Monocle Weekend
Edition: Saturday

The runways of Paris Fashion Week are in full flight this week and we’re on hand to see the looks that are taking off. Speaking of style, we head to the Gulf to learn about the power of national dress. On our way we discuss the in-flight etiquette of reclining, then it’s off to Bodrum with The Monocle Concierge who has directions to a hidden bay and a local winery. But first, here’s Andrew Tuck on the critical importance of, well, criticism.

The thing about paper and ink is that there’s no going back. Digital publishing is a relationship without commitment – if you don’t like something on your website you can just take it down. A typo? Erased in a click. But ink and paper, well, it’s like getting married on your first date. You’re stuck with each other.

A few days before it lands with subscribers or begins to elbow its way onto the shelves of news kiosks, we get a few boxes of the new issue of Monocle delivered from the printers to our HQs in London and Zürich. And even though we’ve seen proof pages and know every choice of word and picture that we committed to, there’s still an excitement, and some trepidation, as the boxes are cut open and copies handed around. I often let my copy sit on my desk for a few minutes before diving in, wondering what awaits.

This week some of the team gathered in Zürich for a planning session for 2025. As part of the day, we took part in a German publishing tradition: a blattkritik (leaf review). This is where you critique, page by page, a journal – in this instance Monocle. Now you can do this just with your team but in German magazines there’s almost always a commitment to bringing in an outsider to scrutinise your work. So Anne Urbauer, a long-time friend and former colleague of Tyler’s, also came to Zürich. She’s a great editor, journalist and reader of brands, so I was not surprised to see her arrive holding copies of Monocle and Konfekt, whose pages were now sporting numerous Post-it-note ears.

There are few industries or professions where moments of stocktaking are not to be valued. Moments where you can pause to look, as a team, at your work and ask whether you’re heading in the right direction, whether nuance has been lost along the way or ambition diluted to meet deadlines. And finally, whether you have managed to get everyone on board with the direction of travel. When I worked on newspapers, these post-mortems were a morning ritual. You needed a thick skin as the editor turned the pages and passed judgement but the debate was valuable – and often inspiring.

Anyway, Anne was kind, detailed, probing and understanding as she quizzed us about everything from picture choices to the rhythm and pacing of stories. Anne, despite being steeped in this profession, was also able to detach and see the pages as a reader. So, often one of those Post-it notes simply highlighted a moment of delight. Those were my favourite ones.

The role of the critic has been much denuded in recent years. The theatre critics who could make or break a show have lost their power; their names no longer as well-known as the actors they praised or slated. Most restaurant critics seem to love just about everywhere they go, scared of causing a chef anxiety or being seen as a bully. We are in a time where “likes” and praise are simply expected. All of this is fine but there is still value in listening to someone who has knowledge, a deep understanding of your work and will tell you how they really see it.

This is especially true at Monocle because I know that there are thousands of people every month who open the magazine, do their own version of a blattkritik and decide whether or not they like what we committed to paper. Long live the critic.

Oh, and the new, very good October issue of Monocle is on salenow.

Join an inspiring group of leaders from the worlds of business, politics, design and culture in Istanbul for our most ambitious Monocle Quality of Life Conference yet. Hosted by Monocle’s editors, delegates will enjoy three days of lively discussion and debate, hearing from the likes of Maltese architect Richard England, who has come to define the nation’s architectural style, and Taylor Sheppard, one of the US Navy’s first female submarine officers. Plus, get a branding masterclass from Eduardo Aires and hamam tips from Koza Gureli Yazgan.

There’s also a chance to see another side of the city, with cocktails at the famed Peninsula Istanbul hotel and tours of key cultural sites. Sign up here for your chance to join a group of inspiring people who might just change the way you live, work and play.

The Monocle Quality of Life Conference runs from Thursday 10 October until Saturday 12 October 2024.

To the untrained eye, the garments worn by men across the Gulf region might seem indiscernible from one another (writes Sultan Al Darmaki). But each of the region’s Arab states has its own distinctive male robe, known as a kandora, thawb or dishdasha, and a headscarf, known as a ghutra or shemagh. The region has undergone an astounding transformation over the past half-century. The UAE, for example, was only established in 1971 and moved from being a country dependent on farming, fishing and pearl-diving into one of the most technologically advanced and richest urban societies in the world. Here, and in other Gulf states, traditional attire has acted as an anchor to the past, tempering the lightning-quick changes happening elsewhere in society.

So, what are the differences between men’s dress in the Gulf? In the UAE and Oman, men wear a collarless kandora and a tarboosh (similar to a fez) or kuma (rounded Omani cap) with long tassels roughly analogous to a western tie. The Emirati tarboosh extends from the neck to the belly button, while in Oman it hangs just below the collarbone. In the UAE, men either tie their headscarf around the head hamdaniyah-style (similar to a turban) or wear it in the formal fashion with an agal, the black-cord crown common across the Gulf, to keep it in place. The Kuwaiti, Saudi, Qatari and Bahraini dishdasha or thawb all feature a collar and are almost identical. The Saudi version is more of a tight fit with a two-button collar and shirt sleeves designed to accommodate cufflinks, while the Kuwaiti thawb has a one-button collar and wide sleeves without cufflinks. The Bahraini and Qatari thawbs are looser, with pockets on the right chest and softer collars. Though the vast majority of the region’s people now live in air-conditioned buildings, their clothing and its subtle codes still serve a purpose and celebrate a common identity.

For the full story and our report on why national dress still matters, pick up Monocle’s October issue today or subscribe so that you never miss an issue.

