Latest news with #KarenWazen
The National
11-08-2025
- Lifestyle
- The National
From walrus ivory to Wayfarers: A short 2,000-year history of sunglasses
It's hard to imagine life in the UAE without at least one pair of designer sunglasses. From the opulent luxe of Gucci, Chanel and Bvlgari to the left-field appeal of Gentle Monster or local designers like Karen Wazen, shades are part of the endless summer lifestyle. Yet despite being ubiquitous, sunglasses weren't the brainchild of one inventor. They evolved independently across cultures, each finding a way to solve the same problem: shielding eyes from the sun's glare. Arctic origins The earliest known sunglasses date back over 2,000 years, made by the Inuit of Alaska, Russia, Canada and Greenland. Crafted from walrus ivory or whalebone with narrow slits to peer through, iggaak were rudimentary yet surprisingly effective. They reduced photokeratitis (snow blindness) caused by UV rays reflecting off ice and snow, offering enough protection for life in the blinding Arctic. Shades of power in Imperial China and Renaissance Venice By the 12th century, Imperial Chinese judges were wearing darkened quartz lenses called 'ai tai' (literally 'dark clouds'), to conceal their eyes during court, ensuring a neutral expression. In Renaissance Venice, opticians crafted green-tinted 'goldini' to cut the harsh sunlight bouncing off marble palazzos and canal water. The lenses were as fashionable as they were functional, quickly adopted by the city's elite. Eighteenth century eye health in Britain In 1750s Britain, optician James Ayscough began experimenting with blue and green-tinted spectacles, convinced they could improve vision and reduce eye strain, a surprisingly modern take on ocular wellness. He wasn't far off: U2's Bono wears red-tinted lenses today to help manage his glaucoma. Ayscough's designs are among the earliest form of what we would now recognise as sunglasses. Through the 19th century, tinted lenses became more common, used by soldiers in the American Civil War and those with light sensitivity. Motoring, flight and the birth of Ray-Ban The invention of the car turned protective eyewear into a necessity. When Karl Benz debuted his open-top Motorwagen in 1885, drivers adopted leather-lined metal goggles with mesh ventilation – more armour than accessory – despite top speeds of just 16kph. Flight pushed innovation further. In 1936, Bausch & Lomb developed lightweight, glare-reducing lenses for American Army pilots. A year later, the Ray-Ban Aviator was born, its teardrop silhouette and wire frame becoming a style staple for Elvis Presley, General MacArthur. Decades later Tom Cruise would wear them in Top Gun (1986), which boosted sales by 40 per cent. Hollywood's favourite accessory Ray-Ban followed in 1952 with the Wayfarer, in angular moulded plastic that became synonymous with midcentury cool. Andy Warhol wore them, so did Bob Dylan, Madonna, and the cast of The Blues Brothers. Michael Jackson made them a fixture of his Bad era. On screen, they became shorthand for character, as in the 1992 film, Reservoir Dogs, worn by Mr Blonde, Mr White, and Mr Pink. The link between cinema and sunglasses is long and multifaceted. In Bollywood, Shah Rukh Khan made the Ray-Ban Round Metals famous when he wore them in Dilwale Dulhania Le Jayenge, while Richard Walker's nose-clip design for Morpheus in The Matrix leaned into the film's cyberpunk atmosphere. In Fight Club, Brad Pitt's Oliver Peoples 523s spoke of anti-establishment rage, while the Tom Ford 108s worn by Daniel Craig's in Quantum of Solace lent a stylish modernity to James Bond. Recent years have seen a revival of the classics. In Top Gun: Maverick (2022), Cruise's return in Aviators has once again boosted Ray-Ban sales, plus the popularity of the G-15 polarised lenses, created for pilots to absorb 85 per cent of visible light and enhance contrast. The science of shade Sunglasses aren't just about style. They serve a biological purpose, too. Eye colour affects light sensitivity: melanin, the pigment that shields eyes from UV rays, is more abundant in darker irises, allowing brown-eyed people to tolerate brighter light than those with blue, green, or hazel eyes. This may help explain why sunglasses have little history in sunnier regions, but emerged in countries with long winters and harsh glare. The Inuit, for example, have evolved irises so dark they're almost black. Blue eyes are a relatively recent mutation, appearing around 10,000 years ago, possibly to boost vitamin D synthesis in lowlight climates and combat seasonal affective disorder. Violet eyes, like Elizabeth Taylor's rare shade, are linked to albinism and occur in only about 1 per cent of people, caused not by pigment but by visible blood vessels beneath the iris. True albinism, marked by a complete lack of melanin, results in pink or red eyes. Today's frames Modern sunglasses are a perfect union of science and style. Frames are crafted from titanium, carbon fibre, or even recycled skateboards; lenses from glass, high-index plastics, or lightweight polycarbonate, all designed to block harmful UVA and UVB rays. Polarised lenses, originally created for pilots, filter glare and enhance contrast and are still prized for their clarity. One of the pioneers, Ray-Ban, has a long-term relationship with Meta to create smart glasses. The jury still out on whether those models will live up to the cool factor of their predecessors. In the meantime, whether they're worn to hide your gaze, protect your eyes or channel your inner movie star, things – and you – really do look better through a good pair of sunglasses.
