Oculus brings a poetic softness to illuminated surfaces through its layered chiffon composition. Repurposing textile waste with intention, the piece draws inspiration from the graceful folds of the abaya. Through her sensitive approach to material, Al Dulaimi has transformed familiar fabrics into a sculptural light object that feels both contemporary and deeply tied to cultural expression.

2. Al Nawa Collection 2025 by Nasser Al Ghawi

The Al Nawa Collection 2025 reflects Nasser Al Ghawi’s exploration of the date stone as both material and memory. Composed of a chandelier and feature table, each piece brings thousands of polished stones together within eco-resin to create rich, tactile surfaces. Inspired by the palm tree’s enduring symbolism, the collection merges cultural heritage with modern material innovation.

3. Bayn wa Bayn console by Tasneem Al Nabhani

The Bayn wa Bayn console expresses the quiet rhythm of Gulf terrains through palm-frond desert board. Its layered surfaces suggest shifting sands and subtle movement, giving the piece an understated sculptural presence. Curated from Al Nabhani’s study of regional landscapes, the console offers a modern interpretation of nature’s forms within a refined furniture silhouette.

4. Al Ghawas seating by Amna Al Shamsi and Hannaneh Rafiee

Inspired by the UAE’s pearl-diving history, Al Ghawas combines reclaimed teak, metal accents and naturally dyed fabrics, reflecting the resilience and craftsmanship of the ghawas diver. The pieces balance strength with softness, translating maritime heritage into contemporary forms suited to modern interiors.

5. Haila jewellery cabinet by Jasim Alnagbi

Haila reimagines the iconic Emirati heirloom bangle as a sculptural cabinet for jewellery and treasured objects. Its bold curvature and reflective structure reference the elegance and ritual associated with the original adornment.

6. Sculptural pendant lighting by Hessa Alghand

This contemporary reading of palm wood reinterprets one of the UAE’s most significant natural materials. Alghandi’s piece highlights the quiet beauty of reclaimed wood through refined form and subtle detailing. Rooted in the cultural symbolism of the palm tree, the pendant embodies a dialogue between tradition and modern design sensibilities.

7. Loodo coffee table by Alefiyah Ustad and Reem Shawkat (Clock & Cloud)

Sand-based materials have been crafted to shape a sculptural, grounded coffee table whose design echoes the welcoming spirit of the majlis, capturing the warmth and intimacy of communal gathering. Through its considered form and regional materiality, Loodo bridges contemporary interior design with the landscapes that define the Gulf.

The post Things to Covet appeared first on identity.

Set within a building that dates from 1987, ‘Gerbou’ signifies ‘welcome to my humble abode’ in the UAE dialect, reflecting its inviting atmosphere, while its farm-to-table concept, relying on fresh organic produce from UAE farms, underscores its environmentally conscious ethos. Founded by Sheikha Lateefa bint Maktoum, with interiors spearheaded by Kristina Zanic Consultants, Gerbou blends Emirati fusion cuisine with design inspired by local culture.

Details like the heritage ‘Dubai Pattern’ breeze block behind the bar, reminiscent of traditional vernacular architecture, lend an authentic and nostalgic touch

