GHENT SHARES ITS SPARKLING SIDE IN WINTER

The Graslei at night.

With its film and music festivals, Ghent has become a hip Belgian town to visit during the summer and autumn months. But in winter, this Flemish city has an allure all its own, with festive lights reflecting off the many canals, monuments that one can view without being elbowed by crowds of tourists, and atypical exhibitions mounted just for the season.

The lights around the “three-tower” historical centre are at their most striking in winter, decorating the façade of the medieval buildings on the Graslei, for instance. At night, and especially in the early morning, this old port takes on an added charm, as the colours mirrored in the waters of the Leie make visitors feel like they’re in a famous Flemish painting.

A short distance away, one can find the three buildings that many people travel to Ghent to see: the imposing St Bavo’s Cathedral, the 95-metre-high Belfry with its shiny copper dragon, and the gothic Saint Nicholas Church.

The Cathedral houses many art treasures but is best known for “The Adoration of the Mystic Lamb”, a 12-panel altarpiece (and masterpiece) painted in 1432 by the brothers Hubert and Jan van Eyck. The work features astounding details of religious iconography and tells a multi-faceted story of the birth of Christ.

Houses along the Leie

The painting has also seen some turbulent times, having been carted off during various conflicts and even damaged by fire. One panel, “The Just Judges”, is still missing after being stolen in 1934; in its place is a reproduction by another artist.

Ghent town officials launched new restoration work on the altarpiece last September, and this is scheduled to last at least five years. In the meantime, St Bavo’s Cathedral is still displaying two-thirds of the original work, while black-and-white replicas stand in for the panels being restored.

After seeing “The Adoration”, one can climb the stairs to the top of the Belfry for a view of the city that inspired the Van Eycks. The Belfry, one of the tallest bell towers in the world, is a UNESCO World Heritage site, and the dragon on top of the tower is said to be a symbol of “Ghent’s independence”. The dragon has been there since 1380, “watching over the city”, as Ghent experienced invasions, mercantile bustle, rebellions, wars and liberation.

Inside St. Nicholas' Church

From the Belfry, one can admire St. Nicholas’ Church, built in Tournai bluestone in what’s known as the Scheldt Gothic style, named after the region’s Scheldt river. Now considered an architectural gem, particularly because of its grand tower above the crossing of the nave and transept, the church was almost turned into a grain hall during the French Revolution, when all of the city's churches were closed to religious services. Despite being looted, the building survived, however, and has undergone periodic renovation and refurbishing since then.

Down from the Belfry, one can venture inside St. Nicholas’ to hear its organ and see its shiny, elaborate interior after more than 30 years of restoration work.

A different perspective of the city comes from St Michaels Bridge (Sint Michielshelling) with the river stretching in both directions and the three towers of the city lined up as if for the perfect photo.  Then it’s time to explore Ghent’s quirky medieval streets, calm and quiet in winter.

Like most of Belgium, the city gets its fair share of rain. Yet, when one least expects it, there will be a sun-filled day, with the light glinting off the tops of the gable roofs and being reflected in the water of the city’s myriad canals. 

The Castle of the Counts

The streets north of the Graslei lead to the daunting Castle of the Counts (Gravensteen), where one can view dungeons and a torture museum, or just imagine time-travelling back to the 12th century when the castle was built by  Philip I, Count of Flanders. In winter, with the early falling of dusk, the castle seems even more imposing than in the summer months when the daylight lasts until late evening.

Ghent is also the birthplace of Charles V, Holy Roman Emperor, who was born there in 1500. His statue can be found a few streets away from the Gravensteen, on the Prinsenhof Plein. He seems to have had surprisingly short legs.

He would probably have ridden through the Patershol, the medieval centre of Ghent, with its narrow well-preserved houses along the cobblestone streets. One can now rent a bike (no horses) from the Tourist Office, but the buildings are best admired as one strolls leisurely through the area, remembering to speak in a low voice. Many of the houses bear signs asking visitors to be quiet because “the residents are sleeping”. Revelers during the summer no doubt create quite a ruckus.

The Graslei in the early morning.

