Designing Loincloth Weaving Patterns Inspired by the Identity Natural Color Palette of “Thung Kula Rong Hai”

Abstract

The Roi Rak Community Weaving Enterprise, located in Hong Hae Village, Pathum Rat District, Roi Et Province, is situated on the highland plains of the Thung Kula Ronghai region, an area characterized by a distinctive ecosystem and diverse local flora. The community possesses abundant natural materials, both cultivated and naturally occurring, which underpin long-established indigenous knowledge of natural dyeing. This knowledge has been preserved and transmitted through the production of handwoven textiles adapted to contemporary livelihoods. However, the community faces challenges in developing woven patterns and color combinations that respond to the aesthetic preferences of younger consumers seeking uniqueness alongside local identity. This research proposes the application of place-based identity derived from the Thung Kula Ronghai region through the systematic design of identity-based color palettes and woven patterns. The approach aims to enhance the value and contemporaneity of local handwoven textiles, support community handicraft development, and improve their potential to meet the demands of urban consumer markets while sustaining local wisdom and cultural identity.

This study aims to 1) to analyze traditional Loincloth patterns in Thailand as a conceptual foundation for design development, 2) to design Loincloth weaving patterns derived from the identity-based natural color palette of the Thung Kula Rong Hai region, as practiced by the Ban Roi Rak weaving group in Pathum Rat District, Roi Et Province, and 3) to evaluate the proposed weaving patterns developed from this identity-based natural color system. A mixed-methods research approach was employed. Data were collected from three experts and specialists selected through purposive sampling. The research instrument consisted of an evaluation form assessing the appropriateness of the woven patterns, and the data were analyzed using frequency, mean, and standard deviation.

The research methodology consisted of five stages: 1) Fieldwork to collect community identity data through visual documentation and exploring community identity, 2) Experimental natural dyeing to analyze dye materials and develop identity-based color palettes, which were subsequently applied to the design of Loincloth weaving patterns, 3) Production and expert evaluation of the woven pattern prototypes, 4) Analysis of the evaluation data using basic descriptive statistics, and 5) Final development of Loincloth weaving patterns based on the “Thung Kula Rong Hai” identity color palettes.

The research findings, organized according to the objectives, reveal the following outcomes: 1) The characteristics of Loincloth patterns in Thailand can be classified into eight major forms. These include: Stripe and Sai Pla Lai pattern, Checkerboard Pattern, Small Check Pattern, Sarong or Ta Lo Check Pattern, Double Check or Overlapping Check Pattern, Clustered Check Pattern, Scottish Plaid Pattern, and Special Patterns. 2) The identity-based natural color palette of the Thung Kula Rong Hai region, as employed by the Ban Roi Rak weaving group in Pathum Rat District, Roi Et Province, comprises primary and secondary color groups. The primary identity colors include white, derived from undyed cotton symbolizing rice grains, and yellow, dyed from Terminalia chebula, representing rice panicles. The secondary identity colors consist of brown, dyed from Pterocarpus wood and symbolizing the soil surrounding the paddy fields; green, produced through a combination of Terminalia chebula and indigo, representing trees around the fields; and blue, dyed from indigo, symbolizing the sky. This identity-based color system can be effectively applied to the design of checkerboard pattern, small check pattern and special weaving pattern, building upon the community’s existing technical expertise and traditional craftsmanship. 3) The evaluation revealed that Pattern No. 4, Glorious Thung Kula, received the highest suitability score and was subsequently produced for practical use. The suitability level was rated at a high category (X̅ = 4.40, S.D. = 0.40). It was rated highly across all five criteria: representation of community identity, aesthetic quality, suitability of scale for fashion and lifestyle product development, potential for value addition to community products, and alignment with target market demand and commercial scalability.

 This research demonstrates that designing Loincloth patterns based on identity-driven natural color palettes can significantly enhance the value of handwoven textiles, foster community pride in local wisdom, and support the development of commercially viable products that respond to the preferences of contemporary consumers. The synthesized contributions of the study can be articulated across four key dimensions. 1) Economic dimension - The development of new patterns and color groupings grounded in community identity adds tangible value to handwoven textiles and aligns them with contemporary market aesthetics. This has led to commercial weaving orders for the production of modern fashion and lifestyle products, increasing community income, and generating concrete value addition to traditional Loincloth textiles. 2) Environmental dimension - The use of natural dyeing materials reduces reliance on chemical substances and promotes sustainable resource utilization, aligning with the growing environmental awareness and sustainability-oriented consumption behaviours of younger generations. 3) Cultural and knowledge dimension - The resulting patterns and natural colors embody local roots, beliefs, and ways of life, contributing to the preservation of indigenous knowledge in natural dyeing and weaving. This process strengthens cultural continuity while fostering community pride and social cohesion. 4) Academic Value Dimension -This study establishes a systematic framework for developing identity-based natural color palettes grounded in place-based cultural data and local wisdom. The proposed design process advances traditional weaving toward contemporary creative design and can serve as a transferable model for other communities seeking to develop their own identity-driven color systems.