Search this site

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

Two decades, one continuous point of view The return of Stella McCartney to H&M carries a different weight this time. When the first collaboration launched in 2005, it signalled a shift in how fashion could move between levels, bringing a distinct point of view into a broader retail space without losing its clarity. Two decades later, the conversation has evolved, and so has the designer. This collection arrives with that perspective already established. Rather than revisiting a single moment, it moves across the full span of McCartney’s work, drawing from the codes that have held steady over time. Tailoring remains central, structured jackets, elongated lines, and a certain ease through the shoulder that allows the garments to sit naturally on the body. Oversized shirting and sweeping outerwear follow, pieces that have become familiar within the house, now refined through proportion and fabric. There is a quieter return to earlier elements. Prints and graphic references appear with more control, integrated into the collection rather than set apart from it. A studded white tee, carrying the words “Rock Royalty,” recalls a different period in fashion, while remaining grounded in the present through its execution. Mesh, embellishment, and softer construction introduce variation without shifting the overall direction. Material choice is consistent with how McCartney has worked over time. Organic cotton, certified wool, and recycled components are used throughout, not as a statement, but as a standard. Even the coated finishes, developed through alternative sources, are handled with the same discretion, allowing the focus to remain on the garment itself. The collection holds together through its sense of continuity. Ribbed knits, fluid dresses, and tailored separates move between day and evening without adjustment. A long white gown, cut with a circular line that extends through the sleeve and hem, introduces a more sculptural presence, while maintaining the same level of wearability that runs through the rest of the collection. Accessories are treated with equal attention. The Falabella chain appears across bags, jewellery, and footwear, not as a decorative element, but as a structural detail that ties the pieces together. The range moves from smaller shoulder bags to larger formats, each designed with a clear function and proportion. The campaign follows this direction. Shot in London, it places the collection within a setting that feels direct and unconstructed, allowing the clothes to carry the narrative. The phrase “&Stella” runs through the imagery, linking past and present without drawing a distinction between them. This collaboration does not attempt to redefine the relationship between designer and retailer. That shift has already taken place. Instead, it reflects on what has remained consistent, and how those elements continue to hold their place now. Available from 7 May across select stores in the UAE, Kuwait, Qatar, and Saudi Arabia, as well as online, the collection is positioned within a market that understands both its origin and its relevance.

The community of people behind the skyline At Kite Beach Dubai, a new installation has shifted the focus of public art away from spectacle and toward participation. We Love Dubai , led by Kate Beech, takes the form of a large-scale digital mosaic, a heart composed not of abstract design, but of the people who move through the city every day. It is a simple idea, executed with clarity, inviting residents to place themselves, quite literally, within a shared image of the place they call home. The process is deliberately uncomplicated. Visitors scan a QR code, take a portrait, and see it added in real time to the growing composition displayed along the beachfront. What emerges is not a static artwork, but a living surface, constantly shifting as new faces are introduced. The piece evolves across the day, across the week, reflecting the pace and diversity of Dubai itself without attempting to define it too neatly. What gives the installation its weight is not scale, but accumulation. Each image carries a moment, a presence, a decision to participate. Together, they form a visual language that feels distinctly local in its structure, layered, varied, and open. The mosaic does not prioritise hierarchy or narrative. It holds space for difference, allowing the city’s multiplicity to exist side by side, without reduction. Set against the wider rhythm of Kite Beach, where sport, leisure, and social life intersect, the installation feels appropriately placed. This is not an isolated cultural gesture, but one embedded within how the city already operates. People arrive for movement, for conversation, for time spent outdoors, and become part of something larger in the process. The artwork does not interrupt that flow, it extends it. There is also a quiet confidence in how the project approaches identity. Rather than presenting a fixed image of Dubai, it allows the city to be described by those who inhabit it. The result is neither curated nor controlled in the traditional sense. It is immediate, collective, and reflective of a place that continues to define itself through openness and exchange. Running through April 12, We Love Dubai  offers a moment of pause within the city’s constant forward movement. Not to look ahead, but to register what already exists, a community built across cultures, languages, and individual trajectories, brought together through a shared environment. It is a reminder that beyond architecture, infrastructure, and ambition, a city is ultimately understood through its people, and the ways in which they choose to see themselves within it.

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.