redefining authentic design one rug at a time

Vintage/Tribal Rugs

From 1920 through the 1970s 

Our collection of vintage rugs, ranging from Moroccan Beni Ouarains to Turkish Kilims, are true reflections of the times in which they were created. Stylistically, one can see the influence of the Modernist movement. Both abstract and minimalistic, each piece is an expression of experimentation and innovation, celebrating individualism and creativity. 



    Moroccan rugs, crafted by women in the interior plains and mountains on fixed-heddle looms can vary greatly depending on the tribes that weave them. Nonetheless, they all use severely geometric Moroccan decoration, sometimes in muted tones, sometimes almost monochrome, and sometimes richly colorful tones and asymmetrical compositions without borders.The raw material of the Moroccan rugs is black or white sheep's wool, used as is or dyed with plants or minerals found in the areas where the carpets are woven. In the upper regions, ochers are often used while in the Plains of Marrakesh, madder provides brilliant reds.Moroccan rugs provide designers with timeless, unique, and functional works of art for the modern-day home. Each rug is a primitive abstraction that is completely original to the weaver of the rug. Recognizing the beauty of these rugs in the modern environment were such notable designers and architects as Charles and Ray Eames, Le Corbusier and Frank Lloyd Wright.

    Kilims are a pileless floor covering handwoven by tapestry techniques in Anatolia, the Balkans, or parts of Iran. In the rest of Iran, the Caucasus, and Turkistan, the name for similar pieces is palaz. In most kilims, a slit occurs wherever two colors meet along a vertical line in the pattern, but in a few Karabagh or South Caucasian pieces, interlocking methods are employed in order to minimize these slits. The Turks have produced the largest kilims, usually in two narrow pieces joined, as well as small ones and a multitude of prayer kilims. As a prayer rug, which is carried about with the worshiper, the light and extremely flexible kilim offers obvious advantages. In Turkish kilims, cotton is often used for the white areas, and small details may be brocaded. The kilims of the southern Balkans began as close copies of Anatolian types but have gradually developed into individual styles, such as the black, red, and white kilims of Pirot. In Romania, also, there are varied local fashions, progressively less Oriental in color and pattern as the distance from Turkey increases. The name kilim is also given to a variety of brocaded, embroidered, warp-faced, and other flat-woven rugs and bags.
  • MEND - Vintage Kilims Reimagined


    Developed by Woven Accents, MEND is a collection of flatweave wool chador floor pieces, inspired by our unique ability to marry the authenticity of artisan craft with modern design. 

    Made from a mixture of goat hair and cotton these antiques range in age from 50 to 90 years old.  The small patches seen on some rugs are pieces that once lived other lives; the bag of a fruit carrier, a woolen blanket, a piece from the inside panel of another tent.  A mixture of sustainable design and modern luxury, these floor pieces are well-suited for use and utility.

    From runner to statement piece, we offer collaborating with our clients on type, color, stitch and pattern to create a size and palette that works.  Hand-made in our Los Angeles headquarters, lead times are a minimum and assembly is done by our own dedicated staff.


    Fine ethnographic Oriental rugs, kilims (kelims) and other weavings have been produced by nomads and villagers throughout the Middle East and Central Asia for centuries. Decorative woven saddlebags, storage sacks, tent hangings, animal trappings and floor or ground covers have traditionally enhanced every important aspect of daily life, and are genuine expressions of tribal culture. The geometric motifs in these antique tribal rugs and weavings evolved directly on the loom. Traditional designs--some religious, talismanic or totemic--were passed from one generation to the next, with each weaver creating subtle variations that reflected her own artistic personality.
  • Turkish Jajim

    Jajim (also spelled Jijim, djidjim,cicim) refers to a two-sided flatweave comprising narrow warp-faced strips sewn together. They are two-sided as they were originally woven for bedcovers to protect from the extreme cold in the tribal tent. Fine Jajims, like kilims, are woven on horizontal loom. Patterns are made within the warps; the wefts can hardly be seen. Motifs can be striped, square, checkered, toothed, plain and parallel lines.

    Much like the Dutch Renaissance painters of the sixteenth century took inspiration from their Italian predecessors, twentieth-century Swedish Rug designers took inspiration from imported textiles and incorporated them into their own artistic language. Simple geometric patterns and vignettes from everyday life are woven through this form of Folk Art, and what began as a long pile hand-knotted coverlet, transformed over time into flatweave designs. Purely ornamental in nature; the superior craftsmanship, simplicity, and purity of design gives these floor pieces, dating from the 1920s to 1950s, a timeless relevance and contemporary desirability.

  • Vintage Turkish Tulu

    Vintage Turkish Tulu Rugs are a mid-century melding of ancient technique and minimalist style. A combination of vibrant, graphic color and tribal details give the Tulu a unique, coveted look. Rooted in the Anatolian weaving technique, the high-pile lends an otherwise modern rug a plush, luxurious aesthetic and feel. A vintage Turkish Tulu is as versatile as it is timeless.


    Vintage rugs are dyed and distressed to create this beautiful, ethereal look, accelerating the aging process. This is done through a cycle of dying and washing. Colors blend, textures soften, and an infusion of depth is the end result. One of the advantages of using this distressing process is the level of control that is available. Fabricated distressing gives the rug maker and eventually the client the ability to choose whether they want to just kick start the aging process or add on 30 years to their rug. The end result is a one of a kind rug with its own unique character.

    Oushak in western Turkey has been a major center of rug production almost from the very beginning of the Ottoman period. Many of the great masterpieces of early Turkish carpet weaving from the fifteenth to the seventeenth centuries have been attributed to Oushak. Less, however, is known about what happened to production there in the eighteenth and earlier nineteenth centuries. When things become clearer toward 1900, Oushak re-emerges as a major center, this time for room-size decorative carpets. Oushak rugs such as these are desirable today as highly decorative pieces. They come in central medallion designs as well as patterns of smaller allover medallions or scattered sprays of vinescroll and palmettes. They are notable for the grand, monumental scale of the designs. Oushak carpets often have a subdued palette in soft apricot and golden saffron tones whose pleasing qualities are enhanced by their particularly soft and lustrous wool.
  • KARS

    Not far from the Soviet and Iran frontiers lies Kars the capital of the large Kars province north of Lake Van in the farthest north east end of Turkey. This area is inhabited by a mixed population of Kurds, Turkish (Caucasian Terekeme and Azerbaijani Turks) and until +/-1920 by Armenians. The major production around Kars is of rough tribal type assumed to be Kurdish. The proximity of the Caucasus explains the often use of Caucasian design in this area.