Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia

Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia
Azza Fahmy (C) and her daughters Fatma (L) and Amina Ghaly. (Supplied)
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Updated 22 November 2024
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Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia

Celebrity-loved jeweler Azza Fahmy has ‘a strong connection’ with Saudi Arabia
  • The CEO and head of design at the Egyptian jewelry house their mother founded discuss their new flagship store in Riyadh 
  • ‘Every time she goes, she has a strong connection there,’ the head of design said of Azza Fahmy’s trips to Saudi Arabia

DUBAI: Egyptian entrepreneur and jewelry designer Azza Fahmy is celebrated for crafting pieces that weave cultural stories into wearable art, resonating with those who appreciate depth and meaning in every design. 

Fahmy’s signature gold-and-silver pieces have long been embraced by Egypt’s top entertainers, including the late actress and singer Soad Hosny and celebrated actress Yousra.  

Her jewelry has also garnered an impressive international following, including A-list stars like actors Julia Roberts, Shailene Woodley, Naomi Watts, and Vanessa Hudgens, and singers Joss Stone and Rihanna.  




Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)

The brand has also forged a particularly strong connection with Saudi customers, who value the blend of tradition and modernity it offers. It recently expanded its reach with the opening of a flagship store in Riyadh, catering to a growing Saudi clientele.  

Fahmy’s daughters — CEO Fatma Ghaly and head of design Amina Ghaly — say the new outlet is the result of years spent cultivating relationships with Saudi clients. 

“The opening of our flagship store in Riyadh marks a significant milestone for Azza Fahmy,” Fatma tells Arab News. “Throughout the years, we’ve had the privilege of cultivating meaningful relationships with our Saudi clientele, connecting through online platforms, exhibitions, and pop-ups, all while experiencing a growing demand for our jewelry.”  




Inside Azza Fahmy's recently opened flagship store in Riyadh. (Supplied)

For Amina, the store is a continuation of her mother’s decades-long connection to Saudi Arabia, where she has often been inspired by the culture, architecture and landscapes.  

“Every time she goes, she has a strong connection there,” Amina says. “There is the architectural aspect that we have drawn inspiration from, (but also the culture): for our collection ‘Ahla Ma Ghanaho Al-Arab,’ we were inspired by (Saudi singer and composer) Abdul Majeed Abdullah, so it’s really varied over the years. 

“We draw inspiration not from one thing or the other. It is a question of how the inspiration serves the collection, and I feel like, with Saudi Arabia, the more we keep going there, the more we will continue to be inspired,” she adds.  




Crescent Filigree Earrings. (Supplied)

Fatma explains that this made opening a permanent store in Saudi Arabia feel like the right move, especially as the Kingdom’s luxury market shows a growing interest in heritage-inspired brands. 

“Our new store is a testament to our commitment to the Saudi market, offering a space that showcases our craftsmanship and invites visitors to explore the beauty and stories behind our pieces,” she says.  

According to Fatma, Saudi Arabia’s luxury market has transformed in recent years. Clients increasingly seek brands that emphasize authenticity, cultural stories and craftsmanship.  

“The Saudi consumer has long been sophisticated and well-traveled, but in recent years Saudi Arabia’s luxury market has experienced remarkable growth and evolution, especially for heritage-driven brands like Azza Fahmy. There has been a significant shift towards valuing craftsmanship, cultural narratives, and authenticity in luxury goods,” she explains.  




(Supplied)

For many Saudi clients, jewelry that reflects their identity and holds personal meaning is highly sought after, making Azza Fahmy’s storytelling-focused designs especially appealing. 

Fatma and Amina are both enthusiastic about connecting with Saudi’s younger generation, who are attracted to brands that combine tradition with innovation.  

“Our designs resonate with this dynamic audience by blending contemporary aesthetics with traditional motifs,” Fatma says. “We embrace innovation in our processes and materials, ensuring that our jewelry appeals to a modern sensibility while remaining rooted in cultural heritage.  




Inside Azza Fahmy's workshop. (Getty)

“This approach not only attracts younger consumers but also fosters a deeper connection to their identity, allowing them to wear pieces that are both stylish and meaningful,” she continues.  

Amina says that today’s luxury market is increasingly global, shaped more by shared interests than regional preferences. “As brands, we should not segment by region but rather by character,” she says. “The internet and social media has made the world a very small place. So, you find women in Saudi who, for instance, are very interested in travel and seek brands they can connect with on a personal level. Someone in London, someone in Japan, someone in Brazil could have the same interest. These are character traits, more than regional traits.”  

