jan kath press booklet - architonic · largest marketplaces in the world for oriental carpets. jan...
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2014
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jan kathPress
booklet
The Designer
bochum, berlin, …, new york
QualiTy anD manufacTuring
our self-image
hanD knoTTeD
hanD TufT
eraseD heriTage
losT weave
rioT
eraseD classic
biDjar evoluTion
raDi Deluxe
sari Deluxe
spacecrafTeD
TaggeD
precious panel
le maroc blanc
haîkmauro & spice
from russia wiTh love
heiTer bis wolkig
boro
arTwork
sliceD
Tokio
unknown arTisTs
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Press contact
Gaby HerzoG
rueckerstrasse 7 10119 berlin Germany
m: +49 (0) 163 776 70 53
Info & Photo-DownloaD
www.jan-katH.com
jan kath DesIgn gmbh heaDquarters
Friederikastrasse 148 44789 bocHum Germany
t: +49 (0) 234 941 23 44 F: +49 (0) 234 941 23 90
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you can be cool wHile still keepinG your Feet warm! witH His modern desiGns, jan katH (born 1972) is creatinG a completely new perspective on carpets. Guided by a bold approacH in His work, katH, oriGinally From bocHum, combines classical ele-ments oF oriental carpets witH contemporary, minimalist desiGn.
He consciously breaks with traditional ways of seeing and throws strict rules of composition out of the window. While an entire generation once rolled up their grandmothers’ Persian rugs and exiled them from the living room, Kath’s designs are now bringing them “back to the floor.” “Nobody feels really comfortable in clinically styled apartments with highly polished concrete floors,” Kath explains. “Our carpets are an organic dotting of the ‘i’, islands of wellbeing with a healing effect in cool interiors – without destroying the overall style.” With his interpreta-tion of the modern carpet, Kath has developed an unmistakable signature that defines style and is one of the most important carpet designers on the interna-tional stage today. His concepts have earned numerous accolades, including the Red Dot award and Carpet Design Award. More and more of his work is now ap-pearing in museums that showcase art and design such as the Frankfurt Museum of Applied Art, the Beijing International Design Triennial, Art Museum Riga Bourse and the Museum für Gestaltung Zürich. Kath is an autodidact. The matrix for his innovative designs is formed by a relationship to carpets with deep emo-tional roots: he is from the third generation of a family of carpet dealers who have branches in the Ruhr and in Berlin. When he was just a young boy, he and his fa-ther, Martin Kath, used to visit manufacturers in Iran and Nepal. These experi-ences trained his eye and awakened a fundamental understanding of color com-binations and proportions. At the same time, Kath never wanted to follow in the footsteps of his parents, and he never intended to continue running the business for them. In order to find his own way, he traveled through Asia and the Middle East when he was 20 years old. During this trip, he wound up, more or less acci-dentally, in Nepal. There, friends of his family offered him the opportunity to start working as a quality controller in their carpet production business. His “connec-tion with the world of carpets” was reestablished. Later, Kath took control of the manufacturing process and began to produce his own designs. Inspired by nu-merous trips through vibrant world cities such as Paris, Istanbul, New York, To-kyo, Beirut, Sydney, and, last but not least, his home – the Ruhr, with its archaic industrial culture – he quickly developed an individual signature. Although the allure created by imperfection, erosion, and transformation plays a central role in his designs, Kath is “uncompromisingly conservative” where quality is concerned. the
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tHe jan katH desiGn creative center is located in an old, 1,000 square meter Factory loFt at Friederi ka-strasse 148 in bocHum. tHe new collection is present-ed on temporary walls in tHe sHowroom, beneatH old steel beams and liFtinG cranes.
