The Art of Embracing Nothingness

Lila Valadan

In a world increasingly defined by speed, spectacle, and separation, Lila Valadan’s approach to design offers something radically different: stillness, depth, and unity. Her work is rooted in a holistic philosophy that sees design not as a series of isolated gestures but as an interconnected web of meaning, culture, and emotion. In her hands, a rug is not simply a surface to walk on—it is a story, a soul, a space of belonging.

To be holistic is to view each thread, knot, and pigment not as a fragment but as an echo of the whole. It’s a mindset that dissolves boundaries between material and memory, between art and utility. For Lila, a rug is a living archive of tradition, craftsmanship, and quiet revolution. Every piece is a bridge between East and West, old and new, the tactile and the transcendent.
Under the theme ‘Connected Worlds’, this year’s Milan Design Week feels like a natural extension of Lila Valadan’s ethos.
As the city pulses with ideas that link disciplines, cultures, and people, her work reminds us that connection begins not in technology but in touch—in the way wool responds to the hand, in the intentional silence of an empty space, in the slow time of creation.
Holistic design demands more than beauty—it asks for responsibility, presence, and care. Lila Valadan answers this call not with noise but with nuance. In an age of endless scrolling and split attention, her rugs invite us to pause, gather, and remember that genuine connection is never loud—it’s lasting.

Milan Design Week 2025
April 7 – 13
IL NULLA  [HEECH / NOTHINGNESS]
The Art of Embracing Nothingness
Lila Valadan

Photo credits: Bianca Puleo

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Dear Lila, could you tell us more about your journey to becoming a carpet designer?

I don’t see myself as a designer. I simply do what I love. I adore carpets—their patterns,

their history. I draw inspiration from tradition and art and follow my instincts. Everything else

falls into place.

What was the first thing you remember creating?

As the youngest in the family, I was always the one who had to do the cleaning up. I shared

a room with my sister and often had to tidy it. While doing so, I would rearrange the furniture

and create new spaces—something my sister absolutely hated. Those were my first

creations.

How is your design process born, and how does it unravel to create these unique

designs?

I don’t follow a fixed process. I see something, feel something, and an idea takes shape.

Sometimes it comes from an old pattern, a piece of art, or just a moment in life. I play with

colors, shapes, and textures until it feels right. Everything happens naturally.

Which one of your collections was your biggest challenge, and which one did you find

your greatest achievement?

Creating high-quality craftsmanship today—using highland wool, natural dyes, and

maintaining the highest standards—is always a challenge. This applies to all my works. True

craftsmanship demands patience, knowledge, and a deep respect for the materials, and in a

world driven by fast production, staying true to these values is not always easy.

If I had to choose one collection that was particularly challenging yet also a great success, I

would say the Aleph Collection. These handwoven Kilims gained significant recognition, not

only for their craftsmanship but for their almost fabric-like texture and lightness. They capture

the spirit of the times—elegance without excess, presence without weight.

How would you describe yourself in three words?

Woman

Mother

Not perfect

What is your favourite book that you have read recently

Zen in the Art of Archery

Herrigel Eugen

What are the biggest lessons you have learned since working as a designer?

I have learned not to call myself a designer.

My motto is: “When everybody tries to be something, be nothing.”

What helped you find your voice and personal style?

I think I don’t have any style and never looked for a voice or a style. I just did what felt right.

Over time, it became mine.

Nothing works without the support of others. Who do you rely on?

I believe in teamwork. My work is the result of many steps and many people. From the first

shearing of the wool to the final finishing, so many hands are involved.All of whom bring their

skills, care, and dedication.In Farsi we say: “one hand doesn’t make a sound,” which

reflects my deep belief in teamwork.

Of course, I also rely heavily on my son, Shayan, who has been a tremendous source of

strength and support. His presence and assistance energize me .

It is clear to me that the strength of my work lies in the network of people around me, in the

shared commitment to craftsmanship, and in the belief that we are all part of something

much bigger than ourselves.

You are a highly organised person. How do you cope with stress?

Oh no, sometimes things get really messy.

But I try to stay calm and focus on what matters. It’s about keeping track and moving forward

step by step.

I try to stay in the present, focusing on what’s in front of me, instead of letting my mind

wander to the past or future.

