{"title":"Lamps and Lampshades","description":"","products":[{"product_id":"glazed-ceramic-lamp-base-leaf-relief","title":"Glazed ceramic lamp base · Leaf relief","description":"\u003cp class=\"Normal tm5\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eHandmade glazed ceramic lamp base from Fayoum, Egypt. Wheel-thrown from locally sourced Nile clay and finished in a smooth ivory and taupe glaze, the surface is decorated with raised leaf impressions that cast subtle shadows across the form - a quiet sculptural presence as much as a functional object. Each piece is individually made and unique. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"Normal tm5\"\u003e\u003cstrong\u003eThe Craft.\u003c\/strong\u003e Each lamp base is wheel-thrown by hand from clay sourced from the Nile Valley, shaped with precision and decorated with raised leaf relief before being glazed and fired. The ivory glaze is applied to achieve a smooth, luminous finish. Working without moulds or mechanical reproduction, potters produce each piece individually, using natural dyes and local pigments.\u003c\/p\u003e\n\u003cp class=\"Normal tm5\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eThe \u003c\/strong\u003e\u003cstrong\u003eHeritage.\u003c\/strong\u003e Although pottery making was widespread in Egypt as far back as Pharaonic times, centuries of declining demand brought the craft to near extinction. The revival began in the 1980s when Swiss-born potter Evelyne Porret settled in the farming village of Tunis in the Fayoum oasis and, together with her husband Michel Pastore, founded the Fayoum Pottery School. Drawing on ancient Egyptian techniques and Nile Valley clay, they taught the children of the village t\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eo put their magic into form. \u003c\/span\u003eToday, those first students and the artisans they have in turn taught operate their own workshops, sustaining a living craft tradition in a village that has become one of Egypt's most celebrated centres of contemporary ceramics.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"Normal tm5\"\u003e\u003cspan class=\"tm6\"\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"tm7\"\u003eThe Maker. \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"tm6\"\u003e\u003cmeta charset=\"utf-8\"\u003eAbd el-Sattar was among the first students of Evelyne Porret and one of the earliest to open his own independent workshop. An instinctive experimenter, he has spent decades pushing the boundaries of the Fayoum tradition — developing metallic lustre glazes, mastering raku firing, and continuously seeking new forms and surfaces. He works alongside his brother Sameer, who has developed his own distinctive visual language, and his son Abduh, who is learning the craft at his father's side — ensuring that the family's contribution to Fayoum ceramics will extend into a second generation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Handmade in Egypt","offers":[{"title":"Default Title","offer_id":51724789383434,"sku":null,"price":88.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/1013\/1978\/files\/abdelsattar_lamp_10.jpg?v=1790423350"},{"product_id":"ikat-lampshade-silk-green-blue","title":"Ikat Pleated Lampshade · Silk · Green \u0026 Blue","description":"\u003cp\u003e\u003cem\u003eA pleated lampshade cut from silk ikat woven using abrbandi, the UNESCO-listed Intangible Cultural Heritage resist-dyeing technique where the yarns carry the design before the cloth is woven on a traditional eight-pedal loom, yielding a blurred, migrating pattern in green, blue and ivory. Made with natural colours, in Margilan, Uzbekistan, by master dyer Aziz Murtazaev, whose work carries the UNESCO Seal of Excellence. Hand-pleated onto the frame, the fabric's soft-edged motifs catch the light differently at every fold.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Craft. \u003c\/strong\u003eThe pattern on this lampshade begins with abrbandi – the resist-dyeing technique behind Uzbek silk ikat. From abr (cloud), abrbandi is said to have been born when a master dyer, watching clouds break apart on the surface of still water, tried to bind that fractured, drifting edge into thread. Before weaving, sections of silk thread are bound tightly by hand with fibre that resists dye. Where the binding holds, the thread stays undyed; where it doesn't, colour penetrates. Once the bindings are removed and the thread dyed, the pattern already exists in the yarn – it only becomes visible once the threads are stretched and woven on the loom. The woven cloth was flawlessly pleated by hand around the shade's frame in Romania, following the technique that became so popular in Europe during the 60s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Heritage. \u003c\/strong\u003eSilk has moved through the oasis cities of now Uzbekistan for the better part of two thousand years. Legend holds that the first cocoons reached the Fergana Valley hidden inside the hollow staves of travelling monks, smuggled out of a China that fiercely guarded the secret of silk. By the tenth century, Margilan was already written of as a city of silk, and its weavers were sending khan-atlas – a shot silk prized for the way its colours shift with the light – down the caravan routes to Baghdad, Kashgar, Egypt and beyond. The prestigious ikat fabrics became fashionable in the 19th century, when the designs turned vibrant and elaborate, and new weave structures, like satin and velvet, were introduced. In 2017 UNESCO inscribed Uzbekistan's abr silk-making on its list of Intangible Cultural Heritage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Maker.