Scenery, sound, and salt in Krakow /node/2620057/lifestyle
Scenery, sound, and salt in Krakow
Wawel Castle in Krakow. (Shutterstock)
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Updated 36 sec ago
Jasmine Bager
Scenery, sound, and salt in Krakow
A short break in Poland’s magical second city
Updated 36 sec ago
Jasmine Bager
KRAKOW: There’s something quietly magical about Krakow in autumn. The Polish city moves to its own rhythm as orange and yellow leaves fall like nature’s confetti. It isn’t loud or crunchy; it’s subtle, elegant and playful all at once.
In a creaky, candlelit room in Krakow’s Old Town, we heard a pianist playing some of the delicate yet stormy compositions of Chopin — Poland’s most revered composer. It felt both calming and invigorating, a quiet reset. (Tip: arriving just a few minutes late — we got lost admiring the quaint shops along the way — and paying in cash unknowingly earned us a modest discount.)
Krakow is as much about taste as it is about sound. You could eat your weight in delicious pierogi; those soft, delicate dumplings gathered at the top, filled with comforting goodies such as potato, cheese, shredded cabbage, or meat, and topped with a sprinkling of fried onions.
Inside the Wieliczka Salt Mine. (Shutterstock)
We also indulged in Oscypek z grilla — grilled smoked sheep’s cheese, a traditional delicacy from Poland’s Tatra Mountains, often served with cranberry or cherry sauce. It was creamy, tart, and lightly charred, offering the perfect balance. Polish cuisine in general is hearty and unpretentious; you can find great tomato soup, for example, and it’s well worth trying the so-called Polish bagel — obwarzanek krakowski — a braided, ring-shaped bread that’s boiled before baking and typically sprinkled with poppy seeds, sesame, or salt.
Speaking of salt, a short drive from the Old Town is the labyrinthine wonder of the Wieliczka Salt Mine. Descending into its depths, each space is more elaborate than the last. Salt sculptures and underground lakes create a surreal beauty — a subterranean cathedral said to be the largest of its kind and carved entirely from salt. Much to our relief, after hours of walking, our return to the surface was via a tiny elevator that zipped up in seconds.
The salted chocolate available at the mine was some of the best I’ve ever tasted, and I later indulged in a soak with bath salts to soothe my aching feet.
Pierogi - a must-try Polish dish. (Shutterstock)
Salt shakers are popular gifts here — symbols of hospitality and preservation. But Poland is also famed for its hand-painted pottery, amber jewelry from the Baltic coast, intricate woodwork, and colorful folk art bursting with symbolism. I also admired their delicate scarves adorned with flowers. And their cute dolls.
Architecturally, Krakow is a lesson in continuity and preservation; its lively squares and cozy spaces are equally inviting and immersive. Gothic spires rise beside Baroque façades, while Renaissance courtyards whisper of centuries of civic pride.
Be sure to stop by Wawel Castle—even if you skip the paid exhibits. The gardens alone are worth a visit, and the gift shop offers a fine selection of local crafts. Legend has it that the Wawel Dragon once terrorized Krakow from a cave beneath Wawel Hill, devouring livestock and terrifying villagers. Many knights tried to defeat it but failed, until a clever shoemaker fed it a sheep stuffed with sulfur, making it so thirsty that it drank from the Vistula River until it burst. Today, a dragon statue near the castle occasionally breathes fire, delighting passersby.
Local craftsmen and women still prosper here. I couldn’t resist a pair of handmade shoes — comfortable, stylish and affordable. While there may be no dragon-slaying shoemakers around today, the city itself feels subtly enchanted, preserved just enough to keep the magic alive in each step.
Han’s imagery draws heavily from Asian folklore, in which people often dream of merging with trees, flowers or mountains in acts of punishment, transcendence or return
Updated 24 October 2025
Jasmine Bager
South Korean writer Han Kang’s “The Vegetarian” tells the story of Yeong-hye, a mild-mannered woman who abruptly decides to become a vegetarian — a decision that baffles her husband and sparks a family fallout.
The novel explores how the protagonist’s life begins to unravel as her refusal to eat meat deepens into obsession, and she endures severe physical and emotional abuse at the hands of those closest to her.
