Until 2005, weaving was a colourful experiment for me and I had no intention other than enjoying and exploring the work, while admiring its beauty.

Having Ali Khatib-Shahidi as a companion, co-worker and partner in life, brought a more serious and professional aspect and goal to my work. We decided to revive the traditional cloth-weaving network. We started to travel around the country, but seeing the people who neither remembered, nor believed in their past, was a real disappointment that made us return home.

Beside my hand-woven textiles, which were young, noisy and lively, I longed for fabrics with roots in the history and geography of Iran. Traditionally-made fabrics were low in quality; weaving workshops were mostly wrecked and weavers were unmotivated, weary and old.

In my disbelief, but Ali's perseverance, he convinced the owners of a silk-weaving workshop in Kashan to work with us. They did not want to change their old routines. But I wanted those traditional textiles to have a modern spirit, so I introduced a sort of irregularity and disorder in arrangement and colours of their well-ordered traditional structure.

In each of his orders, Ali tried to promote the quality of one of the stages of the work. Improving the quality of organic and natural dyeing, increasing the density of fabrics, reviving Abresh and Ikat dyeing techniques, reinstating the four-harnessed loom and using colourful warps instead of the traditional black warp yarns were parts of his plans that he has accomplished by the help of traditional workmen.

The art of silk-weaving in Kashan, weaving of the Aba (a type of loose cloak, open in the front) in Naein, the Maraz (long pieces of woollen fabrics, 12 centimetres wide) and the Mowj (a hand-woven piece of fabric, mostly used as blanket or prayer rug) in Kurdistan captivated us in a way that we decided to find and revive their workshops.

My job is to design patterns for silk-weavers in Kashan, design garments -- with a new look to the Iranian traditional costumes -- and manage both the showroom and the weaving workshop. I teach my trainees how to weave; I provide them with designs and subsequently buy their work. There are some students who begin to copy my work, even before completing their learning process; there are some who quit too soon and some who cause trouble. Nevertheless, there are some who have passion and give hope… and I am grateful to them.