Highlights from the fifth annual Saudi Design Week

Art of heritage pieces. (Supplied)
Updated 11 October 2018
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Highlights from the fifth annual Saudi Design Week

  • Saudi design week showcased a variety of different designers and artists

DUBAI: Saudi Design Week wrapped up last week and offered visitors a wealth of innovative creations. We picked out some of our favorites just in case you missed the show.

1. DESERT DESIGNS
The theme of Saudi Design Week this year was “Sustainability in Design.” While each exhibitor interpreted that concept in their own way, Desert Designs was already a natural fit. The Khobar-based company creates upcycled homeware and —  for Design Week —  focused on using “heritage and heirloom pieces,” including a wooden door that the designers transformed into a glass-topped coffee table.

2. ABADIA
The Saudi Arabian luxury fashion brand uses traditional techniques including embroidery and sadu to create its womenswear, in keeping with its mission to “celebrate culture and preserve craftsmanship” in contemporary design. It’s feminine take on the farwa —  originally an oversized coat worn by desert nomads in the winter, adapted by Abadia for “the contemporary global woman,” is its most celebrated garment.

3. ZMZMYA
This beautifully crafted take on the traditional Khaleeji zamzamiah water canteen comes from Jeddah-based Efreez Studio. The designers claim that this version, handmade from red clay, is a healthy option, being free of the “harmful lead and chemicals found in the majority of plastic water bottles.” Each piece, the studio claims, is unique, thanks to the handcrafted top section, and the fact that this “mix of functional art and hydration” is made on a potter’s wheel and corked means it fits well with the sustainability theme of Design Week.

4. RADHWA KABLI
A Design Week veteran, Kabli —  an “interior architect” —  creates furniture with a twist. Sometimes literally. The main concept behind her “Kappa” collection, she has said, is “to present the beauty of geometric design by creating harmony and illusion of movement.”


5. OLD CASTLE DESIGN
Old Castle founder Amal bint Bandar Alsudairy combines her love of art, antiques and design in her contemporary homeware and furniture pieces. Her design is predominantly based, she says, on “modern arabesque.” Alsudairy is currently studying for a master’s degree in architectural design.

6. ART OF HERITAGE
Riyadh-based Art of Heritage displayed handmade pottery and gifts from its non-profit organization Yadawy, so all the pieces are created by Saudi Arabian women with physical disabilities, all are unique, and all are stamped and signed by their makers, some of whom are now able to make a living from their art.

7. NOURA BOUZO
Bouzo is one of the co-founders of Saudi Design Week, and interpreted the ‘sustainability’ theme to mean “sustaining our heritage” as well as using sustainable materials. As such, her eye-catching miniatures are recreations of historical Islamic art painted on reclaimed wood and recycled material.

8. NOTA NOTA
It might look like a fancy food blender or juicer, but Nota Nota is actually a machine that allows users to design their own perfume. Created by Saudi Arabian entrepreneur Abdullah Bahabri, Nota Nota comes with its own app (of course it does), which enables users to share their fragrant (or not) recipes with others. Earlier this summer, talking about his creation to Kawa News, Bahabri said, “In Arabia, perfume has been part of the culture for centuries. The famous scent codes are built on oudh, particularly. And nowadays French perfumery is also very common in Saudi, people do love to wear both French perfume and scents that come from the region.”

9. KHASHBA
Ranin Kurdi and Sufanah Dairi create handmade wooden art that draws inspiration from their Arabic and Islamic heritage, with influences including calligraphy, particularly Kufic design. Their machine-free craftsmanship results in striking pieces of art that rely heavily on history while retaining a modern touch.

 


CNC president outlines France’s role in advancing Saudi cinema

Updated 17 December 2025
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CNC president outlines France’s role in advancing Saudi cinema

JEDDAH: Saudi Arabia’s film industry is rapidly evolving, and Gaetan Bruel, president of the French National Centre for Cinema and the Moving Image, or CNC, sees potential for collaboration with France.

