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Author name: Odalisque

Fashion Articles

Night of the Swallow – An Interview With Maria Nilsdotter

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photography Gustav Svante Larsson text Ruby Rose photography Fredrik Andersson Andersson photography Gustav Svante Larsson Maria Nilsdotter launches her new collection, The Cabinet of Enchanted Relics, on September 17th, 2025, in collaboration with Netflix’s Wednesday. Drawing from the gothic beauty of  the Addams world, the collection unveils a series of darkly poetic relics, artifacts and heirlooms steeped in mystery. Known for her bewitching imagination, Maria channels inspiration from Nordic mythology, landscapes and folktales to create jewellery as wearable art. She blends her unique perspective with the Wednesday universe to craft pieces that evolve with the wearer and transcend time. Step inside the shadowy world she has created and discover more about her creative process, her connection to Wednesday and the hauntingly enchanting narrative behind this captivating collection. Ruby Rose: Tell me what initially drew you to collaborate with Wednesday and engage with the wider Addams Family world through jewellery? Maria Nilsdotter: When the collaboration was proposed, I was instantly intrigued. The Addams Family, Wednesday in particular, has always captivated me, calling to me with their dark allure. It felt like a natural fit, a story I was compelled to step into and explore.  RR: Wednesday Addams has a distinct sense of identity and self, which aspects of her character did you resonate most with? How did they impact your approach to designing the collection? MN: There are many aspects of Wednesday’s character that I feel drawn to – the gothic aesthetic, where eerie beauty entwines with the macabre; her deadpan humor; her strangeness and emotional reserve. In creating the collection, I imagined the treasures she might hold dear, the heirlooms she might have gathered, creepy and uncanny, yet hauntingly beautiful and precious.  RR: Several of your previous collections have drawn inspiration from the written word and Wednesday herself uses writing to express her innermost thoughts. What connections do you see between literature and your design process? photography Fredrik Andersson Andersson  MN: To me, jewellery making is a way of telling stories, of weaving fairytales that continue their journey through the wearer. In a sense, it feels akin to writing, whether in the form of poetry, music, or prose.  RR: What did your creative process look like for this collection? Did you encounter any challenges which caused you to adapt your usual approach?  MN: Creating this collection felt natural and actually came quite easily to me. Wednesday already exists within such a rich and mystical world, overflowing with inspiration, and it aligned seamlessly with my own jewellery universe. All I had to do was find my angle, the story I wanted to tell.  RR: How do you determine which materials work best for a collection? Is there a special significance for your use of silver and gemstones in this one? MN: In every collection, the choice of metals and stones becomes part of the storytelling. For Wednesday, I began with her aversion to color, shaping a foundation of blackened silver, shadowy stones, and black pearls, accented only by rare glimpses of deep red and purple.  RR: The scorpion motif, both Wednesday’s beloved childhood pet and star sign, is threaded throughout the series. What does it symbolise for you and how do you explore this within the collection? MN: For me, Wednesday’s pet scorpion Nero reveals another, more hidden side of her – her loyalty and capacity for love and attachment. The scorpion itself is mysterious and feared, much like Wednesday, and stands as a perfect emblem of her fascination with the macabre. Nero becomes both a childhood trauma and a gothic totem, a reminder of the cruelty she endured, but also of her enduring bond with the strange and the feared.  RR: A particularly unusual element of Wednesday is her trusty sidekick Thing, an anthropomorphised hand. How did this unique character influence your designs?    MN: Thing is such an iconic character, one I remember vividly from watching the old series as a child. I wanted to create an ode to the faithful family friend and confidant of the Addams Family, the silent witness and protector of their secrets across generations. I reimagined a bejewelled version, a precious talisman from a treasure chest, adorned with red garnet, black spinel, and purple amethyst.  RR: Since your collection is being released in two drops, how did the concept and design processes differ between them? Did you have different customers in mind for each?  MN: The first drop is the main collection, The Cabinet of Enchanted Relics, an imaginary treasure chest filled with strange and mystical objects. The second is an extension of that world, an even more limited edition of showpieces, each handcrafted in Stockholm; creatures from the main collection that I wanted to explore in greater depth.  RR: Family is a central part of the Wednesday storyline, how important is this theme to you and how did it influence the collection? What do you see as the enduring value of heirlooms? MN: One of the things I love most about jewellery is how it carries through generations, precious not only for its materials but for the memories and emotions it holds. At the heart of my creativity lies the belief that jewellery is meant to last. People choose it with intent, often to mark moments of deep significance – gifts for special occasions or tokens to celebrate milestones. Over time, these pieces become charged with powerful energy, and I believe it is this invisible essence that makes jewellery truly magical.  RR: Finally, the name of this collection ‘A Cabinet of Enchanted Relics’ evokes themes of mystery and magic. How do you feel it reflects the spirit of the pieces within? MN: For the Wednesday collection, I envisioned her heirlooms, the treasures she might have gathered or inherited. Objects steeped in memory, shadow, and myth; relics of a peculiar lineage, artifacts whispering with dark poetry and echoing with uncanny energies. photography Fredrik Andersson Andersson

