Step into the golden spirit of summer with Collection Été
Inspired by the key elements of the region such as the smooth pebbles, "Les Galets", the radiant sun rays, and the stunning shades of the Mediterranean, each piece embodies the essence of this beautiful landscape.
The elegant pebble designs reflect the natural coastline of the Mediterranean Sea, giving each piece an organic and soft feel. These designs echo the smooth, rounded shapes of the pebbles found along sun-drenched beaches, embodying the relaxed yet sophisticated vibe of the region. Les Galets, French for pebbles, take the center stage of this collection, extending this design to our merchandising, display, and of course, accessories that are carefully made with our custom-made galets fabric.
Minimal motifs of sunshine rays have been incorporated to symbolise the warm, golden light that bathes the South of France. These subtle yet striking designs add a touch of brightness and joy to each piece.
The palm tree shapes, and the interplay of light and shadow are key elements in this collection. They represent the iconic silhouettes of palms that line the picturesque promenades, bringing a sense of tropical elegance and a hint of adventure for those who love the allure of the Mediterranean.
To enhance these designs, we have included beautiful summer stones like turquoise and malachite. These vibrant stones add pops of color and a fresh, seasonal elegance that perfectly complements the golden hues of the collection.
We have focused on the rich glow of yellow gold to tie all these elements together, creating standout pieces that are both luxurious and playful.
We can't wait for you to discover the Collection Été, and hope it brings a little bit of the South of France into your life.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Harpers Bazaar Arabia
12 hours ago
- Harpers Bazaar Arabia
Dior Unveils Its Latest High Jewellery Collection: Diorexquis
Unveiled at Dior's cherished Château de La Colle Noire, Victoire De Castellane transforms Monsieur Dior's private passions – for flora, fauna, and the pursuit of beauty – into poetic, emotionally charged High Jewellery Château de La Colle Noire in Provence was where Monsieur Christian Dior, as he wrote in his memoirs, could set aside his public persona and 'become just Christian again.' It is precisely in this intimate, storied retreat that Victoire de Castellane, creative director of Dior Joaillerie, chose to unveil Diorexquis – a collection that distils Dior's visionary aesthetics for the ladies of the beau monde and blends it with his passions for nature, fantasy, and fairy tales. A deeply personal tribute, it may well be the most 'Christian' collection yet. Victoire, who has helmed Dior's jewellery division since its inception in 1999, has long entertained an imaginary correspondence with the couturier – her eternal muse. She describes Diorexquis as a three-act reverie drawn from Monsieur Dior's inner world. 'Diorexquis unfolds in three chapters: delightful landscapes, delicate bouquets, and fabulous balls,' she explains. 'Each expresses a different facet of the word exquis – French for 'exquisite'.' In creating the pieces, Victoire once again challenges many of the unwritten rules of High Jewellery. In her compositions, a centre stone need not sit squarely at the centre – it may float off to the side or rest at a slant. Gems are not always meant to dazzle outwardly; they may be hidden, reserved for private delight or to achieve a subtle, unexpected visual effect. 'In this collection I played with layering different stones,' says Victoire, 'such as opal or mother-of-pearl, to achieve an iridescent effect with a different result. It's a colour that you don't find in nature, but to achieve it, you have to superimpose many layers of stones. This way I got a very electric blue, for example, in a brooch with night landscapes.' This technique, called the opale doublet, involves mounting a translucent layer of opal on a darker substrate like onyx or mother-of-pearl to achieve a depth and iridescence. It's a meticulous process – requiring both craftsmanship and a painter's eye – that allows colours to bloom from within, rather than sit on the surface. Another, equally enchanting technique is plique-à-jour, an ancient enamelling method revived and reimagined at Dior. 'It adds a new dimension to the bouquets,' she explained. 'Like a miniature stained-glass window, it lets the light shine through and magnify the floral ensembles.' At Dior, where lacquer has long been a signature, this open-backed treatment lends a delicate transparency Inspired by the stained-glass windows in churches, which were once entrusted with translating faith into visual narratives that stirred the soul, Diorexquis unfolds as a series of miniature theatrical compositions. Here, squirrels and deer play hide-and-seek in meadows of diamond and pearl-petalled flowers, while blossoms float across ponds of vivid opals in hues of lavender, mint, and rose. These endearing vignettes come to life across necklaces, bracelets, and asymmetrical earrings that don't simply mirror each other but instead engage in dialogue – each piece revealing a different moment in the fairytale, while also serving as a most unexpected stage for extraordinary gemstones. 'This new High Jewellery collection features several exceptional centrepiece stones with unique shapes and colours, says Victoire, 'including a 25.85-carat sapphire from Sri Lanka, a 10.59-carat Colombian emerald, and a 7.03-carat ruby from Mozambique, as well as an intense yellow diamond of 33.88 carats and two pure diamonds of 8.88 carats each, recalling Monsieur Dior's attraction to this lucky number.' But while the technical wizardry is impressive, Diorexquis excels at bringing to the fore a more intimate facet of Monsieur Christian Dior. His whimsy, his reverence for beauty and the emotions his private pursuits stirred in him, all the while respecting the house's long-established codes – nature, flowers, and femininity. With each high jewellery collection she has imagined over the past 26 years, Victoire has stitched together a fabric of fantasy, part-Dior-heritage-inspired-part-imagination, always rendered with exquisite – or should we say, Diorexquis – elegance. 'Each of my collections leads to the next,' she says. 'I adore the idea of going even further – going where I am least expected.'
