Egyptian label Toroz incorporates local embroidery techniques into its contemporary clothing

Toroz was founded in 2019 by Egyptian designer Lobna Zogheib. (Supplied)
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Updated 30 October 2020
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Egyptian label Toroz incorporates local embroidery techniques into its contemporary clothing

CAIRO: “Your heritage speaks volumes about who you are. Wear it with pride.”

That’s the tagline for up-and-coming Egyptian fashion label Toroz, which aims to revive local embroidery traditions and revamp them for modern, contemporary wear.

Founded in 2019 by Egyptian designer Lobna Zogheib, Toroz works with female artisans in Sohag in the Upper Egypt area and in the Siwa oasis in Egypt’s Western Desert to create high-quality locally embroidered garments, becoming, according to its Instagram page “a gateway between cultural iconic craftsmanship and modern-day fashion style.”

“I’ve always had a passion for handcrafted work, especially traditional Egyptian embroidery,” Zogheib tells Arab News. “Our embroidery techniques are incredible, but I always felt that the designs were a bit outdated and in need of a revamp. This is how the idea of setting up Toroz came about.”

Zogheib works with two forms of embroidery. The first is Tally, an Upper-Egypt embroidery tradition dating back to the 19th century, in which metal threads — either silver or gold — are sewn into tulle or other fabrics.

She also works with Siwan embroiderers, creating designs inspired by Siwa’s traditional wedding dresses.

 
 
 
 
 
 
 
 
 
 
 
 
 

Carry your heritage with pride and look fine while you’re at it

A post shared by Toroz (@toroz.eg) on

Zogheib came up with the concept for Toroz during her senior year as a graphic design student. For her graduation project, she traced the history of different traditional costumes of Egypt. As part of her research, Zogheib spoke to local artisans and was surprised to find that they weren’t selling many of these costumes.

“I also found out that Siwan women were no longer wearing their own traditional dresses due to their high prices. Unless they inherit these costumes from their own mothers or grandmothers, none of these women buy them anymore,” she says.

Zogheib also looked into the multiple meanings of the motifs and symbols typical of Tally garments and Siwan embroidery pattern designs, which include plant motifs, particularly palm groves.

 
 
 
 
 
 
 
 
 
 
 
 
 

Inspired by the natural beauty of Siwa

A post shared by Toroz (@toroz.eg) on

“Siwan women typically incorporate the colors of dates in their different stages of ripening into their designs — ranging from the green and yellow to the red, dark red, and, finally, black,” she explains.

As part of her project, Zogheib designed pieces inspired by the traditional clothing of both Sohag and Siwa. One of her earliest designs was of a basic black jacket with oversized sleeves, the latter being typical of a traditional Siwan bridal dress, which is comprised of rectangular pieces of fabric sewn together.

After graduating, Zogheib decided to take her interest in reviving these local traditions a step further by setting up Toroz.

 
 
 
 
 
 
 
 
 
 
 
 
 

A little story of Egyptian heritage made into a modern Talli piece.

A post shared by Toroz (@toroz.eg) on

“We may have many local Egyptian brands, but not so many Egyptian-inspired local brands, so I wanted to start a brand that belonged to the latter group,” Zogheib says. “I started going to more local exhibitions where I met many of these local artisans and commissioned some of them to create high-quality embroidered pieces.”

Zogheib sends her designs to artisans in Siwa and Sohag who embroider them on cloth. She then integrates these embellished pieces into her garments.

To date, Zogheib has released a variety of casual and formal garments ranging from skirts and blazer dresses to trousers, jackets and cardigans. Most of the items are in either black or white, although she says she would be open to “experimenting with more colors later on.”

 
 
 
 
 
 
 
 
 
 
 
 
 

This is a shoutout to the women of Suhag who bring our designs to life

A post shared by Toroz (@toroz.eg) on

The resulting designs are timeless, elegant and minimal. “I guess what makes Toroz stand out is how the motifs are implemented in design — and how the patterns come together — in minimal, clean finishing,” Zogheib says.

