Showing posts with label artisans. Show all posts
Showing posts with label artisans. Show all posts

Off to Thailand and Laos to Meet the Artisans

December is the beginning of weaving season, so we're heading to Thailand and Laos to work once again with our artisan partners over the next few months. We'd like to introduce you to a few of the people with whom we work. These women (and one man) coordinate and collaborate with us on orders. Sometimes we meet in shops they are proud to own or rent; other times we meet them in their villages. They then work directly with the weavers on the making because they know best which woman enjoys weaving a particular design or who is known to make a special colour. The yarn creation, natural dyeing and weaving is usually done at home in the artisans' villages; other times it's done in community textile spaces.

Some of our partners speak English; many don't -- but this is not a barrier to communication, just a fun challenge. Between Alleson's Thai, the help of friends and photos of pieces we've ordered before, we manage just fine.

We're excited about our visits and continue to nurture these long-standing relationships, one of the pillars of fair trade. And as always, we plan to visit some new groups and explore working more closely together.

Our good friend Pii Yai and Alleson pose with staff at Panmai, a Thai women's weaving co-op. They specialize in silk weaving and are known for their natural dyeing skills.

Alleson offers a computer lesson to staff and board members at Prae Pan, another women's weaving co-op in Thailand. TAMMACHAT was birthed at Prae Pan's shop.

Alleson and Mai finish up work in the northern Thai village that's home to Junhom Bantan, a cotton weaving group.



Ellen wears one of this group's beautiful, mudmee (ikat) designed pieces. We originally met this group (and others in a cotton weaving network) through the Pattanarak Foundation; we now work with them through Napafai, a social enterprise near the Mekong River in Thailand.

Alleson and Aew of Napafai display the charming, organic cotton elephants we ordered.

We met the Ban Tho Fan Maetam Group at the first Asian Feminist Conference in northern Thailand.We are planning a visit to learn more about their work with 50 ethnic embroiderers in northeast Thailand.

TAMMACHAT was the first customer to work with this Eri silk weaving group in central Thailand. Fai Gaem Mai, the Cotton and Silk Project, introduced Eri silk creation as a development project in central and northern Thailand.

Warm Heart Foundation works with temple and village weavers in northern Thailand. Eri silk is their specialty.

We met these Paleung weavers at the Royal Project Fair in Chiang Mai. We hope to visit them in their 2 villages this trip.

Saoban Crafts, a social enterprise in Laos, is proud to work with 300 village women. They offer organic cotton, silk and bamboo woven products, plus jewellery.
These are just some of the groups we plan to visit. Subscribe to our blog posts to follow our trip. Or follow us on Facebook.

The Jacket Project: Local Meets Fair Trade

TAMMACHAT Natural Textiles is collaborating on a very special project that transforms fair trade, artisanal fabric from Thailand into one-of-a-kind jackets designed and sewn in Canada.

The Jacket Project brings together TAMMACHAT co-founders Ellen Agger and Alleson Kase with Nova Scotian dressmaker Theresa Eagles to create unique jackets, each a work of art that connects women across the world. Two designs will be available at TAMMACHAT's November 2012 shows in Nova Scotia.

See photos of the first jackets in our blog post here.


Ellen loves her new indigo jacket!

This is the first organic silk jacket created as part of The Jacket Project.
It combines a silk dyed with stick lac with a beautiful,
ikat (mudmee) fabric, traditionally woven
to be worn as a wrap skirt.

Another organic silk jacket features fancy buttons
and will look great with a silk scarf.

Theresa and Alleson enjoy a break on
a beautiful Nova Scotian fall day.

The Jacket Project's goals are:
  • to bring together the artistry of handwoven cloth created by talented Thai artisans with the creative design and sewing skills of our Canadian team
  • to enjoy the collaboration, the design process and the excitement of transforming the cloth into wearable art
  • to support rural craftswomen -- both in Thailand and Canada

Woven in Thailand, designed and handcrafted in Canada

Theresa's skilled hands guide the fabric.
Made from organic silk or cotton fabric handwoven by women artisans in Thailand, the jackets are designed and handcrafted in Canada. Details from Chinese coin layered buttons to intricately patterned ikat panels, along with the subtle variations in handwoven cloth, make each jacket unique. French seams are used in the silk jackets.

