الأحد، 30 سبتمبر 2018

The silent killer … and how to stop it

Sun, 2018-09-30 23:44

DUBAI: The majority of women across the Kingdom and wider Middle East are failing to have routine, potentially life-saving, health screening for breast cancer. Cultural habits and stigmas in the region still surround tests for the disease, despite experts stressing that early detection brings a higher chance of full recovery.

October is Breast Cancer Awareness Month, a worldwide annual campaign to highlight the importance of awareness, education and research, involving thousands of global organizations. Each year, the associated “Go pink” campaign draws attention to this disease, its detection and its treatment. 

From Oct. 1, iconic landmarks worldwide will be lit up in pink to mark the campaign’s launch, while survivors share their stories to raise vital awareness about the devastating disease. 

Yet, according to the World Health Organization, breast cancer remains the most common cancer among women, affecting 2.1 million women each year. Millions more — survivors of this disease, their friends and families — are also living with its impact.

“Breast cancer is the most prominent cancer in the region, and this cancer will progress in the coming years,” warned Dr. Slim Slama, regional adviser for the prevention of noncommunicable diseases at the WHO regional office for the Eastern Mediterranean. “This cancer will form a major part of countries’ health-response programs and more needs to be done to address this issue.”

The disease also causes the greatest number of cancer-related deaths among women. So far in 2018, it is estimated that 627,000 women have died from breast cancer — about 15 percent of all cancer-related deaths among women.  

Across the Middle East, breast cancer is the most common female cancer, according to the Susan G. Komen organization — the largest breast cancer organization in the US. Yet, according to the charity, many of those affected in the region do not seek medical care immediately. As a result, the Middle East has high rates of late presentation.

Slama told Arab News that, while screening is important, the most integral part of tackling the disease is ensuring uptake. He said studies show that only 10 percent of women targeted during screening awareness programs across the Middle East actually attended an appointment for a routine breast exam.

“The first problem is that women need to come and get checked,” he said. “We have to detect early. We have to ensure participation in these programs. Because if you detect someone at stage one you (probably) save her life. If you get someone at stage three or four, it is not only costly in terms of treatment but you may not save that person at all.”

Breast cancer has four stages of severity, defined by the prevalence and size of the lymph nodes and tumors. Catching it at the crucial first stage means the chance of survival is between 95 and 100 percent. 

Slama said at the first ever “War on Cancer” Middle East conference held in the UAE in March, global experts discussed regional approaches to tackle forms of the disease, including breast cancer.

“The problem with the Middle East — including in the Kingdom — is that there are a lot of different awareness initiatives, but there has been no proper analysis in terms of impact,” he said. “In Saudi Arabia, as in the wider Middle East, participation in screening is very low. You can have the best treatment and centers available, but if you do not get women to seek screening then you are not capturing what you need to capture.”

Slama cited cultural perception of health prevention as a major issue. In contrast to the West, people in the Middle East tend to seek treatment after a diagnosis, or once a condition has developed, rather than embrace preventative practices.

“Another issue is stigma — in terms of the ability to discuss health problems, the ability to teach our to providers and also shifting away from the perception that this is ‘fate’ or ‘God’s will,’” he said. “There needs to be a cultural shift. There needs to better understanding and awareness, and a focus on building people’s trust and understanding about why early detection and preventative care is so important. But, as yet, it is not there.”

He added that improving technical capacity and quality control systems and, most important, ensuring timely access to treatment, including preventative care, surgical care radiotherapy and other medical treatment, is vital to reducing cancer rates.

“Access is not available in all countries,” he said. “We don’t have a systemic view to how we treat cancer. We have a piecemeal approach.”

Dr. Marwa Awad Mohamed Eltantawy, a radiology specialist at Abu Dhabi’s Medeor Hospital, said breast cancer “is very common in the Middle East,” and that “a large number of families in the Middle East have one or more of their members affected.”

Eltantawy believes this is because of a lack of awareness about the importance of regular screening. 

“I don’t think enough women are doing mammograms on a regular basis,” she said. “In the Middle East, as yet, we do not have enough education about the importance of breast imaging and screening without having an already established disease. We definitely need more awareness.”

A 2017 study, “Breast cancer in Saudi Arabia and its possible risk factors,” found there was a “substantial rise in the incidence of breast cancer in Saudi Arabia in recent years, particularly among younger females compared to affected females in Western countries.” 

According to the report’s chief author, Dr. Bassam Ahmed Almutlaq of the College of Medicine, University of Hail, Saudi Arabia, more awareness and education is needed across the Kingdom to address critical “gaps in knowledge.” 

Researchers from another study, 2015’s “Breast Cancer Screening in Saudi Arabia: Free but Almost No Takers,” found that, of the 10,735 participants, about 89 percent reported not having a clinical breast exam in the past year, while 92 percent reported never having a single mammogram. The study found “very low rates of breast cancer screening in the Kingdom of Saudi Arabia, a country with free health services.”

Mammograms and ultrasounds can detect changes in the breast years before a woman notices any irregularities. International guidelines recommend women should have a mammogram every year once they reach the age of 40.

The risk factors for breast cancer include being overweight, lack of exercise, smoking and eating unhealthy food. Women with close relatives who have been diagnosed with breast cancer also have a higher risk of developing the disease, while the risk also increases with age. 

According to the WHO, while breast cancer rates are higher among women in more developed regions, rates are increasing in nearly every region globally. 

Dr. Archana Ashtekar, an obstetrics and gynecology specialist at Abu Dhabi’s Bareen International Hospital, said the chance of a woman developing breast cancer up to the age of 85 is about one-in-eight worldwide.

“It is a major public health concern with incidences of the disease steadily increasing every year,” she said. “Performing regular breast self-exams and knowing the risks can help reduce the number of breast cancer cases. 

“When breast cancer is detected early, women have a much greater chance of being treated successfully and, for most women, the cancer will not return after treatment.”

Ashtekar said women of all ages should become familiar with the normal look and feel of their breasts and be proactive about their health by performing regular self-breast examinations and scheduling regular mammograms, depending on their age and health condition. 

She explained that cancerous lumps are irregularly shaped with a gritty surface like a golf ball. Malignant tumors will also be difficult to move.

“If you feel a lump, schedule an appointment with your doctor, who might suggest an ultrasound or mammogram,” she said. “Although self-breast exams are important, they should not take the place of routine clinical breast exams and mammograms by your doctor.”