Each piece is made by order, and usually takes around three weeks to finish. The intricate embroidery can mean that they tend to be on the expensive side.

“I don’t expect everyone to appreciate the designs or understand their value. Some believe that our work is overpriced and do not realize its handmade quality,” Zogheib says. “But those who are familiar with our traditional embroidery and the effort that goes into it certainly understand the high price tag.”

 
 
 
 
 
 
 
 
 
 
 
 
 

For the love of white

A post shared by Toroz (@toroz.eg) on

The design quality isn’t the only reason for the cost, she points out. Higher prices also ensure sustainable livelihoods for the local female artisans working with Toroz, something that is central to the brand’s business model.

“I want our female artisans to generate their own income. It’s hard for these women to join me as full timers, as they have families to look after. So, they’re usually commissioned by piece,” Zogheib says.

Right now, Zogheib is busy preparing for a new winter collection. The young designer is as determined as ever to continue celebrating Egypt’s cultural heritage, and empowering female artisans in the process.


India’s butter chicken battle heats up with new court evidence

Updated 11 sec ago
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India’s butter chicken battle heats up with new court evidence

  • Two Indian restaurant chains have been sparring since Jan. at Delhi High Court, both claiming credit for inventing the dish
  • The lawsuit that has grabbed the attention of social media users, food critics, editorials and TV channels across the globe

NEW DELHI: With new photographic and video evidence, an Indian court battle over the origins of the world famous butter chicken is set to get spicier.
Two Indian restaurant chains have been sparring since January at the Delhi High Court, both claiming credit for inventing the dish in a lawsuit that has grabbed the attention of social media users, food critics, editorials and TV channels across the globe.
The popular Moti Mahal restaurant chain said it had the sole right to be recognized as the inventor of the curry and demanded its rival, the Daryaganj chain, to stop claiming credit and pay $240,000 in damages. Moti Mahal said founder Kundan Lal Gujral created the cream-loaded dish in the 1930s at an eatery in Peshawar, now in Pakistan, before relocating to Delhi.
That “story of invention of butter chicken does not ring true” and is aimed at misleading the court, Daryaganj said in a new, 642-page counter-filing reviewed by Reuters.
Daryaganj says a late member of its founding family, Kundan Lal Jaggi, created the disputed dish when he helmed the kitchen at the relocated Delhi eatery, where Gujral, his friend-cum-partner from Peshawar only handled marketing.
Both men are dead, Gujral in 1997 and Jaggi in 2018.
Evidence in the non-public filing includes a black-and-white photograph from 1930s showing the two friends in Peshawar; a 1949 partnership agreement; Jaggi’s business card after relocating to Delhi and his 2017 video talking about the dish’s origin.
By virtue of the friends’ partnership, “both parties can claim that their respective ancestors created the dishes,” Daryaganj says in the filing, calling the dispute a “business rivalry.”
Moti Mahal declined to comment. The judge will next hear the case on May 29.
A key point of contention, which the court will have to rule on, is where, when and by whom the dish was first made — by Gujral in Peshawar, Jaggi in New Delhi, or if both should be credited.
Butter chicken is ranked 43rd in a list of world’s “best dishes” by TasteAtlas, and bragging rights about who invented it can matter, brand experts said.
“Being an inventor has a huge advantage globally and in terms of consumer appeal. You are also entitled to charge more,” said Dilip Cherian, an image guru and co-founder of Indian PR firm Perfect Relations.
Moti Mahal operates a franchisee model with over 100 outlets globally. Its butter chicken dishes start at $8 in New Delhi, and are priced at $23 in New York.
Late US President Richard Nixon and India’s first Prime Minister Jawaharlal Nehru are among the famous clients to have visited its primary outlet in Delhi.
Daryaganj started in 2019 and its butter chicken costs $7.50. It has 10 outlets, mostly in New Delhi, with plans to expand to other Indian cities and Bangkok.
In its 2,752-page Indian lawsuit, Moti Mahal had also accused Daryaganj of copying “the look and feel” of the interiors of its outlets.
Daryaganj has retorted with photographs of restaurant interiors which the judge will review, claiming it is Moti Mahal that has copied its “design of floor tiles.”