\u003c\/strong\u003e Born in Margilan, Aziz Murtazaev did not train in a family workshop, but studied languages and business. He worked for a time in finance in London, and went back to Margilan for reasons closer to the dye vats than the ledger. It is colour that holds him. He works with what the valley grows and has brought back methods Margilan had mostly set down, like block printing by hand. Aziz leads Marikat, a cooperative of independent ikat masters, dyers and weavers dedicated to the preservation of traditional craftsmanship and cultural values, and their transfer to the next generation. Aziz's work carries the UNESCO Seal of Excellence for Handicraft Products.\u003c\/p\u003e","brand":"Handmade in Uzbekistan","offers":[{"title":"Default Title","offer_id":53779005997322,"sku":null,"price":320.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/1013\/1978\/files\/IKAT_Silk_Lampshade_Green_and_Ivory_01.jpg?v=1792332279"},{"product_id":"ikat-lampshade-silk-red-blue","title":"Ikat Pleated Lampshade · Silk · Red \u0026 Blue","description":"\u003cp\u003e\u003cem\u003eA pleated lampshade cut from silk ikat woven using abrbandi, the UNESCO-listed Intangible Cultural Heritage resist-dyeing technique where the yarns carry the design before the cloth is woven on a traditional eight-pedal loom, yielding a blurred, migrating pattern in red, blue and ivory. Hand-pleated onto the frame, the fabric's soft-edged motifs catch the light differently at every fold.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Craft.\u003c\/strong\u003e The pattern on this lampshade begins with abrbandi – the resist-dyeing technique behind Uzbek silk ikat. From abr (cloud), abrbandi is said to have been born when a master dyer, watching clouds break apart on the surface of still water, tried to bind that fractured, drifting edge into thread. Before weaving, sections of silk thread are bound tightly by hand with fibre that resists dye. Where the binding holds, the thread stays undyed; where it doesn't, colour penetrates. Once the bindings are removed and the thread dyed, the pattern already exists in the yarn – it only becomes visible once the threads are stretched and woven on the loom. The woven cloth was flawlessly pleated by hand around the shade's frame in Romania, following the technique that became so popular in Europe during the 60s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Heritage. \u003c\/strong\u003eSilk has moved through the oasis cities of now Uzbekistan for the better part of two thousand years. Legend holds that the first cocoons reached the Fergana Valley hidden inside the hollow staves of travelling monks, smuggled out of a China that fiercely guarded the secret of silk. By the tenth century, Margilan was already written of as a city of silk, and its weavers were sending khan-atlas – a shot silk prized for the way its colours shift with the light – down the caravan routes to Baghdad, Kashgar, Egypt and beyond. The prestigious ikat fabrics became fashionable in the 19th century, when the designs turned vibrant and elaborate, and new weave structures, like satin and velvet, were introduced. In 2017 UNESCO inscribed Uzbekistan's abr silk-making on its list of Intangible Cultural Heritage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Maker.\u003c\/strong\u003e Made by artisans in Margilan, Uzbekistan. Ikat production is rarely the work of one named artisan – a length of cloth passes through binders, dyers and weavers in turn, each a specialist in a single stage.\u003c\/p\u003e","brand":"Handmade in Uzbekistan","offers":[{"title":"Default Title","offer_id":53779018416394,"sku":null,"price":320.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/1013\/1978\/files\/IKAT_Silk_Lampshade_Red_and_Blue_00.jpg?v=1792332532"},{"product_id":"ikat-drum-lampshade-adras-blue-black","title":"Ikat Drum Lampshade · Adras · Blue \u0026 Black","description":"\u003cp\u003e\u003cem\u003eA drum lampshade cut from adras, a silk-and-cotton ikat woven using abrbandi, the UNESCO-listed Intangible Cultural Heritage resist-dyeing technique where the yarns carry the design before the cloth is woven on a traditional loom. The pattern reads as a mirrored, cloud-like form in blue, grey, black and ivory, its soft edges typical of hand-bound thread. Made with natural colours in Margilan, Uzbekistan, by master dyer Aziz Murtazaev, whose work carries the UNESCO Seal of Excellence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Craft.\u003c\/strong\u003e The pattern on this lampshade begins with abrbandi – the resist-dyeing technique behind Uzbek ikat. From abr (cloud), abrbandi is said to have been born when a master dyer, watching clouds break apart on the surface of still water, tried to bind that fractured, drifting edge into thread. Before weaving, sections of thread are bound tightly by hand with fibre that resists dye; where the binding holds, the thread stays undyed, and where it doesn't, colour penetrates. This piece is woven as adras – a fabric that pairs a silk warp with a cotton weft, giving it more body and a slightly more matte hand than pure silk ikat, while still carrying the same blurred, migrating pattern in the weave. Once dyed and woven, the cloth is cut and seamed flat around the shade's cylindrical frame, the panel joined at the back so the design meets itself in a mirrored repeat around the drum.