Trained as an engineer, his approach carries a certain clarity, but the work itself is shaped by something less measurable, memory, emotion, and the quieter ways identity reveals itself over time. With IYMAA, he introduces a label that resists a conventional starting point. It does not position itself around trend or seasonality, but around a way of thinking about clothing as something lived in and carried forward. The brand is conceived as a space as much as it is a collection, bringing together creatives across disciplines, individuals who approach design as expression rather than surface. The debut collection, Lost in Time , sets the tone. It moves through the idea of transition, not as disruption, but as something continuous. The pieces hold a balance between structure and softness, tailoring that feels present without becoming rigid, silhouettes that follow the body without restricting it. There is a sense of familiarity, but it is never literal. What stands out is the control. Nothing feels excessive. The garments hold their presence through proportion and construction, allowing subtle references to surface without being overstated. Texture is layered carefully, creating depth that reveals itself gradually rather than all at once. Alkhorayef’s perspective comes through in how the collection is resolved. Each piece feels considered in how it moves, how it sits, and how it is worn. The focus remains on the wearer, on how clothing can shape the way someone carries themselves without drawing attention away from them. “I have always been drawn to the idea that clothing can transform how we move through the world,” he notes. It is a straightforward statement, but it carries through the work. The collection does not attempt to define identity. It allows space for it to shift. The first presentation of Lost in Time  reflected that same approach. Shown during The Qode Press Day, the collection was introduced in a setting that allowed for proximity. Guests moved through the pieces at their own pace, observing the construction and material up close. It was less about presentation, more about encounter. There is a broader ambition behind IYMAA that extends beyond the garments themselves. From the outset, the brand is built around a creative dialogue, drawing in artists, photographers, and musicians who contribute to its evolving language. It is structured to remain open, allowing different perspectives to shape what comes next. This is where the brand begins to position itself more clearly. Within Riyadh’s growing fashion landscape, IYMAA does not attempt to compete through scale or visibility. It builds through consistency, through a point of view that is carried across each decision, from design to presentation to the way it engages its audience. The digital space will play a role in extending that. The forthcoming website and social platforms are conceived not simply as points of access, but as an extension of the brand’s visual and conceptual language. A place where the collection can be understood in context, rather than in isolation. For Alkhorayef, this is an opening rather than a conclusion. Lost in Time  introduces the framework, but it leaves space for the work to evolve. The themes remain close, identity, culture, memory, but they are not fixed. IYMAA moves forward from here with a clear sense of direction. Quietly built, but fully formed.

An evening of precision and performance, marking three decades of the world’s most influential race The Dubai World Cup has always carried a certain certainty. The scale, the spectacle, the rhythm of the evening, all of it moves with precision. This year, that certainty felt more deliberate. The 30th running of the race took place against a more complex regional backdrop, yet nothing in the experience suggested hesitation. At Meydan, the evening unfolded exactly as it should, composed, international, and unmistakably assured. From early in the day, the sense of occasion was already set. Over 100 horses from around the world gathered across nine races, the programme building steadily toward its final moment. Dubai World Cup 2026 remains one of the richest and most closely watched fixtures in global racing, and this year carried added weight as an anniversary edition, marking three decades since its founding in 1996. By the time the main race approached, the atmosphere had shifted. The grandstand held its usual balance of racing insiders, international owners, and a social crowd that treats the evening as much as a cultural event as a sporting one. The fashion remained considered, the hospitality precise, but the focus returned, as it always does, to the track. The race itself delivered what it needed to. Magnitude, ridden by José Ortiz, moved forward with clarity and held his position through the final stretch, finishing ahead of the widely anticipated contender Forever Young.  