Arab News
09-08-2025
- Entertainment
- Arab News
Catherine Zeta-Jones sports Karen Wazen shades in New York
DUBAI: Welsh actress Catherine Zeta-Jones was spotted this week in New York wearing sunglasses from Dubai-based eyewear label By Karen Wazen, founded by the Lebanese influencer. The actress was in New York to promote season two of Netflix's hit series 'Wednesday' on 'Good Morning America.' She opted for the Lily shades, a bold, oversized cat-eye design in glossy black acetate with dark lenses and gold logo detailing on the temples. The actress was in New York to promote season two of Netflix's hit series 'Wednesday' on 'Good Morning America.' (Getty Images) For one appearance, she styled the sunglasses with a fitted black peplum jacket and matching midi skirt, both adorned with vibrant red floral embroidery cascading from the waist and sleeves down the skirt. She completed the look with glossy red pointed-toe stilettos for a pop of color. Zeta-Jones also incorporated the Karen Wazen shades into another New York look, pairing them with a form-fitting, midi dress featuring a white base, dark burgundy floral patterns and subtle grey streaks. The dress, draped and gathered at the waist, was layered with a classic beige trench coat worn loosely over her shoulders. Zeta-Jones also incorporated the Karen Wazen shades into another New York look, pairing them with a form-fitting, midi dress. (Instagram) 'Wednesday' follows the teenage years of Wednesday Addams, played by Jenna Ortega, as she attends Nevermore Academy, a boarding school for outcasts with supernatural abilities. While honing her emerging psychic powers, she becomes involved in solving a murder mystery connected to her family's past. Zeta-Jones plays Morticia Addams, Wednesday's glamorous, gothic and fiercely devoted mother. In season two, Morticia takes on a more central role, moving to the Nevermore Academy campus in a philanthropic position and becoming more involved in her daughter's life, often to Wednesday's irritation. Zeta-Jones stars alongside Luis Guzman as Gomez Addams, with new cast additions including Steve Buscemi, Thandiwe Newton and Lady Gaga. A post shared by Ashi Studio (@ashistudio) The cast has been actively promoting the new season with appearances and events in the lead-up to its release set for Sept. 3. For the press tour in London, Ortega championed Arab talent by wearing a head-turning gown from Saudi designer Mohammed Ashi's label, Ashi Studio. The dress took more than 200 hours of work, the designer said. 'This look began with research into the idea of a second skin, inspired by exotic hides and snake sheds, their scales, faded textures and raw edges,' the designer wrote on Instagram. 'We developed custom latex 'snake skins' through rare artisanal casting techniques. After sketching the design, the pieces were assembled with a latex specialist, with unfinished edges evoking shed skins. 'Jenna Ortega is wearing a top laid over a corset, paired with a mermaid skirt, the back is laced,' he added.