The textured, organic cottons are spun by hand, then dyed with authentic indigo. The highly skilled silk artisans raise heritage varieties of silkworms and create the hand-reeled yarns in their villages, not in factories. Each piece of fabric is woven by hand, using these artisanal yarns, and transformed into a jacket that displays its artistry. See how the cloth is made in the photos below.

Our first jackets -- a collection of handspun, indigo organic cotton and organic silks -- will debut in Halifax, Nova Scotia on Nov. 10 at TAMMACHAT's Ethical Gift Show - Halifax. They will also be available in Mahone Bay, Nova Scotia on Nov. 24 at TAMMACHAT's Ethical Gift Show - Mahone Bay.  This small collection of unique jackets will be available only at TAMMACHAT shows.

Theresa loves working with the ikats (known as mudmee in Thailand).
Each piece of ikat fabric is a work of art in itself.

Theresa lays out each piece carefully to use
the cloth most effectively.

TAMMACHAT works with a dozen women’s weaving groups in Thailand and Laos, visiting them each year to discover new textiles and design new products. These artisan groups continue to practice traditions passed from mother to daughter for generations. The Jacket Project uses fabric from 3 of these artisan groups.

Theresa Eagles, who worked for Suttles and Seawinds in Mahone Bay, Nova Scotia for 20 years and sews with well-known artist Kate Church, brings years of experience to the project.



The indigo and ikat artisans
 
Ellen enjoys the ikat artisans
who create designs large and small.

This artisan skillfully ties the yarns
into an ikat pattern before dyeing.

The dye maker stirs the pot of locally grown
indigo leaves.

Tied yarns are dyed with indigo,
then the strings are removed.

The intricate pattern emerges as the cloth is woven.

Aew, who helps these weavers market
their handwoven products, takes a break with Alleson.

Alleson and Aew discuss designs with the artisans.

This piece of ikat fabric is used in our cotton jackets.



The silk artisans and their organic silk cloth

Mulberry trees and bushes are grown organically.
Leaves are fed to heritage varieties of silkworms
who eat voraciously for a month and must be tended carefully
until they are ready to spin their cocoons.

This artisan reels (unravels) the cocoons by hand,
creating fine silk yarns that are
then twisted to strengthen them.

Local dye materials colour the silk yarns:
young coconut, jackfruit wood, butterfly pea flowers.

Award-winning yarns show hues only nature can offer.

Artisans use traditional floor looms,
made locally from tropical hardwood
and sustainably harvested bamboo.
Both cotton and silk are woven on these looms.

Cerise organic silk, coloured with stick lac, an insect resin,
is used in several of our silk jackets.

This golden silk is shot -- the weft yarns are
coloured with coconut husks and
the warp remains an undyed cream colour --
giving depth to the cloth.




Our thanks to:
  • Pattanarak Foundation (through whom we first met Aew) and Napafai, Aew's social enterprise that works with the indigo ikat weavers
  • Panmai Group and Prae Pan Group, the Thai women's weaving co-operatives that create the handloomed organic silk and cotton fabrics
  • Theresa Eagles -- for the pleasure of working together
  • Wayne Eagles -- for the photos of Theresa's working hands
  • Kate Church -- for introducing us to Theresa
You can learn more about these and our other artisan partners in our Blurb books, free to preview and available in hardcover, softcover and as ebooks.

"Tribal Textiles" in a World of "Fast Fashion"

I was recently asked what I thought about "the sudden interest" in tribal textiles. Yet, my interest, and I'm sure that of many people, was ignited when first I was exposed to them. In my case that was about 30 years ago in Guatemala.

Tribal textiles generally exhibit an unexpected use of form, colour and texture; conversely, mainstream fashions are watered down to appeal to the widest (not wildest) market. Tribal textiles are so inherently different than the mass produced fashions that fill shopping malls that anyone who looks beyond the everyday and the proscribed could not fail to be intrigued by them.

Traditional Hmong "flower cloths" -- reverse applique on hemp

Of course, another important aspect of their appeal is the growing trend towards ethical consumption. Consumers want to have their cake and eat it, too, that is they want to shop their way out of the global crises we find ourselves in environmentally and economically after more than 50 years of expanding, industrial consumption. Tribal textiles fit the bill – because they can be traced back to a time when societies lived in a greater harmony with nature and when production itself was more authentic, that is, more human and less industrial.

