I created TI YA RA because I wanted clothing that could belong at the tea table and remain fully alive in the ordinary day.
The need was practical before it became a brand. I wanted sleeves that could move around water, cloth that could live in Bali heat and garments with enough presence for ceremony without becoming costume. I wanted what I wore for tea to move with me into work, travel, conversation and the quiet hours at home.
The practice came first
Tea has been part of my daily life for six years. Repetition at the table taught me to notice what supported attention and what interrupted it. A cup placed too far away, a sleeve caught at the wrist, an object without a purpose: small things become clear when the same practice is returned to each day.
Yangsheng Cha Dao is held in my custodianship. I remain its Custodian and first student. Tea is the teacher. That relationship keeps me close to practice and keeps the leaf at the centre.
The garments entered the same room
I did not want a separate wardrobe for the parts of life that mattered most. The pieces needed to move between tea, work, travel, conversation and home. They needed to be worn, washed, repaired and returned to.
That is why the cut matters. A sleeve has to clear the pour. A layer has to move through sitting and walking. Cloth has to be named by its actual composition and meet the conditions in which it will be worn. In Ubud, heat, rain and movement make those choices immediate.
The relationship continues after a garment leaves the Temple. The Tending Rite gives an authentic TI YA RA piece a route back for structural care. It belongs beside the garment because stewardship begins with use and continues through repair.
The Temple became a place
The TI YA RA Temple in Ubud brings the work into contact with people. It is a boutique, tea room and place of practice where a person can touch the cloth, see colour in daylight, try the line of a garment and encounter tea nearby.
The physical place keeps the brand accountable. A beautiful image cannot settle whether a seam sits well, whether a material suits the climate or whether a room allows hospitality to unfold with ease. These things become clear when the work is lived.
The Temple began where practice, garment and place could finally meet. The relationship between them matters more to me than arranging each one as a separate category.
What I am building now
Templewear brings these choices into clothing. Tea is the living practice. The Ubud Temple is the place where both can be encountered. Together, garment, practice, place and relationship form Ceremonial Living, the category TI YA RA originates.
I want the garments to belong to real days. I want them to be worn often and tended when needed. I want tea to keep the pace of the Temple clear. I want each future expression to deepen the centre that already exists.
Thank you for meeting the work here.
Tiyana Ti
Founder, TI YA RA TEMPLE
Ubud, Bali