There is, of course, no excuse for making any kind of scene on an aeroplane (writes Andrew Mueller). Even that atrocious species of sociopath who plays audio out loud on their phone on a plane should be silenced with nothing more than a firmly hissed instruction to knock it off. But was Cathay Pacific right to ban a Hong Kong couple who remonstrated with the passenger in front of them for reclining their seat?

One can and should damn the seat-recliner for their appalling manners instead – and not just this individual but this class of yobbo generally. A seat-recliner in economy class is the airborne equivalent of the public-transport manspreader or busy-street umbrella-user: someone who has decided that a small increase in their comfort justifies a substantial decrease in the comfort of others. They have violated the key rule of being a passenger on public transport or, indeed, a citizen in public: if anybody else notices you, you’re probably being a jerk.

On any short-haul flight – say, up to four hours – reclining is just plain inexcusable. Indeed, one lesson that legacy carriers could usefully learn from budget airlines is to remove the option entirely by installing non-reclining seats. On a longer flight, such as the Hong Kong-London schlep on which this incident occurred, you should always ask the person behind you whether it’s OK – they might be eating, working on a laptop or just not wanting to stare at the top of your head.

And, if they say no, you should respect that – unless, of course, they have themselves reclined, in which case they deserve to have their knees squashed.

The Monocle Concierge is our purveyor of top tips and delectable recommendations for your next trip. If you’re planning to go somewhere and would like some advice, clickhere. We will publish one answer each week.

Dear Concierge,

My partner and I will be visiting Bodrum in Turkey for a week in early October. Where are the best places for us to visit, eat, drink and dance? Thanks in advance.

Ollie Hester,
UK

Dear Ollie,

You’re going to Bodrum at the right time, when the sea is still gloriously warm but the air has cooled down enough to do some walking around the wonderful peninsula. Why not combine both with a hike to a hidden bay? Akvaryum Bay is about an hour’s walk from Bitez marina and as its name (which means “aquarium”) suggests, you’ll be rewarded with crystal waters and shoals of colourful fish. The bay is actually a shallow inlet – almost a lake – and there are no facilities, so ensure that you take everything you need.

A local winery also makes a great day trip. Turkey’s indigenous grape varieties are having something of a revival and at the Karnas Vineyards you can get a full introduction to the scene in stunning surroundings, along with a full meal featuring fresh regional ingredients.

In the evening, head to Iki Sandal for dinner. This traditional meyhane (taverna) in the centre of Bodrum is elevated by the quality of its ingredients and cooking methods. The Michelin inspectors agree; they gave it the Bib Gourmand mark in the latest Bodrum guide. From a centuries-old recipe for swordfish to a casserole made from lamb liver, enjoy the flavours of local herbs and wash it down with raki, Turkey’s aniseed liqueur.

To finish off the night, head to Katip cocktail bar, which is tucked away in the enchanting garden of a boutique hotel. It’s close to Bodrum’s waterfront and a bit of a challenge to find – but you’ll be glad that you made the effort.

Canadian neo-classical pianist and composer, Alexandra Stréliski, is known for her minimalist, emotionally striking music that blends filmic and classical elements. Alongside her albums Pianoscope, Inscape and Néo-Romance, she’s worked on television and movie scores for Dallas Buyers Club, Big Little Lies and Sharp Objects. Here, she tells us about gauging a city by its markets, her current podcast tip and her love of Brian Eno.

What’s your morning news fix?
If I’m in Montréal, I like to read La Presse and Le Devoir, and internationally I tend to have a look at Al Jazeera, The Guardian, The New York Times and Le Monde.

Coffee, tea or something pressed?
I take my coffee black. I do that on tour – it’s much simpler that way.

Your favourite weekend market?
I live in Rotterdam for half of the year and every Saturday, I’ll buy some fish and grab an Indonesian snack from its market. You can tell a lot about the people, produce, history and the variety of cultures by a country’s markets.

And a favourite bookshop?
I also live in Montréal’s Mile End, and one place I love is Drawn & Quarterly, which has a great selection of books for gifts.

Any podcast recommendations?
Recently, I got into the podcast, History of Ideas. It’s about understanding philosophical debates with a contemporary outlook.

What’s on the airwaves before drifting off?
I’ve been listening to Brian Eno’s ambient works for years to calm down and relax. It really is my go-to to get my head out of the world. Thank you for this, Brian!

This interview appears in Monocle’s October issue. For more from leading creatives like Stréliski,pick up a copy today.

The fashion world descended on Paris this week as the city’s designers – and a fair share of international guests – presented new spring-summer 2025 collections all around town (writes Natalie Theodosi). As per tradition, Dior – one of the star brands in LVMH’s portfolio – opened Paris Fashion Week with a show inspired by archery and the ease of sportswear at the Musée Rodin. LVMH chairman and CEO Bernard Arnault took his seat next to French first lady, Brigitte Macron, a sign of his ever-growing power in the country and the influence large-scale labels such as Dior now have on shaping brand France.

But the intrigue of Paris is in the plethora of experiences that it can offer. Earlier in the day, independent Belgian designer Marie Adam-Leenaerdt presented a small collection of beautifully draped womenswear over oeufs mayonnaise at brasserie Terminus Nord. Perhaps the biggest success of the week so far was Chloé, which has returned to its bohemian roots under Chemena Kamali, its new creative director. Her carefree 1970s silhouettes, abundant use of lace and seashell charms brightened a rainy Paris morning. The label’s owner, Richemont’s Johann Rupert, will surely be in a bright mood too, as buyers line up to place bigger-than-usual orders.

For more stylish updates from Paris Fashion Week, tune in toMonocle Radio. Have a great Saturday.