Large-format carpets made of wool, shimmering silk, and stinging- nettle fibers are shown to their best advantage in a light-flooded hall that has the rough charm of the industrial culture of a past age. By prior appointment, carpet dealers and their customers are allowed to have a look around the private gallery, which adjoins the showroom. JK collec-tions are sold around the world by selected trading partners. In recent years, Jan Kath has developed into a very strong brand with a major influence on trends in the carpet design industry. At one time, customers used to look for a particular kind of carpet whose pattern was represen-tative of a certain region or people – for example a “Bidjar”, “Afghan”, “Buchara”, or “Keshan”. Today, however, the most important factors are the designer and the variety of ideas he or she has to offer. “People don’t search through large piles of carpets looking for just any pretty pattern,” explains Kath, pointing out that most customers ask explicitly for a certain designer. “People want to see the individual signa ture in the work – a concept that they can understand.” For this reason, Jan Kath opened his first flagship store in the fall of 2011. His most recent collec-tions are displayed in a 150 square meter gallery located at Brunnen-strasse 3 in the Mitte district of Berlin (near Rosen thaler Platz).The JK store in Stuttgart (Wilhelmstrasse 8b), which opened its doors in 2012, is 100 square meters in size. In 2013 a store was opened in the Hafencity district of Hamburg (Am Sandtorpark 14) in the immediate vicinity of the traditional warehouse quarter, which for centuries has been one of the largest marketplaces in the world for Oriental carpets. Jan Kath de-scribes the 320-square-meter store in Cologne (Venloer Strasse 16) as a carpet cathedral. The carpets are displayed on the six-meter-high walls on the first floor, while the historical catacombs in the basement provide a fascinating counterbalance. He also exhibits his designs in a 350 square meter converted loft close to the Marlborough Gallery and Pace Gallery in New York (555 West 25th Street). The British magazine COVER celebrated the inauguration of the Manhattan store with the words “Kath is going global” and predicted that “it is only a matter of time until anoth-er Jan Kath shop pops up in a town near you …” b
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jan kath store berlIn
brunnenstrasse 3 10119 berlin-mitte
t: +49 (0) 30 48 49 60 90
berlIn store
jan kath store köln
venloer str. 16 50672 köln
t: +49 (0) 221 94 967 940
cologne store
jan kath store stuttgart
wilHelmstrasse 8b
ecke HeusteiGstrasse 70182 stuttGart
t: +49 (0) 711 518 90 350 F: +49 (0) 711 518 92 625
stuttgart store
jan kath DesIgn gmbh heaDquarters
Friederikastrasse 148 44789 bocHum
t: +49 (0) 234 941 23 44 F: +49 (0) 234 941 23 90
bochum showroom
jan kath showroom kyle anD kath llc
555 west 25tH st 2nd Floor
new york, ny 10001 united states
t: +1 646 74 52 555 F: +1 646 74 52 554
new york showroom
jan kath store hamburg
am sandtorpark 14 20457 HamburG
t: +49 (0) 40 228 69 39 0 F: +49 (0) 40 228 69 39 09
hamburg store
qualIty anD
manufacturIng
jan katH is one oF tHe most important carpet desiGners on tHe international staGe. His carpets can be Found everywHere – in tHe Homes oF arabian royalty, in tHe wasHinGton residence oF Former us president bill clinton, in tHe villa oF rock star antHony kiedis in Hawaii, in private suites at tHe “Four seasons” in cairo, on tHe luxury yacHts oF multi national oil conGlomer-ates, and in tHe sHowrooms oF important parisian FasH-ion labels.
