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Elie Saab's son weds at sparkling three-day celebration in Lebanon

Elie Saab's son weds at sparkling three-day celebration in Lebanon

The National3 days ago
Celio Saab, son of the Lebanese couturier Elie Saab, married his fiancee, Zein Qutami, in Lebanon.
Surrounded by friends and family, the pair exchanged vows at the historic Bkerke church in Jounieh, followed by a glittering reception as part of the three-day celebration. The bride, of course, wore Elie Saab.
With a fashion designer as her new father-in-law, all eyes were on Qutami and her outfits for the each of the events.
For the pre-wedding party, which kicked off the three-day event, Qutami wore a fitted champagne-toned dress, with a beaded bodice and a floor-length, pleated skirt, paired with a matching sheer cape hanging from her shoulders. The groom, meanwhile, wore a single-breasted taupe suit with an open-necked shirt.
For the wedding day, the bride wore two looks. She arrived at the church on the arm of her father, wearing a shimmering, off-the-shoulder, silver embellished gown with long sleeves.
Fully fitted, the dress featured an overskirt that extended into a cathedral-length train, and was finished with a large ivory bow at the back. Over this, Qutami wore a gossamer veil that was the length of the train. She finished the look with a small bouquet of white and silver flowers, emerald-cut drop diamond earrings and a small headpiece.
For the evening event, the bride switched into a champagne-coloured gown, with a similar full skirt and vertical lines of silver beading. She wore a matching veil and carried a small bouquet of tonal flowers. The look was finished with the same diamond earrings. Her husband wore a formal black tuxedo to both events.
For the third day of celebrations, Qutami wore a strapless, sweetheart-cut dress in powder blue, which also featured intricate beading. Her husband, meanwhile, arrived looking relaxed wearing all black, wearing a jacket over a T-shirt.
In addition to creating the bridal gowns for his new daughter-in-law, Elie Saab also dressed many of the high-profile guests in attendance.
Yemeni-Emirati singer Balqees Fathi wore a rose gold beaded and sequinned strapless gown to attend the wedding. "What a magical night," she wrote on Instagram in a post congratulating the couple.
Also in attendance was Lebanese singer Nancy Ajram, who wore a fitted, cap-sleeved gown with rich gold sequins and beads.
Other guests included influencer Karen Wazen, who arrived in a mustard yellow, halter-neck look with dramatic slashed sleeves, as well as television host Jessica Azar, who wore a black look, made of horizontal bands of cross-hatched beading. Lebanese actress Nadine Nassib Njeim was also in attendance.
Singer Assi El Hallani shared videos of himself serenading the happy couple at the wedding.
The lavish event is the first high-profile Saab family wedding since Elie Saab Jr married Christina Mourad in 2019. The pair have since had two children, Sophia, four, and Elie, two.
Celio is the middle son of Elie and Claudine Saab. The newlywed couple met in Dubai in 2021 and they continue to live in the UAE.
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Lebanese singer Ragheb Alama's Egypt concerts suspended following accusation of inappropriate conduct
Lebanese singer Ragheb Alama's Egypt concerts suspended following accusation of inappropriate conduct

The National

time4 hours ago

  • The National

Lebanese singer Ragheb Alama's Egypt concerts suspended following accusation of inappropriate conduct

Lebanese singer Ragheb Alama has been suspended from performing in Egypt for 'violating the country's customs, traditions and societal values' after being kissed on stage by a fan. The decision made by the Musicians Syndicate in Egypt came after the circulation of a video of the incident at his recent concert on the North Coast. Alama, 63, has been summoned to the Musicians Syndicate headquarters for an investigation into what has been described as a 'deliberate violation of Egyptian norms, customs and traditions.' His work permit in Egypt has been suspended pending his appearance. Alama said he plans to attend, and holds the concert organisers responsible for the incident. 'For two days, I have been following shameful behaviour that violates all Egyptian customs, traditions and societal values,' said Mostafa Kamel, head of the Musicians Syndicate in Egypt. 'We have never been accustomed to this in our country before and we will not allow it to be repeated. 'Egypt's stages have been graced by some of the greatest artists in Egypt and the Arab world, both artistically and in value. They have never been, and never will be, a breeding ground for kisses, undisciplined gestures and disgusting hugs. He added: 'With my sincere respect and appreciation to Mr Farid Bou Said, the head of the Musicians Syndicate in our sister country, Lebanon, and to all our brothers and sisters in the beloved Lebanese people.' The syndicate has also contacted officials from the Chamber of Tourism Establishments to arrange a meeting with them or their representatives, with the aim of making a joint decision to summon the owner of the tourist venue that hosted the concert. Alama said in a phone call with Al-Nahar TV: 'What happened was that the girl grabbed me in her joy as I was coming off the stage and kissed me. The kiss wasn't on my mouth. I swear to God, that didn't happen.' He added: 'I hold the organisers responsible because people were going to the theatre. I respect the audience and I am well aware that tourism in Egypt is a great responsibility. 'I contacted the head of the syndicate and I respect the syndicate's decision and place myself at its disposal. God willing, I will visit the syndicate next week.'

