Bali’s Desa Potato Head resort makes merch you actually want

Down a long, tree-lined driveway in the chic neighbourhood of Seminyak, Bali, you’ll find Desa Potato Head: a sprawling hotel resort, famed beach club and ​“creative village” rolled into one. And though it may have all the trappings of any luxury hotel, Potato Head’s commitment to sustainability sets it apart from the rest.

Tucked away in a corner of the site, next to golf carts that ferry visitors up and down the drive (told you it was long) is the hotel’s waste lab, where 99 per cent of its waste all gets logged, sorted and cleaned before being turned into stylish products as part of Potato Head’s Wasted line. Plastics, for example, are transformed into colourfully speckled coasters, hooks, mirrors and flatpack chairs designed by British furniture designer Max Lamb, whilst polystyrene gets broken down to become the salmon pink toothbrush holders and soap dispensers guests can find in their rooms.

Potato Head’s multiple kitchens are also a great source of material, providing food waste ingredients like turmeric and avocado pits for tie-dying Potato Head T‑shirts and tote bags. Alongside the hotel’s Wasted line sits its main merch collection, made up of fun, printed tees and colourful, unique clothing that offers an elevated alternative to the novelty short sleeves that unfortunate sunburnt tourists tend to plump for.

At the head of the whole operation? Creative director Lisa Yamai, who joined Potato Head in late 2023 before moving to Bali part time in the following year, to focus on designing the resort’s merch. ​“When I arrived, I found a way of living deeply rooted in local culture: craft, art, music, wellness and food all coexisting as part of daily life. It was everything I personally imagine as an ideal way of life,” she says, wearing a brown wrap dress from the main merch line.

These days, Lisa is gearing up for the opening of the Good Times General Store, which will allow visitors to not only purchase hotel merch but actually get to experience turning waste into products they can take home through a series of artisan-led workshops. As she puts it: ​“this is a platform that provides experiences which allow you to rediscover your own creativity and re-evaluate the future of products.”

Hi Lisa! What initially drew you to Potato Head?

I didn’t know much about Bali or Potato Head until I heard about it through a friend of mine in July 2023. I felt that I had to go and visit, so that was my first time both in Bali and Potato Head.

What surprised me most was that all of this operates with genuine respect for local culture, supported by a regenerative ecosystem. As a Japanese person, I have experienced exceptional hospitality in Japan, but the hospitality I encountered in Indonesia – so open, human and heartfelt – moved me deeply. I became convinced that this way of life had the power to create a positive impact on the world.

Could you tell us about the craft tradition in Bali and what you learnt from it?

Around the world, many former centres of production are disappearing due to a lack of successors and economic pressures. In Japan, even crafts with a hundred-year history can suddenly come to an end. It’s an incredibly difficult time for makers and producers.

There are many reasons for this, younger generations choosing not to work in production for financial reasons, and global economic systems shifting manufacturing to countries with lower labour costs.

What I learned in Bali is that one reason craft continues here is the deep respect for what might be called a more primitive, essential way of life, and for family relationships. People still naturally create with their own hands, transforming raw, formless materials into objects through skill and lived knowledge.

I believe this is due to the love for family, responsibility for local traditions, and respect for the natural environment in which they live, all of which have been passed down through generations.

Could you tell us more about the artisans you work with?

Production sites are made up of countless detailed processes, and they are not always comfortable environments. I’ve visited factories in Japan, across Asia, the US and Europe, but in Indonesia, artisans are constantly working side by side with nature.

Many factories elsewhere are enclosed, climate-controlled spaces with standardised conditions. In Indonesia, workspaces are open and in sync with the natural environment, constantly subject to weather and religious calendars.

The artisans’ ability to complete each intricate process comes from lived experience, learning daily how to respond to unpredictable natural conditions, or changes in raw materials like wood and plants. This accumulated knowledge feeds directly into their craftsmanship. It’s this relationship with uncertainty and nature that makes Indonesia’s fascinating crafts possible. They learn the ability to solve unpredictable problems from their daily lives.

What’s it been like to work with Max Lamb?

Before I joined Potato Head, Max had already been involved in product development since 2017. He is an exceptionally rare designer, someone who understands how to identify the right process for each material and translate it into a final form.

He shows deep respect for different cultures and people, and never lets effort or history go to waste. Through his work, he can interpret social questions, cultural heritage and what deserves to be preserved, all through product.

What are some of your personal favourites from the collection?

Personally, I like products that are used every day, such as the Wasted ceramic collection produced in Bali, and Potato Head’s long-sleeve that are useful for travel and daily temperature changes.

Imagining different ways of living and cultures across countries, and turning those ideas into future products through dialogue and collaboration, is what keeps me deeply connected to the product business. It’s the reason I can’t imagine stepping away from it.