Mid East Info
09-07-2025
- General
- Mid East Info
World Refugee Day – Standing in solidarity with over 122 million forcibly displaced - Middle East Business News and Information
* Over 49 million children are impacted by the displacement crisis * The public and private sector in the UAE have donated $36 million in humanitarian aid to UNHCR in 2024 * MBRGI, Meta, Creators HQ, UNHCR and Goodwill Ambassador Karen Wazen come together to champion change through Creators for Purpose Dubai, UAE – 8th July 2025: By the end of 2024, the number of people forcibly displaced worldwide has reached a staggering 123.2 million, up from 117.3 million people in 2023, representing a decade of year-on-year increase. Among this shocking figure, 42.7 million have been forced to flee their countries because of war, persecution, and other disasters, with around 41% being refugee children. The total fell slightly from 123.2 million at the end of 2024 to 122.1 million in the first four months of 2025. On this World Refugee Day, the UN Refugee Agency, UNHCR, called on the global community to stand in solidarity with those forced to flee. The theme, 'Solidarity with Refugees,' is a reminder that behind every number is a human story of resilience, loss, and hope. These numbers are not just statistics; they represent people who are enduring the most challenging time of their lives due to circumstances beyond their control. While most of us can't comprehend the fear of not knowing if our children will have a safe place on any given night, this is the stark reality that they face. It is accompanied by the mental and physical exhaustion they are forced to endure, of having to leave everything they know behind, only to face uncertainty and hardship, not knowing when they will be able to return. In 2024, the UAE's steadfast commitment to humanitarian action was reaffirmed as the public and private sectors, along with the UAE community, donated over $36 million in humanitarian aid to UNHCR, strengthening its efforts to support those in need globally. The UAE also generously hosts UNHCR's largest global stockpile at Dubai's Humanitarian Hub. From here, life-saving aid can be dispatched to any crisis or emergency within 72 hours. Because in critical moments, every second matters. Beyond that, the UAE's leadership, through UNHCR and via strategic partnerships with entities such as the Mohammed bin Rashid Al Maktoum Global Initiatives (MBRGI), Sheikha Fatima Fund, The Big Heart Foundation and Arada, among others, continue to scale the impact of global relief efforts. These efforts are key to supporting individuals in need of international protection. In line with this year's theme and through Creators for Purpose, Creators HQ, in collaboration with Meta, MBRGI, and UNHCR, hosted a special event to spotlight refugee voices and mobilize support. UNHCR Goodwill Ambassador Karen Wazen also addressed the gathering, sharing a powerful message: 'Refugees are not 'others.' They are people. Parents, children, students, do everything they can to survive and protect their families. Our solidarity must go beyond sympathy. It must translate into systems that offer dignity, access, and the chance to rebuild.' As conflict, climate shocks, and inequality drive record displacement, the world must support, not with words, but with solutions, coordination, and human dignity. World Refugee Day is not just a date. It is a call to action. In moments of crisis, solidarity is not measured by words, but by the lives we uplift. As we reflect today, let us remember no one chooses to be a refugee, but we all have the power to choose how we respond. To support UNHCR's mission to protect and assist displaced communities, please visit: -ENDS- About UNHCR UNHCR is the UN Refugee Agency and the world's leading organization when it comes to aiding and protecting people who have been forced to flee their homes. Delivering life-saving assistance in the forms of shelter, food, and water, UNHCR has helped safeguard fundamental human rights since 1950 while developing solutions that ensure people have a safe place to call home where they can build a better future. About Ruder Finn Atteline: Ruder Finn Atteline, dually headquartered in Riyadh and Dubai, is the MENA arm of the Ruder Finn group, one of the world's largest independent global communications and creative agencies with over 75 years of experience. Specialising in the Consumer and Corporate communication Divisions, the integrated agency supports household brands and disruptive entrepreneurs with nearly a decade of expertise in strategic public relations, reputation management, and brand positioning. Through its proprietary RF Tech Lab, an analytics and emerging technology incubator, Ruder Finn Atteline harnesses advanced data science, machine learning, and AI capabilities to address complex business challenges. The agency's integrated approach combines these technological innovations with strategic storytelling through its Content and Digital arm, delivering campaigns that shape culture. Distinguishing itself by being 'big enough to influence but small enough to care,' Ruder Finn Atteline takes on clients as selectively as they are chosen while maintaining a rooted long-term vision and the belief that 'culture eats strategy for breakfast.' For all media inquiries, contact: unhcr@ Sarah Kanji – 058 599 0089
CairoScene
30-06-2025
- Entertainment
- CairoScene
Monochrome Monday: The Mandarin Oriental (Celadon Green) Edition
Because one of the world's most luxurious hotels decided its Celadon Green season, we had to make sure everyone can dress for the occasion. Monochromatic of course. There's a new shade on the grid, and it's come with credentials. Mandarin Oriental has teamed up with Pantone to develop its own colour - Celadon Green - rolled out as part of the hotel group's brand refresh. It now appears across everything from uniforms and stationery to signage and silkscreened walls. According to Pantone, it's 'elevated, balanced, and calming' - but it's also versatile, modern, and precise enough to hold its own in fashion. Which is where this week's edit comes in. A palette that sits somewhere between mineral and mist, celadon green works best when the texture does the talking: beading, fishnet, metallic leather, and soft-edged resin. The pieces below share tone, but not mood - some are sculptural, some fluid, all tightly considered. Think less matchy-matchy, more tonal choreography. Below, a sharp little wardrobe study in pale green, featuring everything from Elie Saab runway gowns to Sapfira rings and barely-there sunglasses by Karen Wazen. Celadon might have been made for a hotel brand - but it translates just fine off the clock. Elie Saab | Bead Embroidered Dress With Butterfly Sleeves Crystalline embroidery catches in the light like seafoam on silk. Butterfly sleeves and a column shape ground the detail in ease. Bottega Veneta | Knot Clutch Iconic shape, softened by tone. The celadon-mint leather gives this archival clutch a cooler temperature and a cleaner read. The Shore Thing | Aqua Marine Fishnet Dress Fishnet reworked with calm intent. Celadon netting over bare skin or tonal slips reads both undone and editorial. Sapfira Jewelry | Sultry 01 Sculptural, irregular, and glassy. This ring moves like a mineral—quiet but hard to ignore. Lurline | Collection 7 Sheer paneling, sheer attitude. Lurline's layered knitwork keeps it coastal without tipping into cliché. Aquazzura | Summer Sun 85 Metallic Leather Sandals Metallic celadon leather, shaped into a summer heel that balances structure with flash. Elevates linen. Disarms sequins. Eterna | Mariposa Top Airy and asymmetrical. The Mariposa top folds and drapes with just enough drama to break a flat palette. Amouage | Existence This scent wears like celadon looks: cool, barely floral, and lightly mineral. Notes sit close to the skin without fading. Karen Wazen | Ciara Green Tea Sunglasses Semi-translucent and softly angular. These sunglasses tint the world celadon without going full retro.
