Almost complete, with only a few quiet details left before opening.

Upstairs is a private room with a wide terrace and panoramic views of Mt. Chiangdao.

Downstairs is a working & living space connected to the dye studio.

A place for exploring plant-based natural colors from local materials — through textile, paper, and wood.

Kakishibu and ebony berry tannins, long used in traditional wood and paper practices, are also part of the process here.

A quiet space to explore, experiment, and create freely — without right or wrong.

Studio Chiangdao Blue is a quiet creative space where people are invited to return gently to themselves — to enjoy imagination and simple creativity, and to reconnect with the five senses: hands, eyes, ears, scent, and feeling.

Beyond experiencing handmade work and the beauty of natural indigo, visitors can explore craft knowledge shaped through a dialogue between Thailand and Japan.

The textile designs shown here are inspired by Japanese characters meaning “indigo” and the ancient Lanna script of Northern Thailand expressing “Chiangdao Blue,” created through traditional Japanese stencil techniques.

Alongside the creative process, there is also an opportunity to experience the calm simplicity of rural life, to receive quiet energy from the mountains and forests — especially from Mt. Chiangdao, regarded as one of the power spots of Northern Thailand.

The construction has now progressed beyond 70%, and the space is expected to open by the end of June.

A quiet creative and working space for textile and natural dye practice, rooted in local materials, environmentally conscious processes, and inspirations from both Thai and Japanese craft traditions.

Alongside indigo, we also work with ebony berries and kakishibu — rich tannin dyes suitable for textiles, paper, and wood.

This residency project was inspired by my own three-month artist residency experience in Kanazawa, Japan in 2022 through the UNESCO Creative Cities cultural exchange program.

Many of the learning and education activities that Chiangdao Blue now shares with local youth in Chiangdao also grew from that experience.

Homegrown indigo paste — organically cultivated and extracted in small-scale batches using high-quality raw materials in well-balanced proportions — results in indigo paste with a high pigment concentration and a smooth, refined texture. It can be used as a natural blue pigment that is difficult to obtain, making it ideal for painting on paper, such as watercolor paper.

For anyone who enjoys painting and would like to try using indigo blue extracted from natural indigo leaves, please feel free to contact us through our website: www.chiangdaoblue.com.

Another warm day filled with love, creativity, and a true mindfulness moment.

The gentle warmth and affection between the two of them made everyone in the studio feel happy and realize even more the power of love and care that Pam and Paul share.

Today’s activity was a gift from their son and daughter-in-law, who booked this workshop so that the parents could enjoy a fun and creative time together in a private atmosphere.

A cozy, private, and creative setting like this can offer not only a memorable experience but also a handmade piece that embodies the skills of Head, Hand, and Heart.

Chiangdao Blue truly wish to share this kind of memorable experience with families, couples, groups of friends, or individuals who wish to spend quiet and creative time with themselves.

On a sunny Sunday, perfect for kakishibu (persimmon dyeing), we used a batch of kakishibu solution that had been fermented two years ago and experimented with applying it onto wood surfaces. Our intention is to keep applying it layer by layer, patiently and without rushing—perhaps 40 to 50 times. So far, we haven’t even reached 20 coats, yet the color is already deepening little by little, which is very exciting.

The purpose of this experiment on wood surfaces goes beyond color dyeing alone. We also hope to explore kakishibu’s properties in preserving wood, preventing termites, and to discover after how many repeated applications the wood might finally gain water-repellent qualities.

Kakishibu dyeing has been a personal passion since my time living in Japan, where I also had the chance to dye fabric with it. The more I study and practice, the more I realize that this profound body of knowledge can truly become a lifelong work—something that must be approached gradually, through continuous practice and deepening understanding over time.

Lately, the rain has lessened, and the days are sunnier, so our trainee Ung has begun preparing earth pigment powder for Bengara Zome dyeing. Based on the soil’s qualities, we decided to classify it into two types: the very fine powder will be reserved for dyeing with stencil techniques, while the coarser powder will be kept for immersion dyeing.

Our trainee Ung is a keen and dedicated student from the Non-Formal Education program (กศน.), eager to gain a wide range of experiences. From a shy, teenage boy who lacked confidence, Ung has started to explore himself through hands-on practice in the skills that interest him, engaging actively in training with an active learning approach. Now Ung has become more expressive and is able to reflect on his own thoughts and feelings.