The visitors expected for January’s Ghent Light Festival should be less noisy, as only sounds of awe tend to accompany the sight of the city being made into "a living light exhibition”, as the organizers describe it.

Last year the Festival simulated the burning of the Belfry, through the play of lights, and in January 2015, for the third edition of the festival, visitors can expect to feel the same kind of childish excitement brought on by a good fireworks show, as "artistic illumination" makes Ghent sparkle. - L. McKenzie & J.M. De Clercq

‘GIRL IN DIOR’ ADDS TO THE LORE

French designer Christian Dior, who died in 1957 at the age of 52, remains a mythical figure, and Jeune fille en Dior will only add to the legend.

Cover of "Jeune fille en Dior".

This graphic novel by Annie Goetzinger tells the story of a young woman named Clara who works for a fashion magazine. She loves going to fashion shows and trying to spot stars such as Rita Hayworth and Marlene Dietrich. 

One day she proposes a photo shoot for Dior models and takes them to an outdoor market. But when a model grabs an apple as a cute accessory, she is attacked by an aggressive market vendor, and a nasty fight ensues. The magazine fires Clara but by then everyone at Dior knows her name.

She visits the couture house and meets the designer himself, who is charmed by her stories of her family’s interest in dressmaking; her grandmother also made clothes. Sometime later, Clara is called in to replace a pregnant model, and in this rags-to-couture story, the clothes make the girl.

Wearing Dior, Clara attracts interest and admiration and ends up marrying a wealthy man who takes her round the world. He unfortunately dies a few years later in a shipwreck, and Clara is plunged into sadness, with not even the luxurious garments of Dior able to lift her spirits.

Hearing the news of her misfortune, the designer calls and invites her to his latest fashion show, and he also takes her to lunch. In an optimistic mood, Dior tells her about his plans to go to Italy for a “cure” and to pass his business to his apprentices, including a young Yves Saint Laurent. “I will leave them a thriving company, celebrated throughout the world,” Dior says in the book.

A page from the book.

Days later, as she visits Dior’s birthplace in Normandy, Clara learns that the designer has died of a heart attack in Montecatini, Italy. “The date was 24 October 1957” when she heard the news, the author specifies.

She also notes that Clara is a fictional character meant to pay homage to Dior – “a tireless designer loved by his employees” who, in the space of 10 years, became a legend in the haute couture world.

The final section of the book gives chronological information on Dior’s life and his shows, including the private défilé put on for Britain’s queen and her sister in 1950. It also defines the various kinds of material such as tweed, tulle and shantung (a type of silk from the Chinese province of Shandong) used in fashion. 

The factual information enriches what might have been just another comic book. But the stilted style of the drawings, though evocative of the period, might not be to everyone's taste. (Publisher: Dargaud, Paris) - L. McKenzie & J.M. De Clercq

MEXICO SHOWS FRIDA AND DIEGO IN BLACK AND WHITE

Their unique story of love and art has been celebrated in movies and books, but there is always more to discover about Frida Kahlo and Diego Rivera.

Frida types a letter dictated by Diego

protesting the destruction of his fresco

at Rockefeller Center. May 1933, New York.

Anonymous. Newspaper image. 

The two icons of Mexican art are the subject of at least three exhibitions currently taking place in Paris, France, ranging from a huge show of their paintings side by side at the Musée de l’Orangerie to an exposition of period photographs at the Mexican Cultural Institute.

Titled “Complicities”, the photography exhibition in particular will be an eye-opener for those already familiar with Rivera’s larger-than-life murals and Kahlo’s vivid and disturbing portraits.  It puts the artists in their social and historical context, framing them against the background of the Mexican Revolution and the politics of their time.

“The exhibition is a road show that the Ministry of Foreign Affairs has put together and it has been shown in other countries, but this is the first time in France," said Sara Valdés, the minister-counselor for cultural affairs at the Mexican Embassy in France and director of the Cultural Institute.

“We have produced this particular show with fresh printings of original photographs because we thought it was very useful to show it during the Diego and Frida art exhibition as it gives the historical perspective to their art in the first half of twentieth-century Mexico,” she told Tasshon.