The margin was not dramatic, but it was decisive. Over 2,000 metres, the performance carried both control and timing, closing in 2:04.38 and securing one of the most significant victories of the season. Forever Young’s late surge, expected and closely watched, never fully closed the distance. There was a moment, within the final metres, where the possibility of a shift seemed real. It passed quickly. Magnitude held, and with it, the narrative of the race resolved cleanly. For Ortiz, the moment was visibly personal. His reaction carried more than professional satisfaction, shaped by the scale of the race and the level of competition it demands. For trainer Steven Asmussen, it marked a return to the winner’s circle at Meydan, nearly two decades after his first Dubai World Cup victory. Around them, the broader programme continued to reflect what the Dubai World Cup has become over time. It is no longer defined by a single race. It is an ecosystem of global racing, drawing contenders from the United States, Japan, Europe, and the Gulf, all converging within one evening. The depth of the field, across each race, reinforces its position not just as a regional highlight, but as a central point within the international calendar. What remains constant is the setting. Meydan Racecourse holds its place as both venue and statement, an architectural expression of the city’s approach to scale and presentation. The sweep of the track, the length of the grandstand, and the choreography of the evening all contribute to an experience that is as much about environment as it is about sport. This year, that environment carried additional meaning. With other major events in the region postponed, the decision to proceed with the Dubai World Cup did not go unnoticed. It positioned the UAE, once again, as a centre of continuity, able to host at a global level without disruption. There is a certain discipline to how the evening is delivered. The transitions between races, the movement of the crowd, the balance between spectacle and control, all of it is calibrated. Even at its most expansive, the event avoids excess for its own sake. The focus remains clear. As the final race concluded and the crowd began to disperse, the impression left behind was not simply of a successful event, but of one that understands its role. The Dubai World Cup does not attempt to redefine itself each year. It builds, steadily, on what it already is. Thirty years in, that approach continues to hold.

High jewellery often begins with the stone. At Sartoro Genève, it begins with movement Trilogie is built around a simple structure, three diamond cuts brought together within a single composition. The idea is clear, but the execution moves far beyond symbolism. Each shape holds its own presence, yet the balance between them is what gives the collection its strength. There is no hierarchy. The eye moves across the piece in sequence, following line, proportion, and light as it shifts across the surface. What distinguishes Trilogie is how it sits on the body. These are not pieces designed to remain static. They respond. There is a natural articulation built into the construction, allowing necklaces, bracelets, and earrings to move with a controlled fluidity. The effect is subtle at first, then unmistakable. Diamonds catch the light not through fixed placement, but through motion, changing with every step, every turn. That movement is engineered with precision. Inside the atelier, each piece begins as a full resin construction, a process that allows the entire mechanism to be studied before it is realised in precious materials. It is an exacting approach, one that prioritises how the piece will behave as much as how it will appear. The result is a structure that holds its geometry while allowing flexibility to exist within it. There is a discipline to the way the diamonds are set. Bezel, prong, and pavé techniques are used in combination, each chosen for how it frames the stone and contributes to the overall composition. Larger centre stones carry visual weight, while smaller diamonds extend the line, guiding the eye without interruption. Every stone is set and polished individually before assembly, a process that slows production, but ensures consistency across the entire piece. Polishing is treated as its own stage. Threads and multiple brushes are used to refine each surface, creating what the Maison refers to as a deep polish. The finish allows light to travel rather than simply reflect, moving across edges and curves in a way that reinforces the structure of the design. There is a sculptural quality to the collection, but it never feels rigid. Lines are clean, yet softened through movement. Angles are present, but never abrupt. The balance between precision and fluidity is maintained throughout, allowing each piece to hold its form without losing its sense of ease. Trilogie carries a certain presence, one that does not rely on scale or excess. It is expressed through proportion, through craftsmanship, and through the way the piece exists in motion. Worn, it reveals its full character. Not through a single moment, but over time.