However, Amina notes that there is a unique regional connection when it comes to Arabic calligraphy and poetry. 




Amina Ghali is the head designer. (Supplied)

“I feel that women from the Arab region are very drawn towards the Arabic language, because rather than me translating it for them and trying to give them the gist of what it means, they can read and recognize it and connect with it themselves,” she says.  

Beyond the Middle East, Azza Fahmy’s collections with Arabic calligraphy have found success in places including the UK, where clients often appreciate the aesthetic and personal significance of the script.  

“When we were approaching the British market, we were under the false impression — from whatever market survey that we did at the time — of ‘They do not understand it, and they will not understand it, so they will not be able to connect.’ We were very happily surprised to learn that our number one-performing collection, in our Burlington Arcade boutique in London, is the calligraphy collection,” Amina says. “It’s because they are carrying it as their own little secret. The client comes and picks up something like, for instance, the eternity ring inspired by Umm Kalthoum, and she takes it as ‘I’m the only one that understands what it says.’” 

The Riyadh store stocks many of the brand’s high jewelry pieces. Among Amina’s personal favorites, she says, is the “Scripts of Love” bangle, adorned with emeralds and calligraphy. 

“The combination of stones, poetry, and calligraphy creates a piece that captures attention without overshadowing any element,” she says.  

She also highlighted the delicate “Crescent Filigree” earrings with tanzanite — a design that showcases the brand’s expertise in filigree craftsmanship. 

Azza Fahmy’s commitment to the empowerment of women is also in line with Saudi Arabia’s Vision 2030, which encourages increased female participation in the workforce and leadership roles.  

Fatma explains that the brand’s jewelry aims to reflect individuality and heritage — resonating with modern Saudi women who appreciate both cultural pride and self-expression. 

“As a company led by women — with women in key roles across all levels of management — empowering women is simply part of our DNA,” she says. “It is not something we ‘strive for.’ It comes naturally to us.”  


Japanese car exhibition zooms into Ithra

Japanese car exhibition zooms into Ithra
Updated 07 February 2025
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Japanese car exhibition zooms into Ithra

Japanese car exhibition zooms into Ithra

DHAHRAN: Ithra, the King Abdulaziz Center for World Culture, is presenting a special vintage car exhibition, which began on Thursday.

The exhibition is part of the Japan Cultural Days event, hosted at Ithra headquarters in Dhahran to celebrate 70 years of Japan-Saudi relations.

The exhibition is part of the Japan Cultural Days event. (Supplied)

The exhibition is being held outdoors in the Energy Exhibit area, which provides a distinctive setting for this unique display.

Maha Abdulhadi, creative programs specialist at Ithra, told Arab News: “With help from Japanese classic car enthusiasts Ali Aldhamin and Nazar Alqlaf, we curated this display to showcase a broad range of vehicles that represent a significant chapter in the history of the Japanese car industry, which is highly appreciated in Saudi Arabia.”

The exhibition features 13 cars, most of which are owned by private collectors in Qatif, and spans a variety of classic models, modern designs, and concept vehicles. “This is a rare opportunity for car enthusiasts in the Kingdom to experience Japanese engineering and design up close,” Abdulhadi said.

The exhibition is being held outdoors in the Energy Exhibit area. (Supplied)

The display highlights the design, technology and innovative features of Japanese vehicles, with the cars available for viewing from 4 p.m. to 10 p.m. each day.

“This unique exhibit showcases Japan’s innovative designs, precision engineering, and passion for performance, enhancing the festival experience,” Abdulhadi said. “A Japanese car show as part of the Japan Cultural Days highlights Japan’s rich automotive heritage, fosters community engagement, and promotes cultural exchange. It also attracts car enthusiasts.”

The exhibition ends on February 8, marking the conclusion of the Japan Cultural Days celebration.


Andria Tayeh named beauty ambassador for Giorgio Armani

Andria Tayeh named beauty ambassador for Giorgio Armani
Updated 07 February 2025
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Andria Tayeh named beauty ambassador for Giorgio Armani

Andria Tayeh named beauty ambassador for Giorgio Armani

DUBAI: Giorgio Armani on Thursday announced the appointment of Lebanese Jordanian actress Andria Tayeh as its new Middle East beauty ambassador.

Tayeh, known for her roles in Austrian filmmaker Kurdwin Ayub’s “Mond” and Netflix’s hit series “Al Rawabi School for Girls,” expressed her excitement on Instagram and wrote: “I am thrilled and honored to embark on this new journey with Armani beauty.

“This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment,” she added. “Armani beauty reveals one’s charismatic personality in the most subtle and natural way. It’s this pure simplicity that creates an impact, and this is exactly what I hope to bring to the Arab cinema world.” 


Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 

Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 
Updated 07 February 2025
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Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 

Cristiano Ronaldo celebrates his 40th birthday in Saudi Arabia 

DUBAI: Portuguese football star Cristiano Ronaldo marked his 40th birthday in Saudi Arabia, surrounded by family and friends. 

Ronaldo hosted an intimate gathering at Nozomi, a renowned Japanese restaurant in Riyadh. The night featured a private performance by Puerto Rican artist Rauw Alejandro, who entertained guests with hits such as “Punto 40” and “Todo de Ti.” 

In videos shared on social media, the football star was spotted dancing alongside his partner, Georgina Rodriguez, and his mother. 

He shared pictures from the celebration on Instagram, and wrote: “Thank you all for the amazing birthday messages! Had a great day with family and friends, couldn’t wish for anything better.”

As part of the festivities, Al-Nassr, Ronaldo’s current club, presented him with a special birthday cake featuring images of his five Ballon d’Or trophies and childhood photos. The cake was also displayed at the intimate gathering.

Rodriguez shared a birthday message for Ronaldo on Instagram, writing: “Happy birthday to our great love. Thank God for bringing a man like you into my life, and thank life for giving us the greatest happiness — our family, our children. To a life together, always holding each other tightly. Wishing the best to the best.” 

The Kingdom went the extra mile to ensure the footballer’s milestone celebration was memorable.

The Light Ball at Boulevard World illuminated in celebration of Ronaldo’s birthday. The message “We celebrate with you, CR7. Happy birthday. Saudi loves you,” was displayed on the sphere alongside videos of the footballer performing his trademark celebration.

Rodriguez also took to Instagram to share shots of billboards in Riyadh lighting up to honor the star’s 40th birthday. 


Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 

Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 
Updated 07 February 2025
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Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 

Ayman Yossri Daydban: ‘The discrepancy between visual appeal and cultural awareness is key’ 
  • The Saudi-Palestinian artist discusses his solo exhibition ‘Winter,’ now showing in Jeddah 

JEDDAH: In his solo exhibition “Winter” at Jeddah’s Athr Gallery, the Saudi-Palestinian artist Ayman Yossri Daydban provides a compelling exploration of ihram clothing — the humble garments worn by pilgrims for the rituals of Hajj and Umrah — and how it connects to climate change.  

“This exhibition is part of my Ihramat collection, which uses the ihram to highlight its significance in popular culture, religious identity, and as clothing and fabric,” Daydban tells Arab News. “The idea behind the color and material is inspired by the climate during Hajj season, the usual hot weather during pilgrimage, and how the ihram fabric is lightweight, designed for enduring the heat.” 

“Winter,” he explains, refers not only to the season but also to what climate change could mean for the future of pilgrimage — suggesting that traditions once defined by their specific environmental contexts may eventually be disrupted.  

Winter from the Ihramat series, 2025. (Supplied)

“White, which is symbolically associated with purity and clarity, is a color that reflects sunlight. When you think about the Hajj happening in the summer, and considering new climate realities and changes, you understand that the idea of ‘winter’ in this context is a metaphor that references the future moments when climate changes may affect pilgrimage,” Daydban says. 

The exhibition, which runs until March, revisits Daydban’s iconic works from previous years, particularly “Ihramat” (2012) and “Muss” (1996), recontextualizing the material and its meanings within the lens of contemporary concerns such as climate change and the commodification of culture and spirituality. 

Daydban, born in Palestine in 1966 and now based in Jeddah, is poised and calm, neatly tying together the philosophical strands of his conversation. His last name means “watchman” in Arabic, and Daydban is an insightful observer of cultural shifts and national identity. His art features in several major international collections, including the British Museum, underscoring his importance as a leading voice on identity, alienation and belonging. 

Winter X, from Ihramat series, 2025. (Supplied)

In “Winter,” Daydban simultaneously weaves together and challenges traditional notions of materiality and spirituality. His use of the ihram fabric in a radically different form emphasizes the fluid nature of cultural objects. Instead of using the fabric as a garment for spiritual purification, he transforms it into everyday items, shifting their role and associations.  

“The way I use the ihram fabric here is quite different from its original context—it’s more like towels or blankets, which changes the associations we have with the material,” he says. “For instance, the blankets, although made of similar fabric, are sourced from China. These blankets are available in stores and contribute to my idea of global trade and the commercial aspects of such cultural items.” 

