Ask anyone about important women in the rug industry and Stephanie Odegard’s name will crop up. Working with rugs from the 1980s and opening Odegard soon after, she was a rarity. Here she talks to Lucy Upward.
When did you start working in the rug industry—and were there any women around?
I began my journey in the rug industry around 1985. During that time, the industry was predominantly male dominated, with very few women involved.
What kind of attitudes did you face as a woman working in a male-dominated industry?
Initially, I felt a sense of isolation. The industry was tightly knit with men who shared similar backgrounds, making it challenging for me to connect. I vividly recall attending shows alone, facing a lack of engagement. While things gradually evolved, the initial phase was undoubtedly difficult.
Did this behaviour change over time?
Certainly, over time, I observed more women entering the industry, although many were linked to established rug businesses. Women began gaining prominence in various home furnishing sectors. I would also like to mention a very generous man, David Druckman, who founded the New York Design Center. He sought me, invited me and gave me my first big break. Today the style of selling and the customer base has changed, but there is still a big vacuum for original ideas.
What strategies did you develop for this?
I made sure that I was doing my best at hiring and partnering with women as much as I could. I preferred to hire women, especially in the design department. I was lonely at times but I was committed to the business and to creating something beautiful. I am not a quitter, and I think that encouraged other women to join the industry.
Were there women at the top of other industries that you admired?
Certainly, Martha Stewart stands out as a noteworthy figure.
What are you most proud of achieving so far in your career?
Looking back, I am most proud of creating livelihoods for hundreds of artisans through my business. This not only helped them economically but also contributed to the preservation of ancient art forms. I even had the opportunity to reclaim forgotten techniques and methods of producing beautiful objects in places like Fiji, Nepal, Jamaica and India. These projects are still thriving, carried on by the second- and third-generation of artisans. The business of high-end luxury goods from these places has now become a well-established and renowned industry, and I still aspire to do more. Additionally, making my mother proud is a significant personal achievement.
What kind of design work do you do now?
I mostly work on custom-made interior design elements and I still work on rugs for private clients. We have a hospitality project in the pipeline. There are a few rugs we are working on for a private customer. I am also making furniture for an old lakeside villa in Switzerland.
