Instagram Hikaye Görüntüleyici

@CairoScene: At 60, Egyptian artist and designer Hani Mahfouz continues to build a body of art that feels distinctly young. He comes into the office every day at 10 o’clock and leaves at 5. Within that structure, he allows his art to take on whatever shape it chooses to embody.

Mahfouz doesn’t believe his art needs to carry a message. It’s not going to change the world. “I don’t think anyone knows whether art is instinctual or carefully constructed,” Mahfouz tells Cairo Scene, “My definition of art is closer to spontaneity. It’s just something you practice. I don’t want to send a message or serve humanity or change how people behave; I just want to draw. It’s simple.”

For the full interview with Hani Mahfouz, head to SceneNow.com or download the app.

🖊️ Layla Raik

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

@SceneStyled: NELLY KARIM IN FULL BLOOM | @SCENESTYLED #COVER 6.0

You can watch Nelly Karim in Cairo 6,7,8, A Girl Named Zaat, and Voy! Voy! Voy!, and lose yourself in the breadth of her catalogue. You can study her in the lauded turn of a prison warden in Segn El Nesaa, then pivot to her rare comedic register as Sokar in B 100 Wesh.

But to experience Nelly is to linger elsewhere entirely, to languish…”in a warm Wednesday afternoon in El Gouna, but the warmth is not generous. It sits on the skin, stubbornly. The air is edged with mildew and salt. Around the pool at La Maison Bleu, bodies are arranged in varying states of leisure.

Two men in white cotton shirts and belted trousers struggle with a chaise longue I have asked to be turned toward the dolphin statue breaking the water’s surface. The object refuses cooperation. It drags, resists, insists on heaviness. I notice, briefly, the disproportion of the request to the labour required, then abandon the thought. It is, after all, Nelly Karim.

She arrives with a pared-back entourage - two women, three bags, an iPhone. She’s corseted in a green linen co-ord, her hair precisely set, falling the full length of her back. Her sunglasses hold the same tone as her skin. Her eyes are washed in pink and gold; her lips, set with Dior Lip Glow, stay closed as she lights a cigarette and asks for the menu.

“I’m hungry,” she says. “Let’s eat before we start…”

Read the full cover story on Nelly Karim, exclusively, at www.SceneStyled.com or by downloading the #SceneNow app.

Produced by: @scenestyled //@mo4network

SceneStyled Managing Editor: @faridaelshafie

Producer & Art Director: @lordmunky

Photography: @fariszaitoon

Cinematography: @ahmed_reda_dika
1st AC: @mazen_moohamedd
Sound Eng: @abanob8992

Hair & Makeup: @alsagheersalons
Jewellery: @nakhlajewellery
Wardrobe: @kojakstudio

Post Production: @rosmedium & @_lil_nil_

Location: @lamaisonbleueelgouna

Editorial Design: @biblicallyaccuratenoha

Celebrity Management: @ingie_elmor

For over a decade, @mo4network, the media company behind more than 14 digital titles including @cairoscene, has helped fuel, forge, and shape Egypt’s stories. With a steadfast mission to spotlight the people, places, and movements redefining the nation - and beyond it the region - our storytelling sits at the intersection of past and present, between the world-shaping legacy of our ancestors and the blazing brightness of our future. A vision powered by a generation of creatives, entrepreneurs, innovators, and, of course, storytellers.

Since our inception, we have been woven into the fabric of Egypt’s most defining events and cultural experiences, a symbiotic relationship that ensures these fleeting moments in time become enduring chapters in our contemporary cultural legacy.

Today, @mo4network steps into the Grand Egyptian Museum, a monument to our ancient history and, in every sense, the greatest contemporary Egyptian story ever told.

Stay tuned to @cairoscene and @elfaslaonline this evening from 6 PM onwards for exclusive access to the stories unfolding inside this landmark of Egyptian identity and imagination.

📸 Nour El Refai
🎥 MO4 Network

More than a thousand submissions across nine categories, all part of one search: the search for Egypt’s narratives. Stories are how we understand the past, materialize the present, and imagine the future. Those are the very stories the Al Rawi Awards seek out and champion.

Hours before tomorrow’s awards ceremony on May 19th, we met some of the pioneers leading the jury, including advertising guru Tarek Nour and Al Rawi Awards and Narrative Summit founder Lamia Kamel, as they finalized their selection of Egypt’s next generation of storytellers — and the stories they’re choosing to tell.