The remarkable black-and-white photographs, drawn from Mexico’s archives, show the famous couple working together, demonstrating together, and meeting with the leading cultural and political figures of the era.

Frida in the garden
by Leo Matiz (1917-1998)
Xochimilco, Mexico circa 1941
© Foundation Leo Matiz

The exhibition begins with images from the revolution and takes viewers through “the life and the role of this couple, whose work has its background in the Mexican Revolution”, said Valdés.

“Not only were they lovers, militants and painters, but they also symbolized an entire generation of change in modern Mexico,” she added.

Some of the most moving photos in the exhibition show the artists’ final moments. There is Kahlo staring solemnly at the camera in her last public appearance, 11 days before her death in 1954, and a terminally ill Rivera painting in his studio in 1955.

A separate section of the exhibition, billed as a show in its own right, is devoted to the work of the accomplished Colombian-born photographer Leo Matiz, who took personal and “up-close” photographs of the artists on a variety of occasions. These clear, beautifully shot pictures reveal a different side of Kahlo, portraying her in relaxed, feminine poses, or enjoying herself in the company of friends. One photo, on a kind of surreal level, actually looks like a publicity image for the popular film that actress Salma Hayek made about Kahlo’s life.

Matiz’s work is the “jewel in the crown” according to Valdés, and viewers to the exhibition will likely remember these evocative photographs for a long time, especially that of the artists as a young couple – smiling, joyful and seeming to look into the future.  - L. McKenzie

("Complicities: Frida and Diego" runs from 16 Oct. to 20 Dec. 2013)

DESIGNER LIE SANG BONG HITS HIGH FINAL NOTE IN PARIS

Closing out Paris Fashion Week on Wednesday, Korean designer Lie Sang Bong –we have to say it – played not one note wrong.

Lie Sang Bong: black & white

Consistently among the few stylists who truly understand the concept of “ready-to-wear”, Lie presented designs that anyone would be happy to step into at a moment’s notice. Playfulness, elegance, simplicity and colour were the hallmarks of his 2014 spring/summer collection, and those lucky enough to see it gave him a rousing ovation.

By the time his show took place at the imposing Palais des Beaux Arts by the River Seine, the carnival-like atmosphere of Paris Fashion Week had dissipated, and what was left was a real appreciation for artistry. So Lie probably knew he couldn’t disappoint his loyal following.

His show began with strikingly simple black and white outfits, including for instance a white vest over a lace-detailed black dress, paired with black high heels. He presented different compositions with the same colours, all evoking a kind of carefree, careless classiness.

Another black dress, cinched at the waist, flowed outwards, with a pink floral hem, while a white blouse bore a red rose and black circles for vivid contrast with slim-fit dark trousers.

As the show progressed, the white and black garments gradually incorporated blues, reds and greens, mostly in floral designs. Then came vibrant colours, with Lie inviting viewers to imagine “petals swirling in the wind … petals exploding like fireworks”, as the ultra-feminine dresses moved to bright pink and florals.

After this burst of vibrancy, the outfits went back to black, though keeping with the theme of flowers. Lie finished with a “rose to burst like a storm”, presenting a billowing white maxi dress imprinted with huge black flowers.

It was a fitting end to the nine frenetic days of Paris Fashion Week. - J.M. De Clercq & L. McKenzie
(Photos: J.M. De Clercq)

Lie Sang Bong's closing statement. (Photo: De Clercq)

SHIATZY CHEN DRAWS ON SCENIC PAST FOR NEW COLLECTION

A Shiatzy chen design

Cubism, childhood memories, colourful landscapes. These were all joyously reflected in Shiatzy Chen’s 2014 spring/summer collection during Paris Fashion Week, which ended Oct. 2.

After 35 years in the fashion business, the label’s chief designer Wang Chen Tsai-Hsia gave herself free rein to “splash out”, as she incorporated some of her boldest colours to date in youthful yet stylish garments.

Dazzling orange, vivid reds, soft pinks, and imperial yellow contrasted with pale cream hues and black geometric lines, all on luxurious fabrics such as satin and silk. Added to this was the innovative use of traditional embroidery, as Chen played with the features of Chinese opera masks as well as ink paintings.

