At an exclusive event in London, hosted by Rolls-Royce Chief Executive Officer Torsten Müller-Ötvös, two highly anticipated new works were premiered, the first an exciting collaboration between Emirati artist Mohammed Kazem and the Rolls-Royce Bespoke Design collective and the second, the next in a series of short films created by the marque to introduce the world to the House of Rolls-Royce and to celebrate its rich heritage.

The first, a sculptural piece, consists of a group of numbers and letters created from steel, which are the coordinates of the craftsmen and women from the Home of Rolls-Royce that Kazem encountered on visiting Goodwood. As the data points indicate specific locations, they also bear a sense of the environments they represent, encapsulating ideological elements. These numbers and letters, although architecturally composed, are displayed in a spontaneous manner, encouraging an interaction with the viewer through reflections of the individual and their surrounding environment.

Mohammed Kazem’s new work for the Rolls-Royce Art Programme will be publicly exhibited at the Rolls-Royce Abu Dhabi showroom from 27 April – 25 May 2017.

While, the second in a series of short films will be premiered by the marque at www.rolls-roycemotorcars.com on 7 April 2017, taking us to the Home of Rolls-Royce in Goodwood, England, where Rolls-Royce’s global centre of luxury excellence resides.

2nd April, internationally recognized as World Autism Awareness Day, is marked by unique awareness raising events to increase sensitization and acceptance of autism amongst the society.

For the ninth year of this day, ACE had associated with ASI & National Trust, Deptt. of Empowerment of Persons with Disability, light up Qutub Minar in the colour blue as a part of the international #lightitupblue campaign.

The campaign is a symbolic representation towards inclusion for disability, and a real attempt to create a shift in consciousness. Due to its strategic location, having QutubMinar, A UNESCO World Heritage Site, lit up in blue is a critical move in showcasing India’s support for the global autism community.

The energetic sights and sounds of the fashion runway come to the Virginia Museum of Fine Arts this spring with Yves Saint Laurent: The Perfection of Style, is curated by Florence Müller, the Denver Art Museum’s Avenir Foundation Curator of Textile Art and Curator of Fashion, in collaboration with Chiyo Ishikawa, Seattle Art Museum’s Deputy Director of Art and Curator of European Painting and Sculpture.

Drawn from the archives of the Fondation Pierre Bergé—Yves Saint Laurent and other private collections, offers an intimate and comprehensive look at the lifetime achievement of the designer. Featuring 100 examples of haute couture and ready-to-wear garments—some never shown publicly before—this exhibition reveals Saint Laurent’s artistic genius, as well as his working process, and the sources of his design inspiration.

In addition,it also includes accessories, photographs, drawings, films, and video from the Foundation’s vast archive. The exhibition traces the trajectory of Saint Laurent’s style as it developed over the course of his career, beginning in 1953 with the “Paper Doll Couture House” that he created as a teenager, which is being shown for the first time in the United States. Ensembles early in the exhibition focus on his formative years at the House of Dior, including an example of a short evening dress from his successful “Trapeze” collection, which marked his debut as a fashion designer when it was shown in Paris in 1958.

Another key element of this presentation is the inclusion of production documents that offer a rare behind-the-scenes glimpse into the creative workings of the Yves Saint Laurent fashion house and the private life of the couturier. Collection boards containing sketches and color swatches from 1962 to 2002 document every Saint Laurent haute couture show, while a room of muslins, the hand-sewn forms ateliers use to create a first draft of couture garments, offer a unique look into the various stages of production and fitting before the final garment was realized. The exhibition concludes in an explosion of color with a procession of eveningwear, including garments in black silk, blue-green chiffon, and white damask, which date from the early 1970s to 2002, when Saint Laurent officially retired with his final runway collection.