The restaurant is operated by Atelier House Hospitality and owned by Tashkeel, a commercial consultancy founded and directed by Lateefa bint Maktoum, with studio incubators for visual art and design rooted in the UAE. Key local partners in the project include architects Arkiteknik International, fit-out firm KOJ Interiors and landscaping specialists Urban Landscape. “Gerbou would be a dream project for any designer,” said Kristina Zanic, CEO of Kristina Zanic Consultants. “It’s a harmonious blend of culture, cuisine and conscious design. Collaborating with Tashkeel and the talented local designers allowed us to reimagine local heritage in a contemporary way and to give visitors an authentic taste of Emirati hospitality.” Drawing inspiration from traditional crafts, local flora and fauna and the UAE’s maritime history, the design integrates artisanal details, sustainable materials and modern craftsmanship. The restaurant stands apart not only for its design but for showcasing the power of collaboration, with various bespoke design pieces crafted in partnership with the Tashkeel design community and other local designers. “Gerbou is a testament to the power of collaboration – where design, craftsmanship and gastronomy come together to create an experience deeply rooted in the UAE’s cultural identity,” said Lateefa bint Maktoum, Tashkeel’s Founder and Director. “Tashkeel’s collaboration with Atelier House Hospitality and Kristina Zanic Consultants has culminated in a space infused with artistry through researched culinary arts and design that speaks to heritage while embracing contemporary innovation. This partnership reflects our ongoing commitment to championing local talent and materials, ensuring that every element tells a story of authenticity and contemporary heritage.” The interiors are characterised by a harmonious blend of natural materials, brushed metallic accents and tactile finishes. Fluid forms and locally inspired patterns combine with warm neutral tones accented by rich hues of amber, emerald and teal. Special attention was given to ensuring a seamless flow between indoor and outdoor spaces, which are unified by a consistent aesthetic. Guests are greeted in a striking double-height foyer, with arched windows letting in a soft, natural light. The reception desk, crafted from a naturally fallen ghaf tree trunk, sets the tone, alongside a dramatic PlyPalm screen – created by local designer Lina Ghalib from dried palm branches. The ghaf tree had fallen during the storm last year in front of Lateefa Bint Maktoum’s late father’s majlis. “This tree has seen generations, from Sheikh Zayed to international visitors to the local community. This tree has seen people come in and out of that majlis. People who needed things, people who just wanted diplomatic relationships. This tree, actually, was part of the welcoming where my father used to sit. It used to welcome people and so had to be at the front desk. It was meant to be,” she says. A chandelier from Lasvit’s Herbarium collection completes the scene, featuring hand-blown crystal with gold-leaf imprints of leaves. The foyer also showcases a cocoon-like sculptural mesh enclosure inspired by traditional fishing nets, featuring a local geometric pattern and crafted from recycled materials.

The furniture is all locally produced and blends contemporary design with Emirati influences, with several pieces crafted in collaboration with Tashkeel

Inside, the dining area features a variety of seating options, including a mocktail bar with an embossed liquid metal bronze relief of a ghaf tree, symbolically bringing people together under its ‘shade’. This motif, envisioned by the Tanween by Tashkeel art and design collective, is thoughtfully woven into details such as door handles, seat cushions and custom plateware designed by Tashkeel and made by RAK Porcelain. Sheikha Lateefa bint Maktoum has also worked on several designs.

A braided fibre treatment on the ceiling and white marble terrazzo flooring completes the space, evoking an outdoor feel. The space is illuminated with soft, warm lighting, with architectural light fixtures provided by Huda Lighting. The furniture, all locally produced, blends contemporary design with Emirati influences, with several pieces crafted in collaboration with Tashkeel. Local artistry is further showcased in elements such as a biodegradable, henna-dyed chandelier by Wafa Al Falahi. 

At the back of the bar, an ice-cream station overlooks a cosy booth area tucked away at the end of the space. The walls are softened with green leather stitchwork, featuring a pattern adopted from heritage blockwork, referred to throughout the project as the ‘Dubai Pattern’. 

Drawing inspiration from traditional crafts, local flora and fauna and the UAE’s maritime history, the design integrates artisanal details, sustainable materials and modern craftsmanship

This design approach extends to the washrooms, where the UAE’s fishing and pearl-diving heritage is celebrated. Custom wallpaper, hand-drawn by local artist Steve Chambers from Big Art Co, depicts local fish, while a rippled bronze ceiling evokes the shimmering waters of the Arabian Gulf. The custom floor tiles feature a modern abstract fish pattern, adding a contemporary monochromatic twist. An elegant pendant light commissioned by Tashkeel to Reema Al Mheiri and designed using discarded fish scales, serves as another example of the venue’s sustainable ethos. The outdoor dining space offers a tranquil escape during cooler months, featuring another spacious dry bar, a sunken fire-pit conversation area and semi-private spaces framed by sculptural screen – all set amidst native landscaping. Details like the heritage ‘Dubai Pattern’ breeze block behind the bar, reminiscent of traditional vernacular architecture, lend an authentic and nostalgic touch.