First published in Korean in 2007, the novel earned Han the 2016 Man Booker International Prize for its English translation by Deborah Smith. In 2024, Han became the first South Korean author to win the Nobel Prize in Literature.
At a recent Kalimat Book Club meeting at Alkhobar’s Marfa cafe, readers discussed both the Arabic and English translations. The consensus seemed to be that the English version was more lyrical and poetic, while the Arabic seemed to be truer to the spirit of the original, with more rigid sentences and organic dialogue.
The book club also explored the novel’s three-part structure — told mostly from the male characters’ perspectives — with some suggesting this made Yeong-hye seem like a secondary character in her own life. Discussion also focused on the validity of some scenes and how each narrator framed the overall story.
Han’s imagery draws heavily from Asian folklore, in which people often dream of merging with trees, flowers or mountains in acts of punishment, transcendence or return.
Like the classic Japanese tale retold in Koji Yamamura’s 2002 Oscar-nominated animation “Mt. Head” — in which a grumpy old Japanese man unknowingly grows a cherry tree from his skull and morphs into a plant — “The Vegetarian” channels the animist belief that humans and nature are intertwined.
The question that lingers after reading and discussing the book is: Was the central character’s act one of empowerment or powerlessness?
3 Abu Dhabi restaurants retain Michelin stars in 2026 guide
Updated 23 October 2025
Hams Saleh
ABU DHABI: The launch event for the Michelin Guide Abu Dhabi 2026 was held on Thursday at the Emirates Palace Mandarin Oriental, with three of the city’s restaurants retaining their coveted star status.
Now in its fourth edition, the annual guide provides a directory of the best places to eat in Abu Dhabi, including the cream of the crop, the one Michelin star-rated Erth, Hakkasan and Talea by Antonio Guida.
Michelin stars are awarded on the basis of several criteria, including the quality of ingredients, harmony of flavors, consistency over time and across the menu, and the expression of a chef’s personality through their dishes.
This year’s guide also includes 10 restaurants recognized in the Bib Gourmand category, which recognizes those places that offer high-quality food at more moderate prices.
Joining the list for first time in 2026 were Bua Thai Cafe, Goldfish and 3Fils Abu Dhabi, with the latter also picking up the Opening of the Year Award, which was presented to its chef Jun Kamiyama.
Almayass, Al Mrzab, Beirut Sur Mer, Mika, Otoro, Ryba and Tazal all retained their Bib Gourmand status from last year.
It was a special night for Vittorio Nania from Villa Toscana, who won the Young Chef Award.
“When you have passion, there is no recipe,” he said as he collected his prize. “Just believe in what you believe and push harder every day. That’s it.”
The year’s Michelin Service Award, which is presented to an individual or team that shows exceptional hospitality or service, went to chef Ricardo Bout from Ray’s Grill, a steakhouse at Conrad Abu Dhabi Etihad Towers known for its panoramic views and signature chargrilled steaks.
The Michelin guide also includes “Selected” restaurants, which are recommended for their quality. Joining the list for the 2026 edition were Antonia, Cipriani Dolci, Novikov Abu Dhabi, Pinched by Kunal Kapur, Sand & Koal, Strawfire by Ross Shonhan, Taparelle and Villa Mamas.
Those that remained on the list from last year were Broadway, Em Sherif Sea Cafe, Namak, Meylas, Li Jiang, Li Beirut, Finz, Dai Pai Dong, Coya, Byblos Sur Mer, Martabaan by Hemant Oberoi, Cafe Milano, Villa Toscana, Zuma, Catch at St. Regis, Bord’ Eau by Nicolas Isnard, Mijana, terra, Al Farah, Ray’s Grill, Kopitiam by Chandy’s, Jose by Pizzaro, Mate, NIRI, Paradiso, Punjab Grill, Oii, Grand Beirut, La Petite Maison, Butcher & Still, 99 Sushi Bar, Moksh, Fouquet’s, Oak Room and Tean.
Johnny Depp delivers masterclass at Saudi Film Confex
Updated 23 October 2025
Rahaf Jambi
RIYADH: Hollywood star Johnny Depp took center stage at the third edition of the Saudi Film Confex in Riyadh, where he delivered a masterclass titled “The Genius of Embodying Different Roles.”