With regard to size, format, and materials, the carpets can be made according to individual wishes. Even items from the collections can be freely combined with one another in a kind of modular design system. Yarns from wool, silk, and stinging nettles are available in a range of over 1,200 colors. Kath’s modern designs first take shape on comput-ers in the creative center in Bochum in the Ruhr district of Germany and are sent electronically to be made in Nepal, Thailand, India, or Morocco. Nevertheless, he relies on long-established production methods for the realization of his ideas. The carpets are handwoven in the Himalayas in Agra, the ancient Mogul capital in India or in the Atlas mountains of Morocco in line with centuries-old traditions and at manufacturing sites that are often still run as small family busi-nesses. There are between 100 and 450 knots in every square inch of carpet (6.45 square centimeters). It takes three to four months to weave a carpet measuring 2.5 × 3 meters. For the collections made in Asia, the basic material is Tibetan highland wool, which is of the high-est grade and has the most robust quality available. Shepherds use yaks to bring the wool from the mountains to the base station, where it is washed in the river before being carded (combed) and spun by hand. Only ecologically tested dyes that are purely natural or specially produced in Switzerland are used in the dyeing process. In addition to the wool, the finest Chinese silk and yarn from stinging-nettle fibers help create appealing reflec tions and an exceptional haptic experi-ence. One-of-a-kind natural materials in combination with manual produc tion techniques lend each carpet its own particular character, making it a unique piece. q
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our self-Image
Fair payment and Good workinG conditions are a matter, oF course, For jan katH. toGetHer witH label step, we are Fully committed to adHerinG to strict social and ecoloGical standards in tHe production oF carpets.
STEP was founded as an independent non-governmental organization in 1995 by well-known aid organizations such as Bread for the World, Caritas, and Swissaid. It has an active local presence in all of the major carpet-producing countries, including Afghanistan, India, Iran, Kyrgyzstan, Morocco, Nepal, Pakistan, and Turkey. Independent inspec -tors regularly visit production sites to check the working conditions. Based on current market prices, Label STEP calculates the wages re-quired by carpet weavers and other workers to cover the cost of food, health care, living, energy, clothes, and education for them- selves and their families. Both STEP and Jan Kath are firmly against exploitative child labor. A system of fair trade and rigorous regulation helps to prevent child labor and also combats its causes by improving working conditions and increasing wages. It also creates prospects for young people: only when parents earn enough to secure a liveli-hood for their families, can they afford to send their children to school instead of letting them work. “I’ve lived and worked in Nepal and Mongolia for several years myself,” says Kath. He feels a close con-nection with the locals in these countries and visits the production facilities every month. “Of course, it’s a moral imperative. But it’s also in our own interest as a business to make sure that we provide the right working conditions. We set up day cares so our employees’ children don’t run around playing between the weaving stools. This gives our workers the peace and quiet they need to concentrate – many of our designs are highly intricate and difficult to create. We also want to keep the craft of weaving appealing. After all, we need a motivated skilled workforce in our factories, both for today and in the future.” To find out more, visit www.label-step.org o
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a carpet Grows very slowly. row by row, centimeter by centimeter, tHe pattern appears like a paGe emerGinG From an inkjet printer. wHen a Hand-made ruG by jan katH is created, it takes between 100 and 450 knots to complete every 6.45 square centimeters, or one square incH.
To produce a piece that is 2.5 meters wide, four or five carpet weavers sit side by side on a bench. Stretched out in front of them on the loom are the warp threads, which form the basic frame of the rug. The carpet weavers need to work in complete harmony and at an equal pace. This is because our rugs grow horizontally. Once a row is complete, the knots are fixed in place with the “closing thread” and packed tight using a comb hammer. Only then is it possible to begin the next row of knots. It requires real teamwork. The more complex a design is, the more detailed the knot pattern becomes, and the longer it takes to realize a piece in textile form. JAN KATH has always supported the traditional method of tying knots by hand. Although his designs break away from traditional ways of seeing the world, he favors styles of craftsmanship that have existed for hundreds of years when it comes to production. For 16 years now, the factory workers in Kathmandu, Nepal, have used Tibetan techniques. However, it goes without saying that the art of weav-ing by hand is not confined to the Himalayas. Many countries and cul-tures have produced carpets with their own individual character. In Persia, the birthplace of the rug, it is not uncommon for techniques and signature features to vary from village to village. “I adore these different forms of expression, and I have made it my mission to keep them alive,” explains Kath. “In Morocco, for example, we use a nomadic Berber tech-nique that results in a rustic, archaic effect.” This seemingly unsophisti-cated method causes the yarn to open on the surface, which is the only way to allow the rich sheen of the white wool from the Atlas highlands to come into its own. Jan Kath also uses the Turkish knotting method, which has transcended the geographical boundaries of weaving regions. “We use this technique for projects in Anatolia and Agra, in the ancient Mogul capitals of India and in our experimental workshop in Afghanistan.” After the carpet has grown inch by inch over several months on the loom and the last knot has been tied, the second stage can begin: washing. This is an important process that has a major influence on the final look of a piece. It can bring out the brilliance of the colors or give them an emphatically subdued appearance. The wash is therefore respon sible for deciding whether a carpet looks brand new or centuries old. In order to give pieces their final shape, they are stretched on a frame when still wet and carefully laid out to dry in the sun in inner courtyards and on the roofs of houses. It is a sophisticated art to get the finer details just right.
