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Cairo’s Two Nights on the Town

CAIRO

While thousands of Egyptians gathered in Tahrir Square last month to demand that the government release the blogger and activist Alaa Abdel Fattah from prison, Cairo’s fashion-forward crowd ventured onto the streets for a different reason: to shop.

Across the bridge from Tahrir Square, the well-heeled meandered around the quiet, affluent neighborhood of Zamalek, partaking in the first edition of Cairo’s Fashion Nights, held on Oct. 31 and Nov. 1.

Modeled after Fashion’s Night Out, the annual block party-shopping spree initiated in New York in 2009 by Anna Wintour, the editor of Vogue, the event aims to spur retail spending by luring customers into stores on a dedicated evening. In essence, the shopping experience becomes a big public fashion party.

Besides offering promotions and serving refreshments, stores enticed shoppers with gimmicks. Azza Fahmy, for example, an Egyptian jewelry brand, enabled visitors to live out their supermodel fantasies by hiring a professional fashion photographer to shoot anyone who wanted to model an item from the new collection.

Susan Sabet, the editor of Pashion, a monthly Egyptian fashion magazine printed in Arabic and English, conceived of Cairo’s Fashion Nights as a means of supporting designers and retailers struggling with slow sales and looting in the aftermath of the revolution.

“Everything is fine, let’s go down and shop” is Ms. Sabet’s message to deep-pocketed Egyptians, many of whom have been reluctant to splurge lately. Recognizing that a certain segment of the population nevertheless has plenty of money to spend, Ms. Sabet would rather see them spend it at home rather than on shopping trips abroad.

“Here, it benefits many people,” she said, “designers, manufacturers, material suppliers and retailers.”

Cairo’s Fashion Nights are also intended to restore confidence in Egypt and woo back Western and regional investors. “I want to show them that things are fine in Egypt,” Ms. Sabet said. “We are safe, we can host these events and people are still buying. Not everyone with money ran away.”

Was anyone worried about participating in a fashion extravaganza while political debates heat up before parliamentary elections next month and anxiety about Islamism and crime rates runs high?

“It will be interesting to see how people react” a stylist, Kegham Djeghalian, said before the event.

Still, neither he nor other participants worried much. It is surprisingly easy to block out the chaotic Cairene metropolis in the embassy-lined streets of Zamalek — “The only neighborhood where you can still walk the streets carefree,” said Vivian Abdel Messih, managing partner of Amuse, which she describes as a “lifestyle concept store.”

Her only concern was about her employees making it home safely late at night. “We all have cars,” she said, “but they have to ride public transportation and in these times I am worried.”

Because of these considerations, the event ended at midnight, two hours earlier than planned. No major incidents were reported.

“Let’s be realistic: Less than one percent of the population can afford these clothes,” said Dina Said, a designer featured at Amuse, “and anyone else would not even be aware it is taking place.”

Rather than perceiving Cairo’s Fashion Nights as being out of touch in a country where many people are preoccupied with political activism or simply putting food on the table, its organizers and supporters view it in the context of major fashion events worldwide.

“We don’t have an Avenue Montaigne or a Bond Street, but Zamalek has a high concentration of up-market stores that showcase talented designers,” Ms. Sabet said.

The notion that Cairo has the potential to become a fashion capital thrills Fares Rizk, an Egyptian-born artist who was visiting from New York, where he lives now.

“I’m very happy that people are comparing Zamalek to Manhattan,” he said. But before he could get too carried away, Ms. Said cooly reminded him that they still had a long way to go before anyone could really make such a comparison.

“It’s exciting, but it’s not super exciting, like it is abroad,” she said. “Karl Lagerfeld hung out with visitors at Chanel in New York. Can you imagine that here?”

Mr. Djeghalian noted that other places far off the global fashion radar, like Pakistan, have a fashion week and that Egypt deserves one, too.

