The Next Chapter: Fashion Markets Across The Middle East Are Poised for Greatness

Heavy investment, youthful ambition and key industry players to steer them in the right direction – the region is undeniably destined for sartorial success

Fifty years ago, Dubai was desert, home to Bedouin tribes and a sleepy port. While the soon-to-be city was building its first skyscraper (World Trade Centre, then called Sheikh Rashid Tower, 1979) and opening its main highway (Sheikh Zayed Road, 1980) from which a sprawling metropolis would materialise, Diane von Furstenberg was fuelling New York’s discocentric fashion scene with her signature wrap dress.

In Paris, Yves Saint Laurent was disrupting the capital’s pristine couture codes by putting women in sharply tailored tuxedos and prêt-à-porter, while Giorgio Armani was making Milan home to relaxed elegance with his take on ‘unstructured’ suiting.

Over in the UK, an as-yet unknown John Galliano was working on his Central Saint Martins graduate collection, a seminal French Revolution inspired debut that he would later present during the first London Fashion Week in 1984. These cities had runways while parts of the UAE were still building roads.

Drawing modern comparisons and declaring Dubai as ‘the next fashion capital’ – a label some local media seems keen to push – is perhaps a little futile: the city and its ambitions are all about being the first, not the fifth. Instead of attempting to fast-track decades of history and experience by following in the footsteps of the ‘Big Four,’ Dubai and major fashion markets across the MENA (Middle East and North Africa) region have the potential to carve out a new way of doing things, to look inward at the colossal talent on offer close to home and curate platforms that best serves them.

What works in the West isn’t necessarily relevant or reflective of the varied infrastructures or medley of cultures that currently exist across the Arab world. There have been various attempts at regional fashion weeks since the mid-noughties (International Fashion Week Dubai, Middle East Fashion Week, Dubai Modest Fashion Week, Islamic Fashion Festival, Fashion Forward FFWD), most of which followed a traditional show model, some with more success than others. But ultimately what these events revealed was that without a healthy backbone – proper programming, guidance from experienced industry leaders and intelligent investment at a grassroots level in the education, growth and nurturing of design communities – they couldn’t gain the trust or support of the designers they intended to serve.

“Dubai has seen several independent attempts [at fashion weeks] which we feel in the past were more commercially driven as an event to entertain rather than to genuinely push the key objective for the brands showcasing,” says Shivang Dhruva, founder and director at FAD International Academy, a creative arts and fashion institution with outposts in India and Dubai. “It may take time but I think with a unified approach under Dubai Fashion Week (DFW) and with the integrated support of Dubai Design District (d3), the new model will garner attention and seriousness from media organisations and buyers.”

The Arab Fashion Council (AFC), founded by Italian-Lebanese entrepreneur Jacob Abrian, has made some of the most significant progress in creating a credible framework, hosting both men’s and women’s shows in Dubai since October 2015 as Arab Fashion Week (AFW) – now renamed DFW and co-founded by d3. “Everything has evolved,” says Jacob, “and with all the hard work that we have put in [over the years] I can be very proud and confident in saying that we have inspired the Arab countries around us. As Dubai’s population grows with people from all walks of life and backgrounds, we can expect the creative scene to continue to mature and expand.”

Since 2020, the AFC has partnered with La Fédération de la Haute Couture et de la Mode (FHCM), the governing body behind Paris Fashion Week, on an exchange programme of sorts that has afforded Arab designers a trunk show space in Paris, and French designers the same in Dubai. “With DFW we are building strategic long-term partnerships that amplify the platform’s reach and networks,” says Khadija Al Bastaki, senior vicepresident of d3. “The Government of Dubai’s commitment to fostering a resilient creative economy… is instrumental in demonstrating to international peers and industry figures that Dubai means business when it comes to creative sector growth.”

The original purpose of a fashion week was for retailers operating a wholesale model – such as multi-brand department stores – to see the collections with enough lead time for orders to be placed and fulfilled by designers before hitting the shop floor. As Dubai and other regional fashion weeks including Egypt Fashion Week (EFW) from 12th to 15th May, and Riyadh Fashion Week (RFW) from the 20th to 23rd October, currently operate later in the season, the subject of commercial viability remains a sticking point for designers already in a position to produce en masse.

“Maybe if DFW was before New York it would force regional designers who participate to be ready earlier and give buyers the opportunity to see the collections ahead of time,” says Dubai-based French-Algerian designer Faiza Bouguessa, who founded her namesake ready-to-wear brand in 2014. “Having it at the end of fashion month for main collections sort of guarantees that buyers will have zero budget left to spend.” Faiza “shifted schedules a long time ago,” choosing to present off-runway during Paris Fashion Week. “The AFC has done some great work though,” she reflects, “they’re becoming stronger, and the team is really pushing to achieve a higher standard every season.”