Khaleej Times
20-06-2025
- General
- Khaleej Times
'They don't need our pity': Creators share refugee stories, call for dignity over aid
At a refugee camp in Lebanon, UNHCR Goodwill Ambassador Karen Wazen met a young girl whose image has stayed with her ever since. No older than five, the child was caring for her toddler sister, tying her shoes, running after her, and keeping her safe with a sense of responsibility far beyond her age. 'I remember thinking, I'm a grown woman with every privilege, and I still wonder if I'm getting motherhood right,' Wazen said. 'And there she was, doing it all, with nothing.' The Lebanese content creator has spent nearly eight years working with refugee communities in Lebanon and Kenya. What began as an effort to lend support, she said, turned into a deeply personal transformation. 'I thought I was going to help them. I didn't realise they would be the ones changing me.' As the world marked World Refugee Day on June 20, Wazen's reflection offered more than just a moment of solidarity; it served as a reminder of the individuals behind the numbers. More than 120 million people are currently displaced globally, according to the UN Refugee Agency (UNHCR), the highest number ever recorded. Countries across the Middle East and Africa continue to bear a significant share of this responsibility, including Lebanon, Jordan, Sudan, and Yemen. This year, a campaign titled Creators for Purpose was launched in partnership between Meta, UNHCR, and Creators HQ to draw attention to refugee experiences through digital storytelling. The campaign aims to raise both awareness and funds. 'People want to give back, now more than ever,' said Mon Baz, Director of Global Partnerships at Meta for Africa, the Middle East and Turkey. 'When creators share real stories with empathy, it cuts through the noise. It reminds people that behind the word 'refugee' is someone just like them.' The initiative focuses on humanitarian emergencies in countries such as Syria, Sudan, Yemen, and among the Rohingya population, with funds directed toward cash assistance, relief items, and services like education, protection, and psychosocial support. Between surviving and living The campaign also reinforces a shift in how refugee needs are understood, not just in terms of survival, but in terms of dignity. In a statement, Alya Al Musaiebi, Director of The Big Heart Foundation, noted that needs evolve depending on context. 'In refugee communities, needs multiply in proportion to loss, of home, of safety, of control,' she stated. 'The need is not just to survive, but to feel alive.' Al Musaiebi called on the humanitarian sector to move beyond simply meeting basic needs. 'Without dignity, even food and medicine lose meaning. Aid must preserve self-respect and empower people as active participants in rebuilding their lives.' This philosophy is also reflected in Wazen's own approach to advocacy. 'When I first started, I felt something was missing in my platform,' she said. 'I was sharing fashion and lifestyle, but it felt empty. I realised that having a voice, having reach, comes with responsibility.' Cost of showing up Wazen, whose online following exceeds eight million, admits that regularly engaging with humanitarian causes also comes at a personal cost. 'There are days I ask myself: what does this even mean? I post a story, and people are dying somewhere else. What am I doing?' she said. 'But I remind myself that we all need balance. Even bringing a smile to someone's face is a kind of solidarity. That too has value.' Al Musaiebi echoed that sentiment, stating: 'Genuine solidarity is not measured solely by what we provide, but by what we help keep alive within the individual, passion, dignity, and the ability to dream.' As the campaign gains traction, Wazen hopes it will help shift public perception of refugees away from passive recipients of aid. 'They don't need our pity,' she said. 'They need us to see them.' The message, repeated by advocates and campaign organisers alike, is clear: refugees are not a 'special case.' They are individuals whose needs mirror our own, security, belonging, opportunity, and whose futures must be shaped by dignity, not dependency. As Al Musaiebi put it: 'When dignity is restored, aid becomes partnership. Shelter becomes a home. The refugee becomes the architect of their future.'
