Asma Al-Assad: Part I

How Syria’s British-born First Lady is reshaping her country's image abroad

One would assume that all eyes would be on France’s first lady Carla Bruni at an international leaders' summit being held in Paris. But last July at a state dinner held at the Elysee Palace for international leaders attending the Union for the Mediterranean conference, the paparazzi were caught off guard by the appearance of Syria’s President Bashar al-Assad. The object of their fascination wasn’t the Syrian president himself, so much as the chic woman striding confidently by his side in a Chanel dress and Christian Louboutin heels (the scarlet soles gave them away).

Asma Al-Assad had made her entrance onto the world stage.

But don’t expect this model-slim first lady to comment on what it feels like to be crowned a fashion icon by the likes of French Elle and Monocle magazine; she may just roll her eyes at you. Part of Al-Assad’s amusement at her sudden discovery by the Western press, is that she hasn’t been sitting back silently since her husband took office some eight years ago. If she chooses to dress a certain way, it is simply a part of her job description. More intriguing perhaps is how she’s redefined the role of Syria’s first lady from a purely symbolic post into a business model to be studied.

At 8:00 a.m. on a warm day last April students began filing into the auditorium of the Harvard Business School for an unusual video-conference. At 8:30 a.m. on the dot Asma Al-Assad’s image came flickering to life on the auditorium’s projection screen. For the next hour and a half Al-Assad discussed and took questions from students about one of her pet projects, the Children’s Educational Park she is building on the former grounds of the Damascus International Exhibition, right outside the city.

The fact that students at Harvard’s Business School should choose to study her various economic initiatives in Syria is no coincidence since Al-Assad has spent the last few years initiating programs designed to foster economic development in order to improve the quality of life for many in Syria.

Even more telling perhaps is that she is not merely placing her symbolic stamp of approval on many of these initiatives, but is also an active participant who is fully conversant in the language of business and finance. At the end of the day she is looking for tangible results.

Long before she became Syria’s first lady, she worked at Deutsche Bank in London as an analyst in the hedge fund management section; covering clients in the Far East and Europe. Later she joined the investment banking division of J.P. Morgan in London, specialized in Mergers and Acquisitions; which also included stints at the firm’s branches in Paris and New York. This previous experience has undoubtedly informed her current projects.

“For development and change to be successful it’s got to happen with us and by us, rather than from somebody else and by somebody else,” she explained. “If I have learned anything in the past couple of years, it’s that for any type of development to be sustainable, it’s got to include the direct beneficiaries as a core part of the process. They need to be actively involved. This not only ensures local ownership, which is vital for sustainability, but it also ensures that needs and priorities are properly addressed and clearly identified.”

It’s a fitting comment from a first lady, who is being observed intently as she broadens her role on a global stage.

A version of this article by Alex Aubry originally appeared in Dia Magazine

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

Asma Al-Assad: Part II

Redefining Syria’s role on a Global Stage

Not so long ago Syria’s first couple was personae non grata in Western capitals, long isolated by sanctions (both diplomatically and economically).

So it came as somewhat of a surprise when President Nicholas Sarkozy of France extended a warm invitation to Bashar al-Assad to attend the summit for Mediterranean leaders last summer in Paris.

But while the president spent his days in closed meetings his wife managed to attract the attention of the French media, as images of her making the rounds of Paris were beamed around the world: Asma visiting the Louvre and Centre Pompidou, seated by Carla Bruni at the Bastille Day celebrations, as well as accompanying her husband to a dinner at the Elysee Palace.

It doesn’t take much to cause ripples within Arab diplomatic circles, and in the last few years Asma Al-Assad’s emergence on the scene has been nothing less than seismic. Unlike previous Syrian first ladies, she has maintained a high profile at state, diplomatic and charitable events.

Yet despite her background, Asma Al-Assad’s beginnings as a first lady were not always so public. When she married Syria’s president some ten years ago her first order of business was to disappear from public view entirely. During that period she traveled around the country incognito in jeans and a t-shirt; getting to know ordinary Syrians as well as experiencing first hand many of the problems and challenges facing society there. “For me,” she explained at the time, “it was only logical – that was the way to start.”

