"We are sorry to let you know that due to circumstances outside of our control, Bruno Mars will not be performing at Lusail International Circuit tonight," the venue posted on X, formerly Twitter.
The news comes on the heels of his second show in Tel Aviv on Saturday also being cancelled.
Last month, Mars performed in Saudi Arabia, and was joined on stage at the Azimuth Canyon in AlUla by Saudi DJ Shaolin and DJ Loush on Sep. 29.
The US singer-songwriter hit the stage with some of his greatest hits, including “Just The Way You Are” and “Uptown Funk” as the crowd sang along.
Irish author Sally Rooney unable to attend UK awards ceremony over Palestine Action arrest risk
Writer unable to accept honor in person at Sky Arts Awards this week because she was ‘advised that I can no longer safely enter the UK’
Rooney previously said she would provide financial support for the activist group, which was banned in July by the UK government under terrorism legislation
Updated 18 September 2025
Arab News
LONDON: Irish author Sally Rooney said she was unable to enter the UK this week to collect a Sky Arts Award for literature because she feared she would be arrested over her support for Palestine Action, an activist group recently banned by the UK government under terrorism legislation.
Rooney, known for her novels including “Normal People” and “Conversations with Friends,” received the award for her latest book, “Intermezzo.”
ICYMI: The winners of the 2025 @SkyArts Awards have been revealed, with Sally Rooney winning the top gong for literature for her novel Intermezzo (@FaberBooks) https://t.co/Syoj3F6BPl
Alex Bowler, publisher at Faber & Faber and Rooney’s editor, collected the award on her behalf at the 2025 Sky Arts Awards ceremony at London’s Roundhouse on Tuesday, and read a statement from the author in which she said she was “touched and grateful” for the recognition and regretted she was unable to attend in person.
“I truly loved writing ‘Intermezzo’ and it means the world to me to think that it has found some small place in the lives of its readers — thank you,” she added.
“I wish that I could be with you this evening to accept the honor in person but because of my support for nonviolent antiwar protest, I’m advised that I can no longer safely enter the UK without potentially facing arrest.
“In that context, I want to thank you all the more warmly for honoring my work tonight, and to reiterate my belief in the dignity and beauty of all human life, and my solidarity with the people of Palestine.”
Sally Rooney wins the Literature award for Intermezzo, an intimate, sharp look at the emotional tensions in everyday life! #SkyArtsAwardspic.twitter.com/1NXPE7GBf1
The UK government proscribed Palestine Action as a terrorist organization on July 5, after the group was accused of damaging military aircraft and other infrastructure during a protest at a Royal Air Force base in Oxfordshire.
Rooney previously said she intended to use proceeds from her work to support the group. Legal experts noted that providing financial support to a proscribed group can be considered an offense under UK terrorism laws, potentially exposing Rooney to arrest.
Simply expressing support for a proscribed group can have legal consequences. In the two months since the UK ban on Palestine Action, more than 1,600 people have been arrested for declaring or displaying support for the group.
Rooney resides in her native Ireland, which is not part of the UK and so the terrorist proscription does not apply there. She previously told The Irish Times newspaper that if supporting the group “makes me a ‘supporter of terror’ under UK law, so be it.”
This week, a UN commission of inquiry concluded that Israel was committing genocide against Palestinians in Gaza. Israel’s Foreign Ministry rejected the conclusion as “distorted and false.”
A star-studded “Together for Palestine” charity concert at London’s OVO Arena on Wednesday raised £1.5 million ($2 million) to support Palestinian humanitarian organizations. Celebrity participants included actors Richard Gere, Florence Pugh and Benedict Cumberbatch, singer Damon Albarn, and documentary filmmaker Louis Theroux.
Tiffany Trump shows off Lebanese gown at UK state banquet
Updated 18 September 2025
Arab News
DUBAI: Tiffany Trump showed off a custom-made gown by Lebanese designer Saiid Kobeisy at the state banquet held during US President Donald Trump’s visit to the UK on Wednesday.
Trump’s 31-year-old daughter showed off a blue quartz custom-made haute couture gown by the Lebanese designer. (AFP)
The lavish white tie event, hosted at Windsor Castle, saw 160 guests gather at Windsor Castle, with King Charles and Queen Camilla in attendance.
Trump’s 31-year-old daughter showed off a blue quartz couture gown, with a beaded clutch also by Kobeisy. Styled by Toni Breisse, the look was complemented with jewelry by Samer Halimeh.
“For this occasion, I wanted to design a piece that unites heritage with modernity, a vision where power meets elegance, crafted with the spirit of royalty at its core. It is about commanding presence, leaving an impression as timeless as the moment itself,” said Kobeisy.
