< PreviousFrom the rise of collectable furniture to the curated abode, art consultant Dina Nasser-Khadivi unpacks the contemporary art-design axis Curation & Decoration Words by LAURA CHERRIE BEANEY Pieces with personality energise the room forming an atmosphere of artistic expression HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8005/12/2023 11:27 The FEATURES The FEATURES 81 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 IMAGES COUR TESY OF DNK AR T CONSUL TING Miri Khayat’s dining room features an artwork by Syrian artist Sabhan Adam, whose pronounced depictions stir contemplation HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8105/12/2023 11:27 The FEATURES 82 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 After launching the Middle Eastern Modern and Contemporary Art auctions for Christie’s, Dina Nasser-Khadivi has gone on to establish herself as an independent curator and art consultant. Over the years, she’s played a pivotal role in enriching the collections of major institutions and individuals worldwide, with an emphasis on the artists of the Global South. In recent years, Dina has identifi ed a trend among her private collectors: an increased awareness of the connection between their art acquisitions and the spaces they inhabit. Th is shift signifi es a broader trend towards prioritising curation over decoration in the home – a topic that Dina delves into. Th e convergence between art and design is ever-present these days, yet this blending of disciplines should not come as a surprise given the long history of mutual infl uence enjoyed between the two. Artist-designer collaborations that celebrate the interplay between utility and creativity have permeated the market while the work of renegade designers like Th e Haas Brothers, whose playful furniture pieces straddle the grey space between functionality and artistic freedom, are increasingly sought after. Furniture has, traditionally, been regarded as part of the decorative arts, but a new paradigm has emerged. Design rock stars like Le Corbusier and Marc Newson now have their furniture and design pieces exhibited in gallery spaces and auctioned, echoing the treatment of fi ne art. “Artists also regularly venture into the world of design,” says Dina, citing examples including Yves Klein’s Table IKB and Rana Begum’s benches. Both art and design items are collectables, demanding a certain level of connoisseurship. Th ese are categories that require prior knowledge and often contribute to a journey guided by personal taste. However, an essential line of distinction is grounded in intent: “As I acquired a piece at the Entre Chien et Loup exhibition, Benjamin Paulin, the son of French furniture designer, Pierre Paulin, shared an important quote by his father that came to inform the title of the exhibition,” says Dina. “An artist ‘has to be a wolf and obey no rules’, while a designer ‘must be a dog and comply with specifi cations related to function’.” Th e fl owing conversation between art and design also extends towards the way that collectors compose their living environments. It’s a mindset that speaks of curation rather than decoration as conceptual and rarefi ed furniture pieces come into dialogue with artwork on the walls, as well as the textures, tones, and material palettes that inform the overall interior environment. Interior design does, after all, play a vital role in infl uencing the way art is experienced. Th e trend for minimalism in interior design echoes the gallery space, off ering artworks the breathing space needed to command attention. Conversely, the recent shift towards maximalist design Below: Dina Nasser-Khadivi champions the reciprocal dialogue between art and design; Kite-shaped work by Nima Nabavi incorporating thousands of hand-drawn lines in 11 colours of archival ink on paper Clockwise from left: Farhad Moshiri’s mixed- media pieces bring a tactile pop; Rana Begum’s work draws from traditional Islamic art inspired geometric patterns; A jolt of colour enlivens the space HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8205/12/2023 11:28 The FEATURES 83 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 CREDIT HERE “ I N T E R I O R S R E P R E S E N T O N E L A Y E R O F A NA R R A T I V E , W H I L E T H E A R T CO L L E C T I O N FO R M S A N O T H E R ” D i na N a s s e r -K hadi v i Corresponding textures in the artwork by Pouran Jinchi play into the materiality of the interior fi nishes in this Ibiza residence, designed by Natalia Miyar in collaboration with Dina HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8305/12/2023 