This is why handheld fans in Spain are enjoying undimmed popularity
'Everyone uses a fan here in Spain — children, the elderly, young people, men,' said Arturo Llerandi, owner of the 'Casa de Diego' fan boutique in Madrid. 'Why? Because it's hot... It's hotter across Europe and you see fans everywhere.' Llerandi's bustling shop, which has been located in the centre of the Spanish capital for more than two centuries, boasts 10,000 different models of fans.
Bone and lace versions are aimed at women and smaller versions cater to men, all diminutive enough to slip into a jacket pocket, with the most luxurious costing up to 6,000 euros ($7,000). With temperatures close to 40 degrees Celsius (104 degrees Fahrenheit) regularly assailing Madrid in July, the idea of buying a fan as a gift was a no-brainer for customer Carmen Pulido. 'It's something to have forever...
Pedestrians walk past the window of Casa de Diego hand fan store in Madrid.
Lately, it's become essential,' said the 62-year-old legal assistant. For pensioner Rosa Nunez, 69, the 'good old fan' has remained her best friend after the batteries of her electronic alternative died. 'With handheld fans, the battery runs for a lifetime,' she said with a smile.
Olivier Bernoux, a designer who heads a luxury fan store in Madrid, acknowledged the accessory has 'a heavy legacy... perceived as an old object, for the elderly'. But they are 'not kitsch, nor for old women', insisted the man whose celebrity clients include pop idol Madonna and US actor Eva Longoria. 'Even in New York you find fans due to climate change because you have to find a way to cool down,' said Bernoux.
His global customer base brings different expectations. 'Men are more classic', while Spanish women 'are more sensitive to the noise' made when fans are unfurled, he said.
French luxury hand fan designer Olivier Bernoux works on one of his fan creation.
'For the 'Miami' American woman customer, large fans are a must-have, while the French are particularly attracted to all our linen creations,' Bernoux continued.
At Madrid's Pride festival in July, some dancers snapped their fans to the rhythm of the music before spectators waving rainbow-coloured equivalents, illustrating how the humble object can also be used to convey messages. 'The fan has always been fundamental for us and the community. It has always been an icon,' said Pedro Pontes, a 31-year-old waiter.
Ecuadoran journalist Erika von Berliner, who lives in Madrid, sees her fan as a 'very elegant' accessory. 'You hold something very beautiful that goes with your clothes and if you know how to use it well, with elegance, so much the better,' the 49-year-old enthused.
Arturo Llerandi, owner of Casa de Diego, poses outside his hand fan store in Madrid.
Bernoux agreed, emphasising what he identified as the object's 'sensuality'. 'The very opening and closing of a fan is a marvellous gesture that will attract attention,' he said, advising users to sprinkle perfume on theirs. 'On public transport, you take out your fan and it makes a tough moment an easier one,' he concluded.
Meanwhile, Spanish authorities lifted lockdown measures for thousands of villagers in the northeastern Catalonia region on Wednesday as firefighters began taming a forest fire raging for a third day. The blaze that started on Monday has burned more than 3,300 hectares (8,154 acres) in Tarragona province, with the protected Els Ports natural park making up around one-third of the affected area, Catalan countryside rangers said.
A stay-at-home order for around 18,000 people decreed on Tuesday was lifted except for the municipality of Pauls, where residents were allowed to go outside but not leave the locality, the Catalan civil protection authority announced on X.
Catalonia's fire service said it had 'stabilised' the blaze but continued to work with ground units, helicopters and aeroplanes on several hotspots, including cliffs and areas that are hard to access.
Scientists say human-induced climate change is increasing the intensity, length and frequency of the extreme heat that fuels forest fires.
Spain recently sweltered through a heatwave that parched the land, while national weather agency AEMET said last month that it was the country's hottest June on record.
According to the European Forest Fire Information System, around 500 fires destroyed 300,000 hectares in Spain in 2022, a record for the continent.
Around 21,000 hectares have burned so far this year.
Meanwhile, International holidaymakers are keeping Spaniards off their own sun-kissed beaches due to ever-rising hotel and rental prices during an unprecedented tourism boom. Spain's top 25 Mediterranean and Atlantic coast destinations saw local tourism drop by 800,000 people last year whereas foreign visitors rose 1.94 million, according to previously unreported official data reviewed by analysis firm in Atlas.
The trend looks sure to continue as the world's second-most visited country — after France — anticipates a record 100 million foreign visitors this year. 'Prices have risen outrageously. The whole Spanish coast is very expensive,' said Wendy Davila, 26. She cancelled an 'exorbitant' trip with her boyfriend in Cadiz on the south coast for a cheaper visit to the inland city of Burgos, famed for its Gothic cathedral and the tomb of 11th century commander El Cid.
