Buckingham Palace

For the initial illustration 'Circumambulate' Amber Khokar drew upon the rolling clouds seen through the glass ceiling of the Picture Gallery at Buckingham Palace as her design starting point.

She created rolling or spiralling buttercup strewn 'pleasant pastures' interwoven with wild roses as an earthly reflection of the celestial skies. In the detail Amber worked with stylised archetypal floral forms alluding to fragrance, and hoped to suggest the sweet scent of roses and an imagined melding of the Buttercup and Narcissus. 

Amber Khokhar (MA 2005), who, through her studies at The Prince's school of Traditional Arts, realised her ability to create motifs informed by the patterns of nature, was commissioned to design a series of hand-loomed silk and wool carpets.

After HRH The Prince of Wales saw her work, he suggested that she produce the design for a carpet for Buckingham Palace Picture Gallery.

After many site visits, she completed detailed scale drawings of her design, which was created to suggest rolling patterns covered with wild roses and stylised flowers. A large (40m long) carpet was commissioned and supplied and installed by Linney Cooper in the Picture Gallery at Buckingham Palace. 


St George's Hall

Following the fire at Windsor, the large St George's Hall rug was remade at over 120 feet long and 24 feet wide entering the building was always going to be a challenge with this carpet weighting close to a metric ton.

We devised a safe means of transport through the Grand Stairs and avoided any weight issues with the vaulted ceiling below St George's Hall. This enabled the magnificent copy of a historic design to be used as an envious backdrop for the stately functions of this room.



Linney Cooper was asked to copy the chenille Axminster that was laid in Tyntesfield main stairs.

As there are no working Chenille Axminster looms, copying the design, which carried 28 colours, was going to be a challenge.

Additionally we wanted to copy the design shattering, often seen in chenille and also the very ribbed weft appearance associated with the 'fur' used in chenille Axminster, using a technique on a Wilton machine, not knowingly used before.

We created the ribbed effect with Grosvenor Wilton and with enormous work achieved 28 planted colours in a loom which normally carries 5.


Hampton Court Palace

Historic Royal Palaces were experiencing cost issues and health and safety issues with their runners throughout the visitor route.

In 2000 Linney Cooper were asked to suggest new product that would give better wear ability over the sisal product with bound edges. The Historic Royal Palaces were having to budget to replace sections and repair others every season, and down time in not displaying all areas was disruptive.

After a long consultancy the medieval look of rush matting was copied in a heavy duty English woven double lift wilton carpet. The one detail that was obvious in any sample that woven wilton carpet gave a flat appearance as opposed to a textured and very obvious carpet relief to emulate the rush effect. We altered the wire heights which gave us the textured effect we required, not done on a wilton machine before.

Linney Cooper with the technical experience of Grosvenor Wilton, wove the wilton carpet with changing texture and complicated jacquard work gave a rough texture, thus giving a depth to the carpet that helped the design gain a 3D effect. This very heavy carpet gives great detail and effect and excellent wear ability. The carpet has been laid for 19 years and required no repairs or replacement; this is with the high volume of 4.4 million visitors each year.



The brief for The Octagon Room at Attingham was for it to receive a Brussels Wilton carpet, which matched the strong colour description of blue and crimson, noted in one of the archive sale documents.

We researched the carpet archives to find evidence in the miniature designs of similar colour descriptions used in Brussels Wilton in the mid 1850's. In addition we verified the crimson colours by matching this named colour in the fabric used in other rooms of the house. The result you can see is this vibrant blue and crimson scroll.


Kew Palace

Linney Cooper were proud to have been involved with the carpet replacement for the 18th century presentation of this magnificent 1630's royal mansion, at the end of its ten year restoration programme, by Historic Royal Palaces.

The new carpets woven in worsted wool, Brussels narrow loop fine pitch Wilton carpet, based on original early 18th century designs from the original miniatures within the archive. 

We used 3 shot Wilton to help cope the high volume of traffic and they have been laid now for over 10 years


The Royal Albert Hall

The brief to Axminster Carpets and Linney Cooper was to produce approximately 4,000sqm of bordered carpets for the rooms, corridors, stairs and landings at the Royal Albert Hall. The request was for a Victorian design and border with a complimentary out fill to skirting.

The majority of fitting was to be completed 10pm till 6am, after the performances. To tackle this extremely difficult task, many different departments were asked for their input and many hours of planning were required to tackle this particular fitting.

The Royal Albert Hall is an oval shape and the main corridors are in the shape of a giant horseshoe. The finished oval carpet measured 57m by 53m and was not symmetrical so the whole oval had to be designed with three tiers of different shapes.

Each tier took approximately one month from measurement to design to the plan on the loom for weaving. Each landing and half landing had to be designed as an individual rug. Woven within such a degree of accuracy, that on a 28m roll of finished carpet the design had to be woven to be within 1 inch of the design length.

Royal Warrant