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His customers include Tiffany, Boss, Ferragamo, and one of the most successful names in French fashion. The quality of JK tufting is extremely robust. In com-parison to handwoven items, tufted carpets can be produced at a significantly faster rate. In summer 2011, a TV audience of 30 million looked on as Prince Albert II and his bride Charlène walked down the aisle at their fairytale wedding in Monaco. The aisle was covered with a truly magnificent piece – designed by Jan Kath – a 103-meter-long red carpet, weighing 1.3 tons, and with a fine white silk border. It was produced in Thailand in just two months; had it been handwoven, production would have taken at least three years. The main feature of the manual tufting method is that individual threads are not individually tied around a warp thread, but are shot from a tufting gun onto a prepared base material. Thanks to this technology, production times are shorter and it is possible to create carpets of a much larger size. The tufting process has now been refined to such an extent that almost every well-known Jan Kath design can be realized in this way. These carpets have a special depth and power of expression with their combination of winding and velour textures, diverse use of materials (silk, wool, rayon, and even hemp), and varied pile heights. For large projects, Jan Kath guarantees a delivery time of between 8 and 10 weeks including delivery, setting new standards in the tufting industry.
jan katH considers HimselF a couturier For Floors. For larGe projects sucH as luxury Hotels and exclusive sHops or vip lounGes in airports He also produces HiGH-quality Hand- tuFted carpets made in Factories.
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But the simple reproduction of old ideas is not the “JK” philosophy. The inclusion of the word “Erased” in the col-lection name is a clear indication that Kath incorporates his trademark alienation effects in these creations. A spe-cially 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 Bavar-ian 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 weav-
er s 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 defi-nitely worthwhile. The results are carpets with a revolu-tionary look that combine old and new in a way that has never been done before.”
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 oriGi-nal colors.
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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?
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 single knot has been planned with precision and is realized in the workshops of Nepal with close attention to detail.” How- ever, 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 im- pressive 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-processed highland wool from Tibet, Chi-nese silk and nettle fiber. He has these yarns woven in the Wang Deng style – a technique that was also used to pro-duce cushions for Tibetan monks. In this collection from Jan Kath, methods, materials, colors and inspirations are brought together from various continents to create some-thing completely new.
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Jan Kath has been breaking with old visual styles and con-ventions in his work for a number of years. He plays with classic designs and combines various materials and knot-ting techniques. He brings new subject matter to the carpet that has never before been discussed and makes it acceptable, setting new standards in the process. Only the shape of the classic carpet has provided him with a firm framework to date. This has all changed in the RIOT col-lection. The rectangle has been replaced by an incredibly detailed shape that seems to have grown almost organical-ly. Light indentations and gentle curves, but also harsh spikes form the outline of the carpet. Yet these effects and the multilayered shades of color do not come about by chance. They can be precisely reproduced. The unusual
shape is described in detail in the design template and set up accordingly in the frame before knotting even begins. Architects and designers who wish to work with this collec-tion are very welcome to develop their own shapes and they can also define other details such as the pile height and color combination. RIOT has a densely packed surface consisting of silk and hand-carded and hand-spun Tibetan highland wool. It is around three centimeters high and weighs approximately five kilos per square meter, making it one of the most opulent carpets in the Jan Kath collec-tions. From a technical perspective, the collection, which is made in the workshops in Nepal, is a huge challenge, but at the same time it provides a sound basis for really new ideas …
a piece oF Handmade Felt? a bed oF dense Forest moss? a piece oF oxidized copper? Handmade paper witH Frayed edGes? tHis orGanic-lookinG Hand-knotted carpet triGGers many diFFer-ent associations.