I feel grateful that the process of natural dyeing has become another experience for Ung in his journey of self-discovery and growth. This simple yet profound activity, which takes time and patience, is another factor nurturing the identity of young people. It also reflects one of the deeper meanings of promoting Chiang Dao as a Learning City—a sustainable model grounded in self-reliance.

This project focuses on strengthening vocational skills by enabling learners to study directly with local artisans in their own community. Today, each learner dyed two fabric pieces: a bandana and a scarf. After the activity, there was a reflection session where learners evaluated the experience using simple techniques that did not require filling out written questionnaires.

It was delightful to see that the students enjoyed themselves and expressed creativity based on a basic understanding of the dyeing process. They were able to produce interesting patterns, and the three-hour session passed by very quickly.

Our next hope is for learners to recognize ways to build on these skills—for example, starting with small collaborative projects such as making Father’s Day or Mother’s Day gifts by themselves using indigo dyeing techniques.

Today marks a small but meaningful first step, because one important goal of knowledge transmission is to help learners understand and see the opportunities to extend these skills in ways that will be beneficial for their own lives.

Chiangdao Blue, as an official learning station for students of the Department of Learning Encouragement (DOLE), serves government-run non-formal education programs. Most students are already working, combining their jobs with non-formal learning under the new, more flexible education policy. This approach expands opportunities for students to learn practical skills directly from local artisans, enabling them to develop craft skills that can be built upon and turned into viable careers.

I truly admire this education policy, which understands the rapidly changing social and economic conditions—conditions that the traditional education framework may not be able to adapt to quickly enough.

Children and young people are the future of the nation. Empowering them with a diverse range of skills through hands-on practice and self-driven training is therefore highly appropriate and valuable.

Experimenting with hot dyeing using wild persimmon dye produced an orange-brown shade, which is the typical color obtained from persimmons. After that, the color was shifted using homemade rust water made from iron scraps.

It was found that the tannin in persimmons reacts very well with rust water. The wonder of the colors and properties from natural dyes is both exciting and full of potential for exploration, inviting scientific investigation into the origins and causes of these transformations.

When done by hand—seeing with the eyes and smelling the scents during the work—one can capture the subtle details in between the processes. These can then be expanded upon and developed further to discover new opportunities beyond the original framework, making it both a challenge and a joy.

Experiences like this, if children could participate in them firsthand, might give them new perspectives—ones that adults themselves might never have imagined.

This year’s fermentation of wild persimmons has begun—slightly later than last year due to the heavy rainstorm last week.

I feel grateful to the forest, the mountains, the rain, and the rivers for creating such abundant natural resources. They nurture our ability to observe, and they empower us to apply our wisdom—wisdom that has been accumulated and passed down through generations.

Most importantly, this traditional knowledge is a crystallization of humble craftsmanship, deeply attuned to the rhythms of nature. That’s why I believe it is our generation’s mission to communicate and preserve these values, so they can be passed on to those who come after us.

The traditional wisdom of our ancestors reflects the true identity and essence of who we are. And the more rapidly technology advances, the more I believe that these values must go hand in hand—to help us maintain the balance we need for living a truly meaningful life.

Over the past four years of becoming part of the hands-on learning movement—centered on practical skill-building, self-reliance, and the philosophy of lifelong learning outside the traditional classroom—I’ve found myself surprised by how far I’ve come. At first, I believed I wasn’t good at interacting with young people, mostly because I had no experience raising children. But once I took my first step with the Chiang Dao: City of Learning project in collaboration with Makhampom Art Space, the more I became involved, the more I felt drawn in by the energy, the intrigue, the challenge, and the deep value of what we were building.

The more I did, the more perspectives I gained. The more I saw the endless possibilities hidden within each child—potentials just waiting to be “switched on.” Young people are the very source of creative energy, carrying the potential to shape society in new ways—ways that reflect the values they choose for themselves, often very different from the old frameworks set by adults.

