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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.

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.