Lost weave

The weavers of the LOST WEAVE collection appear to have chosen the colors as the mood took them: a few knots of white wool with a scattering of black or lemon yellow here and there. The basic pattern of vertical pink stripes is only hinted at and is often interrupted. Dabs of blue wool ? a mistake? Or perhaps even a spot of ink?

Lost weave

Jan Kath plays with the emotions of people who view his work. "The charm of this carpet is that it seems to have been left to chance with a thirst for anarchy," the designer explains. However, this vitality has been skillfully arranged and can be reproduced. "Of course, every last knot has been planned with precision and is realized in the workshops of Nepal with close attention to detail." However, the inspiration for LOST WEAVE does not come from the Himalayas, but from Morocco. Carpets in this country known as boucherouite are hand-made by women at home for their own use. When many nomadic tribes from the Atlas mountains began to settle in the ?60s and ?70s, the change in lifestyle meant that wool became scarce. As an alternative, people began to make traditional carpets out of recycled clothes, cloth and even strips of plastic. The term boucherouite comes from the Moroccan Arabic "bu sherwit", which can be translated as "a piece made from second-hand material". "For me, this is one of the most impressive forms of organic art I have seen in a long time," says Kath. "Using nothing more than their gut instinct, these women create masterpieces of design." Gebhart Blazek, a friend of many years and the owner of the Berber Arts gallery in Graz, Austria, is an internationally recognized expert in old and ancient textile art from Morocco. "Gebhart finds the most beautiful examples of these boucherouites," Kath explains. "His fine sense for quality, rare designs and wild coolness has influenced me a lot, and it is always a pleasure to work with him." A number of carpets from Blazek?s collection were also an inspiration for LOST WEAVE. Fragments were adapted and pieced together in new compositions. For materials, Kath does not use old clothes, but hand-knotted highland wool from Tibet, Chinese silk and nettle fiber. He has these yarns woven in the Wang Deng style ? a technique that was also used to produce cushions for Tibetan monks. In this collection from Jan Kath, methods, materials, colors and inspirations are brought together from various continents to create something completely new.

Rug Evolution

Erased Classic

Motifs taken from Italian wall coverings and Indian saris form the basis of this multi-award-winning collection. The strictly ordered ornamental elements of traditional carpets are broken up. In some places, the patterns, which were originally repeated per­fec­­­­­tly, seem to have been obliterated, soaked with acid and corroded.

Rug Evolution | Erased Classic

This is how the ERASED CLASSIC collection was born – an entirely new formal language that Jan Kath is constantly developing. Professor Volker Fischer from the Frankfurt Museum of Applied Arts writes, "Jan Kath is the poet of the past and currently the most distinguished designer of ‘memento mori’ products." The aesthetics of mortality and decay represent a driving force to Jan Kath. In this regard, he has been inspired by his visits both to the world’s largest cities and, very sig­nificantly, by his own home, the Ruhr. Derelict mines, weathered old storehouses, and the reclamation of space by nature are of particular interest to him, as is the tension between old and new. The photo shoot for the current carpet catalog was set in industrial sites; the destroyed ornamental ele- ments of the carpet are the link between the raw look of the buildings and the refined materials. "Perfection and smoothness are boring for our eyes," says Kath. The de-signer explains his fascination of handwoven carpets: "Machines don’t make mistakes. While it is true that our weavers at manufacturing sites in Kathmandu strive for perfection, irregularities still arise from the manual weaving of natural materials. These ‘programmed errors’ are what make the carpets so inspired and alive. To a large extent, they are what create the depth of the design."

bidjar EVOLUTION

The original basic pattern that inspired this collection comes from north-west Persia – a carpet made in small villages close to the border between Iran and Turkey: the "Bidjar". Jan Kath has invented a new take on this floral design with his repeating patterns, rein­terpreting the "Bidjar" in eight contemporary color combinations.

bidjar EVOLUTION

The fun factor, which gave the collection the second part of its name, "ENJOY," does not end with these intense, positive colors. During a soccer match between two teams in the German Bundesliga (a relegation game between VFL Bochum and Borussia Mönchengladbach), the designer traced the ball’s path using a digital pen on the monitor. He then combined the jumble of lines resulting from all the passes and shots on goal with the BIDJAR pattern. The "offshoot" of the carpet had been created by the twentieth minute of the game, and its "little brother" was complete by half-time – in this way, a trilogy came into being that has now been creatively developed to result in a quintet of carpets. The original Bidjar (not its namesake, which was sold during the heyday of the Oriental carpet) has always been synonymous with quality and extreme robustness. In keeping with tradition, Kath therefore uses a particularly dense and thick pile for the BIDJAR EVOLUTION collection. The carpets are knotted by hand over a period of months using hand-spun Tibetan highland wool, silk, and stinging-nettle fiber. The opulent "mother carpet" is made with traditional tassels while the four eroded "offshoots" of the carpet have a colorful kilim border. This gives the carpet additional strength and underscores its high quality like a flamboyant stroke of the brush. Designers and architects can now treat the collection like a modular system.