Back in Damascus she held a reception and astonished her husband’s ministers by mingling and introducing herself to everyone instead of gathering them around a long, formal dinner table with herself and her husband at the head. Her warm, informal style has persisted; winning over many, despite the disapproval of some of the old guard early on. This informality also extends to her daily routine, where she insists on dropping off her children at school everyday before heading to her office in a building overlooking the city.

Growing up in England (with frequents visits to Syria during her childhood) has also given her a multicultural perspective; preparing her for her role as a roving ambassador for Syria. Yet it serves to remember that Asma is not the first Western-born consort to a Middle Eastern leader; as examples can be found throughout the history of the Middle East.

The late King Hussein of Jordan married two glamorous Western women. His second wife, Toni Gardiner, known as Princess Muna, (the mother of Jordan's current King Abdullah), was the daughter of a British Army officer. His fourth wife, Lisa Halaby, (Queen Noor) was the daughter of a former chief executive of Pan-Am Airways and one-time US deputy assistant secretary of defense. Even Suzanne Mubarak, the wife of former Egyptian President Hosni Mubarak, comes from a multicultural background. She is the daughter of an Egyptian doctor and a Welsh nurse.

Not surprisingly, Asma has become a strong role model for women in Syria. In 2004 she attended a conference in Beirut on Arab women and war, and she remains the head of Mawred, a Syrian non-profit group she set up in 2003 to enhance the role of women in Syria's economic development.

Despite this, it hasn’t been lost on some that Asma’s glossy informality is somewhat at odds with Syria’s more familiar image in the West. But in the last few years she has carefully been playing her part in breaking many of those misconceptions through dialogue and cultural exchange. According to her, “It’s only through interaction that we can begin to bring things together.”

In addition to kick-starting several initiatives to overhaul Syria’s economic and education system, she has also been the driving force behind a host of cultural events staged as part of Damascus’s year as Arab capital of culture, including a an exhibition of ceramics from the Victoria and Albert Museum in London.

A version of this article by Alex Aubry originally appeared in Dia Magazine

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

From the Vogue Archives:

Photographer Henry Clarke captures models Marisa Berenson and Cynthia Korman in Isfahan, Iran. Vogue, December 1969

A Note from The Polyglot

The Polyglot is off to New York Fashion Week and will return with more cross-cultural encounters in the coming days.

Thank you for your positive feedback over the last few months.

Food for Thought...

Postcards from Beirut…

Recalling the Lebanese Riviera of the 1960's

Blast from the Past: Ann-Margret in Beirut

Swedish-born Hollywood actress Ann-Margret plays an exotic night club dancer in “Rebus,” which was filmed in Beirut, 1968.

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

From the Vogue Archives: Orient Excess

One of the more recent examples of “Orientalism” (by way of Edward Saïd), at work in the fashion world appeared in the pages of British Vogue. For its June 2008 issue, the publication asked Rana Kabbani, the noted Syrian cultural historian, to write a two page essay addressing the myths surrounding the Oriental harem within the Western imagination.

Born in Damascus, Kabbani was educated at the American University of Beirut and Jesus College, Cambridge. After working as an art critic in Paris and a publisher's editor in London, she became a full-time writer in 1986. One her most important works was “Europe's Myths of the Orient: Devise and Rule” (1986), which examined Western perceptions of Islamic culture, paying particular attention to the creation of erotic stereotypes within European literature and painting. Her seminal book was later republished in 1994 as “Imperial Fictions: Europe's Myths of the Orient.”

In her article for Vogue, Kabani dispels many of the misconceptions surrounding the age old institution of sequestering women, by poignantly recalling her own grandmother’s life spent in a Damascus harem during the twilight years of the Ottoman Empire. Kabani’s words are surprisingly frank, direct and insightful, offering the reader an unvarnished viewpoint, far removed from the romanticized vision of 19th century Victorian painters. Ultimately her piece is a critique of cultural misrepresentations encouraged by such artists; noting that the women in such paintings were often portrayed as passive. When in reality, the harem (at the time) served as a venue for women to converse, work, entertain, and learn from each other in an environment, “relieved of the intrusive presence of their men.”