11:28 The FEATURES 84 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 celebrates visual overlap, challenges conventions, and embraces a ‘more-is-more’ ethos, which encourages art and interior elements to coexist unapologetically. It’s a dynamic that has subsequently given rise to greater collaboration between art advisors and interior designers. “I’m increasingly collaborating with interior designers and have learned a great deal when it comes to combining interior elements with works of art through a dialogical approach,” says Dina. Her recent projects have included a collaboration with luxury interior designer Natalia Miyar on a rustic Ibiza residence and the installation of a collection of artworks in an Amman abode: “Th e setting was composed by interior and product designer Claude Missir, best known for his use of clean symmetries and sophisticated material combinations.” In assembling an art advisor and interior designer team, Dina emphasises the importance of a shared vision between the client, designer, and art advisor. “Interiors represent one layer of a narrative, while the art collection forms another,” she asserts. “Th ere’s typically a palpable synergy between them, governed by the client’s personal taste.” While some interior designers might rely on colour coding or matching as foundational elements for aesthetic cohesion, Dina fi nds meaning in subtler connections that contribute to overall aesthetic harmony: “A mutual appreciation for craftsmanship, quality, texture, and a shared understanding of what constitutes art and design results in the most impactful synergies.” Clockwise from left: Reza Derakhshani’s vivid scenery stands out; Marco Castillo brings optical depth through layering; Bright hues make a mark against neutral tones Interior designer Miri Khayat’s bedroom sports artwork capturing bold, bright colours HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8405/12/2023 11:3085 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 At modit etur, quuntis sum entions equiantionet aut pa volessed unt. Umenis aceatqui dolum, ipis mo endi cuscidunt, volor sim aliquatus parciis simillaccat. “We believe that your home should be a sanctuary away from the stresses of work and general life - a place for enjoy nd ime with ” Kit t y F o x - M c G r e g o r Varied grains and substantial materials stand to create a focal draw towards this piece “ A RT IS TS A L SO RE G U L A RL Y VE N T U R E I N T O T H E W O R L D O F DE S I G N ” D i na N a s s e r -K hadi v i HBI_059_80-85_FEATURES_Collecting art_13086461.indd 8505/12/2023 11:30An inimitable collection of fashionable furniture, vintage décor and art, designer Nazzy Beglari’s home is a lesson in free expression Words by AYESHA S. SHEHMIR Photography by EFRAIM EVIDOR Styling by IMOGENE LEGRAND Photography by EFRAIM EVIDOR, Styling by IMOGENE LEGRAND A detail of a reversible coat designed by Nazzy, featuring a kaleidoscope of colour and pattern Fabric of FREEDOM 86 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 HBI_059_86-95_AFL-Naazi_13097681.indd 8605/12/2023 13:30 Your LIFE 87 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 CREDIT HERE Your LIFE ASIA NOW AR T F AIR IMAGES COUR TESY OF NAZZY BEGLARI Nazzy’s walls are adorned with modern and contemporary Iranian art Reversible coat; Blazer; Top; Skirt; Tie; Shoes; Sunglasses; Jewellery, all Nazzy’s own 87 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 HBI_059_86-95_AFL-Naazi_13097681.indd 8705/12/2023 11:33“I’m curious about other cultures” Na z z y B e g l a r i Nazzy Beglari calls herself an “accidental designer”. Growing up – especially on occasions like Christmas or Nowruz, the Persian New Year – she was surrounded by her grandmother’s collection of ikat and suzani textiles; a collection which would go on to have a profound infl uence on her work, although she didn’t quite realise it at the time. Her multicultural heritage, combined with homes in several countries, from France and Switzerland to North Carolina and New York City, shaped her multidimensional approach to life and her distinctive taste. “I’m curious about other cultures because I believe we can borrow many things from diff erent countries,” she smiles, reminiscing, “When I fi rst travelled to Uzbekistan in 2012 and saw the ikat textiles and the labour-intensive production with my own eyes, it was an emotional moment – not only because of the exquisite beauty of the work, but also because it reminded me of my grandmother’s collection and of her home in Tehran.” On that fi rst trip, she bought so much ikat that she had to