Thailand. Its lower section (“tin chok”) is a woven fabric comprising frieze patterns. Harmonised Shape Grammar (HSG) can assist in the design process to achieve harmonized and meaningful designs. We developed the generic framework of HSG to suit a specific context, so that the pattern sets in “tin chok” can be regenerated. We applied this framework to six pattern sets decoded from vintage skirts. This framework consists of five levels of analysis (identifying shape elements, identifying fundamental units, identifying/ understanding a set of rules, generating frieze patterns, arranging frieze patterns on the design structure). We find that their shape elements can be classified into trilateral shapes and quadrilateral shapes. There are 24 fundamental units confined to rectangular spaces. “Tin chok” is designed to have four parts: a main part, two supplementary parts and a hem. By applying the rules of seven frieze groups, a fundamental unit for each part can be generated to seven design derivations. There are 28 possibilities for design derivations per set. However, only 12 possibilities for design derivations appear. Among these, only three out of seven frieze groups are employed.

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Handmade textile production in Thailand has qualities that accord with sustainability. It is an intangible cultural heritage and a resourceful element for presenting the national identity of Thailand. However, handmade textile production and experienced weavers have been in severe decline. There is the potential loss of weaving skills and knowledge being transferred to younger generations. Design can help to foster a sustainable future of handmade textile producers. This research focused on design for marketing and sales that is to create a website for the Cotton Farm Limited Partnership. Website is a marketing tool to foster sales and convey the brand image. Research outcomes include: (i) a website: www.cottonfchiangmai.com; (ii) a design process and collaborative supportstrategies enabling people to participate in fostering a sustainable future of handmade textile production; (iii) perspectives towards business concept, craft courses and products. Lastly, it concludes with recommendations for new product ranges and potential areas for development.

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