A collection of wallcovering and rug designs that captures the movement and serenity of being on the water and is filled with calming tones and metallic hints, the Sun Kissed wallcoverings offer a variety of styles to compliment any aesthetic. Whilst the Sky Sail style is a Type II Performance design inspired by the billow of sails in the wind, Even Keel features duotone rippling lines that effortlessly traverse the wall. An additional duotone pattern, Starboard, offers vertical movement with crisp flowing lines.  Mimicking the appearance of gold and silver leaf walls, Chock-a-Block is a metallic design featuring an organic grid pattern, and Clean Slate is a woven-inspired design that offers incredible dimension to any space. The interplay of pattern and texture results in a sophisticated wallcovering that is ideal for layering. 

Perennials has also designed five new 100% solution-dyed acrylic hand-tufted rugs that evoke summertime bliss. Seaside features a layered foliage design that brings inside a bit of the outdoors. Starboard, meanwhile, features the same linear pattern as the homonymous wallcovering. Matching the rippling effect of the wallcovering, Even Keel is a duotone rug design available in Soapstone and a nautical Vintage Blue. High Seas is a tranquil hand-tufted design reminiscent of the way water plays with light; featuring a free-flowing pattern, High Seas is available in a peaceful Breakers colourway. Sky Sail provides a breath of fresh air to any space with a fluid graphic design.

Woven from fine 100% solution-dyed acrylic yarn, Perennials’ fade-, mildew- and UV-resistant rugs are able to stand up to life’s everyday adventures without sacrificing great design, making them uniquely suited to fit beautifully with any indoor or outdoor aesthetic. Hand-tufted rugs from the Sun Kissed collection are customisable according to size and colour, so you are able to tweak to compliment your spaces.

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“Fold is a product of coincidence and instant realisation. It is a description of how design is a subjective matter whereby, even midway through the creative process, you can’t say that you are finished. It was created by trying simple stripe pattern compositions on a paper and crumpling it as a discard, realising the composition had become rich and interesting,” explains Geha.

Photography by Aasiya Jagadeesh

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Featuring four unique textures and nine border options, the Groundwork collection allows designers to choose from over 8000 colour poms, enabling each rug to be customised to meet specific aesthetic and functional requirements. Corbin Perkins, Product Development Manager at Perennials Rugs, explains, “This collection allows us to engage in projects we’ve previously had to pass on, like complex stair projects and wall-to-wall installations. Groundwork offers an accessible entry point for designers who aspire to use Perennials rugs but may have had budget constraints. It also complements our hand-knotted rugs, providing versatile options for various design needs.”

Perennials’ hand-tufted rugs are woven from 100% solution-dyed acrylic yarn, making them resistant to fading, mildew and UV damage. This durability ensures they can stand up to everyday use while maintaining their beauty, making them suitable for both indoor and outdoor applications. With the Groundwork collection, Perennials continues to blend the look and feel of high-quality, natural materials with the performance of advanced acrylic fibre technology, offering lasting elegance and functionality through every piece.

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Central to Iwan Maktabi’s design philosophy is the fusion of tradition with innovation, achieved through collaborations with artists, designers and architects who share the brand’s vision of pushing creative boundaries. “By collaborating with talented individuals, we break free from conventional norms,” explains Maktabi. The result is a marriage of traditional motifs and techniques with modern twists, creating a new visual language that breathes life into age-old craft. The collaboration with Emirati artist Noor Al Suwaidi exemplifies this commitment: Iwan Maktabi re-interpreted the artist’s artworks in a mixed medium of kilim and shaggy carpets using recycled yarn, renewing the visual language and adding a new dimension to textile handcrafted art. This innovative approach showcases the seamless integration of contemporary artistry with traditional craftsmanship, highlighting endless possibilities for artistic expression in carpets and textiles.

