Why Antique Rugs Are Better for the Planet

Why Antique Rugs Are Better for the Planet

If sustainability and, well, the planet, are important to you, here's one main reason to consider buying an antique or vintage rug:

They already exist!

An antique rug doesn’t need any wool or dyes, is often transported fewer miles (most of the rugs I find are either in the UK or Western Europe), and won’t take decades to biodegrade when it’s eventually discarded. In fact, a simple wash and light repair can often bring these rugs back to their former glory.

So, what goes into making a new rug, and why isn't it necessarily great for the planet?

What Goes into the Fibres of a New Rug and How Does This Impact the Environment?

Wool

Wool needs sheep. Sheep need land, food, and water. They also produce methane, which is 28 times more potent as a greenhouse gas than carbon dioxide. Water pollution is another concern - faecal runoff and the use of chemicals to treat parasites can contaminate waterways.

Cotton

Although not many rugs are made entirely of cotton, it’s worth mentioning since many rugs use cotton for the warps and wefts. Cotton is one of the most water-intensive crops, requiring about 10,000 litres of water to produce 1 kilogram of lint. This high demand strains water resources in arid areas, contributing to water scarcity. Additionally, cotton cultivation relies heavily on pesticides and fertilizers, which can pollute local water sources. Intensive cotton farming has even led to the desiccation of the Aral Sea, a stark example of environmental mismanagement.

Natural Silk

Silk production requires mulberry tree cultivation, which consumes water (though less than cotton). However, pesticides used in mulberry farming can also pollute waterways.

Bamboo Silk

Bamboo silk is often promoted as eco-friendly because it uses less water. However, its production involves significant chemical processing. Converting bamboo into viscose requires hazardous chemicals like carbon disulfide, which can have harmful environmental effects.

Acrylic, Polyester, Nylon, and Polypropylene

These synthetic fibres are derived from petrochemicals. They take centuries to decompose, often breaking down into microplastics that persist in the environment. Their production also contributes to fossil fuel consumption.

The Dyeing Process

Dyeing is the most water-intensive process in rug manufacturing. It’s estimated that you need 200 tonnes of water to process just 1 tonne of fabric. This water is used for preparing dye baths, rinsing, and washing, creating a significant environmental burden, especially in regions with scarce water resources. The wastewater produced often contains salts, heavy metals, and undissolved dyes, polluting rivers and other water bodies.

Washing and Finishing

This is the first stage where antique and new rugs share similarities. However, all you need for an antique rug is a little mild detergent and water. My antique rugs are washed in the UK, where environmental laws and water treatment processes are highly regulated. In contrast, many new rug weaving countries use environmentally harmful chemicals, and their runoff often ends up polluting local water supplies.

A particular concern is the artificially created “Vintage” rugs popular these days. These are often low-quality rugs treated with harsh chemicals and scrubbed to achieve a specific look. The chemicals used in this process frequently end up in the environment.

Decomposition of Rug Fibres

What happens when a rug is finally discarded? Here’s a rough estimate of decomposition times for different fibres:

Natural Fibres:

• Wool: Biodegrades within 1–5 years under aerobic conditions; releases nutrients to soil but also ammonia.

• Cotton: Decomposes in about 5 months but may release pesticides into the soil.

• Natural Silk: Takes 1–2 years to biodegrade, breaking down into proteins.

Synthetic Fibres:

• Nylon: Takes 30–40 years to degrade; contributes to microplastic pollution.

• Polypropylene: Highly resistant to biodegradation, persisting for over 100 years.

• Polyester: Can take over 200 years to decompose.

• Acrylic: Breaks down into microplastics, persisting for centuries.

Is There a Downside?

One downside is that the antique rug market does not directly support current employment in rug-making regions. Buying new rugs from reputable manufacturers helps sustain artisans in these areas, providing critical employment opportunities where they are most needed.

Conclusion

Antique rugs aren’t just beautiful - they’re better for the planet. Next time you’re searching for a rug, consider one with history, charm, and an eco-friendly footprint.

Browse my collection of stunning antique rugs here!

Why does a rug change colour?

Have you ever wondered why a rug has various colour changes? 

People often think that it is either a defect or caused by fading (both mistaken) but there is a technical explanation. It is called ‘Abrash’ (other spellings are available) and this is what gives a good handmade rug it’s texture. If you look at a poor quality rug with chemical dyes, it looks ‘flat’ in comparison. In fact, many machine made rugs will try to artificially replicate the Abrash that you get in handmade rugs.

Abrash can take many forms, from the subtle colour changes in this antique Bakhtiar rug

to the more extreme you can see in this antique Caucasian rug

So, how and why does it occur?

Firstly, it is important to understand the basics of how a rug is woven.

