But as the saying goes "if it aint broke...."
I further questioned shirts when I was asked via DMs: "Any recommendations for the perfect white shirt?"
I had no immediate answer to the question because all the white shirts I have amassed were from a charming little shop called Principe in Forte dei Marmi where my family had been spending summers since the beginning of time. We all know the fate of charming summer towns, the mom and pop shops soon go out of business being bought out by international brands. "Our" little town is now a Bond Street of brands. Principe no longer exists as a boutique dressing 80s moms to perfection.
So where does one buy their shirts?
The latest (and most accessible) white shirts I got were from Merlette NYC, a beautiful brand that makes beautiful no-fuss cotton clothing. It's basically clothes for everyday, beautifully made, neutral palette, easy to integrate into your wardrobe.
Then I thought of my friend Jennifer Klein who made four of my favorite shirts in my closet. I have a white shirt, a pink oversized linen shirt, a silk shirt in the most perfect shade of purple (have not worn it yet, but was inspired -actually copied- an older lady with the sharpest grey bob, silk purple shirt and grey pants) and finally the mother of all shirts a pink beaded shirt. Something shiny forever!
Lastly, you all know my friend Sunny Han from @sunnyskitchen, this summer she invited me to join her on an errand run, she was wearing a beautiful shirt from Sessei which I was intrigued by.
So there you have it, I think I answered the question.
]]>The pandemic has really changed the way we dress-in the age of Zoom calls and with online meetings the fastest way to look put together is a white shirt and a beautiful piece of jewellery. By the same token the pandemic really made us delve deep into our jewellery boxes and actually wear our pieces.
In light of everything we have been through, we reached out to our favorite women and asked them what their favorite or dream piece of jewellery is because what is life without a little day time dress up?
Raghad Al Musallam: Founder of Shop Bebeeti
"Grandmother’s necklace from the 80s. I cannot tell you exact details because neither my grandmother, mother or aunts have any recollection of the exact details. We think the center stone may be 15 or 18 carats, and it was purchased from either Graff or Kutchinsky there are no visible engravings so it’s hard to tell! Nevertheless, it is a piece I feel so honored to wear every time I put it on!"
Marta Otaduy Marzotto: Yoga Instructor
"A vintage garnet and pearl earrings from in-laws. My mother in law bought them at Penisi. I love them because they are discreet but they make your face shine... They are elegant but not excessive so they can be worn to basically any occasion!"
Nicole Furman: Visual Artist
"Although I check the time on my “always-too-present sidekick” we call a phone, this piece is a true jewel for me. I’ve always adored all of Bvlgari’s Serpenti pieces, the allusion to snakes I find beautiful, elegant and subtly sensual. With this specific wristwatch I love the contrast between the black enamel and the rose gold, & the diamond sparks don’t hurt."
Hala Kaiksow: Designer
"My favourite piece of jewellery would have to be my engagement ring. My friend, Alice Waese, who is a jewellery designer based in New York made it for me. I was looking for something that really that expressed my style and I think her pieces captured it perfectly."
Carolina Carpaneda: Architect and Interior designer
One of my ever favourite pieces of jewellery is an emerald ring that was my great-grandma, the woman who I got my name from. Emeralds are known to be the gemstone with the most personality as they are one of the few precious gems where inclusions actually add value to the stone. Imperfections are part of the beauty of each emerald, but what’s really special about this one is not the stone itself but its frame, it reminds me of a flower and it is something you can’t find today in modern jewellery. It has an art deco flavour, but at the same time I find it so contemporary! I have always kept it safe and used it only few times, but lately I have decided the wear it all the time and I love to see it on my hand. This ring has great sentimental value for me and I am extremely appreciative for having the privilege of keeping it and eventually passing it down to my daughters!
Carmen Borgonovo: Designer Borgo de Nor
"I’ve always believed jewellery can transform how you feel instantly and when I saw this swan ear cuff by so-le studios my heart skipped a beat. It’s a piece that can elevate your relaxed jeans, t-shirt and blazer look into a not trying so hard yet glamorous evening ensemble and will certainly add a cool edge to feminine florals. Its' modern, versatile and sophisticated - a simple way to bring effortless sparkle into your life."
Reem Al Kanhal: Designer
"Each piece could be worn by it self or just wear the the black enamel rings with diamonds or all together! It is cool, elegant and simple. To me, it’s not your typical piece.”"My current favorite piece by sorrellina. It's custom made as an heirloom for my daughter Eden one day. I love it because its one of the most beautiful signets I've seen in a while. It compliments my other daily pieces so well too!"
