„Timelessness lies in depth rather than trend“ An interview with Hannah Vagedes from Maison Rhizomes
Maison Rhizomes, founded in 2022 by artist Charlotte Culot and former fashion director Hannah Vagedes, reimagines contemporary artworks as hand knotted rugs, creating collectible pieces at the intersection of art, design and craft. In this conversation, co founder Hannah Vagedes reflects on the studio’s philosophy, its collaborations with artists, and the vision that guides its timeless approach to textiles.
Hannah, you spent years in the fashion industry before founding Maison Rhizomes. What drew you to the world of rugs as a medium for artistic expression and craftsmanship?
I loved working in fashion, but over time I felt weighed down by the speed and constant cycle of consumption. During a sabbatical in Nepal I met Charlotte Culot, who had just begun translating her paintings into rugs. What fascinated me immediately was their longevity – unlike clothing, a rug can outlive us, passed down from one generation to the next. The tactile quality, the sense that you can walk on art or hang it on a wall, opened up a whole new way of engaging with artistic expression.
Maison Rhizomes seems to move between art, design and craft with ease. How would you personally define the role of a rug: object, artwork, or something else entirely?
For us, rugs are artworks – but they are also lived with. They change the atmosphere of a room and they invite touch. We love that our pieces can either be on the floor or on the wall, and in both positions they have presence. To me they are textile paintings: precious objects that transform space but also connect people to something timeless.
Can you walk us through how an original artwork evolves into a hand-knotted piece — from initial idea to finished object?
The process always begins with an existing artwork – often one of Charlotte’s paper collages or gouaches. Together with the artist we identify the essence of the work: the color balance, the rhythm, the edges, sometimes even the imperfections. Then we translate that into wool, silk and linen, working with three different pile heights to mirror the layers of paint. In Nepal and India, our yarn is hand-spun, hand-dyed with Swiss dyes, and knotted by artisans at a pace of one kilo of yarn per day. Months later, the painting has found a second life as something tactile and architectural.
You work with ancient techniques and contemporary designs. How do you strike a balance between respecting tradition and challenging it?
We respect tradition by keeping the knotting technique, the hand-spun yarn, the rhythm of the work intact. But we challenge it by introducing artistic concepts, bold palettes, and the idea that a rug can be hung like a painting. The balance lies in honoring the past while daring to push its boundaries.
Working between Berlin, India and Nepal, you navigate diverse cultural and craft traditions. How does this global perspective shape your sense of design and materiality?
It makes me deeply aware of connections. Berlin gives us a contemporary, urban lens; the Himalayas remind us of slowness and craft; and Charlotte, who lives between France and Spain in a very remote and reduced way, brings another rhythm and perspective. I believe it is precisely this interplay of different worlds — the urban and the rural, the contemporary and the traditional — that makes our work strong and unique. Instead of being rooted in a single design tradition, we weave together multiple rhythms and sensibilities, creating something that feels both grounded and expansive.
In your view, what makes a handmade object truly timeless — and how do you aim to capture that in your pieces?
Timelessness lies in depth rather than trend. We only produce 22 editions of each design, so every piece retains a sense of rarity. The natural fibers we use age beautifully, and the works carry the spirit of the artist who created the original painting. For us, a rug becomes timeless when it feels both of its moment and strong enough to transcend it.
The idea of sustainability is woven deeply into your creative practice. How do material choices, craft processes and long-lasting design come together in your philosophy?
Sustainability for us is not a marketing term, but inherent in how these rugs are made. They are knotted the same way they have been for centuries, with natural fibers, hand-spun yarn and safe dyes. Our mill in Nepal provides housing and clean water to the weavers, creating a safe and supportive environment. Most importantly, we see each rug as an artwork meant to last generations — that longevity is itself the most sustainable approach.
Collaboration is central to Maison Rhizomes. What qualities do you seek in the artists you work with, and how do their visions shape your collections?
We look for artists with a strong, authentic voice — people who aren’t following trends but have their own language of form and color. Their vision must be translatable into textile without losing its essence. Each collaboration is about contrast and dialogue: how their universe expands ours while remaining true to both sides.
You’ve collaborated with artists like Ludovic Philippon. What, in your experience, makes a creative partnership enriching — both for the design process and the final piece?
So far, our first collaboration has been with Ludovic Philippon, whose architectural background brought a new clarity of line and structure that contrasted beautifully with Charlotte’s more organic approach. One of his rugs now hangs in the offices of Florin Immobilien — a beautiful example of how these works resonate beyond the art and design world. For us, an enriching partnership is one where both artistic voices remain visible in the final piece. Our goal is to expand these collaborations with more artists in the future, always preserving the authenticity of their work while giving it a second life in textile.
What makes this connection between contemporary design and artisanalvcraft so meaningful for you?
Because it’s a dialogue across time and place. These techniques have been practiced for centuries in Nepal and India, yet they now carry contemporary artworks into the future. One of his rugs now hangs in the offices of Florin Immobilien — a beautiful example of how these works resonate beyond the art and design world. They chose to hang ‘Blue Breath’ in their office to infuse the minimalist space with warmth, texture, and a distinctive tactile presence, creating a welcoming atmosphere. For us, an enriching partnership is one where both artistic voices remain visible in the final piece. Our goal is to expand these collaborations with more artists in the future, always preserving the authenticity of their work while giving it a second life in textile.
When an idea feels stuck or unfinished, what helps you move forward creatively?
I return to places and practices that ground me – Brittany, where Charlotte lives with her horses, or the landscapes of Provence, where the light is incredibly generous. In my daily life, yoga is essential for me. It helps me connect body and mind, slow down, and create space for new ideas to emerge. Reconnecting with nature and embracing a slower rhythm always brings clarity and fresh perspective.
Looking ahead, are there particular materials, techniques or artistic concepts you’re eager to explore next within the world of handmade design?
We are curious about expanding our material palette — hemp, linen, perhaps even unconventional fibers — always with the same focus on tactility and longevity. Artistically, we want to invite more voices into our house, Maison Rhizomes, and see how their visions can be translated into textile. The most exciting thing is that the medium keeps surprising us — there is still so much to explore.