Latest news with #AlserkalAvenue
Khaleej Times
23-05-2025
- Entertainment
- Khaleej Times
How Dubai's restaurants are turning uniforms into runway moments
At the start of this year I was heading to work in Dubai's Alserkal Avenue, where I teach spin classes, when I was stopped in my tracks by a group of guys wearing jumpsuits in a soul-lifting shade of lilac, paired with precisely Pantone-matched adidas Gazelle trainers. Obvs, I stopped for a selfie. Turns out they were part of the team at the new fast-casual dining concept Nala, the latest food and beverage brand from Tasha's Group, which also owns Flamingo Room, Avli, and, of course, Tasha's. While the group's restaurants have built a reputation of incredible hospitality, moreish food and breathtaking interiors, I'd never paid attention to what their staff wore. Until I saw those jumpsuits. And wondered where I could get one. Fast-forward a few months and I ventured out to Sexy Fish in DIFC for the first time. I was expecting to be blown away by the interiors (there isn't a more photographed bathroom in Dubai), that mermaid sculpture and the immersive, tentacle-laden servings of sushi. What I wasn't expecting was a roll call of receptionists, waiters, and bar staff looking like they'd walked off the runway at one of Milan Fashion Week's more exuberant shows. When, I wondered, did restaurants become as much about the fashion as the food? 'Our guests are style-conscious, design-literate, and culturally engaged,' says Daniel Smith, managing director at Sexy Fish Global and Sekushi, 'they walk in wearing designer outfits — why wouldn't our team match that energy?' He makes a good point. 'Let's be honest: the average hospitality uniform hasn't changed much in decades,' Smith explains, 'black shirts, white aprons — it's all very expected. But Sexy Fish was never created to be 'expected'.' It helps that Sexy Fish owner Richard Caring, chairman of Caprice Holdings, began his career in fashion, supplying most of British high street throughout the 1990s and early 2000s. It's not as simple as swapping white aprons for a zhushy two-piece, though. Each Sexy Fish design aligns with the role it has been created for, considering the physical demands across the spectrum of restaurant staff, to ensure that comfort isn't sacrificed for style. That means up to 60 individual styles, designed and orchestrated by in-house atelier teams in London and Dubai. Each piece is tailored to its wearer, dry-cleaned every 24 hours, and sent to be recycled at the end of a six-month lifespan of daily wear. Operating in a different market, but viewing the future of hospitality through the same fashion-focused lens, Nala's rejection of the standard polyester branded polo top that most casual dining concepts employ, makes it so much more than most contemporary cafés. 'In an industry where uniforms are usually an afterthought, we treated them as part of the brand's storytelling,' Nicky Greig, culinary director of Tasha's Group, tells me, 'like the restaurant equivalent of breaking into song when everyone else is just talking.' Greig reckons we are the start of a fully-fledged convergence of fashion and food. 'The future of F&B belongs to brands that understand modern diners aren't just purchasing food. It's about not compromising on any element that shapes the guest experience, even when conventional industry wisdom suggests you should,' she says. So, while Sexy Fish's in-house design team, atelier and dry-cleaning bill would strike fear into the heart of many a restaurant operator, it could well become the norm. 'Fashion hasn't just crashed the party — it's moved in, made a playlist, and is setting the vibe. We're witnessing the early stages of a full-blown convergence where restaurants aren't just feeding you, they're styling you,' Greig confirms, 'Five years from now, we'll look back and wonder what took it so long for these worlds to collide.' And it's not just clothes, managers at Sexy Fish are adorned with bespoke jewellery, and the London branch collaborated with sparkling accessory brand Judith Leiber to bedazzle the DJ booth and create custom crystal brooches and belts for staff. Like the Nala jumpsuits, Sexy Fish's jewellery is not (yet) for sale, but I'd love to know how many of its iconic chopstick holders have been smuggled out in diners' Bottega Andiamo clutches (gold, natch). 'The message on the back — 'stolen from Sexy Fish' — wasn't an accident,' says Smith wryly, adding that Sexy Fish style won't be for sale. 'Our uniforms are like haute couture — made for the wearer and the moment,' says Smith. 'They're designed to be exclusive, and that's part of their magic. They belong to our team, to our story, and to our brand. So no, you won't find them for sale.' I might have more luck over at Nala where, Greig estimates, at least once a day someone asks to buy a jumpsuit. 'We've been bombarded with requests. There's literally a whiteboard in our office that says, 'NALA MERCH???' in increasingly frantic handwriting,' she laughs, adding, 'there's real potential here: hospitality brands today are more than restaurants – they're lifestyles. Merch extends the brand universe beyond the plate. The pros? It's a new revenue stream with strong margins and even stronger brand loyalty. The cons? It can pull focus from the main game, the food, and, if done carelessly, veer into cringe territory.' Two very different culinary concepts, one equally clear belief that, 'it's no longer just interiors carrying the aesthetic weight. Now, uniforms are getting just as much attention', confirms Greig. 'We're not just serving food,' Smith echoes, 'we're creating luxury moments you can live in.'
