Omar Chakil's stone furniture collection references ancient Egyptian gods

Pop singer turned interior designer Omar Chakil, with roots in an ancient Egyptian family, yet raised in Beirut and Paris, has rediscovered and revitalized Egyptian or Pharaonic alabaster. This stone, once revered by pharaohs for its translucency and believed to guide souls into the afterlife, fell into obscurity and was replaced by cheaper alternatives after Egypt's nationalization in the 1970s. For decades, it was relegated to cheap trinkets sold in Cairo's Khan el-Khalili souk, losing its perceived value and special status within Egyptian craft culture. Chakil, however, recognized its inherent beauty and potential. His collection, Suite Anima, named after the spiritual essence attributed to objects in Animism, is a sculptural and soulful furniture series. It comprises 22 pieces, including seating, lighting, and tabletop accessories, all meticulously hand-carved, with the exceptions of 'Naughty Cleopatra,' a CNC-cut tub made from a single stone block, and 'Thebes,' a dining table. Chakil's motivation is to demonstrate that local materials can be successfully integrated into contemporary design, bridging historical legacy with modern aesthetics. He aims to connect craft with design, the earthly with the ethereal, and Eastern traditions with Western sensibilities by utilizing this emblematic Egyptian mineral. Chakil emphasizes the alabaster's soothing, healing properties and its ability to beautifully transmit light through its wax-like texture. Key pieces in the collection include two neotenic floor lamps that emit a warm glow from internal bulbs, and the 'Thebes' infinity-loop dining table. This table features twin holes, reminiscent of spiral coin wishing wells, symbolizing continuous and endless energy flow. Other items in the collection include honed, matte-finish stools, oil diffusers, globular sconces, and organically shaped seating. The Suite Anima collection made its debut at Cairo’s collectible design gallery Le Lab in Spring. Le Lab, founded by Rasheed Kamel in October 2021, serves as a platform for various Middle Eastern talents, having previously collaborated with designers like Georges Mohasseb and sculptor Khaled Zaki. Chakil's work with Suite Anima not only reintroduces a forgotten material but also redefines its perception, showcasing its versatility and timeless appeal in modern interior design. #OmarChakil #EgyptianAlabaster #SuiteAnima #InteriorDesign #FurnitureDesign #MaterialReclamation #ContemporaryCraft #LeLabCairo

This article features an interview with designer Omar Chakil, who has dedicated nearly a decade to reintroducing Egyptian alabaster onyx into contemporary design. Chakil, a French Egyptian Lebanese artist, describes himself as a self-taught natural aesthete driven to bridge cultural divides through his work. He is recognized for introducing the concept of collectible design to Egypt, with his pieces exhibited globally in Dubai, Brussels, New York, St Moritz, Venice, Athens, Cairo, and Paris. The interview delves into Chakil's unconventional entry into design, his affinity for indigenous materials and craftsmanship, his approach to overcoming design limitations, and his philosophy on uniting people through embracing individual uniqueness. Chakil’s journey into design began unexpectedly, influenced by his architect mother. Initially a singer, he found himself redesigning his studio in Paris, which led to decorating gigs despite lacking formal design education. A pivotal moment occurred when he was forced to return to Egypt, halting his singing career and prompting him to focus on product design. This redirection led him to explore traditional Egyptian crafts, eventually discovering the potential of alabaster, a material he initially disliked due to its common, unappealing market appearance. A friend, knowledgeable in history, convinced him of alabaster's significance, highlighting its endemic nature to Egypt and its historical use by pharaohs who valued its translucence as a symbolic gateway to the afterlife. His creative process is characterized by meticulous research and a focus on creating enduring, high-quality pieces rather than mass-produced items. Chakil emphasizes the importance of each object, intending for them to be cherished across generations, thereby fostering a deeper appreciation for the object’s story and the craftsmanship involved. Working with alabaster presents unique challenges; it is a hard stone but scratches easily, exhibits varying veining, and its quarries are largely inaccessible in Upper Egypt. These limitations necessitate building personal networks for sourcing and transportation, directly influencing his designs and pushing him to adapt to circumstantial constraints. He values collaboration with skilled craftspeople, believing that their expertise is essential for realizing his visions. Chakil discusses his unintentional but significant role in bringing collectible design to Egypt. His first collection, exhibited at the Beirut Art Fair in 2017, surprised many who couldn't believe the pieces were made from Egyptian alabaster, showcasing his ability to transform traditional materials into contemporary art. He aims to elevate Egyptian craft globally, drawing parallels with French and Italian design traditions that gained recognition through international exposure. Currently, Chakil is reinterpreting ancient Egyptian iconography, such as canopic jars, transforming their historical purpose of preserving organs for the afterlife into containers for hopes, wishes, and dreams. His recent exhibition at PAD Paris 2025 with Galerie Gastou further explores ancient Egyptian themes. Collaborating with Victor Gastou, Chakil was encouraged to use his unique design language to reference Egyptian history, particularly its impact on French culture. This exhibition marks his first venture into incorporating different types of marble alongside alabaster, as seen in pieces like the “Resurrection Table.” This scarab-shaped table combines Egyptian alabaster, Italian bianco, and Iranian onyx, symbolizing rebirth and humanity's shared connection to foundational civilizations, with an inscription that reads: “Like the scarab, guide me towards the light.” Chakil continues to seek new directions in his work, exploring other materials while maintaining his commitment to telling meaningful stories through endemic, local resources, with an upcoming show in We Design Beirut featuring no alabaster at all. #OmarChakil #EgyptianAlabaster #CollectibleDesign #ProductDesign #InteriorDesign #Craftsmanship #CulturalBridge #AncientEgypt #ModernDesign

