As Tim Hortons draws crowds in Lahore, economist says cannot compare economy with purchasing power

People stand in a queue outside Tim Hortons Cafe and Bake Shop in Lahore on February 18, 2023. (AN Photo)
Short Url
Updated 19 February 2023
Follow

As Tim Hortons draws crowds in Lahore, economist says cannot compare economy with purchasing power

  • Tim Hortons witnessed record-breaking sales on the opening day of its outlet in Lahore on February 11, says head of operations
  • Economist says despite social media criticism, the move brings foreign direct investment to the South Asian country

LAHORE: As Tim Hortons, an international coffeehouse, continues to draw large crowds in Pakistan’s culinary hub of Lahore, an economist says one cannot draw comparisons between the economy and people’s purchasing power because “it is always a question of macroeconomics.”

On February 11, Pakistan opened its doors to Canadian multinational coffeehouse and restaurant chain Tim Hortons, which made the highest single-day sales for any outlet of the global franchise in the world.

“We made a global record. We reached up to the highest number in 61 years [in the history of Tim Hortons]. The international team was also here. They were tracking the transactions and everything,” Adnan Bhatti, head of operations at Tim Hortons Lahore, told Arab News on Saturday.

Bhatti didn’t reveal the exact number due to international restrictions. However, he said the outlet opened at 7:30am on the opening day and closed around 11pm. Even then, Bhatti said, people were standing inside but Tim Hortons had to pull the shutters down due to government restrictions.

“We dealt with over 13,000 guests on the opening day. The queues you saw outside the outlet were totally fair. Even now, as we talk, 60-65 people are standing in the queue,” added Bhatti.

Pictures of coffee enthusiasts forming long queues outside the restaurant have since gone viral on the Internet, with netizens pointing out how the sight was in stark contrast with the current economic meltdown in the country, with inflation going through the roof, local currency depreciating by the day, and the foreign exchange reserves falling to critically low levels.

But Pakistani Neuro-Economist Dr. Abdul Jabbar Khan said the opening of Tim Hortons was a “positive” development, while the customers shared the public was “richer” than the government and “curious” to try a cup of the much-hyped beverage because of its international appeal.

“[The opening of the outlet in Pakistan shows we are getting] foreign direct investment through locals, through Pakistanis, or through overseas investors. It’s a positive sign and I appreciate it,” Khan told Arab News on Saturday.

“We cannot just [draw] comparisons of poverty or the economic proposition in Pakistan [with people’s purchasing power]. It is always a question of macroeconomics. People of Lahore are a different proposition altogether across Pakistan. They love food, they love eateries.” 

The economist said the need of the hour in Pakistan is to control the government expenditures, which the authorities have only attempted “in theory.”

While inflation was not a choice, treating oneself to a cup of coffee certainly was, Mahnoor Shakir, 36, told Arab News, standing in a queue outside Tim Hortons in Lahore.

“I don’t find anything wrong with spending Rs400-Rs500 ($1.92) on myself. Especially, when you are getting something of international standard and quality, from an international chain instead of something over-priced that too is local,” she said.

“International chains coming to Pakistan and sustaining will only help grow our economy, our business stream.”

Aside from a variety of coffee, the newly opened outlet in Pakistan is also serving sandwiches, donuts and baked items.

Customers say the prices of coffee are pretty reasonable and are even less when compared with other known coffee houses in the city.

“It’s priced accordingly so that it is affordable for everyone,” 20-year-old Hadi Ali, who was waiting to get donuts for his mother, told Arab News.

“My mother likes the brand; she has tried it abroad. They [the public] see it’s an international brand so everyone has come out to try it. If it would have been a local brand, there wouldn’t be long queues like this.”

Asad Sheikh, chief operating officer of Lahore’s online food community ‘Foodies ‘R Us,’ said they didn’t expect the turnout to be this huge.

“It’s the number of transactions in one [opening] day which have broken the world record,” he said. “It’s been eight days since the launch, but the queue is as long as it was on the opening day.”

Mohammad Akmal, 60, who came to Lahore from London for a few days, was also standing in the queue with his son to taste the coffee.

