Bokja is a design studio that produces furniture and creates artistic installations. Bokja aims to blur the line between art and design, and to add a touch of bold color and texture to any interior.
Bokja have a colorful mission… So join them as they uncover hidden treasures and resurrect forgotten ones. Experimentation is them guilty pleasure: a daily concoction of textures, colors, patterns and embroideries, some a hundred years old, infuse our studio. The result is one of kind handmade pieces, which sometimes catch us by surprise. But we have a moral mission as well…
We take great pride in employing local artisans and resources, as well as giving back a percentage of our proceeds to local organizations that empower women.
The talents behind the vision of Bokja are Hoda Baroudi and Maria Hibri. Hoda always had a passion for ancient tapestries and textiles, and Maria for antique furniture. The two joined forces in 2000 and chose a highly evocative name for their company: Bokja, an old Turkish word for the embellished velvet wrapping containing the traditional hand embroidered dowry of a bride. Baroudi and Hibri source furniture designs from the 50s, 60s and 70s, unearthed in Beirut’s flea-markets and antique dealerships, and then cover them with exuberant tapestries and textiles from the Levant and the legendary Silk Road countries of Central Asia. Combining ancient culture with repurposed modern design, Bokja is creating one-of-a-kind pieces that offer an explosion of colour, pattern and a richly textured sense of history.
If the total design concept does not prove successful, perhaps Maria and Huda could stick to the vintage fabric-based identity that propelled them into the global spotlight. The idea would be to leverage the vintage fabric-based identity that is instantly recognizable as Bokja to products such as clothing or household items and sell them through traditional retail channels such as department stores. The middle-market customers who would then be able to afford a Bokja item would be purchasing the prestige and cachet that the product would give them. At the same time, their classic pieces would remain marketed through upscale design galleries – where they would be exhibited as “works of art” rather than decorative items.
Bldg. 332, Saifi Village,