How do you define success?

I don’t really think about success in the traditional sense.

Success is not what you achieve, but what you let go of. True success does not come from

the outside, but from your heart, from the truth you discover when you leave behind the

noise of the world.

What do you like about your job?

I love that my work allows me to connect with so many people. It’s about creativity, tradition,

and the feeling that everything comes together.

Philip Shalam – New Frontiers for the Alberto Levi Gallery

The Alberto Levi Gallery ventures into photography, presenting Philip Shalam’s captivating works at the Milan Photo Fair.

Shalam’s Metropolis series results from years of photography and over two decades of life in New York City, the city that first ignited his creative vision. He combines iconic architectural elements worldwide into a single, dynamic composition through intricate, hand-assembled collages. His process—meticulously cutting, arranging, and layering printed photographs—creates a deconstructed yet harmonious vision of urban life.

Alongside Metropolis, Shalam’s Refracted Lens series offers a poetic reflection on the relationship between people and architecture. In one striking image from Liverpool Street Station, a fleeting moment of human connection stands out amidst the bustling city’s movement.

See you at MIA Photo Fair, Stand F021

More about Philip Shalam

Buy a ticket for MIA Photo Fair

During Milan Design Week 2025, Galleria Alberto Levi will present the exhibition ‘II Nulla [Heech / Nothingness]’ with its long-time professional partner, pioneer Lila Valadan. Rachel Meek asks Levi about the concept and art of embracing the ineffable.

Design Week brings hype, buzz and crowds to Milan every April. To counter the frenetic energy of the streets and buzzing events, Alberto Levi Gallery Allery and Lila Valadan invite visitors to rise above the frantic heartbeat of the city to a place quieter than silence. In this realm, the senses are recalibrated, beauty is distilled into its purest form, and true minimalism emerges through ancient weaving techniques and tactile narratives. Their invitation sounds tempting, to say the least, and saying minimal, or even nothing, is at the heart of their collaborative exhibition Nulla [Heech/Nulla)” on view at Alberto Levi Gallery

During Milan Design Week 2025 Heech, the Persian word for “nothing,” refers to a deep philosophy of Persian Sufism that embraces the idea that creation comes from the nothingness that permeates the universe and resides in all of us, and that to surrender to this void is to dissolve the ego and discover wisdom, beauty, and unity. Valadan’s Aleph flatweave collection embodies this ethos-less infinity. Levi describes it as a bridge between the past and the future, carrying the belief that tradition is not about preserving ashes but about keeping the fire alive.

The show results from a decades-long professional relationship that dates back, as Levi recalls, to his first meeting with Lila Valadan’s late husband, the late Mohammad Naziri, at the inaugural Domotex fair. He says Lila and Mohammad stood out for their pioneering approach, curating a selection of visually stunning antique and vintage South Persian tribal rugs and flatweaves. Their keen eye for authenticity and artistic expression has always resonated with me, making our partnership a natural evolution over time. Since its inception, we have represented the Lila Valadan brand in Italy, building a long-standing relationship based on a shared appreciation for exceptional craftsmanship and artistry in rug making.

Like everyone who was fortunate enough to visit Valadan’s landmark “Night Time in a Palace” exhibition at Domotex Hannover in January 2024, Levi was astonished by its impact. It has deepened his admiration for her boundless creativity, expressed not only in her rugs but also in the way she presents her collections. Describing the presentation as “mind-blowing in both concept and execution,” he knew as soon as he saw it that such an extraordinary work deserved to be showcased to a wider audience, “particularly during Milan Design Week, where it could reach a diverse and design-savvy audience. Nothing will embody the

the authenticity woven into Valadari’s rugs, which Levi describes as being woven by the same artisans who have passed down these skills for generations, using the same materials and time-honored weaving techniques. As he explains, Thia translates into pieces that are not only beautiful to look at, but also deeply tactile and full of character. Each rug tells a story, there are no shortcuts, each rug is made from the finest wool, dyed using only the highest quality natural materials. The result is an unparalleled level of craftsmanship, evident in every fiber. These rugs exude a passion for quality and a deep respect for tradition, which is truly rare in today’s market. The use of natural dyes extracted from pomegranate peels, saffron and walnut shells also enhances the collection, as Levi says: For me, this approach is like opening a window to the past, it creates a tangible connection to the origins of weaving, maintaining an unbroken thread between history and the present. Whether clients specifically request it or not, they inevitably recognize and appreciate the depth and authenticity that natural dyes bring to a piece. I have no doubt that the collection will leave a lasting impression… Many viewers in Milan may not have fully realized how transformative and magical a carpet can be. I expect visitors to be inspired, enchanted and to gain a new appreciation for the artistry and craftsmanship behind