Deema Al Ajlan: Designer
"I have always felt that there is a dialogue a piece of jewelry and it’s wearer. These earrings spoke to me from the first moment I saw them on my mother, who in fact passed them onto me. I have always loved emeralds, perhaps because I have green eyes, so it has always been a colour I gravitate towards. I have also always loved huggies, as they are more unique than hoops which are very popular today.
I developed a love for vintage jewelry around 10 years ago after attending an estate jewellery auction in Boston. Ever since, I have appreciated and sought out vintage jewelry pieces as I believe them to be more unique because back then jewellery was not mass produced as it often is today, which I feel intrinsically diminishes the meaning behind the jewels themselves and saturates their individuality. Floral pieces especially by jewellers such as Van Cleef And Arpels and older pieces by Adler have been a favourite as well as vintage Bvlgari and David Webb."
Marine Edith Crosta Artist Gallerist
"My taste in jewellery is quite eclectic, I love complicated statement pieces, but I find myself wearing very simple things on a daily basis. Sophie Buhai is my go-to designer for every day timeless pieces, I commissioned a pair of rings from her last year that I never take off. I would love to invest in a large Art Deco ring, such as the ones designed by Rene Boivin. La Galerie Parisienne have a Boivin ring in chalcedony and fine pearl at the moment that I find particularly exquisite!”
TOD: We absolutely love the continuity of the Ishraq collection -what was your inspiration behind it?
NUUN: Thank you! Ishraq is the next step in the evolution of my exploration of what I call frozen movement. I started with the Thahab collection and am loving exploring different expressions of it.
TOD: We love the way brushing gold has become one of your signature styles-can you tell us about your matte and polished finish?
NUUN: Texture is very important to me the contrast between the brilliance of the diamonds and the matte finish combined with minimal design gives the feel of something ageless both classic and modern.
TOD: Your collections can be seen in isolation or together-identity is such a strong suit when it comes to designing your pieces-they are distinctly Nuun. Do you do you do this so people can mix and match easily between collections?
NUUN: It’s not a conscious choice I think maybe because the source is the same it’s a natural consequence.
TOD: Finally, what are your future plans?! Can we look forward to more gold?
NUUN: Absolutely! Gold is an essential part of the NUUN DNA and is something I will always come back to.
Instagram @nuunjewels
Meet Valeria Vidal, an interior designer by passion and profession. Her work included store design for luxury and high street brands such as Louis Vuitton, Berluti and Aldo shoes. Valeria changed gears on moving to Bahrain, she now offers interior design services to residential projects for private clients. She is what many would consider a local islanders as her brand .V. Designs was created with emphasis on refined local craftsmanship.
TOD: We absolutely love your range of vases in beautiful earthy tones, tell us about how the idea came about?
VD: From my passion for design and architecture was born the desire to create objects handcrafted by local artisans. I'm a lover of all things pretty and simplicity. I am inspired by the land, the natural shapes and lines that can be found in nature. Whether it is from the geometry of a palm tree or the sand waves created by the blowing wind, nature is home to the most beautiful shapes, textures and colours. I also keep up with design trends-that definitely has a big influence on my style. Modern, minimalist with an ethnic touch!
TOD: We love that you chose to integrate cultural preservation in your brand-what made you do it and what are the challenges you face?
VD: When I moved to Bahrain 4 years ago, I wanted to learn as much as I could about the country's history and cultural heritage. I really believe that this is the best way to truly integrate and get rooted as an expat. I met many wonderful artisans with whom I kept in touch over the years for personal projects. When I decided to create my own business, it was only natural to reach out to them to make my designs come to life. I mean, I will not lie, not all the artisans I’ve met were comfortable with trying new things. My attention to detail wasn’t always well received but when you find the right partners, magic happens! Bahrainis are so warm and open minded, I feel privileged to showcase their incredible craftsmanship!
TOD: Tell us about your newest product-inspired by France where you’re from?
VD: I am so very proud of this bag! I’ve always owned a basket bag for as long as I can remember. I spent all my childhood summers in France where my grandparents had a beach house. In France, men and women own this type of basket in their home. From Sunday market to a day at the beach, “le panier” (that’s French for basket) is our go to bag. I find it very special to be able to create one entirely made in Bahrain! The basket is hand weaved with dried palms by Bahraini women and the leather straps are handcrafted by a local leather worker.
TOD: What’s next for you on this journey of creating beautiful sustainable products that everyone wants a piece of?
VD: There is something so pure and soft about working with natural materials and pure lines. My next collection will showcase more of that. Think tableware pieces such as standing bowls, candle holders and coasters, all with a Scandinavian vibe. I would also love to extend my designs and work on larger accent pieces, furniture for example…a suivre!
