Iranian Moderne as represented by the carpet 'Miran' by Farahan Carpet. | Image courtesy of Farahan Carpet. | The Ruggist.

Iranian Moderne | Farahan Carpet

Terroir encounters modernity and the result is quiet appealing.

Persian and Oriental are two terms whose use in reference to rugs and carpets conjures mental images of familiar designs such as Tabriz, Kashan, Heriz, and Kerman even if the proper names remain unfamiliar or unknown. These designs, just like many others originating in either Iran itself, the geography of the former Persian Empire, and indeed in Central-Asia broadly have also come to be known as so-called Traditional carpets with all three terms used more or less interchangeably, in part due to the region’s former centuries spanning dominance of carpet production and trade. So while there inarguably remain innumerable examples of equally as traditional weaving and design the world over, the aesthetics of Persia have come to monopolize what is known as Traditional, Oriental, or Persian (T.O.P.) design, at least in rugs and carpets from the Western perspective.

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UK Heritage Rugs as featured on The Ruggist

Empire in Retrospect | UK Heritage Rugs

A new collection from UK Heritage Rugs adapts noted artwork into rugs and carpets.

In speaking with UK Heritage Rugs’ Principal Brian Sales during Domotex it was apparent his passion, no, his calling, no, his mandate was not to be euphemistically inspired by the work of others – as is the purported case of so many who knock-off the work of others, but rather it was to honour the originals. By working closely with the curators who oversee the works his firm licenses Sales was able to ensure – as best possible given no-one involved created the originals – the carpets present the artwork in a manner befitting the originals’ museum quality status, however the reader prefers to interpret that. Without hesitation Sales has succeeded in this regard, though whether or not the firm’s carpets themselves are ‘museum quality’ is an academic question left for the reader and future curators.

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The 'Silence Azerbaijan Collection' by Nasser Nishaburi as featured on The Ruggist.

Silence | Nasser Nishaburi

The absence of words... The absence of sounds... This is the beauty of silence.

To write of rugs and carpets is to interject oneself into an esoteric world replete with a cast(e) of characters far to numerous to enumerate herein and from my decidedly privileged Western experience it further seems as though each of those characters has at least one (1) opinion on any rug topic imaginable. Thus it is when choosing to discuss a particular topic or specific rug, one has to decide not only one’s own thoughts on the matter, but also the approach and tone of the article. Is the discussion serious or irreverent? Yes. Does it – as has on occasion been the prerogative of this author – examine carpets with an eye toward pure design; a faux reality of aestheticism in which meaning is lost in favour of the ephemeral and obsolete, planned or otherwise? Perhaps… .

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The Ruggist presents Un-Official Selections of the DOMOTEX Carpet Design Awards 2018. | Image of Moroccan Kilim courtesy of Bazar de Sud via DOMOTEX. | The Ruggist

Un-Official Selections 2018 | Domotex

The Ruggist's un-official selections of the 2018 Domotex Carpet Design Awards

The Carpet Design Awards are an internationally renown accolade which recognize annually the best of carpet and rug design – provided entries satisfy the eligibility criteria. Specifically and exclusively chosen from those firms which exhibit at DOMOTEX – The World of Flooring (except for Category 1 – Best Studio Carpet), the CDA(s) as they are known have become a ‘…badge of distinction, given in recognition of quality and design excellence in handmade carpets and rugs.’ Now in their thirteenth (13th) year, the Carpet Design Awards will be presented on Saturday, 13 January 2018 in Hall 9 during Domotex.

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Vanquishing Manufactured Trends - A denouncement of the Pantone Color Institute's Color of the Year: 'Ultra Violet' | The Ruggist

Vanquishing Manufactured Trends

A denouncement of the Pantone Color Institute's Color of the Year: 'Ultra Violet' (and others).

Beyond the scope of this commentator’s existence there most assuredly must have been a time free from corporate and financially driven trends, but that era – whenever it may have been – is far removed from the consumption driven reality that is the early twenty-first century of the common-era. In this day, in an ever increasing and readily apparent manner, consumers are not only bombarded with new trends, they are done so at an ever increasing rate; each new trend supplanting the former as if had never been, relegating it to the shelf of formerly-amazing-you-cannot-live-without-it products and ideas. This is the crux of the problem with trends. It is impossible to fully, genuinely, passionately, authentically embrace a trend because come the passing of another year, quarter, fashion season – of which there now number approximately fifty-two per year – or what have you, the next purportedly new thing must be embraced. This inherent obsolescence exists for no other reason than to sell more wares. For an industry such as the handmade rug and carpet industry, and additionally high-quality tufted and machine-made qualities, it is disingenuous at best to try and sell a product which can endure multiple years/decades/generations only to then proclaim another is needed when trends – manufactured as they are – change.

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