What's On
17 hours ago
- What's On
5 of the best restaurants in Dubai this week: July 14 to 18
Dinner doesn't need to wait for the weekend. From new summer menus and pop-ups to business lunches and chef collabs, these Dubai restaurants are giving you solid reasons to skip the cooking and make a plan. Here are 5 of the best restaurants in Dubai to check out this week. GAIA Images: Supplied For a taste of a Mediterranean summer in the city, GAIA brings coastal charm to DIFC with a limited-time seasonal menu. Think vibrant dishes like artichoke and zucchini pasta, grilled chicken with lemon confit, and a bright tomato salad, paired with fresh, herbaceous cocktails and curated wines by the glass. It's light, elegant, and rooted in Aegean flavours – perfect for slow lunches or early evening plans. Location: GAIA, Podium Level, Gate Village 4, DIFC Times: Seasonal menu available throughout July & August, daily, 12pm to 6:30pm Contact: (0)4 241 4242 | @gaia__dubai W Dubai, The Palm Images: Supplied W Dubai, The Palm is bringing together its top dining destinations for Taste of W , a curated culinary journey running all summer. You can explore set menus across four standout venues: the Michelin Guide-recognised Akira Back, Mediterranean haven Olivino, laid-back WET Deck, and rooftop sunset favourite SoBe. From rooftop cocktails and sushi to poolside bites and comfort food, it's an all-access pass to bold flavour and summer vibes. Location: W Dubai – The Palm Times: Available daily throughout July, August & September Cost: Dhs220 per person Contact: (0)4 245 5800 | @wdubaipalm The Guild Images: Supplied Midweek dinners just got an upgrade. Welly Wednesday at The Guild is all about craft, comfort, and good music. Every Wednesday night, you can dig into the restaurant's signature Beef Wellington – a refined take on the classic, wrapped in golden pastry with mushroom duxelles, spinach pancake, and finished with bordelaise sauce. It's served with wood-fired carrots, broccoli, and mash, all set to a backdrop of live music and The Guild's ambient interiors. Location: The Guild, DIFC Times: Available every Wednesday from 6pm onwards Cost: Dhs250 per person Contact: (0)4 564 0401 | @theguilddubai The Artisan Image: Supplied For an elegant midday break, The Artisan has introduced a new Italian Business Lunch served weekdays in the heart of DIFC. Priced at Dhs135 for three courses, the menu features refined dishes like salmon carpaccio with green apple, pink pepper and mascarpone, or fregola pasta with artichokes and prawns. It's a well-executed balance of flavour, style, and simplicity – ideal for a workday reset or casual client lunch. Location: The Artisan, Waldorf Astoria DIFC Times: Monday to Friday, 12pm to 3pm Cost: Dhs135 per person Contact: (0)4 338 8133 | @theartisandubai AKABEKO Image: Supplied Dubai's first premium Yakiniku spot, AKABEKO, introduces Wagyu & Wine Wednesdays – a seven-course dining experience built around top-grade wagyu and off-menu wine pairings. Expect bold flavours and refined plates like wagyu carpaccio, curry arancini, kushiyaki skewers, seasonal steak cuts, and Hōjicha desserts – all crafted by Head Chef Yosuke Matsuoka with the founders' personal touch. Wines change monthly to keep the pairings fresh. Location: KABEKO, Voco Dubai The Palm, G01, West Beach, Palm Jumeirah Times: Available every Wednesday from 6pm onwards Cost: Dhs450 per person (includes wine pairing) Contact: (0)50 561 8288 | @akabeko_dubai
The National
a day ago
- The National
How Moroccan filmmaker Seloua El Gouni went from Hollywood assistant to the director's chair
Sitting in a boutique hotel in Valletta, Moroccan filmmaker Seloua El Gouni is feeling inspired. She has just screened her debut feature The Wound at the Mediterrane Film Festival, now in its third year. El Gouni has been to Malta twice before and is impressed by the way its film commission sets out to welcome overseas productions to the island. 'Given the importance that Malta gives to the film industry, we would like to set something here,' she says. Her optimism feels infectious. Just days earlier, The Wound enjoyed its Moroccan premiere at the Casablanca Arab Film Festival, before what she hopes will be a release in cinemas in 2026. The story follows Leila (Oumaima Barid), a young woman living in Casablanca whose relationship with a non-Muslim man leads to friction with her father. The reaction from El Gouni's home crowd 'was surprisingly encouraging and very positive'. The surprise factor came at the after-screening Q&A. 