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

Cities Boutique, a prominent art and design concept store, has broadened its product range by introducing Etqaan, a brand specializing in high-end, handcrafted heritage furniture. This initiative aims to rejuvenate a traditional Arabian craftsmanship that combines intricate, authentic techniques with a contemporary perspective. Cities, located in Galleria Mall on Al Wasl Road, now showcases a selection of pieces from Etqaan's latest collection. Hazem Aljesr, owner of Cities, emphasizes the brand's commitment to supporting the revival of fading crafts and providing customers with unique, deeply rooted furniture that merges original methods with modern design sensibilities while preserving authenticity. The objective is to ensure a memorable and distinctive experience for customers, with these pieces serving as a valuable enhancement to any home. Etqaan’s craftsmanship revives historic Egyptian carpentry, characterized by the meticulous engraving of Arabic calligraphy on various surfaces including tables, doors, mirrors, and banquettes. The brand also undertakes larger projects involving wood paneling and ceiling work for hotels and mansions. The creation process involves the integration of diverse materials such as mother of pearl, brass, camel bones, and natural leather, which are inlaid into genuine massive wood. Each Etqaan art piece is inherently unique due to its handcrafted nature, exhibiting variations, the artist’s individual touch and vision, and a distinct, exquisite unevenness. The aesthetic style of Etqaan products draws inspiration from Egypt's rich history, incorporating influences from Coptic, Islamic, and European traditions, which are beautifully manifested in the furniture designs. Every piece is inspired by a different historical era. For example, a 16th-century Persian bridal box, crafted over 800 hours, features genuine walnut wood inlaid with mother of pearl. Another example is a 19th-century Egyptian Banquette, inspired by the Gayer Anderson Museum in Cairo, which required 350 hours of carving genuine walnut wood into striking floral patterns. Etqaan is a collaborative venture between the holding company Iwan Crafts and the distinguished craftsmanship of Hossama, a legacy extending back to the early 1900s. Hossama brings a remarkable portfolio of historic restoration projects across Egypt, including significant sites such as the Hanging Church in Old Cairo, Amr Ibn Alas Mosque, Al Ghoury Market, and iconic hotels like the Mena House Cairo and the Cairo Marriott, which were once royal palaces. Together, Iwan Crafts and Hossama aim to establish Etqaan as a leading name in trendsetting Arabian habitat art, ensuring that these meticulously crafted pieces continue to offer both historical depth and contemporary appeal. #HandcraftedFurniture #ArabianCraftsmanship #HomeDecor #InteriorDesign #EgyptianCarpentry #LuxuryFurniture #HeritageDesign #ArtisanFurniture

