“The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural...” Wassily Kandinsky

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Until relatively recently in human history, “blue” didn’t exist- at least not in the way we think of it. Early mankind yearned to speak the language of the sky and ocean, but had no way to render the color with meager earthbound pigments. It was only just a matter of time until the color blue; elusive, soothing, and supernatural, would change the course of human vision forever.

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In the Ancient Greek tale“The Odyssey,” Homer famously fumbles at identifying the color blue as the “wine-dark sea.” Even though Homer’s words beguiled readers, the color still remained beyond imagination. Ancient Greece was a muddled, murky world. Whites, yellows, metallics, and browns were the only utterances of colorful jargon in their civilization. That is until the Lapis Lazuli slowly meandered through the trade routes of Afghanistan, landing into the hands of one of the Ancient World’s most powerful queens.

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It took 6,000 years to travel onto the eyelids and embellished gowns of Cleopatra. When she wasn’t powdering her eyes with ground up Lapis Lazuli pigments, she ordered the color be adorned on the tombs of her most powerful colleagues to protect them in the afterlife. But she wasn’t the only one to covet and capture the already millenia old tinctures.

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The maverick Marco Polo, inspired by Homer and Cleopatra’s exploits, journeyed to Afghanistan in the 13th century only to discover mysterious blue-tinged pigments inside the mines of the Kokeha Valley. Fascinated, the young explorer collected an insurmountable supply of the variegate. It’s as if he somehow knew the color would change the course of art, trade, and commerce forever.

Screen Shot 2016-05-10 at 4.40.58 PM“Camel Market in Tanger” – Ferdinand Willaert

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With that, Marco Polo swiftly trekked home wowing Venetian revelers and silencing his naysayers by delivering an astronomical supply of what he coined “ultra-marine” pigments to the ports of Venice.

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Ultramarine, literally meaning ‘over-seas’-forever impacted Western Europe’s most innovative artists, merchants, and craftsmen of Marco Polo’s time and beyond. Thus, began the modern age of ultramarine’s transformation into blue.

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Whether its Krishna dancing comfortably in his own blue skin, or worn as a symbol of public service in ancient Rome, its historical presence is hard to deny.

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From the Industrial Revolution deep into the 21st Century, blue has syphoned itself onto the uniforms of international militaries, the navy, and on international peacekeeping troops.


As late as 1915 “Bright Blue” became an official color in Britain. Former Editrix of Vogue, Diana Vreeland, said “Blue jeans are the most beautiful things since the gondola.”

Screen Shot 2016-05-11 at 11.52.46 AM“The Blue Room” by Pablo Picasso

Picasso paid homage to the color with his Blue Period, and now in the 21st Century, Damien Hirst’s “No Love Lost, Blue Paintings,” has further immortalized the color into it’s own coming of age.

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Today, TSAR has given the color that symbolizes peace, universal dignity, blue note jazz, and loyalty its own decorative and bespoke voice.


Any shade of blue, ultramarine, lapis, cobalt, or azure can be obtained from the Tsar House Collection, or custom made to compliment your artworks, interiors, and soft furnishings.


At TSAR we admire how blue has weaved its cacophonous web of scarcity and celebration throughout human history. That’s why as TSAR’s Color of the Month for June, we venture to unleash and unveil the mystery that is blue under your feet and into your imagination today, tomorrow, and for the future to come.























Rohan Riley’s breadth of experience in hands-on furniture design, 3/D modelling, and construction has allowed him to create stark, prolific, and seamless interior design. His techniques emphasize the importance of allowing for improvisation with an innate desire to create flexible simplicity. These tools have given Riley license to transform what was once just a house nestled inside of a bay, into a bespoke, majestic, and timeless creation.

How did the Caraar Creek Brief project come about?

To begin with, the house itself needed a major overhaul, not just a minor update. Our goal was to make it more contemporary. Also, our clients love to entertain a lot, so their lifestyle as it pertains to the structure needed to operate like a hotel. At the beginning, we had to completely demolish the whole house and start over again. The advantage of this move is that it allowed us to re-position the house in a way that made the views more accessible and more beautiful. Now we could push the positioning of the house closer to the bay. So instead of following a simple brief for the client to make it more contemporary and simplified, the brief was then expanded. Overall, we ended up with this amazing structure.
What was the design brief for the carpets regarding the project?

It all evolved, but to tell you the truth, it was very improvised around the outside elements and in communicating a festive atmosphere. Each room is color-coded and has a theme. We also took a nod from surrounding elements in the environment. All the colors come back to the garden, the bay, and so on. We wanted to touch on the oranges and blues. We even talked to the landscapers and ideas began to flow. So our color palette began to develop organically.


Did the resulting design and specifications meet the brief?