The session, hosted by Saudi actress and filmmaker Fatima Al-Banawi, offered a rare glimpse into Depp’s creative process, philosophy of acting, and his reflections on a more-than-four-decade career.
Opening his talk, Depp expressed gratitude for returning to ֱ, a country he described as “vibrant, young, and full of promise.” He praised the Kingdom’s growing film scene and its ambition to nurture emerging talent.
“I think ֱ is in a moment of extraordinary artistic evolution,” he said. “There’s something genuine and raw about what’s happening here. You can feel that people are creating because they truly love it.”
In the hour-long masterclass, Depp reflected on his approach to acting and the craft of storytelling. He spoke about his early insecurities, the struggles of being misunderstood, and the importance of maintaining creative authenticity in an industry that often prioritizes commercial success over artistry.
“When you start out, you’re filled with doubts — ‘Am I good enough? Am I doing this right?’ Those questions never completely go away,” he admitted. “But you learn that those insecurities are part of the process. They keep you honest.”
Depp emphasized that creativity must come from passion, not from a desire for fame or validation. “You have to be in love with what you’re doing,” he said. “It’s a strange job — acting — but if you don’t have that deep connection to it, the audience will feel it. The work has to come from truth.”
The actor, known for his transformative performances in films such as “Pirates of the Caribbean,” “Edward Scissorhands,” and “Finding Neverland,” also discussed how his relationship with acting has evolved over time.
“When I was younger, I cared too much about how people saw the work. Over the years, I’ve learned that caring too much can hold you back. You reach a point where you just have to trust your instincts and jump in fully — like diving into water without worrying about keeping your arm dry.”
One of the most memorable moments of the masterclass came when Depp told the story of his now-iconic portrayal of Captain Jack Sparrow. He revealed that Disney executives initially “hated” his interpretation of the character. “They thought I was ruining the movie,” he said with a laugh. “But I believed in the choices I made. Sometimes, you have to trust your instincts, even if no one else does. In the end, it worked out.”
He went on to encourage Saudi youth to pursue their artistic passions. “There’s so much talent here,” he said. “What’s important is to give young people the space to explore, to fail, to learn — and to find their voice. Art is not about perfection. It’s about honesty.”
The Saudi Film Confex, organized by the Saudi Film Commission, has quickly become a key event in the Kingdom’s growing entertainment calendar. The conference brings together filmmakers, producers, distributors, and investors from around the world, providing a platform for creative exchange and collaboration.
In its third edition, the event features an extensive exhibition, workshops, and interactive experiences designed to empower the next generation of filmmakers. The event will run until Oct. 25.
Depp’s participation underscores the Kingdom’s growing profile in the global film community and he closed the talk with words that resonated with aspiring filmmakers in attendance: “You don’t need to chase what others expect of you. Just tell your story — your truth. That’s where the real magic begins.”
Saudi artist Abdulhadi Abdullah: ‘I want my art to inspire happiness’
Updated 23 October 2025
Rahaf Jambi
RIYADH: Abdulhadi Abdullah describes art as “the magic of creating something out of nothing.” He recalls creating a colorful drawing as a child that delighted his friends — a moment that ignited a lifelong passion for creativity, and a belief that inspiration can be found everywhere.
Two notable paintings by the Saudi artist vividly illustrate his approach to cultural storytelling. In “Edge of the Universe,” he depicts a man seated on a patterned surface, surrounded by stylized camels and hoding a bowl of camel milk — a symbol of hospitality. The inspiration for this work struck him during a visit to a traditional marketplace, where the vibrant colors and sounds enveloped him. As he painted, he envisioned the stories of countless lives intertwined in the bustling market.
In “Edge of the Universe,” Abdulhadi Abdullah depicts a man seated on a patterned surface, surrounded by stylized camels and hoding a bowl of
camel milk — a symbol of hospitality. (Supplied)
“The geometric background of vivid squares adds a contemporary, mosaic-like effect. By merging traditional symbols with modern colors and clean lines, the painting conveys a deep longing for the past, reflecting warmth, pride, and an enduring connection to heritage and shared cultural memory,” the artist’s statement reads.