You can find .V. Designs pieces at Qalat al Bahrain giftshop, Singapore Flowers Cult8 (Aali Mall from October), Makeshiftstudio (Andalus Park) and Al Riwaq Art Space (Manama).
Follow us on Instagram @v.design.bh
TOD: Where are you from?
TCB: I am from New Delhi, India but I now live in Abu Dhabi. What was initially a temporary 3-5 year move has now leant into a 18 year stay in the United Arab Emirates. And I have loved every moment of these 18 years.
TOD: Tell us a little about yourself?
TCB: I am a real homebody, I love spending time at home cooking and love dawdling about at home. I could spend hours and days just lounging around the house. I guess it explains my love for pyjamas.
TOD: Where did you spend your lock down?
TCB: I spent it at home in Abu Dhabi with a large part of it Zooming my daughter, Sachi who is now based in London. We work as a design duo. While I understand the more technical aspects of design and development and the final making process, I also manage the everyday affairs, she on the other hand feeds into the larger vision of what The Cotton Basket should be.
TOD: What inspired you to start The Cotton Basket?
TCB: Honestly, it started with the search for a simple pure cotton pyjama bottom about 18 years ago, when I first moved to Abu Dhabi. It was impossible - there was genuinely nothing out there. Everything was a poly blend and so uncomfortable to sleep in. A good lightweight cotton pyjama lends itself to the best sleep and it is not a little luxury to have but I feel it is an essential part of the sleep ritual. I saw the gap in the market and that is when the idea first sowed its seed.
Commitments with family and other things got in the way but it always was there at the back on my mind. Around 7-8 years ago the opportunity finally presented itself. The Cotton Basket was setup as a haven for beautiful textiles, luxurious fabrics and designs to make your home a paradise. Given the purity of textiles it was only natural that we look at the making techniques. An additional challenge was the negative perception of goods made in India. It was often assumed that things made in India lacked in quality or were sub par. I wanted to change that perception. We wanted to preserve and revive India's rich cultural heritage and centuries of evolutionary tradition and craft which have over time evolved and lent themselves to other corners of the world.
TOD: Where did your love for all things beautiful come from?
TCB: I think it came from my parents actually. My parents had come over from Pakistan during partition - so while starting a new life they, were quite resourceful with whatever little was around - and I think that’s when the most beautiful things come about. From it all my mother emerged a self taught seamstress where she’d stitch dresses and frocks for my sisters and me. We’d accompany her though the fabric markets of Delhi for hours at end until she found the right chintz fabric and laces to match. It's only natural that you get absorbed into everything that these markets have to offer!
My father is also owed some credit. He would travel a lot for work to Libya, Iran Japan, and other wonderfully exotic places for a newly Independent India and he would spend a lot of time in galleries, shops and markets looking for beautiful things and would always bring back something which meant we had a mad collection of everything - colonial furniture, an antique grandfather clock amongst so much else.
TOD: Paint us a picture of your quarantine life. What's even a typical day for you?
TCB: I’m an early riser and that didn’t change during lockdown. I wake up around 6:30-7am and I head for the kettle. It's a ritual I have had since forever and I cannot function through the day without my morning cup of chai which I enjoy without my phone but with my husband and my dog, where we try to bond and catchup. It’s a little me time I gift to myself everyday.
And then the manic rush begins, when I flip my phone over and it is almost impossible to put down for the rest of the day when the calls start coming in. It was even harder during lockdown since all trips were and are still are suspended which means all coordination with manufacturers, and suppliers was over hours of zoom calls. Afternoons are a little less busy and a little more creative where I try to put together mood boards for the coming collections and make drawings and put together proposals. There was definitely more time over lockdown and I gave myself this time to really think about where I want to go with The Cotton Basket. I’ve regained some clarity of who I am and what I really care about, personally and creatively.
I have never been a big reader and would rather chat away with friends but given the limited social interaction, I try to keep my mind active by picking up some good reads. I'm currently on Stephen Fry's Mythos. I love the tales of the ancient Greek Gods but they've been told in the most human and entertaining way which has made it a very interesting read. I would also highly recommend Cosmo Brockway's and Harriet Compston's Glorious Hotels of India - a greatly illustrated book about the best, most luxurious stays in India that takes you on a visual journey through India's heritage.
TOD: What are you most excited about at the moment?
TCB: The start of our new store in Galleria. The exciting new location and look will give the brand a new lease of life.
TOD: What's the best advice you've ever been given?
