Conversation with Thai Textile Designer Phraeva Rujinarong

Weaving connections through traditional Thai textiles

Phraeva Rujinarong is a Thai textile designer and founder of Termtem Studio, a textile studio and learning centre based in Bangkok. Her love for weaving started when she was young, which then turned into a life-long goal of preserving traditional crafts and sharing her knowledge of weaving through Termtem Studio.

In this conversation, Phraeva talks about working with weaving villages in Thailand, the textile-making process and her personal relationship with her works.

Phraeva Rujinarong.

To start, I would like to know more about your background. What was your first encounter with traditional textiles? And at what point did you start Termtem Studio?

I was exposed to a lot of traditional textiles growing up. It was something that was passed down from my grandmother. During the Second World War, she took care of the weavers in villages of the Nakhon Phanom province by helping them to earn money so they could feed their families and their children could go to school. When I was younger, I often visited my grandparents’ hometown in Surin province. It was during one of the trips that I first saw the weavers. I was fascinated by their works so much that I eventually decided that weaving was what I wanted to do when I grew up.

During my studies in the Fine and Applied Arts programme at Thammasat University, I learnt how to design, create concepts and craft textiles. I returned to Surin province for my internship to train with the silk weavers of the villages. It was my first time practising the weaving technique. After graduating, I applied as a textile artist at the Queen Sirikit Department of Sericulture. Throughout this period, I travelled to many parts of Thailand to develop the textile industry and discovered various weaving groups from different parts of the country.

It was around this time that I started Termtem Studio, which initially served as a space to practise my weaving skills. ‘Termtem’ itself means “to fulfil” in Thai. As I knew my skills and passion were in weaving, I wanted to fulfil my life-long goal of teaching and sharing my knowledge of weaving.

Termtem Studio’s woven textiles. Image courtesy of Termtem Studio.

You stated that your goal is to preserve traditional Thai textiles by merging the aspects of traditional and contemporary. As a textile studio and a learning centre, how would you describe Termtem Studio’s role in bringing this forward?

My biggest questions were: how will these traditional fabrics survive in this modern era? How will the weavers survive? Our goal as a textile studio is to preserve traditional textile-making techniques by innovating. One example is applying the textiles to more contemporary garments. We hope this can attract the younger generations to know more about traditional fabrics. In addition, I also wanted to create a space to share my knowledge and introduce textile weavings to Thai people. For the first two to three years, Termtem Studio focused on creating workshops for local designers and anyone who is interested to learn more about Thai traditional textiles.

However, I had to close the workshops during the pandemic because of the restrictions. It was also difficult to teach online. Before the pandemic, I only created textiles for other designers, but I had to adapt in order for the studio to survive. I decided to rebrand Termtem Studio and started to produce and sell my own designs. Some people view it as a business, but it is different for me. In a way, I am helping these weavers by giving them a platform to showcase their fabrics to make money for their families, since it is difficult for them to sell on their own.

Termtem Studio collection showcase. Image courtesy of Termtem Studio.

I see that Termtem Studio currently works with artisan communities in the Thai urban area. Could you tell us how big the team is? What kinds of traditional techniques do these artisans practise?

My team is quite big and consists of people with various roles that are specific to them. I work with silk farmers, who grow mulberries to feed the worms and harvest them. Another group is made up of weavers who come from different Thai villages. Due to my past job at the government’s office, I have encountered many weaving villages in Thailand and I have worked with many of them before. I currently work with weavers from four villages, each practising a different technique. Some live in Surin province and others in Nakhon Pathom province near Bangkok.

The weavers of Termtem Studio practise all kinds of traditional textile-making techniques. A few notable ones include ikat weaving, batik printing, jok weaving and jakkat-style. I usually mix these techniques to produce my designs. When choosing the weavers, I initially observed their works and will choose which technique is most suitable for them. I also feel very grateful that I used to work for the government as it makes it easier for me to communicate with them.

Phraeva with the weavers in the Ban Tao sub district of Thailand. Image courtesy of Termtem Studio.

The weavers in the middle of the textile-weaving process. Image courtesy of Termtem Studio.

