Off the Kütahya looms; women in the region tied the fringes
200×290 cm
Rugs & Kilims
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For those who already know what they are looking for — Halıcızade's most visited collections.
Off the Kütahya looms; women in the region tied the fringes
200×290 cm
Flat flowers linked on thin stems, fire red in Tencel®
200×300 cm
Khaki leaning olive, 130 × 190 cm, and light enough to carry
130×190 cm
Loom-woven in Tencel®, the gray turning silver along the pile
200×290 cm
Cypress trees on cream, every fringe knotted by hand in Oushak
90×490 cm
Anatolian motifs a half-tone under the beige, sharpening by lamp
300×390 cm
Tencel® and cotton, a medallion held by ranks of flowers
200×300 cm
Flowers turning around one center, in Tencel® at 200 × 300 cm
200×300 cm
Geometry off an Oushak loom, fringes knotted at home afterwards
200×300 cm
One of a kind
from
78.000 TL
≈ 13.000 TL/m²
Clay-red Oushak in Tencel®, tree of life set in the border
90×390 cm
Pastel blue inside the red, a tree of life in the frame
200×290 cm
A tree of life runs the border, red flowers loose on cream
240×340 cm
No wool in it: a tree of life running the border
200×290 cm
A flower medallion in washed pastels, no two curves alike
200×300 cm
Northern geometry on red, loom-woven in Oushak from Tencel®
170×240 cm
One of a kind
from
36.800 TL
≈ 9.000 TL/m²
Scandinavian figures thin on blue, Tencel® off an Oushak loom
130×190 cm
One of a kind
from
22.400 TL
≈ 9.000 TL/m²
Scandinavian figures over blue, Tencel® on an Oushak loom
200×290 cm
Cypresses in ranks on green, Tencel® over a cotton base
90×490 cm
Panels stepping from red to earth, Tencel® over cotton
90×290 cm
Burgundy under navy, gold scattered through, not a thread of wool
190×190 cm
A two-meter circle, Turkmen figures cut by its own edge
160×160 cm
Bestseller
from
20.500 TL
≈ 8.000 TL/m²
A vintage pattern faded to a watermark, round, up to 300 cm
160×160 cm
Silver in the morning, mink by late afternoon: a 160 cm circle
160×160 cm
One thread of red warming the blue, Tencel® on cotton
200×200 cm
A Tencel rug is woven from lyocell, a cellulose fiber spun from wood pulp under the Tencel trademark held by the Austrian producer Lenzing. The yarn is smooth, takes dye brightly and reflects light the way silk does. It is cool underfoot, it does not contain wool, and it is more sensitive to water than wool is.
Tencel sits in the same family as viscose and bamboo yarn — all of them are regenerated cellulose — and it is chosen for the same reason: the fiber is round and smooth in cross-section, so it throws back light instead of scattering it. What follows is how the fiber is made, what it does when it gets wet, how it compares with wool and cotton, and which of the house series are woven with it.
It is wood, dissolved and spun back out as a filament.
Beech pulp is broken down in an amine-oxide solvent until it becomes a viscous solution, forced through a spinneret into a bath, and set as continuous fiber. Lenzing, which owns the Tencel name, describes the process as closed-loop: the solvent is recovered from the bath and returned to the front of the line rather than discharged. That is a description of a manufacturing process, and it is the only claim this page makes about it. Lyocell is not a natural fiber picked from a plant and it is not a petrochemical one; it is cellulose that has been through a solvent.
What that produces, in a rug, is a filament with almost no surface scale. Wool has scales, which is why wool pile looks matte and springs back. Lyocell does not, which is why a Tencel pile changes value as you walk around it — one direction reads light, the other dark — and why the color looks deeper than the same dye would look on wool.
Cellulose absorbs water, swells, and dries differently from how it started.
This is the single most important thing to know before buying one. Lyocell holds a larger share of its dry strength when wet than ordinary viscose does, which is a genuine advantage of the fiber, but it is still cellulose. Soak a patch and three things happen: the fibers swell and the pile mats down; the swollen fiber loses the flat surface that was reflecting light, so the wet area dries duller than the field around it; and whatever was dissolved in the water — minerals from the tap, soil from the pile — migrates outward and dries in a ring at the edge of the damp patch. The ring is usually more visible than the original spill.