Fashion Articles

Max Palm x Peak Performance: Where Freeride Meets Design

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Max Palm x Peak Performance: Where Freeride Meets Design text Yasmine Mubarak images courtesy of Peak Performance Peak Performance presented a collaboration earlier this fall, with freerider Max Palm. The limited collection, blends technical performance with streetwear — built to move seamlessly from mountain to city.  From the heart of the Alps to some of the world’s most iconic peaks, Max Palm continues to redefine what modern freeride can look and feel like. Now, he launches his first self-designed collection with Peak Performance — a range built around adventure, expression, and confidence. We caught up with Max during his preseason in Innsbruck to talk skiing, style, creativity, and what drives him to keep pushing the sport forward. For Max, designing his own collection was the natural next step — merging his needs as an athlete with his eye for style. How are you feeling at the moment?I’m feeling super good! Winter’s just around the corner, and I’m so excited. I’ve been training every day and I think this season’s gonna be a really good one. How did you first get into freeriding, and what does it mean to you?It came pretty naturally. My dad’s a mountain guide, my mom’s a ski instructor, and my uncle, Sverre Liliequist, is one of the Swedish freeride pioneers. I started with alpine racing, but I always wanted to explore more — and when I found freeriding, I found my passion. For someone wanting to explore more of the mountains, what’s your advice?Have as much fun as you can, but always stay safe. Bring a beacon, shovel, and probe, go with someone who knows mountain safety, and think twice before you drop in. What’s a must-have item for adventures?Hard question — but I’d say a camera, some candy, or my skis. You love filming and photography in the on as well as off-season — tell me more about that.Yeah, I love it. Filming and photography are a huge part of our sport. We get to move in such beautiful environments, and capturing that creatively really inspires me. I also skate a lot in summer — it’s the same vibe, just pure creativity.   You’ve been active YouTube/socials — is that something you want to keep doing?Definitely. I love sharing longer pieces on YouTube — I think we need more of that in skiing again. Socials are great too; it’s cool to see everyone’s vision and get inspired. You’re an ambassador for Peak Performance — tell me about that partnershipI’ve been with Peak for over eight years now. It’s more than a brand — it’s like family. They always support me and my ideas, and I’m super grateful to be riding for them. How much does what you wear impact your skiing and competitions?A lot. Style is a big part of who I am. When I feel good in what I wear, I ski better. The gear, the look — it all affects my confidence and how I perform. As the new collection drops. How important are fabric and design when creating new designs?Super important. It’s all about the fit, function, and materials — like GORE-TEX for protection in any weather. The design and cut make a huge difference depending on what kind of riding or conditions you’re creating the gear for. High-quality gear can be expensive — what are your thoughts on making it more affordable?Yeah, that’s a real challenge in skiing. With this collection, I’ve tried to make the best possible gear at a more accessible price. Not everyone can afford top-end equipment, so I always try to help out when I can — even selling older gear to friends for cheap. What drives you to keep going on all these adventures?Just having fun. Skiing is where I feel at home — it’s who I am. As long as I’m smiling and laughing out there, I’ll keep doing it. Any secret advice for staying calm in tough situations?Have fun. If you’re enjoying yourself, everything flows. When I’m in a good headspace and hyped, nothing can stop me. How do you handle stressful situations and your mental health?It’s a tough sport mentally, and I’ve had my struggles too. I’ve learned to stop comparing myself and focus on why I do this — for the joy. When you’re happy and doing it for yourself, everything works better. What’s on your bucket list this year or next?Alaska and Japan are big ones. I want to compete in Natural Selection again, finish a Red Bull project, and keep pushing my skiing. My main goal is to be the best version of myself — kind, happy, and full of energy.