Iwan Maktabi showroom in Al Serkal Avenue, Dubai

Creativity fuels Iwan Maktabi’s approach: “It drives our passion for redefining carpets as art pieces.” This blend of creativity and craftsmanship is evident in every intricate detail of the brand’s designs, blurring the line between craft, design and art. Looking ahead, Iwan Maktabi envisions a future where carpet design transcends boundaries, embracing new technologies, sustainable practices and cultural influences. “We envision the future of carpet design as a dynamic fusion of innovation, sustainability and cultural influences,” says Maktabi. This forward-thinking approach ensures the company’s craft remains relevant and impactful. To aspiring designers and artists, Maktabi offers sage advice: “Embrace curiosity, fearlessness and dedication to your craft. Challenge norms, push boundaries and let your imagination soar.” Collaboration, inspiration and the transformative power of creativity are key ingredients for impactful designs in carpet-making and textile art. Maktabi’s journey exemplifies the merging of tradition with innovation, pushing creative boundaries and redefining the status quo in design. The brand’s legacy of creativity and craftsmanship serves as a beacon for designers and artists worldwide.

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Khalid Shafar 

On Crafting a Legacy

Khalid Shafar, with his eponymous design studio, is redefining the boundaries of furniture and product design by seamlessly blending functionality, practicality and creativity. His designs artfully intertwine Emirati culture and craftsmanship with contemporary aesthetics, creating pieces that are both visually stunning and deeply rooted in tradition.

Shafar’s design journey began at the American University in Dubai in 1998, where he studied interior design. Although he initially pursued a career in business management, his passion for design never waned. In 2010, he pivoted back to his true calling, founding KHALID SHAFAR and embarking on a mission to create designs that celebrate Emirati heritage. At the heart of KHALID SHAFAR’s ethos lies a dedication to preserving and promoting Emirati crafts. Shafar’s meticulous attention to detail and integration of traditional techniques and materials, such as safeefa in his Palm tables collection, showcase his commitment to this cause. “We have a lot of arts and traditions that we wanted to preserve, and I wanted to use it either through telling the story of that particular craft or even integrating the craft in the product itself,” he explains.

Photography by Salama Studio

Shafar’s innovative approach to materials has resulted in products that leave a lasting impression. His debut Palm collection includes clothes stands, tables and lighting fixtures, and remains a crowd favourite – capturing the essence of Emirati culture while offering practical solutions for everyday living.

Now, the designer is placing research and collaboration at the forefront of his work. “We have started researching more than material, exploring ancient and existing crafts, as well as different materials such as concrete, stones, marbles, metal and various patinas. Our aim is to collaborate with brands and designers from different studios, merging industries to create unique works of art,” he explains. 

Photography by Salama Studio

As Shafar continues to push the boundaries of design and collaborate with renowned brands and designers, his vision for KHALID SHAFAR remains steadfast: to create timeless pieces that resonate with generations to come. Through his innovative designs, he is crafting a legacy that celebrates Emirati culture, promotes craftsmanship and shapes the future of design in the UAE and beyond.

Nicole Farrelly – Founder of Cole and Cinder

Breaking the Mould

Family ties, artistic exploration and a passion for design all shape Nicole’s work. The artisan has carved a niche for herself in the world of ceramics, blending influences from her multicultural background to create unique pieces that resonate with depth and character.

Image credits: Natelee Cocks

Farrelly’s move to Dubai at the age of 17 was driven by a desire to be close to her father, who had relocated to the city a few years earlier. Her family’s longstanding connection with the hotel industry instilled in her early on an appreciation for design and aesthetics. “Growing up in and around hotels played a huge part in shaping my passion for design,” she recalls. Memories of sitting in hotel lobbies adorned with ceramics and art, and helping the events team set up tablescapes, ignited her love for interior design and styling. Cole & Cinder was born out of a serendipitous encounter during lockdown. A chance sale of one of her experimental ceramic vessels sparked interest and led Farrelly to delve deeper into the world of ceramics. “My journey has been about consistency, trial and error, and learning from the ceramic community,” she explains. Farrelly’s aesthetic is characterised by “complex simplicity”, with a focus on naturally derived colours and the coil technique. “Our ethos at Cole & Cinder is that we are all constantly changing but always have our core self that stays the same,” she reflects.

Image credits: Natelee Cocks

Nature serves as a powerful inspiration for Farrelly’s designs. “The silent power of nature adds a sense of calm or unease just by the way the elements form,” she says. Resonating with the wabi-sabi concept, the artist believes in embracing imperfections and impermanence in her work, creating pieces that exude timelessness. While Farrelly’s multicultural background makes it challenging to pinpoint specific cultural nuances in her work, she draws inspiration from her unique family experiences. “Food is a huge part of my family’s expression of love,” she shares, reminiscing about Sunday roasts and dinner parties.