I would like to go more into the details of the textile-making process and how the artisans work their respective roles. How does the flow of production go? Do you create textiles to fit what you want to design, or does the design depend on what textiles you have on hand?

When I create my collections for Termtem Studio, the first thing is to come up with the collection concept and inspiration. I personally like to take inspiration from what is currently happening in the world. I would often communicate statements as some subtle protest in the form of a small message or a sign illustrated in my weavings.

After the initial concept, I will research more on the topic, then find some images and drawings to brainstorm ideas with my team. I would also go to the library to look for more resources. Then, I sketch the garments either manually by hand or with digital tools, though I prefer to do hand-sketching as I find it easier for me to translate my ideas. In the sketch, I will also write down the details of the weaving technique, pattern and the type of dye.

The research and brainstorming process. Image courtesy of Termtem Studio.

Prototype-making process of the garments. Image courtesy of Termtem Studio.

Next, I will select the material that matches the design. For some projects, I usually start by choosing the dye colour, but others start with the type of yarn or technique. It all depends on the concept and message that I want to convey. The last step is to practise and create the garment prototype before sending the prototypes and the design to the weavers. Since each weaving village practises different techniques, the type of techniques again depends on the design concept.

Given that these artisans play a crucial role in your brand, how do you build a sustainable relationship with the communities and maintain it in the long run?

The weavers are like a family to me. We share and connect through the same language, which is weaving. I try my best to ensure their livelihoods and give them a good life by giving them the best price I can offer. I will occasionally weave together with them when I visit the villages. We rely on each other and share the same mission of preserving weaving by advancing together as a community. 

Phraeva with the weavers in the Ban Tao sub district of Thailand. Image courtesy of Termtem Studio.

Sometimes, I would loan them money to send their children to school. They are free to come to me when they have problems and I will try to help how I can. I have known some of the weavers’ children since they were young. Some of them are now helping out their mothers by weaving. I want them to have a better life. I do not want to weave just for the money. Yes, money is important, but I think it is equally important to be happy with what you practise and have an emotional connection with the people you are working with.

“I do not want to weave just for the money. I think it is equally important to be happy with what you practise and have an emotional connection with the people you are working with.”

What type of fabrics do you usually work with and what sort of dyes do you use for the process?

At Termtem Studio, we usually work with cotton or silk fabric. We also use a mix of chemical and natural dyes to colour the fabrics, depending on the clients and projects. Some of my clients, who are mostly designers, want to retain the quality of the fabrics without decreasing the price of their garments. Others prefer a more sustainable approach by using natural dyes. 

I personally believe that natural dye is not as sustainable as most people think. Producing the natural dyes requires around 5 to 6 kilograms of wood, which resulted in cutting down large amounts of trees in the process. When using chemical dyes, we only use a few drops to mix with water, enabling us to reuse the water for several other fabrics. In my own practice, I always drain and clean the water before disposing it. Despite using chemical dyes, we have to be conscious of the environment and think about sustainability.

The dyeing process of the weaving yarns. Image courtesy of Termtem Studio.

I understand that the production is long and arduous since it starts from scratch. For example, when you traveled to the silk village in the Ban Khwao District, the process goes as far as growing mulberry to feed the silkworms, to raising and harvesting them. How long does it usually take for you and your team to produce a single textile collection? And how does the slower and more conscious process affect your personal relationship with your work?

For the textile-making process, the shortest is around two months whereas the longest can take up to four months. It takes a long time because everything is handmade since we do not have a machine to help us. We do all the processes from scratch, from making the yarns, going through the dyeing process, and eventually weaving them. I also have to think about the concept and the designs before starting the process. 

I am a fast-paced person, but working with the weavers has made me realise that not all people are the same. We all have different paces when it comes to weaving, which requires us to work with patience and understanding. All of my works are very personal to me. When seeing the results, all the hard work pays off and the long process feels worth it.

“We all have different paces when it comes to weaving, which requires us to work with patience and understanding. When seeing the results, all the hard work pays off and the long process feels worth it.”

The silkworm farm at the Ban Khwao silk village. Image courtesy of Termtem Studio.

