Salva Storie Instagram

@SceneStyled #ARCHIVES: From the studios of the Cairo Opera House to the red carpets of the Venice Film Festival, Nelly Karim’s public image has been shaped by a career that began in ballet and moved steadily into film and television.

Karim trained as a professional ballerina under Dr. Magda Saleh and Abdelmoneim Kamel, before performing with the Cairo Opera Ballet Company. She also spent time training and competing in Russia, building a background in classical dance before transitioning to acting.

That foundation continues to sit alongside her red carpet appearances. At the El Gouna Film Festival, where she has appeared across multiple editions, Karim’s looks have formed part of the festival’s fashion landscape. In 2024, she wore a full-feathered couture design by Tony Ward — one of the standout looks of that year’s programme.

Her appearance at the Venice Film Festival marked a different kind of milestone. As a jury member — and the first Egyptian to take on that role — she wore a custom design by Antoine Kareh, created specifically for the occasion.

To see how those moments come together, watch Nelly Karim unpack an archive of her most defining looks at www.scenestyled.com or by downloading the #SceneNow app.

🖊️ Farida El Shafie

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0 | 01.04.26

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Wardrobe: @kojakstudio
Jewelry: @nakhlajewellery

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled: Founded by Egyptian creative Amir Fayo, 6901 is an Egyptian label known for releasing pieces outside the traditional fashion calendar. The brand has developed a reputation for unexpected drops and limited-run concepts.

Its latest release, the Masr El Gedida Jersey, draws on visual and textural cues associated with the neighbourhood.

The piece leans into the contrasts often tied to Masr El Gedida’s character: polished yet familiar, nostalgic yet contemporary.

That tension carries through the design itself. The front is fully covered in sequins, giving the jersey a more playful, high-shine finish. The back shifts direction entirely, appearing distressed, faded, and deliberately worn-in.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled #ARCHIVES: As the 79th Cannes Film Festival takes over the Croisette once again, the red carpets are back to doing what they do best: producing fashion moments that outlive the flashbulbs.

And while every year brings a fresh rotation of gowns, tuxedos and photocalls, Arab celebrities have been delivering standout Cannes style for decades.

From Omar Sharif smoking his way through the Riviera in razor-sharp tailoring to Haifa Wehbe’s sheer black glamour era, these archival Cannes appearances are a reminder that Arab stars have long understood the assignment. Whether it was Yousra mastering denim-on-denim in 2004 or Hend Sabry moving down the carpet in sequins and pink drama, many of these looks could still hold their own today.

So while this year’s festival unfolds, we’re revisiting some of our favourite Arab celebrity fashion moments from Cannes through the years.

To explore the full archive, head to www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: By the time SS26 began circulating through the fashion press, it was clear the season had broken loose. Where its predecessor celebrated clean minimalism and quiet luxury, Spring/Summer 2026 turned the volume up. The question was no longer simply how to dress well, but why to dress in a more explicit, visual and sensory language, one capable of oscillating between aesthetic power and the desire for everyday simplicity. Animal prints returned to the runways, while suede — washed, tactile, matte-finished suede — resurfaced everywhere from Miu Miu to Ferragamo, Isabel Marant and Tod's.

Double A, the Cairo-based leather label founded by sisters Ayah Aboutera and Aliaa Aboutera and shaped by their family’s long history in leather manufacturing, arrives at this moment with a collection titled Savage Grace.

“Growing up around leather manufacturing gave me a deep understanding of quality, technique, and the value of craftsmanship,” says Ayah Aboutera. What makes Savage Grace compelling is the way that accumulated knowledge is directed not toward refinement for its own sake, but toward a rougher, more emotionally charged interpretation of suede and leather.

For the full feature on Double A’s Savage Grace SS26 collection, Cairo’s influence on the brand, and how suede has officially gone feral, head to www.SceneStyled.com or download the #SceneNow app.

🖊️ Mariam El Miesiry

@SceneStyled: Egyptian label House Babylon is stepping into petwear with a new collection of matching shirts designed for both dogs and their owners. Known for its clean-lined homeware and apparel, the brand extends its signature aesthetic into pet dressing through lightweight cotton poplin shirts with a polished, understated feel.

Designed with relaxed silhouettes, tonal buttons, and contemporary prints, the collection takes an easy approach to coordinated dressing. The dog shirts feature three-quarter sleeves and breathable premium cotton designed for comfort and movement.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com.

@SceneStyled: Egyptian label House Babylon is stepping into petwear with a new collection of matching shirts designed for both dogs and their owners. Known for its clean-lined homeware and apparel, the brand extends its signature aesthetic into pet dressing through lightweight cotton poplin shirts with a polished, understated feel.

Designed with relaxed silhouettes, tonal buttons, and contemporary prints, the collection takes an easy approach to coordinated dressing. The dog shirts feature three-quarter sleeves and breathable premium cotton designed for comfort and movement.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com.

