We are all Connected

Why This Project?

An estimated three-quarters of the 60-75 million people working globally in the textile and clothing industry are women. The scope of work among these women ranges far and wide. The most common stories, unfortunately, are of those who experience shocking work conditions, unfair labor practices and dangers to from within their environment as a result of a booming textile industry. But there are also women who are sustaining local traditions, inventing new techniques and designing pieces beyond our wildest dreams. In a time of both great advancement and terrible consequence, what do the textiles we source, sew, use and wear say about who we are as humans? What does it say about the value of a woman’s work and her chance for opportunity? 

Woman Interwoven seeks to answer these questions by telling the stories of different women through the history, culture and craft of textiles in her home country. As the textile industry expands rapidly each year, we can no longer ignore the stories of those on whose backs it is made.

Why Now?

There are many resources available to viewers on the environmental, ethical and economic implications of mass production textile work. We want to show the audience that textiles are an integral piece of our human lives, in a way that leaves the viewer feeling uplifted rather than overwhelmed, and inspired rather than guilty. For us, that means telling real human stories, rather than rehashing headlines, and highlighting what makes these stories unique, beautiful and profound. 

As a nation, we are discussing issues of gender equality, conscious consumption and ethics in the workplace more than ever before. Woman Interwoven will use textiles as a way to explore on those topics and to meditate on what they mean to us as a new generation. We know, too, that the market for stories on culture and travel, a la Chef’s Table and No Reservations are relevant, and desirable in the television space. 

The Timeline

We estimate the research and outreach portion of this project, or pre production, would take roughly two months of full time work from a small team of individuals, including our director, producer and field producer. This work period would include time for us to research and reach out to characters and collaborators, to hire local fixers, to get filming permits, to scout locations and collect resources. 







This would be followed by ten weeks of successive travel, with roughly ten days of filming in each location, and 2-3 days of travel in between each location. After each shoot, we will be sending the footage back to our local editing team, so they can begin organizing, cataloging and editing footage. Once filming is complete, post production begins. We project each episode will take two weeks to edit from it’s semi-edited stage. The overall post production portion of Woman Interwoven will take about three months

Our Audience

We have identified three potential areas of interest from an audience perspective. Each episode will touch on these three areas of interest, keeping viewers coming back for each new episode and giving shape and dimension to each story.

The first area of interest will be among artists, historians and textile aficionados. This

is our smallest but most dedicated group of viewers. They watch ‘Woman Interwoven’ and are proud of their community and eager to share learnings.


The second area of interest will be among those seeking stories on culture, specifically

stories about feminism. This group will be interested in hearing women’s stories and enjoy being informed about new cultures and experiences. They will feel recognized and included in the current cultural dialogue.


Our third, and largest, area of interest will be among travelers. Travel content is of interest to a wide and diverse audience group, and we want to tap into that viewership by providing engaging and fresh stories. We want this series to inspire our audience to consider a new country to travel to or a more conscious way of contributing to local economies while abroad.


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© 2020 by Victoria Manganiello