Nadia Zarkani founded the brand in 2009, driven by a precision-first approach to leatherwork that would shape everything that followed. The early years were about mastery: of technique, of silhouette, of the particular discipline required to make something by hand that doesn’t look handmade in the artisanal-market sense, but rather in the way that great tailoring looks effortless because the effort has been fully absorbed. When Carole Nathan joined Zarkani later, the two brought complementary forces to the brand. Together, they expanded what Nuniz could be.

What it became is a universe with distinct lines, each operating on the same foundational logic. Nuniz Cairo, the original women’s collection, produces bags that balance currency with longevity — pieces that feel right this season but won’t read as dated in three years. Made by Nuniz handles bespoke leather goods for B2B clients, a line that speaks to a growing appetite among businesses for objects with intention rather than inventory. Bayt Nuniz extends the aesthetic into home décor through functional leather objects. Bahawat, the men’s line, addresses a gap in the Egyptian market that Zarkani identified early: refined, minimal accessories for men who want to be considered without being conspicuous.

The through-line across all of them is the same. Clean construction. Warm minimalism. A silhouette that doesn’t need embellishment because the material and the making are doing the work.

There’s a particular kind of luxury that Nuniz is after, and it isn’t defined by price point or logo visibility. It’s defined by the feeling a piece gives the person carrying it — the sense that the object was made for someone like them, not for a trend cycle or a retail algorithm. Every curve and stitch is built around the belief that what we carry says something about who we are. That’s a considered position for a brand to take, and it informs everything from the silhouette decisions to the choice to expand slowly and deliberately rather than scale fast and dilute.

The selection by the Grand Egyptian Museum as one of the few brands representing Egyptian craftsmanship and heritage in its permanent retail space is the clearest institutional acknowledgment of what Nuniz has built. The museum, which houses one of the most significant collections of ancient civilization in the world, chose brands based on the authenticity and quality of what they make. Being included in that context is not a marketing moment — it’s a validation of the brand’s original premise.

That premise was always cultural as much as commercial. Nuniz operates in a specific tension between memory and modernity, drawing on Egyptian heritage not as a decorative reference but as a living design language. Time-honored techniques sit alongside contemporary silhouettes. The past is not a mood board — it’s a method. The result is work that carries a distinct cultural signature without resorting to the obvious visual signals that often stand in for cultural identity in fashion.

For a Bazaar audience attuned to both the regional craft scene and the wider luxury landscape, Nuniz is worth understanding on its own terms. It is not trying to be a European heritage house, nor is it positioning itself as a local answer to one. It is doing something more interesting: building a genuinely Egyptian luxury sensibility from the ground up, with a design language that travels.

The brand fits into the rhythm of modern life without being shaped by it. Trend-aware but not trend-dependent. Present in fashion conversations not because it chases them, but because it has something to say that those conversations keep circling back to. In a market saturated with product designed to be noticed immediately and forgotten quickly, Nuniz is building for the longer arc.

Quiet confidence, it turns out, has a way of outlasting noise.

Follow Nuniz Cairo at @nunizcairo and Made by Nuniz at @madebynuniz. Visit nuniz-cairo.com to see the full collection.

The post THE QUIET STATEMENT appeared first on bazaar.town.

She talked about wearing the now iconic studded DIY t-shirt to the Met Gala. She mentioned how she wanted to queue in a disguise to see the collection launch firsthand. She talked about spending most of her career not quite letting things land, the accolades, the achievements, the extraordinary moments, until President Macron stood in front of her for fifteen minutes in the Élysée Palace and she made herself actually listen to how far she had come. “We’ve been told to stop talking,” said the host, laughing. Nobody really stopped.

It is this quality, the genuine refusal to perform seriousness when sincerity works so much better, that has always made Stella McCartney a rare thing in fashion. She is, by trade and instinct, a designer who believes clothing should solve something. Not in the utilitarian sense, but in the human one: the working woman running late, the person who wants to look extraordinary without participating in an industry that quietly trashes the planet. Her label, founded in 2001, has spent two and a half decades making that argument in silk, recycled aluminum, and organic cotton. This May, she makes it again, and louder, with her second collaboration with H&M.

The first time around was 2005. H&M had just launched what would become its signature design partnership program, and McCartney was one of its earliest and most exacting participants. She arrived with a list of sustainability requirements and a very clear sense of her own wardrobe. The collection sold out within minutes, generated headlines across the globe, and landed McCartney’s signature shapes, the sharp tailoring, the easy shirting, the irreverent slogan, in the hands of an audience that had been priced out of her main line. What happened next is what makes this second chapter meaningful: H&M kept going. They did not use her name and move on. They continued building a sustainability infrastructure, transitioning their entire cotton supply to organic, recycled, or better-sourced alternatives, investing in certified wools, and rethinking the supply chain piece by piece.