Cinema

Fabian Penje X Odalisque

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Fabian Penje X Odalisque I want to have that feeling of being way in over my head! I feel like you need that to move forward. photography Gustav Svante Larsson fashion & text Lejla Plima knitted sweater & shirt HOPE jeans ADNYM hat Helly Hansen shirt ADNYM pants Beyond Retro Stockholm shoes Vagabond jewelry OCC knit cardigan Core Rd Knitting Co jeans MADH   During my conversation with Fabian Penje, several things seemed to linger, but this sentence has stayed with me ever since we met at the small café Beck on Tjärhovsgatan in Stockholm. Fabian, best known for his roles in Young Royals and Blindspår, sips carefully on a decaf coffee as I open my laptop on the small café table. We take a moment to laugh about something trivial before diving straight in. After all, we’re here to talk about his career, his style, and his dream of directing. L: I want to start at the beginning! Your career started on the stage at Dramaten, tell me about that. F: Yeah, I was really young when I was thrown into life at Dramaten. It was a big role in a big production, as Alexander in Fanny & Alexander. We rehearsed for a year before theproduction began, and in many ways I grew up in the corners of that theater. I came to know that building over time, and eventually I grew really fond of the stage and all my memories there. I’m really happy that I got that traditional theater-schooling, it still shapes me as an actor today. knit cardigan Core Rd Knitting Co jeans MADH shoes Vagabond shirt ADNYM pants Core Rd Knitting Co shoes Vagabond jewelry OCC rings OCC L: What was that like, being so young and working while your classmates weren’t? F: I definitely had a lot of social anxiety about school, and acting became a kind of escape from that. I’ve always gravitated more toward adults, and Dramaten was probably the first place where I felt understood. It all kind of happened at once, I found myself in theatre, while losing myself a little in school. L: How would you say you “found yourself”? F: Dramaten opened the doors to the art world for me, and very quickly Ingmar Bergman became a huge inspiration. It was through his world that I discovered what theatre could really be. L: How would you describe your relationship to fashion back then, as a kid? F: I grew up in Sollentuna outside of Stockholm, where the aesthetic was pretty posh. Fashion to me then was just guys walking around in polos and chinos haha. It wasn’t until theatre, when I got to dress up for roles, that I understood clothing as an expression. That’s when it became something meaningful to me. L: And how did that interest in fashion evolve after your Fanny & Alexander-days? F: The big shift came when I started school at Södra Latin. That place was like a hub, the students had this unique sense of style I hadn’t really been involved in before. It was an immediate hard switch for me. Within six months, I went from a regular guy to a poster child for the Södermalm, theatre-kid aesthetic knit cardigan Core Rd Knitting Co jeans MADH shoes Vagabond shirt ADNYM pants Beyond Retro Stockholm shoes Vagabond jewelry OCC L: How would you describe that “theatre style”? F: I think the style in our circles at Södra Latin was a little try-hard at first. You kind of wanted to dress as a french philosopher so it was a lot of black. But eventually it became more ironic and I started mixing in street-style. I drew a lot of inspiration from Frank Ocean, Kendrick Lamar and Tyler the Creator. And I still do! I think that fashion is the purest form of expression, you can change how people see you when you walk into a room with a good outfit. L:Do you have an outfit like that? One that lets you take the room! F: (Laughs) I like that philosophy. It varies, of course, but my statement pieces are a vintage black leather jacket, a vintage Helly Hansen cap, and an orange beanie that somehow has become a symbol that my friends recognize me by. I think it’s important to have those you know? Statement pieces for your own character in life. L: Do you notice a difference in how you dress depending on whether you walk into a room as an actor or as a director? F: I always want to feel confident and strong, since both roles are very exposing. As a director, I think I lean towards comfort. Everything moves really fast and it makes it easier tostay focused on what’s in front of you! I would never wear anything that feels overstimulating. As an actor, I think I get there in my usual pieces, and then the stylist’s work becomes the most important! The clothes they choose help me find the character, so it means a lot.   L: How does it feel to explore directing at such a young age? F: I think that to be a director, you need a deep understanding of people. It takes experience and a good sense of why people think and act the way they do. At the end of the day it’s pure psychology and in turn dramaturgy. So in theory, it’s something that would make more sense to do later in life. But directing is also about our present moment as a society. About reflecting the times we live in. So in that way I think it’s important for young people to step in and show our perspective. Our generation is shaping pop culture, and everything we do leaves a mark. We have to make space for that, even if it means taking on a big labour of work like directing. And honestly no generation has as many opinions as we do. So I think we need to express