The bathroom features custom wallpaper hand-drawn by local artist Steve Chambers from Big Art Co and depicts local fish, while a rippled bronze ceiling evokes the shimmering waters of the Arabian Gulf. An elegant pendant light commissioned by Tashkeel to Reema Al Mheiri has been designed using discarded fish scales

Listen to our podcast telling this design story.

Photography by Sebastian Boettcher

The post The Making of Gerbou appeared first on identity.

Joining us on the show are Sheikha Lateefa Bint Maktoum, founder of Tashkeel Studio and Gerbou, and Kristina Zanic, the founder of Kristina Zanic Consultants, the interior design consultants on this stunning project. Don’t miss the incredible story behind the ghaf tree log at the entrance, the lamps made of fish waste, the incredible collaboration and curation process, and the story behind the ‘Dubai pattern’.

Have you watched our first episode?

Subscribe to our Youtube channel

Listen on Spotify

The post In Design With – Sheikha Lateefa bint Maktoum and Kristina Zanic appeared first on identity.

A textile expert in her own right, Anziché used Loro Piana raw fibres – off-cuts sourced from its factories including wool, cashmere, silk and lotus flower – and intersected them with traditional local fabrics and materials that are closely linked to the heritage of the UAE.  

“‘Seeing with your hands’ is the expression with which I define my artistic practice, where every work, every sculpture, is created by experimenting with different weaving and interweaving techniques,” the artist tells identity. “The preparation for such manual practice involves the collection of texts and images, which in turn leads me to create a sort of archive to feed my research.  

“My interest in the gestural aspects of weaving stems from an intention to reproduce (and reinterpret) the purity of a non-verbal language that has been developed over time and communicated through the action of hands… Every material is chosen for its precise physical characteristics. These influence both the design process and the creative methods used. In doing so, it is possible to retrace the history, the original context and, in some way, the uniqueness of each fibre,” she says.  

Her body of work at Tashkeel, titled ‘Entwined Matter’, investigates what, to the artist, is the ‘hidden’ culture that surrounds Dubai and beyond. She explored traditional architecture and archaeological locations across the Emirates and became introduced to those safeguarding the art of traditional crafts through the Bidwa Social Development Programme, a centre in Dibba Al Hisn run by Irthi Contemporary Crafts Council.  

“By carefully observing places and environments, I discovered a wealth of references implicit in them: the large corals traditionally used as bricks in the buildings of Al Hamra Village, Ras Al Khaimah (precious fractal geometries); the varying shades of sand (especially noticeable at sunset) at Al Jahili Fort in Al Ain; the chromatic variations of the sands at Meliha Archaeological Centre and Buhais Geology Park in Sharjah; as well as the suggestive ‘crusts’ of sand and salt found in the salt lakes (‘sabkha’ in Arabic) of Al Wathba, Abu Dhabi,” Anziché shares.  

As a result, the artist has integrated elements of the region into the textiles and fibres: she used spices as a symbol of the ancient relationships and trading routes between the UAE and its neighbouring countries; salt, referring to the importance of obtaining drinkable water through desalination as well as references to the salt lake (sabkha) formations in the desert; and ‘the sun’ which, she says, plays an active role in marrying the spices and the fabrics, as well as in combining the salt.  

Another active component in the artist’s work is the connection between the pieces and their audiences: “The bond between the body and the work is a constant in my practice,” says Anziché. “I often choose to place the viewer close to a piece so that it forms an experience in their memory. The viewers must be able to pass through, climb over, lean on and touch [the work].”

