Before the art world lands in Morocco for 1-54 Marrakech, we visit designers and architects Frank de Biasi and Gene Meyer to discover their design shop and inspiring home, nestled in the heart of Tangier's Medina. by Michalina Franasik - THF Communications Manager, Writer and Photographer  There are places in the world one might never visit were it not for coincidence, a personal recommendation, or a compelling story. Tangier is one of those places. Situated just across the Strait of Gibraltar, the city is visible from the mountains of Andalusia in southern Spain. A vibrant crossroads of cultures, Tangier is a city of hills, sun-washed yellows, striking blues, and deep greens. Overlooking the city is the Kasbah (from the Arabic "Khabba"), home to the Museum of Contemporary Art and the Kasbah Museum. The city’s aesthetic charm lies in its traditional zellige mosaic tiles, intricate wooden doorframes, and flowing arabesque forms, all testaments to its rich artisanal heritage. But we’re not touring Tangier today. Instead, we’re stepping into the life and work of two celebrated designers, Gene Meyer and Frank de Biasi who run a shop and studio in the city centre,where they collaborate closely with local craftspeople. Welcoming me into their studio space, they shared the story of how they fell in love with the city, a journey that began in New York and led them to relocate their life and work to this extraordinary corner of the world. THF: When you first visited Tangier, what about it immediately captivated you and inspired your design aesthetic? How have those influences evolved since you moved there permanently? Gene & Frank: When we first came here in 2001, and then again in 2002, we visited the city with a friend who had once been Frank’s assistant in New York. Her mother owned a house in the old mountain area, so we had the rare chance to explore the city with someone local. We were immediately drawn to the colourful characters and the city’s eccentric cultural scene, even though, at the time, we were living between New York and Paris. It sounds wild to say that a place could offer more than New York, but for us, Tangier did. It felt different. It felt exciting. It felt like something new. In the 20th century, Tangier became a true melting pot of cultures, largely due to its unique international status. From 1923 to 1956, Morocco was governed by a mix of international powers, giving Tangier a cosmopolitan and almost surreal atmosphere. Gene & Frank: When we asked a Moroccan friend what they thought about this period, they said: “It was a strange and fascinating time, not without its complications, but it gave Tangier a kind of openness and artistic energy that’s still felt today.” This energy attracted artists, writers, and musicians from all over the world, even The Rolling Stones spent time here. Many of them were escaping the chaos of big city life and searching for something more intimate, more inspiring. Café Baba — an iconic Tangier institution. With every sip of sweet mint tea, you can almost smell the lingering cigarette smoke and hear the whispers of The Rolling Stones echoing through the walls. Photo by Michalina Franasik  Gene & Frank: Tangier is also only a two-hour train from Casablanca and five hours from Marrakech, both important cultural hubs in their own right. European artists and designers often came through these cities, drawing inspiration and frequently giving back, buying and renovating homes, supporting local artisans and businesses. Just look at the legacy of Pierre Bergé and Yves Saint Laurent, who founded Jardin Majorelle in Marrakech, still one of the most breathtaking places, colour-wise, I’ve ever experienced. Sometimes I still dream about the contrast of that deep Klein Blue set against vibrant yellows and fiery oranges.  We met Pierre Bergé a few times; he was much older by then, but we were very fortunate, as close friends from New York rented Villa Mabrouka, which was initially purchased by Yves Saint Laurent and Pierre Bergé in 1997 and transformed into the “House of Luck,” with interiors designed by Jacques Grange — where they lived for seven years. Colours that inspired many, encountered on the streets | Photo by Michalina Franasik  Today, with the development of 1-54 Marrakech, the art fair continues to encourage people to experience its unique landscape firsthand. In the case of Tangier, Casablanca may have had a slightly greater influence, as it was home to the Beat Generation of creatives. This literary subculture intersected with the Casablanca School of painters, including figures such as Hassan Hajjaj and Mohammed Melehi, whose work continues to inspire artists to this day. THF: All those historical influences can still be felt today, even though Tangier had, in some ways, faded from the spotlight over the past 20 years. Now it seems to be rediscovered again. What characteristic do you think Tangier has that cities like New York or Paris do not? Gene & Frank: Having lived and run a business in New York for many years, we met countless creative and inspiring people. But when we first came to Tangier, we discovered something different, a small but devoted community of eccentrics, designers, and creatives, much like ourselves. Tangier is where the Mediterranean meets the Atlantic, and where Europe meets Africa. That convergence brings a depth of influence, of layered history, of overlapping identities, all of which