While he conceded that Cairo lacked enough designers to produce a whole fashion week, “Cairo has long been fashion-conscious, so it makes sense to have something like Cairo’s Fashion Nights.”

Thanks to the presence of their loyal V.I.P. clientele, the atmosphere at some of the more established boutiques, including Azza Fahmy, resembled that of fashion parties anywhere.

A few stores were so crowded that visitors congregated on the sidewalks to get some air. But much to the dismay of emerging designers selling at retail spaces nearby that crowd failed to stroll around the block to make discoveries.

Trying to mask her disappointment about low traffic to the store where her collection was on sale, the designer Amina Khalila, 24, said: “We are not accustomed to hopping from one place to another yet. Here, people need to perceive a trend in something before they are willing to try it.”

In the less-established boutiques, the emphasis seemed to be more on reveling than on shopping, as young people dressed to the nines — some trendily and others outlandishly — and ran around drinking Champagne and wine at their friends’ boutiques. Most attendees said they had come to support their friends in business or merely out of curiosity. To Ramzi Ebeid, 33, an interior designer, the evening served as a release.

“I think a lot of people are feeling really suffocated and are fed up with putting all their plans on hold since the revolution,” he said, so now they are just “trying to have fun.”

The surrealistic atmosphere of Cairo’s Fashion Nights was enhanced by the presence of the “fashion police,” played by Mr. Djeghalian, who patrolled the stores on the lookout for fashion faux pas.

Lackluster styles warranted an “X” sticker signaling his disapproval, while creative outfits earned the lucky few a coveted checkmark sticker.

Cairo’s Fashion Nights seems to show promise. Why not harness money being spent on fashion to support the local economy during a difficult time? That idea appeared to resonate with shoppers. More than one said she had participated in the event “for Egypt.”

Designers and retailers welcomed support from the community, even if it proved more symbolic than visible on their bottom lines.

Underwhelming turnout notwithstanding, Ms. Sabet was “very pleased with how it went over all,” adding that it was a learning experience and expressing hope that “it will be bigger and better next year.”

Published on the New York Times website on November 9, 2011 and in the print edition of the International Herald Tribune on November 10, 2011. 

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Inside PULSE New York

This year Pulse Art Fair switched from its usual early March slot during the Armory Fair to try out New York’s new art week during the Frieze Art Fair. View highlights from the fair below and get an inside perspective from director Cornell DeWitt.

PULSE installation view

What is Pulse’s fair’s signature feature?

In a word, accessibility. We always try to make Pulse welcoming. We like to be in the centrally located Metropolitan Pavilion. We like to have friendly dealers. And we like to have a really broad spectrum of artists.

Also, we really take pride in our friendly staff and that their enthusiasm is infectious.

Even if the art can be very opaque, we have gallerists that are passionate about it and are happy to share their insights with people. They’re not going to sit in their booths and glower at you thinking “well if you don’t understand this, I’m not gonna waste my time talking to you.” The price range also makes the fair accessible. While we have high six-figure sales, you can also walk out with a drawing for $500.

So people know that we offer something for everyone without it being this lowest common denominator situation.

How does the selection process work?

The same committee responsible for the gallery selections also determines the winner of Pulse Prize. For New York it consists of myself and the gallerists Stefan Roepke and Thomas Von Lintel. Each member serves for three years or so, but some have stayed longer.

We have a minimum of 80% return rate, so we have long-term relationships with a lot of galleries. It’s kind of like preschool in Manhattan and they are the “legacies.” But there is also some space for new galleries every year and I travel around the world going to fairs and other art events to fill it. Once in while a gallery applies that I might be familiar with, but with whom I don’t have a relationship and I think “oh, they want to do the fair, that’s great.” And a gallery I’ve never heard of might submit an amazing proposal that the committee loves, that I love, and there it is.

What is the idea behind the Impulse section?

Impulse is the place where a young gallery showing young artists can join and from there they work their way up into the main section.