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What We Are Reading Today: Birds of Central America 

Author: 
Sun, 2018-09-30 23:31

Book Authors:  Andrew C. Vallely and Dale Dyer

 

Birds of Central America is the first comprehensive field guide to the avifauna of the entire region, including Belize, Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Panama. Handy and compact, the book presents text and illustrations for nearly 1,200 resident and migrant species, and information on all rare vagrants.

Two hundred sixty detailed plates on convenient facing-page spreads depict differing ages and sexes for each species, with a special focus on geographic variation.

The guide also contains up-to-date range maps and concise notes on distribution, habitat, behavior, and voice. An introduction provides a brief overview of the region’s landscape, climate, and biogeography.

The culmination of more than a decade of research and field experience, Birds of Central America is an indispensable resource for all those interested in the bird life of this part of the world.

Andrew C. Vallely is a naturalist who has worked and traveled extensively in Central America. Dale Dyer is an ornithological illustrator who has contributed to many books on birds, including Birds of Peru and All the Birds of North America.

Vallely and Dyer are currently field associates in the Department of Ornithology at the American Museum of Natural History.

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Saudi archaeological exhibition to go on display at Louvre Abu Dhabi

Author: 
Sun, 2018-09-30 14:34

ABU DHABI: Saudi Arabian artifacts exhibition, Roads of Arabia: Archaeological Treasures of Saudi Arabia, is set to open in the Louvre Abu Dhabi on November 8th under the patronage of Abu Dhabi Crown Prince Sheikh Mohamed bin Zayed Al Nahyan.

The exhibition, the second of the museum’s new culture season, will explore the rich history of the Arabian Peninsula through archaeological and cultural artefacts, including a selection of rare pieces from the United Arab Emirates.

The exhibition was conceived through cooperation between SCTH and the Musée du Louvre in Paris, where it was first exhibited in 2010. It is one of the most renowned Saudi exhibitions on a global scale, introducing Arabia's cultural and historical heritage to over five million visitors worldwide. The exhibition has presented 14 acclaimed editions throughout Europe, the USA and Asia, sharing the story of this unique region with audiences around the world, before coming to Louvre Abu Dhabi where it will be enriched by selected pieces from the UAE.

“The United Arab Emirates and Kingdom of Saudi Arabia have always been connected by a common heritage and history,” says H.E. Mohamed Khalifa Al Mubarak, Chairman of the Department of Culture and Tourism – Abu Dhabi. “This year’s edition of the exhibition will be a reflection of the rich, shared cultural heritage and deep-rooted history between the two nations.”

Roads of Arabia: Archaeological Treasures of Saudi Arabia explores five chapters in the history of the Arabian Peninsula, spanning early prehistoric settlements; maritime exploration; caravan trading routes that linked the region with Asia, Mesopotamia and the Mediterranean; routes of holy pilgrimage emerging in the 7th century CE; and the social and economic developments between the 14th and 16th centuries that set the stage for the modern day region.

“The Arabian Peninsula has been a place of exchange, culture and civilisation since earliest Antiquity, and Louvre Abu Dhabi is deeply rooted in the region’s unique history and context,” says Manuel Rabaté, Director of Louvre Abu Dhabi. “The exhibition is an important opportunity for us to re-examine and celebrate this rich heritage through a remarkable series of artefacts, expanding on the regional pieces in our permanent collection to tell an Arabian story from a new perspective.”

Jamal S. Omar, Vice President of Antiquities and Museums Department at STCH, underscores the significance of the exhibition, given the special relationship between the two neighbouring countries and their shared cultural and historical heritage. It is especially notable, he adds, in that this is the exhibition’s first showing in the Arabian Peninsula outside of Saudi Arabia, shedding light on the ancient civilizations and trade routes of the Arabian Peninsula. The exhibition has been followed closely by His Royal Highness Prince Sultan bin Salman bin Abdul Aziz, President of the STCH, in view of the esteem that Saudi Arabia has for the United Arab Emirates, its rulers and its people. "Although the exhibition focuses on Saudi Arabia's civilizations, it also highlights the civilizations of the Arabian Peninsula including major hubs along the ancient trade routes, which were important links in the cultural and historical narrative of this highly strategic region," Mr. Omar comments.

“From overland camel caravans and maritime trading routes to paths walked by religious pilgrims, the roads of Arabia have always been of vital importance to economic development, early settlement and the exchange of ideas, customs and cultures across the region and beyond,” says Dr. Souraya Noujaim, Scientific, Curatorial and Collection Management Director at Louvre Abu Dhabi. “These roads are the thread of this exhibition, which presents a journey retracing exchanges, circulation and encounters in the Arabian Peninsula. Dynamic archaeological research in recent years has shed new light on the longstanding history and diversity of the region, and excitingly, the exhibition now includes a selection of objects from the UAE.”

The expanded exhibition to be displayed at Louvre Abu Dhabi is curated by Mr. Omar, Dr. Noujaim, and Noëmi Daucé, Chief Curator for Archaeology at Louvre Abu Dhabi. Louvre Abu Dhabi is assisted by two scientific advisors from the Musée du Louvre: Marianne Cotty from the Department of Near Eastern Antiquities and Carine Juvin from the Department of Islamic Art.

For the first time, the exhibition will feature important archaeological pieces from the United Arab Emirates, including a pearl found in Umm Al Quwain dating from 5500-5300 BCE (loaned by Umm Al Quwain Museum); a stone decorated with a wild camel from the late 3rd millennium BCE (loaned by Al Ain Museum), a remarkable 1st millennium BCE pieces from Saruq al Hadid (loaned by Dubai Municipality), as well as objects from Julfar (loaned by the National Museum of Ras Al Khaimah).

These will be displayed alongside significant artefacts from the Kingdom of Saudi Arabia, including outstanding funerary Neolithic stela, a 3rd-century BCE bronze statue head (loaned by the Department of Archaeology at King Saud University); a 1st-century BCE gold funerary mask from Eastern Province (loaned by the National Museum in Riyadh), 9th-century engraved steles (loaned by King Fahad National Library); 4th-millennium BCE Anthropomorphic stele (loaned by the National Museum in Riyadh); a door of the Kaaba dating to 1355 (loaned by the National Museum in Riyadh), and a key of the Kaaba (loaned by the Department of Islamic Art at the Musée du Louvre).