It is why McCartney said yes again. “If I don’t do it with you guys,” she told Ann-Sofie Johansson, H&M’s Head of Design and Creative Advisor, during the press conference, “these conversations won’t be had.” The logic is her core philosophy: change from within, at scale, with receipts. Nobody is claiming perfection. What they are claiming is progress, made transparently, in the direction that matters.

The collection itself is exactly what you would want from a reunion. McCartney has described it as “a journey through my fashion history,” and the archive instinct shows, sharply tailored blazers, breezy organic cotton separates, and the kind of sweeping trench coat that earns its place in a wardrobe rather than occupying it briefly. There is evening wear: a long white gown with a cape-like sleeve that loops into the hem, and partywear built around sparkling finishes achieved with 80% recycled glass crystals, a material choice that didn’t even have a supplier ecosystem behind it twenty years ago. There are Falabella chain details worked into necklaces, loafers, and bag straps, crafted in 95% recycled aluminum. There is a white mini tee studded with “Rock Royalty” in metal, which is both a direct callback to that Met Gala story and a very good t-shirt.

The accessories range is strong: six bag styles including a timeless chocolate tote with chain detailing, and shoes that manage to be vegan without any of the compromise that phrase once implied. No dead animals. No PVC. No toxic tanning chemicals. Just good construction and natural materials with responsible coatings.

For those who engage with the swing tags, this collection rewards the curious. Recycled polyester, garment-to-garment. RWS-certified wool. Industrial corn and recycled vegetable oil as feedstock for coated materials. McCartney was adamant that every label carry facts, not just branding. Her reasoning is generous: if someone picks this up and then walks into a fast fashion store, she wants them to instinctively reach for the label and wonder what’s in it. Awareness, once activated, tends to stay.

The campaign, shot by Sam Rock in London, carries the same unforced energy as that boat conversation. Starring Renée Rapp, Angelina Kendall, and Adwoa Aboah, it is playful and warm, nostalgic without being sentimental. The tagline, &Stella, folds into variations across the imagery: &Here &Now &Me &You, a quiet statement about connection and collective responsibility dressed in very good clothes.

The collection launches May 7th at The Avenues Mall Phase 3 in Kuwait and online. Follow @stellamccartney and @hm on Instagram for more information.

The post STELLA MCCARTNEY FOR H&M: THE SEQUEL WORTH WAITING FOR appeared first on bazaar.town.

It is exactly that quality that runs through the BOSS BY BECKHAM Spring/Summer 2026 collection. Designed in close collaboration with Beckham in his role as Creative Style Director, the new wardrobe does not chase the season’s noise. It moves at its own pace, guided by a sensibility that has always prioritized longevity over novelty. Premium summer fabrics meet clean lines and a palette that travels from soft, grounded neutrals into punctuating brights. The silhouettes are elegant without being precious. The pieces are built, as Beckham’s own style has always been, to last.

Marco Falcioni, Creative Director at HUGO BOSS, has described the partnership as one shaped by Beckham’s instinct for what he calls “real versatility,” an understanding of how clothes actually function in a life that moves between boardrooms and weekends, formal occasions and quiet afternoons. That understanding is visible throughout the collection, in the way each piece is designed to do more than one thing well.

The tailoring arrives this season in two distinct registers. The first is precise and occasion-ready: an off-white double-breasted suit in a light, breathable linen blend, cut slim and paired with a crisp cotton shirt, a blue linen-knit silk-blend tie, and a micro-patterned pocket square. Brown leather Oxford shoes close the look. It is formal dressing that does not announce itself as an effort, which is the only kind worth having.

The second tailored look is a little more lived-in, but no less considered. A double-breasted charcoal-gray blazer in a wool, silk, linen, and cashmere blend sits over a breathable navy linen T-shirt and pleat-front brown cotton trousers with a relaxed waistband. Leather-and-suede trainers pull the look back just enough. The message is clear: structure and ease are not opposing forces. In the right hands, they are the same thing.

Beckham’s personal approach to layering is perhaps most legible in one of the collection’s quieter combinations: a pale-beige cotton-blend cardigan over a lyocell-silk-cotton-blend shirt, worn with brown virgin-wool trousers and white leather-and-suede low-top sneakers. It is an outfit that requires no explanation and no occasion. It simply works, in the way that the best things in a wardrobe always do.

