Her Majesty Queen Sirikit and Thai Textiles 

Her Majesty Queen Sirikit, the Queen Mother, has been a key figure in promoting the use of Thai textiles. She has worn Thai fabrics from various cultural traditions, including ensembles that use contemporary tailoring techniques—Western-style garments made from Thai fabrics—as well as traditional Thai attire. In addition, she issued royal guidance and oversaw the design of standardized Thai national costumes that harmoniously blend modern fashion with the traditional Thai ways of dress. These standardized Thai costumes have become a national sartorial identity, reflecting the richness of Thai culture and the seamless integration of traditional heritage with evolving global fashion trends. 

Beyond being a role model for wearing Thai textiles, Her Majesty the Queen Mother also played a crucial role in developing them. This is evident in the establishment of the “Foundation for the Promotion of Supplementary Occupations and Related Techniques under the Patronage of Her Majesty Queen Sirikit the Queen Mother (SUPPORT Foundation).” The foundation provides secondary occupations for farmers to earn additional income, giving them financial stability while helping preserve traditional handicrafts that are increasingly at risk of disappearing. 

The origin of the SUPPORT Foundation can be traced back to a royal visit to Sakon Nakhon Province, when Her Majesty accompanied His Majesty King Bhumibol Adulyadej on a fieldwork trip. Local women presented Her Majesty with a piece of mudmee silk. Upon receiving it and recognizing its exceptional beauty, Her Majesty initiated a project that would help villagers generate supplementary income from their own local wisdom. This effort also marked the beginning of the promotion of various other forms of traditional arts and crafts. 

Her Majesty’s commendable initiative in establishing the SUPPORT Foundation lies in reviving and breathing new life into traditional handicrafts, especially the weaving traditions of local women. In the past, villagers wove fabric mainly for household use or limited sale. As times and values changed, self-woven fabrics became less popular, while ready-made clothing—cheaper and more convenient—led to a decline in skilled artisans and a shrinking knowledge base. The work of the SUPPORT Foundation encouraged villagers to rediscover the value of their community’s artistic heritage and revive handicraft traditions. 

The SUPPORT Foundation has played an essential role in revitalizing Thai textiles and turning them into a source of national pride for both Thais and local artisans. It could be said that without the foundation’s work, many branches of Thai textile knowledge would have sadly disappeared. Many artisans who continue to practice textile crafts today do so out of a sense of gratitude to Her Majesty the Queen Mother. 

A significant contribution of the SUPPORT Foundation is its deep understanding of handicraft production at the village level. It is undeniable that the primary goal of villagers is to earn supplementary income to improve their quality of life, support their children’s education, or provide financial reserves for farming. Through its operational model, the foundation addresses these needs precisely by assuming responsibility for production costs and profit margins, allowing villagers to focus on the craftsmanship they excel at. The income they receive thus comes purely from their skill, care and dedication to producing quality work—reflecting Her Majesty’s words: “Do not talk to me about profit and loss. My loss is the nation’s gain.” 

A core principle learned from this model is transforming labor into capital. Members of the SUPPORT Foundation receive two forms of compensation: first, wages reflecting the aesthetic value of their handcrafted pieces, encouraging artisans to focus on quality rather than quantity; and second, the materials needed for continued production. This allows villagers to sell their own products independently, potentially earning additional income. Importantly, they do not need to consider material costs since the materials provided do not need to be returned. For example, weaving one silk pha nung may require 1–1.5 kilograms of silk. The foundation provides each member with 3 kilograms. Members deliver one completed piece for the foundation to purchase, and the remaining silk may be used to create fabrics for their own sale. 

This business model works because the SUPPORT Foundation handles the marketing aspect. The textiles it purchases and the raw materials it provides serve as its production costs. When selling the products, the foundation conducts marketing that aligns with these costs. Because most items submitted to the foundation are handcrafted, the foundation can fully enhance their value. Moreover, its main clients are high-income groups who appreciate items with rich stories and artistic significance. Therefore, managing costs is feasible. In truth, the foundation does not operate at a loss. The greatest “profit” is enabling villagers to preserve their own cultural knowledge with dignity and pride, fostering love for their way of life and ensuring sustainable transmission of their heritage to future generations. 

Acknowledgments 

• Information and images from the research report “(Draft) Thai Textile Master Plan,” under the 2019 project for the dissemination and transfer of knowledge on the (Draft) Thai Textile Master Plan, by the Department of Cultural Promotion, Ministry of Culture, and the Institute of Thai Studies, Chulalongkorn University. 
• Images from Facebook: Queen Sirikit Museum of Textiles. 

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