ALL ABOUT THE ALABASTER
OMAR CHAKIL
Omar Chakil Photographed at his Home in Cairo by Ämr Ezzeldinn
Omar Chakil is an Egyptian-Lebanese collectible designer and multidisciplinary creative whose work bridges art, design and culture. From his early success as a singer in Paris to his transition into design, Chakil now crafts impactful contemporary pieces that merge artistic expression with cultural storytelling. Using alabaster to create his works, he aims to elevate Egypt’s creative identity on a global stage. DIVAZ had the chance to catch up with the designer and explore his journey and vision.
Talk to us about your background. How have your cultural experiences shaped your identity?
I was born in Beirut to an Egyptian father and a Lebanese mother, but grew up in Paris after moving there at just three months old. I came to Egypt at 16, stayed for four years, and then returned to Paris, obsessed with the entertainment industry and music. I pursued a singing career, even signing with Warner Music in 1999. I think I was one of the first artists in France with an Arab background to hit the top charts with my music at the time. Coincidentally, while living in Paris, I started receiving compliments on my apartment’s aesthetic, which eventually led me to interior design. What started as a side passion alongside music evolved into collectible design—a way to merge creativity, storytelling and craftsmanship. The war in Lebanon and my lack of connection to Egypt sparked my obsession with creating beauty and meaning—through rearranging spaces, singing, writing music or any form of creativity.
Talk to us about your studies and how they might’ve influenced your creative approach.
I’m an autodidact. I didn’t study design, music or architecture. My mom, an architect, shaped my appreciation for aesthetics early on. I studied communication and learned by working: rearranging apartments, singing and art-directing friends’ projects. If you’re blessed and lucky enough to have passion, then academia is not the most important thing. What’s more important is learning from everything around you. This is the school of life.
Why did you pick this line of work and this unique style in specific? And what would you say are the main influences that have factored into shaping your aesthetic?
In my design work and most of my creative work, I’m always trying to put together a vision and give meaning to things that are a bit scattered. I always talk about Alaa Al Aswany’s book, Omarat Yacoubian (The Yacoubian Building). There’s a part in the book where he says that the children of diplomats are always lost because they don’t have a sense of their roots. A lot of people tell me that being raised abroad means I’ve lost my roots with no sense of who I am. My life is about trying to prove the opposite—that we all have different stories and different backgrounds. In creative work, this is very powerful, because you’re free to create something, and if you can channel that vision, you can inspire others.
The first apartment I interior designed was my first apartment in Paris. I put as much energy as I could into making it as cool, inspirational and meaningful as possible. Even though I was promoting my record and touring at the same time, for me, it was just as important. When the place was ready, I was lucky enough that people came to interview me, at the time, for my music. They saw the apartment and we started taking pictures. Then people around me began asking me to do their interiors, and that’s how it all started.
Would you say your work reflects your cultural heritage? If so, in what way?
Yes, I wanted to create something uniquely Egyptian, something that couldn’t have been done elsewhere. I started investigating local crafts, like copper and mosaic. A friend then suggested alabaster, but I didn’t like alabaster because it reminded me of Khan El Khalili. I associated it with cheap tourist items, and I also simply didn’t like the color; nevertheless, I decided to explore it. And eventually, after meeting a family in Upper Egypt specializing in alabaster, I was inspired to restore its original beauty as the pharaohs once used it. After sourcing large alabaster blocks, I created pieces that showcased the stone’s authenticity and elegance, treating it like Carrara marble. We presented the collection at Beirut’s 2018 design fair, where it sold out; that marked the beginning of this journey. I realized Egypt has incredible materials like alabaster that are undervalued due to a “foreigner complex,” where imported materials are deemed superior. Changing perceptions takes time—beauty, like wine, is an acquired taste. You can’t force appreciation, but you can guide people to see value in overlooked aesthetics.
What were some of the biggest challenges that you faced along your journey thus far?
At first, being copied was a big challenge for me, but I’ve since embraced it. Now, the main challenge is transport. When people ask me what I do, I say I’m a transporter. Dealing with transportation and shipment is such a difficult part of the job. I’ve also struggled with delegating tasks and trusting people. Doing the sustaining yourself is also complicated, especially because I’m not following a verified business model. Also, some of the work I do is expensive, not just because of the value of the material, but because of the time that goes into it.
What are some highlights from your creative career in collectible design?
My first show in Beirut, at Over the Counter in 2018, felt special as I represented Egypt. People weren’t very supportive from the beginning, so proving myself was very rewarding.
Who is your Diva?
My number one diva is Egypt. Number two diva is my mother. Number three diva is myself, because I’ve heard from a lot of people that I’m a bit of a diva, so... (smiles)
Courtesy of the Artist