Broadcast Pro
02-05-2025
- Entertainment
- Broadcast Pro
Cinema Akil to screen Somali film ‘The Village Next to Paradise'
'The Village Next to Paradise', a Cannes-selected poetic drama by Mo Harawe, centred on a family in a Somali village navigating life between hardship and hope. As part of Arab Cinema Week Volume 4, Cinema Akil will host special screenings of The Village Next to Paradise on May 4 and May 9, with director Mo Harawe in attendance. Presented by Fujifilm in collaboration with Alserkal Avenue and supported by Soul Communications, the event highlights a landmark in Somali cinema. Directed and written by Mo Harawe in his feature debut, The Village Next to Paradise transports viewers to the serene backdrop of a Somali village, where a family recently brought back together must navigate the fragile balance between personal aspirations and societal pressures. The film offers an intimate portrayal of life in the village, capturing the everyday struggles and dreams of its residents. The cast includes Ahmed Ali Farah, Ahmed Mahmoud Suleiman and Anab Ahmed Ibrahim. Joana Scrinzi handled the film's editing, while Noor Abdulkadir served as production designer. Egyptian cinematographer Mostafa El Kashef made his feature debut on the film, earning the Best Cinematography award at the Diagonale Austrian Film Festival. The film also won Best Feature Film at the same festival. The Village Next to Paradise holds the distinction of being the first Somali film to screen at the Cannes Film Festival. El Kashef, who gained acclaim for his work on the project, will return to Cannes this May with his latest film, Aisha Can't Fly. International sales are handled by Totem Films, with Jour2Fête managing French distribution and MAD Distribution covering the MENA region.
Gulf Today
22-04-2025
- Entertainment
- Gulf Today
Tirmizi lauds Qureshi's ‘Vanishing Points'
Ambassador Faisal Niaz Tirmizi, Pakistan's Envoy to the UAE, visited the exhibition 'Vanishing Points' by renowned Pakistani artist Imran Qureshi at Alserkal Avenue. The exhibition, curated by Nada Raza, Director of the Alserkal Arts Foundation, ran from April 13–20 and featured Qureshi's innovative works, including photography, video, paintings and a site-specific installation. During the tour, Ambassador Tirmizi received a detailed briefing from Curator Nada Raza on the conceptual depth and technical mastery of Qureshi's artworks. The Ambassador commended the artist's ability to capture Pakistan's cultural vibrancy, stating, 'Imran Qureshi's art vividly transforms Pakistan's day-to-day life into breathtaking visual narratives. 'Through his lens, the bustling streets, Sufi shrines, and architectural heritage come alive, arising a deep sense of connection. 'His depiction of a Sufi tomb with Qawwali resonating in the background is particularly mesmerising and emotionally powerful.' Ambassador Tirmizi emphasised the role of art as soft power in enhancing Pakistan's global image and fostering cross-cultural understanding. He highlighted the exceptional talent of Pakistani artists and called for greater international recognition of their contributions to contemporary art. Reaffirming the Embassy's commitment to promoting Pakistani culture, the Ambassador assured full support for future collaborations with institutions like Alserkal Avenue to showcase Pakistani artists in the UAE. 'We are eager to collaborate on platforms that amplify Pakistan's rich artistic heritage on the global stage,' he added. A recipient of Pakistan's Sitara-i-Imtiaz and France's Chevalier de l'Ordre des Arts et des Lettres, Imran Qureshi is a pioneering figure in contemporary miniature painting. His works are part of prestigious collections at The Metropolitan Museum of Art, the Victoria & Albert Museum and the Guggenheim Abu Dhabi, among others.