Tima Abid’s ‘sea-spired’ collection opens first Red Sea Fashion Week

Updated 17 May 2024
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Tima Abid’s ‘sea-spired’ collection opens first Red Sea Fashion Week

  • Beadwork, satin used to mimic waves, gleaming glints on water
  • Designer lauds support of Culture Ministry, Fashion Commission

RIYADH: Saudi Arabia designer Tima Abid opened the first Red Sea Fashion Week on Thursday with bridal wear inspired, or perhaps sea-spired, by the effervescent colors and tides of the ocean.

Backdropped by the glistening and clear turquoise waters of the St. Regis Red Sea Resort on the developing Ummahat Al-Sheikh island, Abid showcased luxurious, elegant and intricately-designed evening wear.

Abid incorporated sheer chiffon, micro ruffles, and malleable fabrics to mimic an underwater experience. (Arab News)

The Jeddah-born haute couture designer told Arab News: “When I was told that I would inaugurate Red Sea (Fashion) Week at the St. Regis and by the sea, it was a beautiful idea but very challenging. I was inspired for this collection by the Red Sea and its shades of sand. I used pearls, fishnets, and elements derived from the sea like the waves. I really aimed for couture to align with the mood that we’re in.”

Abid incorporated sheer chiffon, micro ruffles, and malleable fabrics to mimic an underwater experience.

(Arab News)

Embroidered white gowns incorporating delicate beadwork and sequins on sumptuous fabrics such as elevated fishnet and satin were subtly nods to the softness of waves and prominence of fishing culture on the coast.

But the intricate and sharp designs also suggested the strength and sureness of crashing waves. As air does for sea, the silky silhouettes drifted in the wind, creating an ocean swell-like appearance. Speckled in jewels, the pieces resembled the gleaming glints on water.

Bejeweled gloves, capes, veils, and draping fringed neck pieces married traditional and contemporary bridal wear. (Arab News)

Cream and beige looks also made it out to the dock-turned-runway, featuring chic feathered accents and unconventional fabrics that mimicked the Kingdom’s coral reefs. Bejeweled gloves, capes, veils, and draping fringed neck pieces married traditional and contemporary bridal wear while also taking inspiration from the ocean’s sea creatures.

Cream and beige looks also made it out to the dock-turned-runway. (Arab News)

Several well-known guests, which included TV presenter Lojain Omran and actress Mila Al-Zahrani, were all front row for the latest collection from Abid — whose meticulous attention to detail has birthed creations that incorporate deep sentiment and luxurious elegance for nearly two decades.

“I can’t thank the Ministry of Culture and the Fashion Commission enough for this opportunity and this trust. This inauguration is truly historic for me,” Abid said.


Saudi pop star Mishaal Tamer feels ‘honored and grateful’ ahead of sold-out London gig

Updated 17 May 2024
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Saudi pop star Mishaal Tamer feels ‘honored and grateful’ ahead of sold-out London gig

  • Singer tells Arab News his fans in the city have a special place in his heart but he owes his success to people all over the world who have embraced his music
  • He says his debut album, “Home is Changing,” out in October, is a tribute to the changes and reforms that have swept through the Kingdom in recent years

LONDON: Saudi singer Mishaal Tamer said he feels honored to be performing his first headline show outside Saudi Arabia in London and is grateful to his fans there for their support.

Speaking to Arab News ahead of his sold-out gig on Friday at Camden Assembly, a live music venue and nightclub in Chalk Farm, Tamer said his fans in London will always have a special place in his heart.

“The people attending the show in London have been with me from before the starting line and I really appreciate that,” he said of the 220 people who will attend the event. “I will love those people forever and they will be in my heart forever.”

Tamer also thanked his fans in Saudi Arabia and elsewhere in the world, saying he owes his success as an independent artist to them.

“The kids that are back home and the ones abroad that have found me have been supporting me,” he said. “This would be impossible without them. I am grateful to the fans for listening to the music and sharing it.