“The quality is good. It’s an international brand. My children like it. People are curious, they haven’t tried it or been abroad ever. For them, it’s the brand,” Akmal said.

Noman Naseer, 48, said the people in Pakistan are richer than the government.

“People are enjoying the new brand launched in Pakistan. People are coming and standing in long queues for just a coffee, fries, etc. It’s Pakistan’s culture that if someone is going somewhere, others follow suit whether they like it or not,” he said.

“You will mostly spot people from the upper class [here]. It can be for everyone, but I don’t think so, considering the rising inflation in the country.” 

Tim Hortons is expected to open 80 outlets in Pakistan over the next 10 years, according to Sheikh, who said two more branches of the coffeehouse are ready to be opened in Lahore’s Gulberg alone. This will be followed by one in Islamabad and another in Karachi, he added.

Sheikh also believed that the opening of Tim Hortons would benefit the economy.

“The economy works when the money is circulating. This is the circulation of money,” he said. “It’s providing employment and work opportunities to various vendors.”


The story behind Saudi artist Alia Ahmad’s alluring abstracts

Alia Ahmad's 'Alwasm' at the Diriyah Contemporary Art Biennale in Riyadh. (Supplied)
Updated 16 May 2024
Follow

The story behind Saudi artist Alia Ahmad’s alluring abstracts

  • Ahmad is garnering international attention, with two solo exhibitions in Europe  

RIYADH: Hanging at the Diriyah Contemporary Art Biennale in Riyadh is a large canvas titled “Alwasm,” a 2023 painting by Saudi artist Alia Ahmad. It’s an instant showstopper. Guests on the opening night of the event, which runs until May 24, gathered around the painting, which was inspired by Wadi Hanifah in the Najd region of Riyadh, which is where the biennale is being staged. Commissioned for the event, the painting’s alluring warm tones and lively hues capture the titular period between October and December when the weather becomes cooler and there is respite from the arid desert heat.  

Ahmad is on a roll. Since graduating from London’s Royal College of Art with a Master’s in 2020, the 28-year-old Riyadh-based painter has staged several solo exhibitions in her home country and has increasingly garnered international attention for her abstract expressionist canvases that depict the natural and urban landscape of her home country. Ahmad says she considers paintings “social spaces” as well as “blueprints.” 

Alia Ahmad's 'Malga—The Place In Which We Gather,' which sold for $128,786 at auction this year. (Courtesy of Phillips)

“These paintings represent my version of the landscape,” Ahmad tells Arab News. “They include elements that may be references to birds or various color palettes that aren’t necessarily found in the landscape, but that represent how I view it. I’m addicted to incorporating my imagination.” 

The desert landscape, she stresses, “is not necessarily dry or empty. It has so much more.” And that is what she captures in the lush, lyrical brushstrokes of her abstract works, which are filled with references to local culture. “The traditional Arab bedouin dress is filled with color. As are the tents,” she says. “Women here have traditionally embellished their gowns. Where does this sense of vibrant creativity come from? The color and playfulness we imbue our traditional dress and items with comes from the landscape.” 

Ahmad recently staged her first solo exhibition in Europe. “Terhal Gheim (The Voyage of the Clouds)” runs at White Cube in Paris until May 18.  

On March 7 this year she sold her first work at auction at the Phillips 20th Century & Contemporary Art sale in London. Her painting “Malga — The Place in Which We Gather” sold for four times its estimate, bringing in a remarkable £101,600 (roughly SAR475,825). 

Ahmad's works on display in London's Albion Juene Gallery. (Gilbert McCarragher)

And on May 2, another solo exhibition — “Thought to Image” — opened in London at Albion Jeune. Running until June 12, the show presents Ahmad’s alluring abstract landscapes, inspired by the hues of traditional textiles created by Sadu weavers of Bedouin tribes and the Arabic calligraphic script known as khatt. 

“Much of my inspiration comes from textiles,” she explains. “At one point I was obsessed with buying pieces of fabric and making collages.”  