Jackets are a recurring strength. The leather jacket, a signature of the BOSS BY BECKHAM partnership across previous seasons, returns in butter-soft brown nappa leather with a refined stand collar, worn over a short-sleeved cream virgin-wool knit and brown stretch-cotton trousers. A caramel-brown virgin-wool twill jacket makes a quieter case: minimal in silhouette, pointed in collar, with a two-way zip that keeps the styling options open. Both pieces have the feeling of wardrobe anchors, the kind of items that make everything around them easier.

The collection’s most directional moment comes in the form of a deep turquoise cotton jacket, Beckham’s interpretation of modern workwear, trimmed with a contrasting brown cord collar and styled with brown corduroy trousers whose oversized pockets carry a utilitarian edge. A color-blocked French terry sweatshirt and brown leather sneakers complete the picture, with a cotton canvas and suede holdall making the whole look ready to travel. Of everything in the collection, it is the piece that leans hardest into personality, and it is all the better for it.

What the Spring/Summer 2026 collection ultimately offers is a portrait of style as Beckham has always practiced it: not as costume or performance, but as a form of self-knowledge. Knowing what you like, knowing what fits, knowing which pieces will still feel right three seasons from now. The collection is built around that kind of certainty, and it shows in every fabric choice, every silhouette, every detail that was included because it earned its place and not simply because it was new.

For a man who has been watched this closely for this long, the most interesting thing is how consistent the vision has remained. That consistency is the collection’s greatest asset, and its most Beckham quality of all.

BOSS BY BECKHAM Spring/Summer 2026 is available now on boss.com, at BOSS stores globally, and via selected BOSS wholesalers.

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HOW IT’S WORN
The collection comes alive by styling slouchy volume with light layering, grounded by natural textures. Eclectic, effortless, spontaneous, and full of optimism.
SILHOUETTE
The silhouette moves between structure and softness. Track pants, handkerchief dresses, and relaxed blouses introduce fluidity, while capri pants, overshirts, relaxed trenches, and parkas add a utilitarian edge. The friction between masculine and feminine runs through the looks.
COLOR PALETTE
A mix of soft pastel hues with acid tones, Crisp whites laying the foundation. The electric pull of chartreuse, and vivid cobalt are off-set by
a combination of neutrals consisting of ecru, khaki and blush pink.
FABRICS
Thoughtfully chosen, transitional fabrics define the look. Silk pieces bring softness, while supple leather, linen, and crisp cotton, provide structure and ease. Designed to layer, the fabrics balance lightness with substance, shaping a wardrobe that moves effortlessly through the pre-summer season. ACCESSORIES
Choose between generous totes in light beige or dark olive leather or smaller shoulder bags in brown, cream or mint. Sculptural jewellery adds impact, alongside sleek hoops and silver
rings. Pure silk scarves complete the look as versatile styling pieces.

The collection will be available globally in selected stores and at stories.com on Thursday 2 April 2026

The post & OTHER STORIES SPRING 26 appeared first on bazaar.town.

What defines marathon season now is not the finish line. It is everything that leads up to it. The early alarms, the quiet streets, the long runs that slowly build endurance and discipline. It is also the sense of community that has emerged around it. Running clubs are no longer exclusive or intimidating. They are accessible, welcoming, and increasingly woven into urban culture, offering structure, accountability, and connection.

This growing appeal is not accidental. Running meets people where they are. It requires no complicated learning curve, no expensive membership, and no rigid schedule. You can start with a single lap around your block and build from there. In a world that often feels overwhelming, that simplicity matters.

Health plays a central role in this shift. Running is one of the most efficient ways to improve cardiovascular fitness, strengthen muscles, and support mental wellbeing. Studies consistently link regular running with reduced stress levels, improved mood, and better sleep. The rhythm of movement, the steady breath, and the repetitive motion create a meditative effect that many runners come to rely on. It is not just about physical transformation. It is about mental clarity.

There is also a deeper cultural layer at play. As conversations around wellness evolve, people are moving away from extreme, unsustainable routines and toward habits that feel integrated and realistic. Running fits neatly into that framework. It can be solitary or social, intense or gentle, competitive or purely personal. It adapts.

The surge in popularity is also tied to visibility. Social media has played a role in reshaping the image of the runner. No longer defined by elite athletes alone, the running community now includes beginners, parents, creatives, and professionals who document their journeys in an honest, unfiltered way. The narrative has shifted from performance to participation. Showing up matters more than pace.

At the same time, brands are responding to this evolution with a sharper focus on accessibility and design. H&M MOVE’s latest running collection reflects this mindset. Created for both men and women, it is built around the realities of marathon training rather than the spectacle of race day. The emphasis is clear: performance, endurance, and comfort without compromising on style.