“She has really evolved,” said Jin Zhu, a fashion-media professional from Shanghai, China. “The collection was a little bit girly, and she added some sporty elements.”

A detail from a blouse.

“She was channelling Picasso and other artists,” added her colleague Vico Mao, also from Shanghai.

Jin and Ma were just two of the scores of viewers from Asia who came to France to see the collections of Chen and other designers. The crowds at Chen’s shows in particular have grown tremendously since she began participating in Paris Fashion Week over the past decade.

Presented at the iconic Grand Palais, the latest show drew celebrities as well as art-lovers who’ve become enamoured of Chen’s signature style, which blends an Eastern vogue with Western tailoring. The A-line skirts and straight-cut pants, combined with the fabrics, could be worn to any event demanding a certain level of sophistication.

In fact, several women in the audience showed off designs from Chen’s fall/winter collection, presented at the same venue earlier this year. One outfit that got the cameras clicking comprised a gold brocade skirt and jacket, worn by someone who seemed to be some sort of celebrity. We were too busy to ask her name. - J.M. De Clercq & L. McKenzie

Shiatzy Chen

PARIS SEES HIGH DRAMA, EXCEPT AT MANSOUR SHOWROOM

Dresses by Beirut-based designer Sandra Mansour (Photo: J.M. De Clercq)

Even before Paris Fashion Week began, there were the sounds of warfare. Former top models Naomi Campbell and Iman fired off the first salvo, criticizing selected companies for not using enough black models.

A Mansour guipure and lace short dress 

Then last Thursday, on the third day of the event, two topless activists from the radical feminist group FEMEN invaded the runway at designer Nina Ricci’s show, apparently protesting against the exploitation of women’s bodies. According to some reports, one of the activists got more than she expected when a model punched her before the security guards moved in.

That same day American designer Rick Owens caused a commotion when he used normal-sized “stepping” dancers from U.S. sororities to present his 2014 spring/summer collection.  The models stomped down a two-sided staircase and onto the catwalk, their faces deliberately angry and defiant, while the backing music throbbed to their faux-war dance.

Things were oh so much quieter at the showrooms! During the week, designers from around the world who aren’t mounting catwalk spectacles rent showrooms to present their products to buyers and the press, and the atmosphere is a far cry from the frenzy of the “defilés”.  One of these designers is Sandra Mansour, a talented Swiss-Lebanese designer whose “more is less” motto sums up the elegant simplicity of her creations.

The clothes are designed and created in Lebanon, by a team of 15 people, and the process starts with Mansour sketching rough drafts of prints and patterns with pens, colouring pencils, and watercolour paints. The drawings are then transferred to the computer where they are further worked upon before Mansour’s team of seamstresses and tailors make the ideas come to life.

Sandra Mansour in Paris (Photo: J.M. De Clercq)

All of the designs on the fabric are original, Mansour said in an interview, in contrast to the practice by some designers of buying ready-printed material. For Mansour, this is essential as it adds a strong artistic element to her collections.

In fact, her first love was art, she said. But her parents did not see this as a viable career, and so she studied business. The couture came after she did an internship in Beirut with Lebanese designer Elie Saab.

“It was like a dream,” Mansour said. “In the morning, I was with the commercial team, and in the afternoon, I worked with the haute-couture department. I learned so much.”

After the internship, she studied fashion design at the Paris branch of the prestigious Instituto Marangoni for one year and then started her own line of clothing, combining her business background and her love of art.

A Mansour maxi dress with belt

Mansour plays with the contrast of simple cuts and elaborate materials and colours, and she says she works to highlight the beauty of a woman’s body, enhancing the form. On a blue strapless maxi dress, for instance, she will place a gold belt to draw attention to the waist.

One quickly notices the luxurious fabrics used, including gazar, guipure lace, crepe, tulle and silk. Then there is the embroidery which attests to the artisanship of her team.

“Everything is made by hand,” says product manager Tracy Moussi. This also goes for the wedding dresses and gowns, which attract a large clientele in Lebanon and other countries in the region.