TCB: Don't take 'no' for an answer, never submit to failure. There is always a way around. For most of the businesses, in normal course, the heads of the brand would dig a little deeper into what it will take to make the business successful. We on the other hand jumped into the deep end head first and relied on our swimming skills to ensure that we don’t sink. If I knew what was involved in setting up a brand it might have scared me right way. I had trained as an interior designer and had worked jobs but had never previously owned or run a business. I had no experience in retail, which is funny because if I had experience in retail and I’d known how difficult it was I’m sure I would not have done it.
TOD: And what would be your advice to anyone trying to start their own business?
TCB: You cannot do it all by yourself! Build a team - and a good reliable team. And with that also build a lot of patience.
TOD: What trait do you admire most in other women?
TCB: I definitely have to agree with you. Women are so resilient. Women everywhere are ubiquitously underestimated and demeaned, treated like they are weaker because they're more compassionate and passionate or even termed crazy if they are strong. But women are resilient.
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TOD: You come across as a cultural preservationist to me by way of the beautiful work you do supporting local artisans and craftsmen. How did this come about?
So, I grew up with a deep respect for traditional crafts. I remember how we would always look for the oldest craftsman to see if he could transmit his craft to the younger ones, if people in their community also valued these crafts and traditions. I saw how traditions were less and less valued in modern days, which really saddened me because I feel they are so intricately linked to the fabric of a culture. By connecting to their traditional crafts, I feel people stay connected to their roots.
When I came to Bahrain, I found out that textile weaving used to be an old local tradition. Today only one village, Bani Jamrah, pursues this craft. So, I really felt this sense of urgency of doing something to preserve this beautiful tradition. I thought one way would be to incorporate it in my work to show that it could be used in modern, contemporary designs. I also encouraged other designers to visit this village and rediscover the beauty of hand-woven textiles, as well as the creative freedom it offers: you can basically choose any color and have it woven in a way that complements your own work.
Today I am thrilled that a beautiful weaving center, built by the Bahrain Authority for Culture and Antiquities, opened in Bani Jamrah last December. It is heart-warming to witness this increase in recognition of local traditional crafts and the success these projects all encountered!
TOD: You work with craftsmen and artists in Bahrain but you also collaborate with artisans in other Middle Eastern countries. How challenging is it to reach and communicate with les petites mains of the Middle East without having the means to reach them physically at times?
NJ: The collaborative nature of my work is what brings me joy. Bringing ideas together from people with different backgrounds and cultures makes a project so much richer.
I really enjoy the fact that I can come up with a specific design for the woodworkers in Syria for instance. My design is then sent to them and it will very often come back with a few really interesting interpretations or additions that I hadn’t thought of. I am so fascinated by their craftsmanship and how they can inlay mother of pearl so perfectly into wood.
The only limitation I impose on the artisans is that their work must have impeccable finish.
One other project that is very dear to my heart and that has been really challenged by this pandemic is the embroidered Jalabiyas made in a Palestinian refugee camp in Jerash, Jordan. We worked out a beautiful system to collaborate where the embroiderers basically supplied me with a very comprehensive archive of nearly 200 different traditional Palestinian stitches when I visited them in December 2019. So it is now simple to refer to the desired stitches by name and number.
The concept of this multi-handed collaboration was to get linen woven in Bani Jamrah. In collaboration with Mhairi Boyle, a Scottish textile artist, we designed 2 very simple Jalabiyas patterns and were going to send them to the Jerash ladies to embroider specific Palestinian patterns. Hopefully this project will see the light for Ramadan this year.
TOD: You currently call Bahrain home, yet come from a professionally diverse background, how were you able to professionally transition from big city life to island living.
NJ: I left North Africa in the late 80s and moved to Paris for my studies. I was always attracted to fashion and history and Paris has so much to offer in these two fields. I worked in costume design and set design for a while and being a young professional in the film industry was a very exciting opportunity. But I also often missed the ocean and nature that I had grown up in close contact with.
When I met my Australian husband, I ended up moving to Sydney. It is a wonderful city as it offers as many cultural options as well as the proximity of the sea and presence of nature.
When we moved to Bahrain in 2009, my focus shifted back to textiles and I started exploring art galleries and researching the local traditions. It was no surprise that textile weaving was the one that spoke to me the most.
So, when I first created the Yalla Habibi label in 2015, my initial idea was to design embroidered cushions that blend Bahraini traditional textiles with motifs by local artists.
I was enchanted by the way my newfound activity was connecting me to my 2 main passions, arts and textile.
Bahrain is such a welcoming place, I always felt supported and encouraged by all, the quality of life here is amazing, there is a real ease of life. Manama has nothing to envy to any big city. It has beautiful museums, a theatre that brings international acts of the highest standard, art galleries, beaches ... It is the perfect place to bring up children in a stress-free environment and after 12 years on the island, I still discover hidden gems.