these extraordinary pieces. As we approach the labyrinth of design that is Design Week, perhaps it is worth taking to heart the words of Lila Valadar adar When everyone is trying to be something, be nothing.

COVER 78_Feat_Lila Valadan at Levi

‘Every carpet holds a story. But the most revealing tale is always about the person who chooses it.

(Lila Valadan)

Lila Valadan is an award-winning Persian rug designer and a pioneer in the male-dominated world of Persian carpets. As the only female rug producer in Iran, she has redefined the art of rug making, merging centuries-old craftsmanship with contemporary aesthetics. Her dedication to excellence has earned her international recognition, including being a 9-time Carpet Design Award winner and an AD 100 nominee, cementing her status as one of the most influential designers in the field. Each rug she creates embodies deep cultural narratives, masterful techniques, and a passion for storytelling through texture and color. Committed to sustainability and ethical production, Lila works closely with artisans, preserving heritage while innovating for the future. Her collections have captivated global collectors, interior designers, and museums, making her a leading voice in redefining the art of Persian rugs.

‘Carpets are my dialogue with the world.’

Lila Valadan is also a family business, built on generations of Persian rug-making mastery. The art of rug making has been woven into her lineage for centuries, dating back to 19th-century Persia.

Carrying this rich legacy forward, Lila infuses every piece with history, craftsmanship, and a deeply personal vision. Each rug tells a story, meticulously crafted using the finest materials and time-honored techniques.Her journey began in 1984 when she and her husband, the legendary Mohammad Naziri, a renowned carpet collector, who brought to the West the tribal woven culture of Iran, traveled through the mountains and valleys of southern Persia in search of extraordinary rugs. They discovered that rug making was more than a craft for the nomads of old Persia—a love letter, a wedding gift, a symbol of devotion. The themes woven into these works predate Islam, yet their abstract, expressive nature resonates with modern aesthetics, echoing the spontaneity of European expressionist art.

For over 40 years, Lila’s husband ran his business on a single principle: “To be truly modern, you must come to terms with your tradition.

Her journey began in 1984 when she and her husband, a renowned carpet collector, traveled through the mountains and valleys of southern Persia in search of extraordinary rugs. They discovered that rug making was more than a craft for the nomads of old Persia—a love letter, a wedding gift, a symbol of devotion. The themes woven into these works predate Islam, yet their abstract, expressive nature resonates with modern aesthetics, echoing the spontaneity of European expressionist art.

For over 40 years, Lila’s husband ran his business on a single principle: “To be truly modern, you must come to terms with your tradition. Keeping this philosophy alive has always been the task. Tradition does not mean preserving the ashes but keeping the fire alive. This belief drives Lila Valadan’s work blends past and future to create timeless art.

Today, the next generation continues this journey. Lila’s son, Shayan, elevates the brand to new heights, ensuring its evolution while staying true to its heritage. Their network of weavers,

from the Caspian Sea to the Persian Gulf, produces hand-knotted rugs that take years to complete—some with over five million knots. Persian rugs are among the most labor-intensive crafts, requiring patience, attention to detail, and decades of heritage. The rugs tell stories of humanity; it is said that a Persian carpet is the mirror of heaven, bringing the Garden of Eden into homes.

Lila Valadan’s philosophy values authenticity over perfection. In a world of mass production, where everything is a strategy, these rugs remain untouched by commercial intent. Small irregularities, subtle deviations, and natural color variations do not diminish their value but enhance their soul.

They reflect the belief that true beauty lies in imperfection—something science cannot explain.

Through her work, Lila Valadan merges poetry, love, and heritage, creating rugs that are textiles and timeless expressions of Persian culture.

….but not always.