Radi deluxe

Everything is allowed, as long as it’s fun! In "Radi Deluxe", Jan Kath has freely combined his two most successful collections. Radi forms the background with its dynamically organic design. On top of this are elements from Erased Classic that provide the carpet with a pattern and a new structure.

radi deluxe

The choice of powerful fluorescent colors such as neon green, orange, bright purple, and electric pink means that motifs borrowed from Italian wall coverings and Spanish carpets that usually have a simple, noble effect are given a completely different mode of expression. The two designs, which are not at all alike, are not intended to compete with each other. Instead, they blend together to create a new, unexpected sense of vitality. The carpets are both fas­cinating and bewildering to behold. People who see them will ask whether the decoration was added after the carpet was made, or whether some of these features were removed later in the process. "The best way to solve this puzzle is to use your hands," explains Kath. "Anyone who runs their palm over the combination of material – wool, silk, and stinging-nettle fiber – will easily notice that the erosion is nothing more than an optical illusion. Both the pattern and the background are designed with precision before each individual knot is tied by hand to make the carpet a reality." Jan Kath has also resurrected tassels in this collection. Long and brightly colored, they give these carpets an additional, slightly "hippie-esque" touch. Kath’s building-block concept also holds true for Radi Deluxe – customers are free to choose not only the design combi­nation, but also the colors, materials, knot density and size.

sari deluxe

We want more color! In his "Sari Deluxe" collection, Jan Kath focuses on the electrifying radiance of traditional Indian dress. In doing so, he uses only the very finest silk cloths worn by Indian women for special celebrations. The design­er refers to this as "luxury recycling".

SARI DELUXE

The saris are first cut into fine strips, which are then painstakingly separated, cleaned and sorted by color before being used as pile material. With bright azure blues, radiant moss greens, and bold garnet reds, it is an uncommon vibrancy of color that makes these carpets so unique. Throughout the city of Agra, in the heart of the former Mogul Empire, factory workers make the carpets by hand. Originally from Persia, the Moguls introduced the craft of carpet-making to the subcontinent in the 16th century. It is an area where the art is very much alive to this day – a testimony to the Islamic rulers of that time, just like the Taj Mahal, the world-famous tomb. Some of Kath’s designs are carpets on which the sari silk is knotted in geometric patterns in line with Oriental tradition, but he also creates carpets using gradations of just one color. "Particularly with the tonal varieties it is clear to see just how complex the material is," Kath explains. Even when the colors are separated by hand, they are never completely identical. Here and there you can see a thin strand of gold thread in the fabric or a dab of neon red. "Every sari we use has a story of its own – and this is what they tell us when they’re in our carpets."

tagged

Is that even possible? In this collection, Jan Kath combines a centuries-old knotting technique with modern hand-tufting technology. The result is a whole new look that will captivate the attention of everyone who sees it. The designer calls it "Tagged".

tagged

With each hand-tied knot using traditional templates in small factories, a classic Oriental rug serves as the foundation for this exclusive, unique work of art. The wool is hand-spun and dyed using natural pigments. A specially developed antique finishing technique makes it look as if the rug has been lying in the salon of an old manor house for years on end. In other words, it’s a new "old" rug. "It’s actually perfect the way it is now, but perfect is boring," says Kath before moving on to the next step and applying the rug’s signature feature – a bright pink, golden, or vibrant blue silk. Using a special technique, graphics, and slogans such as "Make Rugs, not War," "Sex, Rugs, and Rock ‘n’ Roll," and "This Is a Rug Revolution" appear like graffiti on the traditional knotted surface. It almost looks as if silk is bubbling out of the background. "Until now there was a clear rule: either tuft OR knot," the designer explains. In the world of graffiti, a "tag" is the name given to an artist’s signature, and in this JK collection, a tufting gun is used much like the spray can of a graffiti artist. "We have created a brand new genre with this method, setting new benchmarks in the world of art and design." The two manufacturing processes do not compete in any way. In fact, one emphasizes the unique character of the other. The hand-knotted foundation acts as a stage for the tufting, while the monochrome high-tech structure under­lines the depth of the traditional production technique. 2012 "TAGGED" won the "Carpet Design Award" in the category "Best Innovation".

erased heritage

Back to the roots! The "Erased Heritage" collection pays homage to the traditional Oriental carpet. Finding inspiration from old patterns, techniques, and standards of quality, Jan Kath also turns to old master weavers to bring these designs back to life. Knot by knot, they hand produce Egyptian Mamluks, Iranian Bidjars, and Turkish Konyas using the original colors.

