A new campaign reconnects the Riyadh-born brand to the landscape that shaped its identity JAY3LLE’s latest campaign does not introduce the brand through a runway or city street, but through the desert that sits at its foundation. Shot against the open terrain of Saudi Arabia, the Desert Resort campaign presents the first preview of the upcoming collection through a landscape that reflects the brand’s origins. Golden horizons and uninterrupted ground become part of the visual language, reinforcing JAY3LLE’s position as a house formed within Riyadh rather than simply operating from it. The collection itself moves between structure and ease. Crisp white tracksuits, sculptural outerwear, and lightweight layers introduce silhouettes designed to transition across environments, reflecting how clothing operates within contemporary life. Graphic headscarves and restrained branding extend this direction, allowing the garments to carry identity without relying on excess detail. The result is a wardrobe shaped by movement, where technical construction remains aligned with proportion and clarity. The campaign is defined equally by the creative voices behind it. Styling is led by French Egyptian stylist Omaima Salem, while Omani photographer Chndy captures the collection through imagery that balances strength with restraint. Model Hayett, whose Algerian background reflects the broader Arab diaspora, brings the collection into physical form, reinforcing the campaign’s grounding in regional identity. Together, these elements establish the campaign as a collaborative effort shaped by a generation of Arab creatives working across disciplines. Under the creative direction of Johan Lindeberg and the leadership of CEO Princess Noura bint Faisal Al Saud, JAY3LLE continues to define its position within a global context while maintaining its Saudi foundation. The campaign marks an important moment for the brand as it prepares to introduce the collection through an immersive pop up experience in Riyadh, reinforcing the city’s role as both origin and future. Through this release, JAY3LLE presents itself as a brand formed by place, where landscape, culture, and design remain inseparable.

LPM and Chef Mark Ramadan With A Very Special Iftar Each Ramadan, certain restaurants adjust their pace to reflect the structure of the month, and in 2026 La Petite Maison does so through a collaboration that places Saudi culinary identity at its centre. For the first time, the French-Mediterranean restaurant has partnered with Saudi chef Mona Mosly to create a dedicated Iftar menu, bringing together the restaurant’s established language with the flavours and gestures of the region. Introduced across its Middle East locations, including Riyadh, Dubai, Abu Dhabi, and Doha, the menu reflects a meeting point between two culinary traditions shaped by the act of gathering. The experience begins in the sequence familiar to Ramadan. Dates and soup arrive first, establishing the transition into the meal, followed by a Mezzeh platter designed to remain at the centre of the table. Socca bread, fresh produce, feta, and quail eggs with caviar sit alongside Chef Mona’s kibbeh, introducing a balance between LPM’s Mediterranean references and Middle Eastern foundations. The structure encourages movement across the table, reinforcing the social dimension that defines Iftar. Main courses continue this exchange. Grilled Chilean sea bass appears alongside ribeye steak marinated in shawarma spices, served with broad beans fatteh and seasonal accompaniments. These dishes draw from both the restaurant’s core repertoire and Chef Mona’s contribution, allowing the menu to remain recognisable while introducing new direction. The meal concludes with dessert designed for sharing, bringing together her date cake and LPM’s vanilla cheesecake, reinforcing the continuity between traditions. In Riyadh, where Ramadan reshapes the rhythm of dining across the city, the collaboration positions La Petite Maison within the season’s wider landscape. The restaurant’s approach reflects its longstanding emphasis on simplicity and proportion, while the introduction of a Saudi chef establishes a closer relationship with the region itself. Through this menu, La Petite Maison marks Ramadan not only as a moment within the calendar, but as an opportunity to bring its table into dialogue with the culture that surrounds it.

