She Made: discovery & recovery of Ukraine
Carpet Weaving as Art
Maria Fleychuk
Hailing from Hlyniany, Maria Fleychuk, a Doctor of Economics and Professor at the Lviv University of Trade and Economics and the University College of Enterprise and Administration in Lublin, together with her mother, Zenovia Shulha — an artist specializing in textile arts, a Professor at the Lviv National Academy of Arts, and the Head of the Textile Arts Section of the Lviv Regional Organization of the National Union of Artists of Ukraine — are working to revive the traditions of Hlyniany carpet weaving.
The team at “Zena-Hlyniany-Art-Studio” not only carefully preserves the knowledge of antique collections but also revitalizes them. Hlyniany carpets, crafted by skilled artisans, have evolved into true collectible art pieces, seamlessly blending deep-rooted traditions with a contemporary artistic vision.
The project “She Made: discovery & recovery of Ukraine” was created by Marie Claire Business Ukraine and UN Women Ukraine funded by The United Nations Women’s Peace and Humanitarian Fund (WPHF). WPHF mobilizes critical support for local and grassroots civil society organizations working on women, peace and security and humanitarian action. WPHF is a flexible and rapid financing mechanism supporting quality interventions designed to enhance the capacity of women to prevent conflict, respond to crises and emergencies, and seize key peacebuilding opportunities.
- Carpet weaving as an art form—why did you choose this business?
Maria Fleychuk: It all began in my childhood. I grew up surrounded by the carpets and tapestries my mother created. Since my mother, Zenovia Shulha, is a textile artist, this art form has always been a significant part of my life.
While I don’t have the talent for drawing or weaving myself, my passion for everything related to art has always been a part of who I am. Perhaps this decision was years in the making. By profession, I’m an economist, and although my career has primarily focused on teaching, I always dreamed of going beyond theory and applying my knowledge to create something tangible in business.
- We are in a museum—does this also relate to your work? And where does the history of carpet weaving in Hlyniany begin?
Zenovia Shulha: The first carpets in Hlyniany were woven by the Weaving Society, founded by the Greek Catholic priest Felimon Reshetylovych. These carpets were based on designs by Edgar Kovats, the rector of the Lviv Polytechnic National University. In 1890, they were presented at the World Exhibition in Paris, where they won immediate recognition and awards.
In 1894, at the renowned General National Exhibition (originally in Polish, Powszechna Wystawa Krajowa — Editor's note) in Lviv, Hlyniany’s jacquard mini-tapestries, woven from silk and designed by Jan Yurayda, were exhibited alongside the carpets. This success brought global attention to Hlyniany carpet weaving and fueled its rapid development.
The craft’s high artistic standards were upheld by the Weaving School, first established as part of the Weaving Society and later, in 1894, as the state School of Patterned Textiles in Hlyniany. However, the First World War disrupted the industry. In 1921, Mykhailo Khamula led its revival. By 1939, numerous small weaving enterprises in Hlyniany produced carpets that gained international acclaim.
During the Soviet era, private enterprises were nationalized, and the Hlyniany Artistic Products Factory "Peremoha" was established. Unfortunately, the quality of the carpets declined significantly, leading to the factory’s eventual closure and the loss of Hlyniany’s former reputation for excellence. By the 1990s, carpet production in Hlyniany had ceased entirely.
In 1996, I initiated the project "Reviving the Hlyniany Carpet." By collaborating with highly skilled artists from Ukraine and abroad, we modernized the designs of Hlyniany carpets. However, industrial-scale production was not established at that time.
Thanks to the efforts of Hlyniany native Oleh Hural and EU grant support, the former Weaving School building was renovated, and a branch of the Lviv Regional Council’s Historical Museum was established—the Department of Weaving and Carpet Making in Hlyniany (Director: Ihor Tymets). As a research associate, I worked with the museum team to create both permanent and temporary exhibitions that showcase the different stages in the evolution of Hlyniany carpet weaving.