Alongside the exhibition opening, Louvre Abu Dhabi will organise a three-day celebration featuring a performance called “On the Roads of Arabia” – a creation from music, dances and poetry by 80 artists from the Arabian Peninsula, Africa, Mediterranean, Indian Ocean, India, Indonesia and China with a contemporary, calligraphic street art drawing designed by Tunisian artist Koom. The cultural program accompanying Roads of Arabia: Archaeological Treasures of Saudi Arabia will also feature film screenings selected by Hind Mezaina, curatorial talks, as well as a range of education workshops and guided tours related to the exhibition.

Entrance to the exhibition is free with the museum ticket. Visitors can tour the exhibition through a multimedia guide that is available in Arabic, English and French.

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Nora Attal sparkles in Elie Saab

Author: 
Sun, 2018-09-30 10:47

DUBAI: British-Moroccan model Nora Attal took to the runway during Saturday night’s Elie Saab Spring/Summer 2019 show in Paris wearing a sober-toned sequined outfit.

At Saturday's show, the hugely popular Lebanese designer showed off 58 new outfits that skipped the usual full-throttle, cinched-waist sensuality and energy of his designs, an exception being thigh-high boots.

In its place was a more playful version of Saab that was willing to explore new ideas — for better and for worse, according to The Associated Press.

Overpowering, dark floral prints on pants, minis and billowing skirts contrasted with angelic lace and fastidious detailing that evoked the 1970s.

A leopard print look fared badly, its single exposed shoulder looking out of balance, AP noted of the daring design that was outside of Saab’s elegant, shimmering comfort zone.

But other gowns, such as a striped bohemian number, showed that Saab was daring to venture out of that bread-and-butter comfort zone with some success.

Saab is riding high after the coup of having Oscar-winning actress Hilary Swank wear a gown he designed for her wedding last month. The ethereal wedding gown was made of 25 meters of Chantilly lace, eight meters of silk chiffon and six meters of organza silk and took 150 hours to create.

For her part, Attal donned a black, sequined shorts-and-jacket combo with sporty detailing in the form of yellow-and-blue racer stripes on the top half. A rich, dark-hued floral top with blue embroidered overlay completed the look.

Attal also took to the runway for Spanish luxury fashion house Loewe, which stayed characteristically casual with a collection of muted, khaki colors — from cream, to tan, olive green and a few shots of burnt orange and lime green.

The model walked the catwalk wearing a bohemian patchwork dress with multiple thigh-high splits and chunky beige boots.  

Spring/Summer collections are supposed to be about throwing open the windows to a world of color and floral fancy, but Paris shows have been notably more sober and austere than usual — almost puritanical in fact when it comes to prints, AFP reported.

Hedi Slimane, whose father is Tunisian, went on a voyage to the heart of black in his long-anticipated debut at Celine, as did his successor at Saint Laurent, Anthony Vaccarello.

Blink at the Margiela, Guy Laroche, Olivier Theyskens or Hyun Mi Nielsen shows and you might have thought yourself at a funeral there was so much black, while Rick Owens summoned up the Salem witch-hunts, smoking pyre and all.

Two tones, black and white, dominated the catwalks.

Even Balmain was uncharacteristically restrained, which is no bad thing.

Dior — where flowers are never far away — was utterly lovely but also determinedly unflashy, AFP added.

It was left to the king of prints Dries van Noten, as well as Jour/Ne, Paco Rabanne and India's jester genius Manish Arora to bring some fizz to the party, with the latter outdoing himself with a technicolor collection that burned itself into memory as well as the retina.

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السبت، 29 سبتمبر 2018

What We Are Reading Today: Between Worlds by Leslie Umberger

Author: 
Sat, 2018-09-29 22:13

Bill Traylor (ca. 1853–1949) came to art-making on his own and found his creative voice without guidance; today he is remembered as a renowned American artist. Traylor was born into slavery on an Alabama plantation, and his experiences spanned multiple worlds — black and white, rural and urban, old and new — as well as the crucibles that indelibly shaped America — the Civil War, Reconstruction, Jim Crow, and the Great Migration. 

Between Worlds presents an unparalleled look at the work of this enigmatic and dazzling artist, who blended common imagery with arcane symbolism, narration with abstraction, and personal vision with the beliefs and folkways of his time, says a review on the Princeton University Press website.

Traylor was about 12 when the Civil War ended. After six more decades of farm labor, he moved, aging and alone, into segregated Montgomery. In the last years of his life, he drew and painted works depicting plantation memories and the rising world of African-American culture. 

Upon his death he left behind more than a thousand pieces of art. Between Worlds brings together 205 of his most powerful creations, including a number that have been previously unpublished. This beautiful and carefully researched book assesses Traylor’s biography and stylistic development, and for the first time interprets his scenes as ongoing narratives, conveying enduring, interrelated themes.

 

 

 

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Rihanna shines bright like a diamond in Dubai

الجمعة، 28 سبتمبر 2018

Jefferson Airplane co-founder Balin dead at 76

Author: 
AFP
ID: 
1538193767209481000
Sat, 2018-09-29 03:57

LOS ANGELES: Marty Balin, co-founder of the 1960s California psychedelic rock group Jefferson Airplane, has died aged 76, US media reported on Friday.
Born Martyn Jerel Buchwald, Balin was a folk guitarist in San Francisco when he founded Jefferson Airplane with guitarist Paul Kantner.
The group released its first album in 1966, but achieved its breakthrough a year later with “Surrealistic Pillow,” which went gold.
Balin, a tenor, wrote several songs for that album which also featured the singer Grace Slick.
The group cemented its reputation with a performance at the 1969 Woodstock festival.
Balin later left the band, but in the 1970s rejoined Kantner and Slick for what was then known as Jefferson Starship and which, according to Rolling Stone magazine, scored more hits than the original Airplane.
In 1978 Balin went on to a solo career.
His family did not specify the cause of death, but Balin had undergone open heart surgery in 2016. He later sued the New York hospital where he underwent the procedure, alleging he suffered multiple complications.

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Japanese space rovers send photos of asteroid Ryugu

Author: 
AP
ID: 
1538118932451859800
Fri, 2018-09-28 (All day)

TOKYO: New photos taken on the surface of an asteroid show that it is (drum roll, please) ... rocky.
It may be no surprise, but Japan space agency scientists and engineers are thrilled by the images being sent to Earth by two jumping robotic rovers that they dropped onto an asteroid about 280 million kilometers away.
The Japan Aerospace Exploration Agency posted the latest photos on its website late Thursday. They show slightly tilted close-ups of the rocky surface from different locations.

