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Ahm House – the perfect setting for Deirdre Dyson’s Plumage Rug Collection

Our Stylist Louisa Grey works closely with Deirdre as soon as a rug collection is designed to find exactly the right locations for our collection photo shoots and this year one of them stood out, Ahm House.

Deirdre Dyson Exclusive Carpets and Rugs Plumes

The house was originally built by Danish Structural Engineer Povl Ahm, a partner of Ove Arup, who worked on some of last Century’s most significant buildings.

It’s Architect was also a Dane, Jørn Utzon, who’s most prestigious building was the Sydney Opera House.

Photo from themodernhouse.com

Arup also worked on the Opera House and the two men met during the early stages of its design, culminating in Ahm asking Utzon to design his home which he built in Harpenden, Hertfordshire from 1961-3.  It was to be Utzon’s only completed project in the UK.

This low-lying Pavilion of concrete and brick unfolds to dramatically reveal floor to ceiling glass bringing the secluded, mature gardens into the classic mid-Century space.  In the words of architecture critic Hugh Pearman “Probably the best Modern house in the world”.

As Ahm’s family grew, a later extension was added by Ulrik Plesner in association with Christopher Beaver Associates in 1972-4.

Now Grade II listed, from the street the house gives nothing away, dominated by its car port (and the later garage which formed part of the Plesner extension)

Photo from themodernhouse.com

Ahm’s widow sold the house after his death in 2005 and it was sold again in 2016.  The new owners wanted to maintain the character of the home and employed Architects Coppin Dockray to work on the interiors which have been sensitively restored.  The restoration went on to win the Wallpaper* Design Award 2019 for Best Remastered Building.

Fast forward to Autumn last year and our shoot which featured Deirdre’s PLUMES, HARLEQUIN, MANDARIN, BURLESQUE and FEATHER BOUND rugs – Deirdre and Edison knew something special would unfold when they attended the shoot at the Ahm House and the finished photographs by Michael Sinclair are testament to that.

Deirdre Dyson Exclusive Carpets and Rugs Quills
Deirdre Dyson Exclusive Carpets and Rugs Mandarin
Deirdre Dyson Exclusive Carpets and Rugs Harlequin
Deirdre Dyson Exclusive Carpets and Rugs Burlesque

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The Design Process – your carpet from inspiration to delivery…

Every Deirdre Dyson carpet or rug is by its nature unique.

HARELQUIN hand knotted wool and silk rug from this years Plumage Rug Collection

As an entirely bespoke product, no two designs will ever be exactly the same, whether hand knotted or gun tufted, Deirdre’s carpets are made to last and the ancient processes involved in their manufacture take time.

Each year Deirdre creates a new themed rug collection, but these designs are just the starting point, Deirdre Dyson rugs are infinitely customisable – colours, size, composition and the design itself can all be altered to suit a client’s exact requirements.

Whether Deirdre’s colour choices are perfect for your scheme or if you want to create your custom version of a rug design, the process remains the same and the result is a luxurious, heirloom quality rug or carpet of your own.

THE CREATION OF A COLLECTION:

Deirdre colouring her initial sketch for her CORAL rug design

Deirdre’s carpets begin with a simple, hand coloured, pencil drawing.

Over the year’s Deirdre has sought inspiration in nature, the sky, sea and shoreline, stones, flowers, leaves and trees to the abstract – geometric and organic forms or the refraction of light.

Deirdre has complete creative control over every design in her annual rug collections.

Working with her Designer Nichola to digitise the design, together they refine it if necessary and add Deirdre’s carefully selected colours to precisely match her vision for that rug.

Colour is of course key. Deirdre selects from over 5,000 colour poms in wool and silk – her ‘paint box’.

Some of the 5,000 wool and silk poms from which Deirdre selects the colourways for each collection rug

This is a considered process, where the colours are observed in different lights and times of day to accurately reflect their relationship with each other and realise Deirdre’s concept perfectly.

Deirdre’s eye for colour is fundamental – as a Fine Artist she has both the innate skill and technical knowledge to find just the right juxtaposition of colours or the perfect tones to create an intricate colour grade (the subtle change of colour from dark to light as seen in rug designs such as EAGLE pictured below)

Detail of grading on Deirdre Dyson’s EAGLE hand knotted rug

Digitally colour matching Deirdre’s pom selection is a highly skilled task, Nichola has worked with Deirdre for almost twenty years and no amount of technology can mimic her colour matching abilities, which again can take days to refine, dependant on the hours of daylight available and how the colours appear in different lights, both on screen and in print.