A major exhibition tracing how artists interpret the land across time, place, and practice Arduna opens with a sense of scale that is not immediately visual. The setting does its work first. AlUla carries its own weight, its terrain, its history, its distance, and the exhibition moves within that context rather than attempting to compete with it. The title, Arduna , meaning “our land,” sits at the centre of the exhibition without being overworked. It is present in the selection of works, in the way they are arranged, and in the rhythm of the experience as a whole. The exhibition brings together modern and contemporary artists across different geographies, allowing their work to sit alongside one another without forcing a single reading. There is a quiet confidence in how this is handled. Works by established international figures are placed in dialogue with regional artists whose practices are rooted in the same questions, land, movement, memory, and the way these ideas continue to shift. The result is not contrast, but continuity. The conversation feels measured, not constructed for effect. The exhibition moves through a series of themes that remain closely tied to AlUla itself. The desert appears as both subject and presence. The oasis introduces a different rhythm, more contained, more sustained. Other sections extend outward, drawing on broader ideas of landscape and environment, but always returning to the question of how land is experienced and understood. What stands out is the pacing. Nothing is rushed. Each work is given space to hold its own, allowing the viewer to move through the exhibition without distraction. The scale of certain pieces is balanced by quieter works that ask for closer attention. There is an awareness of how people move, where they pause, and how the exhibition unfolds over time. The collaboration behind Arduna also carries weight. Developed with the Centre Pompidou alongside the Royal Commission for AlUla, the exhibition reflects a level of curatorial discipline that positions it beyond a seasonal programme. It reads as part of a longer trajectory, one that points toward the development of a permanent institutional presence in AlUla. At the same time, the exhibition does not overstate itself. It does not attempt to define the region or frame the conversation too tightly. Instead, it offers a structure within which different perspectives can exist, shaped by material, by process, and by the artists themselves. Beyond the gallery, that sense of continuity remains. AlUla’s landscape does not sit outside the exhibition, it informs it. The transition between space and site feels natural, reinforcing the idea that the work belongs to a larger environment rather than a contained setting. Arduna leaves a lasting impression through its consistency. The clarity of its direction, the quality of the works, and the way it allows the subject to unfold without interruption. Within AlUla’s evolving cultural programme, it marks a moment of alignment, where curatorial ambition, location, and audience meet with a shared understanding of what is being presented, and why it matters now.

The new boutique at Kingdom Centre marks the third Saudi based location for the brand Pasquale Bruni’s presence in Riyadh continues to expand with the opening of its newest boutique at Kingdom Centre, a location that has long held its place within the city’s luxury landscape. As the Maison’s third address in the capital, the space signals a steady confidence in the Saudi market, one that increasingly understands jewellery not only as adornment, but as something more personal and enduring. The boutique is conceived as an environment to move through slowly. Light sits softly across the interiors, carried by warm golden tones that give the space a sense of depth without weight. The architecture follows a quieter rhythm, allowing the collections to emerge gradually rather than announcing themselves on arrival. Floral references appear throughout, not as decoration, but as structure. The lines of petals, a recurring motif within Pasquale Bruni’s collections, are translated into the space itself, shaping both the lighting and the display. Custom chandeliers in silk echo these forms, suspended in a way that draws the eye upward before returning it to the pieces below. Material plays an equally important role. Pink quartzite is used across the flooring and surfaces, introducing a natural softness that complements the jewellery without competing with it. The palette carries a sense of balance, gold for depth, red for warmth, and pink for a quieter energy that sits consistently throughout the space. The layout opens outward toward the storefront, creating a sense of ease as clients move through the boutique. At the same time, two private salons sit further within, offering a more contained setting for those seeking discretion. The transition between the two feels natural, allowing the experience to shift without interruption. Display is handled with the same level of consideration. Freestanding towers present each collection with clarity, giving the pieces space to be seen from every angle. Nothing is crowded. Nothing feels secondary. The jewellery holds its place without needing reinforcement. This approach reflects the Maison itself. Founded in Valenza, Pasquale Bruni has built its identity through a combination of craftsmanship and a distinct visual language shaped by nature. Under the direction of Eugenia Bruni, that language has evolved without losing its core, remaining rooted in form, material, and a certain emotional sensibility that is understood rather than explained. Riyadh, in turn, has become an environment where this kind of work resonates. There is a growing appreciation for jewellery that carries weight beyond its material value, pieces that are chosen for their design, their story, and the way they are worn over time. At Kingdom Centre, Pasquale Bruni presents its collections within a space that mirrors that understanding. Controlled, considered, and quietly assured.