However, no matter how idealistic we may be, carpet production is impossible without sales. It is both an artistic and industrial craft. That is why, in 2021, my daughter, Maria Fleychuk, founded the commercial company “Zena-Hlyniany-Art-Studio,” which specializes in the production of high-end, handcrafted flat-woven carpets.
- Is it possible to maintain carpet production without sales?
Zenovia Shulha: No matter how idealistic we may be, carpet production cannot thrive without sales. It is both an art and an industrial craft. In 2021, my daughter, Maria Fleychuk, founded the commercial company “Zena-Hlyniany-Art-Studio,” which specializes in creating high-end, handcrafted flat-woven carpets.
It sounds like
“We focus on crafting unique pieces for the premium segment. Our goal is to produce only a few signature carpets each month to preserve the exclusivity and high quality of our products.” — Maria Fleychuk
- What was your first order as a commercial enterprise?
Maria Fleychuk: We made several attempts to revive Hlyniany carpets through exhibitions, hoping to spark interest and demand. Unfortunately, the exhibitions remained just that — exhibitions — while commercial activity failed to progress.
The real breakthrough for our business came from an unexpected source: a random individual who later became our partner and friend — Polish art expert Przemyslaw Cepak from the company "Splot". One day, I received a phone call: "I’ve heard you work with carpets. Let’s try creating commercial pieces. You’ll need to establish a company to operate officially on an international level."
My mother and I thought, "Why not?"
We created a few initial carpets, and they quickly found buyers. Then we made more, and those sold just as fast. Gradually, other clients began to emerge — first from Ukraine and Poland, and later from other countries.
Today, most of our orders come from Poland, as the war in Ukraine has significantly shifted people’s priorities. However, some Ukrainians have realized that investing in high art is a valuable opportunity. From the very beginning, we positioned ourselves in the niche of elite artistic carpets.
We do not aim to compete with Chinese or Indian manufacturers of mass-market textile products. Instead, we focus on crafting unique pieces for the premium segment. Our goal is to produce only a few signature carpets each month, preserving the exclusivity and high quality of our products.
- Will we see Hlyniany carpets at the world's top art auctions?
Maria Fleychuk: Yes! Our carpets, especially those created based on designs by renowned artists of the past, are produced in limited editions—no more than 10 pieces per design. Each comes with a certificate that reinforces its exclusivity, making it highly appealing to investors, much like fine art paintings.
We already have ambitious plans. For instance, our first tactical goal is to participate in the 2025 exhibition marking the 100th anniversary of the Paris Exhibition of Decorative Arts (Exposition internationale des arts décoratifs et industriels modernes—an international showcase of architecture, decorative arts, and industrial design held in Paris in 1925 — Editor’s note), where Hlyniany carpets first gained international acclaim. We have recreated several award-winning designs from that exhibition and plan to present them again.
In addition, we are actively collaborating with contemporary artists to breathe new life into traditional Hlyniany carpets. Modern interiors demand a fresh perspective on textiles, which is why we work with talented designers and aim to feature our carpets at prestigious fine art auctions.
The growing demand for both antique and contemporary carpets demonstrates the tremendous potential of this field. We have already begun collaborating with the Ministry of Foreign Affairs of Ukraine, which supports exporters in accessing international markets. Our mission is to showcase Ukrainian professional art on the global stage.
By the way, we recently crafted our first carpet designed by artificial intelligence, commissioned by our Polish partner, the company "Splot". This piece has already been successfully sold, further proving that modern technology can harmoniously coexist with traditional craftsmanship.
“A carpet is ‘painting with threads.’ It is not merely a decorative object but a full-fledged work of art.” — Zenovia Shulha
Zenovia Shulha: A carpet is "painting with thread." It is not merely a decorative object but a full-fledged work of art. During Soviet times, carpets were reduced to simple utilitarian items, but today, we are restoring their status as artistic masterpieces.
Our museum houses unique examples, such as Art Deco carpets, which are currently gaining popularity in Europe. Among them are works by Zofia Stryjeńska, including "Night on Ivan Kupala" and "The Candle," created in the 1920s. Can you see how the wreaths with candles float on the water?