TOD: In Bahrain and across the Middle East you champion local artists, what do you look for in an artist you collaborate with and what do you create together?
NJ: The first artist I collaborated with is Mohamed Sharkawy. I could see such a strong, simple, naive quality in his art and felt it was so perfect to be transposed into embroidery. I had been exploring art galleries and talking about the art scene with him and other local artists. I felt that not enough people visited art galleries and I thought that transposing their artwork onto cushions would be a great way to promote artists, make art less intimidating, and also a great way to promote the textile weavers.
I am so touched when an artist I admire trusts me enough to give me an artwork (usually a computer file of a drawing) which I will work on to adapt it to the very different medium that is embroidery.
The artworks that have worked the best are usually very minimalist. More recently I have collaborated with artists that have more complex artwork, like Faika Al Hassan. For my collaboration with Faika, I printed her artwork on textiles and got a few details hand embroidered by a women’s association called Nasaej that empowers women through their hand embroidery crafts.
TOD: Finally what is your favorite part of being the name and the heart of Yalla Habibi?
NJ: I really appreciate how the art scene has welcomed me and how so many beautiful encounters and conversations were started because of my work with Yalla Habibi.
Another joy I have found through Yalla Habibi is to connect artists with craftsmen. For example, when an artist is looking for a potter for a specific project, it feels so rewarding to connect them and see the artwork that comes from it.
Of course, as I already mentioned, I feel proud to have played even just the smallest part in shining a different light on crafts that have been around in Bahrain for the longest time and really are an essential part of the local cultural traditions.
Being behind Yalla Habibi has also enabled me to really encounter and understand the Bahrain society fabric. Whether it is being invited for Iftar at the weavers’ house during Ramadan or at an artist’s studio, my little business has taken me places I would have not been able to discover otherwise.
Bahrain welcomed me with such open arms and I am so lucky that I was able in a small way to show my gratitude to this island that I have been calling home for over 12 years.
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The collection consists of four looks, made up of 7 pieces. All pieces are defined by their beautiful textures, be it slightly structured linen, softly cascading silk chiffon and double silk crepe or densely woven cotton shirting. The pieces are inspired by lush summers spent with friends and family between the beach and the city. The raffia fringe ensemble is made for relaxing under palm trees in the evening with friends. The three-tiered silk plissée skirt resembles the ocean and cascading waves, the ivory silk crepe flowing like water and resembling the soft and billowing foam on the wave’s crests. The more column like linen dress and linen plisée skirt are inspired by the tall and linear lines of skyscrapers and city skylines.
Jennifer Klein studied fashion design at Istituto Marangoni London and trained under one of Germany's last couture tailors. She has interned at and worked for some of the most prestigious couture and luxury houses in the fashion industry and honed her embroidery skills at the École Lesage in Paris.
Equipped with her international background and passion for cultural diversity, Jennifer has travelled all over the world in search of the finest materials. The many cultures Jennifer has been able to experience have left a strong mark in her approach to design, which is based on a desire to dream and to travel to another world through one's clothes.
She has purposefully placed herself in the slow fashion niche, away from the ever accelerating fashion system. Consequently, she puts an immense emphasis on sustainability and human rights in her creation processes and the fashion industry at large. Part of this work is done through the Girls For Plan Foundation, over which she presides.
Here we meet Jennifer more intimately and delve deeper into what modern day couture is all about.
TD: When did you first realize you wanted to pursue a career as a couturier?
JK: It must have been very early. I sewed my first dress when I was 5 years old from a lace kitchen curtain. My mother also told me later on that our kindergarten teacher called at one point, slightly concerned, because I was only drawing dresses without people in them… I think my love for couture started at a very early age and was reinforced when I started taking sewing classes at the local evening and weekend school at the age of 11. The teacher was one of Germany’s last couture tailors and we soon became close friends. I learnt everything from her, to be exact to the half mm and how to shape fabric on a body. I love her endlessly and todays she works at my atelier, if only free-lance because she is already 75.
TD: Both you and I champion sustainability and the creative process, can you tell us a little bit more about your design process and what made you so conscious?
JK: I think one of the first things I noticed about you is how much you champion small niche brands with true values and craftsmanship- it was love at first sight for me.
When I design, I think a lot about the women I am designing for. I want to celebrate the women I dress by creating designs that reflect their extraordinary personalities. They provide me with endless inspiration and often friendship, which helps me truly understand what women want and need in their daily lives. I think feeling and how you feel in your clothes and what they make you feel is incredibly important.
