Continuing the theme of sustainable businesses and products, I wanted to highlight the work of Maria Sigma - a textiles weaver that I discovered recently. I was fascinated by her passion for woven textiles, the way she uses sustainable materials and the process she uses for creating the textiles. Maria has kindly answered my questions and I think you will agree that it is a fascinating read.

What was your vision when setting up the business?

I wanted to create a weaving studio where I could design and produce ethical handwoven textiles for interiors. I was imagining that my business would offer similar services to an interior design studio, but instead of designing house spaces I would design and hand weave textiles for the house. For me textiles are one of the most important objects in the house - it is what makes a house a home. I believe that they could carry that ‘feeling at home’ notion in them.

The same way that sometimes we have a favourite garment (for sentimental reasons), I have favourite blankets and cushions.

I grew up surrounded with handmade household textiles - tablecloths, blankets, curtains, bedsheets given to my mother as a dowry and handmade by the women of the family in the past. These pieces were carrying something very personal, the story and the touch of the past in combination with memories and smells from the present.

I strongly believe that the importance of weaving must be highlighted; fabrics reside in the everyday and inhabit almost every corner of a household; they create a boundary between us and nature, the culture of the body and the external world. They contribute in creating a sense of something familiar and beloved. The determinant role textiles play in our life, the power of colour, or the lack thereof, the achievement of high aesthetics through simplicity and the use of sustainable materials, are my sources of inspiration and motivation. This is reflected in my work and the use of natural shades, highlighted by creating different textures through different weave structures and yarn thicknesses.

Where do you draw your inspiration from?

My inspiration comes from many different things and I don’t ever feel that it is something specific. I think it is a mix of feelings and memories, which could be created by numerous different sources, such as nature, music, crafts and art. I believe my Greek heritage is always there and all that in combination with inspiration from the weaving itself and the materials, with always focusing on sustainable practices and fibres.

I usually start from the materials and techniques and then based on my current state of mind the visual and context will follow.

That of course is different when I am working on a commission, where there is a more specific brief instead - a colour palette and a style, and I work backwards to match these to my aesthetics, philosophy of work and find the most appropriate materials and techniques for the project.

What does the weaving process involve?

The weaving process starts with designing the textile piece - choose colours, materials, patterns, thickness and weight. Then it is the designing of the warp - the permanent group of yarns on the loom in tension. The designing of the warp means calculating the (vertical) number of threads of the final cloth, proportion of stripes if any and the spacing. Then it is the making of the warp on the warping mill where the length and the width of the warp it is made by winding the yarns on a big kris-crossing loop. After that, it is time for setting up the loom which consists of smaller processes.

First, the warp will be wound on the back beam of the loom and then it is the threading - pass the threads one by one by through the heddles on the shafts. After that, the thread will be spread throughout the reed and beater and lastly it will be tied on the front beam of the loom.

This whole procedure takes minimum 3 days for my big floor loom. For a double cloth textile (two warps) could take up to 7 days for the full width and quite large length.

And then, it is time for the actual action of weaving and the fun to begin! Which means that by pressing the foot pedal some of the warp is lifted and with the shuttle the weft yarn is going through the opening (weaving shed) and in between the warp yarns. That is repeated in different lifting combinations, colours and materials until the piece is created yarn-by-yarn or pick-by-pick in the weaving world. The actual weaving can can take days depending on the dimensions, the thickness of the yarns and special techniques applied.

After the textile piece is done, it will be cut-off the loom, washed, steamed and finishing techniques will be applied.

What are your favourite materials to weave with and why?

Wool is my most favourite material because of its excellent qualities and its transformable character. With a heritage stretching back to 10,000 BC, wool is a fibre that has withstood the tests of time and fashion. Wool is a natural insulator, multi-climatic, easy case and long-life, non-allergic and odour resistant material, is also renewable and biodegradable, which makes it the ideal raw-material for human and environment friendly textiles. It is made from a renewable source, that's naturally durable and requires less chemical cleaning than other fibres and when it comes to the end of its long and useful life it is completely biodegradable. Because wool is a living, breathing ‘smart’ fibre, it improves the air in enclosed spaces, improves sleep, provides comfort and ensures safety. Moisture on the skin is wicked away and no man-made fiber has the ability to regulate the body's temperature in all weather conditions like wool does naturally. But I love it mostly because of its ability to been manipulated. Depending on the set up of the warp, the weave pattern and mainly the finishing of the cloth, the end-result could change completely than how it appears on the loom. It’s like having its own “life”.

Other favourite materials of mine are silk, cotton and linen. I am trying to use undyed yarns as much as possible in my textiles. Not only there are more sustainable (less water, energy and chemicals consumption), but I also believe that materials are beautiful at they are and they don’t need much of processing by humans. Nature is beautiful as it is and I want to believe that this makes also my work beautiful.

My most recent ‘favourite yarn is a really fine natural undyed orange hand-spun silk form India which takes its colour from the plant that the silkworms eat. I really like to use it in combination with undyed wool and cotton - the result has a ‘sunny’ feeling.

What challenges have you faced as a business?

From my experience so far, having your own business means a working-life full of challenges. Having issues and problems to solve is the norm.

However, if I had to select one challenge, apart from Covid that was a challenge for the great majority, I would say that one of my biggest challenges is finding a studio space in London. A loom requires a lot of space and to find an affordable and just basic quality space in London is impossible.

What makes your pieces truly sustainable?

My concept of textile design and production reflects my dedication to Zero Waste design. I strive to decrease to the minimum yarn waste and unnecessary cuts, carbon footprints, the use of machinery, water and electric energy. By adhering to a Zero Waste philosophy, I aspire to make handweaving an even more sustainable craft. I exclusively use natural undyed materials and waste or recycled yarns.

I consider the environmental impact at every stage of the design and making process, as well as within the daily work environment and studio space. Sustainability, environment-friendly artefacts, and a harmonic human-product-environment relationship are quintessential aspects of my work ethic and artistic philosophy.

And in addition to all of that, I believe that long-life is what makes my pieces truly sustainable. My work aims at creating high-quality handwoven textiles designed to become timeless heirlooms, the same way I still have and use textile pieces my great-grandmother had made.

What exciting projects do you have coming up this year?

I am currently working on some new exclusive pieces for The New Craftsmen.

and a new collaboration for a limited collection of tableware textiles with The Greek Foundation. I am also working on two residential projects for a bespoke rug and a couple of throws.

In July I am hosting the last for the summer Band Weaving From Waste Workshop at Make Town in Hackney and lastly I am preparing a new online Weaving Class which will be available in autumn.