For example, Man&Eve gallery exhibited work by Larissa Nowicki at impulse in Miami. And as it turned out, Larissa won the pulse prize that year and now the gallery has sort of graduated onto exhibiting here on the main floor. The way I see it, that’s the way Pulse should work.

Man&Eve’s founding director Lucy Newman Cleeve: “it’s a great way to go about it because when you are just starting out it’s much more manageable to be in impulse and show a single artist.”

How is Frieze’s debut impacting Pulse?

Frieze is a corollary benefit. We are a satellite fair and we don’t pretend to be anything other than that, although I feel very strongly that we are the best satellite fair by a long shot. Because of that, we have the liberty to align ourselves with whomever we want, and Frieze is the shiny new bauble in town whom everyone is excited about, so we welcome them. I’ve known Amanda Sharp for a long time and participated in Frieze in 2006 when I was working at Yvon Lambert, so I think it’s great.

There are a lot of good reasons to align with Frieze rather than the Armory, but of course it is not because we feel that Armory is circling the drain or anything like that. It’s just that Frieze is what people are excited about now and logistically it is better for us.

Previously, after Miami we only got a week or two and then the holidays would come and the next thing you know, it’s the middle of January and you’re only six weeks out from the fair in early March. It’s always been kind of a scramble. Moving the New York fair to May during Frieze also gives us opportunity to spread things out, which is really great.

PULSE installation view

On Miami vs. New York

The thing is that Miami has always been bigger for us, but even though New York is smaller, New York is really the most important art market in the world at the end of the day. Miami is a bigger art fair market, but New York is really the big kahuna.

What do you do to give each fair a local flavor?

We really push to have local non-profits that might not be so well known. Bringing them in gives us that tie to the local community and adds something new at the same time. And the attention benefits them too. Here we have NYFA and Creative Capital. They’re big, but one wouldn’t necessarily expect to see them in a fair, and they bring some work and add something to the fair that is unique.

I’m not sure if you’re allowed to pick favorites, but what what would you say is this year’s highlight?

The special projects are always my favorite. We put a lot of effort into those and its one of the few areas in which the fair’s organizers can really get involved with the artists. Typically, we know what the galleries are bringing based on their proposals, but the galleries are really in charge of their artists and what goes on in the booths. So I love that the special projects give me the opportunity to select artists and work with them one-on-one to kind of curate this mini group show. Here with have six special projects, but in Miami last year we had sixteen, so it’s a huge undertaking.

My favorite piece here is City Surface by Annie Han and Daniel Mihalyo. It involved three days of construction—the artists were here with a crew building, and I think they really knocked it out of the park.

Feedback so far?

It’s been really positive. It’s turned out about how I thought it would in a best case scenario. Collectors generally want to check out the big fair first, where they are going to spend the bulk of their money, and then they visit the satellite fairs, of which Pulse is usually first. So we weren’t sure if we were going to get sales going right off the bat, but sales have started rolling; maybe not as gang-buster as they have in the past, but many collectors have told me they were planning to visit Frieze only once and them come back to Pulse.

What do you have in store for the future?

We are continually fine-tuning but have no big changes or expansions planned. One thing we continue to work on is building our relationships with the local nonprofits, particularly in Miami. For example, we are going to partner with Lotus Foundation to do a benefit on the opening night this year.

Another initiative we are still developing is Pulse Play, which has evolved beyond the traditional black box video program. First we started allowing some other partners to curate a program, then we are doing solo projects for the first time. And finally in Miami last year we got rid of the black box all together for the first time. It was an installation by Lucie Fontaine (the alter ego of a writer and editor). This year we decided we’d take “play” literally and turn it into a video game. So we’ll continue working on things like this.