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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 per-Fec tly, seem to Have been obliterated, soaked witH acid and corroded.
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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 sig nificantly, by his own home, the Ruhr. Derelict mines, weathered old store- houses, 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.”
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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.
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, rein ter-pretinG tHe “bidjar” in seven contemporary color combinations.
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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 fas-cinating 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 combi-nation, but also the colors, materials, knot density and size.
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.
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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.”
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 desiGn er reFers to tHis as “luxury recyclinG”.
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inFinite expanse, distant Galaxies, inconceivable deptH, and an aestHetic tHat mankind could never create. durinG His travels in tHe Himalayas, on tHe rooF oF tHe world, jan katH was especially Fascinated by tHe unique niGHt sky in nepal, Far away From tHe liGHt pollution oF our civilization. yet it was tHe sHots taken by tHe Hubble space telescope tHat First Gave us a Glimpse oF tHe HitHerto only imaGined majestic splendor and colorFul opulence oF space. tHese imaGes served as inspiration For tHe spacecraFted collection.
“For years I had wanted to use the images of this awe-in-spiring stellar spectacle in my textile work,” says Kath. “But only now, with 15 years’ experience and a huge pool of expertise, are we technically in a position to produce these images in the highest resolution. The result is photo-realistic and quality of this kind has never before been achieved on the market.” Only a small, select group of highly qualified weavers in our workshops in Kathmandu have the skills to take on this challenge. Just like a pixel in a digital photo, each individual knot has to be added and inspected. There are 150 to 200 knots in every square inch (23 – 31 knots per square centimeter) and up to 60 colors are used, vividly reproducing even subtle asteroid nebulae
and the most delicate gas clouds. It appears as if the in-visible has been rendered visible. Besides excellent tech-nical skills, the use of the finest raw materials also plays a central role in achieving such a perfect result. A high percentage of Chinese silk and hand-carded and hand-spun Tibetan highland wool is used in SPACECRAFTED. The material mix significantly contributes to the fact that the designs possess unique power and depth. In contrast to a photo, these carpets have a third dimension. Space-crafted takes the beholder on a long journey. The collection conveys a sense of wanderlust, desire, and adventurous spirit and – from a technical perspective – it represents a departure into a new carpet dimension …
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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 char acter of the other. The hand-knotted foundation acts as a stage for the tufting, while the monochrome high-tech structure under lines the depth of the traditional production technique. TAGGED won the “Carpet Design Award” in the category “Best Innovation”and it was shown in several art exibitions.
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”.
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The carpets in the PRECIOUS PANEL collection are knotted by hand in the workshops in Nepal with a density of 100 knots per square inch (16 knots per square centimeter). It is this exceedingly fine knot density and the skilful combi-nation of various color tones that produces the metallic effect. The generous use of the finest Chinese silk and es-pecially high-quality, hand-combed Tibetan highland wool gives the carpets their special luster and sheen.The collec-tion is especially geared toward architects and designers
who develop entire living concepts and for whom these carpets are intended to be a link between the color scheme of the room and the furniture. Accordingly, Jan Kath is reacting to current trends in fashion and interior design, which feature a mix of metals and materials. Like almost all JK carpets, the various designs in this collection can be produced in any size. In close collaboration with the customer, it is also possible to modify the metal tone in line with individual wishes.
jan katH’s maxim: “you can be cool witHout GettinG cold Feet,” is particularly apt For tHis new collection. in precious panel, tHe desiGner creates a kind oF conFusion wHicH is cool to look at, yet warm to tHe toucH. at First Glance it appears as tHouGH a barely Five-milli-meter-tHick solid metal sHeet is lyinG on tHe Floor. only at close ranGe does tHe beHolder realize tHat it is not a solid piece oF copper, brass, or brusHed aluminum, and tHat no metallic materials or special cHemical dyes Have been used at all.