On Muravandhoo Island, Eid becomes a season of creativity, gathering, and quiet retreat Eid at JOALI Maldives unfolds as a journey shaped by imagination and togetherness. Set on Muravandhoo Island in the Raa Atoll, the resort introduces a programme designed for families to experience the island collectively, where art, landscape, and daily life move together. Sculptural works appear along pathways and beaches, allowing guests to encounter installations such as the Manta Treehouse and Wishing Palm as part of their natural movement across the island. These pieces form an open-air gallery that transforms the act of walking into an experience of discovery, encouraging families to explore side by side. This spirit continues through dedicated creative spaces designed for younger guests and adults alike. At the Muramas Kids Club, workshops introduce candle making, kite artistry, mandala painting, and marine exploration led by resident specialists, while new water slides and outdoor play areas expand the island’s sense of possibility. Families can gather again at the JOALI Art Studio and Gallery, where ceramics, painting, and textile work offer opportunities to create together. Across the island, these experiences establish creativity as part of the rhythm of the stay rather than a separate activity. Moments of quiet retreat remain equally present. Along its own stretch of shoreline, the JOALI BEING Cure introduces wellness environments that extend across gardens and open-air spaces, where saunas, vitality pools, and shaded seating allow guests to slow their pace. Elsewhere, mornings begin at the yoga pavilion facing the sea, while afternoons move into snorkelling excursions, tennis, or time spent within private villas that open directly onto the beach or lagoon. Dining becomes the setting where the day resolves into celebration. At Saoke, signature dishes such as black cod miso and Maldivian lobster define the evening, while Bellinis presents Italian cuisine within a garden environment developed in collaboration with Aquazzura Casa. Across the island, meals reflect the significance of Eid as a moment of gathering, where families remain together long after dinner. Through these experiences, JOALI Maldives presents Eid as an extension of its central philosophy, where creativity, hospitality, and landscape combine to shape how the season is lived.

Ramadan unfolds against a landscape that has held human presence for thousands of years This season, Maraya enters that continuum in a new way, opening its mirrored doors for the first time to host Iftar and Suhoor within its reflective walls. Set within the sandstone formations of Ashar Valley, the structure holds the desert in its surface, dissolving into its surroundings by day and coming alive after sunset as families and visitors gather beneath its geometric form. Inside, the experience moves between scale and intimacy. Long tables fill with multi generational groups, the room warmed by soft light and the quiet anticipation that defines the moments before the fast is broken. The menu follows the rhythm of the month, drawing from regional traditions while introducing global references through live cooking stations and rotating selections. Traditional soups and mezze arrive alongside slow cooked specialties, while the night extends naturally into Suhoor, where guests remain long after dinner, seated beneath open skies, accompanied by music, conversation, and the calm that only the desert can provide. What makes Ramadan at Maraya distinct is its setting within a wider landscape designed for retreat. Just beyond the mirrored structure, Banyan Tree AlUla offers private villas shaped by Nabataean influence, their low silhouettes and natural materials allowing them to sit quietly within the valley. Here, mornings begin slowly, framed by rock formations and open sky, while evenings return guests to Maraya or unfold privately within their own terraces. Nearby, Our Habitas AlUla brings a different atmosphere, built around shared experience and connection, where dining at Tama blends international and Middle Eastern references in a setting defined by firelight and desert air. For those drawn to something more elemental, Caravan by Our Habitas AlUla introduces a glamping interpretation of the season, where caravans sit beneath uninterrupted skies and meals gather guests in communal spaces that encourage conversation and reflection. The experience feels grounded and immediate, shaped by silence, distance, and the clarity that comes with being removed from the pace of the city. Together, these destinations position AlUla as one of the most compelling places in the Kingdom to experience Ramadan today. The evenings move easily between architecture and landscape, between shared tables and private retreat. Maraya stands at the centre of it all, reflecting both its surroundings and the people who enter it, becoming part of the memory of the season itself.

