Jennifer Lawrence speaks out on Gaza/node/2616940/lifestyle
Jennifer Lawrence speaks out on Gaza
Jennifer Lawrence attended the San Sebastian Film Festival. (AFP)
Short Url
https://arab.news/rg8nw
Updated 10 min 46 sec ago
Arab News
Jennifer Lawrence speaks out on Gaza
Updated 10 min 46 sec ago
Arab News
DUBAI: Oscar-winning actress Jennifer Lawrence addressed the situation in Gaza during a press conference at the San Sebastian Film Festival in Spain this week, describing it as “no less than a genocide.”
Lawrence, in town to present her new film “Die My Love” and to receive the Donostia Award, faced repeated questions about the conflict.
“I’m terrified and it’s mortifying,” she said. “What’s happening is no less than a genocide and it’s unacceptable. I’m terrified for my children, for all of our children.
“I mean, the kids who are voting right now at 18, it’s going to be totally normal to them that politics has no integrity. Politicians lie, there is no empathy,” she added. “And everybody needs to remember that when you ignore what’s happening on one side of the world, it won’t be long until it’s on your side as well.”
Lawrence also told journalists that it should not fall on artists to solve the world’s political problems.
“I wish that there was something I could say, something that I could do to fix this extremely complex and disgraceful situation. It breaks my heart,” she said. “But the reality is, our fear in speaking too much or answering too many of these questions is that my words will just be used to add more fire and rhetoric to something that is in the hands of our elected officials.
“I just want people to stay focused on who is responsible and the things that they can do and when they need to show up and vote, and not let the actors and the artists who are trying to express freedom of art, freedom of speech take the heat for the individuals that are actually responsible,” she added.
DUBAI: Syrian Olympic swimmer Yusra Mardini has been making the rounds at Milan Fashion Week, attending the Prada, Max Mara and Boss shows.
At Prada, she wore a textured, gray knee-length dress with long sleeves and a structured, slightly loose silhouette, cinched at the waist with a slim brown leather belt. She carried a brown Prada clutch and complemented the look with pointed brown heels featuring ankle straps.
For Max Mara, she appeared in a sleeveless, gray, double-breasted coat layered over a ribbed olive-green knit turtleneck sweater and matching ribbed stockings, tying the outfit together with lace-up ankle boots in brown leather.
At Prada, she wore a textured, gray knee-length dress with long sleeves and a structured, slightly loose silhouette. (Getty Images)
At the Boss show, Mardini chose a tailored beige skirt suit with a structured double-breasted blazer and a matching mini skirt. She wore a crisp white shirt underneath, styled with a black-and-white striped tie, and knee-high black boots. To accessorize, she carried a small black handbag and donned sleek glasses.
Mardini took to Instagram to share videos from the Prada show.
For this collection, skirts came in unexpected constructions, crafted from multiple panels — pink ruffles at the back, gray pleats at the front and black panels on the sides — designed to be mixed and layered for a personalized effect.
For Max Mara, she appeared in a sleeveless, gray, double-breasted coat layered over a ribbed olive-green knit turtleneck sweater and matching ribbed stockings. (Instagram)
They may be paired with unstructured bralettes that hovered over the bodice, or structured folkloric dirndls layered over more rigorous uniform shirts in an unexpected bright pink.
Any combination may be pulled together with a plunging slip-like pinafore, a sort of unifying object that is not so much worn as suspended.
Actors Kerry Washington, Sadie Sink, Felicity Jones, singer Nia Smith and US influencer Charli D’Amelio also had front row seats to the show.
While she remains engaged in the fashion world, Mardini has shifted her focus to her foundation, which works to provide education and sports opportunities for refugees. This follows her participation in the 2016 and 2020 Summer Olympics as part of the Refugee Olympic Athletes Team.
Mardini founded her own nonprofit organization, the Yusra Mardini Foundation, in 2023. The foundation advocates for the rights of refugees and seeks to improve access to sports and education for refugee communities globally, as well as providing direct support to refugee athletes.