One particularly notable piece is by Stefania Shabatura, an outstanding artist and public figure under whom I studied at a children’s art school. An interesting detail about her biography: for the 80th anniversary of Lesya Ukrainka’s birth, Stefania Shabatura wove two works right here in Hlyniany. One of them bears the inscription, "Either ruin or victory. These are the two roads before us," and the other, "Awake, Troy! Death is coming for you!!!" These were among her early works, which led to her arrest by Soviet authorities and subsequent exile to Siberia in 1972, alongside her political contemporaries — Stus, Chornovil, Horyn, and Kalynets.
These works hold immense value for us. Our exhibitions in Lviv, Kyiv, and Poland have made a significant impact. The Hlyniany carpet has evolved from a utilitarian object into an artistic creation with profound cultural and artistic significance. And this is only the beginning!
“We want people to understand that their cultural heritage can hold not only historical value but also bring tangible economic benefits to the community!” — Maria Fleychuk
- Do you take any measures to protect this historical heritage? Are you registering a patent?
Maria Fleychuk: We are very proud that, thanks to the efforts of our team and the director of the Hlyniany Museum of Weaving and Carpet Making, Mr. Ihor Tymets, Hlyniany patterned textiles have been included in Ukraine’s list of intangible cultural heritage. But this is just the beginning! Our next step is to apply for the registration of Hlyniany textiles as part of UNESCO’s Intangible Cultural Heritage. With such a dedicated team, we are confident that we can achieve this goal!
It’s heartening to see that more and more people from Hlyniany are becoming interested in the history of carpet weaving. They recognize how successfully our company is growing, and we are thrilled that soon, we may even have competitors! This is beneficial, as competition always drives quality improvements and expands advantages for consumers. We want people to understand that their cultural heritage can hold not only historical significance but also provide tangible economic benefits to the community.
This is why we have not only established a business but also founded the School of Hlyniany Patterned Textiles. We are actively seeking young, talented individuals who want to dedicate themselves to carpet weaving or simply learn the craft for personal fulfillment. Perhaps some of them will become our competitors in the future, but we are ready to share our knowledge and inspire through art to ensure that this unique craft thrives and continues to evolve, preserving its unmatched artistic value.
- So, would you recommend this business to others and be willing to train competitors, provided they care about artistic value? What other key aspects of this business would you highlight?
Maria Fleychuk: Absolutely. Engaging professional artists is essential for success! History shows that when the Soviet authorities nationalized these highly skilled enterprises, they simplified the process, reducing it to a basic craft devoid of artistic value. That’s why it’s crucial not only to preserve a high level of craftsmanship but also to highlight the financial opportunities available to professional artists.
Moreover, it is vital to train new professional weavers while simultaneously developing an effective marketing strategy. Even the finest products are challenging to sell without modern marketing. Competing with Asian, Turkish, or Iranian manufacturers is undeniably difficult, as their focus lies on mass carpet production, low costs, competitive pricing, and global market domination. However, I firmly believe that popularizing Ukrainian high-art textiles and entering both domestic and international markets in the elite carpet segment—with limited-edition, artist-designed pieces—is a completely achievable goal.
Based on our experience, one to two years is sufficient to establish a foundation and take the first effective steps toward developing this business. While some challenges may seem straightforward, they remain significant. For instance, there is a lack of specialists capable of producing professional hand-weaving looms, a shortage of skilled weavers, and currently, minimal interest among young people in this profession.
At the same time, we are embracing modern technologies, working on computerization and automation to optimize production and reduce costs. Yet, despite these advancements, our clients deeply value handcrafted work. Each piece is unique, and even when a carpet is part of a limited series, every item retains its own distinct characteristics and aura. That is the essence of our artistry!
It sounds like
- How much does a limited-edition carpet handcrafted by the weavers of "Zena-Hlyniany-Art-Studio" cost?