Broadcast Pro
21-04-2025
- Entertainment
- Broadcast Pro
Cinema Akil to host fourth edition of Arab Cinema Week in May
The Arab Cinema Week will open with 'Three', a psychological horror directed by Nayla Al Khaja. Cinema Akil is gearing up to host Arab Cinema Week Volume 4, presented by Fujifilm, running from May 2 to May 11, 2025, in partnership with Alserkal Avenue and communications partner Soul Communications. This year's edition promises a rich cinematic experience, showcasing stories from 10 different countries and embracing a variety of genres that reflect the dynamic identity of the Arab world. At the heart of Volume 4 is an exploration of human resilience and aspiration—stories rooted in the pursuit of home, freedom, reconciliation and survival. These films offer a poignant reminder that personal dreams often carry immense collective resonance. The festival opens with Three, a psychological horror by Nayla Al Khaja, set between the UAE and Thailand. The film follows a desperate mother who turns to ancient rituals in a bid to save her son, merging elements of faith, tradition and the supernatural. Among the highlights is The Village Next to Paradise, a Cannes-selected poetic drama by Mo Harawe, centred on a family in a Somali village navigating life between hardship and hope. Arzé by Mira Shaib adds humour and heart, telling the story of a mother and son chasing a stolen scooter across Beirut, confronting sectarian divides along the way. In Mond, Austrian director Kurdwin Ayub crafts a surreal narrative of an Austrian martial artist entering the secluded world of three Jordanian sisters, exploring power dynamics and control. From Saudi Arabia, Saify by Wael Abu Mansour delivers satire through a man entrenched in the past, clinging to his cassette store, while Aicha by Mehdi Barsaoui tells a sobering story of a woman's attempt at escape and the harsh realities that follow. The festival's documentary selection is equally compelling. Abo Zaabal 89 by Bassam Mortada examines the generational echoes of political decisions, while In My Memory is Full of Ghosts by Anas Zawahri offers a hauntingly poetic view of post-war Homs. Sudan, Remember Us by Hind Meddeb, fresh from the Venice Film Festival, captures the energy of youth activism and creative defiance amid Sudan's ongoing unrest. Tell Them About Us by Rand Beiruty portrays the empowering journeys of Arab, Kurdish and Roma teenage girls in Germany through performance and storytelling. Audiences can expect screenings, Q&As with filmmakers and thought-provoking discussions throughout the week.
Emirates Woman
15-04-2025
- Entertainment
- Emirates Woman
Art Dubai plays a pivotal role in transforming the region's art scene
Benedetta Ghione, Executive Director at Art Dubai, on how Art Dubai creates high-impact art. Can you elaborate on the initiative that is Art Dubai? Art Dubai is the most significant global art gathering in the Middle East, and for the 2025 edition, the fair will spotlight around 120 galleries from over 40 countries across our four distinct gallery sections including Contemporary, Digital, Modern and Bawwaba. From performances, installations and experimental commissions from the likes of Mohammed Kazem, Héctor Zamora and Ania Soliman to talks as part of the Global Art Forum and the Digital Art Summit, there's so much to see and experience during the fair from April 18 to April 2025 and preview days on 16 and 17 April. Plus, we support the arts and culture community year-round with many initiatives including the A.R.M Holding Children's Programme and our professional development programme Campus Art Dubai, where we support aspiring art professionals. How has Art Dubai evolved since it first began? From our beginnings nearly 20 years ago, we have evolved into more than a week-long art fair. Art Dubai is now a major meeting point for the global art community of artists, collectors and institutions. As an incubator for a new generation of artists, we embrace an institutional responsibility to lead in innovation and thought leadership with arts and culture. Since we launched, we remain committed to giving a platform to artists from lesser represented geographies of the world, and approximately 76 percent of this year's programme is drawn from MENA / South Asia. Can you expand on the key highlights from this year's programme? Art Dubai is always evolving, and 2025 marks an evolution of the fair. First up, we're launching a new programme with Alserkal Avenue, kicking off with renowned Mexican artist Héctor Zamora. Known for his bold, site-specific works, he's bringing to Art Dubai a powerful performance exploring transformation and liberation; the performances at the fair will be complemented by a site-specific installation at Alserkal Avenue. We are also continuing to place strong emphasis on digital art and the impact of new technologies on creative practice. In the Digital Summit, themed 'After the Technological Sublime', under the direction of Art Dubai Digital 2025 curator Gonzalo Herrero Delicado, we will unpack how AI and digital art are pushing creative boundaries. We're expecting one of the most dynamic editions yet, with bigger ideas, deeper conversations and even more ways to experience Art Dubai. Our Modern section offers something quite different than anywhere else in the world and this year sees its expansion to Latin American for the first time. Venezuelan artist Darío Pérez Flores' (Mark Hachem) work will reflect common concerns and empathies between Latin America and West Asia and North Africa. 