The bride was led down the aisle by her father. (Hy Goldberg for Denis LEON + Co.)
Tiffany Trump is known for her affinity with Lebanese designers; at her 2022 wedding to Lebanese-born businessman Michael Boulos, she donned a custom-made Grecian-style gown by Elie Saab.
Tiffany chose her wedding dress as a nod to Boulos’ heritage. “It’s a Lebanese American wedding, so we were so happy to have Elie Saab create the magic,” said mother of the bride Marla Maples, according to People magazine at the time.
The custom, chocolate-brown chiffon gown boasted an asymmetric one-shoulder neckline, and a cape-like sleeve that flowed dramatically. (Instagram)
In 2025, she turned heads in a dress by Zuhair Murad at the Inaugural Candlelight Dinner, hosted at the National Building Museum in Washington. The custom chocolate-brown chiffon gown boasted an asymmetric one-shoulder neckline, and a dramatic cape-like sleeve.
Designers reveal the inspiration behind their new collections on show in the Russian capital
Updated 18 September 2025
Arab News
MOSCOW: Arab News was one of several Middle Eastern companies present at the recent Moscow Fashion Week and its accompanying BRICS+ Fashion Summit — a sign of the Russian capital’s potential as an alternative to the traditional fashion capitals of the West.
Shirene Rifai, CEO of Jordan Fashion Week, told Arab News in Moscow: “For too long, fashion was centered only in Paris, Milan, London, and New York. Now, platforms like BRICS+ are creating space for non-Western voices to be seen as equal players. For me, representing Jordan and the Middle East here means more than showing collections — it’s about cultural diplomacy.”
We spoke to several of the designers who showed collections at Moscow Fashion Week about their inspirations and aspirations.
Alexander Karamyshev, co-founder of 139DEC
On fashion
For us, fashion is not only about clothing — it is a language, a way to communicate ideas, emotions, and cultural codes. Each collection is a dialogue between our inner world and the audience.
On 139DEC
On 139DEC. (Supplied)
Our background is deeply rooted in retail. We began as buyers, curating brands for stores, and later introduced our own label. This experience shaped our approach: every piece we create must combine quality, fit, and function. While our runway looks carry a strong artistic vision, many of them can effortlessly transition into daily life — from the office to nightlife. Our collections are not driven by trends or external references. Instead, they are shaped by a search for authenticity — a reflection of our own thoughts at the moment of creation. This process infuses the garments with exclusivity and energy. Clients often tell us they can feel this vitality, and for us, that is the most valuable recognition.
On 139DEC’s Moscow Fashion Week collection
This collection is a true collaboration: the show’s film was crafted by our friend and director Tony Shiro, the soundtrack was composed by Alexey Shlykov (Mr. Pepper), sculptor Piotr Diakov created the masks, and artist Sergey Konrazhkin designed the prints. Together, these voices form a symphony of cultures, creating a global vision that extends far beyond fashion.
On the inspiration behind the collection
Inspiration is never singular. It is a current — something the designer channels in a given moment. For us, it emerges from the touch of fabric, the flow of form, and above all, the flawless synergy of our team. That spirit of creation, alive and immediate, is the essence of our aesthetic.
Olesya Kosopletkina, founder of Addicted_to…
On Moscow Fashion Week’s future
Addicted_to… (Supplied)
I think that in 10 years Moscow Fashion Week will take on a completely different format — one that we can’t even imagine yet. Of course, this is connected to the deep integration of AI into our lives and, as a result, humanity’s global shift toward consuming digital content. I believe that physical fashion weeks will become less extensive but more valuable. This will only increase the worth of craftsmanship and handmade work in general.
On balancing creativity and functionality
Addicted_to… (Supplied)
I’m a mother of three and lead a very active lifestyle. Because of this, creating clothing that is highly functional and adaptable to different daily tasks comes easily to me. At the same time, fashion shows are a wonderful opportunity to bring fantasies to life.
On her Moscow Fashion Week collection
This collection tells a story about addiction but a creative kind of addiction. It’s about how people truly obsessed with their ideas can make great discoveries, discoveries that may help make the world a better place. The collection is like a path toward a better world - a path of creation, love, harmony, and peace.
Alexander Arutyunov, founder of Alexander Arutyunov
On fashion’s future
Alexander Arutyunov. (Supplied)
I feel everything is moving toward individuality. Identical, blank items will no longer be in demand. Everyone will want brighter self-expression. I have always created individual fashion. Even in the hardest times, I never made “simple” things.
On balancing creativity and functionality
Already, at the sketching stage, I can see how a complex garment will behave in real life — how it will be worn, fastened, how it will sit on the body, even how it will look after washing. So, from the very beginning, I think about functionality.
