Pattern is recorded in sticks and replayed at the loom: lift, shoot, beat—again and again—so a second weft floats and binds into raised figures. From Lanna and Tai communities of the North, khit carries motifs of diamonds, leaves, wings, naga, stars, etc.
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What it is, and why it matters
Khit - Thai Supplementary Weft
The weaver prepares a set of pattern heddles (or sticks) that “record” which warps to lift. A supplementary weft then travels continuously across the width, floating and binding to create raised figures. Unlike jok/chok (discontinuous, hand-picked inserts) or yok (brocade warp lifts), khit speaks in steady, musical lines.
You’ll see diamonds, flowers, birds, swans, naga, hooks, bamboo leaves, stars, and geometric lattices, etc. Motifs may repeat in bands or interlock into fields, often framed by plain-weave intervals for breath. Palettes range from natural indigo, lac, jackfruit heartwood to carefully tuned contemporary tones; the texture is the signature.
The technique traveled with Tai Lue, Tai Yuan, and neighbors across Northern Thailand and beyond, evolving in each community’s hands. We present khit as textile art—works selected for rhythm, relief, and light: tapestries and hangings, framed fabrics, wall panels, triptychs, etc. Filter by motif, color, provenance, or structure to explore.
