Myanmar is a diverse country, and with that comes a wide array of different weaving techniques and patterns. Each pattern can paint a rich picture of the origins of the fabric and the craftspeople involved. The five main types of fabric patterns found across Myanmar are plain, tapestry, float, resist and embroidery, each of which are briefly introduced below.

The oldest, simplest and most widely utilised weaving pattern in Myanmar is the plain weave. Plain weaves can be categorised into balanced, warp-faced or weft-faced variations. Warp-faced fabric indicates a higher ratio of warp threads (the vertically running yarn in the fabric) to weft threads (the horizontally passing yarn) within the ground cloth of the fabric. Conversely, weft-faced fabric is characterized by a higher weft-to-warp ratio, and in balanced weaves, the ratio is equal. The choice of facing largely depends on the type of loom used—warp-faced fabrics being more prevalent with body-tension looms and weft-faced fabrics in twill and tapestry weaving, as observed in regions such as Inle and Amarapura. Regardless of the fabric facing, plain weave patterns look the same on both sides of the fabric.

Historically, stripes have been the predominant patterns in Myanmar's plain weaves. For example, these stripes, created using single coloured weft or warp yarns, can be seen on the striped hip-wrappers of Hindu and Buddhist deities in the 10th-13th century drawings adorning the walls of Bagan temples. Stripes were, for a long period, the main fabric pattern found across Myanmar and the width, colour and positioning of these stripes enabled identification of the respective ethnic group who had produced them.

Around the 18th century, the prevalence of checked designs, known as bala designs increased, particularly in male attire. As the 19th century dawned, these designs became bolder and more vibrant, courtesy of advancements in dyeing techniques. Subsequently, during the colonial era, the influence of muted European fabrics led to subdued and less intricate fabric pattern and colour choices in Myanmar.

Tapestry weaves, characterized by creating mosaic-like patterns within the fabric using a single weft pick, are prominently seen in the kilim-style weaves of Mizo and Haka Chin textiles, as well as among Kun and Lue weavers from Shan state. Woven on traditional looms, this method utilises small wooden or metal shuttles (lun), which carry a bobbin of coloured fabric to be woven in. Producing such designs can use as many as 400 shuttles, resulting in this technique’s Burmese name lun-taya, which translates as "100 shuttles”. However, this technique is laborious and time-consuming; a single longyi may take up to two weeks to weave using this method.

Float weaves are characterised by yarn that skips over a few threads before being woven back into the fabric, creating an illusion of threads floating above the fabric’s surface. This method is popular across various ethnic groups, each integrating distinct colours and designs that uniquely represent their community. The float weaves can be inlaid using a variety of tools, with porcupine quills and fingers being the preferred tools for many Chin, Karen, Kachin, and Shan weavers. In the past, the float patterns were memorised by experienced weavers, but today they are more frequently recorded using pen and paper.

While less common, techniques of resist patterning are still recognised across Myanmar. Ikat, or Si, is an ancient resist technique using threads with predetermined designs dyed into them. Weaver communities in the Karen, Kayah, Chin, Shan, and Intha regions are known to incorporate ikat patterning in their traditional textiles. In Shan and Intha ikat particularly, designs can be tied with banana fibres to produce stronger fabrics for local use.

Finally, the realm of embroidery techniques in Myanmar has evolved over time. During the Konbaung dynasty, embroidery designs were limited by sumptuary law to royals, tributary princes and high-ranking officials. During the colonial period, embroidered designs became more widely available, but were only afforded to the more affluent people. Nowadays, modern sewing machines have popularised embroidery using machine made satin, making it more commonplace and seen often on Longyi and children’s clothes.

Source: ‘Textiles in Burman Culture’ by Sylvia Fraser-Lu – ‘Patterns’: pp 138-157, published by Silkworm Books 2021.

Summarised by Isabelle Pearson, PhD Student & Researcher, London School of Hygiene and Tropical Medicine.