Nichola’s accurate digital versions of the rug designs are stored for future adaptation and exact colour-perfect print versions are approved by Deirdre (or a client) before manufacture.

MANUFACTURE:

Once the design is finished to Deirdre’s exacting standard, it is sent to our trusted weavers in Nepal or, if gun tufted in 100% wool, to our manufacturers in Yorkshire.

We have long standing relationships with both and Deirdre has a strong, personal rapport with each. Communicating new design ideas involves close discussions regarding the technical elements involved.

The gun tufting process which uses 100% wool and is suitable for some designs.

Gun tufting is by far the quicker option (though no less careful and considered) and generally the suggested method of production for commercial projects or areas with higher footfall.

Given the limitations of tufting however, not all designs are suitable for this type of manufacture.

As with hand knotting quality control is paramount, with colour meticulously matched and designs executed to millimetre perfection.

HAND KNOTTING:

However, Deirdre Dyson is primarily known for her hand knotted rugs and has built her brand’s reputation on their luxurious quality.

The vast majority of bespoke rugs and all collection carpets are hand knotted by our weavers in Nepal using traditional techniques which are indigenous to the area and have been passed down through the generations.

Hand knotting creates a dense, luxurious pile but allows for the finest of detail and subtle colour transitions which are impossible to replicate by machine.

The art of hand knotting not only takes skill and patience, it involves age old techniques and tools which have remained unchanged over centuries.

One of our skilled weavers at work.

Climate is crucial to the process, as heat and sunshine is essential; from fixing dyes to drying and stretching the finished carpet, therefore the Monsoon season from June to August prolongs production time.

Additionally, weavers observe religious holidays and don’t work during these periods (particularly in January and February)  Ultimately these carpets are intrinsically linked with Nepalese traditions and the Nepalese way of life.

Deirdre Dyson is a long-time partner of Goodweave ensuring no child labour is involved in rug making and that the highest level of work practices and standards are maintained for weavers and their families.

DYEING:

All Deirdre’s chosen colours are colour matched exactly, amazingly this is all done by the highly skilled dye master by eye.

Raw yarn being dyed to exactly the right shade.

The dye master mixes scrupulously measured quantities of pigments to create accurate dyes.  The hand carded Tibetan wool and Chinese silk is then turned by hand in vats of the dye until precisely the right shade is achieved.

The dyed yarn is then allowed to dry naturally.  As it dries the heat of the sun fixes the dye which is then spun by hand to the correct ply and thickness.

Dyed yarn drying in the sun.

MAPPING:

Meanwhile, exact mapping of the design has taken place to create a template which hangs above the loom from which the weavers work.

This intricate graph carefully maps the position of every knot and colour change within the design, all painstakingly reproduced from Deirdre’s original and replicated by the weavers by eye.

WEAVING:

The hand knotting process itself is incredible to watch, the speed and dexterity of our weavers is truly astonishing, especially where there are complex grades (such as SEA WASH  pictured on the loom below) or intricately detailed carpets with fine lines (such as PLUMES)

Deirdre Dyson’s SEAWASH rug on the loom

The weaver’s create knots on the vertical ‘warp’ threads using a metal rod, an incredible 100 knots fit the area of a postage stamp which gives an indication of the intricacy involved.

Once a row is complete it is hammered tightly on to the row below and the yarn is cut to create a rough pile.

FINISHING:

When weaving is complete, each carpet is carefully washed, stretched and dried in the open air then precisely trimmed by hand to the correct pile height.

The fascinating and intricate carving process then takes place, where specific design elements are carefully clipped around to create definition.

Finally, the carpet is bound around the edges with matching yarn and our leather Deirdre Dyson label is attached.

Deirdre Dyson Exclusive Carpets and Rugs Label

Once approved, the carpet is then ready for packing and shipping back to our gallery in London.

A standard size rug will take approximately 14-16 weeks to complete from artwork sign off – with the production time rising depending on size and complexity of design.

Each element in the creation of your rug involves skill and a level of precision which cannot be rushed, this is ultimately an artisan process assisted by technology but not necessarily expedited by it.

The crucial elements of rug design and making are slow and considered and stand out in our world of mass production and instant gratification, the wait is worth it and the result is of the highest quality and designed to last a lifetime.