Mansour says she would like to do runway shows and perhaps one day enter the spotlight of Paris Fashion Week. But given her background, for her it’s more about the art than about the noise and spectacle. - J.M. De Clercq & L. McKenzie

THE CHALLENGE IS ON AT LONDON FASHION WEEK

As London Fashion Week began today, much of the buzz was about the “Emerging Trends Fashion Challenge 2013”, in which up and coming designers from around the world are competing for a $10,000 marketing package.

A design by contestant Hope Wade

The contest gives these designers a chance to showcase their talent to buyers, the fashion press and a range of sponsors. As part of the prize, the winner will have an “exclusive opportunity to showcase at a major Fashion Week show either in the USA, the United Kingdom or Dubai,” according to Synergy Events, the organizers.

The lucky designer will also be featured on “multiple global trade publications and introduced to multiple upscale boutiques in Europe”, Synergy added. The countries represented by the competitors include the United States, Jamaica, Norway, and the United Arab Emirates.

This is only the second Emerging Trends Challenge, after the inaugural contest last July in Paris, France, where five designers of women's apparel were judged on their creativity, practicality and ability to sustain the fast-moving fashion market. The winner of that Challenge was New York-trained designer Christine Manthey, who gains inspiration from her travels around the world. She and the event earned reams of attention in Paris.

Of course, competition - official or otherwise - is nothing new during Fashion Week, and top British designers such as Vivienne Westwood and Paul Smith will be vying for a share of a very different kind of pie as the Week is expected to attract more than $160 million in orders.

Buyers will be spoilt for choice, with nearly 60 catwalk shows for spring/summer 2014 being held from now until Sept. 17 in a city known for its quirkiness and individuality in design.

The must-see shows, according to most fans, are those by shoe designer Magnolo Blahnik, making his debut at LFW by hosting a short film starring - what else - his shoes; Brazilian-born Barbara Casasola (see earlier Tasshon article); and relative newcomer Thomas Tait. - J.M. De Clercq 

FOR A PARISIAN BARMAN, SCENTS ARE NOT ONLY FOR WEARING

Ever wondered what your favourite perfume would taste like as a cocktail? Well, now you can have the answer by sipping some inventive new drinks at the famed Plaza Athénée hotel in Paris, France. 

Coctail meets perfume.

The director of the hotel’s trendy bar has joined forces with the Thierry Mugler brand to create “Les Liqueurs de Parfums” – a meeting of high-end perfumes and luxury spirits that not only makes your breath smell nice, but also tastes quite good.

This week, a select group of writers were invited to discover the cocktails, all of which packed a powerful punch, even the fruity and feminine “Womanity”, named after the perfume created in 2010 and sold in a striking pink bottle.

The cocktail was, of course, a creamy rose colour. “I put the subtlety and softness of pink into the drink by using pulpy, sweet fruit such as raspberry, litchi, and strawberry,” said Thierry Hernandez, the director of the Plaza Athénée Bar. What produced the memorable taste though was a zest of ginger combined with Bombay Sapphire gin, chosen for its “pronounced aromatic effect”, Hernandez added.

For rum lovers or fans of Mugler’s “Alien” - the “woody and flowery” amber perfume launched in 2005 - the “Alien” cocktail has golden rum as a basis, with Grand Marnier, apricot juice and passion fruit to top things off.

“In order to capture the essence of the Alien perfume, my cocktail is built on a woody flavour; the drops of jasmine essence and orange blossom water recreate this floral, sunny dimension,” Hernandez waxed about the drink.

The Alien cocktail

While “Alien” both surprised and soothed the senses, the star of the evening was probably meant to be “Angel”, based on Mugler’s first perfume, born in 1992 with its streak of patchouli. 

According to fashion lore, the French designer drew on his memories of childhood and the smells of gourmand feasts to create Alien, but for the cocktail, the Cognac tradition has also provided inspiration.

“For the Angel Liqueur de Parfum, we were inspired by the traditional techniques of prestige Cognacs,” said Pierre Aulas, the Artistic Olfactory Director for the Mugler brand. The velvety green drink contains Cognac, in addition to Amaretto, fresh cream, white chocolate and vanilla.