This season, Chloé approaches bags as objects rather than accessories Chloé’s Spring/Summer 2026 bags are approached with a different kind of clarity, where form leads and everything else follows. Across the collection, familiar silhouettes give way to something more sculptural. Clutches are shaped as shells, curved and contained, while others echo the outline of birds, softened into fluid, almost continuous lines. The references are immediate, but they are handled with control, never pushed into novelty. The strength of the collection sits in its proportion. Each piece holds its shape without reliance on heavy detailing or overt hardware. Materials are worked to carry the design, soft leathers shaped into rounded volumes that feel cohesive from every angle. There is a sense of continuity in how the surfaces move, as though each bag has been formed rather than assembled. Under Chemena Kamali, the house continues to refine its language without losing its point of view. There is an ease to the way these pieces sit within the collection, connected to Chloé’s history but not confined by it. The softness long associated with the house remains present, though it is now more precise, expressed through line and proportion rather than embellishment. Texture appears in quieter ways. Ruched finishes and subtle layering introduce depth, allowing the eye to move across the surface without disrupting the overall shape. Nothing feels excessive. The focus remains on how the bag exists as an object in its own right. There is a natural rhythm to the collection, carried through curved forms and a palette that allows the shapes to hold attention without interruption. The shell motif returns more than once, not as a theme, but as part of a broader visual language that draws from the natural world without leaning into it too heavily. What emerges is a collection that holds its presence through composition. Each piece feels considered in how it is carried, how it sits against the body, and how it completes a look without overwhelming it. Chloé moves forward here with confidence, allowing the design to speak through form, proportion, and material, held together with a clarity that feels entirely its own.

Where music finds its setting and atmosphere takes center stage The format is already familiar, but rarely does it feel this resolved. Candlelight, the global concert series produced by Fever, has built its reputation on transforming music through setting, placing live performance within environments defined by thousands of candles and a controlled sense of intimacy. Since its launch, the series has expanded across more than 150 cities worldwide, bringing classical and contemporary repertoires into spaces that extend beyond traditional concert halls. At B ab Samhan in Diriyah, that concept finds a natural alignment. The evening was structured around classical Arabic music, performed by a four piece orchestra, a departure from the smaller ensembles often associated with the format. From the opening, the standard was clear. The musicians operated with precision. The compositions were given space, allowing their structure and emotional weight to emerge gradually rather than being pushed forward. Strings lead with control, carrying the melodic depth that defines the genre, while the rhythm remained grounded and consistent. There was no excess in the performance. Transitions were measured, pacing was deliberate, and intimate setting provided interaction between musician and audience making it feel personal and connected. What distinguished this particular concert is how naturally the format accommodates the programme. Candlelight was originally conceived as a way to broaden access to classical music, presenting it in a setting that feels more immediate and less formal.  In this context, the approach does not dilute the music bur rather it supports it. The atmosphere encourages focus, drawing the audience closer to the performance without introducing distraction. The audience responded with an attentiveness that built across the evening. There was a shared awareness of the space, of when to remain still and when to respond. Applause became more expressive as the programme progressed, reflecting a genuine connection rather than a passive reception. The role of the candlelight itself remains central. Across the series globally, the visual language is consistent, thousands of candles used to reshape the environment and create a multi-sensory experience.  At Bab Samhan, the effect felt particularly considered. The light moved subtly across the room, shifting perception without overwhelming it. It reinforced the architecture, softened the scale, and maintained a steady visual rhythm alongside the music. The venue plays an equally important role. Bab Samhan carries a sense of proportion that allows for an ensemble or orchestra to perform without losing intimacy. The spatial balance is controlled, sightlines remain clear, and acoustics hold without distortion. The result is an environment where the performance feels contained rather than distant and immediate rather than staged. What remained after the final piece is the consistency of the experience. The concept, the musicianship, and the setting operated in alignment. Nothing competed for attention. Nothing felt out of place. As Candlelight continues to expand globally, its success has often depended on the venues it inhabits and the quality of the performance itself. At Bab Samhan, both are held to a higher standard. The result is an evening that feels fully resolved, where the format is not simply applied, but understood.

