More than 15 years ago in Japan, I quietly became fascinated by kaki tannin — its antibacterial qualities, UV protection, and natural water repellency.

Since then, I searched for local persimmons and continued years of experiments, failures, and learning.

By 2025, we finally began using our own home-fermented kakishibu for textiles, wood, and paper.

These workwear-style fisherman pants are dyed with fermented kakishibu, giving a warm orange-brown tone and a gentle crisp "shari" texture.

A quiet journey rooted in nature, time, and local wisdom.

Two years ago, we collaborated with a photographer from Bangkok for the exhibition “People of Chiangdao” at Makhampom Art Space.

The textile works were inspired by Mt. Chiangdao and the cultural memories of Chiangdao as an old border town connected to Assam tea and barter trade.

Three large textile tapestries were created in indigo blue, catechu brown, and sappan wood pink, then layered with stencil motifs telling different local stories — butterflies, tea trade, and mountain life.

The works were displayed hanging openly beneath the gallery roof, exposed to natural light for two years.

The indigo and tannin-rich catechu brown still remain deep and strong, while the sappan pink has faded softly over time, as sappan wood naturally has moderate lightfastness.

These textiles became a quiet reminder that the beauty and durability of natural dyes depend on choosing colors carefully in relation to their use and environment.

Five years ago, we created a large linen textile for a bed headboard using the simple technique of Maki-age Shibori.

The design was inspired by the silhouette of Mt. Chiangdao and the shape of stars.

Simple shibori techniques, together with clear imagination, can create deeply meaningful work.

The simpler the process, the more freely people can focus on imagination without being burdened by technique.

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.