Creating tableware has always been a dream for Farrelly, and seeing people cherish her pieces evokes a warm sense of nostalgia. Her signature scented candles, inspired by church and rainy days on her aunt’s farm in England, encapsulate the essence of ‘home’ and offer a sensory journey back to her roots.

Image credits: Natelee Cocks

As Farrelly continues to evolve as a designer and individual, she hopes to see Cole & Cinder grow alongside her. With plans to explore new forms and designs, she remains committed to her core values of authenticity and creativity. In this creator’s hands, third culture craftsmanship finds a harmonious expression, bridging the gap between diverse influences and creating spaces imbued with warmth, character and timeless appeal.

Cyril Barret – Founder of Cyril Furniture

Crafting Timeless Elegance

Cyril Barret has established himself as a master of furniture design, merging French craftsmanship with enduring elegance. Founder of Cyril Furniture, his dedication to quality and tradition is evident in every piece he creates.

Born in Bordeaux, France, Barret has called Dubai home for 17 years. His furniture-making journey began at 18, under the guidance of experts from Compagnons du Devoir, a historic French organisation. “I’ve always poured my heart and soul into it,” he says, reflecting on his three-decade commitment to the craft. The designer’s Gulf introduction was through a pivotal project in Oman. From 1998 to 2002, his team furnished the Sultanate of Oman’s palace, a project that remains a highlight and a catalyst for his regional success. Seeing the region’s appreciation for craftsmanship and French-inspired interiors, Barret founded Cyril Furniture in Abu Dhabi, later expanding to Dubai. “The allure of antique furniture, its beauty, craftsmanship and historical significance, has always captivated me,” he shares. This passion infuses every Cyril Furniture piece, blending functionality, aesthetics and innovation.

Cyril Furniture’s portfolio of projects includes private palaces in Oman and Abu Dhabi, the King of Bahrain’s palace, and French château-style villas in Kuwait. As a French expatriate in Dubai, Barret harmoniously integrates his cultural heritage with the region’s vibrancy. His journey informs Cyril Furniture’s unique style, preserving artisanal techniques. With Barret at the helm, furniture design becomes a creative odyssey, blending passion and artistry. Through Cyril Furniture, he continues to shape the luxury interiors landscape, creating pieces that are as timeless as they are elegant.

Maya Toron Al Omary – Founder of Maison Mishmashi

Crafting Authenticity

As the founder of Maison Mishmashi, Maya Toron Al Omary weaves together her diverse life experiences to create pieces that celebrate beauty, individuality and authenticity. 

Born in New York City to diplomat parents with Syrian roots, Al Omary’s upbringing was steeped in art, culture and travel. Her parents, who are accomplished painters, instilled in her a deep appreciation for creativity, while her international upbringing exposed her to diverse traditions and lifestyles. Having graduated with an Associates Degree in Political Science while living in Paris, Al Omary’s educational journey may seem unrelated to her current profession, but as she puts it, “Every experience in my life has led me authentically to where I am today.”

Before venturing into the world of design, Al Omary co-founded the first all-women-run real estate company in Dubai in 2007. While her previous venture was ground-breaking, her passion for design and home décor eventually led her to establish Maison Mishmashi. For Al Omary, design is a form of self-expression, and Maison Mishmashi provides her with a canvas to express herself and share her unique vision with the world.

Maison Mishmashi is more than just a furniture brand; it’s a celebration of individuality, craftsmanship and culture. Al Omary and her team believe in using the highest quality materials, sourced from around the world, to create pieces that resonate with their customers’ unique aesthetic journeys. One of Maison Mishmashi’s standout pieces is The Queen Chair, a true embodiment of the brand’s ethos, seamlessly blending tradition with modernity.

Known for its distinctive patchwork designs and commitment to sustainable craftsmanship, Maison Mishmashi’s creations are both beautiful and environmentally conscious. Al Omary’s dedication to utilising every beautiful remnant has led to the creation of iconic patchwork collections that showcase the brand’s creativity and commitment to sustainability. The inspirations behind the brand are deeply rooted in Al Omary’s upbringing and life experiences. With a keen awareness and appreciation for her surroundings, the designer finds inspiration in the interplay of colours, textures and patterns that evoke raw emotion within her. Rather than adhering to specific eras or aesthetics, she draws inspiration from the feelings and connections that each design evokes.

