Historical attire, British fashion reign supreme at King Charles III’s coronation as Arab royals shine

King Charles III and Queen Consort Camilla (far left), Princess of Wales Kate Middleton (center) and Queen Rania of Jordan showed off a mix of historic and modern attire at the coronation. (Getty Images/ composite)
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Updated 11 May 2023
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Historical attire, British fashion reign supreme at King Charles III’s coronation as Arab royals shine

  • Queen Camilla wore white, floor-length ensemble with gold embroidery by Bruce Oldfield
  • Jordan’s Queen Rania attended coronation in yellow pencil dress by Tamara Ralph
  • Qatar's Sheikha Jawaher bint Hamad bin Suhaim Al-Thani wore Dior

DUBAI: As the coronation of King Charles III got underway in the UK,  viewers around the world were firmly focused on the pageantry as well as the fashion.

As historic coronation attire — such as crimson robes, ermine capes, and fur-trimmed red-velvet cornets — filled Westminster Abbey in London, the UK’s royal family championed British designers while Arab royals also put on a show.

King Charles arrived at Westminster Abbey in royal ermine over George VI’s crimson Robe of State - conserved by royal restorers  Ede & Ravenscroft and the Royal School of Needlework - and changed into George VI’s purple Robe of Estate to leave the Abbey.




During the crowning ceremony, King Charles was given a shimmering gold-sleeved coat to wear called the Supertunica that was created for George V in 1911 and has been worn at coronations, including by the Queen Elizabeth II. (Getty Images)

During the crowning ceremony, he was given a shimmering gold-sleeved coat to wear called the Supertunica that was created for George V in 1911 and has been worn at coronations, including by the Queen Elizabeth II. The 2kg garment is made of cloth of gold — silk thread wrapped in thin pieces of gold or silver gilt metal — with Arabesque and floral motifs.

On top of the Supertunica, the king wore a floor-length cloak called the Imperial Mantle, which was made in 1821.

Made of cloth of gold, it is embellished with fleur-de-lis, imperial eagles, and national floral emblems of red-pink roses, blue thistles and green shamrocks. It is designed to symbolise the divine nature of kingship.

The king reused a sword belt from 1937 worn by his grandfather, also known as the Coronation Girdle. It is made of embroidered cloth of gold and boasts a gold buckle stamped with national emblems. The single coronation glove, also known as the Coronation Gauntlet, was placed on the king’s right hand in which he held the Sovereign’s Sceptre with Cross during the crowning.

The garments are usually kept in the Tower of London.

The historic St Edward’s Crown was then placed on King Charles III’s head — it was worn for less than one hour before being stored away again in the Tower of London.

Made of 22-carat gold, the 360-year-old crown is more than 30cm tall and weighs just over 2kg. The crown features a gold frame with double arches and is set with rubies, topaz, sapphires, and garnets.




The Imperial State Crown, made in 1937, was worn by the king after the ceremony as he made his way to Buckingham Palace. (Getty Images)

The Imperial State Crown, made in 1937, was worn by the king after the ceremony as he made his way to Buckingham Palace. It has gold framing instead of a fur trim and is mounted with three large stones, including the Cullinan II diamond, while the complementary stones include 2,868 diamonds that appear in silver mounts and colored stones that appear in gold mounts. In addition, 17 sapphires, 11 emeralds, and 269 pearls also feature on the crown.

For her part, Queen Consort Camilla was crowned with Queen Mary’s crown, which was worn by Queen Mary at the coronation of her husband, George V, in 1911 and consists of 2,200 diamonds and the Cullinan III, IV and V diamonds.




Queen Consort Camilla is wearing the coronation necklace made by Garrard for Queen Victoria and given to her in 1858. (Getty Images)

She also wore the coronation necklace made by Garrard for Queen Victoria and given to her in 1858.

It features 25 graduated brilliant diamonds with a 22.48 carat diamond pendant, known as the Lahore Diamond. The necklace was worn by several queen consorts: Queen Alexandra in 1902, Queen Mary in 1911 and Queen Elizabeth, later the Queen Mother, in 1937.