On sustainability
This season, for the first time, I stepped into sustainable fashion. Every look in the collection was created from the brand’s archival fabrics. It wasn’t a direct gesture toward sustainability, nor a way to optimize the process, but when I walked into my fabric storage and saw hundreds of beautiful rolls lying unused after years, I told myself: “Stop.” And so the entire new collection was made from our stock and archival textiles. It’s an attempt to pause the flow of “new,” to look inward, to work with what has already been created.
On inspiration
One part of my new collection reveals the main theme of the show — a jewelry box of childhood memory. When my brother and I were little, our father often took us to the circus in Tbilisi. Acrobats, clowns, tricks... but nothing stayed with me as strongly as the gift he would buy for us in the circus foyer every time: a geometric paper ball, or sometimes a pompom that unfolded from a flat fan; a magical object that filled us with wonder. My father rarely appears in my dreams. But recently, he came to me in a dream, and we went to the circus together, where he once again bought me that same paper ball.
Aleksandr Barbakov, designer for Sasha Barbakov
On balancing creativity and functionality
Sasha Barbakov. (Supplied)
Everything comes from the concept, for us this is paramount. Then, when we develop products, we pay special attention to commercial models, trying to make wearable items (that convey the) idea.
On Sasha Barbakov’s Moscow Fashion Week collection
Sasha Barbakov. (Supplied)
The collection is called “Gardens Bloom in the Soul.” For eight years, I have continued to appreciate the warmth that my late grandmother gave me. This collection has become a personal form of therapy for me — a reminder of those warm moments that I experienced in her garden and vegetable garden every summer. I collected these memories that I return to in moments of sadness and silence. The collection reflects the idea that over time, some memories fade, but remain an important part of the inner world. It’s also about those moments that can only be captured in photographs. In an attempt to keep them alive, I am nostalgic for my own experiences, which sometimes only emerge in memory or in photographs. It’s a reminder that, even if something physically disappears, gardens still bloom in the soul.
Fati Shogenova, founder of Hatsibana
On the future of fashion weeks
Hatsibana. (Supplied)
Fashion Weeks will evolve from being seasonal showcases into multidimensional cultural platforms. In the next decade, we’ll see them becoming more inclusive, tech-driven, and globally connected, where fashion intersects with art, sustainability, and digital innovation.
On balancing creativity and functionality
At Hatsibana, creativity begins with cultural heritage-embroidery, symbolism, and storytelling, but functionality ensures these pieces live beyond the runway. We use modern silhouettes, versatile cuts, and premium fabrics so each garment becomes not only a statement but also wearable art for everyday life.
On fashion’s role in culture
Hatsibana. (Supplied)
This season we highlight inclusivity by showcasing diverse female identities through silhouettes inspired by the Caucasus. Sustainability is reflected in limited, handcrafted production — we create fewer but more meaningful pieces. Cultural awareness remains our DNA: every detail celebrates and reinterprets North Caucasian traditions for a global audience.
On Hatsibana’s Moscow Fashion Week collection
This collection tells the story of the resilience and elegance of both women-warriors and dreamers. Through traditional embroidery reimagined in contemporary couture, we narrate how heritage can empower women today and inspire them to embrace their roots while walking confidently into the future. The main inspiration was the strength and grace of women from my homeland. The collection was also influenced by the painting “Amazonka” by Ruslan Shameev, which symbolizes female independence and inner fire. I hope the audience feels this energy and connects emotionally — seeing not just garments, but a living story about identity, power, and beauty.
From Saudi Arabia to Uzbekistan — the travelling musalla
The winner of the Islamic Arts Biennale’s AlMusalla Prize on display in Bukhara
Updated 18 September 2025
Jasmine Bager
BUKHARA, UZBEKISTAN: A piece of Jeddah landed in the Uzbek city of Bukhara this month.
As part of the inaugural Bukhara Biennial, the Bukhara Archive welcomed the winning design of the inaugural AlMusalla Prize, first unveiled at the Islamic Arts Biennale in Jeddah in January.
The prize — for the design of a multi-faith space for prayer and contemplation — was awarded to the UAE- and Lebanon-based EAST Architecture Studio, engineering firm AKT II, and artist Rayyane Tabet for their design, “On Weaving,” which was constructed almost entirely from reused palm tree waste.
AlMusalla at the Bukhara Biennial. (Photo by Sara Saad, Courtesy Diriyah Biennale Foundation)
The design was conceived as a traveling pavilion, and its relocation from Jeddah to Bukhara reflects shared legacies — Jeddah as a gateway for pilgrims, Bukhara as a Silk Road hub.