Maria Fleychuk: Our artistic works from the main series are priced starting at €2,000–€3,000. We are also considering developing a more affordable collection aimed at consumers in the mid-price segment of decorative and applied arts. This collection could include chair throws or fireplace rugs crafted from leather scraps. I believe we will definitely explore this market. However, even these products will not fall into the lowest price category.
It sounds like
- How long does it take to create a single handcrafted carpet?
Zenovia Shulha: Complex pieces inspired by the designs of past creators, such as Pavlo Kovzhun’s Pava, typically take about a month to weave. During this time, three of our weavers are fully dedicated to the process.
- Where do most of your orders come from? Where can someone order a carpet?
Maria Fleychuk: Most of our orders come through personal connections, utilizing the B2C sales model (Business-to-Consumer—a business model where companies sell goods or services directly to end consumers, Editor’s note). Visitors to our exhibitions frequently reach out with inquiries and place orders for carpets. A significant portion of orders also comes from our Polish business partner, the company "Splot," where we operate under the B2B model (Business-to-Business—a business model where companies sell goods or services to other businesses rather than individual consumers, Editor’s note).
We are not yet highly active in promoting our products through social media, primarily due to our limited production capacity. At the moment, demand exceeds our manufacturing capabilities. However, we are actively working on launching a company website, which will serve as a virtual showroom. Additionally, we are beginning to promote our business on popular social media platforms, including Instagram, Facebook, and YouTube. This will help us better meet the demands of today’s market, where digital marketing plays a crucial role in ensuring the long-term success of any company.
- How do you promote carpets as art objects rather than utilitarian household items?
Maria Fleychuk: We promote our elite flat-woven handmade carpets through a multi-faceted approach. Our primary focus is participation in international exhibitions and fairs, where we present our products as a harmonious blend of traditional art and modern design.
We collaborate with interior designers and architects to create exclusive collections tailored to the premium market segment. At the same time, as I mentioned earlier, we have started expanding our presence on social media and developing digital marketing strategies to showcase the production process and highlight the unique qualities of our carpets.
We also publish articles in specialized publications to underscore the cultural and historical value of our products. Additionally, we organize exhibitions, lectures, and workshops to engage audiences interested in authentic, eco-friendly interior solutions.
This comprehensive approach positions our carpets not merely as business products but as works of art, rich in cultural heritage, that have a rightful place in today’s global market.
- Your team helps women from vulnerable groups achieve economic independence and find employment. Do you currently collaborate with internally displaced persons (IDPs), elderly women, or other organizations?
Maria Fleychuk: Absolutely. The challenges brought on by the war have also led us to philanthropy. Our primary weavers are retirees: Hanna Latushynska, Teklya Rybak, and Maria Sokul. Additionally, among our team members is the wife of a serviceman in the Armed Forces of Ukraine, who is defending our country on the front lines.
We also work with children from vulnerable groups, including IDPs, large families, and households facing difficult socio-economic conditions. Beyond organizing various workshops for them, we have established a street theater called "Sonechko" (Sonechko—"Little Sun"—Editor's note). For this initiative, we often create costumes and theatrical props ourselves. We already have a repertoire of performances that we stage and showcase in local communities and neighboring villages. This provides an extraordinary experience for the children, who participate as actors. Such social activities bring us immense moral satisfaction and foster a sense of unity within the community.
More broadly, our Museum of Weaving and Carpet Making, in addition to its academic work, plays a vital role in community life. The museum serves not only as a cultural institution but also as an innovative hub for social activity. We regularly organize festivals, interactive events, and creative meetings—not only for the Hlyniany territorial community but also for a broader audience.
Overall, the fruitful collaboration between "Zena-Hlyniany-Art-Studio," the museum, the Hlyniany City Council, local church parishes, schools, and active community members—along with the rich historical and cultural heritage of Hlyniany (including three churches, one dating back to the 17th century, a Roman Catholic cathedral, the town’s location on the historic Hlyniany trade route, and a Neolithic settlement site)—attracts tourists from various regions of Ukraine and abroad.
