Weaving process

Preparing the warp (the vertical threads on a loom, over and under which other horizontal threads (the weft) are passed to make cloth) is the first step in the weaving process. 
First you determine the yarn you’re going to be working with and the general dimensions of what you want to weave (i.e., how long the warp will be and how wide). You then decide on the sett, which is how many strands of warp yarn there are in a single inch of weaving width, ie how loose or dense the fabric will end up.

You prepare the warp by pulling a warp thread (or several at a time, depending on the kind of warp) across a structure called a warping board or a warping mill over and over again until you’ve measured out the correct length and width. It is a long, meticulous and repetitive process, but when it’s going well you can get into a good state of flow. Then you take the warp off the board by making a chain. 
Next, the warp (evenly spaced out onto its weaving width) needs to be rolled onto the warp beam, little by little, while making sure that it’s pulled as evenly as possible and not a thread out of place - this is called beaming. After the warp is on the loom, each thread must be pulled through a heddle (the wire with an eye in the centre). This process is repeated for each warp thread, while making sure to follow the right order (determined by the weaving pattern) and not forgetting any threads. 
The next step is sleying the reed, where groupings of threads are pulled through the spaces on the reed (the part that looks like a comb). Once that’s done, the warp threads are tied evenly onto the front rod. And then you can start weaving!  
After weaving, you finally get to cut the fabric off the loom and see it in its entirety. 
The fabric should be washed on a gentle cycle before use (to avoid shrinkage later, especially if it’s being used for clothing or something else that would require regular washing).

Patchwork process (upcycled fabric) 

I carefully sort, wash and organise the fabric scraps before I start. I then create a composition and sew pieces together with my sewing machine, slowly building up the patchwork until it’s the right size (usually for a bag or a cushion cover), and do the same for the lining (I try to save the larger pieces for this). I stop regularly to iron my seams as this helps keep everything neat. 

I often try to use the fabric scraps in their original state - for example, when I have scraps from garment makers, the pieces are often curved and oddly shaped, and it would waste more fabric to cut them rectangular or linear, so it’s more fun - and challenging! - to use them as is. I find this leads to more unexpected shapes and structures.

For bags, I sew the outside patchwork to the lining with my sewing machine, sewing a freehand grid design as I go. I’ve opted to do this quilting with a sewing machine as my bags are designed to lug a lot around and they just last longer this way. 

For cushion covers, I sew the top to the lining by hand, using bigger, more visible stitches with a thicker cotton thread. I think this leads to slightly imperfect rows but brings a lot more visual interest to the piece, and a certain softness that you just can’t get with a sewing machine.