Sheep is shorn ➡️  Wool is sorted and washed ➡️  Wool is spun and bundled ➡️ Wool is dyed ➡️ Rug is woven

Dyes

Natural dyes

Humans have been dyeing wool and other fibres for centuries, using natural products including plants, roots, nuts and even bugs! Chemical (or aniline) dyes were discovered in the mid 19th Century and began to be used in rugs from the 1870s, becoming widespread in the 1st quarter of the 20th Century.

Dyeing Process

Wool dyeing in Afghanistan

After the wool is spun and bundled, it is placed in small, wood-fired pots with the dye. The experienced dyer will then ascertain how long to leave the wool to achieve the required colour. This is mostly done using their experience and by sight. The bundles of wool will all absorb the dye slightly differently, according to many different factors - the temperature of the water, how long it has been left in the pot, even down to how tightly bound the bundle is.

Weaving

Rug Weaving in Pakistan

Once the wool is dyed, the weaver will start the rug from the bottom up. As they use up one bundle of wool, they will then start another. Although they may look identical, as we have seen above, each bundle will be slightly different, causing slight changes as they work up the rug (which is why Abrash always occurs horizontally rather than vertically). This continues until the rug is finished.

Antique Rugs

In addition to the natural variations at the point of weaving, dyes can change over time. If the weaver uses two batches of wool with different dye ingredients that look similar, they can fade at different rates over time, accentuating the difference in the colour.

Antique Malayer Rug

In this example of an antique Malayer rug, the rug would have been a uniform colour when woven, but one half has faded faster than the other.

Conclusion

Whilst brash can take many forms, it invariably adds character and depth to any rug, both new and antique. It can also be an indication of good quality dyes (whether they are natural or aniline) and artisan production.

Isfahan, the History Behind the Rugs

One of the highlights of my first trip to Iran in 1994 was a visit to Isfahan. I was blown away by the architecture and culture of the city and soon fell under the spell of it’s magical rugs!

Isfahan, located in central Iran, is one of the oldest and most significant cities in the country.

It’s history stretches back over 2,500 years, and the city has played a crucial role in shaping the cultural, political, and economic landscape of Iran. Here's a brief summary of the important historical periods of Isfahan:

Ancient Times: The area around Isfahan has been inhabited since prehistoric times, with archaeological evidence suggesting settlements dating back to the Palaeolithic era. The city's early history is intertwined with the ancient Elamite civilization and later the Achaemenid Empire, established by Cyrus the Great in the 6th century BCE.

Parthian and Sassanid Era: Isfahan gained prominence during the Parthian period (c. 247 BCE - 224 CE) and reached its zenith during the Sassanian Empire (224-651 CE). During this time, Isfahan was known as "Gavmishan" or "Gabian." The Sassanian kings constructed various monuments, palaces, and temples in the region.

Islamic Era: With the Arab conquest of Persia in the mid-7th century, Isfahan came under Islamic rule. During the Abbasid Caliphate, the city declined in importance but experienced a revival under the Seljuk Turks in the 11th century. It became a significant cultural and commercial centre along the Silk Road.

Seljuk and Mongol Period: In the 11th and 12th centuries, Isfahan was under the rule of the Seljuk Turks. During this time, the city flourished, with numerous mosques, madrasas, and other structures built. However, in the early 13th century, Isfahan faced devastation when the Mongols, led by Genghis Khan, invaded the region.

Sheikh Lotfollah Mosque

Naqsh-e Jahan Square

Timurid and Safavid Period: Isfahan experienced a cultural renaissance during the Timurid dynasty (1370-1507), but it was under the Safavid dynasty (1501-1736) that the city reached its golden age. In 1598, Shah Abbas I made Isfahan the capital of the Safavid Empire, and the city was transformed into a masterpiece of Islamic architecture. Magnificent buildings like the Naqsh-e Jahan Square, Imam Mosque, Sheikh Lotfollah Mosque, and Ali Qapu Palace were constructed during this period, making Isfahan one of the most beautiful cities in the world.

Exterior detail of the Sheikh Lotfallah Mosque

Afghan and Qajar Rule: The Safavid Empire declined in the early 18th century, and Isfahan faced challenging times during the Afghan invasion (1722-1729). Later, the Qajar dynasty (1785-1925) established control over Iran, and although Isfahan was no longer the political capital, it retained its cultural importance.

Modern Era: In the 20th century, Iran underwent significant political and social changes. Isfahan continued to be a cultural centre, and during the reign of Mohammad Reza Shah Pahlavi, the city experienced modernization and urban development.

Interior of the Shah Mosque at Naqsh-e Jahan

Present Day: Today, Isfahan remains a vital city in Iran, known for its rich history, stunning architecture, and vibrant culture. The city's landmarks have earned it a spot on UNESCO's list of World Heritage Sites, attracting tourists and historians from around the globe.

Overall, Isfahan's history is a tapestry of ancient civilizations, Islamic dynasties, and cultural achievements, making it a testament to Iran's rich heritage and historical significance.