“I cannot find words to express how happy I am that we were able to realize mobile exploration on the surface of an asteroid,” project manager Yuichi Tsuda said on the space agency’s website.
It took more than three years for the unmanned Hayabusa2 spacecraft to reach the vicinity of asteroid Ryugu. One week ago, the craft successfully dropped a small capsule with two rovers onto its surface. The rovers, each about the size of circular cookie tin, don’t have wheels but jump around the asteroid.
Hayabusa2 is scheduled to drop a German-French lander with four observation devices onto the asteroid next week. It later will attempt to land on the asteroid itself to collect samples to send back to researchers on Earth.

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الخميس، 27 سبتمبر 2018

World’s first human case of rat disease found in Hong Kong

Author: 
AFP
ID: 
1538112179481601400
Fri, 2018-09-28 03:40

HONG KONG: A Hong Kong man has developed the world’s first ever human case of the rat version of the hepatitis E virus, according to new research from one of the city’s leading universities.
There had previously been no evidence the disease could jump from rats to humans, the University of Hong Kong said Friday, warning the discovery had “major public health significance.”
“This study conclusively proves for the first time in the world that rat HEV can infect humans to cause clinical infection,” the university added.
Rat hepatitis E virus is very distantly related to human hepatitis E virus variants, HKU said.
The disease was found in a 56-year-old man who persistently produced abnormal liver function tests following a liver transplant.
He could have contracted the illness through food infected by rat droppings, researchers said, according to details of the findings reported in the South China Morning Post.
The man lived in a housing estate where there were signs of rat infestation outside his home. He is now recovering after being treated for the virus, the SCMP added.
The human version of hepatitis E is a liver disease that affects 20 million people globally each year, according to the World Health Organization.
It is usually spread through contaminated drinking water.
Symptoms include fever, vomiting and jaundice, and in rare cases liver failure.
Rodent problems in Hong Kong have escalated in recent months because of a sustained spell of hot and humid weather.
Hong Kong has been hit hard by disease outbreaks in the past.
In 2003, almost 300 people died from SARS — severe acute respiratory syndrome.
The bubonic plague, carried by rats, swept through mainland China and Hong Kong in the late 19th century killing thousands.

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Mexico’s dwarf wrestlers overcome mockery to become stars

Author: 
AFP
ID: 
1538108999691528400
Fri, 2018-09-28 03:45

MEXICO CITY: He is just 90 centimeters (less than three feet) tall, but he packs muscles, power and swagger in a little frame: meet Microman, the smallest star in Mexican professional wrestling.
Mexico’s “lucha libre,” a wildly popular mix of sport and entertainment, long featured midgets and dwarves in a deeply demeaning role: they were “mascotas” — a word that can mean both “mascot” and “pet” — for full-size wrestlers.
But a new generation of little people are now rising lucha libre stars in their own right, and dream of one day headlining the main events on their fight cards.
Microman wowed a skeptical crowd at one recent bout in Mexico City, where he and two co-stars, El Gallito and Guapito, took on another team of small-sized wrestlers.
He and his fellow “Micro Stars” were met with a smattering of jeers when they got in the ring.
But Microman silenced them when he climbed onto the top rope — more than three times his height — to execute a high-flying leap straight into the neck of his also small, but larger, rival.
He then flattened another with an acrobatic headstand kick known as the “Zero Gravity” move.
The audience went wild in Arena Mexico, the high cathedral of lucha libre.
“Did you see how he held that headstand on top of the ropes? He does it really well,” said one impressed fan, 28-year-old construction worker Juan Carlos Elizalde.
“He’s really tiny, but look how he fights!” said another, 30-year-old Felipe Escorza.
Microman, 19, takes it all in with an attitude befitting lucha libre’s biggest little star.
“Microman is a wrestler who gives everything he’s got for the crowd,” he said, referring to himself in the third person.
Microman was fighting in the second match of the night — four bouts down from the top of the fight card.
But just having his name on the billing shows the progress he and other little wrestlers have made since his father’s time.
Microman is the son of Kemonito, who was also a midget wrestler but had a very different career.
For 30 years, Kemonito was a “mascota” for full-size wrestlers, a laughable sidekick who provided comic relief until the real action started.
Working conditions and the level of respect have improved dramatically since then in the Mexican professional wrestling league, the World Lucha Libre Council (CMLL), says Catalina Gaspar, an activist for little people’s rights.
“They train them professionally now. I’ve been really happy to see that. Twenty years ago, they threw them in the ring with wrestlers who were two meters (more than 6’6“) tall, and they got injured a lot,” Gaspar said.
Kemonito’s generation had no health insurance or benefits, but put up with the job for lack of other options, she said.
“Some of them were paralyzed... One even committed suicide,” she said.
“But now they are seen as idols, not mascots or buffoons.”
But Gaspar, who is herself just over one meter tall, said there is still a long way to go: social security benefits, pension plans and other support for “life after wrestling.”
The eight Micro Stars debuted in April 2017 as the third weight category in the CMLL.
Their coach, wrestling legend The Last Warrior, remembers it as a revelation.
“It was Children’s Day, and it was awesome. Everybody in the crowd was going crazy,” he said.
Microman himself said he did not know just what to expect that day.
“I didn’t know people would react like that, that they would back me so much without even knowing me. I think it was my happiest day in wrestling,” he said.
The Micro Stars started out with abbreviated bouts, but now fight full-length matches just like their bigger peers.
They do not earn a regular salary, but they get medical care, health insurance and a guarantee of at least two events per month, according to the CMLL.
Increasingly, that includes the league’s prized weekend fight nights.
“That makes you nervous, because you never know what will happen, whether people will like it,” said Microman.
“But when you enter the arena and start walking down the bridge, you just do what you have to do, which is show everything you know in the ring.”

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What We Are Reading Today: Grit by Angela Duckworth

Author: 
Fri, 2018-09-28 01:42

Angela Duckworth’s Grit is an encouraging book on the theory of passion and perseverance being the paramount qualities of success in one’s chosen field. 

Duckworth is a psychologist at the University of Pennsylvania, and is obsessed with finding the answer to the question: “Who is successful and why?” 

She has conducted studies involving a diverse range of successful people to determine whether talent or effort was behind their success. In study after study, she found that where talent counts once, effort counts twice. 

Duckworth explains this using a simple formula: Talent x effort = skill, and skill x effort = achievement. 

The theory is that “grit,” the sustained application of effort to a long-term goal, is the biggest predictor of lifelong achievement. 

Duckworth says we can all increase our grit if we direct our focus in four specific ways: First, develop a fascination with what you are trying to do; second, strive to improve each day; third, remind yourself of the greater purpose; and finally, adopt a growth mindset.

