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A curated shelf of essential reading, from Mo Amelia Teitelbaum's portrait of the 1920s Paris stylemakers to Suraiya Faroqhi's study of the Ottoman artisans and Austin Kleon's witty guide to becoming more creative.
Libyan-born and Dubai-based, former Syrian banker Khaled Samawi shows what happens when graft, luck and a nose for opportunity meet a neglected nation's cultural assets. His operation now spans the Middle East, Europe and America.
As any reader of David Copperfield knows, even Charles Dickens could lose his audience after the halfway point. With the second instalment of its Phantom series, has Rolls-Royce done enough to escape the dreaded Second Act Syndrome?
Forever jetting between Hamburg and Dubai, Iranian-born collector Ramin Salsali ranks among the Middle Eastern art world's most influential figures. Dapper and exuberant, he mirrors Dubai's own drive, championing the region's most exciting artists for twenty-five years.
Artists should take risks, Shirin Neshat insists in her minimalist Soho studio. Restless and steely, the kohl-eyed artist leans forward with excitement to discuss her latest work, a feature-length film about the legendary Umm Kulthum.
Over white asparagus at a palazzo in Montegrappa, Giuseppe Aquila calls his firm a small family company that is also international. He neglects to add that it is among the world's foremost luxury penmakers.
One benefit of middle age, Michael Karam reflects, is finally knowing what we will not put up with, especially in the air. Gone are the days when the very cheapest, most circuitous flight always won.
Dubbed the Picasso of Design and the guru of biomorphism, Marc Newson crafts sensual products that are fluid in line and cosmic in conception. Yet beyond the futurism lies a rather different, defining sensibility.
In some cultures the way food looks matters as much as its taste. Anissa Helou considers how Japanese and Arab chefs alike treat the plate, the bowl and the arrangement as essential to the meal.
CEO Yves Carcelle prizes the emotion a single artwork can bring. At L'Espace Culturel, Olafur Eliasson's lift plunges visitors into forty-five seconds of darkness, cleansing them of the city before art begins.
At secondary school, art college was dismissed as a refuge for dropouts who wished only to drink cheap wine. One writer who took neither path reflects on creativity, his trade and whether journalism counts as art.
Young, handsome and well-travelled, Johan Attvik could pass for an international playboy customer of J Craft. In fact, he was exactly that, until he bought the company. Born in Gothenburg, he has always loved boats.