Kilims

Kilim, cicim and soumak: the three flat-weave techniques

Kilim, cicim, soumak: three names, three ways of weaving a rug flat. They share the same principle — no knots, no pile — but the way the weft travels around the warp changes everything: the look, the thickness, the strength, even the design itself. Here is how to tell them apart in seconds, and where to find each in our collections.

Flat weaving: a rug without knots

Every rug is built on two sets of threads. The warp, stretched vertically on the loom, forms the skeleton of the piece. The weft crosses it horizontally.

In a knotted rug — a classic Anatolian rug, a Persian carpet — the weaver adds a third set of threads: tufts of wool are tied around the warp and then cut. Packed tightly together, those cut ends form the pile.

In a flat weave, that third thread does not exist. The weft simply passes over and under the warp, is beaten down with a comb, and the pattern comes from the colours of the weft alone. Hence the traits shared by the whole family:

no pile: a smooth surface, only a few millimetres thick;
a light rug, easy to move, to layer, to hang on a wall;
often reversible — the kilim is, the soumak is not;
a geometric design, dictated by the structure of the weave itself.

Cross-section diagram comparing a knotted pile rug and a flat weave of the kilim type — The knotted rug carries a pile of cut ends; the flat weave has only warp and weft.

A point of vocabulary that often causes confusion: strictly speaking, the word “kilim” names a technique, not an origin. A kilim can be Anatolian, Afghan, Moldavian or Persian. Cicim and soumak are two further techniques from the same family — and older pieces frequently combine all three in a single weaving. For the history of the kilim, its regions and its place in domestic life, see our page The kilim.

The kilim: a slit weave

This is the most widespread technique, and the simplest in principle. When the weaver reaches the boundary between two colours, she does not carry on with the same thread. The red weft turns back around the last warp of the red area; the blue weft turns back around the first warp of the blue area. The two wefts are therefore never linked to each other: a slit opens up, vertical, exactly along the line where the colours meet. Turkish weavers call it ilikli, “buttonholed”.

Diagram of kilim slit weaving: each coloured weft turns back on its own warp thread and leaves a vertical slit — Each colour returns on itself. The vertical slit is the signature of the kilim.

Three consequences, which explain almost everything people love about a kilim:

Crisp outlines. Each colour forms a closed area, with no gradient and no transition. A kilim is a rug of colour blocks, bold and readable from across a room.
Diagonal motifs. A slit that runs too long would weaken the fabric, so weavers avoid long vertical lines and step their boundaries diagonally. The diamonds, hooks and sawtooth borders of the Anatolian repertoire are not only an aesthetic choice: they come from this technical constraint.
Two identical faces. The kilim is reversible — practical on the floor, precious on a wall.

The test: hold the piece up against the light. The slits let light through as small vertical dashes along the outlines of the motifs. No other technique does that.

Cicim (djidjim): the motif laid on the weave

Cicim, djidjim, jijim: three spellings of the same Turkish word, cicim. The technique consists of adding, on a flat-woven ground, an extra coloured thread that plays no part in the structure.

In practice, the weaver first weaves her ground, plain or striped, like an ordinary kilim. Between two weft passes she runs a decorative thread that skips over several warps, comes back, and so draws the motif. That thread floats above the fabric: it sits in relief.

Diagram of cicim or djidjim: a supplementary weft thread floats above the woven ground and forms a raised motif — The ground carries the strength; the added thread only decorates, in relief.

The result looks a great deal like embroidery, and it is often mistaken for it. It is not: the motif is made on the loom, at the same time as the cloth, and not afterwards with a needle.

Look: raised motifs, usually small, scattered or aligned on a pale ground; a great deal of ivory, red and brown in Anatolian pieces.
Touch: you can clearly feel the motif under your fingers. This is the decisive test.
Use: the decorative thread wears faster than the ground. A cicim is a display textile — a hanging, a throw, a cushion — rather than a rug for heavy traffic.
Formats: traditionally domestic pieces, woven in narrow bands then sewn together, which is why the dimensions are often unusual.

Soumak: the wrapped weft

Soumak (also spelled sumak or soumakh) does not weave: it wraps. The coloured thread does not pass over and under; it wraps around the warp threads — usually over four, then back under two — and repeats across the width. Each stitch shifts by two threads from the one before, producing a run of tight diagonal stitches that look like a braid or a herringbone. Between two rows of wrapping, a fine, discreet weft locks the whole thing in place.

Diagram of soumak: the weft wraps over four warp threads and returns under two, forming diagonal stitches; the back carries loose threads — The thread wraps instead of interlacing. On the back, the coloured ends stay loose.

