Khadija Al Bastaki: Building Dubai’s Design Future
Dubai is no longer a city defined only by its skyline and luxury shopping. It is fast emerging as one of the world’s most dynamic creative capitals. At the heart of this transformation is Khadija Al Bastaki, Senior Vice President of Dubai Design District (d3), part of TECOM Group PJSC. With a mandate to nurture design talent, attract global players, and build a sustainable creative ecosystem, Al Bastaki has been instrumental in positioning Dubai as both a cultural hub and a global business force.
Her vision is one of balance: heritage and innovation, luxury and independence, local roots and global reach. In this conversation with Author Magazine, Al Bastaki discusses the shifts required to move the Middle East from consumer to creator, the importance of cross-disciplinary collaboration, and why “Made in Dubai” must soon become a global marker of excellence.
Oona Chanel: The GCC is home to extraordinary consumer power. How can that spending influence be translated into nurturing regional talent rather than only importing global names?
Khadija Al Bastaki: For a long time, the narrative around the Middle East has been that we consume fashion at a high level but don’t produce it. That is changing, and consumer demand is part of the reason. Buyers now want more than imported names—they are looking for local creatives who blend international polish with regional identity.
At d3, we’re building the infrastructure to meet that demand. Platforms like Dubai Fashion Week and Dubai Design Week give regional designers equal visibility alongside global names. Beyond that, our in5 Design incubator and institutions like Dubai Institute of Design and Innovation (DIDI), FAD Dubai, and L’ÉCOLE School of Jewelry Arts are shaping the next generation. Government support—through creative visas, streamlined business setup, and expanded production capacity—is also critical. Guided by Dubai’s D33 Agenda and the Design Sector Strategy, we are creating an ecosystem where designers can imagine, produce, and sell right here in Dubai. That is the structural shift that will change the narrative.
Oona Chanel: In a market where luxury dominates, how do you ensure space for independent designers whose work may be culturally vital but commercially fragile?
Khadija: What makes d3 unique is its diversity. Under one address, you’ll find international maisons, regional names, independent concept stores, students, and start-ups. That coexistence creates visibility for independents where global buyers and media are already present.
We also provide tangible platforms: multi-brand spaces, curated pop-ups, and flagship events such as Dubai Design Week, DesignNext, and Sole DXB. These connect designers with audiences they might not otherwise reach. Collaboration is another key: when a young designer works alongside an established house, both voices gain visibility and strength. This ensures culturally vital work not only survives, but thrives.
Oona Chanel: Dubai is a crossroads for art, design, and fashion. How do you encourage these disciplines to collaborate rather than compete?
Khadija: Collaboration is one of our guiding principles. At d3, architects, designers, artists, and entrepreneurs share the same neighbourhood, sparking organic crossovers. Our events are designed to merge disciplines: Dubai Design Week encourages dialogue across art, architecture, and fashion, while collaborations like Cartier’s Al Manama exhibition bring together jewelry, culture, and architecture. Because Dubai is globally connected, these collaborations pull from many influences, creating something unique to the city and its people.
Oona Chanel: What is the single greatest misconception international fashion leaders still hold about Dubai’s creative landscape?
Khadija: The biggest misconception is underestimating our diversity. Dubai is home to over 200 nationalities, producing a consumer base that is far more dynamic and sophisticated than many realize. This mix also nurtures designers with hybrid perspectives.
Another misconception is that everything here is imported. In reality, more and more is produced locally. Through initiatives like “Make it in the Emirates”, Dubai is becoming a production hub as well as a design incubator. We are no longer only a destination for shopping—we are a place where fashion is imagined, made, and exported globally.
Oona: Every fashion capital has its identity: Paris is heritage, Milan is craft, London is risk. If Dubai is still being defined, what identity will set it apart?
Khadija: Dubai’s identity is boldness, diversity, and vision. We aren’t trying to replicate Paris or Milan. Our strength lies in being a crossroads: a place where tradition and technology, heritage and modernity can exist together.
Dubai Fashion Week embodies that. It’s not just about presenting collections—it’s about celebrating ideas, amplifying new voices, and embracing inclusivity. Our identity will be defined by daring to look forward while remaining true to our culture and community.
Oona: Looking forward, what do you want “Made in Dubai” to signify in global fashion conversations ten years from now?
Khadija: For me, “Made in Dubai” must mean creativity with substance. It should reflect our cultural richness—Emirati heritage alongside global influences—and stand for sustainability, innovation, and craftsmanship at the highest level.
In ten years, when someone sees “Made in Dubai” on a label, I want it to signal quality, authenticity, and a story worth telling. That is the legacy we are building.
“Dubai is not only consuming fashion—it is creating it, exporting it, and shaping the global narrative.”
Interview by Oona Chanel