She says learning to stick to something is a life skill that we can all develop by remembering that science shows that grit matters more than talent.

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What We Are Reading Today: Watch Me Play by T. L. Taylor

Author: 
Fri, 2018-09-28 00:13

Every day thousands of people broadcast their gaming live to audiences over the internet using popular sites such as Twitch, which reaches more than 100 million viewers a month. In these new platforms for interactive entertainment, big esports events featuring digital game competitors live stream globally, and audiences can interact with broadcasters— and each other— through chat in real time. What are the ramifications of this exploding online industry? Taking readers inside home studios and backstage at large esports events, Watch Me Play investigates the rise of game live streaming and how it is poised to alter how we understand media and audiences.

Through extensive interviews and immersion in this gaming scene, T. L. Taylor delves into the inner workings of the live streaming platform Twitch. From branding to business practices, she shows the pleasures and work involved in this broadcasting activity, as well as the management and governance of game live streaming and its hosting communities. 

At a time when gaming is being reinvented through social media, the potential of an ever-growing audience is transforming user-generated content and alternative distribution methods. These changes will challenge the meaning of ownership and intellectual property and open the way to new forms of creativity.

The first book to explore the online phenomenon Twitch and live streaming games, Watch Me Play offers a vibrant look at the melding of private play and public entertainment.

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Audemars Piguet and Richard Mille to leave Geneva watch fair

Author: 
Reuters
ID: 
1538041042773941600
Thu, 2018-09-27 09:30

ZURICH: Watch brands Audemars Piguet and Richard Mille will withdraw from the Richemont-dominated Geneva watch fair from 2020 to focus on selling directly to consumers rather than via third-party retailers they would meet at the show.
Latecomers to the digital space, Swiss luxury watch brands have now realized that e-commerce and social networks are formidable tools to get a tighter grip on distribution and customer relationships, while cutting out wholesalers also helps to keep a lid on the grey market.
Audemars Piguet, an independent brand with about $1 billion in sales, is changing its business model to place its customers at the heart of its commercial strategy and “establish direct and personal relationships with watch lovers around the world,” it said in a statement published late on Wednesday.
Its chief executive told Reuters this month that the brand wanted to take all its sales in-house within three to five years.
Richard Mille, known for its ultra-expensive, sporty timepieces relying on Audemars Piguet technology, said it preferred dedicated mono-brand boutiques to multibrand retailers.
“Consequently, the brand’s presence at exhibitions no longer corresponds to its strategy for exclusive and selective distribution,” the company said in a statement.
Both brands will be present for the last time at the next Geneva fair in January, they said.
The announcements deal another blow to third-party retailers and the two big industry shows designed for them — the SIHH (Salon International de Haute Horlogerie) in Geneva, which takes place in January, and Baselworld, held in Basel in March.
The number of exhibitors at the Basel fair halved this year and it recently lost one of its most important pillars when Swatch Group dropped out.
The SIHH had been seen as benefiting from Baselworld’s troubles, with brands such as Hermes moving from Basel to Geneva, but the latest news shows it is not immune to the increasing focus on digital channels.
Watch retailers are trying to adjust to the changing environment, with bigger players such as Bucherer or The Watches of Switzerland expanding internationally and pushing online and pre-owned activities, while smaller rivals try to find a niche to survive.

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Pakistan auctions 102 luxury vehicles of Prime Minister House under austerity driveA luxury business getaway at Al-Faisaliah Hotel https://ift.tt/2Q7WBh0 September 27, 2018 at 10:44AM

Film review: Fact meets fiction in ambitious drama ‘Yomeddine’

Author: 
Saffiya Ansar
ID: 
1538030494043579800
Thu, 2018-09-27 09:40

EL GOUNA: It takes phenomenal guts for a first-time director to tackle a subject such as leprosy, with an actual victim of the disease in the lead role.
A. B. Shawky’s “Yomeddine,” which screened at the El Gouna Film Festival this week, is a touching road-trip drama starring Rady Gamal, a real-life leprosy survivor. The director met Gamal at a leper colony north of Cairo when he made a short documentary, “The Colony,” in 2009. He could not have found a better actor. Gamal is not ashamed of his disease or disability and uses his wrinkled face with marvelous ease to express his joys and pains.
Gamal stars as Beshay and when first we see him, his gnarled hands rummaging through a garbage bin, we are shocked. When his mentally unstable wife Ireny (Shoq Emara) dies, Gamal decides to find his estranged family. He gets into his donkey cart and, along with young friend Obama (Ahmed Abdelhafiz), embarks on the journey of a lifetime. Since ancient times, lepers have been treated as outcasts (as we saw in most brutal form in William Wyler’s 1959 classic “Ben-Hur”), and not much has changed for Beshay in the present day. He is looked down upon and kept at arm’s length by people unduly fearful of contracting the disease. The road from Cairo, where Beshay begins his journey, to Luxor, where the family that abandoned him lives, is filled with adventures, some happy, some not.
Although the movie has several high points, which probably helped it earn its competition slot at the Cannes Film Festival in May, the plot is weak in places, becoming boringly predictable, and some scenes simply seem unnecessary. For instance, was there really a need for flashbacks and dream sequences, which appear to stick out like a sore thumb?
The climax, meanwhile, seems forced as Shawky seems to have taken the easy way out. If the idea was to draw the viewer into an emotional trap, it does not quite work. However, “Yomeddine” does steer clear of becoming a celebration of disfigurement and poverty.

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Arabic cinema wins over movie-goersStill standing: Why El Gouna is vital for Arab filmmakers https://ift.tt/2zA3RNu September 27, 2018 at 07:42AM