Queen Camilla is wearing a white, floor-length ensemble with gold embroidery designed by Bruce Oldfield, OBE, a British fashion designer best known for his couture occasionwear. (Getty Images)

The royal wore a white, floor-length ensemble with gold embroidery designed by Bruce Oldfield, OBE, a British fashion designer best known for his couture occasionwear. Not only has Oldfield maintained a close working relationship with Queen Camilla, but he also designed looks for the late Princess Diana while she was married to then-Prince Charles.




Princess of Wales Kate Middleton arrived at Westminster Abbey wearing a formal robe and mantel – reportedly at the request of King Charles and Queen Camilla – worn over an Alexander McQueen dress in ivory silk crepe with silver bullion and thread work embroidery, featuring rose, thistle, daffodil and shamrock motifs. (AFP)

Meanwhile, Princess of Wales Kate Middleton arrived at Westminster Abbey wearing a formal robe and mantel – reportedly at the request of King Charles and Queen Camilla – worn over an Alexander McQueen dress in ivory silk crepe with silver bullion and thread work embroidery, featuring rose, thistle, daffodil and shamrock motifs. The fashion label’s creative director Sarah Burton also designed her wedding gown in 2011. 

The Princess of Wales was also wearing a glittering floral headpiece, not a tiara. 

The head topper is a Jess Collet x Alexander McQueen creation and consisted of shimmering silver bullion, crystal, and silver thread leaf embroidery. 

Adding to the stunning jewellery were pearl and diamond earrings that belonged to her late mother-in-law, Princess Diana. She also wore the George VI Festoon Necklace, a piece made in 1950 at the request of King George VI for his daughter Princess Elizabeth (later Queen Elizabeth II).




Prince William, seen beside Princess Kate, wore formal robes and mantels over the ceremonial dress uniform of the Welsh Guards, again at the request of King Charles and Queen Camilla. (AFP)

Prince William, seen beside Princess Kate, wore formal robes and mantels over the ceremonial dress uniform of the Welsh Guards, again at the request of King Charles and Queen Camilla. 




Prince Harry, the Duke of Sussex, on the other hand, wore a black three-piece set of tails and military medals on his chest. (AFP)

Prince Harry, the Duke of Sussex, on the other hand, wore a black three-piece set of tails and military medals on his chest, and had no formal role at the event. 




Queen Rania attended the coronation in a cream-colored pencil dress. (Getty Images)

Jordan’s Queen Rania attended the coronation in a custom-made pastel lemon yellow silk crepe pencil dress by Australian designer Tamara Ralph with a bow-like design around her shoulders and sheer sleeves. She wore a matching hat, in line with the day’s eschewing of tiaras, the Knot Intrecciato Leather Clutch by Italian luxury label Bottega Veneta and Jimmy Choo Romy Pumps in white. 




Princess Lalla Meryem of Morocco arrived wearing a lilac-colored traditional dress with a white cape wrapped around her shoulders. (Getty Images)

Princess Lalla Meryem of Morocco — the daughter of the late King Hassan II  — arrived wearing a lilac-colored traditional dress with a white cape wrapped around her shoulders. She accessorized her look with glitzy pear-shaped earrings. 




Qatari royal Sheikha Jawaher bint Hamad bin Suhaim Al-Thani wore a grey heavily embroidered long-sleeved gown. (Getty Images)

Qatari royal Sheikha Jawaher bint Hamad bin Suhaim Al-Thani, the wife and consort of the Emir of Qatar Tamim bin Hamad Al-Thani, was also in attendance. She wore a grey heavily embroidered long-sleeved gown from Dior’s Fall/Winter 2022 Couture collection and an off-white floor-length cape.




US singer Katy Perry, who will perform at the coronation concert in Windsor on Sunday, was dressed in a fitted lilac short-sleeved skirt suit by British label Vivienne Westwood with matching opera gloves and statement hat. (AFP)

Among the celebrity guests were actress Emma Thompson in an Emilia Wickstead red coat adorned with rose designs and US singer Katy Perry, who will perform at the coronation concert in Windsor on Sunday, dressed in a fitted lilac short-sleeved skirt suit by British label Vivienne Westwood with matching opera gloves and statement hat.