She also used to draw stick-figure cartoons as a child, she adds. Those amateur drawings were works in progress — an aspect Ahmad continues to enjoy in her practice. “I loved the idea of having a drawing in progress to then fill in the blanks of what the character might look like later,” she says.  

Ahmad’s paintings today are an amalgamation of various aspects of her homeland — its rich natural environment from the desert to the lush palm trees and other vegetation, local dress, jewelry and animals. She brings all of them together to depict in colorful abstract forms the richness of Saudi heritage, particularly that of her home region of Najd. 

Her works, as international gallerists and collectors have found, are rife with specific local details that connect in some way with people across the world, even if only by piquing their curiosity about a country that has only recently really opened up to visitors. 

Ultimately, Ahmad’s paintings serve as a unique reference point during a time of monumental social and economic change in the Kingdom, revealing and documenting a moment of both transformation and a desire to retain and promote Saudi’s rich heritage. 

Her imaginary landscapes also include flattened perspectives, nods to her previous training in digital graphics. They reflect the futuristic visages of the modern world coupled with the beauty of the undulating curves of the desert landscape and the colorful attributes of Arabian culture. 

Each painting takes the viewer on a voyage into a vibrant abstract world that echoes aspects of everyday reality. 

As Ahmad puts it: “They are all playful paintings and I make sure that each work and each show I stage retains that aspect of curiosity.” 


Recipes for Success: The St. Regis Red Sea Executive Sous Chef Skotarenko Artem on educating guests and experimentation 

Updated 16 May 2024
Follow

Recipes for Success: The St. Regis Red Sea Executive Sous Chef Skotarenko Artem on educating guests and experimentation 

JEDDAH: The newly-opened The St. Regis Red Sea is home to several restaurants, including Middle Eastern restaurant Nesma, Japanese establishment Gishiki 45, and Tilina — a “floating” restaurant that serves a degustation menu. The resort’s executive sous chef, Skotarenko Artem, from Russia, oversees a team of 75. 

“Discipline is one of the most important things in the kitchen. I can say it’s one of the pillars. But relationships in the kitchen should be based on respect. If you shout at your employees, you can make people scared, but they will never respect you for it,” Artem tells Arab News. “Shouting is a thing of the past in the kitchen.” 

The St. Regis Red Sea Resort’s Tilina offers a degustation menu for its visitors. (Supplied)

Tilina, he says, is a “unique concept for Saudi Arabia.” 

“The degustation menu takes two to three hours. Not everyone can sit for this time and wait for the dishes. So, we try to educate the guests,” he explains. 

When you started out what was the most common mistake you made?  

I guess trying to repeat the dishes of celebrity chefs that I found online, from other parts of the world. And I was really upset with the results because they were below my expectations. That was because of products and seasonality, because every country has different produce and you can’t expect to get the same results in another country. 

What’s your top tip for amateurs? 

Don’t be afraid to experiment. If you find a nice recipe and you want to follow it, most likely you won’t have all the ingredients available at home. So use your imagination and, like this, you can achieve a great result. 

What one ingredient can instantly improve any dish?  

Doesn’t matter where you’re cooking — it can be a restaurant or at home — love is the most important. 

What’s the most common mistake that you find in other restaurants? 

I’m actually not very picky when I go out. But, for me, the most common issue is seasoning. It’s very easy to spoil a dish if you have poor seasoning; it becomes flat and, actually, it is dead. 

What’s your favorite cuisine?  

When I go out, I’m always looking for something unusual and interesting that I’m not familiar with. It helps to keep your mind open. 

What’s your go-to dish if you have to cook something quickly at home?  

I don’t actually cook at home very often. But I’ll always have fresh bread in and a piece of good quality cheese. Along with them, I have all these different kinds of preserves and pickled vegetables. So, if I have to do something quick at home, I’d make a nice Cuban-style sandwich. 

What customer behavior most annoys you?  

Actually, there’s a long list. But what really annoys me is when guests leave the table without valid excuses when the dishes are ready to serve. Because then you need to remake the dish. It’s a disservice to all the other guests in the restaurant. 

What’s your favorite dish to cook?   