In “Saint of the People,” a man sits serenely on a chair, a halo casting a soft glow above him. (Supplied)
In the second artwork, “Saint of the People,” a man sits serenely on a chair, a halo casting a soft glow above him. Abdullah recalls exploring an old, abandoned building and feeling a powerful urge to capture that moment. The bright blues and yellows in this painting contrast sharply with the dark silhouette of another figure, reflecting a journey of introspection and discovery.
“He appears as a saint — ancient and wise,” Abdullah writes of the figure in the painting. “But in the shadows, he hides a devilish truth. Many believe his thoughts are pure, yet in reality they are the complete opposite.”
As an art teacher, the 36-year-old finds inspiration in his students too. He cites a moment during a class when a young girl presented her artwork — a simple drawing of her family. The innocence and joy in her creative expression struck him deeply. “Each mind holds a different universe,” he says. His students’ drawings, filled with raw emotion and uninhibited color choices, often spark ideas for his own work.
Heritage also plays a pivotal role in Abdullah’s work. He says that heritage has its “own color” — a tone that carries memory, rhythm, and soul. And he tries to translate this heritage into new shades that have never been used before. He fondly recalls conversations with his grandmother about their ancestry and the colors that defined their culture. Abdullah reshapes these traditional colors through his own lens, honoring his roots in a contemporary setting.
Before beginning any artwork, Abdulhadi Abdullah engages in field research, often visiting ‘forgotten’ places. (Supplied)
Before beginning any artwork, Abdullah engages in field research, often visiting ‘forgotten’ places. “These visits are like treasure hunts,” he says. He observes colors, light behaviors, and spatial relationships and uses them to form “conceptual sketches” in his mind.
At the core of Abdullah’s artistic philosophy is a commitment to spreading joy. “I want my art to inspire happiness,” he says.
Abdullah is not just an artist; he is a storyteller, educator, and cultural ambassador. His vibrant artistic style and commitment to spreading joy through his work reflect a deep understanding of the transformative power of art. From the lively markets of Riyadh to the quiet corners of forgotten gardens, his journey invites us all to celebrate the beauty of our shared human experience.
Runway rewind: Looking back at Riyadh Fashion Week’s Saudi design stars
Updated 23 October 2025
Arab News
DUBAI: We take a closer look at homegrown highlights from the capital’s catwalks this Riyadh Fashion Week.
Tima Abid
The Saudi designer’s Fall 2025 Couture collection relied heavily on a black color palette, reflecting the recent loss of her mother. Models were shrouded in black capes, hoods and billowing gowns, with exaggerated silhouettes creating a sense of drama.
In show notes, Abid said the inspiration behind the collection “lies in the chaos that surrounds us, a reflection of how human emotions and thoughts can be transformed into art, fabric, and form.”
Crystals, lace and textured fabric choices also worked to add a layer of interest to the line, with sober shades of burgundy making an appearance on the runway as a counterpoint to the otherwise all-black collection.
Crystals, lace and textured fabric choices worked to add a layer of interest to the line. (Supplied)
Atelier Hekayat
The Saudi label — founded by sisters Alia and Abeer Oraif — presented a line titled “A Ticket to the Theater,” marked by suitably head-turning prints and silhouettes. Inspired by “the transformative magic of performance,” according to show notes, the collection unfolded with A-line capes, poufy silhouettes, bold cuts, and intricate embellishments.
“This collection is a tribute to every soul who has ever stood behind the curtain,” the pair told Arab News in a joint statement. “The silent heroes who made us laugh, cry, and believe in magic.”
Harlequin prints were toned down and presented in tan-and-black to suit modern tastes, while fabrics printed with animated female forms added a touch of whimsy to the line that also boasted a ruffled showman-worthy cape in bright red.
“We wanted to celebrate the moment a woman embraces herself with love and grace,” the sisters explained. “It’s a story of self-love and confidence reborn under the spotlight.”
Harlequin prints were toned down and presented in tan-and-black to suit modern tastes. (Supplied)
Abadia
The label’s latest offering featured voluminous soft silhouettes, sophisticated layering, and rich textiles including silk, velvet, and wool in a warm palette of browns, creams, and golds with an on-trend touch of burgundy. Creative head Shahd Al-Shehail drew inspiration from the legacy of pearl diving communities in ֱ, paying tribute to the resilience of the women who held their families together during the men’s long absences at sea.