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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.
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.
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Their so-called Haîks are made from finely spun sheep’s wool on simple, transportable looms. The initially off-white cloths, which are wrapped around the body, get their special charm from the rustic patterns, for which the women use special natural colors extracted from plants and minerals that they find in their surrounding area. Various brown tones are produced from boiled acorns and tree bark. Flower pollen provides bright yellow, henna a deep orange, and dark red is obtained from the peel of pomegranates. The cloths are often embroidered before they are dipped in the dye bath. The color pigments are unable to work their way into the covered areas and this produces an attractive pattern once the threads are removed again. There are no strict rules when designing
the cloths. Every woman lets her imagination run wild and they are also inspired by the work of others. These ancient production methods and the highly intuitive approach to using colors and patterns also form the basis of the HAîK collection from Jan Kath. The kelims are weaved and sub-sequently finished in small workshops in the High Atlas in Morocco. “It is the colors of the desert that bring the warmth of Africa to the living room,” explains Jan Kath. It goes without saying that each carpet that is commissioned is also based on a detailed design template. “Since our hand-carded and hand-spun wool is highly individual and vibrant, it absorbs the color in a slightly different way each time, making every carpet truly unique.”
new apparel For tHe Floor. in tHe Haîk collection, jan katH transposes tHe patterns oF traditional moroccan robes to tHe carpet. tHe clotHinG and Headscarves still lovinGly made at Home by tHe nomadic women in remote reGions oF nortH aFrica serve as His template.
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This produces not only rustic, but also elegant designs and they suddenly take on a completely different form. The Mauro Verona is an especially interesting exam-ple of this. In the MAURO & SPICE collection, the Verona design with its classic ornamentation is transformed into a design with an additional level. Just like the hand-carded and hand-spun Tibetan highland wool used by Jan Kath, the nettle fibers are also harvested in the Himalayas. After harvesting, the stem of the plant is dried, split, and splayed out. It is subsequently washed gently and then spun into a thread by hand. The thread resembles raw tussore silk. In short, MAURO & SPICE = pure organic luxury!
nettle Fibers Form tHe basic material in tHe “mauro & spice” collection, GivinG tHe carpets a special vibrancy and deptH. only individual accents are set usinG wool and silk. tHe ma-terial composition Gives tHe carpets an unspoiled natural cHarm. tHe cHoice oF dyes is also cHaracteristic: plants are increasinGly beinG used alonGside tested natural dyes.
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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. Some- times 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.
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.
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Always in motion – clouds are impressive snapshots in time. For his new HEITER BIS WOLKIG collection, Jan Kath was inspired by the works of the baroque painters of the 16th and 17th centuries, who he discovered on his travels through the Alpine region. The artists captured a piece of idealized sky in the domes of magnificent churches. The Dutch masters and their archaic sea battles in oil also in-fluenced this collection. In HEITER BIS WOLKIG, Jan Kath brings the sky to the living room floor. Even though the featured weather conditions are still as dramatically opulent and powerful, the carpets never appear brash, but have a calming effect on the soul and eyes. The collection is also a technical challenge. To render the images of the
sky as realistically as possible in all their multilayered glory, even the smallest color nuances and shadings have to be reproduced. Up to 30 blue or gray tones are used in the carpets. The material mix so typical of Jan Kath’s carpets – hand-carded and hand-spun Tibetan highland wool and Chinese silk – gives the designs a special depth and three-dimensionality. Every knot is carefully planned beforehand and perfectly reproduced by the weavers in the workshops in Kathmandu … The interplay between the design and the high-quality raw materials also turns the cloudscape into an experience that you can almost feel … as if the clouds were actually under your feet.
livinG in tHe clouds ... tHe view oF tHe sky Has Fascinated us since tHe beGinninG oF time. promisinGly briGHt wHen tHe cumulus clouds build up like tHick, wHite balls oF cotton wool. disquietinG and Full oF enerGy wHen a storm is brewinG over tHe sea.
