Another fab article from our friends at Kommandostore. Rugmaking has been such a long-standing tradition that historians typically say, “thousands of years”. In other words, it predates the British Monarchy, Roman Empire, and hell, even the Persian Empire’s conquest of Afghanistan. Unfortunately for just as long, the surprising beauty of her landscapes has been blood-stained. For example, many have attempted to invade Afghanistan, and many have died trying.
From ancient Alexander the Great’s conquests to the United States “Operation Enduring Freedom” there sure have been a lot of wars, and a lot of rugs. But what began during Soviet occupation of Afghanistan in the USSR’s twilight years was quite odd indeed. Propaganda rugs with anti-soviet figures like Ahmad Massoud* begun to circulate, and with the soviet occupiers taking great interest in these rugs as bring-back mementos, they got a taste of capitalism.*This guy’s story is a great subject for an email or video on it’s own, let us know if you’d like to see something like that.
Massoud seen wearing his iconic combo of a Pakol cap, white checkered “shemagh” scarf and military-style jacket. On the right is one of the war rugs that depicts him — definitely one of our favorite designs we’ve been able to source.
In response to the newfound demand, artisans begun to introduce common sights of the battlefield onto their rugs: Kalashnikovs, Helicopters, BTRs & BRDM-2s, and of course plenty of tanks. The soviet soldiers, naturally as young lads, couldn’t get enough of it. I mean, come on, who wouldn’t want a beautifully made rug with a tank on it? And so even through Russia’s Irish exit from Afghanistan, patterns were passed down and a whole new style was born: The War Rug.
A common misconception about the rugs that we’ve seen is that there’s any form of malice whatsoever from the rug-makers in making these. This is obviously & completely false. And we say that because once the American occupation began, rugs depicting the World Trade Center being hit by the highjacked airplanes began to circulate despite most Afghan people not even knowing what the event or it’s ramifications meant. You guys have certainly spoken the loud part quietly because the 9/11 rugs are our best sellers. We’re just listening to demand, don’t blame us. Skillfully as they do, the rugmakers themselves often have no idea what they’re weaving, they just follow the popular patterns circulating bazaars and embellish with whatever colors, extra elements, and often hilarious mis-woven English words they want.
Other common (and less controversial) sights include the Opium poppy, American operations like the battle of Tora Bora, and now even the war in Ukraine. What began as a memento and accidentally controversial form of art has truly blossomed into a celebrated slice of Afghanistan’s culture since the 80s. And luckily, even with increasing popularity, all the rugs are still handmade the way they should be. It’s probably hard to shake a tradition that predates your Grandma’s Grandma’s Grandma’s Grandma’s Grandma’s history book entries after all.
Spring has sprung! These eye-popping colors from Behno are exactly what your outfit needs this season. Their unique silhouettes and vibrant colorways are sure to leave a lasting impression.
VIEW LOOKBOOK HERE New York–based clothing and handbag label behno was born from a desire to improve the way the fashion industry approaches manufacturing. Shivam Punjya, its founder and creative director, established the company to champion both top-tier craftsmanship and India’s garment workers—the majority of whom are women and can make less than a dollar a day.
To that end, the brand laid out its philosophy in “The behno Standard,” a set of six operating tenets dedicated to advancing the livelihood of its artisans.
At its factories, each female colleague is addressed by the surname behn (“sister” in Hindi), symbolizing the sisterhood of empowered employees the brand strives to create. behno’s aesthetic is one of pared-down elegance: Strong silhouettes, elegant lines, and purist forms highlight each carefully made object. From slick handbags to standout separates, each piece is at once beautiful and timeless.
During the medieval Gothic period, depictions of lions were important talismans. A knight wearing a lion’s head on his breastplate or his shield channeled the power and dominance of the King of the Jungle. That’s why Yvan Arpa, CEO of Artya, was looking for the right combination of elements for his new Lion’s Head Tourbillon timepiece, and he found it when he met Bram Ramon.
Born in Flanders, Belgium, Ramon is a sculptor and engraver. A few years ago, ArtyA introduced the Brabant Tourbillon and the Arabesque Tourbillon, and a couple of years later Arpa and Ramon debuted the Lion’s Head Tourbillon.
Inspired by the neo–‐renaissance style and the armed knights of medieval times, Arpa and Ramon came up with a brand new way of engraving that combines deep chiseling with sculpture, and the result is incredible.
Ramon’s specialty is combining classical engraving with sculptured figures. As an example, the Lion’s Head at 12 o’clock is so powerful it appears to be leaping off the face of the watch, especially with its eyes of 24 ct gold.
This had never been done before in a watch, and Artya dared to pair this with one of watchmaking’s most traditional complications, the flying tourbillon. The Lion’s Head exudes power, a touch of Gothic spirit, a hint of religion and an artisan’s excellence.
Just looking at the Lion’s Head is captivating, as the eye is drawn to the mixture of grooves, crevasses and sculpted figures. And the tourbillon complication at six o’clock finishes off this exceptional, unique piece.
“I love working with Bram,” says Arpa. “We had such fun the first two times around, with the Tourbillon Arabesque and the Brabant Tourbillon, I couldn’t wait to get another project going with him. I love this piece so much –‐–‐ I don’t really want to sell it.”
Design Features:
–‐Dial and bezel entirely Hand–‐engraved with 24cts gold inlays following a 19th century style: the “Neo–‐Renaissance” style only made by a master engraver
–‐ Relief Engraving technique
–‐ Lateral insert in black PVD steel
Technical Specifications:
Dial & Bezel in High–‐grade 316L steel with 24cts gold inlays
Case: 44mm
Exclusive ArtyA flying tourbillon
manual winding
19 Jewels
Exhibition Back
Two anti–‐reflective sapphire crystals, front and back Hours, minutes, seconds