@SceneStyled: Egyptian label House Babylon is stepping into petwear with a new collection of matching shirts designed for both dogs and their owners. Known for its clean-lined homeware and apparel, the brand extends its signature aesthetic into pet dressing through lightweight cotton poplin shirts with a polished, understated feel.

Designed with relaxed silhouettes, tonal buttons, and contemporary prints, the collection takes an easy approach to coordinated dressing. The dog shirts feature three-quarter sleeves and breathable premium cotton designed for comfort and movement.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com.

@SceneStyled: Egyptian label House Babylon is stepping into petwear with a new collection of matching shirts designed for both dogs and their owners. Known for its clean-lined homeware and apparel, the brand extends its signature aesthetic into pet dressing through lightweight cotton poplin shirts with a polished, understated feel.

Designed with relaxed silhouettes, tonal buttons, and contemporary prints, the collection takes an easy approach to coordinated dressing. The dog shirts feature three-quarter sleeves and breathable premium cotton designed for comfort and movement.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com.

@SceneStyled: Egyptian label House Babylon is stepping into petwear with a new collection of matching shirts designed for both dogs and their owners. Known for its clean-lined homeware and apparel, the brand extends its signature aesthetic into pet dressing through lightweight cotton poplin shirts with a polished, understated feel.

Designed with relaxed silhouettes, tonal buttons, and contemporary prints, the collection takes an easy approach to coordinated dressing. The dog shirts feature three-quarter sleeves and breathable premium cotton designed for comfort and movement.

For more Styled news from across the MENA region and beyond, head to www.SceneStyled.com.

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: Egyptian footwear brand Zee has built a reputation for campaigns that feel more plugged into culture than traditional product marketing. Whether through athletes, internet personalities, or movement-driven storytelling, the brand has consistently approached footwear through personality first. Its latest campaign takes that same approach and applies it to one of the most distinctly Egyptian household staples of all: the shebsheb zanooba.

For its newest drop, the local footwear brand tapped Egyptian actress Lina Sophia as the face of its reworked ‘Shebsheb Zanooba’ campaign, transforming the humble flip flop into something far more playful, stylised, and unexpectedly polished. Across the visuals, the Zanooba appears poolside, slipped under elevated evening looks, casually styled into fashion moments where flip flops would normally feel almost illegal.

“Lina was the first person we thought of for the Zanooba,” says Creative Director Aly Khalifa. “She perfectly encapsulates the essence of the product: understated, adaptable, fun, and effortlessly fashion-forward.”

For the full feature on Zee's latest campaign, visit www.SceneStyled.com or download the #SceneNOW app.

🖊️ Raneem Maaly

@SceneStyled: From Egyptian designer Maison Yeya to Syrian couturier Rami Al Ali and Egyptian designer Marmar Halim, Raya Abirached’s Cannes lineup was a masterclass in regional glamour, with every look styled by Cedric Haddad.

For the Opening Ceremony, Abirached stepped onto the carpet in a white-and-silver Maison Yeya gown that balanced Old Hollywood polish with modern sparkle. The look was paired with Cartier jewellery, a classic red lip by Manuel Losada for Anastasia Beverly Hills, and soft, blown-out waves by Rafilo Toma for Al Sagheer Salons.

For the Women in Cinema event, she switched gears in a sculptural blush-pink Rami Al Ali number, styled with Cartier diamonds and René Caovilla heels. Manuel Losada once again handled makeup for Anastasia Beverly Hills, while Rafilo Toma for Al Sagheer Salons kept the hair sleek and polished.

Then came the “Paper Tiger” premiere look: a fire-red Marmar Halim gown with pleated draping and an off-the-shoulder silhouette that fully understood the Cannes assignment. The look was finished with Cartier diamonds, makeup by Reham Khalifa for Anastasia Beverly Hills, and sleek, pulled-back hair by Rafilo Toma for Al Sagheer Salons.

📸 @ammarparis
🖊️ Raneem Maaly

@SceneStyled: From Egyptian designer Maison Yeya to Syrian couturier Rami Al Ali and Egyptian designer Marmar Halim, Raya Abirached’s Cannes lineup was a masterclass in regional glamour, with every look styled by Cedric Haddad.

For the Opening Ceremony, Abirached stepped onto the carpet in a white-and-silver Maison Yeya gown that balanced Old Hollywood polish with modern sparkle. The look was paired with Cartier jewellery, a classic red lip by Manuel Losada for Anastasia Beverly Hills, and soft, blown-out waves by Rafilo Toma for Al Sagheer Salons.

For the Women in Cinema event, she switched gears in a sculptural blush-pink Rami Al Ali number, styled with Cartier diamonds and René Caovilla heels. Manuel Losada once again handled makeup for Anastasia Beverly Hills, while Rafilo Toma for Al Sagheer Salons kept the hair sleek and polished.

Then came the “Paper Tiger” premiere look: a fire-red Marmar Halim gown with pleated draping and an off-the-shoulder silhouette that fully understood the Cannes assignment. The look was finished with Cartier diamonds, makeup by Reham Khalifa for Anastasia Beverly Hills, and sleek, pulled-back hair by Rafilo Toma for Al Sagheer Salons.

