Handmade or Hand-decorated?

All too often across the world, items are classified as “handmade” when they really are not.

When the term “handmade” is used to market items that are not made by hand by an artist, many problems arise, and the buyer, the artist, and even the commercial makers of related products suffer. The buyer often pays too much; the artist earns too little; and the commercial makers have difficulty maintaining quality and production in their home area.

This has been evident in food as well as textiles across the world. For instance, when you think of cheese you might sprinkle lightly over pasta, do you think of a green can of “Parmesan” cheese sprinkles, a bag of shredded “Parmesan” cheese, or a heavy round of solid cheese inscribed Parmigiano Reggiano DOP?

The European Union recognizes different classifications of traditional food to make certain we don’t equate the green can of mass-produced “Parmesan” cheese with the round of traditional Parmigiano Reggiano DOP produced in the traditional manner in the cheese-making facilities of the Parma region, or (rarely now) in the farmhouse kitchens of Parma.

Ensuring the foods are classified and clearly labeled ensures buyers know what they are purchasing, where it was made, how it was made, and what ingredients the food contains. These factors drive, and help the buyer understand, the fair price range for the food. Obviously, Parmigiano Reggiano DOP is going to cost more than the green can of cheese, and a round made by nonna in her Parma kitchen will be rarer still, and more costly if she were to sell in the local market rather than gift it to you.

Similarly, to protect purchasers as well as the weavers and economy of Sardinia, it’s important that Sardinian textiles are classified accurately with reference to the method and place in which they are made.

There are three textiles classifications I use and maintain with Sardinian Arts. Any item I discuss is accurately classified with integrity according to this system. I personally visit weaving studios, power loom shops, and mills to meet owners and verify how textiles are made. I also advocate with weavers and others in Sardinia to adhere to this classification system to ensure the integrity of textiles “Made in Sardegna” and ensure the weavers, producers, and artists of Sardinia are treated with respect and that their items are sold in a fair and sustainable manner.

Handmade, Hand-decorated, and Mill-made Classifications

The classifications are handmade, hand-decorated, and mill-made:

  • Handmade textiles: Textiles made completely by hand, using looms where all the movements and beating — the compression of each row of woven fibers — 
    are done only by hand or foot, and not by a hydraulic, electronic, or computerized loom.
  • Hand-decorated textiles: Textiles made by hydraulic, electronic, or computerized looms, where all the beating is not done by hand/foot. The weavers stops the mechanical beating of the loom to make pibiones and/or add other decoration by hand.
  • Mill-made textiles: Textiles made in mills, by hydraulic, electronic, and/or computerized looms, with minimum human involvement. Many similar textiles are produced at the same time on huge looms.

All the classifications permit:

  • The use of fibers prepared in mills, and
  • The use of a sewing machine, if the use is to make seams/hems after the weaving is cut from the loom and the seams/hems are not decorative.

Fibers prepared by hand without the use hydraulic, electronic, or computerized tools can be distinguished with the label “hand-spun”. 

Yes, there are some weavers who spin and/or dye their own fibers, yet the decline of handweaving over the decades decimated hand spinning, hand dying, and even the wool industry, all of which are on the rebound, yet can’t currently or practically deliver sheep-to-spun fibers that are entirely hand-curated, even for the relatively small number of handweavers. This is true in Sardinia and across the world, and being addressed by fiber sheds and others – topics for additional discussion!

As you know, my love is with the handwoven, and I work exclusively with the handweavers. I recognize that the power loom shops and mills of Sardinia produce well-made textiles, yet the price point and markets of commercially-made textiles are different. Mill-made textiles are the least expensive to make, and generally what tourists find in shops as well as hotels and restaurants across the island. Powerloom shops can create customized items quickly and in duplicate, which pleases interior designers who add their own markup to textiles they sell to clients. The true handweavers craft their own pieces and occasional custom orders for discerning collectors and those who appreciate and value the time, skill, care, and anima that goes into warping, weaving, beating, and curating the creation of a fine textile.

Questions?

If you have any questions about whether the textiles you are buying are handmade, hand-decorated, or mill-made, please contact me.

© 2013 – 2025 Kelly Manjula Koza | All Rights Reserved

If you would like to copy the textile classifications text to use on your own site or collateral, kindly include this credit and link: “Textile classifications as defined on SardinianArts.com.”

How It Came to Be: The Film “I Want to Weave the Weft of Time”

I Want to Weave the Weft of Time grew serendipitously from the love of weaving, great appreciation of the women who continue the nearly-lost tradition of hand weaving in Sardinia, and the desire to share the art, lives, and importance of the weavers with the world.

When I first went to meet the weavers, I didn’t have a videocamera with me: I didn’t intend to film, much less make a documentary.

I wanted to meet the women who were Sardinia’s traditional weavers, learn about their particular weaving tradition, and bring a few textiles back to the United States. After meeting several weavers across the island, I called Isa and asked if I could return to Samugheo to video her, Suzanna, and Anna Maria. I had only my iPad — not the video cameras I had used to capture documentary footage for other projects! At most, I thought I would film a few minutes of the women working and make a 10-minute video to demonstrate the process of weaving.

I ended up filming for several hours that day, and then returned to Sardinia after a few months to visit and capture additional footage for what I still thought would be a very short video.

In the interim, Bruna had met the Frongias. While she lives in a town an hour or two away, Bruna by chance came to visit the Frongias the day I returned to Samugheo to film. As Isa prepared lunch, Bruna agreed to tell me the story of how she came to meet the Frongias and start to learn to weave. Her talk was entirely spontaneous, and absolutely perfect. I couldn’t have better scripted what she said: It was also what I felt about the weavers, their art, their lives, and the role they maintain, not just in terms of maintaining an artistic tradition, but in propagating a way of life that many in the modern world seek.

We filmed in the studio, with the kitchen (and the sounds of food preparation) above. Months later, when I showed Bruna the finished film, she told me she had completely forgotten that she talked with me! She also didn’t realize that the film’s title came directly from her statement, “tessere le trame del tempo”. Bruna forgot she had told me of the dream, and thought the title a coincidence!

As I was editing the footage, friend Ruth Mendelson – an amazing composer of wonderful original scores for documentaries — saw the draft, encouraged me, and agreed to compose and record the soundtrack. Ruth’s enthusiasm and support propelled me, and the truly heartfelt, complex tapestry of music she scored for the film perfectly captures the feeling of the women, the complexity of the weavings, and the mix of ancient and modern cultures that are Sardinia. Ruth’s score carries the film to a level that’s truly synergistic, much more than the sum of its parts.

I hope you’re as enchanted and moved watching this as we were making I Want to Weave the Weft of Time. The women have adopted me as family, and the film is truly a work of the heart.

Visit WeaveWeftofTime.com to see the film!

~ Kelly Manjula Koza

© 2013 – 2025 Kelly Manjula Koza | All Rights Reserved

© Kelly Manjula Koza unless otherwise noted.