It was in the late summer of 2015 C.E. at the 12th annual – and apparent penultimate – New York International Carpet Show that I first met Fabrizio Cantoni of cc-tapis and became more acquainted with the Italian brand. At the time I had only recently begun to take writing and rug commentary far more seriously and in the process the two (2) of us had, as one does in this age, begun following one another on Instagram. After passing by the cc-tapis stand several times I returned and while making reference to Cantoni’s Instagram handle I inquired assertively, ‘Which one of you is Happy Fabrizio?’ as I approached. That is how I came to meet Fabrizio Cantoni, who along with his wife Nelcya Chamszadeh and their business partner Daniele Lora comprise the energetic triumvirate at the core of cc-tapis.
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.
Relatively fresh on the heels of our presentation of ‘Rugthko’ comes another collection of Art wallhangings from the stylish and fashionable (rugs, carpets or otherwise) firm of cc-tapis. Designed by Studiopepe for cc-tapis for the 2016 Salone del Mobile, each of the wallhangings in this collection is evocative of an archetypical human form. By way of illustration…
The appreciation of capital ‘A’ Art is rightly very subjective, certainly not without controversy, and most definitely variable with time. What is hot, hot, hot now may be cold, cold, cold as soon as tomorrow. For me, artistic expression – in its various forms – succeeds as Art when disagreement, indifference, and lively spirited conversion dominate the discussion of the objet du jour. Take for example the fantastic irreverent and intellectual conversations presented in Episode Seven (7) of Season Two (2) of Mad Men as they discuss the recent fictional acquisition of the work of Mark Rothko.
How we choose to describe the texture and feel of rugs and carpets speaks volumes to what we most cherish and on first glance it would appear as though anything describable as smooth ranks highly amongst those things. Smooth as glass. Smooth as a baby’s bottom. Smooth as silk. Smooth as velvet, though rarely is the type of velvet mentioned. Each describes something as smooth – that is to say as relatively even and not rough, yet each of these various similes conveys important and subtle differences. Smooth as glass is certainly a desirable characteristic when describing a paint finish, but to describe a carpet, likely not. Carpets should be smooth like velvet! Yes, velvety smooth. Preferably linen velvet. That kind of velvet smoothness, or is it ‘chippy and brittle’? But what about other descriptions? ‘It’s like butta!’, shaggy, wispy, cloud like, durable, pliable, to name but a few. All of which describe what is known as the hand of the carpet and they invite the casual observer to ‘Come on now touch me!’ – quoting the Doors to convey the degree of sensuality carpets with exceptional hand possess.