'Now you don't go on holiday wherever you want, but wherever you can,' added Davila, who is nostalgic for childhood beach holidays in Alicante on the Mediterranean. With a population of 48 million — half the number of foreign visitors each year - Spain relies heavily on tourism, which contributes more than 13% of GDP.
But protests are growing over housing shortages exacerbated by mass tourism - and could be exacerbated by the indignity for Spaniards being priced out of their favourite holidays.
Agence France-Presse
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Web Release
6 hours ago
- Web Release
Double Culture Films: The Eye of Luxury Through the Lens of Sofiane Atamna
Since 2021, Double Culture Films has established itself in Dubai as a refined and singular presence in the world of high-end visual production. Founded by Sofiane Abdi Atamna, a French-Algerian filmmaker with a passion for imagery and a degree in cinematography from Middlesex University in London, the company specializes in creating high-quality photographic and video content designed to elevate the identity of the world's most prestigious luxury brands. With a meticulous approach defined by precise framing, technical expertise, and artistic sensibility, Double Culture Films offers a unique vision—merging cinematic finesse with the strategic needs of premium visual communication. For nearly four years, Sofiane Abdi Atamna has maintained a close and ongoing collaboration with Christian Dior Couture. Built on mutual trust and a shared aesthetic sensitivity, this long-term relationship involves the regular creation of videos and photographs capturing the brand's key moments: exclusive events, collection unveilings, artistic installations, and immersive scenographies. Each project is treated with the utmost care, ensuring that the visuals reflect Dior's identity while highlighting every detail. This enduring partnership not only showcases the high standards of luxury but also underscores Double Culture Films' ability to consistently meet the demands of one of the most respected maisons in the world—with discretion, elegance, and professionalism. Another key area of expertise for Double Culture Films is the visual documentation of visual merchandising. While the agency does not design merchandising elements—such as luxury window displays, in-store installations, or curated product showcases—it captures them with a refined artistic eye. Whether for internal use (archiving, sharing, or concept validation) or external digital communication, every video and image is crafted to accurately convey the visual intent while enhancing the creativity and consistency of the brand message. Far from being simple records, these visual assets become powerful tools that extend the customer experience through structured and aesthetically polished formats. Over time, Double Culture Films has also been called upon to work with other globally renowned luxury houses, including Van Cleef & Arpels, Chanel, and Louis Vuitton. These one-off collaborations confirm the studio's recognized expertise in the fields of fashion and luxury. Every assignment is approached with the same commitment to detail—whether in terms of lighting, composition, or rhythm—and with full respect for the brand's visual universe. Rather than imposing a singular style, Sofiane Abdi Atamna adapts his artistic gaze to each brand's identity while leaving his subtle signature: a filmmaker's eye rooted in visual storytelling and emotional nuance. Today, Double Culture Films has earned a solid reputation among major luxury players in Dubai and beyond. Combining technical mastery, creative control, an understanding of luxury codes, and absolute discretion, the company has become a trusted partner—one capable of integrating seamlessly into the most demanding projects without ever compromising the brand's spirit. To discover their work, explore their visual universe, or get in touch, visit their official website:
Gulf Today
14 hours ago
- Gulf Today
Paris unveils mural of Josephine Baker to honour her legacy
Paris is reviving the spirit of U.S.-French entertainer and civil rights activist Josephine Baker with a new mural. Fifty years after her death, Baker now gazes out over a diverse neighborhood of northeast Paris, thanks to urban artist FKDL and a street art festival aimed at promoting community spirit. Born in St. Louis, Missouri, Baker became a megastar in the 1930s, especially in France, where she moved in 1925 as she sought to flee racism and segregation in the United States. In addition to her stage fame, Baker also spied on the Nazis for the French Resistance and marched alongside Martin Luther King Jr. in Washington. She died in Paris in 1975. Josephine Baker in 1940, photograph by Studio Harcourt. ''I feel moved and I feel happy, because this is part of a memory of my mother," her son Brian Baker told the Associated Press at the unveiling of the mural Saturday. He was one of 12 children Josephine Baker adopted from around the world that she called her ″rainbow tribe″ and what her son called ''a little United Nations.″ The mural of Baker, meant to symbolize freedom and resistance, is among several painted in recent days in the neighborhood and organized by the association Paris Colors Ourq. The artist FKDL said he focuses on ''bringing women back into the urban landscape." Brian Baker, son of US-French entertainer and civil rights activist Josephine Baker, stands in front of a new mural of his mother painted by artist Franck Duval, aka FKDL, in Paris, on Saturday. AP "Josephine Baker has always been, for me, a somewhat iconic figure of that era. Both wild and free-spirited, but also deeply connected to music, musicals, and dance,″ he said. ''She was an extraordinary character, an incredible woman." Baker was the first Black woman inducted into France's Pantheon, joining such luminaries as philosopher Voltaire, scientist Marie Curie and writer Victor Hugo. ''My mother wouldn't have liked words like iconic, star, or celebrity. She would have said, no, no let's keep it simple,″ her son said. Associated Press
