the ghutra effect essa 161 design In an unassuming building in Sharjah lives a bona fide urban legend who has taken the Middle Eastern fashion scene by storm. With a fervent zeal for taking the traditional and transforming it into all that is modern and hip Essa resurrects the ghutra in an explosive form. T E X T BY M Y R N A AYA D P H O T O G R A P H Y BY N A D I N E KA N S O 162 p until a couple of years ago, Essa was an enigma wrapped in a mysterious shroud of theories. The rumour mill churned out copious amounts of presumptions on the Sharjah-based designer. Some speculated that he was a recluse, producing only a handful of ghutra-inspired garments for the select elite to don; some said that he was an eccentric, temperamental character who would make uncompromising comments to the few who made the precarious trek to his Sharjah atelier; others protested at the steep prices placed on Essa attire, deducing that it was a demand imposed by the designer himself. Dubai’s chic and modish would gather at hip cafés and lounges and exchange their Essa wish-lists. The Indian-born designer made rare appearances in Dubai’s blossoming art and social circuits; even rarer was his media coverage at the height of Dubai’s then-emergent fashion and society magazines. Gossip aside, Essa provoked a whopping level of intrigue as the designer who created funk and style out of a traditional, Arabian fabric. The Calling Having grown up in the UAE, it was a fateful high school encounter which set Essa’s sights on the fashion industry. “I really owe it to a classmate at the International School of Choueifat. When all the kids in my class were reading ‘Car’, ‘Driver’ and ‘CompuTech’, she handed me ‘Cosmopolitan’ and ‘Vogue’,” he notes. After arming himself with an undergraduate degree in economics and marketing from Cyprus College in Nicosia, Cyprus, stints with pattern-cutters in London and Paris beckoned. From working at a men’s clothing store in Dubai to costume-designing in Bollywood and, “Venturing nomadically in the Far East,” Essa returned to the UAE and worked with Dubai-based designer Aline Saad at her Kabale atelier. 163 164 design In 2004, a Paris-based organisation launched a project symbol into funky, contemporary female gear is quite the that aimed to establish UAE designers internationally. Essa innovative undertaking. Evocative of a ‘shock and awe’ chose to incorporate traditional Arabian material - from practice, Essa maintains that this is simply a form of art. “Art is Bedouin jewellery and thalli trimmings used for kaftans to the what provokes you and makes you think. If it doesn’t make you aghal (rope headband used to keep the ghutra in place) - in the do any of that, it’s just another dot or flower or portrait. Think creation of a modernised Arab collection. “The ghutra wasn’t of Hirst’s shark, da Vinci’s ‘Mona Lisa’ or Picasso’s Cubism. I the first thing that came to mind when I was working on the think the ghutra is a great, fun design which reminds people of project. I used the aghal to make handles and stumbled upon something else. It almost shocks them!” the ghutra by accident,” he admits. It was this inadvertent Essa’s modus operandi includes a hotchpotch of discovery which would continue to inspire Essa and catapult his elements which he assembles in an ultra original form. From rise to retail fame. But it was his Iranian appliqués and Afghani meeting with Dubai-based Sauce jewels, to French ribbons and boutique co-founder and buyer, “The ghutra wasn’t the first Turkish suzanis (silk embroideries Zayan Ghandour, that propelled thing that came to mind when used as bedspreads, throws, his ingenuity. “Anybody who pillows or tablecloths), he I was working on the project. understands the vision or method seemingly combines nationally of a designer can enhance their I used the aghal to make representative emblems into a creativity. I only felt free to work handles and stumbled upon single form of retail art. “I take and enjoy what I do the day I met the ghutra by accident.” vintage Victorian lace, which Zayan,” he says. Since 2004, carries the weight of queens, Sauce boutique has been Essa’s and mix it with fabric I found in exclusive agent in the UAE and in 2006 it dedicated a stand- Fujairah. I’m making Japanese kimonos out of the ghutra. I’m alone Essa boutique within their branch in Abu Dhabi and a mixing Paris with Palestine and meshing Japan with Jeddah! corner for him in their Dubai space. How cool is that?” he exclaims. One facet of Essa’s success is his ability to continuously Ghutra Genesis reinvent the ghutra in each new collection, something he, Essa’s rather androgynous approach to the ghutra is dually “Gets a kick out of.” While the most common ghutras appear rooted in his feminisation of an essentially male-dominated in prints of red-white and black-white, Essa’s quest for novelty fabric and his philosophy of converting the ordinary into the has uncovered seemingly clandestine traditions - from hot extraordinary. “It’s a matter of thinking outside the box, of pink ghutras worn in Oman to acidic yellow and electric blue taking a mundane detail of everyday life and converting it shades donned in Yemen. “Sometimes I can’t believe that into something spectacular,” he says. “I love men’s fabrics these colours actually exist. We’ve found that real Bedouins for women, I think that’s very sexy. I love taking everything wear these shades as well. What’s fascinating is that we have masculine about Arabia and turning it into something