The post Paola Anziché’s residency at Tashkeel merges textiles from Loro Piana and local materials from the UAE appeared first on identity.

Courtesy of Irthi Contemporary Crafts Council.

One such organisation is the Irthi Contemporary Crafts Council in Sharjah, which was born out of the Bidwa Social Development Programme aiming to empower artisans economically and socially through crafts, while also helping revive and sustain the indigenous heritage of the UAE. Irthi, which is an affiliate of the NAMA Women Advancement Establishment, led by HE Reem BinKaram, who is its director, currently works with 77 local female artisans from Dibba Al Hisn, who are engaged in Emirati crafts as well as Pakistani, Jordanian and Palestinian embroidery techniques. Irthi has now evolved into a platform that helps foster dialogue between local artisans and regional and international designers through various programmes such as Crafts Dialogue, curated by Samer Yamani, founder of Barcelona-based Creative Dialogue and curator Farah Nasri, as well as Design Labs, both of which were founded on the creative potential of collaboration, featuring contributions from Pakistan, Japan, the US, the UK, Spain, Italy and Palestine, alongside local designers.

Tashkeel is another key institution championing craftsmanship in the region, training young designers and artists and connecting them to key craft practitioners in the region. Established in Dubai in 2008 by HH Lateefa bint Maktoum, Tashkeel has contributed to the growth of contemporary art and design practices rooted in the UAE.

The following interviews shed light on some of the developments, programmes and initiatives that are empowering local artisans and engaging a community of young designers from the region and abroad.

Irthi Contemporary Crafts Council

How has Irthi engaged and empowered female artisans in the emirate? HE Reem BinKaram: This was easier said than done as every artisan practiced the traditional crafts at home, solely for personal needs. To get them to work together as a team in a professional setting where deadlines and stringent quality guidelines were the norm, meant having to tiptoe around several deeply entrenched social and cultural norms. Artisans initially rejected the idea of monetary returns for their work as we faced several rejections from their families making their mothers and grandmothers ‘work to earn a living’. It was the community focus goal of the Bidwa centre, which finally won them over. Taking a craft form rooted in the local cultural identity and imbuing it with fresh design aesthetics through commercial collaborations and regional artisan exchange programmes were both uplifting and empowering. The artisans recognised the value in protecting their vulnerable cultural heritage, and began to take pride in their craft. They saw the need to strengthen their techniques and pass on their skills to a new generation of artisans to secure its future.

Linear Bucket Bag by Jennifer Zurick made from camel leather.

How can artisanal know-how and craft be passed down to the new generation that encourages its generational continuity? The beauty of an artisanal product is that even without being denoted a ‘luxury’ product, its intrinsic value never depreciates as it represents the essence of our collective heritage.

To take forward this knowledge to the new generation, and to ensure the sector’s long-term potential and sustainability, Irthi launched the Hirfati Youth Programme to train and engage with the next generation of designers and artists through a mix of workshops, activities and competitions that combine traditional and contemporary crafts.

In addition, under the Council’s Design Labs project – that runs along the same lines as art residencies, it facilitates the exchange of crafts, design, and knowledge between international or regional designers, and offers opportunities for young Emirati women to learn multiple crafts in a series of short, intensive courses. Apart from traditional Emirati crafts of Talli and Safeefah, our young generation can also learn the techniques of glass blowing, sand-casting, gold-casting, and metalwork, which we find adds a more interesting dimension to young creatives.

How has COVID-19 impacted the crafts economy and the artisans and their work? The shifts in consumer demand and spending patterns that have emerged with the outbreak of COVID-19 certainly have had a significant impact on the demand and interest in artisanal and sustainable crafts, both in the region and globally. This slowdown is likely only in the short term, and as we begin to fully adapt to the new reality, we are confident that several functional artisanal items and products will be integrated once again into the daily lives of people.

A time of crisis always places greater value on craft-based production as it represents the ethos of our collective heritage and offers a window of hope amidst the uncertainty. As the year draws to a close, we are beginning to see signs of resurgence, and are confident that the industry will emerge stronger.