What makes the Alberto Levi Gallery unique is not only its location in the heart of Milan’s historic city center but also its quintessentially Milanese courtyard, which seamlessly connects both sides of the gallery. Visitors joining us for an exhibition opening know the inviting atmosphere that enhances every event.
During our first opening of the year, Par Terre—Barbara Frua, this courtyard was under renovation and inaccessible. However, both sides of our showroom remained brightly illuminated, filled with the unmistakable magic of Barbara Frua’s interiors.
If ‘location, location, location’ is the credo of the real estate industry, then we would describe Barbara’s creations with the following philosophy:

Texture, Color, Design

Par Terre goes beyond a mere demonstration of refined craftsmanship. It is a testament to tradition and decoration, redefining the boundaries of carpet design by harmonising functionality and aesthetics in each piece. Once again, Par Terre highlights Barbara’s refined taste and innovative sensibility.
Barbara Frua’s signature mix-and-match color palette has now expanded to 28 shades. This bold statement against convention and invitation to embrace creative freedom allows clients to explore limitless combinations, transforming each carpet into a unique expression of personal style.

Complementing Par Terre is Specchio, Specchio, a collection of mirrors designed by Barbara Frua in collaboration with Pictalab. Here, primary shapes and colors are reimagined through an innovative approach to ancient materials and techniques. This collection perfectly mirrors Par Terre in both color and design, completing a vision where tradition and contemporary artistry merge seamlessly.

Like a gentle embrace, we love blue in our homes because it whispers of lazy days watching clouds drift across summer skies and peaceful moments by the ocean’s edge. This colour brings the serenity of nature indoors, turning our spaces into peaceful sanctuaries. When blue surrounds us, it feels like a deep breath of fresh air, helping us unwind and find our calm in a busy world.

Vintage Beni Mguild tribe rugs from the Moroccan Middle Atlas Mountains are famous for their rich monochromatic tones, lanolin-rich wool, and exceptional sturdiness. This particular rug features indigo-dyed wool, which is rare and valuable. Jewish artisans exclusively performed indigo dyeing until the mid-20th century. Thus, older examples like this one are increasingly challenging to find. These rugs are notable for their stunning abrash and blue colour gradations, giving them timeless beauty. The slightly larger size, uncommon for this type, makes this carpet highly desirable for modern interiors. It adds a unique touch to any space.

This authentic old Berber rug was woven by the Beni M’Guild tribal confederacy in the Middle Atlas Mountains. The region is renowned for its diamond-pattern sheep wool rugs and authentic indigo blue vegetable dye.

This rare example displays a beautiful indigo-blue field with various colour gradations, creating a blissful visual impression. The delicate diamond pattern, traced in ivory tones, creates a well-balanced and elegant design. The relatively large format makes this rug highly useful for interior decoration.

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A Jewish Family’s Legacy in Central Asian Textiles

My love story with Central Asian textiles began at a very early age, discovered and slowly galvanized while browsing old picture albums, visiting relatives in Jerusalem or listening to ancient family stories as recounted to me by my father. I was always very curious and aware of ‘where I came from.’ Both my parents were Jews of Mashhad, a city located in northeast Persia, and this, alone, carries with it an immense historical legacy.

Communities of Jews had begun migrating to Persia not long after 597 B.C., when King Nebuchadnezzar II of Babylonia conquered Jerusalem, took as captives 10,000 Jews and destroyed the Temple. In 539 B.C., Cyrus, King of Anshan, founder of the Achaemenid dynasty, invaded Babylon and allowed the Jews to either follow him to Persia or to return to Jerusalem and rebuild Solomon’s Temple. Many of them, lured by the prospect of religious freedom and a benevolent leader, chose  to follow Cyrus and managed, over the course of history, to integrate themselves into the fabric of Persian society, coexisting peacefully at times while suffering persecution at others, most especially after the introduction of Shi’ism by the Safavids in 1502.

In 1739, Nadir Shah, the ruler of the Afsharid dynasty, plundered India, returning a year later with his looted treasury to his palace in Kalat, located in the Khorasan province near Mashhad. He was particularly suspicious of the people surrounding him, such that, in 1746, he decided to relocate there forty Jewish families from the cities of Qazvin and Dilman, trusting that they would safeguard his treasury. As these families were in the process of migration, Nadir Shah was assassinated. Stranded in Khorasan, the Jews eventually decided to settle in the nearby Muslim holy city of Mashhad, although the local Shi’a population was vehemently opposed to it.