fuel a unique kind of energy. You feel it in the conversations, the aesthetics, the way people live. During our first week in the city, we went to 6 events, all in one week, and met so many people who remain close friends to this day, even 20 years later. One night, we wore traditional Moroccan caftans. We looked at each other and thought: “We’ve never felt more like ourselves, never felt more like we were in the right place.” That moment sealed it. We knew we had fallen in love with Tangier and that we wanted to stay longer, maybe even permanently. To this day, we can't fully explain what exactly captivated us. Perhaps it was the rhythm of the place, the colours, the light, the sense of possibility. But one thing is certain: the incredibly warm welcome we received, from both the expat community and our Moroccan neighbours, played a huge part in making Tangier feel like home. THF: You’ve undertaken two major house renovations in Tangier. How did the challenges of working from New York shape the renovation of your first house, and how did being in Tangier for the second one change the process? Gene & Frank: We bought our first house in 2007. At the time, it was essentially just a shell, it had been used as a mosaic studio, so while the structure was good, there wasn’t much else in place. Since we were still living between Paris and New York, there was no urgency to finish it. We took our time, over 10 years, in fact, slowly renovating the space. I was still running my interior design firm in New York, so I had my team, architects and designers, draw up the plans. We sent them over, and the local craftsmen executed the work beautifully. The plaster workers, woodworkers, and metal artisans in Tangier are truly exceptional. By 2018, the house was finally finished, and we decided to make the move from New York. We shipped over our furniture, which filled maybe 30 or 40% of the space. The rest were sourced locally, either made by hand or found through antique dealers in Fez and Marrakech. Then, in 2019, we had the opportunity to purchase the neighbouring houses. They were completely in ruins, just rubble. So we started from scratch and built an addition to our existing home, extending it in the same architectural style and continuing our aesthetic journey. The design of both homes reflects our personal style, a mix of collecting, travel, and our life experiences, but also draws deeply from Northern Moroccan design traditions. Living here and meeting people with incredible homes was hugely influential. We wanted a blend of Moroccan and Western influences, something that reflected the life we were used to, but rooted in the culture we were now immersed in. Frank's and Rene's home featured also in House & Garden, see more here.  Photo by Gene Meyer The second renovation was much more Moroccan in spirit. By then, we had built relationships with local antique dealers, and we started incorporating antique ceilings, doors, window frames, tiles, everything we could find. It was a joyful process. If we had to pick favourite elements in our homes, we'd say two stand out: first, the fabrics, especially the embroidered ones we design and often create from scratch; and second, the painted woodwork. THF: Can you share more about the vision behind Habibi Burton and how it reflects both your respect for traditional Moroccan craftsmanship and your desire to create a global brand? Gene & Frank: One thing we love doing, and which is quite rare, is combining multiple crafts into a single piece. For example, a wooden object might be carved by one artisan, painted by another, and stencilled by yet another. It's a complex process, but the layering of techniques creates something unique. For fabrics, we often start from raw material, then quilt, embroider, or dye it, and finally turn it into something like curtains. Sometimes we’re working with three or four different craftspeople just to produce one finished piece. But each item tells a story. We can walk through our home and point to any object and say exactly who made it, where the inspiration came from, how long it took, and what made it special. And that’s what people are looking for, especially at a great fair like Treasure House. You’re not buying your entire home at a fair, but you're discovering one or two special pieces that spark conversation. Something you bring home and friends ask, “Wow, where did you find that?” That’s what makes a fair like Treasure House, and a shop like ours, so meaningful. Habibi Burton studio space | Photo by Michalina Franasik  THF: And do you think that’s also tied to the desire for cultural relevance and history in design? Gene & Frank: Absolutely. My background is more contemporary, I started out working for a very modern firm, but I’ve always loved art and antiques. And over time, I realised that this more layered, historic aesthetic is really where my heart is. I've travelled quite a lot, especially to places in Europe that show strong Arabic influence, like southern Italy, Portugal, and now here in Morocco. At first, I didn't even recognise those stylistic connections. I’d see tiles or arches and assume they were Spanish or Italian, not understanding the deeper Moroccan or Islamic roots behind them. But living here has opened our eyes to the richness of this cultural exchange, how centuries of movement, migration, and design influence are embedded in everything from architecture to textiles.

