In Consideration of Copyright - The Ruggist

In Consideration of Copyright

An essay on the importance of perspective in examining originators, copyists, and derivatists.

In the 1999 film ‘Dogma’ Salma Hayek plays ‘Serendipity’. Not simply a woman whose name happens to be Serendipity, but rather she plays the physical embodiment of serendipity itself, which is to say she is the ‘chance’ which brings about the occurrence and development of events in a happy or beneficial way.  Except of course, there is no chance. While those without divinity perceive their interactions as random, or due to fate, or karma, or what have you, from the perspective of Serendipity, it is her will which causes events to happen as they do; for her the future is not fully unknown nor fully manifest rather its exists as any one of an endless number of permutations based upon her direct actions. In many ways the creation and success of a supposedly new rug or carpet design is a result of serendipity with the artist or designer creating something perceived as new as a result of the careful and equally serendipitous or Serendipitous work of those who have come before.

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Embargo On... Again | Iran Sanctions - The Ruggist

Embargo On… Again | Iran Sanctions

The United States once again enacts an embargo on Iranian made rugs; this time by themselves.

Pursuant to this directive once the first wind-down period ends on 6 August 2018, the government of the United States will revoke several JCPOA related authorizations regarding sanctions on Iran, namely: The importation into the United States of Iranian origin carpets and foodstuffs and certain related financial transactions pursuant to general licenses under the Iranian Transactions and Sanctions Regulations, 31 C.F.R. part 560 (ITSR). Further information regarding sanctions can be found from the Department of the Treasury’s Office of Foreign Asset Control (OFAC). In short, importation of Iranian made carpets into the United States after 6 August 2018 will – once again – be illegal. No other country currently has plans to enact an embargo on Iranian made carpets.

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Nepal Ascending - The Ruggist

Nepal Ascending

How a focus on quality and differentiation can revive the carpet industry of Nepal.

I have thought long on this, in fact since November 2016 and I do not in any way claim to have the answers save one: I know if nothing is done, the facts speak for themselves. I have friends in Nepal who envision a guild of sorts which would certify the quality of workmanship and materials. I have other friends in Nepal who would join this guild if it meant they would sell more carpets. I see the possibility of this guild idea growing to include export organizations, and NGOs from the West. I see the Guild bringing together Nepalis, Tibetans, and Westerners with a renewed ‘we can rebuild’ attitude like that which existed in that ‘brief shining moment’ that was the aftermath of the earthquake; earthquake also as allusion to the long decline of Nepali weaving. I call upon any concerned importer or maker of Nepali-Tibetan carpets to if not join me and my colleagues in working toward this concept of Guild, at least acknowledge a new approach must be had. For those who feel as I do, that a more unified voice is required, that more can be done both here in the West but more importantly in Nepal as well, and that the status quo is less than acceptable, I welcome the opportunity to talk with you personally so that we can – collaboratively – truly give back to Nepal.

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Interwoven Authenticity | A Caveat - The Ruggist

Interwoven Authenticity | A Caveat

A semi-disjointed thought piece discussing authenticity, truth, and transparency in the modern world (of rugs and carpets).

It is worthy of note that throughout the entirety of The Ruggist you will find no small degree of exaggeration, hyperbole, and irreverence. It’s who I am, it’s how I write, it’s how I see the world. Black, but not just any black. The most perfect black of which you can think. Soot from a freshly cleaned chimney black; matte with no discernible texture, as though you’re staring into a void. Vantablack® – Can this be applied to yarn? I wonder… . That kind of black. And then of course to the far other extreme, a white of no less than equal splendour, pure, but not devoid of all hue. Perhaps the Benjamin Moore named colour: Grand Teton White, if only because it reminds me of my fourteen year old self giggling at the name while basking in the very same majesty that first greeted those French explorers. Each colour – no less special than the other – vying, clamouring to be recognized as the best, the most authentic, the singular whatever it is.

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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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