Can you tell me more about the debut collection at the 2019 London Design Fair? Why was this important and what did it achieve in terms of promoting Emirati crafts? Irthi’s debut at the London Design Fair realised its vision as it presented its artisans with their highest-profile international platform to date.

This debut product line was the combined result of its two pioneering projects — Design Labs and Crafts Dialogue, both of which are thoroughly international in outlook, and featured 78 luxury products across 12 exclusive collections, focusing on home decor, furniture, jewellery, perfume bottles, handbags and more.

The collection showcased how the handmaking heritage of the UAE could earn its rightful place in the global market as the world took notice of the incredible talent of our artisans. The use of materials and techniques from different parts of the world emphasised the collection’s global outlook, earning the appreciation of a wider audience. For the Bidwa artisans who once practised their craft within the confines of their homes, the debut at London Design Fair threw open the doors for access into new sustainable markets and has empowered them both economically and socially.

Hajar Chair by Architecture and Other Things for Irthi made from sand casting.

How does working with crafts also tap into sustainable practices, such as using local materials or aiding the local economy? Even as Irthi works towards linking traditional crafts to the modern luxury and design markets, or infusing crafts with new functionality to fit contemporary aesthetics and needs, it has never strayed from its goal of incorporating sustainable and ethical practices in all aspects of its training, production and collaborative ventures.

The Council utilises a circular business model within our operations by driving greater resource productivity, eliminating waste and inefficiency, sourcing sustainable and environmentally friendly material for all products, and ensuring that ethical and fair practice standards are adhered to in all programmes initiated by the Council.

Additionally, all profits earned from commercial collaborations are reinvested back into empowering artisans in the UAE and the MENASEA regions through the Bidwa Programme, as well as the Council’s other cultural and commercial initiatives.

Tashkeel

How does Tashkeel aim to support and elevate craft and craftsmanship in the region? Lisa Ball-Lechgar: It is important that today’s art and design practitioners understand the rich cultural practices that form the UAE’s identity. Through the exhibitions and training provided at Tashkeel, we connect art and design professionals with key craft practices and craft practitioners in the UAE. We also support creative practitioners who wish to integrate elements of craft practices into contemporary design and visual art.

What has the Tanween programme achieved to date in accomplishing this? So far, Tashkeel has invested in the training of 22 UAE-based designers which has led to the 39 designs inspired by, designed and produced in the UAE. Out of these, 31 limited edition furniture and lighting pieces have gone on to become part of The Tanween Collection range.

Local craftswomen demonstrating the Safeefah technique

In October, we will initiate the call for the seventh edition of the Tanween design programme. The one-year professional development programme for emerging designers delves deep into exploring the connections between craft and contemporary design and examining the challenges and opportunities related to design aesthetics informed by place.

In short, Tashkeel hopes that, through the Tanween design programme, the UAE cultural identity and the crafts that form the roots of it are carried through into contemporary practice.

What do you think is the best way to preserve the tradition of crafts within a society? In a world where machine industrialisation and the digital explosion have led to so many practices becoming redundant, we are not only losing the manual skill and dexterity but also the memories, connections and the identity of who we are that is buried in the crafts and the objects created. We need to re-establish the importance of making and the tactile qualities it possesses.

Yes, there is the need to preserve but there is also the need to ensure ongoing growth and development. It is not only a question of survival. The challenge also lies in enabling craft practices to thrive. The two must go hand-in-hand.

Nurturing a new generation of makers is important for the growth of crafts, with adequate training, support and role models to encourage those who possess a desire to learn. A model rooted within an environmental context and consisting of formal and informal training, apprenticeships and social engagement seems to have been adopted by many countries around the world with crafts practices that are at risk of becoming critically endangered.

Katta by Yara Habib for Tashkeel’s Tanween programme.