Stay tuned to @cairoscene for the winners and ceremonies.

🎥 @cairoscene

@StartupSceneME SOUNDBITES: Even now, in the deep-end of the conversations around it, there exists a stark, costly disconnect between the public imagination of Artificial Intelligence and its actual operational reality. While the cultural zeitgeist remains stuck in the sensationalism of science fiction, a decidedly quieter, paradigm-shifting revolution is already weaving itself into the fabric of global enterprise.

According to Sulabh Soral, Chief AI Officer & Partner at Deloitte, this perpetual fascination with the futuristic is the single greatest blind spot at the cross-section of modern business strategy and AI. The misconception that it’s an abstract, impending force obscures a much more potent truth: it’s already here, acting as the invisible plumbing of so many elements of life.

What does this mean? The inflection point for leadership is no longer about predicting what the technology will do next, but commanding what it can do now. Soral suggests that true mastery of the medium begins the moment an organisation stops treating AI as a novelty to be gawked at, and starts treating it as a utility to be ruthlessly and efficiently applied. The future doesn’t belong to those who marvel at the tech, but to those who dictate its integration.

🎥 @StartupSceneME

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@SceneStyled: Monochrome Monday - The Peony Pink Edition

Peony Pink has never really belonged to the shy side of fashion. It sits closer to the world of Schiaparelli surrealism, early Valentino runway drama, glossy 2000s femininity, and the kind of colour that fashion repeatedly brings back whenever minimalism becomes too serious for its own good. .

That’s what makes this edit work. Marmar Halim and Mayka lean fully into that drama through eveningwear that understands scale and impact, while Rasha Pasha sharpens the colour through corsetry and structure. René Caovilla and Flabelus approach Peony Pink from opposite directions, one polished and high-glamour, the other playful in a knowingly styled way. Alaïa and Bottega Veneta ground the lineup through accessories that give the shade weight and sophistication, while Misk Jewellery keeps the edit in the language of ornament rather than sweetness.

For the full monochromatic lineup, head to www.SceneStyled.com or download the #SceneNow app.

🖋️ Farah Helmy

@cairoscene LIVE: Moroccan-French director Laïla Marrakchi celebrates with the cast at the Cannes Film Festival premiere of La Mas Dulce as they get a full theater standing ovation. The film was screened as part of the Un Certain Regard competition.

Directed by Marrakchi, the film follows Hasna and Meriem as they leave Morocco for the first time to work as seasonal strawberry greenhouse workers in Andalusia, hoping to build a better life for their families. But their journey quickly exposes them to the harsh realities of exploitation, forcing them to confront a system stacked against them. Together, they choose to rebel, risking everything in the process.

🎥 @cairoscene

@StartupSceneME: INJAZ Egypt has concluded the latest cycle of its flagship entrepreneurship initiative, ‘The Company Program’, with a final pitch competition and awards ceremony in Cairo. The multi-week program provided high school and university students from both public and private institutions with intensive training in corporate teamwork, financial literacy and venture development.

Following months of preparation, the finalists advanced to a live presentation stage, pitching their business concepts and models to a panel of executives and startup founders from sectors including fintech, healthcare and logistics. The high school evaluation committee included Fayza Riad, Chief Strategy Officer at NAWY; Yousra Badr, Managing Director at Seha Healthcare Group; and Nader Soliman, VP and Head of NALP Products at VISA. The university track was evaluated by Amr Fawzi, Founder and CEO of GoodsMart; Omar Rezk, Co-Founder and General Manager of Entlaq; and fintech expert Motaz Lotfy.

The competition concluded with eight teams securing top honours across four major categories. In the high school division, RootSense, representing the British International School in Cairo (BISC), secured the ‘Company of the Year’ title. Fellow BISC team Frootzé was recognised with the ‘Global Impact Award’, while TUPY claimed the ‘Innovative Venture Award’. Cairo American College's team, Amal, took home the prize for ‘Best Marketing Plan’.

In the university cohort, HOPE was named ‘Company of the Year’, while the remaining category awards went to GrowMate for ‘Global Impact’, ReHydro for ‘Innovative Venture’, and Tiny Ink for ‘Best Marketing Plan’. The event comes as the latest in a string of INJAZ Egypt initiatives that put a spotlight on on practical business education within the Egyptian academic ecosystem.

