Our process begins with harvesting fresh indigo leaves, followed by leaf fermentation in water, aeration, pigment settlement, and careful filtration to collect the indigo. 

The result is a deep blue indigo paste with a smooth, glossy texture that can be used as a natural pigment for painting on paper.

It is a pure natural blue that many painters have long sought.

It is a quiet journey of organic indigo—shaped with care at every step, and brought to life through the hands of people in Chiang Dao who value the sustainable use of local resources and the natural world around them.

After the fermentation process is complete, the liquid from the soaked indigo leaves takes on a distinctive mermaid blue color. The next step is aeration. During this stage, the solution is exposed to oxygen, allowing it to gradually transform into indigo blue.

We use a submersible pump to circulate the liquid and introduce oxygen. At this stage, lime derived from limestone is added to help the indigo pigment settle and to improve the preservation of the indigo paste.

Extracting indigo in the form of indigo paste is the traditional method widely practiced throughout Southeast Asia.

Once aeration is complete, the liquid is left undisturbed overnight so the indigo pigment can slowly settle to the bottom.

Indigo pigment extraction from fresh leaves begins by soaking the freshly harvested leaves in water for about 24 hours (aqueous extraction).

During this time, natural fermentation gradually takes place, allowing the indigo compounds to move from the leaves into the water. The clear water slowly transforms into a beautiful mermaid blue. At this stage, however, indigo pigment has not yet formed. The next essential step is aeration.

Throughout the 24-hour fermentation, careful observation reveals a series of quiet changes. The water gradually shifts from clear to a soft emerald green. Small bubbles begin to appear on the surface, and their color slowly changes from white to pale blue before deepening into rich blue bubbles. At the same time, a delicate metallic film develops across the surface of the liquid. These are encouraging signs that the indigo is being released successfully from the leaves into the water.

Working with living plants is a process of close observation. Watching these subtle transformations unfold is one of the most rewarding parts of the journey, revealing the quiet rhythms of nature as they happen before our eyes.

By mid to late July each year, we begin our first indigo harvest. Our organic indigo is grown with minimal care, enriching the soil with dried cow manure every other year. 

We cultivate Indigofera suffruticosa, a variety with small, delicate leaves, so a relatively large planting area is needed. Today, our indigo field covers around 2,000 square meters.

From seed to harvest takes about four months. When the plants reach maturity and begin to flower, it is time to harvest the leaves. 

Using a hand sickle, we cut each bundle at a size that can be comfortably gathered in one hand before harvesting.

Every step is carried out by hand with care. At the same time, we observe the subtle conditions of each harvest and draw on experience to adjust small variables according to the situation. 

We work with living plants, where soil, water, air, humidity, insects, and the surrounding environment are all interconnected, each quietly influencing the others.

Until recently, she worked with ready-dyed fabrics from the market. 

Through the Koyori Project, she began exploring a deeper process—choosing undyed hemp, learning natural indigo dyeing, and incorporating traditional Hmong batik patterns created by her mother.

Today, after 2 times practicing natural indigo dyeing at our studio, she shared her wish to seriously learn traditional indigo dyeing which is also a knowledge that still exists within her village but is slowly fading.

What inspires us is not only her talent, but her willingness to learn, work hard, and keep growing despite life's limitations.

For Chiangdao Blue, Bai Mai is one of the rare people in Chiangdao we hope to support—someone with skill, determination, and a clear dream for the future.

The Beginning of My Journey with Kakishibu

Eighteen years ago, while living in Hokkaido, Japan, I had my first encounter with kakishibu. A Japanese auntie I deeply respected had injured her hand and invited me to stay at her countryside home and help with daily tasks.

There, I painted kakishibu onto silk for the first time, without really knowing what it was. A few months later, I used it again on an Ikkan-bari basket made with Thai mulberry paper. Those two experiences—with cloth and paper—quietly sparked my curiosity.

I found these two books and began learning about kakishibu. Its remarkable qualities—water resistance, preservation, and the way sunlight deepens its color—felt almost magical. At the same time, I learned that this traditional knowledge was slowly fading as demand declined.That feeling of wonder stayed with me.

What began in northern Japan has gradually continued its journey to northern Thailand. The wisdom passed down through generations, shaped by real practice and daily use, deserves not only to be remembered, but to remain a living tradition.

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.