The Quiet Luxury of Ashar Valley Eid in Saudi Arabia often carries a rhythm of movement. Families travel, cities slow, and the days invite a different kind of pace. In recent years AlUla has emerged as one of the most compelling destinations for those seeking that pause, a place where landscape, history, and hospitality meet in a setting that feels both ancient and remarkably contemporary. Set within the dramatic sandstone formations of Ashar Valley, Banyan Tree AlUla has become one of the most distinctive places to experience the region’s desert environment. The resort sits within a vast expanse of towering cliffs and open sky, where the silence of the landscape shapes the experience as much as the architecture itself. For the upcoming Eid break, the resort is inviting travellers to experience that setting through a seasonal stay that blends privacy, wellness, and cultural discovery. Rates begin from SAR 1800 per night and include daily breakfast and dinner, along with dining and spa privileges designed to encourage guests to settle into the slower rhythm of the valley. What makes the property particularly distinctive is the way it responds to its surroundings. The resort is composed entirely of tented villas inspired by Nabataean architecture and Bedouin heritage. Each villa sits quietly within the desert landscape and includes its own private pool, creating a sense of seclusion that feels natural rather than engineered. In Ashar Valley the desert itself becomes part of the experience. Mornings often begin with soft light spreading across the cliffs, while evenings unfold beneath vast open skies that reveal the full scale of the desert’s night horizon. Wellbeing plays a central role in how the resort shapes the day. Guests can participate in a series of guided rituals that reflect the restorative atmosphere of the desert environment. Sunrise yoga sessions encourage gentle movement as the day begins, while evening sound experiences and meditative practices offer a quieter close to the night. These moments are designed less as structured programming and more as invitations to slow down. In a setting where silence and space are abundant, even simple rituals take on a different quality. Beyond the resort itself lies one of AlUla’s most striking landmarks, Maraya. The mirrored structure, composed of thousands of reflective panels, appears almost as a mirage against the sandstone cliffs that surround it. Its surface reflects the desert landscape so completely that the building seems to dissolve into the valley. Since opening, Maraya has become a central venue in AlUla’s growing cultural scene, hosting concerts, exhibitions, and performances that draw international artists and audiences to the region. Guests staying at Banyan Tree AlUla can reach the venue easily through the resort’s shuttle service, making it possible to move between desert retreat and cultural programming within minutes. The wider landscape offers its own extraordinary depth. AlUla spans more than twenty thousand square kilometres and holds layers of history that stretch back thousands of years. The region is home to Hegra, the Kingdom’s first UNESCO World Heritage Site, where monumental tombs carved into sandstone cliffs testify to the presence of the Nabataean civilisation. Nearby, the ancient city of Dadan and the inscription filled canyon of Jabal Ikmah reveal a landscape that functioned for centuries as a crossroads of trade, language, and culture. Exploring these sites during Eid offers visitors a perspective that goes beyond the typical holiday retreat. The desert here carries the imprint of civilisations that shaped the region long before the modern era. As night falls, the desert reveals another dimension of the experience. With minimal light pollution in Ashar Valley, the night sky appears with unusual clarity. Guided stargazing sessions draw on the celestial navigation practices once used by desert travellers, linking modern visitors with the same skies that guided ancient caravans across the peninsula. Dining at the resort reflects the same sense of place. Experiences such as Layali El Noujoum bring guests together around firelit settings beneath the open sky, where dinner unfolds in the quiet atmosphere of the valley. Another experience, set within the sandstone formations of Dove Canyon, places guests directly within the dramatic geology that defines the region. Even the simplest moments carry a sense of ceremony in this environment. A floating breakfast served in the privacy of a villa pool becomes an opportunity to watch the early morning light move across the desert cliffs. What ultimately defines the experience of Banyan Tree AlUla is not only luxury but atmosphere. The property feels less like a conventional resort and more like a sanctuary embedded within the landscape. For travellers seeking a meaningful pause during Eid, the setting offers something increasingly rare. Space, silence, and the opportunity to reconnect with the natural rhythms of the desert. In a country where hospitality and heritage are increasingly shaping new destinations, Ashar Valley remains one of the most compelling places to experience both at once.