Where I’m from, it tends to get very cold. So, I love to make rich soups of all kinds. But they tend to take a lot of time and patience. 

What’s the most difficult dish for you to get right?  

Actually, I’m really flexible and adaptable. For me, everything is possible if you’re focused and committed to it. 

RECIPE 
Chef Skotarenko’s cured mackerel, salted laminaria, and dill kefir sauce 

INGREDIENTS 

For the brine: 1L water; 80g sea salt; 30g brown sugar; 1 garlic clove; 10g dill; 30g sunflower oil (or your preferred flavor of oil); 2g black pepper; 2g bay leaves 

INSTRUCTIONS 

1. Place a whole mackerel (300-400g) in the brine and leave overnight. 

2. Place 500g fresh laminaria in a pot of cold water and bring to a boil. Strain the water and repeat the process three times. 

3. Wash the laminaria in cold water, sprinkle with 5g sea salt, and refrigerate overnight. 

4. Slice 500g fresh cucumber. Mix with 50g olive oil, a pinch of salt, and 20g apple cider vinegar. Refrigerate overnight. 

5. Mix 500g kefir (or laban if you prefer) with 30g lemon juice, 5g finely chopped garlic, 5g salt, and 2g white pepper. 

6. Bring a pot of salted water to a boil and add 500g dill. Remove after 10 seconds and place in ice-cold water. Blend the dill with 500g olive oil until smooth, then strain through a fine sieve. 

7. Plate all the ingredients separately and serve. 


Haifaa Al-Mansour hopes to show ‘fire and bravery’ of Saudi women in Nike campaign film

Updated 16 May 2024
Follow

Haifaa Al-Mansour hopes to show ‘fire and bravery’ of Saudi women in Nike campaign film

DUBAI: For Nike’s first Saudi campaign “What If You Can?” the US athletic brand collaborated with acclaimed Saudi filmmaker Haifaa Al-Mansour. 

Shot in Riyadh, the film aims to inspire young girls in the Kingdom to try sporting activities, and Al-Mansour brought a level of craft and authenticity deeply rooted in Saudi culture to the project, as she has done throughout her career. Her groundbreaking debut feature, 2012’s “Wadjda,” which premiered at the Venice Film Festival, was a love letter to the young girls of Saudi Arabia. 

“I really feel a responsibility to try and represent the world I grew up in as authentically as possible to audiences at home and abroad. I want to start conversations at home about issues that are important to us, while at the same time providing a window to our world to people who have never had access to it before,” Al-Mansour tells Arab News. 

“I think it is very important to make a film that shows international audiences what life is really like in Saudi Arabia, as there are very few opportunities for them to see it otherwise. Even with ‘Wadjda,’ I heard from a lot of foreign audiences that were surprised by how strong and sassy Saudi women actually are. There is this perception that we are weak and shy and afraid of the world, and that we are just victims, resigned to the limited, restrictive circumstances of our culture. It is so not true. Saudi women are so tough, feisty, funny, and way more savvy than most people realize. I hope this (Nike campaign) further captures the fire and bravery of women from my country. Telling their stories is the honor and privilege of my life.” 

Her work on the new campaign reminded Al-Mansour just how dramatic the changes in the Kingdom have been over the past decade. 

“It was incredibly difficult to make a film in 2011. People were still very hesitant to embrace any public form of artistic expression,” she says. “Film, especially, was seen as taboo, and the idea of opening theaters had become a red line that most of us thought would never be crossed. Of course, now everything is different. 

“For my first film I couldn’t work with the men in public, so I had to direct from a van,” she continues. “Being allowed to mix with my crew and be fully immersed in this production was amazing. It was also very exciting to have so many enthusiastic young Saudis working on the set. They are the future of the industry, and to see them giving their all was very special for me. We have a long way to go in building local expertise, but the enthusiasm is there. It’s an exciting time to be a Saudi filmmaker.” 

For Al-Mansour, the Nike ad campaign is a natural extension of her work as a filmmaker.   