 


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Centenary of the Bauhaus

Deirdre Dyson’s ANGULUS rug, originally designed for the V&A Museum‘s Modernism exhibition

2019 marks the centenary of the Bauhaus, one of the most significant movements in art and design of the 21st Century.

In 1919, Walter Gropius became the director of a new institution created from the merger of two art schools in Weimar.  This new school, the Staatliches Bauhaus, was to be known simply as the Bauhaus.  Even though Gropius was an architect and the term ‘Bauhaus’ literally translates as “construction house,” it did not solely concentrate on architecture, it was a school encompassing all elements of art and design.

Gropius aim was “to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist.” Combining influences from modernism, the English Arts and Crafts movement, and Constructivism, Gropius promoted the idea that design was to serve the community and exist in its purist form, epitomised in the Bauhaus principle ‘Form follows function’.

The interdisciplinary nature of the Bauhaus realised the concept of “Gesamtkunstwerk,” or complete work of art, meaning the visual arts, graphic design product and furniture design as well as architecture combined to create a cohesive environment comprising simple, elegant geometric shapes, solid colours and minimalist spaces.

Having moved over the course of its existence from Weimar to Dessau and finally Berlin, the Bauhaus was closed by the Nazis in 1933 for producing ‘degenerate art’.  Despite this suppression, the Bauhaus lived on and it’s ideologies spread as many of its staff and students fled Germany bringing the school’s idealistic concepts with them, influences that continue to have an impact on design today.

Despite being known as a minimalist discipline, The Bauhaus felt an understanding of colour was of paramount importance and colour theories taught as part of the school’s foundation course by artists Johannes Itten, Wassily Kandinsky, Paul Klee, and Josef Albers formed the basis of contemporary colour theory. This included expanding the colour wheel, developing ideas of colour contrast, exploring the psychological effects of colour and their spiritual and transcendental nature.

Other Bauhuas luminaries included Josef’s wife Anni Albers, Hinnerk Scheper, Georg Muche, Laszlo Moholy-Nagy, Herbert Bayer, Joost Schmidt, Marcel Breuer, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer, Hannes Meyer and Ludwig Mies van der Rohe.

Like any colourist, Deirdre Dyson’s designs inadvertently pay homage to the Bauhaus concepts and artists, with both the application of colour theory and form but some of Deirdre’s rug designs really do make a more obvious nod to the movement, none more so than ANGULUS with its stark geometry and solid colours.

Several of Deirdre’s designs or bespoke reworkings never make it to the loom, so for a bit of fun, we’ve trawled through the archive to find some other Deirdre Dyson designs which illustrate Bauhaus principles of form and colour, here’s what we’ve found.

An alternate working of Deirdre Dyson’s WINDOWS created for a scheme in New York

 

A carpet design by Deirdre Dyson based on rectangles and squares
A reworking of Deirdre Dyson’s ODEON design, entitled ENCOMPASS concept design for a project in New York

 

A simple geometric design created by Deirdre Dyson
Deirdre Dyson’s OVERLAY rug design reminiscent of Josef Alber’s ‘Homage to the Square’ (below)


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BESPOKE FITTED AND FREE-STANDING CARPETS FOR A GEORGIAN TOWNHOUSE MAYFAIR, LONDON

A bespoke hand knotted version of UP AND OVER

Lady Deirdre Dyson was commissioned to create fourteen contemporary carpets – six hand knotted, free-standing rugs and eight gun tufted, fitted carpets together with a stair runner over four floors for this 18th Century listed Georgian townhouse.

The house, actually two adjoining properties, was restored and repurposed by Alexander Martin Architects (AMA) for use as private offices in Mayfair, London.

The brief required Deirdre to design a total of 350 square metres of highest quality wool and silk floor coverings for the entire property.

The incredible gun tufted 100% wool graded carpet created for the oak barley twist staircase.

Materials throughout the building were selected for their timeless quality, echoing those present in the original building. A palette of natural oak, stone and pale grey provides a backdrop for the bespoke Deirdre Dyson carpets used throughout.

The expanses of wool and silk used in the rug, carpet and runner designs sit perfectly with remaining original features and the stark modern interior application in the office spaces on the upper floors.