الأربعاء، 26 سبتمبر 2018

Still standing: Why El Gouna is vital for Arab filmmakers

Author: 
Saffiya Ansar
ID: 
1538029101393518900
Thu, 2018-09-27 09:17

DUBAI: Regional filmmakers, producers, actors and cinema enthusiasts gathered in the Egyptian town of El Gouna this week to watch a diverse selection of films from the Arab world and embrace the cultural exchange it offers.
Already known for discovering new voices and being a catalyst for the development of cinema in the region, the second edition of the El Gouna Film Festival (GFF), held on the shores of the Red Sea under the auspices of the Ministries of Culture and Tourism, opened on Sept. 20 and continued until the 28th.
“Eyebrows,” a short feature film by Tamer Ashry, a 34-year-old-Egyptian filmmaker, was screened in the Official Competition category. It tells the story of a young woman who struggles with the conflict between her personal need to feel beautiful and extreme religious views.
“The woman’s basic need is to pluck her eyebrows,” Ashry told Arab News. “She has a human need to feel more accepted and, although it’s not against Islam, there are some extreme views (and some) believe it is forbidden. So this sheds light on extreme religion and her struggle between what she believes in and her needs.”
This year the festival was a day longer than the inaugural edition, with more films showing and more than double the number of applications to the event’s industry hub, the CineGouna Platform.
“The filmmaking industry in the Arab world has become more and more mature in the past five to seven years,” said Ashry. “When you go to Europe or anywhere else, they look for Arab films because they can see that films coming from here deal with different topics that are more interesting and relevant. The subjects reflect what is happening in the Arab world and that gives the whole movement more of a push and motivation to work more and make more films.”
Filmmakers from Iraq, Morocco, Tunisia, Saudi Arabia, Palestine and Egypt mingled at the event, which offers them a vital platform in the region after the demise of the Abu Dhabi Film Festival, and the announcement by the Dubai Film Festival that it is taking a break this year and will be held every two years in the future.
“Gouna brings to the Arab world this kind of international look to our films,” said Ashry. “It’s a week of meeting lots of people, making connections, having opportunities to watch other films and gaining experience. It’s really interesting for Arab filmmakers and producers to see the opportunities we can bring to elevate our films to the international level.”
The festival program included 15 films in the Feature Narrative Competition, 12 in the Feature Documentary Competition and 23 in the Short Film Competition. In addition, five films screened in a special retrospectives program and 25 out of competition, bringing the total to 80 — 10 more than in the first edition of the festival.
CineGouna Platform, the event’s industry arm, which offers delegates from around the world the chance to connect and share expertise, represents an important opportunity to support Arab filmmakers. It also provides regional projects with artistic and financial support to help nurture Arab film.
“The festival has already set a benchmark to all festivals in the region, although it’s only in its second edition,” said Yara El-Ashry, a CineGouna Platform assistant. “We’re strengthening our position worldwide as film supporters and, most importantly, humanity supporters.”
She said the festival’s theme of “Cinema for Humanity” speaks for itself, as GFF focuses on expressing issues that might not be expressed elsewhere.
“It also operates with international standards, even in the finest details, which will help it grow big time in a very short time,” she added. “The CineGouna Platform consists of CineGouna Bridge, which has masterclasses, panels and workshops, in addition to SpringBoard, which is a competition for projects in development and films in post-production.”
The festival has received a lot of exposure internationally, helping to introduce Arab cinema to audiences around the world.
“When international celebrities and filmmakers are here to see what we have, they’ll go and talk about it abroad,” said El-Ashry. “We need that since the image of Arabs in general is usually not correctly conveyed. We need to push Arab films to show the true sense of art we have everywhere.”
Marco Orsini, president of the International Emerging Film Talent Association (IAFTA), which is one of the festival’s sponsors, said the GFF is crucial to creating a nucleus around which filmmakers in the region can meet and discuss the art of making movies.
“There has previously been in Abu Dhabi and Dubai some sort of central location where international filmmakers can come in and explore Arab cinema but El Gouna has taken it to the next level,” he said.
IAFTA’s mission, he explained, is to engage in the art of cinema by exploring and finding new and emerging filmmakers to take part in other film festivals around the world.
“Last year we participated in the festival and brought a Palestinian and Egyptian filmmaker to the Marche du Film in Cannes (Cannes Film Market),” he said. “This year, we’re hoping to bring another filmmaker to this year’s Cannes Film Festival.”
Orsini, who is also a film director, said all film festivals help to advance the industry by providing a forum for engaging in discussions about the art of film.
“They’re vital because it’s important for filmmakers to have a space where they can think freely,” he said. “It’s important for film festival directors to come and be able to engage with filmmakers and track them, and film enthusiasts to come and interact with movie stars, directors, writers and people they follow because of the films that they make.”
He added that the unique culture of the Arab world is reflected in the films that are made here.
“The styles of filmmaking and how people tell stories are different,” he said. “Those stories are important and it’s important to tell them from a different perspective. Films representing a country are ambassadors for the people, the culture, the food, the religion, and this is what makes film so important — it’s a cultural exchange program.”

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https://ift.tt/2N5kuUL September 27, 2018 at 07:21AM

The Six: Traditional beauty tricks, from bat’s blood to mayonnaise

Author: 
Saffiya Ansar
ID: 
1538026555223475800
Thu, 2018-09-27 08:35

DUBAI: From bat’s blood to mayonnaise, these traditional beauty hacks from the region are certainly not your average spa treatment and while we don’t recommend you try these without a medical professional’s go-ahead, they are well-worth a read.

Bat’s Blood

It’s possibly an old wives’ tale, but it is said that if you rub bat’s blood on a new born child they will not grow hair, even into adulthood. This one is particularly well-known in Lebanon.

Mayonnaise

Using mayonnaise as a hair mask treatment is said to have various benefits for your hair, including stimulating hair growth and making it soft and shiny.

Chamomile and lemon

A longstanding hack to make your hair naturally lighter is to mix some chamomile, lemon and water together and sit in the sun for a couple of hours. Does it work? Results vary, but it gives you an excuse to top up your tan!

Labneh

Labneh is said to have a cooling effect when your skin is sunburnt.


Olive oil

Pure olive oil is said to have a great effect on the skin, keeping it balanced and moisturized.


Turmeric

Many from the Indian subcontinent swear by a paste of turmeric, sandalwood and milk to keep skin bacteria-free and acne-free, as well as balance out uneven skin tone.