'Men interacted with us more than women. We had notes from them, we had questions from them,' she says. In Malta and in Beirut, when the film had its Mena premiere at the Beirut International Women's Film Festival, it was the opposite: the biggest reactions came from female audience members. Either way, The Wound is a film that touches a nerve with both men and women. After directing two shorts and producing the 2023 documentary Harraga – Those Who Burn Their Lives, El Gouni realised it was time to move into features. She set about working on The Wound, scripted by her producer Taha Benghalem and brothers Brian and Brice Bexter. 'We wanted to make something meaningful,' she says, noting that public discourse in Morocco at the time was centring on 'personal freedoms in terms of relationships, what's accepted what's not accepted'. The screenplay is an amalgam of true stories of women like Leila, and El Gouni says: 'It's basically an alternate reality with very realistic events.' What happens to Leila is shocking, but such events are not confined to Morocco, or the Arab world. 'All over the world, we've heard stories,' she adds, pointing out that during the writing process women were losing agency over their own bodies, as abortion rights were being removed across the US. What The Wound does well is show modern Casablanca, where many young women (like Leila's free-spirited best friend Sophia) live an existence with few restrictions. 'It depends on your lifestyle, depends on who you work with, your entourage, upbringing,' says El Gouni. 'You can be on good terms with your parents and live alone as a woman in Morocco. I myself left home when I was 17, like in any normal European culture.' Equally, your upbringing may still be dangerously ultra-conservative. The Wound is her first feature, but El Gouni has a wealth of filmmaking experience. She was worked on some major English and American films, as a production co-ordinator and production supervisor, such as Men in Black: International, and The Forgiven with Ralph Fiennes. She worked as assistant to the Russo brothers, the filmmakers behind Avengers: Endgame, Infinity War and the upcoming Doomsday, when they made Cherry with Tom Holland. The experience of collaborating on big-budget films was highly useful when it came to making The Wound. 'You really read the script fully, keeping your eyes on the budget,' she says. 'That really helped us into creating something very effective, very efficient, in terms of budget, production value, and then just making sure it happens with the best quality possible.' That included securing the services of Emmy-winning US cinematographer Travis Tips, who made the 2012 awards magnet Beasts of the Southern Wild. Tips' participation indicates the increasingly healthy state of Moroccan cinema. 'Especially for female directors,' El Gouni adds. 'We do have more female directors than ever.' Filmmakers such as Maryam Touzani (The Blue Caftan), Meryem Benm'Barek-Aloïsi (Sofia) and Asmae El Moudir (The Mother of All Lies) show just how vibrant the scene is right now. Still, very few can claim they have a movie by Terrence Malick on their CV. El Gouni was production co-ordinator on The Last Planet, Malick's long-gestating retelling of the life of Jesus. 'It still hasn't come out!' she exclaims. The famously press-shy Malick, director of revered classics such as Badlands and Days of Heaven, has been in the edit with the film since it was shot in 2019. 'I hope it will come out this year,' she adds. With the Hungarian-born Geza Rohrig (Son of Saul) featuring as Jesus and Mark Rylance playing Satan, it is one of the most anticipated films. 'It will be wonderful,' El Gouni promises. And Malick? 'He's very calm, and all the sets are really calm. You don't have that stress of really being on a film set. It's really an experience that I don't think I've had before, but it was really special.' With mentors like Malick, El Gouni is set to go far.