News

GENERATION GUCCI

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GENERATION GUCCI images courtesy of Gucci Milan, 4 December 2025 — Generation Gucci unfolds as a lookbook shot by Demna, envisioned as an archive-inspired show that never took place. The project reflects his ongoing exploration of Gucci’s visual and historical codes across decades, merging multiple eras into a single aesthetic story. It offers an early glimpse of Demna’s perspective on the House ahead of his full debut in February. The collection opens with lightweight tailoring in archival silk faille, developed to feel time-worn. Womenswear pieces close with discreet clasps in place of buttons, from two-piece suits with legging-fit trousers to the definitive Gucci pencil skirt. Minimalist jeans are constructed without seams, with invisible pockets and concealed closures. Silk travel suits channel pyjama-like ease, while surfer wetsuits inspire technical mocknecks and a sculpted leather bodycon jacket. Outerwear appears weightless and tactile: coats crafted from strips of shearling, silk, goat hair, and feathers, intricately linked over sheer bases. The party wardrobe leans into lingerie codes — silk blousons, draped miniskirt sets, and fluid gowns in jersey and chiffon. 70s and 90s signatures are reinterpreted through racer jackets with the Web stripe, sliced Double G belt buckles, head-to-toe leather and suede, and equestrian-print silk ensembles referencing heritage scarves. Footwear emphasises sharp silhouettes: Valigeria-inspired ballerinas return in men’s sizing, while loafers gain the featherlight feel of dance shoes. Stilettos feature cushioned footbeds and seamless sculpted heels, and classic loafers dotted with metal spikes echo personalised heirlooms. Bags focus on modern versatility. The Lunetta Phone+ bag in monogram canvas and chainmail accommodates everyday essentials. The Jackie 1961 appears in a compact rectilinear shape or as a magnified soft calfskin model, while the Dionysus evolves into a sharper, more angular silhouette. This release also marks the introduction of Spalt PR as Gucci’s new press representative in Sweden. 