Absolutely. We walked through the site and touched base with our clients pretty much every week. The whole process was absolutely fun. It was a true collaboration between the builder, landscaper, and client. Even though the original footprint was set in stone, we were still able to change things around because our client was so flexible.

 What were the moods, tones, and themes driving the project?

As you walk through the house you see the outside elements peaking in, even in the festive-colored carpets. These clients love to have a good party so they have rooms titled “The Sherry Room” “The Tequila Room” “The Wine Room” and so on. Also, we didn’t want to “over-design” anything. We wanted to keep things simple and understated because our client wanted to keep that boutique-hotel feel. As you walk through the house you see the outside elements peaking in, even in the festive-colored carpets.


What are some of the challenges and hurdles you faced during this project?

The only challenges were in the planning, but they were minor. We had a 5-meter height limit and there was an imaginary line on the site that we were not allowed to build on. That’s basically why the house is divided in two and why it’s at an angle.

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What were the benchmark moments or memorable highlights that you took away from it?

Really, it’s the ideas that come into fruition. The biggest highlight is in knowing that you’re looking at an old house that’s going to be demolished in the beginning of the project, only to see it completely transform into something totally unrecognizable and different in the end. The process was actually a great highlight. When this project was being built, it became much better than what we all originally thought. This happened many times during the actual landscaping and building process. The view from the house was also an important benchmark, plus seeing the clients happy with their finished product.

You specialize in sketch design, 3D modeling, landscape, and furniture design/manufacturing. In what ways have these aspects helped you stand out as an Interior Designer?

I believe in putting all these practices together, because it helps us and our clients get the results they really need. When we envisage a project, we design from the ground up. I think having a landscape background allows a lot of freedom in how you reshape a building site. Having these skills helps tremendously, especially in adding to the scope of the projects, whether it’s an area for children to play in or a special area for dogs, the possibilities are endless. Having a background in furniture and construction really helps because it also provides a bespoke element in everything we do for the client.


Can you tell us what motivated you to use TSAR?

It’s about the quality. TSAR makes an overall good quality carpet and rug. We took samples to the client who wanted to get carpets made and she was struck by the colors. It spurred on from there. TSAR’s line of colors and the quality is what ultimately sold us, especially when our client fell in love with the bold oranges. Our client was also very particular about fiber, fabric, touch and feel specifications and TSAR met these requests. Also, the blue carpet we put in the lounge room had an uncanny ability to really change with the environment. This particular blue carpet complimented the water in the bay, down to the tiles in the swimming pool and the stones on the wall. That carpet really brings the bay into the whole house. One other aspect, as soon as you take your shoes off and walk around on a TSAR carpet it gives the most luxurious feeling underfoot. You find yourself immediately relaxed enough to enjoy your surroundings.

Visit Rohan Riley Interior Design


















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Can you tell us what motivated you to use this particular custom carpet from TSAR? 

This was a custom carpet I designed based on mid-century styling,  in particular the colors used by Yves St. Laurent for his Rive Gauche label.

What are some of the main elements you look for when choosing a carpet or rug when decorating your own interiors?

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I always like to have at least some part of the rug or carpet in silk. It gives a beautiful luster and luxury. A step from the ordinary!

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Shades of coral, beige, white, and pink delivers a unique, yet organic vibrancy to your residence. Why these particular colors?  

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Once again, the colors are base on the YSL label of the 70’s. Also living in Northern California, where the light is muted and filtered,  vibrant colors tend to be more in nature with the surroundings – this particular part of the world is very much like the South of France.

What are some of the Interior Design basics, objects, or elements you simply cannot live without in your daily work rituals?  

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I always have flowers (a must) and I love my art, as it’s what gives personality to a room.

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(All Photos Courtesy of Christopher Stark)








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Imagine you’re a merchant living in the Byzantine Empire. Your rulers wear flowing purple robes and sign their edicts in purple ink. Their heirs are described as being “born in the purple.” Then imagine yourself a successful artisan living in the Phoenician city of Tyre in what is now modern day Lebanon. You pay exorbitant amounts of money to obtain “Tyranian Purple” made from a species of sea snail known as Bolinus Brandaris. It’s so exceedingly rare that its worth its weight in silver and gold. You realize it takes as many as 250,000 mollusks to yield one ounce of the usable dye, but you’re willing to pay.

Screen Shot 2016-03-30 at 11.42.08 AM Bolinus Brandaris

Symbolized as the emboldened shade of ambition, nobility, luxury, and royalty; purple has opened the doors of human perception since the days of the alchemists and has beguiled artists for centuries.

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The omnipotent color that signifies wealth and position made appearances as far back as 25,000 years ago in pre-historic art. This color produces the most powerful wavelength on the color spectrum, making it one of the most impactful colors in human history.