Do you think there is enough support in the region to help propel traditional crafts into the future? There are several important initiatives that are addressing the needs of the crafts sector in a strategic manner. From an economic perspective, organisations like Al Ghadeer and Sougha are creating stable income streams for Emirati craftswomen based in rural areas; while the likes of Irthi and Tashkeel are nurturing the next generation to integrate craft in contemporary design.

I firmly believe that the future of traditional crafts depends on the sustainability movement and how well individuals, organisations and governments alike can connect age-old practices to the environmental agenda of the twenty-first century.

Once, someone would spend his/her entire life mastering their craft. Well, this still stands true today. A wider variety of educational pathways are needed with more intensive courses in craft practices being offered. Such training would offer meaningful opportunities to allow existing craft practitioners to generate much-needed income from teaching and provide a new cohort of creatives with comprehensive, in-depth training in the techniques and materials.

What role do you think curators play in the preservation and elevation of traditional crafts? Curators play an important role in raising levels of awareness, understanding and appreciation of the role traditional crafts play in today’s society. Through their study of the diverse practices, they play a key part in sustaining and developing the future of crafts.

The post Emirati crafts: How the UAE is preserving its intangible heritage appeared first on identity.

Designers presenting works inspired by the culture and traditions of the Middle East include emerging designer Hajar Abdallah, whose debut installation celebrates the region’s equestrian culture.

Sharjah-based Irthi Contemporary Crafts Council is presenting present an outstanding collection of objects developed in collaboration with Emirati craftswomen and leading contemporary designers.

Award-winning architectural studio Binchy & Binchy is launching ten new tables inspired by architecture, challenging themselves to determine a design language that is truly Emirati.

Returning to Downtown Editions, Aljoud Lootah, Roudha Al Shamsi, 1971 Design Space and Jeel are all presenting their latest limited-edition work, whilst Taskheel will unveil the outcome of the 2019 Tanween Design Programme featuring designers Abdulla Al Mulla, Lana El Samman and Yara Habib.

Bringing his designs to the Middle East for the first time, Brooklyn-based sculptor and designer Fernando Mastrangelo is launching a collection of mirrors inspired by the geographic features of Dubai.

New pieces are on display from Japanese collectible furniture studio Tasca 4D, known for using the latest manufacturing methods in its designs, and from South Korean brand Arijian, which specialises in handcrafted goods and regional materials.

Guest Curator of Dubai Design Week, designer Ghassan Salameh is curating ‘MADAR’ within Downtown Editions, focusing on regional design and shedding light on the current movements in the design market of the region today. Ghassan’s curation will also highlight the latest productions and innovations of emerging regional designers.

Public visitors to Downtown Design can gain complimentary access through the Dubai Design Week app.

The post Downtown Design places spotlight on regional talent and inspiration appeared first on identity.

“Dubai is quickly rising as a creative hub in the region that is reflected in the Emirate’s appointment as a UNESCO creative city of design, which is a first in the Middle East,” states Tony Crinion, Portfolio Director at dmg events.

[row][column width=”33%”]

Zuleika Penniman

[/column][column width=”33%”]

Studio MUJU

[/column][column width=”33%”]

Myrtille Ronteix

[/column][/row]

Among the works on exhibition will be a simple, yet playful hand-braided chair and ottoman by Latifa Saeed that evolved out of her quest for the perfect headboard. Dhadh by Lujain Abulfaraj is a series of large interactive foam structures that serve as furniture, a plaything and building blocks for Arabic letters. Zuleika Penniman’s Coral Sun Series of table lamps celebrate the inherent beauty of the natural, indigenous coral rock.

This is a must-see exhibit at INDEX.

[row][column width=”50%”]

Lujaine Rezk

[/column][column width=”50%”]

Lujain Abul Faraj

[/column][/row][row][column width=”50%”]

Hamza Omari

[/column][column width=”50%”]

Alya Al Eghfeli

[/column][/row]

The post Tashkeel Showcases UAE Designers at INDEX appeared first on identity.