“Raising the standard of accessible performance wear starts with precision in the design process. From fabric weight and performance to pocket and seam placement, every detail is considered to ensure pure comfort over long distances. These details were the starting point for our Spring 2026 running collection, supporting runners across different routes and moments,” says Marie Fredros, Head of Design at H&M MOVE.

Every detail in the collection speaks to the lived experience of running. Lightweight materials reduce drag and fatigue over long distances. Breathable fabrics, such as the brand’s DryMove technology, help regulate temperature and manage sweat, which becomes critical during extended runs. Premium trims, reflective prints, perforated details, internal pockets, and thoughtfully designed accessories are not decorative choices. They are functional decisions that support runners across varying conditions and times of day.

Even the color palette reflects a shift in how performance wear is perceived. A base of black, white, and light grey anchors the collection, while softer tones like blush pink, amazonite blue, and butter yellow introduce a sense of calm and individuality. The silhouettes remain minimal, but they are engineered to move with the body. From wide and fitted shorts to lightweight tanks, supportive bras, technical vests, caps, sunglasses, and tops with removable sleeves, the pieces are designed to adapt, just like the runners who wear them.

This is where the conversation around gear becomes important. Running may have a low barrier to entry, but the right equipment can significantly shape the experience. Ill-fitting clothes can cause discomfort, chafing, or distraction, all of which become magnified over longer distances. Breathability, weight, and construction matter more than aesthetics alone. When gear works with you rather than against you, it allows you to focus on the run itself.

That does not mean running needs to become expensive or exclusive. The appeal lies in balance. Accessible performance wear bridges the gap between functionality and affordability, making it easier for more people to commit to the habit. It removes friction.

The current running boom is not just about fitness trends. It reflects a broader desire for grounding. In a fast-moving, digitally saturated world, running offers something physical, immediate, and real. It creates a sense of progress that is tangible. One kilometer becomes two. A short jog becomes a long run. Over time, those small increments build into something much larger.

Marathon culture captures that journey in its most visible form, but the real transformation happens long before the starting line. It happens in the repetition, in the consistency, in the decision to show up again and again.

Running, at its core, is simple. One foot in front of the other. But within that simplicity lies its power. It is accessible, adaptable, and deeply personal. And right now, more people than ever are choosing to make it part of their everyday lives.

The H&M MOVE running collection will be available from Thursday 26 March in selected H&M stores and online in KWT, UAE, KSA, QTR and EGY.

The post GET SET, READY, RUN appeared first on bazaar.town.

That contrast sits at the heart of Oduwole’s story. At just 23, the Los Angeles California native, born to parents from England [mother] and Scotland [father], has built a life that bridges worlds rarely held together: diplomacy and design, activism and artistry, education advocacy and couture. Her newest chapter, OXUDE, a luxury maison debuting a capsule collection of ultra-bespoke, hand-woven trousers, is not a departure from her life’s work. It is a continuation of it, rendered in fabric.

Oduwole’s sense of mission was shaped long before fashion entered the conversation. At nine years old, she watched a documentary about a 12-year-old girl being forced into marriage. “It was a different kind of cry,” she recalls. “Not the ‘I lost my doll’ kind, but one that was terrifying.”

That moment stayed with her. Soon after, a school film project took her to Ghana, where she saw girls selling goods on the streets of Accra instead of attending school. The connection became clear. When girls are educated, child marriage becomes harder to enforce. When education disappears, vulnerability grows.

Since then, Oduwole’s life has unfolded at an extraordinary pace. She has taught filmmaking to girls across Central America, Africa and beyond, mediated in peace discussions, spoken to tens of thousands of young people in more than 20 countries, and contributed to policy-level change that has helped end child marriage for over a million girls.

“It is intense work,” she says candidly. “Leadership demands a lot. Sometimes we pick our fights, and other times our fights pick us.”

The idea for OXUDE did not emerge from trend forecasting or a desire to enter the luxury market. It came from necessity. Funding advocacy work required constant fundraising, and Oduwole wanted an alternative that was both sustainable and aligned with her values.

“I realized there had to be many ways to educate girls and keep them out of early marriage,” she explains. “Education is bigger than school. Some girls leave school because they struggle academically, or because of pregnancy. I created what I call alternative education to keep them engaged.”

Fashion became the answer after years of research and planning. Not fast fashion, and not accessible luxury, but something deliberately rare, high-end, and uncompromising. “I needed something special,” she says. “Something that could fund our work without seeming to beg for money through constant fundraising.”
OXUDE was born in 2025 after nearly two years of conceptual development.