The “noisy, active, ferocious, brave, hard-working, opinionated and fun,” behavior that Kabbani witnessed in the harem women of her grandmother's generation is meant to humanize and give a face to the subjects of Orientalist paintings. She also makes the point that harem life was far less “exotic,” than what was portrayed in Western literature.

To look at the Oriental-inspired fashion spread on the preceding 6 pages provides an interesting social and historical counterpoint. Where Kabani’s essay attempts to shatter the myth, the photographer Janvier Vallhonrat and fashion editor Lucinda Chambers seem to perpetuate it. In a series of atmospheric images, the model Élise Crombez is captured lounging amongst embroidered pillows and a sea of Kilims, in scenes far removed from the thought-provoking world painted by Kabani. Despite this, what’s interesting about Vallhonrat’s images (when compared to that of his 19th century predecessors), is the hint of defiance in his subject’s eyes, and the suggestion of some form of struggle (through the use of hair and makeup).

Yet for all the analysis, what Vogue does best are beautiful images meant to inspire and take its readers on a journey (if only for a few minutes)…it’s just more interesting when a bit of social commentary is thrown into the mix.

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

Orientalism Exposed

Alex Aubry explores the Orient’s influence on generations of designers in the West, and asks the question, “when is ethnic too ethnic?”

Looks from Paul Smiths’ Orientalist inspired Spring 2009 collection.


One wonders what Edward Saïd, (the late Palestinian literary theorist, cultural critic, and political activist) would have made of the round of spring collections that took place in New York back in 2008. As one flitted through the tents at Bryant Park, it was difficult to ignore a certain whiff of the Middle East permeating through many of the shows. All the more ironic considering that the New York Spring collections traditionally fall around the same time as the anniversary of the September 11th attacks.

In Saïd’s seminal work, Orientalism, he points to a long tradition in the West of creating a romanticized vision of the Orient. He argued that Western depictions and writings on the Orient are often colored by a history of European colonial rule and political domination over the region; and that this history ultimately distorts the art and writings of even the most knowledgeable, well-meaning and sympathetic of Western “Orientalists.”

Looks from Paul Smiths’ Orientalist inspired Spring 2009 collection.


Which leads one to wonder if Western designers are also prone to perpetuating a somewhat contradictory image of an exotic Orient? This apparent contradiction seemed to be on the minds of several designers that particular season. In fashion nothing happens haphazardly as it is often a reflection of social, cultural and political currents occurring at any given moment in time. This was no more apparent than across the Atlantic at London Fashion Week that same year, where the designer Paul Smith presented his own take on Oriental chic with a collection that included variations on the “Turkish waistcoat” and softly flowing harem pants. Backstage at the designer’s spring 2009 show, both makeup artist Petros Petrohilos and hair stylist Peter Gray said that Smith’s directive was to create a “hammam chic-fresh out of the spa” look.

Smith himself, was candid about the fact that his show was very much an allusion to an “imaginary East.” No surprise considering that for this collection the designer immersed himself in the "The Lure of the East," the Orientalist show at the Tate museum in London that summer, which explored the Orient through the eyes of Victorian painters. In a sense, that particular exhibit could be seen as a visual counterpart to Edward Saïd’s thesis. What Paul Smith proposed as a designer was to continue that conversation in the context of a fashion show.

Looks from Miguel Adrover's Fall 2001 collection, inspired by the traditional Egyptian dress of the Nile Delta.


Back in New York, time has an interesting way of healing wounds (or at least changing perceptions), when one considers that it was only a few season’s ago that the designer Miguel Adrover was unanimously panned by critics for presenting an “Egyptian” inspired collection shortly after September 11th. Although his Fall 2001 collection, called “Meet East,” was a breakthrough from a design standpoint, it nevertheless was judged by many as “insensitive.” The incident not only resulted in plummeting sales for Adrover (and his company’s eventual closing); but also became a subtle message to designers (at least in America), that they may want to keep the Middle East off their inspiration boards for the time being.