The Eidgah Jewish ghetto was located in an enclosed area very near the Imam Reza Shrine, which is the largest mosque in the world, housing the mausoleum of the prophet Reza, one of the most sacred destinations for Shi’a Muslim pilgrims. The Jews were living in a perennial state of fear, locking the gates to the ghetto at night in order to prevent attacks. Indeed on March 27, 1839, the ghetto was raided by an angry mob upon an unjust pretext. The Jews were would now face certain death if they did not immediately convert to Islam. This incident became known historically as the ‘Allahdad.’ Many refused conversion, but those who agreed would continue to observe the Jewish faith and traditions in secret. In the years that followed, the ‘crypto-Jews’ were greatly limited in their freedom, particularly when it came to conducting their businesses in Mashhad. Eventually, many would be forced to migrate to neighboring countries like Turkmenistan and Uzbekistan, often leaving their families behind, but returning periodically to see them and bring sustenance.

I managed to trace my family tree back to the 17th century, when Abraham Levi was a member of the Jewish community of Qazvin. Two generations later, Simcha Levi was born in Sabzevar, near Mashhad, and had six male children, all born before the Allahdad and each responsible for the considerable expansion of the Levi family. My great-great grandfather, Isaac Levi, was the second of these six brothers, born around 1805, and his four children were all given Muslim names, including my great grandfather, Ramazan. By the time my grandfather, Ghassem, was born (whose Jewish name was David), the entire community in Mashhad was living a double life, fervent Muslims on the surface and Orthodox Jews undercover.   

My father and I must have inherited our flair for travel and business ventures from my grandfather, who was one of the first of his generation to leave Mashhad for Marv (in Turkmenistan), where he had soon established himself for trading rugs and textiles with the local Turkmen population, who would gather weekly at the Takkeh and Vakil bazaars. He would then proceed to export these goods along the Silk Road to his family and business contacts stationed in India and London. The Turkmen people, who were Sunni Moslems, liked dealing with the Jews, both sympathising with their plight of living amongst Shi’a Moslems and respecting them for their honorable business practices. This enabled my grandfather to grow his business in ways that were not at all possible in Mashhad and to soon purchase some land in and around Marv.

The success of this enterprise encouraged him to venture still farther, this time to Uzbekistan, where he soon established himself in Samarkand and Tashkent. There he traded in silks and karakul (a tightly-curled, glossy, black lamb fur) with the local ‘Bokharans,’ this being the term used in my family when referring to the local population. Many of these Bokharans were of Jewish origin and he soon learned from them that their community was beginning to settle in a specific neighborhood of Jerusalem, close to the Old City. Beginning in the 1870’s, they had purchased land there and, by 1891, had decided to build a quarter in the neo-Gothic and Neo-Moorish architectural styles of Europe’s major cities.

For my grandfather, Jerusalem represented an opportunity to redeem the Jewish future of his family. His elderly cousin, Haji Esmail Yehetzkel Levi, who had been fervently practicing the Muslim religion and built public bathhouses in Mashhad in 1898, had earned his ‘Haji’ title through a pilgrimage to Mecca, which led him to visit Jerusalem. By the turn of the century, he had reconverted to the Jewish faith and was happy to leave Mashhad once again for Jerusalem, this time with the intention of building a synagogue. Informed about the growing neighborhood by his Bokharan business colleagues, my grandfather encouraged him in this venture and entrusted him with his first-born, ten-year-old son Ramazan for assistance, as Yehetzkel and his wife Michal didn’t have any children of their own. In 1905, the Haji Yehetzkel Levi Synagogue was built and still stands today as one of the landmarks of Jerusalem’s Bokharan Quarter.