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The Pearl Spa in Dubai: A wellness interludeThe Six: Fashion highlights from the El Gouna Film Festival https://ift.tt/2xFv2ET September 27, 2018 at 06:41AM

Golden-age glitterati return on canvas to old Lebanon hotel

Author: 
AFP
ID: 
1538023433153375400
Thu, 2018-09-27 03:03

SOFAR, Lebanon: Inside an abandoned century-old hotel near Lebanon’s capital, paintings of the Arab world’s once powerful and famous hang around a worn poker table, testimony to its glamorous past before the civil war.
Arab diplomats, French and British officers, but also Egyptian film stars all flocked to the Sofar Grand Hotel before the 1975-1990 conflict forced it to close down.
This month, the hotel opened its doors to the public for the first time in decades to exhibit dozens of works celebrating the hotel’s past by British artist Tom Young.
“This place is just full of history,” says the 45-year-old painter, who researched the building’s past for the project.
“It was once one of the greatest hotels in the Middle East,” explains the blond artist, who has been living in Lebanon for 10 years.
“It was where kings and princesses and emirs and generals used to meet — also the most famous singers of the day.”
Built in 1892 under Ottoman rule by Lebanon’s wealthy Sursock family, the forgotten hotel today lies near a disused train station in the village of Sofar some 30 kilometers (20 miles) east of Beirut.
Despite the war, the Middle East’s first casino has maintained its impressive facade. Sunlight spills into the deserted galleries and halls on its ground floor.
On its peeling walls, Young’s paintings evoke a livelier, more cosmopolitan past when high society came to party and secret political meetings took place in the garden.
In the main hall, a painting in green and turquoise blue hues celebrates the stars of Egypt’s golden era, once patrons of the hotel.
Crooner Abdel Haleem Hafez serenades belly dancer Samia Gamal in the foreground, while singer Um Kulthum appears in her trademark cat-eye sunglasses seated at a table in the back.
In another painting, at the bottom of the hotel’s sweeping staircase, smartly dressed men lead their female partners in billowing long dresses around the ballroom floor.
The scene is inspired by the writings of Lebanese-American author Ameen Rihani, who described attending a party there during his travels to Lebanon from 1907.
“My friend and I stood in the big lobby and watched the male dancers, mostly in formal attire, and the female dancers dressed in the latest Parisian fashion. All dresses were low-neck ‘Decollete’,” he writes.
In another painting, late Egyptian actor Omar Sharif — who starred in “Doctor Zhivago” — appears to be absorbed in a card game.
His portrait hangs near an octagonal poker table, dimly lit by an overhead beige lampshade. Turned over playing cards and colorful poker chips lie on its faded green felt surface.
“We tried to curate the exhibition so that visitors enter and feel that nothing has changed,” says curator Noor Haydar.
“In the poker room, there are still cards on the table, the light is on in the kitchen and there are still cups inside,” she says.
“We tried to get people to imagine everything that used to happen in this hotel.”
But Young’s paintings also reflect the region’s political history.
In one, he portrays the leaders who attended an Arab League meeting in Sofar in 1947, including Lebanon’s first premier after independence Riad Al-Solh.
Inspired by an early AFP photograph, Young paints them in a hall, silhouetted against the outside light as they convene to discuss the Palestinian issue, the year before the founding of Israel.
Even the nearby Sofar train station, now defunct, features in Young’s work, in a scene of passengers crowded on a platform.
Lebanon’s first railway track was completed in the late 19th century to ferry people and goods between Beirut and Damascus.
The exhibition also includes an old train schedule, old posters and vintage postcards.
By re-opening the Sofar hotel to the public, the exhibition’s organizers are seeking to give new life to the historic building, turning it into a space for art and education.
The show, which runs to October 14, is also to include music and dance performances, as well as workshops for children and art students.
During his time in Lebanon, Young has worked on other similar projects.
In 2014, he exhibited work at the Rose House, an Ottoman-era mansion now surrounded by new apartment blocks, perched above the Beirut seafront.
In a tiny multi-confessional country where accounts of the 15-year war are still deeply divisive, Young’s work seeks to preserve collective memory.
“The people of Lebanon are cut off from their history,” he says, partly due to “rampant modern development and the unwillingness to perhaps face the past.”
Yet conserving the past is crucial, says Young, who was invited to become an artist-in-residence by one of the hotel’s owners, Roderick Sursock Cochrane.
“Memories and cultural roots give you a sense of identity,” he adds.

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https://ift.tt/2N4RbBu September 27, 2018 at 05:57AM

‘Dear Son’ is a superb study of a failing family

Wed, 2018-09-26 23:28

EL GOUNA: Tunisian writer-director Mohamed Ben Attia made his mark with his first feature, “Hedi,” in which a young man challenged familial and societal norms by marrying the woman of his choice, a decision seen as a radical move in his conservative Islamic community.

Attia further explores the concepts of freedom and free will in his second film, “Dear Son,” which screened this week at the El Gouna Film Festival in Egypt, but this time the auteur moves into much darker territory, exploring the deadly ramifications that can reach far beyond the family unit.

Mohamed Dhrif, a largely unknown veteran television actor, enriches the film with a memorably controlled performance as a father, Riadh, whose world collapses when his 19-year-old son, Sami (Zakaria Ben Ayed), disappears without any warning. Given his less-than-warm relationship with his wife Nazli (Mouna Mejri), Riadh has instead focused on being a doting father to his son, obsessively worrying about the teenager’s frequent migraine attacks. With doctors unsure whether the headaches have a deeper psychological cause, and Sami stressed out about approaching academic exams, Riadh’s anxieties keep multiplying.

Attia makes a superbly subtle transition in his second film, from what was essentially a familial issue in “Hedi” to the broader, more frightening world of terrorism. Although the family unit, a very small one at that, in “Dear Son” appears to be solid, with loving parents who care more for their son, Attia hints at the influences outside the home that can have a far stronger grip on an impressionable teenager. This extremist plot is introduced later in the movie, though before this Attia offers broad hints of what is to come when he shows us a street demonstration that disturbs Sami.

But in the end, this is really the story of a father grappling with his own demons while on a journey to find his son.

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Tags: 
Shocking new film warns of Daesh comeback in IraqSaudi director’s latest film to debut in London https://ift.tt/2xIzvGW September 26, 2018 at 09:33PM