British creatives release video calling on UK PM to recognize Gaza genocide
Figures including Steve Coogan, Maxine Peake, Paloma Faith demand arms embargo, sanctions on Israel
Palestine Solidarity Campaign: Keir Starmer ‘must listen to this growing public outrage’
Updated 26 September 2025
Arab News
LONDON: A group of major artists and campaigners have called on UK Prime Minister Keir Starmer to recognize and condemn Israel’s war in Gaza as a genocide.
In a video organized by the Palestine Solidarity Campaign, creatives including Steve Coogan, Paul Weller, Maxine Peake, Khalid Abdalla, Paloma Faith, Brian Eno, Alex Lawther, Nadine Shah and Bilal Hasna, as well as Holocaust survivor Stephen Kapos, demand that Starmer impose sanctions on Israel and end arms sales to the country.
The prime minister has so far refused to condemn Israel for committing genocide in Gaza, with members of the Labour government saying it is up to international courts to decide whether it is taking place.
That has caused controversy within the party, with London Mayor Sadiq Khan breaking ranks earlier this month to state that Israel is committing genocide.
In PSC’s video, it is pointed out that despite the UK government not recognizing the genocide, numerous organizations and individuals — including Amnesty International, Oxfam, the International Association of Genocide Scholars, the UN Commission of Inquiry, UN Special Rapporteur Francesca Albanese, 16 Palestinian human rights organizations and more than 800 lawyers and judges in the UK — state that it is happening.
“Keir Starmer — it’s a genocide,” the video’s numerous participants state against the backdrop of video footage of Israeli attacks on Palestinian civilians. “Stop arming Israel. Sanctions now.”
Abdalla said in a press release: “Gaza is Keir Starmer’s Iraq. The refusal of his government to use the word ‘genocide’ is a craven way of evading Britain’s legal obligations under the Genocide Convention.
“It is both a moral and political failure that is eroding our democracy, and which will stain the Labour Party, and Britain for decades.
“We must do everything in our power to end British complicity in ‘the crime of crimes,’ and stand in solidarity with the people of Palestine. Our collective future depends on it.”
The video’s release comes ahead of the Labour Party conference in Liverpool this weekend, which is set to see trade unions and activists put forward several emergency motions about the war.
More than 30 proposed resolutions on Palestine have already been blocked by the Labour Conference Arrangements Committee — a record for any topic at the annual event.
Labour MP Clive Lewis called the CAC’s efforts to block conference emotions “silencing debate on Israel’s genocide in Gaza.”
Mick Whelan, general secretary of ASLEF, the trade union for train drivers, said: “International solidarity has been and always will be a cornerstone of the trade union movement.
“The Labour leadership needs to put a stop to these underhand attempts to silence members, allow motions on Gaza to be heard and immediately recognize the genocide being carried out against the Palestinian people.
“At the absolute minimum this must be backed by concrete action, including an arms embargo on Israel and meaningful sanctions to end complicity in these crimes.”
In a press release, PSC said polling shows that 72 percent of Labour voters want a full arms embargo on Israel, and 64 percent back its expulsion from the UN.
PSC is set to hold a major demonstration outside the conference. Ben Jamal, its director, said: “Almost two years into Israel’s genocide in Gaza, it is a mark of enduring shame that Keir Starmer’s Labour Party still refuses to call it what it is — a genocide — and take meaningful action to end Britain’s complicity.
“It is no surprise that an unprecedented influx of motions on Palestine have been sent to Labour’s annual conference, demanding the government stands up for the rights of the Palestinian people.
“The prime minister must listen to this growing public outrage and acknowledge the genocide, sanction Israel, and end all arms sales.”
LONDON: A UK court on Friday threw out a charge of supporting terrorism brought against a Northern Irish singer from the punk rap group Kneecap which had provoked an outcry among its fans.
