Qatar's Toy Festival welcomes families for a summer of fun
Spanning over 17,000 square meters and divided into five creative zones, the festival is designed to dazzle. From giant inflatables in Hyper Land to whimsical island adventures in Fancy Island and high-energy challenges in Champions Land, each space offers a unique world to explore. The festival also introduces a first-of-its-kind QTF Summer Camp for kids aged 4 to 12, blending learning with play through art, science, and sports activities.
Jassim Al Mahmoud, Director of Communications at Visit Qatar
'This year, we focused on creating new immersive and educational experiences to expand family entertainment in Qatar,' said Jassim Al Mahmoud, Director of Communications at Visit Qatar. 'We wanted to ensure that every family, no matter their interests or age, finds something memorable and engaging at the festival.'
Highlighting the festival's growing impact, Jassim Al Mahmoud added: 'The Qatar Toy Festival has become a cornerstone of our summer calendar. Each edition builds on the last, introducing innovative attractions and partnerships that set a new benchmark for family entertainment in the region.'
Toy Festival in Qatar (6)
The lineup is as star-studded as it is action-packed. Popular content creator AboFlah makes his festival debut alongside the ALJ Sisters, while celebrated Egyptian educator Al Daheeh joins in the final week for a motivational talk and his animated premiere. Other crowd-pullers include live performances, dance shows, science experiments, and even an Ultimate Horror House inspired by Five Nights at Freddy's.
Adding to the excitement, the festival features a real-life PUBG Mobile battleground, where visitors can compete to win a Jetour car, and a Sherlock Holmes escape room for puzzle lovers. Meanwhile, families can shop at themed retail outlets such as Build-A-Bear and Mumuso, enjoy culinary delights at a vibrant F&B court, and look forward to special back-to-school promotions.
Last year's edition drew over 100,000 visitors - a 33 per cent increase from its debut - and this year's attendance is expected to surpass that milestone.
'We are seeing a strong appetite for large-scale family experiences that combine entertainment with learning,' Jassim Al Mahmoud emphasized. 'By offering diverse activities like science workshops, art sessions, and physical challenges, we not only entertain but also inspire children's curiosity and creativity.'
'Our mission is to reinforce Qatar's position as a leading family-friendly tourism destination, especially during the summer months,' he continued. 'Through world-class programming, global entertainment brands, and immersive environments, we are attracting both local and international visitors, contributing significantly to tourism growth.'
With Ooredoo as the official telecom partner, QTF has solidified its place as a flagship event on Qatar's summer calendar.
Tickets range from QAR 50 for general entry to QAR 1,500 for the exclusive VVIP experience. As summer winds down, a special 'Back to School' week will help families gear up for the academic year with themed entertainment and giveaways.
Beyond the festival, visitors can explore other seasonal attractions such as Scoop by the Sea at West Bay North Beach, the new Meryal Waterpark, Doha Quest, and luxury beach resorts, all part of Visit Qatar's mission to create a dynamic year-round tourism calendar.
'The festival is more than just fun - it's about creating lasting memories for families and positioning Qatar as the region's ultimate summer destination,' Jassim Al Mahmoud concluded. 'We look forward to welcoming everyone and sharing this unique celebration of imagination, learning, and joy.'
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Observer
16-07-2025
- Observer
Qatar's Toy Festival welcomes families for a summer of fun
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A photo of Christian Dior's original salon stretched the width of the Invalides, the gold-domed palace where Napoleon is buried, offering a fish-eye view of the past to the throngs shrieking outside — and a sign of just where Dior believes it belongs in the pantheon of French power. Inside, dove-gray velvet lined the walls of a temporary event space and displayed two rare 18th-century oils by Jean Siméon Chardin on loan from the National Galleries of Scotland and the Louvre. Robert Pattinson gossiped with Josh O'Connor. Donatella Versace schmoozed with Roger Federer. A pregnant Rihanna arrived with A$AP Rocky a mere 45 minutes after the official start time. That's how much anticipation there was for the Dior men's show. Filmmaker Luca Guadagnino was even trailing around to document the moment. It was Jonathan Anderson's debut as the creative director/savior of the house, the first designer to be put in charge of both menswear and womenswear. 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It was not a capital N New Look. It wasn't that radical, or shocking. But it was an awfully charming newish one. And it was situated smack in the middle of the tension between formality and informality, menswear and womenswear, commerce and creativity (Anderson's own work at Loewe and Uniqlo and what he inherited at Dior), which seems to define this particular moment. Jonathan Andersons take on the Bar jacket, Diors most famous womens wear shape, is paired with cargo shorts at the Dior spring 2026 fashion show in Milan in June 2025. (Simbarashe Cha/The New York Times) No one is all one thing or another. Neither are their clothes. Neither are the totems of wealth. What Anderson proposed was a clear and convincing argument that contradictions can gracefully coexist. Most of all, he put forward the belief that fashion and wearability are not irreconcilable ideas — that you either have to look bizarro or look boring. For every highfalutin garment there was an equal and opposite this-old-thing, usually worn together. Velvet frock coats were paired with faded jeans in Japanese denim. Olive green puffer coats and down vests were cut with trapeze backs. The exact pattern of another classic Dior dress, the Caprice, with its elaborately swathed peplum skirt, was applied to a pair of loose khakis, giving one leg the fillip of a drape. An 18th-century frock coat was exactingly reproduced — in moleskin. There were shamrocks on tennis shoes and high-tops with driving shoe soles; cable knits under elaborate waist coats. There was a lot of neck action. Book totes borrowed, again, from the women's line, with actual book titles on them from Baudelaire and Françoise Sagan. Anderson had clearly done his homework. Easter eggs to early Dior were everywhere. Even the labels inside the clothes were in the designer's preferred silk faille. He was never going to toss everything out the window and start again. He couldn't. Dior is a multibillion-dollar business, after all, and some of his predecessors (Raf Simons, Hedi Slimane, John Galliano) were his idols. Once upon a time, a designer might have had the arrogance to wipe the slate clean, but this is a new age. The industry is in crisis, and the creative tectonic plates are shifting. It is why Anderson invited seemingly every other designer in Paris to join him at the show. It is also why he picked the Chardin oils and why he seeded his Instagram with Warhol Polaroids of Lee Radziwill and Jean-Michel Basquiat. Chardin, he said in a preview, 'kind of loosened up the still life'; Warhol made pop culture high art. Both crystallized an inflection point in culture. Anderson clearly wants his Dior to do the same. His show invitation came borne on a china plate with three china eggs on top, as if a reminder that the menswear was just the beginning (and maybe to acknowledge that some shells may get broken along the way). Fair enough. The result may not knock you sideways, but it's likely to make you sit up and buy. Not to mention whetting the appetite for his first womenswear collection, come September.