📸 @ammarparis
🖊️ Raneem Maaly

@SceneStyled: From Egyptian designer Maison Yeya to Syrian couturier Rami Al Ali and Egyptian designer Marmar Halim, Raya Abirached’s Cannes lineup was a masterclass in regional glamour, with every look styled by Cedric Haddad.

For the Opening Ceremony, Abirached stepped onto the carpet in a white-and-silver Maison Yeya gown that balanced Old Hollywood polish with modern sparkle. The look was paired with Cartier jewellery, a classic red lip by Manuel Losada for Anastasia Beverly Hills, and soft, blown-out waves by Rafilo Toma for Al Sagheer Salons.

For the Women in Cinema event, she switched gears in a sculptural blush-pink Rami Al Ali number, styled with Cartier diamonds and René Caovilla heels. Manuel Losada once again handled makeup for Anastasia Beverly Hills, while Rafilo Toma for Al Sagheer Salons kept the hair sleek and polished.

Then came the “Paper Tiger” premiere look: a fire-red Marmar Halim gown with pleated draping and an off-the-shoulder silhouette that fully understood the Cannes assignment. The look was finished with Cartier diamonds, makeup by Reham Khalifa for Anastasia Beverly Hills, and sleek, pulled-back hair by Rafilo Toma for Al Sagheer Salons.

📸 @ammarparis
🖊️ Raneem Maaly

@SceneStyled: From Egyptian designer Maison Yeya to Syrian couturier Rami Al Ali and Egyptian designer Marmar Halim, Raya Abirached’s Cannes lineup was a masterclass in regional glamour, with every look styled by Cedric Haddad.

For the Opening Ceremony, Abirached stepped onto the carpet in a white-and-silver Maison Yeya gown that balanced Old Hollywood polish with modern sparkle. The look was paired with Cartier jewellery, a classic red lip by Manuel Losada for Anastasia Beverly Hills, and soft, blown-out waves by Rafilo Toma for Al Sagheer Salons.

For the Women in Cinema event, she switched gears in a sculptural blush-pink Rami Al Ali number, styled with Cartier diamonds and René Caovilla heels. Manuel Losada once again handled makeup for Anastasia Beverly Hills, while Rafilo Toma for Al Sagheer Salons kept the hair sleek and polished.

Then came the “Paper Tiger” premiere look: a fire-red Marmar Halim gown with pleated draping and an off-the-shoulder silhouette that fully understood the Cannes assignment. The look was finished with Cartier diamonds, makeup by Reham Khalifa for Anastasia Beverly Hills, and sleek, pulled-back hair by Rafilo Toma for Al Sagheer Salons.

📸 @ammarparis
🖊️ Raneem Maaly

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: Your skin is a living system, with its own temperature and chemistry. It interprets fragrance under conditions you cannot control. Perfume is not fixed; it unfolds over time. Rubbing your wrists together disrupts that progression. “If you rub your wrists together, you are fast-forwarding a song,” Dana El Masri tells SceneStyled. “Glide. Never rub.”

Working under her brand Jazmin Saraï, El Masri has spent the past decade building fragrances by hand, first in Montreal and now in Los Angeles. Her practice also questions industry language, particularly the term “oriental,” long used to group materials like spices and oud under a broad idea of “the East.” “It just lumps everything together. That’s unfair,” she says.

Modern perfumery may have formalised in places like Grasse, but much of its knowledge originated elsewhere. “The idea of distillation was Ibn Sina,” she notes. “Perfumery itself is an ancient Mesopotamian art.”

El Masri works through memory, sound, and lived experience, often translating music into scent. “Jazmin Saraï fragrance is an olfactory reinterpretation of sound,” she says. Her Tarab Duet, inspired by Fairuz and Abdel Halim Hafez, turns specific songs into compositions worn on the skin.

For the feature on Jazmin Saraï and the stories carried through scent, head to www.SceneStyled.com or download the #SceneNow app.

🖊️Mariam Elmiesiry

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly

@SceneStyled: In much of the world, umbrellas remain tied to rain. Across the MENA region, they have taken on a second function, offering cover from a summer that has grown increasingly difficult to dress for. As heatwaves settle into something more constant than occasional, the umbrella begins to register as part of day-to-day attire.

For this #SceneStyled edit, designer umbrellas are set alongside MENA labels and regional finds, building looks that account for both heat and movement. Sculptural dresses sit with lightweight layers, oversized totes, and relaxed separates, each styled with umbrellas that read as part of the composition rather than an add-on.

Burberry checks and Gucci florals appear alongside more literal iterations, including a tomato-shaped umbrella that leans into the visual language of summer. Taken together, the edit approaches dressing in high heat with a degree of pragmatism, where shade becomes something considered rather than improvised.

For the full edit, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Raneem Ali Maaly