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

The article outlines ten prominent interior design trends for homes in Egypt, drawing inspiration from the country's rich cultural heritage and dedicated craftsmanship. Kenda Interiors by NADIM, an established design company, provides insights into these trends, which range from contemporary geometric patterns to traditional Egyptian artistic techniques. The first trend emphasizes bold geometric patterns, lines, and slices. These can be incorporated in various ways to suit individual tastes, adding sophistication, visual harmony, and rhythm to interiors. Kenda Interiors' "Pyramidion" collection exemplifies this by using geometric shapes inspired by ancient obelisks and the gold-covered uppermost parts of pyramids to evoke opulence and modernity. The company suggests pairing these patterns with bold colors to create focal points within a room. The second trend highlights comfort and functionality, stressing the importance of making a home livable and customized to personal needs. Kenda Interiors prioritizes creating spaces that are both aesthetically pleasing and serve as an escape from daily stresses. An example is their "Tetris" room, which features comfortable seating and convenient amenities like charging stations. The advice given is to select items that are personally appealing and to consider bespoke pieces for a unique touch. Sleek and modern high-gloss finishes represent the third trend, which aims to elevate interiors with a luxurious appearance. This material can be applied to walls, furniture, and surfaces to draw attention. Kenda’s “Illusion” dining table, with its ocean-like high-gloss finish paired with walnut burl wood, is presented as an example of this trend. Elegant gold leaf is the fourth trend, connecting contemporary design to Egypt’s historical association with gold. This allows for the incorporation of a sense of history, rarity, and purity into homes. Kenda demonstrates how to integrate gold elements tastefully by combining them with glossy black materials and paintings that feature gold leaf accents. Traditional carving techniques constitute the fifth trend, promoting the preservation of Egypt’s artistic legacy within modern home designs. Intricate carvings and traditional ornaments can add a refined artistic touch. Kenda Interiors merges ancient crafts with modern designs, such as their replica carving of a Fatimid horse panel on a statement side lamp. The sixth trend focuses on stunning artwork that personalizes a home and reflects the inhabitants' identity and aesthetic. Art is seen as a means to introduce color, life, and narrative into a space. Kenda showrooms collaborate with Samah Art Gallery to offer curated artworks that either complement or become central pieces in any room. Varied lighting, including glass chandeliers, salt lamps, and candles, is the seventh trend. Lighting is crucial for setting the ambiance and mood of a room. Kenda Interiors suggests incorporating Egyptian motifs and creating tailored spaces with thoughtful lighting choices, using custom chandeliers, warm salt lamps from Oasis Salt Lamps, and aromatic candles from Candle Connection. The recommendation is to plan lighting early in the design process, considering the room’s function and desired atmosphere. Handmade ceramics are the eighth trend, celebrating Egypt’s skilled artisans. Historically functional, these pieces now bring cultural heritage into modern homes. Kenda Interiors collaborates with Runk Ceramics to produce unique, handmade tiles, such as those used in their “Luster” dining room set, showcasing the beauty of expressive and iridescent ceramics. Unique handmade textiles and decorations form the ninth trend. Textiles like pillows and throws are used to personalize spaces, adding color, texture, and detail. Kenda Interiors highlights the importance of supporting local artisans, featuring "Nebu" pillows that combine kheyameya applique with eclectic designs. The design tip suggests using an odd number of pillows for an artful arrangement and experimenting with different colors, textures, and shapes. Finally, beautifully crafted kilim and rugs represent the tenth trend. These patterned and colorful rugs, while a trend that emerged some years ago, continue to be popular, complementing minimal furnishings and serving as a simple way to incorporate ancient Egyptian motifs symbolizing fertility and familial protection. These trends are available for viewing at Kenda Interiors showrooms located in Concord Plaza, Mall of Egypt, and Dandy Mall, and further information can be found on their website and social media platforms. #InteriorDesign #EgyptianCraftsmanship #HomeDecor #GeometricPatterns #GoldLeaf #TraditionalCarving #ArtInDesign #LightingDesign #HandmadeCeramics #TextileDesign #KilimRugs #KendaInteriors

Kenda Interiors, a company operating under the third generation of the NADIM family business, specializes in customizable furniture and fittings that draw inspiration from Egypt's rich cultural heritage. Established in 2018 as a retail arm of NADIM, which began in 1978 as a workshop focused on traditional crafts, Kenda Interiors aims to bring the same quality and craftsmanship to individual homes. The brand distinguishes itself through its dedication to bespoke design, offering clients the opportunity to customize almost every item to suit their taste, lifestyle, budget, and spatial requirements. This approach ensures that each piece is uniquely tailored, moving beyond standard stock offerings found in most furniture outlets. The company places a strong emphasis on supporting local talent and preserving traditional Egyptian techniques and materials. Their designs integrate accents from historical craftsmanship, with their very name, Kenda, referencing a traditional joinery shape. Collections such as the Pyramidion, Hetepheres, and Vanish are directly inspired by Egypt's history, ancient royalty, and traditional materials like alabaster, incorporating elements like brass inlay and strong triangular angles to evoke a sense of heritage and elegance. The Pyramidion collection, for instance, reflects the gold found at the apex of pyramids and obelisks, while Hetepheres aims to instill royalty and nostalgia, and Vanish uses alabaster to create a warm and elegant atmosphere. Kenda Interiors partners with local artisans to source handmade, locally produced artworks and accessories. The selection criteria for these collaborations include functionality, a connection to Egyptian cultural or natural heritage, impeccable quality, and alignment with Kenda's identity and aesthetic. This includes a diverse range of items from blown glass chandeliers to khayameya cushions, paintings, and intricate tally scarves, all contributing to the authentic Egyptian essence of their products. This commitment to local sourcing and craftsmanship reinforces their mission to celebrate and sustain Egypt's artistic legacy. The design process at Kenda Interiors is highly collaborative, with a dedicated team working closely with clients. Designers assist clients who have specific ideas, helping them bring their visions to life. For those without a clear concept, the designers develop various proposals based on understanding the clients' latent preferences. Customizations are also common for existing collection pieces, allowing for adjustments in size, materials, finishes, colors, and fabrics. This personalized approach extends beyond furniture to include elements like wall claddings, dressing rooms, and ceilings, all of which are customized to fit the client's space and needs. The intricate nature of designing someone's home makes the client-designer relationship very personal, requiring patience and a deep understanding of individual preferences. Looking ahead, Kenda Interiors plans to expand its presence within Egypt and eventually venture into international markets. The company’s unwavering commitment to client collaboration and unique design ensures a thoughtful and distinctive interior design experience. Clients can visit showrooms in Cairo and the North Coast, browse collections online, or book consultations to realize their design aspirations. This strategy positions Kenda Interiors as a purveyor of bespoke, culturally rich, and high-quality interior solutions. #KendaInteriors #EgyptianHeritage #BespokeFurniture #CustomDesign #InteriorDesign #LocalCraftsmanship #EgyptianArtisans #HomeDecor #NADIM

