By Lubna Abdel-Aziz It may have started with a whimper, but it closed with a BANG. The grand finale of the 31st Cairo International Film Festival provided all the glitz and glamour, with a scintillating gala to end all galas. It presented an eclectic blend of culture and cultures, art and artists, from every corner of the globe, gathered around, richly decorated poolside tables at the Grand Hyatt Hotel, to mix and mingle with their peers. The cool weather seemed to bother no one, as visitors embraced their many new Egyptians 'best friends' before they bid this festival and this ancient land, their final goodbyes. The beautiful people of the film world included renowned music arranger/com[poser/ [producer Quincy Jones, the masterful Harvey Keitel, the courageous Aimee Mullins, director Hugh Jones, as well as all the festival's special guests of filmmakers and members of the world media. The unique event of this finale was the exotic fashion show arranged by Ms Mona Sirag, Editor in Chief of the popular social and fashion publication Kol el Nas ( All the People ). The stylish show included the works of three young designers from our part of the world. The first Hani el Beheiri from Egypt, followed by the Lebanese Zehar Nidal and Rania El Bahtaki from the Emirates, whose strong ethnic and trendy styles received much applause. The show ended with a surprise from Kol el Nas editor with media star Samir Sabry announcing the results of the publication's readers survey, selecting the most elegant film stars of the Egyptian screen. Among them was veteran singer and fashion icon, the famous Lebanese chanteuse Sabah, who flew in from Beirut that same day, especially for the occasion. "Age cannot wither her," as she greeted her admirers in a shimmering, glittery hot pink, mermaid style, beaded gown that did credit to her perfect figure. More animated than ever, the nightingale warbled a few of her famous tunes that delighted the attendants. The finale theme "Elegance in Cinema" evoked memories of the golden years of high fashion on the silver screen. The black and white gowns of cinema's infant years especially the sensational musicals of the famous dancing duo Ginger Rogers and Fred Astaire. Spiffy and sprightly in his black coat and tails, he was still no match for the smooth and supple grace of the curvaceous and willowy Ms Rogers. This duo will remain as memorable for their dances as well as for their classic elegance. The 1930s -- 40s was considered the age of elegance, with the impressive parade of the likes of Charles Boyer, Louis Jordan, Hedy Lamar, Merle Oberon, Katherine Hepburn, and on and on. Women the world over looked to the stars as their role models, not only in the way they were dressed and coiffed, but how they behaved and carried themselves. German Marlene Dietrich, with her unclassic beauty, unusual relations, and her masculine attire was not only shocking but outrageously fascinating. Her electrifying presence and her powerful sexuality in top hat and tails, quickly developed an army of admirers who cherished her daring style. The symbol of elegance for all times remains the adorable, polished, ethereal, exquisite, Audrey Hepburn. Singlehandedly she changed the relationship between film and fashion by inviting her own favourite designer Hubert de Givenchy to design some of her film costumes, starting with Sabrina (1954). The chic suit and sumptuous party gown were no match in pure elegance to her outfit, as she stood poised and vulnerable in black leggings, polo neck and flats. No person with the least tincture of taste, can ever weary of the elegance of Audrey Hepburn. What therefore is elegance? Is it the perfect attire for every occasion from the tip of your coif to your peeping toenails? Is it sumptuous, rich, expensive, latest designer creations for each season? Is it what the French call 'le chic'in taste and refinement? It may be all of the above, yet one must ponder, can all this not be found on a hanger, in a closet, or department store? Elegance is certainly not the trendy, for that comes and goes. Elegance remains. It is not imposed in doggedness or restrictions, in line or design. It is certainly not the quantity, proved again by Audrey Hepburn with her little black dress in Breakfast at Tiffany's, still popular 50 years later. It broke all records when only a copy of it was sold recently for close to a million dollars ($ 920.000). The proceeds went to charity. Elegance may be an intangible quality that starts from within -- a refinement of spirit, manners, and breeding, that is aided by taste and dignity, pleasingly expressed in extreme simplicity on the exterior. We are only an expression of our taste and style, moulded by refinement knowledge and experience. The mention of taste and refinement immediately brings to mind another icon of the 50s, Miss Grace Kelly. True to her name, she combined grace, with exceptional beauty, refinement, and timed reserve that made her endearing as well as enigmatic. Her years on the screen were short, her films few, 13 in all, yet Grace Kelly will remain iconic in every way as a cinema idol who has no equal. Before prince charming whisked her away to his kingdom, Grace managed to bequeath an image of immutable elegance. In a recent exhibit, curator Francois Mitterand remarked "it is the elegance of her smiling reserve that so fascinated the media," The elegance of the era was her, for which we all feel nostalgic. Could elegance be just a smile! As Audrey Hepburn was Givenchy's muse, Catherine de Neuve was Yves Saint Laurent's. His designs for her in Belle de Jour (1967) epitomised both his and her style. Considering her role as Severine, prostitute by day, he dressed hedr in muted elegance that projected much of his "classic" style, with a twist of the 1960s lines. Enigmatic is the word for Laurent's designs for his "belle." Elegance, epitomizes Italy's Giorgio Armani, who chooses to design for "ladies" and "gentlemen." His wardrobe for Richard Gere in American Gigolo (1980), introduced him to the world of film and now they will not let go of him. He was able to redefine masculinity in mainstream cinema. His unstructured casuals and simple pure lines, quintessential Armani, now have the ladies waiting in line to grab his creations. The parade of elegance in fashion is endless. From movie stars to socialites, from Jackie Kennedy to princess Di, yet we are still left with no precise definition for elegance. Fashion is often considered a craft rather than an art. The accessibility of fashion in film has become a hugely significant factor in its appeal. But elegance! What comprises elegance? Fashion - yes, character -- absolutely; but a good deal more, and that is what makes it enigmatic. Two people wearing the same dress, shoes, coif, and all else - one represents fashion, the other elegance. Wherefore lies the difference? The god-given grace, perhaps that lies within and cannot be bought off a hanger.The salute to elegance may have ended the Cairo Festival with a bing bang bong, confirming that film and fashion remain inseparable. Fashion is notoriously transitional, elegance is obstinately and unapologetically permanent. I see that Fashion wears out more apparel than the man William Shakespeare