Dancing queen: Abba-period Cher has a new army of devotees

Author: 
Wed, 2018-09-26 22:57

LOS ANGELES: Cher has a stately air as she receives a steady line of journalists in a West Hollywood hotel room with the studied equanimity of Catherine the Great addressing her subjects at the Winter Palace.
If Madonna is the Queen of Pop then Cher is surely the Empress of Entertainment, surveying the spoils of a showbiz career that has reaped a best actress Oscar, three Golden Globes, an Emmy, a Grammy and a number one record in each of the last five decades.
And with an acclaimed movie role this summer, a new album of Abba covers on the way and a Broadway musical about her life on the horizon, the 72-year-old icon shows no signs of abdicating anytime soon.
“It seems I have a bunch of new fans, young ones, little ones. It’s great. I honestly didn’t expect it,” she enthuses, a playful grin fleetingly snapping the aristocratic aura.
A post-war baby boomer of Armenian, European and Cherokee heritage, the performer was born Cherilyn Sarkisian in southern California.
To a certain generation she will always be an icon of Sixties counterculture and the unique contralto voice who, along with late former husband Sonny Bono, gave the world “I Got You Babe.”
But she has been shocking and delighting since ditching her folksy girl-next-door Sonny and Cher-era image to emerge as the siren in a hardly-there body suit and leather jacket in the 1989 “Turn Back Time” video — a quarter-century before “twerking” had entered the lexicon.
“Believe” brought Cher to a new generation of fans in 1998, with its innovative deployment of the robotic, digitally-enhanced “vocoder” vocal for which she is now famous.
Cher holds the record for the longest gap between number one songs on the US chart at nearly 25 years but recently has mostly concentrated on a residency show in Las Vegas.
She has been in more than a dozen movies, Oscar-nominated for her turn as a nuclear safety activist in “Silkwood,” and acclaimed for roles as a tough, no-nonsense mother in “Mask” and a young Italian American widow in “Moonstruck,” for which she won her Academy Award.
This summer, she reunited with longtime friend and “Silkwood” co-star Meryl Streep to sing two of the signature tunes on “Mamma Mia! Here We Go Again,” the sequel to Abba-inspired 2008 jukebox musical “Mamma Mia!“
She is scornful of the term “starred” for what amounted to a relatively short stretch of screen time but the fact is she stole the show after turning up in the final act.
The movie inspired her 26th album, a collection of Abba covers called “Dancing Queen” that is a mix of reverent retreads and club versions that are unmistakably Cher.
“’Mamma Mia’ and ‘Waterloo,’ — those are the most like the original. I didn’t want to change them in any way,” she told AFP ahead of the album’s September 28 release.
“And the other ones, there’s no way I’m going to ever sound like the girls. So best to just do what I do and hope for the best.”
With only 10 tracks to choose from, Cher says she went for a blend of the all-time classics with some of her own personal favorites, such as “Chiquitita,” “One of Us” and “Name of the Game.”
“Singing is different than listening, and I think the important thing for me was to try to keep the essence of Abba and try to blend myself in with them,” the singer added.
Early previews of songs have gone down well with critics and fans but it has not been entirely plain sailing.
AFP caught up with the pop legend on the day she was finishing the record — and just hours after one of her favorite tracks, “One of Us,” had briefly gone missing, prompting no small amount of middle-of-the-night panic.
“I was upset,” she says, a study in understatement.
A platinum blonde these days, the star has always been famous for her outrageous, revealing stage attire.
The feathers and fishnets will be getting a workout again with the singer at the start of a grueling tour that takes her from Australia and New Zealand in the fall to just about every corner of North America next year.
One day she’ll slow down — perhaps if “The Cher Show,” a musical due to hit Broadway in December — earns her a producer’s Tony Award to complete the coveted “EGOT” awards grand slam alongside her Emmy, Grammy and Oscar.
For now, each success is “(Just Enough to Keep Me) Hangin’ On,” in the words of one of her early singles.
“Sometimes I love it and sometimes I just want to tear my eyes out... Of course I have those days, and what I’ve learned is you just go through them and they pass,” she says.
“And sometimes you only have a week of it, or sometimes you’re like, just go, ‘Oh my God.’ You’re thinking, ‘Oh my God’ and then you do the show when you’re thinking, ‘Oh that was fun. That was good.’”

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Tags: 
New York City not likely to tax $450 million art saleUpcoming albums to end the year on a high note https://ift.tt/2OUEjQc September 26, 2018 at 09:03PM

Post Malone to headline Abu Dhabi Grand Prix concert

Hijab support group nabs Facebook award

Lana El-Sahely gets biker chic in Paris

Author: 
Saffiya Ansar
ID: 
1537951558725504100
Wed, 2018-09-26 11:45

DUBAI: Lebanese fashion blogger Lana El-Sahely showed off her style at Paris Fashion Week, posing for cameras at the coveted Dior show earlier this week.

Dior led Paris fashion week on a sensual dance Monday with a spectacular show woven around a new modern dance piece by choreographer Sharon Eyal to kick off the nine-day extravaganza.

For her part, El-Sahely wore a quirky patchwork skirt paired with a leather biker jacket over a delicate lace top. She finished off the look with a peaked cap and chunky boots.

On the catwalk, icily restrained models brushed past writhing dancers in a performance specially created by the acclaimed Israeli in a fog of mist and falling paper petals.

Designer Maria Grazia Chiuri told AFP that using dance was “an act of liberation” to break free from the catwalk corset.

Gucci — which quit Milan for the French capital to show its spring summer collection — later got in on the act by taking over a Paris theater and having singer Jane Birkin, her back turned to most of the audience, sing her 1983 hit “Baby Alone in Babylone.”

With K-pop superstar Kai mobbed outside by fans, Gucci’s designer Alessandro Michele served up an extra large helping of the oddball 1970s kitsch which has made him such a hit with millennials.

Mickey Mouse manbags, wacky Y-fronts, sleeping mask shades, underpants on the outside of slacks and medallions as big as mayoral chains are only a taster of some of the wacky new looks fashion’s jester-in-chief pulled from his wide-brimmed hat.

His playful, luxuriant bad taste could not be further from Chiuri’s earnest elegance.

Chiuri said she wanted to replicate dance’s “naturalness... but also its discipline” in a striking

Meanwhile, Saint Laurent headlined the second day of Paris Fashion Week in an eclectic French twist on American styles that featured models walking on water.

Tuesday’s Spring/Summer collections also showcased emerging talents: from 26-year-old designer Marine Serre to the Tokyo-based house Anrealage, The Associated Press reported.

Stars such as Kate Moss, Cindy Crawford, Matt Dillon and Salma Hayek huddled together in front of 10 giant white palm trees as the Eiffel Tower sparkled at the stroke of 8 p.m.

Below the trees was a giant expanse of water.

Models in luxury snake boots and sparkling disco heels suddenly appeared and — forgoing the dry catwalk strip — darted sideward to walk straight across the water.

It triggered gasps from spectators, including a tardy Lindsay Lohan.

But behold, the models didn’t sink. Instead, they merely sloshed and splashed.

Designer Anthony Vaccarello was applauded for an impressive biblical-style trompe l’oeil feature for the 15-minute show that created the illusion of a sea despite the water measuring only two centimeters in depth.

One American fashion editor duly commented that designers are “ruining a lot of perfectly good shoes with these water effects this season.”

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https://ift.tt/2NDAanb September 26, 2018 at 09:50AM

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