How the Saudi National Museum Marks Founding Day and Ramadan The National Museum of Saudi Arabia has long functioned as a record of the Kingdom’s past, but this season it shifts into something more immediate. With the launch of Memory of the Home , a public programme running from 19 February to 6 March 2026, the museum extends its role beyond exhibition into lived experience, opening its spaces late into the night to coincide with Founding Day and the rhythm of Ramadan. Set within the King Abdulaziz Historical Center, the programme repositions the museum as a place not only for preservation, but for gathering. The structure of the initiative follows two parallel timelines. Founding Day, observed between 19 and 22 February, introduces visitors to the legacy of the First Saudi State and the foundations of national identity established nearly three centuries ago. Through installations, visual references, and storytelling, the museum connects historical continuity to the present moment, allowing visitors to encounter the origins of the Kingdom within the environment of its principal cultural institution. As the programme continues into Ramadan, the emphasis shifts toward the atmosphere of the holy month, extending the museum’s hours from 10:00 p.m. until 1:00 a.m. and aligning the experience with the social structure of the season. Throughout the evening, the museum’s galleries and outdoor spaces become the setting for activities that draw directly from Saudi domestic life. A photo installation recreates the visual language of the Saudi home, while interactive stations such as Keys to the Home  and Testaments of Home  invite visitors to connect objects, symbols, and memories to their cultural origins. Ajawid’s Store  introduces the environment of the traditional market, and Dresses of Honor  presents garments that reflect regional identity and craftsmanship. Each experience operates as part of a larger narrative that centres on the home as a foundation of cultural continuity. Performance remains central to this structure. In the museum’s Shadow Theater, In Their Footsteps  brings historical figures into the present through light and storytelling, reinforcing the programme’s focus on lived heritage rather than static display. Elsewhere, puzzle-based installations and games allow visitors to move through the museum as participants rather than observers, transforming the space into an environment shaped by interaction. Timed to coincide with the 299th anniversary of Saudi Founding Day, Memory of the Home  reflects the broader role cultural institutions now play within the Kingdom’s evolving public life. The programme situates history within the present, allowing visitors to encounter the past within the context of contemporary gathering. As Ramadan unfolds, the museum becomes part of the evening landscape of Riyadh, reinforcing its place not only as a record of national memory, but as an active participant in its continuation.

A Maldives Escape Timed to the Season Eid introduces a pause that often extends beyond the city, and in 2026 Finolhu, a Seaside Collection Resort, positions itself within that movement through a stay shaped by the geography of the Maldives. Located in the UNESCO-protected Baa Atoll, the island sits across a chain of white sandbanks and shallow lagoons, where villas are arranged between shoreline and water to preserve uninterrupted access to the sea. The journey itself marks the transition, carrying guests away from the mainland into an environment defined by horizon and distance. Accommodation forms the foundation of the experience, with 125 villas designed to operate as private residences. Overwater structures extend directly into the lagoon, while beach villas open onto stretches of sand that remain largely uninterrupted. Interiors introduce colour and texture that reflect the coastal setting, maintaining continuity between inside and outside. Larger two-bedroom villas accommodate extended family stays during Eid, reinforcing the importance of gathering that defines the period. Life on the island moves across shared and individual space. The Oceaneers Club and Teens Hut introduce structured environments for younger guests, while the Art Lab offers pottery, painting, and craft experiences that connect visitors to the slower pace of the island. Wellness remains central through Fehi Spa, where treatments unfold within pavilions designed for privacy, and the surrounding water introduces snorkelling and marine exploration that shape the rhythm of the day. Eid itself is marked through dining and performance staged directly on the beach. A dedicated dinner brings together regional and Maldivian influences, accompanied by Boduberu drumming and fire performance that extend the evening into celebration. Restaurants across the island continue this progression, from Beach Kitchen and Arabian Grill to Crab Shack, where the setting remains as present as the meal itself. At Finolhu, Eid unfolds within the structure of the island, where landscape, gathering, and distance combine to shape how the season is experienced.

