Ommi explores the relationship between glass and structure, allowing the piece to shift subtly with light and reflection as it interacts with its surroundings.
Photography: @lejartanaick
For us, the grid is the mother of all structures […] This is where the name Ommi comes from. Ommi means mother in Arabic, and it reflects the idea of the grid as the mother of all design.”
Ommi side table / coffee table
Cast wired glass · Polished stainless steel
Designed for @gallottieradice , Milan
Part of Tales in Glass — Milan Design Week 2026
Photography: @carlottamanaigo
Ommi began through experimentation. Not with a finished sketch, but with a process of testing, layering, breaking, and rebuilding materials to understand how glass could behave differently.
More than a product, Ommi — designed for @gallottieradice — is the result of an ongoing dialogue between craft, experimentation, and material research.
Previously VSHD Design
This is not a restart.
It is not a new beginning.
It is a clearer expression of what has always been there.
An identity that feels closer.
More honest.
More aligned.
Previously VSHD Design
This is not a restart.
It is not a new beginning.
It is a clearer expression of what has always been there.
An identity that feels closer.
More honest.
More aligned.
Previously VSHD Design
This is not a restart.
It is not a new beginning.
It is a clearer expression of what has always been there.
An identity that feels closer.
More honest.
More aligned.
Previously VSHD Design
06 | Arabic Calligraphy
More than a language.
A form of construction.
An ancient script carrying contemporary forms.
The letter leads and connects.
Each bold stroke reflects the present,
rooted in the past with assurance.
A continuous flow.
Between control and expression.
Where writing becomes form.
A civilisation that endures.
1: Yedikuleli Seyyid Abdullah, Karalama Hattat
2: Wissam Shawkat
3: Hossein Zenderoudi, FHE+JKM
4: Payment Document, 1448 — CSIC Library
5: Nastaliq Siyah Mashq 05 — Calligraphy Museum of Iran
Previously VSHD Design
04 | Red
Rooted in nature, like everything else.
The desert, the sea, the sky.
Red feels essential.
It is not about starting over.
It is a return to our roots.
A return to something fundamental.
Warmth.
Intensity.
Life.
Close to the body.
Close to what keeps it alive.
References:
1: Alicia Breakspear — Cow Parsley 3 (Mauve Monoprint)
2: From Chanel — The Allure of Makeup
3: Lea Colombo — Yellow Sphere Fade Red, 2020
4: Adolf Gottlieb — Cadmium Red Disc
5: Mark Borthwick — Lovemarks, Tulum, 2003
6: Poppy Jones — Last Days, 2023
Courtesy: The artist and Herald St, London
Previously VSHD Design
03 | The sea and the sky
Light shifts constantly.
It reflects, diffuses, disappears.
Surfaces are never fixed.
They absorb, they mirror, they reveal.
Transparency allows things to overlap.
To be seen and unseen at the same time.
Nothing is static.
Everything is in motion.
1: András Ladocsi
2: Image via The Jewellery Editor
3: Konrad Knap
4: Thomas Chene
5: Beach scene with crowd of people catching waves in the ocean, c. 1947–1951
Courtesy: The New York Public Library Digital Collections
6: Purienne
Previously VSHD Design
02|The Desert
The desert is part of our context.
It teaches restraint.
Clarity.
Stillness.
There is an elegance in its simplicity.
Light, texture, horizon.
This way of thinking stays with us.
1: Nadav Kander — untitled (desert x), chile, 2007
2: Shaikha Almazrou — sand land, 2016
3: Jim Denevan — self similar, 2023
4: Richard Serra — east-west/west-east, 2014
5: Nadav Kander — untitled (desert iv), jordan, 2007
Previously VSHD Design
01|Roots
Based in Dubai.
A city where cultures meet and overlap.
Where nothing is singular.
A constant exchange.
Between people, references, and ways of living.
This is where the work is shaped.
In between.
1 – 6 : archival images from vintage travel guides of Dubai and the United Arab Emirates.