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OLD OLIVE POTS AND VINTAGE WATER POTS

 

We select our old olive pots in the Southern Europe and each piece is handpicked. They have been used to store olive oil and some even wine. They are made of terracotta and stone and are not frost-proof. With that in mind they are not that fragile, and you can easily leave them outside in temperatures up to -5 degrees.  They are all handmade / turned and have a fantastic patina.

Our vintage water pots are not frost-proof and we recommend using them inside or outside during summertime.

All our old pots are unique and one of a kind, which make them special. Always remember to drill holes in the bottom, if you want to keep the pots outside, so the water can drain. When you use the pots inside, we recommend not to plant directly into the pots, but keep the plants in their original plasticpot.

 

 

OUR FURNITURE

 

Our furniture is made of recycled elms and oak wood, which has been in the wind and weather for more than 50 years.

As the wood is a living material, it can settle and crack over time in the Scandinavian climate where we have more dry air and changing temperatures.

The furniture is made of solid wood and will evolve over time, making each piece of furniture unique. At the same time, be aware that all types of wood adjusts to the surroundings and the temperatures as well as the humidity in the climate they are in.

 

 

NEWLY PRODUCED POTS

 

The pots are sealed but we still recommend not to plant directly in the pots and if you want to use them for fresh flower, use a glass vase inside. When you water directly into any pot, the water will leave condensation in the bottom and that will eventually leave marks on a table or floor. 

 

 

UNIQUE PRODUCTS

 

We love unique products and things that tells a story. However, since no 2 pieces are the same, the shown pictures are just an example. You are always welcome to contact us and we will send you pictures for your approval before shipping the order.

 

                                                                                   MIRRORS

 

Our mirrors are all handmade and can be hong both vertical and horizontal. They are made by hand by skilled artisans and therefore all unique. and are made with a very speciel technique.
“The mirrors Exposing the mirror to direct sunlight may cause a damage to glass. The mirrors are only for interior.”

 

 

BYLIVING IKAT SILK CUSHIONS

 

Our silk IKAT cushions are inspired by traditional Ikat decorative motives from the golden age of ikat in Uzbekistan in the 19^th century and is today crafted entirely by hand in Turkey.

The range of the beautiful colors are from yellow to pink, and in a classic black color. The front cover is in silk and velvet, and the back is linen.

 

 

The History

Vibrant silk ikat and velvet ikat textiles, originally produced by the oasis dwellers of Bukhara, Samarkand and the Fergana Valley, exemplify the rich, artistic history of Central Asia.

Noblemen, aristocrats and rich merchants alike, wore exquisite ikat robes as signs of status, and presented them to visiting dignitaries as gifts of honor.

 

Silk production

Uzbek craftsmen still rely on local families to produce the cocoons from which the silk is extracted. The season begins in April, when each household is given twenty grams of silkworm eggs in a container the size of a matchbox.

The silkworms that emerge from these eggs devour enormous quantities of mulberry leaves for about six weeks before spinning up to eighty kilos of cocoons.

The silk fibers are extracted after sorting the cocoons according to quality. In preparation for dyeing, the threads are washed with sodium ash and soap made from cottonseed oil to remove the glue (yelim) of the cocoon.

 

The Process

Silk ikat is a complex method of weaving that utilizes a resist dyeing process (similar to tie-dye) on the warp threads before weaving, in order to create an intricate design in the finished product.

 

Weaving preparation

The warping reel is used to measure warp threads that are approximately 150 meters in length when using natural dyes. Preparation of the warp, tying of the patterns and dyeing is done by men. The rasmchi is the designer, the nishonji makes the marks, the abrbandchi ties the threads and the ranguborchi immerses the threads in the hot dye pots over wood burning fires.

To begin the process, small groups of silk threads are repetitively bound in an intricate design with a water resistant material, in order to prevent penetration of the dye bath. Yellow, usually the lightest color is dyed first. Subsequently, all that is to remain yellow is bound tightly and the next color is dyed. This process is repeated for each color

 

Weaving

When dyeing is complete, the resists are removed to reveal the design, the loom is warped and the weaving begins, frequently by women. The entire process requires 37 steps from cocoon to finished product.

 

Silk ikat velvet

Silk ikat velvet, a pile weave, is known as baghmal by Uzbeks and Tadjiks. The binding and dyeing process is the same as for simple ikat. For ikat velvet, however, there are two warp systems, one for the ground cloth and one for the velvet, which is considerably longer. In order to form the pile, the ikat velvet warps are raised to form loops over a grooved wire. A razor is drawn through the groove, leaving a perfectly even edge on the pile.

Design motifs include amulets or other forms of jewelry, rams’ horns, plants, pomegranates, trees, tulips, scorpions, and birds, which are commonly abstracted for use in Uzbek ikat patterns.

 

The Market

During and following the Soviet era, there was significant stagnation in the sphere of traditional handicrafts, particularly in the manufacture of ikat.

In the early 1990’s traditional manufacturing slowly began to recover because of the knowledge and the efforts of old masters. Today ikat is in high demand internationally by fashion designers as well as interior architects.

For the last ten years, China has been importing silk from Uzbekistan, which has resulted in a four-fold increase in silk prices. As a result, Uzbek weavers began to incorporate mixtures of viscose, cotton, and other synthetic materials with silk fibers, in addition to using semi-automatic machines to further decrease costs.

 

Dyers, unable to implement the color combinations, tones and patina they desire, have resorted to chemical treatments that fade with time, resulting in a loss of the original depth and vibrancy.

 

 

                                                                                                       INNER CUSHIONS