Veteran actresses Maggie Smith and Judi Dench, who has portrayed both Queen Elizabeth I and Queen Victoria on screen, chose different shades of blue, while US singer Lionel Richie opted for Esclot London attire.


Huda Beauty supports Palestine with Saint Levant collab

Updated 37 sec ago
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Huda Beauty supports Palestine with Saint Levant collab

DUBAI: Huda Kattan, the US-Iraqi founder of Huda Beauty, this week launched a new collaboration with US-based Palestinian singer Saint Levant to support Palestine.

The partnership introduces a new shade of the brand’s popular Faux Filler Lip Oil, with proceeds going to organizations that support Palestinian agriculture and cultural preservation.

Named “Kalamantina,” the shade references Saint Levant’s song of the same name, released earlier this year. The lip oil also features a clementine scent.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

“This is for the homeland,” Kattan wrote on the brand’s Instagram page, alongside orange and Palestinian flag emojis. “In honor of this collaboration, Huda Beauty will make a donation to organizations supporting Palestinian agriculture and cultural preservation.”

Both Kattan and Saint Levant, born Marwan Abdelhamid in Jerusalem, have been hinting at this week’s launch through a series of Instagram posts.

In the clips, they danced to Saint Levant’s track “Kalamantina” and posed together next to a vintage car filled with clementines. In another shot, they held clementines labeled with fruit stickers that read, “Grown by Huda n’ Saint Levant.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

In the video, the music sensation wore a necklace featuring a map of Palestine, paired with a white tank top and denim jeans.

Meanwhile, Kattan appeared in a white off-the-shoulder lace dress with long, flared sleeves and a fitted silhouette. She completed the look with silver hoop earrings, oversized white sunglasses and a white headscarf, a nostalgic, vintage-inspired ensemble that matched the retro car and clementine-filled set.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Huda (@huda)

Both Saint Levant and Kattan have been outspoken in their support for Palestine and have used their platforms to raise awareness about the war in Gaza.

Saint Levant, whose mother is French Algerian and father is Palestinian Serbian, performed at the Coachella Valley Music and Arts Festival in California in 2024. During his set, he addressed the war, saying: “Coachella, my name is Saint Levant and I was born in Jerusalem and raised in Gaza … as I hope all of you are aware, the people of Gaza have been undergoing a brutal, brutal genocide. And the people of Palestine have been undergoing a brutal occupation for the past 75 years.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by HUDA BEAUTY (@hudabeauty)

Kattan, meanwhile, has regularly shared footage and updates from Gaza on her social media accounts to amplify awareness. In 2023, she announced a $1 million donation to two humanitarian organizations working in the region: Human Appeal and Doctors Without Borders.


Taste of exile: Beloved Afghan street food disappears from Pakistani cities amid deportation drive

Updated 19 July 2025
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Taste of exile: Beloved Afghan street food disappears from Pakistani cities amid deportation drive

  • Vendors, recipes and memories vanish as nearly a million Afghans forced to leave Pakistan
  • In Islamabad and Karachi, Pakistani customers say flavor are fading and so is a shared culture

ISLAMABAD/KARACHI: In a bustling corner of Islamabad’s F-10 Markaz, the scent of sizzling oil and green chili chutney once signaled the presence of Afghan street food.

Today, the aroma is gone and so are the stalls that created it — the hum of grills and laughter and life.

“There used to be a few [Afghan fries stalls] around my neighborhood and then one morning, they just upped and left,” said Hamza Nofil, 28, who used to daily have the crinkle-cut, ridged, and golden chips, always served with the signature green chutney.

“So, you know, it breaks my heart.”

This combination of photos shows two Afghan-run food stalls in Islamabad. (AN Photo)

The heartbreak is shared by many in Pakistan’s urban centers where those fries, and the people who served them, were part of a larger story — of exile, adaptation and community — that is now vanishing as a result of a sweeping deportation drive targeting Afghan nationals.