For more startup news from across the Middle East and beyond, visit thestartupscene.me or download the SceneNow app.

@StartupSceneME: INJAZ Egypt has concluded the latest cycle of its flagship entrepreneurship initiative, ‘The Company Program’, with a final pitch competition and awards ceremony in Cairo. The multi-week program provided high school and university students from both public and private institutions with intensive training in corporate teamwork, financial literacy and venture development.

Following months of preparation, the finalists advanced to a live presentation stage, pitching their business concepts and models to a panel of executives and startup founders from sectors including fintech, healthcare and logistics. The high school evaluation committee included Fayza Riad, Chief Strategy Officer at NAWY; Yousra Badr, Managing Director at Seha Healthcare Group; and Nader Soliman, VP and Head of NALP Products at VISA. The university track was evaluated by Amr Fawzi, Founder and CEO of GoodsMart; Omar Rezk, Co-Founder and General Manager of Entlaq; and fintech expert Motaz Lotfy.

The competition concluded with eight teams securing top honours across four major categories. In the high school division, RootSense, representing the British International School in Cairo (BISC), secured the ‘Company of the Year’ title. Fellow BISC team Frootzé was recognised with the ‘Global Impact Award’, while TUPY claimed the ‘Innovative Venture Award’. Cairo American College's team, Amal, took home the prize for ‘Best Marketing Plan’.

In the university cohort, HOPE was named ‘Company of the Year’, while the remaining category awards went to GrowMate for ‘Global Impact’, ReHydro for ‘Innovative Venture’, and Tiny Ink for ‘Best Marketing Plan’. The event comes as the latest in a string of INJAZ Egypt initiatives that put a spotlight on on practical business education within the Egyptian academic ecosystem.

For more startup news from across the Middle East and beyond, visit thestartupscene.me or download the SceneNow app.

@StartupSceneME: INJAZ Egypt has concluded the latest cycle of its flagship entrepreneurship initiative, ‘The Company Program’, with a final pitch competition and awards ceremony in Cairo. The multi-week program provided high school and university students from both public and private institutions with intensive training in corporate teamwork, financial literacy and venture development.

Following months of preparation, the finalists advanced to a live presentation stage, pitching their business concepts and models to a panel of executives and startup founders from sectors including fintech, healthcare and logistics. The high school evaluation committee included Fayza Riad, Chief Strategy Officer at NAWY; Yousra Badr, Managing Director at Seha Healthcare Group; and Nader Soliman, VP and Head of NALP Products at VISA. The university track was evaluated by Amr Fawzi, Founder and CEO of GoodsMart; Omar Rezk, Co-Founder and General Manager of Entlaq; and fintech expert Motaz Lotfy.

The competition concluded with eight teams securing top honours across four major categories. In the high school division, RootSense, representing the British International School in Cairo (BISC), secured the ‘Company of the Year’ title. Fellow BISC team Frootzé was recognised with the ‘Global Impact Award’, while TUPY claimed the ‘Innovative Venture Award’. Cairo American College's team, Amal, took home the prize for ‘Best Marketing Plan’.

In the university cohort, HOPE was named ‘Company of the Year’, while the remaining category awards went to GrowMate for ‘Global Impact’, ReHydro for ‘Innovative Venture’, and Tiny Ink for ‘Best Marketing Plan’. The event comes as the latest in a string of INJAZ Egypt initiatives that put a spotlight on on practical business education within the Egyptian academic ecosystem.

For more startup news from across the Middle East and beyond, visit thestartupscene.me or download the SceneNow app.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

@SceneEats #EatsAD: This month, the immersive gastronomic concept becomes the setting for Priceless Harvest, a new dining series developed through a collaboration between Mastercard, The Sage Experience and Flavor Republic. Across several evenings in May and June, the series brings some of the region’s most influential chefs into Cairo, with menus shaped around regional memory and contemporary Arab cuisine.

On May 19th and 20th, dinners will be led by Tarek Alameddine, the Beirut-based chef behind Beihouse and BUCO, both featured on MENA’s 50 Best Restaurants list. Earlier this year, Alameddine became the first Lebanese chef to receive The Best Chef Award 2025 with a One Knife distinction, placing him among the most closely watched voices in modern Lebanese gastronomy.

