Biochromes¶
Natural dyes, derived from plants, minerals, and other organic sources, have been used for centuries to color textiles, paper, and other materials. These biochromes, or naturally occurring pigments, offer a sustainable and environmentally friendly alternative to synthetic dyes, aligning with traditional knowledge and ecological practices.
In past projects, I have worked with natural dyes, exploring different plant-based color sources and their application on textiles. Revisiting this subject during week 4 of the program reignited my interest in the potential of biochromes. Since my project is deeply connected to plants, incorporating them in various ways — both as medicinal resources and as sources of color — felt like a natural extension of my research.
This section will document my experimentation with biochromes, focusing on logwood as my main dye for this proejct.
Logwood¶
Logwood (Haematoxylum campechianum) is a tree native to Central America and the Caribbean, particularly known for its heartwood, which yields a deep, rich dye used for coloring textiles. This natural dye has a long history, especially in the 17th and 18th centuries when it became an important export for European textile industries. The dye derived from logwood, known as hematoxylin, is rich in shades of purple, blue, and black, depending on the mordant and the fabric used.
Historically, logwood was highly sought after for its ability to produce vibrant, fast colors. It was considered one of the most valuable dyes of its time, and it contributed to the development of the textile industry in Europe. The dye's use was particularly prevalent in England, where it was used to color wool and silk, especially in the creation of luxury garments.
Logwood dye became significant not only for its color but also due to the social context of its production and use. The exploitation of logwood trees took place largely in the Caribbean, where it was harvested by enslaved individuals working on plantations. The women, often enslaved or from lower social strata, used their knowledge of plant-based dyes to support their families and communities. They played a crucial role in the preparation of logwood dyes, but their contributions were overshadowed by the patriarchal structures of the time. This history highlights how, in many cultures, women have historically been the custodians of plant knowledge and natural dye practices, yet their roles in these industries were frequently erased or ignored.
Today, logwood continues to be used in natural dyeing, though its commercial production has decreased with the rise of synthetic dyes. However, there has been a resurgence in interest in logwood and other plant-based dyes, particularly in the sustainable fashion and eco-friendly textile industries.
Let's Dye¶
Before dyeing the entire dress, it was essential to conduct swatch tests to observe how the dye interacts with different fabrics and fibers. This step ensured that I could achieve the best results for my design. Since I wanted a flowy look for the dress, I chose to work with silk due to its lightweight and elegant drape.
I conducted multiple dye tests using logwood and experimented with various modifiers to observe changes in tone and intensity. One of the key modifiers I used was citric acid, which helped shift the color and alter the depth of the dye.
The recipe I followed was based on a 10% Weight of Fabric (WOF) ratio, ensuring consistency in the dyeing process.
These swatch tests provided crucial insights into how logwood interacts with silk. The results from these experiments guided my final approach to dyeing the dress, allowing for a more controlled and intentional outcome.
Mordant¶
Mordanting is a crucial step in the natural dyeing process, as it helps fix the dye to the fabric, improving colorfastness and intensity. A mordant is a substance that binds the dye to the fibers, ensuring that the color remains vibrant and does not wash out easily over time. Different mordants can also alter the final hue of the dye, creating a range of shades from the same dye bath.
For my project, I used alum (potassium aluminum sulfate) as the mordant. Alum is a commonly used mordant in natural dyeing because it is relatively safe to handle and does not significantly alter the color of the dye, making it ideal for maintaining the intended shades.
Steps for Mordanting with Alum:
Weigh the Fabric – The amount of mordant needed depends on the weight of the fabric. Measure the fabric’s dry weight to determine the appropriate amount of alum to use.
Prepare the Mordant Bath – Fill a large pot with hot water and dissolve the appropriate amount of alum in the water. The general ratio is about 10-15% of the fabric's weight.
Soak the Fabric – Submerge the fabric in the mordant bath and let it soak for about an hour. The water should be hot but not boiling, as excessive heat can damage delicate fibers like silk.
Rinse and Dry – After soaking, remove the fabric, rinse it gently, and allow it to dry before proceeding with the dyeing process.
Proper mordanting ensures that the dye adheres well to the fabric, resulting in more vibrant and lasting colors.
Dye¶
For my design, I wanted to create a gradient effect with the colors. The dyeing process was divided into two steps:
1. Dyeing the Main Dress
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Prepare the dye bath by adding logwood to boiling water. The boiling process is necessary for the logwood to release its color. 10% of the WOF = grams of logwood used.
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Once the color is fully extracted and the water is no longer boiling, collect with a strainer the logwood pieces so that they do not stain the fabric.
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To achieve a smooth gradient, lower the fabric into the bath gradually. The sections that need to be the most vibrant should remain in the dye bath the longest.
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Allow the fabric to absorb the dye until the desired shade is achieved.
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Rinse the fabric with cold water and let it air dry.
2. Dark Purple Sections
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For specific sections of the dress that needed a deeper purple shade, a second dye bath was prepared using double the amount of logwood. 20% of the WOF = grams of logwood used.
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The fabric pieces were submerged in the concentrated dye bath and left to absorb the color.
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Collect with a strainer the logwood pieces so that they do not stain the fabric.
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Once the desired deep purple tone was reached, the fabric was rinsed in cold water and left to air dry.
Alteration¶
My design features a gradient effect, transitioning from a yellow-orange hue at the bottom of the dress to violet at the top. To achieve this color scheme, I first conducted swatch tests to understand how the dyes interacted with silk and how they could be layered effectively.
For the dress to have the violet tone the PH level of the fabric has to be, what it is considered, "normal". This means that when testing the PH level of the dye water the level needs to be neutral (7).
To achieve the yellowish color, the PH level needs to be altered into a more acid level (3-4).
To further manipulate the pH level of the dye and enhance color variation, I experimented with citric acid.
Swatches¶
I used two different methods:
- Spreading citric acid in its salt form directly onto the wet fabric, which resulted in distinct spotted effects.
- Dissolving citric acid in hot water and applying it with a diffuser spray, creating a smoother gradient effect.
Result¶
For the final dress, I used the second method.