Cheers erupted from supporters inside and outside the London court when the judge found there had been a technical error in the case against Liam O’Hanna and told him he was “free to go.”
Speaking outside Woolwich Crown Court, in southeast London, O’Hanna said the decision showed attempts to muzzle the band’s very vocal support for the Palestinians had failed.
“It was always about Gaza, about what happens if you dare to speak up,” he told dozens of jubilant supporters massed in front of the court.
“Your attempts to silence us have failed because we’re right and you’re wrong.”
O’Hanna, 27, was charged in May when a video emerged from a November concert in London, in which he was alleged to have displayed a flag of the Iran-backed Lebanese militant group Hezbollah.
He had denied the offence, filed under UK anti-terror laws, and his lawyers had challenged whether the charge was lodged within legal time limits.In a 13-page written ruling, chief magistrate Paul Goldspring sided with O'Hanna, deciding: “These proceedings were not instituted in the correct form.”
“Consequently, the charge is unlawful and null. This court has no jurisdiction to try the charge,” Goldspring said, reading from his decision, to cheers from the public gallery.
Belfast-based lawyer Darragh Mackin, representing the Kneecap member, said the case was “always a political persecution masquerading as a prosecution.”
“This is not just a victory for kneecap, it’s a victory for the freedom of expression,” he told the crowds outside.
dzٳ’s brings works by Van Gogh, Kahlo and Magritte to Abu Dhabi
6 masterworks worth $150m on display Oct. 1 to 2
First Mideast showing, some not seen for 50 years
Updated 26 September 2025
Arab News
DUBAI: dzٳ’s will stage a fine art exhibition in Abu Dhabi next month, bringing together works from the celebrated Vincent van Gogh, Paul Gauguin, Frida Kahlo, Edvard Munch, Rene Magritte and Camille Pissarro.
Running from Oct. 1 to 2 at the Bassam Freiha Art Foundation, the show will feature six masterworks with a combined value of $150 million. It will also mark dzٳ’s most valuable exhibition ever presented in the region.
Frida Kahlo, 'El sueño (La cama),' 1940. (Supplied)
Among the highlights is Kahlo’s “El sueno (La cama),” painted in 1940 during a period of personal turmoil. The work is worth an estimated $40 to $60 million, the highest valuation for a Kahlo piece to date.
Van Gogh’s “Romans Parisiens (Les Livres jaunes),” valued at around $40 million, will also be on display. The still life, first exhibited in Paris in 1888, is regarded as one of the artist’s most significant works and has rarely been shown publicly.
Other featured pieces include Gauguin’s “La Maison de Pen du, gardeuse de vache” (1889), Pissarro’s “Bords de l’Oise a Pontoise” (1872), Munch’s “Sankthansnatt Johannisnacht (Midsummer Night’s Eve)” and Magritte’s “Le Jockey perdu” (1942).
Paul Gauguin, 'La Maison de Pen du, gardeuse de vache,' 1889. (Supplied)
Each painting comes from notable private collections, including those of Leonard Lauder, the American businessman and philanthropist; Cindy and Jay Pritzker, the Chicago-based family behind the Pritzker Architecture Prize; and Matthew and Kay Bucksbaum, American philanthropists known for their support of the arts and education.
None of the works have been exhibited in the Middle East before, with several not displayed publicly for more than 50 years.
Following Abu Dhabi, the collection will travel to London and Paris before being offered in New York during dzٳ’s November auctions.
Emirati fashion designer Shatha Essa on blending local heritage with global appeal
‘My roots are central to everything I create,’ says Shatha Essa
Updated 26 September 2025
Hams Saleh
DUBAI: Since launching her womenswear label in 2017, Emirati designer Shatha Essa has steadily carved out a name for herself in the world of luxury fashion with a brand that honors tradition while embracing modern elegance.
“My journey began with a deep-rooted passion for storytelling through fabric. Growing up in the UAE, style and tradition were seamlessly interwoven in daily life, family gatherings, national celebrations… even school uniforms carried meaning,” Essa tells Arab News.