The second chapter of the series arrives on June 3rd with Tala Bashmi, whose restaurant Fusions by Tala became a defining force in contemporary Gulf dining. Over the past several years, Bashmi’s work has helped elevate Khaleeji cuisine onto the global stage, positioning food not just as heritage, but as a reflection of identity, migration and emotion.

The broader partnership between Mastercard and The Sage Experience extends this idea of authorship into hospitality itself. Alongside the chef series, the collaboration includes a range of curated dining formats available through Mastercard’s Priceless platform—from intimate evenings at Shemu to private, at-home experiences designed around the concept’s immersive approach.

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

Once you accept what kind of film it wants to be, ‘Colony’, directed by Yeon Sang-ho, becomes easier to enjoy. This is not the tense, claustrophobic horror of zombie masterpieces like ‘REC’ by Jaume Balagueró and Paco Plaza. It is chaotic spectacle, closer in tone to Sharknado than anything resembling real horror. There’s some pleasure in watching the madness unfold. ‘Colony’ may not have much on its mind, but neither do its zombies. Oddly enough, that becomes part of the fun. But only up to a point. You see making it all the way to the end depends largely on one’s tolerance for cinematic nonsense.

CairoScene Editor-at-Large and Tomatometer-approved film critic Wael Khairy reviews ‘Colony’ live from the Cannes Film Festival.

For the full review head to scenenow.com or download the SceneNow app - link in bio.

🖋️ Wael Khairy

@SceneNoise #NewNoise: Over the past few months, Egyptian producer Omar Keif has been steadily building anticipation for his debut album 001 through a run of singles featuring collaborators from across the regional scene, including Ziad Zaza, Hleem Taj Alser, ZAD and, most recently, Mousv.

Now, Keif has unveiled the final track from the album’s first instalment, ‘Mafhoom’. Featuring Egyptian rapper, singer-songwriter and producer Lege-Cy, the track is a poignant fusion of rap and R&B, anchored by Lege-Cy’s signature introspection and understated melancholia.

Exploring themes of anxiety, discipline and creative obsession, ‘Mafhoom’ stands as one of the most vulnerable cuts from 001 so far. The track traces the psyche of an ambitious young artist caught in a relentless cycle of self-criticism while trying to carve out space within an increasingly oversaturated industry.

Sonically, the song expands on Keif’s minimalist production style, layering mellow guitar riffs and sweeping strings over pulsating 808s and crisp drum patterns. The instrumental carries a quiet sense of optimism that sharply contrasts the emotional heaviness of the lyrics and Lege-Cy’s deeply affecting performance.

Directed by Omar Donga, the accompanying music video unfolds like a short film starring rising Egyptian actor Hassan Malik. Through intimate close-up shots and restrained pacing, the visual captures the protagonist’s internal conflict, mirroring the song’s tension between ambition and emotional exhaustion.

For more noise-making people and movements from across the region, visit www.SceneNoise.com or download the SceneNOW app.

@SceneNoise #NewNoise: Over the past few months, Egyptian producer Omar Keif has been steadily building anticipation for his debut album 001 through a run of singles featuring collaborators from across the regional scene, including Ziad Zaza, Hleem Taj Alser, ZAD and, most recently, Mousv.

Now, Keif has unveiled the final track from the album’s first instalment, ‘Mafhoom’. Featuring Egyptian rapper, singer-songwriter and producer Lege-Cy, the track is a poignant fusion of rap and R&B, anchored by Lege-Cy’s signature introspection and understated melancholia.

Exploring themes of anxiety, discipline and creative obsession, ‘Mafhoom’ stands as one of the most vulnerable cuts from 001 so far. The track traces the psyche of an ambitious young artist caught in a relentless cycle of self-criticism while trying to carve out space within an increasingly oversaturated industry.

Sonically, the song expands on Keif’s minimalist production style, layering mellow guitar riffs and sweeping strings over pulsating 808s and crisp drum patterns. The instrumental carries a quiet sense of optimism that sharply contrasts the emotional heaviness of the lyrics and Lege-Cy’s deeply affecting performance.

Directed by Omar Donga, the accompanying music video unfolds like a short film starring rising Egyptian actor Hassan Malik. Through intimate close-up shots and restrained pacing, the visual captures the protagonist’s internal conflict, mirroring the song’s tension between ambition and emotional exhaustion.