Since November 2023, Pakistan has expelled nearly one million Afghans as part of a crackdown on undocumented foreigners. The government has also not renewed Proof of Registration (PoR) cards for 1.4 million Afghan refugees, allowing their legal stay to lapse in June 2024.

While the policy has drawn criticism from rights groups and international powers, it is the quieter losses, of flavor, memory, and a sense of belonging, that now echo through city markets and street corners.

Among the casualties are the street food stalls, modest, smoky kitchens on wheels, where generations of Afghan refugees introduced Pakistanis to flavors from across the border: the fries dunked in secret chutney, paratha-wrapped burgers and mounds of Kabuli Pulao rice heaped with raisins, nuts and slow-cooked beef.

Shahid Ali, 22, a Pakistani vendor in F-10, said he remembered when there were six or seven Afghan fries stalls in the area, as well as those selling Afghan burgers wraps packed with shredded chicken or kebab, slathered with sauces and served in paratha.

“You won’t see any Afghans around here because the government sent them back to Afghanistan,” Ali said.

As Afghan families depart, Pakistani vendors have tried to mimic the recipes but something vital has been lost.

“We are missing them [Afghan food stalls],” said Iqra, 29, a banker who only gave her first name. “I will definitely miss them, especially their green chutney. I loved that.”

“A WORLD IS GOING”

In Karachi’s Al-Asif Square, nicknamed “Small Kabul” for its long-settled Afghan community, the losses are not just culinary. They are existential.

“The craftsmen are going, the shopkeepers are leaving,” said Sayed Abdul Wali, a 27-year-old shopkeeper. “A world is going to Afghanistan.”

This combination of photos shows Afghan dresses in Karachi. (AN Photo)

Abdul Kabir, a Pakistani who sells traditional Afghan naan flatbreads, said demand had plummeted.

“Where once three sacks of flour would be used, now we only use one,” he said. “Even the morning batch is still lying here.”

Anthropologist Saeed Husain warned of cultural erasure, saying more than flavor was being lost. He described Afghan food culture as a form of lived knowledge, passed down from generation to generation, evolving with each retelling.

“All these traditions will be lost,” Husain said. “And then we’ll just have copies, really cheap copies… all of that will be lost too now.”

Afghans began arriving in Pakistan in large numbers after the Soviet invasion of 1979, with successive waves fleeing war, drought, and political instability. In urban Pakistan, cities like Karachi and Islamabad, they became traders, laborers, mechanics, and cooks, helping build the very urban fabric from which they are now being erased.

This combination of photos shows populare Afghan Boti (left) and Kabuli Pulao (right) in Karachi. (AN Photo)

“Pakistan is a country founded in 1947 and made by refugees,” said Dr. Sanaa Alimia, author of Refugee Cities: How Afghans Changed Urban Pakistan.

The professor said Afghans were deeply woven into the economic and cultural fabric of urban centers and played a foundational role in shaping the cities of Pakistan, building homes, laying roads, running businesses — and serving food.

“There are many examples, from agricultural production and farming techniques, to mechanics, to doctors… artists, tandoor wallas, and so much more,” Dr. Alimai said.

But she cautioned against reducing the worth of Afghans to their economic value.

“Human and political rights are about protecting and valuing people irrespective of if they contribute to the economy or not.”

Back in Karachi, Mohsin, a local customer, feared not just the loss of food but of taste, tradition, and togetherness.

“If our Afghan brothers leave,” he said, “then perhaps the taste and flavor will leave too.”


Spotify names Pakistani artist Afusic to Radar program 

Updated 18 July 2025
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Spotify names Pakistani artist Afusic to Radar program 

  • Breakout single ‘Pal Pal’ tops 64 million streams as artist’s listenership surges
  • Spotify says Afusic’s audience has grown over 1,200 percent since April 2025

ISLAMABAD: Spotify has named rising Pakistani musician Afusic as its featured artist for the third quarter of 2025 under its global Radar program, spotlighting the viral star’s rapid ascent in the country’s evolving music scene.

