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MAKKAH: A young �������� artist has found her voice in the geometry of square Kufic calligraphy, transforming Arabic letters into contemporary designs that reflect both discipline and creativity.

Samah Al-Baiti embraced Arabic calligraphy as a way to convey identity and culture, aligning her own journey with Saudi Vision 2030’s broader goal to highlight heritage and creativity.

In an interview with Arab News, she recounted her beginnings and experiences that shaped her artistic career in the world of Arabic calligraphy and Islamic design.

Her first encounter with calligraphy was marked by passion and curiosity.

“Since childhood, I watched my father write Arabic letters with precision and calm,” she said. “It became ingrained in me that letters are not just written words but an art that can be transformed into beautiful paintings.”

She added that her father’s influence led her to view each line as a design imbued with meaning.

Al-Baiti’s mother also encouraged her talent. “My mother always believed in my abilities and asked me to decorate the rooms with my paintings, which gave me the confidence to know I was on the path of value and purpose.”

That confidence, she said, fueled her determination to embark on a long artistic journey.

Studies in Islamic design and ornamentation at King Abdulaziz University further refined her skills.

“This field opened a new window for me, allowing me to understand how calligraphy and decoration complement each other in aesthetic harmony,” she said.

“Through it, I learned the basics of Kufic calligraphy and color techniques, which gave me a solid foundation for developing my distinctive style.”

Al-Baiti was particularly drawn to square Kufic calligraphy. The style, she explained, captivated her with its geometric beauty and balance.

“Square Kufic reflects my personality in terms of precision and discipline, and for me it is a space of boundless creativity,” she added.

Her first participation in the “Symphony with Letters” exhibition in Jeddah was a turning point.

She expressed pride in displaying her work to the public for the first time, noting that the audience’s interaction left the greatest impression on her. This is because many visitors tried to read one of her circular designs that incorporated the wisdom of Imam Al-Shafi’i.

She also highlighted the support and encouragement of media figures and calligraphers.

Those who supported her include calligrapher Mohammed Al-Harazi who trained her in the Diwani style; artist Saud Khan who encouraged her to participate in his exhibition; and media figure Jamil Al-Harthi who introduced her to the world of art exhibitions.

Driven by a desire to innovate, Al-Baiti began experimenting with new materials including thread, nails and coffee capsules. This stemmed from her desire to break from tradition and create works combining art and sustainability.

Balancing daily work commitments with her passion remains a challenge, but she insists on dedicating time to creativity, which she views as her form of self-expression.

Her mission, she explained, is to invite viewers to experience moments of awareness and beauty through her paintings.

“Each participation in an exhibition is a new step that enriches my journey,” she added.

Al-Baiti concluded by noting that Vision 2030 inspires her to use art as a bridge for cultural expression.

“I believe that it is our responsibility as artists to present our heritage to the world in a way that reflects its depth and authenticity, so that it continues to stand as a testament to the beauty of our culture.”

DUBAI: From fashion influencers and entrepreneurs such as Karen Wazen of Lebanon to filmmakers including Saudi producer Mohammed Al-Turki and models like British Moroccan Nora Attal, the Burberry show in London proved a hotspot for Arab talent.

The label presented hippie-inspired crochet dresses, fringed jackets and tailored suits in acid green, yellow and pink, drawing on counterculture fashions from the British music scene for its Spring/Summer 2026 collection.

A Black Sabbath soundtrack lent a rock ’n’ roll edge to the catwalk in the huge tent at Kensington Palace Gardens. The models’ boots and sandals crunched on a brown sand floor, evoking the muddy conditions of music festivals — a theme Burberry has revisited throughout the summer.

Dubai-based Wazen, who is the founder of eyewear label By Karen Wazen, arrived in a beige trench coat with a belted waist and double-breasted detailing, styled with knee-high black boots. She completed the look with long black leather gloves, a sleek black shoulder bag and sunglasses from her own brand.

The coat’s interior lining revealed Burberry’s signature check pattern.

Wazen posed for pictures with Al-Turki, former CEO of the Red Sea Film Festival, and Lebanese model Louai Alama, son of Lebanese superstar Ragheb Alama.

Meanwhile, on the runway, Attal appeared in a sleeveless mini dress adorned with metallic gold discs, styled with black lace-up combat boots. She carried a white fringed shoulder bag and wore oversized dark sunglasses, while silver accessories included a chunky ring and an armband.

The Burberry show, which closed London Fashion Week, was the sixth collection by creative director Daniel Lee and took inspiration from the connection between fashion and music. It was his third since Joshua Schulman became CEO and overhauled the British brand’s sales strategy.

Under Schulman, Burberry’s advertising has drawn on Britain’s outsized influence on music, featuring artists from Oasis frontman Liam Gallagher to producer and DJ Goldie and hip-hop musician Loyle Carner.

Burberry’s check pattern featured on chainmail mini dresses in black and silver, and pink and neon green, and on trench coats, which also came in snakeskin and a tarot card print.

“Burberry’s collection felt like a confident embrace of a younger client, rooted firmly in British culture and the energy of music festivals,” said Simon Longland, director of fashion buying at Harrods.