Fake Luxuries Supplant Tradition in Istanbul's Grand Bazaar

This photograph taken on July 9, 2024 shows a shop displaying items said to be from 'luxury' brands at historical Grand Bazaar in Istanbul. (Photo by Yasin AKGUL / AFP)
This photograph taken on July 9, 2024 shows a shop displaying items said to be from 'luxury' brands at historical Grand Bazaar in Istanbul. (Photo by Yasin AKGUL / AFP)
TT

Fake Luxuries Supplant Tradition in Istanbul's Grand Bazaar

This photograph taken on July 9, 2024 shows a shop displaying items said to be from 'luxury' brands at historical Grand Bazaar in Istanbul. (Photo by Yasin AKGUL / AFP)
This photograph taken on July 9, 2024 shows a shop displaying items said to be from 'luxury' brands at historical Grand Bazaar in Istanbul. (Photo by Yasin AKGUL / AFP)

Cut-price branded perfumes and fake high-end handbags line the ornate alleys of Istanbul's Grand Bazaar, with traditional merchants saying the luxury counterfeits are stripping the marketplace of its character.

Where heritage Turkish crafts once flourished under the Ottoman-era marketplace's painted ceilings, the elegant carpet store run by Hasim Gureli is now surrounded by shops selling designer dupes, Agence France Presse reported.

"Back in the day, imitations were rare," said Gureli, who is vice-president of the bazaar's traders' association and a member of its board of directors.

"When some people started selling fake bags, they kept themselves hidden. They were afraid of the state," the carpet-seller added.

Many others among the bazaar's old-timers, who have fond memories of the small workshops that used to fill its labyrinthine alleyways, despair at seeing it overrun by fraudulent facsimiles.

Two aisles down, tea set-seller Gazi Uludag lamented that the Grand Bazaar has "lost its unique character".

"There is nothing but imported or counterfeit goods left and it's getting worse every year," he said.

In her handmade carpet store, Florence Heilbronn-Ogutgen bemoaned the fact that an artisan friend "who used to make real, beautiful bags in very good leather" had to shutter his shop, unable to make a living.

For the shopkeeper, who has been at the bazaar since 1998, artisans "can no longer survive" in the face of competition from the dubious dupes.

"These days, the finest boutiques are the counterfeit ones!" she said.

"They're the only ones left who can afford the $10,000 to $15,000 a month rent on the main alley. The bazaar has lost its soul."

Cheap luxury

One of the world's largest covered markets, the almost six-centuries-old Grand Bazaar attracts millions of tourists every year -- many of them lured by the promise of cheap luxury.

"All of Europe comes here! I've even had footballer's wives," beamed 36-year-old Kemal, reluctant to give his surname for fear of checks on his merchandise.

Kemal made his living selling "made in Türkiye" counterfeits for 15 years, before luxury fakes began taking over each of the bazaar's hallowed shop windows one by one.

His imitation Celine calfskin and Saint Laurent quilted leather handbags "are of the same quality as the originals, but five to 10 times cheaper", the vendor promised.

Whatever the bag, a knock-off can be found at the Grand Bazaar.

"If you can find it on the Champs-Elysees, then you can find it here," he said.

'Very high profits'

As one of the main countries for the production and transit of counterfeit goods, along with China and Hong Kong, knock-offs are ubiquitous in Türkiye.

The trade supports a whole economy of its own, from the small retailers to the manufacturers who also export their counterfeits to the European Union.

"They make very high profits. You can see handbags being sold for thousands of dollars in the Grand Bazaar," said Dilara Bural, a criminologist at the UK's University of Bath.

Organized crime may be at work, "but we can't generalize and say that every single counterfeiting scheme in Türkiye is linked to organized crime. That's not true," she underlined.



Saudi Heritage Commission Uncovers Over 1,700 Artifacts at Ancient Al-Juhfah Miqat Site

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
TT

Saudi Heritage Commission Uncovers Over 1,700 Artifacts at Ancient Al-Juhfah Miqat Site

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA
Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel - SPA

Saudi Arabia's Heritage Commission completed the first season of its joint scientific mission with the University of Exeter at the ancient Al-Juhfah Miqat site, uncovering more than 1,700 artifacts, including pottery, glass, stone pieces, shells, and worked objects, confirming the site's significance along the Egyptian pilgrimage route.

Discoveries included diverse fragments used in daily life, six pottery kilns, a water channel believed to have served pilgrims and travelers, and 13 tombstones dating to the Umayyad and Abbasid periods. Some finds originated from the Levant, Egypt, and Ethiopia, reflecting the diverse origins of pilgrims who passed through this miqat, SPA reported.

Al-Juhfah Miqat is located 187 kilometers northwest of Makkah and has been an established miqat since the early Islamic period, associated with the Prophet's migration, and is known to have flourished in the second Hijri century, with water facilities and shops serving pilgrims.

These works are part of the Heritage Commission's efforts to survey and document archaeological sites along the Hijrah route between Makkah and Madinah, using advanced technologies to reveal the historical and civilizational depth of the Kingdom.