Veranda, a publication centered on connecting with nature, often features indoor-outdoor spaces like sunrooms and porches, though they rarely grace the magazine's covers. These spaces, while favored for their ability to bring natural beauty into the home and offer expansive landscape views, are typically decorated in a more casual style, which doesn't always align with the sophisticated aesthetic expected of a cover image. To be deemed cover-worthy, such a space must combine casual comfort with refined sophistication, possess magical natural light, and exhibit a dramatic quality derived from its furniture, colors, textures, and scale. The May/June 2024 cover features a Los Angeles sunroom designed by Michael S. Smith, which is presented as a prime example of a sophisticated sunroom. This room incorporates traditional sunroom elements like woven textures, abundant natural light, and a color palette that seamlessly links the interior with the garden. Smith describes the room as a "portal to the magic of the garden, an homage to that alluring indoor/outdoor lifestyle of California." However, its design deviates from typical sunroom aesthetics. A key element is a vintage wool carpet by Swedish weaver Ingrid Hellman-Knafve, whose diverse green shades echo the garden. Smith likens the carpet's variety of color and texture to a painting, emphasizing the importance of human craftsmanship in design. The room features a rich layering of natural textures, including the woven rug, planter, seating, plaster walls, and layered window treatments from Elitis and Hartmann and Forbes. The woven rope seating, from John Himmel Decorative Arts, plaster walls by Rex J. Pratt, Inc., linen window treatments, and wood chair frames from Jasper contribute to the room's depth and dimension despite its monochromatic scheme. The furniture, while comfortable, casual, and durable, also represents a collection of iconic styles. The woven seating draws inspiration from early to mid-20th-century French designers Adrien Audoux and Frida Minet, known for their rope-woven pieces. The plaster chandelier is by French sculptor Philippe Anthonioz, who developed his passion for plaster while working with Diego Giacometti. The faux bois table base pays homage to the 19th-century French tradition of crafting "false wood" furniture from concrete. Perhaps the most distinctive feature is the animal-inspired footed furniture, which playfully connects the indoors to the garden. Anthropomorphic feet in decorative arts have a long history, dating back to ancient Egypt. Specific styles like the ball and claw foot, claw foot, trifid or drake foot, and monopodium originated as early as the 17th and 18th centuries. The re-discovery of King Tutankhamun's tomb in 1923 sparked a renewed interest in Egyptian motifs, influencing the Art Deco movement. Smith modernizes this tradition with simplified versions of animal-footed furniture. His four wooden chairs are a contemporary interpretation of French designer Marc du Plantier's 1930s "Egyptian" chair, offering a nod to both modern and earlier design periods. Additionally, a plaster three-legged stool by mid-20th-century American designer John Dickinson, now reproduced by Sutherland Furniture, adds a sense of romance and modernity to the space. This blend of historical references with contemporary design, bridging indoor and outdoor aesthetics, and combining sophistication with casual comfort, made Smith's sunroom an ideal choice for the cover of Veranda's outdoor living issue. #HomeDecor #InteriorDesign #Sunroom #LuxuryLiving #MichaelSSmith #FurnitureDesign #EgyptianRevival #ArtDeco #TextileDesign

Don Tanani, a new brand and design gallery, has emerged from a collaboration between Egyptian interior design firm Living in Interior and wood producers Ar-Co. This brand aims to offer a fresh perspective on contemporary furniture, interpreting Egyptian design and identity in a timeless manner. The inaugural collection, designed by Lina Al Orabi and titled Duality, features wooden furniture, including tables, consoles, and seating. These pieces are characterized by their curved lines and are crafted using traditional joinery and carving techniques rooted in ancient Egypt. The founders of Don Tanani, members of the Tanani family, express their intention to address a gap in the MENA region and Egyptian design market by elevating design made in Egypt and the Middle East. Their goal is to push the boundaries of Egyptian design and functional art, creating products that blur the line between utility and artistic expression. The brand plans to expand its collection through future collaborations with more Egyptian designers. The Duality collection, a result of a two-year development process, showcases a contemporary design approach deeply embedded in local traditional crafts. The collection draws inspiration from ancient Egyptian beliefs, where objects and art were considered living images, preserving likeness for future generations. The artisans of ancient Egypt imbued static materials with warmth, movement, and life through carving, effectively encapsulating moments in time. This historical reverence for craft is evident in Don Tanani's creations. The furniture pieces in the Duality collection feature sleek wooden forms with curved silhouettes and substantial volumes. Subtle patterns are integrated into the designs, adding a sense of lightness to the wooden structures. The collection skillfully combines natural woods with wood veneer techniques that mirror those employed in ancient Egypt. Furthermore, oxidized wood inlaid with camel bone is utilized to create compelling visual contrasts. This intricate detailing pays homage to ancient Egyptian craftsmanship, where similar inlay techniques were used with precious stones. Ultimately, the Duality collection endeavors to rekindle cultural memories and bridge centuries of craft and design with contemporary aesthetics. It represents the beginning of Don Tanani's journey to elevate Egyptian design and celebrate the creative talent within the region. The brand's commitment to both historical authenticity and modern interpretation positions it as a significant contributor to the evolving landscape of Egyptian design. #EgyptianDesign #FurnitureDesign #ContemporaryDesign #TraditionalCraftsmanship #LinaAlOrabi #DonTanani #InteriorDesign #Woodwork #CulturalHeritage

