Daniel Heilig: Creating Timeless Designs with a Purpose

SCALE first met designer, Daniel Heilig, creator of Heilig Objects at Ithra, during the Tanween Design Festival, Fail Forward, where Daniel’s designs elaborated how his process involved amendments and sometimes sheer failure before the final product was created. It is not merely the sheer tenacity of character that stands out when interacting with this charismatic Hungarian-German designer, it is his remarkable willingness to explore diverse design environments and seamlessly adapt to the needs of the  environment, without forfeiting the connection he feels towards each of his products. His pieces are in his own words, “design oases.” They invite you to pause, touch and explore, to engage all your senses. They offer calmness, timeless beauty, and finely balanced details paired with functional purpose. By Sindhu Nair

Daniel Heilig’s story reflects the rich intersection of his multicultural background and his ongoing search for personal authenticity. Born in Budapest and raised in Germany, his life is a dynamic blend of different European cultures.

His quest for change led him to a new chapter in the Middle East recently, Saudi Arabia and then later in Dubai. While in Saudi Arabia, his products were part of a design exhibition at Ithra; in Dubai during the Dubai Design Week 2024, Heilig Objects collaborated with Lebanese interior designer Thomas Trad to create a seating conversation piece for The Forum at Downtown Design 2024.

This seating ensemble was specially designed in collaboration with Turkish furniture manufacturer B&T Design to complement Trad’s minimalist, Japanese-inspired spatial concept for ‘The Forum’, which hosted leading design keynote speakers such as India Madhavi.

The collaboration marked Daniel’s latest nonconformist contribution to the region’s dynamic design scene, supporting new perspectives at Downtown Design during Dubai Design Week’s 10th edition. Designed as a harmonious counterpoint to Trad’s spatial concept, Heilig Objects’ conversation piece is a curved three-seater couch that is bold and comfortable.

The seating ensemble’s design draws inspiration from the codes of Brutalism, continuing Heilig Objects’ exploration of monumental architectural references.

We had a long conversation with Daniel to understand more about his design process and his inspiration as he dreams of exploring more Middle East countries to work and collaborate because Europe seems to currently undergoing a design slump that is “more intent on maintaining its status quo than challenging existing rotes” and also because, “it’s incredibly easy to connect with people, which inspires and energises me”.

SCALE: How has your Middle East experience been? Tell us about your earliest associations.

Daniel:  My experiences in the Middle East have been entirely rewarding, and I’m always grateful and excited for the opportunities to return to the region. This year marked my first visit to Saudi Arabia, and I enjoyed every minute. The people were incredibly welcoming, warm, and politely curious about what brought me to their country. During Uber rides, drivers often suggested small detours to proudly show off their city – such a nice gesture!

I’m looking forward to returning to Riyadh and Jeddah with more time to explore the culture and deepen my understanding of the country and its people. I’m especially fascinated by NEOM – a visionary project that I believe is crucial for a country to have. Bold visions like this provide direction, confidence, and ambition. In Europe, they’re sorely missing – the focus seems solely on maintaining the status quo. As a creative, I thrive on challenging norms and need aspiration to grow.

Downtown Design in Dubai keeps drawing me back. Last year, I was energised by the city’s unique momentum and spirit. This year, I got under the surface – an exhausting but essential step for anyone aiming to establish themselves in Dubai. It’s a highly competitive yet thriving market, driven by a melting pot of talented, dedicated, and creative professionals. Across all the countries I’ve visited across the Middle East, one thing stands out: it’s incredibly easy to connect with people, which inspires and energises me.

SCALE: Do you think the European market is in a stagnant phase? Is there space for more in Germany or has it reached a zenith and curved down. What would be the reasons.

Daniel: The German market – especially its design, art, and cultural sectors – is definitely stagnating, if not outright regressing. High energy costs and rising inflation have dented consumer confidence, leading many (furniture) brands to declare bankruptcy. The construction industry is struggling, which ripples into real estate, architecture, and interior design. At the same time, a limited government budget leave little room to support the arts and creative sectors. While the European market remains significant, I believe the challenges call for urgent structural rethinking.

On a social level, I’ve recently noticed a mindset shift. Running your own business requires incredible bravery, resilience, and maybe sheer naivety. I’m deeply committed to my work, but there are better environments for entrepreneurship right now. This isn’t just a German issue, but a wider European one. Where I do see potential is in the artist residencies, fellowships, and programmes supporting young designers, not only in European countries, but in the Middle East. The Doha Design Biennale, for example, showcases a level of energy and commitment to elevating design from the Arab world that far outshines its international counterparts.