I also find a lot of inspiration in nature. I always take long walks on Sundays, for two or three hours, just to truly take in nature in all its beauty. I find a lot of my unusal colour combinations in nature, as well as ideas for embroideries, textures and prints.
To me there is only way of dressing, and that is bespoke (except for lingerie and jeans, those are the only things I buy “off the rack”). Creating and wearing bespoke pieces gets rid of the entire problem of over production, of sell-throughs and sales, of guessing customer tastes, of taking tremendous risks and most importantly, it gets rid of price pressure and the need to produce at the lowest possible price, whatever the cost.
The entire fashion system over the last 40 to 60 years – that’s how young ready to wear is- has never made sense to me. It is simply too much and causes and endless array of problems, both environmentally as well as humanitarian. I truly started specialising in sustainable fashion at university. I studied in London and was shocked by the fast fashion brands and how people treated their clothes as disposables. I started becoming active with different organisations, signed petitions and wrote my final dissertation on vicuna and its ability to change the lives of the people living in the Andes.
TD: As a couturier your work is extremely personalized, what role has social media played for you as a couturier?
JK: The funny thing is, I never had a social media account of any kind before founding my own couture house- no facebook, no private Instagram, etc. And to this day, my company’s social media account is the only social media account I have and interact with. I think that is important because too much social media kills creativity.
For my company, I thought it would be important to somehow show my creations to a wider audience and give an overall picture of the atelier. So we slowly started building an account.
Over the past year, Instagram has proved tremendously important and helpful. As I was unable to see most of my international clients, they used the platform to stay in touch, see new creations and stay up to date with my work. We then scheduled virtual consultations with them and created pieces from a distance for them.
Of course seeing my clients’ Instagram accounts also shows me what they are currently doing and wearing, so that I can adapt designs accordingly. Being able to study someone’s style through many different posts and stories is in many ways very useful and allows me to design for the client more easily and naturally. My clients really are muses to me and I think about what they wear while they are at home cooking, doing yoga, maybe having a very small round of friends over, picking up their kids, etc.
TD: You’ve made couture accessible and sustainable by creating a beautiful nightwear and lingerie collection, was this done to make couture accessible and democratic for people who were otherwise intimidated by it?
JK: This was definitely one of the reasons! There is absolutely no need to be afraid of couture or having a bespoke piece made. It is all about comfort in every sense.
However, I also created the nightwear line as there was a gap in the German market. Italy and Spain both have beautiful local ateliers creating the most stunning and long lasting pieces for their elegant clients. Germany never had this and it was one of the things I missed most after coming back from abroad.
There is also a personal reason. I am a big believer in sleep and dreams. I need a lot of sleep to function at my most productive level. So naturally I spend a lot of time in bed. I also dream a lot and somehow in my dreams I end up working for and with my clients or I go to events! So I always want to make sure I am adequately dressed! I think it is so important to know what you put on your skin and to only wear materials that allow the skin to breathe. This is the first step to good quality sleep.
TD: Finally, what to you is the most magical part of what you do?
JK: There is so much magic involved! But if I had to pick the two most magical moments it would be when the garment is finished and we put it on the dummy and when the client receives it and puts it on for the first time. The smile and confidence our pieces can put on our clients’ faces always makes my heart sing and I am filled with endless gratitude to pursue a job I deeply and truly love and to change people’s lives in small ways.
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Wiebke is one of those people who does things properly, efficiently and effortlessly. So it came as no surprise when she told me she was going to get Marie Kondo certified and with that start Tidy Bayti a professional home organization service.
It’s been a blessing reaching out to Wiebke and bounce ideas off of her about organizing my living space, there’s always room for improvements in keeping things tidy.
OD: Your career as a professional home organizer suits your personality so much, when did you realize that your passion for tidying could become a career?
WB: As you point out it is in my personality to be organized and in most of my previous jobs, in one way or the other my responsibilities related to organizing and planning. But I only realized after I finished my own KonMari journey that being a professional home organizer could become a career for me. After friends saw the results of my tidying journey, they asked me to do the same for others. If you had asked me some 2 years ago, I would have never imagined this would be one day my profession! But today, I’m happy to say that I found my true passion in life and I consider myself very lucky to be able to build a career around it.
OD: In your many years living in Bahrain, how do you bring in your German efficiency to Khaleeji living through your work?