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Fast-forward to the 21st Century and you’ll see the almighty purple echoing its legacy in all things fashion, innovation, design, and contemporary art. Even the miniscule and quirky purple necktie worn amongst political political and business leaders is synonymous with assertiveness and confidence.

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At TSAR we’ve taken the stalwart color and synchronized it’s magic into our own methods and construction of carpeting. Through the modern day process of dying yarns, hand-tufting, and use of natural fibres, we can acheive the richness and depth of the color.

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Any shade of purple from your own individual colour palette or desired accent options can be obtained from the TSAR house collection or custom made. Whether its soft furnishings, decorations, or artworks, we’ll create the perfect shade for your interiors to complement your aesthetic.

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As TSAR’s color of the month for May, we unfold the color purple under your feet and unleash your month into a a royal voyage of luxury, subtle nobility, and into a bespoke kingdom unlike any witnessed in carpeting history.

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TSAR’s TREEKO collection catapults carpeting into another sphere of textural sophistication. It’s one colour cut and loop pile knitted carpet made from 100% New Zealand Wool offers singular quality and detail. The result; a carpet or rug with astonishing tactile and textural elements.


Alexiou_Glebe_Bedroom_crop_Treeko_Patchwork_1TREEKO Carpet Courtesy of Charles Alexiou Interior Design and Architecture


TSAR’s approach to design with all collections is to provide carpets and rugs that go beyond immeasurable endurance and quality.

Treeko_Adela_5(Minimum 10m2 required and made to a maximum of 4m width)



The truth in TREEKO’s magic comes from the raised texture that’s produced on a knitting machine. This method ensures high density customizable color, making TREEKO a benchmark collection that provides the greatest value for the most intricate designs.




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Finding a foothold on visions and dreams is never as easy as it seems. With a passion for the French countryside and plenty of will power to boot, two determined Aussie couples embarked on the tireless quest of acquiring a breathtaking property. After an arduous hunt, Ian and Ruth Bird decided it was time to go back to their home in the U.K. while Ian’s brother David and his wife Marie returned to Australia from France. Once home Marie discovered an email highlighting clues to an undiscovered gem. With some deliberation, they decided it was time to take the irresistible, yet challenging opportunity to purchase a magnificently positioned property.

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The glorious house appropriately titled La Maison Oiseux (House of Bird), is made up of two residences, and quietly nestled in the French countryside located in Cordes-Sur-Ciel. After signing on the dotted line, both couples realized that was only half the battle. Ultimately, they would have to begin the herculean task by designing the interiors remotely.

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Faced with a major renovation, they decided to stay away from dark rooms with little daylight, mixed with garish color contrasts they had previously seen in the area. “The house has that special something that makes you throw caution to the wind,” says Ruth. That meant renovating from a distance and calling on the services of TSAR.


With the help of an architect, space was redesigned in order to maximize the views across the front of the property. Each of the partners relished the task of designing the interiors.


Paint colors were chosen to reflect the view and with the help of the design team at TSAR, two gorgeous rugs were designed to invite the colours from the magnificent countryside inside. One rug features wonderful sunflowers that are abundant in the fields nearby.


One could say that the property offers a home away from home, encompassing the epitome of true Joie de Vivre! Coupled with the secret essence of the beautiful French countryside, history, food and culture, TSAR has truly brought the bon vivant outside to the inside of La Maison Oiseaux.

The house is now available for rent. For inquiries and further information please contact Marie Bird: mariebird@birdgroup.net.au

“The Cetak collection is another example of our relentless pursuit to create the ultimate rugs with matching texture and feel to meet the expectation we have when looking at the ancient, timeless and beautiful designs.” – David Sharpley, CEO TSAR Carpets and Rugs

Cetak Collection
Cetak Collection

This collection pays homage to the aesthetic of Indonesian textiles. Although rug-making is traditionally a laborious and exacting process, the Cetak Collection challenges and celebrates spontaneity in craft and design.

Cetak Collection
Cetak Collection

Drawing on the art of woodblock printing, natural accidents in this ancient tradition are fully embraced, giving Cetak designs a beauty of serendipity, that give way to natural patterns and organic elements. The result is a raw, breezy and playful rug collection, perfect for contemporary and rustic inspired interiors.

Cetak Collection
Cetak Collection
“In real life the rugs are tactile and exceed the perception we adopt when seeing the beautiful designs. The actual texture are not industrious and don’t feel manufactured. The result is rewardingly remarkable.” David Sharpley, CEO TSAR Carpets
Cetak Collection
Cetak Collection


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Charles Alexiou Interior Design and Architecture

Charles Alexiou Interior Design and Architecture features the TSAR  Treeko Collection and Freeform Designs located inside Sydney’s 251 Glebe Point Road.

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Charles Alexiou Interior Design and Architecture

Located amongst the lively buzz of the Glebe shopping village, this original character-filled terrace offers stunning city skyline views.

