My inspiration comes from old and damaged objects which have rough and irregular surfaces. In 2005, when I travelled to Italy, I encountered the scenery of European architecture, assembled together and surrounding the environment. I was impressed by the old and damaged surfaces of the walls of the buildings. ln 2007, I was in the Netherlands for four months as an exchange student. I examined a picture of an old brick with moss growing on it. During my four years of studies at an art university in Japan, I have gained substantial knowledge and techniques concerning textile. Since aged surface has left a huge imprint on me, I have been representing the impression of aged objects in weaving, especially in rug making‘. Various textural samples that are combined with different materials, colors, and techniques were created at that time. In 2009, I came to Sweden to learn rug design and broaden my experience in the overall field of design. In the summer of 2010, I travelled to Italy again and afier taking numerous pictures of surfaces of old buildings, I have decided to work with the impression of aged objects as a motif for my thesis. In this essay, the aesthetics of aged objects is discussed in the first two parts. We —as humans- continue to produce new products and create art works, while our creation ages as time goes by. Objects start to have new taste and charm with time, which make them look different. Aging affects objects, for example by rusting, fading the color or coating the surface with mo, gradually changing the surface and giving them new taste. Aged objects hold another value as we appreciate vintages and antiques. Everything becomes old as time passes. Aged objects change their appearance gradually. Then, how do we handle ‘time’ in our creation? Products have longevity and quality but all objects cannot avoid from falling into decay. Several suggestions for addressing this matter have been examined in the last five parts.