WB: If you decide to get on the path of a KonMari journey it means you decide to not only organize your closet but to change your lifestyle, your habits, your routines. Before you would start your KonMari journey with me I am very transparent on what to expect from this journey and I explain the values of the KonMari Method as well as my work attitude. Due to the close relationships, I develop with my clients over time we learn from each other and we share our life experiences and values. Yes, the Khaleeji way of living is different to a lifestyle in Europe or the US, and in many ways pleasant - yet I still retain the values and work ethics my parents taught me.
The beauty of the KonMari Method is that it works with any lifestyle even if we need to twist and tweak it a little to match the circumstances. Just one example: one of the KonMari rules is to pile up all items of a certain category e.g., all clothes, to get a full grasp of what you own. It is a sort of shock treatment that is required to acknowledge your consumer habits and to understand that they need to change. But sometimes that does not work due to the sheer volume of belongings in a category. In such cases, we adjust the rule while keeping its original intent, and pile up for example all clothes for a subcategory.
OD: What do you say to people who are just hopeless at staying organized? How do you make sure they don’t slip back into bad habits?
WB: There is no such thing as a “hopeless” case, everyone can change, habits can change, but it requires, as with everything else in life, determination, discipline, and the willingness to change. In my experience, there are two types of people: the ones who can easily depart with their belongings, but they have some trouble to stay organized and then you have the other type who has a hard time letting go but manages to maintain the order. If you know which type you are you can work on your weak point.
As a KonMari consultant I help you to find the answers on what “sparks joy” in your life but the decision on what to keep solely remains with you - and that is a very important point. My clients decide on every single item they own, and my role is to help them by asking the tough questions and not letting them get away with a “maybe” as an answer. I see myself a bit as a personal trainer: you know how to do your exercises, and as your coach I make sure you do them properly and I guide or push you out of your comfort zone. And once you trained very hard, you see the results of all the pain, sweat and work that went into getting fit and shaping up, and chances are you will not slip back into your old habits.
The KonMari method creates the same effect: A lot of effort, time, sometimes even tears and sweat goes in. This helps you learn to change your old habits because you will not want to go back on your results and into your old habits. To maintain this new order, you need to conduct an on-going “joy-check” on whatever you have and add to your possessions. We need to understand that clutter accumulates silently and steadily. Once you have decided what truly has a meaning in your life, what “sparks joy”, you will know what to keep. What is very important, for anything you own, you need to find a dedicated home for it and it must be returned once used. This is something that will never change and must be done every day, but it will be so much easier once you know where it belongs.
OD: Finally, what sort of advice would you give someone who is finally ready to get organized?
WB: Three things are important:
For more information and to contact Wiebke here:
Email: wiebke@tidybayti.com
Website: www.tidybayti.com
Instagram: tidybayti
Describing herself as a foodie, traveller and home cook, she’s more than just that. Sunny is practically a taste maker, an aesthete if you will.
TO: Tell us everything about you Sunny, how did this love of food come about?
SH: My mom was really influential in my upbringing. She was a chef/owner of several restaurants in Seoul and was really passionate about her work. And so I was brought up in an environment where everything revolved around food. Instead of taking math and swimming lessons like my friends, extra-curricular time was spent in those restaurants. While my friends were going on beach and ski holidays, mine were spent accompanying mom on food trade shows and “eating trips”.
Food wasn’t just a career though. It was literally at the centre of everything. Mealtimes at home were sacred, the highlights of each day. Special occasions and family gatherings were opportunities to celebrate seasonal produce. We didn’t have many storybooks at home, but we did have bookshelves full of recipes and cookbooks – so those became my bedtime stories.
I do sometimes ask mum why I never learnt to swim or ride the bike like other kids. But then again, I’m not sure if I would trade my childhood. Mum involved me in everything. And it was exhilarating.
I guess it’s no surprise that I now work in food and beverage. I have a consultancy practice, called Passion Project, which undertakes concept and recipe development work for restaurants, hotels and major food companies. I also work with my husband as the Creative Director of The Work Project (www.theworkproject.com), which is the largest premium co-working operator in Singapore, where I oversee hospitality and design.
I’m also a wife and mother of a 3-year old boy. And yes, I love to cook. I love to feed my two boys and I love to host gatherings. It is definitely one of my great pleasures in life. I share these moments, as well as recipes through my personal Instagram account on @sunnyskitchen in case you’d like to learn more.
TO: You don’t just cook food, a day in the life at Sunny’s kitchen is a production, you’re known to hand paint your dinner menus! Where did you learn the art of hosting so personally and “overdressed-ly” might I add?!
SH: I love hosting in style and making every moment very special and unique for my guests. I don’t necessarily think I learned it from anywhere, it just came to me naturally through experience! Since my dinner parties are in a home setting, I try to make the experience more personalized, doing things which my guests can never experience at a restaurant, such as making hand-painted menus, designing a tablecloth using vintage fabrics, picking flowers from the garden for the centerpieces, etc. These small gestures truly add uniqueness, making the setting extra personal, one-of-a-kind and beautifully “overdressed”!