'Art Dubai has established itself as an important institutional platform and a catalyst for Dubai's cultural economy' 'The New New Normal' is a thought-provoking theme for this year's Global Art Forum. What key discussions and ideas will it explore? This year the Global Art Forum will examine how constant change reshapes our world, making everyday life feel as unusual and unpredictable as science fiction. Throughout its nearly 20 years, the Global Art Forum has always been ahead of its time and is a hub for cultural dialogue and innovation. This year, it's commissioned by Shumon Basar and curated by Y7 – the UK-based post-disciplinary duo Hannah Cobb and Declan Colquitt – so expect sharp insights and big ideas from some of today's leading thinkers, technologists, artists and forecasters. In an era of rapid digital transformation, how does Art Dubai ensure that technological innovation is balanced with artistic integrity? From early digital art pioneers to new emerging names, Art Dubai Digital has shown the evolution in this art form over the years. We are seeing huge growth in digital art with the artists expanding our very understanding and definition of contemporary art and culture. You will see pieces examining how artists and creative practitioners are working with advanced technologies particularly AI, virtual reality and augmented reality, interrogating the key environmental, social and political challenges of our time. How does Art Dubai play a pivotal role in the UAE as an incubator for creative talent? Art Dubai is a catalyst and anchor point for the rapid growth of the UAE and the wider region's art scene and creative economy which has evolved into a meeting point for international art collectors and the creative community. The development of Dubai's cultural scene, the dynamism of the city and the rich communities of artists and creatives that call Dubai home, is reflected in the eclectic line-up at this year's fair. We have 23 Dubai galleries and some inspiring local artists including Sara Al Haddad, Sara Ahli and Faris AbdullaAlshafar at Aisha Alabbar; and Hassan Sharif and Mohammed Kazem at Gallery Isabelle. Outside of the fair, the Dubai Collection, an initiative of Dubai Culture & Arts Authority and managed by Art Dubai, is the first institutional art collection for the emirate of Dubai and is an initiative that further enhances Dubai's artistic influence and reach. Containing over 1000 pieces of work, the Collection includes artwork from private collections based in Dubai and the wider region. Whilst maintaining focus on the Middle East, the Dubai Collection is an international collection with no geographical restrictions, and artists from more than 40 countries are currently represented. How will this year's summit change the way we think about art and technology? From early digital art pioneers to new emerging names, Art Dubai Digital has shown the evolution in this art form over the years. When we launched this new gallery section four years ago, Art Dubai was the first and only major international fair with a dedicated digital section. This year's Art Dubai Digital Summit will offer thought-provoking conversations on ecological activism in media art, the hidden biases in artificial intelligence, and what the future holds for museums in an increasingly digital world. Through public talks, lectures and breakout sessions, museum directors, curators, artists and tech innovators will share insights on where we're headed and what's at stake. This year we have several digital installations and hybrid works – phygital or works that are digital but in contemporary sections – showing how artists are integrating digital elements in traditional art pieces and changing how we think of the two mediums. For example, Egyptian/Polish/American artist Ania Soliman and her work Kahrabaa, takes its title from the Arabic for 'electricity'. As a large-scale, site-specific installation, it traces complex interconnections between technology, nature, and memory and presents five-metre-high canvases that blend technological and organic motifs captured in a series of performative acts involving artificial and real plants being thrown onto the canvases. Pioneering kinetic sculptor BREAKFAST will debut a large-scale interactive installation, Carbon Wake, and this first-of-its-kind kinetic artwork will take centre stage at the main entrance of the Digital gallery section. Alfred Basbous, Le mysterieux, Ed.8, 1991, Bronze, 46.5 x 21 x 16 cm, Courtesy of Alfred Basbous Foundation How do you see blockchain, AI, and immersive technology influencing the future of Art Dubai Digital? Curator Gonzalo's theme for the 2025 Art Dubai Digital section 'After the Technological Sublime', brings together artists and creatives who are using digital technologies to address the challenges that humanity and the planet are facing today. Through their pieces, the artists raise critical questions and demonstrate the role digital technology has today and in the future. This year we have focused on artists active in artificial intelligence, virtual, and augmented reality, and other technological advances to interrogate some of the key environmental, social, and political challenges of our time. How is Art Dubai shaping the region's role in the global art conversation? Art Dubai remains the most significant global art gathering in the Middle East, and our regional and international reach providesartists and galleries a global platform to connect with international audiences, fostering dialogue and new opportunities on a global scale. This year, we have 67 cities represented from across 39 countries. Over the years, Art Dubai has established itself as an important institutional platform and a catalyst for Dubai's cultural economy, playing a key role in shaping its artistic landscape. This is The Design Issue – tell us more about art that has design appeal? The presentations for this year will encompass a diverse variety of mediums – from textile-based art, marble and resin sculptures, to glass wall pieces. French artist Joana Vasconcelos, whose textile sculptures are part of an ongoing series wrapping animals in handmade cotton crochet and five needle lace, is inspired by the ceramic's artwork of Rafael Bordalo Pinheiro (1846 – 1905), one of the most renowned Portuguese artists of the 19th century. Thomas Brambilla Gallery is bringing American sculptor, Bryan Hunt, and his series of wall pieces to this year's edition of Art Dubai. – For more on luxury lifestyle, news, fashion and beauty follow Emirates Woman on Facebook and Instagram Images: Supplied
