A collaboration between Mexican artisans and designers from the Middle East, North Africa, and South Asia (MENASA) showcased the intersections of traditional craft and contemporary design during a residency held in October in Mexico City. The initiative, part of Qatar’s Years of Culture program and featured at Design Week México, culminated in an exhibition titled Visión y Tradición at the Museo Nacional de Antropología.
The residency paired four designers from the MENASA region with Mexican craftspeople, fostering an exchange of ideas centered on craft techniques and their reinterpretation through design. The event also included a discussion at Hiperlocalidad, a cooperative gallery and design platform located in the G56 Hub Creativo, which provides a space for independent designers, makers, and small brands to collaborate and present prototypes outside traditional gallery models.
A key focus of the dialogue was the complex relationship between craft and design, and how cultural and social hierarchies affect the visibility and valuation of artisanal work. Antonio Mendoza, co-director of Hiperlocalidad, noted an increasing appreciation for Mexican design within local audiences, influenced in part by international interest. However, he cautioned that familiarity with regional materials and techniques can also render them invisible within their own communities. The designers stressed that simply changing an object’s context is insufficient; recognition should extend to the artisans’ working conditions and ensure they share in the value created.
Participants emphasized the role of unpredictability and imperfection in handmade objects. Lebanese designer Shirine Sbaiti highlighted ceramics for their distinctive handmade qualities, while Mendoza shared an example of an obsidian piece that broke during production but was embraced as part of the narrative, reflecting the material’s inherent fragility. Iranian Qatar-based designer Yasamin Shaikhi described approaching materials as collaborators, incorporating changes that arise during the making process as integral to the work’s character. Shaikhi also noted her interest in using food waste as a design resource, challenging perceptions of discarded materials.
The residency prompted discussions on how designers navigate cultural identity and global influences. Mexico-based Tunisian architect and designer Sana Frini spoke about maintaining a connection to her cultural language while working internationally, stressing the importance of research and collaboration to foster authentic exchanges rather than superficial borrowing. Syrian product designer Kenan Alkuwatly, based in Berlin, described the creative process as a dialogue between intellectual concepts, visual observation, and hands-on expertise, producing objects that serve as evidence of collaborative relationships rather than merely finished products.
The program also highlighted the challenges of communicating the value of design beyond the studio. Lejla Niksic, director of Strategic Engagement at Virginia Commonwealth University School of the Arts in Qatar, underscored the importance of preserving awareness of both creative processes and craftsmanship throughout the production and consumption cycle.
The residency and exhibition reflect ongoing efforts to bridge global design perspectives with local craft traditions, aiming to deepen appreciation for artisanal skills and support equitable recognition for their creators.