The intellectual mystique behind collecting the Indian and Islamic Arts—and the global events that will bring you up to speed. by Skylar Pinchal Coysh - a writer who focuses on historic homes, the history of the decorative arts, and stories of heritage and craftsmanship. Look at any interiors publication right now, you’d be hard pressed to find a house that doesn’t have some sort of Eastern influence. Indian block prints, Uzbek suzanis, Turkish iznik, and Iranian Rayy ware can be found in even the most traditional of settings. So, what can we gather from this? What does having a bit of genuine Indian or Islamic art in one’s home say about them? Alice Bailey, the head of the Indian and Islamic Arts department at Roseberys, answers these questions for us and tells us what to look out for. Indian and Islamic works of art are more than recognizable instances of beauty. “It’s an intellectual thing. There’s a lot that you would have to know already, in order to know exactly what you’re seeing,” says Bailey. There’s a strong element of ‘if you know, you know’. In a world where status-seeking trends like “old money aesthetic” and “quiet luxury” have been all the chatter, there’s been a bit of a movement to define just what luxury is. Some would say it’s a designer cashmere throw, or perhaps a name brand piece of furniture, but is something truly luxurious if it can simply be bought, or worse, “duped” on Amazon?  When it comes to interiors, this follow-the-trends mindset results in spaces that look like everyone else’s. There’s been a large interest in home libraries; as just one glance at someone’s shelves can act as a biography of the homeowner, or at least a glimpse into what they know, what they care about, and where they’ve been. Knowledge, experiences, and simply being cultured have become displays of luxury and sophistication, and that’s what we are seeing with the rise and use of Indian and Islamic art. Of course, as with all artforms, there’s certainly an element of inherent beauty one can recognize without any sort of in-depth education on the matter. However, for the true collector, “It’s not just a surface appreciation,” says Bailey regarding top collectors of Indian and Islamic art, “it’s deep.” One may be enamoured by the sheer intricacy of calligraphy, yet, as shown at the recent exhibition Nja Mahdaoui: The Choreographer of Letters at the Bassam Freiha Art Foundation, those who have taken the time to delve deeper will understand its profound spiritual and cultural significance. Nja Mahdaoui: The Choreographer of Letters Exhibition at Bassam Freiha Art Foundation, held concurrently with Abu Dhabi Art. Photo by Michalina Franasik “There has always been a level of person who appreciated these things,” says Bailey, “and it used to be those who had the money to travel to the Middle East and write books.” She’s talking about highly educated dignitaries, diplomats, and wealthy participants of the Grand Tour. Just like with our travels today, they would take things back with them—objects and ideas—and implement them within their own spaces. “There’s a history since the 19th century of Europeans conducting research and archeological digs, as well; think of someone like Lord Leighton decorating his home with amazing tiles,” Bailey continues. Leighton House   Photos by Michalina Franasik  Today, the Indian and Islamic art worlds are providing ample opportunities to include as many people as possible. 2025 alone has certainly seen its fair share of art event success. Attracting over 1.8 million visitors, the Bukhara Biennial—the first of its kind in Uzbekistan—highlighted Bukhara’s history of craft and global collaboration. Smaller fairs such as Jodhpur Arts Week showcased local spirit and the mundane; inviting art tourists and locals alike to see how even the most everyday elements of Indian life from marketplace bowls to chaotic streets could be viewed as works of art in and of themselves. Then, there was the Islamic Arts Biennale in Jeddah, part of Saudi Vision 2030—Saudi Arabia’s plan to increase international tourism and investment. Possibly one of the most celebrated events within the Indian and Islamic arts world. On the more commercial side, Abu Dhabi Art, set to become Frieze next year, brought together a wide range of contemporary galleries, alongside several specialising in Oriental and Islamic art, such as Kent Antiques and Galerie Ary Jan. Both galleries presented their collections at the Treasure House Fair 2025, showing that one doesn’t need to travel abroad to encounter and engage with cultures and artistic traditions far removed from one’s own. In addition, more museums around the world in people’s own backyards have highlighted Indian and the Islamic arts this year, such as the V&A with its exhibition The Great Mughals, The British Museum’s Sufi Life and Art, and the National Museum of Korea’s first ever exhibition of Islamic Art and Culture. Grand, small, local, or abroad; these are all instances of diplomacy through art, inviting people to both see and learn about artforms and cultures they might never have been able to experience otherwise. Islamic Arts Biennale 2025, Jeddah and Kent Antiques stand from Treasure House Fair 2025 So, now we’ve sort of gone full circle. We’re tapping into that element of ‘if you know, you know’ once again, but in a more accessible way. “On the Indian side of things—whether it’s antiques, Mughal pieces, manuscripts, or contemporary art—that’s the real area where we are seeing a massive boom,” says Bailey. “Artists that maybe hadn’t been so recognized before, are suddenly coming into their own and being sought after by collectors who are seeing Indian contemporary art as a way to invest for the future,” she continues, “and we’re seeing more from artists like Gaganendranath Tagore, Somnath Hore, Krishen Khanna, and Francis Newton Souza—in fact, we sold a Souza in the last sale for £340,000.” A similar piece, Bailey informs us, sold for £10,606 at Christie’s New York in 2003, and an even larger piece just a year before sold for a mere £5,000.  