Rubbing makes it worse. Under friction, lyocell fibrillates: fine fibrils lift off the surface of the filament and the spot goes pale and fuzzy. That change is mechanical and it does not brush out.
So: blot, never rub. Use a white cloth, press down, lift, move to a dry part of the cloth. Work from the outside of the spill toward the middle so the mark is not spread. Do not shampoo a Tencel rug, do not run a wet extractor over it, and do not put it in a washing machine. Every Tencel piece in this collection is tagged for professional washing, and that is the right instruction.
Four fibers, four different jobs.
| Fiber | Origin | Surface | Behavior underfoot | Water |
|---|---|---|---|---|
| Tencel (lyocell) | Wood pulp, solvent-spun | High sheen, shifts light to dark with viewing angle | Cool, smooth, low resilience | Absorbs readily; blot only, professional washing |
| Wool | Sheep fleece | Matte, slightly hairy | Warm, springy, recovers from furniture pressure | Naturally water-repellent at the surface; tolerates washing |
| Cotton | Seed hair | Matte to soft luster | Cool, soft, flattens over time | Absorbs readily; fades and yellows sooner than lyocell |
| Viscose | Wood pulp, regenerated by a different route | High sheen, close to Tencel by eye | Cool, smooth, low resilience | Loses more strength when wet than lyocell does |
By eye, in a room, most people cannot separate a Tencel pile from a good viscose pile. The differences are in the making and in wet strength, not in the look. Against wool the difference is obvious from a meter away: wool absorbs light and Tencel returns it.
Mainly the loom-woven classical and modern series, produced in Türkiye.
The Zade Series carries the classical drawing — Oushak field designs, Pazyryk-derived geometry, Mamluk compositions — in Tencel-and-cotton blends, with the tree-of-life and central-medallion patterns that the workshop has been reweaving for years. The Zima Series takes the same yarn into modern and abstract compositions. Taftan, Zara, Duo and Gessi run alongside them in plainer and more geometric drawing. Some models blend Tencel with wool, which buys back a little of wool's resilience while keeping the light in the pattern; those are labeled as blends.
All of these are loom-woven rather than hand-knotted, which is what makes an exactly repeatable size possible. Sizes run from about 1.5 m² up to 12 m², so from a bedside piece to a full living room. The fringes on every model are hand-knotted, finished one at a time by women working in Uşak and Kütahya.
Rooms that are looked at more than they are marched through.
Rotate the rug end for end twice a year so that traffic and daylight fall on different parts of it, and keep it out of a full south window — the dyes on a lustrous fiber show fading sooner because the surface is doing so much with the light.
A Tencel rug is woven from lyocell, a cellulose fiber spun from wood pulp under the Tencel trademark held by Lenzing. The yarn is smooth and round in cross-section, so it reflects light like silk, feels cool underfoot and takes dye with unusual depth.
Tencel is a regenerated cellulose fiber, which places it between the two categories. The raw material is wood pulp rather than petroleum, but the pulp is dissolved in a solvent and spun into filament, so the fiber is manufactured rather than harvested.
Both are cellulose regenerated from wood pulp and both give a silk-like sheen that is hard to tell apart by eye. They are made by different processes, and lyocell retains a larger share of its dry strength when wet than ordinary viscose does.
It can be blotted dry after a spill, but it should not be soaked. Wet cellulose swells and mats, the damp area dries duller than the pile around it, and dissolved minerals migrate outward and dry as a ring at the edge of the wet patch.
Vacuum with the beater bar off, moving in the direction of the pile. Blot spills with a white cloth from the outside of the mark inward, and never rub, because friction raises fibrils and leaves a pale patch. Send it to a professional washer for anything deeper.
No. The fiber is smooth and has little spring, so a busy hall or an entry will flatten and burnish it. Bedrooms, studies and sitting rooms suit it; wool is the better answer for corridors, kitchens and doorways.
The pure Tencel models do not; they are woven in Tencel with cotton, and are tagged wool-free for that reason. Some models in the range are deliberate Tencel-and-wool blends, which combine wool's resilience with the light that the lyocell carries, and those are labeled as blends.
Related collections: Zade Series · Zima Series · viscose rugs · wool rugs