SCALE: In that context, do you find more appreciation in this region for your work? Or do you think there is less competition here?

Daniel: I’ve had exhibitions in the Netherlands, Belgium, Italy, Dubai, and Saudi Arabia – but not in Germany. There are several reasons why I don’t fit the mould of the German market. It’s not about competition; I’d love to see more young brands and design studios from Germany. It comes down to consumer preferences, which are a bit of a mismatch with my brand’s value proposition.

Collectible design is virtually unknown in Germany, with only a small, niche market for it. Collecting art and objects is by no means mainstream, and the focus tends to be on functional, reasonably priced products rather than on materiality, craftsmanship, or the story behind an object. Decisions are pragmatic and rational rather than emotional. A friend recently returned from a flea market, thrilled with a beautiful vintage chair she’d found. Her friend’s first question was, “How much was it?”

My work takes the opposite approach. I aim to create objects that transform the mood of a room – or simply the mood of the observer. I call my pieces “design oases.” They invite you to pause, to touch and explore, to engage all your senses. They offer calmness, timeless beauty, and finely balanced details paired with functional purpose.

In other countries, there’s much greater appreciation for designers and craftsmanship, and it’s understood that this is something worth investing in. It’s a bit like airports – everyone wants the convenience of living nearby, but no one wants the noise overhead. Likewise, people want a cosy, inspiring home, but when it comes at a cost, they tend to lower their expectations.

SCALE: How has your Ithra participation been? Your learnings from associations with designers in Saudi?

Daniel: Participating in Ithra’s Tanween design conference was an incredible experience. I’m deeply grateful to Ithra and Isola Studio, who collaborated with Ithra, for inviting me to represent my design studio and its values. As a self-taught designer, I felt strongly aligned with Tanween’s theme, “Fail Forward.” I especially appreciated the curation and creative direction of “Behind the Curtains: Scenes of Craft”, led by Isola’s Elif Resitoglu.

The event was really rewarding – I connected with people from around the world, had insightful exchanges with professionals (many of whom I met again at Dubai Design Week), and enjoyed speaking with students and graduates. I work regularly with students in my studio, and value the fresh perspectives and unfiltered creativity of the next generation. It’s a good reminder to avoid overthinking and to embrace simplicity.

This openness was exactly what I observed during the two workshops we ran at Ithra on colouring wood. Despite our meticulous preparations, participants immediately began doing their own thing, which I absolutely loved! Free from the fear of failure, they explored different approaches and techniques, producing results that left me both inspired and a little envious of their creativity.

At the end of the day, I received some heartwarming WhatsApp messages saying, “Thank you, Daniel, the workshop was amazing. We had a great day together.” That’s a compliment I’ll treasure.

SCALE: Which materials do you like working on? If there is a USP of your products, what would it be? Do you keep changing your mode of production and designs?

Daniel: To be honest, as a self-taught designer, my production process changes so often it feels like a daily experiment. But seriously, my way into furniture design came from the carpenter who worked in the backyard of my studio. He had the tools, the materials, and the know-how – so starting with wood was the obvious choice. I’m still obsessed with it – it’s warm, gentle, and incredibly forgiving – but I never want to limit myself to one material.

Since Milan Design Week 2024, I’ve started collaborating with other brands. For Downtown Design in Dubai, I launched my first partnership with the Turkish brand B&T Design. From sketch to final product, the whole process took just six weeks! I love working with them – it’s a true partnership. We share the same values and passion for design, and we both like to move fast and stay energised. Beyond that, I’m diving into new projects, including a rug collection, some fashion pieces using Japanese textiles, and finally exploring stonework, which I’m really excited about.

As for what makes my work unique, I’d say it’s the balance of contradictions in my personality, which naturally shows up in my designs. I crave aesthetic harmony, calmness, and balance, but I also want to stand out and resist being categorised. That’s why my pieces often sit at the intersection of art and furniture design – sometimes leaning towards collectible design, sometimes more practical, but always bold and timeless without ever imposing.

SCALE: How have you benefitted from being a part of Milan Design Week?

Daniel: In my team, we always joke that we survived ‘Milan Madness’ this year! I was so – let’s call it euphoric – that I ended up having two exhibitions running at the same time during Fuorisalone, outside of Salone del Mobile. Coming from Germany, we brought nearly two tonnes of equipment and objects with us – it was exhausting and took a massive team effort, but I’m really proud of what we achieved and so thankful to everyone who helped.

One exhibition was more artistic, the other was meant to be more commercial. Milan is a tough crowd – unless you’ve got an endless PR and communications budget, your chances of media coverage are slim. While you might have plenty of talks during the day, it’s the evenings, at an Aperitivo, where you can really make your mark – that’s where you meet the most interesting people.

