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DUBAI: Television’s biggest stars hit the red carpet on Sunday for the Emmys, the first of many award shows that will offer style trends on the road to the Oscars.

Many walked the red carpet in looks created by Arab designers, while some part-Arab stars were spotted at the event.

Entertainment reporter Zuri Hall opted for a liquid organza gown by Lebanese designer Elio Abou Fayssal, while US actress Skye P. Marshall also looked to Lebanon for style advice. Marshall showed off a blazer-skirt combination by Lebanese-Italian designer Tony Ward on the red carpet.

US singer-songwriter Lainey Wilson finished off her Zuhair Murad Resort 2026 outfit with a white cowboy hat, and US actress Sara Foster showed off a scarlet look by the same designer complete with a dramatic slit.

Dubai-based Egyptian designer Marmar Halim dressed TV star Alexis Bledel in a glistening silver look, and part-Arab model Shanina Shaik looked glamourous in an all-black grown by Carolina Herrera with Le Vian jewelry.

The Australia-born model — who is of Saudi, Pakistani and Lithuanian descent — was joined on the red carpet by fellow Australian Shabana Azeez, who stars in the Emmy winning show “The Pitt.”

Azeez opted for Marchesa Couture and Saidian Vintage Jewelry, a label with Iranian heritage.

Other celebrities were dressed by international fashion houses, with standout looks showcased by Jenna Ortega and Blackpink singer Lisa.

Ortega, the star of Netflix’s Addams family revamp “Wednesday,” turned heads in her striking Givenchy black skirt — and only chunky jewels draped over her torso.

K-Pop superstar Lisa, who made her acting debut in “The White Lotus,” stunned in a sculptural off-the-shoulder pink Lever Couture gown that revealed lots of leg and trailed off in a long swirling skirt of tulle ribbons.

Her co-star Aimee Lee Wood also looked pretty in pink wearing a strapless Alexander McQueen pink gown with a bodice that revealed a hint of red.

Searing teen murder saga “Adolescence” was the big winner at Sunday’s Emmy Awards, claiming eight prizes including best limited series, while “The Pitt” prevailed in a tight race for best drama at television’s equivalent of the Oscars.

Seth Rogen’s Hollywood satire “The Studio” dominated the comedy categories, earning best series honors and a total of 13 Emmys — a record for comedies.

ABU DHABI: The International Congress of Arabic and Creative Industries began at Abu Dhabi’s Etihad Arena on Sunday, exploring issues around the Arabic language and its place in culture and media.

“Her Narrative: Women Reimagining Arab Creativity” was a panel discussion that featured three trailblazing voices from the region — actor and producer Hend Sabry, filmmaker Tima Shomali, and Cinema Akil founder Butheina Kazim — who spoke on the evolving role of women in Arab cinema and television.

Sabry opened by noting that Arab women still face “the same challenges as before, but with more pressure,” especially when seeking financing or leadership roles. Yet she acknowledged clear progress, adding: “In the last 10 to 15 years, we’ve reached a decent place.”

She emphasized that women must continue to push for control of their narratives, whether as writers, producers, or directors, and urged more investment in female-driven projects.

Shomali highlighted the gains she sees behind the camera, pointing to the rise of women directors and the global success of her own Netflix hit “AlRawabi School for Girls.”

She also bemoaned the persistent need to “prove ourselves at every stage” and the subtle resistance experienced when women make authoritative creative decisions. Shomali said she deliberately hired mostly female department heads on her production, finding the collaboration “smooth and barrier-free,” and she championed opportunities for women in technical fields such as cinematography and sound design.

Kazim offered a historical lens, tracing women’s influence back to early Arab cinema pioneers like Egyptian actor and producer Aziza Amir and Lebanese Egyptian actor and producer Assia Dagher. She challenged the narrative of female exclusion, noting that women make up nearly half the Arab film workforce. For Kazim, independent cinema is a vital incubator for women’s stories and deserves sustained funding and festival support.

The panelists questioned and explored industry myths: that female-led films do not sell, and that television’s popularity among women is accidental. They cited examples like Nadine Labaki’s “Caramel” and the international reach of “AlRawabi School for Girls” to reject the claims. All three agreed that capital remains the central hurdle and that financiers still back men more readily, limiting women’s creative freedom.

Looking forward, Sabry called for more genre diversity, from science fiction to thrillers; Shomali urged a structured, collaborative Arab industry; and Kazim pressed for robust funding policies.

Kazim said: “If I must pick just one thing (as a future goal): more funding opportunities for women’s works at every level — commercial and independent. And perhaps we should be biased toward the alternative-independent sector. People think it’s a niche with a small audience and little importance but I believe the deepest lessons we are discussing come from independent cinema. 

“So, revive and support festivals and funding opportunities for alternative cinema here in the UAE and across the region in a healthy way so that they complement one another.”