How One Hospitality House Marks the Season Across Continents Each Ramadan, certain hotels become extensions of the places in which they stand, reflecting the structure of the month through architecture, food, and gathering. Shangri-La’s 2026 programme unfolds across cities and coastlines, positioning its properties in Dubai, Abu Dhabi, Jeddah, Istanbul, and Sri Lanka within the rhythm of the season. Through Iftar, Suhoor, and extended stays, the group integrates Ramadan into the identity of each destination, allowing the experience to remain grounded in its surroundings. In Dubai, Ramadan centres on Hilal, where evenings unfold beneath open sky with the Burj Khalifa visible beyond the dining space. Iftar introduces Turkish dishes through live cooking stations, while Suhoor shifts the experience toward quieter hours beside the pool. Abu Dhabi follows a different structure at Shangri-La Qaryat Al Beri, where Sofra presents a buffet rooted in Middle Eastern cuisine and Ramadan Village extends the evening into majlis seating arranged along the water, reinforcing the social dimension that defines the season. Along the Red Sea in Jeddah, Niyyali and The Waterfront Kitchen present Ramadan through Lebanese and regional dining traditions, while Kaia moves Suhoor toward the shoreline itself, allowing the city’s coastal geography to shape the experience. In Istanbul, Shangri-La Bosphorus positions its Ramadan offering within view of the strait, where Iftar and Suhoor unfold beside the water and spa rituals rooted in hammam practice reinforce the restorative dimension of the month. Further east, the programme extends into Sri Lanka, where Shangri-La Colombo and Shangri-La Hambantota present Ramadan within resort settings shaped by coastline and distance. Iftar buffets and in-room dining platters allow the season to exist within private space as well as shared environments, reflecting the flexibility that defines Ramadan travel today. Across each destination, Shangri-La positions hospitality within the continuity of the month, allowing guests to observe Ramadan within environments that reflect both tradition and place.

An Island Stay Structured Around Ramadan Evenings Ramadan alters the pace of travel. Days recede. Evenings expand. Movement begins after sunset and continues deep into the night. The Red Sea EDITION’s Ramadan 2026 programme, titled After Sunset , aligns with this rhythm through a stay experience structured entirely around the evening cycle. Located on Shura Island and connected to the mainland by bridge, the property remains accessible while preserving separation from urban pace. Arrival introduces a different cadence immediately. Light shifts across the water. Sound carries further. Time reorganises itself around sunset rather than schedule. The programme begins where Ramadan evenings traditionally gather momentum: the table. At Central, the resort’s main dining space, iftar unfolds within an environment designed to accommodate extended presence rather than quick service. The room draws its structure from the open-plan logic of a plaza, allowing circulation between tables and encouraging continuity across the evening. The culinary programme alternates between two formats. Weekends introduce a full buffet that brings together regional dishes and international preparations, allowing guests to move freely between stations. Weekdays follow a set-menu structure that supports a slower, more contained progression. Service continues beyond the meal itself. Conversation extends across seating areas. Movement remains fluid. The transition from iftar to late evening occurs gradually. Suhoor relocates this rhythm to the shoreline. At Jiwa Beach Majlis, seating arrangements face the water, where the presence of the Red Sea establishes the setting’s tone. The open-air configuration allows the environment to shape the experience. Sound becomes minimal. Light settles across the surface of the water. Food appears in measured intervals, supporting sustained conversation rather than structured dining. The setting encourages duration. Guests remain longer. Time becomes less defined by the clock and more by atmosphere. Accommodation follows the same principle. Rooms are positioned to maintain visual continuity with the surrounding landscape. Interiors prioritise proportion and material clarity, allowing external elements to remain present within the space. The Red Sea EDITION’s Ramadan programme reflects a broader shift in how hospitality operates during the month. Travel aligns itself with evening activity. Properties adapt their structure accordingly. Programming begins after sunset and extends toward early morning. The offer remains available for stays between February 17 and March 18, 2026, positioning it within the full span of the Ramadan calendar. Rates begin at SAR 2,700 per room, establishing access to an experience designed around the specific rhythm of the season. On Shura Island, Ramadan hospitality expands outward, shaped by landscape, water, and the continuity of evening.