The central oak barley twist staircase is dramatically hugged top to bottom by a stair runner that creates a sense of movement with graded hues that flow from dark to light (pictured above)

A bespoke gun tufted, fitted version of  TWILIGHT in one of the top floor office spaces.

Through her use of bold geometric designs, Lady Dyson developed a scheme to bring contrast and complimentary accent colours which define and enhance the individual rooms. A total of fifty separate colours were used across the project with some carpets having up to sixteen colours alone.

A bespoke hand knotted version of SCATTER

The carpets give each room a separate identity and interest but Dyson has connected the spaces using a similar colour palette, often through the use of colour grading, adding personality with dramatic bursts of colour, be it a bold blue or vivid terracotta. All working in tandem with remaining original features and the architect’s contemporary reworking of the building.

A bespoke hand knotted version of SEAWASH

In some cases, Deirdre’s designs reference the building directly such as a version of her DAWN carpet design, its dramatic copper silk stripes echoing the copper cladding in the garden outside.

Deirdre Dyson’s bespoke hand knotted DAWN carpet in the Garden Room.

A bespoke hand knotted version of OPTIC

The scale of these carpets created challenges for both our weavers in Nepal (in some cases measuring up to 5m square)  and the skilled tufters here in the UK as well as specialist fitters but a close, collaborative team effort realised Deirdre Dyson’s vision to stunning effect.

The project featured in  an extensive editorial feature in Wallpaper* magazine, click here to read.


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PLUMAGE RUG COLLECTION LAUNCH PARTY

Sam and Mark from Echlin chat to Deirdre Dyson, Pandora from World of Interiors in conversation with James Dyson

We love revealing Deirdre’s new rug designs at Maison & Objet every January but by contrast, Deirdre’s annual UK collection launch, held here in the intimacy of our Kings Road gallery, is by far the highlight of our year.

The evening gives Deirdre a chance to catch up with valued friends of the brand as well as clients old and new and introduce her carpets in person whilst guests can touch and feel the incredible quality of the finished designs, see the lustre of the silk and the true colours which are always best viewed ‘in the flesh’.

Lady Dyson in front of her limited edition carpet artwork UNBOUND

This year’s collection inspired by the hues and patterns of birds and their feathers, is a riot of colour and contrast and provoked much admiration and discussion.  As did Deirdre’s first carpet artwork, UNBOUND, created in a limited edition of three and intricately handwoven in 32 colours of wool and silk.

UNBOUND was recently included in The Luxury Cave launch event at the Design Museum and was so overwhelmingly well received that Deirdre is now working on another limited-edition wall piece, more details to be revealed soon.

Flowers by Clayton at Strudwick Flowers provided the perfect backdrop to the evening’s festivities.  Deirdre had requested natural arrangements with fluid forms reflecting the designs on display and Clayton fulfilled this brief perfectly, picking up the reds in both HARLEQUIN and UNBOUND on the first floor and the golden and buttery tones of GOLDEN PHEASANT and BURLESQUE on the ground floor.

Bespoke cocktails colour co-ordinated with Deirdre Dyson’s QUILLS rug

This year guests enjoyed lavender cocktails selected by Edison to compliment the purple found in Deirdre’s new QUILLS rug design, Champagne and Dyson wine together with delicious canapes by Aquashard such as mushroom arancini, steak tartare and mini fish and chips.  Guests were extremely well looked after by Aquashard’s John Wiltshire and his team.

Lily from Cereal Magazine with Deirdre Dyson PR Zara Brown of Zedcoms
Wallpaper* Online Editor Sujata Burman, Chanda Pandya of Rossana/The Luxury Cave, Sir James Dyson and Dave Harvey of Wallpaper*

The gallery, designed by Architect Timothy Hatton (pictured) comes in to its own at night and the wonderful atmosphere led to a very special evening celebrating another stellar rug collection by Deirdre.