“We designed it for deconstruction, to be able to be taken apart, to be able to be rebuilt. Because what we didn’t want was to save this waste only for it to go back into the landfill or be burned,” AKT II’s Christopher Blust told Arab News.
“(The musalla was) a structure that really followed nomadic cultures — very much present in the Gulf, and in Saudi Arabia in particular,” said Nicolas Fayad of EAST Architecture. “Unlike mosques, which are very much static, there was this idea of transience, which manifests very well in its presence at the Bukhara Biennial.
AlMusalla at the Bukhara Biennial. (Photo by Sara Saad, Courtesy Diriyah Biennale Foundation)
“I am someone who is very much in touch with that otherness — that layer that essentially protects us as individuals,” Fayad continued. “(This) is a project that speaks a lot to this otherness but also to the idea of spirituality and the dialogue that exists (within) the human being as an individual, but also what emerges in terms of spirituality when you are experiencing it as a group, as well. So, there’s this very interesting dialogue between plurality and individuality which manifests in this structure.”
Blust said the building process for “On Weaving” caused “some sleepless nights” — not just because of the tight deadline between being told their design had won and actually having to exhibit it at the Islamic Arts Biennale, but because, he claims, it is “a world first” in terms of creating a building from date palm waste.
“It’s an immense opportunity to educate others about what you can do with materials,” he said. “We built something out of waste — or what people think is waste. Everyone you tell the story (of how it was made) just (finds it) jaw-dropping. So what I’d like everyone to think about is: What other waste is out there that’s not truly waste? We just need to find a way of repurposing.”
“There’s always that element of surprise, which is very gratifying to see,” Fayad agreed. “Here in Bukhara, it feels that this pavilion is in direct conversation not only with the context but with the culture. Having walked very briefly in the old town, having looked at this weaving, craft and process on the streets and then looking back at the musalla here… really this conversation that exists not only in the material but also in the colors, in the proportions of the building and how it references, somehow, the proportions that are found elsewhere, almost makes you feel as if this pavilion has always existed here.”
Both men are excited to see where their project heads next.
“We know that the third chapter is coming, we don’t know where yet, but it is going to exist somewhere else after (this),” Fayad said. “Honestly, it’s the most beautiful thing to see this place inhabited. It gives it this intangible layer of making this space lived in and experienced; it almost makes it shine. This is not something the architect is in control of. It’s really the visitors.”
“And people come into this space not knowing the story,” added Blust.” Once they understand the full narrative and the (ideas) and the sustainability — even the economic justification behind it — I think it’s a jaw-dropping moment. We’re hoping to change people’s minds when it comes to culture, when it comes to waste, when it comes to looking at what is sustainable.”
Review: ‘Together for Palestine’ concert a moving night of music and solidarity
Artists, activists gather to support Palestinians facing Israeli assault
Hope to boost support like AIDS, Mandela concerts, says Brian Eno
Updated 18 September 2025
GABRIELE MALVISI
LONDON: British artist Brian Eno and company delivered a profoundly moving, and perhaps historic, night of music and solidarity for Palestine on Wednesday at London’s Wembley Arena.
The star-studded lineup of 20 artists for “Together for Palestine” achieved what many have failed to do: reignite a sense of humanity that has seemed dim after nearly two years of the Israeli regime’s arguably genocidal war on Gaza.
Guest speaks onstage during the Together For Palestine concert at Wembley Arena. (Getty Images)
International talents including Jamie XX, Faraj Suleiman, James Blake, Gorillaz, Saint Levante, the London Arab Orchestra and Damon Albarn accompanied by the Juzour Dance Collective, shared the stage with Hollywood stars, poets, activists, journalists, athletes, and medics.
There were inevitable comparisons with landmark events including the 1992 “A Concert for AIDS Awareness,” and the 1988 “Nelson Mandela 70th Birthday Tribute,” which took place while the South African leader was still imprisoned and branded a terrorist by several Western governments.
Eno himself said he hopes the event would have the same galvanizing effect.
The concert was a powerful testament to the strength of non-violent resistance in an era where brute force is deployed in the name of the few and language is increasingly weaponized to sow division and discord.
The concert closed with a poignant performance by Palestinian-Chilean artist Elyanna. Accompanied by her brother on the piano, she sang a song composed by their mother, encapsulating the sense of unity and resilience that few events in recent memory have managed to convey.
At a time when silence can be a sign of complicity with oppression and subjugation, “Together for Palestine” symbolized humanity’s civic duty and moral imperative to speak out.
Ultimately, the show was far more than a fundraiser — it was a resounding call for unity and dignity in the face of injustice.