He told how he was approached by two fans in a restaurant after arriving in the UK, which helped him realize how his profile was growing.

“One of them was Saudi, the other wasn’t,” Tamer said. “When I looked at that, it made me realize that not only was this bigger than I expected for me, as an artist, but that what we’re doing is bigger than me.”

His debut album, “Home is Changing,” is due for release in October and he said it is a tribute to the changes and reforms that swept through the Kingdom in recent years.

“There are so many opportunities that keep popping up, so many cool new things,” he added. “People have the freedom and creativity to make the world around them and the environment around them, to shape it into what they see in their heads.

“It feels almost like every other country is decaying whereas the Kingdom is growing and that feeling makes me proud.”

The evolution of Saudi Arabia “sets an example of always being hopeful for the future and having a positive attitude,” Tamer said. “And I think the optimism that we have right now in the Kingdom is a beautiful thing.”


Saudi filmmaker Abdulrahman Sandokji’s ‘Underground’ discusses the Kingdom’s music scene

Updated 17 May 2024
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Saudi filmmaker Abdulrahman Sandokji’s ‘Underground’ discusses the Kingdom’s music scene

  •  ‘Unfolding the unseen is my thing,’ says Abdulrahman Sandokji

DUBAI: “In film school, they tell you that your first film should be a documentary — train in a simpler form, then go to fiction,” says Saudi filmmaker Abdulrahman Sandokji. “So, naturally, I started with documentaries. But I got hooked.”

Over 15 years later, Sandokji still hasn’t moved on to fiction. Not that that’s an issue for him. His documentaries — produced by the company he founded, Basar Media — have proven immensely satisfying.

“A fiction film can take one or two years to shoot. I have no patience with waiting days and days to shoot one scene. I want things faster and more surprising,” he tells Arab News.

Sandokji (front, center) on set, shooting “Underground.” (Supplied)

“And (documentaries) are honest. You’re talking about real stories. Unfolding the unseen is my thing, you know? I want to go into these deep places and show them to people,” he continues. “It’s a way to understand people, to really see people. To pick a flower from lots of beautiful gardens and plant them in your own garden. It’s more of a journey of discovery for me, you know? That’s what I love about documentaries.”

Sandokji’s breakthrough came with his 2014 film “Phosphine,” which he describes as a “Michael-Moore style” investigative documentary. It explored how the titular chemical — a potentially deadly respiratory poison — had been used (out of ignorance rather than malice) in homes to kill cockroaches, rats and other pests. While the actual occupants had been told to leave their apartments for five or six days, their neighbors were not, and the odorless gas killed them.
Sandokji put his documentary up on YouTube. It got 5 million views in five days, he says, adding that, at the time, he and his colleagues were delighted if they got 100,000 views on any of their videos, because they “weren’t funny — they weren’t comedies.” But “Phosphine” ended up making a difference to society, as well as to Sandokji’s career.

On set for “Underground.” (Supplied)

“We were on TV shows and talk shows — we were overwhelmed. Lots of social movement happened and governmental sectors held very urgent meetings about this substance. The Ministry of Health set up a hotline about it,” he says. “That was when I thought, ‘OK. Maybe this is your thing. Being a voice for those who want their voices to be heard.’”

Unlike “Phosphine,” Sandokji’s latest doc, “Underground,” is not a “tragic story.” But, once again, it was a “journey of discovery” for him — one that delves into the Kingdom’s burgeoning alternative music scene.

The idea — as for many of his films — was not Sandokji’s own. “When I analyze myself, I’m more of a person who receives an idea and then gets to enlarge it,” he says. “When I generate an idea myself, people go, ‘Mmm. No.’” He laughs. “They’ll go, ‘How about this idea instead?’ I’m like the gas — just throw the spark on me and I’ll explode, you know?”

Sandokji’s “Underground” was a “journey of discovery” for him. (Supplied)

The “spark” for “Underground” came from a friend, Tamer Farhan. “He’s passionate about underground music. He knows all these artists,” Sandokji says. “And he opened the window to me and said ‘Come and have a look.’”