As a third-culture woman, Al Omary embraces the fusion of East and West, tradition and modernity in her designs. Maison Mishmashi is a reflection of her journey, honouring her roots while embracing the diverse influences that have shaped her worldview. It’s an extension of her authentic self, where creativity, courage and self-expression converge. In essence, Maison Mishmashi is Al Omary’s invitation to join her on a journey of creativity, self-expression and discovery. With each piece crafted with love and intention, she and her brand invite us to celebrate our individuality and embrace the beauty that surrounds us.

Ghazlah Studio 

The Art of Rug Design with a Saudi Twist

Ghazlah Studio has been making waves since its launch. The studio fuses artistry with tradition, bringing a fresh perspective to the world of rug design. Born and raised in Riyadh, the founding team behind this innovative approach comprises three distinct talents: Bassam Al Khulaifi, Saud Al Rasheed and Somaya Al Azhrani. While Al Khulaifi paints and experiments with fabrics, Al Rasheed, who has a finance background, manages the execution process alongside Al Azhrani, who majored in epidemiology. Together, they breathe life into their creations, drawing from their diverse backgrounds to create pieces that resonate with audiences far and wide.

The team’s journey into rug design began unexpectedly during the pandemic. Faced with a lack of creative rug designs for their personal spaces, the trio decided to take matters into their own hands. 

Experimentation has been key to Ghazlah’s success. While the studio has dabbled with various yarns, wool and acrylic remain their primary materials. Their versatility allows them to cater to a broad audience, from boutique hotels to art collectors, each piece offering a unique blend of functionality and artistic expression. At the heart of the studio’s creations lies the rich tapestry of Saudi culture and the myriad artistic influences the trio have encountered during their travels. Whether it’s the vibrant hues of local cuisine, the rhythms of traditional music or the myriad people they meet along the way, every experience enriches their design palette.

Ghazlah studio’s work is a celebration of its founders’ heritage, capturing the essence of Saudi Arabia’s architectural marvels, weaving techniques, colours, shapes and even its unique scents and fauna. It’s a meticulous process of absorption and reflection, each piece echoing the world around them and resonating with cultural significance.

Among their creations, the ‘Dallah’ piece and ‘Painting Man’ hold a special place in their hearts. ‘Dallah’, a symbol of Saudi culture, beautifully encapsulates their identity, while ‘Painting Man’ represents their journey of exploration and innovation. Both pieces challenged Al Khulaifi to learn new techniques, pushing the boundaries of the trio’s craft and inspiring further creativity.

What drives this team is the ability to translate personal experiences and interpretations of the world into tangible pieces of art. For them, rug design is not just about aesthetics; it’s a medium to convey emotions, stories and cultural narratives that people can connect with and cherish.

In essence, this Saudi-based venture is more than just a rug design company; it’s a testament to the power of collaboration, creativity and cultural pride. Through their unique blend of craftsmanship and artistry, they invite audiences worldwide to experience the beauty of Saudi culture, one rug at a time.

Read more from our latest features here.

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Mammadov’s solo presentation with London-based GAZELL.iO, titled ‘Singularity in Heritage’, was shown during Art Dubai Digital, the fair’s first experience of showcasing a body of digital artworks under the curation of Chris Fussner. Offering a glimpse into the artist’s ongoing research project and autonomous AI art – which was first shown at the Venice Contemporary Biennale in 2019 and the Moscow International Art Biennale – it features a series of video works that are the result of an AI algorithm designed by the artist to understand and find similarities between carpet designs and traditional ornamentation across the Middle East. After processing over 150,000 archival images of carpets, rugs, kilims, miniature paintings and ornamental patterns found across museums and libraries worldwide, a neural network computing system brings together this amalgamation of heritage through a digital lens, enabling the viewer to encounter a visual history of traditional carpet designs – making them the first-ever carpets to be designed in the metaverse.

Historically, carpets, miniature paintings and decorative oriental patterns have played a significant role in forming Azerbaijan’s heritage and aesthetics. And while the Middle East is home to a wide range of carpet traditions, many of them share similarities such as geometric patterns, floral motifs and calligraphic shapes.