Paleung backstrap weavers in Northern Thailand
Contemporary fashion created with traditional Paleung skills

At the same time, tribal textiles' apparently primitive styles are consistent with the DIY trend that has been popular for a generation already. When the understated elegance and expert tailoring of high fashion, well enough haute couture, were supplanted by art students' creations of cast-offs re-assembled into layered collages, the audience receptive to tribal textiles expanded.

But, what does this mean for the women who produce these textiles? Unfortunately, it might not mean much. The current world of "fast fashion" decrees that styles come and go faster and cheaper than a traditional textile can be produced!

Traditional textiles, regardless of their cultural origins, are produced by hand. While many of the women in the Global South who make them might consider $5/day a living wage, it may take weeks to finish a piece. The end result is slower and more expensive than almost anything produced in a factory, especially when you consider the follow-on costs of sourcing, shipping, labelling, marketing and retailing a product that is produced in limited quantities. Economies of scale do not apply here.

Traditional Mien needlework decorates mobile phone pouches

Consequently, many tribal textiles are being bought used and sold by the bale. A trip to the backside of a large market in a culturally diverse area (such as in Northern Thailand) will reveal truckloads of such textiles. But how is this possible?

The saddest reason is that armed conflicts increase the availability of such booty. Loads of pre-owned textiles came out of Guatemala during the genocidal years of the 1980’s, just as loads of used tribal textiles are coming out of Burma now. Many of these have probably been trans-shipped from China, Tibet or who-knows-where.

These pre-owned textiles are then reworked in nearby sweatshops into designs that will have greater appeal outside the original cultures that they were produced by and for. Not only does this provide incomes to merchants rather than artisans, it also robs young people of their cultural heritage by exporting rare patterns rather than preserving them for future generations.

Some fair traders are doing business in a better way, of course. They establish relationships with artisans who are still producing textiles in traditional ways, whether with backstrap looms, with natural dyes and fibres, or with intricate needlework – sometimes with all three. The products so produced are sold in limited editions and at higher prices, because paying fairly for intricate handwork is never cheap, even when the artisan has a much lower cost of living. However, there will always be for a niche market for those who understand the value, as well as costs and the limitations, of artisanal goods.

Designing accent pillows with a Hmong sewing group

Here at TAMMACHAT, we buy our textiles directly from the women that make them, putting money into the hands of artisans who are working to sustain their families, their communities and their cultures. We spend time together discussing how to best use their skills for our markets, without damaging anyone’s environment. Whether it’s a scarf woven on a backstrap loom, a cushion cover decorated with traditional appliqué or a bag that combines both of those skills, we know that the artists who made them were not exploited, nor were their cultures appropriated.

We bring these to market in tens and twenties, rather than tens of thousands. Once a year we return to Southeast Asia to replace last year's treasures that have found new homes. These tribal textiles are neither fast nor cheap but they are fairly traded treasures for those who can recognize the difference.

Alleson Kase
Co-founder, TAMMACHAT Natural Textiles

Weaving Beautiful Cloth -- Fair trade organic silk in Thailand’s Northeast

[First posted online on DaisyGreen Magazine in spring 2010.]

Text and photos by Ellen Agger
___________________________________________

As we drive into Nawn Thoong village in Thailand’s northeast province of Khon Kaen, Pii Yai is excited. She has served for many years on the board of directors of Prae Pan Group, a women’s weaving co-operative in Thailand’s northeast, whose staff set up our visits today to three villages where members live and work.

Pii Yai offers Alleson a ripe ebony fruitWe gather across the street at the house of Mae Pit, a long-time Prae Pan member. She and the four other members sit on a mat next to the house, protected from the glaring sun. They’re in their late 50s. These are the silk weavers in the village. Like most of Prae Pan’s members, they are farmers who fit weaving around their farming chores and care for their children, grandchildren and elders. Weaving brings in much needed additional income, used to send their children to trade school or university, for health care and to improve their lives in the village.

By belonging to the co-op they are paid for their work as soon as they deliver it to the group’s shop in Khon Kaen city. Members are proud that the co-op owns this shop, reflecting the group’s goal of being self-sufficient.

