She grew up and lives in Čierny Balog, where weaving on looms was a common women’s task. She learned all the techniques known in the region from her mother. Traditional balock fabrics were characterized by modesty in patterns and colors. Simple stripes (threads) of red, or blue, color grew into richer patterned motifs later on.

After studying at a health school, she worked for many years as a nurse in a dental clinic, and only returned to weaving upon retirement. She wove blankets, tablecloths, and towels in a simple canvas weave, modestly decorated with colored stripes and simple interlacing. However, in 1989, she discovered lace weaving, typical for the Trebišov region, and found her passion in it. The impetus was a television documentary where a weaver from Rejdová demonstrated this type of weaving. Finding the traditional balock patterns somewhat dull in comparison, she decided to travel to Rejdová as soon as possible to seek out the mentioned weaver.

Thanks to her openness and willingness, she quickly familiarized herself with the lace weaving technology. She first mastered bulb patterns, which she started applying in combination with simple lace in band formations of varying widths. Upon returning home from Rejdová, she put her everything woven on the looms aside, definitively completed fabrics with patterned motifs, and began to fully devote herself to lace weaving.

From the beginning, her lace textiles were successful, and the local community viewed them as new and unique. She presented her products and weaving demonstrations at fairs and folk festivals, exhibitions, and competitions, earning several diplomas and awards. During that time, she mostly wove with white and yellow linen and cotton threads, finishing the textiles simply by pulling the threads out.

A new phase in her creative work began after meeting the artist Janka Menkynová from ÚĽUV (Centre for Folk Art Production). They first met in 2007 at a festival in Heľpa. The linen material, technical skill, and great taste that characterized all of Amália Schönová’s products caught Janka Menkynová’s attention. This led to the selection of a collection for evaluation by the ÚĽUV artistic committee, which meets twice a year. The response was very positive, leading to a systematic collaboration between Amália Schönová and ÚĽUV that continues to this day.

Janka Menkynová advised the weaver to reduce the number of patterns, to finish the blankets not by pulling out threads but by sewing them, to compose patterns around the entire edge of the blankets, and to place individual motifs on the surface, not just weaving them from edge to edge. Amália Schönová, technically skilled, only needed the patterns drawn, and she could calculate and weave them flawlessly on her own. Maintaining the width of the fabric and the regularity of the edges did not pose a problem for her, which is demanding in lace weaving. She began to weave solitary geometric motifs and place them on the surface, learned to use and combine colored stripes, and, most importantly, not to overdecorate the textiles. Everything flowed smoothly, and her collaboration with ÚĽUV completely absorbed her creatively, as she initially only had lace weaving in mind.

For her masterful weaving skills, she was rightfully awarded the title of Master of Folk Art Production in 2010