Gaganandranath Tagore, Indian 1867-1938,  Untitled; Worshipping Courtesy of Rosebery’s While the Indian side of the market is taking off in all categories, the Islamic side is finding a new identity. “Like antiquities, the Islamic arts are struggling a bit with the new provenance laws,” shares Bailey. However, that’s not stopping the market within the UK altogether. “Anything 19th century—anything that doesn’t have an issue around it—is fantastic,” she adds, “that’s now the new market for the Islamic arts.” Islamic and Indian art are deeply geopolitical and highly dependent on location, according to Mehmet Keskiner, who was recently interviewed by Cyrus Naji for The Art Newspaper. A dealer specialising in Islamic and Iranian art, Keskiner notes that due to sanctions on the Islamic Republic of Iran, such works cannot be legally exported to the US or the UAE. He also points out that younger generations tend to be more drawn to contemporary rather than classical art: a shift that is reshaping how Indian and Islamic art are perceived today. In the realm of interior design, however, this aesthetic wave appears to be reaching its peak. Textiles like suzanis and Deccani bedspreads, objects like Qajar tiles, and revival wares, such as enameled glass and inlaid brassware from Egypt and Syria are all especially sought after, Bailey explains. This has ultimately fueled the taste for Indian and Islamic-inspired textiles and objects now being produced by our favorite Chelsea design stores—the likes of Robert Kime, Soane Britain, and Guy Goodfellow. With plenty of events and exhibitions focussed on Indian and Islamic art around the world coming up in 2026, from Delhi to Riyadh, London to Doha, there are a myriad of ways to explore the art, culture and intricacies of India and the Islamic world. The Arabic proverb “Saying ‘I don’t know’ is half of knowledge” feels powerful and relevant; why not find the other half by falling in love with a new-to-you artform in a new-to-you culture?

By Oscar Sika Huang 黄子文 - France-based art advisor and gallerist Photography, as the youngest of all major art forms, is paradoxically the one that has most profoundly reshaped the entire history of art. When it first appeared in the nineteenth century, photography liberated painting from the burden of representation and gave rise to artistic movements that would have been unthinkable without it, such as Impressionism, Symbolism, and later, Abstraction. Beyond documentation, photography laid the foundation for digital and moving-image arts, becoming the starting point for cinema,  video, and contemporary multimedia installations. Having worked for several years in the French art market, I have come to understand that France holds a special affection for photography. Paris Photo, founded in 1997, is one of the earliest and now the most influential photography fairs in the world. It has established the international standard that photography can stand alongside painting and sculpture as a fully recognized collectable art form. Each November, Paris transforms into a citywide celebration of photography, from galleries and museums to independent spaces. In October, during Art Basel Paris, immediately following London’s autumn art season, the city becomes immersed in a parallel celebration of contemporary art in all its forms. These months saturate the European art scene and set the tone for the following season globally. Boden Sea, Uttwil (1993) © Hiroshi Sugimoto At Art Basel Paris, photography has been taking an increasingly visible and respected position. This year, while many galleries chose to play it safe with blue-chip names, there was a notable presence of photographic works. Kandis Williams’s exhibition at Galerie Heidi, JR at Perrotin, Linder at Andréhn‑Schiptjenko and Hiroshi Sugimoto at Lisson Gallery all presented different ways of engaging with the photographic image. Several leading American galleries, such as 47 Canal, Document, Tanya Bonakdar, Marian Goodman, and Paula Cooper, also showcased artists who treat photography as both subject and concept. Masters and emerging photographers appeared side by side, showing that photography now speaks fluently within the broader language of contemporary art.  Candombe Africano via Jitterbug to Virginia Georgia Mississippi Bouquet (2020) © Kandis Williams Yet the energy of Paris Photo remains distinct. The fair is entirely devoted to photography in all its forms, from fine art prints to photobooks, film, and digital experimentation. I still recall the 2024 edition, when filmmaker Jim Jarmusch gave an inspiring talk about the dialogue between still and moving images. Across the city, numerous satellite events explored the intersections of photography, film, and installation. Artists such as Thomas Devaux from Galerie Bacqueville, who merges photography with painting and installation, Yang Yongliang from Paris-B, who combines traditional Chinese landscape aesthetics with digital cityscapes, Sun Yanchu from Zeto Art, who uses photo chemical materials in painterly compositions, and Laurent Lafolie from Galerie Binome, who transforms photographs into laser engraved reliefs to address ecological issues, all demonstrate how photography continues to reinvent its boundaries. Sleepless Wonderland (2012) © Yang Yongliang | Courtesy Paris-B From Paris to New York, from London to Shanghai, Amsterdam to Milan, the rise of photography-dedicated fairs reflects a growing global awareness. Photography has become not merely a medium, but a language through which artists from different cultures and backgrounds reinterpret the world. Just as it once revolutionised the history of painting, photography today reshapes the future of art. It expands across disciplines, inspires new forms, and continues to evolve in a spiral movement, offering us ever more fascinating ways of seeing and understanding our time.