This synagogue has always been the locus at which I could most fully connect to my heritage. My childhood memories are filled with holiday celebrations during which the synagogue was fully dressed with glistening, festive textiles. I remember a picture I once saw of the Torah ark covered by a parokhet made of a finely embroidered antique, dark-coloured, silk suzani of the Shahresabz type. The cover of Reuben Kashani’s ‘The Crypto-Jews of Mashad’ contains a frontal image of the synagogue’s interior, displaying another dark suzani of the Shahresabz type used as a tevah cover, against which stand three Torah scrolls. In another image, we see that the tevah is covered by a Nurata-type nim suzani. These were most probably gifts of my grandfather, who was dealing in them while in Uzbekistan and would send them to Jerusalem via his family members.

Collecting these textiles became equivalent to weaving together the threads of family history. Holding on to these fabrics is like holding on to a past which I only know of by way of narration but which I feel has still exerted an enormous, shaping identity and influence. Dealing in antique rugs and textiles has always been extremely natural for me, as if it were part of my DNA. I was very fortunate that my interest in central Asian textiles was sparked at around a time when, following the breakdown of the Soviet wall, many of them became available at the Istanbul bazaar, arriving at night in huge suitcases carried by equally portly Uzbek women, or in the alleyways of Jaffa’s flea market in Israel, brought into the country by the huge wave of Russian immigrants. A good majority of these textiles were in pristine condition, having been stored away as prized dowry objects and used only during special occasions. Most had patterns and formats which concealed their true function and scholarly material about these niceties was still fairly scarce. It was like pioneering a field that was begging to be discovered. Searching through piles of these made me aware of channeling my grandfather David, as he once rummaged through the dusty alleyways of Samarkand.  I felt like the torch-bearer of the family tradition and sensed he would be very proud of that.     

Three decades of antiques hunting in New York also offered me the opportunity to get in touch with Mashhadi rug dealers who were often brokering the sale of some family heirloom textiles. I was particularly happy to purchase, from these sources, a stellar purple-ground, silk suzani and a polychrome, ikat-ground suzani, both from Shahresabz, as well as a very fine Nurata suzani—a  pristine, small-format Bokhara suzani which was probably used as a table cover as well as a baby-sized Ikat coat. The Jewish legacy with Uzbek suzanis is further corroborated by two inscriptions, hand-written in Hebrew and Farsi on the backing of the Nurata nim suzani and embroidered with a flame-stitch variant, indicating that it was purchased in Isfahan and that it belonged to a Jewish gentleman.  Indeed there are many images in literature illustrating the ritual use of ikats and suzanis in Jewish festivities, particularly among Persian Jews.

Wherever I would travel, my eyes would always wander about, looking for any hidden treasures. By the time I met Anna, my wife to be, the private collection was already taking over a good portion of my bachelor pad, draping the few empty walls or covering tables and beds. Sometimes I was even wearing some of the ikat coats at my gallery openings, always instigating much interest among the fashion-driven Milanese. Anna was quickly enamoured of all this and encouraged me in many of our future acquisitions. Soon we were travelling together and enjoying hunting through all the markets we could find, looking for that elusive piece that was still felt to be missing.  For our wedding ceremony, we decided to decorate the entire matroneum of Milan’s central synagogue with a selection of suzanis from our collection. Seeing them hanging from across the entire perimeter of the synagogue helped in creating an atmosphere of festivity and love. I was instantly transported to what my ancestors must have felt when they embellished the walls of our synagogue in Jerusalem. These objects were woven with love and as an ode to love. Our dream is that these textiles will continue to bring joy in our family for the generations to come, creating an ever-enduring legacy with our glorious past.   

Nestled within a Florentine palazzo—once the cherished residence of Napoléon I’s younger sibling—a breathtaking architectural narrative unfolds along the storied Lungarno Corsini. The interior space presents a mesmerising dialogue between aesthetic traditions: elaborate French Gothic Revival mouldings cascade across walls, their intricate contours a sublime counterpoint to Florence’s hallowed Renaissance architectural milieu.

This remarkable dwelling serves as a curated sanctuary, meticulously assembled by Alessandra Tabacchi and Franco Mariotti, the visionary founders of FLAIR. United by a profound passion for design, this husband-and-wife team have transformed the space into a sophisticated tableau, where vintage furniture, austere Brutalist sculptures, and contemporary art pieces coexist in exquisite harmony. Their collection particularly celebrates the elegant craftsmanship of French decorative arts from the luminous decade of the 1920s, each carefully selected piece narrating its rich, aesthetic history.

