It was serendipity that led me to the weaving village of Ban Nayang Tai in Laos last year. I cherished my experience there and didn't think I'd ever be able to go back. But that didn’t end up being true. I did go back.
I first met Emi Weir, founder of Ma Te Sai, an artisan enterprise in Luang Prabang, last year and sourced the Tai Lue home accents and Tai Lao accessories for Indigo Lion’s Laos Collection. She shared with me that the napkins I ordered were made by Sengmany and her young ten-year old daughter, Somaly, who was getting quite good at weaving.
Upon my return to Laos in February, I reached out to Emi and requested to meet some of the weavers, particularly Sengmany and Somaly. I didn’t know then that they were indeed from in the same weaving village of Ban Nayang Tai.
Savong's traditional wooden frame home is typical of the Tai Lue ethnic group. Women do their spinning and weaving underneath their homes, creating a wide range of hand-spun, hand-dyed, and handwoven indigenous cotton accessories and accents.
We walked around the village and met En, who showed us spinning cotton into thread for weaving.
Check out this brief video of shibori indigo dyeing with Mae Sam and go behind the scenes with her showing me how to create a particular shibori design using folding and binding between two bamboo sticks. After plunging several times in indigo vats, and several rounds of pounding, off to the stream we went to swoosh it around in the water. The final design and rich indigo color was quite lovely.
We met many weavers, who all learned from an early age how to spin and weave. On the left is Silivong, making tassels on her indigo scarf; Savong in the middle in front her display of scarves; and Kon on the right, holding her copper-rose colored scarf.
I had the fortune of spending time with Emi on several occasions—learning more about her story as an Australian expat and businesswoman, seeing the difference she’s making in the lives of empowering women, and understanding more the current context of weaving traditions in Laos.
She’s a vivacious, savvy, and determined woman and I really like this about her.
In the interview above, Emi shared how she got her start, her experience working collaboratively with Tai Lue village weavers, and her perspective on the changes, uncertainty, and opportunities for Lao traditional textiles in a globalized world.
When I asked her what still keeps her here in Laos, she said it was the Lao women. I saw that so beautifully in Ban Nayang Tai. Fluent in Lao, her interactions with the women had a notable ease and playfulness. A mutual respect and friendship was palpable among them.
And I met Sengmany and her daughter Somaly! When I gave her the hangtag for the napkins, which had a photo of her designs and her at the loom (and a writing by one of the participants, Alexandra Boycheck, in the Indigo Lion Pause sessions inspired by her napkins), the expression on her face immediately lit up.
While we couldn’t communicate in words, her facial expressions and intonations said everything. The simple recognition of highlighting her in this little printed piece from some faraway place let her know that she’s important, that what she does is valued, and that it means something to others halfway across the globe. And in that recognition, if only for a moment, I felt that we—weavers, partners, me, and writers—were all connected around the one thing that brought us together: her handmade textiles.