Speaking to Arab News after the Red Sea International Film Festival, which he attended, Bruel said: “Saudi Arabia has, in just a few years, put in place everything it needs to become a major film country. The first films are already appearing in major international festivals, including ‘Norah,’ selected in Cannes in 2024. Cinemas are opening at an extraordinary pace, new producers and talents are being trained, and local films are already making waves internationally.”

Bruel emphasized that France and Saudi Arabia’s respective entertainment industries are drawing closer, recalling the executive program for cultural cooperation agreement signed a year ago between both ministries of culture. Under that agreement, the Saudi Film Commission and the CNC pledged to cooperate.

“Our two countries are already building a strong partnership. France can be a real partner in Saudi Arabia’s journey to becoming a major film nation,” Bruel said.

Faisal Baltyuor, CEO of the Red Sea Film Foundation, on the left, with Gaetan Bruel, President of National Center of Cinematography and the moving image (CNC), on the right, at the 5th edition of Red Sea International Film Festival in Jeddah. (AFP) 

From the CNC’s perspective, France’s long-standing support for cinema provides a blueprint that could inspire Saudi initiatives. “The key feature of France’s model of supporting cinema relies on one simple idea; downstream finances upstream. Everyone who benefits from the work contributes to making it,” Bruel explained. He added that the CNC now supports the entire film ecosystem, from writing to distribution, including theaters, post-production, festivals and training.

Bruel also highlighted France’s expertise in talent development. “What’s transferable from our model is expertise in training because we have developed schools among the best in the world. We’ve launched a €450 million ($530 million) plan to train top talent in all areas of moving-image creation, series, animation, video games, and even VR,” he added. The investment is primarily implemented in France through French film schools and institutions, but Saudi talent can benefit through exchange programs, co-productions and training initiatives.

Independent filmmaking is another area Bruel believes can form the backbone of collaboration. “What we are able to share is the very idea that creators and independent producers must stay at the center. We support producers when they are independent from distributors, and we protect their right to retain intellectual property. Retaining IP is the only way to produce truly independent works and bring forward local voices.”

Bruel also sees opportunities for Saudi filmmakers to benefit from France’s international experience through a network of French cultural “villas” abroad, created by France to promote French culture, cinema and creative exchange internationally.

These villas are designed to support writers and filmmakers, providing programs, residencies and collaboration opportunities.

Drawing on his work establishing Villa Albertine in the US, he highlighted the newly opened Villa Hegra in AlUla. “With Villa Hegra, France and Saudi Arabia now have the means to develop a truly distinctive programme, one that can help Saudi writers and filmmakers take the next step in a process that’s already well underway.”

This week, Villa Hegra, in collaboration with Film AlUla, launched a specialized filmmaking program to develop cinematic skills and support creative talent.

Training, heritage and co-production are key pillars of CNC support for Saudi cinema. “France has 130 years of cinematic know-how, and Saudi Arabia has an extraordinary pool of human and creative talent. Bringing those two strengths together is essential,” Bruel said. “We also have a long history of preserving, restoring and promoting film heritage, and we are honored to share that experience with our Saudi partners.”

Looking ahead, Bruel is optimistic about co-productions between the two countries: “We want French producers to meet their Saudi counterparts so that ambitious projects can emerge in the coming years. Our flagship fund, Aide aux cinemas du monde, is very open to Saudi projects as long as a French producer is involved from the start in a genuine organic co-production.”

Bruel also mentioned cinema’s cultural importance in building deeper ties between France and Saudi Arabia. “Cinema is under real pressure globally, with audiences declining and cheap, low-effort content flooding the market. But it’s often in moments like this that the strongest and most lasting partnerships are built.

“Saudi Arabia’s rise in arthouse cinemas and the work being done here shows a shared ambition; keeping cinema both ambitious and truly accessible,” he said, pointing to the likes of Hayy Cinema and Cinema Al-Balad in Jeddah, and Cinehouse in Riyadh.