Opame began with a conversation—more instinct than strategy—between Elizabeth Krueger and Sid Parakh. A designer and a collector. Two distinct paths converging around a shared belief: that the objects we live with should be more than beautiful. They should carry memory. Meaning. Soul.

Their connection was sealed with a small gift: a Tibetan tsa tsa—molded ceramic, devotional and unassuming. It sits in Elizabeth’s studio to this day, a quiet sentinel. That exchange became the prelude to something larger.

Elizabeth Krueger helps shape the brand’s distinctive collection and aesthetic direction. Known for her deeply refined interiors in the design world, she designs with a clarity of vision that balances structure, restraint, and emotional resonance. Her work isn’t just visual—it’s visceral. Lived-in. Anchored in feeling.

For Elizabeth, Opame offered a new lens. A space to design and curate not just for beauty, but for presence. To create objects that hold space, invite reflection, and communicate without noise. Her vision gives form to what can’t always be named—but can always be felt.

Born in India and raised in Oman, Sid Parakh grew up surrounded by cultural texture—teak doors, incense-thick air, carved boxes and silverwork that carried generations of meaning. He learned early that objects could be emissaries of culture—more than things, they were declarations.

Professionally, he built a life rooted in structure and oversight. But design remained a quiet pull—something he studied, appreciated, and collected. Through Opame, that relationship deepened. He moved from observer to collaborator, from collector to co-creator.

His eye remains shaped by process, reverence, and a belief that the most powerful pieces don’t perform—they reveal.