The article highlights a growing trend away from mass-produced items towards unique, handcrafted furniture and home decor pieces that emphasize creativity, craft, and time-honored techniques. It showcases 15 such items from various global makers, positioning them as collectible interiors pieces that are worth investing in now for their potential to become future design classics. The featured items begin with a modern take on a classic: the Canopy Armchair from Marchmont Workshop, a handcrafted stickback chair inspired by woodlands and priced at £3,600. This piece reflects a return to traditional craftsmanship with a contemporary aesthetic. Following this, the article introduces hand-painted lampshades by Spanish artist-designer Alvaro Picardo, which can be custom-matched to interior paintwork and wallpaper using Farrow & Ball paints, starting from £110. These lampshades are presented as artistic finishing touches for living spaces. Another innovative item is the Vine Vase by Wobbly Digital, a Glasgow-based artist who creates eccentric 3D-printed objects from recycled and bioplastics, priced at £350. This vase is noted for its viral potential, akin to the popular Gluggle Jug, and is recommended for dried flowers only. Scarlett Farrer, a rising star in hand weaving, is featured for her rustic textiles, specifically wall hangings made from undyed British wool. Her work, ranging from £250 to £1,800, gained recognition after she won the 2024 Young Weaver of the Year award. The article then presents a statement chair designed by Esto Estudio in Madrid, which combines a tubular steel frame with vibrant orange fabric, blurring the lines between furniture and sculpture, starting from approximately £800. Rich Miller, a ceramic artist and judge on 'The Great Pottery Throw Down,' offers unique cone-shaped pendant lights inspired by antique sugar cones, each priced at £2,425. These lights explore the history of the sugar trade and Miller's cultural ancestry. Sustainability is a key theme, exemplified by Jacob Marks' resin lamps, made from pine resin, with the Red RF Lamp I priced at £730. These lamps were a highlight at the London Design Festival for their use of unusual sustainable materials. Xanthe Somers, a Zimbabwean ceramic artist, contributes surrealist stoneware from her 'Sisters Toil' series, which explores women's work and crafts, with pieces ranging from £6,500 to £9,000. Loney Abrams and Johnny Stanish of Wretched Flowers create mesh murals and chain mail lamps, drawing inspiration from diverse sources such as museum archives and medieval armor. These shimmering wall hangings are available on application. James Shaw's sustainable seat, priced at £2,000, is crafted from recycled plastic waste like milk cartons and shampoo bottles, transforming discarded materials into unique, organic forms. The master plasterers Ffion and Steven Blench, known as Chalk Plaster, produce marbled, fluted sidetables using scagliola, a 16th-century technique imitating marble, priced at £7,800. Freya Bramble-Carter, a ceramicist, offers wheel-thrown pots in earthy shades, blending traditional techniques with an expressive approach, starting from £900. Maria Sigma, a textile designer and weaver, focuses on zero-waste wares using natural, often undyed, fibers for her throws and cushions, with her 'Apricity' throw priced at £890, though it has an eight to ten-week waiting period. Joe Sweeney's terracotta stoneware butter dish, priced at £300, is described as a charming and functional addition to the breakfast table. Emsie Sharp, a glassblower, presents candy-colored drinking glasses made in her Dorset studio, priced at £38 each, as a modern alternative for smart dinner tables. Finally, the article highlights Matthew Raw's tiled bedside table from his 'Welcome' collection, inspired by tiled facades of train stations and buildings. These pieces, featuring handcrafted and glazed tiles, are priced at £5,180 for a sidetable with a drawer, indicating a growing presence in contemporary home design. #FurnitureDesign #HomeDecor #HandcraftedItems #SustainableDesign #CollectibleArt #InteriorDesignTrends #Craftsmanship #ArtisanalProducts #LuxuryInteriors

