بانک جامع اطلاعات فرش و دست بافته های ایران
 

  جستجو
 موزه فرش  
بازرگاني سبحه
 OldCarpet.com  
 مجله گره  
 مجله هالي
 سازمان توسعه تجارت ايران
 Miri Iranian Knots
 ICOC
 Araghchi Carpet
 DOMOTEX
 مرکز ملي فرش
 فرش در آيينه مجلات
 دسترسي اعضا
نام:
رمز عبور:


عضو جديد








 

نظر بدهيد! 

نسخه چاپ

 ارسال براي ديگران

 بازگشت




تاريخ درج: 21/11/98   The Financial Times


From Mayfair to the Middle East
artisan weavers are rethinking rugs!




98/11/21 سایت اطلاع رسانی فرش ایران - کارپتور
    
Source: The Financial Times
    Jonathan Foyle
     JANUARY 10 2020
    
    Independent makers use the finest materials and unbridled creativity to make classics more contemporary
    
    

    Lila Valadan, who runs a women`s rug-making collective out of Germany and Iran
    
    Weavers of traditional carpets have lost some of their magic recently, as modern tastes have moved towards sleek, open-plan living and bare floors. But a few are addressing the problem by rethinking rugs.
    Aigars Zelmenis of Front Rugs, an atelier in London`s Mayfair, curates these works of art. Front`s origin was not straightforward. In 2005, Zelmenis was working in publicity in his native Latvia while helping a friend remodel his Riga apartment. Their problem was finding bathroom tiles: plenty were functional, none beautiful.
    At a trade show in Bologna, they saw Italian tiles that were unavailable in Latvia. So the two friends started a tile business, soon expanding into interior decoration of all kinds.
    “Every year, we started a new project, a new direction,” he says. “There was no specific logic.”
    In 2009, the pair turned to carpets and encountered designs they had not seen before, from weavers in Europe, North America and the famous carpets of Persia, now Iran. Zelmenis opened a Moscow store in 2010 and, in 2013, a 200 sq m flagship in London`s Bruton Place, off Bond Street.
    

    Dyed wool dries at Lila Valadan`s rug-making collective in Tehran; plant-based natural colourings are used © shiraz & daryan
    
    Those rugs are the products of designers such as the award-winning Jan Kath, who specialises in distressed surfaces cut to create an antique effect. A Japanese-inspired design in Tibetan wool is enmeshed with silk and plant fibres. Other celebrated weavers include Zoë Luyendijk and Michaela Schleypen.
    

    A wool and silk design by Jan Kath at Front Rugs combines traditional Persian ornamentation with his trademark distressed effects
    
    Front has adorned the floors of apartments, yachts and even presidential palaces. Zelmenis reluctantly admits that some cultures have particular tastes: the Spanish prefer blues and whites, Americans like bold showpieces. In London, a rug with a baroque design became a bestseller.
    “In a way, that felt a risk, but the clients were celebrating what surrounds them,” he says. Yet he doesn`t believe in pandering to a market — he likes to surprise. And the makers he represents are helping to give classic rugs a more universal appeal.
    
    

    Wool and cotton rug (Front Rugs) by Michaela Schleypen, who is renowned for her three-dimensional rug art
    
    Front exhibits collections by Lila Valadan, the owner of a Persian-carpet emporium in Hamburg. She is evolving the tradition and works with a women`s rug-making collective in Iran. Valadan is dyed in the wool: she was born in Iran, and her grandfather and father were carpet dealers.
    
    

    This wool, silk and linen rug by Zoë Luyendijk (Front Rugs) has a painterly feel
    
    Almost 40 years ago, she met her husband Mohammad Naziri, a renowned carpet collector. In 1985, he found a carpet-washing workshop built of brick and clay in which to clean his vintage collection. It lay 30km outside Tehran in a small province called Eslamshar.
    “There is not much going on there,” she says. “Just the wind and the sun.” At that time, “my journey took a shift. We became adventurers, beauty hunters, carpet collectors. We were travelling deep into the Zagros Mountains — the home of the famous Qashqai tribes. Beauty was everywhere.
    It was a cultural awakening: she found that myths and stories were often worked into even small rugs and thus preserved over generations.
    “Most themes stem from pre-Islamic times, but they convey similarities to the works of the impressionistic art from Europe, a kind of modernity long before modern trends had been invented.”
    Their washing workshop became stacked with mysterious old carpets. “Sometimes they were so dusty that you would not recognise them until they had been washed and properly taken care of. My husband always had a good eye to see things that others couldn`t.”
    Over the years, a creative response emerged to these old pieces, and the building slowly transformed into a workshop. Today, this is their headquarters, and Valadan travels there from Germany every month or so. Alongside workers who have practised for decades, they develop the designs, process the wool, dye it, wash and finish it, eating and living together. The raw materials are sent to weavers across Iran.
    There are others who are rethinking Persian rugs, but what is distinctive about Valadan`s collection is that all the weavers are female. “The rug industry in Iran and even worldwide is a very male-dominated area. But to be honest, I feel very respected. I feel at a certain professional level there is no gender, age or ethnicity. Only your work counts.”
    In her workshop, the wool gathered by farmers is graded in preparation for dipping in plant dyes — red from pomegranate, for example, or brown from walnut shells. They fix the wool in a pot at 100C for two to 30 minutes, depending on the colour.
    Colours such as red, yellow and blue can be achieved in a single steeping, fixed by a mordant. “But other colours, like violet, you first dye in red; then you dye the red in blue,” says Valadan.
    Each region of Iran has its own designs and methods. “In the south they craft on horizontal looms, while in the north they use vertical looms. It`s almost impossible to force a region to behave outside of their traditions.” She discovered that when she wants to produce finer rugs or flatter weaves, she must set up a network in that specific region.
    
    

    An artisan weaver in Iran. Lila Valadan (right) erects looms in weavers` preferred environment: it could be a backyard, a neighbouring garden, a mountain valley or desert © shiraz & daryan
    
    So Valadan erects iron looms in the weavers` preferred environment, where they will hand-knot a matrix of tufts in mind-boggling density: 150,000 to 450,000 knots a square metre. The enterprise could be in their backyards, a neighbouring garden, a mountain valley or desert. Valadan never stipulates designs exactly because inspiration must come from the maker, and artful imperfections are honoured.
    “Pride is part of a national art. This means that time is passing gradually for us. We don`t pressure for time, because creativity and passion require room and freedom.” 




 
  رويدادها
  مقالات
  گفتگو
  دنياي نشر
  گزارش
  نقد و نظر
  قوانين و مقررات
    کليه حقوق متعلق به سايت اطلاع رساني فرش ايران است
نقل مطالب به هر شکل تنها با ذکر عنوان و نشاني سايت مجاز است
CARPETOUR.COM   2000-2009 All Rights Reserved.