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EASTÉRIA
Catalogue
All bags are handwoven
Outer fabric: 70% natural silk, 30% cotton
Sapphire Petals
21 × 10 × 18 cm
protective dust bag for storage
chain strap (120 cm long)
protective dust bag for storage
chain strap (120 cm long)
260
€
Crimson Pouch
21 × 10 × 18 cm
protective dust bag for storage
chain strap (120 cm long)
protective dust bag for storage
chain strap (120 cm long)
65
€
Golden Eye
180
€
Golden Mirage
340
€
All items
| About EASTÉRIA EASTÉRIA specializes in limited-edition handbags, each featuring a unique, one-of-a-kind woven pattern. Every bag is made in a single copy. No two pieces are ever the same — because true beauty lies in individuality. Handwoven fabrics — created using age-old techniques passed down through generations — combined with modern design, result in the kind of “wow effect” that makes you stand out and stay unforgettable. Our Story and Mission We discovered the true beauty and cultural depth of traditional weaving through extraordinary handcrafted fabrics. This experience inspired us not only to preserve the craft, but to breathe new life into it through contemporary pieces. We are committed to:
EASTÉRIA is the contemporary brand actively promoting the use of handwoven textiles in modern accessories. Our creations are deeply rooted in traditional craftsmanship and ancient patterns, reimagined in modern silhouettes. |
The silk bag represents 72 hours of handcrafted work.
6 STAGES OF MAKING FABRIC FROM NATURAL HANDMADE SILK
1 STAGE
The craftsman must prepare a certain number of silk skeins depending on the required width, length, and density of the fabric. Starting from the lower “floor” of the davra, the artisan spins round and round, stretching bundles of threads onto it. For dense fabrics, up to 100 turns of thread bundles may be wound on one level.
The manual weaving process starts with the snovka. On a special frame called Davra, the davrakash master gathers silk threads into skeins, which are then passed to the artist for pattern application.
The manual weaving process starts with the snovka. On a special frame called Davra, the davrakash master gathers silk threads into skeins, which are then passed to the artist for pattern application.
2 STAGE
All our ornaments are symmetrical around the center. This is due to the technique of pattern-making and dyeing the silk.
The bundled, tied threads are stretched onto a frame, and the artist begins drawing. Using a clay or charcoal pencil, they sketch half of the future ornament onto the skeins and mark which parts will be dyed in which shade.
The artist draws only half of the print— the other half appears when, after dyeing, the skeins are split into two parts..
The bundled, tied threads are stretched onto a frame, and the artist begins drawing. Using a clay or charcoal pencil, they sketch half of the future ornament onto the skeins and mark which parts will be dyed in which shade.
The artist draws only half of the print— the other half appears when, after dyeing, the skeins are split into two parts..
3 STAGE
The dyer ties binding threads around those parts of the design that should not be dyed, leaving the areas that will take on color.
After drawing, the skeins go to the dyer. Dyeing is done using the ancient abrband technique (from Persian "bound cloud"). The more colors and finer lines, the more complex the dyeing process.
The presence of a skat (a thin undyed strip) on the silk guarantees hand weaving and dyeing. Prints made on already woven fabric do not have this stripe.
After dyeing, the binding is removed, and the process begins again with the next color. This is repeated for as many colors as the design requires, from light to dark shades. Where the skeins touch the frame during the artist’s work, another thin binding is added. That part remains white and later shows up on the fabric as a delicate skat strip—it helps align each pattern repeat.
After drawing, the skeins go to the dyer. Dyeing is done using the ancient abrband technique (from Persian "bound cloud"). The more colors and finer lines, the more complex the dyeing process.
The presence of a skat (a thin undyed strip) on the silk guarantees hand weaving and dyeing. Prints made on already woven fabric do not have this stripe.
After dyeing, the binding is removed, and the process begins again with the next color. This is repeated for as many colors as the design requires, from light to dark shades. Where the skeins touch the frame during the artist’s work, another thin binding is added. That part remains white and later shows up on the fabric as a delicate skat strip—it helps align each pattern repeat.
4 & 5 STAGES
In the fourth stage, the skeins are split in half and laid out in a specific order to form a complete pattern.
Imagine a board full of needle eyes—each dyed thread has a precise location, ensured by a needle eye on the berdo (heddle). The width of the berdo is set to the required fabric width.
The next artisan, called the gulyavardor, separates the total threads according to the number of pedals on the loom. Our silk uses looms with two or three pedals. Then the gulyavardor threads each strand through a special tool—the berdo.
Imagine a board full of needle eyes—each dyed thread has a precise location, ensured by a needle eye on the berdo (heddle). The width of the berdo is set to the required fabric width.
The next artisan, called the gulyavardor, separates the total threads according to the number of pedals on the loom. Our silk uses looms with two or three pedals. Then the gulyavardor threads each strand through a special tool—the berdo.
6 STAGE
This is how the fabric gains its nap, giving the silk its luxurious tactile feel.
After the cloth is woven and removed from the loom, we carefully inspect its quality. Once threads are pulled through the berdo and set on the loom, the first 20–30 cm of silk are discarded as waste—this portion doesn’t yet show the pattern, as the tension and alignment are being adjusted to match the ornament’s rhythm.
Only after this does the pattern—just as drawn by the artist—begin to appear clearly.
During weaving, special metal needles are inserted across the fabric. When a section is complete, the weaver stops the loom and uses a technical knife to cut the threads stretched across the needles.
After the cloth is woven and removed from the loom, we carefully inspect its quality. Once threads are pulled through the berdo and set on the loom, the first 20–30 cm of silk are discarded as waste—this portion doesn’t yet show the pattern, as the tension and alignment are being adjusted to match the ornament’s rhythm.
Only after this does the pattern—just as drawn by the artist—begin to appear clearly.
During weaving, special metal needles are inserted across the fabric. When a section is complete, the weaver stops the loom and uses a technical knife to cut the threads stretched across the needles.
Contact us:
+420 775 407 378
easteriastore@gmail.com
easteriastore@gmail.com
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