Rugs

Antique Persian Isfahan Rug 1.93m x 1.36m

Isfahan rugs are renowned for their exceptional craftsmanship and artistic beauty. The history of Isfahan rugs dates back several centuries and is closely intertwined with the culture of the city. The production of these fabulous rugs has been a significant part of Isfahan's cultural heritage.

Ancient Roots: The art of rug weaving in the region of Isfahan can be traced back to ancient times. Persian carpets have a long history, and Isfahan played a crucial role in their development. The city became a prominent centre for carpet weaving during the Safavid dynasty (1501-1736 AD).

The Golden Age: The golden age of Isfahan rug production is often associated with the Safavid period. Under the patronage of Shah Abbas I (reigned 1588-1629), Isfahan witnessed a cultural and artistic renaissance. The Safavid court actively encouraged the creation of exquisite rugs and textiles, leading to an increase in the quality and diversity of Isfahan's carpet production.

Fine Craftsmanship: Isfahan rugs became famous for their intricate designs, fine craftsmanship, and high-quality materials. The skilled artisans of Isfahan utilised the asymmetric knotting technique, known as the Persian or Senneh knot, which allowed for greater detail in the designs.

Antique Persian Isfahan Rug 2.04m x 1.38m

Designs and Patterns: Isfahan rugs are renowned for their elaborate designs, often featuring floral motifs, hunting scenes, medallions, and intricate borders. The central medallion and corner patterns are common elements in Isfahan carpets, and they are known for their balanced and symmetrical layouts.

Decline and Revival: The decline of Isfahan rug production occurred during the early 20th century. Political instability, economic challenges, and the emergence of machine-made rugs impacted traditional craftsmanship. However, in the mid-20th century, there was a revival of interest in Persian carpets, and efforts were made to preserve and revive the art of weaving Isfahan rugs.

Modern Era: Today, Isfahan rugs continue to be prized and sought after by collectors and connoisseurs worldwide. Artisans in Isfahan and surrounding regions still produce these rugs using traditional techniques handed down through generations. The modern Isfahan rugs maintain the artistic brilliance and timeless appeal that made them famous throughout history.

Antique Chanteh Bags

Antique Chanteh Bags: A Glimpse into Persia's Rich Cultural Heritage

Antique Qashqai Chanteh

I have long been fascinated by these small tribal weavings, ever since I was presented with one as a gift on my first visit to the Qashqai tribe of south west Persia in 1994.

Antique Chanteh bags, also known as vanity bags, are a testament to the rich cultural heritage of Persia. These interesting little weavings offer a fascinating window into the traditional lifestyles of the numerous nomadic tribes along with the intricate craftsmanship that has been passed down through generations.

Major tribes of Persia

The history of the origins of Chanteh bags is a little blurry but they were woven by the women of the tribes and would have been used to keep valuables such as jewellery and money. They were woven using wool from their flocks of sheep and whatever natural dyes were locally available. They were not made commercially, simply for their own use and they served a practical purpose while reflecting the artistry and cultural identity of the individuals who crafted them.

What sets antique Chanteh bags apart is the remarkable level of detail employed in their design. Each bag is a small work of art, showcasing the weaver’s skills along with their personal taste. These designs are meticulously handwoven, using various techniques such as knotting, kilim weaving or embroidery, which demonstrate the dexterity and mastery of the weavers.

With nomadic tribes adapting to modern ways of life, the weaving of Chanteh bags has all but disappeared over the last 100 years but their significance as cultural artefacts remains intact. Today, these bags have found new purpose as stunning decorative pieces, proudly displayed in art galleries, museums, and private collections.

Owning an antique Chanteh bag is akin to holding a tangible piece of history. Each bag carries with it the stories of a bygone era, passed down from generation to generation. As collectors and enthusiasts continue to appreciate these intricate creations, the demand for authentic antique Chanteh bags has only grown stronger. They not only showcase Persia's artistic heritage but also serve as a reminder of the ingenuity and adaptability of its people.

To view my stock of these wonderful Chantehs, please click below:

Funky Qashqai Kilims

A bit of a departure with these kilims but I fell in love with the naivety of the designs and, most of all, with the story behind them!

These kilims are woven by the Qashqai, a nomadic tribe in south-west Iran around the city of Shiraz. They have a long history of weaving and many continue to live a traditional nomadic lifestyle.

The designs come from drawings by Kosar, the 14 year old daughter of one of the weavers. They were spotted by her father in her drawing book and, together, they decided to make them into these unique kilims.

In this letter, she explains where her inspiration come from - here is an excerpt:

“I try to draw designs with my own ideas, for example, when I see objects, shapes and images, I try to add or subtract things to them. When I see a person or an animal, I draw it in the funniest way possible.

When I draw a design, I usually create it in the most unnatural way possible to attract people's attention. For me, the most interesting stage of the work is when the designs are turned into kilims by the weavers.”

To see my stock of these fabulous kilims, please click here.