Makkah Museum Displays Rare Quran Manuscript Dating Back to 1843

The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
TT

Makkah Museum Displays Rare Quran Manuscript Dating Back to 1843

The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA
The manuscript is distinguished by its precise script written in black ink with full diacritical marks - SPA

The Holy Quran Museum in the Hira Cultural District in Makkah showcases a collection of rare Quranic artifacts and collectibles that document Muslims’ care for the Holy Quran throughout the ages. Among the most notable exhibits is a rare Quran dating back to 1259 AH, corresponding to 1843 AD, which stands as a historical testament to the beauty of Quranic manuscript writing and ornamentation.

The manuscript is distinguished by its precise script written in black ink with full diacritical marks. Its pages are adorned with gilded borders, golden verse separators, and intricate floral decorations that highlight the advanced craftsmanship achieved in the gilding and embellishment of Quran manuscripts during that historical period, SPA reported.

Information accompanying the artifact indicates that the Quran later underwent restoration and rebinding to protect it from deterioration. This step helped preserve this rare Quranic treasure and maintain it as a witness to a cultural and civilizational legacy spanning more than a century and a half.

The display of this Quran is part of the educational and cultural content presented by the Holy Quran Museum, which enables visitors and pilgrims to explore diverse examples of historical Qurans and rare manuscripts and to learn about the various stages of writing, copying, and decorating Quranic manuscripts across different Islamic eras.

The museum serves as a prominent cultural and educational destination in Makkah, highlighting the historical efforts of Muslims in serving and preserving the Holy Quran. It also promotes awareness of the value of Islamic heritage associated with the Holy Quran through modern museum displays and interactive educational experiences that enrich visitors’ experiences and enhance their connection with the history of the Holy Quran.


Nigerian Museum Revamp Brings Treasures within Reach

Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
TT

Nigerian Museum Revamp Brings Treasures within Reach

Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP
Tinuke Odunfa, the interior designer of the gallery, aimed to modernize the space and present Nigerian history in an an 'immersive' environment. OLYMPIA DE MAISMONT / AFP

Gazing at two large engraved 16th-century elephant tusks on display at Nigeria's National Museum Lagos, a guide surprised visitors by telling them: "You can touch them gently".

One of the three galleries at the museum in Nigeria's cultural and entertainment hub has been remodeled to allow visitors to interact with some artefacts, reversing the typical ban on touching exhibits, as well as take unrestricted photographs in an effort to engage younger audiences, curator Nkechi Adedeji told AFP.

As the group felt the texture of the elephant tusks to the tune of Afrobeats softly playing on overhead speakers, a young photographer was busy snapping away, likely for a social media post.

According to Tinuke Odunfa, the interior designer of the gallery, the plan was to modernize the space and present Nigerian history in an "intentional" and "immersive" environment.

"Everything was intentional in terms of how the space should be experienced, in terms of the colors, how the space leads you," Odunfa told AFP.

The gallery holds one of the country's most extensive collections, including major archaeological and ethnographic artefacts such as 5th-century terracotta by indigenous Nok people.

Its white walls are lined with artefacts encased in glass, arranged chronologically from the oldest to the newest, each accompanied by brief notes.

A few other items of the permanent exhibition, "Echoes of the Past", especially those made of wood and metal, are laid out in such a way that visitors can touch and "feel them", the museum's head of exhibition Olusegun Adeleye, 51, said.

Low ambient lighting casts a soft glow across the gallery, giving the space a quiet, reflective atmosphere.

Lagos, the vibrant mega city of more than 20 million people, and often described as Nigeria's melting pot, inspired Odunfa's design.

- 'Coming in droves' -

Since the renovated gallery opened to the public in April, it has been drawing more visitors than before, Adedeji said, without giving figures.

Its Instagram-ready spaces are drawing more schoolchildren and young adults, with pictures and videos increasingly shared online, making it a popular destination among "content creators".

"They come here, do content and before you know it, it is all over the place," Adedeji said. "Youths are coming in droves now".

"I love the way the artefacts are displayed," Oyin Isioye, a 25-year-old photographer, visiting the museum for the first time, told AFP. "I learned a lot of things... where the artefacts are from, what they represent."

- Repatriation calls -

In one corner of the gallery, three empty cases contain a sheet of paper bearing the inscription "British museum, how far??" (meaning "what's up?" in Nigerian Pidgin).

The installation sends a message to foreign museums that Nigeria is ready to pursue the repatriation of its looted artefacts.

Western museums, including those in Britain, the Netherlands and Germany, have in recent years returned several hundred artefacts, but countless more remain in galleries in Europe and America.

"This renovation shows that we can protect and preserve our objects ourselves, we do not need any other country to do it for us," said Adedeji.

The remodeling, funded by a private entity, also aimed at creating more display areas for the collection, the bulk of which are kept in storage.

More projects are in the works. Another gallery at the Lagos museum has been shut for renovation, along with other sites nationwide.

And Nigerian authorities are seeking partners to support future upgrades in preparation for more repatriated artefacts.