Fostering A Tradition

"Lady Sahiba Foster's Altai silver collection combines the chic subtlety of Europe with the Zen minimalism of the Orient. And her artichectural projects integrate sacred geometry and ecological principles, making them contemporary as well as sensitive to historic structures"

On a cold November night this week, at the insistence of a dear friend, I pulled out some ethnic wear to grace a drinks party at the Claridges Hotel. Lady Sabiha Foster was launching her silver collection under the brand name Altai that evening and it was of a simplicity that combined the chic subtlety of Europe with the Zen minimalism of the Orient. Pakistani by descent, in Sabiha's esoteric, petite and quintessential perfection of her own from lies the inspiration for silver ware and jewellery. Every piece is just oh so charming, so very tactile and practical. Her egg- inspired jewellery in her own words is illumination by reflection. transition in form, from the spherical to the ovoid - the whole to the egg. In the every basic zero or egg concept lies the very basic of all humanity and by exploring the egg shape in textured metal, precious and semi precious stones, Sabiha has shown mobility of medium, confined to the purity of her concept of the egg being not a part, but the whole.

Once a sphere completes a rotation on an axis the direction of space no longer uniformly play the same part. This marks a

In Sabiha's catalogue, she describes Altai as a new project which takes its inspiration from the Altai range of mountains in one of the most mysterious regions of the world. As a mountain comes to mean the journey inherent in all of us - it also signifies an awakening, the altai being an ancient and pristine repository of wisdom.

The Altai Collection is designed by Sabiha Malik Foster. Sabiha is a poet artist and architect, who grew up in Europe but comes from an esoteric Eastern background centred on poetry philosophy and religion. She is a former design director of Foster and Partners. Sabiha sculpts in metal, stone and glass, often integrating water and light with in her sculptures.

Back to the Present, when I walked into the party with Farida Khanand was introduced to Sabiha formally, I was struck by the starkness of her sculpted beauty. In a black jacket, which drew inspiration from the Japanese kimono, complete with large sleeves, her cropped hair and sparkling eyes were a reminder that though talented and beautiful she was all warmth and simplicity in flesh and blood. Her guests included Lady Victoria Weymouth, Nicky Haslam, Ricardo (Ivana Trump's exboyfriend) and a host of other names and celebrities.

Througout the champagne reception, Sabiha was like poetry in motion. None of the objects in the glass showcases had prices nor could they be handled. Sabiha was married to Andrew knight, the head honcho of Rupert Murdoch's British empire at one time, and an editor as well as writer of repute. Her second marriage was to Lord Foster, the 'architect of the millennium' as he is referred to by the press. Her two daughters proudly flanked her at the reception. The elder goes by the historic name of our nation 'India'.

Sabiha has designed to private commission for many years and continues to do so. She also works as an architecture and design consultant. Her projects integrate sacred geometry and ecological principles and although essentially contemporary, are highly sensitive to historic structures.

Sabiha has designed to private commission for many years and continues to do so. She also works as an architecture and design consultant. Her projects integrate sacred geometry and ecological principles and although essentially contemporary, are highly sensitive to historic structures.

There is a realm where the infinite is channeled through the soul and the spirit. This poetic transference expresses itself in sensuous physical reality which recognises the historical and the traditional in its expression of the clarity of nothingness. Only through nothingness, fana, the void, does all life become a means, for the manifestation of the divine. This is why all that is true in art and life both moves and eludes us.

I am grateful to the spiritual traditions which has nurtured me, where absence is presence, where the void is fullness, the word has magical power and craft is a essential expression of the fibre of our humanity. In my opinion, in Lady Sabiha's craft and Talvin Singh's music, the Indian subcontinent has been etched firmly into the British psyche.