“Perhaps with machine intelligence, we can redefine the concept of repetition,” Mammadov suggests. “The installation’s visual component imitates traditional Azerbaijani patterns. As a result, viewers see how AI builds new alternatives. These alternatives have a synthetic nature that has nothing to do with the history of authentic ornament patterns. AI imitates and fakes a traditional learning process [that is] usually handed down from generation to generation. 

“By accessing the data of authentic ornament images, AI becomes an independent master that can invent new ideas to update culture,” he continues. “Besides symbols, AI generates new concepts and meanings. It blurs the boundaries between [what is] real and [what is] fake. These actions further prove cultural development, as non-human intelligence replaces traditional craft tools.”

Mammadov likens his creative process to “painting with data”, and although the crafting process is executed entirely through digital means, tangible heritage is vital to his work. “The main goal that I want to achieve through my art is to remind visitors of the value of cultural heritage,” he concludes.

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Photography by Tarek Moukaddem for identity

“I think the right word [for my work is] ‘timeless’. When you look at something that is timeless, it connects the past with the present and the future. That’s why it feels fantastical or otherworldly; it is ageless, you can’t put a date to it. It even feels alien,” Dalle muses. “It looks futuristic but also ancient; but to me, the right word is ‘timeless’.”

Photography by Tarek Moukaddem for identity

Dalle’s career began with designing window displays for retail outlets, which she says she appreciates as displaying art for the public, instead of in a gallery which not everyone is able to access. “Art should be everywhere; it should be on the street, it should be what you’re wearing; it should not be between closed halls in an all-white environment,” she says. “A window display is appreciated by everyone.”

Her first collaboration involved creating Magrabi Optical window displays for businesswoman and art patron Cherine Magrabi Tayeb. She then went on to design for Hermès in Beirut and Paris and is now a Hermès-certified designer, conceiving themes for its boutiques around the world.

Much of Dalle’s sensibility and approach to design stems from her childhood experiences and her observations about women in Lebanese society – including her mother. Dalle was born in the aftermath of the Lebanese Civil War which had left the country in tough circumstances, and many women were forced to take on domestic crafts such as sewing clothes for their families.

“I like to work with women who are not trained as professional artisans but who work out of their homes,” Dalle expIains. “I think this goes back to my childhood, to watching my mom for example, and how she started sewing clothes. It is craftsmanship that is born out of necessity and not out of luxury – and this fascinates me.”

As a child Dalle would create dolls from scraps that she found around the house, be it fabric or even tissue paper. “This goes back to the idea of using what’s around the house, which relates to recycling and sustainability. This is really how I started experimenting with materials and textures and surfaces – it all came out of necessity. Then, of course, I went on to design school and I wanted to reflect on that: being a child growing up in a lower-to-middle class family and looking back at those societies and those circumstances and really studying that. And stretching it into my work today. That’s really what I’m interested in.”

One of Dalle’s biggest collaborators to date is third-generation carpet gallery Iwan Maktabi, with whom she’s worked for 12 years. Their latest project, which was showcased at Nomad Circle this year, is called ‘It felt like a dream’ and comprises a collection of sculptural wall tapestries that are made from felt. The project is part of the gallery’s wider Iwan Maktabi Lab initiative which focuses on collaborations that drive and experiment with culture, creativity and craft.

For the collection, Dalle travelled to Konya in Turkey to meet a family of felt makers who for generations have devoted their craft to making felt rugs and kepeneks for shepherds, and who have restored the earliest sikkes of the dervishes which are now found in Mevlana Museum – the mausoleum of Jalal ad-Din Muhammed Rumi, the famous Sufi mystic and poet.

An unexpected turn of events led to Dalle instead collaborating with the wife of the master felt maker Mehmet, which absolutely transformed the experience for her. “I watched as a craft that has been dominated by men for centuries unfolded through the fingers and feeling of Theresa. It was the same material, yet handled in a more vulnerable and honest way, becoming more emotional and sensual, less dogmatic, more spiritual, still present and mindful,” the artist recounts.

In felting, as with many other centuries-old crafts, women often found themselves relegated to the home, to private spaces, while men were in the public eye, in workshops and felt-making saunas. The process of felting rugs centres on a man’s physical form, as it requires strength to carry the weight and agitate the wool.

“A lot of my work, when it comes to craft, is about the dynamics between men and women. My research looks at how crafts carried by women hold a special form of intimacy,” Dalle explains.