One of Prae Pan staff in their Khon Kaen shopCo-op membership gives members the chance to work with customers like TAMMACHAT Natural Textiles which pays 50% in advance for orders. “On our annual visits with groups like Prae Pan, we deepen our relationships,” says TAMMACHAT co-founder Alleson Kase. “This year we are learning more about the group’s capacity to weave organic, naturally dyed silk fabric for the growing eco-textile market. We have also started to collaborate on designing bags for the North American market.”

Prae Pan member at her loomCo-op membership has also given members a market for their weaving well beyond what they would otherwise be able to reach as individuals. They are keen to learn more about the markets in our country, as they don’t often have the chance to meet directly with foreign customers of the co-op.

We ask the women gathered today if they are passing on their skills, learned from their mothers. Now their daughters are going off to earn their livings in the cities or on to further schooling. These skills are at risk of being lost, we’re told again and again on visits like these.

Sometimes younger women do return to their village when their children are small, preferring a quieter life where they have family support networks. “When I was young,” says one of the women, “I went away to work in a factory. Then I came back to my village. At home, you’re free. I can farm and I’m happier.”

Raising silkworms in Northeast ThailandAfter choosing samples of silk yarns of some of the colours they can produce in this village, we thank the women, jump in Pii Yai’s truck and arrive a short time later in Nom Thoom village. We stop at the house of Mae Nung who is feeding organic mulberry leaves to heritage silkworms in baskets her husband has woven. She sits behind blue netting that protects the sensitive silkworms from exposure to diseases and chemicals like cigarette smoke. “Raising silkworms is like raising babies,” she says. The resulting silk yarns, painstakingly reeled by hand, are produced organically, we learn, protecting both the women’s health and their local environment.

We meet with 10 women, ranging in age from mid-forties to over 70. For all the women, this work brings income to the family. For some, it’s more. “If I don’t weave,” says Mae Som, age 49, “I cannot sleep.” Mae Tong Luan tells us, “It’s important to me that I do the whole cycle of production. It’s a circle.”

Handwoven bamboo basket used for raising silkwormsIn neighbouring Suk Som Boon village, Mae Nung practices this full circle. She grows the mulberry bushes to feed the silkworms, hand reels and twists silk yarns, dyes them with natural dyes that she has grown or gathered in the wild, and weaves. It’s time consuming work. It takes 2 months to produce 12 handwoven, naturally dyed silk scarves, 3 months to produce 40 metres of organic silk fabric.


Dyeing silk with local leaves
We watch as Mae Pan cuts the reddish green leaves of “maak yao.” She has a new recipe to create a luminescent green. She dips the silk yarns in the simmering dye bath twice, then gets help from Mae Pet, the president of Prae Pan, to straighten the fine yarns and then they hang them to dry.

Preserving these traditional skills – and bringing income to women in Thailand and Laos’s rural areas – is what’s behind TAMMACHAT’s work. “Fair trade is about much more than paying fairly for the work,” says Alleson. “It’s about respecting the people who do the work, learning from each other and supporting sustainable practices. It makes a real difference in the lives of these women,” she adds.

“Our weavers are very proud when they can weave cloth beautiful enough to attract customers,” Mae Pet tells us. And well they should be.

For more info, visit TAMMACHAT Natural Textiles and Prae Pan Group.

Off to Bangkok

We'll arrive in Bangkok Dec. 1, 2008! Our 4-month travel plans in Thailand and Laos include:

  • follow-up visits to weaving groups and organizations with whom we already have relationships: Panmai Group, Prae Pan Group, Green Net Cooperative, Mulberries and more
  • fairs where we can buy directly from artisan weaving groups
  • a 3-week internship with the Pattanarak Foundation, learning first-hand from local, village experts about cotton production -- from raising organic cotton, natural dyeing and indigo dyeing to handweaving and discussions about marketing
Drop by again for updates on our travels as we continue to use fair trade principles to grow TAMMACHAT Natural Textiles and our relationships with artisan groups in Thailand and Laos. Join our e-mail list by clicking in the sign up box on the right and we'll e-mail you when we post to this blog.

Ellen/Nok Noi (my Thai/Lao nickname)