Afusic — the stage name of Affan Khan — gained widespread recognition this year after his single “Pal Pal” went viral on the platform, amassing over 64 million streams. The song’s success has placed him among a new wave of artists reshaping Pakistan’s independent music landscape.

As the Pakistani music industry undergoes a digital transformation, platforms like Spotify have played a key role in spotlighting emerging talent and connecting local voices with global audiences.

“Spotify’s Radar Pakistan returns this quarter, spotlighting Afusic as its latest featured artist,” Pakistani agency Asiatic Public Relations said in a statement on Friday. “This milestone marks a significant moment in his rapidly rising career with his viral track ‘Pal Pal’ being featured on the Radar Pakistan playlist.”

According to Spotify data shared by the agency, Afusic’s audience has surged by more than 1,200 percent since April 2025, with his music landing on nearly 270,000 playlists globally.

Streams have spiked over 440,000 percent since the song debuted in the platform’s Fresh Finds Pakistan playlist in February.

“In the past 28 days alone, the demographic breakdown of his global audience reveals a strong connection with younger listeners — 60 percent male and 40 percent female — led by the 18–24 age group, followed closely by 25–34-year-olds,” the statement said.

Afusic called the Radar selection a “huge moment.”

“Radar is an incredible platform that shines a light on independent artists and helps us reach new audiences, while also giving fans a chance to connect with who we are beyond the music,” he said. “I’m truly grateful for the support Spotify has shown me — watching ‘Pal Pal’ grow from Fresh Finds to Hot Hits Pakistan shows just how powerful this journey can be.”

Afusic joins past Radar Pakistan alumni including Hasan Raheem, Taha G, Shae Gill, and Rovalio, all of whom have gained both domestic and international acclaim in recent years.


Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war

Updated 18 July 2025
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Massive Attack, Brian Eno launch syndicate to defend artists criticizing Gaza war

  • Artists accuse pro-Israel groups of censorship, harassment
  • UK Lawyers for Israel wants to cancel careers, artists argue

DUBAI: British band Massive Attack, British singer and songwriter Brian Eno, Irish post-punk band Fontaines DC and hip-hop trio Kneecap have launched a syndicate to defend artists criticizing Israel’s alleged genocidal war on Gaza.

The group says these artists have been targeted by “aggressive, vexatious campaigns” orchestrated by pro-Israel groups.

In a statement shared on Instagram on Thursday, the musicians expressed concern for emerging artists who they believe are at risk of being “threatened into silence or career cancellation” by groups such as UK Lawyers for Israel.

“We’re aware of the scale of aggressive, vexatious campaigns operated by UKLFI and of multiple individual incidences of intimidation within the music industry itself, designed solely to censor and silence artists from speaking their hearts and minds,” the statement said.

“Having withstood these campaigns of attempted censorship, we won’t stand by and allow other artists — particularly those at earlier stages of their careers or in other positions of professional vulnerability — to be threatened into silence or career cancellation.”

The syndicate was announced amid mounting tensions involving the UKLFI.

The group filed a police report against Bob Vylan after the band chanted “death to the IDF (Israel Defense Forces)” during their Glastonbury set, an incident now under police investigation.

The UKLFI also filed a complaint with the BBC for broadcasting the performance, and several of the band’s upcoming shows have since been cancelled.

Mo Chara of Kneecap was also referred to authorities by the UKLFI and later charged with a terrorism offence, accused of displaying a Hezbollah flag during a live performance.

Following the report, Kneecap had several concerts cancelled.


