I S SUE 105
Hayeri iana
Photo: K
01 Mughal Petal Drift, Louis Barthélemy x Ishkar 02 Ishkar weavers in Bamiyan, Afghanistan
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It was in 2019 that Ishkar began o ering opportunities to experience Afghanistan through organised tours and photography holidays to Bamiyan province. Founded in Kabul back in 2016 by Flore de Taisne and Edmund Le Brun, the craft and travel brand has always had a deep-rooted connection to the country in which it was born. The tourist excursions may no longer be possible, but Ishkar continues to work with artisans in Afghanistan, producing jewellery, glassware and of course rugs. These products are sold online and in the Ishkar store in East London.
In the latest of the hand-knotted rug collections, the beauty of Afghan rug making and Ghazni wool are combined with the creative vision of multidisciplinary artist and designer Louis Barthélemy. ‘Louis is an esteemed artist with a deep commitment to the preservation and revival of traditional craftsmanship,’ explains Ishkar’s partnerships and events lead, Nada Debeaumont. ‘Louis was a natural fit when it came to thinking of a collaborator.
‘Collaborating with renowned figures and artists such as Louis enables cross-cultural dialogues between designers and weavers. It sheds a new light on the craftspeople of Afghanistan and engages new audiences. Importantly, it also allows us to generate employment for Afghan female artisans, whose rights have been heavily curtailed since the Taliban takeover.’
Based between Marrakech, Cairo and Paris, designer Barthélemy has recent projects including a second collection for French fashion
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03 Babur’s Bloom, Louis Barthélem x Ishkar 04 Kabul Sunset Bouquet, Louis Barthélemy x Ishkar brand Sandro for spring/summer 2024, a tapestry triptych shown at Design Doha in February and made by craftswomen in Mahdia, Tunisia, and—back in 2023—a fantastic rug collection for Egyptian brand Kahhal Looms (see COVER 72).
For the new Ishkar rugs, Barthélemy had to work with the artisans remotely, a process that took on its own interesting turns. He comments: ‘This exchange introduced a fresh dynamic as the weavers, accustomed to focusing solely on production, actively participated in the creative process. Inspired by the concept of a serene “Garden of Paradise”, we embarked on a shared journey of imagination.’
Each party contributed visual ideas around the subjects of ‘flowers, trees, birds and insects’ and these were ‘harmonised’ to create the final rug design triptych of Mughal Petal Drift, Kabul Sunset Bouquet and Babur’s Bloom. The rugs have a fairytale quality with references to ancient symbols, which somehow makes sense woven with the textural quality of Ghazni wool.
Barthélemy explains the designs: ‘Framed by graphic friezes conceived by myself, the rugs feature a symphony of elements drawn from nature and architectural motifs. Trees, flowers, ponds, doves and Mughal architectural elements dance across the top and bottom, intertwining with the weavers’ contributions at the centre.’ For Ishkar, Barthélemy brings ‘joyful, vivid colours and playful graphics’ to the Afghan weaving tradition. As he puts it: ‘I breathe new life into ancient crafts.’ www.ishkar.com