This article explores the concept of iconic furniture, delving into pieces that have transcended mere functionality to become cultural touchstones and influential designs. It highlights how certain furniture items shape our interaction with spaces and daily lives, drawing a parallel with impactful artwork but emphasizing the crucial role of function in design. The piece features insights from 22 interior designers and professionals, who identify and discuss what they consider the most iconic furniture designs throughout history. Among the selections is Yves Klein’s Table IKB, notable for its use of the artist’s self-invented International Klein Blue pigment, demonstrating how a simple form can be elevated to art while retaining its practical purpose. Vladimir Kagan's Serpentine Sofa is praised for its mid-century modern curves that add warmth and personality to contemporary spaces, affirming its timeless appeal. Frank Gehry’s Wiggle Chair is celebrated for its experimental use of cardboard, showcasing durability and playfulness while pioneering environmentally friendly materials. George Nakashima’s New Lounge Chair exemplifies American-Japanese design, highlighting natural wood characteristics and traditional American craftsmanship, such as the Windsor chair-inspired spindles. The article also features Gaetano Pesce’s Up Armchair, recognized for its innovative all-foam construction and unique flat-pack delivery that allows the chair to expand upon unboxing. Charles and Ray Eames’s Lounge for Herman Miller is acknowledged for its strong presence and enduring quality, leaving a lasting impression even on young observers. Charlotte Perriand’s tables and stools are admired for their minimalist approach, utilizing humble materials to create elegant and functional pieces that resonate particularly in large-scale projects. Angelo Mangiarotti’s Eros side tables are noted for their primitive yet whimsical design, using friction to join two stone pieces without fasteners. Isamu Noguchi’s Akari Lanterns are highlighted for their traditional Japanese craft, providing a beautiful glow and maintaining iconicity through modesty, low cost, and simplicity, making them versatile for any project. The Klismos Chair, with its origins in ancient Greece, is presented as a design that has been repeatedly reintroduced into interiors over centuries, with T.H. Robsjohn Gibbings' 1960 revival being particularly influential. Oscar Niemeyer’s Rio Lounge Chair is celebrated as a perfect blend of sculpture and design, born from his modernist architecture background and featuring high-quality materials and avant-garde techniques. Guillerme et Chambron’s Grand Repos Armchair is lauded for combining natural materials and classic techniques with a sense of formality, influencing many contemporary designers. Maya Lin’s Longitude Chaise for Knoll is described as a decompression sanctuary that gives the illusion of levitating, praised for its sleek lines, comfort, and simple elegance. George Nelson’s office furniture for Herman Miller marks a pivotal moment in office design, transitioning from freestanding pieces to reconfigurable, ergonomic panel workstations. Vico Magistretti’s Atollo Table Lamp is recognized as a modern Italian masterpiece from 1977, admired for its clean geometric form and ambient lighting. Josef Hoffmann’s Club 1910 Chair is noted for its ahead-of-its-time design and deep tufted leather, maintaining a fresh look over a century later. Ludwig Mies van der Rohe’s Barcelona Chair is praised for its streamlined form, durable materials, and versatility, aging beautifully with a rich patina. The Louis XV Daybed is cherished for its adaptability across various rooms, serving as extra seating or an additional bed. The Peacock Chair, originating in the Philippines, is celebrated for its regal appearance despite being made from humble natural materials, with a rich history in portrait photography. Lastly, the simple Farm Table is recognized as a humble essential that embodies timeless grace and organic materiality, telling stories through its wear and patina, and holding new significance in the context of the climate crisis. #FurnitureDesign #IconicFurniture #InteriorDesign #HomeDecor #DesignHistory #ModernDesign #ClassicFurniture #ArchitecturalDesign #DesignInnovation

The "Bolete" table series, a collaboration between Hong Kong-based architect and sculptor Henry D’Ath and design-art duo Batten and Kamp, introduces a family of limited-edition coffee and side tables. These pieces are distinguished by their mushroom-like forms, crafted from hand-carved solid wood and natural stone. The design integrates the sculptural weight typical of permanent furniture with a flexible, modular approach that features configurable, overlapping surfaces. The genesis of the Bolete series traces back to a custom commission where Batten and Kamp recognized a natural synergy between D’Ath’s carved wood creations and their signature raw stone bases. This initial insight led to the formal collaboration and the development of the Bolete collection, emphasizing a harmonious blend of two distinct material elements. Each table in the Bolete series is meticulously carved by Henry D’Ath, who allows the intrinsic patterns of the wood grain and the natural contours of the stone to guide the creation of subtly organic shapes. The wooden tops are available in two finishes: a natural, sealed varnish that highlights the wood's inherent beauty, or a glossy black finish achieved through layers of calligraphy ink. The choice of wood for the tops is Camphor, a variety prevalent in China and Japan, known for its aromatic properties and natural insect-repellent qualities. For the bases, raw Taishan Granite stones are used. These stones are culturally significant, often featured in Zen gardens, and are admired for their grey-white hues, reminiscent of the dramatic Karst Mountains. Each granite base is individually sourced and intentionally left untreated, ensuring that every table possesses a unique character. The collaboration is deeply rooted in the shared heritage and mutual admiration among Alexandra Batten, Daniel Kamp, and Henry D’Ath, all originally from New Zealand but now working together in a Hong Kong studio. This shared background is reflected in the design philosophy, which embraces natural materials, robust forms, and simplicity—elements integral to New Zealand aesthetics—while also incorporating local materials and subtle Zen influences. Alexandra Batten describes the collaboration as effortless, stemming from a lifelong connection and shared artistic vision. Initially launched as a side table in 2023, the Bolete series has expanded to include coffee tables. The modular nature of the design is key, allowing for diverse configurations and sizes through the arrangement of overlapping surfaces, which enhances the collection's adaptability and aesthetic appeal. The tables are produced in limited editions, with eight pieces plus four artist proofs available per configuration, highlighting their exclusivity. Plans are underway to exhibit the series in major art and design hubs, such as New York or Paris, in 2025, further solidifying its presence in the global design landscape. The project was submitted through a DIY submission feature, reflecting a direct engagement with the creative community. #FurnitureDesign #Woodwork #StoneCraft #TableDesign #ModularDesign #LimitedEdition #DesignCollaboration #NaturalMaterials #HandCarved