OXUDE’s debut collection consists of just ten designs and colors of hand-woven trousers, each retailing at just $3,950 for a one-of-a-kind handmade creation and always depends on fabric yarn availability. No two are alike, and none can ever be replicated. The fabrics are woven using 18th-century techniques, with yarns sourced across African continent, from the Berbers in Mauritania to Ashantis in Ghana and down to Southern Africa and everywhere in between.

“These pants are storyboards,” Oduwole says. “Each piece reflects my journey over the last 12 years.”
Having visited more than 23 countries for her advocacy work, she noticed two defining elements in every place she encountered. The national flag, and the local fabric traditions. Both are woven, quite literally, into the DNA of OXUDE.

“When you walk wearing them, the flow tells the stories of many nations and cultures intertwined,” she says. “With mission and purpose.”

The experience is meant to be emotional as much as aesthetic. She wants the wearer to feel good about choosing something different. To recognize what she calls “the color of their kindness” and “the beauty of their heart” in identifying with a piece tied to a greater cause.
“And yes,” she adds with a smile, “it does not hurt that you alone have that exact pair.”

In an industry built on replication, Oduwole’s insistence on non-repeatability is radical. But for her, rarity is the essence of luxury.

“Luxury is not money,” she says. “It is the freedom to be your individual self, within a moral compass, and to enjoy peace. That looks different for everyone.”

She recalls the universal childhood experience of showing up somewhere wearing the same outfit as someone else, and the quiet disappointment that follows. “Suddenly, it is not so special,” she says. “Why should that feeling carry into adulthood?”

OXUDE pieces are hand-made, patch by patch, with fabrics that may no longer exist by the time the next piece is created. A blue thread may be replaced by another blue entirely. A new country may emerge, like South Sudan, introducing a new flag pattern. Each pair is numbered and tagged, like limited-edition art.

“You can walk into a luxury store and see $3,000 trousers that are identical down to the last stitch,” she says. “They are made by machines. That is not our philosophy.”

For Oduwole, heritage is not nostalgia. It is living history. “You cannot mass-produce culture,” she says. “It must be handmade. It is storytelling transferred from one generation to another.”

She points to civilizations like ancient Egypt, where dress codes evolved over millennia yet carried consistent cultural meaning. Africa’s 54 countries, each with distinct textile traditions, offered her an endless tapestry of inspiration.

OXUDE’s weaving methods are also a sustainability practice. By supporting traditional craftsmanship, the brand helps keep communities employed and skills alive, while resisting overproduction.

The Middle East and GCC are where OXUDE begins its public journey, and the choice is deeply personal. Oduwole has spent years in the region speaking at leadership and development forums, including engagements in Saudi Arabia and Qatar.

“What resonates with me is the values,” she says. “The warmth of the people, the respect for elders, the modesty of the culture alongside great beauty and opulence.”

She also notes the region’s appreciation for fine accoutrements in everyday life, and its understanding of luxury as something considered, not loud.
“It felt poetic,” she says simply. “The right place to start.”

OXUDE is not Oduwole’s first venture into luxury. The maison quietly launched a fragrance line in late 2025. But the trousers represent something deeper. A culmination.

Looking ahead, she envisions OXUDE as both a fashion house and a legacy of purpose-driven artistry. “Creativity has always been behind solutions to many of our problems,” she says. “There is good in all of us.”

Each OXUDE piece funds girls’ education advocacy, transforming ownership into participation. It is luxury with consequence.

For Oduwole, the journey is far from over. She is currently completing her doctoral degree studies, yes at 23, while continuing her global advocacy work and meeting with or advising world leaders, now 36 presidents and prime ministers. But OXUDE marks a turning point, where everything she has learned converges into something tangible.

“This is a lane I am enjoying,” she says. “And there is room on the bus for all of us.”
In OXUDE, fashion does not merely clothe the body. It carries history, purpose, and possibility. True poetry in motion.

For more information visit oxude.com/bespokeclothing.

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“It’s been quite the journey since we last spoke,” Ezzo reflects. “I’ve definitely experienced lots of learnings since then.”
One of the most defining changes is a new partnership at the core of the brand. Layan has joined forces with her brother, Azmi Ezzo, whose background in entrepreneurship, PR, and marketing has helped reimagine the business from the inside out. Together, they have reshaped Layan Jewelry with clarity and structure, without losing its soul.
“We rebranded with a reimagined vision,” she explains. “I stepped out of my comfort zone, what I call my core signature and my home, which was customizing pieces, into curating my own designs through capsule collections that are still true to the brand’s dainty, everyday identity.”