This may all sound like more of a feminine choice, but male drinkers can have their own brew in the form of the honey-hued A*Men, drawn from Mugler’s 1996 masculine scent. The ingredients: Johnny Walker whisky, coffee liqueur, apple juice and maple syrup.

“The contrast between the masculinity and the softness of this perfume inspired me right away,” said bar director Hernandez. “For me the drink perfectly expresses the tones of the fragrance and has an ideal colour.” It’s now up to cocktail fans to decide if he’s right. - L. McKenzie

(The Plaza Athénée hotel is currently undergoing expansion and will reopen in June 2014.)

COPENHAGEN OFFERS FEAST FOR BETTER WORLD

When Alex Atala has a knife in his hand, there’s no question about his profession. The famous Brazilian chef makes cutting up vegetables and preparing meals seem like the highest art. But his influence goes way beyond the kitchen, as Atala is one of the leaders in the “use-local-ingredients” movement.

Alex Atala (second from right) with other chefs.

He and his partners work with indigenous groups in Brazil to source ingredients for haute cuisine, including the meals served at his landmark São Paola restaurant D.O.M. This week he has been in Copenhagen, Denmark, talking about his work and taking part in Copenhagen Cooking – a 10-day festival that has attracted food-lovers and top chefs from all over the world.

One of the dishes at Copenhagen Cooking.

The event’s theme this year is “social food”, which means bringing people together over meals and raising awareness about the environment, according to the organizers. At the festival’s opening, Atala sliced cucumbers faster than the eye could follow, and told food aficionados about how he came to put ants on his menu.

Some years ago, he was visiting the indigenous Baré community in the Amazon when a woman called Dona Brasi offered him a dish. As he ate, he thought he tasted the herb lemongrass. “What did you put in it?” he asked.

“Ants,” Dona Brasi replied. Atala didn’t believe he’d heard right, and asked the question again. The answer was the same. Since then, Atala has been experimenting with insects in his cuisine and has created an institute called ATÁ that has close ties with local farmers and other producers. The ATÁ “manifesto” says that the “relation between man and food must be revised” to maintain biodiversity and protect people and the environment.

“Food can be much more than you can imagine. Food can change our lives, can change the lives of millions of people,” says Atala.

Chef Claus Meyer samples a dish.

In Copenhagen, this has been the mantra during the festival: in a world of constantly rising food prices, we must change our eating habits, reduce waste and think about the environment. The Danish capital is the home of the New Nordic Food Manifesto, which was formulated by Danish chef and businessman Claus Meyer and signed by his counterparts.

The manifesto does not lay out hard and fast rules, but provides a set of core “values” that include using the natural food resources of the Nordic region, such as berries, smoked fish and fruit and vegetables of the particular season.

When he drew up the proposal, Meyer said he found that “being a chef in the modern world meant taking responsibility, caring about the environment, working for biodiversity and being inclusive in your mindset.” That’s also the response he got from his peers in the gastronomy sector.

Since then, Copenhagen has developed a thriving restaurant culture, with about 15 Michelin stars. Noma, the renowned restaurant that Meyer co-founded, has been nominated the world's best restaurant on several occasions.

Both Meyer and Atala adhere to a biodynamic approach to cooking, and the Copenhagen Cooking festival has highlighted the international nature of this movement. Many countries are trying to change their agricultural models, and Denmark itself has plans to increase the share of organic food served in public institutions to 90 percent by 2015.

The organization tasked with making the goal a reality is the Kobenhavn Madhus (Copenhagen House of Food), located in the Danish capital’s old meatpacking district. The Madhus’ mandate is to “ensure that citizens who are part of a public food programme, from daycare to nursing homes, get a healthy and well-prepared meal of high culinary quality” each time they eat. The organization oversees some 900 public kitchens that serve about 60,000 meals each day.

The challenge has been to keep this increase “economically feasible” by not just substituting certain produce but developing a whole style of organic cuisine, according to Rasmus Kjeldahl, chairman of the board of the Madhus.

Rasmus Kjeldahl of KBH Madhus

“The higher we get, the hardest it gets,” Kjeldahl says. “Once you start moving beyond 60 percent of organic ingredients, you need to change the philosophy about how you work in the kitchen and about what kind of raw materials you use. It becomes about gastronomy, seasonality and about skills.”