Paresh Dudhaiya, Tricia Topping of Luxury Topping, Mary Wiggin and Rachel Bull of Co-Existence
Correna Mitchell, Sir James Dyson, Sir James Bucknall, Architect Timothy Hatton, Julia Carrick and Darren Miller of Rossana/The Luxury Cave

Michael Messenger, Diana Wilkinson, Model and Author Victoria Nixon and Deirdre Dyson
Sir James Dyson and Architect Timothy Hatton
Occa Designs CEO Kate Mooney (right) and Clare-Ann Coll
Julia Carrick and Brendon Moss
Nichole Detering and Nicholas Hanslip of Franklin of Project Management with Sir James Bucknall
Sir James and Lady Dyson
Stylists Louisa Grey and Marianne Cotterill
John Wiltshire and members of his Aquashard team
Stylist Marianne Cotterill
Al Martin of Alexander Martin Architects
Correna Mitchell of Timothy Hatton Architects

Designer Sue Timney
Tricia Topping of Luxury Topping

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Deirdre Dyson at the Design Museum

Last month Deirdre joined a host of hand-picked luxury interiors, fine art, couture and automotive brands exhibiting at ‘Curation of the Finest’, a collection of rare and one-off contemporary collectables and objects, showcased by Luxury Cave at London’s Design Museum.

Deirdre Dyson in front of her UNBOUND limited edition carpet artwork.

Luxury Cave‘s aim is to ‘present a new viewpoint of luxury that focuses on objects that speak of craftsmanship, emotion and investment of time.’

Deirdre Dyson’s carpets fulfil this brief perfectly – the combination of Deirdre’s sketches and colour selection realised as carpets through the age-old craft of hand knotting by artisan craftspeople and the bespoke process, cannot be rushed, assisted by but impervious to technological advances. This is slow design at its finest.

Deirdre was excited to create and unveil her first ever Carpet Artwork exclusively for the event.

The ultimate expression of her background as a Fine Artist and Carpet Designer – UNBOUND will be created in a limited edition of three (the first of which is available to purchase exclusively via the Luxury Cave website)

Deirdre took inspiration from ‘the rising steps to freedom and breaking away from the ties that bind us’ and the piece is a joyous juxtaposition of colours hand knotted in wool and silk.

Deirdre also exhibited her intricate PLUMES carpet from this year’s PLUMAGE Rug Collection, bespoke versions of which will also be available exclusively through the Luxury Cave website for the next three months.

Deirdre Dyson’s PLUMES carpet on exhibit at the Design Museum, London

PLUMES is a masterly intricate carpet design of interlocking feather barbs on a deep navy background with striking turquoise tips, the fine detail of which posed a real challenge to our incredibly skilled Nepalese weavers.

Both pieces, as with all Deirdre Dyson carpet designs, are Goodweave certified.

The exhibition was co-curated by Sofia Barattieri and Darren Miller of Luxury Cave and art directed by celebrated Set Designer Simon Costin.

Luxury Cave’s Sofia Barattieri and Fashion Designer Mary Katrantzou in front of Deirdre Dyson’s UNBOUND artwork and PLUMES carpet.

Other exhibitors and curated objects included Fine Jeweller Fabio Salini, fine art by Lucio Fontana and Alighiero Boetti, the intricately embroidered handbags of Parisian Designer Carole Tessier’s label ‘Preciously Paris‘, Auto Fabrica, Furniture by Studio Drift, Thomas Heatherwick and Pinto Paris, the Aston Martin Lagonda and Fashion Designer Mary Katrantzou celebrated the 10th Anniversary of her brand as part of the event.

Luxury Cave’s Chanda Pandya and Darren Miller with Fashion Designer Mary Katrantzou in front of Deirdre Dyson’s UNBOUND artwork and PLUMES carpet.

Deirdre’s artwork and carpet at the exhibition

Visit the Luxury Cave digital portal here.

 

 

 


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NOS AMIS ARGILE

Deirdre is a huge fan of the Parisian paint brand Argile, and has used Argile paints in her interiors for several years.

As a colourist, the ‘trueness’ of a hue on a given surface is key to Deirdre , and this quality of colour is paramount to Argile.

Founded in 2006, Argile was born of the encounter between an entrepreneur and paint expert, Jean Frédéric Nothomb, and a colour specialist, Pierre Bonnefille. The idea was to offer a premium range of paint products to architects, decorators, set designers and all those who have an interest in decoration, whether professionals or private individuals.

Their philosophy is to draw inspiration from the colours of nature and their challenge to manufacture a range of the highest quality colours on an industrial scale, coupled with exceptional service.

Argile take inspiration from the sky, sea and landscape, Argile translates as ‘clay’ referring to organic nature of their colour inspiration as well as the raw materials of their paint.

Argile’s palette of 184 glorious colours work in harmony to create an exceptional finish.