Fashion Articles

Bringing the Catwalk to the Slopes, an Interview with Sportalm Creative Director Ulli Ehrlich

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Bringing the Catwalk to the Slopes, an Interview with Sportalm Creative Director Ulli Ehrlich text Sandra Myhrberg images courtesy of Sportalm Nestled at the foot of the Kitzbühel Alps, Sportalm’s headquarters does not feel like a corporate hub; it feels like a living archive. Bolts of fabric, sketches from past decades, and the hum of a team that has worked together for generations tell a story that began long before contemporary sports luxury had a name. Visiting the brand on its home turf, it becomes clear that Sportalm is not merely a fashion company; it is a family legacy woven into the rhythm of the town itself. At the centre of this legacy stands Ulli Ehrlich, Creative Director and member of the founding family, whose journey with Sportalm began long before she ever held a title. Growing up next door to the factory, the brand was not something she joined; it was something she lived. From sewing clothes for her dolls as a child to shaping Sportalm’s modern fashion identity and its global presence, her perspective is uniquely intertwined with the brand’s evolution. Our conversation unfolds between the past and the future, the craft traditions upheld by a family-run business, the joyful and expressive codes that define Sportalm’s style, and the brand’s ambitions to inspire the next generation of skiers and fashion lovers. Q: You studied fashion formally and were also trained in Paris. How did your education and early professional experiences shape the designer you are today, and how did it prepare you for your role at Sportalm? U: Studying fashion gave me a solid foundation. I studied in Austria and then spent time in Paris, where I trained at Daniel Hechter, which was quite influential at the time. That was where I learned proper pattern making, and that technical knowledge has helped me so much throughout my career. When I returned to Sportalm, I started by working on the craft collection, then on the ski line, and eventually I developed our fashion line, which we launched around twenty-two years ago. My education, combined with growing up so close to the company, gave me both the creative understanding and the technical confidence to move the brand forward. Q: Sportalm has evolved over more than 70 years with deep roots in Alpine and ski culture. As Creative Director, how do you describe the brand’s stylistic journey from its origins to today, and what creative or strategic challenges do you face in keeping such a specialised heritage both innovative and relevant? U: Sportalm has evolved significantly in its product portfolio. Founded originally as a knitwear manufacturer, the brand later expanded into traditional Alpine attire, then into ski apparel, and since the 2000s into fashion and golf collections. Yet throughout this journey, the brand’s distinctive signature has remained intact. Sportalm is known for its vibrant, expressive collections, always with that certain special touch, a deep love for detail, and an uncompromising commitment to quality. The great challenge is to stay true to our roots and remain unmistakably ourselves, while at the same time staying in tune with the spirit of the times.Today, anything is possible — there is no longer just one single trend. As a brand, you have to seek out what is authentic and credible, while still giving customers the feeling of being absolutely en vogue. This also reflects the character of our hometown. Kitzbühel has constantly transformed itself, yet has remained an authentic place, even as glamour has become part of its identity. This blend of glamour and down-to-earthness is undoubtedly one of the secrets of our success. Q: Sportalm describes their own work by being characterised by sustainability (cited from your website). How would you, as CEO and Creative Director, define the brand as being characterised by sustainability? U: Family-run businesses have always operated sustainably, because we think in generations, not in quarterly reports. We feel a responsibility toward our values and toward people. Our commitment to maintaining our own production site within the EU is a clear expression of this value-driven mindset. Sustainability is also reflected in our dedication to quality, creating products that last for generations. The most beautiful moments are when we receive photos of styles that are 40 years old, or when young people write to tell us they are now skiing in the overalls of their grandparents. That is sustainability in its truest, most lived form. Q: Tell us about your upcoming fashion show! Are you the sole designer of the collection, or did you have any special collaborators? Are there any specific pieces or details one should pay extra attention to?  U: We have an excellent in-house team, some of whom have been with us for over 20 years and have played a decisive role in shaping Sportalm’s development. Our creativity truly comes from within the company. The collection is so diverse that it’s difficult to highlight one specific detail. What was especially important to us this year was the multifunctionality of the collection. Almost all pieces can be worn beyond the slopes — whether it’s the fashionable down jackets, the elegant mid-layers, or the beautiful knitwear. They can be worn for skiing, but they don’t have to be. Q: My mom (in Sweden) had one of your iconic jackets in the 70s. How do you view the potential of re-engaging the Nordic audience? U: In the past, Scandinavian style was often described as minimal and dark, but that is no longer the case. Today, Scandinavian brands are bold, colourful, and truly unique. Even on the slopes, people embrace a lot of colour. So perhaps this is the right moment to rethink our distribution in the region. Q: Looking back across the decades, is there a particular era of Sportalm’s archives that you find yourself returning to most for inspiration today? U: We’re keeping a strong eye on the fashion industry because what we do is ski fashion we are not like some of the really functional hardcore technical brands where

