Khwab
A deep madder field with a single ivory medallion, drawn from a 1920s archive.
From $14,400View piece →
Wovenby hand.
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Saanjh
Undyed wool, dusk tones, the colour of light at the end of the day.
From $9,800View piece →
Mehfil
Indigo and silk. A geometric meeting of straight lines and curved restraint.
From $16,200View piece →
Shubh
The auspicious one. Walnut and madder tones, woven as a wedding piece.
From $18,600View piece →
Naqsh
An architectural piece. Sharp lines, deep colour, designed for considered rooms.
From $12,400View piece →
Aaraam
The quiet one. Cream, ivory, the faintest blush. For rooms that ask for stillness.
From $11,200View piece →
Woven in Jaipur. Lived with everywhere.
II — Foreword
Each Carpetstory piece is woven by a single artisan, signed by hand, and travels from one room in Jaipur to another, anywhere in the world.
III — The making
Eight months of work pass between the first thread and the last. We don't hurry it.
Eight months.One pair of hands.
IV — A study in scale
0
in an 8 × 10 piece.
Up to 0 in our finest weaves.
Knot density
10 to 14 / inch²
Weave time
6 to 10 months
Made by
One artisan
V — The materials
A short and considered list of things that touch the floor.
Wool
Sourced from highland sheep in Bikaner, where the wool is long-fibered, lanolin-rich, and naturally lustrous. Hand-spun, never machine-carded.
Bikaner, Rajasthan
Silk
Mulberry silk drawn from Karnataka. Used as accent threads in the field, where it catches light differently across the day. Reserved for the finer weaves.
Channapatna, Karnataka
Cotton
The warp. The architecture beneath the pile. Long-staple cotton, twisted to a density that holds the knots for a hundred years if cared for.
Coimbatore, Tamil Nadu
The colour
Three plants. A river. A roof.
Every colour in a Carpetstory piece begins as a plant, ground or boiled or fermented, then dipped, dried, and dipped again until the wool refuses any more.
Madder
Indigo
Walnut
VI — Heritage
Four generations of keeping the dust out of the dye.
1924. It started with a single loom in a courtyard in Jaipur. My great-grandfather wove pieces for the local merchants. He was known for a specific madder red that no one else could replicate.
1968. My father expanded the workshop. We began exporting to Europe, but the rules remained the same: natural dyes, hand-spun wool, and the Persian knot. We refused to adopt the tufting guns that were speeding up the industry.
Today. Carpetstory is still a family operation. We don't have a factory. We have a network of master weavers, some of whom have worked with our family for three generations. The madder red is still exactly the same.
The original courtyard, 1924
Checking the indigo vat, circa 1970
The master ledger, untouched
From the founder
My grandfather wove. My father sold. I noticed, in between, that the world had stopped looking at the floor.
Carpetstory is a small attempt to make people look down again. Not at the rug — at the eight months it took, and the hands that took them.
AashritVII — In the world
Where they live.
VIII — Voices
“It arrived in a wooden crate that smelled of cedar. The rug smelled of wool and sun. Eight months later, both still do.”
Camille BertinParis, France
“The pile is so dense your foot sinks a quarter inch. I notice it every morning.”
Quincy ArchitectsPractice, NYC
“Specified for a client in Geneva. They wrote a year later just to say the rug had aged better than the room around it.”
Henrik VogelArchitect, Zurich
For private homesBegin an inquiry →
A rug, considered.
Tell us about the room, the light, the way the day moves through it. We'll suggest a piece, or commission a new one.
For tradeOpen a trade account →
For architects and designers.
Trade pricing, full collection access, project samples, and a dedicated point of contact for specification.