While her work is inspired by tradition and folklore, the intention is always to break the said tradition by focusing on memory and how that can be translated. “It’s more about playing on memory than focusing on the tradition of the crafts,” she explains. “I’m not interested in the craft itself as much as I am interested in the memory. I always have this problem with the person teaching me the craft, which is that I’m not here to just learn about a step-by-step process, I need to learn about the memory and the spirituality behind the craft and the storytelling, not only about the process. I, myself, can break the process and break the grid and recreate it.”

For Dalle, what is even more important than the craft is the material which precedes the craft and informs the entire process. “When I touch material, it has poetry to it. Material speaks; it’s like strata, it’s like skin, it’s not a dead object,” Dalle says. “Then I seek out the craft for that material. When you start to think of material as a living object, you realise that it is also timeless.”

Dalle’s latest project is designing the scenography of the Beirut Concept Store for this year’s Dubai Design Week, which consists of a 100-square metre space exhibiting the works of Lebanese designers. For this, the artist has collected linens from Lebanese families – some of which date back to the 1950s, others as recent as the Beirut Blast – resulting in an installation of over 1000 pillows called ‘The Dream’. “It’s really about composing a Lebanese dream. Most of the pillows were brought from houses of middle-to-lower class families, and the detailing on the pillows is amazing.”

The pillowcases are all used and have marks of wear and tear, and even burn marks. “People didn’t have money to spend on new pillow covers so what they did is spend hours and hours mending these pillows. And we are not talking about stitching; they actually removed the threads from the pillow and connected it with another thread. We call this ‘ratti’. It’s a technique of weaving which is usually done with very expensive rugs, not pillow covers. But imagine, people in Lebanon did it with pillow covers. That just gave me goosebumps,” Dalle says.

The installation is also about a country that is healing and mending itself, she adds. And while working as a designer in Lebanon has its many challenges – especially with the current crisis in the aftermath of the port explosion – Dalle insists that she will not leave her home country behind. “All of my work is inspired by the situation in Lebanon. I am very connected to my artisans; we are like family; I cannot leave them,” she says. “It is my workspace and my community. When your ship is sinking, you cannot just leave and let everyone else sink.”

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This month’s issue sheds light on the people whose imagination has brought forth some spectacular results, be it reimagining a prototype for a future city or creating physical worlds out of stories and memories.

Our cover this month features the work of Lebanese artist and designer Rumi Dalle, photographed by Lebanese photographer Tarek Moukaddem, specially commissioned by identity in collaboration with leading Lebanese carpet gallery Iwan Maktabi. For this special photoshoot, Rumi poses with pieces from her recent collection for the carpet gallery, called ‘It felt like a dream’. The abstract wall tapestries that are created in felt from Turkey look strangely at home in the Maison Feghali mansion located on Beirut’s Sursock Street, which is currently undergoing major reconstruction and restoration works after being severely damaged by the devastating Beirut Blast on 4 August last year.

Rumi’s work was the perfect fit for ‘The Imagination Issue’ as its timeless appeal lends itself to something that could possibly be from out of this world. Rumi taps into her inner world to retrieve memories and experiences which give life to all her designs. Her most recent work is a commission for Dubai Design Week called ‘The Dream’, which will be on show from 8 to 12 November. “It’s really about composing a Lebanese dream,” she says of the installation.

In other parts of the magazine, we look towards the African continent to discover a modern architectural masterpiece that is on the verge of decline – yet which is now set to be preserved by Moroccan and Senegalese architects Aziza Chaouni and Mourtada Gueye. The expansive fairground was the result of a vision by Senegal’s first post-independence president – a visionary man who commissioned the complex in 1971 to imagine what a modern Senegal could look like, while still maintaining the vitality of its cultural heritage.

This month has also been a very busy one as the identity Design Awards are drawing near. I’ve had the pleasure of reviewing the many exceptional projects from across the region, and I eagerly anticipate announcing the winners at the event on 17 November. I wish everyone the best of luck and look forward to seeing many of you very soon.

Read the full issue on ISSUU here. 

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A limited edition carpet designed by David/Nicolas from the ‘Orientations’ collection alongside a lamp by ceramicist Hala Matta from Namika Atelier and paintings from Saleh Barakat Gallery.

