Style
Over Dye
Every piece in this style, across all of our collections. Narrow them down by size and price.
- Under 6 x 9
- Runners
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- 8 x 10
- 9 x 12
- 10 x 14
- 12 x 15
- Over 12 x 15
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Stories from the Over Dye Archive
Essays, artist dialogues, and provenance notes drawn from Rug & Kilim’s editorial desk.
The Art of Bespoke Design by Rug & Kilim: How a Painting, a Fabric, or a Fragment Becomes a Custom Rug
Every custom rug begins with a question that sounds simple and is not: what does this room want to stand on? The answer, in the finest commissions, rarely arrives as a specification. It arrives as an object. A client brings in a painting they have loved for thirty years. A designer adores a length of antique silk, or lays down a sample of a document fabric, or produces a photograph of a fresco glimpsed on a wall in Ravenna. The brief is a feeling, held in another medium, waiting to be carried into wool or silk or sometimes, exotic fibres. This act of carrying is the true art of the custom rug, and it is far older and more serious than the word “custom” suggests. It is translation, in the fullest literary sense: the movement of meaning from one language into another, with everything gained and lost that translation implies. It is also, increasingly, the way the most celebrated interiors in the world are made. When AD100 designer Heidi Caillier needed flatweaves for a coastal retreat, when Fawn Galli reimagined a historic Beaux-Arts townhouse on the Upper West Side, when a Jacques Grange penthouse called for a hand-knotted silk carpet, the floor did not come off a shelf. It was translated into being, object by object, idea by idea.
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Navajo Rugs: History, Art, Design & the Legacy of Diné Weaving
Navajo rugs occupy a singular position within the history of American textile art. Woven by Diné artists across the American Southwest, these textiles represent far more than a regional decorative tradition. They embody generations of knowledge surrounding sheep, wool, spinning, natural materials, color, geometry, landscape, community, and cultural continuity. From nineteenth-century blankets to the celebrated regional rugs of the early twentieth century—and from Two Grey Hills and Ganado to sophisticated contemporary works—Navajo weaving has continually demonstrated the ability of textile art to function simultaneously as cultural expression, design, craftsmanship, and fine art.
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The House the European Stuycks Kept: Madrid’s Royal Loom, Goya’s Cartoons, and the Spanish Carpet
There is a building in Madrid, a short walk from the Atocha station, where the same craft has been practiced without interruption for more than three hundred years. Its brick and its Neo-Mudéjar arches were raised in the nineteenth century, but the work carried on inside them belongs to a lineage older still, to 1720, when Philip V, having lost the Flemish tapestry workshops of the Spanish Netherlands to the Peace of Utrecht, resolved that Spain would simply make its own. He summoned a family of Flemish weavers, the Vandergotens, to Madrid, and founded the Real Fábrica de Tapices de Santa Bárbara. Three centuries later, in the presence of the King and Queen of Spain, the factory marked its tercentenary as one of the last places on earth where royal weaving continues by the hand, exactly as it always has.
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Anatolian Rugs: From Seljuk Origins to Contemporary Luxury Spaces
Among the world's most influential textile traditions, Anatolian rugs occupy a singular position in the history of decorative arts. Emerging from the vast cultural landscape of Anatolia—modern-day Turkey—these carpets represent centuries of artistic exchange between Asia, Europe, the Middle East, and the Mediterranean world. Few weaving traditions have exercised a greater influence on the evolution of carpet design. From Ottoman palaces and Seljuk courts to Renaissance paintings and contemporary luxury interiors, Anatolian rugs have continuously shaped the visual language of textile art. Unlike carpets associated with a single tribe, city, or dynasty, Anatolian rugs encompass an extraordinary range of regional traditions. The result is a diverse yet interconnected weaving culture characterized by bold geometry, symbolic motifs, sophisticated color palettes, and remarkable craftsmanship.
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Cotton Material in Rugs: The Renaissance of Natural Fiber Floor Coverings
Cotton rugs emerge from a myriad of cultural traditions, particularly notable in the Indian subcontinent's dhurrie tradition and American colonial craft practices. Unlike their Persian or Turkish counterparts, which emphasized pile construction in wool and silk, cotton rugs developed alongside modernist principles of form following function. This alignment with modernism wasn't coincidental – cotton's natural properties lent themselves to geometric patterns and clean lines that would later become hallmarks of 20th-century design. Cotton's journey in floor coverings traces back to ancient civilizations, but its prominence in modern rug making emerged significantly during the Industrial Revolution.
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An Overview of the Överhogdal Tapestry: Europe’s Oldest Preserved Textiles
Some of the most remarkable cultural treasures in Europe are the Överhogdal textiles, dating back to the end of the Viking Age, specifically 1040-1170 AD. These textiles represent the oldest preserved interior fabrics in our time. The collection comprises five parts, four of which are crafted using a looping technique, while the fifth employs a double weave. Rich in diverse motifs, the tapestry features animals, people, Viking ships, buildings, and trees. The discovery of the tapestry is credited to artist Paul Jonze, who found it in 1910 in a store-shed adjacent to Överhogdal church. Jonze vividly describes his find, noting that the tapestry was not neatly rolled or hung but lay crumpled on the floor amid dusty remnants of interior decorations and various items accumulated over the years in similar storage spaces, such as old birch timber, wingless angels, and other assorted artifacts. The exact duration it had spent in the wood store-shed remained undetermined.
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