After 7 years of production history in Nepal, 2009 I started crossing the border to India to search for the perfect location to produce a new desire of mine, the Persian weave. At that point, I knew I managed to master the Tibetan weave and I was eager to extend my skills in the production of hand-knotted rugs. In the first 7 years I spent half my time in the workshops in Nepal, this helped me a lot to understand every single process of spinning the wool, dying the color, setting up the loom, and to understand that in the production process a small group of people have to synchronize their daily life for 4-6 months to be able to create one single rug in its best. And I learned that with my character I would only work, learn, and innovate in case the environment is very liberal.
I found everything I dreamt of in the north of India, in Rajasthan. Today we work with two amazing workshops in the city of Jaipur and we’ve also started production activities in Agra. Here the Persian weave is part of the existing heritage for over 500 years, an important fact, as otherwise how to produce soul if the skills have no deep roots.
The vision of RUG STAR is very easy, I want the hand-knotted rugs to be alive and sexy and to be seen with all its abilities this ancient craftsman shift has to offer. In over 18 years we learned to increase “identity and movement“ in our hand-knotted rugs, besides this, it is the quality in material and in the production process where we do not compromise and which makes single RUG STAR so alive. There is so much knowledge involved in the production of the hand-knotted rugs that it needs all our attention and constant curiosity. I simply love the process in which thousands of working hours melts into one final product. Seeing the harmony of the production process is like a blessing and it is worth all the hard work which needs to be invested from every single member in the production.
One of my major skills is to create movement in the pattern of a hand-knotted rug. To achieve this “flow” there are many different techniques you have to combine. It starts with the wool; you select very rich wool which is not monochrome but has small color variations in its structure. You follow up with this idea in the dying process, so you make a traditional pot dying, so the color you dye has already various graduation, you call this abrash.
In the knotting process, the Persian weave is very different from the Tibetan weave, as they use a single thread to make a knot. In the Tibetan knot, you mix color and material already in one knot, which creates an organic flow very easily. For the Persian weave, the knotting itself appears more pixelized, an effect that can be nicely used for the design language or it needs to be covered up with the washing process. From my point of view, it is the washing process that is at the moment the magic ingrediency for the Persian weave. With “oxidization” we created a technique to create a new kind of flow, a patina already created within the production process. With “sandblast” we go softer and more tender with the flow. It increases the variety to reflect light on the surface of every single rug, a technique I love a lot at the moment and which matches perfectly in the needs of the time.