Spanish Leather Goods Lead the Seasonal Release CH Carolina Herrera’s Ramadan 2026 collection centres on leather goods produced in the house’s Spanish atelier. The release introduces updated versions of its established bag families, aligning material and colour with the Gulf’s evening-led wardrobe cycle. The Doma Insignia bag anchors the edit. Handcrafted in Mocan leather, it appears in a champagne-toned finish developed specifically for the season. The silhouette maintains controlled proportions, allowing it to move between daytime and evening use without adjustment. Surface treatment defines the collection’s direction. The Initials Insignia bag introduces multicoloured crystal embellishment across its rounded structure, while the Matryoshka Chain bag appears in metallic leather finishes. The Scala Insignia clutch reinforces the house’s formal accessory offering, maintaining a compact, structured profile. Other silhouettes remain closer to the house’s established archive. The Lacito Insignia appears in tote and crossbody formats, while the Camelot and Baron bags continue the brand’s emphasis on balanced geometry and leather continuity. Decorative elements appear selectively, including the Charamba bag and Touky charms, which introduce surface variation without altering core construction. Production remains centred in Spain, where the house’s leather atelier oversees assembly. This continuity preserves consistency in proportion, stitching, and finishing across the collection. The Ramadan 2026 release extends beyond women’s accessories. Menswear introduces lightweight tailoring built around relaxed structure and reduced weight, aligning with evening dressing patterns during the month. The children’s selection follows similar principles, prioritising softness and ease of movement. Accessories remain the structural focus. During Ramadan, bags operate as fixed elements within wardrobes that change across multiple evening gatherings. CH Carolina Herrera’s approach reflects that function, reinforcing its established silhouettes through seasonal material and colour adjustments. The collection does not introduce new forms. It refines existing ones through leather, proportion, and surface treatment. The emphasis remains on Spanish leather goods positioned within the Ramadan calendar.

Leather Goods Built on Milanese Technique Serapian Milano approaches Ramadan 2026 through the category that defines the house: leather goods constructed through specialised handwork and controlled proportion. The maison’s seasonal selection introduces a focused edit of bags produced in its signature Mosaico leather, aligning Milanese craftsmanship with the Gulf’s evening-led wardrobe cycle. Mosaico remains central to Serapian’s identity. The technique, developed within the house’s Milan atelier, involves weaving narrow strips of leather into a continuous surface. The process produces texture without added embellishment. The resulting material carries visual depth while maintaining structural clarity. For the Ramadan 2026 release, the technique appears across compact top-handle silhouettes designed to move between day and evening use. Scale remains controlled. The bags sit close to the body, reinforcing their role as formal accessories rather than daily carryalls. Colour direction follows the tonal restraint associated with Serapian’s archive. Soft neutrals and muted finishes allow the woven surface to remain the dominant visual element. Hardware is kept minimal, ensuring continuity across the leather plane. The house’s production remains centred in Italy. Each piece is assembled through processes that prioritise surface integrity and structural consistency. The Mosaico construction requires precise alignment to maintain uniform pattern across curved forms. Serapian’s Ramadan releases operate within a broader shift across luxury accessories. Seasonal capsules now extend beyond colour adjustments, incorporating materials and techniques that reinforce brand identity. For Serapian, that identity remains tied to leather construction rather than overt seasonal decoration. The maison’s entry into the Ramadan calendar reflects the role accessories play during the month. Bags move between multiple evening settings, functioning as stable elements within wardrobes that change nightly. Serapian responds to that function through continuity. The Ramadan 2026 selection does not introduce new silhouettes. It reinforces existing ones through material and proportion. The focus remains on leather, surface, and structure.