Daydban has stretched the fabric over identical rectangular wooden panels — uniform, like Muslims praying in rows — with an empty square at the center, seemingly hinting at the Kabaa. One lone piece is the invert of that, furry and full, a rectangle that one could argue fits into the void the others carry.  

Winter V, From Ihramat series, 2025. (Supplied)

In his transformation of the ihram fabric, Daydban emphasizes the economic and cultural implications of how these objects move through global systems. “The materials have a significant connection to economic matters,” he says. “Although the cloths may appear similar, each has its own unique pattern and design. The variations offer a chance to explore cultural identity, to consider how these designs hold individual meaning, yet can be visually selected without awareness of their cultural background. The patterns in the cloth might be taken for granted without understanding the cultural implications behind them. This discrepancy between visual appeal and cultural awareness is key in my work.” 

Through the juxtaposition of global trade and religious symbols, Daydban highlights the dissonance between the sacred and the commercial.  

“What I’m trying to achieve is a reflection on beauty in the details of cultural symbols — taking a material like the ihram and transforming it into something that holds contemporary meaning,” he explains. “Through ‘Winter,’ I examine how fabric can transcend its usual associations with ritual to become a statement about today’s world. It’s a critique of how these items, which once carried deep religious significance, are now sold and consumed globally, detached from their cultural roots.” 

Winter Ten. (Supplied)

The exhibition addresses how even the smallest details within the fabric can carry powerful meanings. “(It) is deeply connected to trade, materials, and economics — using the ihram as a tool to reflect on the broader systems that control these items,” Daydban says. “In terms of design, each square in the exhibition holds a specific visual and symbolic weight. Even though they may seem similar at first glance, they each possess a unique quality that highlights how even the smallest details make a difference when exploring identity. 

“The show invites viewers to experience a connection between the material and the emotion it conveys, to understand how ihram is not merely a religious garment but a global symbol of cultural exchange and transformation,” he adds. “As an artist, I’m trying to make sense of how such materials are used across different contexts, with their significance becoming diluted as they move through systems of commerce.”  

The idea that art can challenge the commodification of cultural symbols is central to “Winter,” with Daydban urging his audience to reconsider their understanding of material value and cultural meaning. 

“I encourage viewers to reflect on this transformation and the relationship between artistic practice and commercial influence,” he says. “Take a moment to consider the process of how cultural objects are commodified and how, through art, we can bring awareness to their deeper meanings.” 


REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two

REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two
Updated 07 February 2025
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REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two

REVIEW: Mo Amer’s comedy drama ‘Mo’ makes triumphant return with season two

DUBAI: Season two of Mo Amer’s semi-autobiographical comedy drama is apparently its last. Amer has said the events of the series had to stop before Oct. 7, 2023, to avoid the horrors that have since been perpetrated in Gaza overtaking the narrative. Though understandable, that’s a real shame, because “Mo” is one of the best shows on television, exploring incredibly complex and divisive topics — family, religion, imbalance of power, exile, mental health, parenthood, multiculturalism and much more — with an artful lightness of touch, without ever taking them lightly. In season two, the ensemble cast are once again excellent, always serving the story, never looking to outshine it.

Amer plays Mo Najjar, a Kuwait-born Palestinian refugee living in Houston, Texas. Mo, his mother Yusra (the superb Farah Bsieso), and his older brother Sameer (Omar Elba) have been waiting more than two decades to have their asylum case heard.

Season two begins with Mo in Mexico, six months after the events of season one saw him stranded there. He’s living with the aunts of his ex-girlfriend Maria (Mo believes the fact he told her to “move on” will not prevent them reuniting — he’s wrong), and his family’s asylum hearing is just days away, but bureaucracy is preventing him from returning to be with them.

In one of several examples of the way “Mo” tackles dark topics with rare grace and humor, Mo attempts to illegally cross back into the US but is captured by border patrol and incarcerated (though not before his country music impersonation nearly convinces his captors he’s a red-blooded American). When he does eventually get back ‘home,’ he finds the family olive oil business is thriving, and that Maria has indeed moved on, starting a relationship with an Israeli chef.

Seeing friends and family prospering without him isn’t something Mo is necessarily ready to celebrate. That’s one of the great things about the show: Amer is as comfortable pointing out Mo’s own failings — his neediness, his pride — as he is railing at, say, the Kafkaesque officialdom that plagues his family’s existence. “Mo” is beautifully balanced in so many ways — from the blend of tragedy and comedy to the mix of maddening realism and fantastical dream sequences. Even the family’s joyous return to Palestine in the finale must be weighed against their stoicism in the face of the iniquities visited on them by the Occupation.

“Mo” isn’t just a great show, but a necessary one.