Looks from Ralph Lauren’s Spring 2009 collection.

Fast forward to September 2008, and the New York Spring collections not only marked the return of Adrover onto the fashion scene; but also the appearance of a strong Middle Eastern influence on the catwalks of both established and upcoming designers. It could be seen in the Moorish arches flanking the runways at Phillip Lim and Ralph Lauren, in prints and beading alluding to arabesque tiles at Malo, and in the lusciously draped gowns that captured the ease of a djallaba at Donna Karan’s show.

Furthermore, this trend has not gone unnoticed amongst the key players in the business who ultimately influence what we will be wearing next season. Most notable amongst this group is HRH Princess Deena Aljuhani Abdulaziz. At a time when fashion has become an increasingly global business, Mrs. Abdulaziz is one of the few Middle Eastern voices to be heard on fashion’s front lines. Early on she became instrumental in introducing women in Saudi Arabia (and the region) to a new generation of American designers such as Behnaz Sarafpour, Peter Som and Proenza Schouler through her influential concept store D’NA, in Riyadh.

“An Armenian Lady in Cairo, 1855,” by John Frederick Lewis was shown at "The Lure of the East," the Orientalist show at the Tate museum in London. The exhibit was the inspiration for Paul Smith’s Spring 2009 collection; A turbaned model at Chanel haute couture 1989, a look that can be traced back to 19th century Orientalist paintings.

Over the years Abdulaziz has developed a sixth sense for deciphering trends and dissecting the key pieces from collections. When asked about her impressions of the recent New York shows, the influential buyer and fashion icon went straight to the point: “Ralph Lauren and Peter Som each presented their own unique perspective on the whole Lawrence of Arabia look; the references where there on the surface and unavoidable. But beyond the styling, one had to dig deeper to see those influences coming through in other collections as well. Behnaz Sarafpour showed a sleek tunic of cream and gold jacquard, covered in a pattern that reminded me of historic textiles worn by members of the Ottoman court.”

Then there is the harem pant, which according to Mrs. Abdulaziz would be “the strongest trend for both spring and summer.” To be sure, this isn’t the first time “the pant in question” has made an appearance on international catwalks; as everyone from Saint Laurent to Sonia Rykiel have offered up their interpretations at one point or another. But this time around designers offered variations that were less “costumie.” By deflating the air out of the traditional looking harem pant, they produced slimmer versions in a variety of lengths and fabrics that women may actually consider wearing in public.

The French couturier Paul Poiret frequently found inspiration in the Orient, creating this “Harem” evening ensemble in 1910. The Ballets Russes, under the direction of Sergei Diaghilev, performed in Paris from 1909 to 1929. During that time it was considered one of the most influential theatre companies, sparking a vogue for all things Oriental when Léon Bakst created the costumes for Scheherazade. Paul Poiret was extremely influenced by Bakst's costume designs for the production, which included bold hues, heavy embroidery and harem pants.

Reinterpreting cultural or ethnic influences in fashion is a fine art; too heavy on the beading and embroidery and you may end up looking like you’ve stepped off the pages of National Geographic. This is especially true for Middle Eastern buyers and editors attending the collections, who aren’t necessarily looking for literal interpretations of Arab costume; a point that is very much on Abdulaziz’s mind as she decides on how to approach the harem pant with her specific clientele in mind. “Some designers did it better than others, and what works for the Arab woman is a modern -not too literal- take on it,” added Abdulaziz.

It’s not often the case that New York designers chose to collectively zero-in on one particular item of clothing. Jill Stuart showed a relaxed pair of harem pants in grey washed cotton worn with a slouchy cardigan and high heels for a thoroughly modern look. Alberta Ferretti and Diane von Fürstenberg showed knee grazing numbers paired with blazers. The young design team of Proenza Schouler integrated their’s into a jump suit recalling the decadent era of Studio 54. While Ralph Lauren’s version came in everything from Khaki to bronze-beaded tulle, which billowed as the models walked down the runway.

John Frederick Lewis’ “Harem Life in Constantinople,” 1875. A look from Ungaro’s Fall 1993 haute couture collection.