“Every year, we show the latest creations made by the designers who contribute to our IWAN MAKTABI X project,” says Mohamed Maktabi, co-founder of Iwan Maktabi. “This year, the selection is quite rich and varied. We chose the designers based on our conviction that these talents have something new and different to say, and we gave them the medium of carpets to say it with. As for the [other] objects in the exhibition, I always had a deep and wide interest in a variety of fields: art, design and antiques, and I [felt that it was] appropriate to show them side by side”.

‘Strata’ limited edition carpets designed by Roula Salamoun for Iwan Maktabi, next to her Anatomy console and mirror (with the support of House of Today). Lamp by ceramicist Hala Matta from Namika Atelier and paintings from Saleh Barakat Gallery.

Un(Masked) is staged in collaboration with Beirut-based art gallery Saleh Barakat Gallery and House of Today, a platform founded by Chirine Magrabi for Lebanese architects and designers. Barakat has curated a selection of artworks that have been chosen to blend with the collectible carpets of Iwan Maktabi, as well as with the selection of furniture that is also on display. The result is a highlight of the creative talent working out of Lebanon today that includes artists Hala Shoukair, Fadia Haddad, Samir Sayegh, Tagreed Darghouth and Bassam Kahwagi – all presented by Saleh Barakat Gallery.

The exhibition also comes just over seven months since the explosion in Beirut, where political and economic hardships continue to persist.

“It is easy to succumb to the defeatist atmosphere currently around us: a global pandemic that is affecting the lives of individuals across the globe that has caused a disruption of all public activities; and an explosion that destroyed the capital city we live in,” says Maktabi. “This exhibition is a form of hope, like springtime after a cold winter, and rebuilding after a deadly explosion. Un(masked) is a crucial exhibition for us.

“We at Iwan Maktabi will continue to do what we know to do best, and that means bringing beautiful objects to the people around us.”

Egyptian Alabaster collectible art objects by Lebanese-Egyptian multidisciplinary artist Omar Chakil with paintings by Taghreed Darghouth and Hala Shoukair from Saleh Bakarat Gallery in background.

As for the works on show, Egyptian-Lebanese designer Omar Chakil is presenting three works, including the ‘Isphahan sconce’, which was created specifically for the exhibition. Hand-carved in a single block of Egyptian alabaster, it features a design mimicking the medallion that is traditional to Persian rugs, marrying references of ancient Persia and Egypt with present-day Western cultural cues, creating a form that is also reminiscent of Brutalist and Art Deco architecture.

“My intention when using material such as Egyptian alabaster is to build bridges across time and culture,” says Shakil. “The material is emblematic of ancient Egypt and rarely used in large monolithic blocks. For the last several decades, market sellers [have been using] debris and filling it with paste and varnish. So, the idea is to bring back the noble spirit and treatment of the stone, [which is] known to help instil clarity and transport the soul into the afterlife.”

‘ALL EYES‘ limited edition carpet by Nadine Kanso for Iwan Maktabi.

Elsewhere in the show, Beirut-based designer Roula Salamoun’s collection entitled Strata references a topography that draws both on architecture and nature. The carpets were inspired by the hills and cities of Nepal, after a trip to Kathmandu made with the Iwan Maktabi family. Georges Mohasseb and Kareen Asli’s Studio Manda, also based in Beirut, is presenting a carpet called Borderless, inspired by the designer’s Urban lighting suspension, which is made out of staples used to demonstrate the grid of the city, its linear and orthogonal shape and the harmony of its geometries.

“The exhibition comes at a very particular turning point,” said Mohasseb. “It brings hope back and highlights our vibrant artistic scene, especially since the arts and culture of Lebanon have greatly suffered since the Beirut blast and the disastrous economic crisis, as well as the global pandemic.”

“It’s important for us to continue and never stop creating, because we love what we do,” said Lebanese design duo David Raffoul and Nicolas Moussallem, who are showing a new carpet for IWAN MAKTABI X. “This exhibition is also a way for us to show that we are not giving up on beauty and creation. We believe this exhibition helps keep the Lebanese creative scene present in the Arab world. While our political ruling class tries to cut any sort of ties with the rest of the planet, it shows how the individuals and creatives of Lebanon fight for a borderless expression.”

Read more: The ‘Made in Lebanon’ brand must be activated to support the creative economy, says Nada Debs

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