For more noise-making people and movements from across the region, visit www.SceneNoise.com or download the SceneNOW app.

@StartupSceneME #SceneAD: If there’s one thing we’ve learned over the last decade, it’s that innovation is rarely a solo endeavor. It’s an ecosystem built on collaboration, trial and the pursuit of solutions, particularly in Egypt’s rapidly evolving real estate and urban development sectors. Marking nearly a decade since its launch in 2017, pioneering developer Tatweer Misr has officially launched the 7th edition of its landmark Innovation Competition. To celebrate this milestone, Tatweer Misr has announced a strategic partnership with the Egypt Entrepreneur Awards (EEA) to create a powerful synergy in which Tatweer Misr provides real-world sandbox and testing grounds for innovative ideas, and EEA brings its network of mentors, investors and ecosystem leaders. Together, they’re looking to create an end-to-end launchpad that can achieve the visions of Egypt’s brightest entrepreneurial minds.

Over the past six editions, the competition has crowned 25 winners, many of whom have integrated their solutions directly into Tatweer Misr’s active developments. While many startup competitions end when the trophy is handed over, Tatweer Misr’s initiative is designed to build lasting impact.

To enter, startups and SMEs under eight years old must have an active presence in Egypt, presenting either a clear ideation roadmap or a tested, scalable MVP aligned with one of three tracks: Deep PropTech & Data Intelligence, Future of Property, Operation & Urban Management, or Experiential Design, Wellness & Sustainability.

The programme begins with applications closing on the first week of June, swiftly followed by an investment bootcamp and expert mentoring. It culminates in the main event, ‘Pitch Night’, on June 23rd, where a jury judges finalists on strategic fit, innovation, value, feasibility, scalability, and team execution.

You can apply now through Tatweer Misr’s link in bio.

Read the full article on www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

@StartupSceneME #SceneAD: If there’s one thing we’ve learned over the last decade, it’s that innovation is rarely a solo endeavor. It’s an ecosystem built on collaboration, trial and the pursuit of solutions, particularly in Egypt’s rapidly evolving real estate and urban development sectors. Marking nearly a decade since its launch in 2017, pioneering developer Tatweer Misr has officially launched the 7th edition of its landmark Innovation Competition. To celebrate this milestone, Tatweer Misr has announced a strategic partnership with the Egypt Entrepreneur Awards (EEA) to create a powerful synergy in which Tatweer Misr provides real-world sandbox and testing grounds for innovative ideas, and EEA brings its network of mentors, investors and ecosystem leaders. Together, they’re looking to create an end-to-end launchpad that can achieve the visions of Egypt’s brightest entrepreneurial minds.

Over the past six editions, the competition has crowned 25 winners, many of whom have integrated their solutions directly into Tatweer Misr’s active developments. While many startup competitions end when the trophy is handed over, Tatweer Misr’s initiative is designed to build lasting impact.

To enter, startups and SMEs under eight years old must have an active presence in Egypt, presenting either a clear ideation roadmap or a tested, scalable MVP aligned with one of three tracks: Deep PropTech & Data Intelligence, Future of Property, Operation & Urban Management, or Experiential Design, Wellness & Sustainability.

The programme begins with applications closing on the first week of June, swiftly followed by an investment bootcamp and expert mentoring. It culminates in the main event, ‘Pitch Night’, on June 23rd, where a jury judges finalists on strategic fit, innovation, value, feasibility, scalability, and team execution.

You can apply now through Tatweer Misr’s link in bio.

Read the full article on www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

@StartupSceneME #SceneAD: If there’s one thing we’ve learned over the last decade, it’s that innovation is rarely a solo endeavor. It’s an ecosystem built on collaboration, trial and the pursuit of solutions, particularly in Egypt’s rapidly evolving real estate and urban development sectors. Marking nearly a decade since its launch in 2017, pioneering developer Tatweer Misr has officially launched the 7th edition of its landmark Innovation Competition. To celebrate this milestone, Tatweer Misr has announced a strategic partnership with the Egypt Entrepreneur Awards (EEA) to create a powerful synergy in which Tatweer Misr provides real-world sandbox and testing grounds for innovative ideas, and EEA brings its network of mentors, investors and ecosystem leaders. Together, they’re looking to create an end-to-end launchpad that can achieve the visions of Egypt’s brightest entrepreneurial minds.