The house’s Ramadan 2026 capsule takes shape at Erth Ramadan has become one of the most deliberate moments in the global fashion calendar, not only for what is released, but for where those releases are positioned. Increasingly, the collections are rooted in the region itself, shaped by its architecture, its pace, and the realities of how clothing is worn across the month. For Ramadan 2026, KARL LAGERFELD turned to Abu Dhabi. The house’s latest capsule was photographed at Erth, the cultural and hospitality destination set along the capital’s coastline, where modern architecture draws directly from the Emirates’ material and spatial traditions. The choice of location situates the collection within a specific regional framework, rather than presenting it in abstraction. The wardrobe itself follows this logic. Fluid kaftans anchor the capsule, joined by coordinated sets and embellished evening pieces designed to move between Iftar gatherings and later hours. The colour palette reflects the landscape that surrounds the campaign setting, shifting through warm sand tones, muted browns, and earth based neutrals that echo the environment rather than compete with it. This approach reflects a broader evolution in how fashion houses develop their Ramadan collections. Earlier capsules often adapted existing silhouettes into seasonal colourways. Increasingly, the garments themselves are designed with the structure of Ramadan in mind, from the loosened proportions of kaftans to coordinated sets intended to carry through multiple moments across the evening. Previous KARL LAGERFELD Ramadan releases have similarly centred kaftans, pleated dresses, and coordinated separates that balance contemporary styling with references to regional dress. What distinguishes the 2026 collection is its clar ity of setting. By cho osing Erth, the campaign aligns itself with Abu Dhabi’s broader cultural positioning, where architecture, hospitality, and design increasingly intersect. The location does not function simply as backdrop. It situates the collection within a place where regional identity is already being articulated through contemporary form. The result is a wardrobe designed to exist within that same environment. Pieces move easily between interior and exterior space, between gathering and movement, reflecting how Ramadan unfolds across the evening. For global fashion houses, the region is no longer treated solely as an audience for these collections. It has become the setting through which they are defined.

An experience shaped by desert, ritual, and time There are places in Saudi Arabia where Ramadan feels quieter. Not quieter in spirit, but in pace. Where the distractions fall away and the shape of the month becomes more visible through its rituals. Sunset. Gathering. Reflection. The gradual shift between light and evening. At Six Senses Southern Dunes, The Red Sea, Ramadan takes on this slower rhythm, shaped as much by the landscape as by the resort itself. Set within a vast stretch of desert framed by volcanic craters and distant mountain ranges, the property approaches the season through experience rather than occasion, allowing the surroundings to guide how guests move through the month. The resort’s Ramadan stay programme centres around this balance between hospitality and stillness. Each stay includes both Iftar and Suhoor, creating a natural structure to the day. Evenings begin with gathering, while the early hours return to quiet preparation before sunrise. At Bariya, the resort’s all day dining restaurant, Iftar reflects familiar Saudi dishes interpreted through the kitchen’s contemporary lens. Saleeg with chicken and saffron appears alongside lamb murtabaq, anchoring the meal in flavours closely tied to the region. On Saudi Founding Day, the restaurant expands this approach further, presenting traditional dishes within a setting that looks outward across the dunes. Elsewhere on the property, Al Sarab offers a different expression of the evening. Its weekend programme, Sommar Al Sarab, brings together Arabic cuisine, live Yunbu music, and henna artistry, allowing guests to move between dining and cultural ritual within a single setting. The experience unfolds gradually across the evening, extending until midnight beneath the open desert sky. Beyond the table, the landscape itself becomes part of Ramadan’s structure. The dunes create natural moments for pause, whether walking at sunset as the light shifts across the sand or returning to the privacy of a villa after the evening meal. The resort’s wellness programme follows this same philosophy, offering guided activities designed to restore balance during the month. Six Senses Southern Dunes was conceived with an emphasis on heritage and environment, drawing from the geography and cultural traditions of the Red Sea region. During Ramadan, those foundations become more visible. The property does not attempt to reshape the season. It allows the season to shape the experience instead. In a destination defined by expansion and new development, the desert here provides something constant. The rituals of Ramadan unfold within it much as they always have, marked by gathering, food, and the quiet return of night.