The Bouguessa brand is not alone in navigating the dilemma of where to invest its time and money – many regional labels have been motivated to present elsewhere or in multiple places, whether independently, with the backing of the AFC or via seasonal trunk shows hosted by regional PR agencies including Faux Consultancy and Maison Pyramide.

“The Middle East is going through a rearrangement of its fashion infrastructure and will continue to do so in the next decade,” says Rawan Maki, Bahraini designer and associate director of research and analysis at The Business of Fashion. “I think a variety of opportunities is a good thing and a regional designer must carefully examine the audience of any event – a fashion week, trade show or pop-up – that they put an investment behind. Brands can be part of the cultural conversation by finding the right platform for them and their target customer, regardless of which will be there in a few years time.”

Self-awareness and setting realistic goals are crucial for young creatives but so is a commission who understands the importance of learning to walk before they can run. “As a first edition we were not aiming to attract buyers at all,” says Susan Sabet, founding member of the Egyptian Fashion and Design Council (EFDC) and EFW. “Not many of our talented young designers are ready to commit to export and are still aiming to establish and grow their presence in the local market.” The inaugural EFW welcomed over 60 Egyptian brands and several guest speakers to lend some educational clout. “I believe the presence of regional and international fashion councils as well as industry leaders who shared their work and experience added a very important angle to EFW,” says Susan. “It’s important to show our designers what is happening in other markets to set a benchmark for development in the right direction,” she adds.

Mentorship programmes such as Fashion Trust Arabia, a brilliant Qatar-based non-profit initiative with hefty cash prizes for up-andcoming talent, represent a crucial and unifying piece of the puzzle for the region’s fractured fashion landscape. In the same way that London’s Fashion East helped to launch the careers of Kim Jones, Gareth Pugh and Jonathan Anderson, it’s hoped regional equivalents will do the same for aspiring homegrown talent.

“We always look for authenticity in a brand,” says Liane Wiggins, head of womenswear at global luxury e-tailer Matches, which is providing mentorship to FTA winners in the ready-to-wear, accessories and jewellery categories while also carrying their collections for a season. “Even a small concept can be developed into something amazing. It’s about talent and designers staying true to their brand DNA to provide a unique point of view.”

“Participating can be an invaluable learning experience that I intend on utilising to grow as a designer,” says young Egyptian hopeful Amina Galal, who is nominated for the Franca Sozzani Debut Talent Award at this year’s FTA. With her first collection, she sensitively and beautifully explores the divisive nature of deculturalisation with some serious silhouettes and layering of knitwear created in collaboration with Egyptian artisans. She frequently finds herself “showing people Arab designers and telling them about their work,” in response to the misconception that Middle Eastern fashion is limited to national dress or haute couture opulence. “We have a truly creative and vibrant industry that is rapidly evolving,” she says, “thanks to the many events that are helping to shed light on our cultural richness, diversity and ability to blend tradition with contemporary style.”

Breaking stereotypes and enlightening the global fashion community on the evolution of Arab design is a mission shared by Burak Çakmak, the visionary chief executive officer of the Fashion Commission of Saudi Arabia’s Ministry of Culture. In June 2021, he spearheaded the launch of the Saudi 100 Brands initiative, a year-long development strategy for emerging local designers, educating them on everything required to grow a brand from the ground up with infrastructural support on Saudi soil – plans also include the opening of data hubs and physical spaces to keep ready-to-wear manufacturing within the country. While the launch of a fashion week in the Kingdom may seem premature to some, it’s all just part of Burak’s wellorchestrated plan. “The inaugural Riyadh Fashion Week focuses exclusively on showcasing Saudi talent,” he says, “setting a new precedent in fashion while celebrating local creatives and sustainable craftsmanship.

Nothing is set in stone, and no one knows that better than the people of the Middle East who have endured years of colonialism, political conflict and humanitarian crises. Long before sustainability became a buzzword in the West, ateliers in Beirut were recycling fabrics out of a collective necessity for survival. Taking inspiration from established global markets is common sense but it should be an open dialogue of mutual learning – there is always scope to do things differently, whether that means operating outside of any calendar, finding new ways to present digitally or physically, embracing technology or challenging tokenism through progressive design that celebrates the region’s nuanced heritage and cultural landscape. Progress takes time but right now, the Middle East’s fashion players are enjoying a moment of real momentum and, potentially, history in the making.

From Harper’s Bazaar Arabia’s November 2023 Issue.