Culinary

TOSTO: A Quiet Treasure on Sturegatan

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TOSTO: A Quiet Treasure on Sturegatan text Jahwanna Berglund Some places greet you like an old friend, even on your very first visit. Tosto, discreetly located behind Sperling and Co on Sturegatan 6, is one of them. Max Duhs has crafted a space that does not need to raise its voice. Instead it welcomes you with openness, quiet intention and a sense of care woven into every detail. It feels personal because, in many ways, it is like discovering a secret that was always meant to find you. The art collection is the first impression. It is curated with the intimacy of a private home but positioned with the confidence of a gallery. Nothing feels decorative. Everything feels chosen. It creates an atmosphere that mirrors the entire concept: personal, warm and quietly ambitious. Tosto stands with one foot in Italy through ingredients and instinct, and the other reaching confidently into new worlds. The balance is seamless and it makes the dining experience feel alive with intention. Some highlights from the menu The octopus salad stood out from the start. Tender octopus, lemon mayo, pecorino and sesame seeds formed a bright and addictive combination that left a clear impression of what they are doing here at Tosto. This was followed by brisket al brodo with fava beans and gremolata, generous in flavour and impossible not to resist. It tasted like something a nonna would serve at home, cooked with love. Agnolotti with mushroom veloute brought comfort and elegance in a single bite, silky, earthy, deep and beautifully balanced. Short rib and oxtail lasagna became the kind of dish that quietly takes over the table. Rich, layered and soulful, it tasted like hours of patience and intention. Many more dishes filled the table, each thoughtful in its own way, but these were the ones that defined the experience for me. This is a place made for sharing, where ordering a little of everything feels natural and gives you the best of all worlds. images courtesy of Tosto / Stureplansgruppen Desserts Pannacotta with cherry granita Kalamansi sorbet Pancake cake Tiramisu All desserts felt playful and refreshing, each in its own personality. The kalamansi sorbet was a perfect palate cleanser while the pancake tiramisu was a joyful finale that made the table fall silent for a moment. Tosto delivers something new to the dining experience. A place that feels both new and familiar, confident but never loud, personal yet refined. A fantastic experience from start to finish. www.tosto.nu

Opiates

Ritz Paris x FRAME

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Ritz Paris x FRAME images courtes of Ritz Paris & FRAME The fifth instalment of the Ritz Paris x FRAME collaboration has officially landed, once again uniting timeless Parisian refinement with sun-drenched Californian ease. The result is a formula of style that feels both effortless and unmistakably elevated. Captured in a reportage-style shoot at the iconic Ritz Paris, the campaign stars musician and actress Lou Doillon — a fitting embodiment of the collection’s laid-back glamour. When retro-preppy attitude meets Parisian poise, the synergy is striking: a confident, worldly, and distinctively crafted wardrobe. As in previous seasons, the Ritz Paris emblem adds a touch of high-society sparkle to modernised staples. The collection revisits tailoring and cashmere while reintroducing the perennially sold-out Ritz Paris baseball cap, now in a rich chocolate-brown colourway. The full collection is available on the Ritz Paris E-Boutique, with pieces arriving at the Ritz Paris Hotel Boutique from 5 December.