No slits. The wrappings overlap and lock the fabric. A soumak can therefore carry vertical lines, curves and far more detailed drawing than a kilim.
Thicker and stronger than a kilim, without being a pile rug.
Not reversible. On the back, the coloured threads hang loose and uncut, forming a downy lining that insulates against the cold. Turn the piece over and the question is settled in a second.
Origins: the Caucasus (Shirvan in particular), Iran, eastern Anatolia, Afghanistan, and the great weaving tribes — Kurdish, Shahsavan, Baluch.

You will also meet zili (or sili), a close relative of soumak: the supplementary weft wraps in a regular 2:1, 3:1 or 5:1 ratio and forms ribs running parallel to the warp. Many old tribal pieces in fact combine kilim, cicim, zili and soumak in a single weaving — usually the sign of a piece made for the home rather than for sale.

Telling the three techniques apart at a glance

	Kilim	Cicim (djidjim)	Soumak
Principle	The weft interlaces with the warp and turns back at each colour	An added decorative thread floats on a flat-woven ground	The weft wraps around the warp, over 4 and under 2
Surface	Smooth and flat, slits visible against the light	Raised motifs, embroidered effect	Tight diagonal stitches, braided effect
Thickness	Thin	Thin, with raised areas	Medium — the densest of the three
Reversible	Yes	No (the added thread shows on one face only)	No (loose threads on the back)
Detail	Geometric, stepped outlines	Small scattered motifs	The most detailed: curves and verticals are possible
Best used	Floor, wall hanging, layering	Hanging, throw, cushion, collector’s piece	Floor, including areas of heavy traffic
The test	Against the light: vertical dashes of light	Under your fingers: you feel the motif	On the back: uncut coloured threads

Caring for a flat weave

A flat-woven rug is easier to look after than a pile rug. Vacuum without a rotating brush — the brush pulls on the weft and, on a kilim, can open the slits — or better still, shake the piece outdoors. Turn it end for end twice a year to spread wear and light exposure evenly: natural dyes, madder reds and yellows in particular, lighten slowly in full sun. A non-slip underlay stops the rug sliding and cushions it against a hard floor. For a deep clean on an old or naturally dyed piece, always go to a specialist in oriental rugs: hot water and household detergents make the colours run.

Our flat-weave collections

We are wholesalers and direct importers. The entire stock is held in Paris and can be seen piece by piece in our showroom.

Antique kilims Anatolian pieces 50 to 80 years old, collected directly from weaving families and restored in Istanbul. Selendi, Esme, Avsar, Konya, Sivas. Kilims from old yarn Recently woven from wool recovered off damaged kilims: the patina of an antique, in the condition and the formats of a new piece. Moldavian kilims The Bessarabian tradition: exuberant floral motifs, deep red, cobalt blue, saffron yellow. Up to 370 × 200 cm. Afghan kilims Weavings from northern Afghanistan, dense wool and tight registers of geometric ornament. Maimana kilims Undyed natural wool: cream, beige, brown and grey obtained purely by blending fleeces. Over 400 pieces in permanent stock. Ethnic and tribal pieces Suzani, Gadjari, Filikli, Cihanbeyli, Hakkari, Karacadag: this is where the most technical weavings are found, mixing cicim, zili and soumak. Modern kilims Traditional weaving with the designs and palettes of today: plain fields, tonal blends and pared-back compositions. New Afghan kilims New pieces available in series and in large sizes, for projects that need several matching rugs.

Looking for a pile rug instead? See our hand-knotted rug collections.

Frequently asked questions

What is the difference between a kilim and a rug?

A classic rug is knotted: tufts of wool are tied around the warp and then cut, forming a pile. A kilim is woven flat, with no knots and no pile. It is therefore far thinner, far lighter, reversible, and its design is geometric.

Is a kilim reversible?

Yes. Slit weaving produces two rigorously identical faces, so the piece can be turned over to even out wear. Soumak and cicim are not: their motif exists on one face only.

How do I tell a soumak from a kilim?

Turn the piece over. A soumak shows a mass of loose, uncut coloured threads hanging on the back. A kilim shows exactly the same design on the back as on the front. From the front, soumak is also recognisable by its tight diagonal, herringbone stitches.

Is cicim embroidered?

No, although it looks very much like it. The motif of a cicim is made on the loom, at the same time as the cloth, with a supplementary weft thread floating above the ground. Embroidery is added afterwards, with a needle, to a finished fabric.

Is a kilim suitable for heavy traffic?

A wool kilim copes very well with a living room or a bedroom. For an entrance hall, a corridor or a public space, a soumak — denser and without slits — or a tightly woven modern kilim will last better. A non-slip underlay is strongly recommended in every case.

Do you sell to private customers?

The prices shown are wholesale, excluding VAT, and reserved for trade accounts once they have been approved. Private customers are welcome in our retail shop. For any question, call us on +33 1 42 45 93 81.

Are you a trade buyer? Interior designers, architects, retailers, hoteliers: our Paris showroom welcomes you by appointment and the whole stock can be reviewed piece by piece. Create a trade account to see wholesale prices.