 “It feels like a dream to shoot a commercial encouraging Saudi women to participate in sport, with an all-female cast, in Saudi Arabia. While I love working in the West, there is a much deeper sense of pride and emotion for me when taking on projects shot in KSA. I feel such a strong connection to this story and these issues, it is very emotional for me,” she says. 

Al-Mansour credits her parents for her creative spirit. “My father was a poet and philosopher who thought far beyond the borders of the tiny town he was from. And my mother is a free spirit. They never listened to people who criticized their way of life, and never limited opportunities for their children. It is incredibly brave to stand up for what you believe in, and neither of them ever backed down,” she says. 

As for her legacy, Al-Mansour hopes to “encourage women to always push boundaries and look for new opportunities. I want to make films that show people adjusting to change and struggling through it the way we all have to. It isn’t easy for anyone. If I hear that this project encouraged someone to go out and try a sport for the first time, not knowing if they would even be able to do it, that would be the most rewarding thing I can imagine.” 


Saudi Arabia’s Wadi AlFann Publications launches art books after Venice showcase

Updated 16 May 2024
Follow

Saudi Arabia’s Wadi AlFann Publications launches art books after Venice showcase

DUBAI: AlUla-based Wadi AlFann Publications has launched two books — Saudi artist Manal AlDowayan’s “Oasis of Stories” and US artist Mark Dion’s “The Desert Field Guide.” 

“Oasis of Stories” showcases drawings collected from AlDowayan’s participatory workshops with communities throughout AlUla, engaging over 700 Saudi women, leading up to her participation as the Kingdom’s representative at this year’s Venice Biennale.  

The artworks, which were also displayed at the biennale, portray various aspects of the women’s lives, reflecting the rich tapestry of their culture and identity. 

Saudi artist Manal AlDowayan. (Supplied)

Dion’s book assists “visitors and locals in unlocking the vast natural history of (AlUla) as well as its growing status as a cultural site,” he told Arab News.  

“The deserts of AlUla are places of astonishing beauty and uncanny life forms,” Dion added. “The guide playfully, and at times mischievously, places Wadi AlFann in a global context, while highlighting unique life forms visitors might encounter. I am really trying to encourage a sense of wonder by emphasizing that the more you know about the desert, the more marvelous it becomes.” 

AlDowayan and Dion hosted a panel discussion at the biennale last month and delved into their new launches, exploring how participation is fundamental to their practice as well as delivering insights on the desert. 

Wadi AlFann’s Venice showcase featured the first five artists commissioned for the upcoming ‘cultural destination’ — AlDowayan, Agnes Denes, Michael Heizer, Ahmed Mater and James Turrell. They are producing artworks for eponymous AlUla valley, covering an area of 65 square kilometers. The project is scheduled to open its doors to visitors in late 2026. 

AlDowayan told Arab News: “The most beautiful thing I have realized (at the Venice Biennale) … is the humanity we share and the language that we are trying to bring, about care, about climate change, and about preserving our languages and not really looking to the Western canon of how we are defined.” 


Christie’s to stage retrospective of Saudi artist Ahmed Mater in London

Updated 16 May 2024
Follow

Christie’s to stage retrospective of Saudi artist Ahmed Mater in London

DUBAI: Christie’s auction house has announced the first mid-career retrospective of Saudi artist Ahmed Mater.

The show, titled “Ahmed Mater: Chronicles” will take place at Christie’s headquarters in London, from July 17 – Aug. 22.

Curated by Dr. Ridha Moumni, Chairman, Christie’s Middle East and Africa, the exhibition will trace Ahmed Mater’s career and will include works across various mediums, including photography, videos, paintings, sculptures and installations. 

“It is especially poignant for me to exhibit in London almost 20 years after the first presentation of my work outside Saudi Arabia at the British Museum, in 2005. I am thrilled with the opportunity to reconnect with the city and its dynamic art community through this immersive and comprehensive exhibition of my practice,” the artist said in a released statement.

Moumni added: “His artistic responses to the swift transformations within Saudi Arabia’s complex social and cultural context invite us to discover fascinating narratives of an evolving land and reflect on its multifaceted identity.’”