The best TV shows of the year so far 

Updated 18 July 2025
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The best TV shows of the year so far 

  • Need a summertime streaming binge? Here’s what you should have seen so far in 2025 

‘Adolescence’ 

This harrowing drama, created by actor Stephen Graham (who also stars) and writer Jack Thorne and directed by Philip Barantini, will surely clean up at the next round of major awards. The story of 13-year-old Jamie Miller, accused of the murder of a schoolmate, and his family was practically flawless in every aspect, from the excellent ensemble cast (including breakout star Owen Cooper, who plays Jamie) to the extraordinary technical skill (each of its four episodes was shot in a single take). “The balletic production processes that must have been involved are simply staggering, but they suck the audience in and refuse to let them go, demanding we share in every uncomfortable second,” our reviewer wrote. “‘Adolescence’ may be one of the most upsetting shows released this year — at times, it’s excruciating — but it is also a remarkable work of art.” 

‘Severance’ S2 

The wonderfully weird world of Apple’s sci-fi comedy-drama was expanded far beyond the walls of the Lumon offices in season two, as Mark S (Adam Scott) and his team of data refiners dealt with the fallout from their successful, if brief, escape from their ‘severed’ floor — where work and out-of-work memories and personalities are controlled and delineated by a chip embedded in their brains — and alert the outside world to the cruelties of their working conditions. Season two had that same blend of surreal silliness and nightmarish anxiety that made the show so popular — as our reviewer said: “Creator Dan Erickson and director Ben Stiller waste no time in rediscovering the subtle blend of tangible oddness and sinister dystopian creepiness that made the first season such an uncomfortable joy.” “Severance” remains smart, thought-provoking, entertaining, and utterly absorbing. 

‘Mo’ S2 

The second season of Mo Amer’s semi-autobiographical comedy drama — in which he plays Mo Najjar, a Kuwait-born Palestinian refugee living in Houston, Texas, with his mother Yusra (the superb Farah Bsieso), and his older brother Sameer (Omar Elba), who’ve been waiting more than two decades to have their asylum case heard — proved that the success of season one was no fluke. Amer, our reviewer wrote, continued to explore “incredibly complex and divisive topics — family, religion, imbalance of power, exile, mental health, parenthood, multiculturalism and much more — with an artful lightness of touch, without ever taking them lightly.” The finale — in which the family finally head to Palestine for the first time in more than 20 years — was a triumph of storytelling.  

‘Black Mirror’ S7 

Charlie Brooker’s near-future-set sci-fi anthology series — which has, since its inception, proven frighteningly prophetic — continued to explore familiar themes in its seventh season, most especially the terrifying potential technology has to reshape our existence. But it did so with a slightly softer touch that suggests Brooker’s cynicism is mellowing just a little — and it was the richer for it. It doesn’t hurt that some fine actors continue to line up to feature in the show — this season saw Rashida Jones, Awkwafina, Peter Capaldi, Paul Giamatti, Emma Corrin, Issa Rae, Patsy Ferran and many more on the roster. And, of course, there was that sequel — the first in the show’s history — to a “Black Mirror” classic: season four’s “USS Callister.” 

‘Andor’ S2 

It seems a shame that what was by far the strongest of the many TV spinoffs from “Star Wars” was just two seasons long, but maybe that limitation was the reason why it was the strongest: it cut out the indulgent exposition. We already knew what was coming — at least, if you’d seen “Rogue One” you did, and if you hadn’t seen it then why on earth were you watching a “Star Wars” spinoff? Its story of a population rising up against the erosion of their rights was both convincing and timely. “With ‘Andor,’ (creator Tony) Gilroy and (star Diego) Luna have truly set the gold standard for what future “Star Wars” can be,” our reviewer wrote. “Not just a space opera, but real stories of transformation and beauty.” 

‘The Studio’ 

Apple’s star-studded comedy about a newly appointed Hollywood studio head (Matt Remick, played by Seth Grogan), who believes himself to be a supporter of great art, but quickly discovers that he’ll have to park his principles and chase the money, was as sharp a satire as you could wish to see. “Even though “The Studio” is a TV show about the movie business, it still manages to skewer both industries,” our reviewer wrote. “At every turn, Remick is confronted by the inherent silliness of the movie business, and we get to watch it in a series of episodic, bingeable installments, each bursting with cameos and a satirical swipe at everything from celebrity culture to pretentious auteurs.”