After initial careers in London making gold and silver wire jewelry and working in advertising devising branding and creative strategies, Rosemary Hallgarten came to New York “pursuing the American dream.” The result is realized in her namesake collections of sustainable rugs, fabrics, throws and pillows launched in 2001. Produced by artisans across the globe, Hallgarten’s textiles—woven from Peruvian alpaca, Himalayan wool, Brazilian cotton—blend ancient craft with a modern luxury sensibility. Her recent Tramuntana “north wind” collection was inspired by the rugged rock formations, olive groves and timeless architecture of the mountain range in Catalonia. Mother of two grown sons, Hallgarten lives in Westport near the firm’s Norwalk headquarters.
You’re a second-generation artisan. How did your mother kickstart your career?
I was tired of jewelry, wanted something more tactile. My mother recalled making rugs in Italy, working with Anni Albers, Gio Ponti, Milton Avery. She still had her hooking needles and asked if I wanted to give it a go.
What were your first projects?
I started hand hooking rugs, it’s similar to hand tufting. It’s like painting with wool.
Why is craft meaningful to you?
For me, the human hand is critical to humanity. I grew up surrounded by craft and craft makers, and something made by hand has a soul and you feel that in the room. People react to my products because they get a sense of the handmade, and that’s something I like to bring into the world.
What led you to alpaca?
I was traveling to Chile on an advertising project but stopped off in Lima. I found people making alpaca rugs and it was love at first sight. There is a rich tradition of it in Peru, but at that time everybody was working in Nepal. I wanted to do something different, working from the ground up with artisans. It started from my first visit.
Why are you passionate about natural fibers?
Generally, it’s tactile, I love playing with texture. I get excited by seeing different textures and surfaces, fatter and thinner spins of the same yarn. Taking one type of yarn and adding to create a different effect, adding little flecks of color, shiny metal, tiny boucle balls within a piece of yarn.
Why are you committed to working with indigenous artisans?
It’s so important. They are our history. A goal I’ve wanted to achieve is helping artisans keep traditions alive and to pass them along to different family members. If you don’t support the trades, they will die.
What innovations did you introduce?
At the time, their rugs were basically natural colors, cream and different shades of browns with traditional Inca symbols. We started introducing more colors. We came up with different color yarns and more textile designs that would live in a contemporary home.
What colors do you like to work with?
Every collection is grounded in neutrals, but I love a contrasting pop of color. Generally, they’re warm colors, cognac, rust, gold. In the spring collection, they’re pale pink, lilac, pale blue—like macaron colors. The only color I don’t use is red—it’s not a color I enjoy.
Where is a place you’d like to see your products?
I’d love to have some rugs in the Tate Modern in London. My mother has one there she made for Anni Albers, and I’d love to have my own there.
What art fills your spare time?
I’ve always sketched. Now the challenge is to do figurative drawing—even though I’m not good at it. And I make paper collages: I love playing with torn paper, thick beautiful paper, tearing it to get a contrasting edge. It’s satisfying and I like what it creates.