come across rolls of ghutra prints in silk, chiffon and cotton! feminine.” Indeed, his conversion of a traditionally patriarchal I’ve found it in cotton stretch metallic with gold foil!” 165 design “I take vintage Victorian lace which carries the weight of queens and mix it with fabric I found in Fujairah. I’m making Japanese kimonos out of the ghutra. I’m mixing Paris with Palestine and meshing Japan with Jeddah! How cool is that?” The Ghutra Patrol shmagh, it has long been perceived as a masculine Arabian Believed to have originated in the Iraqi city of Kufa, or cloth. “Essentially, the ghutra is an exaggerated Houndstooth from the Arabic word Al-Kef, which means palm of the print which has been given a bit of a border. It’s almost as hand, the ghutra became an emblem of Palestinian though it’s a derivation of the print, which is very common and solidarity in the 1960s, sported by the very traditional in men’s suiting,” notes Essa. late Palestinian leader Yasser From Yves Saint Laurent, Dolce and Gabbana and Arafat, who wore it folded Michael Kors to Ralph Lauren, Commes des Garçons and even into a shape resembling the Nike, the Houndstooth print has made its way to the fashion outline of the Palestinian state. catwalks. Therefore, it is only natural that the recent surge of Also known as a keffiyeh or a interest in the ghutra is partially due to the familiarity of the 166 design pattern. Trendy retail outlet, Top Shop, stocked ghutra scarves, I’m not a political as did Spanish fashion powerhouse Balenciaga in their Fall/ guy. The ghutra Winter 2007 collection. US troops wear it and American Hip Hop is a fabric, a vision, artist Kanye West sported a ghutra in his ‘Homecoming’ video. an embroidery concept…it’s so many Yet however fashionable it may be, reservation and controversy things.” What then of the ghutra’s alleged surround the ghutra. Popular retailer Urban Outfitters pulled ‘jihadi chic’, ‘anti-war’ and ‘terrorist style’ their ‘number-one-selling scarves’ made of different colour- stigmas? Essa asserts, “When you go to Africa combinations so as not ‘to imply any sympathy for or support and see African prints, you don’t think people are exploiting [of] terrorists or terrorism’. Conservative bloggers attacked the African prints or putting animal heads [on traditional television personality and author Rachael Ray for wearing a ceremonial clothing] and promoting cheetah murder!” ghutra scarf in a Dunkin’ Donuts iced-coffee print ad. While there exists a significant group of people who deem such Arabian Acclaim reactions as ‘racial stereotyping’, Essa maintains that the ghutra Vogue aside, Essa’s designs reflect a deep-rooted love for the has no political or religious connotations. “I don’t see a political Middle East mirrored through a form of retail support for Arabia, symbol when I see the ghutra. There is no political agenda and which he actively promotes. Despite being a non-national, the 167 “Essentially, the ghutra is an exaggerated Houndstooth print which has been given a bit of a border. It’s almost as though it’s a derivation of the print, which is very common and very traditional in men’s suiting.” 168 design “I don’t see a political symbol when I see the ghutra. There is no political agenda and I’m not a political guy. The ghutra is a fabric, a vision, an embroidery concept…it’s so many things.” UAE is the country Essa calls home, disregarding any regional counterparts that notions of displacement and instead, feeling a great Essa is focusing on for the sense of, “Belonging.” While the sensationalism time being. Largely due to their, and commercialism that surround the “Demands and voracious world today have the ability to blur appetites,” Essa’s atelier reality, Essa believes that works around the clock. Middle Eastern heritage As is the case cannot be lost. “I sometimes with all high-end wonder if we’ll forget where brands, imitation we came from or if we’ll get and high-street lost in mall culture. The change reproduction is inevitable but I believe there are quick to will come a time when we will crave follow; none of our heritage and want it more. Our which bothers Essa heritage is too old and too strong for in the least. “Maybe us to lose it.” they have an individual take Dubai’s society magazines on the ghutra. The trick is to do it are perhaps the ideal pictographic better than everyone else. Everybody’s documentation of the city’s social and making Hip Hop music but Timbaland is the fashion scenes. Within the cosmopolitan best,” he says. In light of this, one might wonder: Is city, which Essa terms, “The Dubai dream,” ghutra fashion a fad? Will it wear thin? “Are you kidding?” is an awe-inspiring cultural diversity. But it is laughs the humble, self-confessed, ‘clothes-maker’, “I haven’t the energetic Emirate’s womenfolk whom Essa even scratched the surface of this print yet!” holds in high esteem. “These are sophisticated buyers. They’ve been to tailors for years; they’ve worn the amplified things in the 1980s and 1990s; they’ve gone to those big fashion villas Essa can be found at Sauce boutiques in Dubai and Abu in Jumeirah. You can’t lie to them or cheat them into high- Dhabi, DNA in Riyadh, Depeche Mode in Beirut, Zai and the priced items; they know there is someone cheaper and faster Waqif Art Centre in Doha, Eye Candy in Muscat and Mahat right around the corner.” And it is these women and their in Jeddah. For more information, visit www.essa-inc.com 169
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