A silk cocoon after the boiling process. Image courtesy of Termtem Studio.

In an interview with A Day Magazine, you shared that what makes your work interesting is that you get to experiment with new materials and there are always new things to learn. How do you continue to innovate with traditional textiles? Are there any materials or fabric innovations that you have successfully created?

I am curious by nature, so I like to research and explore new techniques, patterns, and designs. For this reason, I am currently pursuing my PhD at Chulalongkorn University. When I worked with the Thai Sericulture Department, I did not like the way the government produced traditional woven fabrics. I thought the designs were too old-fashioned and it had very few customers. This is one of the reasons I started Termtem Studio in the first place, to bridge the gap between traditional techniques and contemporary designs. 

I use simple and existing fabrics such as silk and cotton for my collection as I wanted to emphasise more on the weavings. In my opinion, the traditional aspect is a part of the knowledge that creates connections between generations, but the design and textile must continue to innovate for the weavers and their craft to survive.

“In my opinion, the traditional aspect is a part of the knowledge that creates connections between generations, but the design and textile must continue to innovate for the weavers and their craft to survive.”

You started the studio in 2015 but have been researching and experimenting with traditional textiles for much longer than that. What have been the key factors to sustaining your practice?

I think that my passion for traditional Thai textiles and weaving is the reason that keeps me going. I feel very happy and peaceful when I weave. For me, the long process is like meditation as it helps me focus and pushes me to be more patient. The pattern of the warp and weft is magical to see and working on the process gives me positive emotions. I am delighted when my customers tell me they are happy with my fabrics. The whole journey feels very fulfilling.

The textile-weaving process. Image courtesy of Termtem Studio.

The yarns used for textile-weaving. Image courtesy of Termtem Studio.

What have been some of the challenges you have faced since you established Termtem Studio? And how have you overcome them?

That is a good question. I think the biggest challenge for me is getting the younger generation to appreciate traditional Thai textiles and the weavers’ craftsmanship. If one day they decide that they do not want to weave anymore, the practice will slowly disappear. It is also quite tough because we have different mindsets as a result of growing up in different generations. The youths nowadays prefer to build their own business or work in factories.

Although the generation has changed, I hope that Termtem Studio can make more people understand the art of weaving and change the way they see traditional fabrics. We have many talented weavers here in Thailand. With Termtem Studio, I want the younger generation to understand that we can keep this craft alive and push the fabrics further to go on the international scale.

The details of the textile. Images courtesy of Termtem Studio.

When we first approached you, you mentioned that Thai textile artist Jakkai Siributr is a mentor with whom you studied. Both of you also represented Thailand at The International Textile & Fashion Symposium in 2016. Could you tell us more about how he has been a mentor to you?

Jakkai was my teacher when I was still studying in university. He is a great textile artist and I look up to him a lot as a role model. The first time we talked, he opened my mind with his visions. When I told him about my ideas, he would give me helpful insights that often made me ask myself, why didn’t I think of that? Jakkai also encouraged me to always push my ideas, research and execution further.

Another thing I admire about Jakkai is that he is very practical and hands-on with his works, which are always hand-sewn by himself. The messages in his artworks are meaningful and representative to the Thai people. The way he conveyed statement messages through his works is something that I was inspired to do in my own practice.

Termtem Studio campaign image. Image courtesy of Termtem Studio.

Finally, what plans do you have in store for Termtem Studio? Do you have any upcoming projects that you are working on?

Recently, I have been thinking a lot about how to revive the learning centre after the pandemic. With the restrictions slowly starting to ease down, I plan to re-open the workshops to the public. In the future, I want Termtem Studio to be an official school with diploma and degree programmes.

The next step for my studio is also to expand the use of fabrics outside of fashion. I am currently planning to produce fabrics for home goods. Ever since Thailand opened its borders last year, I have started getting customers from other countries such as the United States and Singapore. They came to my studio to select fabrics for furniture and other house appliances which includes pillows, lamps, and dinner tables. I think it is going to be exciting times ahead!

See more of Phraeva's works here or on Instagram at @termtemstudio.