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Heritage.\u003c\/strong\u003e Silk has moved through the oasis cities of now Uzbekistan for the better part of two thousand years. Legend holds that the first cocoons reached the Fergana Valley hidden inside the hollow staves of travelling monks, smuggled out of a China that fiercely guarded the secret of silk. By the tenth century, Margilan was already written of as a city of silk, and its weavers were sending fabric down the caravan routes to Baghdad, Kashgar, Egypt and beyond. Adras itself developed as a more affordable, everyday counterpart to pure silk atlas – the cotton weft made it sturdier and better suited to daily wear, without giving up the ikat pattern that made the fabric recognisable. In 2017 UNESCO inscribed Uzbekistan's abr silk-making on its list of Intangible Cultural Heritage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Maker. \u003c\/strong\u003eBorn in Margilan, Aziz Murtazaev did not train in a family workshop, but studied languages and business. He worked for a time in finance in London, and went back to Margilan for reasons closer to the dye vats than the ledger. It is colour that holds him. He works with what the valley grows and has brought back methods Margilan had mostly set down, like block printing by hand. Aziz leads Marikat, a cooperative of independent ikat masters, dyers and weavers dedicated to the preservation of traditional craftsmanship and cultural values, and their transfer to the next generation. Aziz's work carries the UNESCO Seal of Excellence for Handicraft Products.\u003c\/p\u003e","brand":"Handmade in Uzbekistan","offers":[{"title":"Default Title","offer_id":53779155583242,"sku":null,"price":160.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0711\/1013\/1978\/files\/IKAT_Lampshades_copyY.jpg?v=1792331976"},{"product_id":"ikat-drum-lampshade-adras-pink-red","title":"Ikat Drum Lampshade · Adras · Pink \u0026 red","description":"\u003cp\u003e\u003cem\u003eA drum lampshade cut from adras, a silk-and-cotton ikat woven using abrbandi, the UNESCO-listed Intangible Cultural Heritage resist-dyeing technique where the yarns carry the design before the cloth is woven on a traditional loom, yielding a blurred, migrating pattern in pink, red, ivory and black. Made with natural colours in Margilan, Uzbekistan, by master dyer Aziz Murtazaev, whose work carries the UNESCO Seal of Excellence.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Craft. \u003c\/strong\u003eThe pattern on this lampshade begins with abrbandi – the resist-dyeing technique behind Uzbek ikat. From abr (cloud), abrbandi is said to have been born when a master dyer, watching clouds break apart on the surface of still water, tried to bind that fractured, drifting edge into thread. Before weaving, sections of thread are bound tightly by hand with fibre that resists dye; where the binding holds, the thread stays undyed, and where it doesn't, colour penetrates. This piece is woven as adras – a fabric that pairs a silk warp with a cotton weft, giving it more body and a slightly more matte hand than pure silk ikat, while still carrying the same blurred, migrating pattern in the weave. Once dyed and woven, the cloth is cut and seamed flat around the shade's cylindrical frame, the panel joined at the back so the design meets itself in a mirrored repeat around the drum.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Heritage.\u003c\/strong\u003e Silk has moved through the oasis cities of now Uzbekistan for the better part of two thousand years. Legend holds that the first cocoons reached the Fergana Valley hidden inside the hollow staves of travelling monks, smuggled out of a China that fiercely guarded the secret of silk. By the tenth century, Margilan was already written of as a city of silk, and its weavers were sending fabric down the caravan routes to Baghdad, Kashgar, Egypt and beyond. Adras itself developed as a more affordable, everyday counterpart to pure silk atlas – the cotton weft made it sturdier and better suited to daily wear, without giving up the ikat pattern that made the fabric recognisable. In 2017 UNESCO inscribed Uzbekistan's abr silk-making on its list of Intangible Cultural Heritage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Maker.\u003c\/strong\u003e Born in Margilan, Aziz Murtazaev did not train in a family workshop, but studied languages and business. He worked for a time in finance in London, and went back to Margilan for reasons closer to the dye vats than the ledger. It is colour that holds him. He works with what the valley grows and has brought back methods Margilan had mostly set down, like block printing by hand. Aziz leads Marikat, a cooperative of independent ikat masters, dyers and weavers dedicated to the preservation of traditional craftsmanship and cultural values, and their transfer to the next generation. 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