The article explores the evolving landscape of furniture shopping in Egypt, highlighting the shift from traditional showrooms to a digital marketplace. It introduces several prominent online furniture platforms, each offering unique features and catering to diverse design preferences and budgets. This digital transformation allows consumers to furnish their homes with ease and convenience, accessing a wide array of styles from minimalist Scandinavian designs to opulent Egyptian craftsmanship. Efreshlii is presented as a comprehensive solution for interior design, offering curated services, ready-made mood boards, and furniture sets tailored to individual styles. The platform simplifies the design process, enabling users to shop for entire room looks. Ariika specializes in comfortable and stylish indoor/outdoor furniture, including bean bags and pool loungers, with a focus on bold colors, textures, and modular designs, ideal for creating ergonomic and visually appealing home office spaces or general living areas. Belong emphasizes customization, allowing customers to personalize furniture dimensions, fabrics, and finishes to match their specific visions, thus fostering a creative approach to interior design. IKEA Egypt, a globally recognized brand, provides its signature flat-pack furniture and intelligent designs, with a localized approach that includes delivery-friendly pricing and products relevant to the Egyptian market, suitable for various living spaces from first apartments to family villas. Mobica, initially known for office furniture, has successfully expanded into the residential sector, offering high-quality, durable, and sophisticated pieces characterized by clean lines and professional finishes. Chic Homz caters to those seeking a luxurious aesthetic, providing collections that combine timeless elegance with plush comfort, transforming homes into stylish sanctuaries with items like velvet ottomans and sleek console tables. Manzzeli addresses the need for affordable yet trendy furniture, offering a broad selection of sofas, beds, and dining tables. The platform is noted for its commitment to quality and its continuous updating of collections to align with the latest design trends, making it an ideal choice for budget-conscious consumers who still desire a fashionable living space. The article concludes by emphasizing the accessibility and innovation within Egypt’s online furniture scene, asserting that the dream home is now just a few clicks away, encouraging readers to embrace the convenience of online shopping for their furniture needs. #OnlineFurniture #EgyptShopping #HomeDecor #InteriorDesign #FurnitureShopping #EgyptianBrands #Efreshlii #IKEAEgypt

The ottoman, a widely recognized piece of upholstered, backless furniture, holds a rich and somewhat debated history tied to its namesake, the Ottoman Empire. The term itself is often attributed to Osman I, the founder of the Ottoman Empire, also known as ‘Uthman’ in Arabic. One prevailing theory suggests that the concept of the ottoman originated from a practice in the Ottoman Empire, where people would use stools piled with cushions to rest their feet in homes and tents. Turkish carpet weavers are credited with developing these footrests using bales of cotton. This method potentially evolved from an ancient Egyptian technique of crafting low stools from cloth and natural materials, a solution to the scarcity of wood in the desert environment. Early wooden frames in Egypt were often padded with leather for comfort. Another perspective proposes that in medieval Turkey, the ottoman was a primary form of residential seating, specifically referring to 'divan' — banquette-like sectional furniture that would line three walls of a room. These divans, laden with pillows, were common in council meetings (also called divans) held by sultans and commanders, fostering human interaction. The ottoman concept made its way to Europe in the late 18th or early 19th century. Its earliest documented use in Europe dates back to 1729 in France, appearing as ‘ottomane’. Thomas Jefferson's 1789 memorandum, detailing his purchase of a velvet ‘ottomane’ (likely an armchair) during his Paris tour, marks its entry into the English language. Upon its arrival in the West, the larger, divan-like piece began to shrink into smaller, more versatile units, suitable for corners or as circular seats around central columns, as often seen in modern hotel lobbies. By the 19th century, the design of the ottoman evolved significantly, moving from wall-aligned seating to a central room feature. It adopted circular or octagonal forms, and some versions even included backs or arms. However, contemporary ottomans are typically devoid of these features, often incorporating buttoned upholstery, castors, or integrated storage. The French invasion of Egypt in the late 18th century offers another theory for the ottoman's nomenclature. French observers reportedly witnessed locals using distinct footstools to rest their feet after enduring various hardships under Ottoman rule. The French then adopted this furniture style. Alternatively, Western European travelers might have brought this Near Eastern design back from their travels in Greece and the Balkans. The exact reason for the name transition from ‘ottomane’ to ‘ottoman’ and its potential symbolic implications—such as keeping the 'ottoman' (referring to the empire) figuratively 'under one's feet'—remains a subject for contemplation. #OttomanHistory #FurnitureDesign #TurkishCulture #HomeDecor #DesignEvolution #Footstool #Upholstery #InteriorDesign #CulturalExchange