It’s hard to quantify exactly what I’ve gained from Milan. But, the German newspaper Frankfurter Allgemeine Zeitung (FAZ) – one of the biggest in Germany – called us one of the top German highlights of Milan Design Week, right alongside established names like Sebastian Herkner and Hanne Willmann. That felt like a great reward for all our hard work. We also had the chance to meet with the creative and strategic teams from Ithra and Downtown Design Dubai, so I’d say we made some solid connections. All up, I’d consider Milan Design Week more of a strategic move – it’s a way of making a statement that you’re committed and want to belong to the best of the best.

SCALE: Designers have said that there is a market for luxury high end products that are niche. How do you see the future of product design?

Daniel: I agree that there is a market for collectible design, and while it’s still quite niche, it’s definitely growing. Markets like the US are more established than Europe, for example.

I’d make a distinction between luxury high-end products and collectible design pieces, even though there’s some overlap. There’s always been a market for high-end luxury items, usually driven by people with abundant disposable income. Collectible design, at least for me, is something that’s more about evolution – we’re starting to value objects as companions in our lives. We want to keep them for the long haul, be surrounded by them, and connect with them emotionally. The reason for buying them is much deeper than just spending money on a luxury product. It’s more substantial. On the other hand, luxury high-end products can sometimes feel more about appearance than substance, but as I said, the line can blur, and sometimes it even works the other way around.

From an artist’s perspective, I feel very connected to the pieces I create. The creation process is a very intentional and emotional one that can sometimes take ages. For example, with my KÖNIGSWINTER Tallboy, I used corrugated, patinated fibreglass sheets that are over 50 years old. The colours are something only nature could create – sunburned and patinated over time. Finding the right sheets took me five years, and another year to actually build the piece, as the materials are singular and delicate.

What I’m getting at is that luxury high-end products tend to cater to a market where you, as a designer, know you can earn well, just typically with products you’re not necessarily emotionally attached. With collectible design, however, I design first and foremost for myself, for the exclusivity of my own taste, and I’m happy when I find people who are on the same wavelength.

As for product design in general, it’s thankfully a never-ending journey. Putting aside AI and all its future possibilities, creating great products will always be a challenge for humanity. The world is spinning faster and faster, and developing products and services that are easy or joyful to use is essential for inclusivity and both human and economic progress.

SCALE: Your first initiation to design? Your first product?

Daniel: That’s a tough one! I started out as a musician, so sound design was probably my first introduction to the world of design. As a drummer, finding the right sound was almost an obsession – I’d spend hours going through my vast collection of digital samples to get the perfect tone. Looking back, I can definitely say I’m deeply attached to the details!

My first tangible product came from my passion for sneaker collecting. For a long time, I had over 150 pairs in my collection, many of which were highly limited. I’ve always been fascinated by the aesthetics, colourways, silhouettes, technology, and the history of urban streetwear. I thought it was a shame to keep all these beautiful sneakers hidden away in boxes, so I set out to find a shelf that could reflect my appreciation for their meaning, context, beauty, and history. When I couldn’t find the right one, I decided to build it myself, along with a carpenter. That was the beginning of my design studio.

SCALE: One quality of the Middle Easterners that you have admired? And one that you would rather not imbibe?

Daniel: What I really appreciate is the warmth of people from the Middle East. When it comes to design and creativity, I love how Arab design remains so raw and authentic – and I mean that in the best possible sense. While European design often feels streamlined and repetitive, I’ve found so many fascinating, untold concepts, stories, heritages, and materials that are incredibly inspiring.

One thing I don’t relate to, on the other hand, is the chaos that’s prevalent here. The decision-making process can be chaotic, as is sticking to those decisions. Maybe I’ve become too German in that sense, but I need clarity, accountability, and reliability – the unspoken essentials of that well-known German efficiency. That said, when it comes to creativity, chaos can be a powerful source of inspiration. It can’t be planned or controlled, and there’s something almost cosmic about it.

SCALE: Arabic words you use liberally in your communication?

Daniel: First off, a caveat – I’m still practicing! I think it’s a nice gesture as a guest to try and learn at least a bit of the local language. I really like Arabic, though I find it challenging to pronounce the words correctly. Of course, I can say “Hi”, “Thank you”, “You’re welcome”, “I am Daniel”, and lately I’ve also extended my repertoire to “I am tired” and “have a nice day”. And let’s not forget the local expressions: Yallah, Halas, Inshalla, Mashallah, and Alhamdulillah… to be continued!