Over the past six editions, the competition has crowned 25 winners, many of whom have integrated their solutions directly into Tatweer Misr’s active developments. While many startup competitions end when the trophy is handed over, Tatweer Misr’s initiative is designed to build lasting impact.

To enter, startups and SMEs under eight years old must have an active presence in Egypt, presenting either a clear ideation roadmap or a tested, scalable MVP aligned with one of three tracks: Deep PropTech & Data Intelligence, Future of Property, Operation & Urban Management, or Experiential Design, Wellness & Sustainability.

The programme begins with applications closing on the first week of June, swiftly followed by an investment bootcamp and expert mentoring. It culminates in the main event, ‘Pitch Night’, on June 23rd, where a jury judges finalists on strategic fit, innovation, value, feasibility, scalability, and team execution.

You can apply now through Tatweer Misr’s link in bio.

Read the full article on www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

@StartupSceneME #SceneAD: If there’s one thing we’ve learned over the last decade, it’s that innovation is rarely a solo endeavor. It’s an ecosystem built on collaboration, trial and the pursuit of solutions, particularly in Egypt’s rapidly evolving real estate and urban development sectors. Marking nearly a decade since its launch in 2017, pioneering developer Tatweer Misr has officially launched the 7th edition of its landmark Innovation Competition. To celebrate this milestone, Tatweer Misr has announced a strategic partnership with the Egypt Entrepreneur Awards (EEA) to create a powerful synergy in which Tatweer Misr provides real-world sandbox and testing grounds for innovative ideas, and EEA brings its network of mentors, investors and ecosystem leaders. Together, they’re looking to create an end-to-end launchpad that can achieve the visions of Egypt’s brightest entrepreneurial minds.

Over the past six editions, the competition has crowned 25 winners, many of whom have integrated their solutions directly into Tatweer Misr’s active developments. While many startup competitions end when the trophy is handed over, Tatweer Misr’s initiative is designed to build lasting impact.

To enter, startups and SMEs under eight years old must have an active presence in Egypt, presenting either a clear ideation roadmap or a tested, scalable MVP aligned with one of three tracks: Deep PropTech & Data Intelligence, Future of Property, Operation & Urban Management, or Experiential Design, Wellness & Sustainability.

The programme begins with applications closing on the first week of June, swiftly followed by an investment bootcamp and expert mentoring. It culminates in the main event, ‘Pitch Night’, on June 23rd, where a jury judges finalists on strategic fit, innovation, value, feasibility, scalability, and team execution.

You can apply now through Tatweer Misr’s link in bio.

Read the full article on www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.

@StartupSceneME #SceneAD: If there’s one thing we’ve learned over the last decade, it’s that innovation is rarely a solo endeavor. It’s an ecosystem built on collaboration, trial and the pursuit of solutions, particularly in Egypt’s rapidly evolving real estate and urban development sectors. Marking nearly a decade since its launch in 2017, pioneering developer Tatweer Misr has officially launched the 7th edition of its landmark Innovation Competition. To celebrate this milestone, Tatweer Misr has announced a strategic partnership with the Egypt Entrepreneur Awards (EEA) to create a powerful synergy in which Tatweer Misr provides real-world sandbox and testing grounds for innovative ideas, and EEA brings its network of mentors, investors and ecosystem leaders. Together, they’re looking to create an end-to-end launchpad that can achieve the visions of Egypt’s brightest entrepreneurial minds.

Over the past six editions, the competition has crowned 25 winners, many of whom have integrated their solutions directly into Tatweer Misr’s active developments. While many startup competitions end when the trophy is handed over, Tatweer Misr’s initiative is designed to build lasting impact.

To enter, startups and SMEs under eight years old must have an active presence in Egypt, presenting either a clear ideation roadmap or a tested, scalable MVP aligned with one of three tracks: Deep PropTech & Data Intelligence, Future of Property, Operation & Urban Management, or Experiential Design, Wellness & Sustainability.

The programme begins with applications closing on the first week of June, swiftly followed by an investment bootcamp and expert mentoring. It culminates in the main event, ‘Pitch Night’, on June 23rd, where a jury judges finalists on strategic fit, innovation, value, feasibility, scalability, and team execution.

You can apply now through Tatweer Misr’s link in bio.

Read the full article on www.thestartupscene.me (link in bio) or download the #SceneNow app available on iOS and Android.