The article explores the availability and quality of free interior design services offered by five popular furniture brands: Crate & Barrel, West Elm, Pottery Barn, Perigold, and Anthropologie. These services provide an accessible alternative for individuals who desire professional design assistance but find traditional interior designer fees prohibitive. The author, a shopping editor, personally tested each brand's offerings to provide an honest assessment of their experiences. Crate & Barrel's service, characterized by a traditional aesthetic, was tested through an in-store visit. The designer, Charles, provided valuable guidance on furniture dimensions for a New York City apartment, utilizing a floor plan to determine appropriate sizing for a sofa and media console. The consultation proved effective in selecting a 99-inch chaise sectional and a wide media console suitable for a narrow living room. This experience highlighted the professional and solution-oriented approach of Crate & Barrel's design team. West Elm, known for its midcentury modern aesthetic, offered online design services. The author opted for the chat function to seek advice on accessories rather than large furniture pieces. The online designer assisted in curating a color palette of grays, pale blues, and muted metallics for a bed, table lamps, and a picture frame, helping to incorporate a midcentury feel without overwhelming the space. The verdict on West Elm emphasized its utility for enthusiasts of midcentury modern design, whether seeking a full room transformation or subtle accent pieces. Pottery Barn's service, aligning with an Americana aesthetic, was lauded for its personal touch. The designer not only helped select counter-height stools, a floor lamp, and nightstands but also advised on fabric choices for optimal pricing and shipping. Furthermore, the designer provided styling tips for the nightstands and ensured all purchases would be delivered with the necessary certificate of insurance, a requirement for the author's rental building. This demonstrated a comprehensive and customer-focused approach. Perigold, a Wayfair-owned brand offering 'quiet luxury' pieces, provides a design service that matches clients with an interior designer based on their style preferences. Although the author discovered this service after moving, they noted its potential for acquiring heirloom-quality items, particularly in lighting. The service aims to guide clients from initial mood board creation to the final styling, making high-end design accessible. The author underscored the brand's extensive product range, encompassing furniture, appliances, accessories, lighting, and dinnerware. Finally, Anthropologie's design service caters to a bohemian aesthetic. While primarily known as a clothing retailer, Anthropologie's 'AnthroLiving Home' section offers a wide selection of customizable furniture and decor. Customers can choose between free virtual appointments or in-person consultations at designated design centers. The service pairs clients with an interior designer knowledgeable in Anthropologie's collection, ensuring tailored advice for specific needs, from minor refreshes to more ambitious projects. This option is particularly beneficial for those looking for assistance with custom fabrics and extensive home selections. #Furniture #InteriorDesign #FreeDesignServices #HomeDecor #ShoppingGuide #CrateBarrel #WestElm #PotteryBarn #Perigold #Anthropologie

Belgian designer Casimir marks three decades in the design industry with a new collection of six wooden objects, with another six pieces slated for future release. These initial six items include two consoles, a cabinet rack, a mirror, a side table, and a low table, all crafted from solid oak and walnut, chosen for their ecological qualities. Each piece is a limited edition, signed, and numbered, reflecting Casimir's hands-on approach as a self-described furniture artist who designs and produces his work in his own studio. The designer emphasizes concept over styling or trends, aiming to rethink and question classical furniture through his oeuvre. He values the authenticity and sustainable nature of wood as a material. One notable piece, Cross4, is a customizable console designed to lean against a wall. It incorporates the symbol of a cross, which Casimir explains is a loaded symbol in Flemish culture, traditionally placed above doors to signify welcome and protection. This console is thus intended as a gesture of hospitality at an entrance. CabinetRack2, measuring 120 centimeters wide and 180 centimeters high, showcases an innovative approach to furniture construction. Casimir created a standard cabinet without doors, then sawed it into two equal parts. These parts were subsequently shifted at an angle and glued together, resulting in a rack that can also function as a room divider, demonstrating an "exercise in what you can do with a standard cabinet." Mirror3, another piece in the collection, intentionally restricts the user's view, contrasting with traditional mirrors that offer a full reflection. Casimir drew inspiration from architectural sun blinds, which are horizontal slats used to block sunlight. He reinterpreted this concept by orienting them vertically to limit the reflection to a single viewpoint within a space. The side table, Arch, is unique in the collection for being crafted from walnut wood rather than oak. Its oval-shaped tabletop is cut from a larger rectangular piece of wood, with the remaining material utilized to form the legs. These legs consist of two trusses that cross beneath the oval top, creating a small vault. Plank5, a low table standing 35 centimeters off the ground, features five oak wood planks stacked in a manner reminiscent of a fireplace or campfire, with the plank ends extending at various angles. The final piece of this initial release is Console3, a double-shelved unit supported by three rotatable tripods. Casimir's upcoming six designs to complete the 12-piece collection include three ladders and a cabinet, alongside an exploration of furniture legs, all continuing his work with wood. The designer's ambition for the entire collection is for the pieces to endure for over a century, aligning with the tradition of classical furniture making. He notes the importance of experimentation and intuition in his creative process, where the idea, material, form, and function are deeply interconnected. #FurnitureDesign #WoodenFurniture #OakFurniture #WalnutFurniture #SustainableMaterials #BelgianDesign #ArtFurniture #LimitedEdition