The Madhus is participating in Copenhagen Cooking with a competition for schoolchildren and a “Market Day” where people can meet and speak with producers and suppliers of organic food. It is also hosting workshops by chefs such as Bjorn Shen of Singapore.

Shen, who’s visiting Europe for the first time, is one of the participants in the “Singapore Street Food” presentation at the festival. He says that using local or organic produce in small, built-up countries can be a challenge, but that cooks need to make the attempt.

“We have to give organic food the awareness that it deserves and also hope that people see that it’s possible to use ingredients grown locally,” he said.

Shen owns a restaurant called Artichoke in Singapore’s historic Bras Basah neighbourhood and has been one of the leaders in the “farm-to-table” movement. He works with the city-state’s small number of organic farmers and producers to source ingredients, and he participates in a scheme called the Edible Garden Project to grow greens in his restaurant’s kitchen garden.

For Lebanese chef Kamal Mousawak, who’s also a key participant in the festival, food can bring people together in a country torn by sectarian violence. Mousawak employs cooks from different religious groups who prepare meals with cross-community appeal at his Souk el Tayeb eatery.

“Our slogan is ‘make food not war’, and I always have in my head what Gandhi said: be the change you want to see,” Mousawak says. - L. MCKENZIE and J.M. DE CLERCQ

(Copenhagen Cooking 2013 ends Sept. 1)

DESIGNERS TO COMPETE FOR LUXURY HOTEL FASHION PRIZE

Five innovative young designers have been shortlisted for the 2013 Dorchester Collection Fashion Prize, the annual award created three years ago by the eponymous luxury hotel company to discover emerging fashion talent.

Designing duo Fyodor Golan

The five, including a duo working under one name, come from various backgrounds and will compete for a prize of £25,000 which will help them to establish their brand, according to the Dorchester group.

The organizers said that the judging criterion is based on finding the designer “who best demonstrates original aesthetic flair, combined with capability for future critical distinction and commercial success”. The winner’s work must also “evoke the spirit of Dorchester Collection’s iconic hotels and, therefore, project a sense of individuality, luxury, style and craftsmanship”.

Designer Barbara Casasola

The final stage of this year’s competition will take place on 29 October at The Dorchester hotel in London, where the five shortlisted designers will stage a catwalk presentation.  Last year’s finale was held at the landmark Plaza Athénée hotel in Paris and attracted a large fashion crowd, with judges including the France-based Japanese designer Kenzo Takada.

The Dorchester group has hotels in London, Paris, Milan, Los Angeles and other cities, and designers who enter the competition have to be based in countries where there are Dorchester Collection hotels: the UK, France, Italy, Switzerland and the United States.

“We’re thrilled to continue to support upcoming designers and launch the 2013 Dorchester Collection Fashion Prize with a new international format,” said Christopher Cowdray, chief executive officer of Dorchester Collection. “Our aim is to continue to attract a high standard of talent; it’s been rewarding to follow the success of previous winners and finalists, knowing that the prize has helped them to make that next step to global success and recognition.”

Huishan Zhang

The 2013 finalists are Barbara Casasola, a Brazilian-born, Paris-based designer who studied at Central Saint Martins in London and later at Istituto Marangoni in Milan and has worked with Roberto Cavalli and others; the duo Fyodor Podgorny and Golan Frydman, whose brand is Fyodor Golan and whose ready-to-wear garments are inspired by artwork, with striking shapes and colours;  Emilia Wickstead, the  New Zealand-born designer who studied in both Milan and London, launching her own label in 2008; and Huishan Zhang, a Chinese-born designer and recent graduate of Central Saint Martins who was reportedly chosen by a leading fashion businesswoman to work at Christian Dior while he was still a student. 

The five will have their work cut out for them in the run-up to the grand finale in London. As the organizers state, the winner’s work must “evoke the spirit of Dorchester Collection’s iconic hotels and, therefore, project a sense of individuality, luxury, style and craftsmanship”.

Designer Emilia Wickstead