get an extra suitcase. “When I returned home, I designed a few dresses just for myself. My friend Rita Aoun, then the head of Abu Dhabi Art Fair, saw them and asked for one. She also invited me to exhibit my ikat designs at the fair. Th e rest is history.” In October this year, Nazzy’s work was showcased at the prestigious Asia NOW art fair in Paris, as part of a group exhibition curated by the renowned art collective, Slavs and Tatars. It’s no surprise that her installation – 16 coats made with fabrics sourced from Central Asia, India and Japan – was the centre of attention. Th e coats were hung from wires attached to giant columns at the entrance and were visible from every angle. “It was a challenging installation, even for the experienced French technicians,” Nazzy admits. “Th e result was simply stunning.” Th e designer likens fi nding the right source of fabric to fi nding the right source for a news story; her training as a journalist has infl uenced her eye for creative weavers. “Often, the best recommendations come by word of mouth – just as news tips do,” she says. “For instance, double ikat is rare and therefore challenging to track down. I learned that there was only one single family in India weaving double ikat, and that they’ve been doing it for generations – since the 11th century, in fact. Weaving this double ikat is even more labour-intensive than single ikat, and therefore it’s much more precious. Th is family’s passion for creating beauty and meaningful art has kept them going for centuries. For me, this is both inspiring and humbling. I had also heard about a UNESCO master weaver in Central Asia. It took me a few months to locate him and when I did, it was a thrilling moment. He is the one who revived the art of velvet ikat weaving which had almost been forgotten.” Nazzy’s vibrant, unisex kaftans – as graceful as herself – have been shown off by notable artists and tastemakers including none other than Isabella Rossellini, Tilda Swinton, Yousra and Hend Sabri, as well as by Martin Scorsese, and members of the royal families of the Gulf countries. “I’d be lying if I said I don’t get excited when international artists wear my designs,” she beams, humbly adding, “Th at’s simply because they have access to the best and yet, they choose me.” Her home in Abu Dhabi refl ects the beauty and vibrancy of her kaftans – a perfect depiction of ‘fashion to furniture’. Inside, every book, rug, plant pot, design and furniture piece tells a story. “Doing anything creative and working with my hands makes me feel satisfi ed and content,” the designer enthuses. “I enjoy the way a minor change can rejuvenate a tired-looking house.” Th e walls echo a pure passion for art which fi rst fl ourished in childhood, when a young 14-year- old Nazzy would save her pocket money to buy aff ordable works. Working as a journalist gave her the chance to meet almost all of the giants of Iranian modern and contemporary art, from Charles Hossein Zenderoudi and Manoucher Yektai to Ardeshir Mohassess, Shirin Neshat and Nicky Nodjoumi. “Since I knew them personally, I bought works directly from them,” she shares. “My husband Peter Scarlet and I also became interested in Arab artists like the Egyptian Youssef Nabil and Saudi artist Hassan Mathar. I met most of these artists after the 1979 revolution in Iran.” After working on a series of interviews and documentaries about their life and work, about how they had to start from zero to establish themselves as artists in foreign lands, Nazzy found a new appreciation for Iranian modern art. Th e late Ardeshir Mohassess, Nazzy’s all-time favourite artist, is one of her biggest inspirations. Ardeshir, who left Iran in the mid-1970s because his drawings were considered ‘too political’, was one of Nazzy’s interviewees. “He was very shy and never spoke much,” she recalls. “He used to call me and stay silent on the line. He suggested I write the questions and send them to him so that he could write the answers. A week later, I received an envelope in the mail. When I opened it, I immediately started laughing, because he had completely ignored my questions and had interviewed himself instead! I still have those yellowing pages, on which he had written his questions on an old-fashioned typewriter.” 88 HarpersBazaarArabia.com/Culture/Interiors Winter 2023 Your LIFE HBI_059_86-95_AFL-Naazi_13097681.indd 8805/12/2023 13:16Like her kaftans, bold, colourful prints and designs characterise Nazzy’s home Reversible coat; Dress; Shoes; Sunglasses; Jewellery, all Nazzy’s own HBI_059_86-95_AFL-Naazi_13097681.indd 8905/12/2023 11:34Next >