Published by Artlog Magazine May 8, 2012

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Saxophones Sound from the UN to Celebrate the Unifying Power of Jazz

Stevie Wonder performs at the International Jazz Day Concert. Photo credit: UN/JC McIlwaine

“What is jazz?” asked legendary trumpeter Quincy Jones at Monday night’s all-star concert in the General Assembly Hall of the UN. The occasion marked the first annual International Jazz Day designated by UNESCO, and conceived by it its newest Goodwill Ambassador, Herbie Hancock, in collaboration with the Thelonius Monk Institute of Jazz.

Every dignitary and music and film-world luminary present –including co-hosts Morgan Freeman and Herbie Hancock, Tony Bennett, Michael Douglas, Robert DeNiro, Thelonius Monk Jr., and more — had their own answer for Jones, because jazz penetrates the human spirit and resonates in one’s core. It is this quality that earns jazz its reputation for bringing people together, making it an art form worthy of UN recognition as a vehicle for promoting peace and tolerance.

Sharing his own reflections, Jones described jazz as “a beautiful mistress who makes you do whatever you have to do to be with her!” On a more serious note, he added, “I’ve seen her power first hand – the power to make men forget their differences and come together…From the bottom of my heart I say jazz is the personification of transforming overwhelmingly negative circumstances into freedom, friendship, hope, and dignity.”

Jazz’s association with freedom ironically stems from its dark origins in the period following the American Civil War. “It was a marriage of two seemingly different cultures thrust together by the laws of Jim Crow,” Jones explained. The African vocal power and drum beats retained by the newly freed slaves, fused with European sounds coming from the mixed-race house servants, who introduced them to saxophones, clarinets, trumpets, and trombones. Thus born in the context of oppression, jazz transcended barriers of race and geography, not only becoming a universal language, but playing a role in various human rights struggles around the world.

As Herbie Hancock noted, “Gathering in this esteemed hall, where countries put aside their differences and unite for the betterment of humankind, symbolizes the power of all music to cross boundaries, making our world more equitable, secure, and peaceful.”

Delivering the opening remarks, Ambassador Susan Rice commented on jazz’s quintessentially American origins and early development. Whenever the U.S. wanted to show its best face abroad, it sent jazz musicians as cultural ambassadors, and jazz has since been adopted by all cultures. “Like democracy itself, jazz has structure, but within it you can say almost anything,” she added.

The global reach of jazz was reflected in the line-up of musicians, such as Hugh Masekala, known for his protest music against South Africa’s apartheid regime, and Hiromi Uehara from Japan, who was so engrossed in playing the piano that she was jumping up and down while her fingers never missed a beat on the keys. Grammy award winners hailing from Australia, Benin, Brazil, Cameroon, China, Cuba, India, Japan, and the Netherlands played alongside Stevie Wonder, Wynton Marsalis, and other American masters.

During an earlier panel discussion on the theme “Unlearning Intolerance: Jazz as a Force for Education and Dialogue,” young musicians recounted personal stories about growing up listening to jazz with their foreign-born parents. “When I was three, my father would play Louis Armstrong and Ella Fitzgerald for me and take me to jazz clubs in Chicago to hear the same jazz tunes he had loved listening to growing up in Iraq,” explained Amir ElSaffar, an Iraqi-American who plays the trumpet and an ancient Babylonian instrument.

Following the discussion, a screening of the film “Finding Carlton” by the Indian filmmaker Susheel Kurien, chronicled the little-known history of Calcutta’s (and to a lesser extent Bombay’s) swinging jazz scene. Catching on while American soldiers were stationed in India during the First World War, jazz became the cultural epicenter of India’s English-speaking population. Eventually it spawned great Indian jazz musicians, some of whom uncannily captured the sounds of American legends, and some of whom fused it with traditional Indian sounds. This too, exemplifies the universality of jazz.

Stevie Wonder may have aroused the loudest applause of the night, but it was the enthusiasm of the Beninoise singer-songwriter Angélique Kidjo that got the audience up dancing and singing (in an African dialect, no less). “Jazz has its roots in Africa… and tonight we are all Africans,” she told the audience to thunderous applause.