Eight reasons why Nancy Ajram still matters in 2025
Eight reasons why Nancy Ajram still matters in 2025

The National

time6 hours ago

  • The National

Eight reasons why Nancy Ajram still matters in 2025

The sound and image are familiar: Nancy Ajram walking down a sunlit street in a coastal town, waving to neighbours with an effortless smile that has charmed the region for more than two decades. Her latest single, Warana Eh, doesn't break new ground, but its breezy mix of Arabic pop and Mediterranean rhythms fits the season well. It's the kind of summer release we've come to expect from Ajram – light, catchy and anchored by a casual phrase that loosely translates to 'what do we have to lose?', used here to suggest a sense of freedom and letting go. The track is part of Ajram's new album, Nancy 11, and while it doesn't aim for reinvention, it continues a pattern that has quietly defined her career. Ajram's catalogue may not be as shape-shifting as that of some of her peers, but it has consistently delivered enough to stay afloat in the region's musical and cultural backdrop. Here are eight reasons why she's remained relevant for so long. 1. 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Fellow Lebanese singer Haifa Wehbe's 2006 hit El Wawa, with its sultry visuals, drew censorship and bans from conservative broadcasters, while Ruby's Leih Beydary Keda, released in 2005, faced similar scrutiny. Ajram, however, showed marketing instinct by adjusting course and opting for safer waters since then. 3. She pioneered the family-friendly star Ajram's foray into children's music was more than a side project. Albums such as Shakhbat Shakhabit (2007) and Super Nancy (2012) gave her permanent place in the lives of Arab families. The music was technically not a far cry from her pop formula. While it was simple and unsophisticated, it still retained those earworm melodies that made it a commercial success. More importantly, Ajram became the first fully-fledged Arabic pop star to take the children's market seriously, releasing albums and performing child-friendly shows. Others such as Tamer Hosny and Kadim Al Sahir only released sporadic singles. It was a move that led her to become a judge on the inaugural season of The Voice Kids: Ahla Sawt in 2016, an Arabic version of the talent quest, and performing a children-themed concert at Dubai's Modhesh World in 2015. 'I love performing for children and, you know, it's not just a fun thing to do, it is very important for me both as a person and artist,' she told The National ahead of that show. 'For me, I think it's the purest kind of love when a child loves you. That's because they have no barriers, they say what they feel and they are very brave.' 4. She owns formats and genres Ajram's cross-generational appeal is finely curated. As a television judge on Arab Idol, she presented herself as aspirational and slightly distant. On The Voice Kids: Ahla Sawt, she adopted a warmer, more maternal presence resonating with younger contestants and their families. This subtle shape-shifting is also heard in her musical choices. Classy ballads such as Akhasmak Ah (2003) and Ehsas Jdeed (2008) appeal to adult listeners, while fizzy pop works such as Ah W Noss (2004) and Maakoul El Gharam (2017) are geared towards younger audiences. This is all done without biting the latest music trends or compromising her evergreen persona. The result is fanbase spanning multiple generations. Some fans began as children listening to the 2012 hit Ya Banat (from the album Super Nancy), which surpassed 100 million YouTube views, and continued as adults singing along to later releases such as the latest single Warana Eh. By all measures, this represents a masterclass in audience development and brand longevity within the Arabic pop landscape. 5. She does things on 'Nancy time' Ajram's catalogue has rarely chased trends. There are no viral campaigns, no TikTok dances, no hashtags attached to her releases. Even Nancy 11 arrived with minimal fanfare – just the occasional teaser announcing a new single. While the Arabic pop industry increasingly measures success in streams and virality, Ajram works according to her own tried-and-tested timeline. Her albums are uniform, for better or worse, with few tracks standing out beyond the selected singles. Even the occasional experiment, such as the 2022 dance-pop track Sah Sah with Marshmello, stayed within her register. The blazing synths didn't override her steady, melodic tone. This measured pace isn't designed to beat the algorithm. With Ajram, you get what you expect. 6. She keeps her feelings in check An interesting aspect of Ajram's work is the emotional restraint throughout her lyrics. Unlike some of her peers, she rarely sounds desperate to confess or exorcise pain. The songs are romantic but never raw, heartfelt but never truly melancholic. In a pop music scene where emotional visibility is often equated with authenticity – consider Elissa and Carole Samaha – Ajram's restraint is a notable contrast. Whether it's an artistic or commercial decision, or simply a reflection of her peppy persona, Ajram's music has remained a consistent and familiar reference point for fans. 7. She is vibe, not a brand What defines Ajram's sound and career is not sonic innovation but emotional consistency. Like Amr Diab, she builds a world of feeling rather than genre exploration. But their methods differ. Where Diab raised production standards for recording and what it means to be a mega pop star, with all its ego and controversies, Ajram's influence has been rooted in something more domestic across the decades. Her brand is built on warmth, familiarity and low-stakes intimacy. You can hear her in the car, at home, at a wedding or during a Ramadan television campaign, and she never feels out of place. That ubiquity isn't just popularity, it's the kind of trust that virality can't buy. 8. She holds her ground Ajram's role in Arabic pop isn't measured by her influence. Few younger Arab artists name her as a direct influence – a reflection, perhaps, of changing tastes and a more fragmented industry. But her relevance comes from consistency rather than pioneering a new path forward. Her voice, image and tone remain steady in a scene shaped by churn and generational shift. Instead of reinventing or launching into era-like cycles, she simply remains on point. And for her generation of fans, they wouldn't want it any other way.

Memos From The Middle East: Dior Introduces the D-Motion Bag, Bvlgari Debuts Its First Manion, And Christies London Celebrates Syrian-German Artist Marwan Kassab-Bachi
Memos From The Middle East: Dior Introduces the D-Motion Bag, Bvlgari Debuts Its First Manion, And Christies London Celebrates Syrian-German Artist Marwan Kassab-Bachi

Harpers Bazaar Arabia

time2 days ago

  • Harpers Bazaar Arabia

Memos From The Middle East: Dior Introduces the D-Motion Bag, Bvlgari Debuts Its First Manion, And Christies London Celebrates Syrian-German Artist Marwan Kassab-Bachi

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