What Sandokji found was a wealth of talent and experience that has largely gone unnoticed in Saudi Arabia — understandably, given that until recently live music was largely outlawed in the Kingdom, and music that wasn’t commercial Khaleeji pop or classical Arabic fare was frowned upon.

“These people are good people,” says Sandokji. “Over the years people talked about the music underground as this place with drugs and all this prohibited stuff. But no. They are nice. They have feelings. They love their music and they’re passionate and they’re kind.”

That passion shines through in “Underground,” whether from veterans such as metal band Wasted Land’s frontman Emad Mujallid or relative newcomers such as DJ Cosmicat (Nouf Sufyani) and Salma Murad. All the artists involved are given the opportunity to discuss their craft and love for music in depth, and to play some of their music live.

Sandokji believes “Underground” has the potential to grab international attention. (Supplied)

“(The songs) are not recorded and synced,” Sandokji says. “I wanted to show the audience how talented they are.”

So far, that audience is whoever attended the premiere on the opening night of the Saudi Film Festival on May 2 — another landmark for Sandokji, he explains. “Usually they choose fiction films — good fiction films — for the opening. I was always watching them thinking ‘When am I going to make a movie that could be screened in the opening? I’m a documentary maker, nobody would give me that chance.’ But it happened.”

And he believes “Underground” has the potential to grab international attention. It’s already been submitted for consideration at several large festivals, but the main aim since he started shooting it in 2022, Sandokji happily admits, has been to get the film on Netflix. There are also discussions underway about turning it into a TV series.

“It’s something people will want to know more about, I think,” he says, before citing the words the movie concludes with, when Murad is discussing what music means to her: “It’s powerful. It’s beautiful.”

“When Salma said that, I had goosebumps,” Sandokji says. “I thought, ‘Yes! These are the words the movie has to end with.’ Music is powerful; it can make you very strong, it can make you very weak… it’s magical.”


El Seed launches Tunisian olive oil brand Tacapae with artworks for bottles 

Updated 17 May 2024
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El Seed launches Tunisian olive oil brand Tacapae with artworks for bottles 

DUBAI: French-Tunisian artist El Seed’s take on Arabic calligraphy (sometimes referred to as ‘calligraffiti’) has embellished favelas in Brazil, marginalized buildings in Cairo, and the Saudi desert. He is known for working with local communities to share messages of human connection, based on quotes from influential writers and philosophers.  

In a departure from his usual large-scale artworks, the artist recently launched his most intimate endeavor to date. The project is called “Tacapae” and consists of olive oil-filled bottles decorated with El Seed’s swirling calligraphy. The name of the brand is inspired by the ancient Greek name of the artist’s hometown, Gabes, in southern Tunisia, from where the olive oil is sourced.  

The most powerful aspect of the ceramic, handmade bottles is the quote El Seed used. (Supplied)

“I didn’t want to call it ‘El Seed Olive Oil’ because I don’t link the oil to myself,” El Seed tells Arab News at his Dubai studio in Alserkal Avenue. “I’m the founder, but the goal is to have a bottle designed by other artists every year. It’s a kind of partnership.”  

El Seed explains that his cousin informed him of a plot of land for sale in Gabes. “And it happened that the olive trees of this land were planted by my great-grandfather,” he says.  

El Seed purchased the land and its trees now provide the oil for Tacapae. A total of 31 bottles (a tribute to the land’s original 31 trees) were personally hand-finished by the artist himself.    

A total of 31 bottles (a tribute to the land’s original 31 trees) were personally hand-finished by the artist himself.  (Supplied)

The most powerful aspect of the ceramic, handmade bottles is the quote El Seed used. Translated into Arabic from a quote by 20th-century US novelist John Dos Passos, it reads: “You can snatch a man from his country but not the country from a man’s heart.”  

Those words have resonated with El Seed his whole life. “Nobody can take away from you all the memories that you carry for a particular place,” he says. “I grew up in France, I live in the US and Canada and I spend some time in the Middle East, but my main focus is in Tunisia. I carry it with me.”