Today, Layan Jewelry stands on Three pillars: The signature collection, capsule collections, and collaborations. Bespoke remains central, but it is now part of a broader, more intentional ecosystem. “That foundation in bespoke work is still a core part of Layan Jewelry today,” she says. “We continue to offer customized jewelry backed by years of hands-on experience.”
Opening her first physical store was never going to be just about retail. For Ezzo, location carried emotional weight.
“Mubarakiya is the hub of serious jewelry buyers,” she says simply. “But it’s also where our family business came to life. My father, Wasim Ezzo, started his business there back in the 80s, so it was really fitting.”

That sense of heritage runs quietly through the store, much like her jewelry. Mubarakiya’s layered history, craftsmanship, and raw authenticity mirror the values that have always guided her work.
“There is a certain honesty in simplicity and a quiet power in returning to our roots,” she says. “That philosophy continues to guide my design approach.”
Her long-standing Signature Collection, first introduced in 2012, still sits at the heart of the brand. The ability to personalize each piece allows jewelry to move beyond adornment. “It allows jewelry to become more than an object,” she explains, “but a meaningful expression tied to the wearer’s story.”
After more than a decade online, the move into a physical space has been transformative.
“There’s something different about seeing, touching, and trying on the piece that the online world doesn’t offer,” Ezzo says. “Especially with jewelry. The client is making an investment and they want to see their money’s worth before making that final decision.”
The store is intimate by design. Every detail reflects a quiet luxury philosophy, with earthy neutral tones and materials drawn from the brand’s palette. “Minimalism has always been central to my work,” she says. “It was important to translate that into the space without it feeling cold.”
Designing the boutique was also a lesson in partnership. “My brother complements me perfectly,” she shares. “He has an eye for detail and design, while I’m practical and functional. Together, we balance each other.”

Having a storefront has shifted how Ezzo designs and how she defines success. Seeing clients interact with pieces in real life has sharpened her instincts and challenged her assumptions.
“Having a store changed the game for me,” she admits. “It helped me become more bold and not be afraid to experiment with different shapes and styles.”
Her father and brother keep her grounded. “They always remind me that having a store means designing with a customer lens, not just what I would wear,” she says. “That has helped me evolve in how I do business.”
For Ezzo, selling jewelry is not transactional. It is relational. “What makes the sale is partly the product, but mostly how you connect with the client,” she says. “When the client feels understood, that’s what matters.”
Her true marker of success is loyalty. “Returning customers confirm that we met their needs the first time around,” she says. “That integrity and credibility are everything.”
While symbols and scripts still influence her work, Ezzo’s relationship with gemstones has deepened. Pearls, in particular, have taken on new meaning.
“They are so tied to Kuwait and its history of pearl diving,” she explains. “But they also represent wisdom, patience, maturity, and quiet strength. These qualities feel deeply feminine to me, and I always find my way back to them.”

If she had to define this new chapter in one piece, it would be from her capsule collection Sisters. The design features graceful layers of fine gold chains. Each piece beautiful on its own, yet even more powerful together. “It feels symbolic of our journey today.” building Layan Jewelry alongside her father and brother.”
And the tiny diamond bezel necklace she wore nonstop back in 2018? It is still very much part of her story. “I get attached to things,” she laughs. “I haven’t stopped wearing it since we last spoke.” These days, however, earrings are competing for attention, especially diamond pieces with ear jackets that can be worn multiple ways.
Perhaps the most emotional moment since opening the store has been the reactions of longtime clients. “Seeing their faces when they walk in for the first time is very touching,” Ezzo says. “One client told me it felt like a full-circle moment for her, after following the brand online for so long.”
In many ways, that sentiment captures this chapter perfectly. Layan Jewelry has grown, expanded, and structured itself for longevity, but its heart remains unchanged. It is still about meaning, restraint, and listening closely. In a world of louder statements, Ezzo continues to prove that less, when done with intention, is still more.

See Layan’s gorgeous designs for yourself @layanjewelry on Instagram and the website layan-jewelry.com.

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Her relationship with fashion began long before she stepped into a classroom. At ten, she convinced her father to buy her a sewing machine. She remembers sneaking fabric from her mother’s drawers, tracing the outline of her pants, sewing them together, and only afterward realizing she had stitched them inside out. The experiment did not go as planned, but it sparked a fascination that never faded. “Fashion has always been the art of expressing yourself without having to say a word,” she says.