A “defining moment” in her fashion journey, she says, was when she met the late Italian journalist Franca Sozzani, who was editor of Vogue Italia for 28 years.
Shatha Essa launched her brand in 2017. (Supplied)
“Seeing how people react to fashion creations confirmed that design could be a powerful language,” she says. “That moment solidified my dream of becoming a designer.”
Earlier influences came from those closest to home. “Initially, it was my mother and local artisans who practiced traditional Emirati embroidery and tailoring who served as my inspiration,” she says. And before launching her label, Essa gained insight into the industry from working at Dubai Mall — “where I saw and met different fashion houses and got to see everything happening behind the scenes,” she explains. “These experiences taught me how to balance creative vision with reality.”
Essa says she took three major lessons away from her formative years in fashion. “If you come from a design background, make sure you study business and have a bit of knowledge on finance and accounting before starting your business,” is the first. “That will help you with your strategies and long-term goals as well.
Selections from the latest collection by Shatha Essa Kids. (Supplied)
Adaptability is the second. “Working with suppliers, manufacturing teams, and clients from different backgrounds demands flexibility,” she says.
And the final thing? “Brand discipline and understanding that consistency in story, values, and quality is just as important as the designs themselves.”
Essa launched her womenswear line with, as she puts it, “a calling to articulate contemporary Emirati femininity in a way that celebrated heritage while embracing modernity.” Her vision from the start was to offer “thoughtfully crafted pieces that empower women through elegant tailoring, subtle storytelling, and cultural resonance.”
Her inspiration comes from all over — including urban architecture, and traditional crafts such as sadu weaving and pearl embroidery. She also says she finds beauty in “the patterns of light in the souk at sunset or the silhouette of a gahwa cup handle,” and enjoys “translating cultural motifs into modern shapes and textures.”
For the current season, Essa says her team is “exploring Emirati breeze blocks in a different way.” She explains: “We are not only looking at the shape of a breeze block, but also the air circulation, love and energy it creates.”
But at the core of every piece she designs is her heritage. “My Emirati roots are central to everything I create,” she says, adding that she draws on “traditional aesthetics, modest cuts, flowing lines, desert-driven palette” and reframes them “for the contemporary wardrobe.”
Essa’s international profile continues to grow. In July 2024, Shatha Essa Kids became the first childrenswear label from the UAE to be launched at luxury London department store Harrods.
“Being stocked at Harrods is a thrilling milestone. It’s recognition on a global stage. It means our artisan heritage and design philosophy is being celebrated internationally,” she says. “It’s validation not just for me but for the artisans and the Emirati narrative we’re sharing.”
The partnership, she adds, has “elevated the brand’s visibility, attracted international clientele, and inspired confidence in entering new markets.”
Aside from Harrods and the UAE, Essa also sees ֱ as a key part of her brand’s journey.
“ֱ is incredibly important,” she says. “It’s a vibrant market with a growing appetite for high-quality, culturally resonant fashion.” Saudi clients, she notes, have “a strong preference for stylish, bold, and out-of-the-box silhouettes; rich textures; and deep, saturated tones,” while in the UAE, “lighter palettes and classic statement cuts” are in favor.
“Both markets value craftsmanship, but their aesthetic sensibilities diverge in tone and expression,” Essa adds.
The Kingdom is a major focus for her expansion plans, which include pop-ups and retail collaborations.
“We’re exploring partnerships with local boutiques and lifestyle brands, and envision a curated retail presence that brings our women’s and kids collections to new audiences in Saudi,” she says.
At the same time, the brand continues to grow internationally, having recently signed with the major online fashion retailer Net-a-Porter.
Asked what her advice to aspiring designers would be, Essa offers the following: “Start with your roots and own your story, and let that guide your vision. Learn all parts of the business from pattern-cutting to supply-chain management. Be patient and persistent. Building a brand takes time, resilience, and adaptability.”