We actively involve different groups in our community initiatives, particularly children and young people. Thanks to these efforts, we’ve already cultivated a stable young audience. While it’s difficult to predict whether this audience will become our successors in the future, it’s important to note that they are growing up in an environment that nurtures creativity and social skills. In my view, this is incredibly valuable!
- How has your business evolved thanks to the National Network for the Development of Local Philanthropy, and what specific projects were funded by UN Women Ukraine and WPHF with your involvement?
Maria Fleychuk: First and foremost, this project truly inspired us! We submitted our application with a focus on social support, highlighting the importance of employing people from socially vulnerable groups.
Additionally, we take immense pride in the forthcoming publication of a significant study on Hlyniany carpet weaving, titled "The Carpet Craze of Hlyniany" by Zenovia Shulha. Supported as part of this project, the research is a substantial scientific and popular work that delves into the history and evolution of Hlyniany carpet weaving across different eras. To date, there has been no comparable comprehensive study dedicated to this craft.
What is particularly remarkable is that securing funding for book publishing in today’s circumstances is rare. We were incredibly grateful, as one of the key goals of our application was precisely the publication of this book, and we received the necessary support to make it a reality.
We are endlessly thankful to all the incredible women who organized and participated in this project. It gave us the chance to connect with numerous representatives of Ukrainian businesses, many of whom we now collaborate with.
This summer, we hosted a large-scale workshop titled "Crafts as a Form of Resilience." This initiative was a collaborative project involving the Lviv National Academy of Arts, Culture Hub Croatia, Italy’s Matera Hub, the NGO Center for Public Innovation, and was supported by the Izolyatsia Foundation, Trans Europe Halles, Malý Berlín, and the ZMINA program. The workshop provided a 21-day advanced training course in patterned textiles and creative entrepreneurship for internally displaced artists, folk craftswomen, and artisans. Importantly, women entrepreneurs were also among the participants.
Such philanthropic initiatives create a shared thread for the development of socially oriented businesses in Ukraine. We remain connected and continue to inspire one another.
- What is your business dream?
Maria Fleychuk: My short-term dream is to expand the Hlyniany School of Patterned Textiles, which I believe will play a crucial role in preserving and promoting our unique cultural heritage. In the long term, I aspire to see Ukrainian, and specifically Hlyniany, carpets reclaim their place not only in European markets but also on the global stage. I want Ukraine to be recognized not only as a nation impacted by war but as a country with a rich cultural heritage and a thriving socio-economic model.
I sincerely hope that our project will serve as a cornerstone for the advancement of Ukrainian culture and economy, contributing to the rebuilding and growth of our nation.
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The idea and coordination of the project: the UN Women Ukraine team. The civil society organizations that were involved in selecting entrepreneurship stories: The National Network for the Development of Local Philanthropy.
Media Expedition: General Producer of Marie Claire Business and Project Creative Director: Julia Brosko. Head of Brand Marie Claire Ukraine: Kateryna Fastovets. Expedition Team Administration: Yanina Provotar. Photos on this page: Nadia Berska. Video: Marharyta Omelchuk. Editing: Viktor Khodosov. Texts: Julia Brosko. Retouching: Olena Chykylova. Web: Vitalii Provotar. Expedition Driver: Svitlana Sapon.
The United Nations Women’s Peace and Humanitarian Fund (WPHF) is the only global mechanism exclusively dedicated to supporting women’s participation in peacebuilding, security processes, and humanitarian assistance. Governed by a group of representatives from civil society, governments, and the UN, WPHF is a multi-partner trust fund that mobilizes urgently needed funding for local, women-led organizations and works alongside women on the front lines to build sustainable peace.
Since 2016, WPHF has provided funding and strengthened the capacity of more than 1,000 local women’s civil society organizations working on the "Women, Peace, and Security" agenda and implementing humanitarian initiatives in 41 crisis-affected countries worldwide.
This publication is produced with funding from the United Nations Women’s Peace and Humanitarian Fund (WPHF), however, the views expressed and content included does not imply official endorsement or acceptance by the United Nations.