“It is inspired by my grandfather’s story when he was young and ventured into the sea to mark his coming of age … it reminded me of what it means to choose courage over comfort; to surrender, and to embrace the unknown,” Al-Shehail told Arab News.
The label’s latest offering featured voluminous soft silhouettes, sophisticated layering, and rich textiles. (Supplied)
Leem
The Saudi label’s Fall 2025 showcase was an exercise in blending the Kingdom’s heritage with contemporary design notes. European couture from the 1970s was used as inspiration and seamlessly melded with traditional Saudi attire, resulting in a collection of flowing bisht-style overlays and heritage-inspired farwas for the cooler months.
The brand also offered up business attire in the form of separates and loose fitting dresses in ruffled chiffon.
Psychedelic color-melting techniques were applied to long dresses with leg-of-mutton sleeves — updated with cleaner, less fussy lines. The show notes stated: “The Saudi woman is global, discerning, and self-assured … she understands style but values practicality and purpose.”
Psychedelic color-melting techniques were applied to long dresses with leg-of-mutton sleeves. (Supplied)
Waad Aloqaili
Hand-crafted elements elevated the Saudi designer’s showcase, with intricate embroidery and mother-of-pearl laminate used to stunning effect. Titled “YAMAL,” the collection paid tribute to ֱ’s nautical landscapes with pearls, crystals, beading and chiffon used to mimic the “serene rhythm of the Saudi sea.”
One standout figure-hugging gown boasted a bodice sculpted from hand-crafted mother-of-pearl laminate refined through sanding and sealed with natural wax. Vertical strands of pearls and crystals hung from the waist, with the designer opting not to fasten the delicate ropes to the flowing fabric underneath in order to allow for fluid movement.
Accessories also played a role in paying tribute to the Kingdom’s past, with a pair of shouder-grazing gold earrings designed to look like the traditional scale once used to weigh natural pearls. A headpiece created from gold, natural mother-of-pearl and pearls was designed to mirror the hammah worn by Najd women.
Hand-crafted elements elevated the Saudi designer’s showcase, with intricate embroidery and mother-of-pearl laminate used to stunning effect. (Supplied)
Razan Alazzouni
Having dressed Stateside celebrities including Kendall Jenner, Emma Roberts, and Elizabeth Banks, Alazzouni’s show at Riyadh Fashion Week was her first runway presentation in her home country. Alazzouni also took inspiration from pearl diving and its storied history in the Gulf, but shied away from using pearls directly in her work, instead choosing to employ pearl-diving-related visuals as a motif throughout the collection.
Fishing ropes, the swells of underwater formations and coral were depicted through embroidery woven onto crop tops, dresses and blouses. The collection did not stray too far into nautical territory, however, with the designer opting for a color palette of cream, gold and black with the odd touch of blue.
Fishing ropes, the swells of underwater formations and coral were depicted through embroidery woven onto crop tops, dresses and blouses. (Supplied)
Mirai
The label’s Fall/Winter 2025 collection “ALMOSTAGBAL” used design references from ֱ and Japan — specifically Tokyo’s urban fashion. The collection was a welcome look at Saudi street style dressing at an otherwise couture-heavy event.
Cropped blazers, some with Nehru collars, kept things playful. The color palette — moss greens, shades of black and sharp white — was pared down enough that design quirks carried the collection and kept things visually engaging. Tiny triangular embroidery along pocket openings and collar edges harkened back to traditional Najdi architecture, while large buttons boasted intricate patterns in a somewhat unexpected detail for such an urban collection.
The color palette — moss greens, shades of black and sharp white — was pared down enough that design quirks carried the collection. (Supplied)
HINDAMME
The Saudi label showcased its “Hejaz” collection, paying tribute to the Kingdom’s western province. Creative head Mohammed Khoja offered up monochrome full-length dresses, knit cardigans, and silk button-downs emblazoned with Arabic print in a circular formation that picked up on design cues from his 2024 “Petroglyphs Collection.”
“Hejaz” stayed true to the brand’s ethos of contemporary, luxury, ready-to-wear pieces inspired by the concept of East-meets-West, featuring bold scarlet and hot pink shades, textured oversized coats in tan and brown, and boxy jackets that walked the line between nations.
The Saudi label showcased its “Hejaz” collection, paying tribute to the Kingdom’s western province. (Supplied)
