design focus
CLODAGH
Rugs are integral to the 'total design' concept
of this internationally reknowned designer.
By Alix G. Perrachon
For Irish-born Clodagh, who is known professionally by her first name only, oriental and decorative rugs are a natural extension of her "total design" philosophy, which emphasizes objects and surfaces that are pure, unadulterated and, typically, handmade. Thus, rugs play a pivotal role in the Manhattan-based designer's interiors which exude timeless beauty, derived from her use of enduring materials and designs.
Born in Oscar Wilde's country home on the shores of Lough Carrib in Western Ireland, Clodagh's first career was in fashion where she developed her love of natural fibers. By 1983, she was established as a leading New York City interior designer, but her exposure to the beauty of handmade rugs dates back to her early childhood. "We've always had rugs in the family," she observes. Many rugs, including Persian silks, originated from an uncle who lived in India in the heyday of the British Empire.
When Clodagh later left fashion to establish an architectural design business in Spain, rugs, both antique and new, became part of her world. "Rugs are on the cutting edge of my design," says the iconoclastic designer. "They are extremely personal and are a document of the life of the weaver," she continues. Selecting a rug is a subjective experience where the personality of the client must be in sync with that of the carpet. Moreover, the sensual character of a rug leads her to add: "There's also something rather erotic about rugs."
"The floor should not hit you," Clodagh insists. Indeed, the rug should not take over the space with vivid colors and bold designs, including medallions. Instead, it should aid her in fulfilling her ultimate goal of harmony and simplicity. Moreover, she follows her instinct: "Go for the feeling and look as opposed to price and potential resale value."
While Clodagh freely confesses to her lack of knowledge in the realm of rugs, she voices an instinctual preference for antiques and "pre-aged" pieces (i.e., vegetable-dyed reproductions). She is drawn to the softness of these pieces and to their ability to make the room look as if it has been lived in before. With respect to antiques, she leans toward Sultanabads, Agras, and Oushaks in addition to kilims, Bessarabians, and dhurries. She finds faded and worn pieces particularly compelling. In effect, she says: "We seek patina in antique furniture, why then not in old rugs? The American clientele is only beginning to understand this."
Clodagh is uniquely open to the world of new rugs, namely vegetable-dyed reproductions. It is no wonder that she professes such a strong appreciation for natural dyes given the predilection for natural fibers, such as handmade tweeds, that she nurtured in her fashion design days. She likes these pieces for their subtle modulating hues imparted by their abrash. Moreover, she also expresses an unavowed passion for Tibetan rugs. "I love them for their richness and depth, and their opulent pile, " she comments. "They are comfortable islands to sit on that are also thick and durable." In contrast, the floral Savonneries, Aubussons, and needlepoints are too precious and refined for her installations.
Whether Clodagh starts or finishes with the rug depends on the job. Sometimes, a project will revolve around a rug while with others it will fit in. When integrating a rug into a room, wall and floor colors need to be adjusted. This is far easier to do than changing the rug color!
"Rugs are extremely contextual," states the designer when explaining their importance in relation to their setting from both a practical and esthetic standpoint. Thus, she prefers more durable pieces, such as a modern Tibetan, for a hallway, in contrast with an antique in a living room or a Persian silk in a bedroom. From the decorative aspect, they also need to be in harmony with their environment. She avoids strong color contrasts between rugs and furnishings except for hallways and stairways which cry out for excitement. One of her favorite stairway applications is a waterfall of kilims.
"I have no style," declares the reknowned designer. "I design for the experience of space." Within this concept, rugs fit into a variety of styles which are all a function of the client's personality. Harmony is also the guiding light when mixing and matching rug and fabric patterns. She often extracts the more saturated colors from rugs to influence wall and fabric hues. Moreover, she is especially keen on exploring the relationships between fabric and rug textures. Sultanabads, juxtaposed with heavy linens and worn leathers with rugs, are particularly evocative. From the tactile and visual standpoints, the layering of rugs is another of her favorite looks.
Clodagh's strong interest in contextual relationships extends to that between the floor and the rug. Indeed, for her, there should be a symbiosis between the two. Wood is her favorite medium but she is careful to adjust the hue to show the rug off to its best advantage. Recently, she used a Chinese rug in conjunction with an ebonized floor and walls. Other favorites include stair and "patinaed" concrete. Moreover, she has been successful in placing rugs over recycled brick as she did, in one instance, with a Russian rug.
As a European whose work spans America and Europe, she is uniquely positioned to assess the differences in buying and decorating styles between the two continents. Generally, unlike many Americans, Europeans trust themselves implicitly when acquiring rugs without a decorator; indeed, hiring a decorator is a supreme luxury reserved to the very few. Meanwhile, in the United States, she has noted a heightened appreciation and understanding of rugs since the early 1980s, when she established Clodagh Design International. While there has always existed an American elite attuned to the art, the awareness has deepened and become more pronounced particularly amongst those who have the opportunity to travel.
"People's consciousness has been raised that things in life can change rapidly," Clodagh muses. "We lead nomadic lives going from one place to the next and the rugs are becoming increasingly important. After all, rugs originated with the nomads!"
Hence, oriental and decorative rugs' popularity will only increase while the "passion" for wall-to-wall-carpeting will abate. People have awakened to the value of being able to take their rug with them from one house to the next. Rather than blanket the floor with wall-to-wall carpeting, why not simply give it a wax and buy a rug? Yet, progress in this country with respect to understanding a rug's full long-term value is still in order. Indeed, while there may be little hesitation in spending thousands on a designer suit that will wear out, there is still resistance to spending the same amount on a rug that lasts several generations.
TIPS FROM THE DESIGNER
- When buying a rug, go with feeling, not intellect. If it feels right, buy it. When spending over $25,000 on a rug, seek professional advice. Rugs are like stocks and shares. Get into the market early in life!