ERASED HERITAGE

But the simple reproduction of old ideas is not the "JK" philosophy. The inclusion of the word "Erased" in the collection name is a clear indication that Kath incorporates his trademark alienation effects in these creations. A specially developed antique finishing technique makes it look as if new rugs have already been lying on the parlor floor of a manor house for years on end. "Just like every Bavarian village has its own traditional dress, every community, region, and cultural group in the East has developed a particular style of carpet. It’s fascinating how, over the centuries, different areas have developed such different signature features and styles," explains Kath. "With the Erased Heritage collection, we are helping to make sure that these ideas survive into the modern age." This is true not only for the patterns and materials used, but also for the unique method of production: while most carpet weavers around the world read the pattern from a drawing, directions for pieces in the Erased Heritage collection are sung aloud. The loom master, head of the carpet weavers, sits with a drawing of the knotting instructions opposite the workers. From this position, he reads out commands such as "seven coral red," "five garnet," "two beige," and so on. He then translates this information into a kind of chant and sings the next steps to those tying the knots in a rich, sonorous voice. "This unorthodox process is used by small family businesses," notes Kath. "It’s extremely labor-intensive, and not at all straightforward to apply these old production methods to my designs. But the effort is definitely worthwhile. The results are carpets with a revolutionary look that combine old and new in a way that has never been done before."

Le maroc blanc

These carpets make you want to lie down and sleep on them. Just like flat Kilim carpets, the naturally white, fluffy Berber rugs have a tradition in Morocco that is centuries old. At their small, portable weaving chairs, nomad women wove carpets that were narrow but often quite long.

LE MAROC BLANC

These pieces filled the tents – voluminous, rustic carpets that served to insulate the floor from cold, and to make the space more livable. This ancient, high-quality weaving tradition has always fascinated Jan Kath, and he decided to revive it in his collection Le Maroc blanc. In keeping with tradition, he has the carpets manufactured according to old methods. Whether the yarn is white, brown, or even deep black, the wool comes from Moroccan sheep in the Atlas Mountains, and retains its natural color. To a large extent, the designs are also based on ancient, traditional Berber patterns, and are woven by the grandchildren and great-grandchildren of the nomadic women. Because the weaving chairs are now located in small mountain villages surrounding the city of Azilal and no longer need to be transported, the formats can be larger. It is no longer rare to find Berber rugs by Jan Kath measuring 4 x 5 meters – vast pieces that transform a room in a unique way. Kath leaves nothing to chance. As organic as the knots might seem, every deviation and irregularity in the pattern is intentional, creating a highly unusual, vibrant look.

Disco gol farang

From Russia with love

It would be difficult to surpass the opulence of this design. Magnificent roses and lavish floral wreaths form the basic pattern of the carpet. The petaled motifs are reminiscent of the traditional shawls and headscarves still worn by old Russian women in rural areas to this day.

From Russia with love

The collection is also inspired by carpets made in Karabakh and other provinces in southern Russia around 1900. The patterns are created using rich, bright colors of Tibetan highland wool and Chinese silk, making each final product a unique and emotionally powerful piece of art. These carpets dictate the character of the space they are in and create a focal point of interest. Jan Kath’s trademark alienation effects are not missing from the From Russia with Love collection. The customer can choose from the complete traditional pattern or a variation of this. Sometimes the decoration looks like it has been cut out with a fencing foil, while other varieties look as if a careless decorator has left large blobs of paint on the carpet. The inclusion of the phrase "disco gol farang" in the collection title is Kath’s reference to old carpet traditions. "Gol farang" is Persian (Farsi) for "foreign flower". In a more precise sense, the word "farang" is a malapropism of the Franks that was used to describe carpets characterized by influences from other countries. It was not uncommon for royal houses in France and Poland to have carpets made in Persia according to their own ideas. In this way, they impacted design ideas in the traditional countries of production. "It’s fun to make changes," remarks Kath. "And I don’t want to make the same thing forever." He plays with long-established motifs, reinterpreting them as the trademark Jan Kath signature continues to evolve.

boro

The inspiration for the "Boro" design is ancient patchwork art from Japan, which involves sewing together long strips of worn materials to form exclusive wall hangings. Jan Kath has found a new interpretation for this idea in his designs.