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Charles Alexiou Interior Design and Architecture
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Charles Alexiou Interior Design and Architecture

The space emits design innovation that Alexiou has managed to execute perfectly by showcasing TSAR’s own Treeko and Freeform.

Charles Alexiou Interior Design and Architecture
Charles Alexiou Interior Design and Architecture
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Charles Alexiou Interior Design and Architecture

Treeko and Freeform lend spaciousness to the master bedroom and living room while adding unlimited design possibilities for creating dimension and breadth to each space.

Charles Alexiou Interior Design and Architecture
Charles Alexiou Interior Design and Architecture
Charles Alexiou Interior Design and Architecture
Charles Alexiou Interior Design and Architecture

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CONTACT AMREI GOLD AT amrei@tsarusa.com

Visit Tsar Carpets to view the complete collections, projects, and design galleries.

TSAR Designer Julia Gentil

With major collections under her belt, TSAR Carpets and Rugs designer Julia Gentil is inspired by the world around her. Whether it’s in the form of scattered leaves, a concrete path or a rural lake, Gentil is fully aware of the potential TSAR Rugs and Carpets provides for all spaces. What’s most important for Gentil is her direct awareness of the potential rug designs have on all of our daily and visual experiences. Gentil’s background is accomplished, and innovative to say the least. Her hi-end retail branding experience in Sydney led her to Melbourne where she transitioned her skills and began to dedicate her time to the passionate and creative team at TSAR.

Tell us how you got started with TSAR, and all it’s wonderful beginnings?

I started working with TSAR in 2010. With a background in hi-end retail branding in Sydney, I had enjoyed a transition into rug design specializing in handknotted rugs. When I moved to Melbourne and joined TSAR I had to translate that knowledge across to hand tufted rugs and learn the business. TSAR is a family owned company with a team of dedicated and passionate people. With all the idiosyncrasies that come with a smaller company, there also comes a huge amount of autonomy and potential to create and push boundaries. TSAR is unique in this way. There is an ethos of celebrating the new and constantly challenging the known.

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From the Mirage Collection in “Thirlmere Cardamom”

What collections have you designed for TSAR Carpets and Rugs?  

I have designed many one offs, custom client designs and collections for TSAR. Among my favorite are:
– Individual House Colleciton rugs: Autumnal and Berridale 2011
The Royale Collection 2012 (Brocade Royale, Patti, Doiley and Castallo)
– co-creating the Mirage Collection 2013 (Thirlmere and Jindabyne)
The Neva Fade Collection 2014
The Aquarelle Collection 2014
The Cetak Collection 2015 (Daun, Renda, Pita etc)

Autumnal Fawn
“Autumnal Fawn”- An original design by Julia Gentil


“Berridale Dusk” – An original design by Julia Gentil 
Autumnal Fawn Stairs
“Autumnal Fawn” Stairs

What made these collections successful in your opinion?

The jury is still out on the latest ones as to whether they are a success. It is really over time (9-18mths) where we see what has worked. Often we will have a range online and/or in the showroom and it will get lots of admiration but not actually take off commercially until after 8-9 months. Internally we like to console ourselves by exclaiming that we are “ahead of our time”. In general terms though, a collection that both aesthetically and conceptually engages with contemporary colours and themes, is forgiving to everyday living and fits into comfortable price ranges tend to succeed in Australia.

From the Aquarelle Collection in “Fabien”

What inspires you to bring your designs and visions to life?

Mostly I’m inspired by what’s around me. Whether it be scattered autumn leaves on the concrete path, a reflection of reeds at twilight on a rural lake, the splotches of a water colour palette… it is a real joy to be living with an awareness of potential rug designs in any visual experience. It keeps me on my toes and my eyes open to the textures and details of life.


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From the Cetak Collection in “Renda Mist”

What’s the one piece of advice you can give to a TSAR Customer shopping for a prospective rug or carpet?

My advice is consistent. Take a photo of your space you need “rugged”. Measure up, take pictures of anything that surrounds the space, paintings, lighting, the view. Collect swatches from the upholstery in the room and note what colour timbers are used if any. Set yourself a budget and take this information to a TSAR consultant. And then trust them. TSAR have been doing this a long time and are really good at tailoring the best design for the space. The best designs have come from the brief being thorough to begin with.

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From the Cetak Collection in “Pita Fig”

TSAR has a prolific portfolio, spanning just over 30 years. Where do you see the future of TSAR at this moment in time?

TSAR have been tackling the US market for the last few years and this has been both challenging and exciting for the business. It has opened up doors for bigger markets and therefore more diverse aesthetics. I work a lot on R&D and the US potential has allowed this to be feasible. Exploring new fibers, techniques and suppliers all rely on having the market to embrace it. –