Emirati Craftsmanship Finds New Expression at Design Doha Biennial

Irthi Contemporary Crafts Council presents Design Labs II, a groundbreaking exhibition that reimagines traditional Emirati crafts through collaboration between local artisans and international designers, showcasing how heritage techniques speak to contemporary design.

In the carefully considered space between tradition and innovation, something remarkable emerges. Ten collections, each born from months of research, experimentation and intimate collaboration between Emirati craftswomen and designers from across the globe, now take their place at the Design Doha Biennial 2026. The exhibition, Design Labs II, represents far more than a showcase of finished objects. It is a philosophical inquiry into how the knowledge held within generations of craft practice can fundamentally reshape the language of contemporary design itself.

Hosted at Fereej Al Asmakh in Doha, the exhibition opened on 5 November and continues until 31 January 2027. Under the patronage of H.H. Sheikha Jawaher bint Mohammed Al Qasimi, Wife of H.H. the Ruler of Sharjah and Chairperson of the Sharjah Family and Community Council, Irthi Contemporary Crafts Council marks its second participation in the biennial with a project that challenges conventional thinking about the relationship between traditional skills and modern artistic practice.

The collections themselves tell stories of material dialogue and cultural exchange. Jallaf, created by Anique Koussian, bridges Mexican woodworking with Emirati weaving, merging solid wood and flexible threads into objects that speak of two distinct artisanal heritages. The Sidah, produced using traditional Naseej pit-loom techniques in Bani Jamra, Bahrain, brings together naturally dyed wool from Kuwait with the accumulated knowledge of Bahraini artisans, treating woven fabric as a living form shaped by its environment. Siraj, a collection of lighting fixtures crafted by Bricklab, draws on eight years of research into the colour palette and ecological characteristics of the Arabian Peninsula, translating the enigmatic landscapes into a contemporary language of light and form.

What distinguishes these works is their genesis. Rather than treating craft as decoration or material addition, Design Labs II positions traditional techniques and materials as foundational to artistic decision-making from the earliest conceptual stages. Craftswomen contribute directly to the development of each piece, exchanging knowledge and skill expertise with designers. Weaving, embroidery and other inherited practices are explored through applications that extend far beyond their conventional contexts, finding new life in furniture, art installations and architectural design.

The programme emerged from research documented in Architectural Elements from Cultural Heritage, a reference publication examining craft techniques, local materials and cultural knowledge from the Middle East, North Africa and South Asia. This scholarly foundation provided the springboard for practical experimentation that moved craft beyond documentation into genuine creative production.

Reem BinKaram, Director General of Irthi Contemporary Crafts Council, emphasised the significance of this approach. “Our second participation in the Design Doha Biennial builds on Irthi’s ongoing efforts to strengthen the presence of Emirati crafts regionally and internationally, while highlighting their place in contemporary conversations around culture and design,” she noted. “The knowledge held by craftswomen and the skills passed down through generations provide a foundation for developing works that respond to contemporary needs while remaining deeply connected to their roots.”

Artistic Curator Reem Saif Al Mazrouei articulated the project’s central inquiry: “How can craft knowledge help shape design itself, rather than simply being incorporated as an additional element?” The answer, evident in the ten collections on display, lies in genuine dialogue. The diversity of materials and making techniques, from Safeefah to Sadu to traditional weaving methods, allowed for multiple approaches, each exploring how handmade techniques and material properties contribute to design from conception onwards.

The exhibition is accompanied by a programme of panel discussions and workshops. A notable discussion centres on the role of women in preserving traditional crafts and transmitting knowledge to future generations, bringing together H.E. Reem BinKaram, Shawq Al Alawi of Qatar Museums, and Sahar Al Musqati of the Sadu Art and Design Initiative in Kuwait. The conversation reflects broader efforts across the Gulf to ensure that craft practices not only survive but flourish within contemporary cultural frameworks.

Beyond Doha, Design Labs II serves a deeper institutional purpose. The collections, research and methodologies developed through the programme contribute to establishing the art collection for the forthcoming Irthi Museum, scheduled to open to the public in 2029. This museum will document craft knowledge and develop new applications for traditional techniques, maintaining the vital connection between inherited practices and contemporary cultural production. As the region continues to foster design and craft excellence, as we reported in NOMAD Abu Dhabi’s return with an expanded vision of design, craft and cultural exchange, initiatives like Design Labs II demonstrate how heritage and innovation need not be opposing forces but rather catalysts for each other.

What it means for Abu Dhabi

Design Labs II underscores the intellectual and creative sophistication of the Gulf’s approach to cultural preservation and artistic development. Rather than treating traditional crafts as historical artefacts, the exhibition positions them as living practices with genuine contemporary relevance. For Abu Dhabi and the wider UAE, this model of collaboration between craftspeople, designers and cultural institutions offers a template for how heritage can be sustained and evolved simultaneously, enriching both local creative industries and the international cultural conversation.

The exhibition also reflects a regional commitment to women’s expertise and leadership in cultural production. By centring craftswomen as integral collaborators rather than sources of material or technique, Irthi and its partners are reshaping how traditional knowledge is valued, transmitted and evolved. This approach resonates with broader UAE efforts to ensure that cultural continuity includes economic opportunity, skill recognition and intergenerational knowledge transfer, creating pathways for young people to discover and practise these traditions in contemporary contexts.

Source: WAM