The result is a living canvas that transcends mere decoration—a testament to the couple’s discerning eye and ability to weave disparate design languages into a cohesive, compelling narrative.

Flair Firenze

Suzani textiles are a form of decorative and embroidered tribal print cloth made in Uzbekistan and other Asian countries. These textiles are still in production today; however, the process has significantly changed from the historical hand-crafted work. The word suzani comes from the Persian ‘suzan’, which means ‘needle’.

Many people from Uzbekistan were nomadic pastoralists who moved around and needed portable housing, such as yurts and textiles, to support their lifestyle. This led to the development of the Suzani style.

Suzani textiles had multiple functions and purposes. Initially constructed and wrapped around yurt homes for protection, these intricate and colourful pieces were used as bedding, prayer mats, and moveable seating mats. Suzani’s pieces also held symbolic significance. Each type of stitch on the textile was imbued with spiritual powers. The motifs formed by four types of stitches were believed to embed protection, offer strength, and provide hope for fertility and longevity.

The cultural traditions of Suzani were also connected to marriage dowries for brides. Brides and mothers made Suzanis a part of the dowry, which was presented to the groom on the wedding day. The luck symbols adorned the textiles, conveying the importance of the two families becoming intertwined. Pomegranates were often selected for embroidered designs because they symbolised fertility. Usually, the symbols of luck, long life, fertility, and health were sewn upon the textiles to bring forth the hope each new marriage represented.

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There’s a moment of pure liberation when your feet first meet the plush embrace of a soft rug. Like stepping into a cloud made tangible, each fibre rises to greet your soles with a gentle caress. The initial touch sparks a cascade of sensations – thousands of tender filaments tickling your skin, each step a discovery in texture and pressure.
The deep pile yields beneath your weight, creating small sanctuaries for your toes to explore. This tactile conversation between foot and rug becomes a form of meditation. Each step brings awareness to the present moment.

The psychological effect ripples upward through your body. Tight shoulders begin to loosen, the jaw unclenches, and breathing deepens. This is more than just walking—it’s a reset button for the nervous system. The pressure points on your feet act like acupuncture, sending signals of safety and comfort.
In this simple act of barefoot wandering, you rediscover what it means to be fully present in your own skin, grounded yet somehow lighter, connected to earth yet floating in peaceful contentment.

It’s not just a rug. It’s therapy.

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More about the Comtemporary Morroccan Collection

Alberto Levi Gallery presents DMW Interiors, an exhibition in collaboration with interior designer Daniela Wajskol. This showcase exemplifies the synergy Alberto Levi, and Daniela Wajskol have developed over decades of collaboration, both appreciating furnishing objects for their understated elegance and use of high-quality materials.

Founded in the 1990s, DMW Interiors has consistently pushed the boundaries of home design. This exhibition represents the culmination of its journey, presenting a refined selection of modern and minimalist furniture artfully juxtaposed with historical pieces and contemporary design objects. Visitors will experience firsthand how DMW’s harmonious blend of elegance and functionality can transform any space into a reflection of the client’s unique personality.

A keen sense of beauty and timeless elegance characterise Daniela Wajskol’s work. Her trademark is a layered, elevated understatement that surprises with its attention to detail and great respect for materials, combined with a carefully crafted patina. Entering her world slows your heartbeat, calms your senses, and allows you to perceive with your eyes.

Wajskol’s philosophy embodies ‘less is more’—simplicity as an expression of elegance. With this mindset, she interprets each project according to its context, like a tailor creating a bespoke garment. Her style incorporates neutral colours and materials harmoniously with refined, hand-crafted furniture. Wajskol interprets all environments with a singular vision, mixing simple materials with precious objects.

Her signature palette features milky white, ivory, and powdery grey shades, nuances of sand, and accents of dark colours. Through this palette, Wajskol establishes a mood synonymous with her unmistakable style.

Based in Milan, Daniela Wajskol transitioned from interior decoration to creating furniture and home décor accessories in collaboration with long-standing artisans. Her unique pieces boast rigorous lines and timeless silhouettes that suit traditional and contemporary décor effortlessly. She crafts these functional decor objects from bronze, leather, and delicate fabrics with meticulous attention to detail, making them bold and elegant.

More about DMW Interiors

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