Argile paints are now found in historic properties, such as the Louvre and the Grand Palais in Paris, as well as luxury hotels such as the Connaught in London and the Hoxton in Amsterdam, and in the interior design of countless traditional and contemporary homes.

When it came to designing our stand for this years’ Maison et Objet interiors exhibition, Argile’s colour chart was Deirdre’s first port of call, from which she selected the perfect backdrop for each of the eight new rug designs on display.

The earth colours of ‘grivele’ worked perfectly with QUILLS and FEATHER BOUND, ‘gres’ provided the perfect backdrop to the magestic EAGLE , ‘bleu burlington’ brought out the turqouise feather tips in PLUMES and also provided a foil for the vibrancy of GOLDEN PHEASANT and BURLESQUE, whilst ‘ardoise bleue’ set off the stunning tones of MANDARIN and HARLEQUIN.

Detail of GOLDEN PHEASANT with Argile’s ‘gres’ on the wall behind.

Argile’s ‘gres’ was the perfect background for EAGLE.

Detail of FEATHER BOUND with Argile’s ‘grevele’ on the wall behind.

PLUMES with Argile’s ‘bleu burlington’ on the wall behind.

We feel a real affinity with Argile, both companies are small brands dedicated to creating the highest quality product, providing exceptional service and ultimately share a love of colour.

In January whilst preparing for Maison, Edison popped by Argile’s fabulous headquarters in Paris to to meet the team and collect the paint for our Maison stand, a shrine to colour!

Learn more about the Argile story here

 


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Edison’s Picks from Maison & Objet Hall 8

We love to report back on favourite spots and trends from interiors exhibitions, especially Maison & Objet Paris.

We’ve been regular exhibitors at Maison every January for the past five years launching Deirdre’s new rug collections.

This year we’re showcasing neighbouring stands at our new location in Hall 8, the ‘Forever Signature’ Hall, which featured an array of high-end furniture, china and bedlinen brands.

Edison captured some of the things which caught his eye over the five days.

Practical and Beautiful. The superbly tactile, curves of hand-turned walnut in the sculptural VERTIGO coat hook by Nomon designed by Stefano Bigi 

Murano glass brought bang up to date with bold detail and vibrant colours on the Carlo Moretti stand.

Incredible matt black glass vases by Guaxs

The trippy perfection of the Emanuel Ungaro Home stand.

Created by the perfect combination of color, energy and shape, Souk mirrors reflect the influences of overwhelming and visually fascinating Souk markets in northern Africa with its vibrant fringes and earthy colors resembling typical macramé techniques, spotted on the Dooq stand.

Fun gin bottles on the Sieger by Furstenberg stand who employed a Mixologist to create delightful cocktails in their wonderful crystal!

Brand new colour variations and a different take on cut glass in these lamps by Vista Alegre

 


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The PLUMAGE Collection at Maison 2019

 

 

Deirdre’s new rug collection has received a wonderful reception at Maison & Objet Paris, where eight of nine new designs on display in Hall 8, stand A32 were showcased on a custom made, towering stand painted with Argile paint colours selected personally by Deirdre to complement each of the new carpet designs.  Deirdre relishes the opportunity to be on the stand at Maison meet clients and discuss the designs and their inspiration.

Yet again Deirdre has pushed the boundaries of the art of hand knotting to create very distinctive designs using pops of colour (HARLEQUIN), intricate detail (PLUMES/FEATHER BOUND/QUILLS) or colour grading (GOLDEN PHEASANT, EAGLE) from the abstracted (MANDARIN) to the figurative (FLIGHT) creating a new collection that celebrates her instinctive eye for colour and cleverly plays with the shapes and forms of birds and their feathers to create unique designs.

Each design uses varying amounts of silk to mirror the shimmering nature of bird’s plumage and Deirdre’s chosen colour palette is shot with vibrant hues that give the organic forms a 3D quality.

Bordered rugs such as BURLESQUE and FEATHER BOUND are endlessly adaptable – for use under a dining table or bed whereas the bold Studio 54esque GOLDEN PHEASANT makes a statement all of its own as does the elegant scale of the exquisite EAGLE.

Last year’s HORIZONS Collection played with scale and Deirdre continues this trend with the largest carpet on display, EAGLE mirroring the wing span of its namesake, an impressive 3.4 metres wide.

As with all Deirdre’s designs these sample carpets are just the start, each design can be created in any colourway or size required and most designs can also be gun tufted in 100% wool should the client or space require it.