Gulf Today
a day ago
- Gulf Today
Tariffs can be damaging to Hollywood's film industry
Alexis Alexanian, Tribune News Service When a country like Armenia sends a film out into the world, it's not just art. It's a way to preserve memory, to reach a scattered diaspora. Each film offers the world stories that might otherwise be forgotten. So when President Trump proposes a 100% tariff on all films 'produced in foreign lands,' the damage isn't limited to foreign competitors or outsourcing studios. It threatens to shut out small nations like Armenia, for whom cinema is a lifeline. The proposal hasn't taken effect — yet. But July 9 marked a turning point in Trump's broader tariff agenda, with a deadline for reimposing sweeping trade penalties on countries deemed 'unfair.' While the situation for films remains unclear, the proposal alone has done damage and continues to haunt the industry. The tariff idea arises from the worldview that treats international exchange as a threat — and cultural expression as just another import to tax. Take 'Amerikatsi' (2022), the extraordinary recent movie by Emmy-winning actor and director Michael A. Goorjian. Inspired by his grandfather's escape from the Armenian genocide — smuggled across the ocean in a crate — the project is not just a movie; it's a universal story rooted in the Armenian experience, made possible by international collaboration and driven by a deep personal mission. Goorjian filmed it in Armenia with local crews, including people who, months later, would find themselves on the front lines of war. One was killed. Others were injured. Still, they sent him videos from the trenches saying all they wanted was to return to the set. That is the spirit a tariff like this would crush. Armenia is a democracy in a dangerous neighborhood. Its history is riddled with trauma — genocide, war, occupation — and its present is haunted by threats from neighboring authoritarian regimes. But even as bombs fall and borders close, its people create. Films like 'Aurora's Sunrise' (2022) and ' Should the Wind Drop' (2020) carry voices across oceans, turning pain into poetry, history into cinema. These films don't rely on wide releases. They depend on arthouses, festivals, streamers and distributors with the courage and curiosity to take a chance. A 100% tariff would devastate that. Indeed, the ripple effects of such a tariff would upend the entire global film ecosystem. Modern cinema is inherently international: A Georgian director might work with a French editor, an American actor and a German financier. So sure, many American films use crew and facilities in Canada. But international co-productions are a growing cornerstone of the global film industry, particularly in Europe. Belgium produces up to 72% of its films in partnership with foreign nations, often France. Other notable co-production leaders include Luxembourg (45% with France), Slovakia (38% with Czechia) and Switzerland (31% with France). These partnerships are often driven by shared language, which is why the US is also frequently involved in co-productions with Britain as well as Canada. Israel too has leaned into this model, using agreements with countries such as France, Germany and Canada to gain access to international audiences and funding mechanisms. The US government cannot unmake this system and should not try to do so. To penalise 'foreign-made' films is to punish Americans too — artists, producers and distributors who thrive on collaboration. You can't build a wall around storytelling. Supporters of the tariff argue it protects American workers. But Hollywood is already one of the most globalised industries on Earth, and the idea that it suffers from too many foreign films is absurd. If anything, it suffers from too few. The result of this policy won't be a thriving domestic market — but a quieter, flatter, more parochial one. A landscape where the next 'Amerikatsi' never gets seen, where a generation of Armenian American youth never discovers their history through a movie screen. If America still wants to lead in the 21st century — not just militarily and economically but morally — it should lead through culture and avoid isolation. Stories like 'Amerikatsi' remind us why that matters. A film that begins with a boy smuggled in a crate across the ocean ends with a message of joy and resilience. That's not just Armenian history — it's American history too. It cannot be separated. Unless we want that kind of storytelling priced out of our cinemas (and off our streaming platforms), we must keep the doors open. For America to turn its back on stories like these would be a betrayal of everything film can be. And it would impoverish American society too. That way lies not greatness but provinciality.
