Walking into the Nada Debs boutique in Downtown Beirut, I’m immediately struck by the effortless cutting-edge vibe surrounding it. Trendy young designers and assistants traipse through the shop, floating in and out of the back offices – all stylishly dressed. Nothing here feels contrived. There is real avant-garde design taking place, and the staff clearly exudes that aura.
The space itself is the perfect canvas for Debs’ designs. Stark white exposed brick, reminiscent of an artist’s loft. Pipe-exposed high ceilings. No frills. All of it a fitting backdrop to the wonderful contemporary artwork peppered about the concrete walls. Her modern pieces are displayed in perfect compliment to her infamous mother of pearl inlay work. Every detail is meticulously thought out, nothing overlooked.
Nada Debs has certainly carved out a unique niche for herself in the Arab market, quite early on, at a time when local furniture design was anything but hip. And yes, she is here to stay. “I can’t see myself going to Italy for example, although it’s beautiful, but I’m not Italian, why would I be there?” Why indeed.
Growing up in Japan and then graduating from the prestigious Rhode Island School of Design in the US and later working in London, Debs finally settled in Beirut in 1999 – by accident. “I came for a summer holiday and decided to stay!”
Nearly a decade later, the Nada Debs brand has blossomed into what can only be described as modern arabesque meets minimalist contemporary. Mother of pearl versus resin and concrete. It’s no surprise then that her signature pieces are coveted by hipsters and traditionalists alike – no doubt in appreciation of the intricate craftsmanship that goes into each piece, as well as the modern edge Nada inevitably infuses into her work.
If I had to choose only one piece to buy, then it would have to be one of her patterned mother of pearl inlay designs; a timeless style that has become synonymous with the Nada Debs brand. “Contemporary furniture can be made anywhere in the world, even in China, and it can be copied. But something like this [the Arab craftsmanship] which is done by hand and needs someone from this part of the world – that, I thought from a marketing point of view, would create a niche for me. A big fish in a small pond. And people responded very positively.”
Very much so it seems as demonstrated by the two women bustling noisily into the boutique at that moment. They are, of course, immaculately over-dressed for a weekday afternoon, Chanel bags in tow – but that’s Beirut for you. They excitedly inquire about their custom-made chairs and their enthusiasm is quite infectious.
Debs’ client base is obviously well travelled, sophisticated and design-savvy, and above all proud to flaunt their Arab heritage. Very much like the designer herself, who is also very passionate about design awareness in the Arab world. “We have the education, we have everything – exactly like the outside world – so why can they produce things and we can’t?” In fact, she plans to start a school for furniture-making sometime in the near future.
That’s not to say her clients stem only from the Arab world. Quite the contrary. If there’s one thing Debs is not lacking, it is international exposure. Points of sale exist in Dubai, Cairo, London, Rome, Amsterdam and New York.
Projects such as the overhaul of the Lebanese restaurant Fakhreldine in London, the interiors of the Liza Resto and the Hotel Daniel in Paris – not to mention her current accessories work for the W Hotels in Qatar – further ensure Nada’s work is never out of the spotlight. Add to that a flagship Nada Debs boutique debuting in Kuwait in May, with similar plans for Dubai and Amman soon to follow, and you’ll realise that beneath her soft-spoken (albeit confident) exterior, there is a creative mind in overdrive. The twinkle in her eyes speaks volumes, and her vision for her brand is far-reaching.
Despite all that, Debs has never lost touch with the essence of her line, chiefly the handmade craftsmanship imperative to its success, and is in the process of opening her own workshop in Lebanon – embracing a social cause as an added touch. “I want to get disabled people to learn the craft and do the work. I want to expand the workmanship because it’s a very limited craft and very few people know it. So we’re really excited about that, hopefully it’ll come together in a few months.”
With such a hectic schedule on her hands, I have to make a reluctant exit as Nada gets back to work. Walking out of the boutique, a rose carved chest of drawers catches my eye and I can’t help but run my fingers over its ornate carvings. Hand-made? Yes. Woman-made? Most definitely.
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