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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.
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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 con-tribution 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.
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Jan Kath has transposed the profound color spectacle to the carpet. In the ART-WORK collection, wool is used to “paint” instead of a brush. What appears to the beholder to be random has actually been precisely specified by the designer in his template and can be perfectly reproduced by the experienced weavers in the work-shops in Kathmandu. To reproduce the complexity of the design as precisely as possible, the weavers often change the material knot after knot. As such, up to 24 colors may be used in a single carpet. The material mix of the finest Chinese silk, Tibetan highland wool, and nettle fibers gives the carpets exceptional depth and expressive power. The abstract ARTWORK collection is a new, further enrich-ment in the design portfolio of Jan Kath. Like almost all collections, it goes without saying that alterations and adjustments of all kinds can be made depending on the project.
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ricH color piGments, arranGed on top oF one anotHer layer by layer on a canvas, appear to Form tHe basis oF tHis collec-tion. over tHe course oF time tHe colors are eroded, scraped oFF, and wiped away. time is tHe artist beHind tHese works. a toucH oF wHite peers tHrouGH tHe top layer; tHe pink under-neatH sHimmers tHrouGH only very Gently. tHe red tone blazes more clearly elsewHere and sets a bold accent.
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jewelry For Floors: emerald, Hematite, quartz, and aGate. in tHe collection “sliced”, tHe de-siGn template is derived From nature. jan katH’s carpets reproduce “cross-sections oF ele-Gant” precious and semi-precious stones – an idea tHat earned Him tHe “wallpaper desiGn award” For best ruG.
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 fasci-nating contrast that holds the viewer’s gaze. They ennoble a room in the truest sense of the word. It is as if a cen ti-meter-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 timecon- suming process. Since there is no recurring pattern, it rep-resents a special challenge to even the most experi enced weavers in the small workshops of Nepal. “The structures are so varied and deeply filigreed that the craftsmen of-ten 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.”
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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.”
you could Get lost in tHese carpets. in His “tokio” collection, jan katH recreates tHe pictures oF Famous artistic pHo to- GrapHer steFan emmelmann as pieces oF textile artwork. it is an entirely new dimension in tHe world oF decorative carpets.
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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.
In the UNKNOWN ARTISTS collection, Jan Kath has now brought the designs of unknown graffiti artists 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 contem- porary 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 photo- graphed 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 gener-ate new perspectives.” u
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Press contact
Gaby HerzoG
rueckerstrasse 7 10119 berlin
m: +49 (0) 163 776 70 53
Info & Photo-DownloaD
www.jan-katH.com
jan kath DesIgn gmbh heaDquarters
jan kath showroom bochum
Friederikastrasse 148 44789 bocHum
t: +49 (0) 234 941 23 44 F: +49 (0) 234 941 23 90
jan kath store berlIn
brunnenstrasse 3 10119 berlin-mitte
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jan kath store hamburg
am sandtorpark 14 20457 HamburG
t: +49 (0) 40 228 69 39 0 F: +49 (0) 40 228 69 39 09
jan kath showroom new york
555 west 25tH st 2nd Floor
new york, ny 10001 united states
t: +1 646 745 2555 F: +1 646 745 2554
jan kath store cologne
venloer str. 16 50672 coloGne
t: +49 (0) 221 94 967 940
jan kath store stuttgart
wilHelmstrasse 8b 70182 stuttGart
t: +49 (0) 711 518 90 350 F: +49 (0) 711 518 92 625
concePt & DesIgn
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