Razan’s studies have taken her from Kuwait to Miami and then to Michigan, each place offering a different kind of growth. Miami exposed her to vibrant cultures and the energy of fashion studios. Studying in Kuwait grounded her sense of identity. Completing her degree online from Michigan required independence and focus. “Every environment pushed me in different ways, spiritually, creatively, and personally,” she says. “I learned to adapt, to see the world through new lenses, and that growth shows in my work.”

She is most energized by visual merchandising, especially the storytelling that sits at its core. She enjoys studying a brand from the inside out and understanding how it communicates emotionally. “An impactful display is one that stops you mid-step,” she says. “It is not just decoration. It is strategy, emotion, and experience woven together.” The displays she admires are the ones that speak without saying a word.

One of her standout academic moments was a CAD project in which she built an entire store concept from scratch. It required her to consider floors, fixtures, palettes, narratives, and merchandise placement as one cohesive system. “It challenged me, but it also showed me what I am capable of,” she says.

Razan comes from both Kuwaiti and British backgrounds, and the influence of that dual heritage appears naturally in her work. She is drawn to the richness, warmth, and ornamentation often found in Middle Eastern aesthetics, but she is equally inspired by British minimalism and structure. “My identity taught me to see beauty in differences,” she says. “I tend to design with both sides in mind: softness and edge, modernity and tradition.”

Trend forecasting has also become one of her strengths. She has always had an eye for early signals and emerging ideas, and studying consumer behavior has sharpened that instinct. She watches everything around her: street style, cultural movements, shifts in mood, and the micro trends that surface on social media. “Trends do not come from one place. They come from conversations, from culture, from what people are feeling,” she says.

Razan is clear-eyed about the realities of the fashion world. The industry moves quickly and demands constant awareness and adaptability. Instead of feeling overwhelmed, she uses that pace as motivation. “It keeps me focused and observant. I have learned to anticipate what might resonate with people and what might shift next,” she says.

Her interests span multiple areas including pattern making, buying, retail management, styling, and writing. Visual display may be where she feels most aligned, but she is also exploring fashion journalism. She recently started her own project called NAQSH Magazine, which allows her to communicate fashion from a different angle. “I love every part of this field. I truly have the passion to explore all of it,” she says.

Paris remains her greatest source of inspiration. “It is where fashion evolves endlessly. Romance and luxury live side by side, and runways feel like art,” she says.

When Razan begins a new project, she always starts with the brand itself. She studies the emotions it evokes, what it stands for, and how it communicates visually. From there she builds a mood, explores color direction, creates narratives, and lets the concept unfold through research and intuition.

As she continues developing her portfolio, she hopes her work reflects the core of who she is: a designer who values bold storytelling, emotional retail spaces, strong narratives, and a thoughtful mix of her cultural influences. She wants her creative identity to feel honest, curious, and future focused.
Razan’s journey of growth into the fashion world with intention, depth, and a perspective that feels entirely her own, is one that we’re excited to watch.

Follow Razan’s journey on Instagram @naqshmagazine.

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“Trend” was introduced to an excited audience as Cotton visited Qatar for the first time, hosted by the full CZAR team including the CEO, Vice-CEO, CTO and Business Development Manager, and Art Director. From the very first day of the expo, the fragrance became one of the standout highlights, captivating visitors with its modern structure, elegant balance, and expressive olfactive identity.

For Cotton, the launch trip was not just a professional appearance, it was a cultural and sensory immersion. He explored key destinations such as Msheireb – The Heart of Doha, Souq Waqif, and other iconic landmarks, gaining firsthand insight into the fragrance preferences of the region. This journey enriched his understanding of Middle Eastern olfactory signatures and strengthened his creative foundation for future compositions.

Notably, this collaboration marks the first official partnership of Antoine Cotton’s career, making “Trend” a milestone moment for both the perfumer and CZAR Fragrances. For CZAR, championing a rising talent reflects the brand’s dedication to innovation, artistic growth, and its expanding presence in the Middle Eastern luxury fragrance domain.

Meet the Perfumer: Antoine Cotton

Born in the historic perfume capital of Grasse, Antoine Cotton grew up surrounded by the heritage and craftsmanship of French perfumery. His passion for scent led him to pursue formal training at the École Supérieure du Parfum in Paris, where he developed both technical mastery and artistic sensitivity. With extensive hands-on training and deep curiosity for raw materials, he later joined Argeville, where he quickly emerged as a modern creative voice in contemporary perfumery.
Today, Cotton represents a new wave of perfumers, grounded in traditional expertise yet driven by modern innovation. His collaboration with CZAR on “Trend” perfectly embodies that balance.

