Tradition, culture and innovation: A glimpse into Mehdi Dakhli's evocative oeuvre

Rich cultural tapestries across the globe are treasure troves of inspiration for countless artists and designers. Newer creations stoved by these animated histories present, in their hybrid selves, alloys of timelines—their distinctive traditions and stories. This narrative forms the essence of creative consultant, contemporary art curator and designer Mehdi Dakhli's body of work. Operating out of Gstaad, Paris, London and Tokyo, Dakhli strives to deliver services moulded around specific needs of his clients and his creative pursuits. For the inaugural edition of COLLECTIBLE NY this year, two of the designer's pieces were selected to be featured in the 'Curated Section' by Sonya Tamaddon, alongside other contemporary artworks: the Sidi Bou chair and the Almadies console.

The Sidi Bou chair draws inspiration from Wassily Kandinsky's artwork, Loses Im Rot (1925). Three tapering legs, two at the front and one at the back support the chair design's body. The legs and backrest are made using aluminium, given its sleek aesthetic and durability. The seat, on the other hand, is made of Nero Marquina marble from Italy. Through the Sidi Bou chair, Dakhli also celebrates his Tunisian heritage, Tunisia also being a place that deeply influenced Kandinsky's journey into abstraction. Hence, the furniture design, through a fusion of materials and artistic inspirations, pays homage to the artist's legacy in tandem with that of Tunisia.

Almadies console, a piece in bronze and Rosso Levanto marble channels the vibrant Almadies area in Dakar, Senegal—another place of great significance for the furniture designer. “The console's bronze structure evokes strength and timelessness, while the deep red hues of the Rosso Levanto marble bring warmth and vitality, reminiscent of the African landscape,” the official release reads. Flaunting curved tapering legs, the console is designed for a special project in Gstaad, Switzerland—a testament to the harmonious blend of cultures.

In an exclusive conversation with STIR, Dakhli delves into his diverse practice and his philosophy that aspires to strike an intellectual and emotional chord with the audience.

Anushka Sharma: How would you best describe your creative philosophy?

Mehdi Dakhli: My creative philosophy is centred around the interplay between tradition and innovation. I believe in drawing from rich cultural histories and blending them with contemporary aesthetics to create works that resonate both emotionally and intellectually. Every piece should tell a story, challenge perceptions and provoke thought while maintaining a sense of harmony and beauty. The goal is to create a dialogue between the viewer and the work, allowing for multiple interpretations that reflect their personal experiences and worldviews.

Anushka: How has your education in business law and political science informed your creative practice over the years?

Mehdi: My background has provided me with a unique lens through which I approach creativity. It has taught me to think critically about power structures, societal frameworks and the intersection of art and commerce. This understanding allows me to embed deeper social commentary within my work, addressing issues such as identity, culture and ownership. The structured thinking required in these fields has also influenced the way I approach design, ensuring that each piece is not only aesthetically pleasing but conceptually strong and contextually relevant. My academic education only enhanced who I was, a person who analyses a lot with a strong critical mind, for better or worse.

Anushka: Your recent pieces presented at COLLECTIBLE NY 2024 are a nod to the African landscape. Could you elaborate on how this reference came about and was made relevant in the exhibits?

Mehdi: The African landscape holds a deep, personal significance for me, both as a source of inspiration and as a cultural touchstone. The piece showcased at COLLECTIBLE New York was indeed influenced by African landscapes and light, but only indirectly. This piece is actually inspired by a moment in art history that is relatively unknown by the masses. This moment is Wassily Kandinsky's trip to Tunisia, which is where my family is from. He spent some time in Tunisia and was exposed to different types of sunsets, different types of colours, pigments etc., which inspired him and sparked his interest in abstraction and the spiritual power of colours. I wanted to reclaim this moment that only a few know and celebrate the country where my family comes from.

Anushka: Apart from the visual language, were traditional techniques and know-how also utilised in the making of these?

Mehdi: Most things are pretty much hand sculpted so that's the most 'traditional' element that you'll find in my design for the moment, but I'd say that it remains quite modern in terms of techniques and processes.

Anushka: You are also an art curator and designer. How do the elements of art and design coexist and manifest in your works?

Mehdi: Art and design are intrinsically linked in my practice, as both disciplines inform and elevate each other. In my work, I aim to blur the boundaries between the two, ensuring that each piece functions not only as an object of beauty but also as a functional, practical creation. Design brings structure and purpose, while art adds depth, narrative, and emotion. This coexistence manifests in works that are not only visually engaging but also serve a purpose, whether in terms of utility or in provoking thought. My role as a curator further enhances this relationship, as I carefully consider how pieces will interact within a space, influencing how they are perceived and experienced. I've been preaching for the decompartmentalisation of practices for many years now—art, design, but also fashion or architecture. The purpose is what links all of them.

Anushka: What considerations do you make while choosing materials and techniques for your designs and how is sustainability woven into your practice?

Mehdi: Material choice is critical to my creative process, and sustainability is always at the forefront of these decisions. I strive to use ethically sourced and environmentally responsible materials while ensuring they align with the narrative and emotional tone of the piece.

Anushka: What is NEXT for you?

Mehdi: Looking ahead, I will design the set of the AW25 presentation of Japanese puffer jacket brands and will also launch some new designs including new chairs and two lamps made out of concrete and copper. [I am] also making some custom pieces for collectors and a project with a hotel but it remains confidential for the moment.