But amongst fashion insiders, the show that caused the most buzz was Marc Jacobs’s sophisticated collection, which Abdulaziz described as “divine!” Although Jacobs is known for combining a myriad of influences into his designs, one of the most apparent sources of inspiration (a trend also seen in other shows) was Yves Saint Laurent and his ground breaking Ballet Russe collection from the 1970’s.

Algerian born Saint Laurent had a long history of being inspired by the Orient, and in Jacob’s hands those influences have been updated and twisted to resonate with a woman of today. That meant a longer, leaner silhouette, the layering of rich fabrics such as silks and brocades, and the return of accessories as an important final touch to completing outfits. “It was done with such attention to detail, and I loved how Tim Blanks (the fashion critic at style.com) described it as Lana Turner going on a trip to Bali,” said Abdulaziz when speaking of a collection that also captured the spirit (and color sense) of Saint Laurent’s legendary muse and collaborator, designer Lou Lou de la Falaise. A not so surprising choice since de la Falaise wore a turban and harem pants designed for her by Saint Laurent, when she married Thadée Klossowski in 1977.

John Frederick Lewis’ “Lilium Auratum,” 1871. A look from Jean Paul Gaultier’s Spring 1998 haute couture collection.

Some of the most interesting interpretations of Oriental costume have come from designers known for a minimalist approach to dress. In this case, Jill Sander and Alberta Ferretti whittle down the caftan to its purist essence, Spring 1994.


Yves Saint Laurent would also be inspired by the costumes of the Ballet Russe when he created a collection under the same name. Frequently referencing North Africa (and Marrakech in particular where he had a home), his Spring 1991 collection included colorful harem pants and fez’s inspired by Léon Bakst’s costumes; For Spring 1992 he designed a Moroccan inspired ensemble. Saint Laurent also created Oriental inspired designs for his close friends; In 1977 he designed two wedding outfits for his muse Lou Lou de la Falaise; Bianca Jagger in an oriental inspired outfit at New York’s El Morocco, 1975.

For Fall 1994 London-based Turkish designer Rifat Ozbek showed one of his most influential collections in Paris (his first year showing there after presenting in Milan for several seasons). That year Ozbek was inspired by his Turkish roots and referenced Ottoman costumes. But take all those pieces apart and you had thoroughly modern clothes that were beautifully tailored, which was a hallmark of Ozbek.

For the show he commissioned Phillip Tracey to design towering Fez’s based on those worn by twirling dervishes. Some came with ostrich feathers perched at their peaks, while others had floor skimming veils edged in silver coins. For the show, the models feet were painted gold and they walked on a runway covered in oriental carpets and rose petals.

The two outfits, worn by models Naomi Campbell and Yasmin Ghauri, demonstrate Ozbek’s talent at reinterpreting ethnic influences. In this case he took the traditional Ottoman military frock coat and reworked it into satin bustiers trimmed in grey fur, which were worn with ball skirts, mimicing the effect of harem pants when the models walked down the runway.

Looks from Rifat Ozbek’s Ottoman influenced Fall 1994 collection.

A version of this article by Alex Aubry originally appeared in Dia Magazine

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

Food for Thought...

A Fashion Moment: Yves’ First Muse

Long before Lou Lou and Catherine came on the scene there was Victoire, a dark haired beauty who reminded Saint Laurent of his native Oran, in Algeria. The two met in the late 50’s at Christian Dior, where a young Yves became the house’s head designer and Victoire one its prized cabine models. They struck up a friendship that would last long after Saint Laurent left Dior.

In 1962, the French designer staged his first haute couture show and asked Victoire to be his star model. For that particular spring couture collection, Saint Laurent cloaked her in a chiffon veil, and sent her out in a lace trimmed gown that was an instant sensation. Her career as Saint Laurent’s muse was short lived however. Not long after the show, she gave up modeling to marry and start a family.

© THE POLYGLOT/ALEX AUBRY (all rights reserved) CHICAGO-PARIS

The Other McQueen

Steve McQueen
Harper’s Bazaar, February 1962