BORO

The carpets have a multilayered effect. "The look reminds me of a wall that has had many layers of paint applied to it, one on top of another, which are now peeling away," Kath explains. "This is an image you see every day in the Ruhr. The post-industrial charm of dilapidated mining sites has always interested me. With the Boro collection we are breaking through geometry, scratching at the straight line. Because of this, the pieces never seem cold and static." The selection of materials also makes an important con­tribution to the vitality of the carpets. The hand-combed and hand-spun Tibetan highland wool, Chinese silk, and stinging-nettle fibers create varying light reflections, giving the carpets their almost transparent depth. The traditional manufacturing process can be sensed when you look at the carpet. The pieces are woven by hand and slowly come into being over a period of months. As a result, each carpet has its own individual history. The Boro line can also be merged with other collections by Jan Kath. One example of this is the model Boro 10. Behind the even strips that run vertically over the carpet, individual ornamental elements from the Erased Classic collection emerge. Like the design itself, customers can freely choose the size, knot density, color, and materials of the carpet.

Sliced

Jewelry for floors: emerald, hematite, quartz, and agate. In the collection "Sliced", the design template is derived from nature. Jan Kath’s carpets reproduce "cross-sections of elegant" precious and semi-precious stones – an idea that earned him the "Wallpaper Design Award" for best rug.

SLICED

Although these pieces have a cool marble appearance, they are made from warm Tibetan highland wool combined with a very high percentage of silk, which creates a fasci­nating contrast that holds the viewer’s gaze. They ennoble a room in the truest sense of the word. It is as if a cen­ti­meter-thick slice of radiant blue agate with crystal inclusions and faults developed over millennia were lying in the living room or entry hall. "With the Sliced collection we are demonstrating once again that you can create a cool look in a room without risking cold feet," Kath explains. The realization of the design is an extremely timeconsuming process. Since there is no recurring pattern, it represents a special challenge to even the most experi­enced weavers in the small workshops of Nepal. "The structures are so varied and deeply filigreed that the craftsmen often change the material from knot to knot," Kath notes. "But it is precisely this natural anarchy of thousands and thousands of color points that makes the pieces unique."

Tokio

You could get lost in these carpets. In his "Tokio" collection, Jan Kath recreates the pictures of famous artistic pho­tographer Stefan Emmelmann as pieces of textile artwork. It is an entirely new dimension in the world of decorative carpets.

TOKIO

Carpets become art, and art becomes carpets. In this process, millions of pixels from the digital original are translated knot by knot into silk and wool – a technique that demands the highest level of skill and presents the craft of carpet making in a new light. The concept also attracts an entirely new clientele. Carpets in the Tokio collection are a phenomenal play of colors. On closer inspection, the observer will begin to recognize night scenes from the Japanese metropolis: high-rise buildings, illuminated advertising, bicycles, posters, and people. The motifs overlap on many levels, melting into each other. Some images are reflected, while others multiply – a kaleidoscopic effect that draws your gaze into this extraordinary carpet. Details that went unnoticed now come to the fore: a small kitten on the corner of the road, share prices on a display screen, the face of a young woman as she sneaks a glance from beneath her umbrella. Above all of these details, almost like a secret message, Japanese and Chinese lettering shimmer on the surface. "It doesn’t matter whether you’re standing on the carpet, looking at it on the ground from further away, or admiring the work as a wall hanging – it will always offer you a different, captivating picture," says Kath. "The carpet has become a canvas that you can walk on and feel with your hands, which is a revolution in the way we normally perceive the world around us."

UNKNOWN ARTISTS

In a brief moment when nobody’s looking, usually in a matter of mere minutes, the walls of houses are sprayed with graffiti. People have acknowledged for a long time that, more often than not, such graffiti is an exciting work of art, a powerful expression of the zeitgeist and the mood of an entire generation – not just smears of paint.

UNKNOWN ARTISTS

In the UNKNOWN ARTISTS collection, Jan Kath has now brought the designs of an unknown graffiti artist from New York City, Los Angeles and other major cities onto carpets, raising the curtain on a new stage for street art. Even the finest gradation of color is reproduced using some 150,000 knots per square meter, taking four experienced carpet weavers three months to create the elaborate fabric mural out of wool and silk. "I get the inspiration for my carpets when I am traveling around the world," explains Kath. He shows an equal interest in traditions that are hundreds of years old and contemporary underground culture. "I try to bring these two worlds into contact. I am fascinated by the power and decisiveness of graffiti artists. Kyle Clarkson, my friend and business partner from New York who also manages our showroom in Manhattan, discovered and photographed many of these works. By copying the feats of anonymous artists using an elaborate manual process, we aim to give their work a new dimension and to generate new perspectives."