Through working with local youth across many sessions, I’ve come to recognize the importance of intergenerational exchange. These moments create real opportunities for mutual learning, grounded in shared humanity. I feel deeply grateful—for having an open heart, for the Chiang Dao community that continuously supports these creative learning spaces, and for being able to feel a sense of ikigai in my daily life.

Indigo dyeing can generally be divided into two types:

1. Natural indigo dyeing, which uses pigment extracted from indigo plants.

2. Synthetic indigo dyeing, where the pigment is produced through industrial chemical processes.

In addition to the type of indigo pigment, dye vats can also be categorized into two main types: those using natural materials and those using chemical substances, some of which are not eco-friendly.

At Studio Chiangdao Blue, we follow a "from seed to dye" philosophy. We grow organic indigo without chemical fertilizers or herbicides. For preparing the indigo dye vat, we use traditional Thai knowledge—employing natural limestone-derived lye and tamarind extract. From cultivation and pigment extraction to dyeing, our entire process is health-conscious and environmentally friendly.

In Thailand, the culture of indigo dyeing has existed since ancient times, especially in the northeastern, northern, and southern regions. Each region has its own local indigo plant variety.

In the northeast, Indigofera tinctoria (straight-pod indigo) is common.

In the north, Strobilanthes cusia (locally called “hom”) is used.

In the south, Indigofera suffruticosa (curved-pod indigo) is prevalent.

Sakon Nakhon Province in the northeast is particularly famous for its indigo-dyed textiles. In the north, the “hom vat dyeing” tradition was once widely practiced in Phrae Province. However, due to the increasing scarcity of wild Strobilanthes cusia, most dyeing in Phrae today uses synthetic indigo. Only a few artisans still preserve the traditional natural hom dyeing.

In other northern provinces such as Chiang Mai, Lamphun, Chiang Rai, and Mae Hong Son, indigo dyeing still survives in highland ethnic villages—such as those of the Karen, Lahu, Hmong, and Akha.

Strobilanthes cusia requires a very specific environment to grow: shaded, cool mountain areas with abundant water. This makes cultivation and dyeing limited, and there is growing concern that hom-dyeing culture may disappear in the future. As a result, the north has begun cultivating Indigofera tinctoria and Indigofera suffruticosa as alternatives.

However, natural indigo dyeing requires both deep understanding of traditional wisdom—passed down through generations—and a scientific perspective. This combined knowledge can help make natural indigo dyeing more accessible to younger generations, creating a more contemporary, relatable, and sustainable practice that supports both human well-being and the environment.

Regarding health benefits, many people may not know that natural indigo plants have medicinal properties. In the past, Strobilanthes cusia and indigo plants were used to treat fevers in children. For venomous bites or stings, people would crush the leaves with sea salt, wrap the mixture in white cloth, and apply it to the skin to draw out toxins and reduce fever.

Besides indigo pigment, indigo leaves also contain other dye substances such as:

Flavonoids (yellow),

Indirubin (red),

and brownish compounds.

These compounds, including indigo itself, have antibacterial and UV-protective properties. That’s why, traditionally, indigo-dyed work clothes were popular in many agricultural countries, including Thailand and Japan.

For example, naturally indigo-dyed socks can help reduce foot odor after long hours of wear. People with sensitive skin may find relief by wearing naturally dyed indigo garments.

Given these many benefits, natural indigo holds great potential to create new opportunities—for reconnecting with nature, promoting well-being, and appreciating the value of the natural world in our daily lives.

A look back at the impactful reunion of the Makhampom Art Space community, where we continued our commitment to Active Learning—empowering facilitators, educators, and artisans with holistic learning methodologies. This long-standing initiative has provided invaluable knowledge to teachers, students (both within and beyond formal education systems), as well as professionals in the fields of crafts and education, fostering a transformative approach to learning that keeps pace with the evolving demands of society and the modern world.

By equipping learners—both in and outside traditional education systems—with the necessary skills, techniques, and the freedom to shape their own paths, this initiative ultimately cultivates sustainable personal growth from within.

As one of the learning stations in this project, Chiangdao Blue strongly believes that natural indigo dyeing can serve as a meaningful pathway for nurturing young artisans. By mastering and applying this traditional craft, they can establish sustainable careers while preserving and carrying forward Thailand’s rich cultural heritage in craftsmanship.