The Creative Journey Behind “Trend”
Exclusive Insights from Perfumer Antoine Cotton

• How would you describe the creative journey of developing this fragrance?
  “The creative journey of developing ‘Trend’ was to work on a concise, high-impact formula where every ingredient reveals its unique character with great authenticity. Not like a passing fad, but something trendy with strong impact and a universal spirit.”
• What inspired the olfactive structure of “Trend”?
  “Conceived as an olfactory aura, this creation pays tribute to the noble iris.
  The composition opens with mandarin, lemon, rhubarb, elemi, and aldehydes. Its heart blends apple, pear, pineapple, and aromatics like rosemary, thyme, and mint. The base weaves patchouli, cedarwood, incense, vanilla, and tonka bean, warm, modern, and deeply sensual.”
• What sets “Trend” apart in the designer-collection category?
  “‘Trend’ completes the collection with a fresh, bold vibe, modern, authentic, and perfectly aligned with today’s lifestyle.”
• Which notes resonate with you personally?
  “Citrus, aromatic herbs, and orange blossom, ingredients tied to my Southern French heritage. Iris and incense also bring a depth I love working with.”
• How do you balance creativity with commercial appeal?
  “It’s the balance between artistry and market understanding, evoking emotions while staying connected to what people gravitate toward. Innovation must stand out, yet feel familiar.”
• What emotions do you hope wearers feel?
  “A sense of surprise, a distinctive aura with a trendy sillage that leaves a warm, memorable trail on skin or clothes.”
• What was the biggest challenge in creating this scent?
  “Blending a familiar structure with novelty, achieved through the contrast of warm, sensual amber and cool aromatic freshness.”
  

Special Thanks
The success of “Trend” is not only the result of artistic vision, but also the dedication of the people behind the scenes. CZAR Fragrances extends a heartfelt thank you to Argeville and the entire team who worked tirelessly over the past months to bring this project to life. Their collaboration, precision, and passion played an essential role in every stage of creation, even though much of their work remains unseen by the public.
This partnership reflects a spirit of true craftsmanship, trust, and shared commitment to excellence.

A Milestone for Both Creator and Brand
The launch of “Trend” in November 2025 stands as a significant moment for CZAR Fragrances, demonstrating the brand’s commitment to creative innovation and global collaboration. For Antoine Cotton, the warm reception in Qatar, both for himself and for the fragrance, marks the beginning of a promising ascent in the world of modern perfumery.
As “Trend” reaches fragrance lovers online, in-store, and across CZAR’s boutiques, it carries with it a story of cultural connection, artistic exploration, and the bright future of a rising star whose journey is only just beginning.

Special Offer for Bazaar Readers:
Since you’ve reached the end of this article and are inspired to explore CZAR Fragrances for yourself, we’re pleased to offer you an exclusive discount code. Use bzr at checkout on the CZAR website or mobile app to receive a special discount as a token of appreciation from CZAR and Bazaar Magazine.

The post TREND BY CZAR: A NEW OLFACTORY CHAPTER LAUNCHES IN DOHA appeared first on bazaar.town.

In the days leading up to the celebration, a series of cinematic teaser videos set the tone. Starring Mahmoud Yassin Jr. and Reem Amer, the short scenes created a quiet sense of intrigue, blending nostalgia with a soft ode to Amsterdam and a romance hinted but never fully told. It was a preview of the atmosphere that awaited at the dinner.

The evening itself unfolded as a transportive experience. Tulip-filled centerpieces, soft blue tones inspired by Dutch delft ceramics, and a curated rain installation brought the essence of Amsterdam to life. Within the garden of Villa Belle Epoque, the familiar Cairo setting shifted into something dreamlike. The mood was serene, poetic, and deeply textured, inviting laughter, conversation, and connection to flow naturally among the guests.

More than a tribute to a place, the night celebrated the feeling of Amsterdam: its quiet beauty, its weathered charm, and the sense of movement that defines the city. It echoed Scotch & Soda’s philosophy of finding poetry in everyday moments and expressing personal identity with ease and authenticity.

The Amsterdam-born brand, available in Cairo Festival City Mall and Mall of Egypt, continues to draw from its hometown’s rich history, diverse culture, and unmistakable creative energy. This season’s collection plays with that heritage through bold details, layered textures, and a balance of classic and contemporary design.

Endlessly optimistic and inspired by the free spirit of Amsterdam, Scotch & Soda champions individuality and the power of self-expression. The brand is built on unexpected combinations and conversation-starting pieces, encouraging customers to make each look their own. With upbeat designs, practical tailoring, and bespoke finishing touches, Scotch & Soda aims to bring joy, spark creativity, and celebrate the global community it continues to inspire.

Visit scotchandsoda.com to learn more.

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