TO: Your table settings are never pretentious they’re warm and inviting yet so rich, what are your favorite homeware brands and why?
SH: Thank you! I like to collect vintage plates for different occasions, and I purchase them through Etsy. Just type in “vintage French Limoges china” and you will find so many special gems!
Other specific homeware brands that I love are:
Marie Daâge and Laboratorio Paravicini- For luxe, beautifully hand-painted dinnerware.
Richard Ginori- For classic white porcelain that is so elegantly beautiful.
Carlo Moretti- For colorful Murano glasses that add accents to your table.
Sabre, Paris- For everyday casual flatware that are practical and chic.
Ercuis and Christofle- For over-the-top, luxurious silverware.
Julia B- For bespoke, hand embroidered linens for table, bed and bath.
TO: You look impeccable when you cook, what is important to you when you shop for clothes and what are your favorite brands?
SH: When I choose my outfit (specifically when I am cooking and hosting parties), I choose clothes that are light, airy and comfortable, so that it’s not too hot or bothersome with an extra layer of apron on top. One of my recent favorite is a French brand called, La Prestic Ouiston. They carry the most beautiful silk dresses and lounge wear with patterns that are so light and chic, meeting my standard of a perfectly dressy outfit to wear as a host.
TO: Finally, and this is something I struggle with, what to you is the best gift to bring to a small personal dinner for the hostess?
SH: As a gift, I like to bring some of my favorite specialty food products for the hostess. It can be a nice bottle of extra virgin olive oil, aged vinegars, gourmet salts, spices, honey or jams. I also like to make a small flower bouquet myself and give as a gift. It doesn’t have to be fancy. Just pick some nice seasonal flowers from the market, assemble yourself and wrap with a piece of cellophane and a bow. It’s less costly, yet more personal and warm.
]]>Deep in the Tuscan hills two sisters create what they call “casual couture”. I was completely enamored by this description because it sums up the way I want to dress.
Here you’ll meet the twins behind the brand we are currently coveting.
]]>Deep in the Tuscan hills two sisters create what they call “casual couture”. I was completely enamored by this description because it sums up the way I want to dress.
Here you’ll meet the twins behind the brand we are currently coveting.
TO: I am in love with your aesthetic and effortless style, what made you start Caftanii Firenze?
CF: We wanted to offer a charming and timeless way to wear an everyday, seasonless piece whose delicate lines make women feel the true meaning of beauty and elegance.
Our mother is our muse since day one. She has always worn white linen caftans in the summertime, and she has always taught us not to forget good manners and to pay attention to details and to be gentle. These were, and still are, the most important guidelines when we create our collections. Our mission is to communicate a sensual and casual femininity without any excess, just by being oneself.
TO: Your clothing is made to perfection, do you work with local artisans to achieve such beauty?
CF: Thank you so much Dana for appreciating and supporting Caftanii!
Considering the weight our Italian artisan heritage carries worldwide, we take great pride in stating that every Caftanii piece is conceived and produced entirely within the Tuscan borders by the tailors surrounding the province of Florence. We strongly believe in Made in Italy, a true hallmark of uniqueness, integrity, reliability and utmost quality. This also applies to the choice of fabrics – 100% Italian – to which we pay particular attention.TO: To me dressing in sets is the easiest way to look chic and effortless. Tell us more about your sets?
CF: Caftanii commits to reconnecting individuals with the value of tailored garments, with the history and the creative processes that generate its unique pieces.
We love sets for several reasons. Of course we started our project focusing our collections on caftans as “one piece dresses”, but we immediately felt the need to work with sets too. We believe it’s important to offer sets together with caftans not only to expand our collections but mostly because they make you feel chic and effortlessly elegant and they are the best option for so many occasion! We love the idea that wearing sets make you feel confident and accurate, charming and casual at the same time. So you will only have to choose your accessories and you’re ready to shine!
Our sets, and our creations in general, aim to defy banalization and being standardized by current fashion trends, challenging the weight of time. Maximum attention to details is dedicated to the production of every single piece, evoking hedonistic feelings and guaranteeing unconditional quality and durability, thus becoming a timeless treasure.
TD: Finally, tell us what your favorite piece is.
CF: Both Ginevra and I love the Vittoria Caftan. Then our favorites are:
The Gabri skirt + its top and Maya dress (both long and midi).
For a limited time, Shop our curation of Caftanii Firenze here.]]>