What to Do in Umbria: A Sensorial Weaving Experience at Atelier Giuditta Brozzetti

Wondering what to do in Umbria? Step into a sensorial weaving experience at Atelier Giuditta Brozzetti, where tradition, texture, and craftsmanship come together in one of the region’s most authentic cultural visits.

The Atelier Giuditta Brozzetti offers a clear example of how a historical craft can be understood not only intellectually, but through the senses. It is located in San Francesco delle Donne, a 13th-century church on the edge of the historic centre of Perugia. Within this former religious space, the atelier functions both as a working laboratory and a museum, where medieval Umbrian weaving traditions are preserved and actively practiced.

The workshop was founded in 1921 by Giuditta Brozzetti with the aim of safeguarding traditional Umbrian textile production, particularly the tovaglie perugine—handwoven linen tablecloths that were widely used between the 14th and 16th centuries.

Today, the atelier is led by her great-granddaughter, Marta Cucchia representing the fourth generation. Although trained as an interior designer at the Istituto Europeo di Design in Milan, Marta acquired her weaving expertise entirely within the workshop. Her knowledge is grounded in direct practice: working on historic wooden handlooms and Jacquard looms, studying original textiles preserved in the museum, and continuously testing new designs within the constraints of traditional techniques.

The atelier remains one of the few places where tovaglie perugine are still produced using historical methods. This includes the use of manual looms, the translation of patterns into Jacquard punch cards, and the careful control of linen thread tension during weaving. As a result, the site is not only geographically specific—rooted in Perugia and the Umbrian textile tradition—but also technically distinctive, maintaining a continuity of practice that connects contemporary production directly to its medieval origins.

Sound as a technical tool

One of the most immediate sensory elements in the atelier is sound. The looms produce a continuous, rhythmic sequence of mechanical movements: the lifting of threads, the passing of the shuttle, and the compression of the weave.

For Marta, this sound has both emotional and practical significance. It is associated with childhood memories of the family workshop, but it is also an essential diagnostic tool. Variations in rhythm can indicate whether the Jacquard loom is functioning correctly. As a result, attentive listening is necessary throughout the weaving process.

This illustrates how, in traditional craftsmanship, auditory perception can serve a precise technical function. View part one of our interview with Atelier Giuditta Brozzetti

Touch and material control

Touch plays an equally important role. During weaving, Marta regularly passes her hands over the fabric to assess the uniformity of thread tension. Small irregularities—barely visible—can be detected through touch and corrected immediately.

This tactile sensitivity is also fundamental to the study of historical textiles. Marta describes handling original Umbrian fabrics from the 14th and 15th centuries, often examining both the front and the reverse. The back of the textile can reveal structural details that are no longer visible on the worn surface.

Through touch, the material communicates its construction, age, and condition.

Visual analysis and historical continuity

Visual observation connects the atelier to a broader historical context. Umbrian textiles appear in Renaissance artworks, including paintings by Pintoricchio and The Last Supper by Leonardo da Vinci. These representations confirm the widespread use of such fabrics in everyday and ceremonial settings.

Marta’s familiarity with historical patterns allows her to recognize decorative motifs—even from partial or deteriorated images. Repeated elements such as peacocks, griffins, and geometric bands can be identified across centuries, with stylistic variations indicating their period of origin. View part two of our interview with Atelier Giuditta Brozzetti