Lapis Blue Objects Designed for Ritual and Placement Acqua di Parma approaches Ramadan 2026 through objects rather than fragrance alone. The maison’s limited-edition release introduces a series of lifestyle pieces and packaging developed specifically for the season, built around a single material and colour direction: lapis blue leather and gold arabesque patterning. The collection centres on a coffee set constructed in Italy. The object functions both as storage and serving element. Wrapped in lapis blue leather, it contains six espresso cups and saucers arranged within a removable interior structure. Once lifted out, the base converts into a serving tray. The piece reflects a design approach based on dual function, where presentation and use operate within the same form. Production follows the maison’s established manufacturing structure. The internal core is shaped in Parma before the leather exterior is applied by hand. This layered process preserves structural rigidity while maintaining surface continuity. Alongside the coffee set, Acqua di Parma introduces an ostrich leather car diffuser designed in collaboration with GamFratesi. Executed in the same lapis blue tone, the diffuser extends the collection into mobile environments. The leather undergoes specialised dyeing and finishing to maintain texture while achieving uniform colour density. Packaging becomes part of the release. Lantern-inspired boxes appear across fragrance and gifting selections, incorporating gold arabesque detailing against the blue surface. The design aligns the maison’s Italian production identity with visual references drawn from architectural motifs associated with the region. Acqua di Parma’s decision to centre the collection on hospitality objects reflects the importance of domestic gathering during Ramadan. Coffee service occupies a defined role within these settings, where presentation carries equal weight to preparation. The maison’s expansion into seasonal lifestyle objects follows a broader pattern within luxury. Ramadan capsules now extend beyond garments and jewellery into domestic and ritual-based categories. Objects designed for hosting and gifting operate as part of the same seasonal calendar. Acqua di Parma’s 2026 release aligns with that shift. The collection does not introduce new fragrance compositions. It reframes existing rituals through material, colour, and form. The lapis blue surface becomes the defining element. Through these objects, the maison enters the Ramadan calendar not through scent, but through structure and placement.

An Evening Bag Capsule Released for Ramadan 2026 The evening bag occupies a specific role during Ramadan. It functions as a fixed point within wardrobes that shift nightly across iftar invitations, private gatherings, and Eid celebrations. The Ramadan 2026 collaboration between Tyler Ellis and Emirati designer Hamda Al Fahim addresses that role directly. The capsule introduces a series of structured evening bags built on Tyler Ellis’s established silhouettes, reinterpreted through textile work produced at Hamda Al Fahim’s Abu Dhabi atelier. The collaboration merges two distinct practices: Ellis’s precision-driven bag construction and Al Fahim’s surface-based embroidery and embellishment. Production remains centred in Italy, where Tyler Ellis manufactures its collections. Each bag maintains the brand’s signature proportions and closures, including the Pinecone clasp that has become one of its defining design elements. For this capsule, the closure appears in a Swarovski crystal–set variation on the Silver Diamonds Meme Pouch, reinforcing the bag’s position as an evening object rather than a day accessory. Material selection anchors the collection. Hand-embroidered fabrics introduce surface variation across otherwise controlled silhouettes. The embroidery originates from Hamda Al Fahim’s couture practice, where textile development operates as the foundation of garment construction. Transferring that process onto small leather goods shifts the embroidery into a different functional context. Scale remains consistent with Tyler Ellis’s established evening formats. The bags are designed to sit within the hand rather than on the shoulder, reinforcing their role as formal accessories. Structure is maintained through internal framing, ensuring the bag retains its geometry regardless of material treatment. The collaboration reflects a broader shift in Ramadan capsules across luxury accessories. Earlier releases often centred on colour adjustments to existing inventory. Recent collaborations introduce regionally specific textile work and production partnerships. The integration of embroidery from an Abu Dhabi atelier into Italian-made bag construction reflects this progression. Tyler Ellis has built its reputation on formal evening bags designed for controlled settings. Hamda Al Fahim operates within couture, producing garments structured around hand embroidery and proportion. The Ramadan 2026 capsule aligns these practices within a single object category. The release enters the market during a period when accessories assume increased importance within Ramadan wardrobes. Evening bags move between multiple outfits across the month, functioning as stable elements within changing silhouettes. This collaboration positions the bag accordingly. The capsule does not expand into new forms. It reinforces an existing one through material and surface treatment, aligning Italian construction with Gulf-based textile work. The result is defined by structure, embroidery, and proportion.