Opiates

OAS x Colbo – Limited Edition Corduroy Robe

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OAS x Colbo – Limited Edition Corduroy Robe images courtesy of OAS and Colbo On 4 December, Swedish brand OAS and New York–based label and retail concept Colbo come together in downtown Manhattan to unveil a limited-edition robe: a long, deep brown silhouette with hand-stitched dark-brown piping, crafted in heavy corduroy and inspired by Stockholm’s historic city centre. Despite their contrasting signatures, the collaboration feels both unexpected and entirely natural. OAS, known for its playful approach to colour and pattern, and Colbo, celebrated for relaxed silhouettes, muted palettes and material-driven design, meet through a shared appreciation for craft, detail and a sense of place. The robe takes cues from Stockholm’s architecture — weathered wooden doors, wrought-iron details and warm façades that have shaped the city since the 17th century. Produced by a long-standing family-run atelier in Portugal, every step of the process takes place under one roof, from spinning and dyeing the yarn in small batches to weaving the fabric and finishing each piece by hand. At Colbo, the focus lies on objects that feel both lived-in and intentional — pieces that carry warmth, purpose and quiet confidence — while OAS is known for elevating the everyday with ease. The collaboration becomes an organic meeting point that merges these worlds with authenticity. The campaign was photographed in Brooklyn by Lucia Bell-Epstein. The collaboration launches on 4 December at Colbo, 51 Orchard Street, New York City, followed by a global release on 5 December at oascompany.com and colbo.nyc.

Fashion Editorial

Watching You Without Me

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dress Dolce & Gabbana shoes Massimo Dutti earrings Kenneth Lane artwork Jaseem al Awadhi dress Nasty Galskirt Ralph Laurencorset Elisabetta Franchi tights Wolford shoes Zara earrings Foundrae necklace Jil Sander bracelets Christian Lacroix, Ralph Lauren, Singularu and Molten Marble rings Armin Najib dress Elisabetta Franchi hat Stylist’s Own shoes Stella McCartney earrings Foundrae necklace Valentino Garavani dress Golden Apple skirt Stella McCartney hat Stylist’s Own tights Wolford shoes Saint Laurent necklace Vintage Donna Karan rings Armin Najib dress Nasty Gal earrings Foundrae necklace Jil Sander bracelets Christian Lacroix, Ralph Lauren, Singularu and Molten Marble rings Armin Najib dress Golden Apple hat Stylist’s Own necklace Vintage Donna Karan dress Dolce & Gabbana shoes Massimo Duty earrings Kenneth Lane artwork Jaseem al Awadhi dress Topshop Lange Kleider shoes Jimmy Choo earrings Elisabetta Franchi bracelets Christian Lacroix, Ralph Lauren and Singularu pumps Aldo top Christopher Esber skirt Cult Gaia shoes Saint Lauren earrings Ralph Masri bracelets Molten Marble dress Threadz by Ajooni headpiece Armin Najib necklace Alexis Bittar suit Marella hat Stylist’s Own earrings Chanel (vintage) bracelets Foundrae bouche Armin Najib glasses Mimiyou Occident suit Marella hat Stylist’s Own shoes Steve Madden earrings Chanel (vintage) bracelets Foundrae bouche Armin Najib glasses Mimiyou Occident artwork Jassim Alawadhi dress Elisabetta Franchi hat Stylist’s Own earrings Foundrae necklace Valentino Garavani suit Marella hat Stylist’s Own earrings Chanel (vintage) bracelets Foundrae bouche Armin Najib glasses Mimiyou Occident artwork Jassim Alawadhi top Prada leather corset Norma Kamali leather trousers Elisabetta Franchi shoes Saint Laurent dress Runaway The Label head scarf Valentini shoes Saint Laurent dress Elisabetta Franchi creative direction & fashion Kawa H Pour / Art Factory Studio photography Jassim Al Awadhi / Art Factory Studio makeup & hair Devika / Art Factory Studio casting Shadi H Pour / Art Factory Studio model Katya Grech / Art Factory Studio nails Hera Amiri / Art Factory Studio production Art Factory Studio fashion assistants Yaula & Zahra photography assistants Mohamad & Aysha

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